7.5
Película
Guion
H.M. Walker
- Nacimiento
- Fallecimiento
- (58 años)
- Lugar de nacimiento
- West Middlebury, Ohio, USA
- Créditos
- 194 títulos
Biografía
WALKER, H.M. (Harley Marquis Walker) started as a telegrapher, tapping out the descriptions of sportswriters at boxing matches and sending them to the offices of their newspapers. In 1903 he became a sportswriter himself and wrote a column, “The Wisdom of Blinkey Ben,” for the Los Angeles Examiner before joining Roach in 1917 as a part-time scenario and title writer for Harold Lloyd. In 1920, he left newspaper work and joined Roach full time as head of the editorial department. A brilliant title writer in the silent era, Walker was less skilled at dialogue; he was credited for providing these elements on more than 350 Roach comedies. He usually came up with the title for each film and also wrote fairly severe critiques after each preview. After leaving Roach in 1932 he wrote dialogue for some features, including Son of a Sailor (1933) with Joe E. Brown, W.C. Fields’ The Old Fashioned Way (1934), and the ZaSu Pitts picture Affair of Susan (1935). Walker died in the home of his good friend Leroy Shield, who had written scores at the Roach lot in 1930 and ’31. Died June 23, 1937, Chicago, Illinois, age 58; of a heart attack.
From Wikipedia, the free encyclopedia
Harley M. "Beanie" Walker (June 27, 1878 – June 23, 1937) was a member of the Hal Roach movie production company from 1916 until his resignation in 1932. The title cards he wrote for Harold Lloyd, Charley Chase, Our Gang and Laurel and Hardy comedies "have entered legend, both for silent films, and as opening remarks for the earlier talkies." He was also an officer of the Roach Studio corporation.
On Roach's "Lot of Fun", script development usually started with meetings among the gag men, who would develop what was known as an "action script": the outline of the story and a description of the scenes and some of the sight gags, which generally would run three to six legal-size pages. This document would then pass to Walker, the head of the editorial department, which oversaw not only script editing, but film editing as well. Walker usually came up with the title of each film, wrote "brilliantly witty" title cards which would be produced and inserted into the film, and wrote a critique before the picture went out to the distributors, Pathé Exchange, or later, M-G-M.
Walker's writing did not transition well to talkies and by 1931 he had left Roach studio and wrote dialogue for comedies produced by ex-Roach general manager Warren Doane at Universal Pictures. Later, he worked at Paramount Pictures, where he contributed to the W. C. Fields picture The Old Fashioned Way (1934).
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Créditos del equipo técnico 194
| Año | Título | Función |
|---|---|---|
| 2025 | Wonder Dogs! Canine Stars of the Silent Era (1898-1928) Película | Writer |
| 1935 | Public Ghost # 1 Película | Writer |
| 1934 | En Busca de la Salud Película | Writer |
| 1934 | Love Birds Película | Additional Dialogue |
| 1933 | El capitán disloque Película | Screenplay |
| 1933 | Hubo que casarlos Película | Screenplay |
| 1932 | Girl Grief Película | Dialogue |
| 1932 | Alum and Eve Película | Dialogue |
| 1932 | El abuelo de la criatura Película | Writer |
| 1932 | Ayuda al prójimo Película | Writer, Dialogue |
| 1932 | Young Ironsides Película | Dialogue |
| 1932 | Show Business Película | Dialogue |
| 1932 | What Price Taxi Película | Writer, Dialogue |
| 1932 | Hospital provincial Película | Writer, Dialogue |
| 1932 | The Pooch Película | Writer |
| 1932 | The Old Bull Película | Dialogue |
| 1932 | First in War Película | Dialogue |
| 1932 | La vida es dura Película | Writer |
| 1932 | Choo-Choo! Película | Writer |
| 1932 | Strictly Unreliable Película | Writer |
| 1932 | In Walked Charley Película | Writer |
| 1932 | Haciendo de las suyas Película | Writer, Dialogue |
| 1932 | You're Telling Me Película | Dialogue |
| 1932 | Spanky Película | Writer |
| 1932 | Red Noses Película | Dialogue |
| 1932 | The Nickel Nurser Película | Writer |
| 1932 | En cada puerto un terror Película | Writer |
| 1932 | Free Eats Película | Writer |
| 1932 | The Tabasco Kid Película | Writer |
| 1932 | Helpmates Película | Dialogue |
| 1931 | On the Loose Película | Writer |
| 1931 | Hasty Marriage Película | Dialogue |
| 1931 | Héroes de Tachuela Película | Writer |
| 1931 | War Mamas Película | Dialogue |
| 1931 | What a Bozo! Película | Dialogue |
| 1931 | ¿Por qué trabajar? Película | Dialogue |
| 1931 | Shiver My Timbers Película | Writer |
| 1931 | The Pajama Party Película | Dialogue |
| 1931 | Skip the Maloo! Película | Dialogue |
| 1931 | El canelo Película | Dialogue |
| 1931 | Call a Cop! Película | Dialogue |
| 1931 | Catch-As Catch-Can Película | Dialogue |
| 1931 | De bote en bote Película | Dialogue |
| 1931 | Let's Do Things Película | Dialogue |
| 1931 | One of the Smiths Película | Dialogue |
| 1931 | Spuk um Mitternacht Película | Writer |
| 1931 | Amor, dulce amor Película | Dialogue |
| 1931 | Politiquerías Película | Writer |
| 1931 | Rough Seas Película | Dialogue |
| 1931 | Monerías Película | Writer |
| 1931 | Little Daddy Película | Writer |
| 1931 | El alma de la fiesta Película | Dialogue |
| 1931 | Chickens Come Home Película | Dialogue |
| 1931 | Love Business Película | Writer |
| 1931 | Be Big! Película | Writer |
| 1931 | Les Carottiers Película | Writer |
| 1931 | Thundering Tenors Película | Dialogue |
| 1931 | Helping Grandma Película | Writer |
| 1930 | High C's Película | Dialogue |
| 1930 | Temps d'Hiver Película | Writer |