2016 Black Maria Film Festival Program
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masterpiece on screen prior to his death. Chris continues his<br />
association with Napoleon as one of the co-technical directors<br />
of the Brownlow restoration to this day.<br />
Chapin Cutler (right) with academy award winning<br />
composer Carmine Coppola.<br />
26<br />
Subsequently, the picture<br />
was shown in Minneapolis<br />
at the Walker Art Center<br />
in March of 1980. Francis<br />
Coppola, asked his father,<br />
Academy Award winning<br />
composer, Carmine Coppola,<br />
to attend the screenings<br />
and write a score for<br />
a future performance.<br />
No stranger to taking risks and providing spectacle, Francis<br />
booked Radio City Music Hall for three showings of the film,<br />
with his father’s score and with Carmine conducting the orchestra.<br />
Francis’ company Zoetrope Studios partnered with<br />
Robert Harris, who’s Images <strong>Film</strong> Archive owned the rights for<br />
distribution. Together, they produced, and continue to produce<br />
showings of Napoleon together with Carmine Coppola’s<br />
score.<br />
Our involvement with this production began in late 1980. My<br />
partner at Boston Light & Sound, Inc., Larry Shaw got a call<br />
from Robert Endres, then chief projectionist at Radio City Music<br />
Hall. At the time, as I recall the conversation, Bob advised<br />
Larry that there are some “nuts” that want to run this four hour<br />
silent film at the Hall with an orchestra. He advised that the<br />
show needs to have three projectors hooked together for part<br />
of it. He wanted to know if we could do the interlock part. We<br />
knew a bit about how to do this, so, never being a company<br />
that has avoided challenges, we agreed.<br />
Radio City had five film projectors in their booth. There were
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