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Annual Report 2012 ANNUAL REPORT 2012 eserved. R ights R mage courtesy of I nc. All I ntertainment E / GREEN DESIRE (1965, d. Mike Kuchar) itrovata. R mage Licensed By: Warner Bros. mage Licensed By: Warner I mmagine I mage courtesy of Cineteca di Bologna at L’ I / INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970, d. Elio Petri) OF A CITIZEN ABOVE / INVESTIGATION itrovata. R / REBEL WITHOUT A CAUSE (1955, d. Nicholas Ray) / REBEL WITHOUT A CAUSE CHAIR EXECUTIVE DIRECTOR . mmagine CANAL I Martin Scorsese Margaret Bodde IO UD ST BOARD OF DIRECTORS MANAGING DIRECTOR itrovata. Woody Allen Jennifer Ahn R Paul Thomas Anderson mmagine I mage courtesy of Wes Anderson FOUNDING EXECUTIVE DIRECTOR I Raffaele Donato Francis Ford Coppola (1968, d. Agnès Varda) PANTHERS / BLACK Clint Eastwood ARCHIVISTS ADVISORY COUNCIL mage courtesy of Cineteca di Bologna at L’ Curtis Hanson Robert Rosen, Chair I Peter Jackson Academy Film Archive Ang Lee Century Fox. wentieth Anthology Film Archives T George Lucas George Eastman House Alexander Payne Library of Congress mage courtesy of Cineteca di Bologna at L’ I Robert Redford Museum of Modern Art mage courtesy of Steven Spielberg National Film Preservation Foundation I IN MEMORIAM UCLA Film & Television Archive Robert Altman ARTISTS RIGHTS ADVISORY COUNCIL Stanley Kubrick Elliot Silverstein, Chair Sydney Pollack Tom Cruise (1969, d. Agnès Varda) / LIONS LOVE PRESIDENT Harrison Ford Taylor Hackford Miloš Forman Taylor Hackford SECRETARY-TREASURER Dustin Hoffman Michael Apted Anjelica Huston Bruce Ramer (1968, d. Agnès Varda) PANTHERS BLACK uchar and Anthology Film Archives. EXECUTIVE ADVISOR Ken Ziffren K ike Jay D. Roth M TWO FOR THE ROAD (1967, d. Stanley Donen) FOR THE ROAD TWO THE TALES OF HOFFMANN (1951, dirs. Michael Powell and Emeric Pressburger) THE TALES this page: ictures. P mage courtesy of Sony front cover: front cover: I back cover: back cover: eserved. R ights R mage courtesy of I nc. All I 2012 The Film Foundation’s goals are three-fold: ntertainment E film preservation, education and exhibition. annual This annual report reflects the foundation’s report activities and accomplishments in these / GREEN DESIRE (1965, d. Mike Kuchar) overview areas during 2012. itrovata. R mage Licensed By: Warner Bros. mage Licensed By: Warner I mmagine I FILM PRESERVATION Over the past 22 years The Film Foundation, led by its board of directors and working in partnership with archives and studios, has saved nearly 600 motion pictures. From silent to experimental films, home movies to documentaries, newsreels to features, The Film Foundation works to ensure that these films survive for future generations. 2012 highlights include: • The preservation/restoration of over 25 films including hand-painted 16mm works in the “Black Film Series” mage courtesy of Cineteca di Bologna at L’ I by multi-media artist Aldo Tambellini, Nicholas Ray’s Technicolor CinemaScope classic REBEL WITHOUT A CAUSE (1955), four independent films made in California by Agnès Varda, a rarely seen adaptation of DEATH / INVESTIGATION OF A CITIZEN ABOVE SUSPICION (1970, d. Elio Petri) OF A CITIZEN ABOVE / INVESTIGATION OF A SALESMAN (1951) directed by Laslo Benedek and more. • itrovata. The completion of 8 additional restoration projects from previous grant cycles. R / REBEL WITHOUT A CAUSE (1955, d. Nicholas Ray) / REBEL WITHOUT A CAUSE . • Over 100 media outlets publicizing the foundation’s preservation work. mmagine CANAL I IO UD ST itrovata. R EDUCATION mmagine I mage courtesy of I The Film Foundation educates young people about visual literacy through The Story of Movies program and is addressing the emerging challenges of digital preservation by creating a campaign to inform filmmakers how best to preserve their digital work. / BLACK PANTHERS (1968, d. Agnès Varda) (1968, d. Agnès Varda) PANTHERS / BLACK 2012 highlights include: mage courtesy of Cineteca di Bologna at L’ I • An estimated 10 million young people have studied The Story of Movies. The program is distributed free of charge to educators across the country. wentieth Century Fox. wentieth T • TFF and IBM sponsored a working group of filmmakers, archivists and technicians to create digital mage courtesy of Cineteca di Bologna at L’ preservation guidelines and recommendations. Plans are underway for a campaign to publicize the issue, I targeted to independent filmmakers. mage courtesy of I EXHIBITION TFF ensures access to restored films through screenings at film festivals, archives, museums and repertory theatres around the / LIONS LOVE (1969, d. Agnès Varda) (1969, d. Agnès Varda) / LIONS LOVE world, as well as through DVD and Blu-ray releases. 2012 highlights include: • Screenings of 150 TFF-funded restorations at over 180 venues worldwide. • The release of 2 new Collector’s Choice DVD sets: Film Noir Classics III and Frank Capra: BLACK PANTHERS (1968, d. Agnès Varda) (1968, d. Agnès Varda) PANTHERS BLACK The Early Collection featuring 10 films never-before released on DVD. uchar and Anthology Film Archives. K ike M TWO FOR THE ROAD (1967, d. Stanley Donen) FOR THE ROAD TWO THE TALES OF HOFFMANN (1951, dirs. Michael Powell and Emeric Pressburger) THE TALES this page: ictures. P mage courtesy of Sony front cover: front cover: I back cover: back cover: 1 film preservation & restoration In 2012, The Film Foundation helped to rebel without a save over 25 films, representing a diverse cause selection of motion pictures. (1955, d. Nicholas Ray) Nicholas Ray’s iconic film tells the story of a troubled teen, at the Warner Bros. laboratory, rather than at Technicolor. Jim Stark (James Dean), who moves to a new town and The Warner Bros. lab created optical sections by shooting quickly makes enemies with the local high school gang. the single-strip negative sections to separation positives, The film immortalized James Dean; launched the Hollywood then shooting back to single-strip negative, which yielded careers of Natalie Wood, Sal Mineo, and Dennis Hopper; soft images with heavy grain. and captured the zeitgeist of the 1950s through the prism of teenage angst. The original camera negative of REBEL WITHOUT A CAUSE sustained heavy physical damage due to the popularity of Restoration was completed from an 8K scan of the original the feature and the large number of theatrical re-releases. CinemaScope (widescreen 2.55:1) camera negative at The camera negatives for reels 3 and 4 were discarded by Warner Bros. Motion Picture Imaging (MPI). Due to color the studio many years ago as they had been entirely fading, the original camera negative could no longer yield damaged in printing. Reels 7 and 8 were extremely fragile an acceptable photochemical print. and had sustained heavy damage in the perforations throughout the reels. For the restoration, Warner Bros. The stereo soundtrack was reconstructed at Chace Audio scanned and recombined YCM separation master positives by Deluxe from the magnetic soundtrack stripes of release for the missing camera negative sections. They also used prints, commonly referred to as “Fox hole” prints due to the the YCMs to replace sections of damaged picture negative smaller perforations found on CinemaScope prints that in reels 1, 2, 6 and 7. The original Technicolor dye-transfer were a product of Twentieth Century Fox. The original answer print was used for color reference. stereo soundtrack master was erased by the studio so that the magnetic stock could be re-used for another film. The final elements created from this preservation project (This was a common practice for most studios at the time, will include a 35mm YCM separation master from the raw as it was difficult to obtain good quality magnetic stock.) 8K scan of the OCN, a 35mm intermediate negative from the final 4K color corrected restoration, a 4K Digital Cinema Director Nicholas Ray shot this film using early single- eserved. Master from the final restoration, a 35mm soundtrack R strip Eastman color 5248 negative which was a low-cost negative 5.1, and a 35mm release print. ights alternative to the 3-strip Technicolor process and provided R more flexibility for camera placement. Unfortunately, this Restored by Warner Bros. in collaboration with The Film nc. All I early color negative yielded poor color imagery. This was Foundation. Restoration funding provided by Warner Bros., a “Warnercolor” feature, which meant that the Eastman Gucci, and The Film Foundation. ntertainment negative would be processed and optical sections created E 2 mages Licensed By: Warner Bros. mages Licensed By: Warner I Images Licensed By: Warner Bros. Entertainment Inc. All Rights Reserved. 3 the tales of restoration restoration & hoffmann (1951, dirs. Michael Powell and Emeric Pressburger) film preservation film preservation Written, directed and produced by the celebrated filmmaking team of Michael Powell and Emeric Pressburger, THE TALES OF HOFFMANN is based on the Jacques Offenbach opera, Les Contes d’Hoffmann. The film was a continuation of their earlier success with THE RED SHOES, and was the Archers’ experiment to make an entire film that was “purely dance.” Set in Nuremberg, Germany, the young Hoffmann, played by Robert Rounseville, recounts three past loves played by Moira Shearer, Ludmilla Tchérina, and Ann Ayars during the course of a ballet featuring his new love interest, also played by Moira Shearer. THE TALES OF HOFFMANN was nominated for two Academy Awards, for Hein Heckroth’s art direction-set decoration and costume design. The film won a Special Award and was nominated for the Grand Prize at the 1951 Cannes Film Festival. It also won the Silver Bear for Best Musical at the 1951 Berlin International Film Festival. THE TALES OF HOFFMANN was filmed using the 3-strip Technicolor process, the same format as THE RED SHOES (1948) and THE LIFE AND DEATH OF COLONEL BLIMP (1943), and the original camera negatives exhibit the same devastating mold and mis-registration issues. Surviving prints of THE TALES OF HOFFMANN represent a shortened version of the film, requiring research to evaluate and utilize various source materials to reconstitute the original release version.
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