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	<title>pressbook &#8211; Robin Johnson</title>
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	<description>The Life and Career of the Actress Robin Johnson</description>
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		<title>Times Square UK Pressbook, 1980-81, pages 8-12</title>
		<link>http://robinjohnson.net/wp/times-square-uk-pressbook-1980-81-pages-8-12/</link>
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		<dc:creator><![CDATA[Sean]]></dc:creator>
		<pubDate>Sat, 22 Sep 2018 16:45:37 +0000</pubDate>
				<category><![CDATA["Times Square"]]></category>
		<category><![CDATA[1980]]></category>
		<category><![CDATA[EMI]]></category>
		<category><![CDATA[pressbook]]></category>
		<category><![CDATA[promotion]]></category>
		<category><![CDATA[Tim Curry]]></category>
		<category><![CDATA[Trini Alvarado]]></category>
		<category><![CDATA[UK]]></category>
		<guid isPermaLink="false">http://robinjohnson.net/wp/?p=4445</guid>

					<description><![CDATA[&#160; &#160; The second half of the US pressbook was entirely made up of variations of the movie poster for different sized newspaper ads. The UK version relegates the available promotional materials to the last three pages, and devotes pages 8, 9, and 10 to reprinting biographical articles from the US Press Material folder. It&#8217;s [&#8230;]]]></description>
										<content:encoded><![CDATA[<p><a href="http://robinjohnson.net/wp/wp-content/uploads/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px.jpg" data-rel="lightbox-image-0" data-rl_title="" data-rl_caption="" title=""><img fetchpriority="high" decoding="async" src="http://robinjohnson.net/wp/wp-content/uploads/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px-233x300.jpg" alt="UK Press Book for TIMES SQUARE, p. 8, with additional articles on the cast, part 1.  Text:  TIM CURRY ACTING RARITY -- SKILLED IN MODERN AND CLASSIC      The performances of Tim Curry have displayed a remarkable range and dazzling versatility. A cult hero for his portrayal of the outrageous rock star in “The Rocky Horror Picture Show&quot;, Curry is&#039;a classically trained actor with an impressive list of stage and screen credits.     Curry now is starred in a contemporary role, playing an opportunistic, hyper-kinetic Mew York disc jockey who gives his all-night listeners a running account of the adventures of two runaways, in “Times Square”.     Bom in Cheshire, England, Curry studied classical drama at Birmingham University before winning his first professional job to sing and dance in the original London cast of “Hair”. Shortly thereafter, he appeared in three Royal Shakespeare Company productions - “Titus Andronicus”, David Mercer’s “After Haggerty”, and as Puck in Benjamin Britten’s “A Midsummer Night’s Dream”. In 1976, Curry was featured on Broadway in Tom Stoppard’s Tony Award-winning “Travesties”.     Tim Curry’s film roles also include Jerzy Skolimowski’s “The Shout”, which won the 1978 Grand Jury Prize at the Cannes Film Festival and was featured that year in the New York Film Festival.      For the BBC-TV, Curry played the title role in a six-part series, “The Life of Shakespeare&quot;, and appeared in &quot;Three Men in a Boat&quot;, Stoppard&#039;s adaptation of a Victorian comedy classic.      Curry is an accomplished singer and songwriter with two successful rock albums, “Read My Lips&quot; and “Fearless”, to his credit His third album is to be released later this year.   “TIMES SQUARE” STAR ROBIN JOHNSON IS A NATURAL IN SCREEN BOW       At some time in the future Brooklyn’s Technological High School steps may become legendary as the spot where a star was “born&quot;, the 1980 equivalent to Hollywood&#039;s Schwab’s Drugstore. On those steps and waiting for classes to begin, 15-year-old Robin Johnson was discovered by an (unknown) casting scout on the lookout for possible candidates for the leading role in “Times Square”.      “He gave me this card and said to call this number if I was interested in being in a movie”, Robin recalls in her inimitable Brooklyn-accented speech. “I thought: Wow! Another wise guy. But I gave it a shot.&quot;      What Robin didn’t know at the time was that the film&#039;s director, Alan Moyle, who had written the original story for “Times Square” with Leanne Unger, was determined to cast only the young actress who would be precisely right for the crucial central role of Nicky Marotta, a spunky teenager loose and without adult supervision, determined to become a rock star. The talent search already had bypassed many of the traditional avenues and scoured youth centres, punk rock clubs, and placed ads in papers such as the Village Voice, Soho News, and Aquarian.      “We are looking for someone who WAS Nicky&quot;, Moyle admits. “Robin is definitely not that doomed child. Luckily for the film, Robin brought a lot more humour to the character than what I had originally envisioned. Her youthful innocence and energy boost what might have been played as too much of a downer.”      Without any previous experience (“I had sung in a choir when I was 12&quot;), Robin won the role over literally hundreds of other candidates. Upon winning the role, she entered an intensive programme of singing lessons and a dance and movement regimen. Making this film meant that the novice had to be transformed quickly into a seasoned professional. Robin worked seven days straight for 12 weeks. As a minor, the new “star&quot; had to continue her studies with a tutor on the set and more learning sessions on Saturdays. On Sundays, recording or dancing demands took up the day. Veteran members of the New York film crew were dazzled by the professionalism of both Robin and her even younger co-star, 12-year-old Trini Alvarado. Both exhibited an almost non-stop flow of dedication, energy, high spirits and raucous good humour.      Robin Johnson lives with her older sister Cindy and their mother in the Park Slope area of Brooklyn, New York. Born May 29, 1964, Robin never gave any thought to becoming an actress until “Times Square&quot;. Her inclination previously ran to sketching (&quot;I&#039;m not into landscapes; give me cartoons with some people in there”) and whenever the opportunity arose, banging on drums. And although she first started “dating” when she was 11, she’s not worried about permanent relationships at this point in her life. &quot;I&#039;m closest with my sister Cindy, who’s a year older. We’re both Geminis and I like to argue, especially in a friendly way.”      As do many young women her age, Robin can identify with Nicky’s rebelliousness and non-conformity, traits which land Nicky in trouble with the law and into the arms of a concerned social worker. “Nicky can’t put things over on her like she does with others&quot;, Robin   TRINI ALVARADO-SHOW BUSINESS “PRO” AT 13       Most 13-year-old girls spend their waking hours contemplating that cute boy in school, the newest Andy Gibb record or when they’ll wear their first pair of high heels. But not Trini Alvarado, who has been deep into the psyche of runaway Pamela Pearl, the girl she portrays in &quot;Times Square”, an October release from AFD (Associated Film Distribution).      Sitting on an abandoned Manhattan waterfront pier -- one of the many diverse “Times Square” locations -- Trini concentrated on her scenes for one of the most challenging roles she will experience in her still-young screen career.      Following a sensational film debut in Robert Altman’s “Rich Kids&quot;, Trini was cast as a teenage runaway in “Times Square&quot;. Her character, Pamela Pearl, is the only child of a widower-father whose career as a rising young politician makes him insensitive to his daughter’s growing pains. Pamela is withdrawn, inhibited, convinced that she is awkward, ugly and unable to express herself verbally. The role is beautifully realised, but the actress herself is hardly the image of that withdrawn, rebellious teenager.      Trini was a “show biz” baby. Her father, who came to this country from Spain, is a classical singer and guitarist, and her mother is a flamenco dancer. Trini’s earliest memories include performing songs and dancing in nightclubs with the entire family. “It was always like a party”, she recalls.      Trini first appeared on Broadway in the Tony-nominated musical “Runaways&quot;, and then in the film “Rich Kids”, for which she also sang the theme song. Now, in “Times Square&quot;, Trini encores her singing and dancing.      “She’s so good”, one of the film’s creative personnel observed, “that we held to work hard to make Trini look a little awkward. After all, her character of Pamela is at that stage where she feels disconnected with her body. We had to disguise the fact that Trini’s a trained dancer.&quot;      An added bonus for Trini on “Times Square” was the friendship she formed with co-star Robin Johnson.      “Casting is a risky business&quot;, commented director Alan Moyle, &quot;and we certainly looked everywhere before going with Trini and Robin. But you can’t predict how two people will relate on the screen, until you see it. The chemistry that we have up there is larger-than-life, but truly a reflection of how well the two girls got along during" width="233" height="300" class="alignleft size-medium wp-image-4449" srcset="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px-233x300.jpg 233w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px-794x1024.jpg 794w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px-768x991.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p08_1080px.jpg 837w" sizes="(max-width: 233px) 100vw, 233px" /></a></p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><a href="http://robinjohnson.net/wp/afd-campaign-pressbook-pages-7-20/">The second half of the US pressbook was entirely made up of variations of the movie poster for different sized newspaper ads.</a> The UK version relegates the available promotional materials to the last three pages, and devotes pages 8, 9, and 10 to reprinting biographical articles from <a href="http://robinjohnson.net/wp/times-square-press-material-folder-post-1/">the US Press Material folder</a>. It&#8217;s strange how some of this material was rewritten for <a href="http://robinjohnson.net/wp/times-square-uk-press-kit-post-1-of/">the UK press kit</a>, but those versions weren&#8217;t used for the UK pressbook. Perhaps the pressbook was prepared well in advance of the press kit. Although, the pressbook uses the finished art for <a href="http://robinjohnson.net/wp/times-square-u-k-movie-poster/">the UK movie poster</a>. So, it&#8217;s a mystery.</p>
<p>&nbsp;</p>
<p>Another tantalizing mystery is exactly what may have been included in the sets of 50 black and white stills, 8 8&#215;10&#8243; color stills, and 16 11&#215;14&#8243; color stills. Is 50 the total number of shots from the <a href="http://robinjohnson.net/wp/15-or-16-uk-promo-photos/">series I&#8217;ve found about 16 of so far</a>? There were 8 <a href="http://robinjohnson.net/wp/u-k-lobby-cards-post-1-of-3/">8&#215;10&#8243; color lobby cards</a>&#8230; I haven&#8217;t come across any 11&#215;14&#8243; stills. And what transparencies were available? Are they the <a href="http://robinjohnson.net/wp/aggie-doon/">slides</a> that <a href="http://robinjohnson.net/wp/pammys-dancing-career-cut-short/">turn up</a> so <a href="http://robinjohnson.net/wp/times-square-blue/">rarely</a>?  And what were the &#8220;blow-ups, any size available&#8221;? </p>
<p>&nbsp;</p>
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<a href='https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img decoding="async" width="234" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px-234x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 9: prodiction info and continuation of the articles on Robin Johnson and Trini Alvarado. Text: ABOUT THE MOTION PICTURE... Times Square bursts on the screen with the earthy exuberance of the famed New York City crossroads, itself and depicts the energy and antics of adolescents imbibing the heady rush of rebellion. It is set to the sound of today&#039;s most outstanding rock music and showcases the excitement of three vividly strong performances -- the transformation of an inhibited, awkward teener, done to perfection by Trini Alvarado; the radiance and effervescence of a new discovery in 15-year-old Robin Johnson, and an image-breaking character study of a disc- jockey on-the-edge by Tim Curry. &quot;Times Square&quot; first began to take shape early in 1979 when film director Alan Moyle invited screenwriter Jacob Brackman and singer-actor Tim Curry to the 42nd Street loft in New York City which he shared with writer Leanne Unger above a sleazy cinema on &quot;The Deuce”, the infamous strip of theatres and porno attractions between 7th and 8th Avenues. Moyie&#039;s latest project had whisked him from his native Montreal to 42nd Street, where he was entranced by its vitality and people. Brackman agreed to write a screenplay from an original story by Moyle and Unger, and Curry made a commitment to enact the key role of a disc jockey who would figure prominently in the story of two teenage runaways in Times Square. Moyle’s original intention -- making a &quot;little independent film&quot; -- evolved into a major screen event, complete with the closing off of 42nd Street&#039;s &quot;Deuce&quot; for a never-before-attempted sequence, courtesy of Robert Stigwood. The Australian entrepreneur, whose RSO entertainment empire includes hit theatrical productions, recordings, television programmes and feature films, decided to make the film the very day he first read Brackman&#039;s finished screenplay. Stigwood not only gave Moyle a $5-million budget, but the opportunity to film all over New York, climaxed by a frenetic sequence using 500 teenage girls as extras for a 42nd Street rock concert. A contemporary drama that focuses on two teenage girls from opposite sides of the economic scale, “Times Square&quot; needed two strong, young talents to work effectively as a film. Director Moyle was convinced that his leads would have to be found outside the normal casting pools and talent stables. &quot;I wanted two girls who were those characters&quot;, he affirmed. &quot;We sent out flyers, took ads in the Village Voice, Soho News, Aquarian, and contacted record stores and half-way homes. We scouted every rock dive, every disco, eveiy club we could find.” The final result of the massive search saw professionally trained Trini Alvarado cast as Pamela, the shy and inhibited only child of a successful politician, a widower who forgets his daughter amid the demands of his career. Trini had just won rave reviews for a stunning performance in her first film, Robert Altman&#039;s “Rich Kids&quot;. For the demanding central role of Nicky an abandoned youngster reared in foster homes and the school of tough times, Moyle intended to cast an established, slightly older actress. But in one of those inexplicable chance occasions, out of the blue, Robin Johnson appeared. She had been given the casting director’s number while standing on the steps of her high school in Brooklyn. An exceptionally bright well-adjusted student, Robin certainty didn&#039;t fit Moyle’s preconceived notions of what his Nicky was going to be. But with her raspy, husky Brooklyn style of vocalizing, a quick-witted sense of humour and a total lack of pretense, she stunned and charmed not only the director but producer Robert Stigwood as well. &quot;Robin brought a great deal of warmth and an incredible amount of native humour to Nicky”, Moyle says admiringly. Riming on ‘Times Square&quot; began in October 1979 with the company in a race against winter weather. Tim Curry arrived from England for his scenes as Johnny LaGuardia, the disc jockey who befriends the two runaways and turns them into minor media celebrities. Curry, a respected classical actor as well as a cult favorite for his role in “The Rocky Horror Picture Show&quot; and a successful recording artist, was pleased to be returning to New York for film work. With invaluable assistance from the Mayor&#039;s Office for Motion Picture Development, the “Times Square” company covered the town and filmed on such diverse locations as the lower East Side, Washington Square, abandoned waterfront piers, a porno theatre on Eighth Avenue, the Bowery, and, of course, on the streets of Times Square. Traffic was diverted for the filming of the particularly complex climactic sequence which required a barrage of press and the electronic media, and 500 teenage extras. Complementing the heroine’s rock music ambitions and befitting a film for the Eighties that resounds with the throbbing pulses of city life, “Times Square&quot; has one of the most exciting rock soundtracks ever compiled, featuring music by some of today&#039;s most popular singers and songwriters. A two-record soundtrack album is being released by RSO Records. “Once again, a script has offered a unique opportunity to marry film and music”, producer Stigwood said. “Even more exciting, ‘Times Square&#039; is the perfect venue to bring all these brilliant new talents on the contemporary music scene to the commercial film marketplace.&quot; SCREEN BOW figures, “and that’s the reason she admires her. I have trouble with authority figures, too, which means anybody with the upper hand -- my principal, my mother, my teachers.” Of director Alan Moyle, who might be considered the supreme authority figure, Robin has only praise. “We’re alike in certain ways and that made it easier to relate. Alan’s absolutely brilliant for inspiration, for giving you energy for a scene. When he believes you can do a scene better, he gets you to think, but not with bullying or intimidation. I realty want to work with him again.&quot; Robin perceives Nicky as a teenager, masking what she realty feels and tried to “make her real”. “She was bitter about being abandoned. Her dad’s a loser. All she can do is pity him, not be mad at him now. Nicky has a lot of gutsiness that I realty admired. Her philosophy always was: ‘When you&#039;re mad, show it’.” Gutsiness is a trait Robin and Nicky have in common. Robin, as well as being bright, witty and talented, is seemingly fearless, whether performing atop a 42nd Street theatre marquee or being dunked into the icy December brine of the polluted Hudson River. “Nerves don’t get you anywhere”, she says, simply enough. Robin was coached for “Times Square” by veteran Sue Seaton, who has worked with the spectrum from Katharine Hepburn to Gilda Radner. But that throaty timbre is unmistakably Robin&#039;s own, perhaps a result of her ever-present cigarettes. The closest Robin had ever been to a movie set befdre &quot;Times Square” was when “The Wanderers” shot a scene down the block in her neighbourhood. Now, the world of movies is opening for her. &quot;Let me tell you about this movie business”, she says seriously. “There&#039;s no right for anyone to get an attitude just because so many people are aware of your job. What I say is, it’s entertainment and it’s a job. I hope ‘Times Square’ does well, but it’s not the answer to my life. Most, I loved meeting and working with so many wonderful people.&quot; There is one confession she’ll make when prodded about the rigours of working in the realm of make-believe: &quot;Oh yeah&quot;, she says with a grimace, “chewing the roses was pretty disgusting. I’d never tasted flowers before.” “Times Square&quot;, starring Robin with Tim Curry and Trini Alvarado, is a Robert Stigwood Presentation, directed by Alan Moyle from Jacob Brackman&#039;s screenplay. The new film was co-produced by Stigwood and Brackman, with Kevin McCormick and John Nicolella as Executive Producers and Bill Oakes the Associate Producer. the filming. We were more than lucky. They make the film come alive, together.&quot; Members of the &quot;Times Square” crew marvelled at the energy and high spirits of the young leading ladies. But Trini Alvarado is well aware of the hard work and discipline required. &quot;We got up most days by five and then the car came to take us to the day’s location. On a film like “Times Square”, where everything is real, that means all-over-outdoors, in a high-rise on the upper East Side where Pamela, my character, lives, or on 42nd Street. “After being made up and costumed, then you wait until the crew and the director have everything ready. I’ve been going to Professional School, because they don’t mind if your schedule changes for a job. But for this film, I had to have a tutor, who made certain I had done my lessons. When I went home, around seven, there was both school work and script pages to study for the next day’s filming.” That kind of demanding schedule on &quot;Times Square” left little time for contemplating that cute boy in school, Andy Gibb, or high heels. ABOUT THE STORY... “Times Square&quot; depicts the adventures of two teenage runaways, New York girls from different social backgrounds, and the all-night Times Square radio personality who befriends them and gives a boost to their dream of rock stardom. Pamela Pearl (TRINI ALVARADO) is the 12-year-old daughter of a young New York City politician who has been given the job of cleaning up the seedy Times Square area. Nicky Marotta (ROBIN JOHNSON) age 15, is a street delinquent who dreams of becoming a rock and roll star. Pamela is shy, awkward, inhibited. Nicky is rebellious, with a streak of explosive energy and dark humour. They meet while both are undergoing tests at a psychiatric hospital and escape by commandeering an ambulance. Johnny LaGuardia (TIM CURRY), who broadcasts from a studio high atop the Allied Chemical Building, considers Times Square his personal domain. Pamela had written to him anonymously. Intrigued, he promotes the story of the runaways, urging the girls on, and turns them into minor media celebrities. It also makes things uncomfortable for Pamela&#039;s father. The girls hide out in an abandoned warehouse overlooking the Hudson River. Calling themselves “The Sleaze Sisters”, they dress in versions of down-and-outers, spray-paint their sleaze slogans around the town, and inspire others to reject the smooth superficiality of the plastic culture and “go sleaze”. They make a second home on &quot;The Deuce&quot; -- the stretch of 42nd Street between Seventh and Eighth Avenues -- and are adopted by the locals who protect them from potential danger. Events conspire to bring their adventure to a close, but Nicky insists they “go down flaming”. When Johnny publicizes their planned illegal, midnight concert in Times Square, hundreds of teenage girls arrive in “Sleaze Sisters&quot; wardrobe, and the scene is set for a bizarre climactic close." srcset="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px-234x300.jpg 234w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px-797x1024.jpg 797w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px-768x986.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px.jpg 841w" sizes="(max-width: 234px) 100vw, 234px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/09/TIMES_SQUARE_UK_Pressbook_p09_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img decoding="async" width="232" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px-232x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 10: articles on Allan Moyle and the soundtrack album. Text: FILM DIRECTOR MOYLE KEEPS HIS COOL ON FIRST MAJOR FILM “Sure it took getting used to the idea that my film idea was about to become a five-million-dollar Robert Stigwood Presentation”, film director Alan Moyle said, then added: “It took about two minutes to get used to the idea.” Alan Moyle is the 33-year-old Canadian actor-director and his new film is “Times Square&quot;. The movie’s script by Jacob Brackman is based on an idea developed by Moyle and Leanne Unger. While working on his first directorial credit, “The Rubber Gun&quot;, in Canada, Moyle found a portion of a young girl&#039;s diary tucked into the bottom of an old sofa. That fragment suggested the possibility of focusing on today&#039;s alienated teenagers, the adolescents who never expect to live to be 21. “There was sheer poetry in her writing, and I became obsessed by this girl I would never know”, Moyle recalls. When Brackman’s screenplay was written and when entrepreneur Robert Stigwood read it, the project quickly became a viable film project. Moyle’s initial obstacle was casting the girl, now named Nicky Marotta, and her runaway partner, a slightly younger teenager named Pamela. Talent scouts were sent everywhere that casting agents normally never search -- to punk clubs, to half-way houses, to Greenwich Village Voice readers. The unexpected result was the casting of Robin Johnson, a nonprofessional, for her first film role, as Nicky. A show biz veteran at 12, Trini Alvarado was signed, fresh from a smash screen debut in “Rich Kids”, as Pamela. Working with a film crew of seasoned professionals was also a new experience for director Moyle. His film work was principally of a communal nature, with a skeleton crew often doubling in several capacities for the shooting. “The New York film crew members were most helpful”, Moyle says without qualification. “We shot on many different locations, with two teenagers as our stars, sometimes on a six-day week. They gave me their very best.” One crew member commented: “When Alan finished a scene, he’d turn to everyone and say, ‘What’d you think?’ That was something new and it took the veterans by surprise. They weren’t used to being consulted for their creative opinions. While everyone recognized Alan as the boss, they appreciated this trying to make everyone feel a part of the process.” “Of course,&quot; Moyle says, “I believe we were all in this together. Jacob Brackman would be on the set wherever it was for conferences and discussions. Naturally, as you film, there are revisions in the script, and with Jacob there a lot it made adjustments to the film much easier.” Moyle’s greatest challenges lay in the sequences that were shot on 42nd Street. Not only was this the first time a film company would spend a week of night shooting on the infamous strip of porno houses and theatres (“Taxi Driver” had shot in front of one theatre for a night), but the scenes also required 500 young teenage girls as extras. This amounted to an invasion by the film company on “the turf” of the street people. Ironically, these very street people are the ones who in the film are being threatened by Pamela’s father, a City Commissioner charged with a Times Square “clean up” campaign. “The police were generous beyond the call of duty”, Moyle said. “We had absolutely no problems with any of our people, although there were real bullets flying a half block away one night.” Moyle referred to the incident where he was atop a camera crane readying the final sequence in the film. Below, a siren suddenly wailed and a police car sped through the extras massed on the street What initially looked like an auto theft of one of the props from the street turned out to be a real armed robbery-in-progress alarm answered by police and ambulances. The incident over, Moyle turned on his megaphone and told his crew and extras, “We can’t top that for excitement but let’s keep that excitement for this scene”. “Times Square” is a Robert Stigwood Presentation, directed by Moyle from Brackman’s screenplay, based on the story by Moyle and Leanne Unger. Robert Stigwood and Brackman are the producers, Kevin McCormick and John Nicolella the executive producers, and Bill Oakes the associate producer. “Times Square” also stars British actor-singer Tim Curry. MUSIC FROM “TIMES SQUARE” NOW DOUBLE-ALBUM SOUNDTRACK ON RSO RECORDS At a time when movie soundtracks are among the most popular records available and when music is acknowledged to play a major role in the appeal of many films, comes a stunning, new double album from RSO Records -- the music from “Times Square”. The soundtrack, for many reasons, is one of the most exciting ever compiled. The music plays an integral part in the “Times Square” drama. The new film depicts the adventures of two teenage runaways, New York girls from different social backgrounds, and the all-night radio disc jockey who befriends them. Pulsating throughout the film is the music which captures and strongly reflects the contemporary, raw message of the film. The songs developed for the soundtrack comprise a unique anthology of music, written and performed by some of the strongest, most popular of today’s rock artists from both England and the United States. The score features new songs written especially for &quot;Times Square”, as well as a number of rock classics. It is as compelling as the motion picture itself. Robert Stigwood (presenter of “Times Square”) believes that &quot;once again a script offers a unique opportunity to marry film and music. ‘Times Square’ is the perfect venue to bring brilliant new talents on the contemporary music scene to the commercial film marketplace.” The film’s associate producer, Bill Oakes, who developed the music, adds: “The vitality, the raw energy, the lyrical awareness that pulses through the music is an accurate reflection of the film’s two runaways. I’ve never found a subject so compatible with a sound, and that’s what I believe we have captured on the soundtrack.” The fact that it is RSO Records who is releasing this two-record soundtrack is particularly noteworthy. RSO is the company that made industry history with “Saturday Night Fever&quot; and “Grease&quot; and now is succeeding with the platinum-selling “The Empire Strikes Back” and the gold-selling “Fame” soundtracks. And now there is “Times Square”, a spectacular and innovative album from an extraordinary film. “Times Square” is a Robert Stigwood Presentation, produced by Stigwood and Jacob Brackman, with Kevin McCormick and John Nicolella the executive producers and Bill Oakes the associate producer. Alan Moyle directed from Jacob Brackman’s screenplay, based on a story by Moyle and Leanne Unger." srcset="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px-232x300.jpg 232w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px-792x1024.jpg 792w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px-768x993.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px.jpg 835w" sizes="(max-width: 232px) 100vw, 232px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/09/TIMES_SQUARE_UK_Pressbook_p10_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img loading="lazy" decoding="async" width="232" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px-232x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 11: price list for publicity materials Text: ROBERT STIGWOOD Presents TIMES SQUARE 100% Starring TIM CURRY 75% TRINI ALVARADO 75% ROBIN JOHNSON 75% PETER COFFIELD 35% HERBERT BERGHOF 35% Executive Producers: KEVIN McCORMICK &amp; JOHN NICOLELLA Produced By: ROBERT STIGWOOD &amp; JACOB BRACKMAN Directed By: ALAN MOYLE Screenplay By: JACOB BRACKMAN Story By: ALAN MOYLE &amp; LEANNE UNGER Associate Producer: BILL OAKES Soundtrack available on RSO Records and tapes an EM1/ITC Production Distributed by EMI Films Limited PRICES Posters One sheet.....................£1.00 Three sheet...................£2.50 Six sheet......................£5.00 Colour stills 20cm x25cm 8&quot;x 10&quot; Set of 8....£3.50 28cmx36cm 1 T*xl4&quot; Set of 16..£8.00 Colour Transparencies 35mm......................£3.00 each Black &amp; White stills 20cmx25cm 8&quot;xl0&quot; Set of 8.......................£4.00 Set of 12.................... £6.00 Set of 20.....................£10.00 Set of 30.....................£15.00 Set of 40.....................£20.00 Set of 50.....................£25.00 Individual stills............. 50p each Blow ups Any size available. Price upon request All prices subject to alteration. 8&quot; tc 2&quot; dc 3&quot; dc 4&quot; sc" srcset="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px-232x300.jpg 232w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px-792x1024.jpg 792w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px-768x993.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px.jpg 835w" sizes="(max-width: 232px) 100vw, 232px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/09/TIMES_SQUARE_UK_Pressbook_p11_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-1"><img loading="lazy" decoding="async" width="234" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px-234x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 12: advertisement sizes Text: 8&quot; dc 5&quot; dc 6&quot; tc 6&quot; sc 4&quot; dc 2&quot; sc EMI Films Limited Film House, 142 Wardour Street London W1A 3BY Tel: 01-437 0444 Cables: ANGLEMI LONDON W1 Telex: 22760 EMIDIS G EMI A member of the Thorn EMI Group" srcset="https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px-234x300.jpg 234w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px-800x1024.jpg 800w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px-768x983.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px.jpg 844w" sizes="(max-width: 234px) 100vw, 234px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/09/TIMES_SQUARE_UK_Pressbook_p12_1080px.jpg" /></a>

<p>&nbsp;</p>
<p>On page 10, the photo of Robin is <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/03/TIMES-SQUARE-Press-Kit0057_TS-57-26-1_1080px.jpg" data-rel="lightbox-image-5" data-rl_title="" data-rl_caption="" title="">TS-57-26/1</a>, UK number <a href="http://robinjohnson.net/wp/wp-content/uploads/2018/05/36-RJ-BW-Headshot-uncropped-1980-0003-crop-1080p.jpg" data-rel="lightbox-image-6" data-rl_title="" data-rl_caption="" title="">36</a>, the photo by Yoram Kahana used for <a href="http://robinjohnson.net/wp/wp-content/uploads/2016/02/1980-movie-poster-Canada_1080px.jpg" data-rel="lightbox-image-7" data-rl_title="" data-rl_caption="" title="">the North American movie poster</a> and <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/09/US-OST-front_1080px.jpg" data-rel="lightbox-image-8" data-rl_title="" data-rl_caption="" title="">the soundtrack album cover</a>. The photo of Tim Curry comes from the shooting of the twenty second scene where Johnny is informed that &#8220;the Zombie Girl is the daughter of the boy wonder at the mayor&#8217;s office, and she&#8217;s missing,&#8221; and may be making its only appearance here. The unusually sultry photo of Trini Alvarado is making its first appearance here, as far as I know, but was later printed in <a href="http://robinjohnson.net/wp/film-review-vol-31-no-2-february-1981/">the February 1981 <em>Film Review</em></a>.</p>
<p>You can read the text of &#8220;&#8216;Times Square&#8217; Star Robin Johnson Is A Natural In Screen Bow&#8221; <a href="http://robinjohnson.net/wp/times-square-press-material-folder-post-5/">here</a>. If anyone is desperate to read the read of the articles, let me know and I&#8217;ll post the text.</p>
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<div style="font-size:85%">
<em><strong>Times Square</strong> pressbook, pp. 8-12<br />
UK : pressbook (theatre manual) : AAT ID: 300213184 : 35.7 x 27.8 cm. : 1980 (work);<br />
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<em><strong>Times Square</strong>©1980 StudioCanal/Canal+</em>
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<p>&nbsp;</p>
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		<title>Times Square UK Pressbook, 1980-81, pages 1-5</title>
		<link>http://robinjohnson.net/wp/times-square-uk-pressbook-1980-81-pages-1-5/</link>
					<comments>http://robinjohnson.net/wp/times-square-uk-pressbook-1980-81-pages-1-5/#respond</comments>
		
		<dc:creator><![CDATA[Sean]]></dc:creator>
		<pubDate>Mon, 10 Sep 2018 16:28:34 +0000</pubDate>
				<category><![CDATA["Times Square"]]></category>
		<category><![CDATA[1980]]></category>
		<category><![CDATA[EMI]]></category>
		<category><![CDATA[pressbook]]></category>
		<category><![CDATA[UK]]></category>
		<guid isPermaLink="false">http://robinjohnson.net/wp/?p=4421</guid>

					<description><![CDATA[I&#8217;d given up all hope of ever finding one of these when, bam, two of them turn up. It&#8217;s the EMI version of the pressbook issued in the USA by AFD. It&#8217;s shorter in page count, but larger in size, and printed in color on heavier, glossier paper. It doesn&#8217;t include all the articles suggesting [&#8230;]]]></description>
										<content:encoded><![CDATA[<p><a href="http://robinjohnson.net/wp/wp-content/uploads/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px.jpg" data-rel="lightbox-image-0" data-rl_title="" data-rl_caption="" title=""><img loading="lazy" decoding="async" src="http://robinjohnson.net/wp/wp-content/uploads/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px-234x300.jpg" alt="UK Press Book, cover  Text:  &quot;GO SLEAZE!&quot; ... IN TIMES SQUARE  TIMES SQUARE  EMI A Member of the THORN EMI Group." width="234" height="300" class="alignleft size-medium wp-image-4424" srcset="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px-234x300.jpg 234w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px-797x1024.jpg 797w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px-768x986.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p01_1080px.jpg 841w" sizes="(max-width: 234px) 100vw, 234px" /></a></p>
<p>I&#8217;d given up all hope of ever finding one of these when, bam, two of them turn up. It&#8217;s the EMI version of <a href="http://robinjohnson.net/wp/afd-campaign-pressbook-pages-1-4/">the pressbook issued in the USA by AFD</a>. It&#8217;s shorter in page count, but larger in size, and printed in color on heavier, glossier paper. </p>
<p>It doesn&#8217;t include all the articles suggesting inventive ways to promote the movie at your theater, but does include the articles describing the cast and filmmakers. In fact, it includes more about the producers than the AFD pressbook did (which was nothing at all). Most of the text is directly from <a href="http://robinjohnson.net/wp/times-square-press-material-folder-post-1/">the US press kit</a>.</p>
<p>The UK press kit didn&#8217;t include a synopsis of the movie, but there was <a href="http://robinjohnson.net/wp/times-square-press-synopsis-and-credits/">a sheet distributed with the credits and a synopsis</a> that was different from the one in the US press kit and pressbook. That sheet is essentially reproduced on pages 2 and 3 here, with translations of the synopsis into French and Spanish. This synopsis includes the scene of Nicky attacking &#8220;roadies&#8221; from the disco with her switchblade, which appeared in <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/08/TIMES-SQUARE-Screenplay-1979-p0003_1080px.jpg" data-rel="lightbox-image-1" data-rl_title="" data-rl_caption="" title="">the May 1979 draft</a> of <a href="http://robinjohnson.net/wp/times-square-screenplay-1979/">the screenplay</a>, but was never filmed as the scene and Nicky&#8217;s character had changed in the meantime.</p>
<p>On pages 4 and 5, the capsule bios of Robin, Trini, Tim Curry, Allan Moyle, Jacob Brackman, John Nicollela, and Bill Oakes, and the half-page on Robert Stigwood, all come word-for-word from the US press kit. The equivalent bios in the UK press kit are worded differently. None of the text so far, other than the film and music credits, appeared in the US pressbook.</p>
<p>&nbsp;</p>

<a href='https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-2"><img loading="lazy" decoding="async" width="231" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px-231x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, page 2 Text: THE CAST Johnny LaGuardia.. ..................TIM CURRY Pamela Peart..............................TRINI ALVARADO Nicky Marotta.............................ROBIN JOHNSON David Pearl...............................PETER COFFIELD Dr. Huber.....................HERBERT BERGHOF Dr. Zymansky..............................DAVID MARGULIES Rosie Washington........ANNA MARIA HORSFORD JoJo........................MICHAEL MARGOTTA Simon......................................J.C. QUINN Roberto..................................MIGUEL PINERO Heavy ...............RONALD “SMOKEY” STEVENS Blondell...................................BILLY MERNIT Blondell.............................PAUL SASS Blondell....................................ARTI WEINSTEIN Eastman.............................TIM CHOATE Disco Hostess.................ELIZABETH PENA Nurse Joan... .....................KATHY LOJAC Nurse May.....................SUSAN MERSON Don Dowd ....................GEORGE MORFOGEN Speaker.....................CHARLES BLACKWELL Stuntplayer.... .................BILL ANAGNOS Stuntplayer................ TAMMAS J. HAMILTON Stuntplayer................... FRANKLYN SCOTT Stuntplayer................................JANE SOLAR Stuntplayer.............VICTORIA VANDERKLOOT Dude.............................STEVE W. JAMES Plainclothes Cop.................JAY ACOVONE Magda..............................ALICE SPIVAK George........................... CALVIN ANDER Plainclothes Cop ..............PETER IACANGELO Young DJ.........................MICHAEL RINEY Policeman 1......................LOUIS BELERO Policeman 2......................GERALD KLINE Hold-Up Man............. ...........BEN SLACK Beer Vendor......................AARON HURST Beer Vendor ........................SEAN HUST Shop Owner...M............................PETER LOP1CCOLO T.V. Drop Kid ................ ROGER CAMACHO T.V. Drop Kid .....................STEVE PABON Daughter..........DANIELLE TILETNICK Daughter’s Friend ................ DONNA SIROTA Movie Theater Reactor......... TULANE HOWARD II Waitress.......................,.KAREN EVANS Cigarette Girl.................RODI ALEXANDER Sleez Bag Vendor 1 ............RAMON FRANCO Sleez Bag Vendor 2.........................RIKI COLON Renaissance AKIDE.......MELANIE HENDERSON Cop On Marquee................ LARRY SILVESTRI Beer Buyers....... PAULA NAPLES, MANDY CAMERON Intern........................ SCOTT P. SANDERS Andy.............................TIGER HAYNES Sleez Girls.............CAMMI LYNN BUTTNER SARAH DOUGHERTY, AMY GABRIEL SANDRA LEE GOGA, PAMELA GOTLIN SHUNA LYDON, KELLY McCLORY MARLENA SEDA THE CREDITS Produced by ROBERT STIGWOOD, JACOB BRACKMAN Directed by....................ALAN MOYLE Executive Producers.........KEVIN McCORMICK JOHN NICOLELLA Screenplay by...............JACOB BRACKMAN Story by........ALAN MOYLE and LEANNE UNGER Associate Producer.............BILL OAKES Director of Photography...JAMES A CONTNER THE CREDITS (cont’d) Edited by........................................TOM PRIESTLEY Casting ..................BARBARA CLAMAN for BCI Special Casting......................MARGIE SIMKIN Extras Casting.......................LOUIS Di GIAIMO Production Manager ..............JUDITH STEVENS Assistant Director...................... ALAN HOPKINS 2nd Assistant Director........................ROBERT WARREN 2nd Unit Directors............................EDWARD BIANCHI JOHN NICOLELLA Unit Manager............................LOUFUSARO Location Manager.....................RON STIGWOOD Camera Operator......................ENRIQUE BRAVO Assistant Cameraman....... ..........HANK MULLER Script Supervisor....................SANDY McLEOD Makeup Artist....................PETER WRONA, JR. Hair Stylist.........................JUDI GOODMAN Wardrobe Supervisor..................KAREN EIFERT Stunt Coordinators.. JAMES LOVELETT, ALEX STEVENS Titles Design...........................DAN PERRI Opticals by.............................MOVIE MAGIC Filmed in PANAVISION and TECHNICOLOR and DOLBY STEREO On Locations in New York City THE MUSIC THE “TIMES SQUARE” SOUNDTRACK ALBUM ROCK HARD......................Performed by SUZI QUATRO Composed by MIKE CHAPMAN &amp; NICKY CHINN TALK OF THE TOWN..........Performed by THE PRETENDERS Composed by CHRISSIE HYNDE SAME OLD SCENE.................Performed by ROXY MUSIC Composed by BRYAN FERRY DOWN IN THE PARK .... Performed &amp; Composed by GARY NUMAN HELP ME!............Performed by MARCY LEVY &amp; ROBIN GIBB Composed by ROBIN GIBB &amp; BLUE WEAVER LIFE DURING WARTIME.......Performed by TALKING HEADS Composed by DAVID BYRNE PRETTY BOYS.........Performed &amp; Composed by JOE JACKSON TAKE THIS TOWN.......................Performed by XTC Composed by ANDY PARTRIDGE I WANNA BE SEDATED ............Performed &amp; Composed by The RAMONES DAMN DOG..................Performed by ROBIN JOHNSON Composed by BILLY MERNIT and JACOB BRACKMAN YOUR DAUGHTER IS ONE ....... Performed by ROBIN JOHNSON &amp; TRINI ALVARADO Composed by BILLY MERNIT, NORMAN ROSS &amp; JACOB BRACKMAN BABYLON’S BURNING................Performed by THE RUTS Composed by JOHN JENNINGS, DAVE RUFFY MALCOLM OWEN, PAUL FOX YOU CANT HURRY LOVE............Performed by D. L BYRON Composed by HOLLAND, DOZIER, HOLLAND WALK ON THE WILD SIDE Performed &amp; Composed by LOU REED THE NIGHT WAS NOT Performed by DESMOND CHILD, &amp; ROUGE Composed by DESMOND CHILD INNOCENT, NOT GUILTY...........Performed &amp; Composed by GARLAND JEFFREYS GRINDING HALT............. ...... Performed by THE CURE Composed by TOLHURST DEMPSEY SMITH PISSING IN THE RIVER .... Performed &amp; Composed by PATTI SMITH FLOWERS IN THE CITY.......Performed by DAVID JOHANSEN &amp; ROBIN JOHNSON Composed by DAVID JOHANSEN &amp; RONNIE GUY Additional Music by BLUE WEAVER Special thanks to JIMMY IOVINE, JOHN PACE, and D.L BYRON BAND (FOR “DAMN DOG”) Original Soundtrack Album Available On RSO RECORDS AND TAPES" srcset="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px-231x300.jpg 231w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px-787x1024.jpg 787w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px-768x999.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px.jpg 830w" sizes="(max-width: 231px) 100vw, 231px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/08/TIMES_SQUARE_UK_Pressbook_p02_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-2"><img loading="lazy" decoding="async" width="234" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px-234x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 3, containing synopses of the story in three languages. Text: SYNOPSIS 42nd Street is one of New York&#039;s busiest - it leads to Times Square, the centre of the city&#039;s night-life and filled with colourful characters. Winos, pimps, prostitutes and junkies rub their sordid shoulders with the thousands of tourists and sightseers out fun-seeking to catch the infectious atmosphere of the heart or the Big Apple&quot;. Noisily trundling a shopping cart, filled with her guitar, amplifier and battery, along 42nd Street is 16-year-old Nicky Marotta (ROBIN JOHNSON), a girl who has lived most of her life on these rough and lively streets. Outside a disco she plugs in her guitar and begins to play her own music against the thumping beat from within. When a hostess from the disco calls the police, they arrive to be faced with a stream of four-letter words and Nicky’s switchblade. On the other side of town in a posh East Side apartment Pamela Pearl (TRINI ALVARADO) sits alone, tuned in to the mellow words and music of all-night disc jockey Johnny LaGuardia (TIM CURRY). Now in custody and recognised as a habitual offender, Nicky is in the charge of Rosie (ANNA MARIA HORSFORD), a concerned social worker who tells her that she is to be taken to hospital to see if there is any psychological reason for her anti-social behaviour. The next day Pamela&#039;s father, David Pearl (PETER COFFIELD), a widower and rising politician, takes Pamela to a public meeting where he is to outline his newest assignment - as the Mayor’s Commissioner to clean up Times Square. His dedication to his career and lack of attention to his introverted young daughter have made him unable to recognise her loneliness and mental anguish. When she finds herself on the meeting platform beside her father she is mortified with embarrassment and when David refers to her in his speech, she bolts for the ladies rest room in tears. Anxious for a speedy solution to the inconvenience of having a sick daughter, Pearl agrees to his doctor&#039;s recommendation that she should undergo tests at the hospital to see if there are psychological reasons for her strange behaviour. Thus Nicky and Pamela meet... as room-mates at the hospital. Nicky&#039;s antics and irreverent behaviour towards the hospital staff shock Pamela at first, but later she begins to be amused and, after a night-time conversation in which Nicky convinces Pamela that there is nothing wrong with either of them, they leave their room together and, stealing a hospital ambulance, escape to a derelict pier where they set up a makeshift home. At the water&#039;s edge they henna their hair, become “blood sisters&quot; and “soul sisters&quot; and determine to make the city sit up and take notice of them. Johnny LaGuardia reads the newspaper accounts of the pair&#039;s disappearance and believes Pamela is the girl who wrote to him a few days ago describing her loneliness and fears. He speaks to the runaways over the air, encouraging them in their bid to find their own brand of freedom. As the days pass Nicky and Pamela engage in a variety of fruitless occupations to make ends meet, narrowly escape recapture by an undercover policeman and finally find enmoyment in a sleazy club on 42nd Street known as &quot;Cleopatra&#039;s Lounge&quot;, Pamela as a go-go dancer and Nicky as a singer with the resident band, The Blondells. In the meantime David Pearl continues his efforts to find his daughter and makes an enemy of Johnny LaGuardia who, he is convinced, knows where Pamela is and is hampering both his bid to find her and his campaign to clean up the city centre. In their rejection of many of society&#039;s social values, Pamela and Nicky adopt weird clothes -- bits and pieces of sixties mini-skirts and plastic garbage bags and call themselves &quot;The Sleaze Sisters&quot;. They spray graffiti all over town and indulge in a highly individual rampage of destruction by spectacularly destroying dozens of what they regard as the worst social symbol of all. With reports of their progress being fed out over the airwaves by LaGuardia, &quot;The Sleaze Sisters&quot;, and in particular Nicky who has written a song about herself in very down-to-earth terms, become cult heroines and they even broadcast Nicky&#039;s music live from the radio station. But events are conspiring to end their great adventure. Nicky insists they go down in a blaze of glory by staging an illegal midnight rock concert atop a cinema marquee. An explosive climax builds as hundreds of teenage girls, dressed in “Sleaze Sisters&quot; clothing and make up, stream towards Times Square for the concert Also making their way there are the police and Pamela&#039;s father... SYNOPSIS La 42è rue est l&#039;une des rues les plus animées de New York - elle mène à Times Square, le centre de la vie nocturne de la ville qui est peuplé de personnages pittoresques: pochards, maquereeaux, prostituées et camés, sordides, frayent avec les milliers de touristes et de visiteurs qui cherchent à samuser et à pénétrer l’atmosphère contagieuse du coeur de la &quot;Big Apple&quot;. Le long de la 42è rue, Nicky Marotta (ROBIN JOHNSON), seize ans, une fille qui a vécu la plus grande partie de sa vie dans ces rues inhospitalières et animées apparaît, poussant bruyamment un chariot de supermarché bourré qui contient sa guitare, son ampli et sa batterie. Elle branche sa guitare devant une discothèque et commence a jouer sa musique à elle rivalisant avec le martèlement rhythmique de l’intérieur. Lorsqu&#039;une entraîneuse de la boite appelle la police, cette demière est reçue par une succesion de mots de cinq lettres et le couteau à cran d&#039;arret de Nicky. A l&#039;autre bout de la ville, Pamela Peari (TRINI ALVARADO), seule dand un appartement chic, écoute la douce voix et la douce musique de l&#039;animateur d&#039;une émission de nuit, Johnny LaGuardia (TIM CURRY). Nicky est maintenant en détention préventive et, déclarée récidiviste, elle est placée sous la responsabilité d&#039;une assistante sociale dévouée qui lui annonce qu&#039;on va l&#039;amener à l’hôpital pour voir s&#039;il existe des raisons psychologiques à son comportment associal. Le lendemain, le père de Pamela, David Pearl (PETER COFF1ELD), veuf et homme politique d’avenir amène Pamela à un meeting où il doit exposer les grandes lignes de sa toute nouvelle affectation: il a été nommé à la tête d’une commission municipale pour &quot;nettoyer” Times Square. Il est tellement dédié à sa carrière et porte si peu d’attention à sa fille, jeune et repliée sur elle-même, qu&#039;il ne s&#039;aperçoit pas de sa solitude et de son état d’angoisse. Lorsqu’elle se retrouve à la tribune à côté de son père, elle se sent humiliée et extrêmement gênée, et lorsque David la cite dans son discours, elle s&#039;enfuie tout-à-coup vers les toilettes, en larmes. Soucieux de trouver rapidement une solution à l’inconvénient que représente le fait d&#039;avoir une fille malade, Pearl consent à ce que lui recommande son médecin, à savoir qu&#039;elle aille à l’hôpital pour passer des tests pour voir s&#039;il existe des raisons psychologiques à son étrange comportement. C&#039;est ainsi que Nicky et Pamela se rencontrent, occupant la même chambre à l’hôpital. D&#039;abord les tours de Nicky et son attitude irrévérencieuse envers le personnel de l’hôpital choquent Pamela, puis ils l&#039;amusent, et enfin, après une conversation nocturne lors de laquelle Nicky convainc Pamela qu&#039;elles vont bien toutes les deux, ensemble, elles abandonnent leur chambre et volent une ambulance pour s&#039;enfuir vers une jetée déserte où elles s&#039;installent avec les moyens du bord. Elles teignent leurs cheveux au henné, au bord de l&#039;eau, deviennent “soeurs de sang” et vraies soeurs&#039; et décident de réveiller la ville et de faire parler d&#039;elles. John LaGuardia lit le récit des journaux sur la disparition des deux filles et croit que c&#039;est de Pamela qu&#039;il a récemment reçu une lettre dans laquelle elle disait sa solitude et les angoisses. Il s&#039;adresse aux fugitives par la voie des ondes et les encourage dans leur tentative de recherche d&#039;une forme de liberté personnelle. Les jours passent, et Nicky et Pamela se lancent dans diverses occupations infructueuses pour boucler leur budget, manquent de peu d’être reprises par un policier en civil et finalement, trouvent du travail dans un club sordide de la 42è rue appelé “Le Salon de Cléopâtre&quot;. Pamela comme danseuse go-go et Nicky comme chanteuse de l&#039;orchestre du club, Les Blondells. Entretemps, David Pearl poursuit ses efforts pour retrouver sa fille et se fait un ennemi de Johnny LaGuardia, persuadé que ce dernier sait où se trouve sa fille et qu&#039;il gène à la fois sa tentative pour la retrouver et pour “nettoyer&quot; la centre de la ville. Pamela et Nicky rejettent bon nombre des valeurs sociales de la bonne société et ainsi, elles s’accoutrent de vêtements bizarres, morceaux de minijupes des années soixantes et de sacs à ordures plastique et se donnent pour nom &quot;Les Soeurs Sordides”. Elles couvrent la ville de graffitis et dans leur rancoeur générale et toute personnelle, se livrent à la destruction spectaculaire de dizaines d&#039;objectifs qu&#039;elles considèrent comme étant le symbole social le pire de tous. LaGuardia rapportant régulièrement sur les ondes les progrès de leur évolution, &quot;les Soeurs Sordides&quot;, et en particulier Nicky qui a écrit une chanson sur elle dans des termes très terre à terre, deviennent l’objet d’un culte et elles diffusent même la musique de Nicky en direct de la station de radio. Mais un concours d&#039;événements va mettre fin à leur grande aventure. Pour finir en beauté, Nicky veut absolument monter un concert illégal de rock de minuit sur le toit d’une grande tente abritant un cinéma. Des centaines d’adolescentes habillées et maquillées en &quot;Soeurs Sordides&quot; se dirigent à flots vers Times Square pour assister au concert, le climat devient explosif. A ce même concert, se rendent la police et le père de Pamela.... SINOPSIS 42nd Street es una de las calles más concurridas de Nueva York, pues lleva a Times Square, el centro de la vida nocturna de la ciudad, lleno de personajes de todo tipo. Borrachos, alcahuetes, prostitutas y drogadictos junto a miles de turistas y caminantes que han salido para ver la atmósfera infecciosa del corazón de la &quot;Big Apple” (Nueva York). Nicky Marotta (ROBIN JOHNSON) empuja su cairetilla de compras, con su guitarra, amplificador y batería, a lo largo de la 42nd Street. Es unamuchacha que ha pasado casi toda su vida en estas calles duras y animadas. Afuera de un disco, comienza a tocar su propia música en su guitarra, tratando de hacerse oir por sobre los sonidos ensordecedores que salen del local. Cuando llega la policía, llamada por una de las empleadas del disco, Nicky los recibe con insultos y su navaja. En el otro extremo de la ciudad, Pamela Pearl (TRINI ALVARADO) está sentada sola en un apartamento del East Side escuchando lá música y las palabras melodiosas del disc jockey nocturno Johnny LaGuardia (T1M CURRY). Retenida en la policía y reconocida como uno de los “clientes&quot; habituales, Nicky queda a cargo de Rosie (ANNA MARIA HORSFORD), una asistente social que le dice que la van a llevar al hospital para ver si hay algun motivo psicologico que explique su comportamiento antisocial. Al día siguiente, el padre de Pamela, David Pearl (PETER COFFIELD), viudo y político de carrera promisoria, lleva a Pamela a una reunión pública donde va a explicar su tarea más reciente, por ser él Comisionado del Alcalde de la ciudad, debe hacer de Times Square un lugar decente. Su dedicación a su carrera y falta de atención a su joven hija, tan introvertida, le impiden reconocer la soledad y la angustia mental de la muchacha. Junto a su padre, en la plataforma de la reunión, se siente mortificada y cuando David se refiere a ella en su discurso, corre para esconder su llanto. Ansioso de encontrar una solución rápida al problema de tener una hija enferma, Pearl acepta la sugerencia de su médico, que le recomienda enviarla a un hospital para ver si hay motivos psicológicos para su extraño comportamiento. De esta forma, Nicky y Pamela se encuentran... compartiendo un cuarto en el hospital. Las locuras de Nicky y su comportamiento con el personal del hospital al principio asustan a Pamela, pero luego comienza a divertirse, y después de una conversación nocturna en la que Nicky convence a Pamela de que ninguna de las dos tienen problemas, salen juntas de su cuarto y, robando una ambulancia del hospital, se escapan a un muelle en desuso donde establecen una casa improvisada. Junto al agua, tratan su cabello con “henna&quot;, se convierten en “hermanas de sangre&quot; y deciden que la ciudad va a tener que notarlas. Johnny LaGuardia lee en el periódico la noticia de la desaparición de las jóvenes y cree que Pamela es la muchacha que le escribió hace unos días describiéndole su soledad y sus temores. Se dirige a ellas por la radio, alentándolas para que encuentren su propio tipo de libertad. Pasan los dias, y Nicky y Pamela prueban varios trabajos para tener algo de dinero, apena escapan a un polizonte de civil, y por último encuentran empleo en un club elegante de la 42nd Street llamado &quot;Cleopatra&#039;s Lounge&quot;. Pamela baila &quot;go-go&quot; y Nicky canta con la banda del local, The Blondells. En el interin, David Pearl sigue sus sfuerzos para tratar de encontrar a su hija, y se enoja con Johnny LaGuardia, que según él, sabe donde está Pamela y está tratando de impedir que encuentre a su hija, y arruinar su campaña para poner orden en el centro de la ciudad. Pamela y Nicky rechazan muchos valores de la sociedad y adoptan vestimentas extrañas, -- mini-faldas de los años 60 y trozos de sacos de plástico --, y se hacen llamar “The Sleaze Sisters&quot;. Escriben en las paredes de toda la ciudad y la atraviesan destruyendo todo lo que las disgusta, y especialmente lo que consideran el peor simbolo social. LaGuardia sigue comunicando su progreso por la radio, y las &quot;Sleaze Sisters”, y en particular Nicky que ha escrito una canción sobre ella misma con letra muy expresiva, se convierten en heroínas populares, e incluso transmiten la música de Nicky desde la estación de radio. Pero las circunstancias conspiran para poner fin a su gran aventura. Nicky insiste en alcanzar la gloria realizando un concierto rock ilegal, a medianoche, sobre el gran cartel de un cine. Se produce una situación explosiva, con cientos de muchachas, vestidas y pintadas al estilo de las “Sleaze Sisters&quot;, marchando hacia Times Square para el concierto. Pero también van hacia allí la policía y el padre de Pamela..." srcset="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px-234x300.jpg 234w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px-798x1024.jpg 798w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px-768x985.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px.jpg 842w" sizes="(max-width: 234px) 100vw, 234px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/08/TIMES_SQUARE_UK_Pressbook_p03_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-2"><img loading="lazy" decoding="async" width="233" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px-233x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 4 (cast and filmmakers part 1) Text: ABOUT THE CAST... ROBIN JOHNSON, who makes her film debut as the explosive Nicky Marotta, was discovered outside her high school, Brooklyn Tech. That chance happening concluded a five-month nationwide talent hunt to find the dynamic, young singing actress for the demanding role. Robin had never acted previously. The 15-year-old New Yoiker lives at home with her mother and a sister, Cindy. Her audition, both singing and reading script, overwhelmed everyone within hearing. Robin Johnson was Nicky Marotta. TRINI ALVARADO, who portrays Nicky’s friend Pamela, is twelve years old and the daughter of professional performers. Trini has been in show-business since she was seven. On Broadway, she was featured in the hit musical “Runaways”, and performed the play’s theme song on the 1978 Tony Awards television show. She made her film debut to sensational reviews in the Robert Altman production of “Rich Kids”. TIM CURRY, who plays disco jockey Johnny LaGuardia, has been acclaimed internationally for his starring role in “The Rocky Horror Picture Show”. He is a classically trained British actor who has performed with the Royal Court Theatre, the Royal Shakespeare Company, and was seen on Broadway in Tom Stoppard’s “Travesties”. Curry also has appeared on several major British television productions, and in the Jerry Skolimowski film “The Shout&quot;. He has recorded two rock albums and performed on a concert tour of the U.S. ABOUT THE FILMMAKERS... ALAN MOYLE, the director of “Times Square”, is a native of Quebec. As both actor and director, Moyle has emerged as a major discovery in Canadian cinema. Following portrayals in the critically-acclaimed films “Outrageous” and “Montreal Main”, Moyle directed and starred in “The Rubber Gun”, a perceptive, unsentimental study of the disintegration of a Montreal communal family. His research often takes him into the environments where he films and imparts to the fictional content a sense of the semi-documentary. For the year prior to filming “Times Square”, for instance, Moyle and Leanne Unger (with whom he developed the original story) lived in a loft on 42nd Street’s famed “Deuce”. To make his mark in show business, Moyle supported himself by holding down a wide range of jobs. They included working in the psychiatric departments of St Vincent’s and Beth Israel hospitals (Moyle started the first role-playing group at the former), and teaching at a primary school for a year on a small island in Canada’s north countiy. His early acting credits include the off-Broadway production of Jean-Claude Van Italie’s “America Hurrah”, where Moyle played the female rubber mannequin, and John Avildsen’s “Joe”, in which he portrayed one of the hippies who was shot in the film’s climax. Moyle also served as a production assistant on a number of independent New York films and, in the early 1970s he returned to Montreal, where he collaborated on a variety of video tapes, books, documentaries and “events&quot;. Moyle now is working with Jacob Brackman on another original screeplay. JACOB BRACKMAN is the screen-writer and co-producer of “Times Square&quot;. His previous film associations were as Executive Producer and Second Unit Director on Terence Malick’s “Days of Heaven” in 1978. He previously had written the screenplay for Jack Nicholson’s “The King of Marvin Gardens” in 1972. His original song compositions have been recorded by Dionne Warwicke, Fred Astaire, Dr. John, and Carly Simon. With Carly Simon, Brackman wrote the hit singles “That’s The Way I’ve Always Heard It Should Be” and “Haven’t Got Time for the Pain”, and was the lyricist of the Broadway musical &quot;King of Hearts”. He also co-wrote new songs for the ‘Times Square” soundtrack. The author of “The Put-On”, a book about American popular culture in the ’60s, Brackman also has written stories and essays for The New Yorker, Playboy, and other magazines, and from 1969 to 1972 was the Film Critic for Esquire magazine. KEVIN McCORMICK the Co-Executive Producer of “Times Square&quot;, studied theatre in New York, Mexico and London. In London, he also operated a theatre programme at the Institute of Contemporary Arts. In 1973, after working in various capacities on many West End productions, McCormick became entrepreneur Robert Sigwood’s personal assistant and then his executive assistant In that capacity, he was actively involved in the development of the Stigwood films, “Jesus Christ Superstar” and “Tommy&quot;. In 1976, as RSO Films’ newly-appointed Executive Vice-President of Film Development, McCormick was instrumental in bringing to Stigwood’s attention a Nik Cohn story that appeared in New York magazine. That story became “Saturday Night Fever”, McCormick’s debut film as an Executive Producer. Currently, in addition to being Executive Producer for “Times Square”, McCormick is Executive Producer for RSO Films’ “The Fan&quot;, which stars Lauren Bacall, James Gamer, Maureen Stapleton and Michael Biehn." srcset="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px-233x300.jpg 233w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px-795x1024.jpg 795w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px-768x989.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px.jpg 839w" sizes="(max-width: 233px) 100vw, 233px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/08/TIMES_SQUARE_UK_Pressbook_p04_1080px.jpg" /></a>
<a href='https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px.jpg' title="" data-rl_title="" class="rl-gallery-link" data-rl_caption="" data-rel="lightbox-gallery-2"><img loading="lazy" decoding="async" width="232" height="300" src="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px-232x300.jpg" class="attachment-medium size-medium wp-stateless-item" alt="UK Press Book for TIMES SQUARE, p. 5, filmmaker biograpies continued,. Text: BIOGRAPHY ROBERT STIGWOOD (Presenter of “Times Square”) A man with the reputation for sticking with his hunches and seeing them pay off, Robert Stigwood is the founder of an international show business empire comprised of companies that are active in feature films, legitimate theatre, television, personal management, recordings, concert tours and music publishing. Born in 1934 in Adelaide, Australia, Stigwood began his career as a copy-writer for a local advertising agency. At the age of 21, he left for England, where he opened a theatrical agency, initially casting commercials for television and later producing records for many of his clients. By 1965, Stigwood had become the first independent record producer in Great Britain. Stigwood joined forces in 1967 with Brian Epstein, manager of the Beatles, to become co-manager of NEMS Enterprises. After Epstein’s death, he went on to form his own company and launched the careers of the Bee Gees and Cream, featuring Eric Clapton, among others. Stigwood entered London’s theatre scene in 1968 and immediately conquered the West End by presenting the American rock musical “Hair”. His subsequent West End productions have included “Jesus Christ Superstar”, “Pippin”, “Oh! Calcutta!” and, most recently, “Sweeney Todd”, produced in association with David Land. In June 1978, “Evita”, another Stigwood-Land production, opened in London to rave reviews. Currently, the musical has enjoyed record-breaking runs in London, New York, Los Angeles, Chicago and Australia. “Evita” has won many top honours, including both the LA and New York Drama Critics Circle awards, and the Tony award for Best Musical of 1980. Stigwood also plans to make a film version of the stage hit In 1973, Stigwood entered film production with the motion picture version of “Jesus Christ Superstar”, directed by Norman Jewison. His next was “Tommy”, introducing The Who and directed by Ken Russell, which became one of 1975’s biggest screen hits and marked the first successful merger of rock music and the film medium. Even greater success followed in 1978 with Stigwood’s &quot;Saturday Night Fever”, which catapulted John Travolta to super-stardom and featured the immensely popular music of the Bee Gees. In 1978, another box-office hit, “Grease”, was produced in association with Allan Carr. Subsequent Stigwood films include “Sgt Pepper’s Lonely Hearts Club Band”, which featured Peter Frampton, the Bee Gees, George Burns and Steve Martin, and “Moment by Moment”, which starred Travolta and Lily Tomlin. Stigwood now has backed the greatest back-to-motion picture programme ever planned in New York City. He intends to produce four major features there -- the first being “Times Square” -- all during 1980 and 1981. The second film, now in post-production, is “The Fan”, based on Bob Randall’s best selling suspense thriller and starring Lauren Bacall, James Gamer, Maureen Stapleton and Michael Biehn. Also backed are “Angel”, to be directed and choreographed by Patricia Birch and set in East Harlem, and &quot;Stayin’ Alive&quot;, a contemporary romantic comedy based on a screenplay by Norman Wexler and to be directed by Edward Bianchi. The soundtrack albums for all four films will be released on RSO Records. Founded in 1973, RSO Records&#039; impressive artist roster includes the Bee Gees, Eric Clapton, Andy Gibb, and other top contemporary artists. The RSO label releases all the soundtrack albums of Stigwood’s motion picture productions. “Saturday Night Fever” and “Grease” have become the industry’s all-time best sellers. In fact, in mid-July of 1978, RSO Records held the Number One spot on Billboard’s Top 100 Singles chart for 26 out of 29 weeks. Recently, RSO Records entered into an exclusive, long-term, worldwide agreement to distribute Dreamland Records, a new company formed by Mike Chapman and Nicky Chinn. RSO also released the soundtrack of the Star Wars” sequel, “The Empire Strikes Back”, beginning a close association with Lucasfilm. Stigwood’s involvement in television has spanned both sides of the Atlantic. He controlled the rights for the original British television series “Till Death Us Do Part” and “Steptoe and Son” upon which the “All in the Family” and “Sanford and Son” series were based, and his award-winning production of “The Prime of Miss Jean Brodie”, which starred Geraldine McEwan (“Best Actress of the Year” in the U.K. for her performance), was presented to enthusiastic reviews. That same year, Stigwood, together with the Bee Gees and David Frost, conceived of “Music for UNICEF&quot;, a means of providing an ongoing source of financial assistance to needy children throughout the world. To accomplish this, the Bee Gees formed Founder Composers, through which they and other participating composers donate the publishing revenue from one of their songs to the UNICEF fund. On January 10,1979, “Music for GNICEF&quot; officially launched the International Year of the Child with an all-star network television special, “A Gift of Song”, with the total proceeds benefiting the fund. JOHN NICOLELLA, the co-Executive Producer of “Times Square”, knows New York City. In fact, his company, Film Outfitters, has become specialists for filming in “The Big Apple”, as all six of Nicolella’s previous movies, as well as “Times Square&quot;, were shot there. They are “Saturday Night Fever”, &quot;Hot Rock”, “Crazy Joe&quot; and Woody Allen’s “Interiors&quot;. Nicolella also was the Associate Producer for “The Last Embrace” and Gordon Willis’ “Windows”. Currently, he also is the Associate Producer for RSO Films’ “The Fan” which stars Lauren Bacall, James Gamer, Maureen Stapleton and Michael Biehn, and also was filmed in New York City. BILL OAKES, Associate Producer of “Times Square&quot;, is a native of Nottingham, England and has been in the United States with the Robert Stigwood Organisation since 1970. Earlier in his career, Oakes was a newspaper reporter, and then an assistant to the Beatles. His association with Stigwood began with the concert and Broadway productions of “Jesus Christ Superstar”. When RSO Records was formed, Oakes was instrumental in the administration of the division, first from England and then, from 1974, in tiie United States. Oakes also was the music supervisor on both the film productions and record album for “Saturday Night Fever” and “Grease” and was the Associate Producer on “Sgt. Pepper’s Lonely Hearts Club Band”. In addition to serving as Associate Producer on “Times Square”, he also developed the exciting, contemporary rock score for the film and for the RSO soundtrack album. Oakes says: “The vitality, the raw energy, the lyrical awareness that pulses through the most contemporaiy music is an accurate reflection of the film’s two runaways. I’ve never found a subject so compatible with a sound, and that’s what I believe we have captured on the soundtrack.” In 1955, the insecurities of youth were personified in James Dean’s portrayal of a mixed-up adolescent in “Rebel Without A Cause&quot;. In 1969, Peter Fonda, Dennis Hopper and Jack Nicholson summed up the attitudes of the ’60s drop-outs in “Easy Rider&quot;. The ’70s produced a new hero for the young when John Travolta made his striking entrance in “Saturday Night Fever”. Now, it is the same filmmaker, Robert Stigwood who is responsible for “Times Square”, the first major film to capture the intense, often anarchic posture of the contemporary sound in music, which has set the pattern for young people in the 1980s. “Times Square&quot; is a Robert Stigwood Presentation, produced by Stigwood and Jacob Brackman, with Kevin McCormick and John Nicolella the Executive Producers and Bill Oakes the Associate Producer. Alan Moyle directed from Jacob Brackman’s screenplay, based on a story by Moyle and Leanne Unger. Jim Contner is the Director of Photography; Stuart Wurtzel is the Production Designer, and Bob DeMora is the Costume Designer." srcset="https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px-232x300.jpg 232w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px-793x1024.jpg 793w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px-768x992.jpg 768w, https://storage.googleapis.com/rjnet-wordpress/2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px.jpg 836w" sizes="(max-width: 232px) 100vw, 232px" data-image-size="medium" data-stateless-media-bucket="rjnet-wordpress" data-stateless-media-name="2018/08/TIMES_SQUARE_UK_Pressbook_p05_1080px.jpg" /></a>

<p>The shot of Tim Curry on page 4 is cropped from <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/03/TIMES-SQUARE-Press-Kit0062_TS-66-28-9_1080px.jpg" data-rel="lightbox-image-6" data-rl_title="" data-rl_caption="" title="">TS-66-28/8</a> which was distributed in the US press kit and appeared on <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/06/AFD-Campaign-Pressbook-1980_p04_1080px.jpg" data-rel="lightbox-image-7" data-rl_title="" data-rl_caption="" title="">page 4 of the US pressbook</a>. The shot of Robin as Nicky is not from the film, but was taken at the time of shooting, and as far as I know never appeared anywhere else. The shot of Trini as Pammy dancing in the Cleo Club looks damned familiar, but I only seem to have <a href="http://robinjohnson.net/wp/wp-content/uploads/2014/11/TS-color-production-still-1980-0003_1080px.jpg" data-rel="lightbox-image-8" data-rl_title="" data-rl_caption="" title="">this unpublished shot</a> that was taken seconds before or after. There are at least <a href="http://robinjohnson.net/wp/wp-content/uploads/2016/07/Times_Square_UK_Lobby_Card-4_manual_crop_1080px.jpg" data-rel="lightbox-image-9" data-rl_title="" data-rl_caption="" title="">two</a> <a href="http://robinjohnson.net/wp/wp-content/uploads/2015/04/TIMES-SQUARE-Press-Kit0072_TS-104-17A-7_1080px.jpg" data-rel="lightbox-image-10" data-rl_title="" data-rl_caption="" title="">other</a> shots from this moment but neither are this one. I may have finally accumulated so much <em>Times Square</em> stuff that I just can&#8217;t keep track of it all despite my best efforts.</p>
<p>If there&#8217;s any huge outcry to read the text, I&#8217;ll edit this post to add it.</p>
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<em><strong>Times Square</strong> pressbook, pp. 1-5<br />
UK : pressbook (theatre manual) : AAT ID: 300213184 : 35.7 x 27.8 cm. : 1980 (work);<br />
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TIMES_SQUARE_UK_Pressbook_p01_1080px.jpg<br />
1080 x 841 px, 96 dpi, 398 kb<br />
TIMES_SQUARE_UK_Pressbook_p02_1080px.jpg<br />
1080 x 830 px, 96 dpi, 472 kb<br />
TIMES_SQUARE_UK_Pressbook_p03_1080px.jpg<br />
1080 x 842 px, 96 dpi, 472 kb<br />
TIMES_SQUARE_UK_Pressbook_p04_1080px.jpg<br />
1080 x 839 px, 96 dpi, 704 kb<br />
TIMES_SQUARE_UK_Pressbook_p05_1080px.jpg<br />
1080 x 836 px, 96 dpi, 680 kb (images)</em><br />
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</div>
<div style="font-size:85%">
<em><strong>Times Square</strong> ©1980 StudioCanal/Canal+</em>
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