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Tom Luddy DirectorsBill Pence

Don DeLillo Guest DirectorStella Pence Managing Director

Kimberly Roush Director of Development &Communications

Jim Bedford Director of Operations

Muffy Deslaurier Director of Administration

Susan Allen Events Manager

Lynne Domingos Operations Manager

Brandt Garber Production Manager

Kathy Jones Press Liaison

Marc McDonald Theatre Operations Manager

Betsy Rowbottom Personnel Manager

Leslie Sherlock Housing/Travel ManagerKate Sibley Education Programs Dean

Garry Transue Art Direction

Russell Allen Technical DirectionJon Busch

Chapin Cutler

Ross Krantz Chief Technician

Annette Insdorf Moderator

Gary Meyer Resident CuratorsGodfrey ReggioPierre Rissient

Peter Sellars

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2005 The National Film Preserve, Ltd.379 State Street Portsmouth, NH 03801 USA

Telephone: 603.433.9202 | Fax: 603.433.9206Website: www.telluridefilmfestival.org

THE NATIONAL FILM PRESERVE LTD. with APPLE presents


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When a magazine described Dave McKean as the most absurdly talentedBritish artist in years, it served as tribute both to McKean and to the graphic novel,a genre that he helped legitimize. McKean is best known for his collaborations with

Neil Gaiman, especially on the wondrousSandman novels. He also createdillustrations in a range of styles for everyone from The New Yorkerto Tori Amos.

McKean is an authorhis graphic novelCages is a cult classicand filmmaker. Hisshort N(EON) played at the 2002 Telluride Film Festival and his debut feature,MIRRORMASK, which played Sundance 05, will be released later this year.

Revered ConsultantsJoe Anne Erickson Management

Linda Wilkinson Corporate

Esteemed Council of AdvisorsLaurie Anderson New York, NY

Alberto Barbera Torino, ItalyPeter Becker New York, NY

Peter Bogdanovich New York, NY

John Boorman London, UK

Kevin Brownlow London, UK

Ken Burns Walpole, NH

Paolo Cherchi-Usai Acton, Australia

Buck Henry Los Angeles, CA

Lisa Henson Culver City, CAWerner Herzog Munich, Germany

Kathleen Kennedy Santa Monica, CA

Adam Krentzman Beverly Hills, CA

Warren Lieberfarb Los Angeles, CA

Phillip Lopate Brooklyn, NY

Frank Marshall Santa Monica, CA

Errol Morris Cambridge, MA

Max Palevsky Los Angeles, CA

Kirill Razlogov Moscow, RussiaDonald Richie Tokyo, Japan

Salman Rushdie London, UK

Marian L. Schwindeman New York, NY

John Simon New York, NY

Milos Stehlik Chicago, IL

Bertrand Tavernier Paris, France

David Thomson San Francisco, CA

Peter von Bagh Helsinki, FinlandIrwin W. Young New York, NY

Saul Zaentz Berkeley, CA

Prized Program Notes ContributorsLarry Gross (LG), Lead Writer

Paolo Cherchi Usai (PCU), Don DeLillo (DD), Roger Ebert (RE)

Scott Foundas (SF), David Thomson (DT);

Telluride Film Festival staff (TFF): Tom Luddy, Gary Meyer,Bill Pence, Jason Silverman

Poster ArtistDave McKean

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Guest Director

In Don DeLillos first novel,Americana (1971), thenarrator wanders the country with a 16mm camera,

thinking of himself as a child of Godard and Coca-Cola.In The Names (1982), set in Greece and the Middle East,a film director tries to locate the members of a mysteriouscult. And in DeLillos novelThe Body Artist(2001), a filmdirector says, The answer to life is the movies.

The power of the image and the presence of film culturehave been consistent elements in DeLillos fiction.Thats in part due to his appreciation of great cinema.In 1988 he described in an interview the qualities heenjoyed in films by Godard, Antonioni, Fellini, Bergman,Kubrick and Howard Hawks: They seem to fracturereality. They find mystery in commonplace moments.They find humor in even the gravest political acts.

Each of these qualities also is evident in DeLillos works.The author of 13 novels and three stage plays, DeLillo isone of the worlds most celebrated authors. He has wonthe National Book Award (for White Noise, 1985), thePEN/Faulkner Award (for Mao II, 1991), the JerusalemAward (he was the first American so honored, in 1999)and the William Dean Howells Medal (for Underworld,2000). Other novels include Players (1977),Running Dog

(1978),Libra (1988) and Cosmopolis (2003).DeLillos other film writing includes a screenplay (Game 6)and an essayentitled Counterpoint for the magazineGrand Street. Counterpoint is a meditation on solitudeand introspection that was largely inspired by the filmsSTRAIGHT NO CHASER, THE FASTRUNNER and THIRTY TWOSHORT FILMS ABOUTGLENN GOULD. DeLillosarticle on the film

WANDA, a film that hewill present at thisyears Festival, willappear later this yearin the arts journalBlack Clock.

DeLillos latest play,Love-Lies-Bleeding,will premiere atSteppenwolf inChicago inthe springof 2006. Heis currentlyat work onanovel.

Don DeLilloEach year,

Festival Directors

Bill Pence and

Tom Luddy invite

one of the

worlds 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 Festivals

programming

decisions, bring-

ing new ideas

and overlooked

films to Telluride.

Past Guest

Directors include

Salman Rushdie,

Buck Henry,

Laurie Anderson,

Stephen Sondheim,

Peter Sellars and

Phillip Lopate.

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S/Fri 7:00 PM - P/Sat 9:00 AM

Made possible by a donation from the Lucky Star Foundation

1 A Tribute to Mickey Rooney

A few days after this years Festival, he will be 85. According to the IMDB,he has, so far, appeared in 260 filmsthe first, NOT TO BE TRUSTED, wasin 1926, and he played a midget. In 1939, the most golden of golden

years, Mickey Rooney became the top box-office attraction in America andreceived his first Oscar nomination, for BABES IN ARMS (which is BusbyBerkeley, Judy Garland and our guy putting on a show). He had alreadywon an honorary Oscar in 1938 for bringing to the screen the spirit andpersonification of youth.

He is, to this day, uncanny, sexy, beautiful, haunting and closer to thespirit world than anyone has ever come on screen playing Puck in Max

Reinhardts A MIDSUMMERS NIGHT DREAM. He was Andy Hardy, about 15times, at M-G-M, and went from being the son Louis B. Mayer never had toa sex-mad kid, so wild he disrupted the sentimental image of the Hardyfilms. If Mayer had been prescient, he might have looked at Rooney in theearly 40s and seen that Mickey was Dean and Presley and rock and rollway ahead of his time.

So the Mick crashed. He went off to war, just like Hardy. He got drunk andmarried up a storm and lost all his money. By the mid 1940s, it was said,he was over. His astonishing energy and will to stay young were fightingan older body. The body lost. In the years and decades during which hewas officially over, Mickey Rooney did a boxer in KILLER MCCOY; he was

Larry Hart in WORDS AND MUSIC; a race-car driver in THE BIG WHEEL.The pictures got smaller, but Mickey got bigger. Sometimes that clashwas demented, over-the-top or hardly bearable. He was radioactive inTHE ATOMIC KID; a soldier in THE BOLD AND THE BRAVE; chilling in THECOMEDIAN, written by Rod Serling and directed by John Frankenheimer forTV; hilarious in OPERATION MAD BALL; on Death Row in THE LAST MILE. Hewas nearly an international incident in BREAKFAST AT TIFFANYS. For DonSiegel, in 1957, he was Baby Face Nelson, one of the greatest performancesin cinema, as authentic as Falconetti as Joan of Arc.

He has never stopped. In the 80s, he won an Emmy in Bill. In the 90s, he

didSugar Babies on Broadway. A couple of years ago, driving throughOregon, I saw that he was doing dinner theatre in a clearing in thewoods. Plenty of his movies have been unworthy of him. But I recall a

year in which a very young son insisted on watching THE BLACK STALLIONover and over again on video, and the son sometimes asked his father whyhe was crying. It was because of the unaffected zest and tenderness withwhich Mickey Rooney was being Henry, teaching the boy to ride. For goodand ill, Mickey Rooney was what this whole movie thing was about. And inhis gargantuan, monstrous need to entertain us he exemplifies the showin the business. Who is not crying? DT

Following a compilation reel, Rooney will accept Tellurides Silver Medallion.

An onstage interview will follow: Friday with Roger Ebert, Saturday withPeter Bogdanovich. THE COMEDIAN screens elsewhere in the Festival.

Shows

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Shows

S/Sat 9:00 AM - G/Sat 10:00 PM - N/Sun 7:30 PM

3 Cach (Hidden)

The latest from Michael Haneke (FUNNY GAMES, THE PIANO TEACHER) beginswith a surveillance video trained on the Paris home of book critic Georges(Daniel Auteuil) and his wife Anne (Juliette Binoche). The tape is recovered,along with a crude crayon drawing of a child with a red triangle emergingfrom his mouth. More tapes and drawings follow, forming a breadcrumb trailthat leads Georges back to his familys estate and a long-dormant childhoodmemory. CACH is interested in many things, but telling us whodunnitisnt one of them. Just what happened back then and what bearing it hason Georges are mysteries Haneke holds close to his vest. The tapes rattlingGeorges arent so much one mans nightmares made manifest as the embod-iment of a collective guilt, of all the inhumanities to which we turn a blindeyebe they childhood secrets wished away, dark-skinned strangers passedin the street, or France itself in the long shadow cast by Algeria. SF(Austria, 2005, 117m, Sony Classics) In person: Michael Haneke

S/Fri 9:30 PM - P/Fri 11:30 PM - C/Sat 9:00 AM

2 Edmond

The masterful character actor William H. Macy makes us look afresh atregular guys, endowing them with surprising humor and poignancy. In thetitle role of EDMOND, adapted by David Mamet from his play and directed byStuart Gordon, Macy plays a white-collar guy who walks out on his wife(Rebecca Pidgeon) and decides to live honestly and express his true feel-ings. He celebrates with a succession of hookers (Denise Richards, Bai Lingand Mena Suvari) whose economic realism brings Edmond considerablehumiliation, along with a few hilarious lessons in the art of negotiation. Alifetime of buried anger towards women, blacks, and homosexuals boilstowards the surface, a large knife is purchased, and EDMOND becomes abizarre, comic and contemporary film noir. With extraordinary performancesby Joe Mantegna, Julia Stiles, Bokeem Woodbine, George Wendt and DylanWalsh. LG (U.S., 2005, 75m, First Independent) Preceded by 9 (d. ShaneAcker, U.S., 2005, 11m) In person: Stuart Gordon, William H. Macy

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7

Shows

6

S/Sat 2:00 PM - C/Sat 7:00 PM - P/Sat 11:00 PM

4 Everything Is Illuminated

The talented Tony award-winning actor Liev Schreiber makes an impressivedirectorial debut with his adaptation of Jonathan Safran Foers prize-winning novel. The story follows Jonathan (Elijah Wood), a young Jewish-American writer who travels to the Ukraine to try and discover how hisgrandfather escaped the Nazis murderous violence. His guide, and ournarrator, is Alex (Eugene Hutz), a twenty-something Ukrainian who busilyspeeds away from his national and familial past, embracing the post-Communist era with his every ounce of energy. Hutzs deadpan comic linereadings and the way he casually mangles American slang are among thefilms chief pleasures, as are the lyrically beautiful Ukrainian landscapes,photographed by Matthew Libatique. Quietly, but inexorably, EVERYTHINGveers from black comedy towards tragedy, with each character trying tosettle accounts with crimes of the past. LG (U.S., 2005, 100m, WarnerIndependent)In person: Liev Schreiber

S/Sat 4:30 PM - E/Sat 8:15 PM - N/Sun 9:00 AM

5 Be With Me

Writer-director Eric Khoo works with a fixed camera, employs but a fewscraps of dialogue and uses music sparingly. His characters are of theeveryday sort. But, while BE WITH ME is minimalist in both style and scope,Khoos film is substantiala magical, bittersweet exploration of the terrainof the human heart. The narrative floats between four central characters: ashopkeeper confronting his wifes advancing illness; a burly security guardhoping to court a lithe businesswoman; a teenage girl tasting heartache forthe first time; and the deaf and blind, formidably happy writer TheresaChan, whose autobiography inspired the screenplay and who plays herself.As Khoo quietly investigates matters of love, longing and destiny, he findsrevelation in the simplest moments. BE WITH ME was the opening night filmat the Directors Fortnight at Cannes. -LG (Singapore, 2005, 90m)Preceded by UNDRESSING MY MOTHER (d. Ken Wadrop, Ireland, 2004, 5m)

In person: Erik Khoo, James Toh

S/Sat 7:00 PM P/Sun 9:00 AM

Made possible by a donation from The Burns Family

6 A Tribute to the Dardennes

All work merits payment, notes a character early on in Luc and Jean-PierreDardennes LA PROMESSE (1996), the first film by the Belgian-born brothersto receive wide international exposure. For their own subsequent work, theDardennes have been paid handsomely: Twice, they have won the Cannes FilmFestivals Palme dOr and, twice more, directed actors to Cannes-awardedperformances. Yet, theyve managed to do it all without ever venturing farfrom homein their case, Seraing, the industrial Belgian seaport city wherefive of their six dramatic features (and several early documentaries) havebeen set. It has become, for them, what Dublin was for Joyce and whatGiverny was for Monet: proof that, if he looks closely enough, an artistmay find all the inspiration he needs right in his own backyard.

They did not set out to become filmmakers. Jean-Pierre, the elder by threeyears, aspired to be an actor. Luc studied philosophy. But while still in theirearly 20s, in 1975, they formed a production company from which they directeda series of nonfiction features on subjects including an underground workersnewspaper and the career of proletariat playwright Jean Louvet. That workwas consistent with a career that has remained devoted to the minutiae ofworking-class life. The brothers initial forays into narrative filmmakinginclude FALSCH (1987), a neo-Brechtian work in which a Jewish man whofled Berlin prior to the Holocaust is confronted by the specters of thosewho stayed and perished; and JE PENSE A VOUS (1992), which drew onmore typical subject mattera factory closurebut in precisely the classicalmelodrama style that the brothers now regard with deepest suspicion.Those films are little seen today, and the Dardennes seem in no hurry torevive them. But they reveal LA PROMESSE as an act of artistic reinventionof a kind rarely seen in cinema. Gone was all semblance of theatricalityand artifice. In its place, a hard-wrought realism made to seem effortless;a terse story executed with astonishing narrative speed; and a commitmentto defining characters through their vocation (or lack thereof). It was amodel for everything that has followed: ROSETTA (1999), which won thePalme dOr, charts an unstable young womans descent into near-madnesswhen she loses her menial factory job; THE SON (2002) has the

Dardennes regular actor, Olivier Gourmet, in a brilliant performance as acarpentry instructor who takes on his own sons killer as a student; andTHE CHILD (2005), in which a directionless young man sells his newbornchild on the black market, only to try and reverse that devils bargain.For this devastating study in greed and its consequences, the brothersreceived another Palme dOr, placing them among an elite group of doublewinners that includes Francis Coppola and the Japanese master ShoheiImamura. Rare company indeed, but in which the Dardennes should bemore than comfortable. SF

Luc and Jean-Pierre Dardenne will accept Tellurides Silver Medallion followinga 20 minute compilation reel, and then will present their new film, winner of

Cannes 2005 Palme dOr, THE CHILD. (France, 2005, 95m, Sony Classics)


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Shows

9

Shows

8

C/Sat 1:00 PM - S/Sun 9:00 AM - E/Sun 6:45 PM

8 Fateless

Gyuri (played by Marcell Nagy in a superb, almost wordless performance)is a 14-year-old boy who one day simply has the bad luck to be taken offthe bus to work and sent to Buchenwald. The horrific events Gyuri witnessesand participates in dont offer a reassuring moral about humanity or theinevitable triumph of decency. Gyuri is not immune to the cruel depravityof the world he is forced to inhabit. Nobel Prize-winner Imre Kerteszadapted this screenplay from his autobiographical novel, and the greatcinematographer Lajos Koltai, who has worked with the Hungarian masterIstvan Szabo, makes a beautiful and controlled directorial debut, structuringthe story as brief clipped moments rhythmically punctuated by fades toblack. The enigmatic denouement on the streets of post-war Budapest,with Gyuri as a stranger in a strange land, is a haunting reminder of theimpossibility of understanding the Holocaust. LG (Hungary, 2005,136mm, Thinkfilm)In person: Lajos Koltai

S/Sat 10:00 PM - M/Sun 1:45 PM

7 Wanda

WANDA appeared in 1971, toward the end of the great era of foreign filmsshowing in this country. It might be regarded as the unsung herald of theAmerican surge that sent many fine and famous movies coursing throughthat decade. Barbara Loden wrote and directed, and she appears as thetitle character, who wanders through the f ilm, taking what comes her way,most of it dished out by her criminal lover, played expertly by MichaelHiggins. The movie has the jittery look of scenes caught on surveillancecamera, and it is Barbara Lodens high achievement to have created acharacter who can survive only by attaching herself to a man and to havemade this woman so real and moving that she transcends our standardcategories of enlightened judgment. WANDA is a great lost movielostand found. DD (U.S., 1971, 102m, Castle Hill) Presented by Don DeLillo

S/Sun 4:30 PM - M/Mon 9:15 AM

10 Spirit of the Beehive

Victor Erice is a celebrated director who makes a full-length film everyten years or so. His masterwork, THE SPIRIT OF THE BEEHIVEaJanus/Criterion film, now screened in this country for the first time in 25

yearsis set in the days of the dictatorship in Spain, and its a beautifuland disturbing movie of remote landscapes, dreamy scenes of childhoodand the advancing shadow of the state. A young girl, Ana, lives with anolder sister and their distracted parents. Her father tends a beehive, hermother corresponds with a lover. It is Anas two major discoveries, one,the FRANKENSTEIN movie by James Whale, and then an injured soldierin hiding, that shape the heart of this extraordinary movie. Shot indeceptively serene tones, paced in the rhythms of rural isolation, SPIRITOF THE BEEHIVE exemplifies what Erice calls poetic cinema. It is the

poetry an artist finds in the weave of dangerous times. DD (Spain,1973, 97m, Janus) Presented by Don DeLillo

S/Sun 2:00 PM - G/Sun 7:00 PM - P/Sun 11:00 PM

9 Bee Season

This adaption of Myla Goldbergs novel begins as a rapturous celebrationof family happiness. Saul Nauman (Richard Gere), a theology professorspecializing in the mystical discipline of Kabbalah, is married to thebeautiful Miriam (Juliette Binoche), a devoted wife and mother of twogifted children, Adam (Max Minghella) and Eliza (Flora Cross). TheNaumans good life gets better when Eliza successfully competes inspelling bee competitions. Unexpectedly, Elizas gifts unleash unsettlingconsequences, and what was once joyous and stable for the family beginsto unravel. Naomi Foner Gyllenhaals terse, elliptical screenplay, the lyricalbeauty of the imagery (directors Scott McGehee and David Siegel alsocreated SUTURE and THE DEEP END) and a superb ensemble make BEESEASON a startlingly original domestic drama. -LG (U.S., 2005, 100m, FoxSearchlight) Preceded by WHILE DARWIN SLEEPS (d. Paul Bush, U.K,2004, 5m) In person: Scott McGehee, David Siegel


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M/Sat 1:45 PM - E/Sun 9:45 AM - S/Mon 9:00 AM

13 Johanna

Picture a combination of Andrei Tarkovsky and Ken Russell and you willbegin to imagine the strange splendors of Kornl Mundruczs film,which retells, in operatic form, the legendary story of Joan of Arc. Thiscontemporary version in a surreal Hungarian hospital where the drug-addicted Johanna (Orsi Toth) falls into a coma, is miraculously rescued,but awakes having lost her memory. She stays on as a nurse and beginscuring the sick by making love to them, arousing the rage of the entiremedical staff. Every word of JOHANNA is sung (the music is by ZsofiaTaller) but the emotional extravagance of the material is balanced by theelegant visual storytelling. Mundruczs gliding Steadicam shots recallWelles and Ophuls in their intricacy and precision. You have never encounteredanything quite like JOHANNA. LG (Hungary, 2005, 83m, Tartan)

Preceded by OVERTIME (d. Oury Atlan, Thibaut Berland, Damien Ferri,France, 2004, 5m)In person: Kornl Mundrucz

Shows

11

Shows

10

E/Fri 6:45 PM - N/Sat 9:00 AM - S/Sun 9:30 PM

12 Three Times

This is the Taiwanese master Hou Hsiao-hsiens most accessible work, andone of the great films of the year. THREE TIMES is a trio of short stories,each set in a different period, and it could be viewed as a summation ofHous career to date. Each episode stars the actress Shu Qi and the actorChang Chen; in each, she is May and he is Chen, and all three episodesexplore emotional lives and missed connections. In the f irst, set in 1966,May runs a billiard parlor and Chen is her admirer. In the second, set in1911, May is a prostitute and Chen is an idealistic journalist and hercustomer. In the third, set in 2005, they are confused modern youngpeople involved in romances that exist largely via cell phones and textmessaging. THREE TIMES uses exquisite visual and tonal strategies toevoke longing, loneliness, secret feelings and the brutal carelessnessof life. Hous film is wise and heartbreaking. RE (Taiwan, 2005, 120m)

In person: Shu Qi

S/Sun 7:00 PM C/Mon 9:00 AM

Made possible by a

11 A Tribute to Charlotte Rampling

Here is a career unbounded by barriers of language or nationality. Though she isBritish, Charlotte Rampling has appeared in more than 60 films made in threedifferent languages and on four separate continents. And one hardly doubts shewould journey to Antarctica if the right project presented itself. For Rampling isan actress of uncommon risk and unpredictability. Put that together with thosepiercing, blue-grey eyes and you have a dangerous coupling indeed. You needntbe Philip Marlowe to feel Ramplings gaze in your hip pocket.

She briefly thought of becoming a cabaret singer, before her fatheraBritish Army colonelthought better and shipped her off to secretarialschool. Yet, some things are simply meant to be, and so it was that while

the teenage Rampling was working in an ad agencys typing pool, an execu-tive spotted her and thought shed be perfect for a Cadburys commercial.That led to her being cast in THE KNACK and GEORGY GIRL (both 1965)twoof the quintessential British films of the 1960s. From there, it was off toItaly for a small role in Viscontis THE DAMNED (1969); to America forVANISHING POINT (1971), where she ended up on the cutting room floor;and back to England for the futuristic oddity of ZARDOZ (1974). But it washer next part, as a Holocaust survivor reunited with her former torturer inTHE NIGHT PORTER (1975), which proved her most daring and enduring.That movie was bound to be notorious, but Rampling was extraordinary,so committed to showing how pain might turn to pleasure and back againthat she drained the film of its potential for camp kinkiness.

Not surprisingly, Hollywood came calling: She was opposite Robert Mitchum,in the old Claire Trevor part, in FAREWELL, MY LOVELY (1975); with PaulNewman in THE VERDICT (1982); and as the erstwhile object of WoodyAllens desire in STARDUST MEMORIES (1980)Allen would later say thatany dinner party worth its salt should count Rampling and Franz Kafkaamong its guests. In the two decades since, Rampling has rarely been lessthan busy, often in France, where she has had maybe her two greatestroles. In MAX MON AMOUR (1986), her eponymous lover is a chimpanzee, asituation Rampling plays as though it were the sort of thing any womanmight do. Then, for the young French director Franois Ozon, she agreed to

be the wife whose husband disappears (or does he?) in UNDER THE SAND(2000)no matter that there wasnt a finished script when she signed on.Likely, Ozon realized that Rampling would become more than the filmsstarshe would help to shape its plangent sense of mystery and loss. Itwas, you see, a story not very far from Ramplings ownin the 1960s, herolder sister committed suicide in Argentina, after which the young Charlotte

joined with her father in concealing the truth from her grief-stricken mother.

But let us not forget that movies, above all else, give us illusionsandRampling is one of their most beguiling. SF

Following an hour-long compilation of clips from her career, CharlotteRampling will accept the festivals Silver Medallion. An on-stage interview

will follow. Ramplings 05 Cannes Festival opener, LEMMING , screenselsewhere in the Festival.

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Shows

12

P/Fri 6:30 PM - G/Fri 9:30 PM - C/Sat 4:30 PM

15 Capote

In 1959, The New Yorkersent Truman Capote, the fiction writer and socialiteextraordinaire, to report on the brutal murders of a Kansas farming family.Six years later,In Cold Bloodmade Capote an international celebrity. In theprocess, Capote popularized literary journalism, challenged our conceptsof objective truth and forever reshaped our cultural landscape. BennettMillers debut fiction feature, adapted by Dan Futterman from GeraldClarkes biography, tells this fascinating story with a restrained, quietelegance, concentrating on Capotes tortured relationship with the doomedkiller Perry Smith. Philip Seymour Hoffman gives a memorable portrait ofthe artist as monstrously self-absorbed and self-pitying one moment andeloquent, compassionate and wittily perceptive the next. The superlativesupporting cast includes Chris Cooper and Catherine Keener, who playsCapotes childhood pal Harper Lee. LG (U.S., 2005, 109m, Sony Classics)

In person: Bennett Miller, Philip Seymour Hoffman, Catherine Keener

N/Fri 7:30 PM - C/Sun 4:00 PM - S/Mon 2:30 PM

14 Paradise Now

Sure to arouse fierce controversy, this film offers an uncannily intimate,rigorously credible account of two young Palestinian suicide bombersleading up to their fatal mission. PARADISE NOW begins quietly, conveyingthe petty everyday humiliations and grinding poverty of daily life in Gazaunder Israeli occupation, where all sensible political hope is gone. It thenpirouettes abruptly but skillfully into a thriller of excruciating intensity.Writer-director Hany Abu-Assad and cowriter Bero Beyer have created amodest, dispassionate masterpiece that offers audiences an original kindof political cinema. PARADISE NOW is resolute in its refusal to offer easyideological answers, and it sets a new aesthetic standard in the process.No viewers who open themselves to Abu-Assads tragic vision will ever be

able to think and feel about the Middle East in quite the same way again.LG (Israel-Palestine, 2005, 90m, Warner Independent) Preceded by CITYPARADISE (d. Gaelle Denis, U.K., 2004, 6m)In person: Hany Abu-Assad

Shows

16 A Cottage on Dartmoor

Hitchcock wasnt the only master of suspense. This excellent late silentfilm is also by far one of the lesser known, and the same fate undeservedlyapplied to director Anthony Asquith (THE WINSLOW BOY, THE IMPORTANCEOF BEING EARNEST), whose career covered several decades of British cinema.The roaring applause at Pordenone for COTTAGE was largely due to thefilms bold camerawork, fast editing and experimental special effects.However, Asquiths film is also a masterful example of classic storytelling,a perfect blend of action and melodrama, with the additional touch of afilm-within-the-film bravura piece. Watch for the scene in a barbershop,with a lover ready to cut the throat of a client who happens to be hisrival. Stephen Hornes dazzling live piano accompaniment was one of the

highest points in the history of Italys pioneering silent film festival.He will prove an ideal addition to Tellurides musical family. PCU(U.K., 1929, 87m) In person: Stephen Horne and Paolo Cherchi-Usai

Pordenone Presents P/Sun 2:00 PM

G/Fri 7:00 PM - P/Fri 9:30 PM - N/Sat 2:00 PM

Presentation made possible by a donation from Warren & Becky Gottsegen

17 Conversations With Other Women

Its a set up as old as the hills: two strangers meet at a wedding and aresoon attracted to each other. In CONVERSATIONS, screenwriter GabrielleZevin brings some nifty changes on the theme. Elizabeth (Helena Bonham-Carter) and Thomas (Aaron Eckhart) are urban sophisticates whose charmand intelligence cant conceal the onset of lonely disenchantment as theypush 40. We expect them to be attracted to each other, but are surprisedas we discover the less obvious reasons why. Bonham-Carter and Eckhart,onscreen almost continuously, are superb, and their conversation growsmore unpredictable as it goes along. Director Hans Canosa uses split-screen effects ingeniously to capture the relationships intricacies andinvests a tiny anecdote with considerable emotional power. And a pleasantcomic romp grows deeper and darker. LG (U.S., 2005, 83m) Preceded bySPACER (d. Guy Roland, U.S., 2004, 3m) In person: Hans Canosa, HelenaBonham-Carter, Aaron Eckhart, Gabrielle Zevin


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Shows

14

C/Fri 8:00 PM - M/Sat 7:15 PM - N/Mon 9:00 AM

18 The Presidents Last Bang

Seoul, Korea, 1979: Park Chung-hees corrupt and cruelly repressivedictatorship is collapsing, and turf wars between hack politicians, themilitarys security branch and Koreas CIA are breaking out. Those in themix include Kim, a spy boss who yearns to defend democratic values buthas a nasty habit of succumbing to his homicidal and scatological rage;

Yu, a top agent and world-class bully; and the presidents sleazy secretary,pompous bodyguard and two female companions. The grotesque andbloody story of Parks final hours is a good deal stranger and funnier thanmost f iction. Director Im Sang-soo paints a crazy-lurid fresco, reminiscentof DR. STRANGELOVE and the best of Hollywoods 1960s anti establishmentsatires. THE PRESIDENTS LAST BANG offers a blackly comic look at a

momentous day in Korean history, remaining blessedly indifferent to allforms of political and sexual correctness. LG (South Korea, 2005, 102m,Kino International) In person: Im Sang-soo

O/Fri 8:30 PM P/Sat Noon

Presentation made possible by a donation from Lary & Sally Simpson

19 The Lost City

Guillermo Cabrera Infante and writer-director Andy Garcia spent 16 yearsbringing Infantes momentous novelThree Trapped Tigersthe Ulysses ofCubato the screen. The result, THE LOST CITY, is many things: a loveletter to pre-Revolutionary Havana, a historical drama featuring Batista,Castro and Che, and an homage to the greatest Cuban music and musicians.At the films center is Fico (Garcia), a cabaret owner who tries to riseabove the political fray but discovers that his club is as tumultuous anddangerous as Cuba itself. As an ex-pat gag writer, Bill Murray embodiesthe spirit of Cabrera Infante, providing an absurdist commentary onhistory as it unfolds, and the rest of the cast (including Dustin Hoffman,Thomas Milian and Ines Sastre) is equally superb. Cabrera Infante,Tellurides Guest Director in 1992, died last February, but not before

seeing a fine cut of this inventive independent film. TFF (U.S./Cuba,2005, 138m) In person: Andy Garcia

ShowsP/Sat 3:30 PM - G/Sat 7:00 PM - C/Sun 1:00 PM

20 Brokeback Mountain

In the summer of 1963, two young mena Texas rodeo cowboy and aWyoming ranch-handmeet on a lonely sheepherding job. Pulled togetherby the harsh nights, they form a bond that will last the rest of their lives.Academy Award-winning director and 2000 Festival tributee Ang Lee (THEICE STORM, CROUCHING TIGER, HIDDEN DRAGON) returns to Telluride withthis sensitive adaptation (by Larry McMurtry and Diana Ossana) of AnnieProulxs short story. Jake Gyllenhaal and Heath Ledger perfectly bring tolife Jack Twist and Ennis Del Mar, and cinematographer Rodrigo Prietocaptures the landscapes of the high grasslands of Alberta, Canada, doublingfor Wyoming. This is the most beautifully filmed outdoor movie youll seeindoors this weekend. Michelle Williams and Anne Hathaway, as the mens

wives, and Randy Quaid (their ranch boss) add depth to this tale, whichdemonstrates love's power in times of both joy and tragedy. TFF(U.S., 2005, 136m, Focus)

C/Sun 9:00 AM

21 The Moon and the Son + Much More

As a teen, John Canemaker found refuge from a troubled home life bydrawing his own elaborate movies. Today, Canemaker is a master animator,with works in major museum collections. And, as the author of nine books,he also is one of the forms most articulate, passionate scholars. This programopens with his newest film and also his masterpiece, THE MOON AND THESON, a colorful, moving, ultimately devastating plea from a boy to his latefather. Part immigrants tale and part diary, and with voiceovers by EliWallach and John Turturro, MOON is a distinctly American story about thepossibilities of redrawing ones own life. (U.S., 2005, 28m) Next, Canemakerpresents the six films that most deeply shaped his appreciation of animation.Artists featured include Winsor McCay, Otto Messmer, Walt Disney, OskarFischinger, Chuck Jones and Len Lye. -TFF (Running time: About 45m)

Stephen Horne will accompany the silent shorts. Another animation scholar,Leonard Maltin, will lead an on stage interview with Canemaker.


9/25

Shows

17

Shows

16

G/Sat 4:00 PM - C/Sat 10:00 PM - N/Sun 1:30 PM

22 Breakfast on Pluto

There has never been a coming-of-age movie quite like this one. NeilJordan (CRYING GAME, MONA LISA, THE BUTCHER BOY) adapts PatrickMcCabes novel about a boy born to be different. Patrick Brady (CillianMurphy) is abandoned as a baby in a small Irish town, escapes to Londonand, as a witty and deceptively tough young transvestite, searches for hismother, asks to be called Kitten and learns to navigate big-city life.Jordan captures the excitement and political turmoil of the 1970s in a filmthats alternately hilarious, moving and magical. Murphy has quietlyimpressed audiences in films including INTERMISSION, 28 DAYS LATER andBATMAN BEGINS, but nothing could prepare us for this stunning perform-anceits certain to be his coming out. Adding to the pleasure are fine

performances from Liam Neeson, Stephen Rea and Brendan Gleeson, alongwith a surprise for fans of the great musical scene of the 70s. -TFF(Ireland/U.K., 2005, 135m, Sony Classics) In person: Neil Jordan

E/Fri 9:45 PM - M/Sat 4:15 PM

23 Army of Shadows

Best known for his vivid, intricate crime thrillers (BOB LE FLAMBEUR, LESAMOURAI), Jean-Pierre Melville also created an excellent trilogy of f ilmsabout World War II, including this adaptation of Joseph Kessels novel.Melville joined the French Resistance during the bleakest days of Germanoccupation, but his ARMY is not the patriotic, sentimental, nostalgicResistance saga Hollywood might provide. Instead, Melville proceeds withhis icy, implacable logic, telling the story of a Resistance leader namedGerbier (the superb Lino Ventura). The action unfolds within a dense fog offear, anxiety and betrayal and, as in Melvilles crime films, human frailtyand the malignant hand of Fate usually defeat strategy and planned heroics.All accounts will be settled, Ventura tells a fellow prisonerthats theclosest thing to a moral provided by this gripping film, which will be

screened for the first time in America. LG (France, 1969, 136m, Rialto)Presented by Pierre Rissient

O/Sat 8:30 PM - P/Sun Noon

24 Iron Island

Writer-director Mohammed Rasoulof mixes documentary realism andpoetic allegory in this provocative investigation of the conflicts withincontemporary Iranian society. IRON ISLAND is set almost exclusively on agigantic crumbling barge occupied by unemployable social outcasts whoare both held together and held back by their passionate Muslim faith.This community is dominated by an aging but still-charismatic patriarch,the ships captain, Nemat (Ali Nasirian). His manner of leadership swervesbetween tender compassion and ferocious, inhuman brutality; hes a clearsymbol of the mullahs who still rule Iran. One situation on the bargeateenaged boy who wants to marry his true love, against the wishes of herfatherexposes all of Nemats contradictions. The boy is then punished in

a scene that, without a shot fired or a drop of blood spilled, is one of thescariest and most powerful in memory. LG (Iran, 2005, 90m, KinoInternational) In person: Mohammed Rasoulof

P/Sun 4:30 PM - C/Sun 10:00 PM - G/Mon 9:00 AM

25 Walk the Line

Joaquin Phoenix stars as country-western great Johnny Cash during histen year long romantic pursuit of June Carter (the revelatory ReeseWitherspoon), the singer who saw Cash through his miseries of pill-and-alcohol addiction, then became his second wife. Writer-director JamesMangold, cowriter Gill Dennis and producer Cathy Konrad have fashioned afresh, observant narrative that rises above typical biopic hype. Mangoldsvivid scenes of the life of 50s country-western musicians on tour are highpoints, as are the moments when Cash crosses paths with Sam Phillips, CarlPerkins, Elvis Presley and Jerry Lee Lewis. And the duets between Cash andCarter perfectly evoke their deepening affection. In films such as TO DIEFOR, GLADIATOR and QUILLS, Phoenix has been on the verge of becomingone of the best actors of his generation. With this quietly powerful

performance, he crosses the line and gets there. -LG (U.S., 2005, 130m,Twentieth Century Fox) In person: James Mangold, Cathy Konrad


10/25

M/Fri 9:45 PM - E/Sat 9:15 AM

27 The Passenger

Michelangelo Antonionis last great movie appeared in 1975, when he wasin his early sixties. Its officially a French-Spanish-Italian coproduction,with an American star, Jack Nicholson. The film immediately escapes allthese categories, beginning in stark desert terrain and following a mancalled Locke who assumes the identity of another man called Robertson.The director works from a fine spare screenplay by Mark Peploe and PeterWollen. With its dangling flashbacks, long takes, deep spaces, andhovering sense of violence, THE PASSENGER is one of the strongest filmsin Antonionis enduring study of identity and apartness. People disappearevery day, says the woman (Maria Schneider). Every time they leave theroom, says the man (Nicholson). In Spain, finally, he reenters the room.Then there is the famous final seven-minute take of human isolation. This

missing film reappears after 25 years. DD (France/Italy/Spain, 1975,126m, Sony Classics) Presented by Don DeLillo

Shows

19

Shows

18

G/Sat 1:00 PM

26 Chang + Im King Kong

Before bringing King Kong to life, Merian C. Cooper flew fighter planesand pushed the envelope as a documentary filmmaker. After KONG, hehelped create Technicolor and Cinerama and par tnered with John Ford onsome of his best films. This program celebrates his legacy, first with arare screening of CHANG: A DRAMA OF THE WILDERNESS, a genre-bendingelephants-meet-villagers movie shot in Thailand by Cooper and codirectorErnest B. Schoedsack. The Alloy Orchestra will perform their originalscore. (U.S./Thailand, 1927, 67m, Milestone) Next, Patrick Stanbury andKevin Brownlows documentary IM KING KONG follows Cooper from PolishP.O.W. camp to Persia (where he f ilmed GRASS) and Africa (for THE FOURFEATHERS) and on to the spectacular production of KONG. As unpredictable

and thrilling as any of Coopers own movies, IM KING KONG brings acolorful, significant Hollywood maverick to life. -TFF (U.K., 2006, 55m)

In person: Paulo Cherchi-Usai, The Alloy Orchestra

N/Sat 6:45 PM - M/Sun 4:15 PM - E/Mon 9:15 AM

Presentation made possible by a donation from Peter & Linda Bynoe

28 Sisters in Law

In a courtroom in a small Cameroon town, the progressive-minded judgeBeatrice Ntuba and tough lawyer Vera Ngassa intervene in cases ofdomestic abuse, offering compassionate wisdom, wisecracks and justice.The film follows three of their cases: a 6-year-old girl is covered with scarsfrom cruel beatings by the aunt she has fled; a pre-teen dares to accuse aneighbor of rape; and a battered wife bravely brings her violent husbandbefore the court despite objections from her Muslim community. As is thecase with the best non-fiction works, this film by Kim Longinotto(DIVORCE IRANIAN STYLE, THE DAY I WILL NEVER FORGET) and FlorenceAyisi is full of surprises, offering a rare view of strong African women andtheir emerging hope for change. Our film presents a different perspective

that moves beyond the negative stereotypes of Africa as a place ofperpetual misery and despair, said Ayisi. TFF (Cameroon/U.K., 2005,104m, Women Make Movies) In person: Kim Longinotto

O/Sun 8:30 PM - P/Mon 8:30 AM

29 Live and Become

In the winter of 1984, thousands of FalashasEthiopian Jews descendedfrom King Solomon and the Queen of Shebaimmigrated to the Sudan to

join airlifts to Jerusalem, seeking refuge from a devastating famine. AChristian mother hoping to save her nine-year-old son renames himSchlomo and pretends he is a Jew and orphan. After arriving in Israel,Schlomo is adopted by a caring French-Tunisian family, but grows upfearing his secrets will be discovered. And he suffers from the ignorance,violence and racism of white Jews: A classmate is certain Schlomos blackskin will rub off if he touches it; Schlomo is badly beaten in a nightclub;and the father of his would-be girlfriend calls him Satan, threatening todisown his daughter if she doesnt sever ties with her dark-skinned friend.Director Radu Mihaileanu (TRAIN OF LIFE) injects this powerful epic with

humor and hope. -TFF (France/Brazil/Israel /Italy, 2005, 145m,Menemsha) In person: Radu Mihaileanu

Sid Sh


11/25

Greens extraordinary debut, inspired by FlaubertsLa Premire ducation Sentimentale, is an epic inminiature, following two childhood friends (AlexisLoret and Adrien Michaux, who have since played inall of the directors f ilms) throughout the turbulent1960s and 70s, as they find themselves tornbetween academia, experience and variousfemmes

fatales. In a few short strokes, Greens signature style is established: Theactors speak their lines directly into the camera; baroque music proliferateson the soundtrack; everyone wears blue jeans and sensible shoes. SF(France, 2001, 112m)

M/Sat 9:15 AM

33 Toutes les Nuits

Greens latest is also his biggest-budget production(with money pitched in by Telluride honorees Lucand Jean-Pierre Dardenne) and maybe his mostpersonal. Set in and around the Parisian performingarts scene of the 1970s, it is, like TOUTES LES NUITS,a romantic triangle in which two of the participantsa suicidal Sorbonne student (Michaux) and a baroque

chanteuse (Natacha Rgnier)never actually meet in the flesh. But it is alsoa scabrous satire on the hypocrisy of artistic academies, as represented by aconductor called The Unnamable and a pompous theater director playedunforgettably by Olivier Gourmet. Oh! SF (France, 2004, 126m)

C/Fri 5:00 PM - N/Sat 4:00 PM

35 Les Ponts des Arts

According to his bio in the 2004 Locarno Film Festival catalogue, EugneGreen is a Frenchman who has always lived in Paris. Well, not exactly.But shush dont tell anyone. For who is to deny the most breathtakinglyoriginal French filmmaker of the moment the right to be French? Particularlywhen his movies lyrical, deliriously romantic fantasies are rooted in thepower of the imagination (and the word) to manifest the impossible? Inrealityor, at least, one version of it Eugene (sans accent grave) Greenwas born in New York in 1947 and only made his way to Paris in his early 20s.There he established a theater company dedicated to rediscovering themodernity of baroque theater and, since 1999, has made three featurefilms and one short driven by a similar aim. The work is not nearly asforbidding as it sounds, even if, like Green himself, it presents us with a bevyof stimulating contradictions. At once ancient and modern, world-weary andnave, playfully theatrical yet rigorously cinematic, they are like the f ilms ofan ageless time-traveler, traversing the centuries and distilling the wisdom

of the ages into his beautiful new-old stories. SF In person for each film:Eugne Green and Scott Foundas

If Robert Bresson directed a no-budget, live-actionversion of SHREK it might look something like this

disarming fable about a brave knight (Loret), theyoung villager (Michaux) who joins him on hisogre-slaying quest, and the beautiful, Rapunzel-likemaiden-in-distress who beguiles them both. Literaland figurative flights of fancy abound, amidst touches

of Christian allegory, references to psychoanalyst Jacques Lacan andhowcould I forget?a fearsome lion played most convincingly by a Labradorretriever. SF (France, 2003, 70m) Preceded by LE NOM DE FEU (THE WORDFOR FIRE), in which a werewolf invites a lady doctor to witness histransformation. (France, 2002, 20m)

M/Sun 9:15 AM

34 Le Monde Vivant

21

Side Shows

20

Made possible by a donation from Turner Classic MoviesMore than 70 years and thousands of supercomputerslater, special effects companies still havent

conquered King Kong. While technology marcheson, making ever slicker, bigger and more detailedmonsters, our big ape bounds through the jungle,arms swinging, and looking as convincing and, yes,

beautiful as ever. Kong hasnt looked this good since he f irst stompedthrough theaters in 1933. KONG, in its newly fully restored form for thefirst time ever, returns to Telluride, where, in 1975, it was the first andonly film to receive the Festivals Silver Medallion. Celebrate the new biog-raphical film IM KING KONG, playing elsewhere in the festival, andsee the original KONG before Peter Jacksons remake hits theaters thiswinter. TFF (d. Merian C. Cooper and John Schoedsack, U.S., 1933-2005,

105m, TCM) Presented by Leonard Maltin

M/Fri 7:15 PM

30 King Kong

Next to this acid tale of the ugly side of show busi-ness, THE SWEET SMELL OF SUCCESS looks tame.Mickey Rooney plays Sammy, a top-rated TV person-ality ( la Sid Caesar? Milton Berle?) preparing for

the biggest broadcast of his life: a live, 90-minutespecial. His brother Lester (played by Mel Torme) istired of being ridiculed on air and off and threatens

to undermine the program unless Sammy cuts an especially vicious seg-ment. Rod Serling adapted Ernest Lehmans novelette and JohnFrankenheimer directed this piece of live television. The performers(including Kim Hunter and Edmond OBrien) are all excellent, but this isRooneys film, and Sammy is perhaps his greatest rolean entertainerbeloved by his fans but feared by friends and family. This gem is areminder of Rooneys now-forgotten place as one of Americas mostnuanced and devastatingly powerful performers. TFF (U.S, 1957, 90m)

In person: Mickey Rooney

E/Sat 2:15 PM

31 The Comedian

Alain, a young inventor, invites his new boss Richardand his wife Alice to join him and his wife Benedictefor dinner. Bad move. Richard and Alice arrive lateand then Alice confronts her husband for his infi-delities. Soon after, the rodent of the titlenative

to Scandinavia, impossible in Francemakes hisappearance. Gilles Marchand and Dominik Moll, wholast teamed up for the international hit WITH A FRIEND LIKE HARRY, returnwith this satire-laced combination of mystery, kitchen drama and supernat-ural thriller. Telluride tributee Rampling leads the outstanding cast, inject-ing a beyond-the-beyond weirdness into her Alice. TFF (France, 2005,129m) In person: Charlotte Rampling

N/Fri 9:30 PM - G/Sun 1:00 PM

32 Lemming

School of Baroque:A Eugne Green Retrospective

S h d lI f ti


12/25

ScheduleInformation

22

Passes

Passholders are admitted to the theatres first. Please read the back of yourpass for information on what your pass does and does not provide.TheTelluride Film Festival schedule has been designed to accommodate all pass-

holders at all programs. Programs that do not have sufficient seating at scheduledshowings will usually be repeated in the TBA slots, making it possible for all pass-holders to see the programs they wish to see during the course of the Festival.

Individual Tickets

If open seats remain in the theatres af ter all passholders have been seated,individual tickets will be sold on a first-come, first-served basis for $20 each.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 theHospitality Box Office in Brigadoon and at the Palm box off ice. Late Show

Ticket holders will be admitted to their shows with passholders.Free Shows

The three f ilm programs that comprise Filmmakers of Tomorrow (pages 28and 29) and the three Made on a Mac programs (page 32) are free and opento the public after all passholders have been seated. In addition, the follow-ing films are free af ter all passholders have been seated:

The shows at the Abel Gance Outdoor Cinema, located in Elks Park, are free toall 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 andopen to the public after all passholders have been seated.

Qs

Except for Chuck Jones Cinema (see below), all theatre venues utilize a systemof Qs to ensure fairness and uphold the first-come, first-served policy of theFestival. Paper Qs are distributed at each venue to better control entry anddetermine as quickly as possible when a show is expected to sell out. Only oneQ per person present will be issued. Holders of Qs are not guaranteed entry.

Chuck Jones Cinema

ChuckJones Cinema uses the Wabbit Weservation, or W2, system for entry, due toits location in Mountain Village, a 12-minute gondola ride from Telluride. The W2guarantees an unassigned seat for passholdersfor a specific show at CJC for thosewho 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 minutesin advance up until 30 minutes prior to any show.

2. At the Acme Booth next to Chuck Jones Cinema in the Mountain Villageplaza five (5) hours in advance up until 30 minutes prior to any show.

The Acme Booths open at 7:30 a.m. daily.

At Chuck Jones Cinema, W2s are an alternative to the Qs distributed at other venues.W2s are distributed to all passholders, who are advised to secure one for the showthey plan on attending. Any available seats after all passholders have been seatedwill be sold at $20 each. Passholders should plan on allowing no less than 30 minutestravel time from the base of the gondola to ensure entry into Chuck Jones Cinema.

Palm SheridanOperaHouse

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Opening Night Feed on Colorado Avenue

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Schedule Information

In this catalog and throughout the Festival, the shows that play are identifiedby number within a movie screen-shaped icon . Scheduled showings areprinted 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]

C Chuck Jones Cinema [500 seats]

S Sheridan Opera House [250 seats]

N Nugget Theatre [200 seats]

M Masons Hall Cinema [150 seats]

E Minnie [135 seats]

O Abel Gance Open Air CinemaSome of the screenings, indicated by Q & A , are immediately followed by ahalf-hour discussion between the filmmakers and the audience.

Several dozen show slots, mostly on Sunday and Monday, will not be pro-grammed and announced until that morning. TheseTBA (to be announced)programs will be determined by passholder demand as the Festival unfolds.

35 Show

Festivity

Talking Head

The schedule calendar in

these four pages uses the

following symbols:

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A Tributeto MickeyRooney

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ThePassenger

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Les Pontsdes Arts

35

GreatExpectations

38

ThreeTimes

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KingKong

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Lemming

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ThePresidents

LastBang

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Army ofShadows

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The LostCity

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ParadiseNow

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Capote

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Capote

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Convers-ationswith OtherWomen

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Convers-ations

with OtherWomen

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Edmond

2

Edmond

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KING KONG (M/Fri 7:15 PM)

Laurie Anderson (S/Sat Noon)

THE COMEDIAN (E/Sat 2:15 PM)Peter Bogdanovich (S/Sun Noon)

Made ona Mac

(2 PM)

Q & A

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Galaxy ChuckJones

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IronIsland

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TheComedian

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Lemming

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Toutes lesNuits

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Le MondeVivant

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Sistersin Law

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Live andBecome

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Breakfaston Pluto

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Breakfaston Pluto

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Breakfaston Pluto

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Army ofShadows

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Walk theLine

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Walk theLine

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Chang +Im King

Kong

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The LostCity

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Son+ More

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Capote

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with OtherWomen

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The RulesAll 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 orcommunication devices is not permitted in the theatres.

Though the movies are the center of our universe, the Festival does tendto spill out into other parts of Telluride. Look for the following venues tobe centers of activity after you leave the theater:

BrigadoonOak Street Plaza (next to the gondola station)

Brigadoons hours:

Thursday 12-5 PM

Friday 9 AM-6 PM

Saturday 9 AM-5 PM

Sunday 9 AM-5 PM

Monday 9 AM-5 PM

Itll appear every year, rather than every 100, but in many other ways,

Tellurides Brigadoon promises to hold just about as much magic andsurprise as the mythical Scottish village. This one-stop Festival head-quarters includes:

The Hospitality Center, where youll find Festival programs, passlanyards, copies ofThe Film Watch, and goodies provided by theFestivals sponsors. Film Festival staff will be available to provideinformation about Telluride and answer your questions.

Festival Memorabilia Store, the place to purchase TFF #32 pins,

posters, and logo wear, along with a generous variety of treasuresfrom Telluride Film Festivals past.

The Hospitality Box Office, for all pass issues, including sales of theLate Show Ticket.

And just next door,The Press Office, for the intrepid members of themedia who have made the trek to Telluride.

Elks ParkThe intersection of Colorado Avenue and Oak Street (SW corner)Tellurides central location is a great place to rendezvous. Its also thevenue for the evening outdoor screenings and the Saturday and SundaySeminars. See page 33 for Seminar details.

County CourthouseThe intersection of Colorado Avenue and Oak Street (NW corner)

The historic San Miguel County Courthouse hosts the Conversations series.See page 33 for details.

Apple StudioSheridan Opera House Conference Room

Fri-Mon, 11 AM - 5 PM

Apple has made high-quality movie production more accessible andaffordable than ever before. Drop by the Apple Studio to meet their filmand video experts and see Final Cut Studio software and Apple hardwarein action. Youll find out how Apples state-of-the-art tools for editing,motion graphics, sound design, and DVD authoring can elevate your

production valueswhile keeping your production budget in line.


Galaxy ChuckJones

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MasonsHall


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dMonday, September 5

DeLillo/Marcus

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Directors/Balance

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Labor Day PicnicIn Town Park

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Sistersin Law

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ThePresidents

LastBang

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Walk theLine

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A Tributeto

CharlotteRampling

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Spiritof the

Beehive

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Filmmakers of TomorrowFilmmakers of Tomorrow


15/25

After seeing these especially accomplished short films,we cant wait for the filmmakers first features!Free to all after passholders have been seated.

LIFE WITH SOPHIA (d. Svetla Tsotsorkova, Bulgaria, 2004, 20m) Vachko lovesSophia. Sophia loves Marin. But Marins been gone ten years, long enough tochallenge her sanity and, maybe, her loyalty.

A THOUSAND SUNS (d. Mathieu Vadepied, France, 2005, 26m) A young manhoping to rekindle an old friendship finds that everything has changed.

RAIN IS FALLING (d. Holger Ernst, Germany, 2004, 15m) Water: itsdistant, heavy, lovely, musical, restless, magical, ceaseless.

TWILIGHT(d. Victoria Gamburg, U.S., 2005, 21m) In Russia, a beloved childlost, and found, and lost again.

All Filmmakers of Tomorrow programs will be presented by Godfrey Reggio.

Additional support for Student Programs and Filmmakers of Tomorrowprovided by the Academy of Motion Picture Arts & Sciences

Filmmakers of Tomorrow

29

Filmmakers of Tomorrow

28

Student Symposium

Sponsored by Shady AcresEntertainment

Now in its 17th year, thisprogram provides 50 graduateand undergraduate students witha weekend-long immersion incinema. Participants watch filmsand discuss movies with Festivalguests and Symposium faculty.

City Lights Project

Supported by The EdouardFoundation

Building on the success of theStudent Symposium, this programincludes 15 high school studentsand five teachers from threedivergent schools. These partici-pants have the opportunity toexpand their personal andprofessional horizons through a

concentrated program of filmscreenings and discussions.

STUDENT PROGRAMS

Those groups of young, highly enthusiastic filmgoers youll see through

the weekend are probably participants in one of Telluride Film Festivals

two educational programs.

A program of imaginative works by determined andresourceful emerging filmmakers.

Free to all after passholders have been seated.

A BLACK AND WHITE WORLD (d. Adam White, Australia, 2004, 9m) Life is filledwith surprises for a silent-film character entering a new world.

MONSTER (d. Jennifer Kent, Australia, 2005, 10m) Its just a doll.No, it isnt, mommy, its real.

WHO KILLED BROWN OWL (d. Christine Molloy and Joe Lawlor, U.K.,2004, 9m) A perfect afternoon on a perfect riverside in a perfect Londonneighborhood.

THE OTHER AMERICAN DREAM (d. Enrique Arroyo, Mexico, 2004, 10m)On the U.S.-Mexico border, women continue to disappear. This is one oftheir stories.

CHEYENNE (d. Alexander Meier, Switzerland, 2004, 4m) A determined girlfaces off against a fierce bird.

THE PASSAGE (d. Gautier Billotte, France, 2004, 4m) A car wreck, a youngman, an unlikely connection.

MUSIC PALACE (d. Eric Lin, U.S., 2005, 9m) Once a central part ofcommunal life, Chinatowns movie palaces are nearing extinction.

THE NATURAL ROUTE (d. Alex Pastor Vallejo, Spain, 2004, 11m)The aftermath of a great love and a deep tragedy, played in reverse.

C/Fri 10:30 PM

38 Great Expectations

G/Sun 9:00 AM

37 Calling Cards

Made possible by a donation from Tom Cruise

Now in its twelfth year, this program showcases workby promising film students from around the world.Free to all after passholders have been seated.

THE BET(d. Eric Swan, Occidental College, U.S., 2005, 8m) Its a lose-losesituation for a valet coveting a sweet BMW.

PIRATE (d. Marion Lee, Victoria College of the Arts, Australia, 2005, 10m) Onthe day of her dads party, a girl becomes caught in an emotional battleground.

THE SAVIOUR (d. Peter Templeman, Australia Film, Radio and TelevisionSchool, 2005, 18m) The gentle Malcolm has a new challenge as he goesdoor-to-door saving souls: winning the married woman he loves.

BREACHED (d. Laura Richard, New York University, U.S., 2005, 18m)A fateful day: Maria prepares to cross into the U.S.A.

SANTIAGO (d. Paolo Borraccetti, University of Southern California, U.S.,2004, 6m) A professor in a repressive country finds that survival can onlycome through the deepest dedication to his art.

EL RINCON DE VENEZUELA (d. Reyther Ortega, New York University-CentroNacional Autonomo de Cinematografia, U.S./Venezuela, 2005, 19m) For afamily of new immigrants, opening a restaurant means adjusting to newrealities and reliving familiar ones.

UNHITCHED (d. Erin Hudson and Ben Wu, Stanford University, U.S., 2005, 12m)A misunderstood, oft-ridiculed American population finally gets its own say.

THE CONSCIENCE (d. Jan Bohuslav, FAMU, Czech Republic, 3m) Hell is avengeful shadow.

VICTORIA PARA CHINO (d. Cary Fukunaga, New York University, U.S., 2005,14m) A shattering tale of a real-life journey across the border.

G/Sat 9:00 AM

36 Student Prints

Special Medallion

SHOWcase for Shorts


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Janus Films, which in the 50s, 60s and 70s brought the finest f ilms toAmerican theaters, and Criterion, which has elevated the DVD into an art form,have made it their business to make great movies available to broad audiences.These two companies, along with the dozens of imitators who have followed intheir path, have made America a terrific place to be a movie buff.

With missions that are so closely aligned, it shouldnt surprise anyone thatJanus and Criterion share plenty of DNA. Janus Films was founded in 1956 byHarvard grads Bryant Haliday and Cyrus Harvey, Jr., who imported choicefilms including Franois Truffauts JULES AND JIM, Michelangelo AntonionisLAVVENTURA and early classics of Ingmar Bergman such as THE SEVENTH SEALand WILD STRAWBERRIES. William Becker and Saul J. Turell acquired Janus in1965 and began to build its now-legendary film collection. They acquired thefilm masterpieces of the worldBATTLESHIP POTEMKIN, BEAUTY AND THE

BEAST, RASHOMAN, THE RED SHOES, to name just a fewand organizedJanus festivals and retrospectives in theaters across the U.S.

With the initiation of the Criterion Collection in the 1980s, Peter Becker andJonathan Turell, the sons of the Janus owners, began using cutting-edgetechnology to advance their fathers mission. First with laser disc and now withDVD, Criterion has built a remarkable catalogue of familiar and obscure master-works. Today, Criterion is the gold standard for DVDs. Ask 10 f ilm buffs how tostart a good DVD library, and all 10 will tell you to buy up any availableCriterion titles.

Criterion also serves the f ilm preservation movement, hunting down the bestsource materials and providing a built-in audience for restored works. Andthe company adds immensely to film scholarship; their disks include directorscommentaries, interviews, behind-the-scenes documentaries, originaltrailers and a cornucopia of terrific extras.

Though the Criterion catalogue includes the best works by Bergman, Dreyer,Buuel, Fellini, Kurosawa, Renoir, John Cassavettes and Michael Powell, theCollection doesnt promote a simple-minded cinematic canon. The Criterionteam celebrates movies in all genres, new and old. Their THIS IS SPINAL TAP(now, sadly, out of print) is a collectors item, and the company makes noapologies for issuing an extras-loaded set of Michael Bays ARMAGEDDON,

which it argues is a textbook example of a great action film.Our tribute to Janus and Criterion makes perfect sense. Like Telluride,Janus and Criterion have always been a family affair. And, like the TellurideFilm Festival, Janus and Criterion demonstrate a passion for bringing greatcinema, in its many forms, to a discerning audience. TFF

Peter Becker, William Becker and Jonathan Turell will accept the SpecialMedallions, whichwill be presentedat the Festivals first opening night screening.

Special Medallion

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SHOWcase for Shorts

Criterion Collection and Janus Films

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9(d. Shane Acker, U.S., 2005, 11m) Constructedfrom fabric scraps and discarded machinery, theseunderworld creatures nonetheless have courage,compassion and, yes, souls.

Precedes EDMOND.

UNDRESSING MY MOTHER(d. Ken Wadrop, Ireland, 2004, 5m) Celebratingthe body beautiful: I'd rather be fat and happythan thin and miserable.

Precedes BE WITH ME.

WHILE DARWIN SLEEPS(d. Paul Bush, U.K, 2004, 5m) Of the estimated 10million bug species in the world, only one million havebeen identified. A fraction of those flap back to life inthis masterfully constructed short.

Precedes BEE SEASON.

OVERTIME(d. Oury Atlan, Thibaut Berland, Damien Ferri,France, 2004, 6m) The closest friends of theworlds most beloved puppeteer join togetherfor a final tribute.

Precedes JOHANNA.

CITY PARADISE(d. Gaelle Denis, U.K., 2004, 6m) When Tomokoarrives in London, she has no idea that she will soondiscover a mysterious secret hidden beneath the city.

Precedes PARADISE NOW

SPACER(d. Guy Roland, U.S., 2004, 3 minutes) A whirling,dizzying ballet of buildings and urban spaces.

Precedes CONVERSATIONS WITH OTHER WOMEN.

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Whether intended as a brief piece of entertainment, as an introduction

from an aspiring writer-director, or as an attempt to push cinemas

boundaries, the short film remains an essential part of the Telluride

legacy. These five short and medium-length works, each preceding afeature, prove that masterful films come in all sizes.

Jonatha

nBecker

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Made on a Mac

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The Festival keeps the dialogue going with two series of live events

Seminars and Conversations. Both allow audiences to interact with

the Festival guests.Admission is free; passholders receive first seating

at indoor venues.

SeminarsSaturday and Sunday panels are free and open to the public;passholders only admitted to the Monday panel. Moderated by

Annette Insdorf

What are the actors physical and verbal building blocks inbecoming an on-screen character?Saturday, Noon, Elks Park

Where and how will we be watching movies in the future?Sunday, Noon, Elks Park

How do directors balance the personal and socio-politicalelements of their films?"Monday, Noon, Town Park

ConversationsSponsored by NBC Universal

These intimate gatherings feature interviews between two intriguingFestival guests. Held at the historic County Courthouse on main street.Free and open to the public; passholders receive first seating.

Laurie Anderson and Peter SellarsSaturday, 10 AM

Leonard Maltin and Andy GarciaSaturday, 3 PM

William H. Macyand Philip Seymour HoffmanSunday, 10 AM

Scott Foundas andThe DardennesSunday, 3 PM

Don DeLillo and Greil MarcusMonday, 10 AM

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Laurie AndersonE/Fri 2:00-3:00 PM

Laurie Anderson is an artist whose work spansmusic, film, live performance and multimedia. At

Telluride, she is presenting the short film HIDDENINSIDE MOUNTAINS . Over the past 25 years,she has released 10 albums and 6 books, createdmultimedia theatrical works around the world,and composed numerous dance and film scores.

Hans Canosa & Kwesi CollissonE/Fri 3:15-4:00 PM

Director Hans Canosa and producer KwesiCollissons new film, CONVERSATIONS WITH OTHER

WOMEN, shows that there are two sides toevery storyliterally. The film uses an innovative,dual-frame technique to present the emotional

journey of the two main characters simultaneously.Every image in the film was scaled, cropped, andrepositioned for a split screen.

John CanemakerE/Sat Noon-12:45 PM

Animator John Canemaker prefers to work the

traditional way, drawing and painting by hand.His new animated film THE MOON AND THE SONexplores the difficult emotional terrain of father-sonrelationships. His earlier animated films are includedin the Museum of Modern Art permanent collection.

Liza Maine Seybold & Victoria GamburgE/Sat 12:451:30 PM

The team of writer/director Victoria Gamburg andeditor Liza Maine Seybold overcame great challengesto produce their short f ilm TWILIGHT, playing inGreat Expectations . This unique productionwas completely shot and edited on location inSt. Petersburg, Russia, over an 18-month period.

Filmmakers of TomorrowE/Sun 12 noon1:30 PM

Their names may not be familiar now, but theywill be soon. Meet some talented, up-and-comingfilmmakers whose movies were selected for inclusionin the Festivals Student Prints, Calling Cards and

Great Expectations programs (see pages 28-9).

From concept to finish, the Mac has become an indispensable tool at

every step of the filmmaking process. This series of programs takes you

behind the scenes as filmmakers reveal how they used Apple hardware

and software to create the movies theyre showing during the Festival.Free and open to the public; passholders seated first.

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FestivitiesFestivities


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Opening Night Cuban FeedSponsored by Cisco SystemsColorado Avenue/Fri 5-6:30 PM

Each year, the Feed is a perfect place to connect with friends from

festivals past, and soak up the thin, clean air. And in 2005, in honorof the late, great writer Guillermo Cabrera Infante (a former TellurideGuest Director) and his new film THE LOST CITY, which premieres atTelluride, well be serving the finest Cuban food. Eat your moros ycristianos and roast pork and get ready to sprint to that first film.For all passholders except Acme.

Encore! Peter Bogdanovich: 'Sacred Monsters'Sheridan Opera House, Sunday at Noon

The sensation of last years Festival is back by popular demand.This hour-long program by former Telluride Guest Director Peter

Bogdanovich offers a first-personintroduction to the giants of Americanmoviemaking. Hell recall the times hespent with John Ford, Otto Preminger,Orson Welles, John Wayne andHoward Hawks, show some clips andbring his inimitable witand some

unforgettable impersonationsto theOpera House stage. In addition to hiswork as director and writer,Bogdanovich is surely a world-classcinephile. Come celebrate the movieswith him. Free and open to the public;

passholders seated first

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Labor Day PicnicTown Park/Mon 11:00 AM 1:00 PM

We dare you: f ind a more beautiful picnic ground. Ours, in TelluridesTown Park, is ringed by the rugged San Juan Mountains, in view of oneof the continents most spectacular waterfalls, and next to the San MiguelRiver. And the food's great: meat and chicken from Omaha Steaks andall the ice cream you can eat! Still not convinced? Stick around and wellhold our final Seminar here. Town Park is located east of downtown onColorado Avenue, toward Bridal Veil Falls. For all passholders of the Festival

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Laurie Anderson: Hidden Inside MountainsSheridan Opera House, Saturday at Noon

A short (25-minute) but monumental work of videoHIDDENINSIDE MOUNTAINS tells a series of stories about nature, timeand human endeavor. The filmmaker, Laurie Anderson, filmedperformances on elaborately designed stages, added digi-tal overlays and designed a soundtrack featuring violins,bells, voice and electronica, punctuated by dog barks.Richly layered, gorgeous and moving, HIDDEN is animpressive work by one of Americas essential per-formance artists. Laurie, our Guest Director in 1991,

follows this screening with a conversation about thiswork and its context within EXPO 05 at Aichi, Japan.Free and open to the public; passholders seated first

Poster Signing with Dave McKeanBrigadoon, Saturday at 12:30 PM

McKean is a legendary figure in the world ofcomic books, and he has brought his distinc-

tive style to the creation of the 2005 TellurideFilm Festival poster. McKean follows in thefootsteps of the many distinguished Tellurideposter artists, including Gary Larson, JulianSchnabel, Ed Ruscha, Jim Dine and, of course,Chuck Jones. Meet Dave McKean and turn yourTelluride poster into a true keepsake.Brigadoon is open to the public

Festivities

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Festivities

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Out of the Past: From theCollections of the AcademysMargaret Herrick LibraryMade possible by the Academy of Motion Picture Artsand Sciences, with additional support from theTelluride Gallery of Fine Art

Telluride Gallery of Fine Art, 130 E. Colorado Ave.Hours: Fri 29 PM

Sat-Mon 10 AM9 PM

The exhibition celebrates the creation of anew Telluride Film Festival Special Collectionwithin the collection of the Academy ofMotion Picture Arts and Sciences (AMPAS).Out of the Past spans the years 1913-1994and includes examples from AMPAS Librarysvast holdings. Highlights include Edward

Steichen photographs of Lillian Gish, Paul Robeson, Gary Cooper and Joan

Crawford; production designs from GONE WITH THE WIND, MILDRED PIERCEand IT CAME FROM OUTER SPACE; costume design drawings from SHANE,BONNIE & CLYDE and THE POSTMAN ALWAYS RINGS TWICE; and productioncorrespondence on THE WILD BUNCH from the Sam Peckinpah Collection.Free and open to the public

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JohnFago

PeterRoss

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OPERATIONSOperations Office Manager: Curtis Walker.Operations Project Assistants: Claudia Fucigna, Kerry Wagner.Box Office Manager: Gary Sutton. Assistants: Carla Brown, George Forth,Lorelei McKinnon.Communications Services: Rock and Roll Radios, Greg Carttar (Mother),

Char Harner (Mother Superior), Larry Carttar (Mothers Brother), CraigDeslaurier (Other Mother).Project Specialists: Michael Anderson, Greg Babush, Tim Frush, DaveHutchinson, Luci Reeve, Dean Rolley, Deborah Scharaga.Emergency Management: Dave Hutchinson, Marc McDonald.Debris Chief: Mike Oard. Debris Wranglers: Karl Ebel, Ryan Lacen,Christopher Nelson, Greg Nemer.

TBAs: Curtis Walker.Vespucci: Lynne Domingos. Vespucci Coach: Allyson Crilly.Phantom: Marcello Vespucci.

Technical Staff:Carl Brenkert Society: Russell Allen 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 ParadigmProductions), Gary Stanley (Projection and Sound Services), Buzz Hays(Stones Throw Films), Sam Chavez (Bay Area Cinema Products).

Video Projection: Brian Claypool, Tom Schwartz (Christie Digital).Video Services: Marc Hathaway (Specialized Technical Services, Inc.)Video Staff: Jeff Franks.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, Brett Wagley, Michael Wagner, Jacob Wascalus.

Theatre PA and Sound: Dean Rolley.Staff: Anna Roth, Chapin Cutler III, Deborah Cutler, Helen Stanley.

PRODUCTIONProduction Coordinator: Mike Smith.Production Office Manager: Sarah Pawlowski.Managers: Jennifer Ammann, Michael Anderson, Lyndon Bray, Erik Cooper,Susan Cooper, Tim Frush, Mark Lange, Ian Manson, Holden Payne, Brady

Richards, Tim Territo, Tim Vierling, Stanislaus Wislocki, Eric Wolff.Assistant Managers: Peter Garber, Barry Jenkins, Erin Klenow, ShaunaMcGlamery, Doug Mobley, Laurel Robinson, Shaddock Stipe, Anita Stiegler.Crew: Dylan Brooks, Larry Gus, Lance Hinckley, Barry Jenkins, DanaLandry, Sam Lyons, Bill Lyons, Sydney McNab, Allison Mobley, Eric Nepsky,David Oyster, Kimberly Tarr, Avery Thatcher, Jacob Wascalos.Production Apprentices: (DOGS) Angela Allen, Michael Boyd, Abbie Corse,Christianne Hedtke, Megan Labadie, Diana Metzger, Amberlee SummerMucha, Nicole Shams, Chris Wells, Nichole Wleklinski.Rigging Coordinator: Ian Manson.Riggers: Erik Cooper, Peter Garber, Mark Lange, Tim Vierling, Stash Wislocki.Shop Manager: Tim Frush.Shop Foreman: Eric Wolff.Master Carpenters: Brandon Hurd, Allan McNab.Lighting Designer: Elaine Buckholtz.Lighting Director: Jonathan Allen.Production Electrician: Brian Ferguson.Electrician: Justin Bonfiglio.Schlepp Master: Tim Territo. Assistants: Jim Hurst, Scott Michels.Schlepp Crew: Dan Auerbach, Andrew Cook, Thomas Fortier, Jean-Christophe Jullien, Anthony Lore, Andres Marin, Martins Putelis, RobertRex, Justin Weihs, Wylder Wilson.Sparks: Phil Hayden.Signs: Shauna McGlamery, Suzan Beraza, Dawn Davis.Nuts & Bolts: T.R. Richards

Torch, etc.: Chuck Kroger, Aaron Smith.High & Hard: Bone Construction. Heavy: J.R. Nershi.Original Sound & Music Design for Palm & Galaxy: Bill Wolford.Cookie Boy: ?

THEATRE OPERATIONSTheatre Production Coordinator: Cynthia Bellai.Assistant to Manager of Theatre Operations: Ru Biener.Alloy Wrangler: Dave Hutchinson. Assistant: Brian Garton.Concessions Manager: Jackie Arguelles. Assistant: Kathleen Cole.

PALM & MINNIEPalm Manager: Gary Tucker. Palm Assistants: Krista Eulberg, Troy Paff,Mark Rollins. Palm Ringmaster: Leyla Wefalle. Minnie Manager: JonathanKaplan. Minnie Assistant Manager: Susan Orshan. Minnie Ringmaster:Doug Mobley. Palm/Minnie Staff: Angela Allen, Budd Andrews, TomBaldridge, Tony Berns, Eve Bigelow, Michael Boyd, Ann Brady, Nolan Burke,

Josh Burns, Morgan Burns, Annie Chrietzberg, Abbie Corse, Bianca Escobar,Morgan Faust, Bob Hamner, Sharri Hefner, Nataunya Kay, Emily Long, ArnoldLouw, Uriah Lovelycolors, Colleen Lyon, Michelle Martens, Laurel Minter,David Nepsky, June Nepsky, Patrick Noyes, Pat Pilon, Terry Pilon, Emily(Genie) Reed, Robert Reed, James Renn, Pam Shapiro, Howard Stern, LoisStern, J.D. Victor, Brigitta Wagner, Chris Wells, Mark Wensel, Neil Widener,Anya Wislocki. Palm Chief Projectionist: Ingrid Lae. Palm Projectionists:Matt Kunau, Matt Lanning, Cherie Rivers. Minnie Chief Projectionist: ErikTeevin. Minnie Projectionists: John Gajda, Dan Gray, Rufus Wright.Concessions Head: Morgan Young. Head Outside: Golan Ramras. AssistantOutside: Sherrion Taylor. Inside Staff: Susan Dahl, Jessica Dumke, Ann-Marie

Fleming, Jock Fleming, Elizabeth Forth, Alicia Fusting, Gino Gioga, EileenKaser, Elinor London, Emily Mark, Audrey Meltzer, Michelle Van Sandt.Outside Staff: Michael Kastenbaum, Nancy Murphy, Janet Niichel, JillProctor, Jennifer Schnackel, Stephanie Warner, Susan Whittle.

GALAXYManager: Katie Trainor. Assistant Managers: Lyndon Bray, TondeleyoGonzalez, Hilary Hart, Caryn Sanchez. Ringmaster: Rosemerry Wahtola-Trommer. Staff: Lene Andersen, Jackson Burke, Julie (Jules) Chalhoub,Evan Golden, Jenessa Joffe, Dave Lincoln, Catherine McDonald, JordanMilliken, Houston Morrow, Holly Payne, Anna Reeves, Meghan Stratman,Timothy Sun, Avery Thatcher, Stephanie Thomas-Phipps, Richard Thorpe,David Wilson. Chief Projectionist: (The Reel) Bill Hill. Projectionists:John Fahnestock, Joel Rice, Dean Silver. Concessions Head: Katy James.Head Outside: Gwen Vogel. Assistant Inside: Colleen McLaughlin. Staff:Heather Baltzley, Carlos Cagin, Lorraine Coppola, Camille Knox, CourtneyLaBarge, Erin LaBarge, Eliot Muckerman, Jeremy Myers, Marcia Nor thrup-LaBarge, Susan Sante, Carrie Towbin, Joshua Weinberg, Shirley Wicevich.

CHUCK JONES CINEMAManager: Holden Payne. Assistant Managers: Ian Bald, Trish Hawkins,Jeannie Stewart, Quang Tran. Ringmaster: Pamela Chandran. Staff:Brendon Bouzard, JD Brown, Carol Dix, Cathe Dyer, Doug Glover, LarryGus, Christianne Hedtke, Annie Heng, Josie Kovash, Diana Metzger,Amberlee Summer Mucha, Jeremy Nelson, Duane Osterlind, Barbara Ralph,Melissa Swearngin, Phil Swearngin, Chad Thomas, Joanne Young. W2Booth: Joan Anderson, Nancy Anderson. Chief Projectionist: Ian Price.Projectionists: Peter Halter, Bruce Mazen, Ryan Gardner Smith.Concessions Head: CC Rocque. Assistant: Michael Ste. Marie. Staff:Adam Hyman, Frances McGrogan, Patrick McGrogan, Danielle Osterlind(Jones), Lauren Shaddox, Joaquin Villalobos.

SHERIDAN OPERA HOUSEManager: Ben Kerr. Assistants: Allison Mobley, Shine Pritchard, RickStafford. Ringmaster: Rick Brook. Staff: Robert Bobalouie Allen, BoBedford, Cynthia Bellai, Genne Boles, Caitlin Brennan, Jean Marie Buckley,

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Kiersten Harter, Sandra Ippolite, George Jones, Judi Kiernan, ValerieKrantz-Burge, Jeanie Krogh, Michael Manthey, Sherry Rose, Jamie Ross,Sharon Swab. Chief Projectionist: Magic Brennan. Projectionists:Elizabeth Antalek, Rory Lanning, Travis Young. Concessions: Head: MeganLabadie. Staff: Shauna Moss.

NUGGET THEATREManager: Laura Stewart. Assistant Manager: Matthew Von Waaden.Ringmaster: Seth Berg. Staff: Jane Ferguson, Kelly Finley, Connie Fisher,Susan Greer, Bill Kight, Jeff Levine, Barbara Macfarlane, Beth McCall, RobertRoth, Nicole Shams, Meghan Storm, James Thole, Kathleen L. West, NicholeWleklinski. Chief Projectionist: Payal Doctor. Projectionists: Luci Reeve, MarkSchoneveld, Scott Snare. Concessions Head: Sandy McLaughlin. Staff: JimBrieske, Charmaine McCarthey, Mia McLaughlin.

MASONS HALL CINEMAManager: Stephanie Shandera. Assistant Managers: Jill Farley, Peter

Goldie, Tod Kuykendall. Ringmaster: Gabriella Aratow & Evan Golden.Staff: Lynne Beck, Bret Blosser, Jane Clemmons, Angela Dadak, KatrinaFoelsche, Ben Hatfield, Jordan Hobbs, Kimble Hobbs, Nancy (Miller)Hobbs, Joan Leckey, Albert Mayer, Jeff Middents. Chief Projectionist:Barbara Grassia. Projectionists: Graef Allen, Greg Babush, Brian Ganey.

ABEL GANCE OPEN AIR CINEMAManager: Jeff York. Assistant Manager: David Rothschild. Ringmaster:Terry Tice. Staff: Ehren Borg, Gabriel Fleming, Joe ODonnell. ChiefProjectionist: Gary Stanley.

THE HOME OFFICENumber Juggler: Suzanne Patrakis. Assistant to Stella Pence: TeresaSteenbeke. Pass Mastery: Lara Pence. Publications Editor: Jason Silverman.Curatorial Assistants: Chris Robinson, Jason Silverman, Jerry White. WordParser: Kate Sibley. Teamstar & Box Office Junkie: Kate Dominus. RovingAssistants: Linda & Roger Knapp. Assistant to Tom Luddy: Ruby Tugade.Coverage: Brendon Bouzard, Nancy Copeland, Evan Golden, Jordan Miliken,Meghan Stratman. Dear Diary: Peter Shelton. Festival Flags: Janet BehrensSiebert. Computer Systems Wizard: Hunt Worth. Techno Aids: Doug Bloom,Curtis Walker. Submissions Reaper, Web Wrangler, and Deputy to BillPence: Trevor Bartlett.

Housing & Travel Assistants: Erica Gioga, Barbara Hunt. Airport Liasons:Shane Ballard, Vincent M. Egan & Chance Leoff. Drivers: Tracy Boyce,Michael Call, Susan Gillespie, Katie Lynch, David Swanson, Lori Tuite, MartaUnnars, Marcus Wilson, Patricia Wilson, Cynthia Zehm. Travel Agents: JanaEmery, Barbara Clark, Ann Denney.

Personnel: Staff Coordinator: Lucy Lerner. Housing Coordinator: BevinGumm. HR Coordinator & Payroll Chief: Suzanne Patrakis. Office &Payroll Guru: Mark Schoneveld. Day Supervisor: Johnny Bulson. NightManager: Peter Lundeen. Apprentice Extraordinaire: Clay Farland. Pass

Makers: Una Jackman, JoAnn Weisel. Personnel Commandos: BetsyAdler, Jonathan Augello, Molly Babcock, Neal Babcock, Barb Bayne, RuthBiener, Heather Britt, Kittie Brown, Trish Cocking, Francine Cogen, AdinaCrafton, Melanie Cruz, Jenny N. Duffey, Ellen Esrick, Sue Evans, HilaryFebbo, Melissa Friedman, Amy Fung, Ellen Geldbaugh, Terri Gioga, JerryGrandey, Molly Herrick, Michelle Hill, Liz Hughes, Lisa Issenberg,Annemarie Jodlowski, Michael Kastenbaum, Joel Kaufman, Jim Kimble,Teresa Koberstein, John Kos

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