FOR IMMEDIATE RELEASE
March 20, 2001
AMERICAN CINEMATHEQUE CELEBRATE THE ART OF THE MOTION PICTURE TITLE WITH "FOR OPENERS: THE ART OF FILM TITLESAMERICAN CINEMATHEQUE CELEBRATE THE ART OF THE MOTION PICTURE TITLE WITH "FOR OPENERS: THE ART OF FILM TITLES
Presented by AIGA/LA, and designfilms.org with the support of Adobe, MetaDesign, eMotion Studios,
and RES magazine
April 12 - 13, 2001
HOLLYWOOD The American Cinematheque presents FOR OPENERS: THE ART OF FILM TITLES (April 12-13, 2001), a celebration of modern motion picture title design. Title sequences are often more innovative than the film itself and can be as dramatically and emotionally satisfying. In the words of Martin Scorsese, titles have the unique function of "setting the tone, providing the mood and foreshadowing the action." But not all movie titles are created equal. Join us for a look at those that thrill, with an exhilarating fusion of sound, music, text and visuals -- that is limited thanks to todays digital magic only by the designers imagination.
FOR OPENERS: The Art of Film Titles is presented by designfilms.org, an organization promoting the digital design arts. Following its debut at New Yorks Film Society of Lincoln Center, the program has toured venues throughout the country. This two-evening multimedia event features screenings of some 50 outstanding sequences from the 1950s to the present day with accompanying commentary from curators, designer David Peters with writer Ken Coupland and designer Dav Rauch. FOR OPENERS provides an unparalleled view of this under-appreciated art form as it draws connections between the work of such noted title designers as Saul Bass, Kyle Cooper, Pablo Ferro, Maurice Binder, and Juan Gatti, and the titles that adorn this weeks blockbusters. In addition, there will be a panel discussion with both contemporary and pioneeringdesigners. All guests are subject to their availability. All screenings are at the newly renovated Lloyd E. Rigler Theatre at the historic Egyptian (6712 Hollywood Boulevard between Highland and Las Palmas) in Hollywood.
The format of TITLES THEN and TITLES NOW is a live presentation which includes alternating commentary and clips of actual opening title sequences.
David Peters has researched thousands of films to create an extensive collection of title sequences that span the history of cinema. Early titles were no more than cards and often a polite request for "Ladies to please remove their hats." With a few earlier exceptions, Saul Bass is identified as the innovator who changed the scope of film titles with his 1955 sequence for Otto Premingers drug addiction movie THE MAN WITH THE GOLDEN ARM. His title sequence, featuring a graphic of a jagged arm broke the mold. It was the first to use a jazz score and was graphically gripping. It also said something to the audience about what was to come. .He went on to foreshadow the voyeurism in Alfred Hitchcocks VERTIGO in his credits for that movie and managed to reprise the entire story of AROUND THE WORLD IN 80 DAYS with an 8 minute end title sequence. This series will also look at the high renaissance of film titles in the 1960s through the computer age and trends like "grunge title design," the descendent of the distressed typography popular in print graphics in the 1990s. A prime example is Kyle Coopers sequence for the film SEVEN, which reads like a serial killers fetish ritual of assembling a diary of the murders he is to commit during the course of the film.
Thursday, April 12 8:00 PM
TITLES THEN: Pioneering Work From 1950 up to 1980 (120 min.)
The curators will discuss and exhibit titles including DOUBLE INDEMNITY (1944, unknown); THE MAN WITH THE GOLDEN ARM (1955, Saul Bass); VERTIGO (1958, Saul Bass); PSYCHO (1960, Saul Bass); TO KILL A MOCKINGBIRD (1962, Stephen Frankfurt); DR. NO (1962, Maurice Binder); THE PINK PANTHER (1963, Friz Freleng); DR. STRANGELOVE... (1963, Pablo Ferro); GOLDFINGER (1964, John Brownjohn); ARABESQUE (1966, Maurice Binder); BARBARELLA (1967, Arcady); BULLITT (1968, Pablo Ferro); THE THOMAS CROWN AFFAIR (1975, Pablo Ferro); and ALIEN (1979, Richard Greenberg). Special ticket price: TITLES THEN and TITLES NOW $10 general, $9 student/senior and $8 members.
Friday, April 13 - 7:00 PM
Designers Panel(90 min.)
Pioneering and contemporary motion-graphics designers come together to share their working methods, influences and samples of their design work. Panelists include: Kyle Cooper (SEVEN, ISLAND OF DR. MOREAU), Pablo Ferro (BULLITT, DR. STRANGELOVE), Wayne Fitzgerald (BONNIE & CLYDE), Deborah Ross (THE TALENTED MR. RIPLEY, THE ENGLISH PATIENT). The panel is $8 general, $7 student/senior and $6 members.
Friday, April 13 9:00 PM
TITLES NOW: Contemporary Work from 1980 to the Present Day (120 min.)
The curators will discuss and exhibit titles including: THE WORLD ACCORDING TO GARP (1982, Richard Greenberg); REPO MAN (1984, Robert Dawson); WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (1988, Juan Gatti); DELICATESSEN (1991); TO DIE FOR (1995, Pablo Ferro); CLOCKERS (1995, Balsmeyer& Everett); ED WOOD (1995, Robert Dawson); CASINO (1995, Saul & Elaine Bass); THE ISLAND OF DR. MOREAU (1996, Kyle Cooper); SEVEN (1996, Kyle Cooper); NIGHT FALLS ON MANHATTAN (1996, Jakob Tröllback); RATCHET (1996, Marlene McCarty); OFFICE KILLER (1997, Marlene McCarty); GOLDENEYE (1996, Daniel Kleinman); ENTRE LAS PIERNAS (BETWEEN THE LEGS) (1998, Juan Gatti); AUSTIN POWERS: THE SPY WHO SHAGGED ME (1999, Balsmeyer & Everett). Special ticket price: TITLES THEN and TITLES NOW $10 general, $9 student/senior and $8 members.
AIGA (American Institute of Graphic Arts) members can purchase tickets through the Egyptian Theatre box office or over the website of the local chapter of the AIGA (www.aiga.org). See www.aigalosangeles.org for more information.
If you wish to interview any of the curators (David Peters, Ken Coupland or Dav Rausch), and/or attend and record any discussions on camera, please send a fax describing your media outlet and the use for the interview, to Margot Gerber at 323.461.9737.
For further information on tour dates, please see www.designfilms.org. Ken Coupland can be reached at 510.547.8625.
BLACK & WHITE DIGITAL IMAGES ARE AVAILABLE UPON REQUEST FROM email@example.com or firstname.lastname@example.org
THERE WILL NOT BE ADVANCE PRESS SCREENINGS OF "FOR OPENERS," since it is a live show. However, some of the titles may be available for press preview. Contact Ken Coupland for information.
A complete calendar/flyer listing of these films has been mailed to you.
THE TITLE SEQUENCES LISTED ABOVE ARE5. THANK YOU.
Eddie Brandts Saturday Matinee (Burbank) Walk in only no phone.
Jerrys Video (1904 Hillhurst, Los Feliz - 323.666.7471)
Rocket Video (726 N. La Brea - 323.965.1100)
Cinefile (11280 Santa Monica Blvd. - Corner of Sawtelle Ave. - 310.312.8836)
Vidiots (302 Pico Blvd, Santa Monica - 310/392-8508)
REQUESTS FOR PRESS TICKETS TO PUBLIC SCREENINGS MUST BE IN WRITING. FAX TO 323.461.9737 ATTN: MARGOT GERBER, 24 HOURS PRIOR TO SHOW TIME. FRIDAY AT NOON IS THE ABSOLUTE DEADLINE FOR WEEKEND OR HOLIDAY SCREENINGS. JOURNALISTS WISHING TO AUDIO OR VIDEOTAPE DISCUSSIONS MUST ALSO SEND A WRITTEN REQUEST. YOUR NAME WILL THEN BE ON A LIST AT THE BOX OFFICE.
THE PROGRAM IS SUBJECT TO CHANGE WITHOUT NOTICE.
Please note that our ticket prices increased as of Feb. 15, 2001. New Prices: $8 General; $6 Cinematheque Members. $7 Seniors (65+ years) and students with
valid ID card. Some programs like those listed above will have a special ticket price. Must be shown at box office at time of purchase.
Our permanent daily attraction film FOREVER HOLLYWOOD is now open. For press passes to see it for review purposes, please call Margot Gerber at 323.461.2020, ext. 115. We also have monthly weekend public tours of the historic Egyptian Theatre.
# # #
American Cinematheque, 1800 North Highland Avenue, Suite 717, Hollywood, CA 90028
(tel) 323.466-FILM| (fax) 323.461.9737 On the web: http://www.egyptiantheatre.com
SCHEDULE (by series)
SCHEDULE (by date)
Moving Picture Ball