A MOST MAGICAL HARRY POTTER COMES ALIVE BEFORE OUR EYES

By Gary Meyer

It was opening day of the San Francisco production of HARRY POTTER AND THE CURSED CHILD and we found ourselves talking with a woman during the intermission of Part One. A friend invited her but she had been skeptical since other than being aware of Harry Potter she knew very little about the books, movies or characters beyond that it was a popular culture phenomenon. She had read the informative “Journey to the Eight Story” in the program book and that was helping her understand who and what are important in the narrative (see below). She said she was hooked by the first act and certainly the cliffhanger at its end was a mind-blower that had us all anxious for more.

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SECRET HORRORS OF THE CASTRO THEATRE: A True Story

by Julie Lindow

One would never expect such real-life horror to happen at the gorgeous, historic Castro Theatre in San Francisco. That fateful night, I was slinging candy and popcorn. The air was thick with that hot buttery scent as I salted the last bag of popcorn and patrons scurried into the theater. The manager clunked the heavy double doors closed. The calm after the storm. It was also the calm before the storm of Hallows’ Eve that was a few nights off.

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GHOSTS ON THE LOOSE- A brief history of Spooky Stage Shows and an Personal Encounter

by Gary Meyer

Magic and “live” ghosts, goblins and other creatures of the night go back a long way. What we refer to as “augmented reality” today is hundreds of years old.  In 1584 Reginald Scot wrote in his study to debunk beliefs in witchcraft, magic and other superstitions, The Discoverie of Witchcraft, that people dressed in sheets had fooled believers certain they had seen ghosts.

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Interpretation of Robertson’s Fantasmagorie from F. Marion’s L’Optique (1867)

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AN INSIDER SETS THE RECORD STRAIGHT ON 2001: A SPACE ODYSSEY

By Mike Kaplan

If  “Marketing” had been an accepted term for the handling of a motion picture in 1968, my title for the two years I spent nurturing  2001: A SPACE ODYSSEY would have been Marketing Strategist for Stanley Kubrick and MGM and for the subsequent two years, for Kubrick’s A CLOCKWORK ORANGE.

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Dan Chaissan’s contribution to the 2001 anniversary coverage in The New Yorker: “Anybody There?”  April 23, 2018) has occasional insights but is filled with inaccuracies and false conclusions. With the opening of “Stanley Kubrick, The Exhibition” at the London Design Museum and the two month Kubrick season at the British Film Institute, it seems an appropriate time to set the record straight.

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2001: A PROJECTION ODYSSEY – Big Screen, Small Screen, 70mm, & Digital

By Lincoln Spector

Stanley Kubrick’s 2001: A SPACE ODYSSEY celebrated its 50th anniversary in style this year with two totally different restorations. Warner Brothers released new 70mm prints overseen by DUNKIRK and INTERSTELLAR director Christopher Nolan. Kubrick assistant Leon Vitali (himself the subject of a recent documentary) supervised a new, 4K digital restoration.  The Castro Theatre in San Francisco offers the 2001: A SPACE ODYSSEY 70MM/4K Challenge December 28-January 1 where you can see both versions. 

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