IFC Center

This theater is slated to be transformed into the IFC Film Center, featuring three screens, a restaurant and more all geared to the Independent Feature Films. It will operated by the Independent Film Channel, which is owned by Cablevision -- the current owner of Clearview Cinemas, which also is part of Cablevision.

I'm not sure I'm thinking of the right theater (I'm fairly confident), but I believe this is the first theater in which I was able to purchase a fresh cup of coffee from the small concession stand that was situated almost as soon as you walked through the outer doors. Coffee maybe fairly commonplace in NYC art houses, but my memory of this theater's concessions goes back at least 20 years.

The 592-seat Waverly was designed by Harrison Wiseman for Luxor Bleecker Amusement Corp., and first opened in 1937 with late-run double features. The original structure was an early 19th century stained glass window factory, which was totally gutted for the theatre. As the building was only 50 feet wide by 87 feet deep, Wiseman used a stadium type of construction in order to have space for the restrooms, lobby and cashier's booth. The auditorium was simply decorated with horizontally-striped wallpaper. The ceiling had no lighting fixtures, but a broad multi-colored stripe ran down the center from above the projection booth to the top of the proscenium...The marquee shown in the color photo is a modernized version of the original one. The nearly square portion at the front was all flashing lights and neon, with a giant W in the center. For the Waverly's twinning, the boxoffice was moved to the right of the four entrance doors. It had previously been in the middle, with two doors on each side.

Has the Waverly re-opened yet? I have not been to that part of town in a few months.

The Waverly Theatre looks like its never going to reopen. Its been sitting there all boarded up and parts of the marquee have fallen off. It been over two years.

The Waverly Theatre is located at 325 Sixth Ave. and it seated 580 people when it was a single screen theatre.

Thats a shame, it is another village landmark. I spent many days there when I was in college seeing some great films.

Cablevision/Clearview has deep financial problems. I doubt that they'll ever follow through with this project, which would cost in the multi-millions. Ironically, the original Waverly cost $60,000 to construct!

I guess the prior twin is gone and the place might be just a shell inside.

The Waverly is indeed a shell inside, Robert - or least it was when I last peeked through its boarded-up entrance in late November. However, I read a reference in an article published sometime last month (wish I could remember where) to the IFC Center opening at the site this past spring. That, unless the construction crew hired for the renovation worked 14-hour days starting this past December, seems like a long shot, but perhaps we'll finally see films flickering at the Waverly site sometime this summer - or, heaven forbid, a new Chase branch or something similar within the next 6-12 months.

My second comment is a mild revision of the first one - the reference in the first to the IFC Center opening this past spring was changed (at least within the context of the point it made reference to) this upcoming spring.

Seating capacity for the Waverly Theatre was 592.

Slowly but surely, renovation work on the former Waverly space for its conversion into the IFC Center is proceeding, as per what I saw when I peeked in through the boarded-up entranceway last week. (I'm guessing hassles between the construction company hired to do the job, Cablevision, and IFC or perhaps Cablevision's overall cash crunch might be the leading cause for the delay - perhaps Clearview Cinemas employee Joe Masher, who has to date posted a handful of messages on this site, can give us the skinny.)

You need to update the address on the Waverly Theatre, to 525 Sixth Avenue.

I'm writing a news article on the block of 6th Ave where the Waverly is. I'd love to talk to anyone who has seen the block change and attended the Waverly throughout, and who can talk about the interactions between the Waverly and the block around it over the years. Please contact me either here or at: almindlin at hotmail.com (replace the "at" with @).

Best,

Alex

One person you might want to consider contacting, Alex, is Larry Alaimo. According to an article about the Waverly which ran in the Times last summer, Larry worked as a manager from the early-1980s until the theatre closed under the aegis of Clearview Cinemas in September of 2001. At the time the piece - and de-facto profile of Larry - ran, he was working at another Clearview location uptown which I suspect was the Chelsea West. My advice would be to stop by the theatre and see if someone on staff could put you in touch with Larry (or perhaps you'd have the good fortune of spotting Larry himself; he's a bespectacled gentleman in his 50s with salt-and-pepper hair) or contact the corporate headquarters of Clearview Cinemas at 908.918.2000 and find out what, if anything, they can do to help.

There seems to be scafolding up around the Waverly. Anybody know what work is being done there?

Isn't the Independent Film Channel turning this into a triplex scheduled to open later this year?

The scaffolding, I'm guessing - and I won't have a chance to walk past the Waverly until this weekend to verify this - has been constructed in order to facilitate, at least in part, the removal of the marquee. Part of the architectural plans for the IFC Center (which will be the occupant of the space) include installing one of the two 'Waverly' marquee signages within the lobby, visible to passers-by.

Alex, I lived next to the an erly from 1990 to 1996 while working for Cineplex Odeon in an apartment owned by them. Larry would most definitely be the best source (if you can find him) as he worked there for years before and after was the site caretaker for Clearview the last time I saw him, but I can help if you have any questions. The Waverly is the CD cover of the 2001 FUN LOVING CRIMINALS CD and I often run into the marquee shots in London where it is often used in ads for some odd reason!!!

Does anybody know the status of the Waverly? I heard IFC had purchased the theater. Walter Rede ruined the theater when they twined it.

This still looks like not much has been done from the outside, but it's hard to really tell with all the scafolding.

The IFC Center is scheduled to open in either late 2004 or early 2005. It will contain three screens and be a center for independent film exhibition.

I hope they will put the theater back to the original way it was before Walter Reade ruined it by twinning it. Has anybody heard any details on the inside?

With the Waverly closed, there are what, two cinemas serving the West Village now? There's the Quad Cinema on 13th St., and Film Forum on Houston. This is a pretty sad state of affairs for the West Village. WHen I first moved to Manhattan, we had the Waverly, the Art Greenwich, the Eighth St. Playhouse, and the UA Movieworld on 8th St. also. There was also the Thalia South. The only other cinemas between Houston and 14th Streets are east of Broadway--the UA theatre at Union Square, the Loews Village VII, and the Village East Cinemas. The Landmark Sunshine is on the south side of Houston.

The last time I went to the waverly was to see Six Degrees of Separtion, and the fun thing was that a scene in the movie took place outside the waverly, the audience chuckled.

I remeber seeing the Holy Mountain by Alexandro Jodoworsky at the Waverly. It's been many years since I was in New York and seeing the Waverly all boarded up like that was a disappointment.I guess nothing Lasts forever.

Although it seems to be at a snails pace, it looks like work is being done when I drive by.

From the January 25th New York Times...

Past Will Flicker in Village Theater After Renovation
By DAVID W. DUNLAP

here are often second acts in the lives of New York buildings. Sometimes third acts. At a timber-peaked brick box in Greenwich Village - the Waverly Theater to generations of moviegoers - the sixth act is about to begin.

In its newest incarnation, the 174-year-old building at 325 Avenue of the Americas will house the IFC Center, a three-theater complex. Scheduled to open in late spring, the center is meant to embody IFC Companies, a filmmaking and exhibition unit of Cablevision that includes the Independent Film Channel. Jonathan Sehring, the president of IFC Entertainment, said the complex would offer a comfortable and up-to-date place to watch movies and even to dine.

It will also offer audiences a glimpse into the distant past.

Bogdanow Partners Architects, designers of the $8 million renovation, chose to leave the original brick buttresses and roof rafters exposed in the main auditorium. And, as in the Waverly days, the old gabled roof will be visible along West Third Street, even though the facade will be newly framed in illuminated steel mesh panels.

"My view of architectural history is that it doesn't stop," said the architect, Larry Bogdanow.

Certainly not at 325 Avenue of the Americas.

Around 1831, the Third Universalist Society built a church on the site. It was enlarged from 1843 to 1844 by St. Jude's Episcopal Free Church into a sanctuary that could hold nearly 800 worshipers. St. Jude's successor, St. John's in the Village, at 224 Waverly Place, still keeps the records of the Sixth Avenue church, which dissolved in 1853.

Poignantly, but with great cursive flourishes, these ledger books chronicle the shrinking of the parish. Mrs. Parcells of 18 Greenwich Avenue: "Disappears the second year; an Adventist." Mrs. E. Wilson, widow, of 9 Sullivan Street: "Removed to the country." ("Probably the Bronx," said the Rev. Lloyd E. Prator, rector of St. John's.) James McAdam of 109 Fourth Street: "Not right in the head. Belongs to St. Mathews Church."

The Union Reformed Church, which next occupied the building, undertook a rehabilitation in 1872 that left the place "beautifully decorated and upholstered," The New York Times reported.

J. & R. Lamb Studios, founded in 1857, was next to arrive. Its 1893 alteration turned the facade into a billboard for the firm's offerings, but the church's Gothic style windows and gabled roof were left intact.

"It was a fabulous place - everywhere there was stained glass," said Barea Lamb Seeley, whose father, Karl B. Lamb, was president of J. & R. Lamb. The place was impressive and welcoming enough to have persuaded Jane Lathrop Stanford, a founder of Stanford University, to offer Lamb an enormous commission: the windows for the university's Memorial Church, begun in 1899.

The Lambs may have installed the most unusual remaining interior feature at 325 Avenue of the Americas: a 10-foot circular opening in the second-story ceiling. There would have been room enough behind it for electric lights. Perhaps this was the frame for a stained-glass dome.

The Lamb studios moved in 1934 to Tenafly, N.J. (They are now in Clifton, N.J.) The building was remodeled into the Waverly by the architect Harrison Wiseman, who gave it an Art Deco flair but could not shake that gabled rooftop.

The theater opened in 1937 and was best known for midnight showings of "The Rocky Horror Picture Show," beginning in 1976. It made it into the lyrics of "Frank Mills" in the musical "Hair" and was the setting of a scene in the movie "Six Degrees of Separation."

At the time of its closing in October 2001, the Waverly was run by Clearview Cinemas, a corporate sibling of IFC. For a while, the building looked abandoned. The lobby was boarded up and the marquee explained only that it was "Clo ed for Reno ation."

Mr. Sehring ascribed the long delay in part to the uncertainty after 9/11. Plans were revised. Two general contractors came and went. And there were more structural problems than expected in converting an adjacent building into a 60-seat theater and a cafe, which will be called the Waverly.

The main theater is to have 220 seats and the upstairs theater 110. Overall, that is a loss of 120 seats from the Waverly era. On the other hand, Mr. Sehring said, "I don't think the community would have welcomed a twelve-plex."

It remains to be seen whether it will welcome a new name. With good-natured resignation, John Vanco, the vice president and general manager of the IFC Center, predicted: "There will be people for years who'll say, 'We're taking the IND to the Waverly.' There's nothing we can do about that."

Who would want to call a theater "the IFC Center"? Six syllables make for so much wasted breath. For me, "the IND Eighth-Avenue to Jamaica" is so much more descriptive and accurate than "E." With subways, I'd expend any number of syllables in order to know exactly where I'm going.

Why cant they call it the IFC Waverly?

Today's Times article, on page B3, also has several photographs of the theater's interior and exterior.

"Why cant they call it the IFC Waverly"

It's probably $$$ and recognition. The current (and reprehensible) trend of naming theaters (and other arenas) after corporate sponsers is what is behind this. The Waverly is owned by Cablevision which also owns the Independent Film Channel (IFC). I assume they want to draw recognition to IFC by renaming this theater as well.

Thankfully, some institutions resist the name change no matter what. Know anyone who calls The Wintergarden, The Cadillac Wintergarden? I think, to New Yorkers, the Waverly will always BE the Waverly.

Corporate re-branding is a hit-or-miss proposition. Here in New York, most people I know of would refer to the Hilton Theatre (formerly the Ford Center for the Performing Arts) on 42nd Street as "that theatre in Times Square where '42nd Street' played", as opposed to its big-brand moniker; same for Continental Airlines Arena in New Jersey - it's far more commonly known as "the Meadowlands" or "that arena over at the Meadowlands", than whatever name the building has formally been reappointed with. I think the same holds true for other similar buildings, arenas, theatres, and performance art spaces around the country - people in general know of them for their function or geographical location far more than by a corporatized name. For me, as with CConnolly, the Waverly will always BE the Waverly; I'll never consider it anything but.

the continental airlines arena was formerly called and shall always be referred to this former jerseyite as brendan byrne arena.

Spoke with a construction worker at the site of the former (or present and always, depending on your perspective) Waverly this past Friday, who informed me he expects the IFC Center within the space to be opening for business sometime in May or June, July at the latest. (I wasn't able to snag a tour - believe me, I tried - but, from what I saw, the project seems to be in its near-final phases.)

It is a crime what happened to the Waverly. The Waverly was the first place I caught a movie in NYC when I moved here in '82. It was "Diner." In the eighties I remember this theatre having a real "personality" and was the place to see independent films long before the Angelika opened and became the premier place to see indie films downtown. I assume this film was run by Cineplex Odeon and it completely lost its personality in the 1990s, running mainstream fare.

Update on the IFC Center/Waverly:
- The new marquee is up and is very Waverly-esque in design (without the Waverly neon signage, but a cool homage nonetheless.
- The exterior scaffolding is gone and the new outside design is remarkable; it's cool, sleek, and includes plenty of black and steel, creating (for me, at least) plenty of excitement and anticipation of how the interior is shaping up.

I saw 'Blue Velvet' at The Waverly back in 1986 when it was still a single screen theater. A few years later I moved within spitting distance of it; the marquee totally visible from my front window. It was twinned somewhere around 1989 or shortly thereafter. I remember seeing 'Sex Lies & Videotape' in the second upstairs theater which was formerly the balcony. It was such a great theater and I was dissapointed that it had to be twinned. Some other films I remember seeing there in the main theater were 'My Own Private Idaho', 'Misery', and 'Silence of the Lambs'. I just walked by the other day and saw the IFC marquee. Good to see that it is going to continue as a film venue, because when the demoliton was going on I had no idea what they were turning it into. I hope IFC uses this opportunity at the Waverly for some much needed film revival in NYC in addition to the independent stuff they'll be showing.

I lived in the West Village from '82 to '87 and the Waverly and the Greenwich were my clubhouses. Sad to see both close, but I'm sure I'll be making the trek to the new IFC often. Hard to believe other than the Film Forum, which isn't technically in Greenwich Village (it is on the south or downtown side of Houston Street and the Quad there isn't movie theatre in the West Village.

When I lived in the West Village in the 1980s there was a parking lot on the east side of Sixth Avenue. I am doing this by memory but the block was either between Sixth and Seventh Streets or Fifth and Sixth Streets and Loew's I believe wanted to put up a multi-plex on the site. Community opposition killed the plan. It became retail stores on the ground floor (Urban Outfitters, Radio Shack et al) and apartments above.

A recent glimpse of the exterior of the soon-to-open (sometime within the next 2-3 weeks, I've heard through the grapevine) IFC Center: http://www.curbed.com/archives/2005/04/14/waverly_twins_digital_reawakening_due.php

I have the greatest memories of the Waverly and I was totally bummed/sad/upset/pissed when it closed. Seeing movies there and at the Strand uptown was what made me become a film student (oh so many years ago). That and no cable, just excellent local stations showing nothing but movies, movies, movies, but as usual I digress.

I'm actually quite excited and anxiously await its grand opening. Being a West Villager I don't mind trekking East, but it will be a pleasure to once again have a neighborhood "indie" theater I can call my own. In fact, I don't care what's playing. I've already decided I will not be going to work that day and I won't be sick. Maybe they'll even have a cool promotional give away. Could they out do Sunshine Cinema?

In conclusion I will only add that I hope they pop their own popcorn instead of buying huge garbage bags filled with the pre-poppped crap. But who am I kidding? I've been sneaking food into theaters all my life! See you at the movies!

I walked by the other day and the security told me they are set to open in June.

They are set to open son. I am curious to see what they book here. Will it be stuff that doesn't play elsewhere or will it be stuff duplicated in other theatres?

Updated information about programming plans and a discussion of construction are available in my article in the June 2005 issue of Film Journal International: http://www.filmjournal.com/filmjournal/features/article_display.jsp?vnu_content_id=1000922059

Fantastic article, Andreas. It answers every question I had about the Waverly/IFC Center and has me even more excited for its opening! Thank you!!! (For the record, if the image on the IFC Center web site - http://www.ifccenter.com - is accurate, the opening attractions will be 'Me and You and Everyone We Know', 'The Ballad of Jack and Rose', and an Errol Morris retrospective... can't wait... :-)

Surprised, I am, to learn that the architect of record on the Waverly Theater job is a New York City outfit. Why am I surprised? The perforated galvanized plank stuck on the 6th Avenue elevation looks more like Los Angeles than Manhattan.

The façade, including the orange IFC logo laid on a grayish field, is wildly inappropriate to the context and site. Maybe IFC instructed Bogdanow to go for a look that Long Island based IFC imagined would attract inexperienced, unsophisticated or youthful eyes. The cladding and lighting fixtures stuck on the theatre building give it the look of an equipment shack adjacent to runways at an airport. Maybe IFC doesn’t have ability or inspiration to do anything more appropriate or attractive.

I’m searching for a reason that IFC would make such a faux pas on the look of the building, searching for a mitigating reason for the woeful personality that has so far met our eager eyes.

It is a truism that most people have heavily flawed notions about what happened/happens “down in the Village” and the notions are often responsible for both baffling personal agenda observed in actions of day trippers and corporate marketing plans unfurled in the ‘hood.

Many Long Island residents have ideas about “the Village” formed when they were youthful travelers “into the city” on weekends, on a mission to buy a bong or spend a racy night drinking beer and eating peanuts on Bleecker Street.

Work completed at the Waverly shows it not likely that IFC has any idea about the contextual elements of the neighborhood surrounding their new property at 325 Sixth Avenue.

OK, the building is ugly. We can live with the architectural mistake. However, I'm fearful the archtectural mistake foretells a deep flaw in the programming concept.

I’d like to submit a plea: I believe that IFC business at 325 Sixth Avenue will be better if the company programs the theater as if it is located in a way-upscale neighborhood on Long Island, the locale of IFC’s home office and likely the area where IFC management lives. Feature films, feature films, feature films. After those first choices, from time to time: revivals of classics and a well received documentary from time to time.

Just because the subject block on Sixth Avenue is chok-a-blok with storefront tattoo parlors and sex aid shops doesn’t mean that the people who come to town looking for the goods and services sold in the storefronts are customers for the IFC movie house.

Customers for the movie house are local residents (about 100K people) none of whom pay less than $30K a year residential rent, many of whom live in apartments with prices somewhat north of $1.5mn. The Walter Reade organization succeeded on the site because the company comprises denizens of our city, and the company programmed the theatre appropriately. Cineplex Odeon, a Canadian outfit, failed because programming was wildly inappropriate for the neighborhood. Who knows why, maybe the theater was booked from Toronto.

Its too much to ask IFC to program with feature films, though I surely hope IFC/Bogdanow will install a rendition of comfortable chairs as are used at present-day AMC or Loews theatres, rather that rock hard seats set closer than minimum pitch as at Angelika and Film Forum and Sunshine. Why must every “art house” experience include the two iconic features …. torturous seats and overpriced stale muffins?

A few remarks to qualify the paragraphs following: I live directly next door to 325 Sixth Avenue. I attend at least 4 movies every week. Sidney Lumet is in my rolodex:

If asked for my opinion, I would champion a 12 or 25 or more screen movie house for the site at 325 Sixth Avenue long before I’d opt for a theatre cast in the “art house” genre, particularly one operated by a company known as Independent Film Channel

In today’s movie marketplace, “Independent” in the name IFC is best seen as a marketing term designed to broadcast the pitchful idea that the company exhibits movies made by outsiders, iconoclasts and rebels.

The term is just another brand of hogwash. Buy it at your own risk. There is no more studio system so every film is made by outsiders. In fact, IFC says they’re in the film financing business.

If IFC wishes to trumpet the fact that they exhibit “independent” movies, they should also, full disclosure please, post samples of relevant sections of their financing agreements offered to movie makers. The sections that stipulate what is IFC’s control over the product released for exhibition. Independent? Yesirree, a filmmaker can independently decide not to take the financing if he doesn’t want to complete the film as the lender wants it done. Fat chance.

“Channel” in IFC the name says television.

Television is an inadequate (OK, terrible) exhibition platform for film. Both dramatic action and production values in “Film” are conceived and executed for exhibition with a projector and screen, in the optimum size available in a largish auditorium.

Video is conceived, designed and executed in a thoroughly different format and platform. Different size, different shape, different realization process. Electric, not emulsion rendition.

Video dramatic action is conceived, blocked and framed for a small screen. It is absolutely possible to conceive and realize top quality moving image narratives conceived and framed for a 30” screen. It is best to view them in the format and size in which they were produced, a television screen.

Film? Watch it in a theater. Video? Watch it on television.

IFC, the name, is an oxymoron loaded with troubling portent.

Moreover, IFC management has given the building at 325 Sixth Avenue a deconstructed look that suggests the business conducted inside will appeal to eyeballs and thought processes more concerned with a seat in a hip-sounding demographic slice than a seat in a theatre that screens a textured cross section of feature films.

Indeed, the Cornelia Street elevation – the rear of the building - of the property is the most attractive and expressive, far more so than the Sixth Avenue side. Portent of a café with outdoor seating is far more exciting and powerful than any element of the business plan and property personality that has so far been revealed to us eager fans of moving pictures. IFC will make a great stroke if the company serves food and shows movies in a cafe setting in the incipient garden at the Cornelia Street elevation.

IFC has spent a lot of money on the job and we truly appreciate that the company has put their money where their mouth is. We hope the company will not make us pay for mistakes made, though we know – it’s been well demonstrated - there's a market for overpriced stale muffins. Please do not price the popcorn to rapaciously lighten our our wallet.

Please: exhibit a broad cross section of movies. Please: minimize the offering of experimental work sold at full price tickets.

This 200 plus movies a year guy really, REALLY wants a great movie house at 325 Sixth Avenue, literally, next door to my home. I don’t have high hopes. I surely hope IFC management proves wrong my dire predictions.

Jack

I passed by here this morning, the marquee is so horrible looking. It's all plastic and so cheap looking.

the facade is goss but im glad theres something going on there aside from the obnoxious scum tha now hang out on that section of 6th

I drove by again yesterday I think it opens June17, but I can't remember the title they had on the marquee.

It's a shame they didn't return ther theater to it's original auditorium. The twinning done by Walter Reade was terrible.The screen was so close to the seats it was terrible to see anything in theater 2 upstairs.

As for the people on the sidewalk in the block we surely can’t blame them for their presence. There's many daytripper magnets in the immediate hood. One of the most powerful pulls is the basketball court directly across the street. Any serious effort to drag the neighborhood to another profile needs to get rid of the basketball court. Nobody from CB2 has played ball in that court, EVER. The court does not serve residents. It serves people who live off Manhattan island and the companies who want to sell them cell phones and sports clothing. A park would be nice in place of the basketball and handball courts.

Then, as more daytripper magnets, there’s the stinky bars on 3rd Street and the smelly bars on Bleecker Street and the foetid falafel stands on McDougal Street. Face facts, it ain’t a tone-y neighborhood and a few more pierced and tattooed and supersize-clothed kids from the boros and far flung Long Island and New Jersey locales aren’t likely to shove either occupants of the sidewalk or the neighborhood any closer to the downbound train.

The area has long been a destination for travelers who think that hanging in the neighborhood confers membership in a privileged club and the idea, however cracked, was run up the proverbial flagpole by the first white people on the island. The neighborhood was popularized by people who took the one hour sail north from their homes and parents located on the southern tip of the island. Why? Youthful loose women and available randy men were reported to be strolling, ready for a date, among the sycamores. The more experience one gets watching things change the more they look the same.

As for the theater, a spy tells me the new operator has restored the former auditorium to it’s pre-twin configuration. I surely hope IFC/Bogdanow redid the seating pitch. My pal has applied for a job as an employee at the new business and if hes hired I think I will apply for the popcorn cooker operator’s job. Stay tuned.

Jack

It's ironic, look at the features of this cinema, the meetings halls and all, its simular to that of Redford's Sundance Cinema vision (even though while working with General Cinema he forced them to build new locations instead of converting old ones). I wonder if Clearview's art cinemas will slowly become IFC Centers, I hope. The Clairige in Montclair is diffinatly in need of some renovations.

Did Redford build the Sundance Cinema vision? If so, what towns?

It never happened, General Cinema went bankrupt before the expensive cinemas could be finished. The two that were in construction became a Regal Cinemas (in Portland, OR) and The Bridge: Cinema de Lux in Philadelphia (which is a really nice theatre, its in the Cinema Tressures book). But his ideas were out there: in Portland it was roomered that he wanted to construct a cinema with a retractable room.

The goal was to make each Sundance Cinema a Sundance extention, with lecture halls and all. The IFC Center seems to make the same claim although I don't think they planned to take it outside the New York market as Cablevision seems to be all about the greater New York area.

Wonderful dream though I can't imagine there's a market for such an installation and it feels like a vanity effort and waste of resources to spend even develpment money on such an idea. I guess General Cinema's filing is a defacto comment. Whats a "retractrable room?" Is Redford still smoking that stuff?

Seems like the market is terminally wedded to their television experience and will not go to a theater frewquently enough to enable the operation of anything but a feature film exhibition house.

Yeah but look, Redford's about to try it again. I hope it works out better this time.

retractable roof, typo, sorry. And, too natrual fiber seats. If you look on the page that Ron Newman posted theres sure to be articles about how "brillent" his ideas were.

Atleast The Bridge in Phildephia is a great theatre, despite not having the Sundance name, indie films, the confrence center, the jazz bar, the natrual fiber seats (that weren't fire resistant!) and the retractable roof.

I stopped by today and took several exterior photos. The facade has been 'modernised' by having steel skin attached to it. The marquee now gives a re-opening date of 17th June 2005.

The new IFC Center continues to get ink, including some from across the pond (courtesy of The Guardian newspaper)...

Naomi Watts Celebrates IFC Center Opening

Friday June 10, 2005 5:46 PM

NEW YORK (AP) - Naomi Watts, along with Harvey Weinstein, John Sayles, Alfonso Cuaron and 400 movie-lovers, celebrated the grand opening of the Independent Film Channel's new independent cinema hub.

Watts, 36, was nominated for an Oscar for her role in 2003's ``21 Grams.'' Her screen credits also include ``Mulholland Dr.,'' ``The Ring'' and the upcoming ``King Kong,'' directed by Peter Jackson and also starring Jack Black and Adrien Brody.

Located in the former Waverly Theater and an adjacent building in Greenwich Village, the IFC Center houses three theaters, two editing suites and a restaurant and bar. The 10,140-square-foot space combines painted exposed brick, stadium-style seating, tinted concrete floors and the Waverly's original marquee, which has been restored.

The grand opening was held Thursday night.

IFC hopes the center will serve as a focal point for the indie film community.

The monthly TV series on new independent films, ``At the Angelika,'' will now be titled, ``At the IFC Center'' and will be hosted at the center, which opens to the public June 17 with screenings of ``Me and You and Everyone We Know.''

Is it time to rename this theatre in the CinemaTreasures database?

I agree with you, Mr. Newman. Lets consign "Waverly" to the dustbin of history. No doubt many will wish to use the name but I aint one of them. As long as we have Larry Alaimo and terrific, well priced popcorn, we'll be happy with the future.

Now: howbout the outdoor screenings in Cornelia Street yard?

I say stick with Waverly for a little while longer.

.... and IFC, apparently, agrees with you. "Waverly" is included in the name of the bar formerly known as "Whiteys" that IFC has annexed and is now a feature of the gussied-up theater. I salute managmement's perspicacity for the installation of the bar though I opine its gonna be somewhat more than an uphill battle.

According to www tidbits unearthed "Waverly" should summon the image of a tree lined meadow in Merry Olde England. Hmmmmmm .... I suppose the pierced and tatooed daytrippers that populate the block *COULD* think they are visiting a tree lined meadow. The block does sorta feel that way to me.

We'll ask Larry Alaimo, who knows more about the Waverly and the block than anyone.

The IFC Center was the subject of an ad on page 24 of the Arts & Leisure section of today's NY Times. The text mentions that 'the historic Waverly Theater is now the new IFC Center, the ultimate entertainment space for New Yorkers seeking out the best in independent film.'

Among the noted selling points:

- 'Waverly at IFC Center', a full service restaurant featuring chefs Claudia Fleming and Gerry Hayden;
- Three state-of-the-art cinemas with luxurious seating featuring high-def digital and 35mm projection;
- The showing of new independent, foreign, and documentary features;
- 'Waverly Midnights' starting June 17th - "New York After Dark";
- 'Weekend Classics' starting June 18th - "The World of Yasujiro Ozu";
- 'Movie Night' - July 7th - Jonathan Letham, guest curator;
- 'Short Attention Span Cinema' - Short Films by Jeff Scher;
- 'Posteritati Gallery at IFC Center' - Vintage movie posters; and...
- ...NO COMMERCIALS! (emphasis purely mine)

The IFC Center Advisory Board Members are Alfonso Cuaron, Richard Linklater, Rebecca Miller, Errol Morris, John Sayles, Kevin Smith, Steven Soderbergh, and Gary Winick. The web site of the IFC Center is http://www.ifccenter.com and the IFC Center's phone number is 212.924.7771.

The official opening programs at the IFC Center:

- Miranda July's 'Me and You and Everyone We Know', with appearances by the director at select showtimes;
- D.A. Pennebaker's 'Don't Look Back' (in a new 35mm print), with appearances by the director at select showtimes;
- William Lustig's 'Maniac' (also in a new 35mm print), showing Friday 6.17 and Saturday 6.18 at midnight, with a special appearance by the director; and,
- Yasujiro Ozu's 'I Was Born, But...', in an archival print, screening Saturday 6.18 and Sunday 6.19 at noon, with an introduction by subtitler Linda Hoaglund and live accompaniment by longtime musician and silent film composer Donald Sosin.

Additional members of the IFC Advisory Board include Toronto International Film Festival Co-Director Noah Cowan, film publicity guru Cynthia Swartz, and New Yorker Films founder Dan Talbot. (And if they or someone they know have an opening for an intelligent film buff and aspiring screenwriter and producer... but, ah, I'm getting ahead of myself... )

The Village Voice takes a look at the IFC Center...


New Waverly
IFC indahouse: A Village theater reopens, but not without controversy

by Matthew Ross

The Waverly Theater, at Sixth Avenue and West 4th Street, will forever be known as the movie house that, in 1976, kicked off the most enduring cult classic in cinema history when it began midnight screenings of an unsuccessful 20th Century Fox release called The Rocky Horror Picture Show. Its recent legacy hasn't been so memorable. In the '80s and '90s, the Waverly was bought and sold several times, divided from one grand balcony theater into twin screens; in 2001, it was shut down by its parent company, Cablevision, owner of the Clearview Cinemas chain.

While local cinephiles saw the Waverly's shuttered marquee as another sad relic of the city's once thriving art house scene, another Cablevision subsidiary—the Independent Film Channel—has been working to restore the institution as a force in New York film culture. On June 17, after three and a half years of renovations and delays, the IFC Center will finally open its doors to the public with the premiere of Miranda July's Me and You and Everyone We Know, a film produced and distributed by IFC that won prizes at Sundance and Cannes.

The center is the brainchild of IFC Entertainment president Jonathan Sehring, who originally envisioned it as an "IFC version of Radio City," complete with a production facility and film school. Those plans were scaled back considerably, although two editing suites have been installed upstairs. The old Waverly, however, has been given the full makeover, one that should impress even the most hardcore theater snob. The 220-seat main screen and the 120-seat balcony theater have been tricked out with plush seating and state-of-the-art projection booths. IFC also expanded into the old leather goods building next door, adding a third 70-seat theater and a restaurant.

Managing the center is John Vanco, a highly regarded specialty film veteran whose distribution company, Cowboy Pictures, closed in 2003 and whom Sehring had been courting since the project's inception. Vanco plans to combine high-profile first-run releases with a repertory calendar that he will program himself. Other special events, including monthly movie nights with guest curators, are also scheduled. All features will be preceded by shorts.

"When I think about what I want this theater to be and how I want us to interact with the people in this neighborhood, I think about the Lincoln Plaza and the Film Forum," says Vanco. "At those theaters, people will show up on a Tuesday or Friday night and just see what they haven't seen, because if it's there they know it's going to be good. What that means is that the identity of the theater in many cases supersedes the identity of the films. Ultimately, that's what we like to do. We want to give people a reason not to have another Netflix evening." While Vanco admits that IFC productions and releases will get preferential treatment, he insists that the center will not serve as a mere clearinghouse for IFC titles.

So far, reaction among the New York film community seems supportive if a bit wary. "We're all dividing up a pie, but it's a very big pie," says Film Forum director Karen Cooper. "Knowing John I'm sure they'll show good films, and I welcome him back to the business. I want to be very clear that I'm not being hostile, but I think it's important to note that people have to make compromises when they're part of a larger enterprise, especially if those enterprises have an interest in producing and distributing films." To help ensure the center's street cred, Sehring has lined up an advisory board that includes Steven Soderbergh, Richard Linklater, John Sayles, Errol Morris, and Rebecca Miller. "Someone will always complain about corporations trying to brand independent filmmaking," says Sehring. "All I can say to that is, we're not trying to corporatize anyone's vision, especially not the filmmakers we work with."

Mark Urman, head of independent distributor THINKFilm's theatrical division, says that "we can't ignore that this is a multimedia conglomerate trying to expand their brand," but is willing to cut IFC and Vanco some slack for now. "John maintains he's not simply going to be shilling for the channel, and I think we have to take him at his word. If he programs with a real sense of what the audience likes, there literally cannot be a downside. Manhattan has been woefully underscreened for a long time—we need more theaters like this, plain and simple."

One potential source of controversy surrounding the center became apparent at last week's opening gala. A group of picketers from IATSE Local 306 gathered outside and handed out leaflets denouncing IFC's decision not to pursue a contract with union projectionists. "We're not trying to get jobs where none existed—we had people at the old Waverly, and we have people at every one of the other theaters in Greenwich Village," union president Michael Goucher told the Voice on Monday. "No one can say at this point how it will resolve, but we presume we're putting some pressure on them. The picketing is going to give them a black eye, especially in a neighborhood like Greenwich Village." IFC declined to comment.

Another profile of the IFC Center, this one courtesy of the June 20th issue of New York Magazine...


Art-House Showdown
The spanking-new (brand-extending! Welsh-rarebit-serving!) IFC Center stomps into downtown—and sends rivals into a competitive tizzy.

By Logan Hill

First, the Today show opened a storefront studio to lure screaming tourists. Then MTV plopped TRL in Times Square to lure screaming teens. And on June 17, the Independent Film Channel will open its shiny new IFC Center to lure screaming—well, whispering—cineasts.

The old Waverly Theater on West 3rd and Sixth Avenue, sung about in Hair and famous for launching the Rocky Horror Picture Show midnight feature, is now a beautifully refurbished cinema—and a powerful branding tool, too. Inside, there are three theaters (210, 110, and 65 seats)—with great sight lines, big, comfy chairs (“imported from France!”), and high-definition digital projection. The cinema’s largest theater will be one of New York’s most impressive, with exposed brick and violet ambient lighting. The Waverly’s drop-ceiling has been ripped away to expose the vaulted, 50-plus-foot ceiling of a church, originally built in 1831. Upstairs, there are two film-editing suites; next door is a restaurant serving “Welsh rarebit, artisan Lancashire, double-smoked rashers.” In the lobby, downtown’s Posteritati gallery will exhibit vintage posters, while the concession stand serves “organic popcorn with rosemary butter.”

John Vanco, a veteran of Cowboy Pictures, Miramax, and New Yorker Films, will program a mix of indies, arties, foreign films, and documentaries. And, unlike his mainstream counterparts—which subject audiences to a barrage of ads—Vanco will screen a digital short film before features. A monthly programming series touts guest curators like novelist Jonathan Lethem; a nebulous “advisory board” includes Steven Soderbergh and Alfonso Cuarón. Vanco says the theater will screen restorations of classics—“for the Criterion geeks”—beginning with Japanese icon Yasujiro Ozu. And a midnight series pays tribute to the theater’s Rocky Horror history, beginning with William Lustig’s notoriously violent Maniac.

But on June 17, all three screens will open with Miranda July’s terrific Me and You and Everyone We Know. On the heels of that film’s Cannes awards, the opening is “a perfect storm,” says IFC Entertainment president Jonathan Sehring—an acclaimed release produced and distributed by IFC, showcasing the Center’s synergistic ambitions. “This was really the vision of Jim Dolan, the CEO of Cablevision,” says Sehring—not the first thing you’d expect to hear about an art house. But it’s true.

The IFC Center isn’t that independent, of course. It’s owned by IFC Entertainment (the IFC network, IFC Films), which is a subsidiary of Rainbow Media (AMC channel, MSG), which is a subsidiary of Cablevision—which owns the Knicks and the Clearview Cinemas chain that let the Waverly lapse into disrepair in the first place. Cablevision held on to the lease, and Dolan saw an opportunity.

“The directive was, Make it IFC’s Radio City,” says Sehring. A top-notch movie theater, in other words, that could launch art films into the great ’burbs beyond, via Dolan’s cable channels and video-on-demand. “The independent-film distribution model is broken,” says Sehring. To fix it, IFC aspires to release small films with just one wave of ads and reviews, “instead of A markets, B markets, C markets.” The old At the Angelika show will now be shot here and rebranded At the IFC; Jon Favreau’s chat show Dinner for Five, Sehring says, will likely be filmed in the IFC restaurant. These are major advantages in the country’s most competitive art-house market, where distributors are willing to screen small films at only one theater per zone—in this case, Manhattan below 14th Street.

“If you wrote the IFC Center off to a marketing cost,” Sehring says, “it would still be a great marketing vehicle.”

This is not a luxury that many other art houses enjoy. “For the consumer, it’s very good, but it puts the rest of us at a disadvantage,” says Quad Cinema director Elliott Kanbar. “It’s like Rupert Murdoch bankrolling the Post. Now IFC, the Angelika, and the Sunshine are going to compete viciously for the same films.”

The Sunshine, of course, has its own corporate help. It’s owned by Landmark, the biggest art-house chain in the country—which in turn is owned by Mark Cuban’s 2929 Entertainment, a rival to Cablevision (2929 just brokered a deal with IFC’s adviser Steven Soderbergh to distribute six of the director’s new films, cross-platform, simultaneously).

This leaves the Angelika, owned by the L.A. developer Reading, relatively exposed. “I know IFC’s opening a little later than they hoped,” insinuates the Angelika’s director, Terri Moore. “And I understand they’ll have a café, like we do. People always model success. It’s flattering. But a generation of directors and producers have dreamed of opening at the Angelika.”

A generation of filmgoers have also heard the rumble of the subway underneath. “The subway is part of the charm,” Moore says. “We’re very established,” she adds, noting the theater’s “high-traffic area, the great vibe—the new Crate & Barrel, all that.” I mention the branded TV spots IFC took away. “We have been approached to do similar television spots,” Moore says. “We can do anything they can do, too.”

But when I bring up IFC’s support from Cablevision and Sunshine’s synergy with 2929, Moore backtracks, saying, “We’re focusing on what we do well. Our audience are purists; they’re not interested in bells and whistles.” The Angelika’s reputation is its strength, after all: “What we offer, you can’t buy. You can try to copy it all your life.”

Vanco understands such concerns—and dismisses them outright, noting that attempts at one-studio theaters have failed before (Fine Line and the Thalia; Miramax and the Gotham). “We’re looking at the long term, and a theater like this needs to be run right to build credibility. Right now, we’re the new kid in town; our seats are fluffy and perfect,” he says. “The floors will have scuff marks soon enough.”

“It’s like Rupert Murdoch bankrolling the ‘Post.’ Now the IFC, the Angelika, and the Sunshine will compete viciously for the same films.”

The IFC, with new digs and leverage, may be able to steal some films from its competitors. The summer’s highest-profile American independent, Jim Jarmusch’s Broken Flowers, is still in play. But the Landmark Sunshine has booked the summer’s most anticipated foreign release, Wong Kar Wai’s 2046, and Film Forum’s legendary repertory list will be very hard to beat. Smaller houses like the Quad and Cinema Village are at the greatest disadvantage, but while they lack big backers, they’ll never feel the pressure to book an orphan supported by a corporate partner.

“It’s going to take guts and gumption,” says another programmer, “for John Vanco to turn down stuff that his parent company would like to see at the Center.”

As noted in the article above, the main opening feature at the IFC Center will be 'Me and You and Everyone We Know' on all three screens.

"It's ALIVE!!!!" Cool, true she's not the prettiest girl in the world, it sure beats coming up the subway stairs to be greeted by the boarded up dead carcass of the last few years. Nothing more dreary than an empty marquee. They are re-instating the midnight show, I remember late nights with "Basket Case" and a very under appreciated and rarely seen sequel to "The Rocky Horror Picture Show" called "Schock Treatment". Who'd a thought standing online one sunny Sunday opening weekend to check out John Water's latest called "Hairspray" exclusively at The Waverly, would change the directors life, and spawn a blockbuster Broadway musical? Oh and no offense IFC, but no matter how many millions you spend, we will come, but it'll always be The Waverly.

I played Shock Treatment on Long Island by advertising it as Rocky Horror 2. Most people who came liked it.

My first movie ever there was in 1979ish, it was Peter Sellers last
film- they found him dead soon after- "Fu Manchu" was the name of the movie -or some derivation there-of.


I am happy to have an opportunity to see movies there again...I think the last time I seen a movie at the Waverly was in 2000, that was the Blues Brothers 2000...it was in the lower level...then I seen some movie with Stephen Bauer (Manny from Scarface '83) there also.

Last year I seen exterior work being done including the demolition
of the marquis and facade.I said to myself "Oh No- these real-estate developers want to close down another theatre"

But Thankfully thats not the case.

Thankyou Ross Melnick, for that awesome picture of the old Waverly.
Does anyone know if IFC is going to use the name Waverly in the new theatres name?

Greenpoint, per JackM's comment from June 12, and the IFC Center's website (above), the Waverly name is being used for the restaurant/bar next door that is now part of the center.

Bryan,
Thank you for answering my question.

Another report on the IFC Center, this one courtesy of the Daily News (the best news in this piece being that 'Rocky Horror' might be 'returning' to the IFC come fall - yay!):


New route to indies
stops in West Village

By JOE NEUMAIER
DAILY NEWS FEATURE WRITER


John Vanco manages the IFC Center, opening tomorrow on Sixth Ave. in the Village.

Manhattan is getting a new house of movie worship.

Opening tomorrow, the IFC Center in the former Waverly Theater at Sixth Ave. and Fourth St. - the building was erected as a church in 1831 - will be the brick-and-mortar home of the Independent Film Channel and will be Manhattan's most modern indie cinema.

Three state-of-the-art theaters will show first-run movies, a retro film series, weekend repertory screenings, midnight movies and occasional double-bill nights.

The opening-night fare includes two screens showing "Me and You and Everyone We Know," a hit at this year's Sundance Film Festival, and the classic 1967 Bob Dylan documentary "Don't Look Back." The first midnight showing in a "New York After Dark" program is the 1980 horror film "Maniac."

"If you define the West Village as between Houston and 14th St. and west of Sixth Ave., there actually aren't any movie theaters in that area," says John Vanco, vice president and general manager of the Center. "It's perfect to support the types of programs we're doing. We can show lots of great and crazy stuff."

The former Waverly Theater opened in 1937. Midnight showings of "The Rocky Horror Picture Show" began shortly after that camp classic's debut in 1975, sparking a nationwide trend of late-night shows for costumed crowds. "Rocky Horror" itself may be revived at IFC this fall.

"Throughout, the theater is a [combination of] the old and the new, and we'll maintain that in our programs," Vanco says.

But filmgoers may get most excited by the wide aisles and huge seats (imported from theaters in Cannes) and the lack of commercials before movies. There will trailers for upcoming IFC Center movies and new 5-minute short films - but no TV-type ads.

"Audiences don't want to buy a ticket and sit through commercials, and we made a specific decision to lose two rows of seats in each of the three theaters to get more leg room and comfort," says Vanco. "We want this to be indie film's Radio City."

I've never been to this location, but I very much want to see this succeed. If it works, perhaps it will spawn worthy imitators in other cities?

The Village Voice piece points out (very well) the concerns of film go-ers, namely that the IFC Center will become a corporate run institution rather than a truly open place where independent films can be seen and appreciated.

Sorry but my cynical self tells me that this place is going to reek of selling out. Oh it'll try very, very hard to look hip and "in" but it will only appeal to a bull**** "chic" crowd and the real movie lovers won't go there.

Give me the Thalia's and even Theater 80 St. Marks place for God's sake. As pitiful as some of the presentations were at those places, they were run by people who did it for the LOVE of movies. The so called Indpendent film movement has become nothing but another way to make money. Only they drape it all in this pseudo anti-establishment look thinking they're fooling anyone.

This week's issue of Time Out New York (to absolutely no surprise whatsoever) features a profile of the IFC Center...

New Waverly -
The IFC Center brightens a legendary darkened theater
By Darren D'Addario

The famed Waverly Theater in Greenwich Village went dark in 2001, but its West 3rd Street block has changed so drastically in the meantime that it feels as if the cinema's been shuttered since the early years of the Beame administration. Not exactly upscale to begin with, the stretch has become a destination for those seeking tattoos, body piercings, sex toys and hot dogs at "inflation-busting prices." But the street will receive a welcome jolt of culture when the Waverly is reborn on Friday 17 as the IFC Center.

A property of Cablevision's Rainbow Media Holdings, which also owns the IFC cable channel and film distribution and production companies, the beautifully appointed complex will be home to a trio of theaters (with 220, 120 and 60 seats, respectively) showing first-run indies and revivals, a luxe cafe and editing suites available to filmmakers.

Despite the street's characteristic seediness, IFC Center VP and general manager John Vanco (formerly of Cowboy Pictures) says that the theater's location is one of the key reasons he's so excited about its prospects. "I'm not as concerned about the block as some other people are," he says. "I really think it's a tremendous location. The West 4th Street subway station is on everybody's way to something. When I used to do the booking for the Screening Room (on Varick Street), we did a lot of fun series that I was excited about, but...it was like a tree falling in the forest. Nobody wanted to go down there."

The IFC Center will, however, join an already-crowded downtown art-house scene that includes Film Forum, Anthology Film Archives, Landmark Sunshine, the Angelika and numerous other venues. In order to stand out from the competition, Vanco plans to book significant short works with each feature, curate an edgy midnight-movie series (William Lustig's Maniac will be the first title) and have filmmakers be as involved as possible with their films' showings. A week before the IFC was to open with Miranda July's excellent Me and You and Everyone We Know, Vanco announced that a restored 35mm print of Don't Look Back would be getting a two-week revival also beginning Friday 17, with documentarian D.A. Pennebaker making appearances.

"I don't think we're ever going to consolidate into a single identity," Vanco says. "We're definitely going to be different things to different people, and I think that diversity is going to serve us."

...and from yesterday's Daily News:

New route to indies
stops in West Village
By JOE NEUMAIER
DAILY NEWS FEATURE WRITER
Thursday, June 16th, 2005

Manhattan is getting a new house of movie worship.

Opening tomorrow, the IFC Center in the former Waverly Theater at Sixth Ave. and Fourth St. - the building was erected as a church in 1831 - will be the brick-and-mortar home of the Independent Film Channel and will be Manhattan's most modern indie cinema.

Three state-of-the-art theaters will show first-run movies, a retro film series, weekend repertory screenings, midnight movies and occasional double-bill nights.

The opening-night fare includes two screens showing "Me and You and Everyone We Know," a hit at this year's Sundance Film Festival, and the classic 1967 Bob Dylan documentary "Don't Look Back." The first midnight showing in a "New York After Dark" program is the 1980 horror film "Maniac."

"If you define the West Village as between Houston and 14th St. and west of Sixth Ave., there actually aren't any movie theaters in that area," says John Vanco, vice president and general manager of the Center. "It's perfect to support the types of programs we're doing. We can show lots of great and crazy stuff."

The former Waverly Theater opened in 1937. Midnight showings of "The Rocky Horror Picture Show" began shortly after that camp classic's debut in 1975, sparking a nationwide trend of late-night shows for costumed crowds. "Rocky Horror" itself may be revived at IFC this fall.

"Throughout, the theater is a [combination of] the old and the new, and we'll maintain that in our programs," Vanco says.

But filmgoers may get most excited by the wide aisles and huge seats (imported from theaters in Cannes) and the lack of commercials before movies. There will trailers for upcoming IFC Center movies and new 5-minute short films - but no TV-type ads.

"Audiences don't want to buy a ticket and sit through commercials, and we made a specific decision to lose two rows of seats in each of the three theaters to get more leg room and comfort," says Vanco. "We want this to be indie film's Radio City."

Stupid me - in all my excitement, I posted the Daily News article twice; my bad and my apologies...

Wellllll: the 250 movies-in-theaters a year guy went to IFC on Saturday night and is quick to report that the 50 seat theatre on the second floor of the IFC north building (above former Whitey's Bar) is very comfortable and a great spot to sit.

Sorry to say the print of Pennybakers "Don't Look Back" wouldn't run. John Vanco, the theaters GM, showed admirable grace and issued both rain checks and a refund. Teriffic.

One dislike: Someone has decided to program a short film before the feature of "Don't Look Back" and Vanco, in his before the program welcome, said such shorts are planned as regular program scheduule items.

This particular short, a small yapping dog and his unseen master, is an example of the various classes of sophomoric navel gazing that often is a feature of "independant" movies and is a painful distraction from the pleasant experince of the theater and anticipation of the feature to come.

I'd rather watch ads that this stuff. At least one can ignore ads, nearly impossible with a yapping dog.

By the way, IFC is suffering a theatre-front demonstration by the projectionist union that includeds a giant inflatable rat perched on the curb and chanting demonstrators, presumably members of the union.

If anyone knows a member of the union, please advise the person about how silly they look whining there on the curb, projecting their protectionist mantra. It's not our fault they were duped by the union sales pitch and we object to the rude intrusion upon our lives.

The spirit of the center is to show independent films, its bold of them to showcase short alternative works before the feature (Real Art Ways in Hartford also does this as well). IFC Center is alright, the seats you have to say are the most exciting thing ab out the place.

I was there on Friday night to see Me and You and Everyone We Know, in theatre 1, the main screen, which was projected in HD (the only theatre in the country to be showing the feature this way verses 35MM). The loby has kinda of a cheesy modified theme to it, diffinatly unexciting, a small snack bar in the corner. The bathrooms are downstairs, the design there is very cool, like going to a trendy urban cafe or club.

I didn't venture downstairs or to the cafe. The projectionists deminstration outside caused the line for the mainhouse to be kept inside (funny thing is that neighborhood is noisy enough without the protest). The mainhouse is pretty nice, and a bonus for most fans of this site: it has a curtain!

Weirdly though this house isn't even remotly affliated with Clearview Cinemas in the least (I was thinking for a time it would have been Clearview Cinemas IFC Center), they had Coke instead of Clearview's cola brand, Pepsi. Bold of Cablevision to now be opperating two unaffliated cinemas within the same company. Maybe this means IFC Center will have a shot at expanding in to other markets. Let's hope, this place is important (despite being in a loud bar-filled neighborhood).

Decades ago, it was common to run short subjects before a main feature. I like the idea of restoring this tradition.

Yeah, and the fact these are alternative films that rarely are shown except at Avent Gaurd film festivals is diffinatly a plus, although these are new digital artists instead of Brackhage classics or that sort, but who knows, they just opened (they'll be showing a new short every week). It's nice to see this type of filmmaking at a commerical cinema verses at a film festival or college setting. Vanco is on to something here, the Angelika ought to take notice.

"bold" of IFC to showcase short alternative works?"

Welllll... I wouldn't say "bold." I would say it's a marketing stance, and, the concensus among contributors to this board appears to approve of the marketing position taken. So be it.

They're surely not for me. I'm not crazy about the navel gazing displayed. In fairness, I must reveal I'm not crazy about George Lucas' navel gazing either.

"bold" of IFC to showcase short alternative works?"

Welllll... I wouldn't say "bold." I would say it's a marketing stance, and, the concensus among contributors to this board appears to approve of the marketing position taken. So be it.

They're surely not for me. I'm not crazy about the navel gazing displayed. In fairness, I must reveal I'm not crazy about George Lucas' navel gazing either.

As a life-long New Yorker, and frequenter of The Waverly for years, I can appreciate the naysayers' take that this might be a high-gloss corporate brand adopting pseudo-hip garb at the new IFC Center. But I basically applaud it and expect good things. They (IFC) have reason to make the place a true innovator and maintain the spirit of the original Waverly, and not just another "art house" venue. I for one am hopeful that they do this and listen to the film-loving community. Though I do agree with other posters here that we'll still call it "The Waverly".

I made my first there this weekend to see "Me & You and Everyone We Know" and really like the theatre, if not the movie. I was in Cinema 2 upstairs and the seats are comfortable and sight lines appear to be pretty good.

One complaint is the bathroom situation. When will these theatre owners learn? Only two bathrooms on the second floor, both unisex, and there are two theatres. There will be long waits if they get any kind of crowd.

I have to admit I haven't been able to bring myself to see a film at the IFC Center, despite the one-man hype machine I was acting as last month. I grew up in a liberal, pro-union family and every time I walked by the IFC Center the last couple of weeks, I was tempted to go in and see 'Me and You and Everyone We Know', but then I'd look at the projectionist union members protesting, at one point reading their hand-out flier, and continue walking my way down 6th Avenue. I did see 'Me and You' when I was in Boston earlier this week, enjoyed it enormously, and want to see it at least another one or two times; those opportunities won't come until John Vanco, Jonathan Sehring, and the IFC management change their stance (or show some spine and demand a change) and hire union projectionists. It's the decent and common sense thing to do.

Jimmy Hoffa, John Gotti and others surely will applaud your idea that the concept of one man muscling into another's business is "decent."

I urge that you and the union leave managmement of IFC to Vanco and others who are qualifed. Thats the "common sense thing" to do.

You can obviously disagree with me, Jack; it's your right and, to borrow from the classic expression, I'd defend to the death your right to do so. What I DON'T agree with is you tying me and my pro-union stance with two well-known organized crime figures. The facts are, you don't know me and you paint what I believe, the positive effects I saw unions have on my family, on my father to provide for my family growing up, and for myself when I was a member of unions, with an extreme broad brush. Are there - have there been - corrupt union officials and individuals who muscled in and manipulated unions, individuals such as Jimmy Hoffa and John Gotti? Absolutely. But there are plenty of legitimate, honest unions that provide for and defend their members, and my respect for the good that the vast majority of unions do VIA THROUROUGHLY LEGAL MEANS is what has ultimately been the deciding factor in my decision to not patronize or otherwise support the IFC Center until they hire unionized projectionists.

Part of the beauty of this message board is the option of anonymity it provides its members with. I suggest you respect it by not utilizing its cloak by taking unwarranted swipes at others... you know, the 'decent' and 'common sense thing(s)' to do...

I saw the projectionist picketing a week or so, and spoke two one or two that were on the line. I made the decision to not patronize the IFC until a change is made and union projectionists are hired. The "Independent" in IFC doesn't mean "independent" of the standards and ethics of the theater business. But in this current climate of apathy I'm not surprised they made that move.

Yet another case of a corporation (Cablevision) thinking that they can do whatever they damn please without any reprecussion. Screw that!

From what I gather other theatres around the country (and city) are also non-union, am I right?

It's a flat out shame- Clearview Cinemas (also owned by Cablevision) has some awful projection. This one I gather will be showing lots of things in HD, so I supose they figure anybody can opperate one of those projectors. Still, it's not fair and it sucks- they should do the right thing and hire union projectionsts- they do show wonderful films here, and if they are deticated to showcasing diversity and importance in image shouldn't they be concered with how the images are presented by hiring projections who are experienced.

The projectionists at the former Cineplex Odeon Waverly were always late, incompetent, overpaid and could care less about the theatre. Hurrah to the IFC for confronting the dinosaur bullies from local 306. New York movie-goers have experienced the worse projection in the Northeast for too many years. Maybe the IFC will pioneer the first good presentation in the village. Poor standards, closed shop, defending incompetence, and demanding unrealistic wages is what Local 306 brings to th etable. I hope AMC tosses them out as well and hires people who have to do their job right unstead of hide behind a union contract because they can't be bothered. As a Union supporter I feel Local 306 is an example of why Unions get a bad rap. I will happily cross this picket line.

AMC and all the other theaters in Fla and here in Asheville, NC have the managers and regular staff run the projectors. I remember when I worked at the Festival in 80-82, Ben the projectionest there was making $54.oo and hours.

first, br91975 wrote:

>>John Vanco, Jonathan Sehring, and the IFC management change their stance (or show some spine and demand a change) and hire union projectionists.<<

then, br91975 wrote:

>>I suggest you respect it by not utilizing its cloak by taking unwarranted swipes at others... <

What's it gonna be, br91975, swipes or no swipes? Or maybe swipes are OK for you and not for others?

I stand by my comment, which was: It's not great for one man to attempt to tell another how to run his business. You may applaud the idea and it may be "legal" in one jurisdiction or another but I surely don't hold with the concept.

Moreover, I don't think its a good business idea ...... well, except for the party who's successfully shoving his ideas down the other guys throat. In the case of labor union businesses, doesn't the union shove it's management ideas down the throat of both businesses and workers? Doesn't sound great to me, br91975, though be my guest.

And by the way, as regards your "I'd defend to the death your right to do so." Properly dramatic, your statement, though please do NOT come to defend me. I'll handle it myself.

Having a picket line outside your theatre in a left-leaning neighborhood will definitely hurt its business. I've seen this personally in my own neighborhood.

"Left leaning?" The understatement of the day. I imagine a seeker will need to go deeper than the molecular level to find a conservative in this 'hood.

In approximately 700 posts on this site, I've established and defined myself; in about 10 posts on this site, you've done the same for yourself, Jack. Case closed.

Seems as though we have another pis---- contest going as we did with the DuPage Theatre. Why not stick to the reason for this site, to discover, preserve and protect. br91975 has brought a lot of fact on the treasures of the past and has definately established himself on this site.

Thank God there's no organ at this theater...then things could get really messy.

Dunno about your 699 other defining moments. The one in focus in this exchange is the one in which you suggested that IFC submit to histrionic pressure to conform to desires of a third party business with no liability in the matter and no money in the deal.

Sounds, to me, like a terrible idea.

Thanks for the accolade, by the way. I'm happy to have accomplished in 10 what took you 700. Communications are best conducted in concise, clear terms. I'm pleased to have done so.

Jack why not drop it and move on to what this site was created for.

Good idea, Mr. VanBibber.

I love the Waverly and this site and I feel this forum is perfect for this discussion. If we deny that poor presentation, mainstream movies, shabby seating and bully unions closed the Waverly last time, we will lose it again. Cross the picket line and support the Waverly. The local leftists may be idealist but we are not stupid. We demand excellence and reasonable prices, not crap presentations and obsolete unions.

I had my problems patronizing the theatre, but when I attended the show the pickets weren't out there yet. They were there when I exited the theatre, though.

I wish I had waited and gone to see "The You, the Me..." because instead of paying $10.75 to see it at the IFC, I could have seen it for $5.50 at the Kew Gardens Cinema.

Well said, Mr. Alvarez. Indeed, I am amused that a contributor to a site titled "Cinema Trasures" recommends support of the projectionists union, a business that seeks to act contrary to the best interests of the business of film exhibition.

The support is particularly poignant heard in coment about an exhibition business such as the IFC, a theater focused on so fragile a specie of cinema. I wonder if any commentors on this board have any film exhibition business management or ownership experience?

Aside from my personal thoughts about the operations practices, role and broad brush value of unions, the facts are clear on the subject of public opinion of labor unions operations in US. Support of unions, by both US individuals and the public as a whole, is in the tank.

A pragmatist, a realist, will likely comment that the public does not support unions because unions don't work well for the majority of those affected by their operations.

Of course the operations focus of unions is revenue flow and salaries of officials, not the good or welfare of either their dues paying members or third party businesses at which uniion members are employed.

A person that supports the projectionist union activities at the IFC seeks to put a thoroughly unecessary expense in the operation of the "Cinema Treasure" at the former Waverly.

That person likely offers support of lip service, not funds, for either a doctrinaire reason or agenda not revealed. I'm not the person to argue or discuss their zealotry with those that cling fervently to idealistic theory or views not informed by experience.

I'll lurk with interest though, as picket line supporters respond to your thoughtful position. I may comment, time to time, from knowledge gained over 45 years engagement in administration, architecture, design, development, construction, engineering and marketing in both manufacturing & retail business experience gained in both public and private ownership companies. Oh! I almsot forgot ........... I am a union member. I am a SAG Principal Player with experience in more than six less than a dozen features.

I didn't realize that the projectionist banner-wavers were standing, whining, behind the portable galvanized fences with the purpose to browbeat and dissuade customers from purchasing tickets. They should be ashamed of themselves for behaving so rudely to total strangers.

Couldn't they better use the time looking for another job? Are picket line standees paid for their time in front of IFC?

Alvarez, I don't see how "mainstream movies, shabby seating and bully unions" can be laid at the feet of the union projectionist trying to make a living wage. If the complant is "poor presentation" then maybe he manager should more carefully monitor the proceedings and advise his projectionist on any perceived flaws in the show. I've known and met many union projectionists over the past 30 years and every one of them were diligent, hardworking and proud to give the best possible presentation.

JackM, many union projectionists are important contributors to this site, so don't be so "amused."

Yeah, why should "fragile" Cablevision pay a projectionist a decent wage when the kid behind the candy counter can do both jobs (poorly) for the bare minimum.

Anyone who has worked in the New York film industry can tell you that theatre managers have little control over the Union Projectionists. Diligent, hardworking and proud are words I can associate with many projectionists I have met around the world. Those words do not apply in New York where only a handful would qualify. The majority of New York projectionists behave like civil servants with jobs for life.

Perhaps the kid behind the counter can bring a little pride back to the job as he could actually get fired for not giving a damn.

Only in New York do theatres fail to open when it rains or snows because the projectionist won't come to work. A living wage requires minimal standards. Local 306 demands professional wages for amateur work.

The lesson for the IFC Waverly is not to repeat Cineplex Odeon's mistakes and corner themselves into incompetence overhead and lazy programming. They have already addressed the other issues.

Running a projector is not nuclear science and I am sure they will pay some conscientious NYU film student of their own choosing a fair rate.

Well, I would rather see a projectionist get paid a livable wage, even $54 an hour, than see the money go into the rapacious Dolan/Cablevision's pockets.

And the money they are saving by not paying union wages for projectionists is not reflected in the ticket prices, a hefty $10.75, which as far as I know is the highest in the city.

>>Well, I would rather see a projectionist get paid a livable wage, even $54 an hour, than see the money go into the rapacious Dolan/Cablevision's pockets.<<

And in your scenario the projectionist will apply his wages to the operations cost of the property?

>>And the money they are saving by not paying union wages for projectionists is not reflected in the ticket prices,<<

Jeez, hardbop, I'd love it if you'd post the P&L of this theatre that has led you to make the two trenchant observations above. If you don't have a P&L you're simply creating bad blood for the business. Not what one would expect from a thoughtful contributor to the "Cinema Treasures" site. (A P&L is a profit and loss statement)

I would ask the person who complained about the prices at IFC Center if s/he has bought a ticket at any other movie theaters in New York City. The Angelika, Sunshine, Village East, Lincoln Square, Union Square and many others charge $10.75. Surely you can come up with better arguments to support your anti-Cablevision position. God knows Dolan offers enough ammo for his opponents.

Further, with regards to the arguments about the projectionists' union, keep in mind that whether or not the IFC Center employs union projectionists is not up to Cablevision, Jim Dolan or the union itself. In this country it is up to each individual whether or not to join a union. If the projectionists that work at a theater want to join the union, they can apply for membership to that union. There are extremely strict laws prohibiting employers from threatening or too vehemently discouraging employees from joining a union.

So if an IFC Center projectionist decides that they prefer their current wage/benefit package to what the union may offer/promise (and the union can promise whatever they want, whether there's a basis in reality or not), it's that individual's option to stay out of the union. If the treatment they receive from their employer is not satisfactory, the employees are free to join a union and it would be illegal for that employer to punish or reprimand or fire the employee for doing so.

And anyone who pays a projectionist $54/hr is an idiot.

>>I would ask the person who complained about the prices at IFC Center if s/he has bought a ticket at any other movie theaters in New York City.<<

You can ask the question, Mr. White, though the asking likely won't
get you an objective answer. Posts here have shown, time to time, a set of contributors who express emotional and political views that appear to have scant grounding in either business experience or objective reasoning. God bless 'em, I say, "whatever gets you through the night."

For the last couple nights, projectionist union protest managment has hired street urchins in hiphop clothes to hand out flyers.

Could this mean that gen-u-ine projectionists, protesting at projectionist wages, is not cost effective?

Hmmmmmmm ................

JackM and Jackwhite, it's nice of you to join this site just to union-bash, ad nauseum. Got any opinions on anything else?

Fallacious,saps, and can lead you and readers off the point of the "Cinema Treasure" in focus. Use logic ... if you can.

Oh, right, Jack, I forgot to mention that you also criticize the design of the theater, the neighborhood in which it sits, its future programming choices, the name "Waverly," and any poster who disagrees with you. Plus, you haven't posted a comment about any other theater...if you can.

OK saps, last post you said:

>>Jack ...it's nice of you to join this site just to union-bash, ad nauseum. Got any opinions on anything else?<<

Most recent post, you said:

>>you also criticize the design of the theater, the neighborhood in which it sits, its future programming choices, the name "Waverly," and any poster who disagrees with you. <<

Soooo, what is you thought (if you remember)... I make wide ranging comment upon the architectural, business and marketing design of the subject in focus, oorrrrr .... I'm only here to "union-bash?"

You smoking that stuff again, saps?

You're posting to yourself now, saps, this is the end of my side of this chitchat.

I hope you're having fun, Jack, because this stuff will all be soon deleted. But when I said you union-bash, I was being too narrow, and I later self-corrected by admitting "I FORGOT TO MENTION" all the other bashing you are doing. Instead of saying "just to union-bash" I should have said "MAINLY to union-bash" because when it comes to the Waverly your poison pen is not limited to one mere aspect. (Emphasis added.)

Here are three images of the Waverly when it first opened in 1937:
www.i8.photobucket.com/albums/a18/Warrengwhiz/126-2658_IMG.jpg
www.i8.photobucket.com/albums/a18/Warrengwhiz/126-2662_IMG.jpg

Great photos, Warren, thank you.

By the way, Warren, unless I'm not reading correctly it appears that the manufacturer of the house vacuum cleaner is detailed in the various specs given for the new Waverly.

Sooooo ... Product Placement is not a new idea, huh?

Well, it looks like the IFC is taking some more flack from the pro-union folks. John Sayles, who is very pro-union (see MATEWAN)asked to be removed from the IFC's Board of Advisors if the IFC doesn't start talking with the union. The union made the letter public and the "Voice" published in this week's issue.

Some of the other Board of Advisors members -- Tim Robbins & Ethan Hawke -- also plan to speak to management.

I know I'm not comfortable patronizing the place and will go out of my way to see films elsewhere.

The reason this is a joke is that there are a slew of theatres in the city where the owners pay the union the dues and there is no union projectionist working there. This way the union gets the money and the theatre has the flexibility of using their own people.

Hi. I'm a member of that dreaded Local 306 you're all talking about. I certainly don't want to extend some of the more ridiculous parts of this union debate, but I did want to correct a few points of misinformation. These unquestioned perceptions of what it means to be in the union, unfortunately lead to a decline in support for an organization that IS SUPPOSED to protect skilled workers from being fired will-nilly. Unions are not set up out of greed, but if you want to believe that, whatever I say will not convince you otherwise.

A few things:
1) Wish that it were true that just by joining the union, the place is then unionized. Local 306 needs a contract with the IFC so it is not right to assume their scab projectionists do not want to join. There is simply no point in it until IFC meets with 306.

2)This last post by RobertR is misleading because the Union gets dues paid by the worker based on the wages earned at a place. There is not a certain amount a theater pays to the union directly, but it is based on whether a union person has worked there. No Payoffs. What is true here, is that just because the union has a contract with a place does not mean you are seeing a union projectionist at work. The megaplexes have chipped away at the union so much that they are usually required to have only one union person there full-time. This person is usually busy building up and breaking down prints for the platters and the actual projecting is done by very low paid managers. Hence most of the crappy projecting you see is done by a high school kid.

3)On this same note, I will not defend every union projectionist there is. I know some are better than others. I think more to blame is the automation of the theaters which has to do with saving money for the theaters. You're not going to get perfect projections when one guy is running 12 rooms. Platters are also terrible on film prints; I prefer the old fashioned reel-to-reel method...but of course I work in archival booths where it is required. But how many times have you witnessed this?...the film comes up out of of focus or out of frame and astoundingly it plays through the trailers for like 15 minutes and no one does anything--I guarantee you this is a manager not a union person. There is no usher in the room checking it's startup. So you get up to complain and find a young usher or manager he looks at you like you are the biggest pain in the ass for bothering him and besides he doesn't even know what "out of frame" means so he thinks you're crazy. etc. Obviously the owners of the theater have not trained their staff on what to look for to make sure a film is properly projected and pretty soon audiences just come to expect mediocre projection as par for the course. But conveniently, there's always the union to blame.

4)The irony of this IFC thing is that the projectionist there actually makes a wage similar to what the union would ask for and he has benefits. Cablevision would not be hurt by talking to us but they simply want to keep the union from getting in and being able to protect that worker--kind of like WalMart. Also ironic is that a few of you went on and on about how bad union projectionist are but didn't acknowledge the post where this same non-union projectionist was unable to run "Don't Look Back".

By the way, how does one appreciate Bob Dylan's work and yet be anti-union? It baffles me...

I had heard the new IFC theater edits it's films for more convenient running times and tells patrons they can watch the full version on their televisions. Does anyone know if that is true?

talk about propaganda

jennifer fieber wrote: I had heard the new IFC theater edits it's films for more convenient running times and tells patrons they can watch the full version on their televisions. Does anyone know if that is true?
=====

This is not true.

Not propoganda, it was a question...sounded strange to me too.

You can't alway get what you want but if you try sometimes you get what you need.

Jennifer, I want quality projection at the Waverly. When did Local 306 ever supply that in the past?

In regards to that question posed by Jennifer Fieber the truth of the matter is IFC Films has created theatrical versions of some of its TV documentaries. A Decade Under the Influence was shown in theaters and shown on TV in a double the lenght extended cut. This is nothing new, look at the films of Bergman. IFC Center, however hasn't gotten around to that yet.

Whats more offensive are those PG-13 rated softened versions of pictures that Miramax dumps in to theaters only to, months later, offer an Uncut R-rated (or hardened "unrated" version) for purchase. IFC isn't doing that sort of thing.

In regards to that question posed by Jennifer Fieber the truth of the matter is IFC Films has created theatrical versions of some of its TV documentaries. A Decade Under the Influence was shown in theaters and shown on TV in a double the lenght extended cut. This is nothing new, look at the films of Bergman. IFC Center, however hasn't gotten around to that yet.

Whats more offensive are those PG-13 rated softened versions of pictures that Miramax dumps in to theaters only to, months later, offer an Uncut R-rated (or hardened "unrated" version) for purchase. IFC isn't doing that sort of thing.

A few posts ago there was a lot of talk if the IFC should use a local 306 projectionist. I just read this post on the Nostrand page that may help make a decision.

This was a first run theatre Philip, not second.. except maybe at the end.

I remember lining up to see GREASE here.

They had painted birds on the ceiling.. it made you ask.. is that BUTTER in my popcorn!

An interesting fact about this theatre...

A few times I saw a movie a second time here... it was during the week and there was hardly anyone in the theatre....

In order to go home early, the projectionist would just SKIP a film roll!

Mike
posted by MikeRadio on Dec 4, 2003 at 9:40pm

I don't quite understand how this re-post is relevant with all it's ellipses?

Are you blaming the projectionist for it's bad decor?

When I was a teen, I worked as a box office person in a theater in California and during the last show if there was only one or two people the manager would pressure me to lie to the ticketbuyers and say something was broken so he and the projectionist could go home early. I couldn't bring myself to do it and would make him tell his own lies. Oh yeah, this was a non-union house...so I guess the desire to go home after a long day is human nature, not a union disease.

Anthology Film Archives, on the otherhand, will show a film at the loss of staff wages if only one person shows up. As a projectionist or manager, I admit you do sort of resent that one person who desperately needs to see an unsubtitled russian film at 10pm, but it's a good policy nonetheless.

No........this part..................

A few times I saw a movie a second time here... it was during the week and there was hardly anyone in the theatre....

In order to go home early, the projectionist would just SKIP a film roll!

Less easy to skip a reel when it's all on one platter. But there are times when I wish I had a fast forward button.

This is a photo of the IFC Center.

I've gotta say this is become the premier downtown venue for films. I find I go here more than anywhere. Kind of a nice vibe here. It reminds me of 1970s era rep/art house. I haven't suffered the sloppy projection problems (yet) that have plagued the Angelika & Sunshine and there is a nice mix of first-run fare that often plays exclusively here as well as revivals. They have run Truffaut and are currently I believe running Fassbinder films on weekends. They also have Friday & Saturday midnight repertory screenings.

The seats are real comfortable too.

Another photo of the IFC Center can be seen here.

A 2006 photo of the IFC Center is here.

Two photographs I took of the IFC Center in May 2006:
http://flickr.com/photos/kencta/217059922/
http://flickr.com/photos/kencta/217072128/

Ken... A very minor point regarding your caption on that first photo, I think the Waverly was twinned sometime in 1981, not '80. I have newspaper clippings that list the Waverly as a single screen in the local Movie Clock as late as 12/15/80. The clippings I have from March, 1982, do show the Waverly as a twin.

Of course, it is possible that the conversion of the balcony was being completed while features played in the orchestra theater and that they opened the 2nd theater in time for the last couple of holiday weekends in 1980, but I doubt it. They would have more likely done the work to install an orchestra level projection booth concurrently with the sealing off of the balcony level.

I must be leading a charmed life to be able to take the time to dissect such points of minutae, eh?

EdSolero...Many thanks for you input. I will make the neccessary corrections to my caption, and hope we are both correct! LOL

The Waverly closed for twinning in mid September 1981 after HEAVY METAL and re-opened on October 30, 1981 with BODY HEAT and MOMMIE DEAREST plus a weekend midnight show of ERASERHEAD plus ASPARAGUS.

I would be Trainspotting if I didn't have a job.

I hate it when jobs get in the way of cinema!

AlAlvarez...Thanks for the clarification. I don't have a job....but I have a hell of a job getting off this site!

This was one of my theaters when i was dm for Cineplex odeon ...Never liked this theater as a twin cant see it as a triplex..Liked the Art Greenwich much better....

LI, they took the little parking lot in the back and added to the building. They also took the stores next door and incorporated them and the upper floor loft apartment into a bar and a third screen. The end result is quiet good.

In a final testament to decency, the bar is still called the Waverly. Worth checking out!

That loft apartment was great.........

Tell me about it. It was my home for seven years.

Al you live in England now?You still working with Steve w .

Still here in London. I figured out who you are from your posts and told Steve, who sends his regards. If you write to me at bijou@aol.com I can give you an email address for Steve. Let me know if you ever found Kieth.

Just so this isn't a strictly personal post, the Waverly marquee was used by a British movie website to promote itself two years ago. Imagine my shock at entering a London tube station to find a poster size photo of the Waverly marquee and the door to my previous "flat". As they say here, "I was gobsmacked!"

"I met a boy named Frank Mills,
on September 12th right here
in front of the <Independent Film Center>..."

I'm reading the Times in California this Sunday 8/20/06 and I read about a guy getting stabbed at 2AM while hanging out in the Village:

"The encounter began about 1:55 a.m., at Third Street and Sixth Avenue in the West Village. Mr. Buckle, a sound mixer... was standing in front of the Independent Film Center... Mr. Buckle said he often hangs out in front of the I.F.C. to chat with film people, to watch life in the Village."

Long story short,he wound up in St. Vincent's with a stab wound after being attacked by a group of young women.

http://www.nytimes.com/2006/08/19/nyregion/19stab.html?_r=1&oref=login&pagewanted=print

I never heard of this place,but it sounded close to the Waverly,so I Googled both for their addresses,and now I know what happened to the Waverly.Thanks to all those who added comments here.I now know way more about the Waverly than I ever did when I used to go there from the 60's onward.

It's good to know people are still hanging in front of the Waverly,although it appears things have gotten a little meaner.

Bonacker... that is a rare occurrence, particularly for that area. The crime rate in NYC - especially for violent crimes - has been at 30 and 40 year lows this last decade or so. I hazard to say that walking the streets of New York these days (or nights) is probably far safer than it was back when you attended the Waverly.

Here is a b/w photo of the Waverly theater.

i was there today for the first time (never had the pleasure of the Waverly). At first didn't like that you sink down in the seats but then found them quite comfortable. In theatre one there were brick walls, making for a very interesting setting. I went on wikipedia which revealed the building was a church in the 1800's. Didn't have time to check out theatres 2 and 3. Overall much more impressive than the Angelica....

another plus i forgot to mention is that in theatre 1 there is a small enclosed foyer between the lobby and the auditorium , perfect for taking important cel phone calls. compares well with sunshine cinema , the only other downtown theatre that i have found to be impressive. i had some problems with the quad and the angelika...

I met a boy called Frank Mills
On September twelfth right here
In front of the WAVERLY
But unfortunately
I lost his address

He was last seen with his friend,
A drummer, he resembles George Harrison of the Beatles
But he wears his hair
Tied in a small bow at the back

I love him but it embarrasses me
To walk down the street with him
He lives in Brooklyn somewhere
And wears this white crash helmet

He has gold chains on his leather jacket
And on the back is written the names
Mary
And Mom
And Hell's Angels

I would gratefully
Appreciate it if you see him tell him
I'm in the park with my girlfriend
And please

Tell him Angela and I
Don't want the two dollars back
Just him!

Ha... You know... For the past 5 minutes I've been trying to place that lyric, since it read so familiar to me! Then it dawned on me... the musical "Hair!" Thanks, Meerskiowa, for that appropriate reference and the memories it's starting to jog within me!

Garth: " was there today for the first time (never had the pleasure of the Waverly). At first didn't like that you sink down in the seats but then found them quite comfortable. In theatre one there were brick walls, making for a very interesting setting."

I went to the IFC for the first time recently to see Killer of Sheep, and almost everyone who sat down thought his/her seat was broken, until realizing they were meant to sink way down. I agree that once you get used to them they are very comfortable, and because the person in front of you is down low as well, the sight lines are comparable to those in theatres with stadium seating.

Does anyone know the status of the union dispute?

This is a recent photo of the IFC Center.

Here is a more recent photo of the IFC Center.

This recent photo shows more of the building.

Another recent photo of the IFC Center can be seen here.

two more shots taken nov 2007
http://www.flickr.com/photos/woody1969/2008443588/
http://www.flickr.com/photos/woody1969/2007639027/

Here is a 2008 close-up view.

It really takes my breath away with its architectural magnificence!

Mr. McGuire: I want to say one word to you. Just one word.
Benjamin: Yes, sir.
Mr. McGuire: Are you listening?
Benjamin: Yes, I am.
Mr. McGuire: Plastics.

It really is funny to read some of the comments on this page to support this IFC center. I am and have been a UNION projectionist for 33 years. I have worked everything from 1 to 18 screens. I always took pride in my work, and still do. I had the distinct pleasure (?) of working for good old Jimmy D for over 7 years. In all that time in my 10 screen theatre, shows would start on time, in frame, in focus, and my secret shopper screen reports always came in at 96 to 100%. For this I was rewarded with unemployment from good old Jimmy D and his band of pencil pushers. So WAKE UP PEOPLE, this whole IFC and Clearview Cinemas being great is nothing but crap.

Yup. Cablevision is one of the worst companies in the tri-state area, managing bad sports teams, poor cable service, and some poorly run movie theater chain that is one of the smallest in the nation but dominates the tri-state area in terms of screens. A chain like AMC or Landmark does a good job taking over an old theater and sprucing it up, even though it loses some of its luster. Clearview is the worst chain, plus they lack stadium seating and don't have any morning specials like AMC does.

Here are new links to previously posted images of the original Waverly Theatre:
http://i8.photobucket.com/albums/a18/Warrengwhiz/126-2658_IMG.jpg
http://i8.photobucket.com/albums/a18/Warrengwhiz/126-2662_IMG.jpg

According to Terry Miller's book GREENWICH VILLAGE AND HOW IT GOT THAT WAY, the structure that houses the IFC Center was once a church.

If this is so, the Waverly was that rarest of animals; a church that became a movie theatre.

Two unrelated questions:

1. Can anyone recall what classic film played at the Waverly on a double bill with the then-new "Gumshoe" in 1972? It was another gumshoe movie, but a classic - possibly "The Maltese Falcon," which is my best guess.

2. Warren, I've spent the past month reading thousands of blog postings in Cinema Treasures, and I enjoy your verbal contributions as well as the few graphics I can access.
I'd love to be able to call all of your many PhotoBucket graphics, but unless they're quite recent, they cannot be accessed. At least, not by me.
I know other people were able to access them shortly after they were posted because I see complimentary thank-you's posted to you.
Do the PhotoBucket graphics become unavailable after a fixed period of time - maybe 12 or 24 months later?
Have you any alternative way of posting photos so they do not "expire"?

BEAT THE DEVIL

That was it, Al. Thank you very much. It was the first time I caught "Beat the Devil," the 1953 flop that in the 1970s was frequently referred to as a cult favorite but which never truly caught on even at that level.
That was one of the few times I was in the Waverly, if not the only one, although I had occasion to walk past the theater scores of times over the years.

It's a little surprising that a threeplex, however good the location, can survive against neighborhood competition.

I lived on Carmine Street around the corner from the Waverly in the early 70's when I was a kid. My Saturday mornings would often be spent in the balcony watching "The Golden Voyage Of Sinbad" and some Road Runner cartoons, overdosing on Milk Duds with Bunky Parker. $1.00 for a whole morning of cinema. The marquee read:"Special midnight screening- "Dawn Of The Dead". I would PLEAD with my mom to let me go (She said no. I was nine.). I went to "Rocky Horror" there because my friend Maria was Magenta in the floor show. I was heart broken when they ripped out the balcony and turned it into a twin. I saw "Blue Velvet in the new, cramped space and thought how great it would have been with my feet up on the balcony wall.

This is a photo of the Waverly from 2001.

The Waverly was one of the first theaters I saw a movie at when I moved to NYC in 1986. I saw 'Blue Velvet' and there was still a balcony in the auditorium. The first film that I saw in the ridiculously small balcony 'theater' when it was twinned was 'Sex Lies & Videotape' in 1989. Some of the other films I saw there were 'My Own Private Idaho' and 'Silence of the Lambs'. Great theater. Even greater before they twinned it when the balcony was still there.

I am from LA and spent a week in NYC on holiday. Went to the IFC 2 nights running and saw "CHE" Parts 1 & 2 at the IFC. Wish I could have seen the it as The Waverly in all it's glory back in the day before the twinning and it's rebirth as the IFC. Saw Part One in the downstairs main theater. Not bad - lots of leg room and the seats are comfy, though you have to look up at the screen. Good projection and sound and all state of the art. The theater has been stripped to it's brick walls, so not a whole lot of decor and nothing I think remains of the old theater. The whole feel of the place is sort of industrial but it works. Saw Part 2 upstairs in one of the "smaller" theaters and wish I'd seen it in the downstairs theater. Very, very small with a less then large screen. Good thing the place was not crowded as it would have sold out really fast. Maybe 10 people in the adudience for a 10 pm showing on a weekday. Very cosy but it was HOT! Might have been 35 degrees outside, but inside it must have been 90! Had to peel off all my layers and even my shoes and the heat put me right to sleep. All in all not a bad theater, but still wish I could have known it when it was still the Waverly. Oh, and it's $12 admission for an adult. Don't know if they do a bargain price. Good popcorn too! They sell DVD of the films they present at the snack bar. What would Bob Dylan have thought?

Renewing link.

As the Walter Reade Waverly.

http://americanclassicimages.com/Default.aspx?tabid=141&txtSearch=new+york&catpageindex=32&catpagesize=25&ProductID=31222

Here is a photo I took about 2 weeks ago of the IFC Center.

Here is another 2009 photo.

2 additional screen for a total of 5 were opened on Friday. Were these added in what was the cafe space closed a while ago?

If they used the used the bar area for theatre space then my former loft apartment is now rightfully a movie theatre and all is right with the world.

Where did the WAVERLY marquee sign go? It was once in the bar.

As luck would have it, I saw two films tonight at IFC - both were in the new theaters, sandwiched under Theater 3 on the ground floor in what used to be the short lived and overpriced Waverly. (I once had crab cakes there, they were okay but there's too many better places to eat within a few blocks).

The theaters haven't been renumbered so 1, 4 and 5 are on the street floor, upstairs are 2 and 3. Theater 4 is okay, decent screen, about 60+ seats, tiered seating, digital and film projection. IFC sure doesn't have Sony 4K projection, the colors were off, not sure if it was the digital file but some of the shots of the sky in Ricky were pixelated and discolored in hot spots, it was like watching a bad streaming video (maybe the were streaming it from IFC's on demand network, kidding). I would have told the staff, but I would doubt they'd care.

Next up was Antichrist in Theater 5, a tiny all digital theater. I walked in and didn't see a projector, thinking this was perhaps real projection I looked up, following the light. Directly above the first row was a digital projection sandwiched above with a close circuit camera to monitor presentation remotely.

The theater had about 35 seats, very comfortable but the projection again wasn't that high quality. They probably went to Office Depot and bought there most expensive projector. The screen was a decent size although the auditorium layout was a little awkward, 3 rows of stadium seating, and two rows on the floor. The screen was small for a regular theater, but since it's close the audience (I know, sounds like the scam IMAX is running with "perception"), but the projector showed all the pixels, while sharp and in focus, the whites seemed too bright, too artificial. Quick cuts seemed to show the pixels.

If I were you I'd avoid Theater 5, 4 is decent, the original 3 are still the best and have the most comfortable seats (the new ones have different but very comfortable seats similar to the seats Clearview installs although they are cloth and not fake leather). The IFC Center is still interesting as its a for-profit subsidiary of a major evil corporation (Cablevision) but behaves like an NFP with its special screenings, membership club, and mailing list. Still I worry that the theater exists mostly to fulfill some contractual obligation between filmmakers and IFC when they sell their films to IFC. Granted it's playing a lot of non-IFC films, but it has been known to be a dumping ground and much as it's provided an outlet for some great independent and documentaries to be seen. My objection is the pre-show: if I see two features during the same week, I'll have to sit through the same pre-show: the same short (thank god they're over Greenporno), most of the same trailers, and ads, it's almost as bad as say, your local Regal or AMC. Customer service at IFC has also gone downhill, their staff doesn't seem to be happy to be there, when you walk in they simply rip your ticket and tell you where to go, verses opening with something like "welcome to IFC Center". It's depressing how its gone downhill even as its writing a new chapter in its history with two new theaters, relying on cheap digital projection they practically are driving customers to IFC on demand and away from the theater. Maybe that's part of their underlining strategy, but it sucks for those of us that are excited to see new films from world class filmmakers, in a facility that's lowered its standards.

Wow, how did Francois Ozon's new film get dumped into a 60 seat auditorium on opening weekend?

It wasn't his best film and there was maybe only about 15 people at the 7:40 show. It's also playing day and date on IFC's on demand channel. Herzog's other new movie, My Son, My Son What Have Ye Done had the big house.

The first sentence of the introduction needs to be changed. This is no longer "a funky little two-screen house."

Tinsel: The sentence says "WAS" a funky little two screen house. I was General Manager of the Waverly around 1987-1989 while it indeed was just that. I think that's a very funny and apt description of the way it WAS. The place was usually packed while I was there. Everyone remembers LarryA the Doorman (he really loved India), BeeshamT the concessionist, and remember the girl concessionist who looked just like Geena Davis?

Photo of the IFC courtesy Nick's Classic American Theatres.

http://i154.photobucket.com/albums/s254/Pavy1/IFC.jpg