Scott, what you fail to recognize, with that old missive of “property rights” is that they are and should be trumped by Historic Preservation, whenever possible. McGinty owns the building, however, he is merely a place-holder as it’s been in existance long before his ownership; he did not create it. Should he have the right to swoop in and in a fire sale grab the property solely for the purpose of razing it? No, he should purchase a vacant lot and do what he will. Too many historic properties are destroyed in the name of the all-mighty dollar and the perception that money needs to be made at all costs. This is a perfect example of government working for the people as historic structures can never be replicated.
To be sure, there are likely larger issues at work here, but until all efforts are deemed undoable, then that building must be saved to live and function again. There are just too many workable options for a person to come in and demand to tear it down.
Regal pulled the plug less than a year after making the annoucement. It was to be expected though as this was when a screeching halt occurred throughout the exhibition business as all of southern Calif. was extremely overbuilt. Less than 20 yrs. after opening the ballihooed and quite rightly lauded AMC Pine Square 14 as the centerpiece to a successful revitalization in Downtown Long Beach, just across San Pedro Bay from the Warner Grand; it’s closing to be gutted and newly realized as something all together different.
Instead of a theatre, The “Centre Street Lofts” were constructed having ground floor retail and four floors of condos above.
I assume you meant “former” Sheraton as it also isn’t all that old, just carries a new name today.
The marquee and blade sign were completely repainted in 1996 by John Wittle, then a local painter and funded by Grand Vision Foundation. Originally, only the marquee was to have been repainted back to its original colors, but a local business man made a substantial donation and the blade sign as well as all of the neon were completed.
After stripping the paint off down to bare metal, the original zigzag pattern of the painting was discovered as the marquee had been painted over numerous times. There was a puzzle as to the colors and the proper scheme. When two pieces of angle iron that attached the side panels to the building were removed, the original paint, in like new, undisturbed condition was discovered allowing for a match and pattern to be determined.
What was in many ways important, was that original thin paint strips beneath the angle iron was not stripped for repainting, but re-covered as they were found and still remain as documentation if and when needed.
Converting churches to theatres is not all that uncommon. I recall one in Santa Barbara, Calif. a number of years ago. I think it was called the Victoria Street Theatre and was an art house in the late 80’s, since closed and again used as a church. Basically, your talking about the same ‘type’ of structure, one used for public assembly and not needing much work or alteration, particularly if it was built prior to the 1950’s.
By the way, is your instructor Jim Abraham? Not only is he most knowledgeable, but one taught by experience. Please keep us informed of your progress. Good Luck.
Actually, in most markets, second-run or as a previous writer called them, Last Chance, began dying with the advent of the Mega-plexes. Here, they’d play a film , moving it to ever smaller rooms, until the film “played out.” Essentially, the first-runs were also second-runs, holding a film for the guaranteed 4 to 6 weeks. If one notices, they’ll note most films' attendance dwindles to nearly nothing after 3 or 4 weeks. The evolution of film exhibition in the last 25 years is not much different than from 50 or sixty years back. Not many entertainment industries have changed as dramatically as has film exhibition. It’s quite remarkable I’d say.
Ross, I’d absolutely love to attend, but unfortunately time and distance restraints conflict. One idea might be to video your talks and make them available as a series, or better still, possibly a documentary. It would certainly go a long way toward increasing the understanding of how ‘exhibition’ was and remains today, the driving force of the film industry.
Ray
The stage house has undergone a complete strip and replacement by Tru-Roll about two years ago. New sound system, screen and frame, as well as a stage extension by way of a pit cover too. It’s perhaps the newest rigging in any South Bay theatre. Grand Vision and other donors have done an admirable job in upgrading the theatre for all concerned.
Ken, you’re referring to what’s most recently been called the “Bridge to Breakwater” project, which John got started over 15 years ago with an idea for a ‘boardwalk’ along the main channel of the Port of LA. It is this very project, now handled by the Port, (in as much as they control the property,) that took untold numbers of public meetings to build consensus, bringing out the worst elements of this process and wasting untold millions of dollars, many plans and models,to finally reach a conclusion. The Port just recently OK’d the initial development after 12 years of bickering and backbiting.
These same elements are very active within the community and could potentially spell disaster for the Warner Grand. There are times when the public does NOT know what they’re talking about. When time is critical, consensus building needs to take a back seat. Nothing’s permanent, everything changes.
It all boils down to the RFP/RFQ which is still being developed. There is a lot to consider, particularly given the tremendous overhead, as well as the need to carefully not ruffle feathers. San Pedro has become a contentious and at times abrasive community, seemingly never satisfied with the status quo and always finding fault. Everyone seems to have “ownership” issues. This could lead to a mishmash of operators, all feeling they are right.
Personally, I’d think the operations could best be awarded to a “for-profit” organization that could more easily run the theatre without outside interference. One thing’s certain; we’ll know before the end of June. The councilwoman states she won’t allow the theatre to “close” as it’s too valuable to downtown San Pedro. Only time will tell as this one bears watching and watching closely.
Today’s business model for chain cinemas appears to say that the minimum number of screens for a “profitable” complex is 14, (or there abouts.) There are two criteria being used in this formula, per se. First, the tried and true one screen for every ten thousand population within a certain radius of location; second, how many releases per month can be anticipated to run, and still meet the minimum 3, 4 or 6 weeks first run requirement? To be sure, independently owned mini-multi screen venues ‘might’ survive; those having 3 or 4 screens, as art houses, or providing niche amentities such as food and drink services, but in general, the minimums are all too real.
Update your profile with an email address and you’ll likely receive more responses than what could be found here, in a public forum. Truth is, a lot depends upon your market and your abilities/experience, which then goes to what you might be able to do. CW makes valid points as does PhilRoxy. In short, it could be very exciting and rewarding or just the opposite.
Since this site is about MOVIE theatres either past or present, why is LATC of any relevance. As stated, it was a conversion of a former bank building, into three awkward, steeply raked performance spaces. LAHT is a wonderful organization, but this post is just stretching a bit.
Some are DVD presentations, some are film, as in Chicago’s Grant Park and New York’s Bryant Park in Manhattan, two of the country’s largest year-in and out. Either way of presentation, if legit, pay either the distributor or Swank for the rights as “non-theatrical screenings” and free to the public.
Why can’t the city give the “no-interst loan” without the demand for the theatre be turned over to a nonprofit. Doesn’t the city fund economic development projects? This seems a bit wacky.
JodarMF shouldn’t cheer just yet. This is far from a done deal and even if granted is not necessarily a long-term solution.
Dale, I honestly don’t think anyone can answer that for you. As a longshot, one would have to be in the area you’re considering, first and then, it would also depend on how hungery your contractors are. And that’s but one example. I can assure you, it will cost you seven to ten times as much in California as compared to most other parts of the country. Just way too much buerocracy their with overkill on the codes and regs. I think your best bet is to find a local architect to have a sitdown with and discuss your options. In other words, you have a lot of homework ahead of you.
MPoi, New movies, which are what I was referring to, are indeed a mixed bag. But when seeing some of the older films, many if not most that were ‘manufactured’ during the 30’s strictly to throw light and shadow on the screen, would not be considered ‘classics’ and as such, indeed would be called “trite.” You know, if one’s studied the history of film, those same films would be going “striaht-to-video.”
IMHO, Blu-Ray will have no more an affect than any of the other variants that have come along in the past 25 years. Actually, make that 60 years, as with the advent of television. Way back then, the industry’s come-back was wider and wider screens, better sound and 70mm. Today, it’s digital IMAX, as with AMC signing on to present same in many new markets.
Movies will survive to be first seen in theatres as long as the product itself is worthy of being seen on the “Big Screen.” If nothing more than trite, then it’s best left to the small screen.
For further evidence, watch the box office numbers, during this recession/depression. You just might be amazed.
Having lived in San Pedro, AKA, “Peedro” for many years, let me shed a bit of light on the photos and theatres.
First, the photos. The first picture, of the ballet school was originally a very well known Norwegian bakery called Olaf Christianson’s, followed by the dance school. The bakery had been such since at least the fifties, if not earlier. The La Rosa bar was originally the Dancing Waters Club and is famous in its own right as this was Jake Lamada’s Florida nightclub in the film Raging Bull. The sign, still on the building front, though repainted for today’s use is the same sign seen in the film.
On to the theatre’s. The Strand was Fox’s move over house for the Cabrillo and was located at the corner of Pacific and 11th St. It was razed to allow for expanded parking for what’s today a bank. The Barton Hill was probably the smallest of the theatres in San Pedro, situated mid-block on the west side of Pacific between 2nd St. and Santa Cruz. In its last incarnation as a theatre, it was known as the Star, but only for a very short time and then for live events, largely community based. The Globe Theatre was on the northwest corner of Sixth and Palos Verdes St. and was razed, as previously noted.
Well known and written about frequently are the Warner Bros. San Pedro, now Warner Grand and the Fox Cabrillo. I believe these five were the only “movie” theatres. I had the opportunity to access the Sanborn maps, which I believe are still available online at the LA Public Library, but you have to have a library card to access them. In 1912, or there abouts, there were three other theatres drawn in, but these weren’t necessarily movie theatres. Hope this solves some history for those curious souls.
Ed, you are correct, as this was my childhood hometown theatre. There was another theatre in town at what became the Star Shoe Store on Mill Street and just around the corner. However, I have no recollection of it other than it was closed, likely after WWII or at the latest, in the early 50’s. The Cory theatre, (Cory, being the borough’s nickname,) was active until the very early 70’s when it closed. If memory serves, several years passed until it was acquired by the borough, razed to become the town’s first city parking lot. A lot of fond memories going to a Saturday matinee, to see a double feature and sitting through the first one again. Especially when there were such classics as The Blob, The Fly and Creature From The Black Lagoon.
This theatre was run by, either two brothers or partners, older balding gentlemen, who if you weren’t a smart alec and didn’t try too often, would let you in to “find your friend,” knowing full-well that this was only ‘sneaking-in.’ I don’t recall ever seeing someone thrown out for such a ploy.
The booth was different too, popping out from the back wall of the single floor auditorium and accessed via an almost straight-up vertical, steep set of stairs. A lot of good memories created here, including the most important. Once when home on leave from the service, sometime during the mid 60’s, I was walking past this theatre with some friends and commenting that maybe I’d become a projectionist and when out, I’d work right there at the Cory. That never happened, not there, but elsewhere, what a time it’s been.
Scott, what you fail to recognize, with that old missive of “property rights” is that they are and should be trumped by Historic Preservation, whenever possible. McGinty owns the building, however, he is merely a place-holder as it’s been in existance long before his ownership; he did not create it. Should he have the right to swoop in and in a fire sale grab the property solely for the purpose of razing it? No, he should purchase a vacant lot and do what he will. Too many historic properties are destroyed in the name of the all-mighty dollar and the perception that money needs to be made at all costs. This is a perfect example of government working for the people as historic structures can never be replicated.
To be sure, there are likely larger issues at work here, but until all efforts are deemed undoable, then that building must be saved to live and function again. There are just too many workable options for a person to come in and demand to tear it down.
Regal pulled the plug less than a year after making the annoucement. It was to be expected though as this was when a screeching halt occurred throughout the exhibition business as all of southern Calif. was extremely overbuilt. Less than 20 yrs. after opening the ballihooed and quite rightly lauded AMC Pine Square 14 as the centerpiece to a successful revitalization in Downtown Long Beach, just across San Pedro Bay from the Warner Grand; it’s closing to be gutted and newly realized as something all together different.
Instead of a theatre, The “Centre Street Lofts” were constructed having ground floor retail and four floors of condos above.
I assume you meant “former” Sheraton as it also isn’t all that old, just carries a new name today.
The marquee and blade sign were completely repainted in 1996 by John Wittle, then a local painter and funded by Grand Vision Foundation. Originally, only the marquee was to have been repainted back to its original colors, but a local business man made a substantial donation and the blade sign as well as all of the neon were completed.
After stripping the paint off down to bare metal, the original zigzag pattern of the painting was discovered as the marquee had been painted over numerous times. There was a puzzle as to the colors and the proper scheme. When two pieces of angle iron that attached the side panels to the building were removed, the original paint, in like new, undisturbed condition was discovered allowing for a match and pattern to be determined.
What was in many ways important, was that original thin paint strips beneath the angle iron was not stripped for repainting, but re-covered as they were found and still remain as documentation if and when needed.
… and San Pedro, California’s Warner Grand Theatre turns 80 today. What a Gran Dame it is.
And how does one contact you?
Send me an email. I’d be happy to discuss and/or review your ideas. There’s lots to consider. Much beyond “wanting” to reopen and or save a theatre.
Contact the theatre you’re interested in and they’ll have all your answers
Converting churches to theatres is not all that uncommon. I recall one in Santa Barbara, Calif. a number of years ago. I think it was called the Victoria Street Theatre and was an art house in the late 80’s, since closed and again used as a church. Basically, your talking about the same ‘type’ of structure, one used for public assembly and not needing much work or alteration, particularly if it was built prior to the 1950’s.
By the way, is your instructor Jim Abraham? Not only is he most knowledgeable, but one taught by experience. Please keep us informed of your progress. Good Luck.
Actually, in most markets, second-run or as a previous writer called them, Last Chance, began dying with the advent of the Mega-plexes. Here, they’d play a film , moving it to ever smaller rooms, until the film “played out.” Essentially, the first-runs were also second-runs, holding a film for the guaranteed 4 to 6 weeks. If one notices, they’ll note most films' attendance dwindles to nearly nothing after 3 or 4 weeks. The evolution of film exhibition in the last 25 years is not much different than from 50 or sixty years back. Not many entertainment industries have changed as dramatically as has film exhibition. It’s quite remarkable I’d say.
Ross, I’d absolutely love to attend, but unfortunately time and distance restraints conflict. One idea might be to video your talks and make them available as a series, or better still, possibly a documentary. It would certainly go a long way toward increasing the understanding of how ‘exhibition’ was and remains today, the driving force of the film industry.
Ray
The stage house has undergone a complete strip and replacement by Tru-Roll about two years ago. New sound system, screen and frame, as well as a stage extension by way of a pit cover too. It’s perhaps the newest rigging in any South Bay theatre. Grand Vision and other donors have done an admirable job in upgrading the theatre for all concerned.
Ken, you’re referring to what’s most recently been called the “Bridge to Breakwater” project, which John got started over 15 years ago with an idea for a ‘boardwalk’ along the main channel of the Port of LA. It is this very project, now handled by the Port, (in as much as they control the property,) that took untold numbers of public meetings to build consensus, bringing out the worst elements of this process and wasting untold millions of dollars, many plans and models,to finally reach a conclusion. The Port just recently OK’d the initial development after 12 years of bickering and backbiting.
These same elements are very active within the community and could potentially spell disaster for the Warner Grand. There are times when the public does NOT know what they’re talking about. When time is critical, consensus building needs to take a back seat. Nothing’s permanent, everything changes.
It all boils down to the RFP/RFQ which is still being developed. There is a lot to consider, particularly given the tremendous overhead, as well as the need to carefully not ruffle feathers. San Pedro has become a contentious and at times abrasive community, seemingly never satisfied with the status quo and always finding fault. Everyone seems to have “ownership” issues. This could lead to a mishmash of operators, all feeling they are right.
Personally, I’d think the operations could best be awarded to a “for-profit” organization that could more easily run the theatre without outside interference. One thing’s certain; we’ll know before the end of June. The councilwoman states she won’t allow the theatre to “close” as it’s too valuable to downtown San Pedro. Only time will tell as this one bears watching and watching closely.
Today’s business model for chain cinemas appears to say that the minimum number of screens for a “profitable” complex is 14, (or there abouts.) There are two criteria being used in this formula, per se. First, the tried and true one screen for every ten thousand population within a certain radius of location; second, how many releases per month can be anticipated to run, and still meet the minimum 3, 4 or 6 weeks first run requirement? To be sure, independently owned mini-multi screen venues ‘might’ survive; those having 3 or 4 screens, as art houses, or providing niche amentities such as food and drink services, but in general, the minimums are all too real.
Too Bad. The article is more than 7 days old and now is pay-per-view archived. The Herald must be one of the fastest to archive arts around.
Update your profile with an email address and you’ll likely receive more responses than what could be found here, in a public forum. Truth is, a lot depends upon your market and your abilities/experience, which then goes to what you might be able to do. CW makes valid points as does PhilRoxy. In short, it could be very exciting and rewarding or just the opposite.
Since this site is about MOVIE theatres either past or present, why is LATC of any relevance. As stated, it was a conversion of a former bank building, into three awkward, steeply raked performance spaces. LAHT is a wonderful organization, but this post is just stretching a bit.
Some are DVD presentations, some are film, as in Chicago’s Grant Park and New York’s Bryant Park in Manhattan, two of the country’s largest year-in and out. Either way of presentation, if legit, pay either the distributor or Swank for the rights as “non-theatrical screenings” and free to the public.
Why can’t the city give the “no-interst loan” without the demand for the theatre be turned over to a nonprofit. Doesn’t the city fund economic development projects? This seems a bit wacky.
JodarMF shouldn’t cheer just yet. This is far from a done deal and even if granted is not necessarily a long-term solution.
Dale, I honestly don’t think anyone can answer that for you. As a longshot, one would have to be in the area you’re considering, first and then, it would also depend on how hungery your contractors are. And that’s but one example. I can assure you, it will cost you seven to ten times as much in California as compared to most other parts of the country. Just way too much buerocracy their with overkill on the codes and regs. I think your best bet is to find a local architect to have a sitdown with and discuss your options. In other words, you have a lot of homework ahead of you.
MPoi, New movies, which are what I was referring to, are indeed a mixed bag. But when seeing some of the older films, many if not most that were ‘manufactured’ during the 30’s strictly to throw light and shadow on the screen, would not be considered ‘classics’ and as such, indeed would be called “trite.” You know, if one’s studied the history of film, those same films would be going “striaht-to-video.”
IMHO, Blu-Ray will have no more an affect than any of the other variants that have come along in the past 25 years. Actually, make that 60 years, as with the advent of television. Way back then, the industry’s come-back was wider and wider screens, better sound and 70mm. Today, it’s digital IMAX, as with AMC signing on to present same in many new markets.
Movies will survive to be first seen in theatres as long as the product itself is worthy of being seen on the “Big Screen.” If nothing more than trite, then it’s best left to the small screen.
For further evidence, watch the box office numbers, during this recession/depression. You just might be amazed.
The theatre, rather than closing, is now a bargain, second-run house. Not unusual.
Having lived in San Pedro, AKA, “Peedro” for many years, let me shed a bit of light on the photos and theatres.
First, the photos. The first picture, of the ballet school was originally a very well known Norwegian bakery called Olaf Christianson’s, followed by the dance school. The bakery had been such since at least the fifties, if not earlier. The La Rosa bar was originally the Dancing Waters Club and is famous in its own right as this was Jake Lamada’s Florida nightclub in the film Raging Bull. The sign, still on the building front, though repainted for today’s use is the same sign seen in the film.
On to the theatre’s. The Strand was Fox’s move over house for the Cabrillo and was located at the corner of Pacific and 11th St. It was razed to allow for expanded parking for what’s today a bank. The Barton Hill was probably the smallest of the theatres in San Pedro, situated mid-block on the west side of Pacific between 2nd St. and Santa Cruz. In its last incarnation as a theatre, it was known as the Star, but only for a very short time and then for live events, largely community based. The Globe Theatre was on the northwest corner of Sixth and Palos Verdes St. and was razed, as previously noted.
Well known and written about frequently are the Warner Bros. San Pedro, now Warner Grand and the Fox Cabrillo. I believe these five were the only “movie” theatres. I had the opportunity to access the Sanborn maps, which I believe are still available online at the LA Public Library, but you have to have a library card to access them. In 1912, or there abouts, there were three other theatres drawn in, but these weren’t necessarily movie theatres. Hope this solves some history for those curious souls.
Ed, you are correct, as this was my childhood hometown theatre. There was another theatre in town at what became the Star Shoe Store on Mill Street and just around the corner. However, I have no recollection of it other than it was closed, likely after WWII or at the latest, in the early 50’s. The Cory theatre, (Cory, being the borough’s nickname,) was active until the very early 70’s when it closed. If memory serves, several years passed until it was acquired by the borough, razed to become the town’s first city parking lot. A lot of fond memories going to a Saturday matinee, to see a double feature and sitting through the first one again. Especially when there were such classics as The Blob, The Fly and Creature From The Black Lagoon.
This theatre was run by, either two brothers or partners, older balding gentlemen, who if you weren’t a smart alec and didn’t try too often, would let you in to “find your friend,” knowing full-well that this was only ‘sneaking-in.’ I don’t recall ever seeing someone thrown out for such a ploy.
The booth was different too, popping out from the back wall of the single floor auditorium and accessed via an almost straight-up vertical, steep set of stairs. A lot of good memories created here, including the most important. Once when home on leave from the service, sometime during the mid 60’s, I was walking past this theatre with some friends and commenting that maybe I’d become a projectionist and when out, I’d work right there at the Cory. That never happened, not there, but elsewhere, what a time it’s been.