#film-restorations

#film-restorations

Set on the blossom tree-lined fringes of Hyde Park in London, Herbert Wilcox's black-and-white rom-com blows in like a fresh spring breeze. The film charts the will-they-won't-they romance between Richard (Michael Wilding), a wealthy lord masquerading as a butler, and Judy (Anna Neagle), the niece of the family who employs him.

Mainstream theaters didn't want to screen the film because of how political it was. We did, and we had packed houses. Years later, we screened 'Black Panther.' The first week, we showed the film on screens one, two, and three, and we were selling out every show.

Pickfair, which grew from a $3,000 stable in 1911 to become a rambling, green-gabled melange of American Colonial styles, was said at one time to be the nation's second-most famous residence--after the White House.

The inquiry was like thousands of others. Somebody had potentially cool films they thought might interest the Library of Congress. But it was brand new for Jason Evans Groth... In September, he stepped outside the National Audio-Visual Conservation Center in Culpeper, Virginia, to meet Bill and Mary McFarland, who had driven from Michigan with about 40 strips of celluloid that had once belonged to Bill's great-grandfather.

We have run out of options for creating more production space," said Frederick Huntsberry, Paramount's chief operating officer. The internal expansion would create nearly 7,300 jobs during construction and accommodate 5,500 permanent workers at the studio.

Like many of his peers, including Francis Ford Coppola, Peter Bogdanovich and John Sayles, Scorsese did early-career work for producer Roger Corman. In Scorsese's case, that came in the form of his second feature as a director, 1972's Boxcar Bertha. As Roger Ebert wrote in an interview with Scorsese, the director chose to make Boxcar Bertha because he needed to direct again.

Following a flurry of online backlash, AMC Theaters said it would no longer allow an AI-generated short film to be shown at its US locations, in the latest example of the mounting resistance to AI's encroachment on the arts.

The newly discovered moving image work—totaling over an hour in length—includes eight new Screen Test portraits of Warhol collaborators and unused footage shot for his films Batman Dracula, Sleep, and Couch. The most significant find is several rolls of pornographic footage that shed new light on Warhol's ambitions in the 1960s. They prove that the artist had been capturing explicit scenes on the couch of his famous Factory studio long before making Blue Movie, the salacious 1969 feature that would inspire a "porno chic" phenomenon.

The profile also explains why "Ambersons," while much less famous than Welles' first film "Citizen Kane," remains so tantalizing - Welles himself claimed it was a "much better picture" than "Kane," but after a disastrous preview screening, the studio cut 43 minutes from the film, added an abrupt and unconvincing happy ending, and eventually destroyed the excised footage to make space in its vaults.

It's nice that you are asking about props, because they're not really acknowledged, says Jode Mann, a TV prop master in Los Angeles. When Mann worked on the children's comedy show Pee-wee's Playhouse in the 1980s, she got a call from its star, Paul Reubens, who said he was nominating her for an Emmy. It was only after Mann told her mother and promised to thank her if she won that Reubens called back to say he couldn't nominate her because there's no category for you.

Even in an era of CGI and AI, nothing is more vivid than the intimacy and imagination of radio or more direct than the connection radio has with listeners. I remember when the legendary Stan Freberg drained Lake Michigan and filled it with hot chocolate, a 700-foot mountain of whipped cream, and a 10-ton maraschino cherry. We didn't have to see it. We heard it on the radio. It was Freberg's demonstration of what radio can do better than television.

A quarter-century later, it's safe to say that those days have come to an end. Not only does the streaming-only Netflix of the twenty-twenties no longer transmit movies on DVD through the mail (a service its younger users have trouble even imagining), it ranks approximately nowhere as a preferred cinephile destination. That has to do with a selection much diminished since the DVD days

We've all watched a film or series and wanted to step straight into it. So, it's hardly surprising that set jetting'is shaping up to be a top travel trend again for 2026. We've already seen it in recent years with the White Lotus effect-the Four Seasons Maui reported a 425% year-on-year rise in website visits after the first season aired. Set jetting seems to be a particularly big hit with Gen Z and millennial travelers-81% now plan their getaways based on what they've seen