{"id":12574,"date":"2011-08-02T01:53:50","date_gmt":"2011-08-02T00:53:50","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=12574"},"modified":"2011-08-02T14:29:56","modified_gmt":"2011-08-02T13:29:56","slug":"martin-scorsese-on-film-preservation-lamca","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2011\/08\/02\/martin-scorsese-on-film-preservation-lamca\/","title":{"rendered":"Martin Scorsese at the LACMA"},"content":{"rendered":"<p><a href=\"http:\/\/vimeo.com\/9926736\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12578\" title=\"Martin Scorsese at the LAMCA in January 2010\" src=\"http:\/\/www.filmdetail.com\/wp-content\/uploads\/2011\/08\/Martin-Scorsese-at-the-LAMCA-in-January-2010.jpg\" alt=\"\" width=\"560\" height=\"280\" \/><\/a><\/p>\n<p><a href=\"http:\/\/en.wikipedia.org\/wiki\/Martin_Scorsese\">Martin Scorsese<\/a> has been a tireless advocate for <a href=\"http:\/\/www.film-foundation.org\">film preservation<\/a> and last year gave a fascinating hour long talk at the <a href=\"http:\/\/www.lacma.org\/\">Los Angeles County Museum of Art<\/a>.<\/p>\n<p>Speaking to <a href=\"http:\/\/www.lacma.org\/sites\/default\/files\/2govanbio.pdf\">Michael Govan<\/a>, the director of the LACMA, Scorsese discusses a variety of topics and you can watch\u00a0the full interview here, which begins at 6:06:<\/p>\n<p><iframe loading=\"lazy\" src=\"http:\/\/player.vimeo.com\/video\/9926736?title=0&amp;byline=0&amp;portrait=0&amp;color=d7182a\" frameborder=\"0\" width=\"560\" height=\"315\"><\/iframe><\/p>\n<p>Amongst the things they cover include:<\/p>\n<ul>\n<li>Moving to LA in the 1970s and watching prints of old films<\/li>\n<li>The change from the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Technicolor#Three-strip_Technicolor\">3-strip camera process<\/a> to <a href=\"http:\/\/en.wikipedia.org\/wiki\/Technicolor#The_introduction_of_Eastman_color_and_decline\">Eastman color<\/a><\/li>\n<li>Realising the quality of film prints were declining after watching a double bill of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Niagara_(1953_film)\">Niagra<\/a> (1953) and <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Seven_Year_Itch\">The Seven Year Itch<\/a> (1955)<\/li>\n<li>The reason a proper print for Luchino Visconti&#8217;s <a href=\"http:\/\/en.wikipedia.org\/wiki\/The_Leopard_(film)\">The Leopard<\/a> (1960) didn&#8217;t exist for a long time<\/li>\n<li>How his quest for preserving film prints led to the creation of <a href=\"http:\/\/www.film-foundation.org\">The Film Foundation<\/a> in the late 1980s<\/li>\n<li>The fire in the mid-1970s that destroyed the original negative of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Citizen_Kane\">Citizen Kane<\/a> (1941)<\/li>\n<li>The films that have benefited from the foundation&#8217;s work, such as restored prints of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Shadow_of_a_Doubt\">Shadow of a Doubt<\/a> (1943), <a href=\"http:\/\/en.wikipedia.org\/wiki\/Paths_of_Glory\">Paths of Glory<\/a> (1957) and <a href=\"http:\/\/en.wikipedia.org\/wiki\/Once_Upon_a_Time_in_the_West\">Once Upon a Time in the West<\/a> (1969).<\/li>\n<li>How the Film Foundation had restored <a href=\"http:\/\/bit.ly\/qplSFB\">The Red Shoes<\/a> (1948) from an original camera negative that was &#8216;mouldy&#8217;<\/li>\n<li>The importance of preservation for inspiring the next generation of directors<\/li>\n<li>How the entertainment aspect of cinema created a stigma around it being considered an art form<\/li>\n<li>The meaning of a cut<\/li>\n<li>A parallel tracking shot in <a href=\"http:\/\/www.imdb.com\/title\/tt0060176\/\">Blow Up<\/a> (1966)<\/li>\n<li>How he came to appreciate the films of <a href=\"http:\/\/en.wikipedia.org\/wiki\/Frank_Borzage\">Frank Borzage<\/a> after the age of 50<\/li>\n<li>How plot is the &#8216;hardest thing to shoot&#8217;<\/li>\n<li>The influence of the shower scene in <a href=\"http:\/\/www.imdb.com\/title\/tt0054215\/\">Psycho<\/a> (1960) on a fight scene in <a href=\"http:\/\/imdb.to\/nhhjKe\">Raging Bull<\/a> (1980)<\/li>\n<li>Why Hitchcock is such a fascinating director<\/li>\n<li>What makes cinema unique as an art<\/li>\n<li>How he would shoot a 3D film (he has since made <a href=\"http:\/\/www.imdb.com\/title\/tt0970179\/\">Hugo<\/a>)<\/li>\n<li>Shooting the HBO mini-series <a href=\"http:\/\/en.wikipedia.org\/wiki\/Boardwalk_Empire\">Boardwalk Empire<\/a><\/li>\n<li>The <a href=\"http:\/\/www.hollywood-elsewhere.com\/2010\/01\/scorsese_is_no.php\">debate on grain<\/a> and whether digital restorations <a href=\"http:\/\/www.film-foundation.org\/common\/11004\/askTheDirector.cfm?clientID=11004&amp;sid=6\">should remove it or not<\/a><\/li>\n<\/ul>\n<p>Not only is it like listening to the best film professor in history, but it is a genuinely illuminating discussion that touches upon the art and technique of the medium that has meant so much to him.<\/p>\n<p>&gt; <a href=\"http:\/\/en.wikipedia.org\/wiki\/Martin_Scorsese\">Martin Scorsese<\/a> at Wikipedia<br \/>\n&gt; <a href=\"http:\/\/www.film-foundation.org\">The Film Foundation<\/a><br \/>\n&gt; <a href=\"http:\/\/www.lacma.org\/\">LAMCA<\/a>\u00a0and their <a href=\"http:\/\/vimeo.com\/user530795\">Vimeo Channel<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A fascinating hour-long discussion with Martin Scorsese at the Los Angeles County Museum of Art from January 2010<\/p>\n","protected":false},"author":1,"featured_media":12578,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[1861],"_links":{"self":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/12574"}],"collection":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/comments?post=12574"}],"version-history":[{"count":0,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/posts\/12574\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/media\/12578"}],"wp:attachment":[{"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/media?parent=12574"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/categories?post=12574"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.filmdetail.com\/wp-json\/wp\/v2\/tags?post=12574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}