WEBVTT

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You are listening to the IFH podcast
Network. For more amazing filmmaking and screenwriting

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00:00:08.839 --> 00:00:13.679
podcasts, just go to IFH podcast
network dot com. Welcome to the Bulletproof

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00:00:13.720 --> 00:00:18.399
Screenwriting Podcast, Episode number three thirty
one. Cinema is a matter of what's

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in the frame and what's out.
Now, more than ever, we need

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to talk to each other, to
listen to each other and understand how we

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see the world, and cinema is
the best medium for doing this. Martin

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Scorsese broadcasting from a dark, windowless
room in Hollywood when we really should be

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working on that next draft. It's
the Bulletproof Screenwriting Podcast, showing you the

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craft and business of screenwriting while teaching
you how to make your screenplay bulletproof.

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00:00:46.280 --> 00:00:51.520
And here's your host, Alex Ferrari. Welcome, Welcome to another episode of

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the Bulletproof Screenwriting Podcast. I am
your humble host, Alex Ferrari. Now,

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today's show is sponsored by Bulletproof script
Coverage. Now, unlike other script

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coverage services, Bulletproof Script Coverage actually
focuses on the kind of project you are

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in the goals of the project you
are, so we actually break it down

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by three categories. Micro budget,
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if you need your screenplay or TV
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over to cover my screenplay dot com. Well, guys, Today on the

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show we have Margaret Body, and
she is the executive director of the Film

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Foundation, the nonprofit organization created by
the legendary Martin Scorsese in nineteen ninety and

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it's dedicated to the preservation protection of
motion pictures from around the world. Over

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the years, they have preserved and
restored over nine hundred and twenty five films,

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including forty nine restorations from twenty eight
countries as part of the World Cinema

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Project. Now, Margaret and I
had a fantastic conversation not only about cinema

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history, about restoration, the process
of restoration, how important it is for

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us to restore and protect our cinematic
heritage, but also about their new program

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where they're going to be showing free
restored projects as part of their restoration screening

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room. We also talk about Margaret's
experience producing films with mister Martin Scorsese,

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and much much more. Now at
the end of the episode, I will

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give you a link on how to
get access to the restoration screening rooms monthly

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screenings. So, without any further
ado, please enjoy my conversation with Margaret

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Body. I like to welcome to
the show, Margaret Bodie. How you

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do, Margaret, I'm doing great, Alex, It's so great to be

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here. Thank you so much for
coming on the show. I'm excited to

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have you on because we're going to
be talking about film restoration and the work

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you're doing at the Film Foundation,
and as well as some others you do.

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You have as a little sidehustole that
you do as well, besides film

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restorations. We'll talk about that as
well. But the first question I have

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for you is how did you get
started in the business. It's a really

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great question because you know, looking
back, it all seems so well planned,

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but it was really just a random
set of circumstances. I did go

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to film school, which is,
you know, kind of rare in this

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business. Usually everyone studied history or
politics or global studies. But I studied

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film and I my first job out
of school was at the Library of Congress,

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and I was doing archival work at
the Library of Congress. I was,

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I was making photographs from either their
glass negatives, their nitrate negatives.

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There their incredible photographic collection that included, like I said, glass negatives from

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Matthew Brady to you know, nitrate
you know, four by fours and two

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by twos that were created during the
WPA era. And I remember I was,

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I was making both copy but they
called copy prints. This is in

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the days of the old fashioned photographic
lab where you would you know, you

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know, expose the paper and then
process it and all these wonderful chemicals that

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I breathed for about two years.
And what happened was I became it was

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like a master's degree in history,
in exposure, in photography and also by

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extension and film, and so that
was that was an amazing milestone in my

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career that I hadn't intended really necessarily
as as what I wanted to do.

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And then from there I went to
independent film exhibition. I worked at a

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movie theater we booked independent films,
and so I had the exhibition side of

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it. And then I went to
work. I moved to New York and

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started work for a fledgling company called
Mirramax, and I was doing independent film

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distribution and marketing. And there were
about twenty people at the company at that

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time, so it's early days.
And then I worked there for a couple

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of years, and then I moved
into this kind of miracle where I got

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a call from a colleague who said, you wouldn't want to work for Martin

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Scorsese? Would you? Would you
want to be his assistant? And I

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was like, I would sweep a
floor for that guy. Like that was,

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you know what a question. So
it was like, I said,

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this kind of random set of circumstances
that just now kind of all add up

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and make sense, But at the
time it was just you know, you

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get the jobs you can get that
you're interested in, and yeah, exactly

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like they I mean, how many
filmmakers around the world would like, Hey,

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would you like to to work with
Martin Scorsese? Can you imagine doing

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anything? Doing anything right? Absolutely
anything. So that brings me to my

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to my next question. I mean, you got to work with him on

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some some not his early films,
but early nineties films like the Age of

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Innocence, which I absolutely adore.
I was just obsessed with Age of Innocence

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when it came out, Uh and
Casino. So I'm assuming as an assistant

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and working with him, what did
you see on set? Like? How?

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Like? I have to ask you
the question that every filmmaker listening wants

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to know. When you first walked
in and met Martin Scorsese for the first

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time, what was going through your
head? How did you deal with it?

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How did you I mean because essentially, even even in the early nineties,

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he was still he was already a
legend. At that point, he

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was absolutely legend. I mean he
had just made I mean you Good Fellows

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in nineteen ninety, right, and
then I started working for him. On

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my first night, my first night
on the job, was the premier of

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Kate Here. So you know,
it's it's just he was he was to

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me, he was the top of
the mountain, you know, I mean,

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he was it because he had also
started the Film Foundation in nineteen ninety

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and when I met with him,
which I'll never forget. He lived at

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the time at the Metropolitan Towers on
fifty seventh Street, and so I literally

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it's like I went up, you
know that I went up to like,

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you know, Mount Olympus exactly,
and I remember, you know, obviously

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I was I was nervous, but
I also was just I had kind of

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the attitude of like, I just
want to meet this man who has made

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films that have meant so much to
me and so many people. So it

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was really kind of an experience of
a lifetime. I thought, whatever happened

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with the job, I kind of
thought, this was this wonderful opportunity to

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meet this to meet this person.
And when I met him, we just

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really hit it off. He's so
warm, he's so smart, he's so

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funny. He's really like just an
easy person to talk to and get to

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know. And one of the things
that stood out for him with me was,

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oh, so you went to film
school, you know about film,

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you know about film history. We
just started this foundation. Maybe you can

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help with that. And so,
you know, that was to me that

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was part of this glorious package,
you know of just you know, being

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able to work with someone who's an
absolute master of the of the craft and

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the art of filmmaking, and someone
who cares about other people's films and also

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cares about the audience and making sure
that you know, the continuum of film

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history is available to filmmakers today and
in the future who can look back on

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the past films and be as inspired
by them as Marty has been. That's

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remarkable. So when you're are so
when you're working on Age of innocenswer a

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casino, what, how do you
see him working? What do you I

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mean, I'm assuming you're trying to
take as much in as you can when

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you're watching him. Were you on
set, were watching him work? Yeah?

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Yeah, and you are taking as
you're taking it all in. But

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you know, everyone on that set
has this mission, right, and you

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know there you don't have a lot
of time for reflection, so you're not

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necessarily, you know, kind of
absorbing and processing. You're just kind of

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like running from like as an assistant
especially, you're running from one task to

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the next, and your mind has
to be very sharply focused on, you

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know, whatever he has, you
know, needs you to do, has

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asked you to do, whatever communication
you have to give to the various different

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department heads. So I'm not like
I wasn't ever involved in like the make

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of the film. It was just
there to support all the things that he

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needs. We'll be right back after
a word from our sponsor, and now

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back to the show. But the
set is an extraordinary place to be with

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Marty because it's so it's such a
pure expression of filmmaking where it's all about

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what do we need, how do
we get it. He's brilliant about,

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you know, creating an environment where
the actors feel like it's all about what

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they need to do, where the
DP feels like it's all about what he

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or she needs to do. Everyone
feels like they're the most important person in

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that process. And it's just it's
a it's kind of a I mean,

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you know, not to be you
know, I have drank the kool aid.

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I will admit to that, but
it is like kind of a sacred

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place. It's a really exciting place
to be, but it's very much there's

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nothing frivolous about it. Yeah it
seems to be. And I mean I've

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any filmmaker worth their salt has studied
Marty's work over the years. I mean

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and every documentary. I mean,
I remember working at a video store in

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the eighties and early nineties, and
I was I saw Good Fellows in the

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theater multiple times, I mean,
and you just sit there and you wait

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for any making of document Back in
the day when there wasn't any information about

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my first laser disc was Raging Bull
because I wanted to hear I wanted to

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hear Marty's commentary on it, you
know, things like that is fascinating.

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There was an early laser disc of
The Last Waltz. I remember, it

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came out like in the mid eighties, early eighties, and I remember just

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you know, I had seen The
Last Waltz is aging me quite a bit,

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But I had seen The Last Waltz
when I was like in high school,

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and I remember just being it was
something very special. I couldn't really

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articulate it because a lot of people
were making documentaries in that way that weren't

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verite, you know, I mean
you think about like Woodstock, Yeah,

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you're capturing everything, and that's that
was really what was happening with music documentary

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at that time. And then I
remember the Last Waltz felt like a film,

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right, And I remember thinking like, that's interesting, what's really happened?

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What is he doing differently than everybody
else's And didn't he also work on

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Woodstock as an editor? He was
I think he was assistant director and I

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think he did some editing. Yeah, but Michael Wadley, you know,

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was the director of that film and
both Marty, and that's where Marty and

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Thelma I think first worked together.
The almost Schoodmaker was an editor on Woodstock.

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And you know who knew back in
you know, seventy two or whenever

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that I can't remember the exact year
of Woodstock, you know who knew that

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that would create this, you know, legendary partnership. No, I mean,

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has there ever been a partnership like
that in the history of film that

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I can think of? An editor
that's she's edited everything he's done. She

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has edited everything from Raging Baal on
so nineteen eighty. Yeah, that's a

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forty two year a lot of a
lot of masterpieces in there. Oh my

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god, to say the least.
Now, tell me about the work you're

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doing in the Film Foundation. What
is the Film Foundation? Well, the

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Film Foundation was created in nineteen ninety
and it really grew out of advocacy that

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Marty had already been involved in in
the after Raging Ball in the nineteen eighty

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eighty one era, Marty was he
started a campaign to get to encourage Kodak

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to create a low fade color film
stock. And in fact, one of

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the reasons that Marty made Raging Ball
black and white was because he didn't want

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it to fade in ten years.
And he was, you know, aware

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of every filmmaker wants their film to
last, right That's that's the goal you're

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putting. You're putting a work out
into the world, and you don't want

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it to go away. You don't
want it to look like, you know,

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diminished, you know, in terms
of color and and and degradation after

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you know, five or ten or
fifteen years. You hope that it will

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survive the test of time, as
they say. And so he decided to

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use black and white for Raging Bull
for you know, I mean artistic reasons,

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but also for that practical reason.
And so after the film was released,

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he used the press tour in Europe
and all over the world to talk

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about this issue of color color film
stock fading, and thankfully Codected U create

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a low fade lpp stock. I
believe it's called that would that would last

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if it was properly cared for,
Would it would last for fifty two one

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hundred years with a stable color,
you know the color. The color wouldn't

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change over time. So he was
always thinking about film and the history of

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film and how much it meant to
him and how much it meant to his

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fellow filmmakers like George Lucas and Steven
Spielberg and Francis Coppola, Stanley Kubrick at

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the time. So Marty got these
galvanized these filmmakers and came together and said,

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look, will be so much more
impactful if we form this organization and

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if we use our collective power or
collective clout to go to the studios to

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talk about working in partnership with these
archives, these film archives that are in

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the nonprofit world who have been collecting
negatives, cast off material over the decades,

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and let's try to build a bridge
so these two important parts of the

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film world can work together to preserve
films for the future. And I don't

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think that there was a real clear
cut, concrete plan of how this would

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get done, but it was definitely
agreed. You know with this group and

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with many other people in the field, that it's something needed to be done,

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something needed to be done, because
you know, Marty talks about this

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story a lot, where in the
nineteen seventies when he was living in Los

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Angeles, he went to a screening
at LACMA and it was it was a

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Fox retrospective and on the particular night
that Marty remembers, there was a double

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feature of Niagara and the Seven Year
Itch, Okay, and the seven Year

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Itch came. The projectionist put up
the put up the film print and it

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came on screen and the entire he
describes, the entire audience erupted with booze

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because the film the print had faded
to pink, so everything, everything looked

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magenta. There was no there was
no reflection of what the film was supposed

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to look like. So you couldn't
see like the actors face, you couldn't

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see with the colors of the set
and what the color design was supposed to

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look like. And you know,
you think about it, that was maybe

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twenty years at most after the film
came out, no more than twenty years,

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so you know, the realization hit
Marty and many other film scholars and

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filmmakers and people who just care about
cinema. If this is happening to a

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huge hit with Marilyn Monroe right,
what's happening to silent films, what's happening

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to industrial films or you know documentaries
that were made. We can't just lose

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all this, you know, at
that point, you know, eight eighty

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years of film and of our culture. So the idea was, let's create

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an organization that can advocate for film
preservation and restoration and also for this is

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as important as that as for getting
these films back out to the public.

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Because if people, if young people
don't know about films from the past,

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if they don't see them, then
what's the motivation to preserve them. So,

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you know, between the preservation program
that we created the Film Foundation,

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and the education program, we have
a curriculum that teaches young people the language

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of film, the unique language of
how stories are told visually, and then

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and then access. You know,
we make sure that the films that we

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the films that we help fund the
restoration of and make sure are preserved,

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get out to the world through festivals, archives, screenings on you know,

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Turner classic movies and other outlets,
and also our great partnerships with places like

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Criterion Channel and the Criterion Collection and
Movie and many other organizations and companies around

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the around the world that really present
film in what is a very kind of

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like wonderful, celebratory and respectful way, making sure that people see the films

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without commercial interruption and the way that
the directors intended them to be seen.

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I mean, you're doing God's work. I mean, this is this is

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a very very important mission, and
I'm so glad that Marty. I think

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it's needed to be someone like Marty
to be able to spearhead this. You

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need, you need someone with his
kind of gravitas to to let everybody knows,

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Hey, wait a minute, Yeah, we need to keep an eye

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on this. We'll be right back
after a word from our sponsor, and

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now back to the show. What
I always found fascinating about film preservation is

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that it is a constant moving target. It never it never sits. It's

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unlike the Pyramids that will be around
for three thousand years. I mean,

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stone is stone, but film,
even today, we still have to preserve

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it and continue to move it as
technology changes. So even film stock today

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in five hundred years. We don't
know if film stock is going to be

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the way these things are projected,
if if that's projection still around, is

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it going to be on a hard
drive. And if it is going to

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be on a hard drive, how
long will that hard drive live last before

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it crashes? How many So it's
a constant, it's a never ending So

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just because you you restore a film
today, you're thinking, okay, in

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thirty years, or in twenty years
or in five we have to check to

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see where it is, and we
have to keep moving the ball. It's

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almost like a game of hot potato. You constantly have to keep moving it

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along history or along the future.
Is a correct alex, you're hired.

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I mean, you know, if
you have it, you have it.

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You hit the nail on the head, because you know, we were lucky

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that we had this technology for what
one hundred and twenty years or so of

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film history, where yes, the
film stock changed over that time, but

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it was still using light and emulsion
to capture life, to capture whatever you

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want to create and put in front
of the camera. And we were also

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very lucky that even as ephemeral and
fragile as film is and has been,

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We still have films from the silent
era that you can go up the best

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then you can run through a projector
you can also hold it up and you

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can see, oh, yeah,
there's people dancing, and then oh there's

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a tint the blue. You know, old films can still be viewed.

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The issue with digital and you know, we all know digitals is wonderful innovation.

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You know, it's allowed a lot
of filmmakers who haven't been represented in

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the past to make films and get
their stories out there. And that's vital.

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That's that's that's an infusion of energy
into the into the whole art form.

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But the big butt on that is
digital is untested in terms of the

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longevity of digital and the changes in
digital technology. I don't have to tell

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you are just I mean, the
cycle is spinning so fast. Do you

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remember D one tape? Of course, I'm I'm older than I look mark

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where. Yeah, I remember one
tape, I remember D two tape.

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I remember three corner ranch or one
inch or two inch? I edited I

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edited one inch between. Yeah,
real's real back in the day. Yeah

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yeah, So you think about the
span the lifespan of digital is what thirty

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years maybe so far how many formats
have there been in that really short period

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of time. So we will be
the archivists of the future, and the

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present are just going to be unraveling
that. You've got to make sure that

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you've got the hardware that will play
back those formats. You've got to be

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able to, you know, migrate
that digital data now every I mean,

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they recommend every six months. I
mean, but you know, filmmakers,

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yeah, and filmmakers are you know
you you well, you know, you

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know, well, when you make
a film, you're just onto your next

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project. You know. Most filmmakers
don't have the time to kind of like,

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well, let me manage all my
data from my last five projects.

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I'll take a couple of months here
to do that. You know. It's

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it's it's its own challenge, and
I don't think that maybe the industry,

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maybe the studios, you know,
have a handle on that, and they're

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managing their assets, you know,
because they have the budgets for it,

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and there's also and it's also money. Now they realize that it's ever ending.

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You know, how many how many
versions of Star Wars have I purchased?

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How many versions of Godfather? Every
time there's a new version, a

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new rest, you buy a new
platform. So from VHS, the laser

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disc, the DVD, the Blu
ray and digital, it's constant. So

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that's where the money is. I
think the studio is finally caught up.

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We're like, oh wait, there's
money to be made here. That was

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key. That was key having this
what they call monetized, right, having

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having the classic film libraries and collections
of the studios, had having another outlet

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in another way to like you said, package and release on home home video,

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home video, laser disc, DVD, you know, streaming now those

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that we were so lucky that those
formats demanded the best possible resolution and audiences

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demanded the best possible resolution. So
you did have to go back to the

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original camera negative. You did have
to go back into the vaults and take

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a look at your assets and see
if you had the original camera negative,

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if you didn't have the original camera
negative, what were the best elements that

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you could find so that those DVDs
or that you know, whether it's a

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SDHD, four K, whatever the
format is you're working from, you know

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the best possible source for that for
that transfer. And I think we were

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very lucky that there was that robust
home entertainment market in the in the nineteen

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nineties and the two thousands, and
now with streaming, it's a it's a

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different it's a different stories I think, you know, unfortunately because the business,

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because it is a business and an
art for you know, there's a

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different economic model now and it might
be harder to you know, justify although

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I don't like to use that word, but a vast expenditure of money on

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a single title that may not make
that back, right, I mean we

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of course, yeah, that's what
we do all day, you know.

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We we advocate for that and we
try to find ways to you know,

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to make that as appealing as possible
for studios and other rights holders because you

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know, we think we think of
of something like film, and this is

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true, and with books and and
and paintings and you know, other art

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00:26:47.680 --> 00:26:52.319
forms, music and theater. You
know, people can't really own it,

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00:26:53.480 --> 00:26:57.359
right, You're a bit of a
custodian. We can't. We can't own

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anything. We're only on the earth
for a certain of time. So even

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land, you eventually have to give
it to somebody else. It's like,

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which is your fort a moment of
time? So if you have. Let's

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00:27:06.440 --> 00:27:08.440
say, let's say, what's your
favorite film, Alex, Oh God,

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for one, I love Shawshank,
Redemption. I love Saw Pemption. Okay,

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so let's say you obtain the rights
to Redemption, right you, you

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know you have the rights to it, but you know, I would argue

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that you are also holding it for
the rest of us too. Oh right,

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I'm not gonna put if I had
bought It's like imagine if I got

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the rights to Shawshank, I would
like, I'm putting it in my vault

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only I can see it. All
copies have taken off the shelves. No

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00:27:37.480 --> 00:27:41.720
one could ever see it again.
No, you're a custodian of art for

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00:27:41.960 --> 00:27:45.079
the work, for the good of
the populist, the good of the world.

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That's what you should That's how film
should be, and arguably has how

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00:27:48.799 --> 00:27:52.240
studios should be as well. But
with them, it's a business, now,

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is it. You know, as
you know, the corporations have taken

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over the main studio as it before
it was run by film bakers, and

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now it's more more corporate. Yeah, I mean, it's always been a

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business, and I think that's part
of the challenge I think with the film,

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with film as an art form and
a commercial I won't say product,

350
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but as a commercial endeavor. Right, films were made for the weekend and

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00:28:22.440 --> 00:28:26.799
the months that they could be in
the theaters and then really until television,

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there was no there was no maybe
there would be a re release maybe ten

353
00:28:30.759 --> 00:28:34.400
years later of the hit one of
the hit ones. Yeah, but what

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about the every B picture? And
you know, until television came along,

355
00:28:38.359 --> 00:28:42.119
it was considered you know, disposable
is a strong word, but it was

356
00:28:42.200 --> 00:28:45.960
considered that's an old movie. What
are we what are we putting out you

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know, next weekend? What are
we putting out next year? And that?

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And that is just by nature the
way that the that the movie business

359
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you know, works and it makes
sense because you know, you know,

360
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you're profits are only in the future
and only on your current films. Everything

361
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is pretty diminished once it's made its
initial run. So yeah, yeah,

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these are the challenges I think in
terms of trying to you know, balance

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you know, the high minded notion
that film is an art form and needs

364
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to be protected and preserved and the
reality of you can't spend a million dollars

365
00:29:29.079 --> 00:29:33.200
restoring one film. You know,
that's not no one's gonna you know,

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00:29:33.319 --> 00:29:36.920
no one's gonna it's not really you
know, necessary most of the time,

367
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and it's not something that a studio
is going to put that kind of money

368
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in. So we do what we
can, and we make sure that we

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try to get both the kind of
the high minded advocacy and awareness out there

370
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and then also work practically to try
to make sure that these as many films

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that can be restored in any given
year can get restored. We'll be right

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00:30:00.640 --> 00:30:07.400
back after a word from our sponsor, and now back to the show.

373
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And I've heard lately that there is
you know, you work with film and

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films from nineties, back from nineteen
nineties and back from what I understand from

375
00:30:18.599 --> 00:30:22.519
your from my research, but there's
an issue now with movies created in the

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00:30:22.640 --> 00:30:30.039
eighties that now the best quality versions
of them are VHS tapes, like that's

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00:30:30.039 --> 00:30:33.720
all the negatives are gone because they
were so disposable in those kind of b

378
00:30:33.920 --> 00:30:37.920
movies and you know, these kind
of things. But it is still cinema.

379
00:30:37.000 --> 00:30:41.400
So I know there's a lot of
organizations trying to even save VHS tapes

380
00:30:41.680 --> 00:30:45.640
because that's or LaserDisc might be the
best version of it out there. So

381
00:30:47.039 --> 00:30:51.240
it is a problem. It is
a problem're losing our We're losing movies every

382
00:30:51.359 --> 00:30:55.519
day. And you know, it's
interesting because you know, the eighties were

383
00:30:55.599 --> 00:30:57.640
this, I mean, especially with
what you do, right, the eighties

384
00:30:57.720 --> 00:31:03.519
were this kind of the goal old
and era of independent filmmaking. Eighties and

385
00:31:03.640 --> 00:31:08.920
nineties. I mean that's when you
know Jane Campion and Spike Lee and John

386
00:31:10.000 --> 00:31:14.960
Sales and Mirror Nair, you know, all these mid gym Jarmush, all

387
00:31:15.000 --> 00:31:18.359
these amazing independent filmmakers that you think
of as these you know, kind of

388
00:31:18.599 --> 00:31:23.480
legends, right. They were making
movies for small companies, and there were

389
00:31:23.519 --> 00:31:30.200
a lot of very successful small companies
like Synecom. And that's when Mirramax started

390
00:31:30.799 --> 00:31:37.000
and uh new Line. You know, there was this new world. I

391
00:31:37.079 --> 00:31:41.000
mean, we could probably if I
dig back in my memory banks, I

392
00:31:41.039 --> 00:31:44.119
could think of even more. I
mean even even you know, Sony Pictures,

393
00:31:44.640 --> 00:31:51.359
Sony Pictures, Classics, No Ryan
Ryan, Ryan, Cannon and Cannon

394
00:31:51.599 --> 00:31:56.720
right and Troma oh okay, forget
okay, forget Lloyd. So you know,

395
00:31:57.319 --> 00:32:01.680
and and when those companies then and
no longer, you know, we're

396
00:32:01.720 --> 00:32:06.839
no longer in business, you know, those collections, it's it's it's unclear

397
00:32:06.960 --> 00:32:09.960
you know where they bought who bought
them. And I've talked to, you

398
00:32:10.039 --> 00:32:15.440
know, so many filmmakers who say, I don't know where my elements are

399
00:32:15.519 --> 00:32:20.640
for that hit, for that,
for that independent film hit that I that

400
00:32:20.759 --> 00:32:22.400
I made in you know, in
the mid eighties, you know, and

401
00:32:22.480 --> 00:32:27.200
they have maybe a sixteen milimar print
of it, you know, if they're

402
00:32:27.279 --> 00:32:30.839
lucky, they have a thirty five
millimeter print of the film. But those

403
00:32:30.880 --> 00:32:34.960
are It's like detective work. You
have to follow. You have to trace

404
00:32:35.079 --> 00:32:37.920
everything back. You know, was
it at a lab that closed? Did

405
00:32:38.000 --> 00:32:43.079
then those materials go to an archive? Hopefully they were saved and they're in

406
00:32:43.119 --> 00:32:49.279
an archive it was that was that
collection then sold outright to like maybe a

407
00:32:49.359 --> 00:32:52.359
television company. You have to trace
all those things back. And I do

408
00:32:52.559 --> 00:32:59.839
think that archivists, you know,
do have a certain kind of detective gene

409
00:33:00.119 --> 00:33:04.519
that they that they tap into where
they track these films down. I'll tell

410
00:33:04.559 --> 00:33:09.079
you a story and interesting this is
just one example of many when we work

411
00:33:09.240 --> 00:33:14.480
very closely with all the different archives
in the US and around the world,

412
00:33:15.000 --> 00:33:20.359
and we have a great partnership with
the UCLA Film and Television Archive and at

413
00:33:20.440 --> 00:33:24.240
the time, there was an archivists
working at UCLA, Ross Lippman, and

414
00:33:24.759 --> 00:33:30.480
he was, as they often do, he was he was made aware that,

415
00:33:30.079 --> 00:33:35.119
you know, got a call from
a lab. We're closing. We're

416
00:33:35.160 --> 00:33:37.680
getting rid of all the stuff here. You got today to come by and

417
00:33:38.400 --> 00:33:43.079
find whatever you want to pick it
up. So he and his team go

418
00:33:43.240 --> 00:33:49.039
over to the lab and they're looking
through the material and there's all these elements,

419
00:33:49.119 --> 00:33:52.640
all these film elements, and some
of them have proper labeling, many

420
00:33:52.720 --> 00:33:58.200
of them don't. And he finds
on the label the name of a New

421
00:33:58.279 --> 00:34:02.799
York based producer, and he just
thought, you know, that guy produced

422
00:34:04.359 --> 00:34:08.239
the one film that Barbara Lowden made, Wanda, she that she started,

423
00:34:08.559 --> 00:34:14.280
directed, wrote and directed, and
it's kind you know, it's it's considered

424
00:34:14.320 --> 00:34:19.280
this kind of independent film, you
know, milestone and independent cinema and and

425
00:34:19.559 --> 00:34:24.360
and you know feminist, you know, films made by by women. So

426
00:34:25.880 --> 00:34:30.559
you know, he takes it.
He puts all these elements in his trunk.

427
00:34:30.880 --> 00:34:35.880
It turns out this was the original
negative for the film Wanda. And

428
00:34:37.039 --> 00:34:43.400
were it not for the archivist,
the knowledge that this archivist had the kind

429
00:34:43.440 --> 00:34:50.960
of random serendipity of you know,
the lab thankfully calls the archive materials are

430
00:34:51.000 --> 00:34:54.039
gathered, the thrown into his trunk
and you know, contact the Film Foundation.

431
00:34:54.119 --> 00:34:58.159
That was one of the films that
they asked us to support the restoration

432
00:34:58.280 --> 00:35:01.920
of that given year. And you
know, now that film has inspired so

433
00:35:02.159 --> 00:35:07.480
many people who hadn't they would never
be able to see that film in the

434
00:35:07.519 --> 00:35:15.239
way that it exists now, restored
and saved for filmmakers and audiences to to,

435
00:35:16.800 --> 00:35:23.000
you know, get inspiration and joy
from these films. Yeah, it's

436
00:35:23.079 --> 00:35:29.679
it's remarkable. I know there was
a movie that Marty found, at least

437
00:35:29.679 --> 00:35:35.079
the legend goes, there was a
wonderful film called I Am Cuba years ago.

438
00:35:35.679 --> 00:35:39.000
I'm Cuban of Cuban descent. So
I was very interested in watching that

439
00:35:39.119 --> 00:35:44.000
film. And then it was released
through Criterion. I think it released once

440
00:35:44.079 --> 00:35:47.920
and then really rereleased through a Criterion
And it was him and Francis who presented

441
00:35:47.960 --> 00:35:52.960
the film and they said, I
remember, I remember when it came out.

442
00:35:52.119 --> 00:35:57.079
It was like, if this movie
would have come out when it was

443
00:35:57.199 --> 00:36:00.840
made, it would have changed cinema, like it it would have skewed cinema

444
00:36:00.880 --> 00:36:05.559
in a certain direction, Like there
are those landmark films that when once that

445
00:36:05.679 --> 00:36:09.719
comes, are like, well everything's
changed, and it was, and it

446
00:36:09.880 --> 00:36:14.800
was I think it was found in
in a closet somewhere, I don't know,

447
00:36:14.880 --> 00:36:17.079
in an archive somewhere, in a
salt mine somewhere. Uh. And

448
00:36:17.639 --> 00:36:22.239
when they saw it, it was
just a game changer. And any filmmaker

449
00:36:22.320 --> 00:36:24.960
listening, if you haven't seen Im
Cuba, please go out and see im

450
00:36:25.039 --> 00:36:29.719
Cuba. I mean P. T. Anderson, you know, he he

451
00:36:29.960 --> 00:36:34.800
borrowed a very famous shot from that
and he says, I was inspired by

452
00:36:34.920 --> 00:36:37.039
this shot in im Cuba and the
stuff that they did in a film like

453
00:36:37.119 --> 00:36:43.199
that, Like you're looking back like
they're running around with a hundred pound camera

454
00:36:43.599 --> 00:36:45.519
and it looks like it's a steady
camp but it isn't. How do they

455
00:36:45.599 --> 00:36:50.679
do that? How did they hang
the camera over these two? Like this

456
00:36:50.880 --> 00:36:53.760
is this is cinema at its best. But it was lost, it was

457
00:36:53.880 --> 00:36:59.000
gone. Yeah, yeah yeah.
And you know, I'm glad you brought

458
00:36:59.039 --> 00:37:02.480
that up because you know people,
you know, filmmakers, and there's not

459
00:37:02.599 --> 00:37:07.119
many of them, right, filmmakers
like Marty and Francis Ford Coppola. Putting

460
00:37:07.480 --> 00:37:14.760
attention, putting a spotlight on these
films has been a really crucial part of

461
00:37:14.880 --> 00:37:21.400
this whole movement, right, the
film preservation and appreciation movement. You have

462
00:37:21.559 --> 00:37:27.159
filmmakers who are beloved and masters putting
a spotlight on a film like I Am

463
00:37:27.280 --> 00:37:31.480
Cuba, or a film like you
know, even even a big popular film

464
00:37:31.920 --> 00:37:37.960
like I think when when Marty and
Steven Spielberg, I think, did the

465
00:37:37.039 --> 00:37:43.199
first Lawrence of Arabia restoration way back
in the photochemical era, and I remember

466
00:37:43.280 --> 00:37:47.199
going to the Zigfeld and watching it
on that big screen. I had never

467
00:37:47.239 --> 00:37:52.639
seen Lawrence of Arabia and and and
I just you know, I remember one

468
00:37:52.679 --> 00:37:55.360
of the main reasons I went to
see it was I knew that, like

469
00:37:55.639 --> 00:38:00.840
Martin SCORSESEI a filmmaker that I love
who I just if he likes this film,

470
00:38:01.079 --> 00:38:05.119
I want to go see it.
And it's obviously a masterpiece. So

471
00:38:06.159 --> 00:38:10.480
directors filmmakers who you know are generous
in that way, and I think they

472
00:38:12.239 --> 00:38:16.400
instinctively are, because you know,
when something hits you in a profound way,

473
00:38:16.480 --> 00:38:21.719
you want to share that. And
I think if the Film Foundation has

474
00:38:21.800 --> 00:38:29.199
been successful over these years, I
think that's that's it's really all because of

475
00:38:29.440 --> 00:38:36.559
Marty and the other directors on the
board who have generously shared their enthusiasm for

476
00:38:36.880 --> 00:38:40.039
these films and their and their dedication
to making sure I mean, they have

477
00:38:40.119 --> 00:38:45.039
a righteous anger about like, you
know, let's not lose these films.

478
00:38:45.719 --> 00:38:49.800
You know, we don't we don't
know who is going to be hit by

479
00:38:49.880 --> 00:38:54.239
these films and inspired in the future. And it's a it's a it's a

480
00:38:54.320 --> 00:38:59.880
deep well that I think we have
to make sure, you know, stays

481
00:39:00.000 --> 00:39:04.119
available for filmmakers who you know are
working today and who are going to be

482
00:39:04.199 --> 00:39:07.039
working in the future exactly. I
mean, how many painters and artists have

483
00:39:07.119 --> 00:39:12.920
been inspired by van go or Basquiat
or Pollock or any of these Like just

484
00:39:13.519 --> 00:39:16.880
imagine if van go would have never
been found I think got he mean nine

485
00:39:16.960 --> 00:39:21.360
hundred of those things. He just
kept making them in no one bottom,

486
00:39:21.400 --> 00:39:22.280
but he just kept making them because
he had to, because he was an

487
00:39:22.360 --> 00:39:25.280
artist. But imagine if that was
all lost in a fire ones and no

488
00:39:25.360 --> 00:39:30.800
one would have known about Van Gogh. What a loss to humanity that would

489
00:39:30.800 --> 00:39:32.679
be. Any thing, That's how
you look at it, Yeah, And

490
00:39:32.760 --> 00:39:42.880
I think it's It's also kind of
interesting because film inspires filmmakers, but it

491
00:39:43.039 --> 00:39:50.320
also inspires painters and musicians and dancers
and scientists and you know, I mean

492
00:39:51.000 --> 00:40:00.159
people. And we'll be right back
after a word from our sponsor and now

493
00:40:00.360 --> 00:40:05.159
back to the show. And yeah, because I think if you if you

494
00:40:05.280 --> 00:40:08.760
look at art and cinema, art
and you know, fine art, if

495
00:40:08.800 --> 00:40:14.159
you look at it as a transcendent
experience, I mean, it's really one

496
00:40:14.199 --> 00:40:17.440
of the things that makes life worth
living, you know, I mean we

497
00:40:17.719 --> 00:40:22.039
we we transcend our daily lives when
we read a book or when we look

498
00:40:22.079 --> 00:40:28.039
at a painting, or when we
watch a great film, and when we

499
00:40:28.360 --> 00:40:31.119
you know, experience a dance that
we're seeing, you know, performed.

500
00:40:31.679 --> 00:40:38.480
These are things that take us out
of the daily you know grind of you

501
00:40:38.519 --> 00:40:42.440
know, working, and you know, I mean, I think that we

502
00:40:42.559 --> 00:40:46.079
have to remember that there are so
many important issues in the world, but

503
00:40:46.719 --> 00:40:51.320
this is this is a vital thing
that we want to really keep alive and

504
00:40:51.559 --> 00:40:57.000
keep available to people because it's what
kind of propels us into the future in

505
00:40:57.079 --> 00:41:00.320
a in a kind of renewed way. Well, there's no there's no question

506
00:41:00.400 --> 00:41:04.800
because the a's a conversation about the
arts. You know, that's the first

507
00:41:04.800 --> 00:41:07.239
thing they cut at school when the
budget's going. Look, but art is

508
00:41:07.400 --> 00:41:12.559
what makes your mind. Think what
creates and what creates imagination, and that

509
00:41:12.760 --> 00:41:19.960
is what creates innovation in our in
our in humanity. Without the great scientific

510
00:41:20.239 --> 00:41:22.079
or the sci fi books of H. G. Wells, a lot of

511
00:41:22.119 --> 00:41:24.119
that has come true. Yeah,
we don't have a time machine yet,

512
00:41:24.360 --> 00:41:30.400
but there's a lot of concepts that
were laid out there that we're inspired inspired

513
00:41:30.440 --> 00:41:32.960
scientists and they wanted to go And
then I mean, and then many of

514
00:41:32.960 --> 00:41:37.400
the filmmakers we've spoken about today.
If it's inspired so many scientists, so

515
00:41:37.519 --> 00:41:39.719
many artists, so many people in
the world, art is something that needs

516
00:41:39.800 --> 00:41:44.679
to be preserved and needs to be
protected. And even if there isn't a

517
00:41:44.719 --> 00:41:51.320
monetary reward right away, there's a
much greater reward, which is the culture

518
00:41:51.400 --> 00:41:53.400
of it. And I always tell
people, you know, when I when

519
00:41:53.400 --> 00:41:57.719
I try to inspire filmmakers to go
out and make their films, I go,

520
00:41:57.840 --> 00:42:00.719
you have no idea who you are
going to touch what your film.

521
00:42:00.800 --> 00:42:05.440
Your film might be seen by ten
people, but one of those ten people

522
00:42:05.880 --> 00:42:09.480
might go off and make the great
cinematic masterpiece, or might go off and

523
00:42:09.599 --> 00:42:14.119
become that doctor because of the story
that you're telling, or go off and

524
00:42:14.159 --> 00:42:17.400
save lives or change. You've no
idea the power that art has in changing

525
00:42:17.440 --> 00:42:21.599
people's lives. And that's why I
think the work that you do in Marty's

526
00:42:21.639 --> 00:42:24.599
doing is so so so important in
the world. Well, I have to

527
00:42:24.719 --> 00:42:30.639
say that we are a small team, so I want to take a moment

528
00:42:30.800 --> 00:42:36.400
to give your shot up to the
other three or four people who work get

529
00:42:36.440 --> 00:42:40.199
the Foundation with me. Jennifer On
is our managing director. She's been at

530
00:42:40.239 --> 00:42:45.400
the Foundation for over twenty years and
she's, you know, kind of a

531
00:42:45.559 --> 00:42:52.119
genius in many ways in terms of
creating programs, creating partnerships with people who

532
00:42:52.320 --> 00:42:55.679
will, you know, help fund
these restorations. And she's truly a partner

533
00:42:55.800 --> 00:43:01.760
for Marty and I and she's just
in an extraordinary talent. And Chris Christin

534
00:43:01.800 --> 00:43:07.760
Morola, who's our program manager,
who is just, you know, again

535
00:43:07.880 --> 00:43:13.800
just so dedicated and devoted to film
and cinema and it's just it's no one

536
00:43:13.880 --> 00:43:19.119
who can keep more things in the
air at the same time, she's terrific.

537
00:43:19.400 --> 00:43:24.559
And my colleague here in New York, Rebecca Wingle, who's actually moving

538
00:43:24.639 --> 00:43:28.800
on to grad school. We're sad
to see her go, but she's been

539
00:43:28.840 --> 00:43:31.360
with the Foundation for six years.
So we're kind of a very small and

540
00:43:32.199 --> 00:43:37.800
kind of dedicated group that you know, we're lean and mean, and we

541
00:43:37.920 --> 00:43:40.199
make a lot happen. So I
just want to give a shout out to

542
00:43:40.320 --> 00:43:45.400
my colleagues at the Foundation. Absolutely
no question about it. Now I have

543
00:43:45.719 --> 00:43:47.159
a question a few questions I want
to ask you that are kind of the

544
00:43:47.239 --> 00:43:52.360
nitty greedy of action film restorations.
We've talked about the ideas and the concepts

545
00:43:52.400 --> 00:43:55.119
and the love about it, but
how long does it take to restore a

546
00:43:55.199 --> 00:44:00.760
film? Well, it varies depending
on the addition of the materials, the

547
00:44:00.920 --> 00:44:07.960
length of the film, the type
of of workflow that you decide. The

548
00:44:08.079 --> 00:44:12.880
first the first thing you want to
ask is like, is this is this

549
00:44:12.960 --> 00:44:17.440
the original negative? Is this the
best element to work from? If it's

550
00:44:17.719 --> 00:44:22.519
if the original negative is damaged,
if it doesn't exist, if it's missing

551
00:44:22.599 --> 00:44:29.199
reels. That time to track down
and to kind of bring together all the

552
00:44:29.320 --> 00:44:34.599
best surviving elements for a film can
be very time consuming, but it's really

553
00:44:34.719 --> 00:44:40.719
crucial because you don't want to spend
resources and time preserving something that you think

554
00:44:40.840 --> 00:44:45.440
is the best element. And then, oh, you know this archive in

555
00:44:46.039 --> 00:44:52.599
you know, in Germany they have
this whole film and it's it's a better

556
00:44:52.760 --> 00:44:59.079
element than what you're working from.
So this consortium of archives in under this

557
00:44:59.159 --> 00:45:05.519
group called FEE, the International Federation
of Film Archivists, they're really crucial in

558
00:45:05.599 --> 00:45:08.800
this process. The archives will do
these calls around to the world to make

559
00:45:08.840 --> 00:45:14.079
sure that they're working from the best
the best materials. That's it's a long

560
00:45:14.159 --> 00:45:19.039
way of saying it can take a
long time. However, if you have

561
00:45:19.880 --> 00:45:25.320
an original camera negative that's in you
know, really good or decent condition,

562
00:45:25.960 --> 00:45:30.960
and you know that you're going to
do either a photochemical preservation or a digital

563
00:45:31.039 --> 00:45:38.400
restoration, you know it can be
It can be as short as you know,

564
00:45:39.360 --> 00:45:43.599
two to four months, you know, if you can really focus on

565
00:45:43.679 --> 00:45:45.920
that and if the if the if
you don't have to track down materials,

566
00:45:46.320 --> 00:45:52.239
if you don't have to do a
lot of physical repair and manual work on

567
00:45:52.760 --> 00:45:58.480
the film itself. We've worked on
projects that take ten years. Wow.

568
00:45:59.320 --> 00:46:06.599
And at ten year time frame is
from the time that someone first starts talking

569
00:46:06.679 --> 00:46:09.519
to you about hey. And in
this instance, I'll tell you what the

570
00:46:09.559 --> 00:46:15.840
project was. One of Marty's oldest
dearest friends, Jay Cox. Every time

571
00:46:15.920 --> 00:46:21.400
I would see Jay, and he's
a renowned writer. He would say to

572
00:46:21.480 --> 00:46:25.639
me, we got to save the
memory of justice. It's this Marcel Opal's

573
00:46:28.280 --> 00:46:35.079
four and a half documentary on Nuremberg, Vietnam and the French Algerian War.

574
00:46:35.519 --> 00:46:37.280
It's a masterpiece. We have to
save that. No one can see it.

575
00:46:38.079 --> 00:46:44.760
So from that instigation, right,
you have to then find out.

576
00:46:45.679 --> 00:46:50.320
In the instance of this project,
it was the subject of various lawsuits.

577
00:46:51.679 --> 00:46:57.719
It was you know, bought and
sold. There was only a sixteen millimeter

578
00:46:57.880 --> 00:47:02.599
print at the New York Public Lib
and so we had to do tracking down

579
00:47:02.920 --> 00:47:07.000
finding you know, the original sixteen
millimeter was it was made on sixteen millimeter

580
00:47:07.360 --> 00:47:14.440
sixteen milimeter negative. In this instance
we had to which is one of the

581
00:47:14.559 --> 00:47:16.679
only times the Film Foundations ever had
to do this. We had to go

582
00:47:16.800 --> 00:47:22.599
back because it's a documentary and it
had like three hundred and eighty cues of

583
00:47:23.000 --> 00:47:28.639
you know, clips, music.
We had to go back and re license

584
00:47:29.719 --> 00:47:36.719
all that material and scan the sixteen
milimeter negative, do all the work involved

585
00:47:36.760 --> 00:47:42.960
in restoring a film of that length. Then we found the original German,

586
00:47:43.440 --> 00:47:50.400
French and French language tracks. And
at the time the film was made,

587
00:47:50.679 --> 00:47:53.039
it was, you know, in
the nineteen seventies mid seventies, it was

588
00:47:53.599 --> 00:48:05.599
common a common stylistic decision in documentaries
where you would kind of put the original

589
00:48:05.679 --> 00:48:10.000
language track down or take it out
entirely and have a very staid British you

590
00:48:10.119 --> 00:48:17.079
know voiceover. Yes, I remember. Yeah. So we contacted Marty contacted

591
00:48:17.599 --> 00:48:23.000
Marcel Opals, the filmmaker of the
director of the film, and said,

592
00:48:23.079 --> 00:48:27.400
you know, we found these language
tracks, what would you like to do.

593
00:48:27.519 --> 00:48:30.079
We don't want to change anything about
the film unless it's a directorial,

594
00:48:30.519 --> 00:48:35.119
you know, choice, he said, I always wanted to use the original

595
00:48:35.199 --> 00:48:40.440
language tracks. They made me put
that voiceover on. So what happens when

596
00:48:40.599 --> 00:48:45.119
you put the original language tracks and
you know, you're these are interviews with

597
00:48:45.599 --> 00:48:51.239
former Nazis, right, so you
want to hear the tone of their voice.

598
00:48:51.599 --> 00:48:55.639
You want to hear the tone of
voice that Marcel Opals is using to

599
00:48:55.840 --> 00:49:01.559
interrogate these guys, and so it's
a whole different experience. So we we

600
00:49:01.760 --> 00:49:06.960
really look at that. That was
that was a massive undertaking that the Film

601
00:49:07.000 --> 00:49:13.840
Foundation took on with the Academy Film
Archive, and it brought back a work

602
00:49:13.920 --> 00:49:21.840
of art film, a really important
monumental documentary to the world where you know,

603
00:49:22.000 --> 00:49:25.559
I don't think anyone could have seen
it, and we were able to

604
00:49:25.719 --> 00:49:30.719
work with Thank thank you Sheila and
Evans at HBO because she loved the film,

605
00:49:30.800 --> 00:49:36.840
she knew of the film, and
she was able the HBO licensed it

606
00:49:37.239 --> 00:49:40.960
and we were able to pay for
all those licenses so that audiences could see

607
00:49:42.000 --> 00:49:46.440
the film because it's an important milestone, it's an educational tool, it's it's

608
00:49:46.440 --> 00:49:51.760
a real document for for for the
twentieth century. So that's just one very

609
00:49:51.880 --> 00:49:57.360
long winded example of how long it
can take to fully restore and make a

610
00:49:57.400 --> 00:50:02.280
film available to audiences. We'll be
right back after a word from our sponsor,

611
00:50:06.960 --> 00:50:10.239
and now back to the show.
And what is the average cost?

612
00:50:10.320 --> 00:50:15.039
I know that depends obviously on the
length, but generally the average cost of

613
00:50:15.719 --> 00:50:19.679
a color film, a black and
white film. Yeah, generally a black

614
00:50:19.760 --> 00:50:25.599
and white film is somewhere on the
fifty to eighty thousand dollars range if it's

615
00:50:25.599 --> 00:50:29.440
a feature. If it's a feature
length film, it can be more.

616
00:50:29.719 --> 00:50:34.320
Obviously a color film is more than
that. It's usually somewhere more like,

617
00:50:34.519 --> 00:50:37.519
you know, eighty two, one
hundred and twenty thousand dollars for a full

618
00:50:37.599 --> 00:50:44.880
feature to do a full restoration where
you're really doing frame by framework. And

619
00:50:45.280 --> 00:50:50.679
again there are that's kind of a
ballpark. There are outliers that are less

620
00:50:50.719 --> 00:50:54.440
than that and more than that,
but that's the general ballpark. Now,

621
00:50:54.679 --> 00:50:59.679
tell me about your monthly on demand
screenings that you guys have just started up.

622
00:51:00.559 --> 00:51:05.800
Well, this is a very exciting
opportunity for the Foundation to reach the

623
00:51:05.840 --> 00:51:10.400
audience directly. When we when we
were in the pandemic and everything was shut

624
00:51:10.519 --> 00:51:15.639
down and we had our annual board
meeting the directors, we were talking about

625
00:51:15.719 --> 00:51:20.719
all these great festivals that we work
with that had migrated online and pivoted to

626
00:51:21.159 --> 00:51:29.039
presenting films virtually, and also companies
like Criterion Channel and Movie and and and

627
00:51:29.239 --> 00:51:34.960
great organizations and also great theaters like
the Film Forum and Anthology, Film Archives

628
00:51:35.000 --> 00:51:38.400
and MoMA. They all had kind
of presented their offerings online. And our

629
00:51:38.480 --> 00:51:40.639
board said, hey, you know, we should do that, you know,

630
00:51:40.840 --> 00:51:44.000
once in a while. We don't
need to, you know, obviously

631
00:51:44.079 --> 00:51:47.280
we're not. There's all these great
organizations doing it, but we should show

632
00:51:47.480 --> 00:51:52.119
people what we do and the kind
of work that we that we support.

633
00:51:52.840 --> 00:52:00.639
And so we went to a wonderful
supporter who who used to be at IBM.

634
00:52:00.760 --> 00:52:07.519
Jeff Schick and is now at Oracle, and we described the challenge to

635
00:52:07.679 --> 00:52:13.400
him and he worked with us as
pro bono to kind of build a site

636
00:52:13.760 --> 00:52:17.440
that would allow us to present once
a month for twenty four hours, a

637
00:52:17.559 --> 00:52:24.559
fully restored film, and we build
around each presentation interviews with archivists, filmmakers,

638
00:52:24.840 --> 00:52:32.400
actors, scholars, historians, talking
contextualizing the experience for an audience and

639
00:52:34.559 --> 00:52:39.719
giving information about the restoration, about
the film, why the film is important

640
00:52:39.760 --> 00:52:44.480
to you know, any given filmmaker, how it inspired them. So we're

641
00:52:44.599 --> 00:52:51.440
creating really kind of like a bit
of of a festival experience online for people

642
00:52:52.159 --> 00:52:53.639
you know all over the world.
Most of the time, I mean,

643
00:52:53.679 --> 00:52:58.639
it depends on film by film we
have. We have more or less territories

644
00:52:58.639 --> 00:53:02.800
available, but it's free and you
can look at it if you look at

645
00:53:02.840 --> 00:53:07.480
it in a live way, like
we start each screening at seven o'clock in

646
00:53:07.599 --> 00:53:12.599
your local time zone, and if
you're in the US or the UK or

647
00:53:12.679 --> 00:53:15.320
Canada, you can join us for
a live chat if that's the way you

648
00:53:15.480 --> 00:53:20.239
like to watch films. If you're
seeing a film for the second or third

649
00:53:20.360 --> 00:53:22.480
or fourth time, or for the
first time, and you just like to

650
00:53:22.559 --> 00:53:25.360
talk to people while you're watching a
film, which is kind of anathema to

651
00:53:25.480 --> 00:53:30.800
some people, but you know,
we have that option. And then we

652
00:53:30.960 --> 00:53:35.039
also have an on demand option for
the majority of the people who just want

653
00:53:35.079 --> 00:53:37.320
to be able to watch the film
either on a large laptop or on their

654
00:53:37.599 --> 00:53:42.679
hopefully on there the television that they
have at home, where they can cast

655
00:53:43.000 --> 00:53:46.360
onto a big screen and enjoy the
film. And and you know, the

656
00:53:46.480 --> 00:53:52.920
films, you know, look beautiful, you see the restoration, and if

657
00:53:52.119 --> 00:53:57.679
if you have never seen the film
before, you can learn all about the

658
00:53:57.760 --> 00:54:04.880
film and join in in this community
that we think is still really vital every

659
00:54:05.000 --> 00:54:09.760
month and see a wide range of
films everything from you know, for the

660
00:54:09.960 --> 00:54:14.840
for the initial launch, we showed
a nineteen forty five British film called I

661
00:54:14.920 --> 00:54:17.760
Nowhere I'm Going that's this one of
the great romantic films of all time.

662
00:54:19.840 --> 00:54:24.320
We showed Lastrata, which is you
know, Felini's masterpiece that we you know,

663
00:54:24.559 --> 00:54:30.599
restored in partnership with the Tinneteca to
Bologna and Criterion. And then after

664
00:54:30.719 --> 00:54:35.440
that we have a wonderful double feature
because we love our double features. It's

665
00:54:35.480 --> 00:54:42.039
a film noir double feature of The
Chase, Arthur Ripley's The Chase and Edgar

666
00:54:42.199 --> 00:54:46.360
Almer's Detour. Yes, so we're
thrilled about about that because you know,

667
00:54:46.519 --> 00:54:51.440
we really we want to show as
many films as possible. So it's it's

668
00:54:51.519 --> 00:54:54.239
fun to be able to show some
double features here and there too. And

669
00:54:54.320 --> 00:54:58.000
now you're going to be doing this. It's a monthly it's a monthly screening,

670
00:54:58.079 --> 00:55:02.480
right, it's every second Monday of
each month. It was one of

671
00:55:02.519 --> 00:55:07.800
them make it. Yeah, we
we just wanted to make it. You

672
00:55:07.880 --> 00:55:10.079
know, we don't have the band
with with our small team to be doing

673
00:55:10.159 --> 00:55:15.239
this, you know, you know
every day. We also have so many

674
00:55:15.320 --> 00:55:17.280
great partners who do do this all
the time. But we did want to

675
00:55:17.320 --> 00:55:21.760
have, you know, an opportunity
to kind of directly connect with an audience

676
00:55:21.800 --> 00:55:24.039
and show them the kind of work
that we support. We're going to be

677
00:55:24.119 --> 00:55:29.480
showing films from our World Cinema project, you know, films that have been

678
00:55:29.639 --> 00:55:31.960
you know, made in regions where
you know, a lot of times these

679
00:55:32.000 --> 00:55:36.400
films aren't really only known in the
region that they were made in, like

680
00:55:36.719 --> 00:55:42.679
Gamadi and like Samba Zanga, which
is a French Angolian Angolian film that was

681
00:55:43.039 --> 00:55:49.480
directed by Sarah Malderer and it's it's
a wonderful film. Uh, you know,

682
00:55:49.639 --> 00:55:57.400
a political film that's uh again being
being discovered and rediscovered because of the

683
00:55:57.480 --> 00:56:02.519
restoration. And you know, we're
just really thrilled to get a real diverse

684
00:56:02.639 --> 00:56:09.079
offering of films out to audiences because
you know, film is pretty, it's

685
00:56:09.159 --> 00:56:15.199
it's rich, and it's broad and
it's genres and era and we want to

686
00:56:15.280 --> 00:56:19.440
celebrate all of that. Yeah,
and it's and you're gonna be doing this

687
00:56:19.559 --> 00:56:22.960
every every month, moving forward,
every month, Yeah, moving forward.

688
00:56:22.000 --> 00:56:27.159
That's that's a that's an amazing service. I will do everything I can to

689
00:56:27.360 --> 00:56:30.039
get the word out to to my
audience because I think it's it's it's really

690
00:56:30.079 --> 00:56:34.599
really important for filmmakers to to watch
old cinema. And I mean, we

691
00:56:34.679 --> 00:56:38.760
all know the usual suspects we all
have to watch, but discovering those the

692
00:56:38.840 --> 00:56:44.679
im cubas of the world and those
kind of films that are not mainstream classics,

693
00:56:45.400 --> 00:56:50.840
that's where a lot of really interesting
uh filmmakers and voices are heard that

694
00:56:51.239 --> 00:56:54.360
should be seen by different generations.
Without question. I had one one question,

695
00:56:54.679 --> 00:56:59.400
where do when you when you're done
restoring it now, I'm assuming you

696
00:56:59.480 --> 00:57:02.880
put it on sell Lord Archival Selly
Lord and put in an assault mind somewhere

697
00:57:02.960 --> 00:57:08.039
and then also digital Yeah, when
when when the film we still do photochemical

698
00:57:08.199 --> 00:57:13.360
preservations with some of the archives,
in which case you want to make sure

699
00:57:13.400 --> 00:57:17.440
that the original materials and elements are
held in cold storage, temperature and humanity

700
00:57:17.480 --> 00:57:22.239
control as well as the new film
elements. But it allows, you know,

701
00:57:22.400 --> 00:57:25.480
film prints to be circulated at theaters
that are still showing thirty five millimeter

702
00:57:25.599 --> 00:57:31.239
film. And then when we have
digital workflow and when we restore films digitally,

703
00:57:32.039 --> 00:57:39.360
we always have we have a film
negative that's output from the digital files

704
00:57:39.800 --> 00:57:45.639
and then thirty five millimeter film prints
made from that negative. So we always

705
00:57:45.719 --> 00:57:52.519
have thirty five millimeter film print and
a DCP available to theaters so that audiences

706
00:57:52.599 --> 00:57:57.920
can see they have the theaters have
the option of showing either. And I

707
00:57:58.039 --> 00:58:02.800
think, you know, it's important
for us to always now have some kind

708
00:58:02.840 --> 00:58:07.760
of digital element, so because that's
really the way that the majority of people

709
00:58:07.800 --> 00:58:13.679
are going to see the films.
So we try to kind of as long

710
00:58:13.760 --> 00:58:16.519
as films available, we'll be we'll
be making some prints and negatives of the

711
00:58:16.599 --> 00:58:21.400
films that we that we help restore. But there's some there's some four K

712
00:58:21.760 --> 00:58:27.360
and maybe eight K quick Times out
there somewhere. Absolutely well. Quick Times

713
00:58:27.400 --> 00:58:30.480
are probably held by the rights holders, but yeah, we we but as

714
00:58:30.639 --> 00:58:34.639
archival for our co, yeah,
absolutely well. Lto tape is usually what

715
00:58:34.760 --> 00:58:39.119
we're preserving at Wow. Yeah,
because I mean again it's you're you're fighting

716
00:58:39.159 --> 00:58:44.880
against time. Time is the enemy
here. It's it just it just keeps

717
00:58:44.920 --> 00:58:47.719
pounding away. And these elements,
I mean, eventually, hopefully they'll be

718
00:58:49.679 --> 00:58:52.559
a hard drive that will last indefinitely. And I think that will happen one

719
00:58:52.639 --> 00:58:57.199
day. But who knows, you
know, well a diamond or something.

720
00:58:57.679 --> 00:59:02.000
What we hear is it's going to
be DNA DNA So what is that exactly?

721
00:59:02.440 --> 00:59:07.159
DNA storage? So what is DNA
storage? I have no idea.

722
00:59:07.199 --> 00:59:14.360
What d you know, Bigger brains
than mine are going to have to explain

723
00:59:14.480 --> 00:59:16.280
that. But you should try to
get someone on the show who can talk

724
00:59:16.280 --> 00:59:21.800
to you about DNA storage because that's
apparently the future, not just for film

725
00:59:21.880 --> 00:59:24.360
preservation and film storage obviously, but
for data storage. I mean, we

726
00:59:24.440 --> 00:59:34.320
are creating the amount of you know, computing power needed to store all that's

727
00:59:34.360 --> 00:59:37.840
being created on the Internet, and
you know, crypto, everything is just

728
00:59:38.480 --> 00:59:45.440
so massive. I think the goal
and the future is to have a DNA

729
00:59:45.599 --> 00:59:51.000
strand hold all this information. Apparently
it's exponential, the amount of material that

730
00:59:51.079 --> 00:59:54.119
can be held once you Once you
can you know, kind of like block

731
00:59:54.360 --> 01:00:00.960
kind of like a blockchain mixed with
a DNA kind of world. We'll be

732
01:00:00.119 --> 01:00:07.079
right back after a word from our
sponsor, and now back to the show.

733
01:00:10.039 --> 01:00:14.639
Yeah, again, brain's bigger than
you and I. We'll have to

734
01:00:14.880 --> 01:00:19.760
explain this to as smart as we
are. It's just a little beyond us,

735
01:00:20.599 --> 01:00:22.760
right when, because you're on the
cutting edge of everything. I mean

736
01:00:22.800 --> 01:00:27.760
you're talking about it's kind of like
us trying to explain to somebody in the

737
01:00:27.840 --> 01:00:32.440
nineteen hundreds this thing right here is
really really important. Yeah, exactly.

738
01:00:32.760 --> 01:00:37.239
We use it all day every day, but we cannot tell you how it

739
01:00:37.400 --> 01:00:42.280
works, right exactly exactly. I
can tell you. I can tell you

740
01:00:42.360 --> 01:00:45.760
how a toaster works. I can't
tell you how this thing works exactly.

741
01:00:46.760 --> 01:00:49.639
Now, Margaret, I'm going to
ask you a few questions. I ask

742
01:00:49.679 --> 01:00:53.000
all of my guests, what is
the lesson that took you the longest to

743
01:00:53.119 --> 01:01:07.400
learn? Whether in the film industry
or in life. Hmm. Interesting.

744
01:01:07.480 --> 01:01:12.719
I feel like I'm still learning things. I'm not trying to dodge the question,

745
01:01:12.800 --> 01:01:15.519
but I'll tell you what I'm glad
I haven't learned yet is the word

746
01:01:15.639 --> 01:01:22.360
no, yes, thank you.
I really I can be kind of a

747
01:01:22.519 --> 01:01:29.519
pain in this way, but I
don't feel like anything is impossible, and

748
01:01:29.679 --> 01:01:31.920
I try to do, you know. And maybe it's because I've worked for

749
01:01:32.039 --> 01:01:37.079
Martin Scorsese for over thirty years,
but I never I never say no.

750
01:01:37.199 --> 01:01:40.679
I really try to make that I'm
tenacious, and I think you need to

751
01:01:40.760 --> 01:01:46.400
be tenacious in in, you know, roles like I have with the Film

752
01:01:46.440 --> 01:01:51.440
Foundation. You can't give up on
things. You know, how many people

753
01:01:51.480 --> 01:01:53.559
are going to, like, you
know, hang around for a ten year

754
01:01:54.119 --> 01:02:00.880
restoration of a nineteen seventy six documentary, you know. So I'm trying to

755
01:02:00.960 --> 01:02:05.599
think of the lesson. So I
don't know if you can unwind that into

756
01:02:05.760 --> 01:02:09.119
like the lesson no, it makes
it. I mean, the lesson I

757
01:02:09.199 --> 01:02:13.159
think that you're learning is to not
take no for an answer, which is

758
01:02:13.679 --> 01:02:16.239
a very very big lesson for people
to go out if you can understand that

759
01:02:16.360 --> 01:02:22.239
no is the default. No is
what everyone's going to say to you most

760
01:02:22.280 --> 01:02:25.320
of the time, especially in the
film industry. You know, I'm sure

761
01:02:25.360 --> 01:02:29.800
Marty. I'm sure Martyn can attest
to that because he's been said no to

762
01:02:30.719 --> 01:02:34.679
so I know, I know.
And even even now it's funny because people

763
01:02:34.719 --> 01:02:37.119
will say, well, he's Martin's
say you can you can do anything.

764
01:02:37.559 --> 01:02:42.440
It's like, yeah, people say
no to him all the time. So

765
01:02:42.679 --> 01:02:45.599
it's like, you know, you
you really have to find ways to work

766
01:02:45.719 --> 01:02:52.440
around you know, you have to. You have to commit to your dream

767
01:02:52.519 --> 01:02:53.800
whatever it is. If you're you
know, if you want to be an

768
01:02:53.840 --> 01:02:55.719
actor, if you want to be
a writer, if you want to be

769
01:02:55.800 --> 01:03:00.880
a filmmaker, you know, you
gotta believe in yourself because no one's going

770
01:03:00.920 --> 01:03:07.480
to believe in you unless they see
it coming from you first. Absolutely,

771
01:03:07.039 --> 01:03:10.320
that's how it's conveyed. No,
I think we might have answered the question,

772
01:03:10.320 --> 01:03:13.320
but I'm gonna ask it anyway.
What advice do you have for a

773
01:03:13.360 --> 01:03:19.840
filmmaker trying to break into the business
today. I think this seems like an

774
01:03:19.880 --> 01:03:24.360
obvious bit of advice, But know
your story, have a story to tell

775
01:03:25.360 --> 01:03:31.159
and know what that story is,
and you know, as much as you

776
01:03:31.320 --> 01:03:42.320
can draw deep from your own personal
experiences, knowledge, you know, bring

777
01:03:42.679 --> 01:03:50.400
the emotion to it. And I
think that's what people respond to. You

778
01:03:50.480 --> 01:03:53.320
know, people respond to the truth
of something. And even if it's not

779
01:03:53.519 --> 01:03:59.320
like, yeah, I'm not talking
about documentary truth, I'm talking about something's

780
01:03:59.320 --> 01:04:02.000
authentic, you know, try to
try to make it. Try to tell

781
01:04:02.039 --> 01:04:05.920
a story and make a film about
something that matters to you and that you

782
01:04:06.079 --> 01:04:11.719
know. Hm, that's a great
piece of advice. And my last question

783
01:04:12.480 --> 01:04:15.920
and arguably the most difficult question you
can be asked, three of your favorite

784
01:04:15.960 --> 01:04:23.280
films of all time? Oh wow, that is really difficult because it changes,

785
01:04:23.360 --> 01:04:26.320
as you know today. I always
say, as of right now,

786
01:04:26.480 --> 01:04:30.159
what comes it was tomorrow change,
yesterday was different. Right now? What

787
01:04:30.280 --> 01:04:38.679
are the three favorite films? I
would say Vertigo, and this is in

788
01:04:38.760 --> 01:04:45.960
no particular order. I would say
Vertigo, it's so good. I would

789
01:04:45.960 --> 01:04:49.360
say mean Streets, I mean,
maybe my I mean it's a hard it's

790
01:04:49.400 --> 01:04:57.280
a hard call because I have so
many Uh Scorsese favorites. You know,

791
01:04:57.360 --> 01:05:00.559
I'm really loving two thousand and one. Yeah, I mean it's it's I

792
01:05:00.639 --> 01:05:04.599
mean, my my favorite Kubrick.
I'm a huge, huge, huge Kubrick

793
01:05:04.639 --> 01:05:09.400
fan. I've gone down the rabbit
hole, probably a little too much with

794
01:05:09.599 --> 01:05:15.039
with Stanley, but I love Eyes
Watch Shut. I just adore it is

795
01:05:15.159 --> 01:05:18.079
not the one that everyone talks about, but for me, I just I

796
01:05:18.159 --> 01:05:24.239
still remember walking out of the theater
in ninety nine and my friends are asking

797
01:05:24.239 --> 01:05:26.639
me, what did you think I
go? I don't know. I don't

798
01:05:26.719 --> 01:05:30.960
understand it, but I will in
ten years. And that's generally all of

799
01:05:30.000 --> 01:05:34.760
Stanley's movies, they all are understood
about a decade later, really truly like

800
01:05:35.000 --> 01:05:39.840
appreciated. And then I saw it
ten years later after I was married,

801
01:05:40.360 --> 01:05:43.880
and it hit me at a whole
other level because you're just like, oh,

802
01:05:44.079 --> 01:05:45.800
oh God, I understand what he
was trying to say. And it's

803
01:05:45.840 --> 01:05:55.719
just it's such a hypnotic film,
and and Mean Streets there's a there's a

804
01:05:56.280 --> 01:06:06.480
rawness and velocity, but like this
this energy energy that a young Scorsese is

805
01:06:06.599 --> 01:06:11.159
making there, you know, and
I've seen I've seen who's that knocking?

806
01:06:11.280 --> 01:06:15.239
Or what is a girl? A
good girl? What is it you're doing

807
01:06:15.280 --> 01:06:15.960
in a place like this? Yeah, I saw that one. I've seen

808
01:06:16.000 --> 01:06:19.840
almost all of Marty save short films
and everything, but Mean Streets has this

809
01:06:20.159 --> 01:06:27.320
this raw kinetic. That's a kinetic
energy that you can start seeing the seeds

810
01:06:27.480 --> 01:06:31.440
of what's coming. And that's what
that is as a brilliant piece of work

811
01:06:31.440 --> 01:06:35.639
as an independent filmmaker. It's really
and and it's it's the definition of what

812
01:06:35.760 --> 01:06:41.559
we just talked about of like having
a story you know important to you goes

813
01:06:41.639 --> 01:06:45.440
deep. That's like a personal you
you know these people, you know this

814
01:06:45.599 --> 01:06:50.440
story. I will add one film
that I that I mentioned before is you

815
01:06:50.480 --> 01:06:57.079
know I did watch some like It
Hot again recently, so good and there

816
01:06:57.320 --> 01:07:03.840
are you know how many films hold
up and make you laugh so hard every

817
01:07:03.920 --> 01:07:11.400
time you see them and over you
know, film was nineteen sixty I think

818
01:07:11.639 --> 01:07:16.000
maybe you know however many years you
know, seventy years later, it's it's

819
01:07:16.280 --> 01:07:21.840
just it's it's a real masterpiece.
And you know, I've had a real

820
01:07:23.000 --> 01:07:27.519
Billy Wilder reappreciation. Really. I
mean, I'll tell you from from my

821
01:07:27.679 --> 01:07:30.719
generation of filmmakers, which was coming
up in the eighties and the nineties.

822
01:07:31.239 --> 01:07:35.000
Laser discs were the thing, and
the Criterion Collection introduced me to films.

823
01:07:35.280 --> 01:07:38.880
If it just came out on the
Criterion Collection, I would be like,

824
01:07:38.960 --> 01:07:42.920
I have to watch this. So
the graduates. I saw. I saw

825
01:07:43.039 --> 01:07:46.039
movies, classic movies when there wasn't
a lot of information about movies unless you

826
01:07:46.039 --> 01:07:49.639
were in film school, and like
the Lady in the mid eighties lad eighties,

827
01:07:49.639 --> 01:07:53.840
there just wasn't there's no internet unless
you went on studied in books.

828
01:07:53.880 --> 01:07:58.159
You really couldn't know what was something
you should watch. And the Criterion Collection

829
01:07:58.280 --> 01:08:01.480
was one of those those collections that
you're like the graduate, Okay, some

830
01:08:01.679 --> 01:08:04.280
like it hot. I saw some
like it hot to laserdis for the first

831
01:08:04.280 --> 01:08:09.199
time. So that was in these
in that collection, especially the early stuff,

832
01:08:09.719 --> 01:08:12.480
and then of course Raging Bull,
Taxi Driver, I think Bean Streets

833
01:08:12.519 --> 01:08:15.920
came out afterwards, and then Lawrence
of Arabian and the list goes on or

834
01:08:15.960 --> 01:08:19.159
not. But yeah, there's those
films up. But I remember, even

835
01:08:19.199 --> 01:08:21.680
when I was a knucklehead in the
video store days, which I was a

836
01:08:21.760 --> 01:08:26.319
teenager, I called myself the knucklehead
because I had no taste in cinema.

837
01:08:26.520 --> 01:08:29.600
I was learning my taste in cinema
again. I was watching like, you

838
01:08:29.640 --> 01:08:31.760
know, John klavon Dam films and
going he is the best actor ever.

839
01:08:32.239 --> 01:08:36.720
But because I was, you know, sixteen, so of course, you

840
01:08:36.840 --> 01:08:43.279
know, but even then films like
the graduate films like some like It Hot

841
01:08:43.680 --> 01:08:47.439
pierced through that because it hits you
at a whole other level. It's not

842
01:08:47.479 --> 01:08:50.760
a superficial level. And that's when
I fell in love with Billy Wilder,

843
01:08:50.920 --> 01:08:57.640
Preston Sturges. It's just these these
filmmakers, those films like Preston stir Sullivan's

844
01:08:57.640 --> 01:09:01.560
Travel still holds so well, yeah, even more, even more. And

845
01:09:01.680 --> 01:09:06.920
you know, the thing is is
it's important to note I think that comedy

846
01:09:08.079 --> 01:09:13.600
is hard and that it can last. Yeah, and we can think of

847
01:09:13.760 --> 01:09:17.640
like oh lighter, you know,
the critics and awards, you know,

848
01:09:17.880 --> 01:09:24.680
groups, I think underestimate how hard
it is to make people laugh hard.

849
01:09:25.279 --> 01:09:29.640
And and you watch a master like
Billy Wilder and something like that's a absolute

850
01:09:29.680 --> 01:09:32.640
masterpiece. It's it's a comedy.
It's a comedic masterpiece. The timing,

851
01:09:33.159 --> 01:09:39.279
the arts, the writing, just
that everything, the entity. It's just

852
01:09:39.520 --> 01:09:44.239
such a well made comedy. And
then yeah, because comedy is like,

853
01:09:44.279 --> 01:09:46.680
oh, it's everyone's laughing, so
you shouldn't take it seriously. And that's

854
01:09:46.680 --> 01:09:49.640
a lot of like awards and you
know, Oscars and these kind of things

855
01:09:49.720 --> 01:09:56.840
don't don't usually award these kind of
films. But it's so hard. We'll

856
01:09:56.840 --> 01:10:02.720
be right back after a word from
our sponsor, and now back to the

857
01:10:02.800 --> 01:10:10.359
show. So hard I've I've worked
on comedies. It's the timing. You're

858
01:10:10.399 --> 01:10:15.239
talking about a frame here or frame
there, the joke lands or it doesn't

859
01:10:15.319 --> 01:10:19.640
land on that frame. It's such
such a nuanced art form. You know,

860
01:10:19.720 --> 01:10:26.279
one of my favorite comedies of all
time is Airplane and because of the

861
01:10:26.399 --> 01:10:32.279
ludacy, but that is another deceiving
comedy. It is so well time,

862
01:10:32.399 --> 01:10:38.239
the timing of the jokes, how
they did it, and you do know

863
01:10:38.319 --> 01:10:42.680
the story of their review their Oh
god, what is when when you go

864
01:10:42.800 --> 01:10:46.520
in a test audience, the test
audience review, you know, that's so

865
01:10:46.680 --> 01:10:50.600
when they did it was one of
the worst tested films ever. Paramount thought

866
01:10:50.720 --> 01:10:56.000
it was going to be a bomb
because nobody wanted to admit that they were

867
01:10:56.159 --> 01:10:59.800
laughing. Nobody wanted to admit that
they enjoyed it because it was so silly

868
01:11:00.239 --> 01:11:03.359
and there was really had never been
a film like that. That's that's true,

869
01:11:03.680 --> 01:11:08.359
crazy slapstick. And but then when
the audience it when it hit the

870
01:11:08.439 --> 01:11:11.920
theaters, it just exploded. But
it was considered one of the worst tested

871
01:11:11.960 --> 01:11:14.319
films that because nobody wanted to admit
that they were having a good time.

872
01:11:14.640 --> 01:11:19.520
So it's even then. Yeah,
thank goodness they didn't like it. I

873
01:11:19.600 --> 01:11:27.520
mean that launched a whole that was
groundbreaking. It launched a whole nature genre

874
01:11:27.680 --> 01:11:30.039
that didn't exist before, right,
right, And so these are these are

875
01:11:30.199 --> 01:11:34.800
pieces of cinema that you know.
In the world that we live in today,

876
01:11:35.039 --> 01:11:41.600
Margaret, we have so much content
and so much information coming at us

877
01:11:41.680 --> 01:11:45.760
and with you know, I remember
a time I always tell I took filmmakers

878
01:11:45.800 --> 01:11:48.560
this young filmmakers. I'm like,
I remember a time where I could watch

879
01:11:48.640 --> 01:11:51.760
everything that came out that week because
I was working at a video store and

880
01:11:51.800 --> 01:11:56.680
every movie that came out on that
given week, five movie, six movies,

881
01:11:56.760 --> 01:12:00.279
maybe I watched them all. Yeah, maybe a day. You could

882
01:12:00.279 --> 01:12:03.319
take a day and watch everything there
a weekend and you're done, and I

883
01:12:03.359 --> 01:12:06.079
would watch everything and I would be
you know, That's how I got my

884
01:12:06.119 --> 01:12:12.760
cinema knowledge. But today's world,
there is so much coming at you.

885
01:12:13.359 --> 01:12:15.920
The content in the in the amount
of films, the amount of television,

886
01:12:17.239 --> 01:12:20.319
and let's not even talk about YouTube
and content created there, but just in

887
01:12:20.439 --> 01:12:26.359
cinema and in television, storytelling.
There's so much coming at us. You

888
01:12:26.479 --> 01:12:30.960
and I could spend ten lifetimes and
not watch at all. It's it's insane.

889
01:12:30.359 --> 01:12:35.760
So it's that's why it's so important
to highlight these wonderful pieces of art

890
01:12:35.880 --> 01:12:44.039
that you are working with the Foundation
to to bring light to because like content

891
01:12:44.079 --> 01:12:48.439
and cinema has become disposable in many
ways, where before you know, there

892
01:12:48.520 --> 01:12:53.680
was only three channels. Yeah,
I know, I know, well,

893
01:12:53.760 --> 01:12:58.479
no, Alex. It's so we're
so grateful for you to, you know,

894
01:12:58.600 --> 01:13:02.119
be talking about this year audience,
to be highlighting it because I think

895
01:13:02.359 --> 01:13:09.479
for filmmakers, this is it probably
is just this really important. I mean,

896
01:13:09.920 --> 01:13:14.119
nothing is more important to filmmakers than
having that well to draw from where

897
01:13:14.239 --> 01:13:17.199
you can go back and be inspired
by a film that was made. That's

898
01:13:17.279 --> 01:13:23.720
part of that legacy. It's part
of the continuum of the creative evolution of

899
01:13:23.960 --> 01:13:28.439
storytelling on film, right exactly.
And I can't I can't imagine a world

900
01:13:28.520 --> 01:13:33.600
without the filmography of Mark Scorsese or
Stanley Kubrick, or Steven Spielberg or Hitchcock

901
01:13:33.880 --> 01:13:38.880
or Corsawa. You pull these just
those those names alone, or Coppela,

902
01:13:38.920 --> 01:13:43.319
you pull them out of cinema.
Can you imagine the next generation of filmmakers

903
01:13:43.520 --> 01:13:46.720
without being able to see main streets
or jaws or to those Yeah, I

904
01:13:46.800 --> 01:13:51.439
mean, nothing exists in a vacuum, and you know you can't have you

905
01:13:51.520 --> 01:13:58.199
know, you know you can't have
you know, fill in the blank,

906
01:13:58.319 --> 01:14:02.119
contemporary filmmaker without their antecedents, you
know, without without the things that came

907
01:14:02.199 --> 01:14:05.800
before them. Because everything it's it
builds on it. It's music is the

908
01:14:05.840 --> 01:14:12.319
same way any art form. It
echoes the past and then create something new.

909
01:14:13.239 --> 01:14:16.000
Right now, we're not we're not
mimicking the past. We're using you

910
01:14:16.079 --> 01:14:20.439
know, we're kind of building on
that and you know, using your own

911
01:14:20.560 --> 01:14:27.479
voice and your own story, but
always having that awareness of what's come before.

912
01:14:28.439 --> 01:14:30.760
Margaret, it has been an absolute
pleasure and honor talking to you.

913
01:14:30.880 --> 01:14:33.640
Thank you so much for coming on
the show, and thank you Marty and

914
01:14:33.720 --> 01:14:36.800
your entire team at the Film Foundation
for what you do because it is such

915
01:14:36.880 --> 01:14:41.279
important work and I'm so glad that
that I can, in my small way

916
01:14:41.359 --> 01:14:44.720
help you along the way. So
thank you again and please continue the good

917
01:14:44.760 --> 01:14:46.920
work you are doing God's work.
Without question. Thank you, Alex.

918
01:14:47.039 --> 01:14:51.800
It's been such a pleasure and Hopefully
we'll be back and talk about other restorations

919
01:14:51.840 --> 01:14:56.920
in the future. I want to
thank Margaret so so much for coming on

920
01:14:57.039 --> 01:15:02.119
the show and sharing her knowledge and
men's cinematic experience with the tribe today.

921
01:15:02.199 --> 01:15:04.840
Thank you so so much, Margaret. If you want to get links to

922
01:15:04.840 --> 01:15:10.199
anything we spoke about in this episode, including how to get access to the

923
01:15:10.359 --> 01:15:15.000
restoration screening room, head over to
the show notes at Bulletproof Screenwriting dot tv.

924
01:15:15.319 --> 01:15:18.399
Ford Slash three thirty one. Thank
you so much for listening to guys.

925
01:15:18.439 --> 01:15:21.760
As always, keep on writing no
matter what. I'll talk to you

926
01:15:21.880 --> 01:15:28.800
soon. Thanks for listening to the
Bulletproof Screenwriting podcasts at Bulletproof Screenwriting dot tv.