Movie Theaters

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There's nothing quite like seeing a good movie on the big screen. If you've ever watched something like two thousand and one A Space Odyssey in a theater, you'll understand how visceral it can be to experience that level of visual and auditory immersion, and how different it is from watching at home. Theaters have always been an important part of the film industry. In the early nineteen hundreds, companies like Paramount and Columbia help to open the first picture palaces,

Last year I had the opportunity to move to Los Angeles. As you probably know, we're huge film nerds here on the Ephemeral Team, and LA is a huge film town. So I was excited to visit all the local theaters around here. But what I wasn't expecting was just how opulent and dense with historical meaning all of the mainstay theaters here really are. Most of them have been around

You know what you can't get from sitting at home watching, say, a movie like The Long Goodbye with Elliott Gould.

Okay, I think, what was Marty Augusty doing here the other night? How did you know him here from my place? So dropped by to have a word or two with me, and I was just curious to see who else he wanted to talk to. A turn out to be you.

You can't get Elliot Gould sitting in the seat across the aisle from you watching The Long Goodbye. He is literally sitting three feet from me. I mean, come on, that's one of my favorite movie going experiences.

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

This is Jules McLean, director of operations at the New Beverly Cinema in Los Angeles. The New BEV, as it's often called, is owned by filmmaker Quentin Tarantino. He bought the historic theater in two thousand and seven and has since devoted the theater to screening revival cinema. Jules is a personal friend of Quentin and join the NUBEV in twenty fourteen, and her job can be a little intense at.

The New Beverly.

Kind of a jack of all trades, but I do oversee everything. I communicate with Quentin a lot. I'm the one person that has an open line of communication forum. We get programming for him, We bounce ideas off. I'm lucky that I have a good team in place, because you would not imagine everything it is to run a theater. There's booking, there's establishing relationship with filmmakers and distributors, studios, film collectors. Because we're a film only house. There's the

But Jules says it's all worth it to her. Movie theaters like the New BEV are the most valuable cultural spaces.

We have two things.

One it's an escape for me, and the other thing is the communal aspect. Just this last Saturday, went and saw Live and let dive one of our matinees.

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

Big James Bond fan here.

And afterwards, you know, people are buzzing, stayed in the lobby. I mean people are staying in the lobby for like a half an hour. Finally I had just kind of shoot people away because we had another show coming in.

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

She's all like, I've made a lot of friends standing in line at the New Beverly.

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

Get that experience sitting at home on your couch.

You got to get out.

It doesn't matter if it's at the New Beverly another theater, and so we support independent theaters the most. But even if you get out and you go to the bigger chain theaters, just get out of your house, go to the movie, see it with an audience. Oh my gosh, Live and Let Die, wonderful action pack, but also had this moments of comedy and just being in a theater, a pack theater, and sharing laughter with somebody's it really is Sarah's raight is magical.

Jules told me that the new Bets reminded her of the kind of theaters she used to go to growing up.

When I was I'm going to stay five, but I think I was actually six, my mom took me to Butch Cassidy and the Sundance Kids. But Cassidy's Hole in the Wall Gangcasi's Hole in the Wall Gang, that's me, the whole bank of over close to twenty fives.

What hard you do your planning for you? You want them to do your thinking for you. You want him to run things.

You can shut up now, news or not yet till I get the good part. Butch and before y'all be judge everyone. I really wanted to see Butch Cassidy and the Sundance Kids. She just didn't pick that out of the blue. The next movie was The Great Gatsby, and I think I was seven, and I wasn't very into it. You want too much?

I love you now?

Isn't that enough?

I can't help what's passed.

I did love him once, but I loved you too.

And then we stood in line for like Star Wars, like my mom rocked as far as like movies go, and that just really formed my sensibilities. That's a movie going experience. I just, I mean, decades later, I remember that I take my nieces to the theater. I mean, I just I hope people continue to go out to the movies.

One unique thing about the New Beverly is that they only show film, meaning actual analog reels and no digital film whatsoever.

It's not easy, but we know a lot of collectors, a lot of the studios, in fact, the majority of them have opened up their repertory. They do lend out prints a lot of times. There's costs and volve in the shipping aspect. Sometimes the archives are local and we can go pick them up. And luckily we actually went back through all our programming and one of the reasons Quinton got the theater in the first place is that he has a very large film print collection. Over half

But it's not just an arbitrary choice. The new bev uses real film for a reason.

Seeing actual film, they've done studies and I forget if it was Harvard or Yale. But the brain's reaction to twenty four frames per second, you have a different emotional connection. Digital very flat thirty five offers a different texture. Your brain takes it in differently, you have a different emotional reaction. I mean that's a big part of what's different now days two because it's all digital projection and this and that, which, by the way, I'll still go to see digital films.

Oh I see an older man. Oh the boy hates cinema.

Oh, the boy would love to be loved, but he hates that man. Death.

Death. I'm no wish to death.

As you can tell, Jules has a deep love for all things cinema, and she's very attuned to the vast history of theaters in LA and across the country. So we thought she'd be the perfect person to help us learn a little bit more about theaters, or as they were originally called, picture palaces.

The nineteen tens the nineteen twenties. A lot of the older theaters were actually live performances converted to a movie theater once the talkies came about.

Early film studios like Paramount or Warner Brothers were deeply involved in the movie palaces. They were, of course, the only venues for their product.

Once they got a little bit of this success in the studios operated a lot of them. They just kept getting bigger, seating like twenty five hundred three thousand downtown Los Angeles, wonderful like two mile stretch of just like picture palace after picture palace after picture palace.

One thing most people either forget about or don't realize, is that there was a whole show before the film back then you'd have the news ads, a cartoon or short.

Film, television highlights of the news of yester year.

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

Cartoons were a big draw in the thirties. Cereals those were a big draw. You'd package cereals and cartoons and maybe a comedy shortened.

That's their entertainment for the weekend.

I go on private forums and stuff like that, and I'm always looking for cool things because we will play newsreels from the thirties, the forties, the fifties.

In Gary, Indiana, struck mills or idol behind picket lines composed of women.

Cartoons were big on cartoons. When Quentin took it over, he really wanted to kind of mimic what happened in the past, which was you would play like a tag, a little like kind of commercial or something cool for like Coca Cola.

Let's all go to the lobby. Let's all go to the lobby.

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

Then you would play like a short, you know, Three Stooges short or you know, bugs Bunny cartoon, and then it's like trailers and trailers for either up and coming films or trailers that thematically fit what you're showing that night, and then you go into the actual feature and that's what they did that then it was a different movie going experience. I know, you get the trailers when you go and see your first run films and stuff, but you know, it's not quite the same.

One other interesting thing is that most theaters did not have concessions back then.

I don't know how they survived. I forget what decade concessions came into, but can you imagine going to the movies and not having concessions. Now as an exhibitor, I'm like, oh, oh gosh, we would not be in business if we had to close our concessions.

I have to have my popcorn.

But by far the most striking feature of the old picture palaces was the architecture.

Stunning, absolutely stunning. I can tell you that a lot of thought went into them. You can tell by the little decorations, very ornate, very thematic. You had two theaters in Los Angeles that had an Egyptian theme and they were two different architects.

You know, you see.

Middle Eastern themes. You just see a lot of art deco themes. I would love to go back in time and just kind of sit in on some of the planning and what people thought. But again, studios behind a lot of the big picture palaces, so they could throw a lot of money into them, and they wanted to appeal to a wider class of people. They did want the theaters to reflect that.

I asked Jules to mention a few examples and to tell us what her favorites are.

Believe it or not, Radio City Music Hall, which does not show film anymore. I don't think the Music Box in Chicago. There's a handful that a still around in downtown Los Angeles. A secret movie club is out of the million Dollar Theater in downtown Los Angeles. And then there's other venues that are open. We've had premieres of Quinton's films at a couple of the theaters. I really like the Metrograph in New York. I love the Bellcourt

I'm like, oh wow.

It's like, yeah, we don't get drink tickets at the New Beverly. We don't even starve alcohol and stuff. So I did a little jealous, But I mean, theaters are just wonderful one. They're in every town and it's yay, they're magic.

Jules says that back in the day going to the movie theater was a big.

Deal throughout the country. I think they were packed. That was your night out. You're getting dressed up to go to these places. Now part of it, Yeah, you want to be seen dressed up, drive your car there. Maybe it was the equivalent to when we go to maybe to the Pantagious in Los Angeles to go see Hamilton or something, or if you go to Broadway you would have more like the Douglas Fairbanks action, you know, buccaneers.

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

Because the studios largely funded the movie palaces back then, the theaters were a lot more strict about what they could or couldn't play.

I know, there wasn't a lot of like cross pollinations. So if it was, you know, a Warner Brothers theater, they only played Warner pictures. There were studios that didn't have theaters, and I think it was a tougher time for them to get in into some of the established studio owned But I mean that broke up, and I think that was probably good. There certainly were, I mean

The New Beverly did not yet exist by this point, so it's not technically a picture Palace, but its history is interesting nonetheless.

Yeah, New Beverly's built in twenty nine, so it was originally, I believe, a candy store. Then somebody sold wine out of it, and it eventually became Slapsy Maxis, which was a live club. In nineteen fifty, it became a movie theater. I mean, there's been one ever since. But it's had so many iterations and so many different names, it's kind of crazy. It was even split into a twin theater called the Riviera Capri Crazy.

I can't imagine it now because I still think it's a little small. It was the.

Arrows, the Riviera Caprids, the Beverly, the New Yorker. It's an adult theater, as we all know, kind of referenced in Once upon a Time in Hollywood, What's.

Going on at the Dirty Movie Place?

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

Yeah, they're fun.

Which is really cool.

If you watched Once upon a Time in Hollywood at the New Beverly, you got.

That d joke.

Been home to a lot of different theaters and made many people happy.

She says. Theaters like this started to become more common in the fifties instead of the grand picture palaces, now we were getting more small, single screen theaters.

They popped up because people are moving to the suburbs. You know, you can build a giant picture palace their neighborhood theaters, so I think they served their neighborhoods.

But soon big companies would take notice of the success of movie theaters and they would create the franchises we know today chains that all but doomed the independent theaters of the last century. These days the most common movie theaters are the chains, amc, Cinemak, Regal and so on. But before these, in the early days, the studios themselves were the franchises.

They were up.

During the picture palaces, you had your lolls and your warners and stuff, so you saw them. But when the studios were told that they couldn't be exhibitors, there were opportunities for corporations. Probably sixties they really started getting going. Seventies probably their heydays, seventies and eighties.

Then the slide began.

Unfortunately, theater chains radically shifted the movie business in the eighties. Now you have these big buildings with a dozen or more screens showing every available movie, usually more than once a day. While Jules prefers the older art house single screen theaters, she understands why these types of theaters became popular.

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

If a movie bombs.

You open it in your big three hundred seat theater, and at bombs you move it over to the fifty seater and you can put something in where you will make money. As far as the movie going experience, it's just like now, it's a lot of options. I want to go see the two ten show of so and so, but I missed it. But look at two thirty, I can make this so it's not a complete wash. I don't have to get back in my car. I don't

But Juele says we lost a lot of value when we transitioned away from the neighborhood theaters.

There more things like textually, if you go to the Vista, you have the manager that has worked there for decades, Victor, and he'll greet you and you have interactions and you can you know, it's your neighborhood theater. I live in that neighborhood, so I always run into friends there. But you don't have that kind of interaction at an AMC. And it's so big, and you don't like stand in a lobby and talk about the film afterwards. You don't like meet people and say, hey, let's go get coffee

Of course, the biggest impact of the chain theaters was the eventual closure of indie theaters. For the older single screen theaters and picture palaces, companies like AMC signaled near certain death.

I don't know how a single screen theater makes it. I have zero idea. We've come close to closing several times, despite Quentin Tarantino being the overall owner. That doesn't mean he has to lose hundreds of thousands of dollars a year. You know, the American cinema tech is at the low SPI list three. I don't know if they have all three screens, but I think they have like two of them.

At least. That gives you an.

Opportunity to make your programming a little bit. I don't know, I'm like diverse or something, but you can fall back onto something and gives you a little bit more flexibility.

Where if we put.

A dog in there, it's bad for us, you know, can't really overcome that. Now we have to try to think like, okay, what can we do to make up like we're losing five thousand dollars by showing this one movie? You know, Friday, Saturday, Sunday and there's twelve people here.

This is bad. Doesn't matter.

We still have to pay the studios their licensing fee. Now we're paying employees not to serve you popcorn, or sell you tickets or monitor the show. I do not know how single screen theaters exist.

Well. Jules is thankful that the new BEV is surviving. She says running a single screen theater is both complicated and difficult in ways that chain theaters don't have to worry about.

Well B corporations.

Obviously, you can like move your money around at this theater location. B you don't take a loss, and it's different. No place to hide for the single screen theater, I'll tell you that. Much like in twenty fourteen, when we took over the new Beverly to pick up our trash, it was like one hundred and eighty six dollars. Now, oh, five hundred and thirty four dollars. Yes, we do have to raise our ticket prices occasionally, and it's everything.

It's clockwork.

There's a certain vendor that sends a notice at the beginning of the year, a big vendor, we need to raise our prices three to five percent. I'm like, oh my gosh, but I don't pass that along to our patrons. I know other theaters don't do that either. Part of the movie going experience is feeling like you're not being gouged. I go to a lot of theaters and I take pictures of their concession things, and I'm like, how in

The next big blow to small theaters was television.

I think it was pretty damning to theater going well.

I mean, all of a sudden, it was almost like a novelty, almost like wow, you got this little screen and you can just like you can watch the Howdy Duty Show. Oh my gosh, you can like you can bring your meal and put it on a tray and you can.

Watch from your home home.

I don't think it was anything with economics, but I think it was just like, Wow, we've got.

Like a screen in our home. Now.

It's a little better than the movie screen, but there's always something on and oh.

Wow, they're showing a John Wayne movie. Wow. And theaters had to overcome that, and they did.

And then came streaming things like Netflix and Hulu. I asked Jules how the New Beverly survived the streaming era.

Definitely, attendance took a hit at the New Beverly. We didn't come in until twenty fourteen. But the dynamics of movie exhibition have changed. But I think at least we've reached a point now where it's harmonious.

Jewels says streaming is probably her least favorite way to watch movie. She says that at theaters there's a kind of community you just don't get by flipping through Amazon Prime.

It's so nice when people come to the New Beverly, Like I'll tell you that the family matinee, we were playing Disney's The Barefoot Executive.

I'm not interested in your theories on ratings, and I'm certainly not interested in doing a show called Abraham Lincoln's Doctor's Dog, whatever that is.

And it was directed by Robert Butler. He brought his grandchildren. Now the grandchildren get to see it on the big screen.

They get to see the audience laughing. They get to.

See people coming up to their grandfather Robert Butler afterward and say, oh man, that was so cool, and that's so cool that you came out taking pictures by the one sheets and everything like.

You don't get that experience at home.

And that's actually one of the things I'm most proud about the New Beverly is that that we offer people that experience and you don't have to be Robert Butler and his family to so recognize, if you were at that screening, how important that is and how special that is. Like I was just work in the box office, and it's like, that's pretty darn cool. You're not going to get that watching the movie on Netflix.

But clearly streaming isn't going anywhere. So this begs the question can theaters and streaming services live harmoniously.

I don't know if I ever see that they exist equally harmoniously. I think you're seeing that now. I mean, we have a wonderful relationship with say Netflix. Netflix took over the Egyptian Theater, so they will be showing their films there. There's a merger of theater and streaming, and I remember Netflix at one point was very resistant, but they saw the potential, they saw a wider audience. They saw that Hey, Academy Awards, you know, we get some of our films nominated, win some Oscars.

Pretty darn cool.

Luckily, there has been a movement in recent years to preserve the history of rich spaces like picture palaces and single screen theaters. Quentin Tarantino, of course, saved the New Beverly from extinction, as well as the Vista Theater, also in Los Angeles. But finally, other filmmakers are also starting to step up.

There's certainly the Paul Thomas Anderson's and the christ Different Nolan's. I don't think they have a foundation or do anything, but just by you know, making film and insisting that you know, it gets a theatrical run. That's important. Playing Paul Thomas Anderson's Licorice Pizza was amazing.

Do you know who I am?

Yeah?

Do you know who my girlfriend is? Ubishi send barbustres sand sand sand, You're like sands, like the ocean, like harbisi sand. No striy sand sand.

He brings his children to the New Beverly, to the family matinees amazing. That little bit of support he pays. There's some people that are like, oh, oh, can I get him free? I'm like, no, Like why do.

You work here?

Because that's the perk of working here. Otherwise, please support us, your friend of Quentin's. No, he wants you to pay. He wants you to support theaters.

But in order to survive, small theaters need to be creative, and the New Beverly is a great example.

We took over the New Beverly.

It wasn't much of a social media presence, but that was something identified very quickly in that we needed somebody and my social media manager film Lankenship came on board, and I think that has helped immensely. We would not be where we're at today without a social media presence. And honestly, a lot of it starts with community too.

Or what shorter? I like to write down the trailers, but what was the second trailer that you played?

You get people excited to see the movie and you know that it's quality. Like we remodeled in twenty eighteen, and when we did that, we did.

Some very simple upgrades. Speakers in the bathroom.

I have never seen people go gaga over speakers in the bathroom, but you look at our social media and like they put speakers in the bathroom. Yeah, it's a no brainer. Gotta go get up, use the restroom. You're missing the visual aspect, but you can still kind of hear what's going on, so you feel like you haven't missed everything. I just have to keep looking at different ways to get people engaged.

Jules says that over time, the New Beverly became a trusted venue for cinophiles all across southern California.

What's really cool is when we took over in twenty fourteen, you know, Quinton did the majority of the programming, and we just developed an audience, like a trust between Quinton the programmer and the audience, Like you might not have heard this film, but I'm not going to play it if it's not good. You're going to get something out of that film. I love seeing black and white movies

As you can imagine, the COVID pandemic had a huge impact on theaters, especially on small theaters like the New BEV. But Once they were able to pull through, it became obvious that people were craving the in person movie going experience. For better or worse. The pandemic reminded us that's sitting at home isn't always the ideal way to watch a movie.

At the end of the day, We're all human and we need human interaction. You can only sit at home in front of your TV or computer screen for so long. The movie theater lets you have that interaction, even if you're not friends with somebody. I remember when I went to the arc Light and I saw Girls Trip. It was me and one other person. We were dying in

And I'll go back to that story of the New BEV regular Sarah. It's like she's made friends there. We've all made friends at the New Beverly.

We're going to take a quick break, but when we come back, we're going to take a tour of the New Beverly and we'll see, or rather hear, the ins and outs of running analog film on a projector. Jules McLean, director of operations for the New Beverly Cinema, was kind enough to offer me a tour of the theater. We walked through the lobby, the auditorium, and I got the special experience seeing the projection room.

So we're in the lobby of the New Beverly Cinema right now. And when Quentin took over the business part of the cinema, we made a few changes but kept a lot of stuff intact. One of the big things that really made the lobby what it is today, not that it's a tiny lobby, but there was a small wall partition by the women's room, and we were probably a week away from opening and finishing construction, and Quenton came in and he's.

All like, do we really need this wall?

And luckily the contractor happened to be right there too.

It's not a load bearing wall and we can get rid of it.

The next day we got rid of it and it

He has a lovely.

Poster collection, so we utilize a lot of that, and over the years we've amassed a nice collection. So it's nice and people love taking pictures in front of it.

And stuff like that.

So what else.

It's the original box office.

We still have the original ticket tape, puncher that the Torgans had and uh, you know, we have gone to an online type of ticketing service. However we still kind of punch out the old tickets and you know they almost look like carnival tickets. But they seeing you beverly on them and it's kind of cool.

I always like.

Seeing you know, people like post them, you know, pictures of them on social media and by the marquee and stuff. And you know the concession stand, it's small, but mighty, we pack a lot in there. Great ideas is that when we showed Oakcha, the Netflix film, we because it's very you know, animal rights, we brought in vegan dogs for that and we called them Oakja Dogs.

They sold so well we've kept.

Them to this day. So again, always looking for interesting things. I love the posters, just the one sheet posters. Some of the artwork on the posters is gorgeous. They don't make them like they used to, is very true. I mean, look at that Goldfinger poster, kids says, I love it. One thing we did when Once upon a Time in Hollywood opened is we decked out the lobby and a lot of the props which you will still see to this day. We didn't take them down. Make Love Not

Well that was reversed.

It was big panels of red, little strips of blue.

But underneath it now we have.

Acoustic material, so it really makes the sound oh special. Another thing that helped us because we had to like tear down the roof. Now we have acoustic paneling in the roof. Honestly, I'm on to brag here, it's some of the best sound in Los Angeles. I was watching I'll use Quintin's movie again because it's this theater once upon a Time in Hollywood, and my manager Brian Quinn,

Like, who's talking in the theater? Oh, No, one's talking. That's the background noise of Musso and Franks. Oh, our sound is good. You don't get that at every theater.

Because I've watched Quintin's movie at other theaters and I did not have that experience.

So the seats, you know, they're not the greatest seats in the world, they're not the worst seats in the world.

I don't know if we'll ever change them, maybe, but I just feel that we would lose some seating capacity if we went to some newer seats, and we certainly wouldn't go into any seats that recline or anything like that.

That's not us. That's for another theater.

Things that Quinton did is he wanted again oversized posters as you exit, so you can see we've got two of them. We have one Nebraska Gym, which is a fake movie in Quinton's film Once Upon a Time in Hollywood, and then we have Richard Gears Breathless.

We can go upstairs to the booth.

Coming up, gentlemen. Well, you're in sacred territory now here it is in all its glory.

To your right.

We have a wall of trailers, thirty five millimeter trailers we use in our pre shows. The first feature always has a cartoon or a short, and then followed by trailers. They're either thematic that they tie into the future you're about to see, or they're up and coming. They also have like intermission tags or adverts from England. I mean, we've got a thousand of them.

But you'll see that in the show too.

It's like, oh, Doctor Pepper and Martian Snapbar whatever, you know, just a little bumper and then it'll go into the cartoon or the trailers. We have our Simplex XL projectors. They're dual projectors. We have no platter system. At the New Beverly when Quentin took over and put me in charge, they kept telling me like we had a periscope system, so the light would hit a mirror and then hit another mirror and then be shot onto the screen. It wasn't a crisp image. So I'm like, there's got to

And you got to chop off the bass.

You can chop off the base and then you'll have a straight shot to the screen and lo and behold.

The image improved. It was.

I guess it's a little hard for the projectionist because they have to stoop down. That's why you see the chair is very low, but it.

Is absolutely worth it.

David. This is our chief projectionist, David Chan. So if you'll explain a little bit how that works much better than I could.

Yeah, we start off with the reel up here, and then we thread down towards the take up as it passes through different rollers. You'll notice straight away that the potentially the first section it'll pass through is the a Dolby digital reader. The SRD track would be read through this component. But if it's an older print and only has one channel or standard stereo sound, we would bypass that entirely and it would just go down through here and to the gates where obviously light passes through and

What kind of preparation do you have to do with these trends in order to get them ready to play in the projective?

I mean, if they're in good shape, you probably just need, you know, an hour and a half of inspection. But if we're getting something from Quentin's collection that hasn't played in twenty years, you could be very brittle now, so you have to like reinforce splices. I know films that have taken eight hours to repair just so we can

So it takes a lot.

To run a film only house. I don't know how many films that we've run a year, but it's what do you think, David, It's least eight hundred.

Right, yeah, because I know for like three months in a row.

Now we're averaging about forty features a month, man.

Which means in your warehouse it must have like how many canisters.

A film, like well over five thousand.

The joke is the final shot of Raiders of the Lost art endless amount of film.

We actually have a print traffic manager because it gets so busy and we're lucky that we're in Los Angeles that we can actually physically go to a lot of the places and pick up the film. We keep copies of all our pre shows. There's print reports for every print that's been inspected, and then we do store a lot of that online and drop box, but we keep everything. So we're a repertory cinema, so chances are it could

And your indition.

It might be possible to do like a brief demo if that's not too much.

Yeah, do you think you could just thread something up so we can get sound bites of the sure?

I guess I could throw on a pre show.

Yeah, that'd be great.

Yeah, Scope lens in there, changing the focus to scope.

It's ready to be threaded.

That we start today with giving the projectors a nice cleaning. Will we initially start off a thread to a point that's eleven feet before the first frame of image. In this case, there's a drunk driving PSA that precedes the coming attractions.

Tag usually have at least eighteen feet of chad leaders, so we'll have enough to put onto the take up reel without worrying about any shortage. Perfect.

So I guess I can fire up the lamp houses and then it'll be ready for showtime. Fire up the lamp house.

LEAs there you go, you being sing good.

Light your damn people.

Get four of.

The tag the for coming down the pike.

Well, look who's here?

When the action is too rough for one man? Send for Savano's seven. First of all, it's no ordinary cleanup job.

Once we take out one of those bananas, we've got to wipe out the rest of them in thirty minutes.

If we're gonna get this thing done, we're gonna get it done quick. Salvano's seven's the playmate, the black belt, the dregster, the comic, the professor, the cowboy, seven. Death is their way of life.

Seven it looked and sounded good.

No problem if you said no superpols.

Can I say one thing, obviously if you come to Los Angeles, would love everybody to visit the New Beverly and stuff. But Los Angeles in particular has the Broadway theater district that just has beautiful picture palaces from like the Orpheum the Los Angeles, the Million Dollar Theater, which is home to some of the Secret Movie Club screenings. It's just wonderful, and the Grand Central Market is down there. You can make a whole day of it. Even if

This episode of Ephemeral was written and produced by Trevor Young, with producers Max and Alex Williams. Jules MacLean is the director of Operations at the New Beverly Cinema and David Chen is the lead projectionist at the New Bad, Big thanks to Quentin Tarantino for the behind the scenes pass into his theater and for all the work he does to preserve film culture. We'd love to hear from you about.

Your favorite theaters.

Is there a special or historic theater in your city? What do you love about the movie going experience? Let us know on social media. We're at ephemeral show and for more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows.