{"id":33752,"date":"2022-06-16T21:14:57","date_gmt":"2022-06-17T04:14:57","guid":{"rendered":"https:\/\/locationmanagers.org\/?p=33752"},"modified":"2024-06-05T12:12:17","modified_gmt":"2024-06-05T19:12:17","slug":"the-academy-museum-of-motion-pictures","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/the-academy-museum-of-motion-pictures\/","title":{"rendered":"The Academy Museum of Motion Pictures"},"content":{"rendered":"

A Persistence of Vision
\n<\/b>THE ACADEMY MUSEUM OF MOTION PICTURES
\n<\/b>Brings the Past Into the Future<\/b><\/h4>\n

by Diane Friedman<\/b><\/p>\n

The Academy Museum opened its doors in September 2021, realizing a long-held dream of the Academy of Motion Picture Arts and Sciences. Over a decade in the making, it promises something for everyone, including location professionals!<\/b><\/p>\n

\n
\"\"

\u00a9 Joshua White, JWPictures<\/p><\/div>\n

Occupying the reimagined 1930\u2019s May Company department store on the corner of Fairfax and Wilshire, the Academy Museum is the latest landmark to grace this stretch of Los Angeles\u2019 Museum Row. The museum\u2019s preserved Streamline Moderne exterior boldly fronts the domed glass, steel and concrete sphere that is Renzo Piano\u2019s addition on its north end.\u00a0<\/span><\/p>\n

Sky bridges connect the architectural styles, reframing them through the lens of present sensibilities, much as the museum promises to \u201cadvance the understanding, celebration and preservation of cinema\u201d by addressing \u201cthe history of cinema in truthful and inclusive ways.\u201d\u00a0<\/span><\/p>\n

\"\"

Photo: Iwan Baan\/Iwan Baan Studios Courtesy Academy Museum Foundation<\/p><\/div>\n

Starring the Exhibitions!<\/strong><\/p>\n

It is fitting that a museum that embraces the mythological and practical landscape of moviemaking would arise in the heart of Hollywood for tourists to enjoy and heartening that it offers film buffs and filmmakers\u2014both established and aspiring\u2014so much to explore.<\/p>\n

Immersive galleries on five levels with multiple big screens and related props and ephemera are devoted to the history of film or international moviemakers, such as Pedro Almod\u00f3var and Hayao Miyazaki. Spike Lee has a comprehensive space that showcases everything that inspires him and his work.<\/p>\n

Other displays are more technical. The discovery in the 1820s of how the brain perceives the \u201cillusion of movement\u201d led to early inventions and cinematic devices\u2014and the first film projector, the Cinematographe Lumiere, found in The Path to Cinema: Highlights from the Richard Balzer<\/i> Collection<\/i>. A small screening room devoted to sound repeatedly runs a clip of the Raiders of the Lost Ark<\/i> rolling-boulder scene\u2014each time showing how a different kind of sound effect is created. Finally, they are all mixed together with music, enhancing the action sequence to great effect.<\/p>\n

\"\"

\u00a9 Joshua White, JWPictures<\/p><\/div>\n

Bruce, the only remaining shark cast from the original mold from Jaws<\/i>, hangs menacingly from the ceiling that soars above the escalators. Dorothy\u2019s ruby slippers from The Wizard of Oz<\/i> sparkle! The sight of Citizen Kane<\/i>\u2019s sled, ET and R2D2 all give goose bumps. The costume exhibit showcases a breathtaking collection, including the elaborate dress worn by the Wicked Witch of the West from The Wiz<\/i>, the Dude\u2019s bathrobe from The Big Lebowski<\/i> and the spacesuit from 2001: A Space Odyssey<\/i>. \u00a0<\/span><\/p>\n

These cinematic objects are dazzling, and for those seeking a deeper experience, they serve as the point of entry into the nuts and bolts of moviemaking and the art and craft of the talented men and women who labor behind the scenes.\u00a0<\/span><\/p>\n

\u201cThe exhibitions aim to pull back the curtain and provide a better understanding of the magic that we see on the screen,\u201d explains assistant curator Sophia Serrano. \u201cBut also place it in a relevant context.\u201d<\/p>\n

An in-depth presentation of The Wizard of Oz<\/i> in the Art of Moviemaking Gallery<\/i> is used to illustrate how each craft contributes to the making of a film, using one of Hollywood\u2019s most iconic movies as an example. Starting with casting\u2014did you know Shirley Temple almost played Dorothy?\u2014and following every step of the process from the art department\u2019s sketches of Munchkinland, the wardrobe department\u2019s prototypes for Dorothy\u2019s gingham blue and white dress, the travails of the music department fighting to keep the song \u201cSomewhere Over the Rainbow\u201d in the final cut, through the editing process, to the details of its publicity campaign. Yet it does not shy away from documenting accounts of how a young Judy Garland and the actors who played the Munchkins were mistreated by the studio.<\/p>\n

This kind of commentary is embedded in many of the exhibits. The dramatic two-story backdrop of Mount Rushmore used in Alfred Hitchcock\u2019s North by Northwest<\/i> showcases this singular art form and considers the controversy surrounding this specific image: The carvings desecrate a mountain in the Black Hills of South Dakota sacred to the Lakota people. Other installations incorporate the struggle for Civil Rights, Black Lives Matter, #MeToo and issues of gender equity in their narratives.<\/p>\n

\"\"

Museum assistant curator Sophia Serrano. Photo by Phil McCarten\/\u00a9 Academy Museum Foundation<\/p><\/div>\n

The Backstory<\/strong><\/p>\n

The Academy was formed in 1927 when 36 production executives and film luminaries were named as founding members at a dinner hosted by MGM chief Louis B. Mayer at the Ambassador Hotel. Originally focused on labor-related issues, the Academy has evolved into an organization dedicated to the preservation of cinema history and its artifacts, the study of cinema and the bestowing of awards. In the beginning, only five crafts were honored: actors, directors, writers, technicians and producers.<\/p>\n

Since then, the Academy has grown to more than 10,000 members and now also includes casting directors, costume designers, documentary filmmakers, executives, film editors, makeup artists and hairstylists, marketing and public relations people, music, production designers, short filmmakers and feature animators, sound and visual effects artists.<\/p>\n

\"\"

\u00a9 Joshua White, JWPictures_0563<\/p><\/div>\n

A Role for Locations<\/strong><\/p>\n

The location community was thrilled when in 2013, former LMGI President and founding member Lori Balton (Argo, Inception, Heat, A River Runs Through It<\/i>) became the first location professional welcomed into the Academy\u2019s production design branch, joining production designers, set decorators, property masters, illustrators, storyboard artists and scenic artists. Others have followed over the years, including Kokayi Ampah\/LMGI (The Color Purple, 8Mile, The Shawshank Redemption, Million Dollar Baby<\/i>) in 2015.\u00a0<\/span><\/p>\n

\u201cIn film, we work closely with the designers to build the world of our movie,\u201d says Kokayi. \u201cFirst, we interpret what\u2019s on the page in terms of character and action, then listen to the thoughts of the designer and director\u2014that is the basis for the job. Researching the period, the architecture, the foliage, and even what time of year the scenes take place in is all a part of the art.\u00a0<\/span><\/p>\n

\u201cIn most films, the audience\u2019s first understanding of the world they are entering is the location, well before they know the characters. The location says we are in a workplace, be it a high-tech office or street maintenance garage. We are in a certain community, maybe in Little Italy or a Malibu beach house. On set, the actors inhabit the location just like they wear their hair or clothing. The space informs the character. It tells the actors where they live, where they work, where they are going and the actors become those characters.<\/p>\n

\u201cWe are photographers. We research, scout and present options that will excite the creatives in the visual language we share. We are thinking about those things, as well as the logistics concerned with filming. We must secure the permits, location agreements, places for the crew and equipment to park and eat. We coordinate fire and police departments when action scenes are part of the work. We organize the neighborhood or commercial area around the location\u2014they are aware of us being there and trust that we will restore the community to how we found it when we leave.\u201d<\/p>\n

In a small screening room labeled \u201cImage,\u201d visitors can view a compilation of clips from the Academy\u2019s Oral History Collection that highlights how cinematographers, production designers, set decorators and location professionals approach working on location through scene analysis and unique artistry. Spike Lee\u2019s production designer talks about the search for that special block in Brooklyn for Do the Right Thing<\/i> and production designer Jeannine Oppewall breaks down how the classic 1920\u2019s Spanish-style house used for Kim Bassinger\u2019s character in LA Confidential <\/i>was the perfect find. \u00a0<\/span><\/p>\n

\u201cI talk about how I went from being a PA on Roots<\/i> back in 1976 to finding and managing locations, as well as production supervising, for The Shawshank Redemption<\/i> in the \u201990s. I talk specifically about the prison location,\u201d says Kokayi. \u201cFor every scene that is shot outside the studio, it\u2019s one of us that makes it happen! Before we present something, we need to know that it can be shot. We are filmmakers and the work we do is on the screen\u2014the locations are characters for everyone to see.\u201d<\/p>\n

\"\"\"\"
\n\"\"\u201cI definitely felt that Boyle Heights was a character,\u201d concurs assistant curator Sophia Serrano when she delved into creating the museum\u2019s inaugural exhibit for 2002\u2019s acclaimed film, Real Women Have Curves<\/i>. Before joining the Academy Museum, Sophia was a research assistant at the Getty Research Institute, where she worked on the Metropolis in Latin America, 1830-1930 and completed a PhD in cinema and media studies at USC. She was drawn to this film and its nuanced portrayal of an immigrant neighborhood in Los Angeles.<\/p>\n

The film features the debut of America Ferrera as a young student whose aspirations and self-image are at odds with her family and the Mexican-American community she grew up in.<\/p>\n

\u201cDirector Patricia Cardoso donated her trove of material from the movie to the Academy,\u201d shares Sophia. \u201cIncluded in this collection were the location pictures taken by scout Rony Shino, and that drove the focus of the space. We highlighted the actual locations used in the movie and how they inspired the director and the story, also how they were enhanced with color and set dressing to evoke the true feeling of being in that world. We have scout pictures of the family house, the spot for the caf\u00e9 and the warehouse where the factory was created\u2014all on the wall of the gallery.\u201d<\/p>\n

\u201cPeople love knowing where movies are filmed,\u201d enthuses Kokayi. \u201cThey love seeing their towns and streets on the screen. They travel all over the world to visit these sites, to New Zealand to see where The Lord of the Rings<\/i> was shot, or to the U.K. for the castle used in the Harry Potter<\/i> films, for example. \u00a0<\/span><\/p>\n

\u201cTwo years ago, I went back to Mansfield, Ohio, for the 25th anniversary of The Shawshank Redemption<\/i>. Mansfield sits 70 miles between Cleveland and Columbus with no air service, yet each year thousands come to visit the prison and other locations around the town. This year, well over 2,500 people came for the celebration weekend. That\u2019s the power of film and how it can spark an industry in the most remote of places, and how it becomes a part of the culture and resonates on so many levels.\u201d\u00a0<\/span><\/p>\n

\"\"Changing Lenses on the Past\u00a0<\/span><\/strong><\/p>\n

Kokayi is also a member of the museum\u2019s Inclusion Advisory Committee. He has broken barriers throughout his career and knows what people can accomplish when given a chance. \u201cHey, I\u2019m just a poor kid from St. Paul, Minnesota, and here I am in the Academy. I was the first African American to join the Teamsters as a location manager. They told me I would probably be asked to scout downtown or in the hood\u2014at least until people could see what I could do. But all my early jobs were in Santa Clarita which was the complete opposite! Now there are over 30 African American union location managers and assistants, my son among them. From being the first\u2014wow, that\u2019s something to see!<\/p>\n

\u201cThis is a very active committee,\u201d adds Kokayi. \u201cWhoopi Goldberg and Marlee Matlin are on it. People from every kind of background and ability are represented. We want to make sure that the exhibits are accessible to people of all abilities and we speak to tell the truth about the history of filmmaking.\u00a0<\/span><\/p>\n

\u201cDid you know that when Hattie McDaniel won the Oscar in 1940 for best supporting actor for her role in Gone with the Wind ,<\/i>she wasn\u2019t allowed into the theater for the premiere in Atlanta? Then, at the Academy Awards in Los Angeles, she had to sit at a segregated table at the side of the room. She couldn\u2019t sit with the Gone with the Wind<\/i> party. I\u2019m glad these stories are now being told.\u201d<\/p>\n

\u201cThe committee\u2019s input has been invaluable to the museum\u2019s curatorial team during exhibition planning\u2014it\u2019s a tremendous resource,\u201d adds Sophia. \u201cOur mission is to represent a broad spectrum of global movies and moviemakers and embrace a commitment to diversity and inclusion. We work hand in hand with the committee to make sure we address these topics head on, and as truthfully and sensitively as possible.\u201d<\/p>\n

\n

\u201cFor every scene that is shot outside the studio, it\u2019s one of us that makes it happen! Before we present something, we need to know that it can be shot. We are filmmakers and the work we do is on the screen\u2014the locations are characters for everyone to see.\u201d<\/b><\/p>\n

-Kokayi Ampah\/LMGI<\/p>\n

\"\"<\/strong><\/p>\n

\n

A Script for the Future<\/strong><\/p>\n

Seventeen task forces representing each of the Academy\u2019s branches also work collaboratively with museum curators to offer their expertise. They draw from an impressive collection of props, scripts, photographs, objects, moving images, oral history recordings and more than 2,000 interviews from various sources that the Academy has amassed over the years.\u00a0<\/span><\/p>\n

Says Sophia, \u201cThe exhibitions are modular, so our content on view will always be changing. We have just announced our first round of new exhibitions for the 2022-2023 season that includes one that traces the founding of the studio system in Los Angeles called Hollywoodland, in-depth looks at The Godfather, Casablanca<\/i> and Boyz in the Hood<\/i>, and a focus on production designer Sarah Greenwood and set decorator Katie Spencer.\u201d Their exhibition will showcase the design process, highlighting how the crafts within the design branch work together to create the world that is ultimately seen on the screen.\u00a0<\/span><\/p>\n

\u201cIn May, the museum will be screening John Singleton\u2019s 1993 film Poetic Justice<\/i> to mark the 30th anniversary of the Los Angeles uprising,\u201d shares Kokayi. \u201cI have been invited\u2014as the film\u2019s location manager\u2014to participate in a panel discussion following the movie, along with John\u2019s daughter, writer Justice Singleton and actor Roger Guenveur Smith.\u00a0<\/span><\/p>\n

\u201cI hope that locations will be a bigger and bigger part of future exhibits. I hope there will be seminars and exhibits about locations. Take one or two award-winning films and break down the process used by that location person or team to get something on screen.\u00a0<\/span><\/p>\n

\u201cBy finally having a presence in the Academy, we will be able to tell more of our part of the story\u2014for me as a person of color and as a location professional. This is just the beginning\u2014there\u2019s the promise of great things ahead for us here at the museum. I\u2019m so happy we are included, that there\u2019s a light shining on what we do. It\u2019s a dream come true.\u201d\u00a0<\/span><\/p>\n

Sophia agrees, \u201cDesigners have been advocating that we talk to the location managers because they know so much about how and why movies are filmed where they are. We are always looking for new ways to explore how movies are made.\u201d<\/p>\n

The Academy hopes that visitors will be both enchanted and enlightened by all that is on display in the museum\u2019s grand opening. It has taken bold steps to call attention to the missteps of the past and embrace the diverse chorus of voices that contribute to the making of movie magic\u2014then, now, and in the years ahead!\u00a0<\/span><\/p>\n

\n
\"\"Location professionals who are members of the\u00a0Academy of Motion Picture Arts and Sciences:<\/h5>\n

Lori Balton 2013<\/strong><\/p>\n

Kokayi Ampah\/LMGI 2015<\/strong><\/p>\n

Elston Howard\/LMGI 2017<\/strong><\/p>\n

Mike Fantasia\/LMGI 2018<\/strong><\/p>\n

Ilt Jones\/LMGI 2018<\/strong><\/p>\n

James Lin 2018<\/strong><\/p>\n

Robin Citrin\/LMGI 2018\u00a0<\/span><\/strong><\/p>\n

Emma Pill\/LMGI 2018<\/strong><\/p>\n

Sue Quinn\/LMGI 2018<\/strong><\/p>\n

Todd Christensen\/LMGI 2020<\/strong><\/p>\n

Markus Bensch\/LMGI 2020<\/strong><\/p>\n

Robert Foulkes\/LMGI 2020<\/strong><\/p>\n

Janice Polley 2020<\/strong><\/p>\n

Harriet Lawrence\/LMGI 2020<\/strong><\/p>\n

Michele St-Arnaud\/LMGI 2020<\/strong><\/p>\n

Charlie Harrington\/LMGI 2021<\/strong><\/p>\n

\n

Visiting the Academy Museum\u2014Tickets to the Academy Museum are available only through advance online reservations via the Academy Museum\u2019s website AcademyMuseum.org and mobile app.<\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

A Persistence of Vision THE ACADEMY MUSEUM OF MOTION PICTURES Brings the Past Into the Future by Diane Friedman The Academy Museum opened its doors in September 2021, realizing a long-held dream of the Academy of Motion Picture Arts and Sciences. Over a decade in the making, it promises something for everyone, including location professionals! 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Over a decade in the making, it promises something for everyone, including location professionals! 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