July 20, 2007
One of the hot topics on this site has always been the importance of maintaining a premium moviegoing experience. Even if that doesn’t always amount to superior sight, sound and seats, I think we’ll all agree that helpful employees is a big part of reaching that next level.
Talk of the quality of the average theater employee typically elicits scorn in these parts so I thought you’d appreciate this Allied News story about a kid truly earning his paycheck at his local theater. Christopher Payne carefully observed a possible movie pirate and used all means necessary to take him down. How about that?
For Marquee Cinemas employee Christopher Payne, being nicknamed the “pirate slayer” by co-workers has little to do with one-eyed, peg-legged treasure hunters and more to do with stopping what experts call “the biggest threat to the motion picture industry.”
Payne interrupted the illegal pirating of the movie “Pride” in May — a federal crime — helped recover the camcorder used, and also received a $500 reward along the way. Not bad for the 16-year-old Woodrow Wilson High School junior.
More than the billions of dollars lost by the growing trend, it’s the theater owners that suffer the most with this practice. While studios have other sources of revenue to tuck them in at night, theater owners have nothing if no one shows up.
July 13, 2007
With so many classic theaters in danger, just saving one is enough to be a hero. But what if you saved a bunch? What if you become a leader in preservation even when faced with a tough market and an age where movies are no longer the focal point they once were?
I’ve always admired the Chicago-area Classic Cinemas chain for their championing of such treasures as the Tivoli, Lake, and York Theatres and thought it was about time to see how they managed to put it all off. This morning, I got on the phone with the chain’s owner and founder, Willis Johnson, and he gave me some insights.
MZ: What got you into the theater business?
WJ: I owned the Tivoli building and one tenant happened to be a theater. Around June 1978, the person running the theater, Oscar Bortman, walked away from the lease. I needed the theater to operate in order to pay the rent so I started looking for someone to run it. Unfortunately, I wasn’t too happy with the prospective tenants until Ed Doherty came to me and told me he’d run the Tivoli but only if he could just do the theater side, but not the business end. That was fine by me because all I knew was the business end. We reopened in August 1978.
MZ: There are many classic theaters in the Chicago area, many long since gone sadly. What are some of your childhood memories of those theaters?
WJ: Surprisingly, movie theaters weren’t really a big part of my life growing up. I’m sure I went. I just don’t remember much of it. There was the Don Theater in Downers Grove. They showed westerns. I don’t think I went though.
MZ: When did you know that your business was on the right track?
WJ: We got a good reception from the start. All it took was seven months and then we went from red to black.
MZ: When did you start acquiring other theaters?
July 6, 2007
Opening up my e-mail yesterday, I came across a feature that Ross Melnick had contributed to on Forbes. It highlights some notable theaters still standing with almost all still doing first-run business. Don’t get too excited because most are the usual suspects.
When I go on trips, even if it’s just for the weekend, I always lookup the local theaters of note at my destination as well as on the way. With the next two months, a lot of us here in the Northern Hemisphere will be taking summer vacations and maybe coming near such a theater.
So I ask you, what one theater should have been included on this list? Forget about the fact that most of their choices were in major cities and that one was even a multiplex. What single-screen theater, anywhere in the world, is still showing first-run films and is worth the trip there to see it, even if you’re only remotely nearby (or worth a trip of its own if you’re really THAT HARDCORE! Oh yeah!)?
June 29, 2007
While writing comments on Cinema Sightlines the other day, I remembered a dreadful moviegoing experience only a year ago.
Unbeknownst to me, residing in Hollywood for almost 2 years at the time, I had been living in a bubble. Going out drinking at the local bars, eating at hole in the wall restaurants, visiting ArcLight and the Sunset 5 for an evening flick; I really never would bump into children. Surely on my evening jog to the gym down Sunset Boulevard, the families walking hand in hand were nowhere to be seen.
I was going to the El Capitan on opening night to see the film, “Cars,” when I got quite a rude awakening. As soon as I entered the auditorium, I was greeted with crying babies and toddlers throwing popcorn on the floor. The start of the movie didn’t make it any quieter and for the next two hours I heard as much soda slurping as I did Owen Wilson and Paul Newman. It felt like it had been ages since I’d even been inside a theater with someone not allowed to see R-rated picture, much less 1,000 people under the age of seven.
June 15, 2007
Whenever I tell people where I’m going on a Saturday night, they’re a bit shocked. Of all the odd places to go to the movies, nothing quite turns head like the neighborhood cemetary.
Here in Los Angeles, the Hollywood Forever Cemetary has a summer film series, Cinespia, where each Saturday a crowd of mostly 20’s/30’s piles in and watches a film projected onto the side of their mausoleum. Food and alcohol is welcome and they even have a DJ there to spin records before the film begins after dark. The schedule is always filled with classic/cult films sure to please the riled up audience.
When I went for the first time a year ago, I honestly believed I would be one of 50 signing up for this odd event. Man, was I wrong. After waiting in a seemingly neverending line on Santa Monica Boulevard for who knows how long, I realized people may not mind going to the movies in a cemetary. In fact, over 1000 people show up each week and it regularly sells out.
June 8, 2007
And here I thought I had Los Angeles covered. I’ve visited most of the surviving theaters and spent countless hours studying the ones lost but I’d never looked closely at one particular stretch of Main Street. I sure was surprised when someone sent me notice of the taking down of Frank Romero’s “Homage to the Downtown Movie Palaces” in the L.A. Downtown News.
I had to go see it in person. Now I don’t know much about art that adorns parking garages but I’m willing to bet this comes up at the top of the list. L.A. native Frank Romero has built a name for himself with an impressive portfolio spanning almost fifty years of paintings, ceramics and of course his large-scale murals. One of his most famous pieces of work was the “Going to the Olympics” mural that hung from the 101 in downtown Los Angeles.
In 1988, he completed the “Homage to the Downtown Movie Palaces” mural as a tribute to the theaters he grew up in on Broadway. It was about to reach its 20th Anniversary when the city announced a plan supported by the Community Redevelopment Agency to revitalize the street area in front of the parking structure on which it hangs. Part of the initiative includes taking down the mural and placing something more modern in its place.
While the plans are already in motion, I thought it would be worthwhile to get the artist’s take on the whole ordeal and maybe learn a bit more about the piece as well:
April 27, 2007
Each year around now, a slew of summer movie pieces pop up in magazines and newspapers. We’re suddenly bombarded with talk of what’s going to be this year’s indie breakout hit and whether the counter-programming of releasing romantic comedies the same weekend as blockbusters will work this year. While these and others certainly frequent the headlines, no subject is more superfluous than sequels.
We’re constantly reminded that this year, guess what, there’s a whole lotta sequels coming, as if the past year were any different. A collective groan is heard around the world as we realize that like other areas of commerce, the decision makers are banking on selling you the consumer the same thing, over and over again.
Wouldn’t it be great though if the studios really looked into what makes a movie successful? From my perspective, there are two key elements that the common moviegoer might enjoy in a film, the characters or the story. If the characters were great, then sure, it might work. Get a talented writer to throw them into a new situation and believe it or not, the sequel could be good. If the story is great however, how much are you really going to be invested in a different story with the same characters? Countless horrendous drama sequels certainly tell this tale.
April 20, 2007
When it comes to classic movie theaters still standing, we certainly don’t have an embarrassment of riches. Sadly when I think of all the articles I edit about opening/closings, we have a disproportionate number of the latter. When it comes to the lucky survivors though, they often make it to the next chapter of their lives through the implementation of a mixed-use policy. A lot of old movie palaces exist today because they can offer live theatre and concerts as well as film. Where does that leave the great theaters built during the sound age that don’t have stages?
Maybe it’s the fact that people can’t identify with the style(certainly a simpler departure from the deep themes of the theaters built before them) and maybe it’s the lack of usage possibilities, but the postwar single-screeners seem to have been rapidly depleting even more so than their predecessors. There obviously weren’t as many single screens built after the war, but still. With some of the most key examples of the 60’s and 70’s like the Indian Hills Theater, Cine Capri or the UA Cinema 150 already gone, one wonders if any will be around in another ten years.
With the closing of the Mann National last night, Los Angeles might still have plenty of great theaters to rest on but an irreplaceable treasure has been lost. The special time-warped feeling anyone with a pulse would get from walking in there is something even the most thoughtfully produced theater today could not replicate.
April 13, 2007
LOS ANGELES, CA — It’s not everyday you get to walk into one of downtown Los Angeles' movie palaces. Even rarer is it that you actually see a film there. With this year’s 21st annual Last Remaining Seats film series from the Los Angeles Conservancy, you’ll get both. Throw in some live entertainment and a chance to also see a film in two other grand settings and you have one event you can’t miss.
They’ll be another great lineup of theaters this year as usual. The first four evenings will visit the always popular Orpheum and Los Angeles Theatres. Then for the first time ever, the series will go to Hollywood’s John Anson Ford Amphitheatre. The location was never a movie theater, but a screen will be brought in for a special outdoor evening. Closing out the event, the series will visit the majestic Alex Theatre in Glendale.
Much thought went into creating the perfect evening each week this year so it’s more than just the movie. From a fashion show to live music to even a possible visit from one of the classic film’s stars, it will definitely be an unforgettable year for Last Remaining Seats. Vintage trailers and shorts will also precede some films.
April 6, 2007
I thought it was about time I get out of Los Angeles and see another city’s movie palaces upfront. I don’t get out of town too much these days so I had to make the most of my trip to New York last weekend. Scheduling came together perfectly though and I happened to be going into the Bronx Monday morning, a perfect time to stop by the newly renovated Paradise Theater.
The Paradise is one of the five Loew’s Wonder Theaters, grandiose palaces all built in 1929-1930 to serve as the chain’s New York flagship theaters. With the exception of the still shuttered Kings, the other three had been operating in some capacity for a while. Many believed the Paradise’s end could come tragically with so little life coming out of it for years. Then, in 2005, an aggressive renovation restored the treasure to its former glory.
With the Grand Concourse not being the entertainment hub of the Bronx it once was, it certainly has its hurdles. Once a perfect central location, the tight, traffic-consumed Bronx streets make it not the easiest place to visit nowadays. Throw on the fact that many outside the boroughs don’t even view the Bronx as a nightlife destination, instead thinking of New York City as only Manhattan, and you see what the theatre is up against.
Despite this and other factors, the Paradise has been slowly gaining ground. What at first was a spotty schedule of events now with new management is a constantly progressing lineup of shows, concerts and sporting events. And they’re not stopping there. They aim to make the Paradise on par with Radio City and with newly added luxuries like skyboxes and a full-service restaurant, an even more glamorous entertainment destination.
CT: The theatre was closed down for a while. Why now has it come back into action?
PAR: Only 2 years ago did we finally get the million of dollars in investments to restore the theatre to how it looked in 1929. It now looks better than it ever did.
CT: How has the public reaction been so far? Attendance?
PAR: People are really enjoying it. The Bronx Borough President has even stopped by. The latest concert sold out immediately and more are being booked all the time. We have more coming in the next few months than we had all of the first year. I can’t tell you how many people have come in and told me about their first dates they had here and stuff. When Beyonce shot her latest video on this stage, she couldn’t believe that this amazing theater was here. So many have discovered it only now.