A-“GOG” at #TCMFF 2016: Talking 3D & Restoration With Bob Furmanek

We’re heading into the final stretch, guys and gals. So many plans and schedules have already been posted (mine is forthcoming, I swear)! The slow trickle of #TCMFF pals into my Hollywood hometown and everyone’s excitement is (as usual) giving me such joy. I’m just giddy with Classic Film Craziness!

So aside from the Print Resource Guide that I posted a few days back, I have something else very special to add to my “preservation and restoration stream.” As one of the TCMFF Social Producers, my focus is to increase knowledge about preservation, restoration & film archiving through social media platforms. As a working archivist, I wish to showcase why I truly believe that TCMFF is one of the strongest film festival venues dedicated to these critical procedures.

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One of my favorite parts from TCMFF 2015 – an entire booth dedicated to cinephilia and why we, as film lovers, “heart movies”! So great!

For this blog, I got a wonderful and in-depth pre-TCMFF interview from the knowledgeable Bob Furmanek of the 3D Film Archive about the restoration of GOG (Herbert L. Strock, 1954), which will be playing as the midnight show on Saturday night, April 30th at the festival! Bob will be there in person with his restoration colleague Greg Kintz, so that will be extra cool!!

Hope all of you enjoy this interview and perhaps learn a bit more about 3D preservation!gog3dposter1

 

1) Can you give a short history on your relationship to this film and why it’s such a unique opportunity for TCMFF fans to be seeing it this year?

When I was living in Los Angeles and working for Jerry Lewis in the mid-1980’s, I spent a lot of time doing work in the old Technicolor building in Hollywood. Director Herbert L. Strock was still active at the time and maintained an office on the first floor. I used to visit with him quite often and naturally, we discussed GOG. At that time, it was lost in 3-D (the studio only had material on the right side) and he lamented the fact that nobody would ever see it again.  For that reason, I made it a top priority to try to find the missing left side.
 
I eventually discovered the lost 35mm left side print in 2001 and carefully matched it to a new 35mm right side print from MGM. We screened the dual-35mm polarized 3-D prints in 2003 at the World 3-D Film Expo at the Egyptian Theatre in Hollywood. Mr. Strock got to see it again with a sold-out audience of 700 fans and it was a wonderful moment. Sadly, he passed away in 2005.
 
We spent five tedious months restoring the film last year for 3-D Blu-ray release through Kino-Lorber. Our new digital master has extensive color restoration and shot by shot 3-D alignment and left/right panel-matching. As a result, the audience at TCMFF will be seeing GOG in a better presentation than was technically possible in 1954. Mr. Strock would have loved it!
GogPoster2

TRULY exquisite examples of the restored L/R eye work can be found by clicking on this picture. It will take you to the AMAZING “before & afters”!

2) You head up the 3D Archive. Why is it important to have a 3D Archive? Isn’t 3D still coming out?

Nearly every 3-D feature from the first forty years of stereoscopic cinema (1922 – 1962) was photographed and printed on dual-strips of 35mm film with one print representing the left side and the other representing the right. They were projected theatrically on two 35mm machines in precise synchronization. Polaroid filters in each projection port – and the corresponding polarized glasses worn by the audience – insured that each eye only saw the intended side in order to create a 3-D image. If either the left or right elements are missing, you have lost the film in 3-D. Since the early 1980’s, the Archive has worked very hard to ensure that most of them survive.
 
There were fifty Golden Age (1952-1955) domestic 3-D features and thankfully, forty-eight survive in their complete stereoscopic versions. The only lost 3-D features from that period are TOP BANANA with Phil Silvers and one half of SOUTHWEST PASSAGE with Rod Cameron.
A lobbycard for Southwest Passage (Ray Nazarro, 1954) a lost 3-D film...

A lobby card for Southwest Passage (Ray Nazarro, 1954) a partially lost 3-D film…

 
We are doing our very best to get as many released onto 3-D Blu-ray as possible so that people can see these films as they were originally intended. It’s been quite an obstacle and uphill battle securing licenses from the copyright holders but we don’t give up easily.

3) What is the most difficult thing about restoring a 3D film? What was the most difficult part of restoring GOG?

Right out of the gate, the workload is doubled and that presents many challenges with respect to time and financial resources. You basically have to restore the film twice. The most challenging aspect is ensuring that both left/right sides are perfectly aligned and panel-matched in order to present the best possible viewing experience. That means going through the film and making adjustments on every single shot. It’s very time-consuming and labor intensive but it’s absolutely crucial that both the left and right sides are matched.
 
On the average, we can restore a 3-D feature in three months: GOG took five. It was an enormous challenge because the left side was completely faded with no yellow or cyan information whatsoever. In addition, every single shot in the film required up to seven levels of correction including color restoration, left/right panel matching, flicker reduction, image stabilization, detail extraction from the superior right side element, stereoscopic vertical alignment and dirt/damage clean-up. Greg Kintz has literally worked a restoration miracle in bringing this 3-D gem back to life.

4) GOG is a Eastman color film, a stock that is known to fade if not cared for correctly. Can you talk a little bit about the process of the color restoration and why color restoration and 3D film preservation might be especially challenging (if it is)?

 

GOG had a rather complicated history so far as lab work and processing. It was filmed on Eastman color negative 5248 (25 ASA tungsten) and processed by the Color Corporation of America laboratory – formerly SuperCinecolor/Cinecolor – in Burbank. By time it was edited and ready for theatrical release in May 1954, the lab was in financial trouble and had been sold to Benjamin Smith and Associates, owners of the Houston Fearless Corp. As a result, the 35mm release prints of GOG were made by Pathé Laboratories in Hollywood. While some early Eastman color negative stock holds up pretty well if it has been stored properly, the 1954 Pathé color release prints were already faded within a few years after it was released.
 
Thankfully, the right side element used in the restoration (a 35mm inter-positive struck from the original camera negative) still had quite a bit of color. With a little finesse, we were able to tweak it digitally to bring back its original palette. The biggest challenge was then matching the faded left side with the right.

5) Without any spoilers, can you give us a scene to look for that was *especially* challenging in the process but your team thinks came out particularly well?

To be honest, there wasn’t one particular scene that was more difficult than others. The entire film was an incredible challenge! When Greg Kintz was doing his work and sending me 3-D Blu-ray test discs, I was constantly amazed at the restoration and how the image kept improving with each new level of correction. Additional dirt and damage clean-up was then done by Thad Komorowski and that helped immensely.
 
To give you an idea of what we achieved on a shoestring budget, Warner Bros. spent close to $300K restoring HOUSE OF WAX. We brought in the 3-D and color restoration of GOG for $10K.
 
After suffering through flat, black and white 16mm open-matte full-frame transfers on TV for decades, I never expected GOG to look as good as it does today. We’re very proud of the final result in bringing this lost 3-D classic back to life.

6) What are you particularly looking forward to seeing at the TCMFF?

Boy, that’s a tough question. The entire schedule is wonderful and there are many cinematic treasures to be enjoyed.
 
For me personally, the new restoration from the 35mm nitrate camera negative of FRANKENSTEIN MEETS THE WOLFMAN (Roy William Neill, 1943) is going to be quite a treat. That’s been a favorite of mine since I was a young Monster Kid in the 1960’s and watched New York TV’s Chiller Theater on Saturday nights. I even had the three-minute Castle Films 8mm fifty-foot home movie edition. It’s going to be great fun seeing it fully restored on the big screen!

Thanks again so much, Bob!!! Can’t wait for this screening!

It’s been a pleasure Ariel, thank you!

 

Ariel’s Print Resource Guide for TCMFF 2016: Moving Pictures

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I’m ready. BOY AM I READY.

I have been since last year when TCMFF2015 ended. I live for this film festival. My experience has shown me that TCMFF is one of the most organized and best staffed film festivals that I have ever attended and the content is truly the most dynamic and rare. For a film archivist and preservationist to say this is no small feat.

The films are sometimes familiar, many times obscure, always challenging and enjoyable. The festival welcomes audience members from all over the world and gives them access to films that they would not normally be able to see, especially not in the environment that they were designed to be seen in: a theatrical setting. This annually growing community of passionate film-goers and classic film fans that TCM has created is what I have termed “Classic Film Summer Camp.” I don’t think I’ve ever had such a great time waiting in line for a film as I have at TCMFF. I’ve met people from everywhere and learned about so many different lives, experiences and classic film star fandoms. Y’all can have Christmas- this is MY most wonderful time of the year!EarthaKittenTCMFF

For the second year in a row I have been asked to be a member of the wonderful TCMFF Social Producers’ Team. As Social Producers, we are a group of fabulous and intelligent classic film advocates and cineastes working with the TCMFF social media team to advance the goals of the festival and make it more enjoyable for everyone involved! Each of us has our own “theme” or line of “promotion” and we can be found under the hashtags #TCMFF and #TCMFFSP. Whether or not you are in attendance, you want to follow these hashtags! These folks are some heavy hitters!

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So my theme this year? Well, nothing’s changed. Leopard and spots and all. I’ll be Tweeting, Tumblring, Instagramming on my most beloved subjects: film archiving, preservation and restoration.

So, for my first intro post, I have created a resource for everyone who may be currently planning their TCMFF schedules. I designed a spreadsheet that has cataloged the 35mm prints, DCPs, noted the restoration and preservations, and did my best to signify notes on World Premiere or North American Premiere, etc.

OF NOTE: the TCMFF schedule, while extremely reliable, is always subject to change. As a preservationist, projectionist and film series programmer myself, I can tell you that there are innumerable variables that can cause variations in guests, film format or program itself. This is just your garden variety disclaimer, folks,  but it has to be said. You know it does. And since you’re reading this blog, I’m likely preaching to the choir, but it’s a necessary statement. Additionally, if I have not written it here, that does not mean it is NOT a premiere/restoration/etc. I have based this upon as much information as I could get. If there is something in need of correction, please contact me immediately! I would be pleased as punch to change it!

So let’s get down to business, shall we?

PART I: RESOURCES & PLANNING

So. Now that the disclaimers have been said, here is your 2016 TCMFF Format & Preservation Resource guide. Get to scheduling!

It’s alphabetical, and if anyone has any questions or problems reading it (or understanding the manner in which it has been broken down) please let me know. I will actively pay attention to any and all comments  as they come in, and will be ABSOLUTELY ready to alter something if needs be.

If you would rather have it in a link form rather than embedded, go here.

It is critical for attendees to have this kind of format map. It may have taken some time to put together, but I know how important this resource is. Being able to access a full report of what has been restored, what has been preserved, what has been digitally reconstructed and how to identify each of these pieces in order to put together the fabulous puzzle that will eventually be your TCMFF experience is just invaluable.

Before moving into Part II, I briefly mention a remark about formats and preservation. Please consider the curatorial dedication and labor that has gone into the maintenance of all the films that you will watch this festival season, no matter what format they are in. Whatever your sensibilities or thoughts about format (analogue/digital, etc), every person with whom I have personally come into contact in my archival career who is involved in classic film preservation takes their job very seriously. Whether moving towards the creation of a Digital Cinema Package or striking a new 35mm print, my classic film archival colleagues work really hard to make sure that these materials see another generation and that another generation sees them. So let us be certain that if we downplay a digital format in favor of analogue, we do not forget that the digitization and digital work had to have an incredible amount of analogue preparation work done to it first. There are no classic films that were “born digitally” and thus you cannot have digital without analogue attention. Let us not forget that aspect of the workflow.

PART II: DATA BREAKDOWN

I compiled some data based upon what we have this year, print-wise. So if you want to get nerdy with me, here’s what we have…

From a preservation standpoint, I noted that the vast amount of 35mm was made up of rare works and, quite simply, the films that rarely make it out of the vaults. These films are the very reason that I continually attend TCMFF, religiously watch the channel until stupid o’clock in the morning (just…one…more…movie….), and truly appreciate educated colleagues like Will McKinley‘s continued updates on TCM as we move forward into various streaming and cable variations.

These are the films that caused me to become a preservationist. But we can get back to that.

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The analytics – 33% of the films appearing at TCMFF this year will be shown in 35mm. These are films like One Potato, Two Potato (Larry Peerce, 1964) a film about interracial marriage that came out BEFORE the more socially palatable Guess Who’s Coming to Dinner? (Stanley Kramer, 1967). Or a bewilderingly unheard-of feature like Double Harness (John Cromwell, 1933), a pre-code film that has been, quite literally, sitting in a vault until TCM bought the rights to it in 2006. These films catalyzed my film archival career and have subsequently reignited my film passion every year at the TCMFF. They are the “lost” or “forgotten” children of classic cinema.

While it’s beyond incredible to watch an old favorite on the big screen with a crowd, I would highly recommend that folks try to make it to at least ONE “rare pick” at TCMFF. Try the Film Noir Foundation/UCLA Film & Television Archive Restoration of Repeat Performance (Alfred L. Werker, 1947) or the rarely screened Bulldog Drummond Strikes Back (Roy Del Ruth, 1934). This is your opportunity!

So here are my “5 Points to Consider When Making Your TCMFF Schedule and Beyond.”

  1. Restoration costs a GREAT deal of money. A LOT. Many grants, volunteer labor and insane hard work is involved just to get to the point of being able to approach the physical restoration. This relates to 35mm *and* DCP. Love your restoration folks and the restorations!

  2. Lesser known films are riskier and have less potential for “return investment” in many people’s eyes. When you get the opportunity to investigate rare works at TCMFF or at a home repertory theater, you can be part of a new kind of “return investment.”

  3. Supporting restorations & preservations (in 35mm *and* DCP) and making your voice heard through social media & online makes a difference. Boutique labels do exist for DVD/Blu distribution and we do have wonderful companies like Warner Archives, Flicker Alley and others who make it a mission to serve our community.

  4. TCM (and TCMFF) serves the classic film community in a positive way by their continual & consistent showcasing of “forgotten films” or unusual materials — there is the possibility that, with more exposure, viewing more rarities on 35mm may lead to more preservation and restoration!

  5. TCM also showcases incredible panels like the Academy Home Movies presentation (something that I will be livetweeting for the second year in a row) with the wonderful Lynne Kirste and Randy Haberkamp. What was previously a closed circuit of “35mm features” is now open to different formats and narratives (Super8, 8mm, 16mm – all transferred of course, but that IS what we get to see). If you have not attended this panel, DO IT. It is one of my favorite parts of TCMFF every year.

PART III: SAY HELLO!!! I’D LOVE TO MEET YOU! :) 

When you see me walking around during #TCMFF, I will have my badge on and it will look like this:

TCMFF2016Pass

Look for the blue and burgundy 16mm reels and the red circled SP on the badge.

My social media platforms that you can follow are…

INSTAGRAM: www.instagram.com/archivistariel

TWITTER: https://twitter.com/ArchivistAriel

TUMBLR: http://archivistariel.tumblr.com

And once again, check out the hashtags this year – #TCMFF, #TCMFFSP and follow @tcm on Twitter!

I will be returning with another post soon letting you know what my schedule will possibly be so that you can stalk…er…find me during TCMFF if you wish. But for now, enjoy!

 

See you at the festival!❤

 

ArielSchudsonTCMFFSocial

 

Not Just The Clydesdales: Super Bowl 50 & Advertising History

It’s coming. It’s happening in a few days. My neighborhood is going to be full of screaming and cheering and less parking than usual.

 

But my gaze will be fixed on my television in a slightly different manner.

For some time now, I have been focusing my archival energies on the pursuit of preserving commercials and working on the recognition of advertising as something of worth within moving image archiving. While we have officially recognized television, film, home movies, industrial works and other short subjects as worthy of respect, there still seems to be a hard stare around the word “commercial” or “advertising.”

Yes- it is The Man. And yes, it is Corporations. And Consumption. All the “dirty words” that seem to make us uncomfortable and feel like we are somehow disrespecting ourselves and our individuality and relinquishing our rights to choose the things we put on our hair, into our bodies and treat our children with.

But advertising is more complex than this. I believe that there is a highly significant need for better and more extensive preservation (even restoration) of these works because they represent our social, domestic, political and cultural leanings throughout the years.

That said, one of the biggest events for advertising, lying somewhere between the Indy 5000 and the Oscars, is the Super Bowl. In just a few days, all over the United States, bars, homes and facilities of all sorts will be turning their lighted media boxes to the exact same program. There will be enough beer, pizza, nachos, hot wings and other grease and alcohol-slathered snacks to truly make one consider going vegetarian. After all, next to Thanksgiving (the largest eating day of the year) this is the second largest!

So let’s talk food for a second. According to the National Chicken Council‘s 2015 pre-game report, approximately 1.25 billion wings were eaten during last year’s Super Bowl- enough to circle the Grand Canyon 120 times and enough to put 572 wings on each seat in every NFL football stadium. As for pizza, by halftime last year Pizza Hut had broken its digital sales record and had already been named as the #1 food choice for the US during the game. So…score? As for booze, the figure is that 325 million gallons of beer are consumed on Super Bowl Sunday. Many articles say this is overblown and improbable, chalking the number up to the amount that is purchased on the day (not an impossibility). If the number were true, everyone in the US (men, women, AND children- omgz! Not drunk toddlers! They can barely walk anyway!) would have to chug an entire gallon themselves. And while I can certainly see a certain percentage of the folks I have encountered in my life being able to imbibe 10 beers in one sitting (especially light beers), I’m not putting bets on the babies.

So it’s a day of celebration, camaraderie and (it would seem) mild debauchery of some kind. I feel that there is an entirely different post related to this about why advertisers would select a day of drinky/greasy/cheer-ismo as the day to put their best foot forward and place their top ads that they have been working on (and spending the most money on securing spots and time for) but that certainly isn’t the point of this discussion. In fact, what I want to first discuss is who is watching and how.

Super Bowl Statistics

If you think that American Football is a dudes game, you’d be dead wrong. Mirroring the results that I found when I did my research into female fans of professional televised wrestling, the Nielsen demographic data has proven that women are not only active sports consumers, but they are interactive sports consumers. A recent statistic showed that 46% of the viewing audience is female (that’s almost half- guys, did you get that?) and on an even more fascinating level, MORE WOMEN WATCH THE SUPER BOWL THAN THE OSCARS, EMMYS, AND GRAMMYS COMBINED!  To add to this, the social media centered on the Super Bowl has been led strongly by women. As Kat Gordon, founder of the 3% Movement  wrote in AdWeek, “Women watch equally, buy + share in greater #s than men on Super Bowl Sunday. Ads with female appeal = best return on $4 million price-tag.” Of note: Gordon has an annual Super Bowl tweet-up with women creatives that deftly tries to negotiate the historic divide between the way that women consumer/fans are approached by advertisers and the way in which they wish to be approached. Here is the promo video-

The other big adjustment is newer technologies. So Super Bowl 50 (and its advertisers) are making that play to connected-TV devices like Apple-TV, Xbox, Roku and others. Mobile devices and tablets are in high use with the Millennial audiences for viewing sports events year-round, so the Super Bowl programming has made certain that their Jewel in the Crown is no different. But advertising will be a little different depending on the device. As reported in Variety,  CBS required all sponsors to run ads in the digital stream in addition to the straight-up TV broadcast. On the other hand, if you were to utilize a device like Roku or AppleTV, the only ads you would receive would be national spots.

Compared to the 16mm commercial collections that I have been dealing with, thinking about all this is mind-numbing. I have always had a slight interest in American football because they continued to film on 16mm up until 2014 when they went digital. So the discussion of digital outreach and audience visibility through mobile applications is a big step in my mind for the NFL.

So let’s get down to content stats before we go all historical.

The National Retail Federation reports that this year it is likely that there will be a viewing population of approximately 188.9 million folks who will be checking out the Denver Broncos play the Carolina Panthers. About 34.7% (85 million) view the game as the “meat” of the day, while 17.7% (43.4 million) are there to check out the commercials. The other 4.5% (11 million)? They’re just there for the food, man.

Now let’s look at the way these commercials are being watched. Are they being glossed over? Talked through? Is that when you go grab another beer or head to the privy? 78.6% said that they think of the ads as entertainment (whether the definition of “entertainment” deserves a more critical look is another story) and 17.5% of viewers say that they see these commercials as informative. The remaining 10.3% say that the ads definitely influence their desire to purchase a product.

Considering the history of Super Bowl ads, I can definitely understand that 10.3%. I mean, look at this Snickers ad from 2010. Betty White AND Abe Vigoda (RIP)? I’m sold.

If I was old enough to drink wine in 1980, I would most certainly have bought it from a classical music-testifying Orson Welles!

And there is no way you could talk me out of buying a car that is being sold to me through the spirit of Wile E. Coyote and the Roadrunner. That would be MADNESS (note: this is from 1969, 2 years after Super Bowl I)

History

Ok. So this year is Super Bowl 50. And it’s being played in San Francisco, making every one of my friends who lives there incredibly frantic. In fact, some have decided to just leave town for the weekend. I don’t blame them. I’m not entirely sure how they plan to fit that many people in a city that small, but good luck to them. Game on, right?

The first game was played in 1967, between the NFL and the AFL (American Football League), and was not called the “Super Bowl” for a few more years. Until 1972, the Super Bowl wasn’t even broadcast nationwide (I KNOW. CAN YOU IMAGINE. AND WE USED ROTARY PHONES THEN TOO). Super Bowls I-IV were blacked out in the host cities, plausibly to force the fans to actually attend in person. A bizarre event happened during the first Super Bowl that some might conjecture foretold of how interrelated the Super Bowl and advertising were to be. As Robert Klara describes it, “Green Bay Packers coach Vince Lombardi threw a fit when the second-half kickoff had to be done over. The reason? NBC held off returning to the game until after it aired a commercial for Winston cigarettes.” Out of the many anecdotes about live television I’ve heard/read, this might be one of my favorite because it was a live sporting event that is now one of the largest in the country. And they re-did the kickoff due to a commercial break. 1967, folks, Winston cigarettes.

This isn’t the ad that they showed (this one is from 1968) but it was too good not to include as an example of a “late 60s Winston ad.”

Advertising changed for the big game when star quarterback Joe Namath appeared in a very steamy Noxzema commercial for the 1973 Super Bowl with a pre-Charlie’s Angels Farrah Fawcett. The Noxell Corporation (also owners of Cover Girl) were at the tail end of a very sexually-charged campaign for Noxzema products that had featured a former Miss Sweden and some highly suggestive language. This ad fits in quite well with that theme and sparked the match that the Super Bowl/advertising industry needed to light their partnership fire.

That same year, another ad ran with an unknown young actor and he (and his leather jacket and “Eyyyy!” attitude) became pretty famous soon thereafter!

Cost

So how much does all this run?

AN INSANE AMOUNT OF MONEY. People say it costs a great deal, you can read the numbers, but it’s beyond what you would think. In fact, the best way to describe how much ad space for the Super Bowl costs is to tell you how much it has cost through the years and do comparisons.

So the year that it began- 1967- a 30-second spot cost $42,000. Twenty years later, in 1987, people were shelling out a hefty $600,000 for :30. For Super Bowl XLI in 2007? It was $2,600,000. At this point, advertisers are currently paying $160,000 A SECOND to advertise on the Super Bowl.

So why is this, aside from everyone loving sports and the Super Bowl becoming a massive National Cultural Event? The Big Kids got involved and they put their money where their mouths were. And, like advertising is, it became a massive competition to see who could do the best and freshest work, produce the most effective product that would get results for their clients. And more clients got involved as time went on. And bigger clients. So instead of smaller ads like this Wild Kingdom bumper from 1969

they garnered much larger ones like the now-famous Clydesdale/Budweiser ads.

It was at this stage in the Super Bowl/Advertising Game that they began to get some very interesting content as well.

I have a personal love for this Xerox commercial from 1976. But it’s incredibly nerdy and so am I.

And of course when you pair up a huge star like Mean Joe Greene with a kid, add some heart to the ad, and put it within the Coca-Cola landscape? Yeah. You have a winner. This is well-remembered as one of the best Super Bowl ads. And it’s held up.

One of the most legendary commercials to run during the Super Bowl is the Apple Commercial directed by Ridley Scott. It aired on January 22, 1984 and (contrary to popular belief) did run more than once but was not a regularly programmed spot by any stretch of the imagination. It is still incredible.

Big clients. Big names. Big money. And the Super Bowl gets bigger and bigger.

And advertising for the Super Bowl gets better and better through the years. I would argue that the thoughts and considerations I have been having on modern American advertising do not seem to apply to the Super Bowl advertising spectrum. Many of today’s standard ads do not seem to carry the same narratives, diversity and engaging fun that is present during the ads of the 70s, 80s and 90s, even up until the early ’00s. But the Super Bowl ads…well, that’s when everyone (literally) brings their A-Game. They all seem to have wit and swagger of some kind.

February 7, 2016

Clearly I am going to watch the Super Bowl mainly for the commercials (as you have probably guessed by now). I am BEYOND excited that Squarespace seems to know that I’m a commercials whore and love comedians Key & Peele, and they are providing me with a way in which to have the best time ever on Sunday, which rocks.

It will probably be me and my cats. I might yell and scream at the TV too, just like any DudeBro, but it’s going to be advertisement related. BECAUSE I’VE SEEN THE TEASER/TRAILERS FOR SUPER BOWL 50 AND THEY’RE WILD.

There are a few ads for Super Bowl 50 that I am really looking forward to based upon seeing the teasers. This is the major one. I love the Snickers ads. They are so clever & they star my favorite people. The #EatASnickers campaign is really great.

This one looks pretty great too…

Also these:

And there are more. Maybe I’ll do a top 10 faves when #SB50 is over.

For now, I’m going to also leave you with a few classic faves because, well, THEY’RE GREAT COMMERCIALS. I hope you enjoyed this piece as much as I enjoyed dorking out about what is pretty much one of the biggest days of the ad year. Have a good one folks!

Legacy Super Bowl Ads – Personal Faves!

Evil Beaver. So much yes. Maybe not as an ad, but I can’t help myself. LOVE.

I still don’t even believe this is real but…it is. “Start living again!”

Oh, Holiday Inn…

CLASSIC.

Magic Mountain appearance!

And you’ll never beat Spuds Mackenzie. Party animal!!!!

 

Losing the Light, Keeping the Inspiration: Vilmos Zsigmond

In January of 2011, I saw 2 films that changed the way that I think about masculinity and cinema: ELECTRA GLIDE IN BLUE (James William Guercio, 1973) & SCARECROW (Jerry Schatzberg, 1973).
Really, they became two of my favorite films in life. But that is a whole other story.
Looking back, my impetus to attend stemmed from two things: my friend Cathie’s love of the EGIB soundtrack (which we played all the time in the car) and my purchase of the VHS for Jerry Schatzberg’s SCARECROW when I was working at Amoeba in the early ’00s. I remember the cover –
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And I remember thinking: Hackman and Pacino did a movie together?? What???
So that story ends in a rather anti-climactic manner. I never watched the VHS. In fact, I no longer have the damn thing.
But I’m so glad. You can only lose your Movie Virginity for a film once and theatrically is the best way to do it.
This is the second time I’ve written on this screening. It had a heavy impact on me.
The first time, I wrote about ELECTRA GLIDE IN BLUE for the film noir blogathon. This night was one of the best film memories/screenings of my life. And considering how many movies I’ve seen….THAT’S saying something.
Retracing my steps to 5 years ago. I had originally had plans for the night but they fell through so I did what any normal, red-blooded, cinematically-charged girl would do: I biked over to the LA County Museum of Art and attended the series that I had (sadly) missed most of, entitled “True Grit: The Golden Age of Road Movies.” I had no idea that there was a guest that night. I was there to see these rare films that never screen. And I was really excited about SCARECROW. I knew nothing about it- was it a comedy? Drama? Thriller? Somewhere in between? I had intentionally done no exhaustive research on it because I wanted to go in fresh. To be fair, even now it is rare to find people who are that familiar with the film, even though I feel it is top quality, desert-island material.
My time-memory is not perfect, but considering that the photo I took of my ticket says the double-feature began at 5:00pm, I think that it would make sense that our man Vilmos took the stage post-double feature.
I could lie and say that I was highly educated on the man’s career. But why? I wasn’t. It was more educational and beautiful to be introduced to him in this manner.
It would be absolutely fair, however, to say that yours truly had a decent idea of who he was. While I couldn’t name any film titles off the top of my head, I had seen many by that time.  Mostly, I knew that there was this wonderful bearded signatory of the cinematographic community being welcomed gloriously to the stage, and…I just wanted to give him a hug. He beamed from ear to ear and I’m still not sure if I breathed during the Q&A or just smiled dumbly like I was high on drugs. Vilmos was infectious!!
He laughed and enjoyed the questions and discussion, thought it was funny that people were in such awe of his work. He shrugged so many times. “We just did it,” was his approach. A very classical no-nonsense approach.
He smiled, shook his head, told stories. He thought the whole thing was a gas.
All the things that he spoke about that night, I now treasure- as a professional in the film industry, as an archivist, preservationist, historian and film lover.
He spoke about coming to this country and working with Lazslo Kovacs, and how their relationship and Hungarian”ness” really added a new flavor to what was going on in film at the time.LazloVilmos
He even spoke about working on THE SADIST (James Landis, 1963) a little bit, where he was billed as William Zsigmond. This was pretty thrilling to me because I really love this film.SadistLobbyCard1963
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Vilmos was allowed to talk, mostly uninterrupted, about certain technical and narrative aspects of SCARECROW that he was involved in.
The film relied quite a bit on improvisation (not always a cinematographer’s friend) and yet Zsigmond rolled with it, going so far as to call this work one of the “better of my films.” Even though he admitted that it was quite dark- content-wise and visually, matching many European films at the time as far as lighting went.
An audience member asked about an opening scene in which there were tumbleweeds rolling by as Pacino and Hackman stand at opposite sides of the road. Was this planned out? Did they choreograph the tumbleweeds? Vilmos just laughed. “They were tumbleweeds! They were around. They do what those things do.” No, Virginia, there were no tumbleweed wranglers.
Vilmos Zsigmond spoke about the way the film was shot and their “cinemobile.” He said it was dreadfully hot inside the car and while it was certainly a communal experience, it was a learning opportunity and tough.
I felt like I was going to film school just listening to him reminisce. But it wasn’t in a sad-nostalgia way or “tough-guy-walk-up-the-hill-in-the-snow” way. He treated the audience as though we were friends.
Debra Levine quotes Zsigmond in her review of the evening‘s double feature at LACMA:

[Scarecrow] was a real road movie, made on a very low-budget, $800,000. We went to Bakersfield, we had to shoot in sequence. We were on the road. We sent someone ahead to find locations. There were no sets in the film. We used motel rooms and bars. We had a cinemobile [bus] that held everything, actors, equipment, crew. We had unusual crew, the smallest I ever saw, camera, gaffer, key grip, sound man, dolly man, boom operator. Everyone was helping; the driver of the cinemobile was pulling cables. We were traveling every day. At the beginning, in L.A., we went through the script and agreed on what we were doing. We settled in Denver, but we had no time to rehearse. [On the road] we had no time for rehearsal.

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Al Pacino and Gene Hackman in Jerry Schatzberg’s SCARECROW (1973). Courtesy Warner Bros./Jerry Schatzberg

Vilmos Zsigmond’s eyes sparkled as he spoke, he had passion in his voice and love for his art. But he was a relaxed and centered guy. I never met him one-on-one, but I met his movies. I met him that night when I saw him speak about the film that I have now had the privilege to see twice on a big screen- once at LACMA and once at the Turner Classic Film Festival (TCMFF).
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When you love what you do and you live for what you do, it’s hard to keep it inside. You exude that joy and dedication. That is the only way I can adequately describe Vilmos Zsigmond. He is so inspiring in that sense. Although he has passed away, he will always be inspiring in that regard. This is a man who filmed the Hungarian Revolution in 1956, escaped his homeland, and then shot films as diverse as HORROR OF THE BLOOD MONSTERS (Al Adamson, 1970), BLOW OUT (Brian DePalma, 1981) and REAL GENIUS (Martha Coolidge, 1985).
Aside from SCARECROW (obviously), I’m a sucker for BLOW OUT (Brian DePalma, 1981), THE LONG GOODBYE (Robert Altman, 1973), and MCCABE AND MRS. MILLER (Robert Altman, 1971). I consider these films to be part of my family. I will certainly admit to playing favorites on SCARECROW and BLOW OUT, however.
Tonight I will be watching SUMMER CHILDREN (James Bruner, 1965), another film that Zsigmond was credited on as “William Zsigmond” and lit by his pal, Laslo Kovacs. I’m looking forward to it. I’ve never seen it. There is very little written on it and I may pursue this more.
Wish I could see it in a theater, but them’s the brakes.
From what I have found, this film is another interesting addition to his oeuvre. It has been labeled “neo-noir” and American New Wave and all sorts of things. I’m excited because it features Catalina Island- one of my favorite places on the planet.summerchildren1965
I would like to do some more in-depth research on it (especially as to the actual restoration process) but my brief look came up with a reasonable synopsis.
It was thought to be a lost film (although it was finished) but elements (including original camera negatives) were found in the early 2000’s and sound elements were located in other vaults. Apparently (as it goes in a case like this, from my understanding) a restoration was completed using a combination of the best elements that they located from all of these vaults over time, and Zsigmond assisted on the creation of the final product, getting it back to some estimation of what it was to look like.
If you have Amazon Prime, you can watch this tonight as well. I’m greatly looking forward to it.
I consider myself lucky to have been so warmly gifted with his laughter and stories for one night. I am also lucky because I will be able to have his films forever. While I absolutely am not a binary “digital or film or die!” person, I will say this about Zsigmond: he knew how to use the format of film. And I hope that those working with digital instruments today will take that under consideration and experiment, perhaps, with film while it is still around because there is something different there. Not better, not worse, simply different. And it is what digital is based upon. And cinematographers like Haskell Wexler and Vilmos Zsigmond built that machine. Let us try not to hire the wrecking ball too soon, eh?
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Eric Caidin: Los Angeles Legend, Hollywood Cultural Treasure and My Friend

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Got the stupid phone call earlier today. I had just woken up. My cats hadn’t even switched positions from where we went to sleep the night before.

I did the same thing that I did when I got the phone call that Sherman Torgan died. I was so dead silent that the person on the other end had to check if I was still there. In fact, it was the same person who told me in both cases.

I argued with my friend: “Are you sure? This isn’t a rumor or a mistake?” I knew it wasn’t. “You’re absolutely positive? This CAN’T be true. This is not someone we can afford to lose. We really need him.” Which was a mixture of the oral historian/archivist/scholar in me speaking but the Film Friend saying: I really need him. I’m going to miss this man so fiercely. He changed my life. Who will I see and hug now at film events? Who can I giggle with in that way we did?

My friend on the phone, who had his own extremely intimate relationship with Eric, was good with me. But he assured me that it was not a mistake. I said that maybe we brought it on by talking about people we had lost over the weekend. Was it our fault? “No, Ariel, it’s not our fault. He had a heart attack. We are not responsible.”

I still feel responsible. If I hadn’t brought that topic up last Saturday, would Eric still be with us? I know I’m not responsible. But I also keep wanting to wake up from some stupid nightmare and have this be false information. However, after seeing an article already published in Los Angeles magazine…I guess it’s not somnolence-related.

I wish all of you could have met Eric Caidin. I’m sure many of you did, perhaps for more than 20 years. I can only claim to have been Film Friends with him for 13-14 years. But my first introductions to Grindhouse Cinema were through him. And I had no idea what the term meant. Like zero clue.

Original storefront for Hollywood Book & Poster

Original storefront for Hollywood Book & Poster

Eric Caidin owned and ran Hollywood Book & Poster in the very center of Hollywood for years. In fact, it was only within the last year that it closed (due to raised rents, go figure). The plan was for HB&P to relocate to a highly popular spot in Burbank for themed boutiques, certainly one that would have been well-suited to Caidin’s years of hard work and skilled curation of motion-picture themed collectibles. As a woman who has grown up in this city and watched as places like Book City, C.C. Brown’s and other signature Hollywood Blvd landmarks disappear, this was sad. But I was also excited for their new future since I believed in the “Caidin Touch.”

If you watched Eric at a Convention or at a Q&A, if you had him hand you a flyer for a Kiddee Matinee at the New Beverly or any of the umpteen thousand projects that he did aside from running that shopyou would see something that we are lacking in 2015: THE ULTIMATE SHOWMAN.

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Eric in his “milieu” at a convention! Always on & always “on it”!

He didn’t do a little bit of everything, he did a LOT of everything. And he knew about everything. While kids need google now and barely anyone remembers using real encyclopedias or card catalogs, Eric Caidin was a walking encyclopedia. And not just on horror films or exploitation- but on all kinds of cinema/pop culture. And on wrestling?? Expert!! And I. Love. Wrestling. Eric and I had so many conversations about the squared circle. In fact, almost every time I saw him- New Beverly, Noir City, running into him at random film screening- if there was some random wrestling thing (mainly Mexican Wrestling, but a good deal of other stuff too) that he was involved in, he would tell me about it and ask me if I wanted to go. Hindsight is 20/20, of course, and I hate that it is, but I am sure as hell sorry that I never watched wrestling with Mr. Eric Caidin.

A favorite personal Eric Story:

Many years ago, I’m down at Comic Con to present on a panel. As usual, I go by the Hollywood Book & Poster table to say hello and chill out and have some laughs with Eric. The day goes on, and Caidin says:

“Hey- you wanna go to Mexico with me tonight and get some wrestling masks and go to a match?”

UM, OBVIOUSLY. So the hall closes, we get into a van, park at the border, get a cab into Mexico. The match was a bust, we spent about an hour driving around TJ with Eric, laughing and listening to him talk to the cabbie, trying to figure out where there might be some Lucha. There was none. We went to a stadium and there were some guys outside who talked to us, told us there was a bullfight? No lucha. We got back in the cab. We returned to the main drag.

“Oh well. So much for that. Got this GREAT place to eat though.” So Eric Caidin took us to a place called “Tacos Not Drugs.” Still the best molé I have ever eaten. I don’t know what happened to the pictures that we took, which is sad. They had a “Tacos Not Drugs” stand-up with places for you to put your face. What a night.

But Eric was a Los Angeles Film Community Raconteur, in the very best sense of the word. Every time I saw him at a film event, I was overjoyed at being in his presence and at getting to bask in his experience and knowledge. Because he was one-of-a-kind and he genuinely loved film.  I spent a few hours at the final party of the Noir City party in 2014 listening to him tell me great stories that just made my jaw drop. And I just kept hugging him and asking him: “How do you even exist? Are you writing these things down? These stories are so fantastic?” And he just shrugged and told me another, while patting his fabulous film-related tie. Another thing- I loved Eric Caidin’s ties. NO ONE COULD EVER ROCK THAT THREE STOOGES TIE LIKE CAIDIN. And no one should ever try. End. Of. Story.

This tie was the best ever. No one could wear this like Caidin.

This tie was the best ever. No one could wear this like Caidin.

We joked about gangster pix and decided to try to take a gangster picture together that night. It didn’t quite work, but we had such a great time.

Eric Caidin- the bandit!

Eric Caidin- the bandit! With another AMAZING Three Stooges tie!

My Film Friend <3

My Film Friend❤

I suppose when you hear of someone close to you dying you need to process it in certain ways, right? I want to remember the times that I had with him and our fabulous personal relationship, but that was personal.

No one reading this will know the singular joy I felt when I saw him at festivals or events. And I don’t get to do that ever again. That’s fucking painful. He gave great hugs. I like good hugs.

I always brightened because I recognized a Fellow Traveler. And by that I mean someone who engaged in the world of cinema for the Right Reason (and yes, there is One Right Reason): because you love and enjoy it and it makes you happy. It entertains you.

Many people knew Eric without “knowing” Eric. He was one of the founders of the Grindhouse Cinema screening series at the New Beverly Theater where he would show up, always wearing that baseball cap and that jacket that he loved (which was probably one of the 10 ugliest pieces of clothing that has ever been invented), and introduced so many forgotten film titles with Brian Quinn. This much-loved film series still continues and was an education for many cinephiles over the years. Before there was Cinefamily and their cult-screenings, before Cinefile even existed with specialized sections, there was Grindhouse night at the New Beverly. The only thing in LA that was comparable was Mondo Video but….that’s a whole other thing and that was a video store.

Grindhouse night at the New Beverly was one of the most flavorful and unique things that Los Angeles repertory theater culture has ever had. Sherman Torgan knew that, Michael Torgan recognized it, and it remains there today, albeit in a slightly changed capacity. But Eric Caidin’s influence on the minds and eyes of so many audiences in the Los Angeles area is hard to gauge. It’s expansive. To give you a slight idea, here are a few images from past calendars:

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Speaking from a media archiving standpoint, Eric Caidin was an exceptional person. He curated ephemera in a remarkable manner for fans and special interest groups for many years and was a specialist in this area. His masterful ability to engage “lost” Hollywood personalities and recenter them within a space that made them feel special was a gift that not everyone has. Because of his own love, admiration and fandom for the work that he was presenting, he was able to show respect for the materials showcased and the people that he interviewed or who came to his booth during the multitude of conventions that he would attend. Whether it was Rowdy Roddy Piper, Vampira or Ann Robinson, Caidin was a scholar and a gentlemen…albeit in a Monsterpalooza baseball cap most of the time.  But really- who is the arbiter of what scholarly or gentlemanly aesthetics should be, anyway? The man was a rock star and we will always remember him as such.

In 2015, when fandoms seem to be more about the “haters” and which fan item is better than another, Eric Caidin never pursued such folly. Thus his cultural power and ability to gain love from us made him legend. This icon who celebrated media so brightly and spent his life sharing that adoration with others is gone. And that sucks.

Men like Eric Caidin don’t “just happen.” He programmed the works posted above and was completely jazzed about the recent slew of Kiddie Matinees that he had going at the New Beverly. He handed me a flier from one of them and talked excitedly about how I had to come. “All in 35mm! You’ll love it, Ariel. It’ll be a great afternoon!” and then started telling me about the other ones that he was planning.

Eric Caidin was the most joyful Talker I’ve ever met not standing on the ballyway.

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Eric Caidin attended the Arthur Lyons Film Noir Festival this past weekend and passed away after having what I have been told was a lovely meal with some of my other most dear and closest Film Friends. One of the things I have come to cherish about my years with Eric was seeing him at the Festivals- TCM, Noir City, AFI, you name it. We’d dish, talk about what we’d seen, who we thought was good, all the filmy things. It was good to talk to him because there was no ridiculous drama. It was great and I felt like I was talking to an adult. All we talked about was what was important: film content, quality of print, similarity to other films, quality/calibre of performance, things that are so very valuable in a conversation. He would inevitably bring up something I hadn’t heard of. I would inevitably forget it and have to ask him next time what it was that we were talking about the last time we talked. Sometimes he’d remember, sometimes not. But such is life.

Something in me says that “if he was gonna go, at least it was after a fabulous weekend of seeing film noir and Q&As with Norman Lloyd and Jon Polito, and being with loved ones. That’s exactly the way I’d wanna go.” The other part is saying, “dammit, what was the last thing/movie we talked about?” and is terribly sad that there won’t be a “next time” refresher for whatever it was.

Thank you Eric Caidin. I still can’t believe you are gone. This is going to take a while.

Archiving: The Personal, the Professional and the Unknown Experience

I don’t usually use this space for personal entries, but sometimes, in archiving, the personal and the professional mix. While that can be a death sentence on public space and social media (if used incorrectly), there are times when the connection of the two can lead to a fascination rumination on career choices, life choices and philosophies. You can make the decision about what I have done after you complete this entry.

A great many people in my life have inspired me with archiving & preservation. Starting with Laura Rooney​, Kristina Kersels and the AMIA organization, moving forward to the amazing Dennis Doros, the AMAZING Film Noir Foundation and Eddie Muller, and continuing with a list of a zillion people. These days, my amazing conversations that keep me afloat/sane are my Library Ladies, Eunice Y. Liu​, Rachel E. Beattie​ & Stacy Jyl McKenna​. Because they get stupid jokes that might start with “So three catalogers walk into a bar…” I can’t name everyone, but the issue is this: being an independent/freelance archivist is really tough. I have some really tough moments. I am trained. I am passionate. Sometimes those things don’t work well together. I’m well aware. I’m working on it. I’m also not ready to give up. I love what I do too much. And…it’s way too important.

My archive partner and colleague Adam balances me out. He’s my best friend. I’ve never been able to work with someone THIS WELL before. It may be due to the fact that he & I have been through hell & back together, but that’s another story for another time. Let’s just say this: it’s one of the best working relationships I have ever found and he is amazingly supportive of all the things that I get anxious about. Something I really need right now, in this delicate time. I think there’s going to be great things that will happen from this. My gut says so.

BUT….I digress. I have learned something INCREDIBLY important this week. I became an archivist to save moving image history initially. I thought (at first) that I wanted it to be something “larger,” something “big.” I think I was maybe really wrong. Like SERIOUSLY wrong. I may get more rewards from the exact opposite.

This last week I began helping one of my dearest friends for the last 20+ years Margo Stern​ begin to deal with her incredibly talented father’s film collection. What I realized is that this life that I have chosen is actually meaningful to me because it really makes people happy. See, Margo’s dad isn’t doing well.

I desperately desperately wish we could have assessed (& made digitally accessible) this collection when he was. I kept saying to Adam as we were playing and inspecting some of the commercial reels, “Goddamn, I wish we could’ve done this earlier when we could’ve enjoyed this with David (Margo’s dad) and had him tell us the stories behind these advertisements!”

See, much like 16mm educational films (something else that I focus on in my personal work), Adam and I are of the opinion that commercials are in this highly unloved/unappreciated category of film/film-making and should truly be revisited. In this way, David Stern was really a master. He had humor, he had art, he worked with the product, he SOLD it! Man. I was so hungry after some of those commercials!!

I am getting untold glee out of Getting To Know David Stern from his film work (I only spoke to him on the phone once). It means getting to know his daughter better (always awesome, because Margo is one of the most awesome humans on the planet) and it means looking at a space in time on the commercial spectrum in US moving image work (he did primarily commercial work), and so many other things.

Mostly, however, it has meant documenting every little thing, quality & condition, individual reels (some were lab new!!), and looking at a full collection basically in retrospect and finding things that are now considered complete treasures but in the 1970s were simple TV spots. I have learned about products that don’t exist anymore, underwear companies that used to play music for their employees at lunch time and how much time David Stern spent in Texas (a good chunk).

However, the most amazing part of this experience so far has been what I am calling my “Unknown” experience. If you are a film nerd or archive-y geek, you are familiar with the story of the Browning film, THE UNKNOWN and how the print sat for many years in a pile of “unknown” prints simply due to its lovely but rather unfortunately title. It was a lost film…until (luckily) it was found.

It was about 3am. We had completed the inventory of the single commercials and inspected and correctly documented (many of them were totally wrong) everything that was on Stern’s collection of compilations reels. There was one more 16mm film in a grey plastic can and it was simply marked “brazil.” We had initially put it with the stack of home movies in the corner (the “bad” corner, since many of those films are in early stages of vinegar syndrome, but we will be handling that next week! Stay tuned film fans!) but in a different area, since it was not vinegar (this gets complicated- but trust me- I have a large space and plenty of places to put/separate things).

We went to revisit this can since it was the same grey can as the rest of the compilation reels and the home movies were all in metal, so we were a little suspicious anyway. We opened the can and it said “Brazil 66.” Okay. So looking back now? I should have known. I did, in fact, know that there was a band called Brazil 66. But here is the thing: The Stern Family also traveled…A LOT. And the family films are actually labeled, too! And pretty well! But then we saw the soundtrack. And we knew that it couldn’t be one of the family films. So….onto my boyfriend Elmo (my Projector is an ELMO projector, I spend much time with it, thus…my boyfriend) we thread up the reel.

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Adam and I look at each other DUMBFOUNDED. Not only is this gorgeous footage, but it’s famous.

As I wrote to Margo, our initial thoughts on this reel, due to the “Brazil 66” label and due to the other elements in the collection were that this film was going to be:

a) industrial travel film, b) educational film that David collected, or c) ???
Turns out that it was d) OMGWTFTOTALLYAWESOME. This was a reel of Sergio Mendes and Brazil 66. AS IN THE BAND.

And if you would like to see a partial clip of what is on the full reel, some of it is on youtube. Here is the clip:

I immediately contacted Margo to tell her. It was kinda amazing for me. I was beyond myself. I don’t know if this is a “great” archival “find” but for the family it certainly is. Margo’s response was enough. “ARE YOU SURE HE DID THIS?” essentially was what I got back. And I was so so so happy to be able to say, with absolute confidence, “Yes, I am absolutely positive. We have several commercials that he made for Carnation from the Urie company during the same time period, and the Urie tag is on the heads and tails of the Brazil 66 film. Your father, David Stern, made this crazy psychedelic masterpiece of film & music.”

If you look close, Urie is scribed right near the Brazil 66.

If you look close, Urie is scribed right near the Brazil 66.

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So, the thing about the reel is that the song on that clip? “Mas Que Nada”? That’s not the only thing on that lovely bit of 16mm. The reel is about 5-7 minutes. It’s 2 music videos. And to further prove that David Stern created that? We watched the 16mm Turtles music video that he made that is in the Stern collection. Yes, that Turtles.

There are some pretty distinct similarities. Unfortunately, the Youtube version is not that great, but once again…the 16mm looks FABULOUS. Damn, I love film.

Adam has been great in being the neutral archive person for me & the one to assist while I document all of the elements in a central database so that we can sort it out and get it ready for digitizing. Our primary goal in this project is for the Stern Family to be able to enjoy David Stern’s work as we have been able to. If this sounds like it is all fun and games, it isn’t. You do have to watch the same bits and pieces of material sometimes 20 times in an hour (commercials are :30, remember, and not everything that was done for money was great and fun).

But I really love my job and this is best part of it. I do not envy my wonderful friend her situation. She is one of the best people I have ever known in my life and there is no doubt  in my mind that much of that comes from her dad. She’s a smart cookie, and this film work is smart as hell.

Finding a balance between the personal and the professional in a situation like this is very very difficult. There is nothing I can actually say with my mouth to make this family situation better for her. What I can do is try and help her family get some peace by doing what I am trained to do: archive, preserve, appreciate. I am honored to be working on the Stern Family Collection and appreciate this opportunity. It’s a real gift.

I hope that anyone who reads this can start to consider thinking about their own family collections and how they might begin to assess them before it gets to “that point.” Home movies, student films, commercial work, any of those kinds of items are valuable. This is valuable content. And there are many highly-trained and dedicated individuals like myself who find nothing but pleasure in assisting you and your families in the organization of that content into a manageable form. It may seem intimidating now, but, as I always say about film/archival work (and I do always say this, ask anyone) “Anything is possible.”

TCMFF: Socially Leading You To Film Preservation Victory or Where’s the 35mm, yo?

Hello all!

Our beloved TCM film festival starts tomorrow but I thought that I would give you a heads’ up on a few points of interest!

One question that is asked every year is: How many of these films are being shown ON FILM?

To a film archivist and preservationist such as myself, this is a critical question and very important thing to ask. While it is absolutely true that each time a print is shown we lose a generation and the ability to locate prints of many films is not a piece of cake (if it was, you wouldn’t need archivists! TOTAL SHAMELESS PLUG FOR MY PROFESSION), there are so many beautiful prints out there and one of the things that I love the most about TCMFF is how much film, ACTUAL FILM, they project every year.TCM_CFF_Horz_NoYear[2]

 

 

 

 

I really believe that the fabulous programmers and hardworking folks at TCM really make it a point to put as much 35mm and 70mm into the festival as possible and this year is no exception. In fact, if anything, this year is even more exceptioNAL in that sense. There is one session that discusses the birth of Technicolor (something all classic film fans are familiar with but not too many know enough about) and one session where films will be HAND-CRANKED, the way films used ta be, back in the beginning!

And yes- the theme this year is his/her-story according to Hollywood. But they didn’t *have to* include these panels/screenings as part of the festival. Film history didn’t have to be there. There are certainly enough historically-based classic films to have 3 TCM Film Festivals. Trust me, as someone who has programmed before, I can tell you THAT. And anyone who has any familiarity with classic cinema would rightly agree.

In my role as TCM social producer this year, I want to celebrate what they do for film preservation and restoration. By continuing to show 35mm and 70mm prints for features, by showcasing 16mm, 8mm and other small-gauge in the “Home Movies Panel” with Lynne Kirste and Randy Haberkamp, TCMFF supports the fact that this is a format that is worth seeing and loving. In fact, some of the films shown (Too Late for Tears for example) may be projected on brand-new prints! You never know!

In this post, I am going to let you know what films are going to be showing this year at the TCM Film Festival on film. Feel free to tweet at me (@sinaphile) or comment if I have left any titles out. I think this should be pretty full. I feel that, in favor of projectionists everywhere, as audience-folk, always be appreciative of those awesome ladies & gentlemen in the booth. They’re working hard for ya and caring for those reels. Many of these prints come with VERY strict guidelines on how they are to be handled so that they remain in as good of condition as they are and will remain playable for years to come and the folks who are playing them are gonna do their best to make sure that they get shown beautifully. And entirely for our pleasure. HOW SPOILED ARE WE???

So let’s get on with the show!! Also- please note- I would say…screening location is subject to change. So these are based on the schedule as it is today, 3/25/2015. Please rely on the TCMFF schedule routing information as it is given to you and as you are directed by the lovely TCM humans. And be nice to them. They are awesome. And work super hard to make this run smoothly!

Thursday

(d. Rouben Mamoulian, 99m, 35mm) 6:30 PM Chinese Multiplex House 6

(1933, d. Rouben Mamoulian, 99m, 35mm)
6:30 PM
Chinese Multiplex House 6

(d. Byron Haskin, 99m, 35mm) 6:45 PM Chinese Multiplex House 4

(1949, d. Byron Haskin, 99m, 35mm) 6:45 PM
Chinese Multiplex House 4

 

(d. Michael Curtiz, 127m, 35mm)  10:00 PM Chinese Multiplex House 6

(1940, d. Michael Curtiz, 127m, 35mm) 10:00 PM
Chinese Multiplex House 6

 

 (1980, d. Bruce Beresford, 107m, 35mm)  9:45 PM Chinese Multiplex House 4

(d. Bruce Beresford, 107m, 35mm) 9:45 PM
Chinese Multiplex House 4

Friday

(1960, d. Stanley Kramer, 128m, 35mm) 9:00 AM Chinese Multiplex House 6

(1960, d. Stanley Kramer, 128m, 35mm)
9:00 AM
Chinese Multiplex House 6

 

DAWN OF TECHNICOLOR panel/screening – 9:00 am, The Egyptian Theater

(1931, d. Ernst Lubitsch, 93m, 35mm) 9:30 AM Chinese Multiplex House 4

(1931, d. Ernst Lubitsch, 93m, 35mm)
9:30 AM
Chinese Multiplex House 4

 

(1985, d. Woody Allen, 82m, 35mm) 12:15 PM Chinese Multiplex House 6

(1985, d. Woody Allen, 82m, 35mm)
12:15 PM
Chinese Multiplex House 6

 

(1949, d. Anthony Mann, 89m, 35mm)  12:00 PM Chinese Multiplex House 4

(1949, d. Anthony Mann, 89m, 35mm)
12:00 PM
Chinese Multiplex House 4

 

 (1974, d. Bob Fosse, 111m, 35mm) 11:30 AM Egyptian Theatre,  In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1974, d. Bob Fosse, 111m, 35mm) 11:30 AM
Egyptian Theatre, In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1939, d. John Ford, 100m, 35mm)  2:45 PM Chinese Multiplex House 4

(1939, d. John Ford, 100m, 35mm)
2:45 PM
Chinese Multiplex House 4

 

(1965, d. Norman Jewison, 102m, 35mm) 3:15 PM Egyptian Theatre

(1965, d. Norman Jewison, 102m, 35mm)
3:15 PM
Egyptian Theatre

 

(1952, d. Charles Chaplin, 137m, 35mm)   2:30 PM Chinese Multiplex House 6

(1952, d. Charles Chaplin, 137m, 35mm)
2:30 PM
Chinese Multiplex House 6

 

(1931, d. William K. Howard, 35mm) In Attendance: MoMA film curator Anne Morra,  5:30 PM Chinese Multiplex House 4

(1931, d. William K. Howard, 70m, 35mm) In Attendance: MoMA film curator Anne Morra,
5:30 PM
Chinese Multiplex House 4

 

(1933, d. James Whale, 71 m, 35mm) 7:30 PM Chinese Multiplex House 4

(1933, d. James Whale, 71 m, 35mm)
7:30 PM
Chinese Multiplex House 4

 

[A Man For All Seasons] (1966, d. Fred Zinneman, 120m, 35mm) 6:00 PM Chinese Multiplex House 6

[A Man For All Seasons](1966, d. Fred Zinneman, 120m, 35mm)
6:00 PM
Chinese Multiplex House 6

 

(1965, d. Peter Watkins, 48m, 35mm)  In Attendance: Film Author and Professor Emeritus Joseph Gomez. 9:30 PM Chinese Multiplex House 4

(1965, d. Peter Watkins, 48m, 35mm) In Attendance: Film Author and Professor Emeritus Joseph Gomez.
9:30 PM
Chinese Multiplex House 4

 

 

(1940, d. Alfred Hitchcock, 130m, 35mm) 10:00 PM Egyptian Theatre

(1940, d. Alfred Hitchcock, 130m, 35mm)
10:00 PM
Egyptian Theatre

 

 

(1940, d. Edward F. Cline, 72m, 35mm) 9:15 PM Chinese Multiplex House 6

(1940, d. Edward F. Cline, 72m, 35mm)
9:15 PM
Chinese Multiplex House 6

 

(1968, d. Joseph Losey, 110m, 35mm) 12:00 AM Chinese Multiplex House 6

(1968, d. Joseph Losey, 110m, 35mm)
12:00 AM
Chinese Multiplex House 6

 

Saturday

(1937, d. Mervyn LeRoy, 95m, 35mm) 9:00 AM Chinese Multiplex House 4

(1937, d. Mervyn LeRoy, 95m, 35mm)
9:00 AM
Chinese Multiplex House 4

 

(1945, d. John Ford, 135m, 35mm) 9:45 AM Chinese Multiplex House 6

(1945, d. John Ford, 135m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1975, d. John Huston, 129m, 35mm) 10:00 AM Egyptian Theatre

(1975, d. John Huston, 129m, 35mm)
10:00 AM
Egyptian Theatre

 

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)    11:30 AM Chinese Multiplex House 4

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)
11:30 AM
Chinese Multiplex House 4

 

[The Miracle Worker] (1962,  d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm)  In attendance: actor Andrew Prine 1:30 PM Chinese Multiplex House 6

[The Miracle Worker] (1962, d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm) In attendance: actor Andrew Prine
1:30 PM
Chinese Multiplex House 6

(1992, d. Spike Lee, 202m, 35mm) 1:30 PM Egyptian Theatre

(1992, d. Spike Lee, 202m, 35mm)
1:30 PM
Egyptian Theatre

 

(1932, d. John Ford, 84m, 35mm) 1:45 PM Chinese Multiplex House 4

(1932, d. John Ford, 84m, 35mm)
1:45 PM
Chinese Multiplex House 4

 

(1977, d. John Power, 99m, 35mm) 4:00 PM Chinese Multiplex House 4

(1977, d. John Power, 99m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1940, d. Preston Sturges, 67m, 35mm) 4:15 PM Chinese Multiplex House 6

(1940, d. Preston Sturges, 67m, 35mm)
4:15 PM
Chinese Multiplex House 6

Hollywood Home Movies – 6:00 – Club TCM at The Hollywood Roosevelt

>>Highly recommend attending this due to the exciting “behind the scenes” coolness factor! Various formats, various movie folks, various amazing things to see! If you can “Home Movie” it, do it!

(1952, d. Elia Kazan, 113m, 35mm) 6:15 PM Chinese Multiplex House 6

(1952, d. Elia Kazan, 113m, 35mm)
6:15 PM
Chinese Multiplex House 6

 

[The Wind and The Lion]  (1975, d. John Milius, 119m, 35mm)  6:15 PM Egyptian Theatre

[The Wind and The Lion] (1975, d. John Milius, 119m, 35mm)
6:15 PM
Egyptian Theatre

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd. 6:30 PM Chinese Multiplex House 4

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd.
6:30 PM
Chinese Multiplex House 4

 

( 1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club. 9:30 PM Egyptian Theatre

(1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club.
9:30 PM
Egyptian Theatre

RETURN OF THE DREAM MACHINE: HAND CRANKED PROJECTOR SHOW (1902-1913) – hand cranked films from the early part of film history!!! You are cheating yourself if you miss out on this one!! Click on the link above for more information. – (d. various, 105m, 35mm) – 9:30 PM, Chinese Multiplex House 6

Old_projector

 

(1965, d. Tony Richardson, 122m, 35mm)  9:30 PM Chinese Multiplex House 4

(1965, d. Tony Richardson, 122m, 35mm)
9:30 PM
Chinese Multiplex House 4

 

 (1984, d. Tom Schiller, 82m, 35mm) 12:00 AM Chinese Multiplex House 6

(1984, d. Tom Schiller, 82m, 35mm)
12:00 AM
Chinese Multiplex House 6

Sunday

(1970, d. Franklin J. Schaffner, 172m, 70mm) 9:00 AM Egyptian Theatre

(1970, d. Franklin J. Schaffner, 172m, 70mm)
9:00 AM
Egyptian Theatre

 

 

(1947, d. Edmund Goulding, 110m, 35mm) 9:45 AM Chinese Multiplex House 6

(1947, d. Edmund Goulding, 110m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1963, d. George Stevens, 180m, 35mm) 12:30 PM Chinese Multiplex House 6

(1963, d. George Stevens, 180m, 35mm)
12:30 PM
Chinese Multiplex House 6

 

 (1939, d. George Stevens, 117m, 35mm)  1:00 PM Egyptian Theatre

(1939, d. George Stevens, 117m, 35mm)
1:00 PM
Egyptian Theatre

 

(1961, d. Stanley Kramer, 186m, 35mm) 4:00 PM Chinese Multiplex House 4

(1961, d. Stanley Kramer, 186m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1961, d. William Wyler, 107m, 35mm) 4:45 PM Egyptian Theatre

(1961, d. William Wyler, 107m, 35mm)
4:45 PM
Egyptian Theatre

I hope that this list helps all of you who are looking for the “what’s on film” films. As someone who loves handling film and adores film as a format and a way to watch stories being told, I am beyond excited to see so many wonderful narratives being projected this year.

It is absolutely and unquestionably a part of the history of Hollywood therefore it is only right that it should be such a beautiful and magnificent presence at the TCM Film Festival, 2015, as it has been each year.

Please stay tuned for another post that will celebrate the fantastic digital restorations being screened and discuss the importance that they have to our cinematic culture and to the TCM Film Festival as well.