Times Square Program Book, Japan, June 1981, pages 12-13 (post 5 of 5)

Posted on 7th April 2018 in "Times Square"
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1981 Japanese program book for TIMES SQUARE (1980), center spread (pp. 12-13)

The center two pages of the Japanese souvenir book feature, alongside a somewhat out of place Yankees logo, three beautifully reproduced photos.

The first, of Pammy and Nicky atop the Times Square Theater marquee, isn’t a frame from the film, and I haven’t yet found it as a publicity still, so it would seem to be making its first and possibly only appearance here.

The inset of Nicky singing in the Cleo Club looks like it was taken just before or after this publicity still (discussed here). This will turn up again later on the Mexican movie poster.

And the last shot: in the film we don’t see see Nicky’s face and the knife on her wrist in the same shot. This photo would seem to have been taken between AFD publicity still TS-109-16/12, which appeared in the US Press Material pack in 1980, and TS-81/34 from 1981, which I don’t have, but Karen Dean (DefeatedandGifted) does, along with several other Items I haven’t got. (Actually I’m fairly certain I do have a version of TS-81/34, but not as an AFD print, but consarn it I can’t seem to find it.)

This last shot would also seem to be making its first and only appearance, and isn’t it beautiful? I don’t know if it comes across in my digitization, but something about the lighting and quality of the printing make it look almost like a painting.

Incidentally, I just noticed that TS-C-34/29 in Karen’s collection is the same photo as the one that accompanied the film review in Playboy Vol. 28 No. 1 from January 1981, which until this moment I thought had only ever appeared there. Now I suspect that the “C” that appears in some of the AFD press photo code numbers means that there’s also a color version somewhere.

I also came across a photo I’d gotten several years ago and totally overlooked while preparing items for this blog. I think it’s a rejected publicity photo, the only one of three shots taken within seconds of each other not to see the light of day… until next time.

 

Times Square program book, pp. 12-13
Japan : souvenir program : AAT ID: 300253341 : 29.4 x 20.5 cm. : 1981 (work);

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©1980 Butterfly Valley N. V.
 
Times Square©1980 StudioCanal/Canal+

 

Times Square Program Book, Japan, June 1981, pages 20-24 (post 4 of 5)

Posted on 26th March 2018 in "Times Square"
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“Let’s get together at … Hippy Power” (?)

1981 Japanese program book for TIMES SQUARE (1980), p. 21

 

 

 

Here at the end of the Japanese program book, we get the movie’s credits, an ad for the soundtrack album, and… the Times Square Top Ten? I can only imagine what’s being said, in relation to the film, about Make-Up, Music, Fashion, Life Style, Play, Foods, Dream, Sports, Sex, and Friendship. Okay, Music and Friendship I get, but Sports?

 

Page 21, bearing a “Hippy Power” button and the unfinished caption, “Let’s get together at,” features two shots that are neither frames from the film, nor are publicity stills I’ve yet come across. The shot atop the marquee bears a strong resemblance to this color still, and is probably another still shot at that same time, and the shot of the girls entering the abandoned pier is from an entirely different angle than the scene in the film. Also, neither Nicky nor especially Pammy smiles during that sequence in the film. The point being, this is the only place these pictures appear, as far I know.

 

 

I don’t know if the street photo that is the background of page 20 has anything to do the film, other than being New York City. The inset photo of Nicky is from the shot used on one of the Italian lobby posters. Accompanying the credits on page 22, the shot of Pammy and Nicky erupting onto the street after the chase through the Adonis Theater is I believe making its first appearance here; it will later be a press photo distributed in Germany. The other two photos are frames from the film but with more image visible at the tops and bottoms, which as I mentioned last time lead me to believe that these were taken from a full-frame exposure that was matted for release, and may still exist as a TV print.

Page 23 features the soundtrack album cover, the Japanese “Same Old Scene” single picture sleeve, and, clockwise from top right: a shot of Robin and Trini between takes that had previously appeared in Movie 81 No. 2; the image from the cover of the “Same Old Scene” single, which had also appeared in the soundtrack gatefold, the songbook, and the aforementioned Movie 81 No. 2; a shot of Johnny that had been a UK lobby card and an illustration in Movie 81 No.2; and guess where the shot of Robin had appeared previously? Of course! It was in Film Review Vol. 31 No. 1.

And that perfect image on the back cover is a detail from another publicity still that will appear later as a German lobby card.

 

 

Times Square program book, pp. 20-24
Japan : souvenir program : AAT ID: 300253341 : 29.4 x 20.5 cm. : 1981 (work);

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©1980 Butterfly Valley N. V.
 
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Times Square ©1980 StudioCanal/Canal+

 

Times Square Program Book, Japan, June 1981, pages 14-19 (post 3 of 5)

Posted on 14th March 2018 in "Times Square"
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As before, I have no clue as to the text, but the image on page 14 of the Japanese souvenir program for Times Square is another frame from the movie. The photo of Pammy and Nicky on page 15 is the promotional shot which was used for the cover of the Italian “Help Me!” single, and as the illustrations on the soundtrack album’s paper sleeves. The color shot of Johnny and Pammy on page 15, accompanied for some reason by a button featuring black and white hands cradling a dove, looks like a frame from the film, but isn’t. It will turn up later as a lobby card in Germany. For some reason, it’s reversed.

Both photos on page 17 are frames from the film. The photo of the Sleez Girls on page 18, featuring coulda-been-Nicky Zoe Lund, is a frame from the film, but the shot of Nicky just below is a promotional photo that previously appeared in Joepie No. 365. And Pammy and Nicky dancing at each other in the Cleo Club on page 19 is a shot that had been used as a UK lobby card. Whether they were really “honoring America” is a question only they, and perhaps the Japanese, could answer.

Look again at the photo on page 14, and compare it to the frame capture below. There’s a bit more at the bottom, and lot more at the top, of the photo in the program book. This is the first evidence I’ve seen that Times Square was shot “full-frame;” the entire frame of the 35mm film was exposed with a normal lens, and its widescreen aspect ratio achieved by matting the top and bottom when the prints were made. If it was shot so the extra space was clean of production detritus, a film shot that way could be shown on television using that full frame instead of making a pan-and-scan version and losing the sides of the image. It’s been decades since I’ve seen a television-formatted version of Times Square. Does anyone know if the TV/video print was full frame or pan-and-scan? Because if it was full frame, that would be worthy of preservation in its own right.

Closest frame from <strong>Times Square</strong> to the photo on page 16 of the Japanese program book.

Closest frame from Times Square to the photo on page 16 of the Japanese program book.

 

 

Times Square program book, pp. 14-19
Japan : souvenir program : AAT ID: 300253341 : 29.4 x 20.5 cm. : 1981 (work);

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©1980 Butterfly Valley N. V.
 
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Times Square©1980 StudioCanal/Canal+

 

Times Square Program Book, Japan, June 1981, pages 8-11 (post 2 of 5)

Posted on 2nd March 2018 in "Times Square"
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Here are the next four pages from the Japanese souvenir program for Time Square. These pages apparently have everything you need to know about the producer, director, and stars. Again, if anyone wants to contribute a translation, or donate to a fund for hiring a professional translator, you will have my thanks and the thanks of a grateful nation.

Three of the four pictures on page 8 are more cases of actual frames from the film being used as publicity stills: the shots of the Sleez Girls, Pammy in the phone booth, and Nicky blacking out Pammy’s eyes on the bus poster. Nicky looking directly at us is part of the shot of her in front of the mirror, which previously appeared in Australian Women’s Weekly Vol. 48 No. 5.

Page 9 is two shots that aren’t frames from the movie, and that were distributed for publication as 35mm slides, Pammy and Nicky. The “I ♥ NY” button… well… okay…

Page 10 features some old AFD publicity stills, finally! Trini is cropped from TS-61-14/10, and Robin is TS-57-26/1, the shot used for the album cover and North American poster. Tim Curry’s photo was previously published in color as a UK lobby card and in Movie 81 No 2.

Page 11 is TS-82-30[/4], also used in the AFD campaign pressbook, on the UK soundtrack sampler, and as the basis for a line drawing in a soundtrack ad published in Record Mirror, January 24 1981.

I am not a student of theology. Was Jesus a dropout?

The above-mentioned frames from the movie:

Sleez Girls; Frame from TIMES SQUARE (1980)
Pammy calls her father; frame from TIMES SQUARE (1980)
Nicky blacks out Pammy's eyes; Frame from TIMES SQUARE (1980)

Further reading:

Times Square Press Material folder (post 1 of 5)
Times Square Press Material folder (post 3 of 5)
Times Square Press Material folder (post 5 of 5)
U.K. Lobby Cards (post 1 of 3)
Movie 81 No. 2, February 1981
AFD Campaign Pressbook (pages 1-4)
TIMES SQUARE Trailer
Record Mirror, January 24, 1981

 

 

Times Square program book, pp. 8-11
Japan : souvenir program : AAT ID: 300253341 : 29.4 x 20.5 cm. : 1981 (work);

Press Book Japan 1981_8_1080px.jpg
Press Book Japan 1981_9_1080px.jpg
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Press Book Japan 1981_11_1080px.jpg
96 dpi (images)

©1980 Butterfly Valley N. V.
 
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608 x 1080px, 96dpi (contrast-sdjusted frame captures from Times Square (1980))
Times Square©1980 StudioCanal/Canal+

 

Times Square Program Book, Japan, June 1981 (post 1 of 5)

Posted on 18th February 2018 in "Times Square"
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1981 Japanese program book for TIMES SQUARE (1980), p.1 (cover)

This was almost certainly aimed at theatergoers and not the press, but I can’t be 100% certain, since as I’ve noted before, Google Translate makes a total hash of Japanese, and I don’t have the funds to have it professionally translated. (If anyone wants to help on that score, by donating some dough or a homemade translation, I’d be too happy to accept.)

 

It’s a very slick publication and gives the impression that EMI and Towa expected the movie to do well in Japan. I don’t know if it was any more successful there than in the rest of the world, though. It’s most impressive due to the many photos in it that were published nowhere else (as far as I know, as of this writing [and even as I’m writing this, I’m finding previously published examples]), and its use of misapplied pseudo-Americanisms, also present on the Japanese movie poster and promotional flyer.

 

The cover features the image most prominently seen on the picture sleeve for Roxy Music’s “Same Old Scene” Japanese single, released as a Times Square tie-in. The image also appeared in the press folder, on the inside of the soundtrack album, in the songbook, and in Movie 81 No. 2. The other shot, of Nicky and Pammy atop the Times Square Theatre marquee, previously appeared also in Movie 81 No. 2, and as a UK lobby card. The logo is a redesign of the US one, now incorporating a pair of portable headphones.

 

The inside front cover features a photo that had previously appeared, cropped differently and much smaller, in photoplay Vol. 32, No. 1.

The first small photo on the title page appeared, cropped much differently and in color, in the previously mentioned Movie 81 No. 2. The other led off the “interview” with Robin in Joepie No. 365, also in color.

Page 4 is a photo that had been a UK lobby card.

The small inset on page 5 had appeared in color in both Film Review Vol. 31 No. 1 and Movie 81 No 2. The larger photo is a first, I think: an actual frame from the movie (shown below). All the previously published photos had been stills taken at the time of shooting, or during pre-take run-throughs, none of which match up precisely with any similar images from the movie. The Yankees logo was probably there as a token of American and New York authenticity, and I’d bet appeared without the payment of any applicable license fees.

On page 6, the shot with Jay Acovone as the plainclothes cop, and the large photo of Mr. Pearl watching Pammy in the Cleo Club, are making their first, and possibly only, appearances here. The shot of Nicky with her guitar in the hideout is making its first appearance, but will turn up later in color. And the inset of Nicky singing Damn Dog had seen print in color in Joepie No. 365.

On page 7, the shot from the concert in Times Square had appeared on the sleeve for the UK soundtrack sampler. Nicky kneeling on the theater marquee with Pammy standing behind her, is similar to others that had already seen print but is making its first appearance here. The shot of Nicky and Pammy squeegeeing windshields is another frame from the film (!). And the “Burn Pot Not People” button probably signaled “American subculture” to a Japanese audience, but the most generous I could be is that it might be an unfortunate leftover from an early draft of the script, which I doubt anyone involved in making this program book had any knowledge of.

This booklet is 24 pages in total. Another batch of pages next time.

 

 

Times Square program book, p. 1-7
Japan : souvenir program : AAT ID: 300253341 : 29.4 x 20.5 cm. : 1981 (work);

Press Book Japan 1981_1_1080px.jpg
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©1980 Butterfly Valley N. V.
 
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608 x 1080px, 96dpi (contrast-sdjusted frame captures from Times Square (1980))

 

Times Square ©1980 StudioCanal/Canal+

 

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Times Square promotional flyer, Japan, 1981

Posted on 6th February 2018 in "Times Square"
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"Times Square" promotional flyer from Japan, 1981 "Times Square" promotional flyer from Japan, 1981, p 2

 

The front side of this approximately 7.5 by 10.5 inch sheet reproduces the Japanese movie poster, the only difference being the absence of the credit for EMI at the lower right.

 

The back is breathlessly loaded with more information about the film, the girls, and the soundtrack than you’d think could possibly exist, and if anyone wants to translate it or help pay for a professional translation, I’d be happy to provide all the details hidden therein.

 

 

 

Times Square
Japan : handbill : AAT ID: 300027033 : 26.9 x 19 cm. : 1981 (work);
Japanese Times Square promotional flyer, front auto crop 1080.jpg
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Japanese Times Square promotional flyer, back auto 1 crop 1080.jpg
1080 x 769 px, 96 dpi, 800 kb (images)

 

Times Square ©1980 StudioCanal/Canal+

 

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Times Square movie poster, Japan, June 1981

Posted on 26th January 2018 in "Times Square"
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Times Square Japanese movie poster, 1981
Times Square opened in Japan on June 20, 1981. I don’t know if Robin and her mom made it there on their promotional tour. I do know that the Japanese publicity for the movie relied heavily on it being a hip young American movie, and illustrated that fact in a way that doesn’t translate back particularly well.

I’m speaking of the Nicky’s-jacket inspired buttons floating across the poster. Using buttons as a major design element is actually a good idea, and was in fact used on the very first Times Square poster. The buttons there, however, were of Johnny LaGuardia and two quotations from the movie. Here, the “Nicky” and “Pammie” (sic) ones make sense, but the “I ♥ NY” is unintentionally ironic; the black and white hands holding a dove and “Jesus was a dropout” are both about ten years out of date and celebrate a hippie culture absent from the film (although present in the screenplay); and “Honor America” is entirely out of place.

The main photo is the one that had been used on the inside of the AFD press folder, on the picture sleeve of the Japanese “Same Old Scene” single, and also appeared in the gatefold of the soundtrack album and in the songbook. It had also been published in Movie 81 No. 2 in February 1981, and I suspect it’s also a UK lobby card that hasn’t surfaced yet. The background appears to be a stock photo of Times Square, looking north along Broadway past Bond International Casino towards Castro Convertibles.

The image on the “Nicky” button is one of the Yoram Kahana photos that I believe were shot during the excised Hudson River sequence, which also produced the iconic shot of Nicky used on the soundtrack album cover and the US and Canadian movie posters. This shot had previously also seen publication in Movie 81 No. 2, and will later turn up on a German lobby card. “Pammie” is a detail from one of many publicity stills shot during the excised “looking for Nicky’s father” sequence, which had been a UK lobby card.

I would translate the Japanese text, but my OCR program doesn’t do a good job identifying the characters, especially when they’re not perfectly aligned, and Google Translate still tends to make a hash of the Japanese language. And, I can’t afford to hire a professional translator. So we’ll just have to sit and be mystified at the single word in English among the bullet points at the top: SEX.

 

 

Times Square
Japan : poster : AAT ID: 300027221 : 72.3 x 51.2 cm. : 1981 (work);
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1080 x 764 px, 96 dpi, 466 kb (image)

 

Times Square ©1980 StudioCanal/Canal+

 

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Dolly No. 128, June 1981

Posted on 15th January 2018 in "Times Square"
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“I love to sing but whether people like to hear me, is another matter.”

The cover of Dolly No. 128, June 1981 teasing story "Robin Johnson - From High School to Hollywood"

 

 

 

Times Square was a distant memory in the US in June 1981, when Dolly No. 128 came out in Australia. Alison Gardner’s interview with Robin covers little new ground, repeating Robin’s discovery on the steps of Brooklyn Tech and her then-still upcoming movie projects, although it does add a few little terrific tidbits like the fact that her discoverer wasn’t part of the Times Square production staff; the date she was officially cast; and that the first thing she was asked to do was lose five pounds. And most tantalizing, that there were the beginnings of plans for her to record an album, to be made between Grease 2 and her third film.

 

 

 

 

 

An article about Robin in the Australian magazine Dolly (#128, June 1981).  This is pages 56 & 57, containing four color photographs not published elsewhere.  Text:  Robin Johnson - from high school to Hollywood  Seventeen-year-old Robin is every girl's dream come true ... She was "discovered" and turned into a star. One day Robin was watching films, the next day she was in them. How did it happen? Alison Gardner asked her  Bnow, 17-year-old Robin Johnson, star of the film Times Square, should need no introduction ... Even if you haven't seen the film yet, you can't possibly have missed all of the press coverage Robin received when she visited Australia a few months ago. Robin was big news in all of the papers, who were keen to tell her story and, on TV talk shows, where Robin was invited for a chat, interviewers couldn't get a word in edgeways as she recounted her rise to stardom. You see, it wasn't so much Robin's part in Times Square that everyone was interested in but how she got the part in the first place. Before Times Square, Robin had never acted in her life, not even in a school play. Now she has a three-film contract with the Robert Stigwood Organisation in America and her second film — due to start shooting later this year — is the follow-up to Grease. Robin has the female lead part opposite Andy Gibb. Stories of shy young girls being plucked from the streets and made into Hollywood stars have filled reels and reels of film but Robin's discovery — which would make a great film itself — isn't quite so saccharine-sweet. To begin with, Robin is not shy — as I soon found out when I met her. I am not the first journalist to comment on Robin's ability to talk ... and talk ... and talk, seemingly without ever pausing for breath. Robin herself knows she talks a lot but shrugs it off as if to say "So what? It's no crime". It certainly isn't a crime, not if you talk like Robin Johnson. Oh, her English isn't perfect but then, if you lived in Brooklyn (New YYork) yours wouldn't be, either. Her voice is deep and a bit hoarse and her hands fly everywhere as she speaks, which made it necessary for me to sit well away from her as we talked. But Robin is a rare species from the acting world because she is in¬teresting to talk to and totally unin¬hibited; she is witty, intelligent, cheeky, polite and great fun. She seemed to treat her sudden fame a bit like a new toy and she was having great fun playing with it ... Travelling around the world to promote Times Square gave Robin great joy and she was ready and willing to answer any questions I asked her. So, first off, how did she — a high school kid whose closest contact with showbiz was as part of the audience at the movies — get the part of the rough-and-ready Nicky Marotta? "Well, it's very conveniently Hollywood," Robin said, sounding almost disgusted with this fact. "I was literally discovered on the steps of my high school by a talent-scout. "I was standing outside the school with a friend and I heard this guy say to me: 'Would you be about 16?' I said: 'You talking to me?' I mean, what a way to approach someone! There are not too many things that are weird for New York but that's weird. "Anyway, he asked me again if I was about 16 and when I told him I was, he told me about this advertisement that was in a paper called The Village Voice for auditions for the film, Times Square. He said he thought I would be right for the part of Nicky Marotta. At first I thought the guy was a nut but he talked in detail about the film for an hour and I figured he couldn't be making it all up. "In the end, he gave me a card with a phone number on it and said if I was interested I was to phone the following Monday and ask to speak to Jake — who turned out to be the producer and screen-writer." Robin hasn't seen the guy who "discovered" her, since. She later found out that he wasn't connected with the casting for Times Square. "He hasn't even come asking for his 10 per cent fee and I'm surprised about that," Robin said. Anyway, Robin called the number that Monday and her life has never been the same since. "Before this I had never thought about acting as a career," Robin told me. "Maybe in a wild thought, like 'Gee, it would be nice to be an actress' but never seriously. Me? In a movie? You've got to be kidding. ►Dolly (incorporating Beaut) No.128, June 1981, p. 58 - 3rd page of an article about Robin Johnson - right column only (advertisements cropped out)  Text:  lose and everything to gain. I had the summer holidays stretching out in front of me and nothing to do so I was looking for ways to keep busy." Well, the auditions certainly kept Robin busy, not just for a day or a week, either . . . There was over 2000 girls auditioning for the part of Nicky Marotta but, by the end of the summer and after 20 different auditions, Robin was told she had the part. "On August 24, 1979," Robin announced, her voice taking on a very dramatic tone, "the casting agency called me and said: 'You've got the part. Now lose 4kg and we'll talk about it next week'. So, that was it — that's why I'm sitting here talking to you." The fact that Robin did get the part, that the film has been a huge success, that she — the gum-chewing, fast-talking kid from Brooklyn — has been marked as a talent to watch in the future has not knocked her off-balance one little bit. She is not, she says emphatically, impressed by Hollywood. She doesn't even like it there. "In Los Angeles the people are so laid-back, they're half dead!" Robin said. "I like the work I'm in now but I'm not overwhelmed by the people I meet and the places I get to visit. "Anyone who hasn't been involved in films thinks it's glamorous . . . But what's so glamorous about being in the Hudson River in the middle of winter? That's where I had to be for one of the scenes in Times Square! You can get typhoid and pneumonia from that! It was only 10 degrees — I thought I had frost-bite!" However, before Robin got involved in the film business, there was a lot she didn't know herself. "It's so complicated," she told me. "I didn't know that actors had to do scenes over and over again. It's a bit hard to do the same scene 15 times because it loses spontaneity. But I had a ball making the film. "I don't think I could settle in a nine till five job after this. It's so interesting. Before all of this I wanted to be a lawyer. I would have graduated from school and gone to college but now those plans have been pushed into the background." Robin's third film, which she will make after filming the sequel to Grease, has not been decided on yet. To keep her busy, though, there may be an album. "I love to sing but whether people like to hear me, is another matter," Robin said, smiling. Acting is another love of Robin's now and something that she says she didn't find very hard, despite her lack of practical experience. "I didn't think about what I was doing, I just did it," she told me. "That I didn't have to change my accent or mannerisms for the part helped, too," Robin added. Robin saw a few similarities between herself and Nicky Marotta, the main one being their rebelliousness. "All teen-agers are rebellious at some stage but I think I am permanently rebellious," Robin laughed. "I don't like authority. I can take it from my mother but no one else. "In the film, Nicky likes to do outrageous things and I have done some things like that — although not quite to Nicky's extreme. I'm more stable than Nicky is and more secure, too. I have a great family life." Unlike Nicky, too, Robin's future is definitely rosy. True, she isn't any Brooke Shields or Tatum O'Neal but then that's their problem, not Robin's . . . She has lots of talent and a style all her own and I think it's going to take her a long, long way.

Robin Johnson – from high school to Hollywood

Seventeen-year-old Robin is every girl’s dream come true … She was “discovered” and turned into a star. One day Robin was watching films, the next day she was in them. How did it happen? Alison Gardner asked her

 
By now, 17-year-old Robin Johnson, star of the film Times Square, should need no introduction … Even if you haven’t seen the film yet, you can’t possibly have missed all of the press coverage Robin received when she visited Australia a few months ago.

Robin was big news in all of the papers, who were keen to tell her story and, on TV talk shows, where Robin was invited for a chat, interviewers couldn’t get a word in edgeways as she recounted her rise to stardom.

You see, it wasn’t so much Robin’s part in Times Square that everyone was interested in but how she got the part in the first place. Before Times Square, Robin had never acted in her life, not even in a school play. Now she has a three-film contract with the Robert Stigwood Organisation in America and her second film — due to start shooting later this year — is the follow-up to Grease. Robin has the female lead part opposite Andy Gibb.

Stories of shy young girls being plucked from the streets and made into Hollywood stars have filled reels and reels of film but Robin’s discovery — which would make a great film itself — isn’t quite so saccharine-sweet.

To begin with, Robin is not shy — as I soon found out when I met her. I am not the first journalist to comment on Robin’s ability to talk … and talk … and talk, seemingly without ever pausing for breath. Robin herself knows she talks a lot but shrugs it off as if to say “So what? It’s no crime”.

It certainly isn’t a crime, not if you talk like Robin Johnson. Oh, her English isn’t perfect but then, if you lived in Brooklyn (New York) yours wouldn’t be, either. Her voice is deep and a bit hoarse and her hands fly everywhere as she speaks, which made it necessary for me to sit well away from her as we talked. But Robin is a rare species from the acting world because she is interesting to talk to and totally uninhibited; she is witty, intelligent, cheeky, polite and great fun.

She seemed to treat her sudden fame a bit like a new toy and she was having great fun playing with it … Travelling around the world to promote Times Square gave Robin great joy and she was ready and willing to answer any questions I asked her. So, first off, how did she — a high school kid whose closest contact with showbiz was as part of the audience at the movies — get the part of the rough-and-ready Nicky Marotta?

“Well, it’s very conveniently Hollywood,” Robin said, sounding almost disgusted with this fact. “I was literally discovered on the steps of my high school by a talent-scout.

“I was standing outside the school with a friend and I heard this guy say to me: ‘Would you be about 16?’ I said: ‘You talking to me?’ I mean, what a way to approach someone! There are not too many things that are weird for New York but that’s weird.

“Anyway, he asked me again if I was about 16 and when I told him I was, he told me about this advertisement that was in a paper called The Village Voice for auditions for the film, Times Square. He said he thought I would be right for the part of Nicky Marotta. At first I thought the guy was a nut but he talked in detail about the film for an hour and I figured he couldn’t be making it all up.

“In the end, he gave me a card with a phone number on it and said if I was interested I was to phone the following Monday and ask to speak to Jake — who turned out to be the producer and screen-writer.”

Robin hasn’t seen the guy who “discovered” her, since. She later found out that he wasn’t connected with the casting for Times Square. “He hasn’t even come asking for his 10 per cent fee and I’m surprised about that,” Robin said.

Anyway, Robin called the number that Monday and her life has never been the same since.

“Before this I had never thought about acting as a career,” Robin told me. “Maybe in a wild thought, like ‘Gee, it would be nice to be an actress’ but never seriously. Me? In a movie? You’ve got to be kidding.

“But when I thought about it I figured I might as well phone. I had nothing to lose and everything to gain. I had the summer holidays stretching out in front of me and nothing to do so I was looking for ways to keep busy.”

Well, the auditions certainly kept Robin busy, not just for a day or a week, either . . . There was over 2000 girls auditioning for the part of Nicky Marotta but, by the end of the summer and after 20 different auditions, Robin was told she had the part.

“On August 24, 1979,” Robin announced, her voice taking on a very dramatic tone, “the casting agency called me and said: ‘You’ve got the part. Now lose 4kg and we’ll talk about it next week’. So, that was it — that’s why I’m sitting here talking to you.”

The fact that Robin did get the part, that the film has been a huge success, that she — the gum-chewing, fast-talking kid from Brooklyn — has been marked as a talent to watch in the future has not knocked her off-balance one little bit. She is not, she says emphatically, impressed by Hollywood. She doesn’t even like it there.

“In Los Angeles the people are so laid-back, they’re half dead!” Robin said. “I like the work I’m in now but I’m not overwhelmed by the people I meet and the places I get to visit.

“Anyone who hasn’t been involved in films thinks it’s glamorous . . . But what’s so glamorous about being in the Hudson River in the middle of winter? That’s where I had to be for one of the scenes in Times Square! You can get typhoid and pneumonia from that! It was only 10 degrees — I thought I had frost-bite!”

However, before Robin got involved in the film business, there was a lot she didn’t know herself.

“It’s so complicated,” she told me. “I didn’t know that actors had to do scenes over and over again. It’s a bit hard to do the same scene 15 times because it loses spontaneity. But I had a ball making the film.

“I don’t think I could settle in a nine till five job after this. It’s so interesting. Before all of this I wanted to be a lawyer. I would have graduated from school and gone to college but now those plans have been pushed into the background.”

Robin’s third film, which she will make after filming the sequel to Grease, has not been decided on yet. To keep her busy, though, there may be an album.

“I love to sing but whether people like to hear me, is another matter,” Robin said, smiling.
Acting is another love of Robin’s now and something that she says she didn’t find very hard, despite her lack of practical experience.

“I didn’t think about what I was doing, I just did it,” she told me. “That I didn’t have to change my accent or mannerisms for the part helped, too,” Robin added.

Robin saw a few similarities between herself and Nicky Marotta, the main one being their rebelliousness.

“All teen-agers are rebellious at some stage but I think I am permanently rebellious,” Robin laughed. “I don’t like authority. I can take it from my mother but no one else.

“In the film, Nicky likes to do outrageous things and I have done some things like that — although not quite to Nicky’s extreme. I’m more stable than Nicky is and more secure, too. I have a great family life.”

Unlike Nicky, too, Robin’s future is definitely rosy. True, she isn’t any Brooke Shields or Tatum O’Neal but then that’s their problem, not Robin’s . . . She has lots of talent and a style all her own and I think it’s going to take her a long, long way.

Most of the articles in the magazine have a photographer credit. This one doesn’t, which is unfortunate, since the four photos of Robin accompanying the article never appeared anywhere else. At first I thought they might come from the same source as the Mirrorpix shots from March 1981, but on closer examination, I don’t think so. Her outfits are less baffling and more just 1980s in style, and most telling, the shape of her eyebrows is entirely different.

Alison Gardner has at least two other articles in this issue of Dolly, so it would seem she was one of the main staff writers, if not the main one. She vividly describes what it’s like to talk to Robin in person, but also mentions that Robin had been in Australia several months before. While it’s possible Dolly had a travel budget big enough to cover a round trip flight to New York for a story billed sixth on the cover, I think it’s more likely that the interview was actually a few months old.

But if there’s one big takeaway from this, it’s that Robin seems to have made a bigger splash in Australia than anywhere else in the world.

 

 

Alison Gardner, “Robin Johnson – from high school to Hollywood” (article), AAT ID: 300048715)
Dolly (incorporating Beaut), No. 128, June 1981, pp. 56-58 (magazine (periodical), AAT ID: 300215389)
20.2 (W) x 27.8 cm. (H), 100 pp (work);
Dolly_No_128_June_1981_p1_auto_crop_1080px.jpg (cover)
1080 px (H) x 788 px (W), 96 dpi, 450 kb
Dolly_No_128_June_1981_pp56-57_auto_2_crop_1080pxh.jpg
1080 px (H) x 1554 px (W), 96 dpi, 820 kb
Dolly_No_128_June_1981_p58_manual_crop_1080px_detail.jpg
1080 px (H) x 395 px (W), 96 dpi, 401 kb
Dolly_photo_3_800px.jpg
800 px (H) x 567 px (W), 96 dpi, 316 kb
Dolly_photo_2_800px.jpg
800 px (W) x 572 px (H), 96 dpi, 305 kb
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800 px (H) x 545 px (W), 96 dpi, 314 kb
Dolly_photo_1_800px.jpg
800 px (W) x 453 px (H), 96 dpi, 218 kb (images)
 
Dolly (incorporating Beaut) ©1981 Sungravure Pty Ltd

 

Times Square ©1980 StudioCanal/Canal+

 

 

“… a culture of ‘Rag-Dolls’…” 1981 Press Kit, Denmark

Posted on 4th January 2018 in "Times Square"
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This was sold to me as a Press Kit, but it looks to me more like the AFD Campaign Pressbook in intent, as it has a list of available promotional materials on the back. Theater owners might have a use for that, the press wouldn’t.

The Danish publicity for Times Square surprisingly abandoned the Cummins painting used in most of the rest of Europe, and instead went all the way back to the original promotional design by Seiniger & Associates that had only appeared on a promotional piece for American theater owners and record stores, which had inspired simplified versions for the US movie poster and the soundtrack album cover.

The artwork, unfortunately, in black and white. I assume the actual posters were in color, but as of this writing I haven’t seen one. They are essentially the double-sided poster poster art with the English text replaced by Danish.

ROBERT STIGWOOD præsenterer “TIMES SQUARE”
Med TIM CURRY TRINI ALVARADO og ROBIN JOHNSON
Med PETER COFFIELD • HERBERT BERGHOF • DAVID MARGUUES • ANNA MARIA HORSFORD
Executive Producers KEVIN McCORMICK • JOHN NICOLELLA
Instruktion ALAN MOYLE
Produceret af ROBERT STIGWOOD og JACOB BRACKMAN
Drejebog JACOB BRACKMAN
Manuskript af ALAN MOYiE og LEANNE UNGER
Associate Producer Bill OAKES
En EMI-ITC Produktion

Soundtrack forefindes på plade og kassette

RSO

And, here’s the text from the promotional side, with my attempt at a translation. I welcome any corrections. I’d also be interested in copies of the actual publications/reviews the pull quotes came from.

Annonce-kliché nr. 1

Tekst-kliché nr. 2

Annonce-kliché nr. 2

TO PIGER GØR OPRØR MOD DERES FORÆLDRE, MYNDIGHEDERNE, SAMFUNDET – DET HELE!

FILMENS LÆNGDE:
3025 meter
CENSUR-FARVE:
RØD
WIDESCREEN

TRAILER:
35 m/RØD

UDLEJNING:

Udlejning: A/S Nordisk Film Udlejning

2 sp. annonce-kliché nr. 5

I 1955 blev »ungdomsoprør« personificeret i James Dean’s portræt afen rebelsk teenager i filmen »Vildt blod«. I 1969 skildrede Peter Fonda og Dennis Hopper 60-ungdommen i »Easy Rider«. 70’erne producerede en ny helt for de unge, da John Travolta blev berømt på »Saturday Night Fever«, og det er den samme producent, Robert Stigwood, der står bag filmen
TIMES SQUARE
der til tonerne af new wave-musik skildrer et par unge piger i New York i 1980.
Robin Johnson og Trini Alvarado har hovedrollerne som to teenagere, der løber hjemmefra og vender sig mod det bestående samfund ved bl.a. at gå i outreret tøj, dyrke new wave-musik og smadre TV-apparater. En nat-discjockey fatter interesse for dem og opmuntrer dem i sine radioprogrammer, og inden længe har der dannet sig en hel kult af »Klude-dukker« – et begreb, de to piger har skabt. Det går naturligvis ikke i længden, og de to sætteret festligt punktum for deres virksomhed ved at afholde en ulovlig midnatskoncert for deres fans på Times Square.
TIMES SQUARE er instrueret af canadieren Alan Moyle, der er meget kendt i sit hjemland som både skuespiller og instruktør. Robin Johnson debuterer i denne film, og Trini Alvarado har optrådt siden hun var 7. Sin filmdebut fik hun i Robert Altman’s »Rich Kids«. Alan Moyle har skrevet manuskriptet sammen med Leanne Unger. (Moyle fik ideen, da han fandt en ung piges dagbog gemt i en gammel sofa), og drejebogen skyldes Jacob Brackman, der har produceret filmen sammen med Robert Stigwood. Musikken i filmen synges, foruden af Robin Johnson, af en lang række kendte navne, bl.a. Roxy Music, Susi Quatro og Lou Reed.

»NEW YORKS SVAR PÅ STORKESPRINGVANDET…
Der er en masse god new-wave-musik i filmen«. Kaj Gosvig, Aktuelt

»TEENAGE-FILM MED MASSER AF MUSIK…
byder på spænding, dramatik, komik – og masser af musik!«
Peder Lyng, Ung Nu

»Robin Johnson er klart nyt fund som pigen, der er grim som arve-
synden, men har en sjæl, der er smukkere end forårets første blomster
…godt i tråd med de nye toner, der er slået an hos ungdommen«.
★★★★ Vi’unge

TWO GIRLS MAKE REBELLION AGAINST THEIR PARENTS, AUTHORITIES, SOCIETY – ALL OF IT!

FILM LENGTH:
3025 meters
RATED:
RED
WIDESCREEN

TRAILER: 35 m/RED

RENTAL: A/S Nordisk Film Rental

In 1955, ‘youth rebellion’ was personified in James Dean’s portrait of rebel teenager in the movie ‘Wild Blood’. In 1969, Peter Fonda and Dennis Hopper depicted the 60’s youth in ‘Easy Rider’. The 70s produced a new hero for the young when John Travolta became famous in ‘Saturday Night Fever’, and it is the same producer, Robert Stigwood, who is behind the movie
TIMES SQUARE
that to the sound of new wave music portrays a couple of young girls in New York in 1980.

Robin Johnson and Trini Alvarado have the main roles as two teenagers who run from home and turn against the establishment to wear bizarre clothes, play new wave music and smash TVs. A night-disc jockey becomes interested in them and encourages them on his radio programs, and soon creates a culture of “Rag-Dolls” – a concept that the two girls have created. Of course, it does not last long and the two bring their enterprise to a celebratory end by holding an illegal midnight concert for their fans in Times Square.

TIMES SQUARE is directed by Canadian Alan Moyle, who is widely known in his native country as both actor and director. Robin Johnson is debuting in this movie and Trini Alvarado has performed since she was 7. Her film debut had her in Robert Altman’s ‘Rich Kids’. Alan Moyle wrote the original story together with Leanne Unger. (Moyle got the idea when he found a young girl’s diary tucked in an old sofa), and the script is by Jacob Brackman, who produced the film together with Robert Stigwood. The music in the film is performed, besides Robin Johnson, by a number of well-known names, including Roxy Music, Susi Quatro and Lou Reed.

“NEW YORK’S ANSWER TO THE STORK FOUNTAIN … There is a lot of good new wave music in the movie.” Kaj Gosvig, Current

“TEENAGE FILM WITH MASSES OF MUSIC …
Offers excitement, drama, comedy – and lots of music!” Peder Lyng, Young Now

“Robin Johnson is clearly a new find as the girl who is ugly as original sin, but has a soul that is more beautiful than the first flowers of the spring … well in line with the new sounds that have caught on with the youth.” ★★★★ We Young Ones

Rebel Without A Cause was apparently retitled Wild Blood in Denmark. Sleez Sisters were renamed Rag Dolls. The Stork Fountain is a monument in the center of Copenhagen which has been the focus of numerous Danish protest movements. And “We Young Ones” certainly pulled no punches in their assessment of Robin.

Times Square opened in Denmark on May 8, 1981.

 

 

Times Square press kit
Denmark : promotional material : AAT ID: 300249572 : 32.2 x 23.1 cm. : 1981 (work);

TIMES SQUARE_Press Kit Denmark 1981 front_1080px.jpg
1080 x 775 px, 96 dpi, 511 kb
TIMES SQUARE_Press Kit Denmark 1981 back_1080px.jpg
1080 x 775 px, 96 dpi, 504 kb (images)

 
Times Square ©1980 StudioCanal/Canal+

 

“Toda la Basca!” … a Times SquareTimes Square movie poster, Spain

Posted on 24th December 2017 in "Times Square"
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TIMES SQUARE movie poster, Spain, 1981.  Text:  "TODA LA BASCA!"  ... A  TIMES SQUARE TIMES  SQUARE ROBERT STIGWOOD Presents "TIMES SQUARE" Starring TIM CURRY·TRINI ALVARADO  And Introducing ROBIN JOHNSON  Also Starring PETER COFFIELD·HERBERT BERGHOF·DAVID MARGULIES·ANNA MARIA HORSFORD Executive Producers KEVIN McCORMICK·JOHN NICOLELLA  Directed by ALAN MOYLE  Produced by ROBERT STIGWOOD and JACOB BRACKMAN  Screenplay by JACOB BRACKMAN Story by ALAN MOYLE and LEANNE UNGER  Associate Producer BILL OAKES  An EMI-ITC Production  Soundtrack available on RSO Records and TAPES  RSO Distributed by EMI Films Limited.  EMI  A Member of the THORN EMI Group.  ["THE WHOLE GANG!" ... TO TIMES SQUARE]

 

 

 

The IMDb says Times Square opened in Spain on April 30, 1981. (In Barcelona, anyway… apparently Madrid had to wait until the following January 28.) The poster accompanying this release is identical to the UK one-sheet, except that the artist’s signature and the printer’s information have been removed, and the tagline “Go Sleaze! in Times Square” has been replaced by a Spanish equivalent. Near as I can tell, it translates to Nicky ordering “‘The whole gang!’ … to Times Square”. It’s confusing because “basca” seems to mean both “gang of friends” and “nausea.” I’m happy for someone, anyone, to improve my attempt at translation.

 

 

“Toda la basca!” … a Times Square
Spain : poster : AAT ID: 300027221 : 99.25 x 67.5 cm. : 1981 (work);
Times_Square_1981-04-30_movie_poster_Spain_1080px.jpg
1080 x 737 px, 96 dpi, 414 kb (image)

 

Times Square ©1980 StudioCanal/Canal+

 

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