Business Screen Magazine (1963-1964)

'T'he Aspen Film Conference -* was born a year ago under the sponsorship of the Aspen Institute for Humanistic Studies. It was apparent at the time that American film makers had no forum in which each could have an equal voice; the film community had long been divided into separate camps, loosely designated as ■"industrial," "educational." "television." "Hollywood," and so forth. The Aspen Institute undertook to provide a meeting ground for the discussion of concepts and problems common to till lilm makers and their audiences. The setting in Aspen. Colorado — world famous as a ski resort — is ideal for the airing of arguments and ideas and the Paepke Auditorium, the seminar building, and the grounds were designed specifically to accommodate such discussions. "Young American Film Makers" The second annual Aspen Film Conference. September 3 through September S. examined "The Young American Film Maker and his Contemporaries." Program director Robert Murray assembled an outstanding group of speakers to discuss the challenges which face young men and women seeking opportunities in film. Among the speakers representing creative talents from Hollywood were director Lewis Milestone (All Quiet on lite Weslern From), writer Abby Mann {Judgement cil Nuremberg), director Jack Garfein ( The Strange One and Something Wild ) , actress Carroll Baker (Mrs. Jack Garfein). and radio and screen writer Norman Corwin, who delivered the keynote address. Cites "Senseless X'ices" In his opening speech. Mr. Corwin addressed himself primarily io "the Hollywood establishment." attacking such "senseless vices" as "an outmoded star system, outlandish prodigality, and a reluctance to encourage new talent." The challenge of this address set the tone of the conference, which concerned itself in the main with the problem young film makers face in gaining experience and, ultimately, in seeking financial backing and distribution for their efforts. Critical and historical viewpoints were presented by critic Arthur Knight and Richard Dyer MacCann. writer and lecturer on motion pictures. Mr. McCann was the first speaker to touch upon the im FILM MAKERS SHARE CONCEPTS AT THIS FORUM Aspen's Second Film Conference as Reported by Film Writer Stan Phillips portance of educational, industrial, and non-theatrical films as a training ground for young film makers. In previous years, television provided apprenticeship for many young people who have since mo\ed into theatrical film making. He stressed that many more opportunities e.\ist outside entertainment motion pictures and that talents in these fields deserve equal attention and encouragement. The question of government subsidy of the film industry, similar to plans offered abroad, was debated, and there was general agreement that film makers would not accept any form of subsidy which restricted their freedom in the selection and treatment of subjects. New Talent for U,S, Films George Stevens, Jr.. Director of Motion Picture Services of the U. S. Information .Agency (now on leave), explained the role of the USIA in the training and sponsorship of new talent for the production of government documentary films. Last year the USIA produced 300 newsreels and 300 information and training films for distribution in 1 10 nations abroad, making the agency the largest producer of "non-theatrical" fare in America. Mr. Stevens has been instrumental in encouraging young film makers; and by "young" he does not mean inexperienced or amateur, for his film program is under constant scrutiny by Congress, and his record of successes is enviable. Films made under the USIA program have been well received and acclaimed by vast audiences abroad, proof enough that young American film makers can and do say things of importance when .\rthur Knii;lu iiddn ^s< s toufiTciicr; Hohcii Ilufihes is at li^ht. given the opportunity to channel their talents. James Blue and Charles Guggenheim, two film makers who have worked for USIA, were present at the Conference and attested to the freedom which Mr. Stevens" policy permits in producing films for the agency. One of Blue's films for the USIA. The March, was screened; it was an exceedingly well made, moving report on the civil rights demonstration in Washington in August. 1963. Speaks on Sponsored Films Charles Guggenheim (president, Guggenheim Productions, St. Louis) was alone in representing the position of the ""industrial" film producer at the Conference. While Hollywood's talents must ultimately answer to the ""front oftice." and government agencies to Congress, the industrial film maker is responsible to the sponsor. Even so, Guggenheim stated. "Ive never made a film I didn't want to make." which is to say that a choice always lies with the thhl 111 this tninl(/'u Siniiiiitr liiiildiii^. film maker: he must approach his subject — whatever its source or purpose — with integrity and a belief in its message. A proof of this statement was seen in Mr. Guggenheim's Children Without, produced for the National Education Association, which powerfully expressed the problem of educating underprivileged children in large cities. Other young film makers whose work was screened at the Conference include Robert Hughes and Albert and David Maysles. Hughes produced and directed Robert Frost: A Lover's Quarrel with the World, which won the Academy Award for the best documentary last year. The Maysles brothers' Shonman. a study of producer Joe Levine, and What's Happening! The Beatles in the U. S. A., represented a new direction in documentary film production, the '"direct cinema," or ""cinema verite," which seeks the undirected responses of people before the camera. Screenings of student films from UCLA, arranged by Gary Essert, demonstrated that colleges and universities are providing crops qi important new talents which will one day make their marks in the film community. These brief highlights by no means cover the depth and scope of the Conference. Enrichment to the discussions was given by '"outsiders." commentators on the film scene from other disciplines. Among the more vocal were psychiatrist Dr. Karl Menninger. cartoonist Robert Osborn, and educator Dean John Burchard, each of whom repeatedly emphasized the power of the film medium and the responsibility of film makers to their audiences. Essence of ""the .\spen Idea" What is the meaning of the Aspen Film Conference to the readers of Business Screen? Simply this: it is the only forum in America where the voices of (/// people concerned with film in its many aspects can be heard. The problems of economics and distribution may vary, but the methods and — most important — the audiences are the same for the film maker, whether he is working in Hollywood, television, the government, or the sponsored film. Problems common to all these fields can be aired and discussed without the usual ""blind spots" encountered when specialists confer among themselves. This is the essence of ""the .Aspen Idea." •