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- And now,
ladies and gentlemen,
2
00:00:30,931 --> 00:00:32,700
time for the show.
3
00:00:32,766 --> 00:00:34,368
Once again,
4
00:00:34,435 --> 00:00:38,406
thank you for coming
to our theatre tonight.
5
00:00:38,472 --> 00:00:40,474
Have an enjoyable evening.
6
00:00:40,541 --> 00:00:45,246
- If you're okay watching
a movie on your phone,
7
00:00:45,313 --> 00:00:48,382
then just stop watching this
now.
8
00:00:48,449 --> 00:00:50,218
- I think what makes
this movie important,
9
00:00:50,284 --> 00:00:54,255
is it's using
the medium of cinema
10
00:00:54,322 --> 00:00:58,126
to essentially address a problem
within cinema.
11
00:00:58,192 --> 00:01:00,261
- Make a movie
about a movie theatre -
12
00:01:00,328 --> 00:01:02,430
that's so meta,
it's fucking sick.
13
00:01:03,797 --> 00:01:05,799
(beat-heavy music)
14
00:01:07,067 --> 00:01:09,337
(funky music)
15
00:02:56,277 --> 00:02:59,413
- The importance
of revival cinema in culture
16
00:02:59,480 --> 00:03:01,915
is it's really no different
17
00:03:01,982 --> 00:03:04,285
than a conventional museum.
18
00:03:04,352 --> 00:03:06,987
- The sense
of revival means giving life -
19
00:03:07,054 --> 00:03:10,123
and this is, uh, this is life,
it's giving not...
20
00:03:10,190 --> 00:03:11,525
the movies don't need that,
21
00:03:11,592 --> 00:03:13,594
they're already set,
they're going, eternal -
22
00:03:13,661 --> 00:03:16,397
the life they're giving
is to the viewers.
23
00:03:16,464 --> 00:03:18,999
We are the ones
who get a chance
24
00:03:19,066 --> 00:03:21,869
to see something
we wouldn't see anywhere else.
25
00:03:21,935 --> 00:03:24,805
- The idea
of movies being resurrected,
26
00:03:24,872 --> 00:03:26,774
I mean, this is...
this is one of the things
27
00:03:26,840 --> 00:03:28,309
that I love
about a revival house -
28
00:03:28,376 --> 00:03:30,911
a movie that can continue
to live,
29
00:03:30,978 --> 00:03:32,846
or can have a new life.
30
00:03:32,913 --> 00:03:36,317
I think that's just money
in the bank, that's fantastic.
31
00:03:36,384 --> 00:03:38,786
- I've never been more moved
32
00:03:38,852 --> 00:03:44,191
than running
a Charlie Chaplin film this year
33
00:03:44,258 --> 00:03:48,462
and watching audiences respond
exactly how they responded
34
00:03:48,529 --> 00:03:50,598
all those years ago.
35
00:03:50,664 --> 00:03:54,067
How his movies
still transcend time.
36
00:03:54,134 --> 00:03:55,636
It's beautiful.
37
00:03:55,703 --> 00:03:58,071
Revival houses remember that,
38
00:03:58,138 --> 00:04:01,642
they remember that they're
supposed to touch your heart.
39
00:04:01,709 --> 00:04:03,644
- I'm a child of revival cinema.
40
00:04:03,711 --> 00:04:05,713
When I was in high school,
41
00:04:05,779 --> 00:04:08,215
I would get on the bus
to New York
42
00:04:08,282 --> 00:04:09,917
to go to the New Yorker Theater,
43
00:04:09,983 --> 00:04:13,220
where they ran the most fabulous
old double bills.
44
00:04:13,287 --> 00:04:14,588
And it was long before
home video,
45
00:04:14,655 --> 00:04:16,390
and there were no places
to see these films.
46
00:04:16,457 --> 00:04:18,826
Now the argument is,
now we have more films
47
00:04:18,892 --> 00:04:21,729
available to see on video
than we've ever had before.
48
00:04:21,795 --> 00:04:23,597
And it's true.
There are more films available
49
00:04:23,664 --> 00:04:25,265
than there ever have been
in my lifetime.
50
00:04:25,333 --> 00:04:28,469
But the problem is that A,
you have to know what they are,
51
00:04:28,536 --> 00:04:30,538
someone has to point you to them
and say,
52
00:04:30,604 --> 00:04:32,606
"Look, this is a movie worth
your time."
53
00:04:32,673 --> 00:04:36,510
The other thing is, many need
to be seen on a big screen.
54
00:04:36,577 --> 00:04:38,612
Even the cheapest pictures
were made
55
00:04:38,679 --> 00:04:41,615
to be seen on the big screen
and that experience
56
00:04:41,682 --> 00:04:45,152
is not the same as watching it
even at home with two friends.
57
00:04:45,218 --> 00:04:49,823
- We're telling a story
about the New Beverly
58
00:04:49,890 --> 00:04:51,124
as a character
59
00:04:51,191 --> 00:04:53,927
within his bigger story
of the end of a format.
60
00:04:53,994 --> 00:04:58,699
- I think the New Beverly
is a really a perfect example
61
00:04:58,766 --> 00:05:02,069
of a revival cinema because
we've been around since 1978,
62
00:05:02,135 --> 00:05:03,637
and because we're in Hollywood.
63
00:05:03,704 --> 00:05:07,441
So there used to be
so many theatres in Los Angeles
64
00:05:07,508 --> 00:05:09,777
and, one by one,
they've all died.
65
00:05:09,843 --> 00:05:12,680
We still have a few revival
cinemas left in Los Angeles,
66
00:05:12,746 --> 00:05:14,382
but not as many as you'd think
67
00:05:14,448 --> 00:05:15,949
for a city
that revolves around film.
68
00:05:16,016 --> 00:05:18,051
And the thing
that makes me really nervous
69
00:05:18,118 --> 00:05:20,588
is you have a place
like the New Beverly,
70
00:05:20,654 --> 00:05:22,490
where it should be packed
every night,
71
00:05:22,556 --> 00:05:24,825
because this is a town
full of film lovers,
72
00:05:24,892 --> 00:05:27,728
but it's not.
So if the New Beverly
73
00:05:27,795 --> 00:05:29,830
can't survive in Hollywood
of all places,
74
00:05:29,897 --> 00:05:32,633
what hope do we have
for other revival cinemas
75
00:05:32,700 --> 00:05:34,535
around the country or the world?
76
00:05:34,602 --> 00:05:36,637
- What is absolutely true
77
00:05:36,704 --> 00:05:39,339
is that the best way
to see a movie
78
00:05:39,407 --> 00:05:41,675
is in a movie theatre.
79
00:05:41,742 --> 00:05:45,078
And that is why I think
the New Beverly is successful.
80
00:05:45,145 --> 00:05:46,714
- Watching a movie there
81
00:05:46,780 --> 00:05:48,649
with an audience
that's really into the movie
82
00:05:48,716 --> 00:05:51,552
is better than any theatre
I've ever been to in my life.
83
00:05:51,619 --> 00:05:54,755
- It feels
like this great party,
84
00:05:54,822 --> 00:05:57,224
like the frat house
without the douche-baggery.
85
00:05:57,290 --> 00:05:59,159
- It's very much
like chicken soup.
86
00:05:59,226 --> 00:06:02,530
If you're feeling sick
and you wanna feel better,
87
00:06:02,596 --> 00:06:04,565
you come to the New Beverly
and you feel better.
88
00:06:04,632 --> 00:06:06,734
- And it's a family business.
89
00:06:06,800 --> 00:06:08,836
You see the same folks,
the staff is small.
90
00:06:08,902 --> 00:06:13,407
It's like literally going
from your home to another home.
91
00:06:13,474 --> 00:06:14,908
- I picked my first apartment
92
00:06:14,975 --> 00:06:17,545
based on proximity
to the New Beverly.
93
00:06:17,611 --> 00:06:21,381
- It's a little gem enclave
in L.A.
94
00:06:21,449 --> 00:06:23,050
that there really isn't anything
like it.
95
00:06:23,116 --> 00:06:25,553
There are some competing
venues that do good work,
96
00:06:25,619 --> 00:06:27,020
and also have a community vibe,
97
00:06:27,087 --> 00:06:28,889
but there's something
about the New Beverly
98
00:06:28,956 --> 00:06:30,591
that just rises a little above.
99
00:06:30,658 --> 00:06:32,192
- I found the rep house
100
00:06:32,259 --> 00:06:35,128
I'd always dreamed
of being able to go to,
101
00:06:35,195 --> 00:06:36,564
and it was the New Beverly.
102
00:06:36,630 --> 00:06:38,331
- It's just perfect.
103
00:06:38,398 --> 00:06:41,869
- It's definitely
a '70s movie theatre.
104
00:06:41,935 --> 00:06:45,338
You get that vibe
the moment you walk in.
105
00:06:45,405 --> 00:06:47,541
You get the ticket
that you tear off,
106
00:06:47,608 --> 00:06:49,276
the old-school concessions,
107
00:06:49,342 --> 00:06:51,745
and the place looks like a place
108
00:06:51,812 --> 00:06:53,947
that's been around
since the 1970s
109
00:06:54,014 --> 00:06:57,618
Even with the upgraded seats,
which is beautiful,
110
00:06:57,685 --> 00:06:59,787
because they're not even
brand-new seats,
111
00:06:59,853 --> 00:07:01,755
they're seats from
an older theatre from the '90s.
112
00:07:01,822 --> 00:07:03,691
They're great,
and it's fantastic,
113
00:07:03,757 --> 00:07:05,659
but I just love that.
114
00:07:05,726 --> 00:07:08,629
Even when the marquee
was upgraded,
115
00:07:08,696 --> 00:07:10,998
it's upgraded to look
exactly like it used to
116
00:07:11,064 --> 00:07:13,166
when it was brand new.
- It's a constant.
117
00:07:13,233 --> 00:07:15,769
It always has this sort
of well-worn feeling about it.
118
00:07:15,836 --> 00:07:18,672
I love going there.
It's kind of reassuring.
119
00:07:18,739 --> 00:07:20,708
In a sense,
you could call it a temple.
120
00:07:20,774 --> 00:07:22,743
It's a temple to movies.
121
00:07:22,810 --> 00:07:25,613
- One of the very,
very, very few
122
00:07:25,679 --> 00:07:28,649
who are not eating
out of anybody's hand.
123
00:07:28,716 --> 00:07:30,217
They are totally independent.
124
00:07:30,283 --> 00:07:34,254
- So it's always been
kind of a little haven for me,
125
00:07:34,321 --> 00:07:38,792
and this great little escape,
far away from the multiplex.
126
00:07:38,859 --> 00:07:41,361
It has a very special place
in my heart.
127
00:07:41,428 --> 00:07:45,265
- It was an extension of film
school, going to the Beverly.
128
00:07:45,332 --> 00:07:47,801
- As a high-school dropout,
it was film school for me.
129
00:07:47,868 --> 00:07:49,737
New Beverly's where I learned
about movies.
130
00:07:49,803 --> 00:07:51,438
- If you date me
for any period of time,
131
00:07:51,505 --> 00:07:54,274
it's only a matter of time:
We gotta go to the New Beverly!
132
00:07:54,341 --> 00:07:56,109
- If I win the goddamn lottery,
133
00:07:56,176 --> 00:08:00,781
I would give it all to keeping
the New Beverly Cinema going.
134
00:08:00,848 --> 00:08:03,116
- Quite literally the one place
that I could go
135
00:08:03,183 --> 00:08:06,253
and felt like I belonged
and I wasn't alone.
136
00:08:06,319 --> 00:08:08,856
- It's nicer to see a movie
at the New Beverly
137
00:08:08,922 --> 00:08:11,158
than it is at some crappy
multiplex.
138
00:08:11,224 --> 00:08:12,726
It's got charm.
139
00:08:12,793 --> 00:08:15,763
- Eight bucks
for a double feature? On film?
140
00:08:15,829 --> 00:08:17,330
And it's projected right -
hopefully,
141
00:08:17,397 --> 00:08:20,934
if I'm doing my job right -
that's a good deal.
142
00:08:21,001 --> 00:08:24,171
- The ticket prices
at the New Beverly are awesome!
143
00:08:24,237 --> 00:08:27,908
Why, I can get a full night's
worth of entertainment
144
00:08:27,975 --> 00:08:31,979
for me and my friends and family
for less than $20.
145
00:08:32,045 --> 00:08:34,648
- You pay eight bucks
for two films
146
00:08:34,715 --> 00:08:36,684
and you step into this community
147
00:08:36,750 --> 00:08:38,752
that is whatever
you want it to be.
148
00:08:38,819 --> 00:08:41,488
If you wanna come in,
order a drink, go sit down,
149
00:08:41,555 --> 00:08:43,256
watch the film and leave,
you totally can.
150
00:08:43,323 --> 00:08:45,826
If you want to chat it up,
meet new people,
151
00:08:45,893 --> 00:08:49,029
talk about it with the owner,
with the staff, you can.
152
00:08:49,096 --> 00:08:51,164
- And standing outside
the New Beverly
153
00:08:51,231 --> 00:08:53,901
is sort of, you know,
where the film geeks are.
154
00:08:53,967 --> 00:08:56,503
Sort of in between the movies
or after a midnight,
155
00:08:56,570 --> 00:08:59,139
at 2:00 in the morning,
there's people still standing
156
00:08:59,206 --> 00:09:00,941
out in the street
talking about films.
157
00:09:01,008 --> 00:09:02,576
That's a community, you know.
158
00:09:02,643 --> 00:09:05,946
- It used to be common and
doesn't exist in the same way,
159
00:09:06,013 --> 00:09:08,716
and not just the location
or the style,
160
00:09:08,782 --> 00:09:11,685
or the types of things
that it shows,
161
00:09:11,752 --> 00:09:14,187
but there's a spirit
and a culture,
162
00:09:14,254 --> 00:09:17,057
an experience about it,
that is unique,
163
00:09:17,124 --> 00:09:21,128
feels very safe and familiar
and very celebratory of film.
164
00:09:21,194 --> 00:09:23,864
- I also think it's really
interesting that the clientele
165
00:09:23,931 --> 00:09:27,100
asks me what I think
of the movies all the time.
166
00:09:27,167 --> 00:09:29,036
I can't think
of another movie theatre
167
00:09:29,102 --> 00:09:32,072
where it would even occur to me
to ask the girl
168
00:09:32,139 --> 00:09:35,175
giving me the popcorn
what she thinks of the film.
169
00:09:39,046 --> 00:09:42,382
- It is the entire
cinema experience,
170
00:09:42,449 --> 00:09:44,051
because you have 35 film,
171
00:09:44,117 --> 00:09:46,754
you have
that organic connection to it,
172
00:09:46,820 --> 00:09:50,357
and you're experiencing
being in an audience,
173
00:09:50,423 --> 00:09:52,292
in those seats,
174
00:09:52,359 --> 00:09:55,929
surrounded by that chatter,
175
00:09:55,996 --> 00:09:58,198
and the smell of the popcorn,
and you've got your drink.
176
00:09:58,265 --> 00:09:59,867
That is the movie-going
experience,
177
00:09:59,933 --> 00:10:02,369
and that's why you go
to the New Beverly.
178
00:10:02,435 --> 00:10:04,705
(music)
179
00:10:20,187 --> 00:10:22,956
- I love the New Beverly
because it's independent
180
00:10:23,023 --> 00:10:25,558
and stands for everything
I believe in.
181
00:10:25,625 --> 00:10:27,360
It's kind of anti-establishment,
182
00:10:27,427 --> 00:10:29,396
and owned by a family,
183
00:10:29,462 --> 00:10:30,964
and cheap,
184
00:10:31,031 --> 00:10:32,800
and not about consumerism.
185
00:10:32,866 --> 00:10:35,168
It's really about
the love of film
186
00:10:35,235 --> 00:10:39,039
and a community of people
who love film getting together.
187
00:10:39,973 --> 00:10:42,275
I moved to Los Angeles in 2001,
188
00:10:42,342 --> 00:10:45,412
and I almost immediately found
a New Beverly calendar.
189
00:10:45,478 --> 00:10:48,682
And the calendar's so incredibly
groovy and old school
190
00:10:48,749 --> 00:10:52,085
and just spoke to me immediately
and I saw it
191
00:10:52,152 --> 00:10:54,021
and I said,
"This is where I have to work.
192
00:10:54,087 --> 00:10:55,522
This is the place for me."
193
00:10:55,588 --> 00:10:57,124
And the first time I went,
194
00:10:57,190 --> 00:10:59,693
I asked Sherman Torgan,
the owner, for a job.
195
00:10:59,760 --> 00:11:02,763
I asked him for a job every time
I went back for five years.
196
00:11:02,830 --> 00:11:05,432
- I was there every time
she asked for a job.
197
00:11:05,498 --> 00:11:07,801
Sherman tried to brush her off.
She was very insistent.
198
00:11:07,868 --> 00:11:09,202
- Eventually he caved
199
00:11:09,269 --> 00:11:11,972
and he gave up
one of his own shifts for me.
200
00:11:12,039 --> 00:11:14,141
And right after I started
working there, he said,
201
00:11:14,207 --> 00:11:16,710
"Why did I not hire you
five years ago?"
202
00:11:16,777 --> 00:11:18,345
I said, "I don't know."
203
00:11:18,411 --> 00:11:20,781
So I started in May of 2006,
204
00:11:20,848 --> 00:11:23,416
and it's been fantastic.
205
00:11:28,856 --> 00:11:30,958
(music)
206
00:11:34,962 --> 00:11:38,131
In 1929, the building
that the New Beverly was in,
207
00:11:38,198 --> 00:11:42,369
7165 Beverly Blvd, originally
opened as Slapsy Maxie's,
208
00:11:42,435 --> 00:11:45,072
which was a nightclub opened
by Slapsy Maxie Rosenbloom,
209
00:11:45,138 --> 00:11:47,374
who was a famous
boxer at the time.
210
00:11:47,440 --> 00:11:50,944
- And, in fact, Martin & Lewis
did their first gigs in L.A.
211
00:11:51,011 --> 00:11:52,345
in that same building.
212
00:11:52,412 --> 00:11:54,982
- It went through a bunch
of different changes
213
00:11:55,048 --> 00:11:56,850
from the '40s through the '70s.
214
00:11:56,917 --> 00:11:59,652
There were some live theatre
that was done there.
215
00:11:59,719 --> 00:12:02,255
At one point it was called
the Capri Riviera, a split,
216
00:12:02,322 --> 00:12:04,124
which meant the theatre
was split in two,
217
00:12:04,191 --> 00:12:05,993
there were two screens.
The theatre's so small,
218
00:12:06,059 --> 00:12:07,861
I have no idea
how they did that.
219
00:12:07,928 --> 00:12:10,297
- I've been going
to the New Beverly
220
00:12:10,363 --> 00:12:12,099
since I came to L.A.
221
00:12:12,165 --> 00:12:15,435
I have to confess
that when I first came to L.A.,
222
00:12:15,502 --> 00:12:17,871
the New Beverly
was not a revival house,
223
00:12:17,938 --> 00:12:19,439
it was a porno house.
224
00:12:19,506 --> 00:12:22,209
And my excuse is that
I was actually reviewing porno
225
00:12:22,275 --> 00:12:24,144
for a trade magazine
called Film Bulletin,
226
00:12:24,211 --> 00:12:26,513
back when we used
to review things like that.
227
00:12:26,579 --> 00:12:28,648
Pornos were particularly
fun to write about.
228
00:12:28,715 --> 00:12:30,017
You could be so snarky.
229
00:12:30,083 --> 00:12:33,353
- In 1970,
it became the Beverly Cinema.
230
00:12:33,420 --> 00:12:35,555
Now, the Beverly Cinema
was a porno house.
231
00:12:35,622 --> 00:12:38,491
The landlord at the time,
his name was Howard Ziehm.
232
00:12:38,558 --> 00:12:43,430
- Howard had been
this porno director and producer
233
00:12:43,496 --> 00:12:46,133
who'd done Flesh Gordon,
which is actually a great movie.
234
00:12:46,199 --> 00:12:48,936
He basically realized: Man,
I'm making these porno movies
235
00:12:49,002 --> 00:12:51,304
and I'm sharing the profits
with the theatre.
236
00:12:51,371 --> 00:12:54,641
And who knows how they were
cheating at the box office.
237
00:12:54,707 --> 00:12:58,111
So he basically said,
"I'm gonna buy my own theatre
238
00:12:58,178 --> 00:13:02,649
and book my own porno movies
so I get 100% of the profits."
239
00:13:02,715 --> 00:13:04,651
Around '77 or '78,
240
00:13:04,717 --> 00:13:10,190
the LA Times stopped taking ads
for porno theatres,
241
00:13:10,257 --> 00:13:12,926
and so suddenly
his business just dropped.
242
00:13:12,993 --> 00:13:16,163
And so that's when Sherman
decided to take it over.
243
00:13:16,229 --> 00:13:18,265
- Sherman Torgan
and some partners bought it.
244
00:13:18,331 --> 00:13:21,634
And because the marquee
says Beverly Cinema,
245
00:13:21,701 --> 00:13:24,071
he didn't wanna pay
to replace the marquee,
246
00:13:24,137 --> 00:13:26,506
so he just changed
it the New Beverly Cinema.
247
00:13:26,573 --> 00:13:29,376
- It became revival house,
and this was an era where,
248
00:13:29,442 --> 00:13:32,946
in Los Angeles, there were a lot
of revival houses and prints.
249
00:13:33,013 --> 00:13:34,982
Of course, this was Hollywood,
250
00:13:35,048 --> 00:13:36,850
there were studio prints
to be had.
251
00:13:36,917 --> 00:13:38,585
It was pretty much
a movie-lover's dream.
252
00:13:38,651 --> 00:13:41,554
The New Beverly was always
a somewhat smaller venue,
253
00:13:41,621 --> 00:13:44,992
but the projection was good
and the people really cared
254
00:13:45,058 --> 00:13:46,726
and it was very intimate.
255
00:13:46,793 --> 00:13:51,164
- Sherman Torgan
was simultaneously...
256
00:13:51,231 --> 00:13:54,734
a father figure,
a fellow traveler,
257
00:13:54,801 --> 00:13:56,536
a culture warrior.
258
00:13:56,603 --> 00:13:58,505
- Sherman Torgan,
259
00:13:58,571 --> 00:14:00,007
this...
260
00:14:00,073 --> 00:14:03,410
smiling homunculus
in that scratched-up window.
261
00:14:03,476 --> 00:14:07,180
He's like something out
of a Dan Clowes comic strip.
262
00:14:07,247 --> 00:14:09,449
- He was here
every single time I came here.
263
00:14:09,516 --> 00:14:11,384
- I would go
to see something there
264
00:14:11,451 --> 00:14:13,186
and Sherman would be
at the box office,
265
00:14:13,253 --> 00:14:14,854
then you'd walk in,
Sherman would come around
266
00:14:14,922 --> 00:14:17,357
and work concessions as well,
like he was the only person.
267
00:14:17,424 --> 00:14:19,226
- And he always had
that weird energy of, like,
268
00:14:19,292 --> 00:14:21,628
I'm getting to put on a show
and show movies tonight.
269
00:14:21,694 --> 00:14:23,230
- And he was a wonderful person
270
00:14:23,296 --> 00:14:25,265
and really committed
to what he did.
271
00:14:25,332 --> 00:14:27,400
And even on the periods
when he was down,
272
00:14:27,467 --> 00:14:29,302
because the theatre
wasn't doing very well,
273
00:14:29,369 --> 00:14:32,205
he'd start making those noises:
"Maybe I should pack it in."
274
00:14:32,272 --> 00:14:34,307
I always would give him
the pep talk,
275
00:14:34,374 --> 00:14:36,409
but I kinda felt
that deep down inside,
276
00:14:36,476 --> 00:14:39,146
he didn't really mean it,
'cause what would he do?
277
00:14:39,212 --> 00:14:40,813
I mean, this was his life.
278
00:14:40,880 --> 00:14:44,351
- He actually knew how to run
stuff up in the booth, too.
279
00:14:44,417 --> 00:14:46,186
We'd have stuff break down
up in the booth,
280
00:14:46,253 --> 00:14:47,654
and Sherman might be, like:
281
00:14:47,720 --> 00:14:49,822
"We gotta stop the show
and we gotta do this."
282
00:14:49,889 --> 00:14:52,259
And Sherman'd say fuck that
he'd grab this new...
283
00:14:52,325 --> 00:14:55,328
take the old projector head off
and put a new one on,
284
00:14:55,395 --> 00:14:57,397
slap it on, and say, "Let's go."
285
00:14:57,464 --> 00:15:00,200
- Back when he was a hippie,
he'd just fuck with the system.
286
00:15:00,267 --> 00:15:04,037
He had great stories about how
he'd get say a jaywalking ticket
287
00:15:04,104 --> 00:15:07,640
and would insist
on going to a trial with a jury
288
00:15:07,707 --> 00:15:09,409
just to fuck with the system.
289
00:15:09,476 --> 00:15:11,611
- One time a customer
had come to the counter
290
00:15:11,678 --> 00:15:14,581
and been really rude to me
and I went up to Sherman,
291
00:15:14,647 --> 00:15:17,350
and was, like: "God,
that guy was such an asshole."
292
00:15:17,417 --> 00:15:19,552
He said,
"He can't talk to you like that.
293
00:15:19,619 --> 00:15:21,754
Tell him to fuck off
and get out."
294
00:15:21,821 --> 00:15:24,157
That's like Sherman
in a little capsule for me.
295
00:15:24,224 --> 00:15:27,360
- I started going in '95,
this was the summer of '99,
296
00:15:27,427 --> 00:15:29,896
I'm buying a ticket
for yet another double feature.
297
00:15:29,963 --> 00:15:33,300
"I thought you'd be showing me
a screenplay by now."
298
00:15:33,366 --> 00:15:36,736
And that was the moment -
and he wasn't trying to be mean,
299
00:15:36,803 --> 00:15:40,373
but it was like: "You don't need
to come here as often.
300
00:15:40,440 --> 00:15:43,110
You need to stop hanging
around the high school,
301
00:15:43,176 --> 00:15:45,645
you've graduated.
Go out and do other things.
302
00:15:48,548 --> 00:15:51,484
...In the zoo.
In your nightmares.
303
00:15:51,551 --> 00:15:55,355
In the deep.
In your favorite horror movies.
304
00:15:58,558 --> 00:16:03,363
But not in your living room,
on your TV.
305
00:16:03,430 --> 00:16:07,367
- There will never be anything
that gives you the beauty
306
00:16:07,434 --> 00:16:12,205
and the enveloping sense
that actual 35mm film does.
307
00:16:12,972 --> 00:16:16,409
- It is actually about a mental
connection that we have
308
00:16:16,476 --> 00:16:19,646
with those images
that are dancing on the screen,
309
00:16:19,712 --> 00:16:21,414
because they are real.
310
00:16:21,481 --> 00:16:24,184
They actually exist, on film,
311
00:16:24,251 --> 00:16:25,918
with a light going through it,
312
00:16:25,985 --> 00:16:28,121
with the shutter
dropping in front of it,
313
00:16:28,188 --> 00:16:30,990
the sound of celluloid
going through a projector
314
00:16:31,058 --> 00:16:32,625
and going over the spindles
315
00:16:32,692 --> 00:16:35,528
and coming up
on the take-up reel,
316
00:16:35,595 --> 00:16:39,466
That is part
of our movie consciousness.
317
00:16:39,532 --> 00:16:41,568
Pffffff....
You make that sound,
318
00:16:41,634 --> 00:16:44,271
and everybody thinks
of the movies.
319
00:16:44,337 --> 00:16:46,739
- Someone who can actually
project 35mm properly,
320
00:16:46,806 --> 00:16:49,042
you know, it's a dying breed.
321
00:16:49,109 --> 00:16:51,311
There aren't too many left.
322
00:16:53,546 --> 00:16:56,549
- I get a lot of comfort from
knowing there's a projectionist.
323
00:16:56,616 --> 00:17:01,521
There's a maestro,
there's someone who knows
324
00:17:01,588 --> 00:17:04,324
more about it than I do,
in a weird way,
325
00:17:04,391 --> 00:17:07,194
You know, it's the comfort.
It's like a bus driver.
326
00:17:07,260 --> 00:17:09,396
Nobody ever gets on the bus
and thinks:
327
00:17:09,462 --> 00:17:12,465
This bus driver is gonna like...
No, you don't think that.
328
00:17:12,532 --> 00:17:15,368
Maybe if the projectionist is
and the bus driver are--
329
00:17:15,435 --> 00:17:16,769
- You have totally lost me.
330
00:17:16,836 --> 00:17:19,306
I have no idea
what you're talking about.
331
00:17:19,372 --> 00:17:21,408
- No, it's like having
a tour guide,
332
00:17:21,474 --> 00:17:23,510
somebody who's just sort of,
you know,
333
00:17:23,576 --> 00:17:26,045
kinda gonna hold your hand
along the way.
334
00:17:26,113 --> 00:17:27,847
- Aw...
- When I'm not on set with you.
335
00:17:27,914 --> 00:17:30,650
- I'm gonna keep doing this
for the rest of the interview.
336
00:17:30,717 --> 00:17:32,852
It's gonna get awkward
at some point. Go ahead.
337
00:17:32,919 --> 00:17:34,854
- My niece and nephew
don't get the concept.
338
00:17:34,921 --> 00:17:37,857
Like I showed my niece
a piece of film and I'm, like:
339
00:17:37,924 --> 00:17:40,893
"Look, light shines through this
onto a big screen.
340
00:17:40,960 --> 00:17:42,629
That's how it works. "Ah!"
341
00:17:42,695 --> 00:17:45,064
- If somebody walks you
through how a projector works,
342
00:17:45,132 --> 00:17:46,599
and they say:
343
00:17:46,666 --> 00:17:49,469
- As the films moves
through the projector,
344
00:17:49,536 --> 00:17:51,804
it first enters
the picture section.
345
00:17:51,871 --> 00:17:54,674
In this section
is the projection lamp,
346
00:17:54,741 --> 00:17:57,544
which is
a very bright light source.
347
00:17:57,610 --> 00:18:01,748
This light is concentrated
on a single frame of the film
348
00:18:01,814 --> 00:18:03,883
by a condenser lens.
349
00:18:03,950 --> 00:18:07,154
The brilliantly illuminated
frame of the film
350
00:18:07,220 --> 00:18:10,257
is then projected
by the projection lens
351
00:18:10,323 --> 00:18:11,724
onto the screen.
352
00:18:11,791 --> 00:18:15,228
As the film moves
through the picture section,
353
00:18:15,295 --> 00:18:17,697
it stops momentarily
on each frame.
354
00:18:17,764 --> 00:18:20,567
Next, the film enters
the sound section.
355
00:18:20,633 --> 00:18:23,436
Here,
an exciter lamp passes light
356
00:18:23,503 --> 00:18:26,739
through the soundtrack area
of the film.
357
00:18:26,806 --> 00:18:31,444
Sound waves cause the light beam
to vary in brightness.
358
00:18:31,511 --> 00:18:34,681
This makes the photo cell
produce electrical pulsations,
359
00:18:34,747 --> 00:18:38,485
which are then amplified
and fed to the speaker.
360
00:18:38,551 --> 00:18:40,287
- And that's how you watch
a movie!
361
00:18:40,353 --> 00:18:43,456
(funky music)
362
00:18:43,523 --> 00:18:46,826
I had no idea how weird
projectionists were
363
00:18:46,893 --> 00:18:50,730
until I started hanging out
at the New Beverly.
364
00:18:50,797 --> 00:18:54,567
Like, projectionists are
a specific type of... person.
365
00:18:55,768 --> 00:18:59,539
- Just don't think
we're good with people.
366
00:18:59,606 --> 00:19:02,108
- Yeah,
they need to socialize more,
367
00:19:02,175 --> 00:19:04,010
get out of the booth.
368
00:19:04,076 --> 00:19:07,480
- That's why more projectionists
are like alcoholics,
369
00:19:07,547 --> 00:19:10,950
or gone mad,
or... really weird.
370
00:19:11,017 --> 00:19:14,354
They're really weird.
And I include myself on there.
371
00:19:18,958 --> 00:19:21,228
- I think you become crazier.
372
00:19:21,294 --> 00:19:22,695
- It's a stressful job.
373
00:19:22,762 --> 00:19:25,532
I would have
New Beverly nightmares.
374
00:19:25,598 --> 00:19:27,334
- The job of a projectionist
375
00:19:27,400 --> 00:19:31,070
is to make their job
as invisible as possible.
376
00:19:31,137 --> 00:19:34,407
- If the sound goes off
and they have to say...
377
00:19:34,474 --> 00:19:36,843
or focus,
they know I'm there then.
378
00:19:36,909 --> 00:19:38,511
I don't want them to know.
379
00:19:38,578 --> 00:19:40,647
I wanna just keep everything
going right.
380
00:19:40,713 --> 00:19:43,082
Even making the lights go down,
381
00:19:43,149 --> 00:19:45,985
just dim
while they don't even notice it.
382
00:19:46,052 --> 00:19:49,021
You don't want to know
somebody's projecting this,
383
00:19:49,088 --> 00:19:53,626
you wanna enjoy yourself,
you wanna get lost in the story.
384
00:20:01,668 --> 00:20:04,804
- I don't think anybody has
as much fun when they're working
385
00:20:04,871 --> 00:20:07,607
as somebody who works
at the New Beverly.
386
00:20:08,741 --> 00:20:12,945
- I often think: Where else
would these people work?
387
00:20:14,013 --> 00:20:16,749
- There's two people who work on
the floor and a projectionist.
388
00:20:16,816 --> 00:20:19,519
Like three people, per night.
That's it.
389
00:20:19,586 --> 00:20:21,754
- They're just nice.
Except Matt.
390
00:20:21,821 --> 00:20:23,290
What's up with him?
391
00:20:23,356 --> 00:20:25,892
He smells like Fritos
left in the sun.
392
00:20:25,958 --> 00:20:27,527
It's really weird.
393
00:20:27,594 --> 00:20:30,563
- Wocka!
- He's someone who loves movies,
394
00:20:30,630 --> 00:20:32,665
but is very serious
about his movies.
395
00:20:32,732 --> 00:20:34,834
- I'm not a very customer-
service-oriented type of guy
396
00:20:34,901 --> 00:20:38,905
with a customer-service job.
But it works - it's the New Bev.
397
00:20:38,971 --> 00:20:41,308
- He's the Hitchcock connoisseur
of the New Beverly.
398
00:20:41,374 --> 00:20:43,476
- Being a big Hitchcock fan
growing up,
399
00:20:43,543 --> 00:20:44,944
I watched everything on VHS.
400
00:20:45,011 --> 00:20:47,547
So it really wasn't
until the New Beverly
401
00:20:47,614 --> 00:20:49,349
that suddenly
I could see them for real.
402
00:20:49,416 --> 00:20:51,484
And you watch something
like The Birds
403
00:20:51,551 --> 00:20:53,720
and it's a whole
different movie.
404
00:20:53,786 --> 00:20:56,423
- Marion, my best friend,
also works at the theatre,
405
00:20:56,489 --> 00:21:00,893
is sweet as pie, a smart cookie,
and loves movies,
406
00:21:00,960 --> 00:21:03,796
and has loved the New Beverly
as long as I have.
407
00:21:05,398 --> 00:21:08,134
- Marion... who's an actress,
408
00:21:08,200 --> 00:21:09,936
writer and director.
409
00:21:10,002 --> 00:21:11,671
- Very professional. Prim.
410
00:21:11,738 --> 00:21:15,174
- Lookin' hot while she's, like,
filling my drink order.
411
00:21:15,241 --> 00:21:17,143
- She's so beautiful
and so talented,
412
00:21:17,209 --> 00:21:19,446
and she can really do it all.
413
00:21:19,512 --> 00:21:20,813
- I've met filmmakers, actors,
414
00:21:20,880 --> 00:21:23,816
that I've admired
for such a long time.
415
00:21:23,883 --> 00:21:27,454
I've got to screen movies that
are some of my favorite films.
416
00:21:27,520 --> 00:21:31,023
- I am Henry.
I have been a projectionist
417
00:21:31,090 --> 00:21:34,226
at the New Beverly
since approximately 1981.
418
00:21:34,293 --> 00:21:37,063
- I love Henry because he always
looks slightly perplexed.
419
00:21:39,231 --> 00:21:43,636
He loves music. Any movie:
"It's composed by so-and-so."
420
00:21:43,703 --> 00:21:46,739
- I am retired.
I am no longer projecting.
421
00:21:46,806 --> 00:21:49,542
I am projecting
at the New Beverly.
422
00:21:49,609 --> 00:21:52,979
- Vinny's our main projectionist
and he is just a goofball.
423
00:21:53,045 --> 00:21:55,081
- Usually the funny stuff
happens to everybody else,
424
00:21:55,147 --> 00:21:58,217
and I come down and then
they tell me what happened,
425
00:21:58,284 --> 00:21:59,919
I say, "That's funny. Ha-ha."
426
00:21:59,986 --> 00:22:02,054
Then I go back
and run the movies.
427
00:22:02,121 --> 00:22:04,657
- Has one of the most endearing
traits of madness
428
00:22:04,724 --> 00:22:07,527
that I've ever seen in a person,
which is quacking.
429
00:22:07,594 --> 00:22:09,161
- Vinny makes this duck sound.
430
00:22:09,228 --> 00:22:11,364
- He just walks around quacking.
431
00:22:11,431 --> 00:22:13,265
- He kinda walks by you,
goes "quack."
432
00:22:13,332 --> 00:22:17,036
I'm not sure what that's about,
but it does it all the time.
433
00:22:17,103 --> 00:22:18,538
- Quack, quack, quack.
434
00:22:18,605 --> 00:22:20,673
- I think
he's been doing it so long,
435
00:22:20,740 --> 00:22:22,809
it's become like a subroutine
of his existence
436
00:22:22,875 --> 00:22:25,645
where he will be quacking
and not even realize it.
437
00:22:25,712 --> 00:22:29,616
- It's probably something
from the autism spectrum.
438
00:22:32,084 --> 00:22:33,953
- Quack. Quack.
439
00:22:34,721 --> 00:22:37,356
- He also likes to pit
Matt and I against each other,
440
00:22:37,424 --> 00:22:38,891
as far as who makes
the best popcorn.
441
00:22:38,958 --> 00:22:40,960
Because he constantly tells me
I make the best popcorn.
442
00:22:41,027 --> 00:22:43,396
"Seriously, it's really good.
I tell Matt, but it's you."
443
00:22:43,463 --> 00:22:45,398
Then he tells Matt
the exact same thing!
444
00:22:47,033 --> 00:22:48,668
- Does he? Sonofabitch.
445
00:22:52,805 --> 00:22:54,674
- You do.
446
00:22:54,741 --> 00:22:56,543
- Michael Torgan,
Sherman's only son,
447
00:22:56,609 --> 00:22:57,910
took over the business,
448
00:22:57,977 --> 00:23:00,580
so he is now the owner
of the theatre.
449
00:23:07,754 --> 00:23:11,057
- He does all the pick-ups
and drop-offs of film,
450
00:23:11,123 --> 00:23:13,726
he books everything,
he does all the concessions,
451
00:23:13,793 --> 00:23:15,728
he's printing the calendars,
452
00:23:15,795 --> 00:23:18,598
so he has a lot of
responsibility on his shoulders.
453
00:23:18,665 --> 00:23:20,399
- Michael has done
a tremendous job
454
00:23:20,467 --> 00:23:23,936
of keeping
his father's legacy going.
455
00:23:24,003 --> 00:23:26,473
- The day-to-day stuff
is all Michael.
456
00:23:26,539 --> 00:23:29,075
- Michael Torgan:
equally brilliant,
457
00:23:29,141 --> 00:23:30,643
wonderful curator,
458
00:23:30,710 --> 00:23:32,645
a totally different personality,
459
00:23:32,712 --> 00:23:35,114
but courageous
and incredibly inspired.
460
00:23:35,181 --> 00:23:39,385
And it gives me joy every time
I come to the New Beverly
461
00:23:39,452 --> 00:23:41,588
and get to hang out
with Michael.
462
00:23:41,654 --> 00:23:43,756
- And I can see Sherman
in Michael.
463
00:23:43,823 --> 00:23:48,995
I can see that he likes to let
the program speak for itself.
464
00:23:49,061 --> 00:23:51,397
- You know, he's responsible
for a lot of people
465
00:23:51,464 --> 00:23:53,766
being exposed to a lot of movies
466
00:23:53,833 --> 00:23:56,903
that they wouldn't necessarily
seek out on their own.
467
00:23:56,969 --> 00:23:59,639
- Michael's about best boss
I think I've ever had.
468
00:23:59,706 --> 00:24:02,441
I have an easy job
because Michael works too much.
469
00:24:02,509 --> 00:24:06,178
- He's great and super chill.
And he reminds me of Moby.
470
00:24:08,380 --> 00:24:10,382
- My kids love the place,
471
00:24:10,449 --> 00:24:12,084
especially my oldest daughter.
472
00:24:12,151 --> 00:24:17,423
Michael Torgan gave us
the run of the place.
473
00:24:17,490 --> 00:24:18,891
He let us throw
474
00:24:18,958 --> 00:24:21,427
her 10th birthday party
at the New Beverly.
475
00:24:21,494 --> 00:24:25,698
And I get choked up
thinking about it,
476
00:24:25,765 --> 00:24:29,335
because it means a lot to me.
477
00:24:29,401 --> 00:24:34,240
And, uh... to think
that somebody would care enough
478
00:24:34,306 --> 00:24:39,812
to create that kind
of experience for a little kid,
479
00:24:39,879 --> 00:24:43,082
uh... that's...
I'll never forget that.
480
00:24:43,149 --> 00:24:44,917
I don't have to think
of another reason
481
00:24:44,984 --> 00:24:48,555
why the New Beverly
is important to me.
482
00:24:48,621 --> 00:24:51,290
- That's the tiny
New Beverly family.
483
00:24:51,357 --> 00:24:53,593
(light music)
484
00:25:03,770 --> 00:25:05,972
- There's a magic alchemy
that happens with an audience,
485
00:25:06,038 --> 00:25:08,708
when a whole bunch of people
are watching a movie
486
00:25:08,775 --> 00:25:10,910
and following a story,
487
00:25:10,977 --> 00:25:16,849
that's unique, I think,
to all other arts.
488
00:25:16,916 --> 00:25:19,151
Because
it's a communal experience,
489
00:25:19,218 --> 00:25:23,189
where you're actually having
the same emotional responses
490
00:25:23,255 --> 00:25:24,824
at the same time.
491
00:25:24,891 --> 00:25:27,727
- There's a reason
they're called crowd pleasers.
492
00:25:27,794 --> 00:25:31,163
It's because the audible
reaction of an audience
493
00:25:31,230 --> 00:25:32,732
is... is very infectious.
494
00:25:32,799 --> 00:25:35,467
- You need
that audience interaction
495
00:25:35,534 --> 00:25:38,070
to make certain things funny,
496
00:25:38,137 --> 00:25:42,842
like Marx Brothers,
Buster Keaton, Jackie Chan.
497
00:25:42,909 --> 00:25:45,812
You got a room full of people
laughing,
498
00:25:45,878 --> 00:25:48,280
it's like a chemical reaction
between people,
499
00:25:48,347 --> 00:25:51,283
where one person starts laughing
and the next...
500
00:25:51,350 --> 00:25:54,386
- If I'm watching a horror film,
it's much more scary
501
00:25:54,453 --> 00:25:58,257
if I can feel the 200 people
around me are just as scared,
502
00:25:58,324 --> 00:25:59,826
rather than I'm by myself.
503
00:25:59,892 --> 00:26:03,095
Or if the ending's really sad,
everybody else is crying.
504
00:26:03,162 --> 00:26:05,932
Just amplifies the experience
of what the film is.
505
00:26:05,998 --> 00:26:08,067
- All those emotional reactions
are muted
506
00:26:08,134 --> 00:26:11,771
when you're in the man cave
and you're by yourself
507
00:26:11,838 --> 00:26:13,906
and you're watching
some huge screen,
508
00:26:13,973 --> 00:26:17,376
no matter how good
the sound and visuals are.
509
00:26:18,377 --> 00:26:22,248
- To have people kind of
in league with one another,
510
00:26:22,314 --> 00:26:23,950
in emotional sync,
511
00:26:24,016 --> 00:26:27,920
is unique in society,
and movies provide that.
512
00:26:27,987 --> 00:26:29,622
Even if it's a bad movie,
513
00:26:29,689 --> 00:26:31,590
if people are laughing
because it's cheesy,
514
00:26:31,658 --> 00:26:33,392
it's still kind of bonding
people together,
515
00:26:33,459 --> 00:26:36,095
and I think that's the magic
of that medium.
516
00:26:36,162 --> 00:26:38,731
- When I started taking movies
around to festivals
517
00:26:38,798 --> 00:26:41,167
and seeing the same movie
over and over
518
00:26:41,233 --> 00:26:43,135
with different audiences,
you really realize
519
00:26:43,202 --> 00:26:47,073
how different a personality
every single audience has.
520
00:26:48,474 --> 00:26:51,778
- I feel like when you go
to the multiplex now,
521
00:26:51,844 --> 00:26:53,545
there's a real lack
of consideration.
522
00:26:53,612 --> 00:26:56,949
People don't care about movies,
their fellow audiences members.
523
00:26:57,016 --> 00:27:00,152
It's so hard to go now
without somebody texting,
524
00:27:00,219 --> 00:27:02,021
or somebody talking.
525
00:27:02,088 --> 00:27:04,891
There is nothing
that makes me more angry
526
00:27:04,957 --> 00:27:06,993
than someone ruining
my movie experience.
527
00:27:07,059 --> 00:27:09,595
I have almost gotten
into a fistfight.
528
00:27:09,662 --> 00:27:11,297
I take it really seriously.
529
00:27:11,363 --> 00:27:14,433
- I'm a maniac
about people talking.
530
00:27:14,500 --> 00:27:17,036
I see the light of a cellphone,
I lose my mind.
531
00:27:17,103 --> 00:27:19,171
- 'Cause it's our little house.
(ringing)
532
00:27:19,238 --> 00:27:22,108
- Is that you?
- Didn't turn off my cellphone.
533
00:27:22,174 --> 00:27:25,077
Fired!
- I always turn it off in the--
534
00:27:25,144 --> 00:27:27,613
- This is appropriate.
- It's actually your girlfriend.
535
00:27:27,680 --> 00:27:31,083
- You're fucking with our movie
experience, literally.
536
00:27:31,150 --> 00:27:33,485
- Put your fucking phone away.
537
00:27:33,552 --> 00:27:35,287
- I once tweeted
through a movie,
538
00:27:35,354 --> 00:27:37,556
and didn't read the reactions
till afterward.
539
00:27:37,623 --> 00:27:41,560
I felt I was so clever.
Afterwards, it was two hours of:
540
00:27:41,627 --> 00:27:45,031
What kind of prick are you,
tweeting through a movie?
541
00:27:45,097 --> 00:27:47,599
And I was: "Oh, shit, I forgot!"
542
00:27:47,666 --> 00:27:50,302
- If you have a texting section
in a movie theatre,
543
00:27:50,369 --> 00:27:52,171
you should also have
a sterilization section,
544
00:27:52,238 --> 00:27:54,240
and they're sterilized
so they can't have kids.
545
00:27:54,306 --> 00:27:56,308
And then you go:
"Okay, that's the tradeoff.
546
00:27:56,375 --> 00:27:59,211
You wanna text during a movie,
we get to sterilize you.
547
00:27:59,278 --> 00:28:01,948
It could be a state-run thing.
I'd sponsor it.
548
00:28:02,014 --> 00:28:05,251
- The New Beverly,
we don't have those problems.
549
00:28:10,823 --> 00:28:12,424
'Cause people are there
to see this movie
550
00:28:12,491 --> 00:28:14,060
and they're really into it.
551
00:28:14,126 --> 00:28:16,028
- What's wonderful
about the New Beverly
552
00:28:16,095 --> 00:28:19,098
is the camaraderie that forms.
553
00:28:19,165 --> 00:28:22,368
- They absolutely adore cinema.
554
00:28:22,434 --> 00:28:25,604
- They're the most enthusiastic
audience you will ever find.
555
00:28:25,671 --> 00:28:29,108
They appreciate the work
that goes into making a film
556
00:28:29,175 --> 00:28:30,709
better than any other audience,
I think.
557
00:28:30,777 --> 00:28:34,180
- And that really does something
for what you're seeing on screen
558
00:28:34,246 --> 00:28:37,683
and brings it alive and adds
this other dimension to it.
559
00:28:37,750 --> 00:28:39,285
- The New Beverly crowds
are just genuine,
560
00:28:39,351 --> 00:28:43,790
they're there to have fun,
they're there to love cinema.
561
00:28:43,856 --> 00:28:46,558
Uh, that sounded
super pretentious.
562
00:28:46,625 --> 00:28:48,961
- A lot of the people there
are filmmakers,
563
00:28:49,028 --> 00:28:50,930
or stars of films and so forth,
564
00:28:50,997 --> 00:28:53,332
who have incredible stories
to tell and have known...
565
00:28:53,399 --> 00:28:55,501
You're looking at a film
by Peckinpah,
566
00:28:55,567 --> 00:28:57,203
they've worked with Peckinpah.
567
00:28:57,269 --> 00:29:00,072
When I go there I always learn
something I never knew before
568
00:29:00,139 --> 00:29:02,008
about the movies I'm watching.
569
00:29:04,443 --> 00:29:07,914
- I would describe the clientele
of the New Beverly as...
570
00:29:07,980 --> 00:29:09,715
people who make me nervous.
571
00:29:09,782 --> 00:29:11,951
- When you go
to the New Beverly,
572
00:29:12,018 --> 00:29:14,921
you have to figure in time
for people-watching,
573
00:29:14,987 --> 00:29:18,424
because it's the best place
in the city to see people
574
00:29:18,490 --> 00:29:20,092
who are like you,
575
00:29:20,159 --> 00:29:22,895
except you can judge them
as weirder than you.
576
00:29:22,962 --> 00:29:25,731
And they're not,
they're totally as weird as you.
577
00:29:25,798 --> 00:29:29,035
- It's wonderful
to just go somewhere
578
00:29:29,101 --> 00:29:33,039
where everyone's like you
and you're accepted.
579
00:29:33,105 --> 00:29:35,942
- Frankly, we are a large group
of weirdos.
580
00:29:36,008 --> 00:29:38,677
- Fringe-dwellers
come drifting in at times,
581
00:29:38,744 --> 00:29:41,247
and what have you,
but that's cool.
582
00:29:41,313 --> 00:29:45,184
Kind of like a party
to which everyone's invited.
583
00:29:45,251 --> 00:29:48,620
- I have slightly lower-brow
tastes than you do,
584
00:29:48,687 --> 00:29:51,924
so I go to a lot of the more...
585
00:29:51,991 --> 00:29:55,294
grindhouse-y, genre-y kind
of programs.
586
00:29:56,262 --> 00:29:58,998
You still see the crusty folks.
587
00:29:59,065 --> 00:30:03,402
The ne'er-do-wells showing up
for those screenings.
588
00:30:05,204 --> 00:30:07,139
- No.
(laughter)
589
00:30:07,206 --> 00:30:09,808
No, I... I don't, no.
590
00:30:09,876 --> 00:30:12,211
- We're all different kinds
of freaks, but we're all freaks,
591
00:30:12,278 --> 00:30:14,113
and love each other
and have fun together.
592
00:30:14,180 --> 00:30:16,815
- If it was give itself
to any kind of formality,
593
00:30:16,883 --> 00:30:18,217
it would ruin the vibe.
594
00:30:18,284 --> 00:30:21,120
- My dream was
that you would know my name
595
00:30:21,187 --> 00:30:23,789
when I walked up
to the New Beverly.
596
00:30:23,856 --> 00:30:25,457
- It's a little creepy.
597
00:30:25,524 --> 00:30:28,294
- Yeah, my dream was
that it would be like Cheers,
598
00:30:28,360 --> 00:30:29,996
was that somebody...
"Hey, Noah.
599
00:30:30,062 --> 00:30:32,198
Hey, welcome.
Good to see ya."
600
00:30:32,264 --> 00:30:36,102
And when that started to happen,
I felt like I belonged.
601
00:30:37,536 --> 00:30:40,606
- Yeah, I really feel I've kinda
reached where I wanna be.
602
00:30:40,672 --> 00:30:44,510
- Regulars show up every day
regardless of what we're showing
603
00:30:44,576 --> 00:30:46,345
'cause they just wanna
be at the theatre.
604
00:30:46,412 --> 00:30:49,248
- Colourful characters
around town, and you can, uh...
605
00:30:49,315 --> 00:30:53,519
you feel a little bit special
being able to have that kinship.
606
00:30:53,585 --> 00:30:57,056
- I spend a lot of time at the
New Beverly and it's kind of...
607
00:30:57,123 --> 00:30:58,857
I'm kind of attached
to the place.
608
00:30:58,925 --> 00:31:00,492
Definitely,
609
00:31:00,559 --> 00:31:04,263
if it's showing something
I haven't seen before,
610
00:31:04,330 --> 00:31:06,532
I try to make a point
of going to see it,
611
00:31:06,598 --> 00:31:08,434
unless I have
good reason not to,
612
00:31:08,500 --> 00:31:10,702
because that's the environment
I like. And if you like that,
613
00:31:10,769 --> 00:31:12,504
then you should support
that kind of environment.
614
00:31:12,571 --> 00:31:16,408
- I've been known to plan
my time around the New Beverly.
615
00:31:16,475 --> 00:31:19,511
- You can't write this stuff.
There's Scruncher, popcorn lady.
616
00:31:19,578 --> 00:31:22,748
- Who comes in, an hour late
into the movie every time,
617
00:31:22,814 --> 00:31:26,885
and she will buy a popcorn
and then she will take her fist
618
00:31:26,953 --> 00:31:29,221
and push the popcorn down
into the bag
619
00:31:29,288 --> 00:31:32,758
as much as she possibly can
and then make us refill it.
620
00:31:32,824 --> 00:31:35,827
- No matter how high you fill
the bag full of popcorn,
621
00:31:35,894 --> 00:31:37,363
she will find a way,
622
00:31:37,429 --> 00:31:39,465
find little air pockets
and mash it down.
623
00:31:39,531 --> 00:31:41,367
- She's a doozy.
- I've filled that thing.
624
00:31:41,433 --> 00:31:43,035
"She's not scrunching
this time."
625
00:31:43,102 --> 00:31:45,404
And then, nope,
she finds a way to scrunch.
626
00:31:45,471 --> 00:31:48,774
- This old man,
we call him Zombie Man,
627
00:31:48,840 --> 00:31:53,245
and he would, in the movie,
make this noise periodically.
628
00:31:53,312 --> 00:31:58,084
It would always be the most
touching scene in the movie,
629
00:31:58,150 --> 00:32:00,252
and he'd go:
(heavy sigh)
630
00:32:00,319 --> 00:32:02,388
And everyone would laugh.
631
00:32:02,454 --> 00:32:04,590
He would do this periodically
throughout the movie.
632
00:32:04,656 --> 00:32:07,426
Then he would fall asleep,
but he would fall asleep
633
00:32:07,493 --> 00:32:10,262
slumped over the chair
in front of him, like this.
634
00:32:10,329 --> 00:32:13,399
And people would come out
to the lobby and be like:
635
00:32:13,465 --> 00:32:16,402
"Um, I think there's a dead guy
in the back row."
636
00:32:16,468 --> 00:32:19,005
And we'd be, like: "No, no,
it's just Zombie Man.
637
00:32:19,071 --> 00:32:20,806
He's not dead,
he's just sleeping."
638
00:32:20,872 --> 00:32:23,142
- There's a guy
who would come in
639
00:32:23,209 --> 00:32:25,177
who would tell me a lot
about his diabetes,
640
00:32:25,244 --> 00:32:27,613
and order a Diet Coke
and then proceed to order, like,
641
00:32:27,679 --> 00:32:29,381
six different kinds
of candy bars.
642
00:32:29,448 --> 00:32:32,484
And then would come back
an hour into the movie
643
00:32:32,551 --> 00:32:34,120
and ask for more candy -
644
00:32:34,186 --> 00:32:36,755
but had to get a Diet Coke
'cause he has diabetes.
645
00:32:36,822 --> 00:32:39,791
At some point I'd ask Michael:
"Should I cut him off?"
646
00:32:39,858 --> 00:32:42,661
I feel like a bartender.
"No, you've had enough, sir."
647
00:32:42,728 --> 00:32:45,131
Yeah, it's an amazing group
of people.
648
00:32:45,197 --> 00:32:48,134
And then behind them,
Matt Dillon will walk in.
649
00:32:48,200 --> 00:32:50,502
It's a really
eclectic clientele.
650
00:32:50,569 --> 00:32:52,338
- Well-Dressed Man,
651
00:32:52,404 --> 00:32:54,240
this youngish man who comes in
652
00:32:54,306 --> 00:32:56,242
who is always dressed
to the nines.
653
00:32:56,308 --> 00:32:58,144
- I was raised by movies.
654
00:32:58,210 --> 00:33:00,946
- He's got a fedora,
his three-piece suit,
655
00:33:01,013 --> 00:33:02,714
his pocket watch,
his handkerchief,
656
00:33:02,781 --> 00:33:04,350
his gloves, his trench coat.
657
00:33:04,416 --> 00:33:07,386
Looks like he stepped out
of 1940. Just amazing.
658
00:33:07,453 --> 00:33:09,355
- He speaks very properly,
so he makes you.
659
00:33:09,421 --> 00:33:11,690
So: "Good evening.
How are you doing this evening?"
660
00:33:11,757 --> 00:33:14,660
I'm, like: "I am doing fine.
How are you doing?"
661
00:33:14,726 --> 00:33:16,295
Why am I talking like this?
662
00:33:16,362 --> 00:33:20,032
- And always pays for everything
in $2 bills.
663
00:33:20,099 --> 00:33:21,567
- And he only pays in $2 bills.
664
00:33:21,633 --> 00:33:24,536
- People like a $2 bill.
It brightens up their day.
665
00:33:24,603 --> 00:33:26,172
They think it's special.
666
00:33:26,238 --> 00:33:28,740
It's worth a lot more than $2
to them.
667
00:33:28,807 --> 00:33:31,510
- Corky Baines.
668
00:33:31,577 --> 00:33:35,447
A former roadie for Iggy Pop,
who was a hardcore drug addict,
669
00:33:35,514 --> 00:33:38,384
then had three heart attacks
and then found Buddhism.
670
00:33:38,450 --> 00:33:41,587
And he's like super permafried,
but he is so nice,
671
00:33:41,653 --> 00:33:45,023
like the sweetest, sweetest guy,
and he loves this place.
672
00:33:45,091 --> 00:33:47,393
- I'm Corky
and I come to the theatre.
673
00:33:47,459 --> 00:33:51,197
I go on Sundays a lot,
'cause I'm riding the bus now,
674
00:33:51,263 --> 00:33:52,831
so I'm a Sunday guy now.
675
00:33:52,898 --> 00:33:56,702
And I come in and I walk in
and I make sure right away
676
00:33:56,768 --> 00:33:59,271
I start checking things
out of my old habits
677
00:33:59,338 --> 00:34:01,273
and make sure
the seats are good.
678
00:34:01,340 --> 00:34:03,075
- He was struggling
with his weight a bit,
679
00:34:03,142 --> 00:34:04,343
and was a hardcore soda junkie,
680
00:34:04,410 --> 00:34:06,145
so I had to start
weaning him off.
681
00:34:06,212 --> 00:34:08,480
When he'd come to ask me,
I'd be, like: "Hmm..."
682
00:34:08,547 --> 00:34:11,383
He'd ask for like a large soda
and I'd give him a water.
683
00:34:11,450 --> 00:34:14,286
He'd be, like: "No, but I..."
I would just stare at him.
684
00:34:14,353 --> 00:34:16,288
Then he would take the water.
Eventually he'd learn
685
00:34:16,355 --> 00:34:18,290
that when I was working,
he wasn't allowed soda.
686
00:34:18,357 --> 00:34:20,826
I can give him his popcorn,
he could have a candy bar,
687
00:34:20,892 --> 00:34:23,061
but he's only allowed
to have water with me.
688
00:34:23,129 --> 00:34:24,763
- Yeah,
'cause I'm a little overweight.
689
00:34:24,830 --> 00:34:27,599
In the old roadie days,
I was real thin,
690
00:34:27,666 --> 00:34:29,735
but since
I'm not touring a lot...
691
00:34:29,801 --> 00:34:32,304
And she said no more sodas
on Sundays.
692
00:34:32,371 --> 00:34:35,407
So this is I think
it's almost two years now:
693
00:34:35,474 --> 00:34:37,509
No Soda Sundays.
(chuckling)
694
00:34:37,576 --> 00:34:41,413
- Freddie. He used to drive
for Orson Welles.
695
00:34:41,480 --> 00:34:45,184
- I'm Freddie. I'm a regular
at the New Beverly,
696
00:34:45,251 --> 00:34:47,886
and I've been coming
to the theatre...
697
00:34:47,953 --> 00:34:53,058
two or three times a week
and over a 30-year period.
698
00:34:53,125 --> 00:34:54,560
- The great thing about Freddie
699
00:34:54,626 --> 00:34:56,995
is he's constantly
bringing us newspaper clippings
700
00:34:57,062 --> 00:34:58,764
of things
that are film relevant,
701
00:34:58,830 --> 00:35:01,633
like if somebody dies,
he always cuts out -
702
00:35:01,700 --> 00:35:04,636
almost in a serial killer way -
these clippings,
703
00:35:04,703 --> 00:35:07,639
and then posts them
on the glass doors.
704
00:35:07,706 --> 00:35:11,310
- She saw me with a clipping
out of the LA Times,
705
00:35:11,377 --> 00:35:14,780
from the obit, and she said,
'Who died this time?"
706
00:35:14,846 --> 00:35:18,384
- He's at the back
of the theatre every night,
707
00:35:18,450 --> 00:35:22,321
and if you can't get an
interesting piece of information
708
00:35:22,388 --> 00:35:25,457
out of that guy...
you're just not listening,
709
00:35:25,524 --> 00:35:27,593
because he's fascinating.
710
00:35:29,060 --> 00:35:30,629
- One of our regulars,
711
00:35:30,696 --> 00:35:33,632
who's the sweetest man on Earth,
his name is Clu Gulager,
712
00:35:33,699 --> 00:35:37,068
and he has been an actor
professionally since the '40s.
713
00:35:37,135 --> 00:35:39,505
He had his own television show
called The Virginian.
714
00:35:39,571 --> 00:35:41,640
- This guy is a legend
unto himself.
715
00:35:41,707 --> 00:35:44,310
- Where else are you gonna go
to a movie theatre and talk
716
00:35:44,376 --> 00:35:46,578
to somebody
as awesome as Clu Gulager?
717
00:35:46,645 --> 00:35:48,514
- The last seven or eight years,
718
00:35:48,580 --> 00:35:51,483
I have considered
the New Beverly my living room.
719
00:35:51,550 --> 00:35:53,452
- He gives you a good insight
about films,
720
00:35:53,519 --> 00:35:55,454
'cause he's got
a great point of view.
721
00:35:55,521 --> 00:35:57,323
- He is a true cinéaste.
722
00:35:57,389 --> 00:35:59,358
- The day that Clu Gulager
told me
723
00:35:59,425 --> 00:36:02,561
he was a big Harmony Korine fan,
I about fell over.
724
00:36:02,628 --> 00:36:07,032
- I see between 15, 16,
17 films every week
725
00:36:07,098 --> 00:36:08,734
at the New Beverly.
726
00:36:08,800 --> 00:36:10,902
- Every time he gets in there,
he sits down,
727
00:36:10,969 --> 00:36:13,839
puts his little piece of paper
over his seat
728
00:36:13,905 --> 00:36:16,542
to keep people from sitting
by his seat,
729
00:36:16,608 --> 00:36:18,043
or the two seats next to him.
730
00:36:18,109 --> 00:36:22,281
- I've saved the seats
to the left and to the right
731
00:36:22,348 --> 00:36:24,483
for the filmmakers
and the people
732
00:36:24,550 --> 00:36:26,685
who want to ask
filmmaking questions
733
00:36:26,752 --> 00:36:31,357
so this is this is a very
prioritized area of the theatre.
734
00:36:31,423 --> 00:36:35,461
- Clu's all the way over...
stage right.
735
00:36:36,928 --> 00:36:38,330
- No, I didn't!
736
00:36:38,397 --> 00:36:41,333
- Yes, and we named a seat
after him in the Beverly,
737
00:36:41,400 --> 00:36:44,336
the Clu Gulager seat.
I put the tag on the seat.
738
00:36:44,403 --> 00:36:46,972
- I don't know
of too many theatres
739
00:36:47,038 --> 00:36:48,640
that actually dedicate a seat.
740
00:36:48,707 --> 00:36:51,743
- What happens
when someone sits in Clu's seat?
741
00:36:51,810 --> 00:36:53,645
- Shit goes down.
742
00:36:53,712 --> 00:36:58,216
- To have that seat
and to be honoured by folks,
743
00:36:58,284 --> 00:36:59,851
you know, you say,
744
00:36:59,918 --> 00:37:02,754
"It's only because
you were an actor,
745
00:37:02,821 --> 00:37:04,756
a big-shit actor."
746
00:37:04,823 --> 00:37:07,025
No, it went beyond that.
747
00:37:07,092 --> 00:37:10,862
We at the theatre
I don't think we think that way.
748
00:37:10,929 --> 00:37:13,699
I think we think
in terms of people.
749
00:37:13,765 --> 00:37:17,269
And that's
what made me feel good.
750
00:37:19,305 --> 00:37:21,172
- It's bittersweet with Clu,
751
00:37:21,239 --> 00:37:22,641
because when his wife was alive,
752
00:37:22,708 --> 00:37:24,710
they used to come
to the Beverly Cinema
753
00:37:24,776 --> 00:37:27,879
on a on a regular basis,
sitting up front and all that.
754
00:37:27,946 --> 00:37:31,650
He was devastated when she died
and he told me...
755
00:37:31,717 --> 00:37:35,687
he did say,
"This is my new home now."
756
00:37:37,789 --> 00:37:41,527
- Raison d'être.
That's my reason for living.
757
00:37:43,128 --> 00:37:47,265
When my wife died,
I had no reason for living,
758
00:37:47,333 --> 00:37:49,267
so I chose that.
759
00:37:49,335 --> 00:37:51,102
The New Beverly.
760
00:37:51,169 --> 00:37:53,839
It's not really a substitute,
761
00:37:53,905 --> 00:37:56,708
but it worked for me.
762
00:37:57,509 --> 00:38:01,212
I've gotten a lot of friends...
763
00:38:01,279 --> 00:38:04,316
from sitting in the dark.
764
00:38:04,383 --> 00:38:06,385
I've gotten Frank Capra,
765
00:38:06,452 --> 00:38:08,454
I've gotten John Ford,
766
00:38:08,520 --> 00:38:10,522
Marcello Mastroianni,
767
00:38:10,589 --> 00:38:12,591
François Truffaut -
768
00:38:12,658 --> 00:38:15,761
all kinds of wonderful,
interesting friends.
769
00:38:15,827 --> 00:38:19,130
And I've gotten a lot
of good friends, also,
770
00:38:19,197 --> 00:38:21,900
in the lobby.
Good, close,
771
00:38:21,967 --> 00:38:23,902
very dear friends.
772
00:38:25,571 --> 00:38:30,409
And they will be dear friends
to me until I die.
773
00:38:32,744 --> 00:38:34,980
(music)
774
00:38:35,046 --> 00:38:37,583
- Music to the ears
of the hungry.
775
00:38:37,649 --> 00:38:39,618
The sizzle of a mouthwatering
hamburger.
776
00:38:39,685 --> 00:38:42,921
Fresh lean beef
done to a golden brown,
777
00:38:42,988 --> 00:38:46,992
couched in a soft bun
and garnished to taste.
778
00:38:47,058 --> 00:38:49,728
Man, that's hunger heaven.
779
00:38:49,795 --> 00:38:52,364
And you'll feel
like you're heaven sent
780
00:38:52,431 --> 00:38:55,100
when you get one
at our refreshment stand.
781
00:38:55,166 --> 00:38:58,504
- You know, we get all kinds
of film fare there,
782
00:38:58,570 --> 00:39:01,039
everything
from Judgement at Nuremberg
783
00:39:01,106 --> 00:39:02,808
to The Blood Farmers.
784
00:39:02,874 --> 00:39:05,176
How's that for a segue-way?
(laughing)
785
00:39:05,243 --> 00:39:07,779
- It's the most fantastic
programming in cinema
786
00:39:07,846 --> 00:39:10,982
I've ever been around -
and I've really been around.
787
00:39:11,049 --> 00:39:13,318
- The way the New Beverly
has always been programmed,
788
00:39:13,385 --> 00:39:14,786
with the double features,
789
00:39:14,853 --> 00:39:17,723
with the consistency
within the double features,
790
00:39:17,789 --> 00:39:19,391
the idea
that you're going to get
791
00:39:19,458 --> 00:39:21,292
a crash course in a filmmaker,
792
00:39:21,359 --> 00:39:24,262
in an actor, in a writer,
or a style.
793
00:39:24,329 --> 00:39:26,097
- You can drag someone
who's never seen
794
00:39:26,164 --> 00:39:29,067
a Preston Sturgess movie
and say, "Here, this is great.
795
00:39:29,134 --> 00:39:31,570
Here, this is Billy Wilder,
this is Howard Hawkes,
796
00:39:31,637 --> 00:39:33,304
this is Buster Keaton."
797
00:39:33,371 --> 00:39:34,773
- There are some places
798
00:39:34,840 --> 00:39:37,075
that are super-duper pretentious
revival-y places -
799
00:39:37,142 --> 00:39:41,179
"We're playing only silent
Polish shorts from the '30s."
800
00:39:41,246 --> 00:39:46,317
But there's other places where
they go to the other extreme:
801
00:39:46,384 --> 00:39:48,854
"We're all crazy heads
blowing up,
802
00:39:48,920 --> 00:39:51,623
Dennis Hopper's in everything"
kinda places,
803
00:39:51,690 --> 00:39:53,291
where you're only going
to see movies ironically,
804
00:39:53,358 --> 00:39:55,794
and the New Beverly
strikes a really nice balance.
805
00:40:01,099 --> 00:40:03,802
- I love the way
this is put together.
806
00:40:03,869 --> 00:40:07,906
Look at that. That always goes
on the cork board right there.
807
00:40:07,973 --> 00:40:11,643
- You unfold it thus.
- You put it on your fridge.
808
00:40:11,710 --> 00:40:14,112
- So they would have
a different colour every month,
809
00:40:14,179 --> 00:40:17,215
so you get this rainbow effect
when you have them all
810
00:40:17,282 --> 00:40:20,118
stuck on your fridge
at the end of a year.
811
00:40:20,185 --> 00:40:24,089
Double features,
and they just lay it out -
812
00:40:24,155 --> 00:40:25,824
calendar style, if you will.
813
00:40:25,891 --> 00:40:28,794
- I've seen the calendar
from 1970,
814
00:40:28,860 --> 00:40:30,496
the very first calendar
that he did,
815
00:40:30,562 --> 00:40:33,865
and it looks exactly the same
to the calendars we print today.
816
00:40:33,932 --> 00:40:37,202
- The New Beverly calendar,
it's like the golden ticket.
817
00:40:37,268 --> 00:40:40,005
Every time I see it,
I say, "Oh that's the new one."
818
00:40:40,071 --> 00:40:42,340
It's just fun to leaf through
the pictures and descriptions.
819
00:40:42,407 --> 00:40:43,975
I take great joy in that.
820
00:40:44,042 --> 00:40:46,645
- When I walked into the New Bev
and looked at the calendar,
821
00:40:46,712 --> 00:40:50,582
same feeling I had:
Ah, warmth that comes over you.
822
00:40:50,649 --> 00:40:53,018
- After a while,
it's like an addiction.
823
00:40:53,084 --> 00:40:54,820
You look at it and go:
824
00:40:54,886 --> 00:40:59,090
"How in the world
am I gonna make it through July
825
00:40:59,157 --> 00:41:00,659
without seeing that?
826
00:41:00,726 --> 00:41:04,563
And when you miss it,
it does feel like withdrawal!
827
00:41:04,630 --> 00:41:06,765
Like: "Oh, no!!"
828
00:41:08,166 --> 00:41:09,735
- I love collecting them.
829
00:41:09,801 --> 00:41:12,604
It's just such a piece
of history itself.
830
00:41:12,671 --> 00:41:16,141
There's never gonna be
that exact programming
831
00:41:16,207 --> 00:41:17,943
for a month ever again.
832
00:41:18,009 --> 00:41:20,912
- Going to the New Beverly
on a normal night is great,
833
00:41:20,979 --> 00:41:23,682
but going when there's
a guest programmer is amazing.
834
00:41:23,749 --> 00:41:25,617
- The way it works
is that somebody,
835
00:41:25,684 --> 00:41:29,688
either a director or an actor,
will program for a week or two,
836
00:41:29,755 --> 00:41:31,757
and they'll program
all the double bills.
837
00:41:31,823 --> 00:41:35,193
And they're movies that have
either meant a lot to them,
838
00:41:35,260 --> 00:41:37,829
or they've never seen before,
and usually they'll bring
839
00:41:37,896 --> 00:41:40,165
special guests
to help them intro the movies,
840
00:41:40,231 --> 00:41:41,900
or to do a Q&A afterwards.
841
00:41:41,967 --> 00:41:44,169
- March and April of 2007,
842
00:41:44,235 --> 00:41:47,138
Quentin Tarantino did a two-
month run of grind-house movies,
843
00:41:47,205 --> 00:41:49,307
and these were mostly
from his personal collection.
844
00:41:49,374 --> 00:41:55,346
- That's almost like
he's showing you the DVD extras
845
00:41:55,413 --> 00:41:57,683
ahead of the fact
of his next film.
846
00:41:57,749 --> 00:41:59,618
- In 2007,
we had a double feature
847
00:41:59,685 --> 00:42:02,487
of Shaun of the Dead
and Hot Fuzz,
848
00:42:02,554 --> 00:42:04,890
and Edgar Wright contacted us
and said,
849
00:42:04,956 --> 00:42:07,192
"Can I come down and talk?"
We said, "Of course you can."
850
00:42:07,258 --> 00:42:09,194
It went fantastically well,
it was sold out,
851
00:42:09,260 --> 00:42:11,329
and Edgar was really generous
and lovely.
852
00:42:11,396 --> 00:42:14,265
He and I got to talking. I said,
"You should come and program
853
00:42:14,332 --> 00:42:16,868
some of the movies you love."
And he said okay.
854
00:42:16,935 --> 00:42:18,804
So that December of 2007,
855
00:42:18,870 --> 00:42:21,940
Edgar Wright programmed a week
of his favorite movies.
856
00:42:22,007 --> 00:42:24,976
And these movies were ones
he loved watching, growing up,
857
00:42:25,043 --> 00:42:27,345
and movies that had inspired him
to be a director.
858
00:42:27,412 --> 00:42:30,048
- Which was amazing,
'cause it was a great way
859
00:42:30,115 --> 00:42:34,319
to see a lot of the films
that I loved on the big screen,
860
00:42:34,385 --> 00:42:35,687
sometimes for the first time.
861
00:42:35,754 --> 00:42:37,956
And also, the great thing
about Los Angeles
862
00:42:38,023 --> 00:42:40,258
is that you can get
pretty good guests.
863
00:42:40,325 --> 00:42:42,628
It's a treat to see
The Monkees's film Head
864
00:42:42,694 --> 00:42:44,996
on the big screen.
865
00:42:45,063 --> 00:42:47,332
It's even better to have
Mickey Dolenz to talk about it.
866
00:42:47,398 --> 00:42:49,701
Or to show Bugsy Malone
and Phantom of the Paradise,
867
00:42:49,768 --> 00:42:51,870
and get Paul Williams
to come and talk about it,
868
00:42:51,937 --> 00:42:55,540
American Werewolf in London
and getting John Landis to come.
869
00:42:55,607 --> 00:42:58,043
It's like a dream come true.
870
00:42:58,476 --> 00:43:00,345
Doesn't matter how many
times you've seen a film,
871
00:43:00,411 --> 00:43:03,014
or how well you know it,
it will never be as good
872
00:43:03,081 --> 00:43:04,716
as watching it
with other people.
873
00:43:04,783 --> 00:43:07,318
In fact, there are some films
I've watched here,
874
00:43:07,385 --> 00:43:08,920
when doing my season,
875
00:43:08,987 --> 00:43:11,056
that I feel I will probably
never watch again,
876
00:43:11,122 --> 00:43:13,391
'cause it will never be as good
as that screening.
877
00:43:13,458 --> 00:43:15,560
- One of the coolest things
that happened
878
00:43:15,627 --> 00:43:18,063
was when Edgar had his show
and David Lynch showed up.
879
00:43:18,129 --> 00:43:19,865
That was crazy!
Edgar showed Wild at Heart.
880
00:43:19,931 --> 00:43:22,567
I was so excited 'cause
I hadn't seen it in a long time,
881
00:43:22,634 --> 00:43:25,270
and Laura Dern was there,
which was really, really neat.
882
00:43:25,336 --> 00:43:28,173
- We have a back door
that guests can come in
883
00:43:28,239 --> 00:43:30,208
through the back door
and surprise everybody.
884
00:43:30,275 --> 00:43:34,045
So Laura Dern comes in and says,
"I brought somebody with me."
885
00:43:34,112 --> 00:43:36,147
- And then: "Oh, wait,
there's someone in the back.
886
00:43:36,214 --> 00:43:39,084
This can't be safe." And then
fucking David Lynch walks out.
887
00:43:39,150 --> 00:43:42,854
- À la Twin Peaks, just emerging
from some sort of nether verse.
888
00:43:42,921 --> 00:43:44,756
I didn't know there were doors
behind that curtain.
889
00:43:44,823 --> 00:43:47,458
Either he had been there
the entire time,
890
00:43:47,525 --> 00:43:48,960
or he was able to teleport.
891
00:43:49,027 --> 00:43:51,429
- People go crazy in the cinema.
892
00:43:51,496 --> 00:43:53,198
Like huge like standing O.
893
00:43:53,264 --> 00:43:55,566
- Then he was all cool
and just chatted about movies,
894
00:43:55,633 --> 00:43:59,237
and was so normal and relaxed
and we were all just like...
895
00:43:59,304 --> 00:44:01,807
- Oh, now I'm doing a Q&A
with David Lynch.
896
00:44:01,873 --> 00:44:03,608
I am not prepared for this
at all.
897
00:44:03,675 --> 00:44:07,112
- It was the first time
I'd ever seen Edgar tongue-tied.
898
00:44:07,178 --> 00:44:09,180
- The first question
that came out of my mouth
899
00:44:09,247 --> 00:44:11,316
when I was trying
to interview David Lynch
900
00:44:11,382 --> 00:44:13,318
was just complete nonsense.
901
00:44:19,257 --> 00:44:20,726
(laughter)
902
00:44:21,693 --> 00:44:25,063
Some people had gone out
for a smoke or something to eat
903
00:44:25,130 --> 00:44:27,699
between the films,
one of whom was Richard Kelly.
904
00:44:27,766 --> 00:44:29,534
- That was... that was tragic.
905
00:44:29,600 --> 00:44:32,203
I go on Twitter and I find out
906
00:44:32,270 --> 00:44:36,141
that Laura Dern and David Lynch
showed up, out of nowhere,
907
00:44:36,207 --> 00:44:39,778
and it was just this
mind-blowingly great Q&A,
908
00:44:39,845 --> 00:44:42,948
with my hero David Lynch,
and I was, um...
909
00:44:43,014 --> 00:44:45,050
getting Italian food
down the street.
910
00:44:45,116 --> 00:44:46,818
- He texted me furiously later,
911
00:44:46,885 --> 00:44:49,420
saying, "Why didn't you tell me
David Lynch was gonna be there?
912
00:44:49,487 --> 00:44:51,322
I wouldn't have gone
to get something to eat.
913
00:44:51,389 --> 00:44:53,458
I said,
"I didn't know he was coming."
914
00:44:53,524 --> 00:44:54,993
And I've never met him since.
915
00:44:55,060 --> 00:44:57,262
It's literally like
he came from the red curtain,
916
00:44:57,328 --> 00:45:01,166
went back through the curtain,
and I've never seen him since.
917
00:45:01,232 --> 00:45:05,837
- It's always exciting
to see what...
918
00:45:05,904 --> 00:45:08,306
the director's pick.
919
00:45:08,373 --> 00:45:11,276
- 'Cause you look at the list
of movies and go: Oh, wow,
920
00:45:11,342 --> 00:45:14,245
no wonder this guy's so great,
or this guy's such a loser.
921
00:45:14,312 --> 00:45:17,215
- If someone that you admire
says you should see this movie,
922
00:45:17,282 --> 00:45:20,485
I think it really gives you
a better incentive to go see it,
923
00:45:20,551 --> 00:45:23,188
that's part of what the guest
programming series is for.
924
00:45:23,254 --> 00:45:25,456
- That was one of the best weeks
of my life, actually.
925
00:45:25,523 --> 00:45:28,593
Being able to choose films
I've always wanted to see
926
00:45:28,659 --> 00:45:30,829
projected for the New Beverly,
927
00:45:30,896 --> 00:45:34,365
having a week's worth
of my favorite films.
928
00:45:34,432 --> 00:45:36,334
I mean, I loved it.
929
00:45:36,401 --> 00:45:38,303
Christmas came early
for Stuart Gordon that year.
930
00:45:38,369 --> 00:45:40,705
- It's very exciting
and a dream come true
931
00:45:40,772 --> 00:45:42,507
to be able to pick the movies.
932
00:45:42,573 --> 00:45:45,811
And what they don't tell you
until you get to program,
933
00:45:45,877 --> 00:45:49,047
is that you get to pick
the trailers too.
934
00:45:49,114 --> 00:45:51,182
And there is a massive library
935
00:45:51,249 --> 00:45:53,852
that comes
from the network of friends
936
00:45:53,919 --> 00:45:55,286
that support the New Beverly.
937
00:45:55,353 --> 00:45:57,688
- I remember when Patton Oswalt
was a programmer,
938
00:45:57,755 --> 00:46:00,225
and, boy, they were right on it.
939
00:46:00,291 --> 00:46:02,961
The Pelham 123/
Charley Varrick double bill,
940
00:46:03,028 --> 00:46:06,697
that was awesome.
Who else is going to book that?
941
00:46:06,764 --> 00:46:09,667
- The main focus of the
programming I've done so far
942
00:46:09,734 --> 00:46:12,871
is I'm showing movies
I wanna watch with an audience.
943
00:46:12,938 --> 00:46:14,405
They're movies
I've either seen by myself,
944
00:46:14,472 --> 00:46:16,507
or I've seen them years ago
in the audience,
945
00:46:16,574 --> 00:46:19,210
and I loved the experience
and I wanna see it again.
946
00:46:19,277 --> 00:46:22,080
- Yeah, I got to program a week
of con-man movies.
947
00:46:22,147 --> 00:46:25,650
And uh, yeah,
I did not feel worthy.
948
00:46:25,716 --> 00:46:29,654
We had fun, we did a musical
performance before one of them,
949
00:46:29,720 --> 00:46:31,489
and I did a PowerPoint thing
950
00:46:31,556 --> 00:46:33,859
and talked a little bit
about the movies
951
00:46:33,925 --> 00:46:36,394
and showed a little short
before each one.
952
00:46:52,143 --> 00:46:56,047
- How can you not be thrilled
by your movie selling out
953
00:46:56,114 --> 00:46:59,217
when they tanked when
they were originally released?
954
00:47:08,693 --> 00:47:10,661
- What the New Beverly
has allowed me to do
955
00:47:10,728 --> 00:47:12,998
is not only see my films
in 35 mil,
956
00:47:13,064 --> 00:47:14,699
but also connect
with the audience
957
00:47:14,765 --> 00:47:16,367
that grew up with the films.
958
00:47:16,434 --> 00:47:22,207
And it's been a terribly
rewarding, uh... process,
959
00:47:22,273 --> 00:47:26,945
and I... I'm very very grateful.
960
00:47:28,379 --> 00:47:31,849
- I was really impressed
when Carnahan and Liotta came -
961
00:47:31,917 --> 00:47:33,885
Narc and Smokin' Aces, right?
962
00:47:33,952 --> 00:47:36,054
- Smokin' Joe.
- Smokin' Joe.
963
00:47:42,327 --> 00:47:45,530
- To watch it like that,
with that group of people,
964
00:47:45,596 --> 00:47:48,166
is to be
in this wonderful time capsule
965
00:47:48,233 --> 00:47:51,069
and to step back
and you can be a viewer.
966
00:47:58,776 --> 00:48:01,012
- It was really cool to see Joe
967
00:48:01,079 --> 00:48:03,248
talk about...
their perspective on movies.
968
00:48:03,314 --> 00:48:07,652
And Joe said something
that I think about all the time.
969
00:48:23,634 --> 00:48:25,170
- That completely changed
my perspective
970
00:48:25,236 --> 00:48:26,704
on looking at his movies,
971
00:48:26,771 --> 00:48:29,440
which are these sorta macho,
you know, dude movies,
972
00:48:29,507 --> 00:48:32,410
where you feel like
there's a winner and a loser.
973
00:48:32,477 --> 00:48:36,047
- That was pretty special,
'cause you're seeing it
974
00:48:36,114 --> 00:48:39,884
with a group of people
that are so appreciative,
975
00:48:39,951 --> 00:48:42,553
and it's never disappointed me
in that way, the New Beverly.
976
00:48:42,620 --> 00:48:45,590
I've never had a bad crowd,
I've never sat with a bad crowd,
977
00:48:45,656 --> 00:48:48,059
and I've never screened a film
with a bad crowd.
978
00:48:48,126 --> 00:48:49,760
And invariably you always
get the best questions.
979
00:48:49,827 --> 00:48:52,830
- When you're in a place
where you're with this crowd
980
00:48:52,897 --> 00:48:56,167
who's all excited and waiting
for this movie to start,
981
00:48:56,234 --> 00:48:58,169
then the director of this movie
walks up,
982
00:48:58,236 --> 00:49:00,138
or the star of this movie
walks up to introduce,
983
00:49:00,205 --> 00:49:02,307
it's just gonna heighten
your experience even more.
984
00:49:02,373 --> 00:49:04,875
Then you're watching the movie
and something comes up,
985
00:49:04,942 --> 00:49:06,844
and you're like:
"Why did this happen?
986
00:49:06,911 --> 00:49:08,213
Well, can ask them afterwards."
987
00:49:08,279 --> 00:49:10,415
So it just kind of adds
to your experience
988
00:49:10,481 --> 00:49:13,084
and makes it something more
than just a passive experience,
989
00:49:13,151 --> 00:49:15,120
where you're just sitting
and watching a movie,
990
00:49:15,186 --> 00:49:16,654
then you're going home.
991
00:49:16,721 --> 00:49:21,059
You're talking to people
and to the director about it,
992
00:49:21,126 --> 00:49:23,094
so it becomes a way more
interactive experience,
993
00:49:23,161 --> 00:49:27,965
- Q&As, in the rest of the city,
are, like, snobby,
994
00:49:28,033 --> 00:49:30,268
and it's:
"Look how much I know,"
995
00:49:30,335 --> 00:49:33,171
"Oh, I'm so important
to the world of cinema,"
996
00:49:33,238 --> 00:49:35,640
and they make you
want to kill yourself.
997
00:49:35,706 --> 00:49:37,308
At the New Beverly
998
00:49:37,375 --> 00:49:40,645
it's someone
that's every bit as big a nerd
999
00:49:40,711 --> 00:49:43,014
as you are nerding out.
1000
00:49:50,421 --> 00:49:52,723
- The New Beverly,
it's fun, it's just fun.
1001
00:49:52,790 --> 00:49:54,425
It's so informal.
1002
00:49:54,492 --> 00:49:56,661
- And the directors there
are always very accessible.
1003
00:49:56,727 --> 00:49:58,996
It's not like they're gonna be
whisked off
1004
00:49:59,064 --> 00:50:00,365
into their limousine
or something.
1005
00:50:00,431 --> 00:50:02,200
They're gonna be there
and hang with you.
1006
00:50:02,267 --> 00:50:03,834
- There's something
about walking through the doors
1007
00:50:03,901 --> 00:50:05,903
of the New Beverly
that's the great equalizer.
1008
00:50:05,970 --> 00:50:09,107
- What's really nice
about this theatre is people...
1009
00:50:09,174 --> 00:50:12,410
I think maybe
because of the size of it,
1010
00:50:12,477 --> 00:50:15,180
so people
are a little more candid.
1011
00:50:15,246 --> 00:50:17,448
- And it's awesome.
They will go: "No.
1012
00:50:17,515 --> 00:50:21,119
It sucked to work with that guy.
He showed up drunk and late."
1013
00:50:21,186 --> 00:50:23,621
And you're, like:
Yes! Drunk and late! I'm in!"
1014
00:50:23,688 --> 00:50:27,525
- It's inspiring: it reminds you
why you do what you do
1015
00:50:27,592 --> 00:50:31,229
and also why you're fortunate
enough to do what you do.
1016
00:50:35,400 --> 00:50:37,735
This is what it's all about,
1017
00:50:37,802 --> 00:50:39,504
is the movie, the crowd,
1018
00:50:39,570 --> 00:50:42,240
and that connection
and that experience.
1019
00:50:59,957 --> 00:51:03,628
- With mustard and relish,
you're guaranteed
1020
00:51:03,694 --> 00:51:06,030
a mouthwatering satisfaction!
Mm!
1021
00:51:06,097 --> 00:51:11,736
And now he slips his costume on,
a beautiful golden bun.
1022
00:51:11,802 --> 00:51:14,272
There's his cue - blink! -
to go out on stage!
1023
00:51:14,339 --> 00:51:17,575
He's a natural!
He's the rage!
1024
00:51:17,642 --> 00:51:21,746
Meet this personality
at our refreshment counter!
1025
00:51:21,812 --> 00:51:23,581
Treat the family!
1026
00:51:24,715 --> 00:51:26,551
- I mean, the theatre,
1027
00:51:26,617 --> 00:51:28,853
when Sherman was running it,
the whole time,
1028
00:51:28,919 --> 00:51:31,656
he was always about to quit
and give up,
1029
00:51:31,722 --> 00:51:35,426
because it was losing money
and it was a nightmare to run,
1030
00:51:35,493 --> 00:51:37,728
and, you know,
attendance was drooping,
1031
00:51:37,795 --> 00:51:40,531
'cause people wanted
to watch DVDs at home
1032
00:51:40,598 --> 00:51:42,633
instead of having
the group experience.
1033
00:51:42,700 --> 00:51:46,704
- I think he had
just about given up.
1034
00:51:48,839 --> 00:51:51,376
And I, for one, don't blame him.
1035
00:51:53,178 --> 00:51:55,713
- I gotta stop.
- Sure. Okay.
1036
00:51:59,850 --> 00:52:01,586
- He was always real cool.
1037
00:52:01,652 --> 00:52:04,222
You know,
he let you come in the theatre,
1038
00:52:04,289 --> 00:52:06,657
and he'd go:
"Cork, can you fix this?"
1039
00:52:06,724 --> 00:52:09,760
I'd go: "Yeah." 'Cause I always
had tools with me.
1040
00:52:09,827 --> 00:52:12,463
And I'd fix the bathrooms
or I'd fix something.
1041
00:52:12,530 --> 00:52:16,066
He was always real nice to me
and you know it was real good.
1042
00:52:16,133 --> 00:52:17,602
And then when we buried him,
1043
00:52:17,668 --> 00:52:22,173
I threw in a bunch of New
Beverly flyers in with him.
1044
00:52:22,240 --> 00:52:24,409
"Here, here's next week's show."
1045
00:52:24,475 --> 00:52:27,912
- In 2007, Sherman Torgan
died unexpectedly.
1046
00:52:27,978 --> 00:52:30,448
He had a heart attack
while riding his bike.
1047
00:52:30,515 --> 00:52:33,884
- It's devastating whenever
something like that happens,
1048
00:52:33,951 --> 00:52:37,955
and when there's somebody
as cool as Sherman...
1049
00:52:38,022 --> 00:52:42,760
I'd had other bosses, you know,
actually pass away,
1050
00:52:42,827 --> 00:52:49,267
and I'd never really felt it
as much as when Sherman went.
1051
00:52:49,334 --> 00:52:51,469
- I remember
the day before he died,
1052
00:52:51,536 --> 00:52:55,172
I'd been at the theatre to watch
a pirate double feature,
1053
00:52:55,240 --> 00:52:56,807
and as I was leaving,
1054
00:52:56,874 --> 00:52:58,809
Sherman was sitting
on the stairs.
1055
00:52:58,876 --> 00:53:01,946
"See you tomorrow, Sherman,"
And he said, "Absolutely!"
1056
00:53:02,012 --> 00:53:05,583
And that was the last time
I ever spoke to him.
1057
00:53:05,650 --> 00:53:09,887
Sherman's death was really hard
for me in a lot of ways.
1058
00:53:09,954 --> 00:53:12,523
He was a friend
and he was a fellow employee,
1059
00:53:12,590 --> 00:53:14,592
and he was someone
I looked up to.
1060
00:53:14,659 --> 00:53:19,830
The thing that Sherman's death
made me feel is... unfairness.
1061
00:53:19,897 --> 00:53:22,500
He had done something
so wonderful with his life,
1062
00:53:22,567 --> 00:53:24,535
and was loved by so many people,
1063
00:53:24,602 --> 00:53:26,337
and started something
so fantastic,
1064
00:53:26,404 --> 00:53:28,138
and... he was taken away.
1065
00:53:28,205 --> 00:53:30,241
And that was really,
really painful,
1066
00:53:30,308 --> 00:53:31,842
something
that really affected me,
1067
00:53:31,909 --> 00:53:36,046
and made it hard to work
at the theatre for a while,
1068
00:53:36,113 --> 00:53:40,518
but also made it great
to be there where he had been.
1069
00:53:40,585 --> 00:53:42,353
- There was just a huge amount
1070
00:53:42,420 --> 00:53:44,422
of flowers and tributes
and candles outside
1071
00:53:44,489 --> 00:53:46,957
and it was a beautiful display
of the love
1072
00:53:47,024 --> 00:53:49,760
that people had for this man
and this theatre.
1073
00:53:49,827 --> 00:53:52,730
- When Sherman passed away,
that really had, I think,
1074
00:53:52,797 --> 00:53:55,900
more of an impact
than we probably ever suspected
1075
00:53:55,966 --> 00:53:57,435
because he created something
1076
00:53:57,502 --> 00:54:00,338
that was so important
to all of us.
1077
00:54:02,707 --> 00:54:05,776
- I remember thinking...
this is... they're gonna--
1078
00:54:05,843 --> 00:54:10,080
- It's gonna be over, yeah.
- It's gonna be over.
1079
00:54:10,147 --> 00:54:11,716
Like, it's...
1080
00:54:11,782 --> 00:54:14,118
Because he was the New Beverly.
1081
00:54:14,952 --> 00:54:17,788
- I don't think
we had a lot of hope
1082
00:54:17,855 --> 00:54:19,990
that the theatre
would stay in business,
1083
00:54:20,057 --> 00:54:21,826
because it really
had gotten to the point
1084
00:54:21,892 --> 00:54:23,994
that Sherman was running it
as a labour of love,
1085
00:54:24,061 --> 00:54:26,397
and I don't know
if he was even making money.
1086
00:54:26,464 --> 00:54:28,232
- You don't get into repertory
to become rich.
1087
00:54:28,299 --> 00:54:31,902
You do it because you love what
you do and you love the films
1088
00:54:31,969 --> 00:54:34,772
and you love the people
who come to see the films.
1089
00:54:34,839 --> 00:54:38,876
- The landlord, Howard Ziehm,
sold off the theatre
1090
00:54:38,943 --> 00:54:42,112
days after Sherman died,
without asking the family.
1091
00:54:42,179 --> 00:54:44,248
He sold it to some people
1092
00:54:44,315 --> 00:54:47,918
who were going to turn it into
a Chipotle and a Super Cuts,
1093
00:54:47,985 --> 00:54:50,488
which is about the biggest knife
you could stab
1094
00:54:50,555 --> 00:54:52,457
into the death
of the New Beverly.
1095
00:54:52,523 --> 00:54:54,859
- 'Cause Sherman was the owner
of the theatre,
1096
00:54:54,925 --> 00:54:57,728
not of the property,
the land of the building.
1097
00:54:57,795 --> 00:55:00,331
That's one of those, again,
things that people
1098
00:55:00,398 --> 00:55:02,032
have trouble
separating in their minds
1099
00:55:02,099 --> 00:55:04,902
Most businesses,
it's in a plaza, a strip mall.
1100
00:55:04,969 --> 00:55:08,305
They don't own the strip mall,
they own the business,
1101
00:55:08,373 --> 00:55:10,307
they rent the hole in the wall.
1102
00:55:10,375 --> 00:55:12,543
You know,
it's the same kind of thing,
1103
00:55:12,610 --> 00:55:14,111
the New Beverly
rented the building.
1104
00:55:14,178 --> 00:55:16,781
Even though it was designed
as a movie theatre,
1105
00:55:16,847 --> 00:55:18,683
it could've been anything else.
1106
00:55:18,749 --> 00:55:20,685
- We really didn't know
what was gonna happen,
1107
00:55:20,751 --> 00:55:22,687
we didn't have the capital
to buy it,
1108
00:55:22,753 --> 00:55:24,689
and of course Michael, his son,
was devastated,
1109
00:55:24,755 --> 00:55:28,158
and not in a state to be dealing
with this kind of business plan.
1110
00:55:28,225 --> 00:55:33,464
- We were all kind of...
really expecting the worst,
1111
00:55:33,531 --> 00:55:37,301
but, luckily,
Sherman came to the rescue.
1112
00:55:37,368 --> 00:55:40,571
- We found the original contract
that Sherman signed with Howard,
1113
00:55:40,638 --> 00:55:43,441
and luckily it gave us a right
of first refusal,
1114
00:55:43,508 --> 00:55:46,977
so that way, Quentin Tarantino,
who'd been coming to the theatre
1115
00:55:47,044 --> 00:55:49,814
since he was a youth
and loved the place,
1116
00:55:49,880 --> 00:55:52,650
was able to step in
and buy the building
1117
00:55:52,717 --> 00:55:54,819
out from Howard
and the Chipotle guys.
1118
00:55:54,885 --> 00:55:56,987
So, essentially, Quentin
Tarantino saved the theatre,
1119
00:55:57,054 --> 00:56:01,291
because we were going to close,
and he stepped in and saved it,
1120
00:56:01,358 --> 00:56:03,227
and made sure the New Beverly
1121
00:56:03,293 --> 00:56:04,962
would stay the New Beverly
forever.
1122
00:56:05,029 --> 00:56:08,132
- There's the business
that's in the New Beverly,
1123
00:56:08,198 --> 00:56:09,834
and then there's the landlord.
1124
00:56:09,900 --> 00:56:13,938
The landlord's very supportive
and we all love him, thank you.
1125
00:56:14,004 --> 00:56:16,941
- They kinda kept it, I think,
low-key intentionally,
1126
00:56:17,007 --> 00:56:19,677
and also... 'cause it's still
the family business.
1127
00:56:19,744 --> 00:56:23,213
And then Quentin was able
to come in and contribute,
1128
00:56:23,280 --> 00:56:24,849
which has been wonderful,
1129
00:56:24,915 --> 00:56:28,653
and it not only gave the theatre
a facelift,
1130
00:56:28,719 --> 00:56:31,922
but also gave the theatre
some new energy
1131
00:56:31,989 --> 00:56:34,925
and it exposed it
to more patrons.
1132
00:56:34,992 --> 00:56:37,895
- I felt like that was really
the breath of fresh air
1133
00:56:37,962 --> 00:56:39,797
that the theatre needed
after Sherman's death
1134
00:56:39,864 --> 00:56:42,800
that kind of gave you hope
it was gonna be okay.
1135
00:56:42,867 --> 00:56:45,836
- I think that if Sherman
were here today,
1136
00:56:45,903 --> 00:56:49,707
and he could see
what happened after he was gone,
1137
00:56:49,774 --> 00:56:52,743
and how the place continued,
1138
00:56:52,810 --> 00:56:56,346
the people that stepped up
to help the place continue,
1139
00:56:56,413 --> 00:57:01,018
and the incredible job his son
is doing now in his absence,
1140
00:57:01,085 --> 00:57:04,889
I think he'd be really happy
and really proud.
1141
00:57:06,056 --> 00:57:10,094
- I'm gonna have a pizza
and popcorn and ice cream!
1142
00:57:10,160 --> 00:57:15,265
- And I'm gonna have a burger
with fries and a soft drink!
1143
00:57:15,332 --> 00:57:18,603
(both): Yum! Yum! Yum!
1144
00:57:18,669 --> 00:57:22,039
- In November 2011,
we received, at the New Beverly,
1145
00:57:22,106 --> 00:57:24,675
a letter from one
of the major studios
1146
00:57:24,742 --> 00:57:27,111
who announced
that at the end of 2012,
1147
00:57:27,177 --> 00:57:29,780
they would be stopping
production of 35mm prints.
1148
00:57:29,847 --> 00:57:31,982
This was something that made me
very, very nervous,
1149
00:57:32,049 --> 00:57:33,784
because although
it didn't affect us immediately,
1150
00:57:33,851 --> 00:57:36,621
I could see down the line
and how it would affect
1151
00:57:36,687 --> 00:57:39,089
revival cinemas
and the New Beverly.
1152
00:57:39,156 --> 00:57:40,591
What I did was,
1153
00:57:40,658 --> 00:57:43,561
I created a petition,
not to fight the studios,
1154
00:57:43,628 --> 00:57:45,596
but to ask
for their cooperation.
1155
00:57:45,663 --> 00:57:47,798
I knew I couldn't change
the digital changeover,
1156
00:57:47,865 --> 00:57:50,000
I can't stop that,
that's beyond my power.
1157
00:57:50,067 --> 00:57:53,070
What I was trying to do
was to ask the studios,
1158
00:57:53,137 --> 00:57:54,739
during this conversion,
to remember
1159
00:57:54,805 --> 00:57:56,941
that there are revival cinemas
and lots of people
1160
00:57:57,007 --> 00:57:59,644
who really care what format
they watch their movies on.
1161
00:57:59,710 --> 00:58:02,647
And ask them to let their prints
that are already printed
1162
00:58:02,713 --> 00:58:04,649
and archived
remain available
1163
00:58:04,715 --> 00:58:06,651
for revival cinemas
indefinitely.
1164
00:58:06,717 --> 00:58:09,019
I put it up online and it got
1165
00:58:09,086 --> 00:58:11,956
a tremendous amount of press
and a lot of support.
1166
00:58:12,022 --> 00:58:15,259
We got over 10,000 signatures
within three months,
1167
00:58:15,325 --> 00:58:18,128
from all over the world,
from 60 different countries.
1168
00:58:18,195 --> 00:58:21,165
It was really fantastic to see
all these heartfelt comments
1169
00:58:21,231 --> 00:58:23,934
from people saying
how much 35 meant to them,
1170
00:58:24,001 --> 00:58:27,237
or how they were a projectionist
and they lost their job.
1171
00:58:27,304 --> 00:58:30,307
It's a really, really widespread
and personal thing.
1172
00:58:30,374 --> 00:58:34,812
- I couldn't have signed
the petition fast enough,
1173
00:58:34,879 --> 00:58:38,082
because the fact that people
don't count film
1174
00:58:38,148 --> 00:58:41,385
as an important thing to save
is bewildering.
1175
00:58:41,451 --> 00:58:45,055
That makes as much as sense as
someone walking into a museum,
1176
00:58:45,122 --> 00:58:48,292
taking Mona Lisa off the wall,
breaking it across their knee,
1177
00:58:48,358 --> 00:58:51,528
and saying, "I have
a digital picture of that."
1178
00:58:51,596 --> 00:58:53,631
It makes no sense.
It's infuriating.
1179
00:58:53,698 --> 00:58:58,703
I can't believe that film stock
is held to a different standard
1180
00:58:58,769 --> 00:59:00,537
than other mediums of art.
1181
00:59:00,605 --> 00:59:02,339
It's exactly the same.
1182
00:59:02,406 --> 00:59:07,678
And I understand that there's
a time and place for finances,
1183
00:59:07,745 --> 00:59:11,348
for seeing the cost
that storing film incurs.
1184
00:59:11,415 --> 00:59:15,653
I get it. But find a way
to save these things.
1185
00:59:15,720 --> 00:59:17,855
You're never gonna
get them back.
1186
00:59:17,922 --> 00:59:20,858
You're never going
to get back a print
1187
00:59:20,925 --> 00:59:25,462
of a small movie made in 1942
that no one's ever seen
1188
00:59:25,529 --> 00:59:28,032
and nobody wants to see on DVD.
1189
00:59:28,098 --> 00:59:32,336
You're never getting that back,
there's no way to recreate that.
1190
00:59:32,402 --> 00:59:35,505
And everything that
all those people worked for -
1191
00:59:35,572 --> 00:59:38,876
everything that camera operator,
that director, that extra,
1192
00:59:38,943 --> 00:59:42,579
that craft-services person
worked for together - is gone.
1193
00:59:42,647 --> 00:59:44,749
It's completely gone.
1194
00:59:44,815 --> 00:59:49,186
And just saying that
sends a chill down my spine.
1195
00:59:49,253 --> 00:59:52,322
- It's not like this petition
is going to be submitted
1196
00:59:52,389 --> 00:59:55,225
to somebody who will then
do something about it,
1197
00:59:55,292 --> 00:59:57,161
but it starts
this dialogue going
1198
00:59:57,227 --> 01:00:01,065
in kind of the sphere of people
who care about this stuff.
1199
01:00:01,131 --> 01:00:04,401
And it gets people realizing:
This could actually go away,
1200
01:00:04,468 --> 01:00:07,938
and this thing could actually
end up affecting my ability
1201
01:00:08,005 --> 01:00:12,076
to see these films the way
they were meant to be seen.
1202
01:00:12,142 --> 01:00:15,946
- Yeah, I think you hit people
where they live.
1203
01:00:16,013 --> 01:00:17,614
- The finality of it,
1204
01:00:17,682 --> 01:00:19,850
that the studios
are taking this step
1205
01:00:19,917 --> 01:00:21,652
of cutting off
sending prints out,
1206
01:00:21,719 --> 01:00:25,856
that kinda snapped a lot...
I know it snapped my head up.
1207
01:00:25,923 --> 01:00:27,858
- Obviously,
it's costly to store them,
1208
01:00:27,925 --> 01:00:31,829
and it requires a lot of space,
and so on, but again,
1209
01:00:31,896 --> 01:00:35,299
so do a lot of things
that aren't as important.
1210
01:00:35,365 --> 01:00:37,101
And I just think
1211
01:00:37,167 --> 01:00:41,238
this is about preserving...
historical documents.
1212
01:00:41,305 --> 01:00:44,809
- It's kind of the end of film
more than just the end of 35.
1213
01:00:44,875 --> 01:00:47,144
It seems we're in danger
of losing something
1214
01:00:47,211 --> 01:00:49,479
quintessential about it
without even realizing it.
1215
01:00:50,180 --> 01:00:53,083
- First-run and revival
single-screen theatres
1216
01:00:53,150 --> 01:00:56,186
are barely squeaking by
these days,
1217
01:00:56,253 --> 01:00:57,554
let's be honest.
1218
01:00:57,621 --> 01:01:00,657
To ask them all to upgrade
to a digital projector
1219
01:01:00,725 --> 01:01:02,159
is a huge thing.
1220
01:01:02,226 --> 01:01:06,764
Digital projectors cost anywhere
from $75,000 to $200,000.
1221
01:01:06,831 --> 01:01:09,466
And if you're a family-run
one-screen theatre,
1222
01:01:09,533 --> 01:01:13,137
you're not going to have that
immediate capital to do that.
1223
01:01:13,203 --> 01:01:16,140
And I know
that a lot of small theatres
1224
01:01:16,206 --> 01:01:18,909
haven't been able to make
this changeover, they're dying.
1225
01:01:18,976 --> 01:01:21,846
- The studios, especially
those that have active libraries
1226
01:01:21,912 --> 01:01:23,981
are refusing to ship 35mm prints
1227
01:01:24,048 --> 01:01:26,416
and in some cases
even junking them,
1228
01:01:26,483 --> 01:01:30,320
because they don't want
to be bothered with it anymore.
1229
01:01:30,387 --> 01:01:31,956
And that's ridiculous.
1230
01:01:32,022 --> 01:01:35,225
To deny theatres like the
New Beverly or the Cinematheque
1231
01:01:35,292 --> 01:01:37,995
the opportunity to show a film
is nonsense.
1232
01:01:38,062 --> 01:01:41,999
Film should always be available
as an exhibition medium.
1233
01:01:42,066 --> 01:01:45,202
- I think it's important
for places like the New Beverly
1234
01:01:45,269 --> 01:01:47,872
to preserve that ethos,
because it gives someone
1235
01:01:47,938 --> 01:01:50,340
an opportunity
to witness it in present day,
1236
01:01:50,407 --> 01:01:53,010
as opposed to seeing it
in a museum
1237
01:01:53,077 --> 01:01:55,579
as a reference
of a time gone by.
1238
01:01:55,645 --> 01:02:00,951
- What is gonna be troublesome
is the notion that studios
1239
01:02:01,018 --> 01:02:04,654
don't want to circulate
existing 35mm prints.
1240
01:02:04,721 --> 01:02:06,156
- There's an audience,
1241
01:02:06,223 --> 01:02:09,026
and the studios just see this
as small potatoes
1242
01:02:09,093 --> 01:02:12,062
and not worth their while
but it doesn't cost any more
1243
01:02:12,129 --> 01:02:14,799
to cater to that audience.
1244
01:02:14,865 --> 01:02:16,400
- Nobody is against digital.
1245
01:02:16,466 --> 01:02:20,004
When I see a good-looking
digital presentation,
1246
01:02:20,070 --> 01:02:24,708
I'm just as wowed
as when I've seen
1247
01:02:24,775 --> 01:02:26,576
a good 35mm presentation.
1248
01:02:26,643 --> 01:02:28,879
Let it never be suggested
1249
01:02:28,946 --> 01:02:32,249
that this is supposed to be
an either/or.
1250
01:02:32,316 --> 01:02:35,619
This is supposed to be
a you and me.
1251
01:02:35,685 --> 01:02:39,523
- I'm not saying we shouldn't
ever show anything in digital,
1252
01:02:39,589 --> 01:02:43,928
but what I'm saying is,
just don't get rid of 35mm,
1253
01:02:43,994 --> 01:02:45,863
don't let this past die,
1254
01:02:45,930 --> 01:02:48,365
because it's part
of film's history.
1255
01:02:49,166 --> 01:02:54,238
- A tiny number
of the silent films exist
1256
01:02:54,304 --> 01:02:56,040
because the studios
destroyed them
1257
01:02:56,106 --> 01:02:58,876
to get the silver
out of the negative.
1258
01:02:58,943 --> 01:03:01,245
They didn't think
they were worth money.
1259
01:03:01,311 --> 01:03:04,081
Unless you could re-release it
or something.
1260
01:03:04,148 --> 01:03:06,917
It's a miracle
that some films exist, period.
1261
01:03:06,984 --> 01:03:09,486
- Nobody expected silent films
to go away.
1262
01:03:09,553 --> 01:03:13,723
The idea was that silent films
and talkies would co-exist,
1263
01:03:13,790 --> 01:03:18,462
like black and white and colour,
flat and scope, 2D and 3D,
1264
01:03:18,528 --> 01:03:22,399
and film and digital
should be allowed to co-exist.
1265
01:03:22,466 --> 01:03:25,335
- Filmmakers and audiences
should have a choice.
1266
01:03:25,402 --> 01:03:27,304
- This is a particularly
terrible situation,
1267
01:03:27,371 --> 01:03:30,507
because they say you can
just run it on digital,
1268
01:03:30,574 --> 01:03:35,179
but we all know the only movies
that are gonna be put on digital
1269
01:03:35,245 --> 01:03:38,015
are gonna be Casablanca
and The Wizard of Oz
1270
01:03:38,082 --> 01:03:40,317
and all the movies everybody
has seen and are famous.
1271
01:03:40,384 --> 01:03:42,853
But the kind of movies
that revival houses live on -
1272
01:03:42,920 --> 01:03:44,488
the quirky independent movies,
1273
01:03:44,554 --> 01:03:46,456
the offbeat B-pictures,
those kind of things -
1274
01:03:46,523 --> 01:03:48,558
they're not gonna be
available on digital.
1275
01:03:48,625 --> 01:03:51,828
And they're either gonna
have to not show those pictures,
1276
01:03:51,896 --> 01:03:53,730
or they're gonna go
out of business.
1277
01:03:53,797 --> 01:03:57,034
And I really am afraid
that the studios don't care.
1278
01:03:57,101 --> 01:04:00,604
- Every single time
we go to a new technology,
1279
01:04:00,670 --> 01:04:02,706
things are going to be lost.
1280
01:04:02,772 --> 01:04:06,176
They didn't transfer everything
from 35 to VHS.
1281
01:04:06,243 --> 01:04:09,980
And everything from VHS
didn't necessarily go to DVD.
1282
01:04:10,047 --> 01:04:13,417
So to count on the fact
that there will be
1283
01:04:13,483 --> 01:04:15,519
a full accountability
of a catalogue,
1284
01:04:15,585 --> 01:04:18,388
top to bottom, transferred
to digital and everything,
1285
01:04:18,455 --> 01:04:21,525
no, that's foolish;
that's just never gonna happen.
1286
01:04:21,591 --> 01:04:23,460
- It's not some idea that:
1287
01:04:23,527 --> 01:04:26,163
Oh, you're anti-digital
or something.
1288
01:04:26,230 --> 01:04:29,233
No, it's what
we can absolutely lose.
1289
01:04:29,299 --> 01:04:33,837
- I have seen Michael post signs
up in the booth that says
1290
01:04:33,904 --> 01:04:35,472
this is the only print
of this film,
1291
01:04:35,539 --> 01:04:38,242
and it is not out on DVD
and not out on VHS.
1292
01:04:38,308 --> 01:04:40,144
Then I'll watch the film,
and it's amazing,
1293
01:04:40,210 --> 01:04:43,047
but you know this movie
by some random Japanese director
1294
01:04:43,113 --> 01:04:45,282
is never gonna transferred
into a digital print
1295
01:04:45,349 --> 01:04:47,284
that they can ship around.
No way.
1296
01:04:47,351 --> 01:04:50,687
So what happens to that movie
if 35mm goes away? It dies.
1297
01:04:50,754 --> 01:04:53,823
- A lot of times you'll see
movies out of print;
1298
01:04:53,890 --> 01:04:54,992
they'll never be released.
1299
01:04:55,059 --> 01:04:56,360
- How do you see these films
1300
01:04:56,426 --> 01:04:58,362
if not for places
like the New Beverly?
1301
01:04:58,428 --> 01:05:01,398
- The connection
to the New Beverly
1302
01:05:01,465 --> 01:05:06,303
and the connection to film
are too interlocked.
1303
01:05:06,370 --> 01:05:07,972
They can't be... pulled apart.
1304
01:05:08,038 --> 01:05:09,706
- The problem
with revival theatres
1305
01:05:09,773 --> 01:05:11,541
is particularly acute,
1306
01:05:11,608 --> 01:05:14,378
because, uh...
they've long since relied
1307
01:05:14,444 --> 01:05:17,347
on studio prints
and collector prints -
1308
01:05:17,414 --> 01:05:19,984
you know, prints, 35mm prints.
1309
01:05:20,050 --> 01:05:22,987
And I understand
that when they pony up the money
1310
01:05:23,053 --> 01:05:24,821
for people's theatres
to go digital,
1311
01:05:24,888 --> 01:05:26,923
part of the deal is they agree
1312
01:05:26,991 --> 01:05:29,059
to get rid
of their 35mm equipment.
1313
01:05:29,126 --> 01:05:32,696
So, uh... a number of studios
1314
01:05:32,762 --> 01:05:36,766
have simply stopped
supplying the prints.
1315
01:05:36,833 --> 01:05:38,468
They have the prints,
1316
01:05:38,535 --> 01:05:41,138
they just don't want
to encourage their use.
1317
01:05:41,205 --> 01:05:43,873
I think they really would
just like 35mm to go away.
1318
01:05:43,940 --> 01:05:45,942
- There's an agenda
1319
01:05:46,010 --> 01:05:49,246
to make this digital revolution
complete,
1320
01:05:49,313 --> 01:05:54,284
because it's vastly
economically advantageous
1321
01:05:54,351 --> 01:05:56,953
to film financiers
and distributors.
1322
01:05:57,021 --> 01:06:01,491
- Now we have a duelling...
Well, it's not a duel anymore,
1323
01:06:01,558 --> 01:06:05,195
it's a battle
and it's more or less lost.
1324
01:06:05,262 --> 01:06:07,564
But we have 35mm vs. digital.
1325
01:06:07,631 --> 01:06:10,167
And as we know
the studios have been trying
1326
01:06:10,234 --> 01:06:13,203
to get rid of 35mm for years,
because of the bulkiness,
1327
01:06:13,270 --> 01:06:16,306
and you have to rewind it,
mail it, pay for it,
1328
01:06:16,373 --> 01:06:18,475
and you have the projectionists
and all that.
1329
01:06:18,542 --> 01:06:22,279
And it's a comparatively
cumbersome formula
1330
01:06:22,346 --> 01:06:24,181
compared to getting a thing
in a box
1331
01:06:24,248 --> 01:06:27,151
and putting it
in a digital projector.
1332
01:06:27,217 --> 01:06:29,219
And this all happened
very quickly.
1333
01:06:29,286 --> 01:06:31,555
Everybody knew
this digital thing was coming,
1334
01:06:31,621 --> 01:06:34,091
but I don't think anybody
quite realized
1335
01:06:34,158 --> 01:06:36,160
how fast it was gonna happen,
1336
01:06:36,226 --> 01:06:40,297
and how at the expense of 35mm
it was going to be.
1337
01:06:40,364 --> 01:06:43,400
There are many plusses to 35mm,
1338
01:06:43,467 --> 01:06:46,036
one of which is that, uh...
1339
01:06:46,103 --> 01:06:49,673
it is the way movies were seen
from the beginning of movies,
1340
01:06:49,739 --> 01:06:51,241
and there's something
more romantic
1341
01:06:51,308 --> 01:06:53,543
about shadows on a screen
than there is
1342
01:06:53,610 --> 01:06:56,546
looking into a box
with ones and twos in it.
1343
01:06:56,613 --> 01:06:59,949
- You look at film that's been
around for over 100 years
1344
01:07:00,016 --> 01:07:01,651
and has really
never changed formats,
1345
01:07:01,718 --> 01:07:04,321
there's a reason
it's been around so long.
1346
01:07:04,388 --> 01:07:08,492
It's something really stable,
and if you have it in a location
1347
01:07:08,558 --> 01:07:10,227
with the right humidity
and temperature,
1348
01:07:10,294 --> 01:07:12,429
it's gonna last
a really, really long time.
1349
01:07:12,496 --> 01:07:14,398
Digital at the moment
is changing formats
1350
01:07:14,464 --> 01:07:16,800
and upgrading so fast
that we have no idea
1351
01:07:16,866 --> 01:07:19,436
where it's gonna be
in five or 10 years.
1352
01:07:19,503 --> 01:07:21,805
- Every day we find out:
Oh, gee,
1353
01:07:21,871 --> 01:07:26,476
my computer is now out of date,
my software is out of date,
1354
01:07:26,543 --> 01:07:30,680
my cellphone is out of date...
You can't keep up with it.
1355
01:07:30,747 --> 01:07:34,084
And it's like a financial
commitment that we've made
1356
01:07:34,151 --> 01:07:37,221
that we have
to keep assimilating
1357
01:07:37,287 --> 01:07:39,123
newer and bigger technology.
1358
01:07:39,189 --> 01:07:42,926
That's very much the reality
in the movie theatres as well,
1359
01:07:42,992 --> 01:07:45,729
because every time
digital technology is in place,
1360
01:07:45,795 --> 01:07:49,566
three months later, they say
now it's time for an upgrade.
1361
01:07:49,633 --> 01:07:52,936
Those guys aren't paying for it.
We're gonna pay for it.
1362
01:07:53,002 --> 01:07:55,004
And that's it. You got that...
1363
01:07:55,071 --> 01:07:57,141
35mm projector
1364
01:07:57,207 --> 01:07:58,508
you got that 35mm print,
1365
01:07:58,575 --> 01:08:00,344
that's like
the Rock of Gibraltar.
1366
01:08:00,410 --> 01:08:01,878
It's there, it's unchanging,
1367
01:08:01,945 --> 01:08:05,582
and it doesn't come down
and hit all of us on the head,
1368
01:08:05,649 --> 01:08:09,085
or it makes it too expensive
for us to go to the movies.
1369
01:08:09,153 --> 01:08:13,390
- If it was a different format,
people would be a lot angrier.
1370
01:08:13,457 --> 01:08:17,060
What if we say we're not gonna
make printed books anymore,
1371
01:08:17,127 --> 01:08:20,164
You can have them on a Kindle,
and they'll come out like that,
1372
01:08:20,230 --> 01:08:23,032
but bookstores: no more,
no more printed books.
1373
01:08:23,099 --> 01:08:24,568
People would flip.
1374
01:08:24,634 --> 01:08:26,736
And I think
this is very similar,
1375
01:08:26,803 --> 01:08:28,705
because it's no more
physical prints.
1376
01:08:28,772 --> 01:08:30,674
- It's like looking
at the Mona Lisa,
1377
01:08:30,740 --> 01:08:33,743
or Monet's Water Lilies,
on a piece of paper, that big,
1378
01:08:33,810 --> 01:08:36,446
that's not
what the artist intended.
1379
01:08:36,513 --> 01:08:38,882
And I think the art of cinema
is really important,
1380
01:08:38,948 --> 01:08:41,451
because it is an art.
1381
01:08:41,518 --> 01:08:45,255
As soon as it becomes this
disposable piece of flotsam,
1382
01:08:45,322 --> 01:08:48,258
then we might as well
just cash it in.
1383
01:08:48,325 --> 01:08:49,759
- I know as a filmmaker,
1384
01:08:49,826 --> 01:08:53,163
my movie is different
if you watch it this big,
1385
01:08:53,230 --> 01:08:55,899
or this big;
or on your iPhone, this big;
1386
01:08:55,965 --> 01:08:59,102
than if you're watching it
in a cinema projected correctly.
1387
01:08:59,169 --> 01:09:03,640
- My fear with digital is,
does it go the way of the MP3?
1388
01:09:03,707 --> 01:09:06,676
Are we just squashing everything
into this mid-range,
1389
01:09:06,743 --> 01:09:10,747
and we've lost the high end,
the treble, we've lost the sub,
1390
01:09:10,814 --> 01:09:13,250
you know,
we're not hearing that anymore.
1391
01:09:13,317 --> 01:09:16,353
You need only listen...
put on an old album,
1392
01:09:16,420 --> 01:09:17,954
and you realize
the sound quality
1393
01:09:18,021 --> 01:09:21,591
is so much more superior
to what we have now, but, again,
1394
01:09:21,658 --> 01:09:23,293
we've been led down
the primrose path
1395
01:09:23,360 --> 01:09:25,195
of digital
is the way of the future,
1396
01:09:25,262 --> 01:09:26,696
and that's the only way to go.
1397
01:09:26,763 --> 01:09:28,832
I don't wanna see that happen
with movies.
1398
01:09:31,568 --> 01:09:33,770
- Yes, they are.
The final stage of the process
1399
01:09:33,837 --> 01:09:37,307
was seeing the DCP,
then the different film prints.
1400
01:09:37,374 --> 01:09:40,143
The one struck straight
from the digital out,
1401
01:09:40,210 --> 01:09:44,448
and the one struck from
an internegative made from that.
1402
01:09:46,416 --> 01:09:48,852
- Oh, yeah, God, you could tell.
It was night and day.
1403
01:09:48,918 --> 01:09:51,355
So the DCP,
the digital of Looper,
1404
01:09:51,421 --> 01:09:53,923
looked pretty much exactly
like the digital version
1405
01:09:53,990 --> 01:09:56,426
we were colour-correcting.
It looked fine.
1406
01:09:56,493 --> 01:09:59,463
The film that was directly out,
'cause, at first,
1407
01:09:59,529 --> 01:10:01,765
they split-screen it
with the digital.
1408
01:10:01,831 --> 01:10:05,068
And when they first do that,
your eye automatically says
1409
01:10:05,134 --> 01:10:08,838
that film one looks fucked up,
because it's jittering a bit;
1410
01:10:08,905 --> 01:10:11,841
because of the registration,
it's a little bit crunchier.
1411
01:10:11,908 --> 01:10:16,880
Then they take the digital away
and your eye adjusts to it,
1412
01:10:16,946 --> 01:10:20,917
and... suddenly it becomes
the version that you favour.
1413
01:10:20,984 --> 01:10:22,319
It looks like a movie.
1414
01:10:22,386 --> 01:10:25,088
It looks like the thing
we grew up watching.
1415
01:10:25,154 --> 01:10:27,223
It's got a life to it.
1416
01:10:28,625 --> 01:10:32,829
- It's a fairly tragic situation
for, um... posterity,
1417
01:10:32,896 --> 01:10:36,199
because there is no such thing
as digital posterity.
1418
01:10:36,266 --> 01:10:38,302
- You should only convert
to digital
1419
01:10:38,368 --> 01:10:40,404
if it's a valid
exhibition medium.
1420
01:10:40,470 --> 01:10:43,006
Films need to be preserved
on film,
1421
01:10:43,072 --> 01:10:44,708
and that will never change.
1422
01:10:44,774 --> 01:10:48,445
And anybody who thinks digital
is some kind of a storage medium
1423
01:10:48,512 --> 01:10:50,580
is an idiot
and really fooling themselves.
1424
01:10:50,647 --> 01:10:54,117
There are movies that were shot
in the early days of digital
1425
01:10:54,183 --> 01:10:56,720
where the original media
has already become corrupted.
1426
01:10:56,786 --> 01:10:59,188
- And the sad fact is,
I think that most people
1427
01:10:59,255 --> 01:11:03,627
don't care about these nuances
that we're talking about.
1428
01:11:03,693 --> 01:11:05,662
And maybe they shouldn't care
about them.
1429
01:11:05,729 --> 01:11:08,832
If they're getting
the information
1430
01:11:08,898 --> 01:11:10,534
and they're engrossed
in the narrative
1431
01:11:10,600 --> 01:11:12,669
and they fall in love
with the characters,
1432
01:11:12,736 --> 01:11:15,305
I'm sure this is splitting hairs
for them.
1433
01:11:15,372 --> 01:11:17,507
But for those of us that enjoy
1434
01:11:17,574 --> 01:11:21,144
the part of the process
that is the craft part,
1435
01:11:21,210 --> 01:11:22,712
this is what craft is about.
1436
01:11:22,779 --> 01:11:25,148
There's this romance now
on your iPhone and stuff,
1437
01:11:25,214 --> 01:11:27,584
for Hipstamatic and Instagram
and all these things,
1438
01:11:27,651 --> 01:11:31,054
that are aping
lo-fi image-making
1439
01:11:31,120 --> 01:11:32,722
because it's not just nostalgia;
1440
01:11:32,789 --> 01:11:35,992
there's something to be said for
not seeing everything clearly.
1441
01:11:36,059 --> 01:11:40,063
There's an appeal to things
that are pristine and new,
1442
01:11:40,129 --> 01:11:44,067
but for me, personally,
there's a far greater appeal
1443
01:11:44,133 --> 01:11:46,102
to things that show...
1444
01:11:46,169 --> 01:11:47,971
the wear of time.
1445
01:11:48,037 --> 01:11:51,240
If the image is too perfect,
too slick, too beautiful,
1446
01:11:51,307 --> 01:11:52,676
there's nothing evocative
about it,
1447
01:11:52,742 --> 01:11:54,210
there's nothing human about it.
1448
01:11:54,277 --> 01:11:57,013
- Some of what is appealing
about seeing older movies
1449
01:11:57,080 --> 01:12:00,283
is the feeling that they've been
around for a while,
1450
01:12:00,350 --> 01:12:01,985
and here's the evidence.
1451
01:12:02,051 --> 01:12:06,490
The print itself has a history
to it, it's not just the movie.
1452
01:12:06,556 --> 01:12:08,492
- If you wanna see a movie...
1453
01:12:08,558 --> 01:12:11,495
by a filmmaker
who shot a movie in film,
1454
01:12:11,561 --> 01:12:13,497
you should see it in film.
1455
01:12:13,563 --> 01:12:16,400
- It's the push/pull
of the old world
1456
01:12:16,466 --> 01:12:19,335
and the New Jack way
of doing things,
1457
01:12:19,403 --> 01:12:20,870
you know what I mean?
1458
01:12:20,937 --> 01:12:24,374
Um, but I think side by side,
I still prefer film.
1459
01:12:24,441 --> 01:12:26,610
- And it's an endless argument,
1460
01:12:26,676 --> 01:12:28,745
but it all goes to the value
1461
01:12:28,812 --> 01:12:31,948
of revival houses
and 35-mil print
1462
01:12:32,015 --> 01:12:33,450
and keeping film alive.
1463
01:12:33,517 --> 01:12:38,221
Because if you don't see film
projected in a mil projector,
1464
01:12:38,287 --> 01:12:42,659
you'll never have the sense
of what that presence is.
1465
01:12:42,726 --> 01:12:45,328
It's very, very hard
to describe,
1466
01:12:45,395 --> 01:12:48,331
but there's a beauty
with 35-mil
1467
01:12:48,398 --> 01:12:51,367
that's gone with digital.
1468
01:12:51,435 --> 01:12:53,470
- Hey!
1469
01:12:55,104 --> 01:12:57,106
(sound effects)
1470
01:13:00,610 --> 01:13:02,512
They're ready, folks!
1471
01:13:02,579 --> 01:13:04,313
(old-time music)
1472
01:13:04,380 --> 01:13:08,217
- It's one thing the first-run
community doesn't understand
1473
01:13:08,284 --> 01:13:09,719
about the repertory world,
1474
01:13:09,786 --> 01:13:12,055
is that it's really
a brotherhood.
1475
01:13:12,121 --> 01:13:15,559
You know it's not competitive.
Everybody pulls for everybody.
1476
01:13:15,625 --> 01:13:20,296
And in Los Angeles, if you walk
into the American Cinematheque,
1477
01:13:20,363 --> 01:13:22,632
for example,
you will see calendars
1478
01:13:22,699 --> 01:13:25,502
for the New Beverly
and the Nuart
1479
01:13:25,569 --> 01:13:29,038
and the Cinefamily
and every other theatre as well,
1480
01:13:29,105 --> 01:13:31,407
because we all pull
for each other,
1481
01:13:31,475 --> 01:13:32,876
because everybody helps
the other.
1482
01:13:32,942 --> 01:13:35,044
It's not a cut-throat
kinda deal.
1483
01:13:35,111 --> 01:13:37,547
- The Prince Charles
is like a cinema
1484
01:13:37,614 --> 01:13:39,849
that's right in the middle
of London.
1485
01:13:39,916 --> 01:13:41,885
It's just off a side street.
1486
01:13:41,951 --> 01:13:45,021
It's this older cinema
which shows second-run movies.
1487
01:13:45,088 --> 01:13:47,957
- The Prince Charles
is the absolute twin
1488
01:13:48,024 --> 01:13:51,227
to the New Beverly,
across the Atlantic sea.
1489
01:13:51,294 --> 01:13:54,130
Beautiful rep house
and they do it like the New Bev.
1490
01:13:54,197 --> 01:13:56,432
Double bill,
have fun with it and shit.
1491
01:13:56,500 --> 01:13:58,535
Good times.
(music)
1492
01:14:05,909 --> 01:14:07,577
- I work
at the Prince Charles Cinema,
1493
01:14:07,644 --> 01:14:09,546
and I'm the PR manager
and repertory programmer.
1494
01:14:09,613 --> 01:14:11,280
My family don't think
I have a real job.
1495
01:14:11,347 --> 01:14:14,117
When I told them I put films on,
they're like that just happens.
1496
01:14:14,183 --> 01:14:16,786
Without further ado,
please put your hands together
1497
01:14:16,853 --> 01:14:19,656
and welcome to the stage
Julia Marchese.
1498
01:14:19,723 --> 01:14:22,926
(cheering and applause)
(Julia and audience): Hello!
1499
01:14:22,992 --> 01:14:24,794
My name's on a fucking marquee
in London,
1500
01:14:24,861 --> 01:14:27,497
so my mind's really blown
right now.
1501
01:14:27,564 --> 01:14:29,132
I'm making a movie
called Out of Print.
1502
01:14:29,198 --> 01:14:33,102
It's about the importance
of revival cinema and 35mm,
1503
01:14:33,169 --> 01:14:37,674
and about how repertory cinemas
all need to band together,
1504
01:14:37,741 --> 01:14:40,143
and Paul was nice enough
1505
01:14:40,209 --> 01:14:42,078
to ask me to come over
and program,
1506
01:14:42,145 --> 01:14:44,213
so I wanted to include this
in my documentary
1507
01:14:44,280 --> 01:14:46,983
to show that all cinemas
kind of love each other.
1508
01:14:50,720 --> 01:14:52,989
- Having you here
is having someone
1509
01:14:53,056 --> 01:14:55,859
who shares the same love
and passion
1510
01:14:55,925 --> 01:14:58,194
for repertory cinema
that I have.
1511
01:14:58,261 --> 01:15:01,965
And for me,
meeting those people is a joy.
1512
01:15:02,031 --> 01:15:04,834
The New Beverly
is a very famous theatre.
1513
01:15:04,901 --> 01:15:08,538
You pay attention to what people
are programming around you
1514
01:15:08,605 --> 01:15:11,074
and programming
around the world.
1515
01:15:11,140 --> 01:15:13,743
Because it's nice to see
these are happening everywhere.
1516
01:15:13,810 --> 01:15:15,979
Sometimes you can get
caught up in thinking
1517
01:15:16,045 --> 01:15:19,749
you're the only one doing it,
and that can be a little, like,
1518
01:15:19,816 --> 01:15:21,985
fighting against this tidal wave
of mainstream cinema.
1519
01:15:22,051 --> 01:15:25,288
But knowing there are groups
of little guys out there
1520
01:15:25,354 --> 01:15:28,792
doing the same sort of thing,
you're your own gang.
1521
01:15:28,858 --> 01:15:31,828
The New Beverly doesn't need
to be in London
1522
01:15:31,895 --> 01:15:34,397
for us to admire
each other's programming.
1523
01:15:34,463 --> 01:15:36,766
I don't feel competition
1524
01:15:36,833 --> 01:15:39,903
with regards
to repertory programming.
1525
01:15:39,969 --> 01:15:42,972
I think it's very much
a bit of a club,
1526
01:15:43,039 --> 01:15:45,341
and I have friends
who are programmers
1527
01:15:45,408 --> 01:15:47,811
and there are always opinions,
1528
01:15:47,877 --> 01:15:49,512
and everyone's looking
at what everyone's doing,
1529
01:15:49,579 --> 01:15:51,080
but at the end of the day,
1530
01:15:51,147 --> 01:15:53,182
if someone screens something
that I wanted to screen
1531
01:15:53,249 --> 01:15:55,885
and they do it first,
I'm glad someone's screening it.
1532
01:16:08,431 --> 01:16:10,967
- That would be interesting
to try and enforce over here.
1533
01:16:11,034 --> 01:16:14,370
If they made us get rid of that,
we wouldn't be able to show
1534
01:16:14,437 --> 01:16:17,807
80% of the rep stuff we show,
because they just don't have it.
1535
01:16:17,874 --> 01:16:20,744
We built our audience
on showing older films,
1536
01:16:20,810 --> 01:16:23,212
and you don't want to lose that.
1537
01:16:23,279 --> 01:16:26,049
Going digital and 35
on both screens,
1538
01:16:26,115 --> 01:16:28,051
we probably wouldn't be open.
1539
01:16:28,117 --> 01:16:29,819
Because the industry's changed,
1540
01:16:29,886 --> 01:16:33,222
not necessarily one
that we wanted to make.
1541
01:16:33,289 --> 01:16:36,025
But since doing that and
bringing these newer films in,
1542
01:16:36,092 --> 01:16:39,228
we felt even stronger
about our roots and our history,
1543
01:16:39,295 --> 01:16:42,699
which meant we didn't get rid
of the 35mm projectors.
1544
01:16:42,766 --> 01:16:44,834
In fact, we upgraded both.
1545
01:16:44,901 --> 01:16:46,502
If there was a 35 option,
we'd take it.
1546
01:16:46,569 --> 01:16:49,238
But we do seek out prints,
we do our best every time
1547
01:16:49,305 --> 01:16:52,275
to put a print on because
the audience responds to it.
1548
01:16:52,341 --> 01:16:55,378
We screened To Live and Die
in L.A. last week.
1549
01:16:55,444 --> 01:16:58,915
It was a pretty busy house.
As soon as it started,
1550
01:16:58,982 --> 01:17:01,985
the guy behind me gasped
and went: "Oh my god,
1551
01:17:02,051 --> 01:17:05,521
it's an original print!"
You don't get that with digital.
1552
01:17:05,588 --> 01:17:07,456
I understand the need
for digital now,
1553
01:17:07,523 --> 01:17:11,260
but you don't get that spark
in someone's eye when it starts.
1554
01:17:11,327 --> 01:17:14,798
When I go and see a film,
I wanna see a film.
1555
01:17:14,864 --> 01:17:17,366
I'm fully accepting
that very rarely will I see
1556
01:17:17,433 --> 01:17:20,837
a new release on 35-mil,
but I don't wanna lose
1557
01:17:20,904 --> 01:17:22,972
the history
of the films I loved,
1558
01:17:23,039 --> 01:17:24,974
grew up on, to digital.
1559
01:17:25,041 --> 01:17:27,310
I understand some films
don't exist on prints anymore,
1560
01:17:27,376 --> 01:17:30,914
having a digital copy of it is
the only way this film's alive.
1561
01:17:30,980 --> 01:17:32,916
And that's fine.
But if there is a print,
1562
01:17:32,982 --> 01:17:35,318
I don't see any reason why
you're not screening that print.
1563
01:17:35,384 --> 01:17:38,955
Why would you not wanna see
all those pieces of history?
1564
01:17:39,022 --> 01:17:41,825
Every speck of dust on a print
is a piece of history.
1565
01:17:41,891 --> 01:17:44,961
And I know people like us
get very romantic about it,
1566
01:17:45,028 --> 01:17:47,663
but that's the whole point:
like, film is romantic.
1567
01:17:47,731 --> 01:17:48,998
Like, completely.
1568
01:17:49,065 --> 01:17:51,801
It's creating a world
in front of you
1569
01:17:51,868 --> 01:17:53,636
that you just lose yourself in.
1570
01:17:53,703 --> 01:17:56,973
I think when you watch a film
and see the marks and scratches,
1571
01:17:57,040 --> 01:17:59,142
it's all part of the history
of that film.
1572
01:17:59,208 --> 01:18:02,078
It's been made, gone out there,
lived beyond production
1573
01:18:02,145 --> 01:18:04,814
and the life it's lived
sticks to it,
1574
01:18:04,881 --> 01:18:07,784
and you see that
every time it screens.
1575
01:18:10,119 --> 01:18:13,022
- I think our current generation
of filmmakers
1576
01:18:13,089 --> 01:18:15,358
are clearly looking to the past.
1577
01:18:15,424 --> 01:18:18,962
They show up at theatres
all over playing old films.
1578
01:18:19,028 --> 01:18:21,530
I think the next generation
of filmmakers,
1579
01:18:21,597 --> 01:18:23,166
if they don't have that,
1580
01:18:23,232 --> 01:18:25,935
then who are they gonna
be looking to?
1581
01:18:26,002 --> 01:18:27,370
What are their influences?
1582
01:18:27,436 --> 01:18:30,139
What's gonna be driving them
to make movies?
1583
01:18:30,206 --> 01:18:32,976
Are they gonna be inspired by,
you know,
1584
01:18:33,042 --> 01:18:35,678
whatever $300-million
explosion epic,
1585
01:18:35,745 --> 01:18:37,881
or is he gonna be influenced
1586
01:18:37,947 --> 01:18:42,085
by, you know,
that quiet, intimate picture
1587
01:18:42,151 --> 01:18:44,854
that discusses real issues
that potentially
1588
01:18:44,921 --> 01:18:46,990
could affect the way we think
1589
01:18:47,056 --> 01:18:49,959
about our country and the world?
1590
01:18:50,026 --> 01:18:52,962
It seems like
we're pointing towards
1591
01:18:53,029 --> 01:18:55,932
a really bright future for film,
1592
01:18:55,999 --> 01:18:57,700
and for filmmaking.
1593
01:18:57,767 --> 01:18:59,936
And consequently, film-going.
1594
01:19:00,003 --> 01:19:03,840
But it's something
that is, like, not set in stone.
1595
01:19:03,907 --> 01:19:07,376
If anything, it's probably more
fragile than it has ever been.
1596
01:19:07,443 --> 01:19:09,645
- Just 'cause it's dying
doesn't mean it's dead,
1597
01:19:09,712 --> 01:19:11,280
doesn't mean you have to let it.
1598
01:19:11,347 --> 01:19:14,583
"What a shame, look at it die.
Why won't anyone help it?"
1599
01:19:14,650 --> 01:19:17,253
You can help it. Go out there.
Bam! Eight bucks.
1600
01:19:17,320 --> 01:19:20,123
I don't think that was eight,
but I'm bad at miming,
1601
01:19:20,189 --> 01:19:22,225
which is weird,
'cause I played Silent Bob.
1602
01:19:22,291 --> 01:19:24,160
Um, you put down
your eight bits,
1603
01:19:24,227 --> 01:19:26,329
and you've supported,
you're part of the solution.
1604
01:19:26,395 --> 01:19:28,431
- You're helping pay
for the storage
1605
01:19:28,497 --> 01:19:30,733
and the preservation
and the maintenance
1606
01:19:30,800 --> 01:19:33,169
of the print
you're about to watch.
1607
01:19:33,236 --> 01:19:35,104
- I want the New Beverly
to be around
1608
01:19:35,171 --> 01:19:37,040
for another 20 years
or another 30 years,
1609
01:19:37,106 --> 01:19:38,774
because I wanna take
my children there.
1610
01:19:38,842 --> 01:19:42,311
I want them to be able to watch
Cary Grant on the big screen,
1611
01:19:42,378 --> 01:19:44,848
and to see Charlie Chaplin,
because it's just an experience
1612
01:19:44,914 --> 01:19:46,449
that cannot be replicated
at home.
1613
01:19:46,515 --> 01:19:48,017
It's a communal experience.
1614
01:19:48,084 --> 01:19:50,253
That's what movie-going
has always been made to be.
1615
01:19:50,319 --> 01:19:54,257
- It doesn't really matter
if the New Bev is showing 35,
1616
01:19:54,323 --> 01:19:57,193
it's showing digital,
if it's you standing there
1617
01:19:57,260 --> 01:20:00,129
holding up film
with a candle behind it,
1618
01:20:00,196 --> 01:20:02,531
I'm still gonna be there.
1619
01:20:02,598 --> 01:20:04,300
- It's magic.
1620
01:20:04,367 --> 01:20:07,670
And it's something
that should be with us forever.
1621
01:20:07,736 --> 01:20:09,906
- It's like home, you know.
1622
01:20:09,973 --> 01:20:12,075
- It doesn't take
a lot of people
1623
01:20:12,141 --> 01:20:14,043
to keep a revival theatre going,
1624
01:20:14,110 --> 01:20:16,512
it just takes the faithful.
1625
01:20:17,513 --> 01:20:20,016
- It's an amazing experience
if you know it.
1626
01:20:20,083 --> 01:20:23,920
If you don't know,
you will be glad you went.
1627
01:20:23,987 --> 01:20:26,489
And you're supporting
something so much bigger
1628
01:20:26,555 --> 01:20:29,792
than just Rear Window
on a big screen,
1629
01:20:29,859 --> 01:20:31,594
you're kinda supporting an idea.
1630
01:20:31,660 --> 01:20:35,598
But as our world gets bigger
and bigger and bigger,
1631
01:20:35,664 --> 01:20:40,103
it gets, I think, more confusing
and more difficult to understand
1632
01:20:40,169 --> 01:20:43,506
how the individual
can contribute to this cause.
1633
01:20:43,572 --> 01:20:45,208
And I think it's as simple
1634
01:20:45,274 --> 01:20:47,576
as showing up
to the movie theatres.
1635
01:20:47,643 --> 01:20:49,045
There is something powerful
1636
01:20:49,112 --> 01:20:51,347
about people
showing up in numbers.
1637
01:20:51,414 --> 01:20:54,984
When you have a packed house,
that says something,
1638
01:20:55,051 --> 01:20:56,452
that sends a message:
1639
01:20:56,519 --> 01:20:59,588
this is a place
that is worth protecting.
1640
01:20:59,655 --> 01:21:02,225
So that's the first
kind of easiest step:
1641
01:21:02,291 --> 01:21:05,661
if there is a theatre like that,
you should be going.
1642
01:21:05,728 --> 01:21:08,064
And I think, collectively,
1643
01:21:08,131 --> 01:21:11,334
we could save
revival-house movie theatres
1644
01:21:11,400 --> 01:21:14,971
and radically change
the course of movies.
1645
01:21:19,875 --> 01:21:22,178
- Went to the New Beverly
on a Friday night
1646
01:21:22,245 --> 01:21:24,981
to once again watch Casablanca
with a group of strangers,
1647
01:21:25,048 --> 01:21:26,715
and we're watching
the movie and everyone...
1648
01:21:26,782 --> 01:21:29,718
clearly no one was seeing it
for the first time.
1649
01:21:29,785 --> 01:21:31,154
We're all just there.
1650
01:21:31,220 --> 01:21:33,889
It's like going
to a church service.
1651
01:21:33,957 --> 01:21:37,260
I know the liturgy here,
let's just go through...
1652
01:21:37,326 --> 01:21:39,528
the Roman Catholic mass
right now.
1653
01:21:39,595 --> 01:21:43,432
And Rick is saying goodbye
to Ilsa on the runway,
1654
01:21:43,499 --> 01:21:46,502
and he literally starts...
getting on that plane,
1655
01:21:46,569 --> 01:21:50,706
and then the film snaps
and the screen all goes white.
1656
01:21:50,773 --> 01:21:55,911
There was first this moment of:
"Oh, man! Of all the places."
1657
01:21:55,979 --> 01:21:57,646
Then there was kinda laughter,
1658
01:21:57,713 --> 01:22:01,250
like: "Of course
it would break right there."
1659
01:22:01,317 --> 01:22:04,453
And while they were up there
trying to fix it,
1660
01:22:04,520 --> 01:22:06,889
everyone in the New Beverly
that night,
1661
01:22:06,956 --> 01:22:08,857
on a Friday night, half-full,
1662
01:22:08,924 --> 01:22:11,594
we all started whistling
As Time Goes By
1663
01:22:11,660 --> 01:22:13,562
until they fixed the film.
1664
01:22:13,629 --> 01:22:16,199
And I just feel like,
in this transition now,
1665
01:22:16,265 --> 01:22:19,302
from going to see it in theatres
to now it's filming,
1666
01:22:19,368 --> 01:22:22,405
we're just gonna have to keep
whistling As Time Goes By
1667
01:22:22,471 --> 01:22:26,842
until they fix it again,
and it goes on for a while.
1668
01:22:26,909 --> 01:22:29,512
We're just gonna
have to keep doing that.
1669
01:22:29,578 --> 01:22:32,115
Like that's the version,
in my head,
1670
01:22:32,181 --> 01:22:34,483
of how you survive
the transition.
1671
01:22:42,325 --> 01:22:45,228
- Now, we haven't discussed
the Old Beverly, have we?
1672
01:22:45,294 --> 01:22:47,730
We've not said anything
about the Old Beverly.
1673
01:22:47,796 --> 01:22:50,633
I think the Old Beverly
deserves some attention,
1674
01:22:50,699 --> 01:22:52,535
because she was hot.
1675
01:22:52,601 --> 01:22:54,003
- Take one!
1676
01:22:54,070 --> 01:22:55,704
- Aye! Jeez!
1677
01:23:01,744 --> 01:23:05,081
- I'm sweatin' like a crack
whore with rent due.
1678
01:23:05,148 --> 01:23:08,284
- Want it louder?
(both): Ah!
1679
01:23:08,351 --> 01:23:10,653
- Put your finger in there.
No, don't do that.
1680
01:23:10,719 --> 01:23:12,155
- Ah! Jeez.
1681
01:23:12,221 --> 01:23:14,057
- Maybe now
the fucking director's ready,
1682
01:23:14,123 --> 01:23:15,758
we can start this thing.
1683
01:23:15,824 --> 01:23:18,327
(crash)
(Julia): Oh...
1684
01:23:18,394 --> 01:23:20,363
- That was very expensive.
1685
01:23:20,429 --> 01:23:24,200
- The New Beverly is like, uh,
a mission, right,
1686
01:23:24,267 --> 01:23:27,703
in the sense
of an old Spanish mission
1687
01:23:27,770 --> 01:23:29,305
on the California coast.
1688
01:23:29,372 --> 01:23:32,775
- I like to show up
to my features
1689
01:23:32,841 --> 01:23:35,178
in a tube-top little ensemble.
1690
01:23:35,244 --> 01:23:38,181
It's got rainbows on it.
Sugar sweet!
1691
01:23:38,247 --> 01:23:41,784
You can YouTube me
at "rainbow tube top."
1692
01:23:41,850 --> 01:23:46,155
- The New Beverly
is like a primordial soup.
1693
01:23:46,222 --> 01:23:49,858
- Security level...
Ah, I can't even speak properly!
1694
01:23:49,925 --> 01:23:51,360
- Prolesytizing?
1695
01:23:51,427 --> 01:23:54,263
- ...projections.
No, through... projection?
1696
01:23:54,330 --> 01:23:57,032
- Prolesolytizing?
1697
01:23:57,100 --> 01:23:59,468
- Projec...
(Julia laughing)
1698
01:24:02,571 --> 01:24:04,307
- Hello,
gluttons for punishment.
1699
01:24:04,373 --> 01:24:06,442
- Brain freezing up.
1700
01:24:10,513 --> 01:24:12,515
- Flames... side of my face.
1701
01:24:12,581 --> 01:24:14,483
- That's why
I'm not gonna have kids.
1702
01:24:14,550 --> 01:24:16,685
I just don't wanna watch
that much, like,
1703
01:24:16,752 --> 01:24:18,187
experimental improv theatre.
(laughter)
1704
01:24:18,254 --> 01:24:21,290
- And have Bogdanovich
on a bean bag,
1705
01:24:21,357 --> 01:24:24,059
talking about...
The Last Picture Show.
1706
01:24:24,127 --> 01:24:26,095
Who wouldn't love that?
1707
01:24:27,130 --> 01:24:28,531
- Ah!
1708
01:24:28,597 --> 01:24:30,733
- Can't even make a proper joke,
folks.
1709
01:24:30,799 --> 01:24:34,703
- They're making dinosaurs?!
Oh, my God, let's go look!
1710
01:24:34,770 --> 01:24:39,208
Why aren't we filming that?!
That seems way more exciting!
1711
01:24:39,275 --> 01:24:41,577
- Gently.
- I'm trying to watch the movie.
1712
01:24:41,644 --> 01:24:44,513
- If a tree falls in the forest,
does it make a sound?
1713
01:24:44,580 --> 01:24:46,849
And if a movie is not seen,
does it exist?
1714
01:24:46,915 --> 01:24:49,618
And if you say something
and your wife isn't there,
1715
01:24:49,685 --> 01:24:51,220
are you still wrong?
1716
01:24:51,287 --> 01:24:53,256
- I'm little Clu Gulager,
1717
01:24:53,322 --> 01:24:57,160
and I'm a regular
at the New Beverly Cinema.
1718
01:24:57,226 --> 01:24:59,262
- That's me.
1719
01:24:59,328 --> 01:25:01,197
Hot Dog Gulager.
1720
01:25:01,264 --> 01:25:02,698
- And click.
- Eee!
1721
01:25:02,765 --> 01:25:05,334
- I think she had me confused
with George Peppard.
1722
01:25:05,401 --> 01:25:08,404
- Sorry.
(laughter)
1723
01:25:08,471 --> 01:25:10,105
- Gotta do something
about that fly.
1724
01:25:10,173 --> 01:25:12,375
- Hi.
(indistinct chatter)
1725
01:25:13,676 --> 01:25:15,844
- Nice.
1726
01:25:16,645 --> 01:25:19,448
- Thank God no one was rolling.
- Mark.
1727
01:25:21,517 --> 01:25:24,753
- You don't see Martin Scorcese
blowing his nose, right?
1728
01:25:24,820 --> 01:25:27,856
- I'm sorry, keep rolling,
keep rolling, keep rolling.
1729
01:25:28,857 --> 01:25:30,859
Go, go, go, go!
1730
01:25:34,197 --> 01:25:36,332
- Huh?
1731
01:25:37,866 --> 01:25:40,135
- I can pop and lock,
1732
01:25:40,203 --> 01:25:42,505
and then whaaaaaat?
1733
01:25:42,571 --> 01:25:45,107
* Pausing for plane
pausing for plane *
1734
01:25:45,174 --> 01:25:49,077
* This is the musical number
in the movie **
1735
01:25:49,144 --> 01:25:51,380
- Helicopter are exciting
in their own way.
1736
01:25:51,447 --> 01:25:53,048
- Get in the choppa!
- Helicopter--
1737
01:25:53,115 --> 01:25:56,819
- Hold for the helicopter.
- I'm on a roll here, guys.
1738
01:25:56,885 --> 01:26:00,589
- Are we okay with the plane?
We need to pause for the plane?
1739
01:26:00,656 --> 01:26:02,791
Fuck you, plane!
1740
01:26:02,858 --> 01:26:04,159
(imitating chopper)
1741
01:26:04,227 --> 01:26:06,229
- It's just like
Hearts of Darkness.
1742
01:26:06,295 --> 01:26:07,930
(laughter)
1743
01:26:07,996 --> 01:26:11,133
- You can dub the planes in.
You should just put the planes.
1744
01:26:11,200 --> 01:26:12,935
If you have a plane
on your track,
1745
01:26:13,001 --> 01:26:15,938
just make sure you put a couple
more planes in different places
1746
01:26:16,004 --> 01:26:18,341
so people think
it's all part of the show.
1747
01:26:18,407 --> 01:26:19,808
- There you go.
- Free advice.
1748
01:26:19,875 --> 01:26:23,446
- You're right, in all fairness,
fuck me, guys, for sure.
1749
01:26:23,512 --> 01:26:27,182
(all making strange sounds)
1750
01:26:27,250 --> 01:26:29,718
(burping)
- Excuse me. Sorry.
1751
01:26:29,785 --> 01:26:31,554
(laughter)
1752
01:26:31,620 --> 01:26:32,755
Testing.
1753
01:26:32,821 --> 01:26:36,559
(burping)
- We burped at the same time.
1754
01:26:36,625 --> 01:26:38,361
(laughter)
1755
01:26:38,427 --> 01:26:40,195
(dumb laughter)
1756
01:26:40,263 --> 01:26:42,365
- I like that one.
That was good.
1757
01:26:42,431 --> 01:26:45,668
- And what's my relationship
with the New Bev?
1758
01:26:45,734 --> 01:26:46,802
Mostly sexual.
1759
01:26:46,869 --> 01:26:48,937
- That was it right there.
- That was good.
1760
01:26:49,004 --> 01:26:50,739
- I have nothing further to say.
1761
01:26:53,509 --> 01:26:56,345
- Will I watch this film?
I doubt it.
1762
01:26:56,412 --> 01:26:58,547
(old-time music)
1763
01:26:58,614 --> 01:27:01,650
- And now, folks,
it's time to say good night.
1764
01:27:01,717 --> 01:27:03,452
We sincerely appreciate
your patronage,
1765
01:27:03,519 --> 01:27:05,788
and hope we've succeeded
in bringing you
1766
01:27:05,854 --> 01:27:07,590
an enjoyable evening
of entertainment.
1767
01:27:07,656 --> 01:27:10,926
Please drive home carefully
and come back again soon.
1768
01:27:10,993 --> 01:27:12,561
Good night.
1769
01:27:12,628 --> 01:27:14,697
Subtitling: CNST, Montreal
145905
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