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American Cinematheque at the Aero Theatre Presents...
Movies on the Big Screen Since 1940!
1328 Montana Avenue at 14th Street in Santa Monica


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Click to print Page 1 or Page 2 or Full Text of a Oct. 2008 Calendar!
Series programmed by: Gwen Deglise.

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SOLD OUT SCREENINGS: There will be a waiting line for Sold Out screenings. Tickets often become available at the door the night of an event.

Sold out programs will be indicated here if sold out 24 hours in advance of screening date.

All guests are subject to availability. The Cinematheque will offer a refund due to guest cancellations only IF the refund transaction is complete PRIOR to the start of the show.

 

 

Tickets are $9 general admission unless noted otherwise.
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The American Cinematheque is a non-profit 501 (C) (3) organization.
The Film Programs of the American Cinematheque are presented at the newly re-opened and renovated Aero Theatre at 1328 Montana Avenue in Santa Monica and at the magnificently renovated, historic 1922 Grauman's Hollywood Egyptian Theatre. Located at 6712 Hollywood Boulevard.
Photo Credit: Barry Gerber. Aero Theatre (c) 2004.

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<<< October 2008 >>>

Special One Night Events & Limited Engagements in October:

 

http://www.myspace.com/americancinematheque

 

 

 

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Wednesday, October 1 – 7:30 PM

Sneak Preview!

RELIGULOUS, 2008, Lionsgate, 100 min. Director Larry Charles’ first feature project since the critically acclaimed, wildly successful BORAT: CULTURAL LEARNINGS OF AMERICA FOR MAKE BENEFIT GLORIOUS NATION OF KAZAKHSTAN. This film follows political humorist and author Bill Maher (TV’s "Real Time With Bill Maher," "Politically Incorrect") as he travels around the globe interviewing people about God and religion. Known for his astute analytical skills, irreverent wit and commitment to never pulling a punch, Maher brings his characteristic honesty to an unusual spiritual journey. Director Larry Charles will not be able to introduce the screening as originally announced.. www.lionsgate.com/religulous

 

 

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Thursday, October 2 – 7:30 PM
FOCUS ON FEMALE DIRECTORS: FIVE TO WATCH
Join us for an evening of award-winning documentary, live-action and animated films that include: Kate Hudson’s "Cutlass" (USA, 2007, 16 min) Virginia Madsen, Dakota Fanning and Kurt Russell star in this Glamour Reel Moments short about two generations of daughters coveting treasures greatly above their teenage budgets. Lauren Greenfield’s "Kids & Money" (USA, 2007, 32 min) This noted photographer’s incisive look at local teens and their concepts of wealth won the Audience Award for Best Short Film at the AFI Film Festival in 2007. Michelle Hung’s "Chinese Dumplings" (USA, 2006, 8 min), in which a strict mother tests the bonds of sisterhood. Nicole Mitchell’s "Zoologic" (USA, 2007, 4 min), a 2008 Student Academy Award winner. Amanda Micheli & Isabel Vega’s Oscar-nominated documentary "La Corona" (The Crown) (USA, 2007, 40 min), which looks at a beauty competition in a women’s prison in Bogotá. Program compiled by Andrew P. Crane, Kim Adelman and Andrea Richards Discussion following with directors Michelle Hung, Nicole Mitchell, Amanda Micheli and Isabel Vega.

 

 

 

Wednesday, October 8 – 7:30 PM

Sneak Preview!

HAPPY-GO-LUCKY, 2008, Miramax, 118 min. In the new comedy by VERA DRAKE director Mike Leigh, Sally Hawkins stars as Poppy, an irrepressibly free-spirited teacher. When Poppy’s bike is stolen, she signs up for driving lessons with uptight cynic Scott (Eddie Marsan). As the tension of their weekly lessons builds, Poppy’s story takes alternately hilarious and serious turns, becoming a life-affirming exploration of one of the most elusive of all human emotions: happiness. Official Site

 

 

Friday, October 10 – 7:30 PM

Oliver Stone Tribute:

PLATOON, 1986, MGM Repertory, 120 min. Winning Oscars for Best Picture and Director, Oliver Stone brings his own Vietnam War experiences to the big screen in the form of Pvt. Taylor (Charlie Sheen) in what stands as one of the definitive portraits of men at war. Willem Dafoe, Tom Berenger, and Forest Whitaker are among the ranks. Also Oscar-nominated for Best Original Screenplay (Stone) and Best Cinematography (Robert Richardson). Trailer

SALVADOR, 1986, MGM Repertory, 123 min. Dir. Oliver Stone. Disenfranchised U.S. photojournalist Ricky Boyle (James Woods) throws himself and reluctant party buddy James Belushi into the turmoil of the 1980 Central American military dictatorship, winding up caught between the rebels and his own C.I.A. John Savage and Michael Murphy co-star. Boyle and Stone were nominated for Best Original Screenplay. Trailer

 

 

 

Thursday, October 23 – 7:30 PM

ALL DOC'D OUT: A DOCUMENTARY SURVIVAL GUIDE SEMINAR
Nonfiction filmmaking has been a centerpiece of the American film industry for most of our new millennium. Whether this resurgence can be attributed to the dominance of reality-based television, new-found artistic and technical liberties or to some good old-fashioned monetary gain, there is now a vast new playing field for today's documentary filmmaker. Learn how to keep your film alive and thriving in the competitive world of nonfiction distribution, exhibition and film festivals from a panel of industry professionals.

 

Non-fiction filmmaking has been a centerpiece of the American film industry for most of our new millennium. Whether this resurgence can be attributed to the dominance of reality-based television, new found artistic and technical liberties or to some good old fashion monetary gain, there is now a vast new playing field for today's documentary filmmaker.

The American Cinematheque's Film Seminar series proudly opens its second season with a probing panel discussion that takes a close look at where the future of non-fiction film production, distribution and exhibition is headed in an uncertain market that is now glutted with documentary films.

With an accent on ALTERNATIVE and CREATIVE approaches to producing, financing and distributing documentary films, ALL DOC'D OUT: THE ULTIMATE DOCUMENTARY SURVIVAL GUIDE focuses its attention on three primary foundations of non-fiction filmmaking:

1. CONCEPT/SUBJECT CHOICE, FORMAL DESIGN, FILMMAKING TRENDS

What are the most viable subject trends in documentary filmmaking today? What is the current landscape like for "the political doc" (Michael Moore-approach), "the historical doc" (Ken Burns-approach), "the environmental doc" (Al Gore-approach), "the shock doc" (Nick Broomfield-approach), "the personal doc" (Terry Zwigoff-approach), and "the auteur doc" (Errol Morris-approach)? What are the current filmmaking stylistic trends? Where are they headed? Does the film festival world favor certain non-fiction subject approaches and styles over others? Is there a primary documentary filmmaking style/form today? What filmmaking stylistic/formal concerns should a new documentary filmmaker be aware of when making his/her first film? What are the most important artistic and financial considerations you should make before shooting your documentary?

2. CONTEMPORARY FINANCING

In terms of the conceptual stages of making a documentary, what do both documentary organizations who provide grants and documentary financing producers look for in a documentary that is seeking investment? Is financing an American documentary always from a "patchwork" of sources? Given the collapse of the world's financial institutions, it looks like financing your new non-fiction film has some very challenging times ahead. What new methods of financing documentaries can we foresee in the future? How creative can producers get in their efforts to find money to make non-fiction films? Given the weakened state of the dollar, is European financing on the rise for American documentary filmmakers or is this just a potential for narrative filmmakers? Is the "internationally co-financed" film going to come back into style?

3. NEW FORMS OF DISTRIBUTION/EXHIBITION

What does the landscape for documentary film/video distribution look like today verses 5 years ago? What are the biggest changes in what a documentary will find for itself in terms of theatrical distribution, DVD sales or broadcast (television, cable TV, internet) play? How does film festival exhibition enhance or hurt a documentary's distribution potential? When do I bring on a sales agent? When do I bring on a publicist? Are sales generated through self-distribution better today than sales that can be generated by a DVD distribution company? What are the "best" DVD distribution companies for non-fiction films? Do DVD sales really make up for the financial losses filmmakers now take with the relatively small advances they are offered for theatrical and broadcast distribution? What are the newest forms and/or methods of distribution for documentary filmmakers today? Does the contemporary documentary filmmaker have to settle for greater exposure for his/her film and take a financial loss?

ALL DOC'D OUT: THE ULTIMATE DOCUMENTARY FILM SURVIVAL GUIDE is sure to enhance your understanding of the competitive world of non-fiction filmmaking, financing and distribution. Whether you have just finished your film or whether you are in pre-production and preparing to shoot your film or even if you are just in the conceptual stages of making your first film, ALL DOC'D OUT is sure to be an invaluable resource and a rewarding glimpse into the state of documentary filmmaking in the United States.

Confirmed Panelists Include:

Agi Orsi, Producer, ONCE IN A LIFETIME; AMAZING JOURNEY: THE STORY OF THE WHO; RIDING GIANTS; DOGTOWN AND THE Z-BOYS

Sandra J. Ruch, Documentary Consultant, Elixir Consulting

Diane Estelle Vicari, President, International Documentary Association

Randy Olson, Author/Filmmaker, FLOCK OF DODOS: THE EVOLUTION-INTELLIGENT DESIGN CIRCUS; SIZZLE: A GLOBAL WARMING COMEDY

Moderated by film consultant/programmer Thomas Ethan Harris. Tickets: $20 General Admission, $15 Student/Senior with valid I.D.; $12 Members of the Cinematheque.

 

 

Friday, October 24 – 7:30 PM

Kevin Thomas’ Favorites:

Restored Version! THE LEOPARD (IL GATTOPARDO), 1963, 20th Century Fox, 185 min. When director Luchino Visconti’s sumptuous historical epic set in mid-19th-century Sicily was initially released in America, it was shorn of over 20 minutes and received lukewarm reviews. In the 1980s, cinematographer Giuseppe Rotunno spearheaded restoration efforts, but it wasn’t until the late 1990s that the film became widely available in the current uncut version. It is now commonly acknowledged as Visconti’s most superlative achievement. Adapting Giuseppe di Lampedusa’s literary masterwork, Visconti focuses on philosophical, melancholic Prince Salina (Burt Lancaster), a Sicilian nobleman well aware that the violent Garibaldi-led upheavals then occurring in his country are inevitable. He is determined to see his family survive, in whatever form, and he watches approvingly as his nephew Tancredi (Alain Delon) becomes engaged to the smolderingly beautiful and sweet-natured Angelica (Claudia Cardinale), the daughter of a wealthy, wily merchant. With a sublime score by the incomparable Nino Rota. If you have never seen it in a theatre, now is your chance – it’s wonderful that it is on DVD, but the truly gorgeous production design and epic scope of the film need to be seen on the big screen to be fully appreciated. "…One of Visconti's achievements is to make that rare thing, a great film of a great book…The cinema at its best can give us the illusion of living another life, and that's what happens here…miraculous and emotionally devastating…" – Robert Ebert, The Chicago Sun-Times. Trailer | More on this film Film Critic Kevin Thomas will introduce the screening.

 

 

 

 

 

Saturday, October 25 – 4:00 PM

Tribute to late Bill Melendez! BON VOYAGE CHARLIE BROWN, 1980, Paramount, 75 min. Dirs. Bill Melendez and Phil Roman. Charlie Brown and his friends travel to France and find romance and mystery--as well as adults who actually speak audible words (a rarity in PEANUTS cartoons)! Highlights of the film include Snoopy playing tennis at Wimbledon, driving, and taking on his persona as a World War I "flying ace." Bill Melendez, 91, an Emmy Award-winning animator who transformed the two-dimensional drawings of the "Peanuts" comic strip into some of the most beloved cartoon characters on television and film, died Sept. 2 at St. John's Health Center in Santa Monica, Calif. More on this film. Join us at 3 PM at Every Picture Tells A Story for refreshments and a free story hour and see the original works by Peanuts' Charles Schulz.

 

 

 

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Saturday, October 25 – 7:30 PM

Brand New 70mm Print!

WEST SIDE STORY, 1961, MGM Repertory, 151 min. The ultra-classic Robert Wise and Jerome Robbins-helmed musical with Natalie Wood as the lovely Maria and Richard Beymer as her star-crossed lover Tony, surrounded by switchblade-carrying gangs led by Russ Tamblyn, Rita Moreno and George Chakiris. Leonard Bernstein’s soaring, instantly memorable score, with lyrics by a young Stephen Sondheim, stands as one of the finest ever written for the American musical theater. Winner of 10 Academy Awards including Best Picture, Director, Supporting Actor (Chakiris) and Actress (Moreno), Cinematography and Art Direction. Don’t miss this absolutely stunning brand new 70mm print. More on this film. Photo Courtesy of Cinema Sightlines.

West Side Story will screen at the Egyptian on:

Friday, November 28 – 7:30 PM

Saturday, November 29 – 7:30 PM

 

 

 

 

Sunday October 26 - 5:30 PM

ART DIRECTOR SOCIETY:

A Tribute to the Disney Studios Art Department and Their Fantastical Films
From the 1950s through the 1970s, at a time when the Disney name was still synonymous with animation, the studio’s live action unit made a series of charming, generally inexpensive, invariably successful, live-action fantasy adventures that quietly shaped, inspired and influenced the generation of filmmakers creating today’s blockbusters. The visual effects in these films were superbly integrated into the rest of the visuals because the effects department and the art department might as well have been one. DARBY O’GILL AND THE LITTLE PEOPLE typifies the genre.

DARBY O’GILL AND THE LITTLE PEOPLE, 1959, Disney, 93 min. Directed by Robert Stevenson, designed by Carroll Clark, with visual effects by Peter Ellenshaw and Eustace Lycett, this is an enchanting comic fantasy, beautifully designed and filled with impeccably accomplished forced perspective shots, matte paintings and more. It is also the young Sean Connery’s first starring role. Lovable scalawag Darby (Albert Sharpe) loves to tell tales of leprechauns. Little does anyone suspect that he really does have a direct line on a pot of gold, but he must find a way to get it away from shrewd leprechaun King Brian. More on this film. Discussion following with visual effects supervisors Michael Fink (BATMAN RETURNS, X-MEN 1 & 2, and Oscar winner for THE GOLDEN COMPASS) and Harrison Ellenshaw (Oscar-nominated for THE BLACK HOLE, master matte painter, veteran of the Disney effects unit, and son of Peter Ellenshaw) and John Muto, writer and production designer.

 

 

Thursday, October 30 – 7:30 PM

25th Anniversary, Matt Dillon/Francis Ford Coppola Double Feature!
THE OUTSIDERS
, 1983, 91 min. Director Francis Ford Coppola’s adaptation of S. E. Hinton’s novel of 1960s teen gang violence in Oklahoma pits the "Greasers" against the "Socs." Matt Dillon, Ralph Macchio, Vincent Spano and Patrick Swayze head an all-star ensemble cast, representing the two sides of the tracks. Theatrical release cut. Review
RUMBLE FISH, 1983, Universal, 94 min. Director Francis Ford Coppola again adapts an S.E. Hinton novel, reuniting with Matt Dillon. Shot in black-and-white with stylized use of color and professed to be among Coppola’s personal favorites, it’s grittier and more phantasmagorical than THE OUTSIDERS. Here, Dillon plays Rusty James, a young gangbanger who looks fondly back on the days of yesteryear when his loner brother, Motorcycle Boy (Mickey Rourke), held court as the king of the street toughs. With a very young Diane Lane as Rusty’s sweetheart. Look out for Dennis Hopper as the boys’ ne’er-do-well father and William Smith as one of the meanest small-town cops in movie history. Co-starring Chris Penn, Nicholas Cage and Tom Waits. Article 1 | Article 2