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Speaker 1: Ephemeral is a production of iHeart three D audio for full.

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Speaker 2: Exposure, listen with that phones, open the pod bay doors. Hell,

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Speaker 2: I'm sorry, Dave, I'm afraid I can't do that.

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Speaker 3: There's nothing quite like seeing a good movie on the

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Speaker 3: big screen. If you've ever watched something like two thousand

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Speaker 3: and one A Space Odyssey in a theater, you'll understand

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Speaker 3: how visceral it can be to experience that level of

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Speaker 3: visual and auditory immersion, and how different it is from

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Speaker 3: watching at home. Theaters have always been an important part

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Speaker 3: of the film industry. In the early nineteen hundreds, companies

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Speaker 3: like Paramount and Columbia help to open the first picture palaces,

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Speaker 3: opulent and decadent houses for exhibiting film. Eight saw a

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Speaker 3: huge boom in movie going culture as theater chains expanded

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Speaker 3: the accessibility of movies across the country. But recently, the

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Speaker 3: COVID pandemic and the rise of streaming services have threatened

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Speaker 3: the existence of movie theaters altogether. So now where do

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Speaker 3: movie theaters fit into our modern culture today? Producer Trevor

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Speaker 3: Young walks us through the turbulene but grand history of

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Speaker 3: movie theaters and visits one special theater in Los Angeles,

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Speaker 3: which still thrives on independent cinema.

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Speaker 4: Last year I had the opportunity to move to Los Angeles.

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Speaker 4: As you probably know, we're huge film nerds here on

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Speaker 4: the Ephemeral Team, and LA is a huge film town.

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Speaker 4: So I was excited to visit all the local theaters

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Speaker 4: around here. But what I wasn't expecting was just how

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Speaker 4: opulent and dense with historical meaning all of the mainstay

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Speaker 4: theaters here really are. Most of them have been around

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Speaker 4: for decades, some for over a century. They're full of life,

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Speaker 4: and the people in them carry a genuine love for film,

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Speaker 4: and especially coming out of COVID, it feels like all

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Speaker 4: the moviegoers that these theaters agree this is a special event.

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Speaker 1: You know what you can't get from sitting at home watching, say,

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Speaker 1: a movie like The Long Goodbye with Elliott Gould.

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Speaker 2: Okay, I think, what was Marty Augusty doing here the

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Speaker 2: other night? How did you know him here from my place?

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Speaker 2: So dropped by to have a word or two with me,

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Speaker 2: and I was just curious to see who else he

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Speaker 2: wanted to talk to. A turn out to be you.

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Speaker 1: You can't get Elliot Gould sitting in the seat across

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Speaker 1: the aisle from you watching The Long Goodbye. He is

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Speaker 1: literally sitting three feet from me. I mean, come on,

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Speaker 1: that's one of my favorite movie going experiences.

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Speaker 5: I'm like, oh my god, it's Elliot cool.

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Speaker 4: This is Jules McLean, director of operations at the New

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Speaker 4: Beverly Cinema in Los Angeles. The New BEV, as it's

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Speaker 4: often called, is owned by filmmaker Quentin Tarantino. He bought

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Speaker 4: the historic theater in two thousand and seven and has

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Speaker 4: since devoted the theater to screening revival cinema. Jules is

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Speaker 4: a personal friend of Quentin and join the NUBEV in

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Speaker 4: twenty fourteen, and her job can be a little intense at.

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Speaker 5: The New Beverly.

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Speaker 1: Kind of a jack of all trades, but I do

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Speaker 1: oversee everything. I communicate with Quentin a lot. I'm the

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Speaker 1: one person that has an open line of communication forum.

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Speaker 1: We get programming for him, We bounce ideas off. I'm

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Speaker 1: lucky that I have a good team in place, because

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Speaker 1: you would not imagine everything it is to run a theater.

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Speaker 1: There's booking, there's establishing relationship with filmmakers and distributors, studios,

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Speaker 1: film collectors. Because we're a film only house. There's the

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Speaker 1: day to day stuff of running a business. You need permits,

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Speaker 1: health permits. You have to like take into consideration pricing

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Speaker 1: because everything is now skyrocketing navigating through COVID waters.

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Speaker 4: But Jules says it's all worth it to her. Movie

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Speaker 4: theaters like the New BEV are the most valuable cultural spaces.

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Speaker 5: We have two things.

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Speaker 1: One it's an escape for me, and the other thing

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Speaker 1: is the communal aspect. Just this last Saturday, went and

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Speaker 1: saw Live and let dive one of our matinees.

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Speaker 2: Easy, Charlie, let's get there on one piece, Charlie.

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Speaker 5: Big James Bond fan here.

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Speaker 1: And afterwards, you know, people are buzzing, stayed in the lobby.

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Speaker 1: I mean people are staying in the lobby for like

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Speaker 1: a half an hour. Finally I had just kind of

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Speaker 1: shoot people away because we had another show coming in.

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Speaker 5: But I remember one of our regulars, Sarah, we were talking.

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Speaker 1: She's all like, I've made a lot of friends standing

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Speaker 1: in line at the New Beverly.

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Speaker 5: This place is magic. I don't know, you're not going to.

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Speaker 1: Get that experience sitting at home on your couch.

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Speaker 5: You got to get out.

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Speaker 1: It doesn't matter if it's at the New Beverly another theater,

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Speaker 1: and so we support independent theaters the most. But even

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Speaker 1: if you get out and you go to the bigger

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Speaker 1: chain theaters, just get out of your house, go to

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Speaker 1: the movie, see it with an audience. Oh my gosh,

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Speaker 1: Live and Let Die, wonderful action pack, but also had

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Speaker 1: this moments of comedy and just being in a theater,

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Speaker 1: a pack theater, and sharing laughter with somebody's it really

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Speaker 1: is Sarah's raight is magical.

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Speaker 4: Jules told me that the new Bets reminded her of

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Speaker 4: the kind of theaters she used to go to growing up.

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Speaker 1: When I was I'm going to stay five, but I

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Speaker 1: think I was actually six, my mom took me to

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Speaker 1: Butch Cassidy and the Sundance Kids. But Cassidy's Hole in

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Speaker 1: the Wall Gangcasi's Hole in the Wall Gang, that's me,

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Speaker 1: the whole bank of over close to twenty fives.

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Speaker 2: What hard you do your planning for you? You want

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Speaker 2: them to do your thinking for you. You want him

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Speaker 2: to run things.

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Speaker 1: You can shut up now, news or not yet till

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Speaker 1: I get the good part. Butch and before y'all be

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Speaker 1: judge everyone. I really wanted to see Butch Cassidy and

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Speaker 1: the Sundance Kids. She just didn't pick that out of

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Speaker 1: the blue. The next movie was The Great Gatsby, and

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Speaker 1: I think I was seven, and I wasn't very into it.

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Speaker 1: You want too much?

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Speaker 5: I love you now?

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Speaker 1: Isn't that enough?

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Speaker 5: I can't help what's passed.

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Speaker 3: I did love him once, but I loved you too.

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Speaker 1: And then we stood in line for like Star Wars,

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Speaker 1: like my mom rocked as far as like movies go,

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Speaker 1: and that just really formed my sensibilities. That's a movie

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Speaker 1: going experience. I just, I mean, decades later, I remember

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Speaker 1: that I take my nieces to the theater. I mean,

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Speaker 1: I just I hope people continue to go out to

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Speaker 1: the movies.

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Speaker 4: One unique thing about the New Beverly is that they

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Speaker 4: only show film, meaning actual analog reels and no digital

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Speaker 4: film whatsoever.

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Speaker 1: It's not easy, but we know a lot of collectors,

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Speaker 1: a lot of the studios, in fact, the majority of

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Speaker 1: them have opened up their repertory. They do lend out

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Speaker 1: prints a lot of times. There's costs and volve in

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Speaker 1: the shipping aspect. Sometimes the archives are local and we

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Speaker 1: can go pick them up. And luckily we actually went

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Speaker 1: back through all our programming and one of the reasons

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Speaker 1: Quinton got the theater in the first place is that

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Speaker 1: he has a very large film print collection. Over half

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Speaker 1: the titles that we play come from his collection. So

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Speaker 1: that's a way for him to share it with audiences.

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Speaker 1: Because actually we had to do that for tax purposes too.

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Speaker 1: It's like, oh no, no, no, he really does play

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Speaker 1: his prints at that theater.

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Speaker 4: But it's not just an arbitrary choice. The new bev

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Speaker 4: uses real film for a reason.

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Speaker 1: Seeing actual film, they've done studies and I forget if

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Speaker 1: it was Harvard or Yale. But the brain's reaction to

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Speaker 1: twenty four frames per second, you have a different emotional connection.

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Speaker 1: Digital very flat thirty five offers a different texture. Your

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Speaker 1: brain takes it in differently, you have a different emotional reaction.

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Speaker 1: I mean that's a big part of what's different now

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Speaker 1: days two because it's all digital projection and this and that, which,

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Speaker 1: by the way, I'll still go to see digital films.

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Speaker 1: I'm not pooh pooing them if I have a choice,

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Speaker 1: darn right. Like I waited forever to see Nightmare Alley

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Speaker 1: because I know we were going to show it and

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Speaker 1: I wanted to see it on film.

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Speaker 6: Oh I see an older man. Oh the boy hates cinema.

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Speaker 3: Oh, the boy would love to be loved, but he

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Speaker 3: hates that man. Death.

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Speaker 1: Death. I'm no wish to death.

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Speaker 4: As you can tell, Jules has a deep love for

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Speaker 4: all things cinema, and she's very attuned to the vast

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Speaker 4: history of theaters in LA and across the country. So

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Speaker 4: we thought she'd be the perfect person to help us

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Speaker 4: learn a little bit more about theaters, or as they

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Speaker 4: were originally called, picture palaces.

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Speaker 1: The nineteen tens the nineteen twenties. A lot of the

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Speaker 1: older theaters were actually live performances converted to a movie

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Speaker 1: theater once the talkies came about.

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Speaker 4: Early film studios like Paramount or Warner Brothers were deeply

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Speaker 4: involved in the movie palaces. They were, of course, the

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Speaker 4: only venues for their product.

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Speaker 1: Once they got a little bit of this success in

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Speaker 1: the studios operated a lot of them. They just kept

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Speaker 1: getting bigger, seating like twenty five hundred three thousand downtown

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Speaker 1: Los Angeles, wonderful like two mile stretch of just like

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Speaker 1: picture palace after picture palace after picture palace.

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Speaker 4: One thing most people either forget about or don't realize,

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Speaker 4: is that there was a whole show before the film

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Speaker 4: back then you'd have the news ads, a cartoon or short.

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Speaker 1: Film, television highlights of the news of yester year.

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Speaker 4: That's something you might also see at the New Beverley.

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Speaker 1: Cartoons were a big draw in the thirties. Cereals those

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Speaker 1: were a big draw. You'd package cereals and cartoons and

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Speaker 1: maybe a comedy shortened.

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Speaker 5: That's their entertainment for the weekend.

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Speaker 1: I go on private forums and stuff like that, and

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Speaker 1: I'm always looking for cool things because we will play

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Speaker 1: newsreels from the thirties, the forties, the fifties.

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Speaker 2: In Gary, Indiana, struck mills or idol behind picket lines

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Speaker 2: composed of women.

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Speaker 1: Cartoons were big on cartoons. When Quentin took it over,

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Speaker 1: he really wanted to kind of mimic what happened in

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Speaker 1: the past, which was you would play like a tag,

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Speaker 1: a little like kind of commercial or something cool for

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Speaker 1: like Coca Cola.

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Speaker 7: Let's all go to the lobby. Let's all go to

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Speaker 7: the lobby.

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Speaker 2: Let's all go to the lobby to get ourselves a treat.

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Speaker 1: Then you would play like a short, you know, Three

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Speaker 1: Stooges short or you know, bugs Bunny cartoon, and then

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Speaker 1: it's like trailers and trailers for either up and coming

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Speaker 1: films or trailers that thematically fit what you're showing that night,

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Speaker 1: and then you go into the actual feature and that's

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Speaker 1: what they did that then it was a different movie

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Speaker 1: going experience. I know, you get the trailers when you

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Speaker 1: go and see your first run films and stuff, but

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Speaker 1: you know, it's not quite the same.

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Speaker 4: One other interesting thing is that most theaters did not

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Speaker 4: have concessions back then.

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Speaker 1: I don't know how they survived. I forget what decade

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Speaker 1: concessions came into, but can you imagine going to the

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Speaker 1: movies and not having concessions. Now as an exhibitor, I'm like, oh,

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Speaker 1: oh gosh, we would not be in business if we

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Speaker 1: had to close our concessions.

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Speaker 5: I have to have my popcorn.

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Speaker 4: But by far the most striking feature of the old

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Speaker 4: picture palaces was the architecture.

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Speaker 1: Stunning, absolutely stunning. I can tell you that a lot

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Speaker 1: of thought went into them. You can tell by the

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Speaker 1: little decorations, very ornate, very thematic. You had two theaters

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Speaker 1: in Los Angeles that had an Egyptian theme and they

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Speaker 1: were two different architects.

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Speaker 5: You know, you see.

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Speaker 1: Middle Eastern themes. You just see a lot of art

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Speaker 1: deco themes. I would love to go back in time

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Speaker 1: and just kind of sit in on some of the

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Speaker 1: planning and what people thought. But again, studios behind a

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Speaker 1: lot of the big picture palaces, so they could throw

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Speaker 1: a lot of money into them, and they wanted to

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Speaker 1: appeal to a wider class of people. They did want

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Speaker 1: the theaters to reflect that.

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Speaker 4: I asked Jules to mention a few examples and to

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Speaker 4: tell us what her favorites are.

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Speaker 1: Believe it or not, Radio City Music Hall, which does

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Speaker 1: not show film anymore. I don't think the Music Box

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Speaker 1: in Chicago. There's a handful that a still around in

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Speaker 1: downtown Los Angeles. A secret movie club is out of

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Speaker 1: the million Dollar Theater in downtown Los Angeles. And then

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Speaker 1: there's other venues that are open. We've had premieres of

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Speaker 1: Quinton's films at a couple of the theaters. I really

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Speaker 1: like the Metrograph in New York. I love the Bellcourt

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Speaker 1: in Nashville. You know, I was a big fan of

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Speaker 1: the Ramadome and even the arc Light Complex in general

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Speaker 1: because I thought they had, you know, really nice big theaters.

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Speaker 1: I do like when I travel, i'd like to see

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Speaker 1: the independent movie theaters. I like to experience them. I'll

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Speaker 1: tell you a wonderful one is the Hollywood Theater in Portland, Oregon. Amazing, gorgeous,

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Speaker 1: wonderful programming. I got a little tour and everything. There's

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Speaker 1: fun little basement hangout, you know. And I get kind

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Speaker 1: of jealous of theaters like the Hollywood because they have

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Speaker 1: so much room and can do so much and the

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Speaker 1: guy that runs it, oh, here's two free drink tickets.

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Speaker 5: I'm like, oh wow.

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Speaker 1: It's like, yeah, we don't get drink tickets at the

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Speaker 1: New Beverly. We don't even starve alcohol and stuff. So

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Speaker 1: I did a little jealous, But I mean, theaters are

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Speaker 1: just wonderful one. They're in every town and it's yay,

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Speaker 1: they're magic.

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Speaker 4: Jules says that back in the day going to the

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Speaker 4: movie theater was a big.

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Speaker 1: Deal throughout the country. I think they were packed. That

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Speaker 1: was your night out. You're getting dressed up to go

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Speaker 1: to these places. Now part of it, Yeah, you want

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Speaker 1: to be seen dressed up, drive your car there. Maybe

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Speaker 1: it was the equivalent to when we go to maybe

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Speaker 1: to the Pantagious in Los Angeles to go see Hamilton

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Speaker 1: or something, or if you go to Broadway you would

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Speaker 1: have more like the Douglas Fairbanks action, you know, buccaneers.

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Speaker 1: I also think a lot of the comedies you have

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Speaker 1: the Harold Lloyd's MaxEnt and comedies, and I think a

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Speaker 1: lot of like shorter films that are just they're lost

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Speaker 1: now even if they were found.

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Speaker 5: Is there an audience form, I don't know so.

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Speaker 4: Because the studios largely funded the movie palaces back then,

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Speaker 4: the theaters were a lot more strict about what they

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Speaker 4: could or couldn't play.

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Speaker 1: I know, there wasn't a lot of like cross pollinations.

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Speaker 1: So if it was, you know, a Warner Brothers theater,

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Speaker 1: they only played Warner pictures. There were studios that didn't

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Speaker 1: have theaters, and I think it was a tougher time

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Speaker 1: for them to get in into some of the established

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Speaker 1: studio owned But I mean that broke up, and I

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Speaker 1: think that was probably good. There certainly were, I mean

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Speaker 1: studios are cranking it out in the heydays, forties fifties. Absolutely,

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Speaker 1: if they made money, they were going to produce some

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Speaker 1: some not so great that you can say that for

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Speaker 1: today's films too.

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Speaker 4: The New Beverly did not yet exist by this point,

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Speaker 4: so it's not technically a picture Palace, but its history

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Speaker 4: is interesting nonetheless.

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Speaker 1: Yeah, New Beverly's built in twenty nine, so it was originally,

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Speaker 1: I believe, a candy store. Then somebody sold wine out

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Speaker 1: of it, and it eventually became Slapsy Maxis, which was

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Speaker 1: a live club. In nineteen fifty, it became a movie theater.

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Speaker 1: I mean, there's been one ever since. But it's had

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Speaker 1: so many iterations and so many different names, it's kind

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Speaker 1: of crazy. It was even split into a twin theater

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Speaker 1: called the Riviera Capri Crazy.

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Speaker 5: I can't imagine it now because I still think it's

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Speaker 5: a little small. It was the.

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Speaker 1: Arrows, the Riviera Caprids, the Beverly, the New Yorker. It's

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Speaker 1: an adult theater, as we all know, kind of referenced

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Speaker 1: in Once upon a Time in Hollywood, What's.

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Speaker 7: Going on at the Dirty Movie Place?

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Speaker 5: Well, they're having a premiere. Dirty movies have premieres.

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Speaker 3: Yeah, they're fun.

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Speaker 5: Which is really cool.

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Speaker 1: If you watched Once upon a Time in Hollywood at

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Speaker 1: the New Beverly, you got.

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Speaker 5: That d joke.

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Speaker 1: Been home to a lot of different theaters and made

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Speaker 1: many people happy.

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Speaker 4: She says. Theaters like this started to become more common

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Speaker 4: in the fifties instead of the grand picture palaces, now

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Speaker 4: we were getting more small, single screen theaters.

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Speaker 1: They popped up because people are moving to the suburbs.

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Speaker 1: You know, you can build a giant picture palace their

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Speaker 1: neighborhood theaters, so I think they served their neighborhoods.

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Speaker 4: But soon big companies would take notice of the success

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Speaker 4: of movie theaters and they would create the franchises we

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Speaker 4: know today chains that all but doomed the independent theaters

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Speaker 4: of the last century. These days the most common movie

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Speaker 4: theaters are the chains, amc, Cinemak, Regal and so on.

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Speaker 4: But before these, in the early days, the studios themselves

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Speaker 4: were the franchises.

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Speaker 5: They were up.

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Speaker 1: During the picture palaces, you had your lolls and your

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Speaker 1: warners and stuff, so you saw them. But when the

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Speaker 1: studios were told that they couldn't be exhibitors, there were

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Speaker 1: opportunities for corporations. Probably sixties they really started getting going.

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Speaker 1: Seventies probably their heydays, seventies and eighties.

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Speaker 5: Then the slide began.

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Speaker 4: Unfortunately, theater chains radically shifted the movie business in the eighties.

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Speaker 4: Now you have these big buildings with a dozen or

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Speaker 4: more screens showing every available movie, usually more than once

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Speaker 4: a day. While Jules prefers the older art house single

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Speaker 4: screen theaters, she understands why these types of theaters became popular.

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Speaker 1: There's your economic aspect as an exhibitor, where you're not saddled.

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Speaker 5: If a movie bombs.

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Speaker 1: You open it in your big three hundred seat theater,

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Speaker 1: and at bombs you move it over to the fifty

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Speaker 1: seater and you can put something in where you will

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Speaker 1: make money. As far as the movie going experience, it's

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Speaker 1: just like now, it's a lot of options. I want

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Speaker 1: to go see the two ten show of so and so,

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Speaker 1: but I missed it. But look at two thirty, I

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Speaker 1: can make this so it's not a complete wash. I

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Speaker 1: don't have to get back in my car. I don't

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Speaker 1: have to kill two hours to the next showing. As

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Speaker 1: a teenager or as a young college person, multiplexes were

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Speaker 1: great because you could see two or three movies a

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Speaker 1: day and only pay once.

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Speaker 4: But Juele says we lost a lot of value when

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Speaker 4: we transitioned away from the neighborhood theaters.

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Speaker 1: There more things like textually, if you go to the Vista,

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Speaker 1: you have the manager that has worked there for decades, Victor,

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Speaker 1: and he'll greet you and you have interactions and you

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Speaker 1: can you know, it's your neighborhood theater. I live in

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Speaker 1: that neighborhood, so I always run into friends there. But

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Speaker 1: you don't have that kind of interaction at an AMC.

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Speaker 1: And it's so big, and you don't like stand in

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Speaker 1: a lobby and talk about the film afterwards. You don't

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Speaker 1: like meet people and say, hey, let's go get coffee

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Speaker 1: over here and talk about the film. You go, you

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Speaker 1: see the movie. It's great, you know what you're getting,

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Speaker 1: and you go home. Go someplace like New Beverly, you

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Speaker 1: know the vista, the Arrow Los Biless three. It's a

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Speaker 1: different experience. It's more of a movie going experience. I

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Speaker 1: don't know if I can put my finger quite on it,

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Speaker 1: but it just isn't a little bit more at an AMC,

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Speaker 1: shall we say.

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Speaker 4: Of course, the biggest impact of the chain theaters was

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Speaker 4: the eventual closure of indie theaters. For the older single

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Speaker 4: screen theaters and picture palaces, companies like AMC signaled near

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Speaker 4: certain death.

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Speaker 1: I don't know how a single screen theater makes it.

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Speaker 1: I have zero idea. We've come close to closing several times,

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Speaker 1: despite Quentin Tarantino being the overall owner. That doesn't mean

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Speaker 1: he has to lose hundreds of thousands of dollars a year.

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Speaker 1: You know, the American cinema tech is at the low

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Speaker 1: SPI list three. I don't know if they have all

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Speaker 1: three screens, but I think they have like two of them.

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Speaker 5: At least. That gives you an.

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Speaker 1: Opportunity to make your programming a little bit. I don't know,

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Speaker 1: I'm like diverse or something, but you can fall back

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Speaker 1: onto something and gives you a little bit more flexibility.

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Speaker 5: Where if we put.

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Speaker 1: A dog in there, it's bad for us, you know,

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Speaker 1: can't really overcome that. Now we have to try to

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Speaker 1: think like, okay, what can we do to make up

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Speaker 1: like we're losing five thousand dollars by showing this one movie?

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Speaker 1: You know, Friday, Saturday, Sunday and there's twelve people here.

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Speaker 5: This is bad. Doesn't matter.

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Speaker 1: We still have to pay the studios their licensing fee.

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Speaker 1: Now we're paying employees not to serve you popcorn, or

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Speaker 1: sell you tickets or monitor the show. I do not

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Speaker 1: know how single screen theaters exist.

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Speaker 4: Well. Jules is thankful that the new BEV is surviving.

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Speaker 4: She says running a single screen theater is both complicated

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Speaker 4: and difficult in ways that chain theaters don't have to

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Speaker 4: worry about.

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Speaker 5: Well B corporations.

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Speaker 1: Obviously, you can like move your money around at this

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Speaker 1: theater location. B you don't take a loss, and it's different.

398
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Speaker 1: No place to hide for the single screen theater, I'll

399
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Speaker 1: tell you that. Much like in twenty fourteen, when we

400
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Speaker 1: took over the new Beverly to pick up our trash,

401
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Speaker 1: it was like one hundred and eighty six dollars. Now, oh,

402
00:22:00,560 --> 00:22:04,119
Speaker 1: five hundred and thirty four dollars. Yes, we do have

403
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Speaker 1: to raise our ticket prices occasionally, and it's everything.

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Speaker 5: It's clockwork.

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Speaker 1: There's a certain vendor that sends a notice at the

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Speaker 1: beginning of the year, a big vendor, we need to

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Speaker 1: raise our prices three to five percent. I'm like, oh

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Speaker 1: my gosh, but I don't pass that along to our patrons.

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Speaker 1: I know other theaters don't do that either. Part of

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Speaker 1: the movie going experience is feeling like you're not being gouged.

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Speaker 1: I go to a lot of theaters and I take

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Speaker 1: pictures of their concession things, and I'm like, how in

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Speaker 1: the world is this big theater? I will leave out

414
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Speaker 1: a name charging four seventy five for a small bottle

415
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Speaker 1: of water is like wow.

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Speaker 4: The next big blow to small theaters was television.

417
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Speaker 5: I think it was pretty damning to theater going well.

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Speaker 1: I mean, all of a sudden, it was almost like

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Speaker 1: a novelty, almost like wow, you got this little screen

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Speaker 1: and you can just like you can watch the Howdy

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Speaker 1: Duty Show. Oh my gosh, you can like you can

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Speaker 1: bring your meal and put it on a tray and

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Speaker 1: you can.

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Speaker 5: Watch from your home home.

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Speaker 1: I don't think it was anything with economics, but I

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Speaker 1: think it was just like, Wow, we've got.

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Speaker 5: Like a screen in our home. Now.

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Speaker 1: It's a little better than the movie screen, but there's

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Speaker 1: always something on and oh.

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Speaker 5: Wow, they're showing a John Wayne movie. Wow. And theaters

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Speaker 5: had to overcome that, and they did.

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Speaker 4: And then came streaming things like Netflix and Hulu. I

433
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Speaker 4: asked Jules how the New Beverly survived the streaming era.

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Speaker 1: Definitely, attendance took a hit at the New Beverly. We

435
00:23:45,000 --> 00:23:49,040
Speaker 1: didn't come in until twenty fourteen. But the dynamics of

436
00:23:49,440 --> 00:23:53,840
Speaker 1: movie exhibition have changed. But I think at least we've

437
00:23:53,880 --> 00:23:56,119
Speaker 1: reached a point now where it's harmonious.

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Speaker 4: Jewels says streaming is probably her least favorite way to

439
00:23:59,760 --> 00:24:02,719
Speaker 4: watch movie. She says that at theaters there's a kind

440
00:24:02,760 --> 00:24:05,679
Speaker 4: of community you just don't get by flipping through Amazon Prime.

441
00:24:06,840 --> 00:24:10,400
Speaker 1: It's so nice when people come to the New Beverly,

442
00:24:10,560 --> 00:24:13,159
Speaker 1: Like I'll tell you that the family matinee, we were

443
00:24:13,160 --> 00:24:15,520
Speaker 1: playing Disney's The Barefoot Executive.

444
00:24:16,080 --> 00:24:18,840
Speaker 8: I'm not interested in your theories on ratings, and I'm

445
00:24:18,880 --> 00:24:22,520
Speaker 8: certainly not interested in doing a show called Abraham Lincoln's

446
00:24:22,520 --> 00:24:24,399
Speaker 8: Doctor's Dog, whatever that is.

447
00:24:25,280 --> 00:24:30,000
Speaker 1: And it was directed by Robert Butler. He brought his grandchildren.

448
00:24:30,440 --> 00:24:33,960
Speaker 1: Now the grandchildren get to see it on the big screen.

449
00:24:34,040 --> 00:24:37,160
Speaker 5: They get to see the audience laughing. They get to.

450
00:24:37,080 --> 00:24:40,600
Speaker 1: See people coming up to their grandfather Robert Butler afterward

451
00:24:40,640 --> 00:24:42,359
Speaker 1: and say, oh man, that was so cool, and that's

452
00:24:42,400 --> 00:24:45,720
Speaker 1: so cool that you came out taking pictures by the

453
00:24:45,760 --> 00:24:47,119
Speaker 1: one sheets and everything like.

454
00:24:47,200 --> 00:24:49,600
Speaker 5: You don't get that experience at home.

455
00:24:49,640 --> 00:24:52,520
Speaker 1: And that's actually one of the things I'm most proud

456
00:24:52,520 --> 00:24:55,320
Speaker 1: about the New Beverly is that that we offer people

457
00:24:55,359 --> 00:24:58,760
Speaker 1: that experience and you don't have to be Robert Butler

458
00:24:58,800 --> 00:25:02,360
Speaker 1: and his family to so recognize, if you were at

459
00:25:02,400 --> 00:25:05,560
Speaker 1: that screening, how important that is and how special that is.

460
00:25:05,640 --> 00:25:07,800
Speaker 1: Like I was just work in the box office, and

461
00:25:07,840 --> 00:25:12,159
Speaker 1: it's like, that's pretty darn cool. You're not going to

462
00:25:12,240 --> 00:25:14,199
Speaker 1: get that watching the movie on Netflix.

463
00:25:15,560 --> 00:25:19,080
Speaker 4: But clearly streaming isn't going anywhere. So this begs the

464
00:25:19,160 --> 00:25:23,040
Speaker 4: question can theaters and streaming services live harmoniously.

465
00:25:24,680 --> 00:25:27,000
Speaker 1: I don't know if I ever see that they exist

466
00:25:27,280 --> 00:25:31,680
Speaker 1: equally harmoniously. I think you're seeing that now. I mean,

467
00:25:31,720 --> 00:25:36,320
Speaker 1: we have a wonderful relationship with say Netflix. Netflix took

468
00:25:36,359 --> 00:25:39,160
Speaker 1: over the Egyptian Theater, so they will be showing their

469
00:25:39,200 --> 00:25:44,800
Speaker 1: films there. There's a merger of theater and streaming, and

470
00:25:44,880 --> 00:25:49,879
Speaker 1: I remember Netflix at one point was very resistant, but

471
00:25:50,160 --> 00:25:54,080
Speaker 1: they saw the potential, they saw a wider audience. They

472
00:25:54,160 --> 00:25:58,320
Speaker 1: saw that Hey, Academy Awards, you know, we get some

473
00:25:58,359 --> 00:26:01,000
Speaker 1: of our films nominated, win some Oscars.

474
00:26:01,040 --> 00:26:01,880
Speaker 5: Pretty darn cool.

475
00:26:02,960 --> 00:26:05,879
Speaker 4: Luckily, there has been a movement in recent years to

476
00:26:05,960 --> 00:26:08,919
Speaker 4: preserve the history of rich spaces like picture palaces and

477
00:26:09,000 --> 00:26:13,160
Speaker 4: single screen theaters. Quentin Tarantino, of course, saved the New

478
00:26:13,160 --> 00:26:16,399
Speaker 4: Beverly from extinction, as well as the Vista Theater, also

479
00:26:16,440 --> 00:26:20,919
Speaker 4: in Los Angeles. But finally, other filmmakers are also starting

480
00:26:20,960 --> 00:26:21,560
Speaker 4: to step up.

481
00:26:22,480 --> 00:26:26,320
Speaker 1: There's certainly the Paul Thomas Anderson's and the christ Different Nolan's.

482
00:26:26,359 --> 00:26:29,000
Speaker 1: I don't think they have a foundation or do anything,

483
00:26:29,080 --> 00:26:32,360
Speaker 1: but just by you know, making film and insisting that

484
00:26:32,520 --> 00:26:35,800
Speaker 1: you know, it gets a theatrical run. That's important. Playing

485
00:26:35,840 --> 00:26:39,560
Speaker 1: Paul Thomas Anderson's Licorice Pizza was amazing.

486
00:26:40,400 --> 00:26:41,080
Speaker 6: Do you know who I am?

487
00:26:41,480 --> 00:26:41,880
Speaker 3: Yeah?

488
00:26:42,040 --> 00:26:46,199
Speaker 5: Do you know who my girlfriend is? Ubishi send barbustres

489
00:26:46,240 --> 00:26:49,040
Speaker 5: sand sand sand, You're like sands, like the ocean, like

490
00:26:49,080 --> 00:26:52,919
Speaker 5: harbisi sand. No striy sand sand.

491
00:26:53,960 --> 00:26:56,639
Speaker 1: He brings his children to the New Beverly, to the

492
00:26:56,680 --> 00:27:00,719
Speaker 1: family matinees amazing. That little bit of support he pays.

493
00:27:01,200 --> 00:27:03,040
Speaker 1: There's some people that are like, oh, oh, can I

494
00:27:03,040 --> 00:27:08,320
Speaker 1: get him free? I'm like, no, Like why do.

495
00:27:08,280 --> 00:27:08,880
Speaker 5: You work here?

496
00:27:08,960 --> 00:27:12,719
Speaker 1: Because that's the perk of working here. Otherwise, please support us,

497
00:27:12,880 --> 00:27:15,600
Speaker 1: your friend of Quentin's. No, he wants you to pay.

498
00:27:15,800 --> 00:27:18,040
Speaker 1: He wants you to support theaters.

499
00:27:19,320 --> 00:27:22,560
Speaker 4: But in order to survive, small theaters need to be creative,

500
00:27:23,000 --> 00:27:24,720
Speaker 4: and the New Beverly is a great example.

501
00:27:25,960 --> 00:27:27,360
Speaker 5: We took over the New Beverly.

502
00:27:27,800 --> 00:27:30,840
Speaker 1: It wasn't much of a social media presence, but that

503
00:27:30,960 --> 00:27:34,120
Speaker 1: was something identified very quickly in that we needed somebody

504
00:27:34,160 --> 00:27:37,960
Speaker 1: and my social media manager film Lankenship came on board,

505
00:27:38,240 --> 00:27:42,639
Speaker 1: and I think that has helped immensely. We would not

506
00:27:42,720 --> 00:27:46,000
Speaker 1: be where we're at today without a social media presence.

507
00:27:46,400 --> 00:27:48,880
Speaker 1: And honestly, a lot of it starts with community too.

508
00:27:49,320 --> 00:27:53,600
Speaker 1: You can cultivate a good film community. We have regulars

509
00:27:53,640 --> 00:27:56,520
Speaker 1: and so do other theaters because I go to them

510
00:27:56,720 --> 00:27:58,880
Speaker 1: that will stand in line for like two or three

511
00:27:58,920 --> 00:28:01,399
Speaker 1: hours before the show just to get their favorite seat

512
00:28:01,520 --> 00:28:04,560
Speaker 1: or just to catch up with their friends. And you

513
00:28:04,640 --> 00:28:08,880
Speaker 1: kind of make it a movie going experience, going back

514
00:28:08,920 --> 00:28:14,480
Speaker 1: to affordable concessions, affordable ticket prices, good value for your screen.

515
00:28:15,040 --> 00:28:18,800
Speaker 1: I love that Quinton put in pre shows. Now folks

516
00:28:18,840 --> 00:28:21,119
Speaker 1: are like, oh, oh, what cartoon are you shine?

517
00:28:21,160 --> 00:28:23,760
Speaker 5: Or what shorter? I like to write down the trailers,

518
00:28:23,800 --> 00:28:26,479
Speaker 5: but what was the second trailer that you played?

519
00:28:27,240 --> 00:28:30,080
Speaker 1: You get people excited to see the movie and you

520
00:28:30,240 --> 00:28:35,960
Speaker 1: know that it's quality. Like we remodeled in twenty eighteen,

521
00:28:36,359 --> 00:28:37,679
Speaker 1: and when we did that, we did.

522
00:28:37,520 --> 00:28:40,880
Speaker 5: Some very simple upgrades. Speakers in the bathroom.

523
00:28:41,040 --> 00:28:43,840
Speaker 1: I have never seen people go gaga over speakers in

524
00:28:43,880 --> 00:28:46,000
Speaker 1: the bathroom, but you look at our social media and

525
00:28:46,080 --> 00:28:48,840
Speaker 1: like they put speakers in the bathroom. Yeah, it's a

526
00:28:49,040 --> 00:28:53,920
Speaker 1: no brainer. Gotta go get up, use the restroom. You're

527
00:28:53,960 --> 00:28:56,360
Speaker 1: missing the visual aspect, but you can still kind of

528
00:28:56,360 --> 00:28:58,320
Speaker 1: hear what's going on, so you feel like you haven't

529
00:28:58,320 --> 00:29:01,440
Speaker 1: missed everything. I just have to keep looking at different

530
00:29:01,440 --> 00:29:03,400
Speaker 1: ways to get people engaged.

531
00:29:05,840 --> 00:29:08,360
Speaker 4: Jules says that over time, the New Beverly became a

532
00:29:08,400 --> 00:29:11,600
Speaker 4: trusted venue for cinophiles all across southern California.

533
00:29:12,840 --> 00:29:16,880
Speaker 1: What's really cool is when we took over in twenty fourteen,

534
00:29:16,880 --> 00:29:19,600
Speaker 1: you know, Quinton did the majority of the programming, and

535
00:29:19,640 --> 00:29:24,120
Speaker 1: we just developed an audience, like a trust between Quinton

536
00:29:24,200 --> 00:29:27,800
Speaker 1: the programmer and the audience, Like you might not have

537
00:29:27,920 --> 00:29:31,640
Speaker 1: heard this film, but I'm not going to play it

538
00:29:31,720 --> 00:29:34,040
Speaker 1: if it's not good. You're going to get something out

539
00:29:34,080 --> 00:29:37,560
Speaker 1: of that film. I love seeing black and white movies

540
00:29:37,600 --> 00:29:41,440
Speaker 1: at the New Beverly. I think the New Beverly was

541
00:29:41,760 --> 00:29:45,600
Speaker 1: built to play black and white movies, and I just

542
00:29:45,760 --> 00:29:49,080
Speaker 1: love that we continue to find black and white movies

543
00:29:49,120 --> 00:29:52,080
Speaker 1: to play that maybe we haven't shown before, and that

544
00:29:52,440 --> 00:29:54,760
Speaker 1: audiences are willing to take a chance on.

545
00:29:56,080 --> 00:29:58,880
Speaker 4: As you can imagine, the COVID pandemic had a huge

546
00:29:58,880 --> 00:30:02,240
Speaker 4: impact on theaters, especially on small theaters like the New BEV.

547
00:30:02,840 --> 00:30:05,240
Speaker 4: But Once they were able to pull through, it became

548
00:30:05,320 --> 00:30:09,040
Speaker 4: obvious that people were craving the in person movie going experience.

549
00:30:10,040 --> 00:30:13,320
Speaker 4: For better or worse. The pandemic reminded us that's sitting

550
00:30:13,400 --> 00:30:16,120
Speaker 4: at home isn't always the ideal way to watch a movie.

551
00:30:17,440 --> 00:30:19,440
Speaker 1: At the end of the day, We're all human and

552
00:30:19,680 --> 00:30:23,200
Speaker 1: we need human interaction. You can only sit at home

553
00:30:23,440 --> 00:30:26,320
Speaker 1: in front of your TV or computer screen for so long.

554
00:30:26,800 --> 00:30:30,120
Speaker 1: The movie theater lets you have that interaction, even if

555
00:30:30,120 --> 00:30:32,280
Speaker 1: you're not friends with somebody. I remember when I went

556
00:30:32,280 --> 00:30:34,920
Speaker 1: to the arc Light and I saw Girls Trip. It

557
00:30:35,000 --> 00:30:39,200
Speaker 1: was me and one other person. We were dying in

558
00:30:39,240 --> 00:30:43,760
Speaker 1: that film, laughing out loud. And then afterwards, you know,

559
00:30:44,120 --> 00:30:46,160
Speaker 1: talked to a few minutes, but you're like, oh, that

560
00:30:46,440 --> 00:30:50,320
Speaker 1: was crazy, and he's like, I'm so glad you're in

561
00:30:50,360 --> 00:30:52,400
Speaker 1: the theater and I wasn't the only one laughing alone.

562
00:30:52,440 --> 00:30:54,880
Speaker 1: I'm like, I know, it was so cool to hear

563
00:30:54,920 --> 00:30:57,920
Speaker 1: you laughing and just having that experience. It wasn't the

564
00:30:58,080 --> 00:31:02,000
Speaker 1: full theater everybody laughing out wow, but we had that moment.

565
00:31:02,080 --> 00:31:06,360
Speaker 1: That moment I still remember years later. You know, if

566
00:31:06,400 --> 00:31:08,560
Speaker 1: I get that experience at home, maybe if you have

567
00:31:08,600 --> 00:31:10,520
Speaker 1: your friends over and you're watching a movie in great

568
00:31:10,560 --> 00:31:13,200
Speaker 1: it's a good time and stuff. But I know it's

569
00:31:13,200 --> 00:31:15,320
Speaker 1: not the same as going out. It's not the same

570
00:31:15,320 --> 00:31:19,240
Speaker 1: as interacting, interacting with strangers where you have this one

571
00:31:19,440 --> 00:31:20,600
Speaker 1: common thing together.

572
00:31:21,200 --> 00:31:22,840
Speaker 5: And I'll go back to that story of the New

573
00:31:22,840 --> 00:31:25,960
Speaker 5: BEV regular Sarah. It's like she's made friends there. We've

574
00:31:26,000 --> 00:31:27,880
Speaker 5: all made friends at the New Beverly.

575
00:31:29,360 --> 00:31:31,600
Speaker 4: We're going to take a quick break, but when we

576
00:31:31,640 --> 00:31:33,840
Speaker 4: come back, we're going to take a tour of the

577
00:31:33,840 --> 00:31:37,960
Speaker 4: New Beverly and we'll see, or rather hear, the ins

578
00:31:37,960 --> 00:31:50,440
Speaker 4: and outs of running analog film on a projector. Jules McLean,

579
00:31:50,720 --> 00:31:53,760
Speaker 4: director of operations for the New Beverly Cinema, was kind

580
00:31:53,840 --> 00:31:55,960
Speaker 4: enough to offer me a tour of the theater. We

581
00:31:56,000 --> 00:31:58,640
Speaker 4: walked through the lobby, the auditorium, and I got the

582
00:31:58,640 --> 00:32:01,200
Speaker 4: special experience seeing the projection room.

583
00:32:03,720 --> 00:32:06,040
Speaker 1: So we're in the lobby of the New Beverly Cinema

584
00:32:06,120 --> 00:32:10,320
Speaker 1: right now. And when Quentin took over the business part

585
00:32:10,360 --> 00:32:14,240
Speaker 1: of the cinema, we made a few changes but kept

586
00:32:14,280 --> 00:32:17,000
Speaker 1: a lot of stuff intact. One of the big things

587
00:32:17,040 --> 00:32:20,600
Speaker 1: that really made the lobby what it is today, not

588
00:32:20,680 --> 00:32:24,280
Speaker 1: that it's a tiny lobby, but there was a small

589
00:32:24,360 --> 00:32:28,640
Speaker 1: wall partition by the women's room, and we were probably

590
00:32:28,680 --> 00:32:32,520
Speaker 1: a week away from opening and finishing construction, and Quenton

591
00:32:32,520 --> 00:32:33,360
Speaker 1: came in and he's.

592
00:32:33,240 --> 00:32:36,120
Speaker 5: All like, do we really need this wall?

593
00:32:36,520 --> 00:32:39,680
Speaker 1: And luckily the contractor happened to be right there too.

594
00:32:39,720 --> 00:32:41,479
Speaker 5: It's not a load bearing wall and we can get

595
00:32:41,560 --> 00:32:42,000
Speaker 5: rid of it.

596
00:32:42,160 --> 00:32:44,640
Speaker 1: The next day we got rid of it and it

597
00:32:44,800 --> 00:32:48,760
Speaker 1: just a opened up the lobby. But really, what Quinton

598
00:32:48,800 --> 00:32:51,520
Speaker 1: wanted to do with the wall being gone, it opened

599
00:32:51,560 --> 00:32:55,600
Speaker 1: up wall space, so we can now have large oversized

600
00:32:56,000 --> 00:32:59,920
Speaker 1: frames that we put French two panels in, an Italian

601
00:33:00,440 --> 00:33:05,120
Speaker 1: oversized posters in, and that's That's actually two of the

602
00:33:05,120 --> 00:33:08,400
Speaker 1: biggest things that I like that Quinton did was not

603
00:33:08,440 --> 00:33:11,680
Speaker 1: only removing the partition, but saying, hey, I want oversized

604
00:33:11,720 --> 00:33:15,240
Speaker 1: frames in, and I want the frames changed out every

605
00:33:15,440 --> 00:33:18,000
Speaker 1: you know, three or four days or whatever we do

606
00:33:18,120 --> 00:33:20,760
Speaker 1: to advertise a movie.

607
00:33:20,800 --> 00:33:22,280
Speaker 5: He has a lovely.

608
00:33:23,840 --> 00:33:26,440
Speaker 1: Poster collection, so we utilize a lot of that, and

609
00:33:26,560 --> 00:33:30,400
Speaker 1: over the years we've amassed a nice collection. So it's

610
00:33:30,480 --> 00:33:32,800
Speaker 1: nice and people love taking pictures in front of it.

611
00:33:32,800 --> 00:33:34,080
Speaker 5: And stuff like that.

612
00:33:34,840 --> 00:33:35,840
Speaker 7: So what else.

613
00:33:35,880 --> 00:33:37,480
Speaker 3: It's the original box office.

614
00:33:37,520 --> 00:33:41,120
Speaker 1: We still have the original ticket tape, puncher that the

615
00:33:41,160 --> 00:33:44,880
Speaker 1: Torgans had and uh, you know, we have gone to

616
00:33:45,320 --> 00:33:50,800
Speaker 1: an online type of ticketing service. However we still kind

617
00:33:50,800 --> 00:33:53,000
Speaker 1: of punch out the old tickets and you know they

618
00:33:53,040 --> 00:33:55,760
Speaker 1: almost look like carnival tickets. But they seeing you beverly

619
00:33:55,840 --> 00:33:57,240
Speaker 1: on them and it's kind of cool.

620
00:33:57,280 --> 00:33:57,880
Speaker 5: I always like.

621
00:33:57,840 --> 00:34:00,920
Speaker 1: Seeing you know, people like post them, you know, pictures

622
00:34:00,960 --> 00:34:04,200
Speaker 1: of them on social media and by the marquee and stuff.

623
00:34:04,280 --> 00:34:08,440
Speaker 1: And you know the concession stand, it's small, but mighty,

624
00:34:09,120 --> 00:34:12,279
Speaker 1: we pack a lot in there. Great ideas is that

625
00:34:12,320 --> 00:34:17,359
Speaker 1: when we showed Oakcha, the Netflix film, we because it's

626
00:34:17,480 --> 00:34:21,080
Speaker 1: very you know, animal rights, we brought in vegan dogs

627
00:34:21,120 --> 00:34:22,720
Speaker 1: for that and we called them Oakja Dogs.

628
00:34:22,880 --> 00:34:24,920
Speaker 5: They sold so well we've kept.

629
00:34:24,719 --> 00:34:28,560
Speaker 1: Them to this day. So again, always looking for interesting things.

630
00:34:29,000 --> 00:34:32,160
Speaker 1: I love the posters, just the one sheet posters. Some

631
00:34:32,239 --> 00:34:34,919
Speaker 1: of the artwork on the posters is gorgeous. They don't

632
00:34:34,920 --> 00:34:38,399
Speaker 1: make them like they used to, is very true. I mean,

633
00:34:38,920 --> 00:34:42,520
Speaker 1: look at that Goldfinger poster, kids says, I love it.

634
00:34:42,719 --> 00:34:44,640
Speaker 1: One thing we did when Once upon a Time in

635
00:34:44,680 --> 00:34:47,880
Speaker 1: Hollywood opened is we decked out the lobby and a

636
00:34:47,920 --> 00:34:50,120
Speaker 1: lot of the props which you will still see to

637
00:34:50,160 --> 00:34:52,319
Speaker 1: this day. We didn't take them down. Make Love Not

638
00:34:52,480 --> 00:34:56,919
Speaker 1: War signs over there. CLO Drive is above the women's room,

639
00:34:56,960 --> 00:35:01,000
Speaker 1: and on the box office, we had only candy that

640
00:35:01,040 --> 00:35:04,000
Speaker 1: would have been sold in nineteen sixty nine, only bottled

641
00:35:04,040 --> 00:35:06,879
Speaker 1: soda that would have been sold in nineteen sixty nine.

642
00:35:07,320 --> 00:35:11,360
Speaker 1: We did like fun stuff like candy, cigarettes and everything.

643
00:35:11,800 --> 00:35:15,000
Speaker 1: We had walk in music that was you know, very

644
00:35:15,040 --> 00:35:18,760
Speaker 1: specific to you know KHJ that was playing in the film,

645
00:35:18,840 --> 00:35:21,400
Speaker 1: but it was actually, you know, an on air broadcast.

646
00:35:23,600 --> 00:35:26,720
Speaker 1: So now we're in the auditorium of the new Beverly

647
00:35:27,120 --> 00:35:30,640
Speaker 1: we seat two hundred and twenty five. In twenty eighteen,

648
00:35:30,920 --> 00:35:35,200
Speaker 1: we had to completely gut everything. What was nice about

649
00:35:35,200 --> 00:35:38,080
Speaker 1: the remodel was that we were able to do some

650
00:35:38,200 --> 00:35:42,480
Speaker 1: really small things that I think just made the theater

651
00:35:43,000 --> 00:35:47,240
Speaker 1: even more special. People don't know what we did because

652
00:35:47,280 --> 00:35:50,600
Speaker 1: you can't see it, but we did new curtains, but

653
00:35:50,640 --> 00:35:53,759
Speaker 1: we kept the same color scheme. So we have big

654
00:35:53,800 --> 00:35:57,080
Speaker 1: blue panel of curtains right here and on the side curtains,

655
00:35:57,080 --> 00:35:58,479
Speaker 1: and then we have a little strip of red.

656
00:35:58,680 --> 00:35:59,600
Speaker 5: Well that was reversed.

657
00:35:59,640 --> 00:36:03,120
Speaker 1: It was big panels of red, little strips of blue.

658
00:36:03,440 --> 00:36:05,920
Speaker 5: But underneath it now we have.

659
00:36:05,960 --> 00:36:11,480
Speaker 1: Acoustic material, so it really makes the sound oh special.

660
00:36:11,840 --> 00:36:14,400
Speaker 1: Another thing that helped us because we had to like

661
00:36:14,440 --> 00:36:17,400
Speaker 1: tear down the roof. Now we have acoustic paneling in

662
00:36:17,440 --> 00:36:21,600
Speaker 1: the roof. Honestly, I'm on to brag here, it's some

663
00:36:21,640 --> 00:36:24,680
Speaker 1: of the best sound in Los Angeles. I was watching

664
00:36:24,920 --> 00:36:27,399
Speaker 1: I'll use Quintin's movie again because it's this theater once

665
00:36:27,480 --> 00:36:30,680
Speaker 1: upon a Time in Hollywood, and my manager Brian Quinn,

666
00:36:30,719 --> 00:36:33,440
Speaker 1: had the same experience. We both saw the film other places,

667
00:36:33,480 --> 00:36:37,319
Speaker 1: but during the Musso and Frank scene, like you could hear,

668
00:36:37,680 --> 00:36:40,520
Speaker 1: you know, the tables talk and everything, so much so

669
00:36:40,760 --> 00:36:44,120
Speaker 1: that both of us at one point or another turned

670
00:36:44,120 --> 00:36:45,000
Speaker 1: around and looked.

671
00:36:44,760 --> 00:36:47,240
Speaker 5: Like, who's talking in the theater? Oh, No, one's talking.

672
00:36:47,360 --> 00:36:51,000
Speaker 5: That's the background noise of Musso and Franks. Oh, our

673
00:36:51,080 --> 00:36:54,600
Speaker 5: sound is good. You don't get that at every theater.

674
00:36:54,800 --> 00:36:58,640
Speaker 1: Because I've watched Quintin's movie at other theaters and I

675
00:36:58,680 --> 00:37:00,000
Speaker 1: did not have that experience.

676
00:37:00,440 --> 00:37:04,359
Speaker 5: So the seats, you know, they're not the greatest seats

677
00:37:04,400 --> 00:37:06,880
Speaker 5: in the world, they're not the worst seats in the world.

678
00:37:07,360 --> 00:37:10,160
Speaker 1: I don't know if we'll ever change them, maybe, but

679
00:37:10,640 --> 00:37:13,080
Speaker 1: I just feel that we would lose some seating capacity

680
00:37:13,120 --> 00:37:16,520
Speaker 1: if we went to some newer seats, and we certainly

681
00:37:16,520 --> 00:37:19,439
Speaker 1: wouldn't go into any seats that recline or anything like that.

682
00:37:19,440 --> 00:37:21,080
Speaker 5: That's not us. That's for another theater.

683
00:37:21,719 --> 00:37:25,400
Speaker 1: Things that Quinton did is he wanted again oversized posters

684
00:37:25,600 --> 00:37:28,239
Speaker 1: as you exit, so you can see we've got two

685
00:37:28,320 --> 00:37:30,920
Speaker 1: of them. We have one Nebraska Gym, which is a

686
00:37:30,920 --> 00:37:34,920
Speaker 1: fake movie in Quinton's film Once Upon a Time in Hollywood,

687
00:37:35,239 --> 00:37:38,000
Speaker 1: and then we have Richard Gears Breathless.

688
00:37:38,880 --> 00:37:40,879
Speaker 5: We can go upstairs to the booth.

689
00:37:44,520 --> 00:37:51,440
Speaker 1: Coming up, gentlemen. Well, you're in sacred territory now here

690
00:37:51,480 --> 00:37:53,520
Speaker 1: it is in all its glory.

691
00:37:54,160 --> 00:37:54,759
Speaker 5: To your right.

692
00:37:54,840 --> 00:37:58,760
Speaker 1: We have a wall of trailers, thirty five millimeter trailers

693
00:37:58,840 --> 00:38:01,880
Speaker 1: we use in our pre shows. The first feature always

694
00:38:02,120 --> 00:38:05,400
Speaker 1: has a cartoon or a short, and then followed by trailers.

695
00:38:05,400 --> 00:38:09,160
Speaker 1: They're either thematic that they tie into the future you're

696
00:38:09,200 --> 00:38:12,280
Speaker 1: about to see, or they're up and coming. They also

697
00:38:12,360 --> 00:38:17,480
Speaker 1: have like intermission tags or adverts from England. I mean,

698
00:38:17,520 --> 00:38:19,279
Speaker 1: we've got a thousand of them.

699
00:38:19,600 --> 00:38:21,160
Speaker 5: But you'll see that in the show too.

700
00:38:21,200 --> 00:38:24,799
Speaker 1: It's like, oh, Doctor Pepper and Martian Snapbar whatever, you know,

701
00:38:25,000 --> 00:38:28,520
Speaker 1: just a little bumper and then it'll go into the

702
00:38:28,560 --> 00:38:34,160
Speaker 1: cartoon or the trailers. We have our Simplex XL projectors.

703
00:38:34,200 --> 00:38:36,920
Speaker 1: They're dual projectors. We have no platter system. At the

704
00:38:37,000 --> 00:38:41,360
Speaker 1: New Beverly when Quentin took over and put me in charge,

705
00:38:41,880 --> 00:38:44,560
Speaker 1: they kept telling me like we had a periscope system,

706
00:38:44,719 --> 00:38:48,600
Speaker 1: so the light would hit a mirror and then hit

707
00:38:48,680 --> 00:38:51,200
Speaker 1: another mirror and then be shot onto the screen. It

708
00:38:51,239 --> 00:38:54,160
Speaker 1: wasn't a crisp image. So I'm like, there's got to

709
00:38:54,160 --> 00:38:58,240
Speaker 1: be a way. So I pulled Quentin's personal projectionist, Jeff Nowicki.

710
00:38:58,840 --> 00:39:01,359
Speaker 1: He got his friend over here who used to work

711
00:39:01,400 --> 00:39:02,720
Speaker 1: for Fox.

712
00:39:02,400 --> 00:39:04,600
Speaker 5: And you got to chop off the bass.

713
00:39:04,680 --> 00:39:06,840
Speaker 1: You can chop off the base and then you'll have

714
00:39:06,880 --> 00:39:12,120
Speaker 1: a straight shot to the screen and lo and behold.

715
00:39:12,160 --> 00:39:13,880
Speaker 5: The image improved. It was.

716
00:39:14,560 --> 00:39:17,040
Speaker 1: I guess it's a little hard for the projectionist because

717
00:39:17,040 --> 00:39:18,920
Speaker 1: they have to stoop down. That's why you see the

718
00:39:19,080 --> 00:39:22,120
Speaker 1: chair is very low, but it.

719
00:39:22,280 --> 00:39:23,719
Speaker 5: Is absolutely worth it.

720
00:39:24,520 --> 00:39:29,680
Speaker 1: David. This is our chief projectionist, David Chan. So if

721
00:39:29,719 --> 00:39:32,320
Speaker 1: you'll explain a little bit how that works much better

722
00:39:32,360 --> 00:39:33,080
Speaker 1: than I could.

723
00:39:33,520 --> 00:39:35,840
Speaker 8: Yeah, we start off with the reel up here, and

724
00:39:35,920 --> 00:39:39,080
Speaker 8: then we thread down towards the take up as it

725
00:39:39,160 --> 00:39:42,040
Speaker 8: passes through different rollers. You'll notice straight away that the

726
00:39:42,320 --> 00:39:45,239
Speaker 8: potentially the first section it'll pass through is the a

727
00:39:45,360 --> 00:39:48,960
Speaker 8: Dolby digital reader. The SRD track would be read through

728
00:39:49,040 --> 00:39:51,560
Speaker 8: this component. But if it's an older print and only

729
00:39:51,560 --> 00:39:54,320
Speaker 8: has one channel or standard stereo sound, we would bypass

730
00:39:54,360 --> 00:39:56,760
Speaker 8: that entirely and it would just go down through here

731
00:39:57,320 --> 00:40:00,400
Speaker 8: and to the gates where obviously light passes through and

732
00:40:00,480 --> 00:40:04,040
Speaker 8: into the lens. Then it goes down further to the soundhead.

733
00:40:04,480 --> 00:40:06,720
Speaker 8: What's notable about that, and when I think most people

734
00:40:06,719 --> 00:40:08,480
Speaker 8: are surprised to learn, is that if you're looking at

735
00:40:08,480 --> 00:40:11,680
Speaker 8: a frame of film on thirty five milimeter, the sound

736
00:40:11,680 --> 00:40:15,040
Speaker 8: for that frame is twenty frames ahead of it. So,

737
00:40:15,120 --> 00:40:17,359
Speaker 8: for example, you have an image that's starting here. If

738
00:40:17,360 --> 00:40:20,000
Speaker 8: you were to run film and have it pause, if

739
00:40:20,000 --> 00:40:22,600
Speaker 8: you were to catch that instance, the sound for that

740
00:40:22,680 --> 00:40:25,560
Speaker 8: image is already passing through twenty frames later down here

741
00:40:25,560 --> 00:40:29,080
Speaker 8: into the soundhead. It continues from there to these other

742
00:40:29,080 --> 00:40:31,839
Speaker 8: two rollers and then down into take up. We use

743
00:40:31,880 --> 00:40:35,560
Speaker 8: two thousand foot reels, which means that we can really

744
00:40:36,040 --> 00:40:39,680
Speaker 8: truly handle prints in the safest way. I'm going to

745
00:40:39,680 --> 00:40:42,160
Speaker 8: actually remove this anyways, but we can unscrew this and

746
00:40:42,160 --> 00:40:45,120
Speaker 8: then we have a multitude of lenses you can see

747
00:40:45,120 --> 00:40:47,080
Speaker 8: here this is our one three seven lens, which is

748
00:40:47,080 --> 00:40:50,480
Speaker 8: common for older Hollywood aspect ratio or for cartoons that

749
00:40:50,520 --> 00:40:52,879
Speaker 8: we're able to run. For our pre shows, we could

750
00:40:52,880 --> 00:40:54,680
Speaker 8: do scope, we could do one eight five, we could

751
00:40:54,680 --> 00:40:57,160
Speaker 8: do the European one sixty six. It opens it up

752
00:40:57,200 --> 00:40:59,920
Speaker 8: so we can play a good variety of movies and shorts.

753
00:41:00,640 --> 00:41:02,520
Speaker 6: What kind of preparation do you have to do with

754
00:41:02,560 --> 00:41:04,680
Speaker 6: these trends in order to get them ready to play

755
00:41:04,680 --> 00:41:05,280
Speaker 6: in the projective?

756
00:41:05,600 --> 00:41:07,759
Speaker 1: I mean, if they're in good shape, you probably just need,

757
00:41:08,000 --> 00:41:10,279
Speaker 1: you know, an hour and a half of inspection. But

758
00:41:10,560 --> 00:41:14,680
Speaker 1: if we're getting something from Quentin's collection that hasn't played

759
00:41:14,719 --> 00:41:18,640
Speaker 1: in twenty years, you could be very brittle now, so

760
00:41:18,920 --> 00:41:22,840
Speaker 1: you have to like reinforce splices. I know films that

761
00:41:22,880 --> 00:41:25,480
Speaker 1: have taken eight hours to repair just so we can

762
00:41:25,520 --> 00:41:28,520
Speaker 1: get it through the projectors. Typically, though if it's not

763
00:41:28,560 --> 00:41:31,120
Speaker 1: in great shape, it might take about four hours, which

764
00:41:31,160 --> 00:41:35,520
Speaker 1: is very labor intensive, trust me, not at all cost effective.

765
00:41:35,960 --> 00:41:38,560
Speaker 5: So it takes a lot.

766
00:41:38,239 --> 00:41:42,200
Speaker 1: To run a film only house. I don't know how

767
00:41:42,239 --> 00:41:45,640
Speaker 1: many films that we've run a year, but it's what

768
00:41:45,719 --> 00:41:47,800
Speaker 1: do you think, David, It's least eight hundred.

769
00:41:47,480 --> 00:41:50,520
Speaker 6: Right, yeah, because I know for like three months in

770
00:41:50,560 --> 00:41:50,879
Speaker 6: a row.

771
00:41:50,920 --> 00:41:54,600
Speaker 7: Now we're averaging about forty features a month, man.

772
00:41:55,040 --> 00:41:57,160
Speaker 6: Which means in your warehouse it must have like how

773
00:41:57,160 --> 00:41:58,759
Speaker 6: many canisters.

774
00:41:58,280 --> 00:42:00,920
Speaker 5: A film, like well over five thousand.

775
00:42:01,280 --> 00:42:03,600
Speaker 6: The joke is the final shot of Raiders of the

776
00:42:03,640 --> 00:42:08,960
Speaker 6: Lost art endless amount of film.

777
00:42:09,320 --> 00:42:11,680
Speaker 1: We actually have a print traffic manager because it gets

778
00:42:11,680 --> 00:42:14,520
Speaker 1: so busy and we're lucky that we're in Los Angeles

779
00:42:14,560 --> 00:42:16,600
Speaker 1: that we can actually physically go to a lot of

780
00:42:16,600 --> 00:42:20,760
Speaker 1: the places and pick up the film. We keep copies

781
00:42:20,800 --> 00:42:24,160
Speaker 1: of all our pre shows. There's print reports for every

782
00:42:24,200 --> 00:42:27,160
Speaker 1: print that's been inspected, and then we do store a

783
00:42:27,200 --> 00:42:31,160
Speaker 1: lot of that online and drop box, but we keep everything.

784
00:42:31,360 --> 00:42:34,680
Speaker 1: So we're a repertory cinema, so chances are it could

785
00:42:34,680 --> 00:42:36,920
Speaker 1: get played again, it might be the same print. At

786
00:42:36,960 --> 00:42:39,600
Speaker 1: least having the print report might cut down on some

787
00:42:39,680 --> 00:42:40,360
Speaker 1: of the work.

788
00:42:41,320 --> 00:42:41,759
Speaker 6: And your indition.

789
00:42:41,840 --> 00:42:43,520
Speaker 7: It might be possible to do like a brief demo

790
00:42:43,560 --> 00:42:44,319
Speaker 7: if that's not too much.

791
00:42:44,719 --> 00:42:47,040
Speaker 1: Yeah, do you think you could just thread something up

792
00:42:47,080 --> 00:42:49,680
Speaker 1: so we can get sound bites of the sure?

793
00:42:49,800 --> 00:42:51,000
Speaker 2: I guess I could throw on a pre show.

794
00:42:51,120 --> 00:42:51,839
Speaker 1: Yeah, that'd be great.

795
00:42:51,880 --> 00:43:00,239
Speaker 6: Yeah, Scope lens in there, changing the focus to scope.

796
00:43:00,760 --> 00:43:02,000
Speaker 7: It's ready to be threaded.

797
00:43:02,600 --> 00:43:05,360
Speaker 6: That we start today with giving the projectors a nice cleaning.

798
00:43:06,880 --> 00:43:09,280
Speaker 6: Will we initially start off a thread to a point

799
00:43:09,320 --> 00:43:12,799
Speaker 6: that's eleven feet before the first frame of image. In

800
00:43:12,880 --> 00:43:16,400
Speaker 6: this case, there's a drunk driving PSA that precedes the

801
00:43:16,400 --> 00:43:17,359
Speaker 6: coming attractions.

802
00:43:17,400 --> 00:43:27,600
Speaker 7: Tag usually have at least eighteen feet of chad leaders,

803
00:43:27,600 --> 00:43:30,560
Speaker 7: so we'll have enough to put onto the take up

804
00:43:30,600 --> 00:43:37,880
Speaker 7: reel without worrying about any shortage. Perfect.

805
00:43:38,040 --> 00:43:40,640
Speaker 6: So I guess I can fire up the lamp houses

806
00:43:40,920 --> 00:43:46,040
Speaker 6: and then it'll be ready for showtime. Fire up the

807
00:43:46,120 --> 00:43:46,640
Speaker 6: lamp house.

808
00:43:46,719 --> 00:43:49,680
Speaker 4: LEAs there you go, you being sing good.

809
00:43:51,120 --> 00:43:56,200
Speaker 8: Light your damn people.

810
00:43:56,400 --> 00:43:57,920
Speaker 4: Get four of.

811
00:43:58,000 --> 00:44:01,360
Speaker 6: The tag the for coming down the pike.

812
00:44:06,320 --> 00:44:07,359
Speaker 1: Well, look who's here?

813
00:44:07,840 --> 00:44:10,600
Speaker 2: When the action is too rough for one man? Send

814
00:44:10,760 --> 00:44:18,279
Speaker 2: for Savano's seven. First of all, it's no ordinary cleanup job.

815
00:44:25,080 --> 00:44:26,920
Speaker 1: Once we take out one of those bananas, we've got

816
00:44:27,000 --> 00:44:28,640
Speaker 1: to wipe out the rest of them in thirty minutes.

817
00:44:32,480 --> 00:44:35,120
Speaker 2: If we're gonna get this thing done, we're gonna get

818
00:44:35,120 --> 00:44:41,720
Speaker 2: it done quick. Salvano's seven's the playmate, the black belt,

819
00:44:42,480 --> 00:44:49,960
Speaker 2: the dregster, the comic, the professor, the cowboy, seven. Death

820
00:44:50,719 --> 00:44:52,400
Speaker 2: is their way of life.

821
00:44:53,400 --> 00:45:01,879
Speaker 4: Seven it looked and sounded good.

822
00:45:04,719 --> 00:45:07,360
Speaker 8: No problem if you said no superpols.

823
00:45:09,680 --> 00:45:13,080
Speaker 1: Can I say one thing, obviously if you come to

824
00:45:13,160 --> 00:45:16,120
Speaker 1: Los Angeles, would love everybody to visit the New Beverly

825
00:45:16,200 --> 00:45:19,440
Speaker 1: and stuff. But Los Angeles in particular has the Broadway

826
00:45:19,520 --> 00:45:24,200
Speaker 1: theater district that just has beautiful picture palaces from like

827
00:45:24,360 --> 00:45:29,120
Speaker 1: the Orpheum the Los Angeles, the Million Dollar Theater, which

828
00:45:29,480 --> 00:45:32,399
Speaker 1: is home to some of the Secret Movie Club screenings.

829
00:45:32,840 --> 00:45:36,200
Speaker 1: It's just wonderful, and the Grand Central Market is down there.

830
00:45:36,280 --> 00:45:38,839
Speaker 1: You can make a whole day of it. Even if

831
00:45:38,920 --> 00:45:41,160
Speaker 1: you don't go on the tour. It's just nice walking

832
00:45:41,280 --> 00:45:44,080
Speaker 1: up and down Broadways starting at third kind of going

833
00:45:44,120 --> 00:45:46,160
Speaker 1: all the way down to ninth and just seeing the

834
00:45:46,320 --> 00:45:49,759
Speaker 1: rich history and there's some amazing stuff here and in

835
00:45:49,920 --> 00:45:53,000
Speaker 1: other parts of the country. And applaud everybody that's kind

836
00:45:53,040 --> 00:45:55,520
Speaker 1: of keeping the movie theaters alive.

837
00:45:58,840 --> 00:46:02,200
Speaker 3: This episode of Ephemeral was written and produced by Trevor Young,

838
00:46:02,520 --> 00:46:06,680
Speaker 3: with producers Max and Alex Williams. Jules MacLean is the

839
00:46:06,760 --> 00:46:10,280
Speaker 3: director of Operations at the New Beverly Cinema and David

840
00:46:10,360 --> 00:46:13,560
Speaker 3: Chen is the lead projectionist at the New Bad, Big

841
00:46:13,640 --> 00:46:17,080
Speaker 3: thanks to Quentin Tarantino for the behind the scenes pass

842
00:46:17,239 --> 00:46:20,080
Speaker 3: into his theater and for all the work he does

843
00:46:20,280 --> 00:46:24,520
Speaker 3: to preserve film culture. We'd love to hear from you about.

844
00:46:24,280 --> 00:46:25,280
Speaker 2: Your favorite theaters.

845
00:46:25,920 --> 00:46:28,520
Speaker 3: Is there a special or historic theater in your city?

846
00:46:29,320 --> 00:46:32,520
Speaker 3: What do you love about the movie going experience? Let

847
00:46:32,640 --> 00:46:36,680
Speaker 3: us know on social media. We're at ephemeral show and

848
00:46:36,800 --> 00:46:41,879
Speaker 3: for more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

849
00:46:42,360 --> 00:46:44,360
Speaker 3: or wherever you listen to your favorite shows.