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These are the user uploaded subtitles that are being translated: 1 00:00:28,129 --> 00:00:30,864 - 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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