moviepalacejunky

The 500 member Meetup.com *TCM CLASSIC MOVIE FAN CLUB OF LOS ANGELES* will be holding its 2nd annual Holiday Party next Sunday 12/22/13 at MJ's Bar in the Silverlake district of L.A. Our members will be joining cabaret legend Lori Donato's tribute to the holidays with *live holiday music* from 4-8pm (including a number of song's that originated in classic Hollywood movies). Lori is a pianist and vocalist who has performed all over the U.S. in nightclubs, cabarets, on cruise ships and special events (including a fairly recent one with Carol Channing). Guests with vocal talents are encouraged to bring their own sheet music (in the key they sing in) for Lori to accompany you by. Admission is free+, but attendees are asked to please bring one unwrapped toy for underprivileged children (that will be donated to the Hollywood-Sunset Free Clinic for their annual toy giveaway). [Note: This will be a mix-in event so Lori's own cabaret regular fan audience will also be in attendance]. Street parking is somewhat limited so be prepared to walk a block or two to this bar location (please DO NOT park in the nearby Trader Joe's or Gelson's Market parking lots because you may be towed). FYI--Gelson's is the former site of the original Walt Disney Studios and they have a historic photo of the former complex inside the market. Our non-commercial TCM L.A. Fan Club was launched shortly after the 2012 TCM Classic Film Festival and has grown to over 500 Southern California members who are both classic movie buffs and loyal TCM viewers. In addition to attending the annual Hollywood film festival, our members attend year-round theatrical showings of classic movies and related events around the Greater Los Angeles area and occasionally member-hosted viewing parties. Membership is free and is open to any classic movie fans who live in Southern California. For more information please visit our weblink at Edited by: jon90027 on Dec 16, 2013 4:44 PM

I am a Gay professional who has attended all TCM festivals to date and last year tried to get people to meet at the nearby Lucky Strike Bar in the Hollywood Highland complex for drinks just prior to last year's welcome party (FYI it is NOT a Gay bar, but was near the fest and had an early happy hour). Had gotten a lot of interest, but unfortunately everyone eventually bailed because they were so caught up with preparations for the festival. I am a local L.A. native who has a diverse entertainment industry background and who years ago even worked side-by-side with Robert Osborne for a year at a daily entertainment newspaper when he was a writer and I was an advertising coordinator. I have a huge semi-professional interest in historic theatres--including movie palaces, burlesque houses, opera houses and similar venues and have toured extensively through a number of theatres across the country. I am also the Southern California rep for the non-profit League Of Historic American Theatres (based in Baltimore, MD) and locally a long time member of the L.A. Conservancy. For many years I also headed my own former non-profit that produced occasional classic movie events at the historic Orpheum Theatre in downtown L.A. including the popular annual Spook-a-thon Halloween Horror & Sci-Fi Film Festival (which fortunately has since been saved & restored and is now a legitimate live theatre/concert/event venue). Currently I also head a local L.A. free Gay mens winetasting & foodie group that hosts regular outings around town that can easily be found online via Meetup. This wine group even occasionally integrates local classic film events into its roster of varied social activities. As part of my current marketing/gaming industry career, I frequently travel to the deep South--particularly to the cities of Birmingham, Alabama and Jackson, Mississippi (by the way, I strongly recommend if you are ever in Bham that you check out its restored Alabama Theatre). I am attending the festival "stag" again for the third year in a row because most of my friends either felt attending the fest was too expensive OR could not get the time off from work. In any case, I know a lot about Hollywood history, local restaurants, tourist trivia and things like that. If anyone would like to SOCIALLY meet ANYTIME during festival hours, please TEXT ME DIRECTLY at (8 1 8) 7 2 3 - 3 6 4 9. My name is JONO. Note to the Message Board monitors--this announcement is intended for PLATONIC/SOCIAL purposes only so please do not delete it--my intentions are honorable, but it would be nice to meet some Gay-friendly festival goers for conversation, coffee and camaraderie--THANK YOU!!! Edited by: jon90027 on Apr 12, 2012 2:43 PM Edited by: jon90027 on Apr 12, 2012 2:44 PM Edited by: jon90027 on Apr 12, 2012 2:52 PM

It sounds like someone had speculated on Robert's condition, but the webmaster may have deleted that particular message? Don't want to invade the man's privacy, but all the comments raised my curiosity.

I intentionally scheduled the unofficial Gay "Meet & Greet" for a time period on Thursday when there was literally nothing else going on and preceding the official welcome party. I also planned it for a convenient site near the Chinese multiplex theatre venue. I don't mind some no shows, but not ALL no shows. I personally did not notice too many apparent Gay festival attendees and it would have been nice to hang out with a few people. I find many people in general these days do not honor their word--even though their intentions may be good when they say something. I am not just referring to this incident, but things and people in general. Sign of the times I guess. I do understand that excitement at the Roosevelt Hotel and the film buff "kid in a candy store" aspect. Glad everyone who attended enjoyed the fest.

Overall, the festival has been a wonderful experience. Kudos to Mr. Tabesh, Genevieve and your entire staff. A few valuable comments that might be worth noting for planning next year's fest: 1. Maybe the festival can try to avoid so many of the "Sophie's Choice" overlapping live guest appearances that were scheduled this year at many of the same times? Obviously to some degree overlapping time frames are likely unavoidable, but this year vs. last year it seemed even moreso. I actually think the festival should go ahead and make Thursday next year run from 10am to 10pm (maybe end a bit earlier on that first weeknight to build in a little more "breathing space" for the festival goers and spread out the movies and guest appearances a little bit more). 2. When you have a HUGE guest star like Peter O'Toole being interviewed at the Music Box Theatre by Robert Osborne (for a 2 hour segment), don't forget out of courtesy and respect to have your makeup and hair people give the guest attention. Peter O'Toole was good natured about it, but he obviously was bothered that Robert Osborne was being catered to "hand and foot" while he sat there during the set up time virtually ignored. He joked about it once and the audience caught his comment and laughed. But later in the physical interview, he even specifically mentioned it as well (though good naturedly), but I still thought that was an unintentional slight by a network and festival that is so well run and planned in so many other ways. 2. The projection booth stereo audio configuration of some of the digital and film projections seemed off on some of the roadshow-type presentations--including this year's "Spartacus," "Carousel" and others. I saw the restored 35mm "Carousel" at the L.A. County Art Museum about 2 years ago and the movie's rear surround stereo channel was very evident there, but was not at the festival's Chinese multiplex screen where it played. I am not a projectionist, but my understanding is that sometimes the projectionist needs to physically change some of the settings or patch cables for a specific showing to make the surround channel evident in older title classic films. If they do not then the stereo will be limited to left center and right channels only. Ditto for "Spartacus" at the Chinese which had a disappointingly tinny sound throughout (very little mid range or subwoofer frequencies) and no apparent surround stereo channel. This title definitely originally had a noticeable surround channel on its 70mm release. I have heard that when the studios have sometimes had stereo sound remixed on older titles, that the technicians they used were not necessarily aware of the original surround channel mixes--which is why it is more apparent on some movie releases and not others. The nice thing about the Egyptian Theatre is they are accustomed to running 70mm multitrack prints and configure their audio settings accordingly. 3. I attended the Saturday early eve screening of "Breakfast At Tiffany" with Julie Andrews at the main Chinese auditorium, but when I am many others left the theatre and intended to return for "Gaslight" with Angela Lansbury's intro, the crowd control situation out on the street in front of the adjacent Hollywood & Highland complex (especially past the Kodak Theatre) was so bad that the one TCM staffer at the middle of the line could not separate screening attendees from huge throngs of non-festival tourists who crowded the same sidewalk with celebrity impersonators and souvenir customers. That frustrated many festivalgoers--some who gave up (including me) in desperation. Particularly during "primetime" weekend nights, I think it would be helpful if next year TCM provided crowd control-type line stancions (is that spelled right?) and had more staff to help keep the auditorium line separated from non-festival goers. 5. For the welcome party, could TCM see next year if they can find a beer or wine company to provide limited complimentary wine offerings in addition to the free appetizers? I am not necessarily suggesting a full open bar, but maybe for example some house wine or one type of free beer type could be served free of charge for that particular gathering. It is very expensive for many of us to attend the festival so it would be nice for at least the festival kickoff OR perhaps at least offer some type of one-time happy hour pricing on house beverages (if those discerning want higher quality beverages they could certainly opt to still pay for those during that time period as well). 6. It would be great to have an ON CAMERA festival goer film request line where PASSHOLDERS can momentarily stand in front of the camera and announce their first name, where they are from and what ONE movie title they would especially like to see at the next festival (or on the TCM network). I do not mean a full talking head interview with these people--literally just giving them the chance to request their one favorite film title (NO more than one). This could be tabulated later or possibly highlights could even be shown on the network.

No one showed up to the Lucky Strike Lounge other than me, but I stayed anyway and had a decent lunch and Hefeweizens at their bar. I am attending the festival stag because my other friends who like classic movies either were not willing to pay hundreds for a festival pass or could not afford it, but I only live about 1 1/2 miles east of the Chinese Theatre so took the subway from my neighborhood. I have met lots of TCM fans, but all straight. Would be still nice to meet some "family" during the fest. My cell for calls or texts is (818) 723-3649. I am still thinking of going to the Music Box tonight, but not sure if I want to miss a good movie in order to do so. I will try to get over there, but don't want to make the effort if no one shows again. I will try to make it there, but more than likely it will not be till after the first hour. Thanks. Sincerely, JONO

Those Gay, GLBT and GLBT-friendly TCM festivalgoers who arrive a littler earlier and are on hand on THURS AFTERNOON 4/28 and would like to meet one another just before the official launch of the festival, can meet at the LUCKY STRIKE LOUNGE between 3-4:45pm. This should be a good time period since the Mickey Rooney book signing at the TCM Lounge was just cancelled during that same time period. LUCKY STRIKE is in the ground floor of the same Hollywood & Highland complex where the festival's Chinese Theatre multiplex is located. However, PLEASE NOTE, though the formal address of Lucky Strike is 6801 Hollywood Blvd., Suite 143, Hollywood, CA 90028, the actual MAIN ENTRANCE is off of Highland Avenue--NOT Hollywood Blvd. We will meet in the contemporary sofa seating area in front of the main bar (unfortunately though, happy hour pricing won't be in affect until 4pm). ASK THE BARTENDER or HOSTESS for "JONO" to help you find me and whomever shows up. WEBLINKS for LUCKY STRIKE LOUNGE: http://www.bing.com/local/details.aspx?lid=YN75x795555&qt=yp&what=LuckyStrike&where=Hollywood%2cLosAngeles%2cCalifornia&s_cid=ansPhBkYp02&mkt=en-us&q=LuckyStrikeHollywood&FORM=LARE http://bowlluckystrike.com/locations/info/?id=22 Then again on FRIDAY NIGHT 4/29 at 10:30pm at the Music Box (for those of you who are not going to "Spartacus" or the "Seven Brides for Seven Brothers" screening with Jane Powell in attendance, we will also also try to meet on the outdoor ROOF GARDEN area of the Music Box (follow the lobby stairs up to the second level)--away from the live music. FYI--I do not mean to sound rude, but if last year's festival is any pre-indication, the TCM festivalgoer group for the most part is more "film nerd" than hip dance crowd. When the festival had live music and dance floor at last year's fest, there were few if any couples dancing. But in any case, below is my own personal contact info in case you want to phone or text me at any time during the festival to touch base or introduce yourself. Maybe some of us can also meet informally at the TCM lounge. My biggest beef regards to this year's festival is that they have so many good screenings and live appearances ALL overlapping at virtually the same time. This makes festivalgoers have to make too many "Sophie's Choice" type decisions about what to see. I don't know about the rest of you, but for my $400 Classic Pass fee, in a way I feel I will not fully be getting my money's worth because there seem to be quite a few screenings and appearances I will need to end up missing. Last year there were a few concerns about overlapping events, but this year is much more extreme. Do PLEASE CHECK BACK BECAUSE I MAY UPDATE THIS BLOG TOPIC WITH MORE NEWLY ADDED "BREAKFAST." "LUNCH," "DINNER" or MARTINI MEETING ANNOUNCEMENTS as well during each day of the fest. Hope to meet you at the fest! Do try to join us at Lucky Strike and feel free to call or text me (obviously if I am in the midst of a screening I may have to wait until the next break to respond). JONO jon90027@pacbell.net wk cell (818) 723-3649

The disappointing news is that CK will NOT be screening at the El Capitan. TCM graciously did explore the last minute feasibility with Disney and Disney was seriously considering the festival's request--well aware of the historic significance of CK having originally premiered there (May 9, 1941), but unofficially--my understanding is that due to the fact Disney's latest nature movie "African Cats" will be playing there for only its second weekend (with LIVE animal show preceding each screening) the cost of using the theatre was likely and unfortunately too cost prohibitive for TCM to use. The good news is that at least CK will be playing in the festival's best and most prestigious venue--Grauman's Chinese Theatre. I just wish it could have been scheduled in a prime time slot--versus the afternoon slot that it got relegated to--but with so many other good films also being shown and that fact that CK has been previously seen a lot more often than many other festival titles--it is understandable that had a lot to do with when it got scheduled in the festival roster. In any case, to those of you who have never seen the El Capitan (including TCM staffers), in my opinion it has the most over-the-top movie screening presentation of any current day, historic Hollywood movie palace and I encourage you to find a way to see its theatrically illuminated auditorium, vintage pipe organ (played before every show) and pre-movie showing "lavish" curtain show while you are in Hollywood attending the TCM festival. Though Grauman's Chinese Theatre is certainly the most famous, it has never been fully restored and its operators have never put the time nor energy to enhance its main auditorium's beautiful architectural features. At last year's festival, it was extremely underlit and cavernous. I have patronized this theatre for decades and remember in decades past that they used to keep every soffit and crevace backlit with breathtaking, atmospheric colored light bulbs. Unfortunately, I do not think the current management really values the architecture all that much since they primarily seem to keep its exterior facade and lobby areas lit (to encourage concession sales). It wouldn't take all that much money or resources to bolster its interior lighting, but I just think its current management has no awareness of how it should or previously looked in years passed. Maybe one of these days someone connected with the operation of the theatre who cares will improve upon this since Grauman's Chinese--at least on the West Coast--is the most historically significant Hollywood movie theatre in the entire world--JONO

Since no one has answered Binky's question regarding beverage passes I will. EACH VENUE RUNS ITS OWN SNACK BAR AND TCM HAS NOTHING TO DO WITH COKES, POPCORN or HOT DOGS. They are at prevailing first run movie multiplex prices--in other words--soft drinks are about $3-5 dollars each at each location. HOWEVER, last year at the pass holders' CLUB TCM on the ground floor of the Hollywood Roosevelt Hotel and which is open during the run of each festival day, limited off-brand canned soft drinks and bottled water were available for FREE--all one person could consume on the spot--BUT a festival goer had to actually read some very small, discreet posted signs to know about it AND if you inadvertently asked for a "coke" or other name brand soft drink, you were then charged the hotel's prevailing bar price for it (around $3). After buying 2 soft drinks at full price, I learned of the freebies from other attendees. The other fun perk is that FREE hor' dourves and snacks were also alternately provided at CLUB TCM during the entire run of the festival. Sometimes these consisted only of freshly made cookies. Other times they were more elaborate--a mediteranean olive, pita bread, cheese and hummus snack buffet, etc. AND for the welcome party they had FREE beer & wine and more elaborate food offerings (passed sliders, etc.). But the "piece de resistance" was the closing night party which ALL pass holders were welcome to attend that included a full fledged food buffet and open bar (whatever your heart desired including some decent vodka martinis and other cocktails--ALL FREE). So yes the festival passes are VERY expensive, BUT on the other hand TCM did not skimp on how well it treated its fan/passholders. The whole experience was first rate. My only complaint was that there were multiple occasions where I really wanted to see 2 or 3 different movies that were all being screened at more or less the same time--and in many instances there were no scheduled repeats--though as another blogger said, TCM did add 3-4 last minute Sunday daytime repeat screenings of some of its most popular films (but of course, they conflicted with other movies I had also wanted to see). The other important thing that I have not heard anyone explain is this--if you pay for a CLASSIC PASS, though that will NOT entitle you to see their ballyhooed Opening Night "AMERICAN IN PARIS," no worries, they will also have running at least 2 other movies at the exact same time period with guest stars, etc. Last year I was initially so disappointed thinking I would not be able to enjoy the opening night of the festival, but was pleasantly surprised to discover that TCM had thoughtfully scheduled its MILLION DOLLAR MERMAID outdoor poolside screening with Esther Williams & Betty Garrett in attendance on their opening night as an alternate event that ANY mid level CLASSIC PASS holders COULD attend. And on top of that they had that very good womens precision swim team who performed "mini" Esther/Busby Berkley-type formations inside the actual pool just before the movie. I know I enjoyed all of this more than I would have enjoyed a straightforward presentation of A STAR IS BORN. To me, the "red carpet" event is only really worth attending if it also includes the Opening Night Vanity Fair party, but last year a festival goer had to buy a $1,000 pass to attend that party and this year it went up to $1,200. Though like I said I could not afford that level of attendance, I spoke to several festival goers who had coughed up the money and went and they said the main area was so crowded that you could hardly move and if you were lucky you got 2 drinks and a couple of passed appetizers. I also heard that the crowd practically passed over both Cher and Lauren Bacall to instead mob Robert Osborne who was more popular than the Mickey Mouse character at Disneyland--likely because he is in every TCM viewers living room and has become such a familiar, friendly face. During the run of the fest, there are a number of fast food and other restaurants all within a short walk of each festival venue so you DO NOT have to spend a fortune on hotel or other fancy meals unless you choose to. In fact, the hotel's main cafe 25 Degrees restaurant had its plasma monitors all tuned to TCM and the best deal in town was if you ordered their gourmet hamburger combos which included side gourmet salads and scrumptuous high quality burger plates that were in the $12-13 range if you ordered carefully and included huge servings. For hotel food in a tourist area those prices were a bargain and--I kid you not--their burgers even included fresh homemade hamburger buns. I also recommend that restaurant's signature Guiness Beer Milkshakes--well worth sharing with a friend. YOU DO NEED TO READ THEIR MENU CAREFULLY, however, because some sandwich-type items DO NOT automatically include fries or gourmet side salads--only certain ones. If you unknowingly order one that doesn't and separately order fries or salad, that dish can jump in price to close to $20.

I am one of the most frugal people in town and have never paid what it costs to attend TCM's Film Festival for any prior festival in Los Angeles or otherwise in my whole adult life (and I am 54), but after been such a huge fan of the channel I begrudgingly decided last year at the last minute to bite the bullet and pay for a Classic Pass. I have to say that though I still was disappointed that it's cost was so inaccessible to so many people, that TCM did a first rate job with EVERYTHING--the classic movie mix, the venues, the live celebrity appearances, the special Q & A's, the free soft drinks, bottled water and free ongoing snacks at the festival pass holders' exclusive Club TCM lounge--not to mention the welcome gathering with some food and wine AND the closing night party with unlimited OPEN BAR, dinner buffet, etc. (and that was open to mid level and above pass holders, not just the top level pass holders). My only MAJOR complaint about last year is that the festival schedule was like a 3 ring circus--often with 2-3 fantastic movies all scheduled in different theatres at the exact same overlapping time. Though TCM did add some last minute repeat screenings of a couple of those most popular titles, for the ones they didn't festival goer fans were forced to make a "Sophie's Choice" type decision on what they wanted to see. However, on the flip side of that, since I only paid $450 I did not have the privilege at my pass level to attend the red carpet gala screening of "A Star Is Born" at the Chinese, I still had the option of seeing Cecil B. DeMille's "Dirigible" in one of the Chinese's smaller multiplex screens or attending a gala outdoor, pool side "Million Dollar Mermaid" showing with Esther Williams and Betty Garret LIVE in attendance as well as a specially presented LIVE womens precision swim team who performed "mini" Busby Berkley-type swim formations in the Hollywood Roosevelt's illuminated David Hockney embellished swimming pool. Now I thought that whole concept was so wonderfully over the top, that I did not miss being across the street for the red carpet Garland movie. In fact, many of TCM's top brass actually were at the pool side event because I met some of them at the poolside bar. In addiiton, I could not believe that at night, there were also special mobile vehicles randomly projecting classic movie clips on the outside of various Hollywood Blvd. building exteriors along the route between the festival's venues. So yes, the cost of admission is high and yes it unfortunately is exclusionary for a lot of TCM fans, but on the other hand I can see that TCM had to spend a lot of money for everything they did put on and I can tell you they were not skimpy. Over the years I have often attended the non-profit Los Angeles Conservancy's classic film series called "The Last Remaining Seats" at a number of historic Broadway movie palaces in downtown Los Angeles and though the spirit of that series is wonderful and the theatres are architecturally grand, their marketing, promotion and quality of presentation have often slightly lower budget and not as professional as would be ideal to see. Yet they only charge around $20 per ticket for a full evening of entertainment including occasional celebrities, stage entertainment, etc. which is a bargain next to TCM's festival. When standby individual screening tickets were available last year they were not sold until 30 minutes before each screening and I believe they cost at least $25. In any case, I obviously felt attending was worthwhile overall because I again bit the bullet--despite the high cost--and decided to attend this year's fest. I just hope TCM tries to keep the price at around the same range in 2012 or at some point some of us just won't be able to justify the expense to keep going!

Thanks for your appreciation and support of this screening venue idea. Both the Chinese and El Capitan are about the same size--1,100 seats--though the El Capitan has a sizeable balcony while the Chinese only has a very small upstairs mini-balcony seating area that is used for VIPs--which supposedly was originally intended for major Hollywood stars, studio heads, friends of Sid Grauman, etc. The Egyptian with a small balcony holds a little more than half the Chinese & Egyptian--650 seats. By the way, forgive my inaccuracy when referring to RKO's Citizen Kane master film elements being destroyed in 1980, but that had been noted in another, usually reliable film buff website (not Wikipedia!) and I got that incorrect info from there. Goes to show you can't believe everything you read or see quoted on the internet. But I since saw another reference that did say the original master film neg was destroyed in the 50s.

Thanks to both companies' appreciation of film history and dedication to classic movie fans, I was informed late yesterday that TCM has indeed recontacted Disney about potentially using the El Capitan for their one-time special 70th anniversary screening of CITIZEN KANE. They were already aware that KANE had premiered there, but from previous contact with Disney, they had believed the theatre was not available due to its regularly scheduled showings of first-run Disney, Touchstone and Hollywood Pictures movies needing to play there. For those FESTIVALGOERS from outside of Los Angeles who have never seen the El Capitan that the Walt Disney Company lavishly restored in the late 1980's please make sure to visit the following [EL CAPITAN RECENT THEATRE PHOTO WEBLINK|http://cinemasightlines.com/cinemas_cinemaviews7.php] However, this does not necessarily mean that the movie which AFI lists as the "#1 movie of all time" will still show at the El Capitan and *it may be helpful for TCM staffers to see in writing that other festivalgoers would appreciate seeing this milestone film in the very same venue where it had its controversial West Coast premiere on May 9, 1941.* THEREFORE, _IF YOU FEEL IT WOULD ENHANCE THE EXPERIENCE OF SEEING THE 70TH ANNIVERSARY SCREENING OF THE RESTORED "CITIZEN KANE" IN THE SAME HOLLYWOOD THEATRE WHERE IT PREMIERED THEN PLEASE ADD YOUR VOICE OF SUPPORT TO THIS BLOG CATEGORY_SO THE TCM STAFF MAY BE FURTHER ENCOURAGED TO MAKE SUCH LAST MINUTE ARRANGEMENTS--THANK YOU!!! The original El Capitan premiere was deemed controversial because apparently, according to various historical accounts one can read on the internet and in books, the theatre had received threats from showing the film from both William Randolph Hearst and his local L.A. newspaper The Herald Examiner--that they would receive retaliation for hosting this event--considered to be a veiled retelling of Hearst's long time affair with actress Marion Davies. *When Orson Welles was unable to locate any other local theatre owner willing to risk screening Citizen Kane, he eventually turned to owner of the independent El Capitan*, and in 1941, Citizen Kane indeed had its world premiere there. The theater then closed for nearly an entire year, supposedly because they had difficulty booking subsequent movies there (likely due to Hearst's influence--though the venue also underwent a major renovation and was modernized during that time period). Similarly, some Hollywood luminaries reputedly avoided the highly publicized event for the same reason. However, from an L.A. Times article on the day after the premiere, they reported that Mickey Rooney (who will be featured in a TCM festival tribute), Ronald Reagan and Bob Hope still boldly opted to attend the event as well as the film's stars John Barrymore, Dolores Del Rio, Orson Welles and Dorothy Comingore. The Times article described a nostalgic feeling of ?the old days? of Hollywood amid spot lights which pierced the sky in front of where thousands of fans gathered--further saying, the glitz and glamour seemed to add to Welles?s ego as he walks down the red carpet, his entrance timed. The crowds made even more noise for Barrymore as he walked into the theater. When stopped for questioning on the red carpet, Welles made only one remark ? about his gratefulness to George Schaefer, the president of RIO-Radio Pictures. ?If it had not been for George J. Schaefer there would not be a Citizen Kane.? Outside the theater, the star-struck crowd for the premiere was so large that RKO had to **** temporary bleachers. This article clearly demonstrated that despite Hearst?s best efforts to suppress the film?s release, those attempts only furthered to publicize the movie and create even more hysteria and frenzy at the movie's memorable premiere. CHALLENGES WITH WARNER BROTHERS RESTORING CITIZEN KANE: RKO?s only original camera negatives had been burned in a 1980 vault fire and as a result had also hampered past restoration efforts. Orson Welles was the recipient of the actual production negatives and his copy was also unfortunately lost in a fiery accident in the 1970s. Therefore, the film's 1991 VHS release had featured the best known copy available at that time which was owned by New York?s Museum of Modern Art, however this print had dirt and scratches on it, among other defects. After years of patient and careful searching, Warner Brothers recently discovered a new nitrate fine-grain print in a European archive with much improved picture and sound. The improved audio quality is very important because the original score had a very high dynamic range. This version has been digitized and was apparently used in the latest restored print that TCM plans to screen at this year's festival. I am sure some of the above information will be mentioned by Robert Osborne before the screening.

FYI--the Music Box is similar to another nearby nightclub venue currently called "The Avalon," it is a former movie theatre that had its seats removed on the main floor and has become a very popular venue for intimate indie rock performances. It was never an opulent movie palace, but still has a few of its more understated architectural features. It would make a great location for the opening or closing night parties, but might be less suitable for a large scale movie screening location unless projection equipment and less comfortable event folding chairs were brought in. It originally was named the "Music Box," but was later renamed the "Pix Theatre," then briefly the "Henry Fonda Theatre," but a few years ago was re-christened the "Music Box" when it was converted from a sit down theatre to a special event venue. This event location has a wonderful rooftop terrace bar area that faces the nearby W Hotel and the Pantages theatre.

This afternoon I spoke to Ed Collins, the managing director of the El Capitan (formerly Dick Cook's right arm at Disney) and he said he and Disney would MOVE MOUNTAINS to celebrate CITIZEN KANE's 70th Anniversary at the El Capitan and despite the fact they will be in their second weekend of a new Disney first run nature film, that to DIGITALLY screen "CITIZEN KANE" that they CAN definitely make it happen if someone in charge of the festival at TCM can get in touch with them ASAP. It is NOT TOO LATE. He said that in addition "CITIZEN KANE" actually premiered at the El Capitan on May 9 so that the timing of the TCM festival would be perfect. He said for an occasion as important as "KANE's" 70th Anniversary that he is fairly certain the Studio would even allow such a one-time screening to happen in a prime weekend evening timeslot during the festival. He also mentioned that in addition to this milestone film's 70th anniversary, that it is also the El Capitan's 85th anniversary and the 20th anniversary of restoring and taking over the operation of this landmark movie palace. I left word this evening with Mr. Charles Tabash's office at TCM and told him I would be thrilled to put TCM in touch with Mr. Collins. I hope this can happen. *Can anyone who reads this blog who is personally acquainted with Robert Osborne please also make him aware of this information as well as Disney's interest in making this become a reality?* THANK YOU!!! JONO

Glad we were of like minds. I had composed a detailed letter to Robert Osborne--even though he is not in charge of programming--I at least had a slight connection with him having also worked for the Hollywood Reporter in the years he did, but unfortunately had another TCM staffer forward that e-mail around the turn of the year, but suspect he never received it or it got lumped in with a lot of heavy viewer fan mail. I should have probably copied Mr. Tabash. But in any case, in that letter were a few recommendations including that one that I recently had a publicist friend re-email to him--though I agree with you that at this point it may be water under the bridge. From that early conversation I had with the theatre's managing director, I did get the impression, however, that for example if TCM wanted to use the El Capitan for one individual screening during non-primetime weekend or weeknight hours, that Disney still could be accommodating--particularly if there is a strong historical reason to propose such a screening (which Mr. Collins agreed that since "Citizen Kane" originally premiered there that they would certainly give such a request serious consideration). My attitude is that it never hurts for TCM to ask and since TCM is already running both FANTASIA and PARENT TRAP, they obviously have a good rapport to have Disney's permission and cooperation to screen such titles. Even though the El Capitan under its management by the Walt Disney Company has almost exclusively run Disney, Touchstone or Hollywood Pictures film titles, over the years they have occasionally allowed non-Disney fare to be shown on special occasions. For example, they actually ran the (Time Warner owned) MGM roadshow musical "Gigi" on its big screen in multi-track stereo for a one week engagement and even ran a Hitchcock title there for a special engagement (I believe it may have been a restored print of "Rebecca"), but in any case, I hope someone on the festival staff reads this post and helps at least investigate this option by making a phone call to Ed Collins at the El Capitan (he was Dick Cook's special projects person in past years and is well connected with everyone in distribution at the Disney Company. You never know, Disney could cooperate for a ONE TIME screening. I don't think it should be assumed 100% that it is a lost cause. But of course, I am relating to my own past special film programming experience where I was used to always getting "nos" from studios regarding even classic film availability, but by being politely tenacious I developing a great track record of eventually turning most "nos" into "yeses"--and I did not have the reputation and clout that the wonderful TCM people have. JONO

I am a big classic movie buff, loyal TCM viewer and even worked many years ago with (or perhaps more accurately I should say "next to") Robert Osborne prior to his time with TCM at the Hollywood Reporter entertainment trade newspaper. In any case, I happen to be Gay, live in East Hollywood and thought it would be great to organize an informal no-host wine/cocktail hour "Meet & Greet" for other Gay/GLBT festivalgoers at a location either at or near the Hollywood Roosevelt. As soon as TCM firms up its Thursday festival activity schedule, I will confirm this "Meet & Greet" location and time then post it on this updated Message Board--hopefully at least one week before the festival. Though my intention is not to be exclusionary to heterosexual TCM festivalgoers--they can't help it if they were born that way (just kidding!!!)--I thought it would be nice to meet some other TCM fans who I might be able to relate to in a special way and maybe I some of us can sit together for some of the films or share some lunch/dinner breaks. Let's face it, the Gay community has to be a key sector of the channel's demographic audience (who else would be such fans of their Judy Garland, Joan Crawford and Bette Davis movies). Last year, I ended up attending the first festival "stag" because my other friends either felt the attendance fee was too expensive or were not into classic movies enough to want to go. So I ended up solo and just casually meeting other movie buffs at Club TCM and at the counter of the Roosevelt's "25 Degrees" cafe (by the way, make sure to try one of their "Guiness beer milkshakes" because they are out of this world!) But this year I thought I would be more proactive and try to host an unofficial "Meet & Greet" for other "family" GLBT members who will be attending this year's exciting festival. My only slight disappointment last year was that I wanted to chat with Robert to briefly catch up with him and though I did say a quick hi to him--trying to get near Robert Osborne was like trying to get near the Mickey Mouse character at Disneyland. If I could have afforded to attend the breakfast with him, I would have gladly done so, but the $1,000 pass was a little too steep for my budget. By the way, I was not one of those Gay people who grew up with classic movies as with other Gay men I know. Classic movies were initially foreign to me. My introduction to them came in my early college years in the late 1970's (I am a young 54 now) when a friend of mine dragged me to the art deco Wilshire Theatre in Beverly Hills (shortly before it permanently closed down as a movie theatre) to see a "grand finale" 70mm film festival which included "Hello Dolly," "Patton," "Camelot" and others. I grew up in the Long Beach, CA suburbs so had never seen a wide screen, multi-track stereo movie before and it was like a religious experience. There is NO comparison to only seeing these "roadshow" movies on TV--even on large Plasmas and that is why I am so greatful that the wonderful people at TCM have decided to produce another festival this year (and to include the 70mm "West Side Story"--I only hope they are able to play it at the Chinese). In my post college years, I lived in an area of L.A. near what is now Koreatown that was called Lafayette Park. Nearby on Wilshire Blvd. was the best revival movie house in town named "The Vagabond" run by a film buff named Tommy Cooper that would show a regularly changing bill of classic movies--often with stars such as Kathryn Grayson in attendance. Though I didn't know these movies, I certainly at least knew the titles so I went and discovered many of them at this theatre. It was where I got my classic movie indoctrination and saw for the first time "The Women," "Dinner At Eight," "Million Dollar Mermaid," "Gone With The Wind," interesting short subjects like "Coal Black and de Sebben Dwarfs." Later in the late 1980's when I worked for 20th Century Fox Film Studios as a TV contract administrator, I had a friend who headed its corporate communications department and was in charge of occasionally screening Fox classic movies for studio employees (to then educate their "newer generation" on the heritage of the studio). The only problem was that he did not know or care for what he considered to be "old movies" so he discreetly let me plan these events since I was so knowledgeable (he also occasionally asked me to host VIP studio tours), though he was the one who got the official credit for it. It was fun since one of my other cohorts was the man responsible for distributing these titles to both TV and VHS tapes so he helped locate pristine 35mm or 70mm prints of these titles (from various off-the-lot film depositories in the U.S. and abroad since most of Fox's own studio "vault prints" of those titles at that time were in such poor condition--fortunately the studio's current management now further values its classic films and has restored many of its most acclaimed titles) . One Halloween we ran "Young Frankenstein" double billed with the Charlie Chan movie "Murder at the Wax Museum" and most studio employees had no idea of who Charlie Chan was, but loved the film as much as "Y.F."! During one Christmas we ran "Miracle On 34th Street" in glorious black & white (not the then heralded "colorized" version the studio had just made). When the first run movie "Whales Of August" was being released we did an Ann Southern night when we screened "Letter to Three Wives" preceded by a 35mm showing of one of her popular "Private Secretary" 1950's TV episodes (Fox had just acquired the rights to that and other series around that time when they acquired the Metromedia TV Group to launch their own network). When the Broadway musical "Les Miserables" was going to open at the nearby Shubert Theatre in Century City, we ran a pristine 35mm print from Europe of that Fox classic. And when film composer Lionel Newman and set decorator Walter Scott both died around the same month in 1989, we ran "Hello Dolly" in 70mm as a tribute to both of them at the studio's big screen Zanuck Theatre. Needless to say, most studio employees had never seen "Hello Dolly" and were literally blown away when they saw "When The Parade Passes By" scene in the movie because at that time even though remnants from that "Dolly Street" were the main thoroughfare employees would use to drive on to the lot, most had no idea how it was used in the movie until actually seeing the film. From 1989-2000 I produced special, non-profit classic film-related events at the 2,000 seat, historic 1926 Orpheum Theatre in downtown L.A. (and that preceded the loft revival of downtown that happened years later). This included a screening of the restored "Phantom Of The Opera" accompanied by organist Korla Pandit and was attended by lead actress Mary Philbin (who died just months later), a jazz on film festival, the annual Spook-a-thon Halloween Horror and Sci-Fi festival (for 8 consecutive years we ran a mixture of silent, classic, cult and sci-fi titles including never seen vintage Universal horror classic titles in pristine 35mm prints and Tim Burton supposedly was inspired to produce his live action "Legend Of Sleepy Hollow" after we showed the animated Disney featurette of the same name. Though the public had been afraid to go to downtown in those years, we amazingly discovered that they were much more willing to do so during Halloween season--maybe its because the surrounding area was considered spooky to them and it coincided with the mood of the season. Today the Orpheum has fortunately since been restored and now hosts first class concerts, fashion, TV and other special events. When the property owner took over the theatre in 2,000, he thanked the Friends Of The Orpheum Spook-a-thon and other film event efforts for helping pave the way for the public interest to transform the theatre into a live, first rate venue, but sadly produced the final Spook-a-thon in that year. That is why I enjoy both TCM and its Hollywood festival because it gives me the classic movie fix I had been very much missing in my life (since for career survival and financial reasons, I had to make a career transition to my current marketing position in the gaming industry to keep a roof over my head and for my 2 dogs). By the way--in L.A. I head a free, non-commercial Gay mens winetasting and social group and a number of our members are both classic movie fans AND TCM viewers. I hope I will have the pleasure of meeting some of my Gay TCM brethren at this year's fest. Please check back for updates on our meeting site and time info. THANK YOU SO MUCH TCM! JONO Edited by: jon90027 on Mar 17, 2011 6:20 AM Edited by: jon90027 on Mar 17, 2011 2:47 PM

Thank you Kyle, I reposted the info in a separate thread. Let's hope it does NOT get deleted this time around. JONO East Hollywood Edited by: jon90027 on Mar 17, 2011 6:12 AM

Depending upon this year's festival schedule, I would like to organize a _Thursday afternoon 4/28 GAY TCM FESTIVAL GOERS "Meet & Greet"_ for GLBT community TCM fans (and any Gay-friendly fans as well) who will be attending this year's festival. Though I do not in anyway look down on heterosexual TCM fans (they can't help it if they were born that way--just kidding!!!), I do find that the Gay community has generally seemed to always have a particular fondness for classic films--particularly musicals and/or films featuring Judy Garland, Joan Crawford, Bette Davis and others--such as "Mildred Pierce" (its remake soon to air on HBO), "All About Eve," "What Ever Happened to Baby Jane," "The Women," etc. If any Gay or Gay-friendly festival goers are interested in such a no-host get acquainted wine/cocktail hour then please message me back for further info. I would ideally like to hold such a gathering somewhere close such as the bar in the nearby, historic Miceli's Restaurant (at Las Palmas & Hollywood), the Pig 'N Whistle (on Hollywood Blvd. next to the Egyptian Theatre) or similar location. Once TCM releases its Thursday 4/28 festival schedule, I will make every effort to update this Message Board post with the location and time period info. Thank you!!! (FYI--for any of your local Angelinos, I also organize a free, non-commercial LA area professional Gay mens winetasting & social group called "Gay Winos" ( www.GayWinosLA.com ) which does include some classic movie buffs and TCM viewers. JONO

In case TCM is unaware, CITIZEN KANE had its _original_ West Coast movie premiere at the nearby *El Capitan Theatre* (then named the Paramount). Though Disney might not be willing to make its theatre available for the entire run of the festival (because it operates as a first run movie theatre for its own new movie releases), when I spoke last year to that theatre's managing director Ed Collins, he said that if TCM wanted to use the theatre for a one time screening for a compelling reason (such as screening CITIZEN KANE which premiered there) that the Walt Disney Company might take such a request under serious consideration--so long it did not involve a prime-time weekend evening time period. For TCM festival goers, the El Capitan is a historic theatre which Disney painstakingly restored in 1991 including the reinstallation of a vintage theatre pipe organ (supposedly from the former San Franciso Fox Theatre which was demolished in the early 1960s). If it is not included as any part of the festival, I urge you to ask permission to at least take a sneak peak of its interior between movie showings (or buy a movie ticket, but just check out its lavish interior which is way more impressive that the current interior condition of the historic Grauman's Chinese Theatre which for whatever reason is kept too underlit to show off its wonderful architecture. More info on the El Capitan can be found online at http://en.wikipedia.org/wiki/Fox_Theatre_(San_Francisco,_California) FYI to festival goers--I believe that the Chinese Theatre is jointly operated by Warner Brothers and Paramount Pictures as a regular and profitable first run movie theatre and that is presumably a key reason why TCM is able to have such wonderful access to it (and its adjacent multiplex) since TCM is also run by Time/Warner (who also controls Warner Brothers) and the Egyptian Theatre is run by the non-profit American Cinematheque, but allows occasional "four wall" rentals by studios and private entities such as TCM.

Since TCM seems to have a cozy relationship these days with the Walt Disney Company, perhaps for "historic film appreciation" reasons it could persude Disney to allow a ONE TIME showing of "SONG OF THE SOUTH" ("SOTS") at this year's festival. If TCM could pull this idea off they would automatically boost their festival attendance by literally hundreds of attendees. Though Disney has been terrified about allowing this classic to be screened publicly for fear of racism, this title is actually no more racist than "Gone With The Wind" which has been screened at festivals and even shown on TCM. In fact, other than the children and animated characters, the best and most likeable character in the whole movie was the African American character named Uncle Rhemus. For that matter, TCM could probably arrange to screen it at Disney's own nearby El Capitan Theatre for a one time showing. I believe this year's fest is even including a segment on Disney's combination live action/animation film titles, so showing SOTS would fit into that theme. By this title being shown specifically at a festival of only classic film afficianados from all over the world, it would diminish the fears of Disney Studios being labeled as racist vs. itself showing the film commercially. FYI--Disney allowed SOTS to be shown during one of the movie's milestone anniversaries--in a one week only limited special engagement at the Chinese Theatre in the early 1980's. (I attended a Friday night showing which was sold out). Then during the late 80's Disney also allowed the Los Angeles County Museum of Art to screen it for a one-night only special screening (in a nitrate 3-strip Technicolor nitrate print) which also sold out! Those were the last known screenings of this particular title in Los Angeles. But if anyone can persuade Disney, TCM can!

and is only one short block walking distance (between Franklin & Hollywood Blvd. via Orange Drive) for more details http://magiccastlehotel.com/ Edited by: jon90027 on Mar 13, 2011 12:45 AM

WARNER BROTHERS STUDIO TOUR I am both a huge film buff and L.A. native, but I most STRONGLY recommend the NON-commercial nearby Warner Brothers Studio Tour. Though I have not taken this tour for some time, in past years I have watched movies actually being scored and walked through working sets of both movies and TV shows with small intimate groups led on golf-cart type vehicles--not like the overblown and overly commercial Universal Studios Tour which is more theme park oriented and less movie making oriented. You can find out more at the following weblink... http://vipstudiotour.warnerbros.com/ HOLLYWOOD FOREVER CEMETERY TOUR You will visit actual gravesites of Rudolph Valentino and others as well as seeing this vintage cemetery's live roaming peacocks--as featured on TCM... http://cemeterytour.com/ I