30th tff program guide - Telluride Film Festival

30th tff program guide - Telluride Film Festival
Founded in 1974 by James Card, Tom Luddy and Bill & Stella Pence
Tom Luddy
Bill Pence
J.P. Gorin
Stella Pence
Kimberly Roush
Jim Bedford
Muffy Deslaurier
Susan Allen
Guest Director
Managing Director
Director of Development &
Director of Operations
Director of Administration
Events Manager
Lynne Domingos
Operations Manager
Brandt Garber
Production Manager
Bärbel Hacke
Kathy Jones
Marc McDonald
Betsy Rowbottom
Leslie Sherlock
Kate Sibley
Hosts Manager
Press Liaison
Theatre Operations Manager
Personnel Manager
Housing/Travel Manager
Education Programs Dean
Garry Transue
Art Direction
Russell Allen
Jon Busch
Chapin Cutler
Technical Direction
Ross Krantz
Annette Insdorf
Gary Meyer
Pierre Rissient
Peter Sellars
Chief Technician
Resident Curators
Poster Artist
Supported by a contribution from Paul & Evy Frankel
Described by Chuck Jones as “an artist for all seasons and all reasons,”
John Canemaker is internationally recognized as an animator and animation historian.
He is director of the animation program at New York University Tisch School of the
Arts, the author of ten books on animation history and a frequent contributor to
The New York Times. He has provided designs, storyboards and direction for projects
at Warner Brothers, HBO, PBS and CBS and last February won an Academy Award
for THE MOON AND THE SON, a highlight of last year’s Telluride Festival.
The National Film Preserve, Ltd.
A Colorado non-profit, tax-exempt educational corporation
Board of Governors
1A S/Fri 7:00 PM - G/Sat 9:30 AM
1B L/Sat 2:15 PM
A Tribute to Walter Murch
Ken Burns, Joe Anne Erickson, Thomas Luddy, Gary Meyer,
Stella C. Pence, William E. Pence, Marian L. Schwindeman,
Shelton g. Stanfill, Joseph Steinberg, Linda Wilkinson
Marshall Brady, Ken Burns, Peggy Curran, Joe Anne Erickson,
Michael Fitzgerald, Dennis Gaughan, Tom Luddy, Gary Meyer, Stella Pence,
Marian Schwindeman, Shelton g. Stanfill, Joseph Steinberg,
Milos Stehlik, Robert A. Wherry, Jr., Linda C. Wilkinson
Revered Consultants
Joe Anne Erickson
Linda Wilkinson
Esteemed Council of Advisors
Laurie Anderson
Alberto Barbera
Peter Becker
Peter Bogdanovich
John Boorman
Kevin Brownlow
Paolo Cherchi Usai
Don DeLillo
Buck Henry
Lisa Henson
Werner Herzog
Kathleen Kennedy
Adam Krentzman
Warren Lieberfarb
Phillip Lopate
Frank Marshall
Errol Morris
Max Palevsky
Kirill Razlogov
Donald Richie
Salman Rushdie
John Simon
Milos Stehlik
Bertrand Tavernier
David Thomson
New York, NY
Torino, Italy
New York, NY
New York, NY
London, UK
London, UK
Acton, Australia
New York, NY
Los Angeles, CA
Culver City, CA
Munich, Germany
Santa Monica, CA
Los Angeles, CA
Los Angeles, CA
Brooklyn, NY
Santa Monica, CA
Cambridge, MA
Los Angeles, CA
Moscow, Russia
Tokyo, Japan
London, UK
New York, NY
Chicago, IL
Paris, France
San Francisco, CA
Peter von Bagh
Irwin W. Young
Saul Zaentz
Helsinki, Finland
New York, NY
Berkeley, CA
Prized Program Notes Contributors
Larry Gross (LG), Lead Writer
Paolo Cherchi Usai (PCU), J.P. Gorin (JPG), Scott Foundas (SF), David Thomson (DT);
Telluride Film Festival staff (TFF): Trevor Bartlett, Tom Luddy,
Gary Meyer, Jason Silverman, Jerry White
Made possible by a donation from The Burns Family
One could argue that Walter Murch’s finest achievements are invisible.
For what are film editing and sound design if not the joining of disparate
pieces of celluloid, so that, as we sit in the darkened cinema, we can’t
imagine they ever existed any other way? But look (and listen) closely,
and you will recognize Murch’s handiwork: in the opening sequence of
APOCALYPSE NOW (1979), the whirring rotor of a helicopter gives way to
the blades of a fan spinning in a Saigon hotel room; in THE ENGLISH
PATIENT (1996), the strokes of a painter’s brush become the sinuous folds
of a vast desert.
His interest in sound stems from childhood (his nickname, Walter McBoing
Boing, came from the Dr. Seuss character who speaks in onomatopoeias).
But you can’t make a living from sound, Murch reasoned, and so he studied
oceanography at Johns Hopkins, then art history and romance languages
in Europe. In Paris, he was seduced by the films of the French New Wave.
When he returned to America, he took up graduate film studies at USC,
met George Lucas and Francis Coppola, and did the sound mix on THE
Afterwards, all three filmmakers settled in San Francisco, where the dream
called American Zoetrope was born. Its THX 1138 (1971) was directed by
Lucas from a script cowritten by Murch. The movie was ahead of its time,
and a flop, but then a little thing called THE GODFATHER (1972) kept the
dream going and kept Murch in steady demand: mixing AMERICAN GRAFFITI
(1973) at night while cutting sound and picture on THE CONVERSATION
(1974) by day; then THE GODFATHER PART II (1974) and JULIA (1977),
before enlisting for two years of active duty on APOCALYPSE NOW. Around
the same time, Murch did uncredited work on the script of THE BLACK
STALLION (1979), then directed RETURN TO OZ (1985), a children’s picture
that’s darkly lyrical, sometimes terrifying and badly in need of rediscovery.
Murch has since returned to editing and sound mixing with renewed vigor
and monastic discipline: he works standing up, as if performing surgery;
and he refuses to visit the sets of the films on which he is employed, lest
any information from outside the edges of the frame enter his field of
vision. His fascinating theories on his chosen craft have been published in
two books. And he has been handsomely rewarded, with nine Oscar nominations and three wins. To be sure, there have been films less than deserving
PATIENT, and THE TALENTED MR. RIPLEY have proven him a master of difficult
material and one of the most inspired collaborators any director could hope
to have. To call Walter Murch a mere “editor” is to consider Michelangelo
nothing more than a common house painter. –SF
In 1a , a collection of clips will be followed by the presentation of the
Silver Medallion and an onstage interview conducted by Davia Nelson and
Steve Wasserman, respectively. 1b is the biographical documentary MURCH
(d. Edie Ichioka and David Ichioka, U.S., 2006, 78m), which explores the
nature of sound and picture in cinema.
S/Sat 1:30 PM - C/Sat 7:00 PM - G/Sun 1:00 PM
S/ Fri 9:30 PM - G/Sat 4:00 PM - M/Sat 7:15 PM
Made possible by a donation from Mort and Amy Friedkin
Set in a mountainous corner of Australia, Ray Lawrence’s film starts with an
ominous threat of violence before switching abruptly to what seems to be
an everyday tale of marital difficulties. Stewart and Claire (Gabriel Byrne
and Laura Linney, both in top form) have never quite bounced back from a
breakdown Claire suffered when their child was born. When Stewart and
three buddies having various women troubles of their own escape on a
fishing trip, a macabre discovery forces them to confront their individual
demons with a terrifying and inescapable immediacy. Starting from Beatrix
Christian’s adaptation of Raymond Carver’s story “So Little Water Close to
Home,” Lawrence uses genre elements, much as he did in LANTANA (TFF
2001), to investigate the secrets and lies that corrode sexual relationships.
And he discovers both horror and redemption in the powerful natural landscape. –LG (Australia, 2006, 123m) In person: Laura Linney
One of Britain’s most important directors, Roger Michell specializes in
unconventional character studies—ENDURING LOVE, THE MOTHER, CHANGING
LANES and PERSUASION. With VENUS, he teams up again with writer Hanif
Kureishi to tell the story of Maurice (Peter O’Toole), an aging actor in
failing health who experiences one final burst of erotic longing, for the
inexperienced working-class girl (Jodie Whittaker). O’Toole, arguably the
greatest living British actor, brings so much eloquence, pathos and comic
delicacy to the role that you might mistake this for a one-man show. But
Leslie Philips, as Maurice’s comically dyspeptic acting buddy, keeps up with
O’Toole beat for beat. Their silly dance in a church where several of their
colleagues are buried is a classic, as is the scene of Maurice cooking an
apologetic farewell dinner for Vanessa Redgrave as his long-suffering wife.
–LG (U.K., 2006, 90m) Preceded by DREAMS AND DESIRES—FAMILY TIES
(d. Joanna Quinn, U.K., 2006, 10m) In person: Roger Michell
N/Fri 7:00 PM - S/Sat 4:00 PM - G/Sat 7:30 PM
S/Sat 9:30 AM - L/Sat 6:45 PM
Charmed Lives
This is the story of the Hungarians who invented the modern British film
industry. In 1931, having established his reputation in Hollywood and the
European capitals, Alexander Korda sailed into London, directed THE PRIVATE
LIVES OF HENRY VII—England’s first international hit—and, with his
brothers Zoltán (a director) and Vincent (an art director) built Denham,
a city-sized studio that generated a steady stream of memorable movies.
Fifty years after his death, Alex Korda remains a legendary figure, the
cultured, risk-taking businessman-artist who out-British-ed the British.
This program includes THE GOLDEN AGE OF ALEXANDER KORDA (d. Robert
Vas, England, 1968, 71m), in which James Mason compares Korda to John
F. Kennedy. Then, an onstage interview with world-renowned editor and
raconteur Michael Korda, Alex’s nephew and the author of the Korda
biography Charmed Lives, perhaps the most entertaining book yet written
on the art and commerce of filmmaking. –TFF In person: Michael Korda
The Italian
Writer Andrei Romanov and director Andrei Kravchuk constructed this
ingenious, tragicomic tale of a desolate, decaying orphanage in the Russian
countryside that sells abandoned kids to prosperous Western Europeans.
The adults running the joint live in a haze of greed and alcoholic self-pity;
the fatalistic elder orphans are thugs and hookers who accept crime and
brutality as their only option in life. In this Dickensian world, nine-year-old
Vanya yearns to uncover the truth of his birth-mother’s identity. Aleksander
Burov provides quiet, un-insistently beautiful cinematography and Kolya
Spiridonov brings an urgent but humorous presence as Vanya. THE ITALIAN,
a dual-award winner at Berlin, is an elegant and poignant allegory for the
moral crisis of Russia’s new post-communist generation. –LG (Russia, 2005,
90 m) Preceded by CARMICHAEL AND SHANE (d. Alex Weinress/Rob Carlton,
Australia, 2005, 5m) In person: Andrei Kravchuk
S/Sat 6:30 PM - P/Sun 8:30 AM
A Tribute to Penélope Cruz
S/Sat 10:00 PM - G/Sun 4:00 PM - P/Sun 11:30 PM
Made possible by a donation from Warren and Becky Gottsegen
Penélope Cruz is a megastar: an object of fascination for Internet-trolling
teenage boys, a regular on People magazine’s annual most beautiful list, a
shampoo and cosmetics model, a fixture in gossip columns. Wherever Cruz goes,
hype (and paparazzi) cling like a slinky evening dress. All this glamour obscures
an important truth: Cruz has become one of Europe’s most exciting actors.
We’ve known she’s gorgeous since 1992 when, as a 17-year-old unknown,
she sex-kittened through Bigas Luna’s international hit, the Venice festival
winner JAMÓN JAMÓN. A string of full-blooded ingénue roles followed: a
flirty daughter in Fernando Trueba’s Oscar-winning BELLE EPOQUE (1992);
a manipulative girlfriend in TODO ES MENTIRA (1994); a Goya-winning
comic performance as a famed Spanish actress in Hitler’s Germany in
Trueba’s GIRL OF YOUR DREAMS (1998).
At this point, Cruz could have cashed in as a screen beauty and pinup girl.
Instead, she sought out challenging, nuanced roles with some of cinema’s
most ambitious directors. Alejandro Amenábar cast her as the mysterious
Julia in his paranoiac thriller ABRE LOS OJOS (1997) (she later reprised
the role in Cameron Crowe’s 2001 remake VANILLA SKY). Stephen Frears
deglammed her for HI-LO COUNTRY (1998); Billy Bob Thornton made her
the object of dangerous fascination in ALL THE PRETTY HORSES (2000).
Cruz surprised filmgoers as an ungainly immigrant prostitute in NON TI
MUOVERE (2004), a character, the BBC gushed, “who’s been used, abused
and left in the gutter her entire life. But beside the grime there’s dignity
and pathos too.”
Cruz has done her most convincing work with Pedro Almodóvar. Her three
films with him offer us a grounded, conflicted woman and a complex,
intriguing vision of beauty. After a walk-through in LIVE FLESH (1997),
Cruz was featured in ALL ABOUT MY MOTHER (1999). Our icon of desire
played…a nun impregnated by an HIV-positive junkie. Who but Almodóvar
could dream up such a thing? But it worked. “There is only one Pedro,”
Cruz has said. “He is my priority in every way.” And why not? No director
has created such rich, surprising roles for women.
With VOLVER, Cruz emerges as Pedro’s new muse, following in the considerable footsteps of Carmen Maura, Marisa Paredes and Cecilia Roth. As
Raimunda—a hardworking mom trying to flee her superstitious, deathhaunted village upbringing—Cruz’s earthy humor and plain but vibrant
sexiness evoke Anna Magnani or Sophia Loren in their primes. (No coincidence, perhaps: Almodóvar had Cruz watch classic Italian films to prepare
for the role.) Raimunda’s mother, making a surprising appearance, is
played by Maura, the leading lady in MATADOR, LAW OF DESIRE and
And so the torch is passed. Cruz, the core of the ensemble that won the
acting prize at Cannes for VOLVER, has become Almodóvar’s favored
actress, perhaps the most enviable position in all of cinema. –TFF
Following a selection of clips, Penélope Cruz will receive Telluride’s Silver
Medallion. Then, VOLVER (Spain, 2006, 120m) will screen in its entirety.
It’s déjà vu all over again, but remember: it’s the second time you look
that you understand. This festival still loves CAPOTE (which we introduced
last year), but we like him so much that this year we offer—INFAMOUS,
the story of how Truman Capote went to Kansas and maybe never quite
came back. Why should you come again? Weren’t we right last year?
Double the bet this year and get ready for English actor Toby Jones as
Truman, Sandra Bullock as Harper Lee, Daniel Craig (007) as killer Perry
Smith. Plus Sigourney Weaver as Babe Paley, Juliet Stevenson as Diana
Vreeland, Hope Davis as Slim Keith and Peter Bogdanovich as Bennett
Cerf. Plus the greatest three minutes Gwyneth Paltrow has ever put on
film. The whole thing is written and directed by Douglas McGrath (EMMA
and NICHOLAS NICKLEBY). Next year the Albanian opera version! –DT
(U.S., 2006, 100m) In person: Douglas McGrath, Peter Bogdanovich
S/Sun 9:00 AM - L/Sun 7:15 PM - G/Mon 8:30 AM
20,000 Streets Under the Sky
Made possible by a donation from Lynne and Joe Horning
In the 1930s, Patrick Hamilton wrote three autobiographical novels—The
Midnight Bell, The Siege of Pleasure and The Plains of Cement— about life in
a pub on the Euston Road. The central characters are a barmaid and a
barman and a prostitute who comes in for a restoring gin. The trilogy is a
measure of Hamilton’s grasp of hope and dismay in ordinary people, and a
hushed noir conversation that brings Marcel Carne and Carol Reed to
mind. Here it is, as a BBC TV series, tenderly adapted by Kevin Elyot and
directed by Simon Curtis as a gallery of dreaming faces. It looks like Bill
Brandt photographs, with a slow bruising of color beginning to seep in.
The score (by John Lunn) brings the romance of the era back. The décor is
drab to the last, repaired stitch, and there are three bright new faces—
Bryan Dick, Sally Hawkins, Zoe Tapper—like flowers that have just heard of
frost. –DT (U.K., 2006, 150m) In person: Simon Curtis, David Thomson
S/Sun 7:00 PM - C/Mon 9:00 AM
S/Sun 1:30 PM - P/Sun 6:30 PM - C/Sun 10:00 PM
The Page Turner
11 A Tribute to Rolf de Heer
Made possible by a
The 10-year-old Melanie yearns to please her working-class parents by
winning a piano competition but is traumatized by a thoughtless act of
cruelty by one of the competition judges. Ten years later, Melanie has
matured into a pretty and self-composed young woman but finds this
early wound still festering. Writer-director Denis Dercourt uses very few
locations and a tiny cast of principal characters to tell an absorbing tale
of class hostility and psychological obsession reminiscent of the novels of
Patricia Highsmith and Georges Simenon. Dercourt, one of Europe’s leading
viola players, employs beautifully selected and performed musical pieces
to develop both theme and story. He’s also fortunate in having the hypnotic
performance of Déborah François (L’ENFANT [TFF 2005])as the grown-up
Melanie. –LG (France, 2006, 85m) Preceded by WHEN WE ARE BIG (ALS
WIJ GROOT ZIJN) (d. Eveline Ketterings, Netherlands, 2006, 7m)
In person: Denis Dercourt
S/Sun 4:00 PM - M/Sun 9:45 PM - N/Mon 9:00 AM
10 Civic Life
Irish performance artists and theater directors Joe Lawlor and Christine
Molloy have created seven interconnected short films, ranging in length from
five to seventeen minutes. Each was filmed in a single day, using a cast of
non-professionals, in one continuous take. Each displays, in tableaux form,
the everyday routines of ordinary people—both hopeful social activists and
stubborn loners. In the astonishing black-comedic WHO KILLED BROWN
OWL (TFF 2005), for example, a Wellesian tracking shot swoops, dives and
twists to give a panoramic view of a lovely London park, where citizens
enjoy the splendor of a late summer afternoon…until the camera uncovers
victims of accidental violence, or perhaps foul play. Lawlor and Molloy work
under the name Desperate Optimists. That’s a splendid description of the
tone and theme of this startlingly original overview of the state of the
British soul today. –LG (Ireland, 2006, 72m) Preceded by RABBIT (d. Run
Wrake, Scotland, 2005, 9m). In person: Joe Lawlor and Christine Molloy
Rolf de Heer is Australian cinema’s great reconciler. Having made 11 films
since graduating from the Australian School of Film, TV and Radio in 1980,
he serves as the bridge between the Australian cinema of the 1970s—whose
brightest lights left the country for Hollywood—and the embattled film
industry of the 1990s. In his recent films, de Heer has connected mainstream
Australian audiences with provocative, politically charged subject matter. And
two of de Heer’s recent films, THE TRACKER (2002) and TEN CANOES, suggest
a more ambitious reconciliation project: a clear-eyed, wound-cleansing
exploration of Australia’s troubled relationship with its indigenous peoples.
Born in Holland but raised from age 8 in Australia, de Heer directed several
well-received genre films before coming to international attention with
his prizewinning BAD BOY BUBBY (1993), an ultra-black comedy about
an emotionally challenged 35-year-old’s first trip into the real world.
De Heer’s subsequent films dealt with equally button-pushing topics.
THE QUIET ROOM (1996) offers a kid’s-eye view of an increasingly bitter
marriage. DANCE ME TO MY SONG (TFF 1998) frankly explores the sexuality
of a woman with cerebral palsy. And ALEXANDRA’S PROJECT (TFF 2003)
evokes the resentment and violence hiding beneath Australian suburbia in
a way that recalls BLUE VELVET. Each film provided brutally honest, powerful
and vivid portraits of modern life, yet, thanks to their strong storylines and
professional polish, found space in Australia’s commercial moviehouses.
THE TRACKER (2003) represented something of a departure for de Heer.
Set in the Australian outback in the 1920s and built around an innovative,
music-driven story structure, the film traces the casual racism and violence
that typified Euro-Australians’ treatment of aboriginal people. David
Gulpilil, the éminence grise of Australian acting, plays the title role—an
Aboriginal man caught between his people and white Australian culture as
he helps soldiers try to track down a fugitive. The film was internationally
acclaimed as a rigorous, abstract counter-western.
Gulpilil proposed that de Heer make a film using aboriginal stories and set
in a Ylognu village prior to the arrival of Europeans. The result is TEN
CANOES, which, like Zack Kunuk’s THE FAST RUNNER (TFF 2001), was created
through a process of intense partnership. “They’re telling the story, largely,
and I’m the mechanism by which they can,” de Heer told Time magazine.
Winner of a special jury prize at Cannes, TEN CANOES weaves together a
tale of love, betrayal, magic and memory. It offers an unprecedented,
and surprisingly funny, cinematic interpretation of the rich oral culture
of the Ganalbingu people (it is the first feature film shot entirely in an
Australian aboriginal language). TEN CANOES further demonstrates de
Heer’s activist spirit and flair for storytelling, no matter the setting, and
firmly establishes Rolf de Heer as one of world cinema’s most innovative
and fiercely independent voices. –TFF
A series of excerpts from de Heer’s films will be followed by the presentation of
the Silver Medallion and a full screening of TEN CANOES (Australia, 2006, 90m).
C/Sun 9:00 AM - N/Sun 6:30 PM - S/Mon 2:00 PM
P/Fri 9:00 PM - M/Sat 1:30 PM - S/Sun 10:00 PM
12 Day Night Day Night
For her first foray into dramatic fiction filmmaking, video installation artist
and documentary filmmaker Julia Loktev met 650 actresses before picking
newcomer Luisa Williams to play her never-named heroine. “The film rests
on her face,” Loktev said, and it’s true. A young woman, frail, beautiful, but
also excruciatingly withdrawn and isolated, arrives in an unnamed city. DAY
NIGHT DAY NIGHT initially reveals nothing about her plans, instead following
her towards a mysterious rendezvous. Photographed in brilliant handheld
style by Benoît Debie (who shot Gaspar Noé’s IRRÉVERSIBLE [TFF 2002]),
the film’s documentary tension draws you in irresistibly. But as harrowingly
accurate as the film feels, its rigor is more abstract and spiritual than psychological or social. By the end, Williams’ haunted, saint-like face attains
the power of a Bresson hero or Dreyer’s Joan of Arc. –LG (U.S./Germany,
2006, 90m) Preceded by DIN OF CELESTIAL BIRDS (d. Elias Merhige, U.S.,
2006, 14m) In person: Julia Loktev and Luisa Williams
N/Fri 10:00 PM - L/Sat 9:15 AM - S/Mon 9:00 AM
13 12:08 East of Bucharest
Winner of the Camera d’Or at Cannes, Corneliu Porumboiu’s tragicomic
blend of bitterness and poignancy is reminiscent of the great 1960s Czech
political comedies by Forman, Passer and Menzel. The story unfolds at
Christmastime in a small Romanian town, 16 years after the fall of the
dictator Nicolae Ceausescu.
Unlike Bucharest, where the real street fighting took place, this town remained relatively peaceful in 1989. But now,
Jderescu, the hilariously pretentious, Greek-philosophy-quoting owner of
the local TV station, uses his call-in show to pose a provocative question
to the town: Was there a revolution here? His show features two guests:
Manescu, a perpetually drunk schoolteacher living on his memories of
heroic resistance, and Piscoci, an aging widower who fatalistically reminds
us that “one makes whatever revolution one can, each in their own way.”
–LG (Romania, 2006, 89m) Preceded by CHANGES (d. Lorcan Finnegan,
Ireland, 2006, 3m). In person: Corneliu Porumboiu
14 The Lives of Others
East Germany’s notorious Stasi conducted endless surveillance on the
country’s domestic population, rooting out so-called “enemies of socialism”
while generating a paralyzing, Kafkaesque atmosphere of paranoia and dread.
Writer-director Florian Henckel von Donnersmarck’s stunning debut follows as
the oppressive system consumes one of its own. Weisler (Ulrich Mühe), a Stasi
agent and true believer, is assigned by corrupt party hacks to observe and
investigate Dreyman (Sebastian Koch), a successful playwright. His investigation leads him in turn to Dreyman’s girlfriend Christa (Martina Gedeck), a
tormented, power-hungry actress. The unintended consequences of Weisler’s
discoveries mount up relentlessly as he learns more about the politicians who
misuse the secrets he gathers. A gripping thriller and a vivid reconstruction of
a vanished historical epoch, LIVES above all is a fascinating and timeless
character study of a lost soul pulled back into the real world. –LG (Germany,
2006, 137m) In person: Florian Henckel von Donnersmarck and Ulrich Mühe
Pordenone Presents
G/Sat 1:30 PM
15 The Sentimental Bloke
A love story in ballad form, Raymond Longford’s adaptation of C.J.
Dennis’ bestselling poem broke all box-office records when it opened in
Melbourne in 1919. More than 80 years later, its down-to-earth humor
and lyrical atmospheres are still enchanting—it earned a five-minute
standing ovation at last year’s Pordenone fest and was voted best film at
the Sydney Film Festival. Much of the film’s enduring appeal comes from
the chemistry between the protagonist (Arthur Tauchert), a gambling,
hard-drinking, working-class “bloke,” and a gentle but fierce factory girl
(Lottie Lyell, the Mabel Normand of the Southern hemisphere). Poetic
realism has rarely reached such emotional intensity; it’s magically
enhanced by the country-music score of Jen Anderson and the Larrikins.
The newly restored print comes from the National Film and Sound Archive
of Australia and the George Eastman House. –PCU (Australia, 1919, 108m)
In person: Jen Anderson & the Larrikins, Paolo Cherchi Usai
M/Fri 7:15 PM
M/Fri 9:45 PM - P/Sat 11:30 PM - N/Sun 9:00 AM
16 Ghosts of Cité Soleil
18 Dodsworth
Made possible by a donation from Turner Classic Movies
Danish documentarian Asger Leth’s powerful, disturbing film captures life
and death during the last months of Jean-Bertrand Aristide’s regime. In
Port-au-Prince’s most desperately poor and dangerous neighborhoods,
heavily armed street gangs known as chimères (“ghosts”) serve as the
regime’s enforcers, trampling on the legal authority and terrorizing the
political opposition. But a new, more brutal counter-revolution may soon
end their reign. GHOSTS is as nightmarish, vivid and intense as a
Jacobean tragedy; it focuses on the gangster 2pac, a would-be rap star
(he has a wildly self-confident phone chat with Wyclef Jean) who, along
with his brother (and rival) Bily, demonstrates a psychopathic arrogance
and cruelty. But they also speak with heartbreaking eloquence about the
plight of their country. Like every other Haitian, they yearn to leave the
endless cycle of bloody violence behind. –LG (Denmark/U.S., 2006, 97m)
In person: Asger Leth
After selling his Ohio auto-parts plant, Sam (Walter Huston) hopes to
celebrate his retirement by taking his wife Fran (Ruth Chatterton) on a
romantic getaway to Europe. Instead, Sam ends up watching with growing
distaste as Fran reinvents herself as a younger, more urbane woman—one
who starts to look too “European” for a self-made, heartland capitalist like
him. William Wyler received the first of his 12 Oscar nominations for this
neglected masterpiece, a redemptive tale of American self-revulsion and
the quest for eternal youth. Sidney Howard adapted Sinclair Lewis’s satirical
novel; Huston and Chatterton reprised their roles from the hit Broadway
version; and Mary Astor, David Niven and Paul Lukas make glamorous
appearances. A high point of Wyler’s fruitful, 20-year-long partnership with
producer Samuel Goldwyn, DODSWORTH proves that sharp-witted, literate
films never go out of style. -TFF (U.S., 1936, 101m) Presented by Robert
Osborne with Samuel Goldwyn Jr. in discussion following the screening
O/Fri 8:30 PM - P/Sat Noon
P/Fri 6:30 PM - C/Fri 10:00 PM - N/Sat 9:00 AM
Here is an amazing fairy story from modern Manhattan, a version of
beauty and the beast (but which is which?). Diane Arbus is married and
the mother of two. She helps her husband’s photography business and the
family fur company. And she is a nervous wreck—because she isn’t
expressing herself. Then a stranger moves into the upstairs apartment—
call him Lionel, and step carefully. He is rare and alarming, but he is a tender
soul who will introduce Diane to the lives of the other-than-ordinary.
He will give us the Arbus we know. This is an astonishingly bold fable by
Steven Shainberg (SECRETARY) that relies to a great extent on the
courage, the beauty and the sheer adventurousness of its two central
players: Robert Downey Jr. as Lionel and Nicole Kidman going for broke
again and suggesting that it’s about time someone wrote a book about
her. –DT (U.S., 2006, 120m) In person: Steven Shainberg
19 The U.S. vs. John Lennon
“All I ever wanted to do was play in a rock-and-roll band,” John Lennon
once told a friend. It didn’t turn out that way. David Leaf and John
Scheinfeld’s documentary uses archival footage to reveal a program by the
Nixon White House and J. Edgar Hoover’s FBI to deport Lennon on a
phony immigration violation. We watch as Lennon, the genius musicianpoet, gets caught up, like millions of others around the world, in passionate opposition to America’s war in Vietnam. As he does, Lennon becomes
a uniquely universal figure, and his activism, which at the time may have
seemed naïve and ingenuous, today plays as a witty, self-deprecatingly
ironic brand of performance art. Both classic and lesser-known LennonOno tunes punctuate this moving, provocative and tragic glimpse of
Lennon’s history — one we mistakenly imagined we knew all too well. –LG
(U.S., 2006, 99m) In person: John Scheinfeld
G/Fri 6:30 PM - P/Sat 2:30 PM - N/Sat 7:30 PM
C/Fri 7:00 PM - P/Sat 9:00 AM - N/Sat 4:30 PM
22 Little Children
20 The Last King of Scotland
Made possible by a donation from Peter and Linda Bynoe
This exhilarating first fiction film by Oscar-winning documentarian Kevin
grotesque, almost surreal horror of life in Uganda during the reign of Idi
Amin. The events unfold from the perspective of Nicholas Garrigan (James
McAvoy), a young Scottish-born doctor who, by a series of whimsical
accidents, becomes Amin’s personal physician and adviser. Macdonald starts
Garrigan’s adventure in a comic, lyrical tone and then swerves adroitly into
an atmosphere of blood, guilt and dread. The striking variety of tones
results in a freshness that few historical reconstructions ever achieve, and
the story becomes Shakespearian in its grandeur and intensity. Forest
Whitaker’s bravura performance—the finest of his brilliant career—manages
to be both comic and terrifying, giving us a monster who makes unpredictable leaps between charm, pathos and violence. –LG (U.K., 2006, 120m)
In person: Kevin Macdonald, Forest Whitaker
Sarah (Kate Winslet) is a new mom whose considerable intellect hasn’t
prepared her for motherhood; stay-at-home dad Brad (Patrick Wilson) is
reluctant to pass the bar exam. Their affair begins as charming comedy but
achieves an erotic intensity that startles them and us. Writer-director Todd
Field’s Oscar-nominated debut IN THE BEDROOM was a stark, realist tragedy;
this adaptation of the novel of the same name by Tom Perrotta (best
known for ELECTION) is an elegant, darkly comedic treatment of similar
subject matter: the chaotic emotional and physical violence lurking beneath
the surface of polite suburban family lives. The letter-perfect ensemble
cast includes Noah Emmerich as Brad’s feckless football buddy and Jackie
Earle Haley (last seen in BREAKING AWAY some 30 years ago) as an enigmatic
ex-con. Winslet is typically superb, Thomas Newman adds a quietly incisive
score and Field’s subtle and complex sophomore effort proves more than
worth the wait. –LG (U.S., 2006, 130m) In person: Todd Field
L/Sun 9:15 AM
G/Sun 7:00 PM
21 Playtime
The filmography of Jacques Tati in the online journal Senses of Cinema
contains the following note: “PLAYTIME (1967, 70 mm, 126 minutes) [...]
Commonly shown in 16m or 35mm. Opportunities to see the 70mm print
should be seized, with haste.” (Itals mine). That says it all. Tati takes on
architecture—the agent of modern alienation—and in the process reinvents
choreography and folds the aesthetic and the pace of silent cinema into
the sound film. PLAYTIME, once considered Tati’s folly, is hilarious, breathtaking and, with the chaos of the final reel, ultimately full of hope. And it
all is done with the elegant detachment of a master comic actor who has
the grace to keep himself on the edge of his own film, refusing to hog the
camera. There are good films; there are great films; and there are a few
films, like PLAYTIME, that get better with the passing of each year. –JPG
(France, 1967, 126m) Presented by J.P. Gorin in 70mm
23 Passio
Paolo Cherchi Usai’s experimental silent film was inspired by Arvo Pärt’s
Passio, a masterpiece of 20th-century music based on the Gospel of John.
Cherchi Usai’s PASSIO explores the impending crisis of visual culture and its
reflection in politics and society. Cherchi Usai deliberately destroyed the
negative after making seven hand-colored (and handwritten!) prints of his
work. Its unsettling images, drawn from a century of filmmaking, are
woven into a tapestry of mysterious beauty and violence, described by
curator Alberto Barbera as “a vertigo effect on the ‘passion’ of the soul, of
the body, of cinema itself.” PASSIO is a visceral experience—a meditation
on the act of seeing that becomes an assault on the senses. This special
preview with pre-recorded sound will be the only public screening prior to
its world premiere, with live music, at the 2007 Adelaide Film Festival. –TFF
(Netherlands/Italy/US, 2006, 74m.) In person: Paolo Cherchi Usai
O/Sat 8:30 PM - P/Sun Noon
24 Deep Water
G/Fri 9:30 PM - P/Sat 5:30 PM - C/Sat 9:30 PM
26 Babel
One of the 20th century’s most remarkable stranger-than-fiction stories of
high adventure involves the bizarre voyage of Donald Crowhurst, one of
nine yachtsmen who joined a 1969 London Times-sponsored competition
to make a highly publicized solo trip around the world. Crowhurst, a
former engineer, but hardly the most experienced sailor, attempted this
feat in a boat that he incurred huge financial risks to design himself.
A few weeks into the voyage it began leaking. Continuing through the
vicious waters near Cape Horn appeared to be suicidal, but returning
home meant humiliation and financial ruin. DEEP WATER, directed by
Jerry Rothwell and Louise Osmond, tells this riveting Conradian story of
ego, ambition, imagination and madness using 16mm footage shot by the
competition’s participants and the bleak poetry of Crowhurst’s logs. Tilda
Swinton narrates. –LG (U.K., 2006, 90m) In person: Louise Osmond
In the latest collaboration between screenwriter Guillermo Arriaga and
director Alejandro Gonzáles Iñárritu, a single horrific moment of violence
connects the lives of characters on three continents. Iñárritu’s astonishing
level of directorial control involves weaving a cast of international stars—
Cate Blanchett, Brad Pitt, Gael García Bernal—into a huge group of no-lesscompelling amateur actors. Global political issues like illegal immigration
and terrorism are deftly integrated into the film, but BABEL reaches for
spiritual universality, avoiding trendy or easy ideological judgments.
Prominent among the themes explored on this vast canvas is how primitive
rage and anarchic sexual impulses lurk beneath the surface of all of us, no
matter our ethnic and social environment. Justice in such a universe is hard
to come by. Even alongside their much-admired AMORES PERROS and 21
GRAMS, BABEL is easily Arriaga and Iñárritu’s finest work. –LG (Mexico,
2006, 142m) In person: Alejandro Gonzáles Iñárritu
P/Fri 11:30 PM - C/Sat 1:00 PM - M/Sun 9:15 AM
P/Sun 2:00 PM
25 Lonesome
Telluride’s 1994 screening of Paul Fejós’ film brought the Alloy Orchestra
to the international spotlight and became one of the Festival’s legendary
events. Since then, the reputation of Fejós’ film—a lyrical romance of two
lonely hearts in New York—has continued to grow. By popular demand, we
proudly present an encore performance from the fabulous Alloys with a
brand new restored print from George Eastman House, thus offering
another opportunity to discover one of the greatest achievements of
silent cinema during its transition to sound. Released with two brief talking sequences and endowed with evocative splashes of manually applied
color (a rarity for 1928), this masterwork of poetic realism is regarded as
the highest achievement of Hungarian-born director Fejós during his brief
career in Hollywood. LONESOME reminds us that the simplest of all love
stories can be as compelling as a thriller. –PCU (U.S., 1928, 69m)
In person: Alloy Orchestra, Patrick Loughney, J.P. Gorin
There’s a very fine line between laughing and screaming. People don’t
laugh on roller coasters because roller coasters are funny. People laugh
on roller coasters because they’re scared. This movie’s like that. All the
elements that could lead you to believe this might be just another
B-grade slasher flick are here—blood, drugs, faceless thugs—as the sales
division of a multinational arms manufacturer walks into a clearly doomed
“team-building” weekend at the end of Eastern Europe’s finest nature trail
to hell. But just beneath all the bear traps and bikini girls with guns,
lurks a nimbly filmed, cleverly written, impeccably cast piece of classic
cult filmmaking. Director Christopher Smith serves out tight, razorwire
suspense with a congenial, character-driven joviality in deftly balanced
proportions. And the bikini girls? They don’t actually have bikinis, but
they do have enormous guns. -TFF (U.K., 2006, 95m) Preceded by FILM
NOIR (d. Osbert Parker, U.K., 2005, 3m). In person: Christopher Smith
Side Shows
M/Sat 4:15 PM
28 The Emperor’s Naked Army Marches On
Documentarian Hara Kazuo knew Okuzaki Kenzo only as a radical eccentric
bent on forcing Hirohito to admit to war crimes. Okuzaki already has
served time for spitting on the Emperor and pelting him with marbles.
What the filmmaker doesn’t suspect is that this tenacious old soldier has
yet another mission in him. To reveal more about this violent, hilarious
and demented tale would spoil the fun. EMPEROR’s twists and turns make
it a companion piece to Ichikawa’s FIRES ON THE PLAINS, and it echoes
the truculence of Oshima’s THE CEREMONY and Imamura’s THE INSECT
WOMAN. Hara’s intelligence is always on display, both in the way he
allows Okuzaki to hijack the film and in the story’s splendid, surprising
narrative weave. At the end of this thrill ride one leaves the theater
persuaded this might be the documentary to end all documentaries or,
at least, the documentary to prove how subversively fictional all great
documentaries are. –JPG (Japan, 1987, 122m) Presented by J.P. Gorin
O/Sun 8:30 PM - P/Mon 9:00 AM
29 Indigènes (Days of Glory)
L/Fri 9:45 PM - M/Mon 9:15 AM
30 Signs + No Third Copy
Eugène Green, the subject of a 2005 Telluride
retrospective, calls his new SIGNS (LES SIGNES) a
“mini-film,” but the subject matter is major. In just
over a half-hour, Green, in his wry, streamlined and
idiosyncratic style, offers meditations on life and
death, waiting and seeking, memory and nostalgia
and the esteemed role of the fisherman. (France,
2006, 32m) Another former Telluride guest, Lucian Pintilie (THE OAK [TFF
1992], AN UNFORGETTABLE SUMMER [TFF 1994]), also expands our shortform filmmaking horizons. His NO THIRD COPY (TERTIUM NON DATUR)
follows a visit to a Romanian outpost by two Nazi officers, one of whom
describes his quest for the rarest of stamps. With a painterly sense of
perspective, a Chekhovian knack for detail and an appreciation of Becketlike absurdity, Pintilie has built a concise masterpiece. –TFF (Romania,
2006, 39m) Presented by Scott Foundas
M/Sun 1:45 PM
31 Don’t Move
Penélope Cruz’ emotionally naked performance in
DON’T MOVE is a stark contrast to some of her
ingenue roles from her American films. A fatalistic
L’Amour Fou whose raw sexuality harkens back to
married, successful surgeon (director Sergio
Castellitto) whose bourgeois life is disrupted when
he falls into a torrid affair with a destitute cleaning woman (Cruz). The
film’s precise, elegantly composed widescreen cinematography vies with an
explosion of passion that is wrenching and at times brutal, as the self-pitying male midlife crisis of Castellitto’s doctor meets the unvarnished reality
of lower-class life. Cruz’ startling turn as the ungainly, haggard, gum-chewing yet somehow angelic Italia is remarkable to behold and won her an
Italian Academy Award for best actress. -TFF (Italy, 2004, 122m)
C/Sun 4:00 PM
32 Directed by John Ford
Sponsored by Turner Classic Movies
Writer-director Rachid Bouchareb (DUST OF LIFE [TFF 1994]) returns to
Telluride with this story of the Arab volunteer soldiers from France’s North
African colonies who fought valiantly during World War II. Faced with constant bigotry, the men develop ample and painful reason to question the
sacrifices they are making. Saïd (Jamel Debbouze, from AMÉLIE [TFF 2001])
bonds with his white sergeant until making a disillusioning discovery.
Messaoud (Roschdy Zem) finds a love affair with a French civilian blocked
at every turn. Abdelkader (Sami Bouajila), at first imagining the war will
win North Africans the esteem of the French, embodies the dawning political awareness that one day will end European colonial rule. Winner of the
best actor award at Cannes (the entire ensemble was recognized), DAYS OF
GLORY delivers the traditional satisfactions of war films while exploring
the explosive issues of race, ethnicity and class in contemporary Europe.
–LG (France-Algeria, 2006, 128m) Presented by Bertrand Tavernier
In 1971, Peter Bogdanovich completed one of the
essential films about American moviemaking. Some
35 years later, he has made it still better. The
initial version of DIRECTED BY JOHN FORD featured
John Wayne, Henry Fonda and Jimmy Stewart
describing how they worked with the master.
Interviews with Ford and carefully selected clips from his films offered rare
insights into his process. All of that, along with narration by Orson Welles,
can be found in the new version; what’s new are interviews with Steven
Spielberg, Clint Eastwood, Walter Hill and Martin Scorsese. Seeing today’s
great directors talk, with great reverence, about films including THE
SEARCHERS (50 years old this year) leaves little doubt: nearly 25 years after
his death, Ford remains America’s most influential filmmaker. –TFF (U.S.,
1971/2006, 110m) In person: Peter Bogdanovich and Robert Osborne
Guest Director
Each year,
Festival Directors
Bill Pence and
Tom Luddy invite
one of the
world’s great film
lovers to join
them in the
creation of the
Telluride Film
Festival. The
Guest Director
serves as a key
collaborator in all
of the Festival’s
decisions, bringing new ideas
and overlooked
films to Telluride.
Past Guest
Directors include
Salman Rushdie,
Buck Henry,
Laurie Anderson,
Stephen Sondheim,
Peter Sellars and
© Lisa Law
Phillip Lopate.
A prescription for cinema:
Gorin on Grémillon
J.P. Gorin
J.P. Gorin’s name is assured a lasting place in film history
as one half of the Dziga Vertov Group (the other half being
Jean-Luc Godard). But Gorin had a career both before and
after Godard, and it has been one of consequence. He was
born in 1943, the son of leftists, and went on to study
philosophy at the Sorbonne, where his teachers included
Lacan, Foucault and (most influentially) the “Structural
Marxist” Louis Althusser. In the mid-‘60s, he settled in as
an editor and book critic at Le Monde, helping to take the
cultural pulse at the dawn of May 1968. But already
Gorin’s true passion was film—he was given to watching
five or six movies a day in Henri Langlois’ Cinematheque
Francaise. So he was introduced to Godard, and a partnership soon began, rooted in the conviction that films
shouldn’t merely speak of politics and revolution, but
should be political and revolutionary to the very fiber of
their being.
That is the feeling that courses through LE VENT D’EST
(1970), an ambitious deconstruction of the Western,
filled with rage against the Hollywood dream factory
and the “degenerate” bourgeoisie; TOUT VA BIEN
(1972), in which reporter Jane Fonda and filmmaker
Yves Montand become unwitting hostages during a
workers’ strike at a sausage factory; and LETTER TO JANE
(1972), where the famous photo of Fonda in Hanoi
provides the basis for an investigation into the fallacy of
filmed images. These are difficult works, oft dismissed
for their pedagogy; but they are also radical in their
associations of sound, text and image, and driven by a
restless idealism that is as scarcely encountered today
as are the Vertov movies themselves.
By 1975, the dream was over. (“Perhaps no marriage
should last too long,” Godard said.) Gorin moved to San
Diego, where he fell deeply under the spell of the brilliant painter and film critic Manny Farber and embarked
on a sporadic but remarkable solo film career. Inspired
by a news item about twin girls believed to be communicating in a private language of their own invention,
his documentary POTO AND CABENGO (1979) is
a masterpiece about the mystery of speech and
the hardscrabble realities of life on the margins
of the American middle class. Even greater,
ROUTINE PLEASURES (1986) is a group portrait
of Pacific Beach model-train hobbyists, whom
Gorin films as if they were figures in a noir. The
identification between director and subject in that
film is especially strong, for Gorin himself is a kind
of miniaturist, crafting humanist epics from the
materials found in his own backyard. In recent
years, Gorin has worked as an academic,
inspiring successive generations of
film students. Their gain has
irrefutably been our loss; it is
hoped he will direct again, and
treat us to more inimitable
visions of his shoebox America.
I found this note I wrote as a self medication 40 years ago to the day: “When
stuck: Take two Grémillon and call me tomorrow…Each of [Jean Grémillon’s]
films is an exhilarating lesson in mise-en-scène: in the disposition of the
objects in the frame, the psychic weight of the décor, the unpredictable
elegance of the characters, their sudden motion or immobility. Each of his
films transcends its own genre or, more aptly said, never gets chained by its
rules and regulations. They exude freedom, and like the characters they are
concerned with, are idiosyncratic and always surprising. Each film makes a
case for a necessary relationship between documentary and fiction and
proves that the latter always benefits from paying due to the former.” It still
works for me. -JPG All films presented by J.P. Gorin.
L/Sat 9:15 PM
33 Maldone
Grémillon’s first narrative film is the work of a
young man trying his hand at an art just as young.
Maldone has crossed class lines and abandoned his
gentrified life for that of a day laborer, hauling
barges on the Briare canals; the death of his brother
pulls him back to privilege and he makes a valiant
but doomed attempt at family life. Everything in
this film is an experiment: on texture, movement and rhythm; on the
capacity of images to embody psychological states; on casting, with Charles
Dullin, a force in French theater in the 1920s, providing an unlikely lead
performance. An intensely lyrical film, MALDONE knows both how to take
its time to celebrate nature and how to explode in a kinetic celebration of
human movement. The mesmerizing dance scene in a bargemen’s hangout
alone makes the film worth seeing. (France, 1928, 83m)
L/Sun 10:15 PM
34 Remorques
The credits read like a Who’s Who of Golden Age
French cinema: a cast featuring Jean Gabin,
Madeleine Renaud and Michèle Morgan; dialogues by
Jacques Prévert; décor by Alexandre Trauner. Gabin,
at his proletarian, rugged best, is a tugboat captain
defined by his job, loving but neglectful of his fragile
wife (Renaud), who falls hard for a passenger he
rescued from a storm. This is the French answer to Hawks’ ONLY ANGELS
HAVE WINGS. It is anchored in the details of working life, and Grémillon’s
framing has an amazing ability to let the world enter this love triangle.
(France, 1941, 81m)
L/Mon 9:15 AM
35 Lumière d’été
Good and Evil in Provence. A deserted hotel in the
lunar landscape of the Hauts de Provence houses a
motley crew of characters raked by utterly French
pettiness and self-loathing. Madeleine Renaud rules
as the owner and Madeleine Robinson plays
Michèle, a naïf who wanders into this vipers’ nest
during a visit to her fiancé Pierre Brasseur, a failed
artist. Like all innocents, she will bring the storm. The masked ball that
concludes the film seals Grémillon’s mastery. LUMIÈRE D’ÉTÉ holds its own
next to RULES OF THE GAME, Renoir’s masterpiece; more vitriolic in its
criticism of the upper classes, it features Grémillon’s trademark visual
lyricism, his uncanny sense of the fragility of human relations and an
unmatched ability to choreograph them. (France, 1943, 112m)
Schedule Information
Passholders are admitted to the theatres first. Please read the back of your
pass for information on what your pass does and does not provide. The
Telluride Film Festival schedule has been designed to accommodate all passholders at all programs. Programs that do not have sufficient seating at scheduled
showings will usually be repeated in the TBA slots, making it possible for all passholders to see the programs they wish to see during the course of the Festival.
In this catalog and throughout the Festival, the shows that play are identified
by number within a movie screen-shaped icon
. Scheduled showings are
printed adjacent to each program description. The theatre venue, with seating
capacity given, is identified by the following letter designations:
P Palm [650 seats]
G Galaxy [500 seats]
The schedule calendar in
Individual Tickets
C Chuck Jones’ Cinema [500 seats]
these four pages uses the
If open seats remain in the theatres after all passholders have been seated,
individual tickets will be sold on a first-come, first-served basis for $20 each.
S Sheridan Opera House [250 seats]
following symbols:
N Nugget Theater [200 seats]
The Late Show
The Late Show Ticket is $25. It provides entry to the final shows Friday,
Saturday, Sunday, and Monday at the Palm and may be purchased at the
Hospitality Box Office in Brigadoon and at the Palm box office. Late Show
Ticket holders will be admitted to their shows with passholders.
L Le Pierre [135 seats]
Talking Head
Some of the screenings, indicated by Q & A , are immediately followed by a
half-hour discussion between the filmmakers and the audience.
Several dozen show slots, mostly on Sunday and Monday, will not be programmed and announced until that morning. These TBA (to be announced)
programs will be determined by passholder demand as the Festival unfolds.
The three film programs that comprise ‘Filmmakers of Tomorrow’ (pages 28
and 29) and the four ‘Made on a Mac’ programs (page 32) are free and open
to the public after all passholders have been seated. In addition, the following films are free after all passholders have been seated:
Friday, September 1
20,000 STREETS UNDER THE SKY (S/Sun 9:00 AM - L/Sun 7:15 PM -G/Mon 8:30 AM)
18 DODSWORTH (M/Fri 7:15 PM)
O Abel Gance Open Air Cinema
Free Shows
M Masons Hall Cinema [150 seats]
Le Pierre Elks Park &
31 DON’T MOVE (N/Sun 1:30 PM)
The shows at the Abel Gance Outdoor Cinema, located in Elks Park, are free to
all who can find a spot on the lawn and brave the mountain weather. The
Noon Seminars in Elks Park (see page 33) are open to all. The ‘Conversations’
(page 33), held in the County Courthouse, are free and open to the public
after all passholders have been seated.
Except for Chuck Jones’ Cinema (see below), all theatre venues utilize a system
of “Qs” to ensure fairness and uphold the first-come, first-served policy of the
Festival. Paper Qs are distributed at each venue to better control entry and
determine as quickly as possible when a show is expected to sell out. Only one
Q per person present will be issued. Holders of Qs are not guaranteed entry.
Opening Night Feed on Colorado Avenue
The Last
King of
A Tribute
to Walter
Chuck Jones’ Cinema
Due to its location in Mountain Village, a 12-minute gondola ride from Telluride,
Chuck Jones’ Cinema uses the Wabbit Weservation, or W2, system for entry as
an alternative to the Qs distributed at other venues. The W2 guarantees an
unassigned seat for passholders for a specific show at CJC for those who
arrive 15 minutes prior to showtime. W2s are available from two locations:
1. At the Acme Booth located near Brigadoon at the gondola base, 90 minutes
in advance up until 30 minutes prior to any show.
2. At the Acme Booth next to Chuck Jones’ Cinema in the Mountain Village
plaza, five (5) hours in advance up until 30 minutes prior to any show.
The U.S.
vs. John
b 30
of Cité
Signs /No
Third Copy
East of
The Acme Booths open at 7:30 a.m. daily.
W2s are distributed to all passholders, who are advised to secure one for the show
they plan on attending. Any available seats after all passholders have been seated
will be sold at $20 each. Passholders should plan on allowing no less than 30 minutes
travel time from the base of the gondola to ensure entry into Chuck Jones’ Cinema.
Saturday, September 2
Talking Head
Sunday, September 3
Le Pierre Elks Park &
The Lives
of Others
the Sky
of Cité
Le Pierre Elks Park &
The Last
King of
A Tribute
to Walter
East of
Bucharest Bogdanovich/
A Tribute
The U.S.
vs. John
The Page
by John
Civic Life
The Last
King of
A Tribute
The Page
The Lives
of Others
A Tribute
to Rolf
de Heer
The Page
of Cité
Civic Life
(Days of
the Sky
Monday, September 4
Talking Head
Gathering Places
Le Pierre Elks Park &
(Days of
the Sky
A Tribute
to Rolf
de Heer
Civic Life
East of
Third Copy
It’ll appear every year, rather than every 100, but Telluride’s Brigadoon
is as magical as the mythical Scottish village.
Labor Day Picnic
In Town Park
The Lives
of Others
Oak Street Plaza (next to the gondola station)
Brigadoon’s hours:
Hospitality Box Office hours:
Thursday 12-5 PM
Thursday 12-5 PM
Friday 9 AM-6 PM
Friday 8:30 AM-10 PM
Saturday 9 AM-5 PM
Saturday 8 AM-6 PM
Sunday 9 AM-5 PM
Sunday 9 AM-5 PM
Monday 9 AM-5 PM
Monday 9 AM-5 PM
Though the movies are the center of our universe, the Festival spills out
into other parts of Telluride. Look for the following venues to be centers
of activity after you leave the theater:
de Heer
This one-stop Festival headquarters includes:
• The Hospitality Center, where you’ll find Festival programs, pass
lanyards, copies of The Film Watch, and goodies provided by the
Festival’s sponsors. Film Festival staff members can answer all of your
Festival-related questions.
• Festival Memorabilia Store, the place to purchase TFF #33 pins,
posters, and logo wear, along with a generous variety of treasures
from Telluride Film Festivals past.
• The Hospitality Box Office, for all pass issues, including sales of the
Late Show Ticket.
• And just next door, The Press Office, for the intrepid members of the
media who have made the trek to Telluride.
Elks Park
The intersection of Colorado Avenue and Oak Street (SW corner)
Telluride’s central location is a convenient place to rendezvous. It’s also
the venue for the evening outdoor screenings and the Saturday and
Sunday Seminars. See page 33 for Seminar details.
County Courthouse
The intersection of Colorado Avenue and Oak Street (NW corner)
The historic San Miguel County Courthouse hosts the Conversations series.
See page 33 for details.
The Show To Go
Fri 9 AM-6 PM
Sat and Sun 9 AM-6 PM
The Rules
All Festival Passes are absolutely non-transferable.
The saving of seats or places in line is not permitted.
There is no seating after the performance begins.
The theatres will be cleared after each performance.
The use of cell phones, electronic recording or
communication devices is not permitted in the theatres.
Test-drive an iPod on a free loan for a day and experience how the world’s
most popular music player has changed the way people watch video.
Enjoy clips from Festival tributes past and present plus scenes from the
new films.
Filmmakers of Tomorrow
Filmmakers of Tomorrow
C/Sat 9:00 AM
G/Sun 9:00 AM
37 Calling Cards
36 Student Prints
A Telluride tradition: a collection of the best new
student films from around the world. Curated and
presented by Jean-Pierre Gorin.
Free to all after passholders have been seated.
Some of the most exciting work in contemporary
cinema can be found in short-format films. Calling
Cards features some of the best we saw this year.
Free to all after passholders have been seated.
CROSS YOUR EYES KEEP THEM WIDE* (d. Ben Wu, Stanford, 2006, 23m)
A discovery: remarkable works and surprising artists at a San Francisco
community center.
BAWKE (d. Hisham Zaman, Norway, 2005, 15m)
Strangers in a strange land: a father and his son arrive at a fateful destination.
WOLVES IN THE WOODS* (d. B.J. Schwartz, University of Southern California,
2005, 6m)
Children play hide-and-seek. Some adults prefer never to be found.
HIGH MAINTENANCE* (d. Phillip Van, New York University, 2006, 8m)
A tale of on-again, off-again modern love.
THE EYES OF ALICIA (d. Ugo Sanz, Spain, 2005, 8m)
How far would you go to erase your most painful memories?
DELIVERY (d. Till Nowak, Germany, 2005, 9m)
A lonely old man receives a mysterious package that gives him the ability
to change his environment.
GRACELAND (d. Anocha Suwichakornpong, Columbia University, 2006, 18m)
Late at night in Thailand, love travels a thorny, twisty path.
I WANT TO BE A PILOT* (d. Diego Quemada-Diez, U.S., 2006, 12m)
On the ground with Omondi, who dreams of escaping a grueling life
in Nairobi.
YOUR DARK HAIR IHSAN (d. Tala Hadid, Columbia University, 2005, 13m)
Returning home to Morocco, a man remembers the hardest goodbye. Winner
of a Student Oscar.
BURST* (d. Juliet Lamont, Australia, 2006, 7m)
A single mom and her daughter approach the end of a long journey.
Can they take the final few steps?
SUBSTITUTE (d. Talya Lavie, Sam Spiegel Film & Television School,
Israel, 2005, 19m)
A clerk can’t wait to be transferred from her military base back to Tel Aviv;
her replacement is still more desperate to escape.
RUN* (d. Peter Mackie Burns, Scotland, 2005, 9m)
She runs to escape the boredom of her job in a newspaper kiosk. One day,
she stops.
*Denotes filmmaker in person
USELESS DOG (d. Ken Wardrop, Ireland, 2004, 5m)
Like the title says: this canine ain’t worth a dime.
DEAD LETTERS* (d. Paolo Rotondo, New Zealand, 2006, 13m)
Heroism during wartime comes in an infinite variety of shapes, as proven
by this sweet romance.
*Denotes filmmaker in person
C/Fri 5:00 PM - M/Sat 9:45 AM
38 Great Expectations
Those groups of young, highly enthusiastic filmgoers you’ll see through
the weekend are probably participants in one of Telluride Film Festival’s
two educational programs.
Student Symposium
Now in its 18th year, this
program provides 50 graduate
and undergraduate students with
a weekend-long immersion in
cinema. Participants watch films
and discuss movies with Festival
guests and Symposium faculty.
City Lights Project
Made possible by a donation from
the Lucky Star Foundation
Building on the success of the
Student Symposium, this program
includes 15 high school students
and five teachers from three
divergent schools. These participants have the opportunity to
expand their personal and
professional horizons through a
concentrated program of film
screenings and discussions.
We have especially high hopes for the young
directors—coincidently both from Romania—of
these accomplished, provocative mini-features.
Free to all after passholders have been seated.
THE TUBE WITH A HAT (d. Radu Jude, Romania, 2006, 23m)
A boy and his father head to the city on a mysterious quest. Getting there,
however, is only half of the struggle. A tough-sweet exploration of fatherhood.
MARILENA DE LA P7 (d. Cristian Nemescu, Romania, 2006, 45m)
To survive in his rough Bucharest neighborhood, the 13-year-old Andrei
must talk tough, figure out girls and take some chances. From the director of
Additional support for Student Programs and Filmmakers of Tomorrow
provided by the Academy of Motion Picture Arts & Sciences and SAG Indie.
SHOWcase for Shorts
Many wonderful Telluride moments happen before the feature film starts.
Special Medallion
David Thomson
Short films always have been central to the Festival. This year’s batch
proves that masterful cinema comes in a variety of sizes.
(d. Joanna Quinn, U.K., 2006, 10m)
An aspiring wedding videographer channels the
spirits of Riefenstahl, Eisenstein and Vertov.
Kino pravda!
4 Precedes VENUS.
(d. Alex Weinress and Rob Carlton, Australia, 2005, 5m)
A single father takes a singular approaching to
raising twin boys.
5 Precedes THE ITALIAN.
I was a movie-mad film student when I received as a gift David Thomson’s
Biographical Dictionary of Film, which I proceeded to skim, argue with and
even contemplate returning to the bookseller (“No personal enthusiasm” for
John Ford? “All is not well” with Martin Scorsese? Billy Wilder’s WITNESS FOR
THE PROSECUTION “among the crassest offenses ever given to innocent celluloid?” Who did this guy think he was?), before falling deeply under its spell.
Indeed, there are no sacred objects in that book (save, perchance, for Angie
Dickenson), and it does not pretend to be exhaustive. Here is Thomson writing
in the introduction to the first edition: “I have selected those directors,
actors, actresses, writers and producers who seem the most central to me in
the history of cinema…I hope that the mixture of prejudice and reliability has
been managed gracefully and entertainingly.” It has, and then some. The
Biographical Dictionary is a work of passion and commitment at a cultural
moment when it is so much more fashionable to act cool and detached. It is a
series of interlocking adventures in the dark, carried along on a tide of
memories—ours, Thomson’s and those of cinema itself. It will turn you on
to filmmakers whose work you have never seen, and prompt you to reconsider
many others. And it will tell you much about the author himself, for the
book is as close to autobiography as any “reference” book can come.
(d. Eveline Ketterings, Netherlands, 2006, 7m)
A chilling, unforgettable visit to the pool for a
young girl and her older friend.
He has rarely been employed as an actual critic, though this is hardly a failing.
For David long ago realized that the old movies were more interesting to write
about than the new ones, and that even the new ones were best approached
with the perspective afforded by time and distance. So he has become a kind
of historian—a keeper of the cinephilia flame—though that sounds awfully
dreary and academic, whereas David is anything but. His writing is lucid and
vibrant, deeply in love with movies and their possibilities.
(d. Run Wrake, Scotland, 2005, 9m)
A plum-eating idol, jewels falling from the sky,
a get-rich scheme…Picture books never had
it so good.
10 Precedes CIVIC LIFE.
He is a columnist for The Independent on Sunday, where you are as likely to
find him enthusing about Clint Eastwood’s MILLION DOLLAR BABY as waxing
nostalgic about the pleasures of Olivia De Havilland. He is also the author of
several fictions, including Suspects, which imagines the past and further
adventures of a few dozen beloved cinema characters—a testament to the way
movies continue to flicker in our minds long after the projector has wound
down. Finally, there have been biographies—of Selznick and Beatty and
Welles—that go beyond mere reportage to engage rapturously and personally
with their subjects. I expect nothing less from David’s latest, on Nicole
Kidman, which I eagerly await.
(d. Elias Merhige, U.S., 2006, 14m)
Do not be afraid… be comforted… remember…
our origin…
(d. Lorcan Finnegan, Ireland, 2006, 3m)
In a fairyland forest, inky caterpillars confront a
season of transition.
13 Precedes 12:08 EAST OF BUCHAREST.
(d. Osbert Parker, U.K., 2005, 3m)
The shadowy, paper-thin world of genre movies comes
alive in this surreal animated spectacular.
27 Precedes SEVERANCE.
As for my initial exposure to the
Biographical Dictionary, it prompted
me to write David a letter, to which
he generously replied, starting a
friendship that continues to this
day. But David, I hope you know
that I remain above all a fan—and
your humble student.
–Scott Foundas
For Telluride, David has selected and
will present INFAMOUS, which he
described as “The best new film I’ve
seen this year.” He will receive the
Special Medallion at the Opening
Night Ceremonies in the
Sheridan Opera House.
*Denotes filmmaker in person
Made on a Mac
Talking Heads
From concept to finish, the Mac has become an indispensable tool in every
The Festival keeps the dialogue going with two series of live events—
step of the filmmaking process. This series of programs takes you behind
Seminars and Conversations. Both allow audiences to interact with the Festival
the scenes as filmmakers reveal how they used Apple hardware and software
guests. Admission is free; passholders receive first seating at indoor venues.
to create movies for Telluride. Sessions are free and open to the public;
passholders will be seated first.
Saturday and Sunday panels are free and open to the public; passholders
only admitted to the Monday panel. Moderated by Annette Insdorf
“Are directors merely telling good stories, or attempting to
alter perception?”
Saturday, Noon, Elks Park
Filmmakers of Tomorrow
S/Fri 9-10 AM
“What do actors require from directors to give great performances?”
Sunday, Noon, Elks Park
Their names may not be familiar now. But if their
recent work is any indication, they will be soon.
Meet some talented up-and-coming filmmakers
whose movies were selected for inclusion in the
Festival’s Student Prints, Calling Cards, and Great
Expectations programs.
“How close can—or should—documentary filmmakers get to
their subjects?”
Monday, Noon, Town Park
Sponsored by NBC Universal Media Works
These intimate gatherings feature interviews between two intriguing
Festival guests. Held at the historic County Courthouse on main street.
Free and open to the public; passholders receive first seating.
Christine Molloy and Joe Lawlor
S/Fri Noon-1 PM
The directing team of Christine Molloy and Joe
Lawlor embarked on the CIVIC LIFE series in July
2003. Seven short films later, they have created a
unique cinematic project, featuring hundreds of
local residents from communities across the U.K.
and Ireland. Each short employs long-take shots
to highlight the relationships between people and
their environments.
Peter Bogdanovich and Bertrand Tavernier
Saturday, 10 AM
Davia Nelson with Forest Whitaker
Saturday, 3 PM
Samuel Goldwyn, Jr. and Michael Korda
Sunday, 10 AM
Alex Weinress and Rob Carlton
S/Fri 1:30-2:30 PM
David Thomson and David Thompson
Sunday, 3 PM
With little more than $20 and a copy of Final Cut
Pro software, directors Alex Weinress and Rob
Carlton managed to create an award-winning
short film that has screened at three major film
festivals. The mockumentary CARMICHAEL &
SHANE, starring Carlton and his two young
sons, tells the story of a single father’s unique
approach to raising his two-year-old twin boys.
Monday, 10 AM
J.P. Gorin with Rolf de Heer
Monday, 2 PM
Walter Murch and Sean Cullen
S/Fri 3-4 PM
© Pilar Law
Academy Award–winning editor Walter Murch—one
of this year’s Festival honorees—and associate
editor Sean Cullen have worked together for a
decade, on films including THE ENGLISH PATIENT,
COLD MOUNTAIN and JARHEAD. Their collaboration
on the Civil War epic COLD MOUNTAIN marked the
first use of Final Cut Pro software to edit a largescale feature film.
Poster Signing with John Canemaker
Brigadoon, Sunday 12:30 PM
© Pilar Law
Last year, John Canemaker became an
instant member of the Telluride family;
his program of animated short films
already has become a Festival legend.
And everyone’s favorite film in the
program was his own THE MOON AND THE
SON (congrats on the Oscar, John!).
Canemaker returns to the Festival as
the 2006 poster artist, following in the
footsteps of Gary Larson, Julian
Schnabel, Ed Ruscha, Jim Dine and,
of course, Chuck Jones. Meet
Canemaker and turn your Telluride
poster into a true keepsake.
Brigadoon is open to the public
Apple Studio
Sheridan Opera House Conference Room
Friday through Sunday, 10:00 AM–7:00 PM
Apple has fundamentally changed movie production, making it more
accessible, efficient, and collaborative than ever before. Visit the Apple
Studio to see Apple pro applications and hardware in action and meet Apple
film and video experts. Get advice about your own projects, whether they’re
independent films or major studio releases. Stop by the Apple Studio and
discover how Apple’s state-of-the-art technologies can play a leading role in
your production workflow.
Windjammer Drawing
Picture this: you and a special friend sailing
aboard a schooner, dipping your toes in the
Caribbean and being fed and treated like royalty.
Interested? Grab your pass, hustle down to Hospitality
(located at Brigadoon) and register for our Windjammer
Drawing. Limited to Passholders. Register anytime before
Monday. Drawing takes place Monday morning and winner
will be announced at the Picnic.
a Le Feed
Sponsored by Heineken
© John Fago
Colorado Avenue/Fri 5-6:30 PM
Connect with friends from
Festivals past and join Telluride
in welcoming Guest Director
Jean-Pierre Gorin with this
French-themed grande bouffe.
On the menu: poulet estragon,
rice pilaf et haricots vert; salad
de legumes; sugar cookies laced
with Grand Marnier and mini
chocolate mousse cups. Plus
beverages (Heineken!) and the
early buzz on the must-see
films. C’est magnifique!
For all passholders except Acme
c Labor Day Picnic
Town Park/Mon 11:00 AM – 1:00 PM
There’s no more beautiful picnic ground. Telluride’s Town Park is
surrounded by the rugged San Juan Mountains, in view of one of the
continent’s most spectacular waterfalls. And the food’s great: meat and
chicken from Omaha Steaks and all the ice cream you can eat!
Still not convinced? Stick around and we’ll hold our final
Seminar here. Town Park is located east of downtown on
Colorado Avenue, toward Bridal Veil Falls. For all
passholders of the Festival
b Grand Opening Celebration for Le Pierre
We’ll dedicate Telluride’s latest handcrafted theater
to longtime Telluride friend and adviser Pierre
Rissient, one of the world’s great cinephiles.
First, we’ll celebrate Le Pierre with a sparkling
beverage and dessert. Then, we’ll show filmed
tributes to Rissient and a presentation of two
beautiful new short films from past Festival
visitors, both masters: Eugène Green’s SIGNS
and Lucian Pintilie’s NO THIRD COPY 30 .
Some lucky passholder attending will win
a free Windjammer cruise to the French
Caribbean! Open to all passholders
© Lisa Law
L/Friday 9:45 PM
Show People
Operations Office Manager: Kerry Wagner.
Operations Project Assistant: Claudia Fucigna.
Box Office Manager: Gary Sutton. Assistants: Karla Brown, George Forth,
Lorelei McKinnon.
Communications Services: Rock and Roll Radios, Greg Carttar (Mother),
Char Harner (Mother Superior), Larry Carttar (Mother’s Brother), Roger
Redden (Ramjet).
Project Specialists: Lyndon Bray, Dave Hutchinson, Ian Price, Luci Reeve,
Dean Rolley, Curtis Walker.
Emergency Management: Dave Hutchinson, Marc McDonald.
Debris Chief: Mike Oard. Debris Wranglers: Karl Ebel, Gary Fuehrer,
Aspin Teevin.
Palms: Joanne Evans, Michael Wingfield.
Popcorn Prince: Ian Price.
TBA’s: Curtis Walker.
Chief of Mumbles: Dahlia Mertens.
Vespucci: Lynne Domingos. Vespucci Coach: Allyson Crilly.
Phantom: Marcello Vespucci.
Show People
Anthony Lore, Rick Oliver, Justin Weihs.
Sparks: Phil Hayden.
Assistant Spark: Laurel Robinson.
Design: Mike Anderson, Anita David Stiegler, Dawn Davis, Buff Hooper.
Design Consultant & Facilitator: Lance Hinkley.
Nuts & Bolts: T.R. Richards.
Torch, etc.: Chuck Kroger, Aaron Smith.
High & Hard: Bone Construction. Heavy: J.R. Nershi.
Cookie Boy: ?
Cookie Girl: ?
Theatre Production Coordinator: Cynthia Bellai. Assistant: Caitlin Brennan.
Education Guru/Roaming Ringmaster: Gary Tucker.
Alloy/Sentimental Bloke Orchestras Wrangler: Dave Hutchinson.
Concessions Manager: Jackie Arguelles. Assistants: Kathleen Cole,
Megan Labadie.
Conversations Manager: Tom Goodman. Assistant: Jackie Kennefick.
Carl Brenkert Society: Russell Allen, Bobby Pinkston and Louis Eales
(Dolby Laboratories), Jon Busch (Cinema Associates of Aspen), Chapin
Cutler (Boston Light & Sound, Inc.), Ross Krantz (Cinema Engineering
Services), Clyde McKinney (McKinney Technical Services), Christopher Reyna
(New Paradigm Productions), Sam Chavez (Bay Area Cinema Products), Gary
Stanley (Projection and Sound Services), Buzz Hays (Stone’s Throw Films).
Digital Projection: Panasonic, David Wiswell, Tara Naughton. Digital
Projection Support: Specialized Technical Services, Inc. STS Staff: Jeff
Frank, Marc Hathaway.
Film Inspection Chief: Paul Burt. Film Inspectors: Pamela Chandran,
Steve Marsh, Serena Warner.
Film Shipping and Traffic: Chris Robinson. Assistant: Tracy Harvey.
Staff: Lars Harvey, John Passmore, Michael Wagner, Jacob Wascalus.
Theatre PA and Sound: Dean Rolley.
Staff: Ru Biener, Chapin Cutler III, Deborah Cutler, Liam Hartigan, Nancy
Pinkston, Helen Stanley.
Production Coordinator: Mike Smith.
Production Office Administrator: Lisa Mackie.
Managers: Jen Ammann, Michael Anderson, Erik Cooper, Susan Cooper,
Tim Frush, Erin Klenow, Ian Manson, Holden Payne, Brady Richards, Tim
Territo, Stanislaus Wislocki.
Assistant Managers: Lance Hinckley, Barry Jenkins, Mark Lange, Doug
Mobley, Sarah Pawlowski, David Oyster, Nikki Shams, Kimberly Tarr, Tim
Vierling, Jacob Wascalus, Tammy Williams.
Crew: Angela Allen, Susan Beraza, Dylan Brooks, Larry Gus, Bill Lyons,
Sam Lyons, Sydney McNab, Eric Nepsky, Allison Mobley, Shaddock Stipe,
Avery Thacher, Moot Woozley.
Production Apprentices (Dogs): Matthew Crossett, Ryan Diduck, Susan
Evans, Matthew Harris, Alexis Jolly, Andy O’Hare, Ashley Rossi, Elizabeth
Schwartz, Scott P. Upshur, Ebony Winston.
Rigging Coordinator: Ian Manson.
Riggers: Peter Garber, Johny Carmula, Eric Cooper, Mark Lange, William
Smith, Tim Vierling, Stash Wislocki.
Shop Manager: Tim Frush.
Master Carpenter: Allan McNab.
Lighting Director: Jonathan Allen.
Lighting Designer: Elaine Buckholtz.
Lighting Crew: Aaron “Flint” Jamison, Emily Long, Adrianne McCurrach.
Electrician: Justin Bonfiglio.
Schlepp Master: Tim Territo. Assistants: Scott Mickles, Wylder W. Wilson.
Schlepp Crew: Ehren Borg, Ronald Burchi, Will Carroll, Andrew Cook,
Palm Manager: Tammy Williams. Palm Assistant Managers: Krista Eulberg,
Tondeleyo Gonzalez, Troy Paff, Mark Rollins. Palm Ringmaster: Leyla
Wefalle. Pierre Manager: Jonathan Kaplan. Pierre Assistant Manager:
Danielle Pelletier. Pierre Ringmaster: Doug Mobley. Palm/Pierre Staff:
Lene Andersen, Tom Baldridge, Andy Brodie, Nolan Burke, Josh Burns, Jess
Canales de Zamora, Annie Chrietzberg, Joe Coleman, Rachael Cusack,
Elizabeth Garber Day, Sunshine Day, Bianca Escobar, Pam Guillory, Bob
Hamner, Gus Koffler, Julie Kramer, Joanie Leckey, Uriah Lovelycolors,
Colleen Lyon, Michelle Martens, June Nepsky, Susan Orshan, Pat Pilon,
Terry Pilon, James Renn, Howard Stern, Lois Stern, Paul Tate, Brigitta
Wagner, Mark Wensel. Palm Projection: Chief: Ingrid Lae. Projectionists:
Chris Ivanyi, Matt Kunau, Cherie Rivers. Pierre Projection: Chief: Erik
Teevin. Projectionists: Patty Bluefield-Lecht, Dan Gray, Brian Ganey.
Concessions: Head Inside: Morgan Young. Head Outside: Golan Ramras.
Staff: Jeci Arguelles, Susan Dahl, Ann-Marie Fleming, Jock Fleming,
Elizabeth Forth, Alicia Fusting, Trent Gidaro, Gino Gioga, Elaine Horschman,
Adam Hyman, Tomas Jonsson, Elinor London, Emily Mark, David Nepsky,
Julio Perez, Jann Tracey, Michelle Van Sandt, Kate Woods.
Manager: Katie Trainor. Assistant Managers: Evan Golden, Hillary Hart,
Catherine McDonald, Caryn Sanchez. Ringmaster: Rosemerry WahtolaTrommer. Staff: Michael Boyd, Jackson Burke, Julie (Jules) Chalhoub,
Dave Lincoln, Deirdre McConnell, Catherine McDonald, Jordan Milliken,
Holly Payne, Anna Reeves, Liz Seru, Jaime Shaffer, Meghan Stratman,
Avery Thatcher, Stephanie Thomas-Phipps, Richard Thorpe, David Wilson.
Projection: Chief: Bill (The Reel) Hill. Projectionists: Brad Jones, Joel Rice,
Dean Silver. Concessions: Head Inside: Katy James. Head Outside: Gwen
Vogel. Staff: Heather Baltzley, Jenny Delves, Bill Fech, Melina Fleming,
Camille Knox, Erin LaBarge, Jeff Lessard, Joseph Martinez, Jeremy Myers,
Lesley Pinto, Scott Poston, Waydell Walker, Shirley Wicevich, Frost Williams.
Manager: Holden Payne. Assistant Managers: Ian Bald, JD Brown, Trish Hawkins,
Jeannie Stewart. Ringmaster: Pam Chandran. Staff: Brendon Bouzard, Jerod
Cantu, Cathe Dyer, Lisa Eaton, Doug Glover, Larry Gus, Christianne Hedtke,
Annie Heng, Jeannie Heng, Alex Jones, Cindy Osterlind, Danielle Osterlind,
Duane Osterlind, Eric Osterlind, Barbara Ralph, Nicole Shams, Raymond
Steenbeke, Melissa Swearngin, Phil Swearngin, Scott Upshur. W2 Booth: Nancy
Anderson. Projection: Chief: Ian Price. Projectionists: Peter Halter, Bruce
Mazen, Ryan Gardner Smith. Concessions: Head: CC Rocque. Staff: Brian Eaton,
Randy Grant, Frances McGrogan, Patrick McGrogan, Vin Rocque, Mike Ste. Marie.
Show People
Show People
Manager: Ben Kerr. Assistant Managers: Rick Brook, Allison Mobley,
Shine Pritchard, Rick Stafford. Ringmaster: Rick Brook. On Stage
Choreographer: Deborah Scharaga. Staff: Robert “Bobalouie” Allen, Bo
Bedford, Cynthia Bellai, Andrea Benda, Genne Boles, Caitlin Brennan, Jean
Marie Buckley, Michael Clark, Catherine Dunn, Kiersten Harter, George
Jones, Judi Kiernan, Valerie Krantz-Burge, Stefanie Krantz, Jeanie Krogh,
Michael Manthey, Brian Ormiston, Sherry Rose, Jamie Ross, Felicia
Stonedale, Sharon Swab. Projection: Chief: Magic Brennan.
Projectionists: Elizabeth Antalek, Terry Fernald, Travis Young.
Concessions: Head: Megan Labadie. Staff: Mia McLaughlin, Susie Thorness.
Assistant Director of Development: Elizabeth Temple. Development
Manager: Vesna Mladenovik Currie. Telluride Development Coordinator:
Peggy Curran. Grant Writer: Amelia Stone. Sponsorship Operations
Manager: Cindy Beitmen. Staff: George Christensen, Jesse Dubus.
Sponsorship Fulfillment Staff: Diane Gilbert, Krissy Gilbert, Bob O’Brien,
Gabby Ryan, Lori Ryan. Sponsor Host: Shawna Hartley. Show Ring
Coordinator: Sydney Stowe. Video Crew: Tom Jones with Paula Amanda,
Edgar Boyles, Ron Kantor, and Kiley Lane.
Manager: Laura Stewart. Assistant Managers: Bill Kight, Felix Snow, Matt
Von Waaden. Ringmaster: Seth Berg. Staff: Connie Fisher, Jeff Levine,
Barbara Macfarlane, Beth McCall, Timothy Newson, Robert Roth, Meghan
Storm, Kathleen L. West. Projection: Chief: Payal Doctor. Projectionists:
Luci Reeve, Mark Schoneveld, Scott Snare. Concessions: Sandy
McLaughlin, Susie Thorness.
Manager: Stephanie Shandera. Assistant Managers: Jill Farley, Peter
Goldie, Moses Street, Quang Tran. Ringmaster: Jeff Middents. Staff:
Lynne Beck, Jane Clemmons, Angela Dadak, Katrina Foelsche, Ben
Hatfield, Jordan Hobbs, Kimble Hobbs, Nancy (Miller) Hobbs, Penn Street.
Projection: Chief: Barbara Grassia. Projectionists: Graef Allen, John
Gajda, Brad Miller.
Manager: Jeff York. Assistant Manager: David Rothschild. Ringmaster:
Terry Tice. Staff: Gabriel Fleming. Projection: Chief: Gary Stanley.
Assistant Manager: Alane Woehle. Food and Party Wizard: Jane Miller.
The Organizer: Heather Mark. Mind Over Matter Crew: Matt Clark, Steve
Schneider, John Musselman, Derke Cibere. Spirit Masters: Graham
Anderson, Michelle Haynes. Staff: Riley Arthur, George Bassett, Melissa
Bassett, Sue Berg, Irwin Borof, Linda Borof, Chava Brandriss, Corie
Chandler, Melanie Cruz, Debi Dietz-Crawford, Scott Evans, Rube Felicelli,
Patsy Gneck, Jerry Grandey, Dennis Green, Bonnie Hanson, Janice Hyland,
Michael “Hawkeye” Johnson, Linda & Roger Knapp, Nick Kolachov, Dino
Koutras, Katelyn Krumperman, Gonzo Lazo, Harriet Levy, Raymond Levy,
Sue Lincoln, Cat MacLeod, Denise Mongan, Melissa Morgan, Catie Olson,
Magali Ouellet, Mary Paxton, Kristen Permakoff, Shane Ricketts, Marty
Rosenthal, Meg Scarpetta, Raghu Sudhakara, Andrea Tannehill, Maria
Vermeulen, Kate Wadley, Jean Wagner, Rob Wagner, Jeanne Walker, Joshua
Weinberg, Brooks West. Dressers: Mama Dresser: Abbie Corse. Dressers:
Ashley Boling, Patrick (Thrax) Felsenthal, Dan Hanley, Sarah Nyman,
Jenifer Raidor, Brian Werner. Clubhouse: Crew Chiefs: Kathryn McKenzie,
Gordon Rhoades, Camille Silverman. Front-of-House Manager: Karen
Kurzbuch. Food Magicians: Gene Cross, Cynthia Delles, Deborah Gilmour,
Raymond Linnemeyer, Laura Mutter, Danielle Tremblay.
Number Juggler: Suzanne Patrakis. Submissions Reaper, Web Wrangler,
and Deputy to Bill Pence: Trevor Bartlett. Guest Wrangler: Teresa
Steenbeke. Pass Mastery: Lara Pence. Publications Editor: Jason
Silverman. Compilation Editor: Chris Robinson. Curatorial Assistants:
Chris Robinson, Jason Silverman, Jerry White. Word Parser: Kate Sibley.
Teamstar and Box Office Junkie: Kate Dominus. Roving Assistants:
Linda & Roger Knapp. Assistant to Tom Luddy: Meika Rouda. Coverage:
Brendon Bouzard, Joe Coleman, Nancy Copeland, Tyson Kubota. Dear
Diary: Peter Shelton. Festival Flags: 1-32: Janet Behrens Siebert. 33rd:
Mettje Swift. Computer Systems: Wizard: Hunt Worth. Techno Aids:
Doug Bloom, Curtis Walker.
Housing & Travel Assistants: Erica Gioga, Barbara Hunt. Airport Liasons:
Tracy Boyce, Vincent Egan, Chance Leoff. Drivers: TM Faversham, Terri
Gioga, Michelle Hill, Lance Lee, Jennifer Prosser, Salli Russell, David
Swanson, Marta Unnars, Jon Tukman, Cathleen Walsh, Marcus Wilson,
Patricia Wilson. Travel Agents: Jana Emery, Ann Denney, Carolyn Rothberg.
Personnel: Staff Coordinator: Lucy Lerner. Housing Coordinator: Bevin
Gumm. HR Coordinator & Payroll Chief: Suzanne Patrakis. Office and
Payroll Guru: Clay Farland. Personnel Office Savior: Johnny Bulson.
Night Manager: Peter Lundeen. Apprentice: Lauren Asmus. Pass
Makers: Una Jackman, JoAnn Weisel. Bennies Royal Distribution: HRH
Mishky and Dame Annemarie Jodlowski. Personnel Commando Team:
Betsy Adler, Jonathan Augello, Molly Babcock, Neal Babcock, April
Billingsley, Francine Cogen, Claire Edwards, Ellen Esrick, Lyn Faulkner,
Melissa Friedman, Susan Grun, Kathy Harding, Molly Herrick, Michelle Hill,
Wendy Israel, Joel Kaufman, Jim Kimble, Jonathan Kloberdanz, Teresa
Koberstein, Arlene Lamar, Nancy Lee, Vicki Lusk, Jon Mills, Denise
Mongan, Houston Morrow, Susan O’Connell, Sandra Perkins, Gayle Sands,
Bill Thorness, Barbara Wing, Mathew Zelezen.
Manager: Peter Cogen. Coordinators: John Irvin, Nancy Talmey. Staff:
Barbara Betts, Matthew Deal, Jane Hardman, Marjorie McGlamery, Pam
Pettee. Box Officers: Kate Dominus, Hilary Febbo, Dunja Selbach.
Assistant: Marc Schauer. Hosts: Kate Clark, Gus Gusciora, Drew Ludwig,
Anne Sadler, Christine Stanfield. Room Set-up Chief: Esther White.
Staff: Hether Bachman, JJ Giddings, Chuck Norris, Sharon Shuteran.
Buyer: Muffy Deslaurier. Manager: Jim Eckardt. Assistant: Priscilla
Mangnall. Staff: Joseph J. Bell, Patty Costello, Rich Fuxjager, Paige
Hardman, Linda Holt, Greg Weiss.
Director of New Media: Gary Meyer. Press Lead Team: Kean Bauman, Rolf
E. Olsen. Staff: Amy Fisher, Sarah Gregorio, Beth Krakower, Benjamin
Lopez, Suzanne Willener. Photographers: Gerry & Phil Borgeson, John
Fago, Lisa Law, Arun Nevader, Wendy Smith.
Chief Assistant: Erika Gordon.
Student Symposium Faculty: Howie Movshovitz, Linda Williams.
Student Symposium Coordinator: Austin Sipes.
City Lights Faculty: Jerry White, Larry Zeiger.
Student Prints and Filmmakers of Tomorrow Consultant: Danny Lee
FOT Coordinator: Filip Celander.
FOT Sherpa: Owen Gottlieb.
Student Services Staff: Ryan Diduck, Jacqueline Epley, Zoe Movshovitz.
Telluride Education Liaison: Ellen Shelton.
General Support
The Palm
Special Support for the
Education Programs
The Galaxy
Opening Night Feed
City Lights Project
Digital Projection
Festival Spirits
Le Pierre
Masons Hall Cinema
“The Sound of Telluride”
Magazine Partner
Nugget Theatre
Chuck Jones’ Cinema
General Support
General Support
General Support
Festival Auto
General Support
Boston Light & Sound
Brigadoon General Support
Technical Services
This event is sponsored in part by the Town of Telluride, Commission for
Community Assistance, Arts and Special Events
General Support
General Support:
Abel Gance
Open Air Cinema
General Support:
Ron & Joyce Allred
Vincent & Anne Mai
James & Laura Maslon
Kevin & Mary Grace Burke
Charles & Jessie Price
Ken & Julie Burns
Elizabeth Redleaf
Barry & Paula Downing
Thomas Schwartz
Charles & Jody Goodman
Miranda Smith
The Grace Trust
Joseph & Diane Steinberg
George & Pam Hamel
Patricia Sullivan
Lisa Henson
Dr. Steven & Melissa Traub
The Bauch Family, Lorette Bayle, Criterion Collection, Directors Guild of
America, Keller Doss, FRS Antioxidant Energy Drink, Hal & Beverly
Haddon, Dr. Griff Harsh & Meg Whitman, Wendy Leighton, Joe Tarabino,
Telluride Daily Planet, Telluride Express, Telluride Sports, TellurideStyle,
Telluride Watch, Aron Warner
Kathy Kennedy & Frank Marshall
Colorado Council on the Arts, Linda Jones & Jim Clough, the Edouard
Foundation, Grace duPont Engbring & Paul Engbring, Facets, Paul
Lehman & Ronna Stamm, SAG Indie, Telluride Conference Center,
Telluride Ski and Golf Co., Tucson Film Office, Vacheron Constantin
Peter & Linda Bynoe
Paul & Evy Frankel
Jim Clubb
Warren & Becky Gottsegen
Charles & Nancy Conner
Lynne & Joe Horning
Joanne Corzine & Harmon Brown
Leucadia National Corporation
Michael Fitzgerald
Schneider Optics
Mort & Amy Friedkin
Sony Electronics
Robert and Patti Beebe, L. Michael Billmeier, Jr., Katherine
Borsecnik & Gene Weil, Theodore R. Buttrick III, Clif Bars, Kit
Collins, Thomas Desmond, Richard Chiaramonte and Sally Eberhardt,
Benjamin and Sally Crane, Barry Douglas and Elsie Smith, Risa and
Michael Freedman, Phillip Goldfarb, Maurice and Barbara Grosby,
Edward and Lizbeth Johnson, Roland and Donna Jones, Christy
Lancaster, Thomas Luddy, Claudia Naventi, William Pence, Ruth
Perlmutter, Ginger Perry, Nancy Pitt, R. Sergio Ramirez, Bob and
Vicki Simons, Shelton Stanfill, Geoffrey Thompson, Rita and Stephen
Weisskoff, Barry Winer, Miriam and Bernard Yenkin
Alpine Lodging
Inn at Lost Creek
Alpine Bank
Lucas Gallery
ASAP Accounting and Payroll
Clark’s Market
Las Montañas
Telluride Properties
Timberline Ace Hardware
Two Skirts
Wells Fargo Bank
Edward Jones Investments
Accommodations in Telluride
Camels Garden
Elevation Vacations
Hotel Columbia
Hotel Telluride
The Ice House
Inn at Lost Creek
Mountain Lodge
Mountainside Inn
New Sheridan Hotel
Peaks Resort & Spa
The River Club
Telluride Lodge
Victorian Inn
Barclay Daranji and Barclay’s Cakes
Eliza Gavin and 221 South Oak
Lucas Price and La Cocina de Luz
Mark Krasic, Elyssa Kerins and Krasic’s Cuisine, Inc.
Ray Farnsworth, Ross Martin and New Sheridan Chop House
Accounting: Davidson and Stone, PLLC, Portsmouth (Dennis Stone)
Design: Brown & Company Design, Portsmouth (Mary Johanna Brown,
Patrick Rowan and Matt Talbot)
Legal: Robinson & Diss, P.C., Denver (Fred Diss)
Boynton, Waldron, Doleac, Woodman & Scott, P.A., Portsmouth
(William Scott)
Publicity: McClure & Associates Public Relations, Los Angeles
(Carri McClure)
Patrons & Sponsors
Steven Addis, Buffy Afendakis, Michael Afendakis, J.W. Amend, Bonnie
Apfelbaum, William M. Apfelbaum, Allan Arkush, Mike Averritt, Scot Barbour,
Michael Barker, Ed Barlow, Shana Bellot, Dale Berger, Max Berger, Marc Berman,
Sharen Berman, Tom Bernard, Patrick Bienvenue, Vanessa Bienvenue, Jessica
Bigarel, Stephen E. Binder, Joan Binstock, Nancy R. Blachman, Cathy Boardman,
Carol Bobo, Jim Boydston, Julie Boydston, Marshall Brachman, Harmon Brown,
Peter Buchanan, Jon Paul Buchmeyer, Kelly Bumann, Bill Burgess, Olivia Burns,
Sarah Burns, Linda Bynoe, Peter Bynoe, Jodi Cahn, Diane Carson, Paul Cashman,
Joe Cellini, Claudia Ceniceros, Won Hee Chang, David Charmatz, Harry Chotiner,
Christina Cingone, Linda Jones Clough, Jim Clough, Jim Clubb, Marty Cohen,
Sharleen Cooper Cohen, Nancy Conner, Lauren Contillo, Jeanne Cordova, David
Corso, Joanne Corzine, Joe Crump, RJ Cutler, Alex D’Andrea, Mark Dalton, Susan
Dalton, Matt Davis, Tracy De Lano, David desJardins, Becky Deupree, Hannah
Dillworth, Laura Donnelley-Morton, A. Keller Doss Jr., Rose Einstein, Jack Elliot,
Edith Elliott, Jeff Elliott, Marilyn Elliott, Dave Erickson, Joe Anne Erickson, Jeff
Farmer, Charles H. Ferguson, Cathy Field, Jeff Field, Natalie Fitz-Gerald, Kathy
Fitzgerald, Michael Fitzgerald, Gabriella Flippen, Katrine Formby, Bahram
Foroughi, Scott Foundas, Evy Frankel, Paul Frankel, Carrie Frazier, Ericka
Frederick, Amy Friedkin, Morton L. Friedkin, Jeff Gabel, Bulat Galimgereev,
Natasha Galloway, Dennis Gaughan, Debra Gershen, Alessandra Ghini, JD
Gluckstern, Judy Gluckstern, Sarah Gluckstern, Steve Gluckstern, Samuel
Goldwyn, Jr., Noelle Gonzales, Becky Gottsegen, Warren Gottsegen, Adam Green,
Lisa Kay Greissinger, Larry Gross, Cherie Halladay, Madelyn Hammond, Pete
Hammond, Tyler Hardie, Lynda Harman, Sharon Harman, Madelon Harper,
Stephen Harper, Alan V. Hart, Walker Hart, Wendy Hart, Kim Hendrickson, Paul
Hochman, Leon Hogan, Linda Hogan, Paul Hokemeyer, David Holbrooke, Sarah
Holbrooke, Mary Homier, Anne Hubbell, George M. Iacono, Michael Isaacs, Doug
Jackson, Lisa Jackson, Paul Jackson, Sandi Jackson, Lee Ann Jacobs, Chris
Jenkins, Jim Johnson, Tom Johnson, John Johnston, Marian Jones, Jim Jordan,
Jonathan Karron, Randy Karsch, Tom Karsch, Jeffrey Keil, Joe Kennedy, Debbie
Kinney, Kimberly Kirkendoll, Deborah Klein, Toby Knobel, Robert Koch, Margaret
Korda, Michael Korda, Bob Korn, Carol Korn, Judy Lang, David Lasner, Ralph
Lauren, Ricky Lauren, Joey Leggett, Robert Levine, Ronny Levine, Linda Lichter,
Jason Lindbergh, Suzanne Lindbergh, Adam Lipsius, Linda Appel Lipsius,
Elizabeth Lowy, Tom Lowy, Joey Macri, Alice Maltin, Jessie Maltin, Leonard
Maltin, George Mansour, Mort Marcus, Mikka Bobo Margolis, Todd McCarthy, Rita
D. McClenny, Margo McCoy Reese, Eric McDougall, Daniel McKeithan, Patti
McKeithan, Raney McKool, David McMahon, Patricia Mellencamp, Jennifer
Metzger, Beth Miller, Donna Miller, Helaine Miller, Jennie Mingolelli, Monique
Montgomery, Jeffrey Moran, Julie Mulholland, Elizabeth Najda, Tara Naughton,
Joyce Neibart, Lee Neibart, Lisa Nemeroff, Morgan Night, Dr. Jerry A. Olshan,
Don Orr, Nancy Orr, Deborah Ortega, Nicholas Palevsky, Katherine Randall Park,
Jim Park Jr., Terence Parris, Dave Pellegrin, Dr. Jonathan Pellegrin, Kathleen
Pellegrin, Ruth Perlmutter, Ann Perse, Douglas Philips, James Pohlad, Michelle
Pohlad, Bill Pohlad, Mimi Pollack, Ron Pollack, Adam Rackoff, Rich Rainaldi, Mike
Rankin, Martha Records, Mary Manard Reed, Michael Reilley, Chris Riley, Suse
Riley, Pierre Rissient, Edward Roach, Jeanette M. Roach, Jerry Roberts, Kim
Roberts, Ralph J. Roberts, Rob Roberts, Suzanne F. Roberts, Ric Robertson,
Winnie Roloson, Kathi Rose, Dalton Ross, David Ross, Julien Ross, Dean Rossi,
Dawn Rosso, Mark Rosso, Maxine G. A. Rosston, Mary Ann Sabo, Henry Samueli,
Susan Samueli, Guy Saperstein, Jeanine Saperstein, Laura Sayne, Paul Scarpetta,
Barbara Schell, Erica Schell, Rick Schell, Suzanne Schon, Bud Scruggs, Shirley
Scruggs, Mark R. Shapiro, Stephan Shelanski, David Silvers, Ina Smith, Jane
Smith Turner, Carl Snitcher, Nora Snitcher, Linda Sonntag, Mary Frances Stahler,
Milos Stehlik, Richard Steiner, Linda Stern, Kathleen Stowers, Patricia Strawn,
Mark Strome, Tammy Strome, Katherine Stuart, Meredith Swinson, Charlie Tabesh,
Miguel Tarango, Jasun Thomas, Gregory Thompson, MD, David Thomson, Alice
Traub, Avalon Passion Traub, Jesse Orion Traub, Jennifer Truman, Mike Uchida,
Chris Unguez, Norma Upshur, Kristin Van Hees, Rick Vargas, Frances Varnhagen,
Steve Wasserman, David Weber, Beverly White, Linda Wilkinson, Jennifer Wilson,
Mollye Wolahan, Jean Wolff, Kari Wolff, Kevin Wolff, Lewis Wolff, Micheal Wong,
Ariel Wright, Quinton Wright, Sue Wright, Tom Wright, Twyla Wright, Dr. Bryan J.
Zwan, June B. Zwan.
Barry Allen, Russell Allen, The Alloy Orchestra, Arc Pictures, Kim
Aubry, Australian Film Commission, Australian National Film
Archive, Paul Bales, Michael Barker, Pam Baucom, Bay Area
Cinema Products, BBC, Peter Becker, Shana Bellot, Tom Bernard,
Bob Berney, Alex Black, BMG, Adriene Bowles, Eamon Bowles,
British Film Institute, Jon Paul Buchmeyer, Kelly Bumann, Ken
Burns, Michele LeSage Caldwell, Paul Campbell, Julie Carver, Gina
Cassidy, Claudia Ceniceros, Sam Chavez, Linda Jones Clough & Jim
Clough, Ellen Cohan, Megan Colligan, Fred Colonnato, Colorado
Film Foundation, Columbia Repertory, Nancy Copeland, Jeanne
Cordova, John Creah, The Criterion Collection, Jan Crittenden,
Chapin Cutler, Dartmouth College, Bruce Davis, Jill Davis, Laura
Decastro, Desperate Optimists, Durango Party Rental, Mary Eckles,
Facets, Emily Feingold, Cathy Field, Rorri Fienstein, Ron & Valerie
Finch, Michael Fitzgerald, Florentine Films, Focus Features, Julie
Fontaine, Bill & Katrine Formby, Leigh Fortson, Scott Foundas,
Fox Searchlight, Theirry Fremaux, French Cultural Services, French
Film Office, Dennis Gaughan, George Eastman House, Alessandra
Ghini, Steve Gilula, Paul Ginsberg, Steven & Judy Gluckstern,
Samuel Goldwyn, Jr., Sarah Greenberg, Elissa Greer, Henry Greese,
The Grips of Local 80: IATSE (Burbank), Leila Guenancia, Harlan
Gulko, Gusterman’s Silversmith, Shawn Guthrie, Bette-Ann
Gwathmey, Shelli Hall, Harvard Film Archive, Ruth Ann Hattori,
John Hazelton, Lance Hinkley, Michelle Hooper, Mary Ann Hult,
IFC, Janus Films, Angela Johnson, Jeff Joseph, Kawakita
Foundation, Dorna Khazeni, Laura Kim, Bill Kinder, Elyse Klaits,
Marian Koltai, Michael Korda, Adam Krentzman, Michele Kribs,
Film Preservationist, Jon Larson, Jennifer Leightner, Suzanne
Lindbergh, Kathryn Linehan, Lions Gate Film, Patrick Loughney,
Magnolia Films, Kevin Mallon, Leonard Maltin, George Mansour,
Greil Marcus, Frank Marshall, Erin Martin, Jolynn Martin, Philip
Mauney, Hamish Mcalpine, MGM, Milestone Products, Miramax
Films, Stacey Mooradian, Julie Mulholland, The Music Hall of
Portsmouth, NH, Christophe Musitelli, Bob Myerson, Davia Nelson,
Pam Nething, New Line Cinema, Tom Ortenberg, Pangea, Michelle
Panzer, Paramount Vantage, Emma Parker, Susan Pasini, Pathe,
M.J. Peckos, Picturehouse Films, Steffen Pierce, Bobby Pinkston,
Pixar Animation Studios, Plaza Travel, Marya Pongrace, Tom
Quinn, Mary Radford, Chris Rasumussen, Mary Reed, SimoneNicole Renshaw, Chris Reyna, Pierre Rissient, Paula Romano, Fred
Roos, David Ross, Mike Runagall, Sabucat Productions, Mike
Schlesinger, Schneider Optics, Inc., Russell Schwartz, William
Scott, Peter Sellars, Jan Sharp, Todd Simon, John Sloss, Sofia
Sondervan, Sony, Sony Entertainment, Sony Pictures Classics,
Sean Stansberry, Milos Stehlik, Joseph Steinberg, Dennis Stone,
Sydney Stowe, Strand Releasing, Chelsey Summey, Cynthia Swartz,
Meredith Swinson, John Switzer, Charles Tabesh, Tartan Films,
Larry Taub, ThinkFilm, David Thompson, David Thomson, Annie
Tlusty, Virginia Todd, Turing Studio, Turner Classic Movies, Mike
Uchida, Unifrance USA, Universal Classics, Katrina Wahlbrink, The
Walt Disney Company, Warner Bros., Warner Bros. Independent,
The Weinstein Company, Beth Weiss, Ryan Werner, Wild Bunch,
The Wire, Portsmouth, NH, David Wiswell, Cary Woods, Tom
Wright, Sabina Wynn, Caroline Yeager, Dwain Young, Jayna
Zelman, Zoetrope Aubry Productions (ZAP).
221 South Oak, Stephen Allen, ALSCO - American Linen Division,
ARF Communications, ASAP, Baked in Telluride, Stephanie Balter,
Barclay’s Cakes, Gary Bennett, Richard Betts, Barbara Braintree,
Sid Brotman, Andrew Brown, Jeff Bush, Seth Cagin, Canyon
Flower Farm, CCAASE, Justin Chandler, Cimarron Lodge, Cindy
Bread, Tom Clark, Clifton Design, La Cocina de Luz, Connie Colter,
Barclay Daranyi, Bill de Alva, Mona de Alva, Neal Elinoff, Bill
Ellison, Dave Erickson, Anna and Hayden Fake, Davis Fansler, Ray
Farnsworth, Flora Flagalula, Zachary Frangos, Peter Garber, Eliza
Gavin, Gigi Gerlach, Mark Goldberg, Jerry Green, Kathy Green,
Jim Hamilton, Shawna Hartley, Richard Haselton, Phil Hayden,
Danny Herringe, Rick “Q” Herrington, Gary Hickcox, Jane
Hickcox, Mick Hill, HOA, Kevin Holbrook, Kristin Holbrook, Kris
Holstrum, Travis Julia, Tom Kenning, Mark Krasic and Elyssa
Kerins, Mark King, Heather Knox-Rommel, KOTO-fm, Krasic’s
Cuisine Inc., Chuck Kroger, Laidlaw Transit, Inc., Linda Levin,
Robert & Ronny Levine, Gary Lisbon, Henry Lystad, Kathy
Mahoney, Paul Major, Ross Martin, Courtney McClary, Fletcher
McCusker, Bill Mills, Tom and Val Mortell, Mountain Village Metro
Services District, Mountain Village Town Council, MountainFilm,
Peter Mueller, New Sheridan Chop House, Night and Day
Janitorial, Jack Pera, Wes Perrin, Lucas Price, Pride and Joy, Jeff
Proteau, Red Hat Foods, Gary Richard, Jim Riley, Rocky Mountain
Ice, Dick Rodgers, Linda Rodgers, Wendy Rodriguez, Albert Roer,
Dean Rolley, Mary Rubadeau, Rich and Liz Salem, San Miguel
Electric, San Miguel Power Association, Bruce Sanders, Don Semi,
Sheridan Arts Foundation, Kurt Shugars, Skyline Ranch, Steve
Smith, Specialty Sports Ventures, LLC, Mike Spilman, Steaming
Bean Coffee Co., Sysco Intermountain Food Services, Inc., Marta
Tarbell, Tom Taylor, TCAH, TCTV-Channel 12, Telluride Crosscut,
LLC, Telluride Elementary School, Telluride Gondola Crew,
Telluride Gondola Transportation Board, Telluride Lift Operations,
Telluride Locksmith, Telluride Masonic Lodge, Telluride Medical
Center, Telluride Middle/High School, Telluride Public Schools,
Telluride R-1 School Board, Telluride R-1 School District, Telluride
Schools Athletic Department, Telluride Ski and Golf Company,
Telluride Ski and Snowboard Club, Telluride Ski Instructors,
Telluride Ski Patrol, Telluride Sports, Telluride Town Council,
Telluride Volunteer Fire Department, Jim Thalman, Timberline Ace
Hardware, Town of Mountain Village, Town of Telluride, Town of
Telluride Marshal’s Department, Town of Telluride Parks and Rec
Department, TSG Holdings, United National Foods, Viking
Rentals, David Wadley, Kathleen Walsh, Alexa Warren, Tina
Whatcott, Bruce White, Fritz and Dietz Woehle, Mollye Wolahan,
Thomas Zoline.
Graceland 28
High Maintenance 28
I Want to Be a Pilot 29
Marilena de la P7 29
Rabbit 30
Run 29
Substitute 28
The Tube with a Hat 29
Useless Dog 29
When We Are Big 30
Wolves in the Woods 28
Your Dark Hair Ihsan 28
Information & Special Events
Apple Studio 34
Brigadoon 27
City Lights Project 28
Conversations 33
Festivities 34-35
Filmanthropy 42-44
Filmmakers of Tomorrow 28-29
Gathering Places 27
Grand Opening: Le Pierre 34
Guest Director: Jean-Pierre Gorin 20
Hospitality 27
Information 22-23
Labor Day Picnic 35
Le Feed 34
Made on a Mac 32
Memorabilia 27
Patrons and Sponsors 45
Poster Artist: John Canemaker 1
Poster Signing: John Canemaker 35
The Rules 26
Schedule 23-26
Seminars 33
Show People 36-39
SHOWcase for Shorts 30
Side Shows 19
Special Medallion: David Thomson 31
Sponsors 40-41
Student Symposium 28
Thanks 46-47
Ticket/Pass/Venue Information 22-23
Windjammer Raffle 35
Short Films
Als Wij Groot Zijn 30
Bawke 29
Burst 29
Carmichael & Shane 30
Changes 30
Cross Your Eyes Keep Them Wide 28
Dead Letters 29
Delivery 29
Din of Celestial Birds 30
Dreams and Desires–Family Ties 30
The Eyes of Alicia 29
Film Noir 30
The 34th Telluride Film Festival
will be held Aug 31 - Sept 3, 2007
©2006 The National Film Preserve, Ltd.
379 State Street
Portsmouth, NH 03801 USA
Telephone: 603.433.9202
Fax: 603.433.9206
Printed by Vermillion, www.vermillion-inc.com
Babel 17
Charmed Lives 4
Civic Life 8
Day Night Day Night 10
Deep Water 16
Directed by John Ford 19
Dodsworth 13
Don’t Move 19
The Emperor’s Naked Army Marches On 18
Fur 12
Ghosts of Cité Soleil 12
The Golden Age of Alexander Korda 4
Indigènes 18
Infamous 7
The Italian 5
Jean Grémillon retrospective 21
Jindabyne 4
The Last King of Scotland 14
Little Children 15
The Lives of Others 11
Lonesome 16
Lumière d’été 21
Maldone 21
Murch 3
No Third Copy 19
The Page Turner 8
Passio 15
Playtime 14
Prescription for Cinema: Gorin on
Grémillon 21
Remorques 21
The Sentimental Bloke 11
Severance 17
Signs 19
Ten Canoes 9
A Tribute to Penélope Cruz 6
A Tribute to Rolf de Heer 9
A Tribute to Walter Murch 3
12:08 East of Bucharest 10
20,000 Streets Under the Sky 7
The U.S. vs. John Lennon 13
Venus 5
Volver 6
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