Cinematic Legends That Define Excellence: A Tribute To Box Office Adaptations – The first anniversary celebration of the Academy Museum of Motion Pictures highlights the importance and contributions of the film industry as a cultural force in the world. At the exclusive invitation of Rolex, the founding supporter of the institution, Yanni Tan travels to Los Angeles on a fascinating journey that traces the rich heritage of the industry and the museum’s role in promoting the understanding, celebration and preservation of cinema shows.
The star-studded evening of the second annual Academy Museum Gala on October 15 in Los Angeles was not only illuminated by the stars in the sky, but also by the presence of a dazzling array of movers and shakers from the international film industry.
Cinematic Legends That Define Excellence: A Tribute To Box Office Adaptations
The arrival of my media group at the entrance of the Academy Museum of Motion Pictures, where the gala was to take place, was already heralded by the appearance of Olivia Wilde, who gave a smile and a quick wave to the fans on the street pressed before they left the “cream-colored carpet” for their photo shoot. When the runway and the cocktail reception began to walk with guests, I was pleasantly surprised to see such representation in a place that is essentially a hub of power brokering in Hollywood is.
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Sitting right next to us with champagne Rolex customers Jenson Button, British motorsport champion, and Vijay Amritraj, Indian tennis legend turned TV commentator. Directors Spike Lee and Ron Howard sat in a booth with Bill Kramer, CEO of the Academy of Motion Picture Arts and Sciences, deep in conversation. A beaming Lily Collins floated through the crowd, which included a stunning Korean troupe in a voluminous floral dress.
After the African-American RAISE Choir put on a rousing performance to kick off the unique fundraising dinner, we made our way to the nearly 9,000-square-foot Dolby Family Terrace, a glass-domed rooftop area in the museum’s Sphere building. It was a pleasure to see Glenn Close and Selma Blair nearby on the way up.
The event was an intimate, elegant affair that honored La La Land for its contributions to film, past and present. Presented by Rolex, the 600-guest bash was co-moderated by Academy Award-winning actress and Academy Museum supporter Halle Berry, Academy Museum Trustee and producer Jason Blum, Academy Museum Trustee and writer-director-producer Ryan Murphy and Academy Award winner . . Winner actress Lupita Nyong’o.
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For her significant global cultural impact, the radiant Julia Roberts received the Icon Award, presented by none other than George Clooney, her co-star in the just-released film Ticket to Paradise. British director Steve McQueen, best known for “12 Years A Slave”, won the Vantage Award for his work in contextualizing and challenging dominant narratives around cinema. The Visionary Award was presented to British actress Tilda Swinton, whose extensive work has advanced the art of cinema.
The Pillar Award, which recognizes the museum’s exemplary leadership and support, went to South Korean producer Miky Lee, who as chairman of the entertainment group CJ ENM is responsible for bridging East and West as well as a wide repertoire of works in film and film. Television, including Parasite, Crash Landing On You and Snowpiercer.
The glamorous evening ended with a mini-concert by Diana Ross, who also sounded incredible live. But the night was apparently young for the glitterati, who gathered in groups and socialized. They include screen veterans such as Laura Dern, who recently starred in Jurassic World Dominion, heartthrobs Adrien Brody, Eddie Redmayne and Selena Gomez, as well as respected directors Luca Guadagnino and Judd Apatow and young celebrities such as Taylor Russell and Sophie Turner.
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It was also nice to see a variety of familiar Asian faces, including Michelle Yeoh, Lee Byung-hun, Jung Ho-yeon, Mindy Kaling, John Cho and Quan K Huy, also nostalgically known to us as “Short Round of Indiana Jones and The ” “known Temple of Doom and the comeback star of Everything Everywhere All At Once. The Chinese director, screenwriter and producer Chloé Zhao was also present.
This diversity among the actors and filmmakers was reflected in the flood of behind the scenes, talents and supporters whose names I did not know. I found out that the event’s production and design was overseen by magazine editor Lisa Love, the gala’s creative director, along with artistic director Raúl Àvila. The musical direction was directed by Keith Baptista, the choreography by Jen Green and the costume direction by Jacqui Getty.
In addition to honoring cinema and its profound cultural impact on audiences worldwide, the goal of the Academy Museum Gala was to raise funds to support the museum’s access, education and programming initiatives. It was a triumph that brought in a cool $10 million.
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After visiting a film production studio, the Academy Film Archive and the museum itself over the past few days, I learned not only the sheer size of the industry’s operations, but also its complexity. And that the present and the future of the cinema are shaped and enriched by the past, above all by the constant discovery of old works and rolls of films that were once thought lost, which through the efforts of some very dedicated people have come to light.
Without Rolex’s incredible support, the Academy Museum Gala would not have been such a success, but the involvement of the Swiss watchmaker goes far beyond that. Among its heritage is the cinema. While its watches have played their own role on the wrists of legendary characters in many films (without sponsorship), including several Oscar-winning masterpieces, the brand is not only a close collaborator of the Academy of Motion Picture Arts & Sciences for many year, but an independent pioneer who promotes artistic and technical excellence in filmmaking through a number of international programs.
Thanks to Rolex, we got an insight into the little-known work of the film world on a private tour of the Academy’s film archive. To say it was fascinating would be a huge understatement. Early the day before the gala, we visited the home of the institution at the Pickford Center of the Academy of Motion Picture Study – in Hollywood itself.
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Dedicated to the preservation, restoration, documentation, exhibition and study of films, the archive has one of the most diverse and extensive film collections in the world, including the personal collections of many famous filmmakers such as Alfred Hitchcock and Gus Van Sant.
The Academy began purchasing film material in 1929, two years after its founding, and established the archive in 1991. Today, the archive contains over 230,000 articles, including all Oscar-winning films in the Best Picture category. , all Oscar-winning documentaries and many Oscar-nominated films in all categories.
As an introduction, Archives Director Mike Pogorzelski showed a series of short clips in the Linwood Dunn Theater, designed to show us in a few minutes how much of a difference the art and science of film restoration has made on various damaged prints. Why was immediately clear. Some films required a concerted effort by several national institutions, including the Library of Congress, to make their collections available so that the archivist could undertake the herculean task of assembling the end result worthy of preservation.
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Pogorzelski led us through the facility—from the lobby, where countless backstage photos of major blockbusters were shown, through a maze of soundproof, humidity- and temperature-controlled, thick-walled rooms. This building is perfect for a film archive as it was originally built in 1948 for a radio and television studio.
After passing the pallet vaults that housed temporary rolls that had just arrived from all over the world, we made our way to the B Vault where we walked past rows of cans. The first can I watched happened to be one of my favorite horror movies of all time: The Ring. Pogorzelski said that different formats of each film are stored, explaining the different sizes of the cans. The heaviest were at the bottom of the shelves, while the lightest were at the top of the shelves so they wouldn’t be destroyed in an earthquake.
We are now freezing as the thermostat reads 16°C and 35% humidity – necessary to store film rolls in optimal conditions so that they last over a century. We laughed when he revealed that the room also accommodated archive representatives who led school groups and showed the children what films actually look like.
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Next, in the F Vault, where films are stored in video format, Brian Drischell, Senior Manager of Collections, informed us about the transition of the industry from film prints to digital files over the last 20 years and the challenges facing digital formats in to preserve face. of constant technological change development changes. It was also striking to discover how far-reaching the work of the archive is and how deeply the world of entertainment collaborates with science: it has a repository of digital archive files at the Supercomputing Center of the University of Southern California.
We then entered a cozy theater where senior film conservator Mark Toscano showed a 16mm print of John Whitney Sr. introduced his groundbreaking Hot House in 1951 to show avant-garde and experimental films collected from the archive. In a small public area where two flatbed spectators were on display, Pogorzelski ran into one
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