Three memories.
1. Standing in the back pacing and smoking nervous as a cat watching Dylan’s Renaldo and Clara, a painfully intimate film…one of the very few showings of the uncut version before Bob pulled it.
Being consumed in the fog of Anna Christie…literally losing the line of consciousness and aswirl in the mists of dream, film, and some timeless void apart from both…(true of the 30’s films shown there like Grand Hotel or Morocco).
The Pedas Bros. owned rarely played and pristine prints, I believe, which made the retrospective showings feel like they were immediate a first run. The theater was a virtual time machine. The audiences were a mix of ‘70’s hipsters and people who had seen the films first run.
The analog clock, blue lit, dimly visible and discreet, on the upper left of the screen, which taught me about editorial rhythm, film time as it relates to quotidian time and 24fps.
Three memories. 1. Standing in the back pacing and smoking nervous as a cat watching Dylan’s Renaldo and Clara, a painfully intimate film…one of the very few showings of the uncut version before Bob pulled it.
Being consumed in the fog of Anna Christie…literally losing the line of consciousness and aswirl in the mists of dream, film, and some timeless void apart from both…(true of the 30’s films shown there like Grand Hotel or Morocco). The Pedas Bros. owned rarely played and pristine prints, I believe, which made the retrospective showings feel like they were immediate a first run. The theater was a virtual time machine. The audiences were a mix of ‘70’s hipsters and people who had seen the films first run.
The analog clock, blue lit, dimly visible and discreet, on the upper left of the screen, which taught me about editorial rhythm, film time as it relates to quotidian time and 24fps.
Hobartt