Booth Moore

5/19/2005 12:00:00 AM

He may be a New York boy, but Marc Jacobs is no fish out of water in L.A. On Thursday he opened his first store here on Melrose Place with a bash for 400 of his closest friends. The street was closed off and tented for his Technicolor and Fairydust-themed benefit for the Film Foundation for film preservation. By 8:30 p.m., the scheduled start time, the party was already nearing capacity and the fire marshal was griping about the throngs trying to get in. Some gave up and went home.

Inside, it was a scene out of Studio 54. Marilyn Manson and fiancee Dita Von Teese, Winona Ryder, Selma Blair, Sean Hayes, Jeremy Piven and Owen Wilson cavorted with fairylike dancers with cellophane wings, nude except for strategically placed leaves, pasties and body glitter. On the swirl-painted dance floor, guests sported Day-Glo pants, shirts and helmets festooned with flowers. Others waited in line to have pictures taken against a painted backdrop of a field of poppies.

Later, Perry Farrell took the stage to sing a few songs, including a cover of Bad Company's "Feel Like Makin' Love," chosen, he said, "to show Jacobs how much the West Coast loves him." The Jane's Addiction frontman enigmatically told the crowd, "In 2005 Marc is going to open a satellite store in heaven and I plan to sing for that one too."

For most of the time, Jacobs stood under an arch of 600,000 roses greeting his guests, along with Robert Duffy, his business partner and company president. "Who are all these people?" Jacobs said. He did recognize Raquel Welch, who wore one of his gowns, which she bought off the rack at Barneys, to the Golden Globes. "You looked so amazing in that dress!" he told her.

She fawned over him too.

"What's funny is that Sofia Coppola wore the same dress when she won the Academy Award for 'Lost in Translation,' " Jacobs later explained. "When it came over the Internet I said, 'No way that Sofia Coppola with the most boyish nothing of a figure and Raquel Welch who is the complete opposite wore the same dress.' I e-mailed Sofia the next day and told her I had her on the same page as Raquel Welch in my celebrity scrapbook."

The designer also joked about Welch paying retail. "That's got to be a first -- a celebrity actually paying for a dress," he said. "Doesn't she know she can call in 50 dresses, never wear any of them, and keep them all?"

Jacobs traveled to L.A. for the first time years ago for a store appearance while he was head designer at Perry Ellis. It was the 1980s and he had designed an L.A.-inspired collection "with the lowriders of East L.A., Malibu, Hollywood and Beverly Hills ... all the cliches were there," he said.

He remembers getting a certificate from the mayor in recognition. "I called it my key to the city."

Although Jacobs is close to Sofia Coppola and her dad, Francis Ford Coppola, who was at the party, he isn't ready to go into the movie biz just yet. "I'm very happy designing clothes," he said. Duffy, on the other hand, said he is working on producing a small film project with a friend.

During his trip, Jacobs has a busy schedule of R&R. He took in the Eli Broad contemporary art collection during the day Thursday, and visited the Gagosian, Regan Projects and A.C.E. galleries. He saw friend Anna Sui on Wednesday night at an event she did with Samsung phones at Fred Segal. And this weekend, he plans to dine with Vogue editor Anna Wintour, who is in town for the Walk of Style award Sunday and has vowed to attend at least one show at Los Angeles Fashion Week.

Speaking of which, those in charge of the shows at Smashbox Studios were none too happy with the timing of the big fish's party, which led to three show cancellations.

Picture: TFF Board Member Francis Ford Coppola (right) with designer Marc Jacobs.



5/9/2005 12:00:00 AM

The newly-restored print of "The River," director Jean Renoir's first color feature and the first color film ever shot in India, will have its U.S. premiere at a special screening on Thursday, May 26, 2005 at the Linwood Dunn Theater at the Academy of Motion Picture Arts and Sciences' Pickford Center in Hollywood, California. This 1951 masterpiece was filmed entirely on location in India, and its original breathtaking beauty can now be experienced again on the screen, thanks to careful and complicated restoration efforts by the Academy Film Archive, in association with the British Film Institute and Janus Films. The restoration was funded by the Hollywood Foreign Press Association and The Film Foundation.

This special celebration will be co-hosted by The Hollywood Foreign Press Association, The Film Foundation and In Style Magazine, in Los Angeles following an international screening of the restored film at the Cannes Film Festival on May 15.

"`The River' was one of my most formative movie experiences. Its use of color seemed absolutely extraordinary, and it affected me strongly -- it still does every time I see it. Practically every image in this picture just sings with color and light. There's no doubt in my mind, `The River' is one of the most beautiful color films ever made," said Martin Scorsese, Chair of The Film Foundation. "It was my dream for many years to see `The River' properly restored. Thanks to the Hollywood Foreign Press Association's generous contribution, I'm thrilled that we have the opportunity to share this magnificent film with the public."

"We are grateful for the opportunity to support The Film Foundation in its outstanding efforts at preserving and restoring such an important part of our culture," said Lorenzo Soria, President of the HFPA. "We are particularly proud of being associated with `The River,' an extraordinary film by legendary director Jean Renoir that celebrates connections between cultures."

Based on the novel by Rumer Godden, "The River" eloquently contrasts the coming of age of three young women with the immutability of the holy Bengal River, around which their daily lives unfold. The movie gracefully explores the fragile connections between transitory emotions and everlasting creation.

Renoir had many theories on color film-making which had not yet found expression, and he insisted that `The River' be shot in color. Renoir used his palette to maximum effect and created some of the most striking and beautiful compositions ever photographed in three-strip Technicolor, despite the many hardships that went with this decision. The film crew in India could only view rushes two to four weeks after filming, as the negative had to be shipped to London for processing, and then a work print sent back to India for screening in a rented movie theater. The Technicolor camera required both an Anglo and an Indian crew to be trained on its use and handling. And if that weren't enough, Renoir had to defuse a riot of student protestors reacting to a rumor that he was filming Hindu women in various states of undress.

In recent years, high quality copies of the film were unavailable because the theatrical printing negative had badly faded. As no preservation elements or color separation masters of "The River" could be located, the film's very existence depended on a prompt and proper restoration effort. The original three-strip Technicolor negative had been deposited at the British Film Institute in the early 1970s by the film's producer, Kenneth McEldowney. Upon inspection, The British Film Institute found that the negative was still in good condition, assuring a restoration could be mounted. The restoration was funded by the Hollywood Foreign Press Association and The Film Foundation, and was a landmark collaborative effort between the following entities:

1) The British Film Institute's National Film and Television Archive. The NFTVA held the original three-strip camera negative of the film and made it available for restoration work.

2) Janus Films. Janus Films, which owns the film in the Western Hemisphere, initiated and supported the restoration effort after doing extensive research into the condition, location and ownership of the existing film elements.

3) The Academy Film Archive. Restoration of the "The River" fell within a broader project currently underway at the AFA, the Satyajit Ray Preservation Project. Even though Ray did not work on Renoir's picture, the film and the relationship he formed with Renoir during its production are essential to understanding Ray's own development as a filmmaker. The Academy supervised the technical work on this restoration at Cinetech in Valencia, California.

"The River" is available theatrically through Janus Films in New York and on DVD from the Criterion Collection.

The Hollywood Foreign Press Association (HFPA) is the world's most successful and best-known organization of foreign correspondents. Based in Los Angeles, the association's members report on Hollywood for hundreds of publications throughout the world. Reporters attend a never-ending array of press conferences, screenings, premieres, film festivals and meetings. The association is best known for its annual Golden Globe Awards, which honor outstanding achievements in motion pictures and television.

The HFPA has donated $1,400,000 to The Film Foundation in the last nine years, in support of many different restoration and preservation projects at the nation's leading film archives. These include such films as "Paths of Glory" (1957, d. Stanley Kubrick), "Shadows" (1959, d. John Cassavetes), "Seven Men From Now" (1956, d. Budd Boetticher), "Shock Corridor" (1963, d. Sam Fuller), "The Bigamist" (1953, d. Ida Lupino), "Eraserhead" (1977, d. David Lynch), and many others.

The Film Foundation is the leading non-profit organization dedicated to film preservation in the United States. Through substantial annual funding to the nation's film archives, the foundation works to preserve and restore a broad range of films, including Hollywood features, silent films, newsreel footage and documentaries, as well as independently produced and avant-garde works whose survival is equally as vital, but which would be lost without specialized support. The cultural institutions supported by The Film Foundation provide the U.S. and international communities with essential access to the immeasurable wealth of our cinematic heritage.

The Film Foundation creates innovative educational programs, national campaigns, and public events to promote greater awareness for film protection and preservation. At the cornerstone of these efforts is The Story of Movies project, the first-ever integrated interdisciplinary curriculum to introduce young people to classic cinema and teach them about the cultural, artistic, and historical significance of film. The program helps students to better understand and interpret the language of film and visual images.

The nonprofit organization was established in 1990 by Martin Scorsese and a distinguished group of fellow filmmakers -- Woody Allen, Robert Altman, Francis Ford Coppola, Clint Eastwood, Stanley Kubrick, George Lucas, Sydney Pollack, Robert Redford, and Steven Spielberg -- all dedicated to protecting motion pictures and the rights of the artists who create them, educating the public about the importance of film preservation, and raising the necessary funds to save the endangered cinematic treasures of the 20th century.

In Style, a celebrity, lifestyle and fashion magazine, was launched in June 1994 by Time Inc. and has emerged as one of the most successful magazines on newsstands today. In Style's uniquely fun and inviting attitude towards style in all its forms can also be found in its special issues, international editions, television programming, and books, as well as, which receives over 15 million monthly page views. In Style presents a vibrant and exciting visual feast of fashion, beauty and lifestyle that bridges the gap between fantasy and reality. The magazine explores the personal side of celebrity, and inspires its readers to express their own individual style.

Highly recognized by industry insiders, the award-winning In Style has earned a place on Adweek / Mediaweek's prestigious "Hot List" and "Big List," and Advertising Age's "A-List." In addition, In Style has been #1 on the Capell's Circulation report for the last several years.

Picture: From left to right: InStyle’s Cyd Wilson, HFPA President Lorenzo Soria, and the Academy Film Archive’s Mike Pogorzelski.



8/11/2004 12:00:00 AM

The Hollywood Foreign Press Association (HFPA) renewed its 2004 commitment to film preservation by making a $200,000 donation to The Film Foundation.  The contribution was accepted by Foundation supporter Leonardo DiCaprio at the HFPA’s Annual Installation Luncheon on August 11th at the Beverly Hills Hotel.

On behalf of The Film Foundation’s Board of Directors, Leonardo DiCaprio thanked the Hollywood Foreign Press Association for “its generosity, leadership and commitment to the cause of film preservation.”  In addition, he praised HFPA for the 1.4 million dollars they have contributed over the past nine years which has helped fund the restoration/preservation of over 50 feature films, including such major restorations as John Cassavetes’ FACES (1968 ), David Lynch’s ERASERHEAD (1977), Stanley Kubrick’s PATHS OF GLORY (1957), and John Ford’s HOW GREEN WAS MY VALLEY (1941), among many others.

This year’s generous contribution funded the landmark restoration of legendary director Jean Renior’s THE RIVER (1951).  Considered by many to be one of the most strikingly beautiful films every photographed in 3-strip Technicolor, the film focuses on the childhood of an English girl coming of age in India and grappling with familiar Renoir themes: love and hate, life and death, decay and renewal.  The film has been virtually out of circulation for decades, the original negative held in London at the British Film Institute (bfi).  This restoration is a unique collaboration between BFI, the Academy Film Archive, Janus Films, The Film Foundation and the HFPA.  



6/22/2004 12:00:00 AM

The Hollywood Foreign Press Association and The Film Foundation teamed up to host the world premiere of the newly restored PATHS OF GLORY (1957, dir. Stanley Kubrick), starring Kirk Douglas and Adolphe Menjou, at the Directors Guild of America theater on Thursday, July 22, at 7:00 p.m.  The screening was introduced by director-screenwriter Curtis Hanson, Honorary Chairman of the UCLA Film and Television Archive.   

PATHS OF GLORY was restored by the UCLA Film and Television Archive, using for reference Mr. Kubrick’s personal 35mm print, which was provided by his wife. 

Instrumental to the process was the assistance of Leon Vitali, who not only appeared as an actor in numerous Kubrick films, but also served as a technical advisor to the director for almost three decades, particularly with regard to quality control of film prints and video releases.  

Restoration of the film was completed with the cooperation of MGM Studios and with funding from The Film Foundation and the Hollywood Foreign Press Association.  “One of the key objectives of the Hollywood Foreign Press Association is to contribute to other nonprofit organizations connected with the entertainment industry,” said Lorenzo Soria, President of the HFPA.  “We are proud that the association has contributed $1,400,000 to The Film Foundation for its outstanding efforts toward the preservation and restoration of film history during the past nine years.  The premiere screening of the restored PATHS OF GLORY is a powerful testament to the merit of our contributions.” 



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