An Exhibiton of the Deutsche Kinemathek- Museum Für Film Und Fernsehen

An Exhibiton of the Deutsche Kinemathek- Museum für Film und Fernsehen

Museum für Film und Fernsehen, Berlin December 11, 2014 – May 17, 2015 www.deutsch-kinemathek.de

„Bigger Than Life. Ken Adam’s Film Design“ December 11, 2014 - May 17, 2015

Title „Bigger Than Life. Ken Adam’s Film Design” Duration December 11, 2014 – May 17, 2015

Artistic Director Dr. Rainer Rother, Deutsche Kinemathek Curators Dr. Boris Hars-Tschachotin Kristina Jaspers und Peter Mänz, Deutsche Kinemathek

Location Deutsche Kinemathek – Museum für Film und Fernsehen Filmhaus am Potsdamer Platz, 1st + 2nd upper levels Potsdamer Straße 2, 10785 Berlin

Public Transportation S-/U-Bahn Potsdamer Platz, Bus M48, M85, 200 Varian-Fry-Straße

Information T +49(0)30 300903-0, F +49(0)30 300903-13 www.deutsche-kinemathek.de und www.facebook.com/MuseumfuerFilmundFernsehen

Opening Hours Tuesday – Sunday, 10 am – 6 pm, Thursday, 10 am – 8 pm Opend on holyday’s and Berlinale-Monday, Feb. 9, 2015 Closed on Dec. 24 and 25, 2014

Admission prices Special exhibiton “Bigger Than Life. Ken Adam’s Film Design“ Adults 5 Euro | reduced rate 4 Euro

Guided tours Museumsinformation Berlin: T +49 (0)302 4749-888, F -883 [email protected]

Exhibits 320 exhibited objects on display The majority of the objects originate from Ken Adam’s private collection, which he gave to the Deutsche Kinemathek in 2012. The production designer’s archive (Ken Adam Archiv) comprises more than 4000 drawings made for more than 70 productions, and includes photography, biographical memorabilia, as well as two Oscars

Exhibition Space 450 sq. m, 1st + 2nd upper levels, Filmhaus + Atrium

Media Clips from feature films and documentaries, totaling approx. 1,05 h Compilation: Berlin-London “Lines in Flow” installation by Boris Hars-Tschachotin

Models, replicas “Satellite” (DIAMONDS ARE FOREVER), “Supertanker Liparus” and “Exhaust- Chamber” (MOONRAKER), “War Room” (DR. STRANGELOVE), “Bank” (PENNIES FROM HEAVEN)

Catalogue Bigger Than Life. Ken Adam’s Film Design, published by Kerber Verlag, Bielefeld

Online Presentation www.ken-adam-archiv.de The launch of the archive is scheduled for 2015.

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„Bigger Than Life. Ken Adam’s Film Design“ December 11, 2014 - May 17, 2015

Photo: Andreas-Michael Velten

Introduction

The production designer Sir Ken Adam has written film history with his spectacular sets. He was responsible for the production design of more than 70 films. Few of his colleagues can match his abilities to design such diverse worlds. Through his scenographic spaces, mostly realized in the studio, he created a new style that has lastingly influenced our viewing habits. True to his design philosophy “bigger than life,” Adam used his work to push the boundaries of what is possible – often highly emotionally, occasionally playful or humorously, and yet always believably. Each of his films has been characterized by a very strong visual succinctness and ripple effect. Adam has received numerous awards for his work, including two Academy Awards (Oscars) for Best Production Design for the films BARRY LYNDON (Stanley Kubrick, 1975) and THE MADNESS OF KING GEORGE (Nicholas Hytner, 1994). Ken Adam’s oeuvre is comprised of more than 4,000 drawings. These are augmented by other objects, including photographs, but also films that Adam shot while conducting research and on the sets, as well as personal, biographical memorabilia and his awards. Ken Adam gave his collection to the Deutsche Kinemathek in 2012. This trust and confidence in a Berlin institution is also a gesture of reconciliation from the man who was born in Berlin in 1921 as Klaus Hugo Adam, but who the National Socialists drove out of Germany together with his family. It is Adam’s wish that his work should be used to inspire subsequent generations. Ken Adam’s archive is currently being inventoried and prepared for archival use. It will be available online next year.

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From Sketch to Motion Picture

Ken Adam’s oeuvre offers exemplary, as well as exceptional, insights into the work of a production designer, who is sometimes also referred to as a set designer or art director. Working within a fixed budget, this person is given the task to develop a story from the film script into an appropriate “world” – whether this takes place in the studio or “on location.” The temporarily created spaces, also called sets, contribute to the acting, camera work and dramaturgy. The production designer plays a pivotal role in the visual conception of a movie that is frequently overlooked, because the locations where the action takes place often seem so real that they rarely stand out for their own artistic achievements. As is generally true of architecture, film architecture also goes through a long, differentiated process of design. Drawing was the most important medium for production designers in the 20th century. It allowed the designer to find and express his or her ideas. These works on paper ranged between rough sketches, atmospheric studies and elaborate presentation drawings, which visually anticipated the future film. They are simultaneously a decisive means of communication between the production designer, the director, cameraman and producer. A production designer does not work autonomously, but is interlinked to a joint development and conversion process. He or she is dependent on the art department, in which draftsmen, prop masters and painters are just as involved as those employed in construction and building departments. “It doesn’t work without an art department, because you can’t do it all alone.” (Ken Adam)

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Ken Adam's World

From Berlin (via London) to Hollywood: Following his flight from his native country under National Socialism, and his voluntary service as a fighter pilot with the Royal Air Force in World War II, Ken Adam’s work in the film industry signified for him both new freedom and an exploration of the world. He met Letizia Moauro during film production on the island of Ischia in 1951. The couple married the following year and she has been his most important adviser ever since.

Letizia Adam also encouraged her husband to use a reduced, but nevertheless dynamic drawing style, with which he has designed film sets since the end of the 1950s. Using his new tool, a Flo-Master felt- tip pen, he sketched vibrantly energetic spaces that are unmistakably his own. Adam’s work on more than 70 feature films, including some exotic locations, turned the couple into global citizens and correspondingly into members of the jet set. Ken Adam worked in Hollywood in the 1980s and 1990s, where his house was frequented by movie celebrities. The Adams now live in London again, where Ken Adam continued to work at his drawing table and preserved the collection of his designs until he entrusted them to the Deutsche Kinemathek.

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Photo: Andreas-Michael Velten

LINES IN FLOW An Installation by Boris Hars-Tschachotin

LINES IN FLOW plays with the idea that Ken Adam might be found sitting at his drawing table in the Shepperton Studios near London. Smoking a cigar, he conjures up the year 1962. Ken Adam has picked up his Flo-Master again for this installation, at age 93. Before the eyes of viewers, he uses his felt-tip pen to recreate his designs of a nuclear blastproof conference room located below the Pentagon; his iconic “War Room” from DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Stanley Kubrick, 1964). While drawing, he talks about the fundamental spatial metamorphosis that this center of power went through. The installation takes an in-depth look at drawing as a production designer’s creative means of expression, while providing insights into the process involved in designing cinematic spaces. Five of the 14 drawings still preserved for the “War Room” were redrawn and animated for this purpose. A reverse process that Adam had repeatedly put into practice was applied. Referring to this technique, Adam commented: “These ‘negative’ drawings were highly inspiring.”

LINES IN FLOW Installation Concept, direction, production: Boris Hars-Tschachotin, Liquid Blues Production Artistic collaboration: Kai Rostásy (Camera), Sirko Knüpfer (Film Editing), Max-Julian Otto (Draftsman), Florian Obrecht (Visual Effects Artist), Michael Reuter (Post Production Supervisor, Post Republic GmbH), Jean-Michel Boublil (VFX Supervisor, Automatik), Jana Irmert (Sound Design), Almut Schwacke (Foley Artist), Matthias Schwab (Sound Mixing), Frank Semerau und Christian Benesch (lighting technician), Ben Bernhard (assistant cameraman), Jörg Johow (camera for smoke effect), Mandy Schuller (Assistant Set Decorator), Andreas-Michael Velten (Still Photgrapher)

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Spatial Visions

Ken Adam’s dynamic and expressive drawings often show unfathomable, exotic and nightmarish places drawn with the highest intensity. His designs are repeatedly based on concise geometric forms: the asymmetric triangle, the distorted rectangle and the circle. He dramatically stages light and shadow to create stylistic space. At the same time, Adam aestheticizes modern technology and often experiments with unusual materials and metallic surfaces, such as copper, brass or even plastic. The broad spectrum of Adam’s œuvre is illustrated by clusters of motifs. They show dangerous dungeons and laboratories, elegant villas and apartments, gigantic headquarters of power and conference rooms, as well as monumental temples and cathedrals. These are enhanced by playful and dangerous water vehicles and aircraft that are fully equipped with modern gadgets – including speedboats, amphibious vehicles and laserpowered satellites.

A model has been conceived and built for each theme as a visualization corresponding to Adam’s design language. Based on his drawings, Adam’s typical spatial environments have been converted into three-dimensional spaces that provide tangible insights into the functions and effects of his designs. Reproduced works of fine art, architecture and design allow for stylistic classification, while illustrating the influences, parallels and the impact of his work.

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5 Rooms

1 Dungeons and Laboratories

In the “Tarantula room,” a prison cell from the first James Bond film DR. NO, Ken Adam created a set that has had lasting influence on our collective memory. A round, grated, overhead light and its cast shadows accentuates the acutely threatening atmosphere and sense of being at the mercy of the hand of fate. According to Adam’s own account, this powerful, style-setting space, developed for an additional film shoot, came about under the restrictions of a very limited budget. Adam would return to the grated, round, overhead light for prison scenes in the most diverse films. His cellars and dungeons designed with distorted perspectives and their depressingly hopeless atmospheres are easily compared to a well-known series of etchings of Carceri (Prisons) by the Italian architect and copperplate engraver Giovanni Battista Piranesi (1720–1778).

Laboratories in the powerful headquarters of James Bond’s opponents are shown as an impressive array of modern and technical imagery, but also as places of violence and torture. Bond’s adversary in MOONRAKER attempts to kill him with an incredibly fast centrifuge. In GOLDFINGER, the hero finds himself once again in a laboratory of his opponent; this time under a laser gun.

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2 Villas and Apartments

Private spaces characterize their inhabitants, social environments and their personal preferences. A character’s emotional makeup can often be deduced from his or her living space. Taking into consideration just the numerous bedrooms that Ken Adam has designed, which – cool or lavish, representative or playful – reveal the intimate preferences of the protagonists, clearly demonstrates Adam’s art of portraying a character through the help of production design. In SLEUTH (1972), a duet performed like a chamber play, a feudal mansion with all its hidden corners and cunning traps takes on the role of the third protagonist so to speak.

Adam designed entire houses, like the crooked Gothic house of the Addams family; he expanded existing buildings, such as the Las Vegas Hilton Hotel, which received an addition that transformed it into the “Whythe House”; or he harmoniously connected different exteriors to one another. The elegant, coolly modernistic apartments intermittently used by James Bond usually sprang completely from Ken Adam’s imagination and were then realized in the studio. Adam rarely resorted to original locations – unless they functioned like the architect John Lautner’s “Elrod House,” whose exposed concrete and elegant curves closely correspond to Adam’s own use of forms.

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3 Command Centers and Conference Rooms

Among the sets that Ken Adam designed were numerous, occasionally hidden structures, in which villains, politicians or kings ruled, made decisions and performed their official duties. These headquarters of power take on monumental dimensions – from Blofeld’s gigantic control center inside a volcano in YOU ONLY LIVE TWICE (1967) to the sequestered, imperial Chinese palace in the Forbidden City of THE LAST EMPEROR (1987).

The conference room of the American government leaders in DR. STRANGELOVE, a “War Room” built to withstand a nuclear bomb, is located far beneath the Pentagon, where the USA’s paranoid fears of an atomic war are cast into an impressive spatial metaphor. The production designer Alex McDowell has reinterpreted this room in our own century for the comic strip adaption WATCHMEN (2009) with a poker table and ring-shaped light.

State-of-the-art and monitored by complex surveillance systems, Ken Adam’s command centers manifest their inhabitants’ fantasies of omnipotence. Power plays and struggles are decided in their adjacent meeting rooms. Colossal maps of the world and globes in these conference rooms symbolize a striving for world domination, while also evoking the sense of having lost touch with reality.

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4 Temples and Cathedrals

A slender pyramid soars upward, with colored diagrams and monitors lit up in place of church windows. On an acrylic bench in the center of the room sits a megalomaniacal evildoer. The “Pyramid Control Room” in MOONRAKER (1979) quotes a sacred form, reinterpreting it as a technoid temple of power. Like a painting by Lyonel Feininger, Ken Adam’s drawing envisions the spatial dynamics of the pyramidic structure and its numerous refractions.

Art history of sacred buildings has a long tradition and Ken Adam knows how to make use of its many facets while effectively perpetuating its legacy. Classic church buildings can be found in his work, as can ancient temples, and a futuristic “Meditation Room” for STAR TREK (1979) that was never realized. Adam designed Fort Knox, the depository of the American gold reserve, as a cathedral, in which he displays towering stacks of gold bars several meters high. It is both completely unrealistic and yet visually quite stunning. His gigantic counter area of a bank in PENNIES FROM HEAVEN (1981) symbolizes the financial strength of this institution and Adam increases the effect through the use of luxurious interior design elements like the marble floors, Art Deco lights and shiny brass railings.

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5 Water and Air

Ken Adam is quite familiar with the experience of mastering vehicles at excessive speeds, whether at the steering wheel of a fast motor yacht or gripping the control stick of a fighter plane. As a child he sped across the Szczecin Lagoon at 70 km/h on a self-constructed iceboat, and when he became a fighter pilot for the Royal Air Force speed and dangerous situations multiplied for him exponentially.

For his seven James Bond films, Adam designed fast, modern vehicles that move on and under water, through the air or beyond Earth’s atmosphere. He frequently chose organic forms for his water vehicles, much in the same way that they were made popular by other designers in the 1970s, such as Luigi Colani. The supertanker “Liparus” and the command center “Atlantis” conceived in a biomorphic design, both from THE SPY WHO LOVED ME (1977), have made film history – also due to their production costs. In his unmistakable style, Ken Adam designed the cockpit of a long-range bomber plane, space stations, laser-powered satellites and even delivered his own (unrealized) interpretation of the USS Enterprise for STAR TREK – THE MOTION PICTURE (1979).

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Berlin and London

Klaus Hugo Adam was born in Berlin in 1921, into an assimilated, upper-middle-class Jewish family. He grew up in the Tiergarten district. His father, Fritz Adam, and his uncles owned and operated “S. Adam,” an exclusive sporting goods and clothing store on Leipziger Straße. Fritz Adam had silent film stars pose in sports fashions in the 1920s as advertising for his business. He also supplied props and clothing for films by Murnau and Pabst. The National Socialist assumption of power in 1933 put an abrupt end to a happy childhood. Klaus’ older brother Peter persuaded their father of the necessity of emigration, and the family succeeded in making a modest new start in London. Klaus’ mother Lilli ran a boarding house, which became a meeting place for doctors, actors and musicians – also émigrés. Fritz Adam, who had fought in World War I as a German officer, did not overcome the effects of exile. He died in 1936 at the age of 56. Key biographical milestones that have influenced Ken Adam’s oeuvre include: His school education at the Französisches Gymnasium in Berlin and at St. Paul’s School in London; his studies at the Bartlett School of Architecture; his service as a fighter pilot; the “golden twenties” in Berlin; the “Swinging London” of the 1960s. He made references to Bauhaus architecture or to Expressionist German film again and again, and erected a monument to his new hometown through his production designs for the Harry Palmer films of the 1960s, filmed on location in London. Ken Adam was made an honorary citizen of Berlin in 2012, although even in the years before, his birth city had become a place that Ken and Letizia Adam gladly and repeatedly visited.

Inspiration and Impact

Drawings allow artists and architects to create suggestive spaces and visionary architecture. Lines are used to create form, materiality and atmosphere. These visual ideas seem to exist in dialogue with one another across time. Ken Adam was shaped by his childhood in Berlin and studies of architecture in London. He was already familiar with Erich Mendelsohn’s buildings and Mies van der Rohe’s designs from Berlin. In London he studied the architects of the Russian avant-garde and the Bauhaus. Many of these influences in modified form have had an impact on Adam’s use of imagery. In turn, his own style substantially influenced the design and architectural concepts of a subsequent generation of artists. References to Adam’s architectural designs can be recognized in the buildings of Daniel Libeskind and Santiago Calatrava. The architect Norman Foster claimed that Adam’s set of the supertanker for THE SPY WHO LOVED ME (1977) inspired the design of his Canary Wharf tube (Underground) station in London. Even contemporary production designers, like Alex McDowell and Thérèse DePrez, have found new impulses through Ken Adam’s working methods.

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Media (in chronological order)

BATTLE OF THE V-1 Directed by Vernon Sewell, GB 1958

THE ROUGH AND THE SMOOTH (Das Bittere und das Süße) Directed by Robert Siodmak, GB 1959 * Art Director

THE TRIALS OF OSCAR WILDE (Der Mann mit der grünen Nelke) Directed by Ken Hughes, GB 1960

SODOMA E GOMORRA (Sodom und Gomorrha) Directed by Robert Aldrich, Sergio Leone, I/F/USA 1962

DR. NO (James Bond – 007 jagt Dr. No) Directed by Terence Young, GB/USA 1962

DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (Dr. Seltsam oder Wie ich lernte, die Bombe zu lieben) Directed by Stanley Kubrick, GB/USA 1964

GOLDFINGER (James Bond 007 – Goldfinger) Directed by Guy Hamilton, GB/USA 1964

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THE IPCRESS FILE (Ipcress – Streng geheim) Directed by Sidney J. Furie, GB 1965

THUNDERBALL (James Bond 007 – Feuerball) Directed by Terence Young, GB/USA 1965

FUNERAL IN BERLIN (Finale in Berlin) Directed by Guy Hamilton, GB 1966

YOU ONLY LIVE TWICE (James Bond 007 – Man lebt nur zweimal) Directed by Lewis Gilbert, GB/USA 1967

CHITTY CHITTY BANG BANG (Tschitti Tschitti Bäng Bäng) Directed by Ken Hughes, GB/USA 1968

GOODBYE, MR. CHIPS Directed by Herbert Ross, GB/USA 1969

THE OWL AND THE PUSSYCAT (Die Eule und das Kätzchen) Directed by Herbert Ross, USA 1970 * Design Supervisor

DIAMONDS ARE FOREVER (James Bond 007 – Diamantenfieber) Directed by Guy Hamilton, GB/USA 1971

SLEUTH (Mord mit kleinen Fehlern) Directed by Joseph L. Mankiewicz, GB/USA 1972

BARRY LYNDON Directed by Stanley Kubrick, GB/USA 1975

SALON KITTY Directed by Tinto Brass, I/BRD/F 1976

THE SEVEN-PER-CENT SOLUTION (Kein Koks für Sherlock Holmes) Directed by Herbert Ross, USA 1976

THE SPY WHO LOVED ME (James Bond 007 – Der Spion, der mich liebte) Directed by Lewis Gilbert, GB/USA 1977

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MOONRAKER (James Bond 007 – Moonraker – Streng geheim) Directed by Lewis Gilbert, GB/F 1979

PENNIES FROM HEAVEN (Tanz in den Wolken) Directed by Herbert Ross, USA 1981 * Although Ken Adam designed all the sets for the film, in the credits he is listed as “visual consultant” and “associate producer.” The reason for this was because Adam was not a member of the local union of production designers (in Los Angeles) at the time.

KING DAVID (König David) Directed by Bruce Beresford, USA/GB 1985

AGNES OF GOD (Agnes – Engel im Feuer) Directed by Norman Jewison, USA 1985

DEAD BANG (Dead Bang – Kurzer Prozess) Directed by John Frankenheimer, USA 1989

COMPANY BUSINESS Directed by Nicholas Meyer, USA/D 1991

ADDAMS FAMILY VALUES (Die Addams Family in verrückter Tradition) Directed by Barry Sonnenfeld, USA 1993

THE MADNESS OF KING GEORGE (King George – Ein Königreich für mehr Verstand) Directed by Nicholas Hytner, GB/USA 1994

TAKING SIDES – DER FALL FURTWÄNGLER Directed by István Szabó, D/F/GB 2001

Documentary

VON DR. CALIGARI BIS JAMES BOND Joachim Kreck ZDF 1977

KEN ADAM, PRODUCTION DESIGNER Andreas-Michael Velten BR Deutschland 1990

SCHATTEN UND LICHT : KEN ADAM, FILMARCHITEKT Jörg Plenio und Andreas-Michael Velten, D 2002

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Short Biography – Ken Adam

1921 Born in Berlin on February 5th as Klaus Hugo Adam. He is the third of Fritz Adam and his wife Lilli’s (née Saalfeld) four children. Adam’s father runs a department store on Leipziger Straße that sells clothing and sporting goods.

1930 Enrolls at the Französisches Gymnasium, located on the Reichstagufer, Berlin

1934 The family emigrates to London; Adam attends boarding school at the Craigend Park School near Edinburgh, followed by enrollment at the Vernon House School and St. Paul’s School in London

1936 Death of Adam’s father

1938 Begins his studies at the Bartlett School of Architecture at University College, London

1940 Joins the Auxiliary Military Pioneer Corps, a troop unit, in which émigrés were also allowed to serve

1941 Begins training as a fighter pilot with the Royal Air Force (R.A.F.); changes his name to Keith Howard Adams

1943–45 Combat missions as the first (and until 1944 the only) German pilot in the R.A.F; stationed at Wunstorf Air Base (near Hanover) after the end of the war

1947 British citizenship; later changes his name to Kenneth (Ken) Adam

1947–48 First experiences in film as a draftsman at the Riverside Studios and the Twickenham Film Studios, London; first work as assistant art director on DICK BARTON STRIKES BACK

1951 Meets Letizia Moauro on Ischia (Italy); they marry in August 1952

1955 First work as an art director on SOHO INCIDENT; collaboration with William Cameron Menzies on AROUND THE WORLD IN EIGHTY DAYS, Academy Award (Oscar) nomination for work as an art director

1958 Start of a collaboration with Robert Aldrich on TEN SECONDS TO HELL

1959 Moves into the house on Montpelier Street in London’s Knightsbridge district, which is still the residence of Ken and Letizia Adam

1960-61 Production design for DR. NO, the first film in the James Bond series

1962 Start of a collaboration with Stanley Kubrick ON DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB

1965 BAFTA Award (British Academy of Film and Television Arts) for DR. STRANGELOVE

1966 BAFTA Award for THE IPCRESS FILE

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1968 Start of a collaboration with Herbert Ross on GOODBYE, MR. CHIPS

1976 Academy Award for BARRY LYNDON

1979–83 Resides temporarily in the USA; moves into a beach house in Malibu

1980 Member of the jury at the Cannes International Film Festival

1981 New York Film Critics Award for PENNIES FROM HEAVEN

1988 Death of Adam’s mother

1990–94 Renewed move to California

1995 Academy Award for THE MADNESS OF KING GEORGE

1999 Member of the jury at the Berlin International Film Festival; exhibition, “Moonraker, Strangelove and Other Celluloid Dreams: The Visionary Art of Ken Adam,” Serpentine Gallery, London

2000 Millennial exhibition, “Sieben Hügel. Bilder und Zeichen des 21. Jahrhunderts” at Martin-Gropius- Bau, Berlin, design of the atrium

2002 Awarded the Art Directors Guild’s Lifetime Achievement Award, Los Angeles

2003 Knighted by Queen Elizabeth II; founding member of the Berlin International Film Festival’s “Talent Campus”

2008 Lucky Strike Designer Award

2011 BAFTA tribute to Ken Adam in honor of his 90th birthday

2012 Sir Ken Adam gives his collection to the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin; he is awarded the Bundesverdienstkreuz (Order of Merit of the Federal Republic of Germany).

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About the Curators

Boris Hars-Tschachotin Filmmaker, installation artist, curator and founder of Liquid Blues Production, Berlin. PhD in art history from Humboldt University of Berlin. Fellow at the Getty Research Institute, Los Angeles, 2009–10. Director of documentaries and short films, including LURCH (2000), SERGEJ IN DER URNE (2012). Freelance author; most recent publication: Der Bildbau im Film. Die Zeichnungen der Production Designer von METROPOLIS, DR. STRANGELOVE und TROY (2014). Lives in Berlin.

Kristina Jaspers Curator at the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin. Studied art history and philosophy in Hamburg and Berlin. Areas of expertise: film architecture and production design, the interfaces between cinematography, philosophy and psychoanalysis, as well as between film and art. Exhibitions she organized include: F. W. Murnau, Ingmar Bergman, Martin Scorsese. Co-editor and author: Fritz Langs METROPOLIS (2010), Ludwig Wittgenstein. Verortungen eines Genies (2011), Wagner Kino. Spuren und Wirkungen Richard Wagners in der Filmkunst (2013), etc. Lives in Berlin.

Peter Mänz Curator and head of the exhibitions department at the Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin. Studied contemporary history and empirical cultural studies in Göttingen and Tübingen. Exhibitions he organized include: Fritz Lang, F. W. Murnau, Ruth Leuwerik, themes on production design, costume design, sound film and music, and storyboards, as well as about the producer Bernd Eichinger. Co-editor and author of diverse publications, including: Romy Schneider. Wien – Berlin – Paris (2008) and Zwischen Film und Kunst. Storyboards von Hitchcock bis Spielberg (2011). Lives in Berlin.

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Catalogue “Bigger Than Life. Ken Adam’s Film Design”

Format: c. 26 × 22.5 cm Pages: 208 Illustrations: 199 illustrations Type of cover: Hardcover, bound Language: German ISBN: 978-3-7356-0027-1 Price: 39,95 € in bookstores

24,95 € museum edition

Published by Boris Hars-Tschachotin, Kristina Jaspers, Peter Mänz, Rainer Rother The catalogue accompanying the exhibition takes a fresh look at this exceptional artist, making new interpretations possible. Thirteen essays trace the interplay between Ken Adam’s oeuvre and contemporary design, comics, and architecture. Numerous color illustrations that include personal documents, photographs and drawings from Ken Adam’s archive at the Deutsche Kinemathek are published in this book for the first time.

Online presentation www.ken-adam-archiv.de

In 2015, the Deutsche Kinemathek will publish Ken Adam’s archive in an online presentation, commemorating this unusual body of work beyond the scope of the exhibition.

The website provides access to all the original objects in the archive, while making the experience interactive. Narrative discussions situate the individual objects in meaningful contexts and tap into the resources of the archive to relay the storytelling with the help of multimedia. Essays go into more depth about the work of production designers, the genesis of film sets, Ken Adam’s biography and filmography, as well as his innovative style - allowing a rare behind-the-scenes view of Ken Adam’s archive at the Deutsche Kinemathek. Information: www.ken-adam-archive.de

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Credits

BIGGER THAN LIFE. Ken Adam’s Film Design Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin December 11, 2014 - May 17, 2015

Artistic Director: Rainer Rother Administrative Director: Maximilian Müllner Curators: Boris Hars-Tschachotin, Kristina Jaspers, Peter Mänz Project management: Kristina Jaspers, Peter Mänz Exhibition coordination: Vera Thomas Fundraising: Boris Hars-Tschachotin Audiovisual media program: Nils Warnecke Exhibition assistance: Georg Simbeni, Tim Lindemann Ken-Adam-Archiv: Silke Ronneburg (coordination), Jessica Sandrock, Anett Sawall (inventorying), Mia Golfels (assistance) Online Presentation of the Ken-Adam-Archiv: Christiane Grün (project coordination), Clara Holler, Sandra Schieke (digitization) Finance: Uwe Meder-Seidel Text editing: Rolf Aurich English translations: Wendy Wallis, transART, Berlin Scans: Julia Riedel Image rights: Annika Schaefer, Vera Thomas Design of the advertising graphics: Pentagram Design, Berlin Design of the exhibition graphics: Jan Drehmel, befreite module, Berlin Design of the exhibition architecture: Franke | Steinert, Berlin Construction of the exhibition architecture: Camillo Kuschel Ausstellungsdesign, Berlin Display equipment: Rüdiger Stern, stern…gestaltung, Berlin Conception and design of the models: Carolin Höfler, Matthias Karch Computer-based planning and production of the models: Matthias Karch with Lara Wischnewski, Benedikt Engelke, Janis Rösner Model lighting: Adriaan Klein, Camillo Kuschel, Berlin Flo-Master model: Alice Büchner Reconstruction of the satellite in the atrium: Ole Noculak Satellite production: Harald Müller, Harald Müller Metallbau, Ole Noculak Conservational supervision: Sabina Fernández, Berlin Editing of the audiovisual media: Stanislaw Milkowski, Concept AV, Berlin City map concept: Tim Lindemann Media equipment: Stephan Werner Technical services: Frank Köppke, Roberti Siefert Head of Communications: Sandra Hollmann Marketing: Linda Mann Press: Heidi Berit Zapke Museum education and mediacy: Jurek Sehrt

“LINES IN FLOW” INSTALLATION, Concept, direction, production: Boris Hars-Tschachotin, Liquid Blues Production. Artistic collaboration: Kai Rostásy (Camera), Sirko Knüpfer (Film Editing), Max-Julian Otto (Draftsman), Florian Obrecht (Visual Effects Artist), Michael Reuter (Post Production Supervisor, Post Republic GmbH), Jean-Michel Boublil (VFX Supervisor, Automatik), Jana Irmert (Sound Design),

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„Bigger Than Life. Ken Adam’s Film Design“ December 11, 2014 - May 17, 2015

André Stiebe (Sound Mixing), Michel Buchner (Transension B.V., Holography), Nik Burmester, Philipp Kaszubowski (Burmester Event- & Medientechnik GmbH, Media Systems Consulting), Frank Semerau (Lighting Technician), Ben Bernhard (Assistant Cameraman), Jörg Johow (Camera for Smoke Effect), Mandy Schuller (Assistant Set Decorator), Andreas-Michael Velten (Still Photographer)

LENDERS Sir Ken and Lady Letizia Adam, London Akademie der Künste, Berlin BFI National Archive, London Anthony Charlton, London Charlton Family, London EON Productions, London University College, London Staatliche Museen zu Berlin, Kunstbibliothek Tchoban Foundation – Museum für Architekturzeichnung, Berlin With thanks to the SK Film Archives LLC, [Warner Bros. / Sony Colombia] and the University of the Arts London

ACKNOWLEDGMENTS We wish to express our deepest thanks to Sir Ken and Lady Letizia Adam, whose great level of trust and engagement continues to inspire us. We are grateful to EON Productions, London, for its generous support.

WE WOULD ALSO LIKE TO THANK: Esenija Bannan, Tchoban Foundation – Museum für Architekturzeichnung, Berlin Barbara Broccoli, EON Productions, London Anthony Charlton, London Sarah Cox, SK Archives LLC, University of the Arts, London Richard Daniels, SK Archives LLC, University of the Arts, London Jonny Davies, BFI National Archive, London Thérèse DePrez, Los Angeles Chris Doll (Hellinger / Doll Filmproduktion GmbH) Sascha Gross, Munich Sir Christopher Frayling, London Jan Harlan, St. Albans Jürgen Jürges, Berlin Joachim Kreck, Wiesbaden Christiane Kubrick, St. Albans Daniel Libeskind, New York/Milan/Zürich Steve Martin, Los Angeles Genevieve Maxwell, Academy of Motion Picture Arts and Sciences, Los Angeles Alex McDowell, Los Angeles H. Kevin Miserocchi, Tee and Charles Addams Foundation, Sagaponack, NY Nathalie Morris, BFI National Archive, London Jan Pappelbaum, Schaubühne am Lehniner Platz, Berlin Colin Penman, University College London Jörg Plenio, rbb, Berlin Charlotte Procter, SK Archives LLC, University of the Arts, London Joseph Gallus Rittenberg, Munich Jürgen Seidel, Bonn

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„Bigger Than Life. Ken Adam’s Film Design“ December 11, 2014 - May 17, 2015

Caroline Seifert, Bonn Isabel Siben, Kunstfoyer der Versicherungskammer Kulturstiftung, Munich Gereon Sievernich, Berlin Meg Simmonds, EON Productions, London Claire Smith, BFI National Archive, London Nina Spensley, Spensley+Ford, Los Angeles Sergej Tchoban, Tchoban Foundation – Museum für Architekturzeichnung, Berlin Andreas-Michael Velten, Berlin Stephanie Wenborn, EON Productions, London Michael G. Wilson, EON Productions, London Moritz Wullen, Staatliche Museen zu Berlin, Kunstbibliothek

Special thanks to Peter Kerckhoff, Deutsche Telekom AG as well as to all of our colleagues at the Deutsche Kinemathek – Museum für Film und Fernsehen.

PARTNERS With the kind support of

Cooperation partners

Media partners

With thanks to:

The Deutsche Kinemathek is supported by The exhibition is supported by

by a resolution of the German Bundestag

Ken Adam’s archive will be available online 2015: www.ken-adam-archiv.de

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„Bigger Than Life. Ken Adam’s Film Design“ December 11, 2014 - May 17, 2015

Press photographs

http://www.deutsche-kinemathek.de/en/press/press-photographs

Contact

Press office| T +4930300903-820, [email protected]

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