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But its use was true to Josh Mostel’s character, and being true to the characters was one of the defining elements of Mazursky’s movies, even those that rolled astray. “ probably would have made more money if I changed it,” he said.

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In Paul on Mazursky, a book-length series of interviews conducted with the director by Sam Wasson, Mazursky regrets not cutting the offending word from the film because it cost him a PG-13 rating-Harry and Tonto was released as an R-and with it a chunk of the potential audience. It was not only the first time I had heard the c-word deployed in film but its shock effect was amplified because it was delivered so so conversationally, so matter of factly, from a character who up to that moment had been pretty much mute.

I will never forget the shivering impact of Josh Mostel calling his aunt a “c-t” in Harry and Tonto (my favorite of Mazursky’s films, and not just because of the cat). When Mazursky did use obscenity on screen it was so strategic and unanticipated it resonated like a rifle shot.

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Not for Mazursky’s “Me Decade” gallery of frizzy neurotics and curly-locked dreamers the four-letter cannonades of Scorsese’s mooks, the rabble-rousing rants of Lumet’s angry underdogs, the lusty outbursts of Jack Nicholson in whatever movie he was devilishly subverting. Even the dialogue in his movies packed less raw-knuckled punch. A Coke bottle smashed into the face of a gunman’s moll (Altman’s Long Goodbye) would have been unthinkable in a Mazursky movie, where jaw muscles got nearly all of the exercise. As a filmmaker, violence wasn’t part of his vocabulary. His blood didn’t seem beat as percussively as others.

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Of all the American directors associated with the free-wheeling, scraping-the-guard-rails Seventies (Sam Peckinpah, William Friedkin, Sidney Lumet, Robert Altman, Francis Ford Coppola, Hal Ashby, Brian De Palma, Martin Scorsese, Bob Rafelson, even Woody Allen), Mazursky was the one least disposed to crack the snake whip with kinetic excitement or sink into snowdust reverie and smog-haze patches of ennui.

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For further information on how to change the aspect ratio of your slides in PowerPoint, please refer to this article of the Microsoft Office support page.Paul Mazursky, who died this week in Los Angeles at the age of 84, was not a director identified with exalted moments and explosive crescendos, for branding images on the movie brain that became embedded our cultural iconography, enshrined in cinema’s highlight reel. If you want to learn more about PowerPoint and/or Google Slides and how to get the most out of them, stay tuned for more Slidesgo School tutorials. Now your presentation is ready and adapted for the new aspect ratio. As a result, the content will be smaller and you might need to scale it up again where needed.

When scaling the content, PowerPoint asks you to choose between two different options: Scaling options in PowerPoint Slide Size drop-down menu in PowerPointĪs with Google Slides, you can set your own slide size by clicking Custom Slide Size… Slide Size options To change the aspect ratio in PowerPoint, click Slide Size, which is in the Customize group on the Design tab, and choose the desired aspect ratio for your presentation. However, have in mind that after changing the original aspect ratio of your presentation, any elements and images already included will probably appear scrambled, so you’ll need to readjust them one by one in the slides or even the master slides. Comparison of standard and widescreen size ratiosīefore giving your presentation, it’s important to know which type of screen it’s going to be shown on, so you can optimize it as much as possible. Are you tired of presentations that don’t adapt well to the screens used in the venue? That’s mostly due to them not being properly suited for conventional (4:3) or widescreen (16:9) formats.