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Audio Software icon An illustration of a 3. Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Eeeet made me want to peeeneh iny eollar! Maile Nurmi. Buddy Barnett, Marta Dobrovitz.
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Raven White. Katherine Orrison, Michael F. Lisa Mitchell, Tom Corcovelos, Sabin. Karresse Klein. Roger Corman. Cult Movies 40 is published quarterly by Cult Movies. Contributions are invit- ed. Ml such correspondence will be corrsidered authorized for publication. Opinions expressed in letters, articles, or adver- tisements are not necessarily those of the publisher. All photographs and art work within the magazine are the property of the copyright owners and are believed to be authorized for reproduction.
Any similarities to real per- sons, alive or deceased is purely coincidental.
Appearance of advertise- ments does not constitute endorsement by the Publisher. Publisher is not responsible for any third party advertisements in this publication. Publisher is not responsible for typographical emors. It's just that you can hardly ever see the sky because it's so cloudy all the time. But when it comes down to it, the warmest sentiment ever sung is Hooray For Hollywood.
And that's why we're all here. Our favorite dreams, broken or otherwise, come from Hollywood.
For a good deal of the last one hundred years, people outside of America knew us and judged us by the entertainment manufactured in this industry town, the most dazzling suburb Los Angeles or any other city could ever boast. They wanted to come to America because of what they thought it was, what Hollywood taught them it was. FUN was the Industry here, friends, and everyone has always wanted a piece of the fashions, innovations, trends and desires churned out by the great dream machine. Hooray for Hollywood. Celebrities and technologies come and go since there are fashions in both.
And to prove a point, although we've had movies for a century or so, "films" as we've known them are about to do a fade out. Last week I found myself at the Hollywood and Vine Street subway station. What am I doing down here, submerged three levels beneath the streets, loitering deep within the bowels of Hollywood's underbelly?
Please observe the "No Smirking". For three years since its completion. I've told people offhandedly, "Nobody rides the new subway in Los Angeles. Earthquakes, you know. And look who's down here with me!
Over a hundred people waiting in this gigantic cavern beneath Hollywood, waiting for the underground train which stops by every five or ten minutes. People DO ride the subway; either downtown, or up north to Universal City.
This thing is apparently a success. Suddenly an arresting sight has me hurting with emotion. Overhead, the entire ceiling is decorated with thousands and thousands of 35mm film reels. Plastic and aluminum, twenty-minute storage and ship- ping reels.
All painted a bland tan color, and arranged in a pattern stretching the entire ceiling above the waiting platform from one end to the other. Magically, before your eyes, these reels, having morphed from functional implements into decorations, transform still again into giant question marks. From which studio or film lab did these reels come?
What films USED to be on those reels, and what dare we suspect became of those films as the reels assumed a new func- tion as an art factor? Considering that the average film is S reels long, and the subway ceiling is deco- rated with two thousand reels at least! And breaking to the heart. Four hundred reels, all un-reeled one final time before becoming antiques, arti- facts of a long ago age. We've had film for a hundred years, but digital projection will soon replace film as the new state-of-the-art technology.
No more making up expensive prints, and no more expensive shipping and storage of the films after the commercial playdates have lapsed. Film als will be bounced off satellites to the world's the- aters, and movies will be stored on tiny microchips. Theatrical exhibition will begin to resemble a deluxe version of your home entertainment center. Picture and sound problems in the theater of the future? The manager won't call a projectionist to fix the glitch. Now the snake eats it's own tail: the cycle has come lull circle. Old studio and theater equipment, such as film reels or the clapboard used to keep picture and sound synchronized, will linger as identifiable symbols of past technologies.
But they'll be as obsolete as the superior? The old Warner Pacific Theater on Hollywood Boulevard, boarded up for near- ly ten years, has been the scene of a lot of activity in recent weeks. Word reaches me and it didn't come via Filmfax. Other chains will be following the same path.
We are assured that every last scrap of film footage will be transferred from motion picture film to this new electronic preservation and pres- entation system. We'll still have the echoes of the past. But film as such will shuffle off to the Vaudeville shows, the Mighty Wurlitzer Pipe Organs, the cent Saturday matinees, the dusk-til-dawn marathons at the drive-ins, and a thousand other delights left curbside on Memory Lane. And a future generation will not know how a change in mere technology can alter the whole nature of the entertainment at hand.
When the rube-tube meets the shop- ping mall multiplex. It's an attraction com- ing soon to every neighborhood near you. And without knowing exactly why. I'm already unhappy about paying to go in and watch a giant video.
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Some people feel the old ways are always the best. It brought back a flood of memories of my first experience with Pal's magic and Rod Taylor's acting. It was indeed a movie going experience I'll never forget And DeChancie's fine article helped bring it back into focus.