Issue link: https://digital.copcomm.com/i/716619
14 P E R S P E C T I V E | S E P T E M B E R / O C TO B E R 2 0 1 6 news In closing, Lillian sends to all of their extended ADG family her love and gratitude. Lillian and the filmmakers have expressed their deep appreciation in the film's end credits to the ADG Archives and its professional archivist, Rosemarie Knopka. The Guild's Archives played an important role in the collection of oral history recordings and the visual assets used in the making of the film. Lillian is also deeply grateful to the ADG membership for its support in order to save their endangered Michelson Research Library from what would have been a terrible fate: neglect and dispersal that would of set in motion the complete loss of the library and its many historic and unique visual treasures. There were many smiles and happy tears on that Sunday evening in July with Lillian saying days later, "I still feel as if I'm floating!" Previous page, top: Speakers at the ADG/American Cinemateque Film Society screening included, left to right: Norm Newberry, Jim Bissell, Daniel Raim, dooner, John Muto, Lillian Michelson, Chuck Parker, Tom Walsh and Rick Carter. Bottom, left: He was a wisecracking World War II vet. She was an orphan, his kid sister's best friend. Harold and Lillian eloped to Hollywood, where they became the film industry's secret weapons. This page, clockwise from top left: Lillian Michelson at her desk in one of the Michelson Research Library's many temporary homes before it found safe harbor at the Art Directors Guild. Literally, millions of magazine clippings and other images form the core of the library, along with ten thousand research books. Images in many of the industry's competing research collections bore the Lillian Michelson rubber stamp, attesting to the value her peers placed on the quality of her scholarship. A more recent image of the collection packed for shipment to an East Coast storage facility, before the Art Directors Guild stepped up to save it.