Help Restore George A. Romero's The Amusement Park (1973)

Discussion in 'General' started by zbinks, Nov 11, 2018.

  1. zbinks

    zbinks Beset by Creatures of the Deep

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    https://www.georgearomerofoundation.org/the-amusement-park/restore-the-amusement-park

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    https://twitter.com/DanielDKraus/status/1061401937499901953
     
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  2. zbinks

    zbinks Beset by Creatures of the Deep

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    I know absolutely nothing about the plot, but this looks like it could be AMAZING, just based on that first image, alone!!!
     
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  3. buck135

    buck135 Kanamit

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    I thought I knew everything about Romero's filmography. Guess not.
     
  4. Natas

    Natas Is it October yet?

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    Fake news?
     
  5. zbinks

    zbinks Beset by Creatures of the Deep

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    Plot summary:
    https://bloody-disgusting.com/movie...ever-seen-titled-amusement-park-may-soon-see/
     
  6. X-human

    X-human I ate my keys

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    I'm wondering about the legitimacy of these guys... Are they really associated with Romero is some way or did they just co-op his name? Their about page link isn't working.

    They apparently arranged a screening with Image Ten so that's something at least. But Image Ten may not even be all that aware this group are calling themselves GARF.

    But I'm excited to see this. No idea it existed. And if they can restore the OJ Simpson documentary The Juice Is Loose that'd be cool too! That'd make a hell of a pairing on a Blu-ray disc.
     
  7. zbinks

    zbinks Beset by Creatures of the Deep

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    The About page is working for me.


    The GARF is dedicated to honoring the life work and cultural influence of George A. Romero, and supporting a new generation of filmmakers and artists inspired by his legacy.
    Message from the Founder and President

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    A theater graduate and a history buff, I met George A. Romero in 2005 when he was doing post-production for Land of the Dead. I had no idea who he was nor had I seen any of his films, not even Night of the Living Dead! (I am more of a Shakespeare and a Daphne Du Maurier fan; as it turns out, so was he.) My relationship with George blossomed into a rare simpatico. It seemed like we had spent our whole lives looking for each other. George taught me how to see films, not just look at them; all films, including westerns (which at the time I was reluctant to watch; now I am a huge John Ford fan). I have seen thousands of films with George and benefited hugely from it. George’s death has been devastating to me. However, he has left me with his passion for film and preserving film, and his desire to help others pursue the craft of film. I founded the George A. Romero Foundation to perpetuate these passions and protect George’s vast legacy. George is my compass, and his quiet strength and profound vision has inspired me to move forward. My hope is that I am not alone in this journey and, with your support, we will together advance George’s legacy into the future, both as a filmmaker and a man. I love him and miss him.

    Suzanne Desrocher-Romero, Founder and President


    The GARF Board Members

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    Tina Romero, Vice-President
    Tina Romero, daughter of George A. Romero, is a filmmaker, professor, and DJ based in Brooklyn, New York. She graduated as a Cinema Studies major from Wellesley College in 2006 before attending the New York University’s Tisch School of the Arts graduate film program. While at NYU, Tina received the Warner Bros. Film Award and the Steven J. Ross Scholarship for her accomplishments in filmmaking.

    Tina has directed several short films including, Little Girl Blue (2007), Toast (2008), and Rainbowarrior (2010), and four music videos, all of which have played internationally at film festivals such as The Melbourne International Film Festival and the Winnipeg Magical Feminism Exhibition. Most recently, the music video Tina directed for “Globes” by Shirley House was an official selection of the International Music Video Underground and was awarded Best Music Video by the Accolade Global Film Competition.

    Tina is drawn to revolutionary themes in her work; stories in which humans find the strength to carry on or rise up. She’s fond of the whimsical, the androgynous, and the magical power of production design.

    Tina has taught as an adjunct professor of film and photography at The University of New Haven in Riyadh, Saudi Arabia, and The School of Visual Arts in New York City. At the end of 2017, she stepped into a project that George started before his passing and guest-directed a final project at the Douglas Education Center for filmmaking.

    Tina is also a queer DJ based in Brooklyn. As DJ TRx, she spins regularly at Hot Rabbit, a weekly LGBTQ dance party in the city. She’s played at private events for Delta Airlines, L’Oreal, The US Open, and the Tony Awards.

    One day, Tina hopes to free all the lobsters from a seafood restaurant.

    “My dad would weep when he watched films—not at the sad endings, but at the opening notes of a film score he found perfect, or as the camera swept through the choreography of West Side Story. He showed me that movies can move people, that fictional people can stir real-life empathy, that made-up worlds tell us about the essence of being human. He made me want to become a filmmaker.“

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    Ramona Streiner, Board Secretary and Treasurer
    Ramona is honored to be part of the George A. Romero Foundation team. She brings creative energy in her work to help preserve George’s work and legacy. Ramona moved to Pittsburgh from Germany and is quickly becoming at home in the local creative community. In addition to working as an officer of the GARF, Ramona is writing a series of children’s books and is collaborating on a screenplay. High on Ramona’s list of interests are travel (especially Paris and Scotland), video game design, charitable work, assisting her husband in his film work, and her four cats.

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    Peter Grunwald
    Peter Grunwald graduated from Princeton University in 1977. He began his career at 15 as a production assistant on Otto Preminger's Such Good Friends. Two years later, teamed with producer Steve Tisch, he wrote and directed The Vendor, a short subject that led to an association with Robert Evans at Paramount, where Grunwald worked on developing such films as Chinatown, Marathon Man, and Black Sunday. Grunwald became a story editor at Paramount before forming an editorial consulting firm that included Ken McCormick, publisher of Roots, among its clients. He returned to the film business as Vice President of Charles Evans Productions, which developed and produced Tootsie. It was there that Grunwald began his collaboration with George Romero, on whose film, Monkey Shines, he served as executive producer. Their partnership, Romero-Grunwald Productions, released Bruiser, Land of the Dead, Diary of the Dead, Survival of the Dead, and Empire of the Dead, and continues to produce projects George developed and loved.


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    Barry Gutterman
    After graduating Law School in 1970, Barry went “on the road” for a year, driving from Europe to Nepal and back again with a six months stay in India. Returning to New York City, he worked as a bartender in an off-Broadway “actor’s” bar, and tried his hand at acting In 1973, he opened his own law practice. Meeting George in 1977, he became his close friend, ”brother”, confident and legal adviser for the ensuing forty-years. Over the years they shared their mutual love of the cinema and food, watching countless movies and cooking numerous feasts together. Barry was George’s legal adviser and a sounding board for most of his projects thereafter, including being the production attorney for The Dark Half, the re-make of Night Of The Living Dead, and having had the honor of a cameo appearance in Knightriders.


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    John Harrison
    John Harrison began his career directing rock videos and collaborating with famed horror director, George A. Romero, for whom he composed the scores to Creepshow and Day of the Dead. Harrison wrote and directed multiple episodes of George A. Romero's classic television series, Tales from the Darkside, before helming Tales from the Darkside: The Movie for producer Richard Rubinstein and Paramount Pictures, which won John the Grand Prix du Festival at Avoriaz, France. He has written and directed multiple TV episodes for a variety of networks, as well as world premier TV movies and miniseries, including the two Emmy winning miniseries adaptations of Frank Herbert’s Dune and Children of Dune, which he wrote, directed, and co-produced. John co-wrote the Disney animated feature, Dinosaur, and wrote and directed the theatrical adaptation of Clive Barker’s Books of Blood. John’s three-episode mini series, Residue, which he created and wrote, is currently on Netflix.


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    Adam Lowenstein

    Adam Lowenstein is a professor of English and Film/Media Studies at the University of Pittsburgh. He is the author of Dreaming of Cinema: Spectatorship, Surrealism, and the Age of Digital Media (Columbia University Press, 2015) and Shocking Representation: Historical Trauma, National Cinema, and the Modern Horror Film (Columbia University Press, 2005). Adam’s essays on topics as diverse as Alfred Hitchcock, Japanese cinema, the art film, David Cronenberg, Ben Wheatley, and George A. Romero have appeared in numerous academic journals and anthologies. He has been interviewed on issues of cinema and culture in The New York Times and in Adam Simon’s documentary, The American Nightmare.

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    Chris Roe

    Manager, writer, producer, director Chris Roe entered the entertainment business in 1996 after starting his own talent management agency, Chris Roe Management. His company has since become well respected in the entertainment industry, managing such clients as directors as George A. Romero and Clive Barker, and actors Bruce Davison, Meg Foster, Mariette Hartley, and Malcolm McDowell, to name a few.

    In 2007, Chris wrote, produced and directed the award-winning documentary feature, One for the Fire, released in May, 2008. He also produced and co-directed a pilot for television called Soul of the City and acted as producer or executive producer on major films.

    Chris continues to manage and produce. In 2018, he launched his production company, Tea Time Productions, Inc. and Cemetery Tales: A Tale of Two Sisters, was the company’s first production. The company has other projects in development and on option.

    Chris resides with his family in Los Angeles, California.


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    Jeff Whitehead

    By day, Jeff works in higher education. By night, he is an avid horror screenwriter. Some of Jeff's fondest childhood memories are of sleepovers that included classic horror movies, role playing games (RPGs), comic books, and junk food. George's work always featured prominently, and Jeff cannot remember when such an occasion did not screen Night of the Living Dead, Dawn of the Dead, or Day of the Dead. Jeff is honored for the opportunity to give back to the legacy by assisting with the website and social media for the GARF. By doing so, Jeff hopes to help George and his work have an impact for a very long time to come.

    The GARF Volunteers

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    Nicole Whitehead, Volunteer
    Nicole is a gifted graphic designer and developer who has devoted her career to creating and conducting training programs for many of Pittsburgh's major corporations. She is honored to be volunteering her talents to the GARF and contributing to the commitment of George's memory and legacy. She is primarily interested in helping the GARF transcend genre and generate wider appeal for the projects and initiatives that the GARF aims to achieve. She is particularly interested in helping the GARF support scholarships for underrepresented individuals so they can attend the George A. Romero Filmmaking Program and Director camps.

     
  8. zbinks

    zbinks Beset by Creatures of the Deep

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    The GARF Advisory Board Members

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    Dario Argento
    Dario Argento began his career as a movie critic for the Rome daily newspaper, "Paese Sera". A professional screenwriter by the age of 20, Dario joined Bernardo Bertolucci in 1967 to write the screenplay for Sergio Leone's epic western Once Upon A Time in the West in 1967. Dario has gone on to direct 15 films. He has also been involved in producing and writing films. Dario has also worked on three series for Italian television: The Door of Darkness (1972), Giallo (1987), and Turno di notte (1988).

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    Lamberto Bava
    Lamberto Bava is the third generation of Italian filmmakers. His father, Mario Bava (1914-1980), was a legendary cinematographer, special effects designer, and director. Lamberto entered the cinema as his father's personal assistant, starting with Planet of the Vampires (1965). He enjoyed his best commercial success to date with Demons (1985), produced by Dario Argento, co-written by Dardano Sacchetti, and filmed in West Berlin, Germany. The film’s international success allowed Lamberto to co-write, produce and direct a sequel, Demons 2 (1986). Lamberto returned to "giallo" thrillers with Delirium (1987). He continues to divide his time between television work and occasional movies.

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    Greg Nicotero
    Greg Nicotero is a gifted special effects and make-up wizard who learned his trade under the watchful eye of special effects, splatter guru Tom Savini. In 1988, Greg, Howard Berger, and Robert Kurtzman started KNB EFX Group, which has provided eye-popping and jaw dropping special effects for over 400 film and television projects. Greg’s first major job in special effects was on the George A. Romero film, Day of the Dead. He is currently working as an executive producer, special make-up effects supervisor, and primary director on the AMC television series, The Walking Dead and Fear the Walking Dead.


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    Tom Savini
    Pittsburgh-born actor, special effects wizard, stuntman, and director, Tom Savini did a tour of duty as a combat cameraman in Vietnam and has since acquired a remarkable cult following among film fans, primarily because of his ground-breaking special effects in the "splatter movie" explosion of the early 1980s. Tom’s first work was in low-budget fare, providing special effects and make-up for independently made horror films such as Deranged: Confessions of a Necrophile (1974) and Martin (1978).He caught the attention of horror buffs with his grisly effects in the cult George A. Romero-directed zombie film, Dawn of the Dead (1978), and then in the controversial slasher film, Friday the 13th (1980), the movie generally identified as the beginning of the "splatter movie" genre. He is known for his make-up and special effects work on many of the films directed by George A. Romero, including Dawn of the Dead, Day of the Dead, Creepshow, and Monkey Shines. Tom also created the special effects and make-up for other cult classics, like Friday the 13th (Parts I and IV), The Burning (1981), The Prowler (1981), and The Texas Chainsaw Massacre 2 (1986).

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    Thelma Schoonmaker
    Thelma Schoonmaker Powell was born in Algiers, Algeria, where her father worked for the Standard Oil Company. She grew up on the island of Aruba and, after returning to the United States, attended Cornell University, where she studied political science and Russian, intending to become a diplomat. While pursuing graduate work at Columbia University, she answered a New York Times ad that offered on-the-job training as an assistant film editor. The exposure to the field sparked a desire to learn more about film editing, and her career was set.

    During a six-week summer course at New York University’s film school, Thelma met Martin Scorsese and Michael Wadleigh. She edited Scorsese’s first feature, Who’s That Knocking at My Door. She continued working with Scorsese over the next 50 years, editing all his films since Raging Bull (1980). She then edited a series of films and commercials before supervising the editing of Wadleigh’s 1971 film, Woodstock, for which she was nominated for an Academy Award. She has received seven Academy Award nominations for Best Film Editing and has won three times: Raging Bull, The Aviator (2004), and The Departed (2006). She is currently working on Scorsese’s The Irishman, scheduled for release in 2019.

    In addition to editing, she works tirelessly to promote the films and writings of her late husband, the film director Michael Powell, including The Red Shoes (1948).


    https://www.georgearomerofoundation.org/advisory-board/
     
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  9. unclefred

    unclefred Member

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    I'm on board for sure. I have a fondness for Romero and also Amusement park scare films.
     
  10. x666x

    x666x Well-Known Member

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    Sounds cool. Up for watching it. Mind you, the people involved have a combined wealth to restore it themselves. No money from me unless there is a physical release.
     
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  11. shape22

    shape22 Well-Known Member

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    Hyperbole is inevitable when you're talking about a lost Romero film from this time period--but hyperbole is NOT our friend. There have to be legitimate reasons for this sitting in the vault for so long. It has to be terrible, unfinished, or both. It's especially funny and worrisome that some call it the real-life equivalent of "La Fin Absolue du Monde" and others say it isn't even a horror film. It's also safe to assume that it would have seen the light of day in Romero's lifetime if that's what George wanted.

    I suspect the best-case scenario is that this film is an interesting curio. Anyone hoping for another "Night" or "Dawn" is going to be massively disappointed--if this ever sees the light of day.

    Am I curious to see it? Of course. I just don't see any way that it will live up to the hype.
     
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  12. shape22

    shape22 Well-Known Member

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