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We installed a digital projector in house #2 yesterday (the smaller of the two big houses upstairs with balcony seating). We’ll be playing Hurt Locker in DLP until Thursday night and then New Moon will be in DLP starting Friday.
This Friday, we’ll be opening Where the Wild Things Are in our main house (450+ seats, 40ft screen, balcony seating), Couples Retreat in Theatre 2 (275+ seats and balcony seating) and The Box (in our largest auditorium on the main floor). Plus we’ll be keeping some really great movies including Black Dynamite, which is an absolute must see.
Grauman’s Chinese is not getting Avatar. Sherlock Holmes has been booked for the theatre for Christmas Day for quite a while now.
“America has rolled by like an army of steamrollers. It has been erased like a blackboard, rebuilt and erased again.”
Such is the fate of the Capitola Theatre.
My wife, who grew up in San Jose, has no idea of what the Capitola Theatre was or how much it meant to many of us who lived in Santa Cruz for any amount of time while the theatre was open. It matters not that I only remember some of the movies I saw at the theatre during my high school and young adult years. The theatre was a great place to enjoy a communal experience with friends and family, and could have continued to be in the hands of the right person. But the time for that to happen would have been in 1995, when Ms. Jacobs sold the theatre, not 2009.
Its time has passed, but my memories will remain for many a year, thanks in part to Cinema Treasures.
And if someone at CT can fix the name and link to the theatre’s website at the top of the page (it should be beverlycenter13 and not beverleycenter13), that’d be awesome. Thank you.
And Fame is opening at the Beverly Center tomorrow, along with Pandorum, Love Happens, I Hope They Serve Beer in Hell, Moon and From Mexico With Love.
First off… Mann does not use Fandango for showtimes and tickets. They use Movietickets, and on Movietickets, you could clearly see they are playing Pandorum. Also going to Mann’s website would have led you to their listing on Movietickets.
Second, the number listed on Fandango is not a recording line, and the only people who are going to be at the theatre at 7:06 AM are the janitors cleaning up the theatre. They don’t answer the phones, even if they are close enough to a phone to do so.
Third, the Chinese is booked through the rest of the year. And as much as I don’t like Guy Ritchie movies in general, I can’t wait to see Sherlock Holmes at the Chinese.
Also, the current total seating at the Beverly Center is 1653.
The Beverly Center 13 has its own web site at http://www.beverlycenter13.com
Until they knock the wall down that makes it a twin, I’ll pass.
One of the best operated and programmed arthouse cinemas in America. Kudos to Jim and his team, and here’s hoping to forty more years!
“I’ll go back to seeing films at the Chinese when they restore the original box office and get rid of the impersonators.”
Well, there’s nothing the Chinese people can do about the impersonators, as long as they are not on the property itself. They usually stick to the public sidewalk, making it impossible for the Chinese to do anything about it.
As for the original box office… I would suggest Dublinboyo take a look at this (http://thegreatgeekmanual.com/images/geekhistory/may/sid-graumans-chinese-theatre.jpg) and this (http://helios.library.ca.gov/soca/mott-merge/1992-1947.jpg), two pictures of the Chinese forecourt from the late 1920s. Hopefully, Dublinboyo will notice there is no box office in the forecourt. That’s because the forecourt box office was added sometime in the 1940s, nearly 20 years after the theatre opened. The forecourt today is as close to the original forecourt setup as possible.
Don’t always believe everything you read in the newspaper or online.
It’s always fun to see the speculation before the truth comes out.
Does it matter to the author of the article that Chariots of Fire was not produced by any Hollywood studio, but wholly financed and produced by British companies Enigma Productions (David Puttnam), Allied Stars Ltd. and Goldcrest Films International? Or that Local Hero was also not produced by any Hollywood studio, but wholly financed and produced by British companies Enigma Productions (again!), Celandine Films and Goldcrest Films International (again!)?
To say Hollywood wouldn’t make these films now is disingenuous, as they didn’t make them in the first place.
It’s a horribly written article. The writer was apparently too busy talking to anyone else to get even a “no comment” from someone directly involved in the topic they were writing about, and does nothing to put any kind of business spin on the proceedings. Sure, having the Village closed for even a week would be sad, but no exhibitor has ever willingly walked away from a profitable location.
If you supposed Los Angeles movie theatre fans really wanted to keep the Village and the Bruin (and the Crest for that matter) open, you’d make regular and consistent efforts to seeing movies at these theatres. And if Westwood Village wanted to help keep them open, they’d build bigger and better parking structures and let the theatres offer affordable validated parking. Otherwise, Westwood will become like Beverly Hills, with only one functional commercial movie theatre left, and one that doesn’t really inspire people to go to the movies.
While it was shot in Europe with a mostly British cast and crew, The Lion in Winter was produced by the American company Avco Embassy. The Avco Embassy library has changed hands many times over the decades, and the rights to the film are currently owned not by an American company or a British company but in fact are owned by the French entertainment conglomerate StudioCanal.
But to get back to the topic at hand…
It will take years, and maybe even decades, for film to disappear from the majority of commercial, first-run movie theatres. As someone who works in exhibition, I see first hand every day I work how little the average filmgoer cares about digital projection or even digital 3D. Over the past couple months, we have played 2D and 3D versions of Up, Ice Age 3 and G-Force at my theatre, and the attendance between the 2D and 3D is about evenly split. In fact, quite a number of people do not want to pay the added surcharge for 3D.
My theatre has 14 screens between two locations a block apart from each other. Of those 14 screens, only one is equipped with a digital projector. If this conversation had happened two months ago, I would have said three had digital projectors, but we pulled two of them out due to a dispute with a provider (I still don’t understand quite what happened) and there are no plans to put any new digital projectors in somewhere down the line. There is no rush to add more digital projectors, because the public has shown little interest in it. 35mm is fine for most people, and its not due to some aesthetic expectations. Most people just don’t see the difference.
Granted, I spent less than two years with Cineplex, from July 1991 to June 1993, but I’d like to correct some of Ms. Rhule’s errors above. The Loews/Cineplex merger happened in 1998, not 1991. In 1992, Cineplex did threaten to lock out the union projectionists, and many of the Cineplex assistant and general managers were sent to the Marina Marketplace to train as projectionists should the lockout occur. I had run my own booths during my four years at United Artists (1986-1990), so I ended up helping out with the teaching, but the lockout thankfully never materialized. Of all the years I have worked in exhibition (23 years and counting), the two years at Cineplex were the only time I have ever had union projectionists, and I was damn glad to have them.
As for the theatre itself, it was a minor version of the Universal City complex, which had opened the year earlier. A nice theatre, overall, and one I continued to enjoy attending even after I left Cineplex. I love that it has those huge windows in the lobby to let in natural light… although I am certain they can be a distraction to the concessionists who have to work near them when the sun is setting. I haven’t been there in a good 14 or 15 years, but it looks like it held up well.
The author of this post says “Without Blair Witch, there wouldn’t be a ‘Cloverfield.’” Does the author have any proof to this, or is this just more fanboy conjecture?
From everything I have read, seen and heard, Cloverfield’s development had no influence from Blair Witch, in inspiration or anything else. The basic concept of the movie came from a visit to a toy store in Japan when J.J. Abrams was promoting MI3, and he saw all the Godzilla toys in the store. He thought it would be great if America had its own Godzilla-like monster. Other movies that helped inspire Cloverfield include Escape from New York (the film’s poster shows the head of the Statue of Liberty laying in the middle of a Manhattan street), Them! and The Beast from 20,000 Fathoms. And the film’s handheld camera style is not influenced by Blair Witch but from the millions of user-submitted videos on sites like YouTube. Unless, of course, the author is subliminally suggesting we wouldn’t have YouTube if it weren’t for Blair Witch. :)
OR… it could just be that people weren’t that excited about this one movie being in 3D. I manage a theatre with Digital 3D, and I still get people coming up asking for Up in 3D, even though we haven’t had it in 3D for more than two weeks now. And even if G-Force doesn’t do all that well it won’t prove any cooling trend. Now, if Final Destination and Toy Story 1 & 2 and The Nightmare Before Christmas and Avatar all don’t do all that well in 3D, then we can say audiences are starting to cool on 3D. But one film does not a trend make.
This theatre was built by Mann Theatres and opened in 1981. I saw Raiders of the Lost Ark there for the first time shortly after it opened.
In all the years I went to the movies at the 41st Avenue Playhouse (starting with Blade Runner in 1982), to the years I worked there as an assistant manager (1986-1989) to the last time I visited there a month or so ago, it always had three screens.
In the #1 house during my years there, there was still a Sensurround speaker behind the screen. It might still be there, for all I know. It was no longer functional by then, and I never got a straight answer as to why it was still there long after the rest of the Sensurround system had been pulled.
Good times. Good memories. And a few stories I still can’t talk about publicly.
Godspeed, Gary Culver. It was a pleasure knowing you, even if I barely knew you.
Crazy that Grauman’s Chinese Theatre in not on the list. I love the Cinerama Dome and moved into the area I live in so I can walk to both, but I’d rather see a film at the Chinese before I would see it at the Dome.
The Beverly Center was also where Universal and DTS quietly tested the latter’s disc-based digital sound system on several titles between the fall of 1992 and the spring of 1993. If you saw Mr. Baseball, The Public Eye, CB4, Mad Dog and Glory, Dragon: The Bruce Lee Story or several other Universal releases that played at the Beverly Center during this time, you got to experience DTS before it went public with Jurassic Park.
Side note: That first DTS test unit from 1992 is still in use at the Beverly Center to this day.