Review: CARL PALMER BAND @ Reggies ( with "MIGHT CLOUD" & "DISTRICT 97" bands )

Review:  CARL PALMER BAND @ Reggies ( with "MIGHT CLOUD" & "DISTRICT 97" bands )


Back in the 1970’s, there were a number of so-called “SUPER GROUPS” in the world of rock music.  Band members at times gravitated from one group to another.  For example, KEITH EMERSON was the keyboardist with “THE NICE”, & he at one point in 1969 played at the 9^th Jazz & Blues Pop Festival with bassist – vocalist GREG LAKE of “KING CRIMSON”…

…  By 1970, drummer CARL PALMER (who’d played in a psychedelic rock band called “THE CRAZY WORLD OF ARTHUR BROWN”) was playing with “ATOMIC ROOSTER”.  In 1970, he joined with Keith & Greg to create a super group called “EMERSON, LAKE & PALMER” (E-L-P), which released an album named for the group containing the hit song “Lucky Man”…

…  The next year, they released an album called “Pictures At An Exhibition” which interpreted composer Mussorgsky’s classic composition of that name.  In 1971-72, they released albums called “Tarkus” & “Trilogy”.  E-L-P played together (& released various other albums) into 1979, & then again during 1991-1998, & various members toured in 2010…

…  After E-L-P, Carl Palmer went on to play with groups named “ASIA” & “QANGO”.  In time, he formed his OWN band (appropriately called the CARL PALMER BAND).  In 2006, Carl’s band (with Englishman PAUL BIELATOWICZ on guitar) toured the United States…

…  In 2010, Carl joined with Paul & bass guitarist SIMON FITZPATRICK for a new tour of Canada, the U.S. & South America, with the tour name “Carl Palmer & His Band – Celebrates The Music of Emerson Lake & Palmer”.  On Wednesday, October 27^th, it played in CHICAGO, & I attended that concert at REGGIES.

…  REGGIES consists of various entities:  at 2105 S. State Street, there is a bar-grill with live music under the name “MUSIC JOINT”.  On the 2^nd floor at that location, there is an old-time RECORD STORE called Record Breakers, with loads of old VINYL ALBUMS + some CD’s in various genres…

…  They even have a small section featuring LASERDISCS --  a home video format released in 1978 (2 years after the introduction of the VHS VCR).  The format came out four years before CD’s (which were based on the L-D technology), & the last U.S. L-D (LaserVision) release was in 2000.  Nowadays, we have a sort of “improved” version of the analog video L-D format called DVD’s (a digital video format first appearing in the US in March of 1997).  So, seeing a section of L-D movies was like a HISTORY trip back in time!...

…  REGGIES has a main concert venue called the ROCK CLUB (REGGIESLIVE.com) at 2109 S. State (with a small record shop in between the 2 main locations).  That club has a somewhat sloped floor leading to the good-sized stage at the east side, with a balcony lounge (with tables) holding like 80 people, plus 2 small “look-down” balconies above the south & north ends of the stage itself.  There is some concrete ledge seating at the south end of the room, & a bar at the west side (facing the stage).  The overall venue could thus hold around 250-300 people…

…  Before the Palmer Band came on, there were 2 opening acts:  First was a group called “MIGHT CLOUD”, consisting of 4 men playing instrumentals on what I would describe as electric acoustic guitars.  As I later remarked to one of the guitarists, AARON I. GELLER, I was quite IMPRESSED by the expansive melodic interplay between the instruments in their rock / jazz numbers.  The audience gave them hearty applause.  Aaron told me that they’ve been playing together for 6 years, and very much enjoy their performing.

…  Next on the bill was “DISTRICT 97”, an unusual “progressive” rock group consisting of: bass guitarist PATRICK MULCAHY, drummer JONATHAN SCHANG, ROB CLEARFIELD on keyboards, & a guitarist I seem to recall being introduced as JIM TASHJIAN who helped out on some vocals.  The group’s web-site ( www.district97.net ) also lists another guitarist, SAM KRAHN, but I don’t recall seeing him in this performance from where I sat…

…  In 2007, one of the Top 10 Female Finalists on “AMERICAN IDOL” was a young lady named LESLIE HUNT.  After her performances on that TV show, she JOINED this group as their main vocalist.  I found her to be a powerful and pretty singer who reminded me a bit of a young Joan Jett--  tho the band’s web-site compares her to “a young Ann Wilson from Heart”…

…  Adding a very unusual flavor and sound to the group was an electric CELLO played by a woman named KATINKA KLEIJN, who I later learned has been a member of the CHICAGO SYMPHONY ORCHESTRA & who joined this band after being impressed by one of their shows…

…  At REGGIES, their numbers (including “I Can’t Take You With Me” & seemingly “Quartet For The End Of Time --  Movement VI”) were intriguing and forceful, and the audience also gave them very appreciative rounds of applause during their half hour or so onstage… 

...  They will be having a CD Release show on Friday, November 19^th at the MARTYRS’ club at 3855 N. Lincoln in Chicago…

= = = = = = = = =

On the poster for the evening’s show, it said the CARL PALMER BAND would have “The World’s Greatest Drummer Performing An All Emerson, Lake & Palmer Set”…  By the time the band went on around 8:30 PM, I would guesstimate that there were around 250 or so people in the club listening with rapt attention to the band, & they gave the band members enthusiastic ovations after each number…            

…  Carl Palmer (born in 1950) used a special drum set which his web-site ( www.carlpalmer.com  ) describes as a “special edition Ludwig 100th anniversary stainless steel kit created especially for Carl's return to the Ludwig brand.”… 

...  On guitarist PAUL BIELATOWICZ’s enjoyably breezy personal web-site ( www.paulbielatowicz.com ), he says his guitar has a “switch that toggles between electric and acoustic (and a mix of both)”…   

…  Carl’s web-site points out that he purposely set-out to NOT try to duplicate the singing of Greg Lake or organ-playing of Keith Emerson.  Since the E-L-P group had done many instrumental pieces, he chose to form his own band via “replacing the keyboards with electric guitar. I felt that was the only honest way to approach the music of ELP...”

…  During the show at REGGIES, on a screen behind the 3 band members, there were intriguing VIDEO presentations appearing. During the band’s playing the E-L-P hit “HOEDOWN” (featuring very animated Paul on guitar), the screen showed various John Wayne cowboy-movie happenings...

...  During the excellent “PICTURES AT AN EXHIBITION”, we saw scenes from Eisenstein’s classic 1925 Russian silent film “The Battleship Potemkin””, which added to the effectiveness of the piece…

…  At one point, PAUL (around half the age of Carl, tho looking like he’s in his early 20’s) playfully strummed bits of “SOMEWHERE OVER THE RAINBOW”, & soon went into a jaw-droppingly exceptional rendition of “FLIGHT OF THE BUMBLEBEE” (which someone on the internet --  where a video of an old version of the number can be seen -- described as utilizing an “8 finger sweep tapping lick”, & another person said seems to require using “2 brains” to accomplish)…

…  As promised, the band played loads of numbers from the E-L-P songbook.  In between numbers, Carl gave some introductions and information about the songs...


...  He commented on how their album “LOVE BEACH” (-- which I’d chanced to bring with me to have him autograph --) was not one of their more “creative” efforts (partly due to its being recorded live in the relaxing Bahamas);  but, it did contain a fine number (not written by the group) which his band then played for us -- Rodrigo’s composition “CANARIO”…

…  One of the more impressive numbers played was Copland’s “FANFARE FOR THE COMMON MAN”…  Each band member was given various chances to SOLO, & the audience (without even being asked) started SINGING along with some of the surprisingly-melodic diversity exhibited on the  bass by SIMON FITZPATRICK…

…  On his own solo, the ever-energetic CARL also boggled the minds of the appreciative audience:  he was a whirling dervish of vigor, getting a massive amount of sound from just playing the foot-pedal drums & also the cymbals by “themselves”...

...  Many people were open-mouthed as he bent over the drums & cymbals & was able to make the drumsticks “REVOLVE” on the drum set without his even holding them at one point… There was thunderous applause for that, & a similar response to virtually everything the group played…

…  As I told Carl after the set (which lasted around 1 hour 45 minutes), I found his band to be truly “EXCEPTIONAL”, which he appreciated hearing…  (I was later told by a man who’d been in the audience that the two other band members also came out later & talked to & signed items for the crowd)… 

…  By the way:  I heartily recommend the BLOGS about the tour that PAUL posts on his personal web-site--  they’re informative, interesting, include PHOTOS of various band & crew members & “sights” seen, plus they exhibit an enjoyable cheerful humor (with a whimsical “eye” towards the foibles of life on the road)…

 …  During my time at REGGIES (which had very good sight-lines & finely CLEAR sound), I shot a number of non-flash STILL PHOTOS of the band during their performance...


...  My RATING of the above:  9.00 of 10 stars...


…  After Chicago, the band was set to take their van to Milwaukee, & then to St. Charles, IL & Iowa City, IA.  Here’s some of their FUTURE scheduled dates:

              Tues., 11/02/10            Denver, CO            Soiled Dove Underground
              Sat.,    11/06/10           Petaluma, CA         McNears Mystic Theatre
              Tues.,  11/09/10          San Diego, CA       Brick By Brick

Review of play: "CAT ON A HOT TIN ROOF"

Review of play:  “CAT ON A HOT TIN ROOF”  =

I was pleased to attend a Preview performance of the above play at the RAVEN Theatre in Chicago.  Here are my thoughts about it:

...  While watching this Tennessee Williams play (which won him his 2^nd Pulitzer Prize for his 1955 Broadway production of it), it’s fascinating to keep in mind that, when written, the subject of HOMOSEXUALITY was considered a very “SHOCKING” theme to deal with, & thus various characters in the play came across as especially “striking” for the times…

…  In this Raven performance, Maggie (Margaret) is played by LIZ FLETCHER as the wife of Brick (JASON HUYSMAN).  In the first of three acts, she almost never stops TALKING as she tells Brick that his rich landowner father Big Daddy (JON STEINHAGEN) has been found to have cancer, & urges Brick to work to try to be sure he gets his proper SHARE of the estate for the two of them…

…  She is such a spoiled dynamo, you yourself feel like Brick reacts in the play--  namely, EXHAUSTED by having to deal with her, & literally “driven” to DRINK as he does to try to “dull” her impact… He has to use a crutch due to an injury, & he’s severely tempted to HIT her with it as she keeps railing on & on about his shortcomings, his unwillingness to go to BED with her, “rumors” about his “unusual” friendship with an old male FRIEND of his who’d died, & the “evils” of his brother Gooper (GREG CALDWELL) & his regularly-pregnant wife Mae (ELEANOR KATZ)…

…  Act 2 is strongly taken over by the loud, hurtful & bombastic demands of Big Daddy, who treats almost everyone like crap.  He’s accustomed to brow-beating others to get his way, and unaware of the true results of his recent tests at the hospital…  Gooper & Mae know the results of the tests, &, as time meanders by (in the 2½ hour play), we see their machinations of trying  to curry Big Baddy’s favor, sort of abetted by Reverend Tooker (MICHAEL BOONE)…

…  Everything starts to come “APART” relationship-wise by Act 3:  When the truth comes out regarding Big Daddy’s health, his wife Big Mama (JOANN MONTEMURRO) is at first disbelieving, shocked, angry & then unexpectedly ASSERTIVE as Gooper & Mae try to coerce Big Daddy into giving them special “FAVORS” concerning the disposition of his holdings, which in part involves putting down Brick & his lack of “manly” actions & attitudes…

…  Altho more than 50 years old, the play RETAINS its raw POWER, thanks to the FINE ACTING by the entire company, particularly by Eleanor, Jon & Joann who play the most compelling characters with robust aplomb.  I’d rate this 9.00 out of 10 stars.

The RAVEN Theatre  is located at 6157 N Clark Street in Chicago.  Phone #: 773-338-2177.  Web-site:  raventheatre.com ...

Review: “PARANORMAL ACTIVITY 2”

Review:  “PARANORMAL ACTIVITY 2”

This movie is a “sequel” to the film with the same basic name that came out 3 years ago.  Before the advance screening I attended, there were some comments made by 3 of the Police stars of the A&E TV series Chicago Paranormal Detectives, who spoke of the previous film (which they’d enjoyed) & how at least one of their group is thoroly a “SKEPTIC” about the basic subject of “mystical” type  occurrences…


…  This new film is shot (in what purports to be Carslbad, CA) as if it was a sort of “documentary” (ala “Blair Witch”, etc.).  It’s what I call an “OLD-style” horror movie, in which “Things go BUMP (& THUD) in the night”, rather than the new “SERIAL killers” type where “Things go Crunch, SPLATTER & Splash at ALL times of the day”…

…  The main “returning” character is Katie (played by KATIE FEATHERSTON) as a once-“TROUBLED” young woman.  Her boyfriend is Micah (played by MICAH SLOAT).  In this version, an “unknown” actress plays her sister who, along with her husband (played by BRIAN BOLAND), has just had a new baby boy called Hunter.  There’s a teen-aged daughter from a “first” marriage, a Latina lady who plays their nanny, & a very “charismatic” & memorable German Shepherd dog…

…  After baby Hunter is brought to the large new home, “STRANGE” things keep happening in the house.  As “supernatural” phenomena keep occurring (such as odd movements by a pool-cleaning machine & various falling items & eerily-moving “smoke”), many of the people react in what to-me are very OUTLANDISH ways: 

…  The father is (typically) “OBLIVIOUS” to there being any importance to the bizarre happenings;  his wife is “alert” to the happenings, but is strangely “brave” and “silent” in the face of them;  the teen daughter does foolish things like opening DOORS to see what’s “causing” the troubles;  and, when things become increasingly “DANGEROUS” & “THREATENING” to all concerned, rather than do anything “LOGICAL” like seeing a psychologist or calling the POLICE, they instead contact an INCENSE-WAVER!...

…  There are some GOOD “creepy” special effects, such as movements regarding the baby & his mother --  but they’re comparatively “few & far between”.  The story is SLOW in getting started, the “Demon” element is pretty concealed, unexplored & ineffective, there’s a massive number of “HOLES” in the story (wherein people act stupidly and a number of things are NOT “explained”), & the DOG is perhaps the most consistently sensible, interesting & “heroic” of the group…

…  Overall, while the acting is passable, the movie is just “OK”, leaving me with an “EHH—“ response.  It’s not actively “bad”, but I’d rate it at just 6.00 out of 10 stars…

Review: OMNIMAX movie “LEGENDS OF FLIGHT”

                              Review:  OMNIMAX movie “LEGENDS OF FLIGHT”

Recently, I attended a screening of the above documentary in the huge OMNIMAX theater at the Museum Of Science & Industry in Chicago… 

…  This very interesting film covers some of the HISTORY of air travel, from the Wright Brothers first powered flight on  December 17, 1903.  There is a somewhat glossed-over accounting of important aircraft after that, such as the World War I planes having multiple wings (the very successful biplanes & others)…

…  The movie frequently uses a lot of COMPUTER-generated graphics to illustrate various advances in the industry.  While they are often colorful & nice-looking (with flashing lights & the like), I found it to be a bit OVER-used, with what to me were occasionally UNCLEAR explanations of just what they were meant to “represent” (& thus they at times came across as more confusing than truly informative)…

…  Every other year, the Paris Air Show draws plane manufacturers from around the world, who congregate to show off their newest products in an attempt to generate sales.  Scenes are shown from the 2005 show where Airbus introduced its model A380 plane--  the largest passenger airliner in the world whose double-deck configuration could hold more than 850 passengers on a flight…

...  A good deal of the movie utilizes scenes with MIKE CARRIKER, the Chief Test Pilot of Boeing Company.  He’s flown numerous types of aircraft thru the years, & his favorite plane is an old TWA Super Constellation by Lockheed;  he’s shown flying a restored version of that aircraft (with its distinctive 3-finned tail) & explaining how he loves the way the PILOT (rather than “automatic” programs) do the actual work of controlling the plane…

 …  The movie is very straightforward about all the planning, deliberations and DELAYS encountered in bringing a new plane to market, with considerable time spent on the problems AIRBUS had with its A380 & BOEING has had with its 787 “Dreamliner”…

…  There’s a good deal of historical interest and information on current and upcoming technologies covered by the expansive film, & I would rate it 8.00 out of 10 stars (with its rating lowered a bit because of the periodically perplexing computer simulations mentioned previously)…

Here are the Showtimes for the film (which will be playing at the MSI thru February 11, 2011):

 

Monday-Saturday: 10 a.m., 12:30 p.m., 3 p.m.
Sunday: 12:30 p.m., 3 p.m.

Review: "JACKASS 3" in 3-D

Review of film “JACKASS 3” in 3-D”

Around a week ago, I attended an ADVANCE screening of the above film, which I’m going to report on at this time…

…  The PROMOTIONAL efforts concerning the film were exceptionally WELL-DONE:   We were allowed into the theater like 2 hours early.  As we went in, we were given a souvenir small “MY SPACE” BACKPACK & free POPCORN & SODA for everyone at the screening...  Even more interesting, they had a unusual “FILMING” setup already in place inside the theater:

…  They offered people choices from various funny COSTUME props --  tall hats, colored boas, a plastic guitar & mics, etc.  As a DJ played rock music from a “scratch” turntable setup, a young woman had people come up to “PERFORM” in the costumes in front of a white SCREEN.  She then used a continuous-shooting DIGITAL STILL CAMERA to shoot multiple frames of the guys & girls “JUMPING” (dancing) around in front of the screen… 

…  The audience could see the sort of “STOP-motion” effects as a “VIDEO” on a TV screen.  Then, the people handling the computer-based photography setup immediately produced colored-image “FLIP BOOKS” of the “groups” of performers which they gave as GIFTS to the guys & gals who’d entertained.  So, when you flipped (flicked) the pages, as with cartoons, it gave you the effect of “MOVING” images of your “performance”!...  It was very CLEVER & worked very EFFECTIVELY!... 

 …  People (including various friends of mine) quite ENJOYED the unusual and on the ball setup, & a number went back & performed a SECOND time (to get another “flip book”)…

…  But, while the “PRE-movie” show was unusually PLEASANT, I can’t honestly say the same about the FILM that followed it.  Altho many will undoubtedly disagree with me, I’m sorry to say you have to sort of BE a “Jackass” to really “APPRECIATE” the film of the same name:

…  Outside of a few SOMEWHAT funny “Candid camera” type of moments where people in the film were SURPRISED by what was to transpire next, & while a very SMALL amount of it had some quasi-“clever” actions (like using a jet engine to “shoot” some things), I felt around 90% of the movie consisted of amazingly MEAN-SPIRITED, VIOLENT, STUPID & DANGEROUS “stunts”…

…  The nine or so main guy “stars” are so juvenile that they seem to think you’re somehow more of a “man” because you can do foolish things to “accept” PAIN (like being hit in the head, being stung by bees & stun guns, jumping over water & hurting yourself, taunting big animals like bulls, etc.)…

...  It’s often the “SAME old thing” over & over again, in slightly different “configurations” of IDIOCY (with 3-D added more to increase the film gross than to do anything really “effective” with the format)…

…  In the interest of “fairness” (& with a hefty dose of disbelief), I must report that a number of the people there (black, white, Hispanic. etc.) LAUGHED a lot at the usually dim-witted actions of guys being regularly hit in the GROIN & NUTS, PISSING on other people, GLUEING their body to another person’s body hair, etc…

…  But, I’m sorry--  I just found it an almost frightening collection of SAD & BRAINLESS actions (usually revolving around going thru things that deeply increase the risk for FUTURE physical or mental DAMAGE, such as an increased risk of CONCUSSIONS as many football players have been suffering with in games recently, etc)…   

…  The film grossed around $ 50 million in its opening week…  I’m reminded of a quote from cartoonist Scott Adams:  “You can never underestimate the STUPIDITY of the general public.”…

…  I’m aware people at times need to get “AWAY” from the stresses of everyday life (& possibly to feel “SUPERIOR” to some of the people "around" them in the world), which might be a “reason” to see a 3-star (out of 10) movie like this… 

…  But, with so many really GOOD, WELL-done film-making efforts out there (such as “CONVICTION” & "SECRETARIAT" & “THE SOCIAL NETWORK”, etc.), I  find films like this a WASTEFUL, DEPRESSING & DISTRESSING way to see money spent (both in MAKING films & in the way audiences ATTEND them)…

REVIEW: “THE WILDEST DREAM: CONQUEST OF EVEREST”

REVIEW:   “THE WILDEST DREAM:  CONQUEST OF EVEREST”

One of the most famous quotes in the world of Exploration is the following:
"Why do you want to climb Mount Everest?", & the response of:  “Because it's THERE."

…  The response was given by an Englishman named GEORGE HERBERT LEIGH MALLORY, whose name is fairly unknown to the general public today.  That may change due to the upcoming October 22^nd release of a movie named “THE WILDEST DREAM:  CONQUEST OF EVEREST”.  This is a review of a 94-minute advance-screening version I saw at the Navy Pier IMAX theater in Chicago…

…  Mallory was born on June 18, 1886. This film is a dramatic recreation of his life, using actual PHOTOS & MOVIE footage of him & certain other people involved in his life.  While a teenager, he got interested in rock-climbing & mountain-climbing, & became an oarsman who competed during his studies at Cambridge University…

…  Eventually, he became a teacher.  In 1914, at the age of 28, he married a woman named RUTH to whom he was deeply devoted.  But, just 6 days after the marriage, Britain entered World War I against Germany.  Mallory joined the war in 1915 as a 2^nd Lieutenant, & then returned to being a teacher & started a family of three children…

…  In 1921, he joined a British group which went to explore the approaches to MT. EVEREST.  They discovered a potentially feasible approach to climbing that mountain, & returned to the area the next year in an unsuccessful attempt at scaling the peak (tho he got to a then-record height of 26,985 feet on it).  A third expedition to the summit also failed, resulting in the death of a number of his Sherpa guides and helpers…

…  On June 4, 1924, he joined with ANDREW IRVINE in using oxygen tanks (which he’d avoided previously) to try again to climb to the top.  He had a MOVIE camera filming their efforts from below, & the cameraman at one point filmed him just 800 or so feet from the summit before clouds obscured the view.  That June 8-9 filming was the LAST anyone saw or heard from the two men, who were presumed killed when they never returned to camps in the area…

…  It wasn’t until May 29, 1953 that anyone actually reached the summit of Everest, when EDMUND HILLARY of New Zealand accomplished the feat with Sherpa TENZING NORGAY. [They searched for some sign of Mallory’s expedition, but couldn’t find anything)…

…  In 1999, American CONRAD ANKER was part of an international team that tried searching for some evidence of Mallory’s ill-fated climb on Everest.  In searching an area others felt was unlikely to be involved in the accident from 75 years before, Conrad chanced to find the frozen BODY of George Mallory + some personal possessions on him…

…  This new National Geographic movie “THE WILDEST DREAM” recounts how Conrad in 2007 attempted to DUPLICATE Mallory’s 1924 attempt on the North East Ridge pathway of the mountain.  He & British citizen LEO HOLDING go out of their way to recreate modern versions of Mallory’s CLOTHING (including hobnail boots) & EQUIPMENT (including oxygen tanks)…     

…  The film does a fine job interweaving old PHOTOS & LETTERS & MOVIE footage involving Mallory, his wife Ruth, Irvine & others to explain the huge DIFFICULTIES of the climb--  the problems of depleted oxygen at high altitudes, the huge weather troubles (cold & high winds), etc….  You really “FEEL” what they’re going thru in their efforts…

…  Will Conrad & Leo be able to reach the summit before exhaustion or MONSOON winds reach them and interrupt their attempt?...  Will they find any “clues” as to whether Mallory actually SUCCEEDED in reaching the top of Everest?...

…  CONRAD (besides appearing in person) also portrays MALLORY in some recreated scenes.  RALPH FIENNES voices some of MALLORY’S words (from his letters & the like).  NATASHA RICHARDSON voices his wife RUTH, & HUGH DANCY voices his partner ANDREW IRVINE...

...  LIAM NEESON is the overall NARRATOR of the fascinating & affecting film, which I rate at 8.50 of 10 stars…

Panel Discussion: STATE OF THE MOVIE INDUSTRY = Report # 15 on the 45th CHICAGO INT'L FILM FESTIVAL in 2009

Panel Discussion:  STATE OF THE MOVIE INDUSTRY  = Report # 15 on the 45th CHICAGO INT'L FILM FESTIVAL in 2009

This constitutes my original Report # 15 on the 45th CHICAGO INT'L FILM FESTIVAL (= CIFF)-- with a chronicling of a fascinating 10-09-09 PANEL discussion on the state of the movie industry entitled “WHERE IS IT ALL GOING?”, helmed by PAULA WAGNER of UNITED ARTISTS & including a man representing the company distributing the “TWILIGHT” series of films:

…  The Panel discussion was held in the elegantly-appointed screening room (with cushion lounge chairs) at theWIT hotel, & was basically aimed at “accredited industry members” rather than the general public (& thus this may be the ONLY “accounting” you will see about the event!)...

…  The audience consisted mainly of people involved with the 45th Film Festival in Chicago (both staff & special guests including from films being shown at the Fest), & was made possible by a special grant from the Consulate General of the Federative Republic of BRAZIL…

…  A lady from the Festival introduced host PAULA WAGNER after citing some of her credentials:  she worked as a talent agent at the CREATIVE ARTISTS AGENCY, is a co-founder & producer at Cruise / Wagner Productions (including working on the “MISSION: IMPOSSIBLE” series, “THE LAST SAMURAI”, “VANILLA SKY”, “THE OTHERS”, etc.), co-owner & CEO of UNITED ARTISTS ENTERTAINMENT, + works on theater & film projects thru her new production company CHESTNUT RIDGE…

…  Paula commented on how she feels Chicago is “a WONDERFUL Festival, & I’ve been coming for many, many years” because she considers it to be one of the “most pristine” of the fests in film circles.  She thanked the Brazilian government for its help with today’s Panel, & introduced the 3 other Panel members:

…  CRAIG EMANUEL was introduced as someone who’s head of the West Coast offices of Loeb & Loeb, which represents well-known entertainment clients such as Tom Hanks, Gary Oldman, directors such as Robert Rodriguez & Tony Gilroy, + also producers & writers.  She spoke of how Craig (from Australia) has been involved with the licensing of Distribution Management, and represented advertising from clients such as BMW, thus “marrying film and BRANDED products”.  Also, he frequently works with young INDIE filmmakers, & helps finds ways to FINANCE films in creative ways.  He’s a legal counsel to the Sundance Institute & is on the advisory board for the Los Angeles Film Festival…

…  Next, she introduced RICHARD FAY:  He’s President of the Domestic Theatrical distribution for SUMMIT ENTERTAINMENT which backed & represents the “TWILIGHT” franchise of films which had already generated a $ 380 million gross from the first film in the series.  Mr. Fay has more than 35 years of experience in the movie industry, including being Sr. VP for SONY PICTURES RELEASING, head film buyer for UNITED ARTISTS THEATERS, President of AMC Film Marketing (responsible for buying & in-theater marketing of films), & head of his own FAY ENTERPRISES…

…  Finally, she introduced RICK NICITA:  He’s COO & Co-Chairman of MORGAN CREEK PRODUCTIONS, &, “The next important title is, he happens to be my HUSBAND—” for the past 25 years!  As she said, “I ‘snagged’ him, & I am thrilled” about that fact!…  In the past, he also worked at CREATIVE ARTISTS, where he headed the talent department & represented clients such as Tom Cruise [= her brother!], Nicole Kidman, Al Pacino, Jeff Bridges, Anthony Hopkins, Kevin Costner, Kurt Russell, Garry Marshall, Rob Reiner and others.  As a flyer given out to attendees says, he’s “been listed as one of the most INFLUENTIAL people in Hollywood by Premiere Magazine and Entertainment Weekly.”…  And, she added proudly that she & Rick have “2 wonderful sons”…

…  To start the discussion of “where is the industry GOING” in the future, Paula pointed out about the business that “it’s always TRANSFORMING”, & feels we’re at “a threshold of CHANGE”.  She wondered, “Are we paying too much attention to TECHNOLOGY?”, & are MARKETING costs too high for films nowadays?…  “What does the future hold for TALENT?…  Who are the new movie stars?…”

…  CRAIG offered his feeling that, “The ‘STAR’ system will always drive the industry to some degree—”, witness the “High School Musical” series of films.  In the past, producers felt you could use a “big” star & be assured that your film would be a hit to some level, but that’s CHANGED somewhat in the recent period, in that some films with big names have done much more poorly than expected. Nowadays, audience members use SOCIAL NETWORKS [“Facebook”, MySpace”, “Twitter”, etc.], & those can affect films “immediately” as to how they do in the marketplace… 

…  He feels there are only a SMALL number of stars, such as Will Smith & Tom Hanks, who can THEMSELVES assure that a film will be at least a bit of a “hit”…  But, large UPFRONT fees to stars make “little SENSE” nowadays.  He feels CONCEPTS are more important aspects of films, as are “brands”…

…  RICK offered the thought that he DOESN’T see any death of the industry, & feels people want to be in THEATERS (rather than just at home) to have the movie-going experience for the most part…  It’s his opinion that, if filmmakers wisely go WITH technology (rather than trying to fight what’s new), “it’ll be EVER-EXPANDING” as an industry…

…  He spoke of having been an AGENT for talent in the past.  Today, there are so MANY (so-called) stars & “you KNOW too much about them” from the numerous tabloids & [gossip-style] TV shows, that you regularly can “see” them at everyday places like Starbucks to the point that the star “mystique is GONE” from them…  In the 1940’s, if a star did something unwise or fell down, those events were kept “HIDDEN”--  but, the opposite is true today..

…  Rick feels that, “There’s a great ADVANTAGE to stars—” in certain roles, especially in that “you can get a certain opacity” from some.  In his opinion, “ATTENTION will be paid” to films by major stars, because, if you’re utilizing someone like MERYL STREEP, people have come to feel it’s likely that “you’ll get a great performance” from such people, no matter the subject of the film in question [& thus that’ll at least initially drive people to such movies]…

… Paula asked RICHARD (whom she usually referred to as “Richie”), how has the distribution marketplace CHANGED in recent years?  He replied that, “I see stars as an ‘INSURANCE policy’—” in many ways, even if they are “up-&-down” type stars like Bruce Willis…

…  He revealed that he had [by early October] fielded a bunch of calls from exhibitors about the ORIGINAL “TWILIGHT” film [from 2008], wanting him to RE-RELEASE it on November 19th, the day before the 2nd film in the series (“NEW MOON”) opens, seeing it as a “social engagement” before the new release.  He advised that they WILL be doing that for them [as they indeed did do]…

…  Richie felt that the overall box office for films has been very good this year.  It seems that, even with the bad economy, people want to find a way to RELAX-- & films help them do that, which is why the income from films has held up.  He joked, maybe people feel that, even if it’s hard paying things like the rent, if need be, “you can move into the BUCKET” of popcorn if things get even worse!… 

…  He said, he’s been around in the industry since 1970.  He remembers (-- as do I --) how the film industry initially felt that CABLE TV would be bad for them, & that Betamax & VCRs would be horrible for them as would DVDs--  but, instead, all those things ended up FEEDING & EXPANDING the industry!  He feels that, going to films at movie theaters gets people out of the house which people need, & he believes that the industry “will be GREAT” in the long run…

…  Paula wondered, what will things like INTERNET distribution do to the industry?  How will it likely affect it?…  Richard volunteered that, while there’s a “piracy” potential to such distribution & “it’s got to be MANAGED”, he feels that it will be handled in time.  Right now, he strongly believes that the movie-going audience wants to get OUT of the house far more than it wants to see it on computers or small screens like iPods…

…  Richie feels certain films made for super-large screens like James Cameron’s “AVATAR” are going to drive people to theaters that can show them that way [with upgraded technology like 3-D].  As to Cameron, he said, “He believes in the process & in you, the audience—”, & it’s his personal opinion that such attitudes will resonate with the public…

…  RICK weighed in with his feeling that, “You’ll have more & more CHOICE of platforms—” in the future, including the possibility that certain low-budget films will be made with the thought that, even if they don’t see a wide theatrical release, they could be made because it’d be expected that they “may play better on a SMALL screen” [such as watching it via a DVD on a TV at home]… 

…  CRAIG volunteered his opinion that, [to keep the industry healthy], it’s best that the public have an especially COMFORTABLE theater in which to see films.  He feels certain films (such as “indies”) might have a purposely LIMITED theatrical release, with the idea that they’ll likely do better when released onto VIDEO or to NETFLIX or the like…

…  In his opinion, overall, “You’ve got to make the movie-going experience BETTER than at HOME—” for a film to do really well--  via using things like “reserved” seating (as done in his native Australia & certain places here).  In general, in the U.S. today, “The ‘ART HOUSE’ experience is often NOT pleasant—” in most U.S. theaters.  He feels that, as in Australia, it’s often helpful to have some LUXURY-type theaters, since “it adds” to the movie-going experience for the public [as something ‘special” that can’t be duplicated at home]…

…  RICK pointed out that, unlike in certain other countries, movie producers in the U.S. CAN’T OWN movie theaters where their films might play…  RICHIE pointed out that, while a LOT of Art Houses are fairly run-down here, that’s being improved in certain locations of AMC & REGAL & others that are striving to play “smaller” films in “a quality way”.  He agreed that such films need to be “promoted” by such chains, & that’s being done by devoting certain specific well-kept-up screens in their multiplexes to such films…

…  Richie feels that it’s unfeasible to have, say, an 18-year-old kid trying to do it “all” in showing Art House type films, like starting the film on an “automatic” machine & then going down to sell popcorn & tickets:  it’s “frustrating” that certain small theaters are at times “cutting things to the bone” rather than showing “art house” films in a Quality way.  For example, [the highly-regarded-by-critics film] “HURT LOCKER” plays to a comparatively “small” audience, but it’s a movie that “needs to play on a LARGE screen” [such as in a modern multiplex] to be properly appreciated…

…  PAULA posed the question, are we focusing TOO MUCH on platforms rather than on the CONTENT in films?…  CRAIG felt that, “people CARE” about the content of films, or else you’ll see “a large dropoff” in attendance due to the quick “words” spread by people using social networks shortly after films open.  He feels, “We still need to make GOOD films—“, altho NOT ALL need to be released “theatrically”, as certain “smaller” ones might be better-served by being targeted for direct-to-VIDEO release and the like…

…  He tells filmmakers that, “they need to have as many EYEBALLS” as possible view what they create, whether that be by theatrical release or NETFLIX or some other venue.  Even if there’s not a huge number of people seeing what’s made, by putting the film “out there”, “you’ll have a larger audience” for a FUTURE film you can make…

…  RICK offered his thoughts that, ECONOMICS very much control film-making nowadays, & “MARKETING costs are huge” --  but, you still “have to CREATE” that marketing to properly sell a film in today’s market…  He offered that, in some circles, there’s a “FEAR that the movie may LOSE money”, to the point that some filmmakers may try to make a “SAFER” type film than they might personally like.  But, he feels that, “Great movies, like great art, come from taking CHANCES—”, & he’d like to see people take such chances in general--  altho today’s financial situation make that HARDER to do…

 …  PAULA wondered, did the panel think there were TOO MANY movies being made now, especially in that film-makers are in-effect being given just “2 weeks to ‘PROVE’ yourself” in the marketplace?…  RICHIE said, he feels that exhibitors today very much pay ATTENTION to things said on FACEBOOK & TWITTER & the like, in that it causes them to make quick decisions on whether to “hold over” a film to show the public.  They feel that they can promptly “judge” how a film will do by simply looking at the first day’s matinee gross out of New York…

…  He feels that, if an exhibitor is buying a film for 1500 screens he represents, if a film comes in at “10th place” during a given week, it’s likely that “you’re OUT” of being held-over for another week.  He personally DOESN’T LIKE that, as certain films “don’t have a chance to ‘breathe’ & GROW—” as certain good ones need to do:  It’s almost ‘IMPULSE’ buying…  and that’s NOT good for the industry” in general…

…  RICK commented on how various publications & media outlets announce the “Top 10” grossing films nowadays, which didn’t use to be the case in the not-distant past.  In his opinion, “that’s DETRIMENTAL to the industry” in that, when a film is described as coming in at “a disappointing 10th place”, it’s very “frustrating” that certain distributors will then AVOID such a movie, altho it may be a FINE film that could grow to reach a much larger public if given time and a chance…

…  CRAIG remarked that, he finds it sad that it’s HARD to find distributors for smaller “INDIE” films today:  If a film costs like $ 10 million to make, they’re often lucky to sell it for $ 5 million [up-front].  Such filmmakers will often take their film to various FESTIVALS such as Sundance or Toronto, hoping to sell the film there.  However, there are maybe 300 films being shown at such venues, & 200 of them are “available” for sale to distributors there.  But, with today’s economy, actual SALES there can be counted “on 1 hand” nowadays.  Thus, “You can’t COUNT” on much from attending such festivals” in the form of actual sales…

…  He said that, “you can only cut salaries just so low” in order to try to reduce your costs in the first place;  thus you’re limited in what can be done to try to make your production more economically feasible.  He expects that film-makers will have to in-effect “SHARE the RISK” with studios and distributors as to the “P&A” (Prints & Advertising) costs of films… 

…  And, he expects that filmmakers will increasingly need to carefully try to hone-in on who their “TARGET” audience is.  For example, the makers of the “BROTHERS AT WAR” documentary found a MILITARY audience would be likely to back the concept of their film, & they did indeed support the movie by their attendance.  He feels that “People are going to have to be CREATIVE—” in how they go about making & distributing their films.  PAULA agreed, saying, “Creativity is in greater DEMAND than ever—” re making & promoting films in today’s tough economy…

 …  PAULA asked RICK a question, pointing out how his MORGAN CREEK is in an unusual position via the way “you’re producers with MONEY”, in that they SELF-FINANCE films they want to make.  He agreed, saying, it’s an “old-fashioned” way of doing such things, by financing their OWN movies, including the full P&A costs, as was done with “ACE VENTURA”, “ROBIN HOOD” & others.  They’re able to use “old-fashioned BANK credit lines”, & he’s fortunate to have a partner who’s personally wealthy & willing to “take GAMBLES” on things they believe in.  They distribute thru Universal, but, “The huge risk & huge reward is OURS—” if things turn out well…

…  PAULA spoke to RICHIE about the EFFICIENCY utilized by his SUMMIT company, in the way they process data & statistics.  He agreed that they were among the FIRST companies to widely use data from modern sources:  He gathered together a bunch of comparatively “young people” who have a strong knowledge of “technical systems” for using & tracking marketing for their projects…

…  He spoke of how, in 1971, he remembers how a company he was with used 6 people to get grosses for films via making direct individual phone calls to many exhibitors and the like around the country….  But, nowadays, his people use modern tools like Blackberries & Cell phones to gather details on the position of specific films at megaplexes on a Sunday nite, using super SPEED to gather & extrapolate their data for upcoming marketing and the like…

…  Richie recalled how, when a “HARRY POTTER” film was moved BACK as to its scheduled opening, his people quickly moved their “TWILIGHT” film into the in-effect “vacated” time period in November [of ’08, from a planned December opening], which worked out tremendously well:  “we’re NIMBLE, we’re QUICK—”, & that type of effort has paid-off well for them.  His staff consists of just 16 people, but major companies use “3 times” as many people as they do to deal with films having smaller grosses & locations.  His people helped to quickly get 6000 prints of their film into 4000 locations, which vastly helped the eventual success they enjoyed…

 …  PAULA asked CRAIG his feelings about the future of INTERNATIONAL marketing & the financing of U.S. “INDIE” films…  He said, he feels that a potential FOREIGN market is “critical in FINANCING” indie films nowadays.  He cited how Richie’s SUMMIT has a GREAT foreign marketing setup for films, sometimes concentrating on just a LOCAL “niche” market for certain films made overseas, in some cases marketing movies that don’t even open in the U.S. at all…

…  Craig feels that getting U.S. distribution is “important” for most films, especially nowadays:  it used to be that Japan would account for like 10% of a worldwide gross of a film.  But, things have changed so much with the economy today that, you couldn’t rely on ANY percentage from Japan [& other foreign places] at Cannes, & thus sales of films to distributors there were way DOWN this year…  Today, you can only likely rely on getting “30-40%” of your overall gross from foreign distribution.  Since so much is unknown in today’s economic situation, the ability to sell a film based on potential foreign income is “very CHALLENGING”…

…  Craig feels SUMMIT is handling things in an especially smart way--  looking at “small SEGMENTS of a country”.   For example, while it’s hard for most U.S. films to go over very well in CHINA, their own local Chinese films generate huge grosses due to the massive size of the movie-going population.  Also, certain other countries like France & Germany have locally-produced films that draw large grosses in their HOME countries, & SUMMIT has worked wisely in buying rights to certain “local” films [for possible foreign distribution] & also helping promote such films in their local markets…

…  PAULA asked her husband RICK about the potential “power shift” in the industry…  He commented that, in the 1980’s it was the talent AGENCIES that held the power in putting together ‘deals” based on their stable of well-known actor clients, but that didn’t last very long.  Nowadays, most studios are owned by “CONGLOMERATES”-- of which the studios are usually comparatively SMALL divisions [with little real power to “push thru” projects they want]…

…  Rick said that, FOREIGN grosses used to be an “afterthought” to the studios.  But then, a number of pictures started to have larger FOREIGN grosses than domestic ones, & that view changed.  Nowadays, economics has “STOPPED” a lot of planned projects.  He personally feels that, “CREATIVE talent will be the power” in the future, with those creative people being the ones studios go “after” to get films from, & the studios will mainly just serve as DISTRIBUTION centers for such products that OTHER film-making people will provide…

…  Richie said, his company wants film-makers to give them a PERCENTAGE [of the gross] for distributing films they have faith in…  Paula pointed out how, in that regard, “You made ‘Twilight’ HAPPEN—”…

…  CRAIG offered his thoughts that, acting talent will have to CHANGE from a “pay me to show up” attitude, to one of being part of a “truly COLLABORATIVE” effort.  In other words, with a reduced number of films being made, actors CAN’T expect to get ridiculously-high advances of “20 against 20 anymore”--  altho agents, naturally, don’t want to TELL their clients that fact of life!… 

…  It’s his feeling that, ALL involved in the film-making need to have a “VESTED interest in the FUTURE” of the industry, for the good of all involved.  He observed that talent will likely start to CUT their fees, since that’s NEEDED for the industry to SURVIVE [& hopefully prosper]…

…  PAULA commented on how the panel had covered “a little about a LOT of things”, & then opened up the floor to a Q&A session with the audience…  A guy commented on how a lot of RESEARCH seems to be done nowadays before a film is projected to go ahead.  He wondered, do the conglomerates owning studios LEVERAGE DATA properly to reduce risk and increase the likely return on film projects?  One panel member commented on how the big studios have often accepted “ABSURD fees” by talent [& that’s not very realistic]…

…  To a question about marketing certain films in “ADVANCE” [& how to be more successful in film-making], Richie Fay remarked that, as has been said before, “The PLAY’S the thing…  You start with a GOOD STORY—” as a basis for making a worthy film, & then you utilize people you feel can make the story “WORK”…

…  He said, you can study how certain past films have grossed [as a plan for the future], but you can easily “MIS-READ” things that way.  He cited an example:  COCA-COLA was amazingly successful at marketing its products, & decided at one point to buy COLUMBIA studios because they’d had a lot of recent film successes.  They then “studied” things, hired someone who was supposedly the best Director at the time, hired the best Actor at the time--  & promptly made the film “ISHTAR”!…

…  To a question posed by the audience, RICK said, as to the idea of reading SCRIPTS submitted by 3rd parties, “It’s a business of the GUT—”, & he feels you need to trust in things you YOURSELF would like to see made…  Regarding a question about “BRANDING”, he said, “Is there something WRONG with being paid for ‘PERFORMANCE’--?”  Not necessarily…  CRAIG commented, you might be able to have a certain successful “branding” by basing a film on a successful BOOK or VIDEO game or the like…

…  Craig spoke of how, at times, certain directors purposely “LEAK” tidbits of what they’re doing, citing how the director of the NBC TV series “GLEE” made songs from the show available to the public on iTUNES before the show was widely seen, & “BUILT an audience” for it that way, having 3 songs in the Top 20.  Creative branding efforts like that were “driving people to WATCH the show”…

…  A lady spoke of the TAX CREDITS being offered for film productions, such as the 30% from the State of Illinois.  The panel felt that’s very IMPORTANT to where & how certain films are made nowadays.  RICK cited how Drew Barrymore’s film “WHIP IT!” was set in Texas, but actually filmed in Michigan because of the high tax credit it provided…  PAULA pointed out how certain filmmakers at times even change the SETTING of a planned film, depending on where they feel they get the best deal to make it…

…  Sitting to my left, film producer JAMES CHOI stood up & asked a question.  He spoke of he was the producer of the Festival entry film “MADE IN CHINA”, & spoke of the difficulty in getting DISTRIBUTION of certain films, especially independent ones such as his.  He wondered if going to Festivals --  which he’d done – might not only help in the SALE of such a film to distributors, but possibly to a larger company buying it with the plan to RE-MAKE it with bigger “stars” or the like?…

…  RICK said, it’s always POSSIBLE that might happen from going to a Festival.  But, sometimes, buyers see a film they like that they find best to NOT remake.  He cited the example of “PARANORMAL ACTIVITY”, which, according to many who’d seen it, has “seemingly NO production values”, but which was acquired to be distributed “AS-IS”, feeling the low-budget feel of the film would --  like the “BLAIR WITCH PROJECT” --  be a “SELLING” point in itself to the public.  And, that’s exactly what’s happened with it!…

…  CRAIG offered his opinion that, Fests are very IMPORTANT to the potential sales of films, especially ‘small” indie ones.  He feels, it always HELPS a potential sale if a film can get a WIN at some major Festival--  but, “sadly, it’s not necessarily ENOUGH” in many cases re helping MARKET your film for distribution…

…  His feeling is, while “decision-making” buyers go to most major film Fests, some also go to smaller ones like Seattle, New York & Palm Springs because they’re known to be “very GOOD” ones for seeing creative work.  Also, “there’s a Fest going on somewhere ALL the time”.  But, it’s important to not OVER-play your film by putting it in too many different Fests.  Overall, he feels that, Fests are a GOOD platform to get “VISIBILITY”, not just for the current film but for potential FUTURE films you might make…

…  I then asked a question (as Paula indicated they were working to END the panel discussion):  I cited how I’d recently commented in a film review that there seemed to be a big increase in recent films utilizing what I called “GRATUITOUSLY GRAPHIC pointlessly VICIOUS VIOLENCE”, such as in “LAW ABIDING CITIZEN”, & in “ANTICHRIST” that was scheduled for this year’s Chicago Fest.  I’d commented on that to a reviewer friend, & asked if he felt that was being done in hopes of making their films “STAND-OUT” to the public in a “SENSATIONALIST” way, to try to be “noticed” in a glut of other film releases.  My friend agreed that was LIKELY the case, & I wondered what THEIR thoughts were on that…

 …  RICK & RICHIE commented (“back & forth”) that, they feel films are being made to “REFLECT” what they feel the public WANTS to see, that filmmakers are NOT trying to ‘encourage” violence so much as to give the filmgoers what they’ve shown they “WANT” to see, to thus try to increase the returns from their movies…  They sort of implied they MIGHT be purposely sensationalistic, but didn’t DIRECTLY address that point…

…  Since it had been made clear they wanted to END things in the panel, & since the 2 others on the panel didn’t offer ANY thoughts on the matter, I “dropped” the subject--  tho I’d been sincerely “tempted” to point out, what’s to say the film-makers were “RIGHT” in what they thought the public “wanted” to see (“down the road” when their film would be released)?…  And, why couldn’t the film-makers endeavor to do things in a more “CREATIVE” way than simply going for the “easy” choice of “GORE” and / or BRUTALITY?!…

…  Paula said, to wrap up, she wondered what the panel might want to offer as some “final” thoughts.  RICK said, he wants “to see more RISK-TAKING” in the making of films, rather than the makers “using the lowest common denominator” in movies…  RICHIE said, he’d like to see “an opening of the CREATIVE purse-strings” in film-making…

…  PAULA offered thanks to the Festival’s founder MICHAEL J. KUTZA (who’d spoken to the crowd at one point earlier), & commented on how she’d known him for “a LONG time” during the 45 years the Festival has been around…

…  After the closing of the main discussion, I commented to producer JAMES CHOI on how much I’d LIKED his film;  he was surprised --  & pleased -- to hear I’d already seen it, at an ADVANCE screening the Fest had held for the Press [on October 2nd].  We discussed his movie a bit, & I wished him well with the 3 screenings of it scheduled during the Fest…

…  I then went down & talked to the PANEL members (including RICK) at one point, remarking on how I’d enjoyed the talk.  They agreeably posed for some individual PHOTOS I’d asked for (planned for eventual posting on the ITalkFilm.com web-site)…  I commented to Paula on how I’d “almost” met [her brother] TOM when he was honored by the Festival [in 1993], & also got a photo of her with Mr. KUTZA (who I’ve myself known for many years)…

…  I spoke to RICHARD FAY about how I chanced to be carrying a promotional green-screened “TWILIGHT” photo featuring me “talking” to its star Robert Pattinson, as given out by the AMC chain at a recent convention.  He held up that item for the photo (a copy of which I promised to send him), & I wished him well with the upcoming November 20th release of the 2nd (“NEW MOON”) picture in the franchise…

…  To CRAIG, I commented on how I’d recently attended one of the “luxury” type theaters he’d talked about, namely Gold Class Cinemas owned by the Australian company Village Roadshow, & commented on how I & those with me had been very favorably impressed with the experience, finding it even more “impressive” than the film itself we were seeing [namely, “Surrogates”]!… He was familiar with them, & knew how they were to open a location in the L.A. area, & we discussed things about the concept…

…  All in all, I felt it was a fascinating discussion from some important, WELL-VERSED industry people (& I hope you found it interesting to read)!…

...  MY RATING:  9.00 of 10 stars

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