Anthology Film Archives - Calendar Events http://anthologyfilmarchives.org An international center for the preservation, study, and exhibition of film and video with a particular focus on American independent and avant-garde cinema and its precursors found in classic European, Soviet and Japanese film. en-us Sat, 28 Mar 2015 01:10:47 -0400 DEATH LAID AN EGG (aka PLUCKED) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43972 <p>(LA MORTE HA FATTO L&rsquo;UOVO)<br /><br />Archival print courtesy of the UNCSA Moving Image Archives.<br /><br />Giulio Questi&rsquo;s giallo-on-acid, a pop art manifesto against mass production, takes the plot of Henri-Georges Clouzot&rsquo;s DIABOLIQUE and turns it into something truly bizarre. Marco (Jean-Louis Trintignant) occupies the center of a love triangle involving his wife (Gina Lollobrigida) and her luscious niece (Ewa Aulin), at the high-tech chicken farm they run &ndash; and this busy man still finds the time to kill prostitutes on the side. This is poultry art at its best!</p> Saturday, March 28 EC: L’ÂGE D’OR http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-44008 <p>Conventional attempts at plot synopsis wither in the face of L&rsquo;&Acirc;GE D&rsquo;OR. In Bu&ntilde;uel&rsquo;s words, &ldquo;The story is a sequence of moral and surrealist aesthetics. The sexual instinct and the sense of death form the substance of the film. It is a romantic film performed in full surrealistic frenzy.&rdquo;</p> Saturday, March 28 TORSO http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43969 <p>(I CORPI PRESENTANO TRACCE DI VIOLENZA CARNALE)<br /><br />Archival print courtesy of the UNCSA Moving Image Archives.<br /><br />A depraved predator is on the loose in the sleepy university town of Perugia where coeds have been turning up brutally murdered. Exchange student Jane (Suzy Kendall) and her friends decide to take a retreat at a secluded villa. What ensues there is worthy of any horror movie textbook, including one astonishing sequence that ranks among the most suspenseful in the genre. A score by Guido and Maurizio De Angelis complete this giallo classic.</p> Saturday, March 28 PAUL SHARITS: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43982 <p>PAUL SHARITS &ndash; RECENT PRESERVATIONS!<br /><br />These shows celebrate Anthology&rsquo;s brand new preservations of multiple works by pioneering filmmaker and early installation artist Paul Sharits. The last several years have seen a resurgence in interest in Sharits and his work, including multiple exhibitions in NYC at Greene Naftali Gallery and a recent retrospective at Fridericianum in Kassel. While a handful of his films screen every year in our Essential Cinema series, the rarely-presented titles included here represent our latest restoration efforts as we continue soldiering through the Sharits collection, which contains camera originals and the best existing materials for his substantial body of work.<br /><br />Sharits&rsquo;s didactic and deeply fascinating ANALYTICAL STUDIES series represents an attempt to document and deconstruct his rigorous work for viewers. These rank as some of his most intense films, which is saying quite a lot if you are familiar with his color flicker aesthetic. DREAM DISPLACEMENT is known primarily as a 4-screen &lsquo;locational&rsquo; installation, but it also exists as a double-projection expanded cinema work, and will be screened here in that form. VERTICAL CONTIGUITY, another double-projection piece, is a film that he never put into proper distribution. WORD MOVIE and PIECE MANDALA/END WAR, two more widely-seen classics from his early Fluxus days, will be presented alongside videos made in the 1980s. FIGMENT I: FLUXGLAM VOYAGE IN SEARCH OF THE REAL MACIUNAS is essentially a transfer of very revealing home movies shot in the 1970s and 80s on Super 8, while the assaultive RAPTURE is guaranteed to be like nothing that you have ever seen. It ranks as a true must see.<br /><br />All films and videos preserved by Anthology Film Archives.<br /><br />Special thanks to the Estate of Paul Sharits, The Film Foundation, the National Film Preservation Foundation, Greene Naftali Gallery, the Albright-Knox Art Gallery, and Chris Hughes &amp; Laura Major (Colorlab), Michael Kolvek (Cinema Arts), and Simon Lund (Cineric).<br /><br />PROGRAM 2:<br />DREAM DISPLACEMENT (1976, 25 min, double 16mm projection)<br />Special thanks to the Albright-Knox Art Gallery, Buffalo, NY<br />ANALYTICAL STUDIES II: UN-FRAMED LINES (1971-76, 30 min, 16mm)<br />AXIOMATIC GRANULARITY (1972-73, 20 min, 16mm)<br />Total running time: ca. 80 min.</p> <p>&nbsp;</p> Saturday, March 28 FOUR FLIES ON GREY VELVET http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43975 <p>(4 MOSCHE DI VELLUTO GRIGIO)<br /><br />A musician accidentally kills the stalker who had been menacing him over the phone. The killing is witnessed by a masked figure, and soon the musician is being blackmailed. One by one everyone around him turns up dead, making him the prime suspect. In this final installment of the ANIMAL TRILOGY, Argento takes his visual stylistics and set pieces to another level. Long unavailable, the film is presented in a rare archival 35mm print. Starring Michael Brandon and Mimsy Farmer.</p> Saturday, March 28 THE SECRET LIFE OF…ANTHOLOGY FILM ARCHIVES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43994 <p>A once-a-calendar opportunity to take a peek at the teeming hive of creativity hiding behind the scenes at Anthology, thanks to the film- and video-making efforts of AFA&rsquo;s staff, friends, fellow-travelers, and devotees.</p> Saturday, March 28 EC: LOS OLVIDADOS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-44009 <p>Bu&ntilde;uel&rsquo;s unsentimental view of Mexico&rsquo;s poor, with equal parts of cruelty and surrealism. A sort of sequel to LAND WITHOUT BREAD.</p> Sunday, March 29 TENEBRAE http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43947 <p>(TENEBRE)<br /><br />Archival print courtesy of the Academy Film Archive.<br /><br />An American writer travels to Rome to present his new novel only to find himself implicated in a killing spree whose perpetrator is taking cues from his book. In one of his most personal films, the master of horror fires back at the wave of criticism that he was facing at the time. Featuring an outstanding score by Goblin (DEEP RED, SUSPIRIA), an infamous crane shot, and one of the most memorable chase scenes between man and dog ever filmed, this rare uncut 35mm print of TENEBRAE is not to be missed!</p> Sunday, March 29 PAUL SHARITS: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43984 <p>PAUL SHARITS &ndash; RECENT PRESERVATIONS!<br /><br />These shows celebrate Anthology&rsquo;s brand new preservations of multiple works by pioneering filmmaker and early installation artist Paul Sharits. The last several years have seen a resurgence in interest in Sharits and his work, including multiple exhibitions in NYC at Greene Naftali Gallery and a recent retrospective at Fridericianum in Kassel. While a handful of his films screen every year in our Essential Cinema series, the rarely-presented titles included here represent our latest restoration efforts as we continue soldiering through the Sharits collection, which contains camera originals and the best existing materials for his substantial body of work.<br /><br />Sharits&rsquo;s didactic and deeply fascinating ANALYTICAL STUDIES series represents an attempt to document and deconstruct his rigorous work for viewers. These rank as some of his most intense films, which is saying quite a lot if you are familiar with his color flicker aesthetic. DREAM DISPLACEMENT is known primarily as a 4-screen &lsquo;locational&rsquo; installation, but it also exists as a double-projection expanded cinema work, and will be screened here in that form. VERTICAL CONTIGUITY, another double-projection piece, is a film that he never put into proper distribution. WORD MOVIE and PIECE MANDALA/END WAR, two more widely-seen classics from his early Fluxus days, will be presented alongside videos made in the 1980s. FIGMENT I: FLUXGLAM VOYAGE IN SEARCH OF THE REAL MACIUNAS is essentially a transfer of very revealing home movies shot in the 1970s and 80s on Super 8, while the assaultive RAPTURE is guaranteed to be like nothing that you have ever seen. It ranks as a true must see.<br /><br />All films and videos preserved by Anthology Film Archives.<br /><br />Special thanks to the Estate of Paul Sharits, The Film Foundation, the National Film Preservation Foundation, Greene Naftali Gallery, the Albright-Knox Art Gallery, and Chris Hughes &amp; Laura Major (Colorlab), Michael Kolvek (Cinema Arts), and Simon Lund (Cineric).<br /><br />PROGRAM 3:<br />VERTICAL CONTIGUITY (1974, 15 min, double 16mm projection)<br />WORD MOVIE (FLUXFILM 29) (1966, 4 min, 16mm)<br />PIECE MANDALA/END WAR (1966, 5 min, 16mm)<br />ANALYTICAL STUDIES III: COLOR FRAME PASSAGES (1973-74, 21 min, 16mm)<br />ANALYTICAL STUDIES IV: BLANK COLOR FRAMES (1975-76 15 min, 16mm)<br />ANALYTICAL STUDIES III and IV preserved by Anthology Film Archives through the Avant-Garde Masters program funded by The Film Foundation and administered by the National Film Preservation Foundation.<br /><br />Total running time: ca. 65 min.</p> Sunday, March 29 THE SHORT NIGHT OF GLASS DOLLS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43956 <p>(LA CORTA NOTTE DELLE BAMBOLE DI VETRO)<br /><br />Filmed in Prague, Aldo Lado&rsquo;s startling debut feature begins with an American journalist finding himself in a morgue, pronounced dead yet fully conscious. Racing against the clock as his doctors prepare for his autopsy, he struggles to mentally reconstruct the series of events that brought him to this sorry pass, and caused his girlfriend to go missing. The most political of the Giallo directors, Lado delivers his message without giving short shrift to the chills and thrills the genre demands.</p> Sunday, March 29 PAUL SHARITS: PROGRAM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43986 <p>PAUL SHARITS &ndash; RECENT PRESERVATIONS!<br /><br />These shows celebrate Anthology&rsquo;s brand new preservations of multiple works by pioneering filmmaker and early installation artist Paul Sharits. The last several years have seen a resurgence in interest in Sharits and his work, including multiple exhibitions in NYC at Greene Naftali Gallery and a recent retrospective at Fridericianum in Kassel. While a handful of his films screen every year in our Essential Cinema series, the rarely-presented titles included here represent our latest restoration efforts as we continue soldiering through the Sharits collection, which contains camera originals and the best existing materials for his substantial body of work.<br /><br />Sharits&rsquo;s didactic and deeply fascinating ANALYTICAL STUDIES series represents an attempt to document and deconstruct his rigorous work for viewers. These rank as some of his most intense films, which is saying quite a lot if you are familiar with his color flicker aesthetic. DREAM DISPLACEMENT is known primarily as a 4-screen &lsquo;locational&rsquo; installation, but it also exists as a double-projection expanded cinema work, and will be screened here in that form. VERTICAL CONTIGUITY, another double-projection piece, is a film that he never put into proper distribution. WORD MOVIE and PIECE MANDALA/END WAR, two more widely-seen classics from his early Fluxus days, will be presented alongside videos made in the 1980s. FIGMENT I: FLUXGLAM VOYAGE IN SEARCH OF THE REAL MACIUNAS is essentially a transfer of very revealing home movies shot in the 1970s and 80s on Super 8, while the assaultive RAPTURE is guaranteed to be like nothing that you have ever seen. It ranks as a true must see.<br /><br />All films and videos preserved by Anthology Film Archives.<br /><br />Special thanks to the Estate of Paul Sharits, The Film Foundation, the National Film Preservation Foundation, Greene Naftali Gallery, the Albright-Knox Art Gallery, and Chris Hughes &amp; Laura Major (Colorlab), Michael Kolvek (Cinema Arts), and Simon Lund (Cineric).<br /><br />PROGRAM 4:<br />FIGMENT I: FLUXGLAM VOYAGE IN SEARCH OF THE REAL MACIUNAS<br />(1977-86, 104 min, Super 8mm-to-video. Digitized by Anthology Film Archives.)</p> Sunday, March 29 THE PSYCHIC (aka SEVEN NOTES IN BLACK) http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43966 <p>(SETTE NOTE IN NERO)<br /><br />Following a premonition, a clairvoyant woman (Jennifer O&rsquo;Neil) tears down a wall in her husband&rsquo;s country house and discovers a skeleton. Preyed upon by terrifying visions, she sets out to find the truth with the help of a psychologist (Marc Porel), only to realize that her own life might be in danger. One of Fulci&rsquo;s tightest works, this rare parapsychic horror gem features a score by Franco Bixio, Fabio Frizzi, and Vince Tempera.</p> Sunday, March 29 ALEXANDER MACKENDRICK’S ‘A HIGH WIND IN JAMAICA’ http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43992 <p>AFA MEMBERS-ONLY &ndash; FREE SCREENING!<br />Once every calendar we offer a special, AFA Members-Only screening, featuring sneak-previews of upcoming features, programs of rare materials from Anthology&rsquo;s collections, in-person filmmaker presentations, and more! The benefits of an Anthology membership have always been plentiful: free admission to over 100 Essential Cinema programs, reduced admission to all other shows, discounted AFA publications. But with these screenings &ndash; free and open only to members &ndash; we sweeten the pot even further.<br /><br />With Anthony Quinn, James Coburn, and Dennis Price. Archival print courtesy of 20th Century Fox.<br /><br />A rare instance of a great work of literature whose Hollywood adaptation is a masterpiece in its own right, A HIGH WIND IN JAMAICA is based on the 1929 novel by Richard Hughes, a peerlessly entertaining high-seas tale that is both a delightful children&rsquo;s adventure story and a disturbing portrait of youthful destructiveness. No one could have been better suited to film Hughes&rsquo;s novel than Alexander Mackendrick, whose versatility and deft handling of tone had already been amply demonstrated by his work making classic (often dark) comedies for England&rsquo;s legendary Ealing Studios (THE MAN IN THE WHITE SUIT, THE LADYKILLERS) as well as the caustic SWEET SMELL OF SUCCESS, one of the greatest films to emerge from 1950s Hollywood. Mackendrick nails both the rollicking enjoyment of Hughes&rsquo;s novel, as well as its increasingly dark undertones, which deepen but never interfere with the ebullient storytelling. HIGH WIND tells the story of a group of British children whose return from colonial Jamaica hits a major snag when they&rsquo;re inadvertently captured by a band of pirates led by Anthony Quinn and first-mate James Coburn. What appears at first to be a story of vulnerable innocents in danger slowly but surely transforms into a much more complicated, subversive portrait of childhood, as the kids&rsquo; ruthlessly anarchic spirit shifts the power dynamic in their favor.<br /><br /><strong>Beer and pizza reception at 7:00!</strong></p> Monday, March 30 FLAHERTY NYC: PROGRAM 6: THE MOTHERHOOD ARCHIVES: IRENE LUSZTIG http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=03&year=2015#showing-43810 <p>Irene Lusztig&rsquo;s film, THE MOTHERHOOD ARCHIVES, explores the history of efforts to discipline and control the body of pregnant women. Lusztig spent five years assembling an extraordinary archive of over 100 educational, industrial, and medical training films and, in her inimitable style, editing this material into THE MOTHERHOOD ARCHIVES, a hidden history of childbirth in the twentieth century. Through the process, Lusztig highlights the uncomfortable and little-discussed ambivalence that many women feel about producing children, those most precious of objects.<br /><br />Irene Lusztig<br />THE MOTHERHOOD ARCHIVES<br />(2014, 91 min, digital)<br /><br /><strong><em>Lusztig will be here in person.<br />This program is a co-presentation with Triple Canopy.<br /><br /></em></strong>This project is a collaboration with Eugene Lang College The New School for Liberal Arts, and made possible with generous support from The Andrew W. Mellon Foundation and The Mrs. Giles Whiting Foundation.<br />This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. <br /><strong><em></em></strong></p> Tuesday, March 31 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44156 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, April 01 WOJCIECH BĄKOWSKI: SOLILOQUIES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44144 <p>&ldquo;This is the first New York retrospective of Polish visual artist, musician, and poet Wojciech Bąkowski, whose camera-less films and animated video works explore the disturbance, absurdity, and pathos of human existence. Bąkowski&rsquo;s dry but lyrical and, at times, grotesquely humorous monologues bring to light the ways in which we struggle to perceive reality. He reacts to his surroundings without evaluating them, but describes his inner landscape &ndash; the states of his thought and spirit. His work employs minimalist but laborious means of production, and takes on Optical-kinetic Art abstraction: moving patterns, warping geometric forms, animated objects, and reversible perspectives. Cellphones, clocks, magnetic tapes, cassette recorders, and trains become distorted, tyrannical noises that incisively permeate the private space. The austerity of a Bauhaus and Vkhutemas (the Soviet-era art and technical school) approach to aesthetic and socio-economic design and intellectualism pervades Bąkowski&rsquo;s &lsquo;degenerate art.&rsquo; The lack of emotion and intonation in his voice, the pauses, and the inexorable image-sound repetitions are doomed signs of metaphysical and political fate. With dismayed breath, he hopes for the creation of a new world built upon social interconnectivity, and the essential role of memory. The program combines a representative selection of his collage-films, which emphasize boredom as a transgressive attitude, and of his SPOKEN MOVIE series &ndash; Moholy-Nagy-like videos that represent personal experiences at the edge of a mental space where light and darkness collide.&rdquo; &ndash;M&oacute;nica Savir&oacute;n<br /><br />Organized in partnership with the Ann Arbor Film Festival, the National Gallery of Art, Washington, DC, and the Museum of the Moving Image, and curated by M&oacute;nica Savir&oacute;n. Special thanks to the Polish Cultural Institute New York, Audio Visual Arts (AVA), and Bureau.<br /><br /><strong><em>Wojciech Bąkowski will appear alongside curator M&oacute;nica Savir&oacute;n, and Łukasz Mojsak of the Filmoteka Muzeum, Warsaw<br /><br /></em></strong>EXERCISES FOR TRUE FRIENDS (2011, 14.5 min, digital, b&amp;w)<br />SPOKEN MOVIE 4 (2009, 12.5 min, 35mm-to-digital, b&amp;w)<br />CONSTRUCTION OF THE DAY (2013, 9 min, digital, b&amp;w)<br />ARE YOU GOING WITH ME? (2007, 13 min, 35mm-to-digital)<br />LOVE (2009, 5 min, digital)<br />SPOKEN MOVIE 2 (2008, 8 min, 35mm-to-digital)<br />FEAR (2005, 4 min, 35mm-to-digital, b&amp;w)<br />SPOKEN MOVIE 6 (2011, 6 min, digital, b&amp;w)<br />MAKING NEW WORLDS INSTEAD OF FORGETTING ABOUT IT (2010, 5.5 min, digital, b&amp;w)<br />Total running time: ca. 80 min.</p> Thursday, April 02 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44067 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Friday, April 03 IT CAN ONLY BE JOE GIBBONS: PROGRAM 1 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44162 <p>Lately he is famous for all the wrong reasons, but since the mid-1970s Joe Gibbons has been one of the most exceptional filmmakers around, avant-garde or otherwise. He is a visual and verbal comedic conceptualist whose entirely original films and videos center on a character named Joe Gibbons, a guy forced to deal with all manner of predicaments and impediments as he does his best to live in the world. A born performer with an unparalleled aptitude for storytelling and word play, Gibbons&rsquo;s disturbingly funny fictionalized self-portrayals have proven to be among the smartest and definitely quirkiest works of his generation. Truly a legend among his peers, and an artist whose output has always been too hard to see, Gibbons is a gentle sort of punk who makes the rarest of things: deeply entertaining experimental films.<br /><br />These four programs include new and recently completed 16mm blow-ups of classic Super 8 movies, stand-out video productions, and newly digitized works from his vast back catalog. All proceeds from the screenings will support Joe's health, food, clothing, and shelter requirements during his time of need. More info on how to help Joe can be found at: https://life.indiegogo.com/fundraisers/the-friends-of-joe-gibbons<br /><br />&ldquo;I guess in most drama there&rsquo;s some kind of flaw that drives the drama and I think by exaggerating things, I mean, I play pretty messed up characters, but there are aspects that everybody to a greater or lesser degree exhibits, especially the psychopathic ones; people can identify with that. So many movies are made involving these characters. I started out making more abstract films or structural films and it wasn&rsquo;t until I discovered using myself as material that I thought I had something. But I had to keep making more, I needed content. By finding flaws and working on those that was a goldmine.&rdquo; &ndash;Joe Gibbons<br /><br />Special thanks to Video Data Bank, Lily Sheng, Anne Turyn, Deborah Meehan, Bard College, Peggy Ahwesh, Keith Sanborn, Marj Thomas, and Tony Oursler.<br /><br />PROGRAM 1:<br />PRESENCES<br />(1974-90, 45 min, Super 8mm-to-16mm blow-up. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />A long-term project started in the 1970s, PRESENCES compiles a series of portrait films featuring the filmmaker&rsquo;s colleagues, friends, and family. A stepchild of sorts to Andy Warhol&rsquo;s SCREEN TESTS, in these silent films Gibbons places each subject in front of a Super 8 camera and then exits the room, leaving his stars to their own devices. Look out for the filmmaker&rsquo;s parents, filmmakers Peter Kubelka and Tony Conrad, and many other faces from the filmmaker&rsquo;s past.<br /><br />SPYING<br />(1977-78, 31.5 min, Super 8mm-to-16mm blow-up. Preserved by Bard College with support from the National Film Preservation Foundation.)<br />An acknowledged early masterpiece that foreshadowed many of the ongoing concerns that would arise in later Gibbons films. &ldquo;Too controversial to describe in detail, this film reveals the underlying voyeuristic nature of the cinema-phile.&rdquo; &ndash;Joe Gibbons<br />&ldquo;An exercise in applied voyeurism &ndash; a hilariously perverse MAN WITH A MOVIE CAMERA &ndash; in which the filmmaker secretly observes his neighbors (and their pets) sunbathing, gardening, or gazing out of the window.&rdquo; &ndash;J. Hoberman, VILLAGE VOICE<br /><br />Total running time: ca. 80 min.</p> Friday, April 03 A BUCKET OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44091 <p><strong><em>DICK &amp; LAINIE MILLER IN PERSON ON FRI, APRIL 3!<br /><br /></em></strong>In his most famous (and regrettably one of his very few) starring roles, Miller shines as Walter Paisley, an aspiring beatnik who stumbles on art-world success when he accidentally kills his landlady&rsquo;s cat and, on a whim, covers it in clay. After passing the result off as a genuine sculpture he&rsquo;s proclaimed an artistic genius. But soon he finds himself pursuing increasingly desperate and horrific means to produce new sculptures and maintain his artistic glory. A BUCKET OF BLOOD is an ingenious satire of counter-cultural pretension, and among the highpoints of Corman and Miller&rsquo;s careers.<br /><br />Plus:<br />Agnieszka Kurant THE CUTAWAYS (2013, 24 min, digital)<br />CUTAWAYS focuses on characters who ended up on the cutting-room floor. Produced in collaboration with the renowned film editor, Walter Murch, and starring Dick Miller, Charlotte Rampling, and Abe Vigoda in their original roles from PULP FICTION, VANISHING POINT and THE CONVERSATION, respectively, it stages a meeting of these phantom characters.</p> Friday, April 03 SORORITY GIRL http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44094 <p><strong><em>DICK &amp; LAINIE MILLER IN PERSON ON SAT, APRIL 4!<br /><br /></em></strong>One of the earliest films in both Corman&rsquo;s and Dick Miller&rsquo;s filmographies, SORORITY GIRL is a scathingly brutal cheapie that traces the downward spiral of spoiled, sociopathic rich girl Sabra (Susan Cabot). Schooled in emotional stuntedness and inhumanity by her haughty, hateful mother, she wreaks havoc on her fellow sorority members at the University of Southern California, shamelessly exploiting and persecuting them. Typically for Corman, what would have been a cynical exploitation film in almost anyone else&rsquo;s hands is, despite the conditions of its production, a blunt but remarkably perceptive portrait of a sociopath &ndash; though there&rsquo;s bitchy fun to be had too!</p> Saturday, April 04 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44068 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Saturday, April 04 IT CAN ONLY BE JOE GIBBONS: PROGRAM 2 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44164 <p>Lately he is famous for all the wrong reasons, but since the mid-1970s Joe Gibbons has been one of the most exceptional filmmakers around, avant-garde or otherwise. He is a visual and verbal comedic conceptualist whose entirely original films and videos center on a character named Joe Gibbons, a guy forced to deal with all manner of predicaments and impediments as he does his best to live in the world. A born performer with an unparalleled aptitude for storytelling and word play, Gibbons&rsquo;s disturbingly funny fictionalized self-portrayals have proven to be among the smartest and definitely quirkiest works of his generation. Truly a legend among his peers, and an artist whose output has always been too hard to see, Gibbons is a gentle sort of punk who makes the rarest of things: deeply entertaining experimental films.<br /><br />These four programs include new and recently completed 16mm blow-ups of classic Super 8 movies, stand-out video productions, and newly digitized works from his vast back catalog. All proceeds from the screenings will support Joe's health, food, clothing, and shelter requirements during his time of need. More info on how to help Joe can be found at: https://life.indiegogo.com/fundraisers/the-friends-of-joe-gibbons<br /><br />&ldquo;I guess in most drama there&rsquo;s some kind of flaw that drives the drama and I think by exaggerating things, I mean, I play pretty messed up characters, but there are aspects that everybody to a greater or lesser degree exhibits, especially the psychopathic ones; people can identify with that. So many movies are made involving these characters. I started out making more abstract films or structural films and it wasn&rsquo;t until I discovered using myself as material that I thought I had something. But I had to keep making more, I needed content. By finding flaws and working on those that was a goldmine.&rdquo; &ndash;Joe Gibbons<br /><br />Special thanks to Video Data Bank, Lily Sheng, Anne Turyn, Deborah Meehan, Bard College, Peggy Ahwesh, Keith Sanborn, Marj Thomas, and Tony Oursler.<br /><br />PROGRAM 2:<br />PUNCHING FLOWERS (1976, 2-min excerpt, Super 8mm-to-16mm blow-up. Preserved by Bard College with support from the National Film Preservation Foundation.)<br />Gibbons has no patience for flowers, and here demonstrates what happens when they get in his way.<br /><br />WELTSCHMERZ (1979, 18 min, Super 8mm-to-16mm blow-up. Preserved by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts and the National Film Preservation Foundation.)<br />The filmmaker wallows in misery at a kitchen table, observes those who enjoy life at the beach, and watches television.<br /><br />CONFIDENTIAL PART 2 (1980, 26 min, Super 8mm-to-16mm blow-up. Preserved by Bard College with support from the National Film Preservation Foundation.)<br />&ldquo;Overtly a portrait of the filmmaker confessing his remorse at the scandalous manner in which he gathered material for his near-classic SPYING, here an eerie interpersonal relationship is developed between the filmmaker and his camera which culminates in violence. The &lsquo;sin&rsquo; as act of the imagination and its degenerative effect on the personality.&rdquo; &ndash;Henry Hills<br /><br />GOING TO THE DOGS (1980, 20 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)<br />A quasi-documentary shot in San Francisco about some friends who get into drug-related trouble.<br /><br />DROPPING MONEY (1983, 12 min, Super 8mm-to-digital. Digitized by Anthology Film Archives with support from the Andy Warhol Foundation for the Visual Arts.)<br />This film is exactly what the titles says. The filmmaker has described it as a &ldquo;lark.&rdquo;<br /><br />Total running time: ca. 85 min.</p> Saturday, April 04 GREMLINS - FEATURING A 'GREMLINS' CAST REUNION! http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44097 <p><strong><em>GREMLINS CAST REUNION ON SAT, APRIL 4!<br /><br /></em></strong>With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.<br />Joe Dante&rsquo;s GREMLINS was produced by Spielberg and became a huge hit, but it&rsquo;s no E.T. True, its &lsquo;hero,&rsquo; Gizmo the mogwai, is an adorable, wide-eyed, furry little creature of unknown origins (by way of Chinatown). But, given as a gift to our human protagonist Billy (Zach Galligan), Gizmo comes along with three rules: never expose it to bright light, never get it wet, and never, EVER feed it after midnight. Needless to say, rules (especially in horror movies) are made to be broken, and soon the placid town of Kingston Falls is overrun with murderous, anarchic, and not at all furry Gremlins, who lay a path of destruction which Dante delights in portraying. A bona fide 1980s popcorn-movie classic whose mischievous spirit and Looney Tunes-inspired havoc remain fresh thirty years later, GREMLINS is also graced with one of the best latter-day performances by Dick Miller, as Billy&rsquo;s Gremlins-menaced neighbor Mr. Futterman.<br /><br /><strong>Join us on Sat, April 4 at 9:15 for an historic occasion: GREMLINS cast members Dick Miller, Zach Galligan, and Phoebe Cates will be here in person to present the screening! A limited number of tickets are available now at <a href="http://gremlins.bpt.me/">gremlins.bpt.me </a><br /></strong></p> Saturday, April 04 WAR OF THE SATELLITES http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44100 <p>&ldquo;WAR OF THE SATELLITES attempts Kubrickian themes on a Bowery Boys budget. As humans prepare to leave their planet, an advanced alien race sends down an agent to replace the mild-mannered scientist in charge of the space project. Once again, rebellious youth saves the day, as the professor&rsquo;s assistant (the irrepressible Dick Miller) sees through the deception and takes matters into his own hands. What differentiates Mr. Corman from more dedicated schlockmeisters like William Castle and Jess Franco is his almost unshakable sobriety. He seldom falls back on making fun of his material, preferring instead to play by the rules and with a straight face.&rdquo; &ndash;Dave Kehr, NEW YORK TIMES</p> Sunday, April 05 IT CAN ONLY BE JOE GIBBONS: PROGRAM 3 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44166 <p>Lately he is famous for all the wrong reasons, but since the mid-1970s Joe Gibbons has been one of the most exceptional filmmakers around, avant-garde or otherwise. He is a visual and verbal comedic conceptualist whose entirely original films and videos center on a character named Joe Gibbons, a guy forced to deal with all manner of predicaments and impediments as he does his best to live in the world. A born performer with an unparalleled aptitude for storytelling and word play, Gibbons&rsquo;s disturbingly funny fictionalized self-portrayals have proven to be among the smartest and definitely quirkiest works of his generation. Truly a legend among his peers, and an artist whose output has always been too hard to see, Gibbons is a gentle sort of punk who makes the rarest of things: deeply entertaining experimental films.<br /><br />These four programs include new and recently completed 16mm blow-ups of classic Super 8 movies, stand-out video productions, and newly digitized works from his vast back catalog.&nbsp;All proceeds from the screenings will support Joe's health, food, clothing, and shelter requirements during his time of need. More info on how to help Joe can be found at: https://life.indiegogo.com/fundraisers/the-friends-of-joe-gibbons<br /><br />&ldquo;I guess in most drama there&rsquo;s some kind of flaw that drives the drama and I think by exaggerating things, I mean, I play pretty messed up characters, but there are aspects that everybody to a greater or lesser degree exhibits, especially the psychopathic ones; people can identify with that. So many movies are made involving these characters. I started out making more abstract films or structural films and it wasn&rsquo;t until I discovered using myself as material that I thought I had something. But I had to keep making more, I needed content. By finding flaws and working on those that was a goldmine.&rdquo; &ndash;Joe Gibbons<br /><br />Special thanks to Video Data Bank, Lily Sheng, Anne Turyn, Deborah Meehan, Bard College, Peggy Ahwesh, Keith Sanborn, Marj Thomas, and Tony Oursler.<br /><br />PROGRAM 3:<br />This program is co-presented with Video Data Bank, the longtime distributor of Gibbons&rsquo;s video works, and the source for all the works in this program, with the exception of CONFESSIONS OF A SOCIOPATH.<br /><br />ELEGY (1991, 11 min, video)<br />It&rsquo;s the first day of autumn, and Gibbons can already smell death in the air. Waxing weirdly philosophical, Gibbons satirically tries to impress the concept of mortality on his dog; the video, shot in Pixelvision, approximates his dog&rsquo;s black-and-white vision.<br /><br />FINAL EXIT (2001, 5 min, video)<br />In FINAL EXIT, an aged one is confronted with his options in blunt terms. This video confronts the issues of mortality and advancing decrepitude that faces even the friskiest.<br /><br />HIS MASTER&rsquo;S VOICE (1994, 6 min, video)<br />Gibbons presents a Son of Sam-like relationship between a man and his dog in which the man takes the dog to task for the terrible things he has made him do. Shot in Pixelvision.<br /><br />PRETTY BOY (1994, 3 min, video)<br />Tension between a man and his handsome young rival (a Ken doll) erupts into violence. Their interaction devolves from a series of tussles to a spanking.<br /><br />CONFESSIONS OF A SOCIOPATH<br />(2001, 40 min, video)<br />With a nod to Samuel Beckett&rsquo;s KRAPP&rsquo;S LAST TAPE, Gibbons lets the cat out of the bag with a critical self-diagnosis that is as characteristically funny as it is worrisome. Included in the year&rsquo;s best list by both FILM COMMENT and ARTFORUM, this magnum opus interweaves footage from over 25 years of filmmaking activity into an expertly realized, truly unforgettable piece that is undoubtedly one of Gibbons&rsquo;s most significant achievements.<br /><br />Total running time: ca. 70 min.</p> Sunday, April 05 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44069 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Sunday, April 05 IT CAN ONLY BE JOE GIBBONS: PROGRAM 4 http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44168 <p>Lately he is famous for all the wrong reasons, but since the mid-1970s Joe Gibbons has been one of the most exceptional filmmakers around, avant-garde or otherwise. He is a visual and verbal comedic conceptualist whose entirely original films and videos center on a character named Joe Gibbons, a guy forced to deal with all manner of predicaments and impediments as he does his best to live in the world. A born performer with an unparalleled aptitude for storytelling and word play, Gibbons&rsquo;s disturbingly funny fictionalized self-portrayals have proven to be among the smartest and definitely quirkiest works of his generation. Truly a legend among his peers, and an artist whose output has always been too hard to see, Gibbons is a gentle sort of punk who makes the rarest of things: deeply entertaining experimental films.<br /><br />These four programs include new and recently completed 16mm blow-ups of classic Super 8 movies, stand-out video productions, and newly digitized works from his vast back catalog. All proceeds from the screenings will support Joe's health, food, clothing, and shelter requirements during his time of need. More info on how to help Joe can be found at: https://life.indiegogo.com/fundraisers/the-friends-of-joe-gibbons<br /><br />&ldquo;I guess in most drama there&rsquo;s some kind of flaw that drives the drama and I think by exaggerating things, I mean, I play pretty messed up characters, but there are aspects that everybody to a greater or lesser degree exhibits, especially the psychopathic ones; people can identify with that. So many movies are made involving these characters. I started out making more abstract films or structural films and it wasn&rsquo;t until I discovered using myself as material that I thought I had something. But I had to keep making more, I needed content. By finding flaws and working on those that was a goldmine.&rdquo; &ndash;Joe Gibbons<br /><br />Special thanks to Video Data Bank, Lily Sheng, Anne Turyn, Deborah Meehan, Bard College, Peggy Ahwesh, Keith Sanborn, Marj Thomas, and Tony Oursler.<br /><br />PROGRAM 4:<br />A program featuring selections from the hundreds if not thousands of Super 8 reels that comprise Gibbons&rsquo;s archive. The screening will include completed films, work-in-progress footage, and moments where the filmmaker had his camera in hand. In all cases they are highly revealing, always amusing examples that prove Joe Gibbons to be one of the true masters of small gauge filmmaking.<br /><br />HARVARD SQUARE PLUS MUFFIN RITUAL (ca. 1980s, 11 min, Super 8mm-to-digital)<br />SEA MONKEYS (ca. 1970s, 8 min, Super 8mm-to-digital)<br />WELL I DID IT PT. 2 (ca. 1980s, 3.5 min, Super 8mm-to-digital)<br />DIVERSIONARY TACTICS (ca. 1970s, 5.5 min, Super 8mm-to-digital)<br />PHASE CHANGES (ca. 1970s, 4.5 min, Super 8mm-to-digital)<br />POINTS OF INTEREST (PIKE&rsquo;S PEAK) (ca. 1970s, 8 min, Super 8mm-to-digital)<br />MEASURING POINTING (ca. 1970s, 9 min, Super 8mm-to-digital)<br />and more&hellip;<br /><br />Total running time: ca. 80 min.</p> Sunday, April 05 GREMLINS 2: THE NEW BATCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44103 <p>With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.<br />Rare is a sequel that bests the original, but GREMLINS 2 manages to outsmart and undermine its blockbuster predecessor a hundred times over. A parable for our times (circa 1990), this improbable tale takes place in the towering Manhattan super-building of Clamp Enterprises, where poor furry Gizmo is being used as a guinea pig by gonzo billionaire Daniel Clamp (played with a Donald Trump-like zeal by the rubbery John Glover). Next thing you know Gizmo gets wet and, well, hell breaks loose. Luckily his pals Billy (Zach Galligan), Katie (Phoebe Cates) and Murray (Dick Miller, natch) are there to help save him and New York from the whacked-out antics of the deplorable, deadly Gremlins. Simultaneously a tribute to the great sight gags of Frank Tashlin and a riotous parody of disaster movies in the Irwin Allen mold, this great meta-film is 100% Joe Dante.</p> Sunday, April 05 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44070 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Monday, April 06 HOLLYWOOD BOULEVARD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44106 <p>Print courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive.<br />The directorial debut of both Joe Dante (THE HOWLING, GREMLINS) and Allan Arkush (ROCK &lsquo;N&rsquo; ROLL HIGH SCHOOL), this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman&rsquo;s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD&rsquo;s Walter Paisley!</p> Monday, April 06 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44071 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Tuesday, April 07 THE HOWLING http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44110 <p>With Dee Wallace, Patrick Macnee, Dennis Dugan, Kevin McCarthy, John Carradine, and Slim Pickens.<br />&ldquo;A popular Los Angeles TV reporter is given doctor&rsquo;s orders to visit a remote consciousness-raising retreat called &lsquo;The Colony&rsquo; after a traumatic incident with a serial killer. The bizarre behavior of the residents begins to make sense once the reporter discovers that she is staying amidst a community of werewolves! THE HOWLING is not only a great werewolf movie, but also a witty and knowing commentary on the genre itself. The film is as full of impressive werewolf transformation scenes as of social satire, which is no surprise given that the special effects were done by Rob Bottin (THE THING) and the screenplay was written by John Sayles.&rdquo; &ndash;THE WEXNER CENTER</p> Tuesday, April 07 NEWFILMMAKERS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44157 <p>For full program listings, visit&nbsp;<a href="http://www.newfilmmakers.com" target="_blank">www.newfilmmakers.com</a>.</p> Wednesday, April 08 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44072 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Wednesday, April 08 A BUCKET OF BLOOD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44092 <p><strong><em>DICK &amp; LAINIE MILLER IN PERSON ON FRI, APRIL 3!<br /><br /></em></strong>In his most famous (and regrettably one of his very few) starring roles, Miller shines as Walter Paisley, an aspiring beatnik who stumbles on art-world success when he accidentally kills his landlady&rsquo;s cat and, on a whim, covers it in clay. After passing the result off as a genuine sculpture he&rsquo;s proclaimed an artistic genius. But soon he finds himself pursuing increasingly desperate and horrific means to produce new sculptures and maintain his artistic glory. A BUCKET OF BLOOD is an ingenious satire of counter-cultural pretension, and among the highpoints of Corman and Miller&rsquo;s careers.<br /><br />Plus:<br />Agnieszka Kurant THE CUTAWAYS (2013, 24 min, digital)<br />CUTAWAYS focuses on characters who ended up on the cutting-room floor. Produced in collaboration with the renowned film editor, Walter Murch, and starring Dick Miller, Charlotte Rampling, and Abe Vigoda in their original roles from PULP FICTION, VANISHING POINT and THE CONVERSATION, respectively, it stages a meeting of these phantom characters.</p> Wednesday, April 08 THAT GUY DICK MILLER http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44073 <p>NEW YORK THEATRICAL PREMIERE RUN! DICK MILLER IN PERSON!<br /><br />Distributed by IndieCan Entertainment Canada; special thanks to Ryan Levey and Avi Federgreen.<br /><br />You know the face, and have heard the voice, but just can&rsquo;t figure out where. The character actor&rsquo;s character actor, Dick Miller is nothing short of a living legend to those who delight in his every bit role, in a career that to date encompasses more than 175 feature films and over 2,000 television appearances. The new documentary, THAT GUY DICK MILLER, performs the Nobel-Award-worthy public service of shining a spotlight on this national treasure, one of the most reliably inspired and omnipresent actors of the past 50-plus years.<br /><br />Making his debut in Roger Corman&rsquo;s 1955 western, APACHE WOMAN (in which he was cast as both a cowboy and an Indian!), Miller went on to appear in literally dozens of films produced or directed by Corman over the next few decades. He was a dependable presence in the low-budget wonders released by American International Pictures and Corman&rsquo;s own New World Pictures throughout the 1950s, 60s, and 70s. One can barely imagine iconoclastic director Joe Dante&rsquo;s entire career without Miller, who appears in every single one of his feature films (including PIRANHA, THE HOWLING, and GREMLINS). Add to this already impressive list his work in everything from THE DIRTY DOZEN and TERMINATOR to Samuel Fuller&rsquo;s WHITE DOG and Martin Scorsese&rsquo;s AFTER HOURS and you have a resume that is as bizarre as it is massively impressive. How many actors have such a dynamic and demented range?<br /><br />THAT GUY DICK MILLER incorporates spot-on clips of Dick&rsquo;s copious work as well as interviews featuring colleagues and fans including Corman, Dante, Mary Woronov, Robert Forster, and others. But best of all, it features Dick Miller&rsquo;s story in his own words, as well as those of his irrepressible wife, Lainie, who&rsquo;s been with him since the very start of his career. A candid and hilarious portrait of a great performer who remains, at age 86, as mischievous, irreverent, and talented as ever, THAT GUY DICK MILLER makes it amply clear why &ldquo;that guy&rsquo;s in everything!&rdquo;<br /><br /><strong><em>We&rsquo;re delighted to welcome Dick and Lainie Miller, who will be here in person for opening weekend, Friday &amp; Saturday, April 3 &amp; 4! The opening night screening on Friday, April 3 will be hosted and moderated by Michael Gingold of Fangoria magazine. And director Elijah Drenner will present the screenings on Sunday &amp; Monday, April 5 &amp; 6!<br /><br /></em></strong><strong><em>And we&rsquo;ll be supplementing the run with nightly screenings of films featuring some of Dick Miller&rsquo;s most memorable appearances! Click <a href="../../../film_screenings/series/44089">here</a> for more details.<br /><br />A limited number of tickets are now available at <a href="http://thatguydickmiller.bpt.me/">thatguydickmiller.bpt.me</a><br /></em></strong></p> Thursday, April 09 HOLLYWOOD BOULEVARD http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44107 <p>Print courtesy of the Joe Dante and Jon Davison Collection at the Academy Film Archive.<br />The directorial debut of both Joe Dante (THE HOWLING, GREMLINS) and Allan Arkush (ROCK &lsquo;N&rsquo; ROLL HIGH SCHOOL), this deliriously entertaining pastiche of exploitation film tropes was the result of a bet between producer Jon Davison and Roger Corman that Davison could make the cheapest film yet created for Corman&rsquo;s New World Pictures. Dante and Arkush pulled off this impressive feat by shooting on leftover short ends of raw stock and by freely incorporating footage from previous New World films, including NIGHT CALL NURSES, BIG BAD MAMA, and DEATH RACE 2000. Amongst its many references and homages to drive-in cinema classics, it includes a cameo by Dick Miller reprising his role as BUCKET OF BLOOD&rsquo;s Walter Paisley!</p> Thursday, April 09 GREMLINS http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44170 <p>With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.<br /><br />Joe Dante&rsquo;s GREMLINS was produced by Spielberg and became a huge hit, but it&rsquo;s no E.T. True, its &lsquo;hero,&rsquo; Gizmo the mogwai, is an adorable, wide-eyed, furry little creature of unknown origins (by way of Chinatown). But, given as a gift to our human protagonist Billy (Zach Galligan), Gizmo comes along with three rules: never expose it to bright light, never get it wet, and never, EVER feed it after midnight. Needless to say, rules (especially in horror movies) are made to be broken, and soon the placid town of Kingston Falls is overrun with murderous, anarchic, and not at all furry Gremlins, who lay a path of destruction which Dante delights in portraying. A bona fide 1980s popcorn-movie classic whose mischievous spirit and Looney Tunes-inspired havoc remain fresh thirty years later, GREMLINS is also graced with one of the best latter-day performances by Dick Miller, as Billy&rsquo;s Gremlins-menaced neighbor Mr. Futterman.</p> <p><strong>Please note: The previous screening of THE GREMLINS, on Sat, April 4 at 9:15, will feature an historic occasion: cast members Dick Miller, Zach Galligan, and Phoebe Cates will be here in person to present the screening! Click <a href="../../../film_screenings/calendar?view=list&amp;month=04&amp;year=2015#showing-44097">here</a> for more details.<br /></strong></p> Friday, April 10 GREMLINS 2: THE NEW BATCH http://anthologyfilmarchives.org/film_screenings/calendar?view=list&month=04&year=2015#showing-44104 <p>With Zach Galligan, Phoebe Cates, Corey Feldman, and Dick Miller.<br />Rare is a sequel that bests the original, but GREMLINS 2 manages to outsmart and undermine its blockbuster predecessor a hundred times over. A parable for our times (circa 1990), this improbable tale takes place in the towering Manhattan super-building of Clamp Enterprises, where poor furry Gizmo is being used as a guinea pig by gonzo billionaire Daniel Clamp (played with a Donald Trump-like zeal by the rubbery John Glover). Next thing you know Gizmo gets wet and, well, hell breaks loose. Luckily his pals Billy (Zach Galligan), Katie (Phoebe Cates) and Murray (Dick Miller, natch) are there to help save him and New York from the whacked-out antics of the deplorable, deadly Gremlins. Simultaneously a tribute to the great sight gags of Frank Tashlin and a riotous parody of disaster movies in the Irwin Allen mold, this great meta-film is 100% Joe Dante.</p> Friday, April 10