As the push for preserving cinema history gains momentum, Andrea Kalas shares her insights on the evolving role of film preservation. Her extensive experience in the field and contributions to initiatives like Scorsese’s Film Foundation and the restoration of The Godfather Part III highlight a revolution in safeguarding cinematic legacies. In this piece, we explore her journey and the innovations driving the preservation world forward.
LYON, France — Andrea Kalas, a prominent figure in media and archival services, recently delivered the keynote at the Marché International du Film Classique (MIFC) in Lyon, France, coinciding with the prestigious Lumière Film Festival.
Kalas’s career, spanning over three decades, has seen her work at reputed institutions like UCLA Film & Television Archive and the British Film Institute. Now at Iron Mountain, she has been instrumental in designing sub-zero vaults to protect the fragile legacy of nitrate and acetate film stock—essentially freezing cinema history in time.
At Iron Mountain, their efforts extend beyond just celluloid. “We’re helping our clients advocate for their archives,” Kalas stated, emphasizing a mission that includes film elements, production notes, scripts, costumes, and props. She pointed out the risks facing these materials, especially the dwindling availability of videotape digitization equipment. “The will is there, but the money isn’t always.”
The Film Preservation Revolution
During her MIFC talk, Kalas discussed the pivotal moments in film preservation. A major turning point occurred in the late 1980s when Ted Turner began colorizing classics like “Citizen Kane,” prompting significant backlash from filmmakers like John Huston. “There was an enormous outcry,” she noted, underscoring the concerns over artistic integrity.
This period led to significant advancements, including the creation of the Film Preservation Act and the formation of Martin Scorsese’s Film Foundation. Kalas remarked on a philosophical shift: “Preservation isn’t an afterthought but part of filmmaking itself. We didn’t even know what films we had until the AFI catalog was introduced. It was the first time we had a list of American films.”
Restoring Cinematic Gems
At Paramount, Kalas played a crucial role in restoring classics like “Wings” (1927), the first Best Picture Oscar winner. The project involved challenging restorations of compromised image materials, as well as re-recording the original score. She recalled working with Ben Burtt, “We combined the original score with vintage plane effects. It changed the experience to a war movie. That’s when you know you’ve succeeded.”
One career highlight was organizing a private screening of Francis Ford Coppola’s new edit of The Godfather: Part III during the COVID-19 pandemic. Long critiqued as the trilogy’s lesser film, the updated version struck a chord with its cast. “They were very emotional,” Kalas said, sharing a humorous moment involving Al Pacino and Andy Garcia’s COVID-conscious hug attempt.
The Role of AI in Film Preservation
Kalas discussed advancements in digital restoration, including AI’s role in projects like “Sunset Boulevard.” Using nuanced AI tools, they extracted individual audio tracks to eliminate background noise. However, she emphasized responsibility: “With great power comes great responsibility. Oversight by knowledgeable archivists is crucial in conjunction with technologists. It ensures that films are honored in the digital era.”
Her final message was clear: “Archivists play an essential role in ensuring the integrity of films. Their involvement was instrumental in encouraging figures like Scorsese and government bodies to take action. Engage with archivists to safeguard your work in the AI age.”
The MIFC continues alongside the Lumière Film Festival in Lyon until October 16.
