Maryland Film Festival Notes

04.25.99
Gabe's Notes:
Day Three Part I
Part II

04.25.99 - Gabe's Notes: Day Three

Peter Pan's live orchestra

Day 3 -- Sunday, April 25th, the final day of the festival begins with what could have been a nightmare: a morning screening of the silent classic film Peter Pan (1924) accompanied by a 11 piece live orchestra.

As of Saturday afternoon, I realize that we do not have music stands.

Philip Carli

Philip Carli

Nor do we have a piano for Philip Carli, the composer/conductor. Fortunately for us, we had a certain volunteer adept at making miracles happen. Patrick, the hardest working production assistant ever to don a headset, goes to work and produces 11 music stands (with lights!) and an electric piano on a in less than eight hours on a Saturday afternoon in Baltimore. His hard work and quick wits make Sunday morning possible. But the set-up remains rather difficult. Electrical cords and power strips for eleven music stands, chairs to suit the specific needs of the musicians, and we have to improvise some sort of flags to keep the stand lights from blinding the audience. Kudos to Carli and his talented troupe of musicians who made do with the circumstances and made magic once all was said and done.

For anyone who has never seen a live orchestra perform with a silent film, let me assure you -- it is amazing. In the face of all contemporary advances in cinema sound, THX, SDDS, Dolby Surround, etc., nothing compares to the live presence of musicians summoning a score as the film unfurls before your eyes. The experience of watching Peter Pan with a full house of families and film lovers was a truly special experience. I wish I could have stayed to watch the whole thing. The screening is followed by a Q&A with Carli and

David Pierce

David Pierce

David Pierce, a Maryland native involved in film preservation and restoration who cleared the rights for the Peter Pan print. The kids get a little bit antsy during the technical discussion, and Jed Dietz makes his way to the lobby and collects a bunch of hats and T-shirts, a gesture of thanks to the kids who enjoyed the festival.

Many of Sunday's screenings were scheduled as repeats of sold popular films. 10:30 marks the repeat of A Letter Without Words followed by the repeat screening of Getaways. Lisa Lewenz is once again on hand for her screening, as is Weekend Getaway director Elizabeth Holder, and her cast Jill Hennessy and John Seitz.

In Theatre C, the festival buzz film Hands on a Hardbody is filling up. A few volunteers stick around for the opening of the show. They become so engrossed with the documentary's compelling story that they are not seen again until the film ends. Fortunately, all the shows are loaded up for a while, so their well deserved break is welcomed. Meanwhile in the corridor outside Waters, Divine and Yeager fans queue up as the repeat screening of Divine Trash draws a substantial crowd.

Back in Theatre A, we are getting ready for the repeat screening of Pastor Hall. This time the film is introduced by David Pierce (the same one who helped restore Peter Pan also was involved in the restoration of this WWII classic) and

Raye Farr

Raye Farr, of the United States Holocaust Memorial Museum. Both provide significant insight into the film, Pierce about the history of the film and Farr, on the history of films that deal with the Holocaust. Yet again, I am pried from the grips of an engaging conversation to attend to other matters.

Reed Paget

Reed Paget

Reed Paget, the director of Amerikan Passport is in the theatre lobby. True to form, he stands with his ruck sack ready to move on after his screening. Amerikan Passport chronicles his travels around the globe covering for his own satisfaction, various war zones and political hot spots throughout the 90s. Fortunately, things have calmed quite a bit at the festival, so there is no need for him to pull out his camera and begin work on a sequel. He is visibly worried about drawing an audience and has asked me if we can delay his screening until the packed Divine Trash screening lets out. His fears are put to rest when, 15 minutes before his screening, a line stretches through the theatre lobby and out onto Charles Street. He can't believe it.

I first met Reed in Park City at Slamdance, where I work as a projectionist. At the time, he was super concerned about the quality of the projection. To the point of distraction. It was beginning to become an issue. Did the projector have a xenon bulb? Could we take a light-reading from the projector to make sure it is calibrated properly? etc. Considering how easy-going he is in his every day demeanor (and especially given his resolve to tour the globe on a shoestring budget), his concern with these minute details was puzzling. I anticipated more of the same worries at the Charles. A few minutes into the screening, Reed emerges from the auditorium. "Here it comes," I think to myself, preparing to radio the projection booth to relay a list of complaints. But I am pleasantly relieved; Reed simply tells me this is the BEST the film has looked anywhere--Austin, Seattle, Park City. Hands down the Charles has them beat. Congratulations to the Charles.

Day Three Continued>>