Kids, be sure to ask your parents about that time Jim Carrey tried to make “ssssSMOKIN’!” a thing.
Previously on Midlife Crisis Crossover:
Every year from 1999 to 2015 my wife Anne and I took a road trip to a different part of the United States and visited attractions, wonders, and events we didn’t have back home in Indianapolis. With my son’s senior year in college imminent and next summer likely to be one of major upheaval for him (Lord willing), the summer of 2016 seemed like a good time to get the old trio back together again for one last family vacation before he heads off into adulthood and forgets we’re still here. In honor of one of our all-time favorite vacations to date, we scheduled our long-awaited return to New York City…
Our trip to The Museum of the Moving Image, from Times Square out to Astoria, was the longest subway ride we’d ever taken up to that point. I think we were in agreement it was worth the experience, particularly as we walked through their collection of movie memorabilia — actual masks, costumes, models, pre-production art, and writings from some of your favorite Hollywood spectacles. We were grateful not to see the word “replica” on any of their labels.
Among the older specimens was a telegram from Orson Welles confirming his attention detail extended to schnozzes.
Concept miniature from Sam Raimi’s The Great and Powerful Oz, which became easier to forget after the events of our next chapter…
This file copy of an early draft of Stanley Kubrick’s 2001: A Space Odyssey script is part of a temporary exhibit dedicated to that film’s groundbreaking visual effects.
Easier to read at a glance is this working copy of Paul Schrader’s Taxi Driver script.
If you prefer film paraphernalia more colorful, they also carry Travis Bickle’s hair pieces in both “before” and “after” styles.
Silence of the Lambs concept sketches helped the set designers exactly how Hannibal Lecter might mount a victim for in his cell for maximum feng shui.
Blueprints for Jame Gumb’s lair so you can tell where the front door and kitchen are in relation to the big creepy well.
One of my favorite pieces: miniature Tyrell Corporation elevators from Blade Runner.
Not all props come from crowd-pleasers, including this oncentration camp concept model for Sophie’s Choice.
G’Kar’s face from Babylon 5, which wasn’t a movie, but whatever.
Also not from movies: Crockett and Tubbs fashions from the original Miami Vice. I used to have an industrial arts teacher who dressed like Crockett. I hated that class.
The various Nightmare on Elm Street sequels lend themselves to props great and small, including this sweater that was several feet tall.
Busts and casts of the late, great Robin Williams from Mrs. Doubtfire.
One more for old times’ sake: a younger Robin Williams’ space suit from Mork & Mindy.
To be continued!
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[Link enclosed here to handy checklist for previous and future chapters, and for our complete road trip history to date. Follow us on Facebook or via email signup for new-entry alerts, or over on Twitter if you want to track my TV live-tweeting and other signs of life between entries. Thanks for reading!]
