Rocky Goes For A Walk

But, you have to get out and experience the park. At high elevation, above the tree line, the alpine tundra environment is amazing. There is a clear trail please stay on the trail to walk. Information boards are along the path to explain things you might not know about the environment you are seeing. Along the way you will see Elk, Marmots and Picas. Rock Cut is at the high point of Trail Ridge Road, so the views are already great. However, the stroll along the paved trails provides vistas above the road giving one a perspective of where they have been driving from and to.

This trail definitely goes on the list of the many short trails vacationers should take if they are want to experience more than views from the car windows but do not want to bother with multi-hour hikes. Enjoyed the walk through the tundra. Saw several marmot and a pica. Easy with some elevation to interesting rock formations and beautiful views. Get out and enjoy the walk but please stay off the tundra. Own or manage this property? Claim your listing for free to respond to reviews, update your profile and much more. All of your saved places can be found here in My Trips.

Log in to get trip updates and message other travelers. Log in Join Recently viewed Bookings Inbox. Review of Tundra Communities Trail. Ranked 34 of 94 things to do in Rocky Mountain National Park. Reviewed August 30, Great views and decent walk. Write a Review Reviews Show reviews that mention. All reviews " high altitude ". Review tags are currently only available for English language reviews.

Read reviews in English Go back. Reviewed August 26, Banana Crystal River, Florida. Ask Banana about Tundra Communities Trail. What had happened was that Irwin Winkler and myself had just signed a long-term commitment with United Artists to make films. They were hoping that we would fill a niche of making big-name films. It was something that we wanted to make, and it was probably because we were just starting fresh with the studio and were committed to doing it that they agreed to do it.

But there was never any question in my mind that Sylvester Stallone was going to be starring in it, in spite of all of the mythical stories you might hear. A lot of people came in to audition for the role of Mickey, the trainer. We got Lee Strasberg to audition. Then Burgess [Meredith] came in and they read the scene where Rocky is told that he has to get out of his locker.

We went to Lee first. They had just made Godfather II and he was very hot — he had gotten a nomination for the picture — and we gave him the script. He would have been wonderful for the role as well, but he wanted far more than we could afford to spend. I felt this was an opportunity to take the script to Burgess. He told me that he read the script that night and, of course, loved the part. But he got a call that same evening from his buddy Lee Strasberg. For Adrian we looked for the longest time.

Finally we decided on Carrie Snodgress, but her agent wanted more money than we had to give and that was the end of Carrie. Then Talia Shire walked in and she was just terrific. I think she was the last major role that we cast. The moment we saw her — at least as far as I was concerned — there was no question that Talia was absolutely the right person. I even punched him in the arm and apparently that cinched the job.

1. Dialoghi politici e Lettere (Italian Edition).
2. Rocky Steps.
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4. Vendetta al tramonto (Italian Edition).
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7. If This Clay Could Talk;

Burt Young was a given [to play Paulie]. United Artists had just done Killer Elite and Burt was in that. Each part was challenging to fill, except for Burt Young. We knew we wanted Burt from the beginning, because Irwin and I had worked with him on The Gambler and we knew what a wonderful actor he was and how right he would be for this part.

But he had a great spirit and a lot of arrogance. It was a most harmonious group. Originally we went to someone like Joe Frazier and we brought him in to spar with Sylvester, and it was obvious that it was impossible. He was a pro, that was his business. It was literally a week before we started principal photography. Carl Weathers Apollo Creed: Not to be blowing my own horn, though I certainly will, I think Sly and I have a chemistry on screen that few actors have been able to match.

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Redford and Newman have a certain rapport that is just irresistible. People really respond to the relationship. Apollo Creed is an indelible image, and I happen to be the guy who co-created that image with Sylvester Stallone. We were going to do it there, but the producers started getting nervous that the union might find us in Philadelphia, so we went back to Los Angeles before we finished. Maybe the place is closed and they have to sneak in.

Rocky was great fun to shoot. In part because I think we had to shoot it for a million dollars, it ended up having the qualities that it did. I think if we had too much money, it may not have been the same film. We never would have hired composer Bill Conti at that point if someone had given us five million dollars to make the picture. We would have gone along with some standard composer who played it safe rather than played it this way.

The union finally forced us to have one. The fight had 84, feet of film and was shot with six cameras.

Truthfully speaking, that amount of footage is a whole movie in itself. At one point I had to explain why it was taking me three weeks to cut this fight. It is a very overwhelming task, and of course the most important thing is to have it organised and find a way to bring it all together.

But the choreography of the fight was excellent. I went back and looked at some earlier boxing films, like Kirk Douglas in The Fighter , and I decided that rather than doing this old-fashioned kind of stylised thing, I wanted to make it look as realistic as possible, like it was an event.

Rocky Steps - Wikipedia

The way that the fight began with Carl Weathers coming in on the float he comes in on, it really felt like much more of an event. If I could make people feel that this was something more real, that to me was the better way to do it. After seeing a number of boxing films, I realised that the boxing usually looked pretty bad. We wanted the final fight to look real, so I was able to get the producers to give us rehearsal time and put the boxing at the end of the schedule so we would have as much time as possible to get it right.

I had my 8mm movie camera and started shooting them do it. We knew the first quarter of the first round was here, and the second quarter of the first round was there, and we really got it down. So that by the time it came to shoot it, it looked great. Avildsen and I had a discussion at his house prior to the making of the movie.

Rocky: the complete history

We watched boxing films and playing classical music and slowed the images down in the projector and we came up with the montage of the fight. It was scripted, but we tried to do it in a stylised way. And this gave the impression of being real. It had a great ending.

As you were cutting it together, you could see that the fight was looking very realistic. All of the camera shots — all of the different angles — helped us to make something very realistic out of it. We had a lot of cutaways to Burgess and the corners. It was also the first time that the Steadicam was ever used. A lot of the shots inside the ring that were moving and going around are hand-held Steadicam shots. John Avildsen was out of time.

I think they had given him two days to shoot in with a crowd, and they went into a third day and had virtually nobody in the audience. My task was to keep it moving and keep your concentration so that you would be looking at the figures in the center of the screen and not looking behind them, especially if there was nobody there. Stallone really choreographed it and Avildsen shot it.

We did it with a very small budget, we had very few extras in the stadium to work with most of the time. Shots had to be done carefully. In the end, no one had really tried a fight film like that one before and we just hoped it would work.

It was pretty clear that it would. Every shot was choreographed, revised, examined and considered before it was placed in the film. I told Avildsen that I thought we should reshoot the ending, Talia should come into the ring and there should be a whole mob and it should be a close decision.