Catherine Hotel in Avalon, and Jack Conway was directing The Roughneck (1924) for Fox Film. DeMille was directing Feet of Clay (1924) for Paramount at the St. Keaton spent most of May filming at Catalina, anchored near Two Harbors, with two other films in production nearby. Most of her later feature work was in westerns until her retirement from film in 1930. At only 20 years old, she had already appeared in films for five years, starting in short subjects with Mack Sennett before moving onto features. Kathryn McGuire had recently costarred with Keaton in Sherlock Jr. and became his only leading lady to work more than once on any of his features. Behind the scenes, the support crew onboard totaled 60 people, half of them the production crew, the rest running the steamer. An announcement in the Los Angeles Times on May 11 boasted: “In addition to a crew of 110 men the ‘Buford’ has room for 500 actors and artisans in the first-class section of the ship, 300 in the second-class and 150 in the steerage.” In fact, only two people, Keaton and actress Kathryn McGuire were to occupy this enormous ship, at least on-screen. Following arrangements, the Buford steamed out of San Francisco on April 28 headed for San Pedro, where film equipment, props, and personnel were loaded onboard for a trip to Catalina Island. The captain of the ship, John O’Brien, a 58-year veteran of the sea, oversaw the ship for the duration of filming. The Buford arrived in San Francisco on April 17 from a 60-day round-trip voyage to Tahiti with 200 passengers and a cargo of 500 tons of sugar, which had been loaded in Honolulu on the return leg. The idea for the film was still too good to pass up, so they chartered the 370-foot liner SS Buford for three months at a cost of $25,000 from the Alaskan Siberian Navigation Company. It was no longer available to Keaton and company. The Nanking had been sold to the Pacific Coast Steamship Company, overhauled, and was back in service as a passenger ship. By the time Sherlock Jr. was ready for release in April 1924, the situation had changed. When Gabourie reported his find, Keaton and his writers quickly saw the potential.īut first, Our Hospitality needed to be finished, and The Misfit, soon to be renamed Sherlock Jr., was next in the pipeline, scheduled to begin shooting just after New Year’s Day. The China Mail Steamship Company had gone bankrupt after authorities found smuggled opium, cocaine, and morphine onboard their ships, and the Nanking, their flagship, was to be sold at auction. During his search, Gabourie came across a steamship that seemed perfect for Keaton as a prop for a new film. What do guys think? Could the "Selfie" be interpreted differently? Did Wright made a mistake by working with Marvel? Who do you think will replace Wright? Leave your thoughts down bellow and thank you reading.While Buster Keaton was winding up production on his second feature film, Our Hospitality, in the summer of 1923, his technical director, Fred Gabourie, was loaned out to First National Pictures to look for suitable sailing ships for the studio’s upcoming production The Sea Hawk (1924). Never mind that he has directed 3 semi-independent movies (Hot Fuzz, Scott Pilgrim, and The World's End) while he was working with Marvel to develop Ant-Man. Of course the parallels are not exactly the same, the fact that Wright was able to walk away from Ant-Man shows that he is not being slaved by an studio to produce movies he doesn't want to make. This of course is going to add more fuel to the fire when it comes to speculating what were the true reasons he left Marvel's Ant-Man since it has been rumored that Wright departed the project after Marvel betrayed his artistic integrity by ordering rewrites behind his back. It's not clear what he meant with this symbolism, but a picture is worth a thousand words. If you draw parallels between his situation and Keaton's, Wright might feel like he made the biggest mistake of his career by working with Marvel.
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