New Beverly Cinema projection room
Posts tagged new bev.
just a reminder that this is going down tonight @newbeverly
Joe Dante in-person!
hey, you! help support this documentary about the new bev, the greatest theater in los angeles (the world?!). stand up for 35mm. stand up for movies.
Come to the NEW BEV this FRIDAY or a weird/awesome night of old and new technologies on film!
Come on down, Los Angeles!
Hi, Tumblr Los Angeles! Come support your fellow film fanatics this Friday April 6th at the New Beverly Cinema. Hosted by blogger/archivist extraordinaire @sinaphile, this double feature of TO CATCH A THIEF and HUDSON HAWK is sure to be a blast!
I work at the New Beverly Cinema in Los Angeles, California. We are a repertory double feature house that opened in 1978. We screen films from every decade of cinema - from silents to foreign, independents, art house to contemporary. Films that make-up the glorious history of the art, that should be viewed as they were meant to be - in a theater with fellow film lovers, projected from film.
We only show films on 35mm.
The major film studios have decided that they eventually want to stop renting all archival 35mm film prints entirely because there are so few revival houses left, and because digital is cheap and the cost of storing and shipping prints is high.
I firmly believe that when you go out to the cinema, the film should be shown in 35mm. At the New Beverly, we have never been about making money - a double feature ticket costs only $8. We are passionate about cinema and film lovers. We still use a reel to reel projection system, and our projectionists care dearly about film, checking each print carefully before it screens and monitoring the film as it runs to ensure the best projection possible. With digital screenings, the projectionists will become obsolete and the film will be run by ushers pushing a button - they don’t ever have to even enter the theater.
The human touch will be entirely taken away. The New Beverly Cinema tries our hardest to be a timeless establishment that represents the best that the art of cinema has to offer. We want to remain a haven where true film lovers can watch a film as it was meant to be seen - in 35mm. Revival houses perform an undeniable service to movie watchers - a chance to watch films with an audience that would otherwise only be available for home viewing. Film is meant to be a communal experience, and nothing can surpass watching a film with a receptive audience, in a cinema, projected from a film print.
I feel very strongly about this issue and cannot stand idly by and let digital projection destroy the art that I live for. As one voice I cannot change the future, but hopefully if enough film lovers speak up, we can prove to the studios that repertory cinema is important and that we want 35mm to remain available to screen.
Please sign this petition and forward it to any cinephiles you know. Let’s fight for 35mm!
Kill Bill: The Whole Bloody Affair at the New Beverly was pretty sweet. The print was flawless and the sound was exquisite. I didn’t see either film in theaters originally so the sound quality was quite a delightful shock. Impressive mixing. Pretty interesting to watch the whole thing with French subtitles, though. “Pussy Wagon” = “Baisodrome.” Awesome.
I only wish the crowd had been more into it. I wanted to cheer like every fifteen minutes, but it seemed like I was the only one. Like when Uma says, “Bitch…you don’t have a future,” in my head I was like, “FUCK YEAH!” If it had been the Grindhouse crowd, it would have been a lot more fun. But, c’est la vie.
It was nice to have a long intermission, too. I was expecting another bladder buster.
The only problem with the Cannes cut is my favorite line is missing. QT naturally added intros and codas when he split the two films, to catch people up on the action. So, in Vol. 2 when Uma’s driving and she says the line from the trailer, “I roared. And I rampaged. And I got bloody satisfaction”? That ain’t in there. I missed it.
Probably the best additional scene comes right after The Bride kills O-Ren Ishii. It’s a God’s eye view of Uma collapsing onto a bench in the rock garden, just exhausted and sobbing. It’s a tiny little scene, but it helps to humanize her character and makes a whole lot of story sense, she just having just killed, like, fifty people in thirty minutes.
O M F G
Who else is going???
Damn right she is.
This is a pretty legit run-down of Tuesday night’s Tarantino/Rodriguez/New Bev’s presentation of Grindhouse/Machete that gets the vibe of the room just right and adds a couple anecdotes I wasn’t privy to (damn those seats in the front!).
when the late Sally Menke’s credit in Death Proof came up, everyone else in the room burst into applause and cheered — all but Quentin, who slowly nodded for a while.