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July 4-September 30, 2012 july 4-September 30, 2012 1 contents From the executive DIRECTOR See It Big! 4 Since the Museum opened to the public in 1988, of the film don’t do justice to the bold, expressive we have explored how movies and television colors of the original film. Yet we will present a The Muppet Show 9 shows are made—a process that has been magnificent digital restoration of Apocalypse Outdoor Cinema 2012 10 changing radically in ways largely unseen (and Now Redux that was painstakingly supervised by at Socrates Scultpure Park unheard) by the public. Writing in The New York Francis Ford Coppola. Because of the widening Times in 1999, film editor and sound designer array of possible presentation formats, we Film After Film 12 Walter Murch called cinema “a digital sandwich will now be listing format information for all Fist & Sword 17 between two slices of analog bread.” He meant screenings on our website. that theatrical movies were captured and Rural Route Film Festival 18 The conversation about film and digital formats presented photographically, but that everything is not just about how movies look—it is also about Extreme Exploration: Experimental Film 19 SEE IT BIG! 4 that happened in the middle—including sound how we look at movies. The digital revolution and Live Music by ARP and picture editing and visual effects—was is affecting the aesthetics and, indeed, the digitally driven. That was true ten years ago, but First Cameraman: Documenting the 20 fundamental nature of the art form itself. The Obama Presidency in Real Time it’s no longer the case. series and exhibition Film After Film, inspired INDUSTRY/CINEMA: An Installation by 21 Today, Murch’s metaphorical sandwich is a digital by J. Hoberman’s new book of the same name, Caroline Martel salad: movies are no longer shot and shown looks at how directors like David Lynch, Lars exclusively on film. Many are photographed with von Trier, Steven Spielberg, Jean-Luc Godard, Pretty Loaded 22 high-resolution digital video cameras. Finished and others have responded to the technological DVD Dead Drop 22 movies are shipped to theaters on hard drives shifts of the past fifteen years. In the Museum’s and projected in a format known as DCP—the Amphitheater Gallery, we will be showing Joe We Tripped El Hadji Diouf 23 initials for the inelegantly named “Digital Cinema Swanberg’s ultra-low budget feature LOL, about PERSOL MAGNIFICENT OBSESSIONS: 24 FILM AFTER FILM Package.” By 2015, “films” will be distributed romance in the age of social media, on an iPad. 30 stories of craftsmanship in film 12 exclusively in a digital format. The slow march of And the cinematic spectacle of the 2008 Olympics Mediamaking for Families and Teens 26 film from a photographic medium to an all-digital, opening ceremony will be presented in its intended video-based medium has become a trot. Today, format: on a high-definition flat screen monitor. The Kid 27 even the restoration of classic “pre-digital” For film lovers and for digital natives—the new movies is done digitally. The Fall Mamas Expo 27 generation of makers and audiences for whom Behind the Screen 28 We endeavor to show the best available version media and film is format-independent—we strive of a work based on the judgment of our curators. to be a privileged place in which a moving image These days, that often means showing a film masterpiece may be encountered in the best digitally. Martin Scorsese’s film editor Thelma possible way, whether that means an archival MUSEUM iNFORMATION RURAL ROUTE Schoonmaker, who was married to the great print, restored print, or DCP. And stay tuned. FILM FestiVAL Focus on the Collection 30 18 British director Michael Powell, supervised the This winter we will be applying our thinking to a Become a Member 31 digital restoration of his films The Red Shoes different medium just as dynamic and rapidly and The Life and Death of Colonel Blimp, and changing as the theatrical motion picture: video Host Your Event 32 she is convinced that they now look better than games. More on that to come. In the meantime, Our Supporters 33 ever. At her request, we will be showing digital we hope to continue this conversation with you versions of these wonderful films. Yet cinephiles at the Museum and online. Daily Schedule 34 should rest assured; we will frequently be showing carl Goodman outstanding 35mm prints here, long after all of General Information 35 Executive Director PERSOL the multiplexes have gone digital. When Alfred MAGNIFICENT Hitchcock’s masterpiece Vertigo screens this July, OBSESSIONS we will be showing a vintage 35mm Technicolor 24 print, because the new prints and digital versions 2 3 see it big!2001: A Space Odyssey One from the Heart FRIDAY, JULY 6, 7:00 P.M. SATURDAY, JULY 14, 3:00 P.M. SATURDAY, JULY 7, 2:00 P.M. SUNDAY, JULY 15, 3:00 P.M. SATURDAY, JULY 7, 6:00 P.M. Dir. Francis Ford Coppola. 1982, SUNDAY, JULY 8, 2:00 P.M. 108 mins. Restored 35mm print, SUNDAY, JULY 8, 6:00 P.M. courtesy of American Zoetrope. Dir. Stanley Kubrick. 1968, 141 mins, With Frederic Forrest, Teri Garr, plus intermission. DCP. With Keir Raul Julia, Nastassja Kinski, Harry Dullea. Kubrick’s mysterious and Dean Stanton. Coppola’s legendary, profound science-fiction epic remains lyrical film maudit is an unexpected, —in the words of its tagline—“the audacious visual treat. Rather than ultimate trip.” Many of its sequences— shoot his tale of a pair of Las Vegas from the spellbinding “dawn of man” lovers in the city itself, Coppola section to the spaceship ballet set to built the town on soundstages, Strauss to the deadly Jupiter mission bankrupting American Zoetrope manned by HAL 9000 to the final though certainly not his wild Stargate mind-blower—are undeniable imagination. Dean Tavoularis’s classics. With just eighteen minutes magical production design is of dialogue, this is a sight-and-sound explored in the exhibition PERSOL experience that simply can’t be MAGNIFICENT OBSESSIONS (see properly appreciated anywhere page 24). other than on a big screen. Cabaret Apocalypse Now Redux FRIDAY, JULY 20, 7:00 P.M. FRIDAY, JULY 13, 7:00 P.M. JuLY 6–SePTEMBER 9, 2012 Dir. Bob Fosse. 1972, 124 mins. SATURDAY, JULY 14, 6:00 P.M. New restoration on DCP. With Liza SUNDAY, JULY 15, 6:00 P.M. Curated by Reverse Shot editors michael Koresky and Minnelli, Joel Grey. Fosse rightly Dir. Francis Ford Coppola. 1979/2001, won the Oscar for best director for Jeff reichert, and the museum’s chief curator, David 202 mins. DCP, courtesy of American his shattering musical set in Berlin Schwartz, and Assistant Film curator, rachael rakes Zoetrope. With Marlon Brando, on the eve of Hitler’s rise to power. Martin Sheen, Robert Duvall, Dennis Minnelli and Grey also scored Oscars, The Museum’s popular ongoing film series See It Big! celebrates the joys of large- Hopper. Coppola’s transposition of for their unforgettable performances Joseph Conrad’s Heart of Darkness as, respectively, Sally Bowles, a scale moviegoing. It provides a chance to discover or revisit essential films in their to the Vietnam War is one of the vivacious but damaged American full theatrical splendor in one of the finest film venues in the country. Great movies most ambitious Hollywood films of singer selling her soul in a seedy transport us into new worlds, and they immerse us visually and aurally. Despite the all time. With Vittorio Storaro’s nightclub, and the devilish emcee easy availability of movies on portable devices and small screens, there is only one virtuoso cinematography and Walter who presides over it. A devastating, way to really see a movie: BIG! The Museum always endeavors to show a film in the Murch’s overwhelming sound design, delirious movie experience, featuring this is an absorbing work of existential John Kander and Fred Ebb’s rousing best available version, whether it is a stunning digital restoration of Apocalypse terror and awe, lorded over by Brando show tunes and Geoffrey Unsworth’s Now Redux, supervised by Francis Ford Coppola, or a rare screening of a vintage as that icon of madness Colonel Kurtz. gloriously ragged photography. Technicolor 35mm print of Vertigo. Projection formats are noted throughout. This is Coppola’s restored 2001 version, truer in spirit to the Conrad 2001: A Space Odyssey novel than the original release. 4 5 The Red Shoes (Photofest) To Catch a Thief SATURDAY, JULY 28, 3:00 P.M. SUNDAY, JULY 29, 3:00 P.M. Dir. Alfred Hitchcock. 1955, 106 mins. New restoration on DCP. With Cary Grant, Grace Kelly. Hitchcock’s Technicolor crime caper is the acme of glamorous 1950s escapism. Grant is devilishly charming—as ever— playing a retired cat burglar on the Riviera suspected of masterminding a new wave of robberies. While he tries to find out who really did it, a gorgeous American tourist catches his eye. Filmed partly on location in France, this is gloriously shot, deliriously witty entertainment. Vertigo SATURDAY, JULY 28, 6:00 P.M. SUNDAY, JULY 29, 6:00 P.M. Dir. Alfred Hitchcock. 1958, 128 mins. 35mm IB Technicolor print. With James Stewart, Kim Novak, Barbara Bel Taxi Driver (Sony Pictures Repertory) Geddes. Considered by many cinephiles the greatest of all films, Hitchcock’s peerless psychological thriller The Red Shoes follows a San Francisco private detective who comes out The Wild Bunch for a wondrous journey into another world—a free SATURDAY, JULY 21, 3:00 P.M. of retirement to trail an old schoolmate’s beautiful wife, SATURDAY, AUGUST 4, 6:00 P.M.
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