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CRED
IT
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ARISA
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Superman’s iconic costume
was donated to the London
Film Museum by The Prop
Store of London
destroyed. We worked with the archives and collections depart- A classic example of this is Jaws,” he continues. “It was the movie
ment to retrieve what we could. It was like detective work. We found that launched the summer blockbusters and one of the biggest
some old crates in a warehouse at Universal that weren’t part of movies of all times. In researching the fi lm we unearthed stories
the archive,” he recalls. “We opened them up and saw the props about how problematic the shark was and have all the mechani-
from All Quiet on the Western Front, Errol Flynn’s sword and Shirley cal drawings and designs. In the exhibits you can see what they
Temple’s teddy bear. It was a treasure trove of our movie history.” were trying to do with these special effects that the whole picture
was riding on. The shark had been tested in LA in fresh water.
Shark attack But where they were fi lming – on the East Coast of America – is
As part of Universal Studios, the museum is open to all visitors to salt water. When they put the shark in the salt water, it sank to the
the park, but Murdy is still very pleased with the number of visitors, bottom of the ocean on the very fi rst day. As a result of the shark
“safe to say millions”, and the length of time they spend there. malfunctioning, Steven [Spielberg] got creative. He was three times
“Each display area has an interactive video kiosk providing over schedule and wildly over budget so he used his camera to
details about the display and behind the scenes stills,” explains be the shark. You don’t see the shark until 45 minutes into the fi lm
Murdy. “We went through 20,000 images and researched all the because it wasn’t working, but building up the suspense made it
movies to come up with the most thorough information for visitors. the classic fi lm it is today, even though it was an accident.
London Film Museum
D
JONATHAN SANDS, CEO, ECM INTERNATIONAL
O
O
W
L
Y
L
O
S
H
I
O
D
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T
he iconic Rank gong is the fi rst thing visitors see as they
walk down the red carpet at the London Film Museum.
Nostalgic and instantly recognisable, it’s part of movie his-
L
ST
tory. But history isn’t the attraction’s main aim, as Jonathan Sands,
S
A
R
CEO of operator ECM (London) Limited, is quick to point out. “The
E
I
V
collection celebrates the people behind the camera as well as the
N
:
U
fi lms themselves,” he explains. “It’s dedicated to all aspects of the
I
T
D fi lm industry in the UK and illustrates that there’s so much more to
E
R
C fi lm making than directors, producers and camera technicians.”
O
T
O
Sands’ view is shared by many in the industry including Rick
H
P Senat, the former vice president of Warner Bros Europe, who is
The Oscar® awarded to Universal Pictures in 1973 for The Sting chair for the museum and Lesley Hardcastle, who created MOMI,
AM 1 2010
©
cybertrek 2010 Read Attractions Management online
attractionsmanagement.com/digital 37
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