April 14, 2009 (XVIII:13) François Girard, 32 SHORT FILMS ABOUT GLENN GOULD (1993, 98 min)

Directed by...François Girard Produced by...Mikchael Allder and Niv Fichman Screenplay….François Girard and Don McKellar Additional material…Glenn Gould Cinematography...Alain Dostie Editing by...Gaétan Huot All piano performance by…Glenn Gould Colm Feore...Glenn Gould Derek Keurvorst...Gould's father Katya Ladan...Gould's mother Devon Anderson...Glenn age 3 Joshua Greenblatt...Glenn age 8 Sean Ryan...Glenn age 12 Kate Hennig...Chambermaid Sean Doyle...Porter David Hughes...Stagehand Allegra Fulton...Waitress Gerry Quigley...Music Critic Gale Garnett...Journalist David Young...Writer James Kidnie...Photographer Moynan King...Questioning Woman Michael Kopsa...Broker Bruno Monsaingeon...Himself (Violin I, Opus #1) Yehudi Menuhin...Himself Margaret Pacsu...Herself Jessie Greig...Herself Megan Smith...Herself Walter Homburger...Himself Ray Roberts...Himself Bob Phillips...Himself Jill R. Cobb...Herself Bob Sylverman...Himself Elyse Mach...Herself Mario Prozak...Himself Valerie Verity...Herself Vern Edquist...Himself Gilles Apap...Himself (Violin II, Opus #1) Jean Marc Apap...Himself (Viola, Opus #1) Marc Coppey...Himself (Cello, Opus #1) Irradiated persons: Alain Dostie, François Girard and Jennifer Jonas

For excerpt from “Idea of North,” the first part of Gould’s CBS “Solitude Trilogy” and links to other CBS Gould items, visit: http://archives.cbc.ca/arts_entertainment/music/topics/320-1709/ There is a good deal of interesting Gould information and many useful web links at the Glenn Gould Foundation website: www.glenngould.ca. FRANÇOIS GIRARD (January 12, 1963, St-Felicien, Quebec, Canada) has directed 8 films: Silk (2007), Le Violon rouge/The Red Violin (1998), Bach Cello Suite #2: The Sound of Carceri (1997), “Yo-Yo Ma Inspired by Bach” (1997), Secret World Live (1994), Thirty Two Short Films About Glenn Gould (1993), Le Jardin des ombres (1993), and Cargo (1990). COLM FEORE (August 22, 1958, Boston, Massachusetts) has 106 acting credits, including: The Trotsky (2009, filming), “Guns” (2008, post-production), “24” (2009), “The Listener” (2009), 24: Redemption (2008), “Widows” (2008), Wargames: The Dead Code (2008), Six Reasons Why (2008), Inconceivable (2008), Changeling (2008), Le Piège américain (2008), Serveuses demandées/Waitresses Wanted (2008), Killing Zelda Sparks (2007), Intervention (2007), The Poet (2007), Bury My Heart at Wounded Knee (2007), “The American Experience” (2007), Judy’s Got a Gun (2007), Bon Cop, Bad Cop (2006), “Battlestar Galactica” (2006), Burnt Toast (2005), The Exorcism of Emily Rose (2005), “Slings and Arrows” (2005), “Empire” (2005), The Deal (2005), Lies My Mother Told Me (2005), “The Eleventh Hour” (2004), The Chronicles of Riddick (2004), “The Newsroom”

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(2004), Paycheck (2003), And Starring Pancho Villa as Himself (2003), National Security (2003), Highwaymen (2003), Chicago (2002), “Benjamin Franklin” (2002), “Napoléon” (2002), The Baroness and the Pig (2002), Point of Origin (2002), The Sum of All Fears (2002), Trudeau (2002), Sins of the Father (2002), The Day Reagan Was Shot (2001), Century Hotel (2001), Lola (2001), The Big Show (2001), Pearl Harbor (2001), Final Jeopardy (2001), Haven (2001), The Caveman's Valentine (2001), Ignition (2001), “Boston Public” (2000), “The West Wing” (2000), The Perfect Son (2000), Nuremberg (2000), Thomas and the Magic Railroad (2000), “La Femme Nikita” (1998-2000), Trapped in a Purple Haze (2000), The Virginian (2000), “Foreign Objects” (2000), Titus (1999), The Insider (1999), Forget Me Never (1999), Striking Poses (1999), “Storm of the Century” (1999), The Herd (1998), Le Violon rouge/The Red Violin (1998), The Lesser Evil (1998), Airborne (1998), Creature (1998), City of Angels (1998), “Heritage Minute” (1998), Critical Care (1997), The Wrong Guy (1997), Hostile Waters (1997), Face/Off (1997), Night Sins (1997), The Escape (1997), “Liberty! The American Revolution” (1997), “Kung Fu: The Legend Continues” (1995-1996), Night Falls on Manhattan (1996), “The Outer Limits" (1996), “Due South” (1996), The Boor (1996), Where's the Money, Noreen? (1995), Truman (1995), Friends at Last (1995), “Forever Knight” (1995), The Spider and the Fly (1994), Thirty Two Short Films About Glenn Gould (1993), “Beyond Reality” (1992-1993), Romeo & Juliet (1993), “Street Legal” (1992), Artemisia (1992), Bethune: The Making of a Hero (1990), “War of the Worlds” (1989-1990), Personals (1990), “Friday the 13th” (1989-1990), Beautiful Dreamers (1990), Iron Eagle II (1988), “Diamonds” (1988), The Taming of the Shrew (1988), Blades of Courage (1988), A Nest of Singing Birds (1987), The Boys from Syracuse (1986), “For the Record” (1981), and “The Great Detective” (1981).

MICHAEL ALLDER has 25 producing credits: Lost Secrets of Ancient Medicine: The Blue Buddha in Russia (2006), Lost Secrets of Ancient Medicine: The Journey of the Blue Buddha (2006), Bee Talker (2005), Weight of the World (2003), Beluga Speaking Across Time (2002), Cyberman (2001), Frozen Hearts (1999), The Ecology of David Suzuki (1999), Turning Down the Heat: The New Energy Revolution (1999), The Pill (1999), City of Dark (1997), The Powder Room (1997), Drowning in Dreams (1997), Project Grizzly (1996), The Lucky Ones: Allied Airmen and Buchenwald (1994), Fanfares (1994), Thirty Two Short Films About Glenn Gould (1993), Constructing Reality: Exploring Media Issues in Documentary - The Politics of Truth (1993), Constructing Reality: Exploring Media Issues in Documentary - Voices of Experience,

Voices for Change Part 1 (1993), Constructing Reality: Exploring Media Issues in Documentary - Shaping Reality (1993), Constructing Reality: Exploring Media Issues in Documentary - The Candid Eye? (1993), Constructing Reality: Exploring Media Issues in Documentary - What Is a Documentary? Ways of Storytelling (1993), Constructing Reality: Exploring Media Issues in Documentary - Voices of Experience, Voices for Change Part 2. The Poetry of Motion (1993), In the Key of Oscar (1992), and “The Nature of Things” (1960).

NIV FICHMAN has 72 producing and 8 directing credits. The former include; The Road to Passchendaele (2008), A Vision of Blindness (2008), Passchendaele (2008), Blindness (2008), Dakota (2008), Silk (2007), Snow Cake (2006), Mozartballs (2006), My Dad Is 100 Years Old (2005), “Slings and Arrows” (2003-2005), Five Days in September: The Rebirth of an Orchestra (2005), Beethoven's Hair (2005), Childstar (2004), Clean (2004), The Saddest Music in the World (2003), An Idea of Canada (2003), Elizabeth Rex (2003), The Firebird (2003), Perfect Pie (2002), Countdown (2002), Ravel's Brain (2001), Tuscan Skies ~ Andrea Bocelli ~ (2001), “Great Performances” (1996-2001), Legs Apart (2000), This Might Be Good (2000), 24fps (2000), Congratulations (2000), “Foreign Objects” (2000), The Line (2000), Prelude (2000), See You in Toronto (2000), The Heart of the World (2000), Camera (2000), A Word from the Management (2000), Le Violon rouge/The Red Violin (1998), Last Night (1998), Bach Cello Suite #6: Six Gestures (1997), Bach Cello Suite #5: Struggle for Hope (1997), Bach Cello Suite #4: Sarabande (1997), Bach Cello Suite #3: Falling Down Stairs (1997), Bach Cello Suite #2: The Sound of Carceri (1997), Bach Cello Suite #1: The Music Garden (1997), “Yo-Yo Ma Inspired by Bach” (1997), The War Symphonies: Shostakovich Against Stalin (1997), A Tale of Tanglewood (1997), Dido & Aeneas (1995), The Music of Kurt Weill: September Songs (1995), Solidarity Song: The Hanns Eisler Story (1995), Satie and Suzanne (1994), Fanfares (1994), The Planets (1994), The Sorceress (1993), Thirty Two Short Films About Glenn Gould (1993), “Concerto” (1993), My War Years: Arnold Schoenberg (1992), Tectonic Plates (1992), When the Fire Burns: The Life and Music of Manuel de Falla (1991), John Wyre: Drawing on Sound, The Radical Romantic: John Weinzweig (1990), A Moving Picture (1989), The Top of His Head (1989), Carnival of Shadows (1989), For the Whales (1989), Eternal Earth (1987), Ravel (1987), World Drums (1987), Blue Snake (1986), Inner Rhythm (1986), All That Bach (1985), The Magnificat (1985), Zivjeli! To Life! (1982), and Music for Wilderness Lake (1980). He directed Bach Cello Suite #5: Struggle for Hope (1997), “Yo-Yo Ma Inspired by Bach” (1997), John Wyre: Drawing on Sound (1991), World Drums (1987), Blue Snake (1986), Inner Rhythm (1986), Zivjeli! To Life! (1982), and Music for Wilderness Lake (1980).

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ALAIN DOSTIE (September 12, 1943) has 57 cinematography credits, among of which are Silk (2007), 15 février 1839/February 15, 1839 (2001), Nuremberg (2000), Elvis Gratton II: Miracle à Memphis (1999), The Patty Duke Show: Still Rockin' in Brooklyn Heights (1999), Le Violon rouge/The Red Violin (1998), The Assistant (1997), La Vengeance de la femme en noir (1997), The Best Bad Thing (1997), Le Confessionnal/The Confessional (1995), Octobre/October (1994), L’Arche de verre/The Glass Ark (1994), The Planets (1994), Thirty Two Short Films About Glenn Gould (1993), Armen and Bullik (1992), Perfectly Normal (1991), Le Party (1990), Dans le ventre du dragon/In the Belly of the Dragon (1989), Iron Eagle II (1988), Les Fous de Bassan/In the Shadow of the Wind (1987), La Magie continue (1986), Elvis Gratton: Le king des kings (1985), “Empire, Inc.” (1985), Les Années de rêves/The Years of Dreams and Revolt (1984), The Gunrunner (1984), Au pays de Zom (1983), Le Confort et l'indifférence/Comfort and Indifference (1982), Métier: Boxeur (1981), Les Voleurs de Job/Where Dollars Grow on Trees (1980), Jornaleros (1978), Santa Gertrudis, la première question sur le bonheur (1978), Le Soleil se lève en retard/The Late Blossom (1977), On est au cotton/Cotton Mill, Treadmill (1976), Pour le meilleur et pour le pire/For Better or Worse (1975), Les Vautours/The Vultures (1975), Gina (1975), Images de Chine/Glimpses of China (1974), Ping-pong (1974), Réjeanne Padovani (1973), Tendresse ordinaire/Ordinary Tenderness (1973), Québec: Duplessis et après... (1972), La Maudite galette/Dirty Money (1972), Hard Rider (1972), Le Reel du pendu (1972), Why I Sing (1972), On est loin du soleil (1971), Le Martien de Noël/The Christmas Martian (1971), Ainsi soient-ils (1970), 10 Miles/Hour (1970), Hôtel-Château (1970), With Drums and Trumpets (1969), Le Beau plaisir/The Beluga Days (1968), Épisode (1968), La Semaine dernière pas loin du pont (1967), 9 minutes (1967), Better Housing for British Columbia (1967), and Jeux de Québec 1967 (1967).

Kevin Bazzana, Glenn Gould: An Extended Biography By Kevin Bazzana (“The Man” on The Glenn Gould Foundation website, www.glenngould.ca.) Glenn Herbert Gould was born on September 25, 1932, in Toronto, which would be his home for the rest of his life. (The family's original surname, Gold, was changed around 1939.) Gould's prodigious musical gifts, including perfect pitch, were apparent by

age 3, and as a child he learned the rudiments of music and the piano from his mother. He studied theory (1940-7), organ (1942-9), and piano (1943-52, with Alberto Guerrero) at the Toronto (later Royal) Conservatory of Music, earning his Associate diploma, with highest honors, at age 12. From age 5, Gould occasionally played in public, on piano and organ, and he competed in a few music festivals, but his parents never subjected him to the life of a star prodigy. He made his professional recital and concerto debuts in 1947, and by the early 1950s was known across Canada through concert appearances, CBC radio and television broadcasts, and recordings. From 1953, he performed often at the annual Stratford Festival, even serving from 1961 to 1964 as one of its directors of music. In January 1955, Gould made his American debut, with recitals in Washington, D.C., and New York. His unorthodox programme (Sweelinck, Gibbons, Bach, late Beethoven, Berg, and Webern), distinctive piano style, idiosyncratic interpretations, and unusual platform mannerisms marked him as an iconoclast. The day after his New York debut, he signed a contract with Columbia Records, for whom he recorded exclusively thereafter. His first recording, of Bach's Goldberg Variations, was released in 1956 to critical and popular acclaim, and brought him international attention. For the next nine years, he lived the life of a touring virtuoso. He gave concerts throughout North America, and between 1957 and 1959 made three overseas tours, playing in the U.S.S.R., Western Europe, Israel, and London, earning praise and arousing controversy wherever he went. His eccentric character, both on stage and off, provoked nearly as much comment as his playing, and he was the subject of colorful publicity from the beginning of his career. In 1964, Gould retired permanently from public performance, citing temperamental, moral, and musical objections to the concert medium. He went on to become an outspoken champion of the electronic media -- of studio recording, broadcasting, and film-making. He made scores of recordings, acquiring theoretical and practical insights into the recording medium unusual for a classical performer. He made countless radio and TV programs for the CBC, conventional recitals as well as talk-and-play shows on particular themes. In the 1960s and 70s, he made seven innovative "contrapuntal radio documentaries" -- evocative tapestries of sound that blended elements of documentary, drama, and musical composition. Four were portraits of musicians he admired, the others a fascinating "Solitude Trilogy" about people living in isolation: The Idea of North (1967); The Latecomers (1969), about Newfoundland; and The Quiet in the Land (1977), about Mennonites in Manitoba. Gould also made programs for the BBC (Conversations with Glenn Gould, 1966), and for French and German television (Chemins de la musique, 1974; Glenn Gould Plays Bach, 1979-81). Gould was prolific as a writer, especially after 1964; he explored many musical and non-musical topics in record-liner notes, periodical articles and reviews, scripts for broadcasts and films, interviews, and, in the early 1960s, a few public lectures. He composed from childhood, and was particularly active in his teens, when he wrote piano pieces, a bassoon sonata, and many unfinished works. His only major composition is the long, one-movement String Quartet, Opus 1, composed 1953-1955 and later published and recorded. From the beginning of his concert career, he spoke often of quitting performing in order to devote himself to composition, but after the String Quartet he completed few works,

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mostly humorous occasional pieces. He arranged music for two feature films: Slaughterhouse-Five (1972) and The Wars (1982). Gould was one of the most unconventional classical musicians of modern times. His repertoire was highly selective: he played few of the early-Romantic and impressionistic works at the core of the piano repertoire, preferring Baroque, Classical, late-Romantic, and 20th-century music, mostly by Austro-German composers; he also played Elizabethan music, transcriptions, and a few works by Canadians. He played Bach and Schoenberg, the composers most central to his repertoire and aesthetic, with particular authority. He upset many conventions of piano-playing, as with his fondness for detached articulation, but he was widely admired for his virtuosity, probing intellect, command of musical architecture, rhythmic dynamism, precise fingerwork, and clarity of counterpoint. Believing that the performer's role was properly creative, Gould offered original, deeply personal, sometimes shocking interpretations (extreme tempos, odd dynamics and phrasing) that have always been controversial, particularly in well-known works by Bach, Mozart, Beethoven, and Brahms. By age fifty, Gould claimed to have largely exhausted the piano literature that interested him, and turned to a new interest: conducting. In 1982, he made a chamber-orchestra recording -- as unusual as any of his piano recordings -- of Wagner's Siegfried Idyll, and he had ambitious plans for at least several years' worth of conducting projects, some of them to be associated with films. After that, he planned to give up performance entirely and devote himself to writing and composing, perhaps retiring to the countryside. But on September 27, 1982, shortly after the release of a new recording of the Goldberg Variations, Gould suffered a massive stroke. He died, in Toronto, on October 4. Since his death, Gould's international fame has grown steadily, and his work has been widely disseminated. His writings, interviews, and letters have been collected and translated. In 1992, Sony Classical began releasing his live and studio recordings, films, and broadcasts in two comprehensive series: the Glenn Gould Edition, on CD (eight volumes with more than 70 CDs); and the Glenn Gould Collection, on videotape and laserdisc (sixteen hour-long volumes). Also in 1992, CBC Records began releasing some of his radio documentaries and early broadcast performances (to date, eleven CDs). In 1995, the German music publisher Schott undertook an edition of his compositions. Gould has posthumously been the subject of a large and diverse collection of literature, not only in English: many publications in French, German, Italian, Japanese, and other languages demonstra te a passionate international following. Countless radio and TV broadcasts have been devoted to him, and he has inspired novels, plays, musical compositions and arrangements, poems, visual art,

and the Canadian feature film Thirty-two Short Films About Glenn Gould (1993). Whole conferences have been devoted to Gould -- two in Toronto (1992 and 1999), others in Montreal (1987), Amsterdam (1988), and Groningen, The Netherlands (1992) -- and there have been many smaller exhibitions, film festivals, and other Gould events around the world. An international Glenn Gould Society was based in Groningen from 1982 to 1992, and published a semi-annual Bulletin. The Glenn Gould Foundation, created in Toronto in 1983, has since 1987 awarded a triennial Glenn Gould Prize in music and communications; in 1995 it formed an international Friends of Glenn Gould society, with its own semi-annual journal, GlennGould. Gould was much honoured during his lifetime -- for example, he received the Harriet Cohen Bach Medal (1959), a doctorate from the University of Toronto (1964), the Canada Council's Molson Prize (1968), the Canadian Conference of the Arts' Diplome d'honneur (1976), and the Canadian Music Council Award (1981) -- and has posthumously received awards and tributes of many kinds, from cultural institutions and from every level of government. His papers and personal effects are housed at the National Library of Canada, in Ottawa, and in the Canadian Museum of Civilization, in Hull. In the years since his death, Gould has proven to be one of Canada's most important and influential cultural figures, and one of the world's most popular, admired, and intensely studied classical musicians. THE GOLDBERG VARIATIONS, BWV 988, are a set of an aria and 30 variations for harpsichord by Johann Sebastian Bach. First published in 1741 as the fourth in a series Bach called Clavier-Übung, "keyboard practice", the work is considered to be one of the most important examples of variation form. It is named after Johann Gottlieb Goldberg, who may have been the first performer. (from Wikipedia) Recordings of the Goldberg Variations: Before Gould’s 1955 and 1983 New York recording of the Goldberg Variations the best known recordings were probably the November 1933 Paris and 1945 sessions by Wanda Landowska on harpsichord. There are dozens of other recordings, most on piano or harpsichord, but they have also been scored for an recorded on guitar, strings, accordion, organ, marimba and harp. A downloadable 48-minute video of Gould playing the Goldberg Variations is online at http://video.google.com/videoplay?docid=-6984208089899995423 (this is shot at 1.33 frame ratio; to be sure you’re seeing the entire image, resize the frame until you see the black bars on either side of GG).

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Roger Ebert in th Chicago Sun-Times: How to suggest an actual human life on film? Most biopics shape the enigmatic events of life into the requirements of fiction, so that most lives seem the same, and only the professions and the time periods change. François Girard’s "Thirty Two Short Films about Glenn Gould" brilliantly breaks with tradition and gives us a movie that actually inspires us to think about what it was like to be this man. Glenn Gould (1932-1982), born in Toronto, could play and read music before he was four years old. Taught only by his mother until he was 10, he was soon giving concerts in Canada and the United States, where Leonard Bernstein was one of his admirers. He became one of the great concert pianists of his time, and then, on April 10, 1964, without advance notice, he gave his last concert and refused to perform in public ever again.That was not the end of his career but the beginning of an extraordinary second career, in which he channeled all of his efforts into making recordings. His choice of the recording studio over the concert stage was explained in different ways at different times; he didn't like the idea of a performer upstaging the music, he would say, or he could not abide the idea that some people in the audience had better seats than others. He stayed at home, in Toronto recording studios and hotel rooms, cultivating a benign eccentricity, talking to his friends endlessly on the telephone but sparingly in person. And he left behind a rich recorded legacy, including his performances of Bach's Goldberg Variations (one of Gould's Bach performances has since left the solar system on board Voyager One). Thirty Two Short Films About Glenn Gould was inspired by the Goldberg Variations, and is a series of brief vignettes suggesting variations on the actor's life. Colm Feore plays the pianist, as a calm, physically economical man whose most highly developed sense, we feel, is his hearing. There is a scene midway in the film where Gould enters a roadside diner where he is apparently a familiar face. As he waits for his eggs to arrive, he listens to the conversations around him, and the soundtrack pieces these words of strangers together in such an intense way that we listen, too. In another scene, he asks a hotel chambermaid to listen to a recording, and then he judges its effect upon her. Again, in a

recording studio, he listens to a piece of music twice, and then says, "I think we might really have something there." The movie does not deliver, or suggest, a rounded life story. But it leaves us with a much richer idea of his life than a conventional biopic might have. We see the young Gould at his piano (from childhood, he always fancied a stool just 14 inches off the ground, placing his eyes not far above finger-level). And we see him listening intensely to a radio broadcast of a concert. Our imagination is challenged to feel the music entering him. There are other episodes, some as mundane as a telephone call to a friend, others as startling as that last concert in 1964, where he soaks his hands in warm water, then walks slowly through backstage corridors, hesitates before walking on stage, and signs a stagehand's program, adding the words, "the last concert." Some of the "short films" show episodes from a life. Some show ideas inspired by the music. Some are the documentary testimony of friends, including Yehudi Menuhin, who talk with the warm recollection they might use at a memorial service. One brief sequence simply shows Gould sitting in a chair, listening. We gather he became a hermit of sorts, but a

contented one, doing what he loved. The movie makes no suggestions at all about his sexual life, does not deal in gossip, and seems almost proud of its outsider's viewpoint. The filmmakers do not claim to know the secrets of Glenn Gould, but only to be fascinated by them. The notes with the movie recall that when one of the producers, Barbara Willis-Sweete, was working in the late 1970s as a bartender at the hotel where Gould was living, she followed him late one night as he left with a large bag. He eventually dropped it in a garbage can, and she retrieved it, to find it contained only old newspapers. The point of this story, I think, is not what the bag contained, but that the bartender followed him. The film is made in something of the same spirit, as if the filmmakers admire Gould's work, are puzzled by his life, and want to follow him, unobserved. They discover no great answers or revelations, but by the end of the film they, and we, have a remarkable impression of a life lived curiously, but well. (29 April 1994)

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ONE MORE TO GO IN BUFFALO FILM SEMINARS XVIII:

April 21 Pedro Almodóvar ALL ABOUT MY MOTHER/TODO SOBRE MI MADRE 1999

This week in 3 x 3 @ AKAG, Thursday Evenings at the Albright-Knox, 7:30 p.m.: Yasujiro Ozu’s TÔKYÔ

MONOGATARI/TOKYO STORY, 1949. For more information go to http://3x3.cc

François Girard, 32 SHORT FILMS ABOUT GLENN GOULD—6

PRELIMINARY SCREENING SCHEDULE FOR BUFFALO FILM SEMINARS XIX, FALL 2009:

Sept 1 Mark Sandrich Top Hat 1935

Sept 9 Raoul Walsh High Sierra 1941 Sept 16 Michael Powell & Emeric Pressburger Black Narcissus 1947

Sept 23 Jules Dassin Rififi 1955 Sept 30 Kenji Misoguchi Akasen chitai/Street of Shame 1956

Oct 6 Richard Brooks Elmer Gantry 1960 Oct 13 Roman Polanski Knife in the Water 1962

Oct 20 Stanley Kubrick Lolita 1962 Oct 27 Carl Theodor Dreyer Gertrud 1964

Nov 3 Eric Rohmer My Night at Maude’s 1969 Nov 10 Andrei Tarkovsky Solaris 1972 Nov 17 Arthur Penn Night Moves 1975

Nov 24 Ridley Scott Blade Runner 1982* Dec 1 Bela Tarr Werkmeister Harmonies 2000

Dec 8 Mike Leigh Topsy-Turvey 1999 *We’ve been trying to get Blade Runner since we started Buffalo Film Seminars in 1999, but prints have never been available. A new version, Blade Runner: The Final Cut, was released into limited distribution in 2007 in both 35mm and digital versions. We’re hoping to get one of those. We’ll tune the list of films as try to book the others. We’ll send an email to the list once the bookings are final and, as always, we’ll post the confirmed list on the Buffalo Film Seminars web site.

…email Bruce Jackson bjackson@buffalo.edu ...for the series schedule, annotations, links and updates: http://buffalofilmseminars.com ...to subscribe to the weekly email informational notes, send an email to addto list@buffalofilmseminars.com ....for cast and crew info on any film: http://imdb.com/

The Buffalo Film Seminars are presented by the Market Arcade Film & Arts Center

and State University of New York at Buffalo with support from the Robert and Patricia Colby Foundation and the Buffalo News