Thursday, September 18, 2014
This story has been reported, poorly of course, in various publications the last couple weeks. The New Bev is closed until October, when Mr. Tarantino's schedule and plan (and maybe a new paintjob) are revealed.
The sentiment among the film preservationist community is conflicted. In the absence of actual evidence of whether or not Tarantino was really actually pissed Torgan bought a digital projector and therefore kicked his ass out, or if his announcements at Cannes were just a coincidence of timing, without any apparent ill will actually expressed by either Tarantino ("I want him to be involved as much as possible") or by Torgan ("Quentin couldn't be a better landlord"), various commentators (such as this one) suggest it was "uneasy" or "not pretty," that QT the rich Hollywood plebe is destroying a man's livelihood and the insular and cineaste community that surrounded the New Bev.
As of this writing we still don't know why or other details. Comments spilling under the articles are overwelmingly sentimental for the films watched, the wonderful double bills, the star appearances - as they should be. As I am about the Pacific Center 3 and the Fashion Valley 4 in San Diego, all gone now and where I saw seminal films in the '70s and '80s myself.
There's a palpable sense of betrayal and distrust in Tarantino's motives.
He "wants to make it his own." He's doing this for a hobby, that he's going to show films from his own extensive collection. He's got 1000s of prints and apparently knows there are 1000s more out there so he is only going to show 35mm only, no more digital, a true film fan's dream.
I guess he got what he wished for.
I know a little about the financial realities of trying to keep an aging theatre alive. The New Bev is shabby, in spite of new seats (the old take-seats-from-a-closing- theatre-only-slightly-newer-than-the-ones-you're-replacing trick), in a dodgy area and with audiences often no more than double digits, sometimes less than a dozen by some reports. The additional fakt that most of the films they show are available elsewhere (albeit digitally) or stone unknown, makes the math hard to stack.
QT isn't the bad guy. He allowed the theatre, unlike hundreds of others just like it, to remain open with what amounts to a donation approaching (possibly exceeding) $1 million or so. A labor of love. Preservationists and archives, film fetishists to a man, appreciate his response and want a theatre devoted to 35mm, want one that shows old, odd, inspired double bills. They want the theatre in the shaggy Fairfax district as its show business anchor, to see Clu Gulagar in the front row, to get free popcorn.
They also want Michael Torgan. The guy who works 60 hours a week, drove his own car, projected, this unmarried guy (he can't be married - she'd be behind the snackbar every night). He even changed the marquee himself. A love of labor? I wouldn't wish it on my worst enemy.
I think there's so much hand wringing because they also know - it's a lost cause. The digital projector was a way to mitigate the future but it won't matter. Tarantino doesn't have enough 35mm prints or ultimately, the right prints. Even if he suggested arrogantly in an interview (in the LA Reader) that filmmakers demand the studios make more film prints:
Indie Filmmaker to Studio Head: "You have to strike a 35mm print so we can show it at the New Beverly!" (Laughs heartily).
Maybe if you're Tarantino this gets traction. His last 2 films grossed at least $120 million domestic each so he can call up a studio and ask a print be struck (or a new one of some old forgotten favorite and Paramount's happy to spend the $10k for a print of Hickey & Boggs to make QT happy. Then he gets to keep it for his collection).
Maybe that's why the Bev had the pristine prints they did the last few years. There's more to this story. There's been precious little information about exactly what Tarantino offered, said or threatened or when, and what Torgan wanted, lost or demanded. Everyone's quite civil but I know for at least someone, this came as no surprise. Only to us on the outside.
The prosaic reasons for QT to "make it my own" are probably more complicated and less interesting than the most vocal want it to be. It's not just little guy vs. big guy.
The guy with the money gets to try now. We're not sure this is a great idea or a terrible idea. But we feel sorry for Michael, 'cause he made that lost cause our own private secret.