Diane Keaton’s nail clippers for $960: what’s behind the new boom in celebrity estate auctions?

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With beloved stars’ personal items increasingly up for grabs after they die, a new generation of fans are bidding on everything from bowler hats to dog bowls From Diane Keaton’s bowler hats and polka dot scarfs, to Gene Hackman’s used paint brushes, to Terence Stamp’s love letters from Jean Shrimpton and even Matthew Perry’s black leather wallet (his credit cards and AAA membership card still inside), fans are being offered – at a price – increasingly personal items from the estates of dead celebrities. The growing trend for auctions of deceased famous people’s personal items – which has boomed ever since the hugely popular Marilyn Monroe estate sale in 1999 – has even attracted its own portmanteau: “deleb” as in dead celebrity. Continue reading... from Film | The Guardian https://ift.tt/4Yh215g via IFTTT
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‘He was always voraciously watching’: Scorsese’s secret life as an obsessive VHS archivist

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The Oscar-winning director has donated over 50 storage boxes of tapes that show a devoted interest in recording films and shows from the '80s to the 2000s

In the basement of the University of Colorado Boulder’s main library, an 85-year-old stone fortress built in the Italian rural style, the archives of the school’s Rare and Distinctive Collections occupy rows of shelves as far as the eye can see. Here, amid yellowed books, historical maps and medieval manuscripts, Martin Scorsese has quietly made public a very private preoccupation. More than 50 storage boxes hold thousands of VHS tapes that contain films and television programs Scorsese recorded directly from broadcast television. The renowned director and film preservationist, it turns out, was also, for decades, a prolific guerrilla archivist.

Long before YouTube and Netflix gave the world instant access to a deep repository of media, Scorsese began the project of amassing his own private on-demand video library. In each week’s TV Guide, he would note the movies and shows that caught his interest. A full-time video archivist in Scorsese’s New York office would then record the telecasts from a kind of audiovisual hub made up of multiple VCRs and monitors, which could often be active at all hours. The tapes were meticulously labeled, cataloged initially using a library-like card system and later a computer, and filed away for Scorsese’s personal viewing and research.

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