NEW YORK -- Arthouse Films has nabbed worldwide rights to The Cool School: How Los Angeles Learned to Love Modern Art, a documentary narrated by Jeff Bridges.
Morgan Neville's feature includes interviews with Dennis Hopper, Frank Gehry, Dean Stockwell, Roy Lichtenstein and several other artists about Los Angeles' seminal Ferus Gallery and its impact on the post-World War II art world.
The docu had its world premiere in competition at this month's Los Angeles Film Festival. It examines the work of Andy Warhol, Ed Ruscha, Ed Kienholz, Craig Kauffman, Wallace Berman, Ed Moses and Robert Irwin and other notable artists whose careers were launched from the gallery during its 1957-68 heyday.
Arthouse plans a national platform release of the film early next year, followed by a DVD release via its home video arm. The film will also be broadcast as part of PBS' Independent Lens series during the 2007-08 season.
The film was produced by Independent Television Service and Tremolo Prods.
Morgan Neville's feature includes interviews with Dennis Hopper, Frank Gehry, Dean Stockwell, Roy Lichtenstein and several other artists about Los Angeles' seminal Ferus Gallery and its impact on the post-World War II art world.
The docu had its world premiere in competition at this month's Los Angeles Film Festival. It examines the work of Andy Warhol, Ed Ruscha, Ed Kienholz, Craig Kauffman, Wallace Berman, Ed Moses and Robert Irwin and other notable artists whose careers were launched from the gallery during its 1957-68 heyday.
Arthouse plans a national platform release of the film early next year, followed by a DVD release via its home video arm. The film will also be broadcast as part of PBS' Independent Lens series during the 2007-08 season.
The film was produced by Independent Television Service and Tremolo Prods.
- 6/29/2007
- The Hollywood Reporter - Movie News
Los Angeles residents who watched the spectacle of the massive Getty Center slowly rising on a hilltop off the San Diego Freeway will no doubt find much of interest in the latest documentary effort from Maysles Films. "Concert of Wills", which should also fascinate museum and architecture buffs, documents the compromises and difficulties involved in creating one of the nation's foremost museums. It is receiving its U.S. theatrical premiere at New York's Film Forum.
The six-building complex, 14 years in the making (like the film), resulted from the clash and concordance among the visions of various figures, including renowned modernist architect Richard Meier, famous for his white, minimalist creations; San Diego artist Robert Irwin, designer of the museum's central garden; French architect Thierry Despont, assigned with providing warmth to the building's interior spaces; Getty executives, led by strong-willed museum director John Walsh; and residents of Brentwood, who had their own ideas of what should and what shouldn't be done.
"Concert of Wills", commissioned by the Getty Trust, depicts the aesthetic and business struggles in detailed fashion, with the filmmakers obviously given free reign to document the process and personalities involved.
At times, what occurs is engrossing, particularly the inevitable conflicts between Meier's distinctive vision and the demands placed on him by the Getty people. At other times, the film is more than a bit dry; lengthy sequences involving community zoning processes and minute architectural details like the placement of a door could have been trimmed for better effect. "Concert of Wills" succeeds, however, in demonstrating its overriding theme -- that, at least in this case, collaboration and compromise led to a successful conclusion.
CONCERT OF WILLS: MAKING THE GETTY CENTER
Maysles Films Inc.
Director-screenwriters: Susan Froemke, Bob Eisenhardt, Albert Maysles
Producer: Susan Froemke
Directors of photography: Albert Maysles, Christopher Lanzenberg, Christian Blackwood, Robert Richman, Giogio Urbinelli
Editor: Bob Eisenhardt
Music: Joel Goodman
Color
Running time -- 100 minutes
No MPAA rating...
The six-building complex, 14 years in the making (like the film), resulted from the clash and concordance among the visions of various figures, including renowned modernist architect Richard Meier, famous for his white, minimalist creations; San Diego artist Robert Irwin, designer of the museum's central garden; French architect Thierry Despont, assigned with providing warmth to the building's interior spaces; Getty executives, led by strong-willed museum director John Walsh; and residents of Brentwood, who had their own ideas of what should and what shouldn't be done.
"Concert of Wills", commissioned by the Getty Trust, depicts the aesthetic and business struggles in detailed fashion, with the filmmakers obviously given free reign to document the process and personalities involved.
At times, what occurs is engrossing, particularly the inevitable conflicts between Meier's distinctive vision and the demands placed on him by the Getty people. At other times, the film is more than a bit dry; lengthy sequences involving community zoning processes and minute architectural details like the placement of a door could have been trimmed for better effect. "Concert of Wills" succeeds, however, in demonstrating its overriding theme -- that, at least in this case, collaboration and compromise led to a successful conclusion.
CONCERT OF WILLS: MAKING THE GETTY CENTER
Maysles Films Inc.
Director-screenwriters: Susan Froemke, Bob Eisenhardt, Albert Maysles
Producer: Susan Froemke
Directors of photography: Albert Maysles, Christopher Lanzenberg, Christian Blackwood, Robert Richman, Giogio Urbinelli
Editor: Bob Eisenhardt
Music: Joel Goodman
Color
Running time -- 100 minutes
No MPAA rating...
- 8/27/1998
- The Hollywood Reporter - Movie News
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