:53:03
very, very carefully mixed.
:53:13
The furnishings for the film, particularly
the offices of the opera managers,
:53:17
were bought by Universal from the estate
of San Francisco hotelier Mark Hopkins.
:53:24
One thing that couldn't be bought
was the ceiling of the Opéra de Paris.
:53:28
The original dome above the chandelier
:53:31
contained 19th-century frescos
of angels in a heavenscape.
:53:35
These were painted on the set
at Universal by a scenic artist.
:53:39
They were real, not a matte painting.
:53:42
The frescos on the ceiling
of the Opéra de Paris
:53:46
were painted over in 1962
:53:48
with a very modernistic design
by Marc Chagall.
:54:06
Make-up man Jack Pierce was born Jack
Piccolo in Athens, Greece, in 1889.
:54:11
He had been a professional baseball
player, a movie actor in the teens,
:54:15
an assistant director in the '20s
on action films
:54:18
like Buffalo Bill on the UP Trail
:54:20
and Davy Crockett
at the Fall of the Alamo.
:54:23
Very little is known about Pierce.
He could be temperamental,
:54:27
but apparently with people
who were so disposed themselves,
:54:30
like Elsa Lanchester,
who despised him, and he her.
:54:33
Boris Karloff and Jack got on famously.
:54:36
Susanna Foster thought the world of him
:54:38
and remembers him as a warm,
funny and down-to-earth man.
:54:41
She says that he had no trace of a Greek
accent, he was thoroughly Americanised.
:54:46
At the start of Phantom, he gave her
a copy of Fyodor Chaliapin's memoir,
:54:50
Man and Mask, which he thought would
be an overview of the profession
:54:54
for the 17-year-old beginning actress.
He taught her, for the first time,
:54:58
how to really do her own make-up
and to use a lip brush -