tag:blogger.com,1999:blog-3961352325595827919.post2299630612268369223..comments2023-10-31T09:55:24.612-05:00Comments on The Night Editor: THE WINNING OF BARBARA WORTH (1926) and The Making of Gary CooperJake Hinksonhttp://www.blogger.com/profile/12959106997436699346noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-3961352325595827919.post-4593318961867124322015-08-14T15:37:02.857-05:002015-08-14T15:37:02.857-05:00Yeah, I've run across a few people--Heston, We...Yeah, I've run across a few people--Heston, Welles, someone else I can't remember know--telling the same story of being unimpressed with him on set and then being really impressed when they saw him on film. Coop had a simmer, a slow building fire that was made for closeups. Jake Hinksonhttps://www.blogger.com/profile/12959106997436699346noreply@blogger.comtag:blogger.com,1999:blog-3961352325595827919.post-49883695969754371002015-08-14T14:30:14.212-05:002015-08-14T14:30:14.212-05:00His vulnerability is a very good point. Remember t...His vulnerability is a very good point. Remember the hearing at the end of “Mr. Deeds Goes to Town” when the villains make a case against Doe’s (Cooper’s) sanity, and he will not defend himself because he was wounded by Jean Arthur? Cooper had something that few actors have, but the truly great stars do have, and that is some strange, secret, magical ability that allows the camera to see what they were thinking. I believe it was Charlton Heston, who worked once with Cooper, and said after the first day of shooting he, Heston, was disappointed because Cooper didn’t do anything in the scene. But when he saw that day’s work in the screening room, he was blown away because all you could look at was Cooper because every thought and emotion played on Coop’s face. Elgin Bleeckerhttps://www.blogger.com/profile/08417587392887691664noreply@blogger.com