By MCN Editor editor@moviecitynews.com

“OZ” RUBY SLIPPERS FIND THEIR WAY HOME: MAJOR ACQUISITION FOR ACADEMY MUSEUM OF MOTION PICTURES

Posted Wednesday, February 22nd, 2012 - Comments Off on “OZ” RUBY SLIPPERS FIND THEIR WAY HOME: MAJOR ACQUISITION FOR ACADEMY MUSEUM OF MOTION PICTURES
Be Sociable, Share!

February 22, 2012
FOR IMMEDIATE RELEASE

Leonardo DiCaprio spearheads effort with help from Steven Spielberg, Terry Semel

Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences has acquired a pair of the iconic ruby slippers from “The Wizard of Oz” for the Academy Museum of Motion Pictures. Actor Leonardo DiCaprio led a group of “angel donors” whose gifts to the Academy Foundation enabled the purchase. In addition to the Leonardo DiCaprio Foundation, a component fund of CCF Environmental and Humanitarian Causes, donations came from producer-director Steven Spielberg and Terry Semel, co-chair of LACMA and the former chairman and CEO of Warner Bros. and Yahoo!, along with other donors.

“The ruby slippers occupy an extraordinary place in the hearts of movie audiences the world over,” said Bob Iger, president and CEO of the Walt Disney Co. and chair of the capital campaign for the Academy Museum of Motion Pictures. “This is a transformative acquisition for our collection.”

“Leo’s passionate leadership has helped us bring home this legendary piece of movie history,” added Academy CEO Dawn Hudson. “It’s a wonderful gift to the Academy museum project, and a perfect representation of the work we do year-round to preserve and share our film heritage.”

These slippers, known as the “Witch’s Shoes,” are in the most pristine condition of the four pairs of ruby slippers known to exist. It is widely believed that these are the slippers Judy Garland wore in close-ups and insert shots, most famously when Dorothy clicks her heels three times to return to Kansas. They are called the “Witch’s Shoes” because they are likely the pair seen on the feet of the Wicked Witch of the East after Dorothy’s house falls on the witch.

After production of the film ended in 1939, the ruby slippers were stored on MGM’s Culver City lot for the next three decades. Several pairs of slippers were discovered in 1970 by costumer Kent Warner while he was preparing for that year’s historic auction of MGM costumes, props and other production-related items. One pair of slippers was sold at the auction and was donated anonymously to the Smithsonian in 1979.

Warner kept the finest pair – the “Witch’s Shoes” – in his private collection for more than a decade before selling them at auction in 1981. They were sold again in 1988 to another private collector, and have been displayed publicly only a handful of times in the years since, most notably at the National Portrait Gallery and the Library of Congress. The 2012 sale to the Academy was handled by auction house Profiles in History.

Last October, the Academy and the Los Angeles County Museum of Art announced plans to establish the Academy Museum of Motion Pictures inside the historic May Company building, currently known as LACMA West. The building has been a Los Angeles landmark since its opening in 1939, the same year “The Wizard of Oz” premiered.

# # #

ABOUT THE ACADEMY

The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards—in which the members vote to select the nominees and winners­—the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
www.facebook.com/TheAcademy
www.youtube.com/Oscars
www.twitter.com/TheAcademy

AWARDS PUBLICITY
8949 WILSHIRE BOULEVARD | BEVERLY HILLS, CA 90211-1907

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on “OZ” RUBY SLIPPERS FIND THEIR WAY HOME: MAJOR ACQUISITION FOR ACADEMY MUSEUM OF MOTION PICTURES

Comments are closed.

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon