Just got this info via email.
It's times like this that I really wish I lived in Los Angeles. These are some incredible film programs, and the prices are insanely low!
- The Art of Sound
An evening celebrating nominees and winners from the 80th Academy Awards®
While most people associate “soundtrack” with a recorded film score, the term actually describes a motion picture’s total sound content, from music and dialogue to a wide range of sound effects.
Talented professionals can make the precise and even delicate process of assembling a soundtrack appear to be a simple, straightforward task. Yet in almost any film sequence, sound editors and mixers must select and manipulate dozens of sound elements for realism, coherence and emotional impact while steering clear of the sort of cacophony that may be true-to-life, but does little to support a story.
“The Art of Sound” will feature clips from each of the motion pictures nominated for a 2007 Academy Award® in the Sound Mixing and Sound Editing categories. Academy Sound Branch governor and 20-time nominee Kevin O’Connell will moderate an onstage discussion with the mixers and editors who took home Oscars® for their work. (At press time the winners were still to be determined.)
The nominees are:
The Bourne Ultimatum
(Karen Baker Landers and Per Hallberg)
No Country for Old Men
(Randy Thom and Michael Silvers)
There Will Be Blood
(Christopher Scarabosio and Matthew Wood)
(Ethan Van der Ryn and Mike Hopkins)
The Bourne Ultimatum
(Scott Millan, David Parker and Kirk Francis)
No Country for Old Men
(Skip Lievsay, Craig Berkey, Greg Orloff and Peter Kurland)
(Randy Thom, Michael Semanick and Doc Kane)
3:10 to Yuma
(Paul Massey, David Giammarco and Jim Stuebe)
(Kevin O’Connell, Greg P. Russell and Peter J. Devlin)
Saturday, March 8, at 7:30 p.m.
At the Samuel Goldwyn Theater.
Tickets are $3 for the general public.
This will be very popular:
- The Academy Film Scholars Lecture featuring Thomas Doherty
"Hollywood's Censor: Joseph I. Breen & The Production Code Administration"
In the third in a series of lectures spotlighting recipients of Academy Film Scholars grants, Thomas Doherty, professor of American studies at Brandeis University, will present highlights from and discuss his research for his newly published scholars grant book, Hollywood’s Censor: Joseph I. Breen & The Production Code Administration.
Doherty’s book tells the absorbing yet little-known story of one of the most powerful men in motion picture industry history. Joseph I. Breen was a media-savvy former journalist and public relations agent who reigned over the Production Code Administration, the Hollywood office tasked with censoring the American screen, from 1934 to 1954. Breen dictated “final cut” over thousands of movies – more than any other individual in American cinema, before or since. His editorial decisions had a profound effect on the images and values projected by Hollywood during the Great Depression, World War II and the Cold War.
Breen vetted story lines, blue-penciled dialogue, and excised footage (a process that came to be known as “Breening”) to fit within his strict moral framework. Empowered by industry insiders and millions of like-minded Catholics who supported his missionary zeal, Breen strove to protect “innocent souls” from the temptations beckoning from the motion picture screen. There were few elements of cinematic production beyond Breen’s reach – he oversaw the editing of A-list feature films, low-budget B-movies, short subjects, previews of coming attractions, and even cartoons. Populated by a colorful cast of characters, Doherty’s insightful, behind-the-scenes account brings a tumultuous era – and an individual both feared and admired – to vivid life.
Thomas Doherty serves on the editorial board of Cineaste and is the author of Cold War, Cool Medium: Television, McCarthyism, and American Culture; Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930–1934; Projections of War: Hollywood, American Culture, and World War II; and Teenagers and Teenpics: The Juvenilization of American Movies in the 1950s.
Established in 1999, the Academy Film Scholars program is designed to stimulate and support the creation of new and significant works of film scholarship about aesthetic, cultural, educational, historical, theoretical or scientific aspects of theatrical motion pictures.
Monday, March 17, at 7:30 p.m.
At the Linwood Dunn Theater.
Admission is free, but tickets are required. Tickets available March 3.
This looks interesting, and the price is just right, too:
- Putting Looney in the Toons
A Double Centennial Tribute to Tex Avery and Michael Maltese
Tex Avery and Michael Maltese, both born a century ago in early 1908, crossed paths at the Warner Bros. animation studio back when it was Leon Schlesinger Productions (now affectionately referred to as “Termite Terrace”). Among their collaborations and individual career achievements are many of the wackiest moments (animation or live action) ever devised for the film medium. This double centennial tribute returns to the big screen some of the short cartoons Avery and Maltese worked on together as well as selected highlights from their prolific individual careers in animated theatrical films.
Avery’s directorial approach to animation was to celebrate the medium’s unique energy and limitless possibilities at a time when Disney animation was striving for increased pictorial realism. Maltese, who wrote dozens of animated shorts over the course of his career, was perfectly suited to incorporating Avery’s madcap style into the evolving stable of Warner Bros. characters, which included Bugs Bunny, Daffy Duck and Elmer Fudd.
Avery began his career at Walter Lantz’s Universal cartoon studio, working on Oswald the Lucky Rabbit. In 1935 he moved to Warner Bros., where he would create Daffy Duck and crystallize the personality of Bugs Bunny. From 1941 to 1954 Avery directed cartoons for MGM, introducing audiences to Screwy Squirrel, Droopy Dog and a whole new style of animated humor. In 1954 he initiated his final theatrical cartoons for Walter Lantz (four of which he actually completed, more of which were finished by Alex Lovy); some of these cartoons were Chilly Willy’s best.
Maltese began at Warner Bros. in 1937 and actually appeared on camera as a studio guard in You Ought to Be in Pictures, a 1940 Porky Pig short. After working with Avery and many other Warner directors, Maltese would go on to collaborate primarily with Chuck Jones, writing and storyboarding some of the most memorable Warner cartoons ever made, including What’s Opera Doc?, Duck Dodgers in the 24½th Century and One Froggy Evening.
To complement the screenings, “Putting Looney in the Toons” will also feature a unique autobiographical element - audio presentations of rare recorded interviews with both Avery and Maltese (again, singly and together) discussing their careers with film historian Joe Adamson.
Monday, March 24, at 7:30 p.m.
At the Samuel Goldwyn Theater.
Tickets are $5 for the general public and $3 for students with a valid ID. Tickets available March 3.
Another good exhibition at a great price:
- Casting a Shadow: Creating the Alfred Hitchcock Film
Alfred Hitchcock presented himself as the sole author of his work – a director whose films translated his creative genius to the screen. In reality, however, Hitchcock was a deeply collaborative artist, working intensely with actors, producers, cinematographers, screenwriters, editors, and production and sound designers to create what the public knew as “an Alfred Hitchcock film.”
Born outside of London in 1899 – just a few years after the invention of motion pictures – Hitchcock got his start at Famous Players-Lasky’s studios in Islington, London, designing titles for silent movies. In 1925 he made his directorial debut with The Pleasure Garden and went on to direct more than 50 films over the next six decades. He made transitions from the silent to sound era and black-and-white to color film with inventive ease, and throughout his career his films demonstrated the possibilities of the medium in both technique and content. At the same time, the director never lost sight of his audience, and today his films remain extremely popular and unabashedly entertaining.
Although Hitchcock’s image as a solitary and visionary artist was periodically buttressed by his own strident pronouncements for the press, “Casting a Shadow” reinforces the notion that in as complicated an art form as film, masterpieces do not spring from an artist’s mind fully formed. In fact, Hitchcock himself once said that his movies were created “slowly, from discussion, arguments, random suggestions, casual desultory talk and furious intellectual quarrels.” Through drawings, paintings, storyboards, script pages and clips from such classic films as Shadow of a Doubt (1943), North by Northwest (1959) and The Birds (1963), this exhibition reveals how Hitchcock’s colleagues contributed critical ideas and how the director himself engaged his team in the creative process; it examines how the films were crafted, sometimes frame by frame, as a collective enterprise that would ultimately be shared with an audience.
“Casting a Shadow: Creating the Alfred Hitchcock Film” is organized by the Mary and Leigh Block Museum of Art, Northwestern University, in collaboration with the Academy’s Margaret Herrick Library.
Support for the exhibition is provided by the Alice Kaplan Institute for the Humanities, Northwestern University; the Alfred J. Hitchcock Foundation; American Airlines; the Illinois Arts Council, a state agency; the Louis Family Foundation; the Myers Foundations; James B. Pick and Rosalyn M. Laudati; and the Rubens Family Foundation.
Exhibition curator Will Schmenner, Motion Picture Curator for the Block Museum at Northwestern University, will lead two free gallery talks: Friday, March 14, at 4 p.m., and Saturday, March 15, at 3 p.m. in the Fourth Floor Gallery. No reservations are necessary.
Through Sunday, April 20.
In the Academy’s Fourth Floor Gallery. The Fourth Floor Gallery is open Tuesday through Friday from 10 a.m. to 5 p.m. and weekends from noon to 6 p.m.
Admission is free.
On the East Coast, there's this special screening that should be terrific:
- Playing God: The Art and Artists of Matte Painting
Matte painters are highly specialized fine artists who work in a popular visual medium and yet are generally unknown to the public. An integral part of the motion picture production process since the silent era, matte painters have helped to create some of cinema’s most memorable images by painstakingly hand-painting on glass or wood panels vast landscapes, dense cityscapes and even entire fictional settings. Their visionary works and amazing powers of illusion have enabled filmmakers to transport audiences to places and times impossible to travel to, too costly to re-create or open only to the imagination.
The exhibition focuses on the life and work of masters Peter Ellenshaw, Albert Whitlock, Matthew Yuricich and others, artists who endowed each of the films they worked on with their own distinctive style. It also showcases the matte artist’s cinematic “tools of the trade” and features several stunning pieces created for such classic films as The Wizard of Oz (1939), Spartacus (1960) and The Birds (1963).
Through Saturday, May 31.
In the foyer of the Linwood Dunn Theater. Open Saturdays from noon to 6 p.m., and whenever Academy public programs are hosted at the Dunn.
Admission is free.
See the link for more programs (including the Ingmar Bergman tribute). I hope someone here is able to attend at least one of these!
- Leave Her to Heaven - NY
s c r e e n i n g
Monday Nights with Oscar® presents
Leave Her to Heaven (1945)
With special guest Darryl Hickman
Hosted by Robert Osborne
“There’s nothing wrong with Ellen. It’s just that she loves too much.” – Mrs. Berent
Meet Ellen Berent – beautiful, intelligent, and beloved by her widowed mother and adopted sister. On a train trip she meets the handsome novelist Richard Harland; they fall in love and are quickly married. All seems idyllic until Ellen becomes strangely hostile to visiting family members. She allows Danny, her crippled brother-in-law, to drown during his daily swim, then precipitates a miscarriage by throwing herself down a flight of stairs.
John M. Stahl directs Gene Tierney, as Ellen, in the only Oscar-nominated performance of her career. Cornel Wilde stars opposite as Richard, with Darryl Hickman as Danny Harland, Mary Philips as Mrs. Berent and Vincent Price as Russell Quinton, Ellen’s ex-fiancé. This classic tale of obsessive love is also an unusual representative of film noir – it takes place not in the city but the pastoral wilderness of Maine and New Mexico, and it is filmed not in black-and-white, but lush Technicolor. Leon Shamroy received an Academy Award® for his brilliant cinematography. The film also received nominations for Color Art Direction and Sound Recording.
Leave Her to Heaven was recently restored by Twentieth Century Fox and the Academy Film Archive, with funding from the Film Foundation. After the screening, host Robert Osborne will engage special guest Darryl Hickman in an onstage discussion about his experiences on set and on location, working with a major movie star. 20th Century-Fox. 1945. 35mm. 110 minutes. Print courtesy of the Academy Film Archive.
Monday, March 17, at 7:30 p.m.
At the Academy Theater at Lighthouse International.
Please call 1-888-778-7575 for ticket reservations.