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Ayn Rand Film to Premiere in Hollyrwood Prestigious Telluride Film Festival in Colorado lmrract -f October'1996, Volume 2, Number'lO Tickets for the benefit are priced at two levels: $75 per person for the film and post-film reception, and $250 for those events plus a private reception with Michael Per-xtonand Leonard Peikoff prior to the screening, preferred seating at the screening, an autographed movie poster, and, if it can be arranged, a brief tour to special "Ap Rand sites" on the lot. Although this is his first feature film, Michael Pa"rton brought considerable experience to the project. He received hls M.F.R. in {ihn production from New York University's prestigious Graduate Institute of Fihn & Television and has worked as a r,vriterfor Disney's Feature Anirnation Dept. alld as an assistantdirector at Turner Entertainment on features such as The Pagemaster.He also directed the world premieres of ldeal (i9Sg) and Anthem (1991) for the stage,in Hollpvood. He began the documentary on A;m Rand in the summer of 1994, setting up the production company, writing the script, and filming archival rnaterial. He also shot interviews with people who knerv Ayn Rand, including Mike Wallace, Leor.rard Photo by Sorenson James Peikoff, and Harry Binswanger. Ayn Rand: A Senseof Lift was recently screened at the Ayn Rand Film to Premiere in Hollyrwood prestigious Telluride Film Festival in Colorado. Paxton'sfiln-r Earlier Screening at Telluride Draws Acclaim was one of only 27 films selected from more than 700 appli- cants worldwide for the 23rd annual event. Less than an hour "How does one reduce the achievements of a lifetirne of from Ouray, Colorado (the "setting" for Galt's Gulch), the filnr genius into 110 rninutes?" asks filmmaker Michael Paxton (pic- was shown on opening night, August 30. Two screenings dreu' tured above on the left, on the set with director of photography Alik Sakharo"). "By using interwiews,photographs, and stock footage, one ca]r bring together visual irnages and sounds to portray the sum total of one person's genius. And that was my goal in making Ayn Rand: A Senseof Lrfu " After two years of intense research, filming, and editing, Michael Paxton'svision of Ap Rands genius has finally been completed. Now a hefty t40 minutes, the docunentary on the life and work of Apr Rand wlll be unveiled in Hollpvood at a gala premiere on November 2 hosted jointly by the Ayr Rand Institute and the production company, AG Media Corporation Ltd. Proceeds from the screening will suppoft ARI projects and will allow AG Media to showcaseA Senseof Lrfu to pro- fessionalsin the film industry. Distributors, agents,producers, and Hollpvood stars are being invited to the event, The setting for this screening, Paramount Studios in Holly- wood, has a special place in Ap Rand's story. From 1929 to 1932, Ap Rand worked on this lot (then RKO) in the wardrobe department, prior to selling "Red Pawn." She returned to the lot in 194447 to work for producer Hal Wallis and, while there, wrote screenplaysfor Loue Letters and You Came Along. The November pren'riere is a rare, perhaps unique, oppor- tunity to see the "Director's Cut," meaning the full two-hour twenty-minute version of the fiim, whlch may be shortened for commercial distributit-rn. Publisher: The Apr RandInstitute,4640 Admiralty\\hy, Suite715, Marina del Rey,CA 90292,(310) 306-9232, fa;i (310)306-1925 Editor: David Bombardier.All rights reservedO1996. Impact is publishedrironthly and is complimentan'to all current contributors for the showhas alsohelped. Even the most brilliant conversa- tionalist in the world needs someoneat the other end of the conversation.Leonard usually does not need to prepare as much for an interview as for other types of programs,and some of the best showshave been with guestswho know what they are talhng about. Also, all showsare now ad-libbed, not writ- S ten in advance. A pleasantsurprise has been the number of good, articu- late calls that we receive.Some callers are a little nuts, but MASON'SHALL there are really a large number of people out there who are Sffi.'r'9':'45PM able to discussserious issues seriously. Working with and giving experienceto guesthosts like #I6AYN RANT) Gary Hull has alsohelped to spreadthe work load and give Leonard some time off. Haoe the showsimprooed sinceJarwary? T[[UHD[flt|l| [[$TtVAt Definitely. The editorial substanceof the show was sound from day one. Initially, Leonard spent a lot of time with a pro- fessionalvoice coachto break some habits he had developed full houses,and then, by popular demand, a third screening from yearsof haranguinglarge groups of people in classrooms was added to accommodatethose who had been unable to and auditoriums.Modulation, pausesand timing variances, make the earlierscreeninp and wantedtosee-thefflm. The Changesm pifcA rather than in volume, and other tecliniques fflm arousedan enthusiasticresponse from a wide variety of now allow more of his natural charm to come through. Leonard {ilm-goers.Some had never read Miss Rand'sworks, and others has learned all of this very well, and only screamsback at a knew of her fiction but not her nonftction. Most commented caller on specialoccasions, that the {ilm had inspired them to read or reread her books. Right from the beginning, Leonard was alsovery good at A sampleof commentsfrom viewers:"A beautifully made what Shakespearecalled the "retort courteous."He has adapted {ilm." "I was struck by how Ayn Rand'spassion and sincerity to the radio audiencevery well. He has also alwaysbeen good were conveyedin the {ilm. It was somethingI never knew at respondingto callersat whateverlevel ofunderstanding about her." Commenting on how the {ilm captured Ayn Rand's they have. own spirit, festival director Bill Pencesaid it was "the most autobiographicalmovie I've ever seenabout someoneno Wat has beenthe greatestchallenge i,n putting each shousto- longer alive." gether? After thousandsof hours of creativeintegration, {ilm en- With a talk radio program, the constantstruggle is to talk thusiastsas well as fans of Ayn Rand can see the ftrst screen to averagelisteners "where they are" while still having some- account of her life. The Telluride Festival,along with the thing important to say.It would accomplishnothing to be just November screeningin Hollywood, are helpingAyn Rand: A another show talhng about Hillary Clinton. Nor would lengthy Senseof Lift to take its ffrst stepsto reach millions of Ayn philosophicalexposition draw many listeners.But philosophyis Rand readersand bring to new audiencesan awarenessofAyn vital to the show The key is to tie issuesin the public arena to Rand'sremarkable life and achievements. underlying philosophicalprinciples in a way that people can If you would like to attend the Hollywood event but did understand.We have certainly made a good start at doing this. not receive an invitation, pleasecall or fax ARI or email us at It is suqprisinghow many people are actually interested in phi- [email protected]. losophyand abstractconcepts. One of the hardest things to do is to integrate some of the main points Leonard wants to get Peileeff Show Pregre+e Reee* aclo.ssinto the conversationwith the callers,but this is hap- peningmore and more. An Interview with Producer Richard Ralston ls this a radio shotofor Objectir:ists? You hatsenous been producing a daily radio showfor eight We trust that Objectivistsenjoy and profit from the shoq m.onths.What is it like? Harsethere beenany surprises? but it is not a show for Objectivists.There are plenty of venues It is certainly a lot more u:ork than we ever thought it for reachingObjectivists with Objectivism.There have not would be. The preparation time for the editorial "setup" of been many for introducing new and wider audiencesto Ayn many of the showsis considerable.If you are going to set Rand'sideas. The whole point of doing a radio show is to reach yourself up to take calls from the generalpublic on a given a new, larger audience. subject,you really need to hrow somethingabout it. Leonard Do uant shousP has had to changehis life and clear his scheduleof almost you Objectiaiststo call the Sure. They should feel free to call. Philosophicalquestions everything except preparation for the radio program. And the are fine. Leonard actuallywould like to more philosophical daily deadline is relentless.For most professionalphilosophers get questions.However, "in" or the use of technical phil- the only deadline is eternity, so it took him a few months to questions osophicterms or Objectivistjargon should be avoided. get usedto it. Is it expensioeto and broadcastthe shous? Hota did he get used to it? And. haoethere beenany pleasant produce We in Los surprises? Yes. buy the time for each show from KIEV Angeles.This was we a platform to Developinggood staff support was important. Leonard now necessarybecause needed createand perfect an actual show.No radio stationswere inter- relies on a number of talented people to do researchand pre- ested in an imaginary The whole was made pare material for use on air. The ability to acquire good guests program. program possibleby two major grants-which we appreciateenonnous- 2 ly. Now that we have over 200 daily showsbehind us, we are ready for the next steps. If we succeedwith the program, it should eventuallybe- come commercially self-sustaining,and ffnancialsupport by ARI can gradually decrease.Leonard's own contribution has been to provide his time and effort to this point, without any compensation. An. Objectivistwho dnesnot acceptcompensation? Leonard certainly has not refused it on principle. It has been his way of investing in the start-up of the show and shar- ing the risk. He will have no objection to making money in the future-"piles of it," he himself says.A national radio prograrn would also provide tremendousvisibility for ARI to advanceits Programs.
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