Close Encounters across the Street and of Another Sort

[Taking a brief recess from #1939TheMiracle Year]

I’ve written before about attending film screenings as part of my job. Both those in film industry screening rooms and those scheduled in theaters for press and word of mouth purposes. All of which I gained entree via my position as a film booker.

[The screening of “Star Wars” was one example of the latter kind, see this post]

Less than seven months later, my wife and I attended another film that was destined to be a ground breaking bit of cinema and another blockbuster. Our invitation was to the King Theater in Seattle on December 8, 1977 for Steven Spielberg’s latest picture “Close Encounters of the Third Kind.”

It was a familiar theater. It set right across the street from my former place of employment, the UA 150 and 70 (the site of our Star Wars viewing).

Dazzle – Din – Drive. A 3D trifecta in 2D, of sight and sound and emotion.

Eye-popping special effects.  That moved you between suspense and wonder.

A sound track and score that surrounded and carried you along.

And a story with characters that swept you up in their struggle and longing.

It was clear that Columbia had a hit on their hands. Both from the evidence of my own eyes, and from the reaction of the crowd.

I had an encounter of another kind with CE3K after our move to Portland for a booking position with Tom Moyer Theaters.

But first, there was another switch to be mentioned.  Within a year of moving down, my position was changed from that of a film booker to one in the accounting department. I was now responsible for paying the film rentals due to the studios – the biggest outlay of monies from the company.

Besides the normal activities of drawing up estimate and final payments, there was a whole lot of record keeping involved. And it was these records that were the point of my limited involvement with CE3K soon after this switch. Records that I myself had not created, for they hailed back a couple of years prior to my time at TMT. But now I was responsible for curating them. And it was in this new capacity that I was called upon to pull up the pertinent records needed by the lawyers in one of the lawsuits the company was embroiled in, which just happened to involve two blockbuster film titles.

It was then that I learned the curious details of this matter – when CE3K and Star Wars collided.

But more of that story next time.

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Viewing Star Wars

Just wanted to reblog this post to mark the 40th Anniversary #StarWars40

Star Wars opened to the public on May 25^th 1977 – the Wednesday before Memorial weekend. But I saw it before the public did, because that was my job.

At that time I worked for the Saffle Theater Service in Seattle, WA, and had been for a year. Part of my job was to attend the screenings of upcoming films and report back whether in my judgment the film would “play” or “not play” in the venues we negotiated for. If it were an art film or a documentary more than likely it was not for us, unless the boss deemed it a candidate for our theaters in the Moscow, ID/Pullman, WA area (homes respectively for the University of Idaho and Washington State University). If it were a saturation booking like “Sky Riders” from Fox, and if it was slated to have a massive TV advertising campaign, then, of course the answer was a resounding yes. We had quite a few drive ins and tank towns that wanted to get in on that action.

When the screening for a sci-fi fantasy film from Fox was announced in May of 1977 there was no buzz, no excitement going around among the denizens of Seattle’s film row. In fact, I don’t think there was any interest at all. I, however, was very interested.

Around Christmas of 1976, Fox had put out a brochure for their upcoming titles for 1977. I perused it as I did for similar offerings from the other distributors. Here Fox was touting the likes of The Other Side of Midnight, Julia, The Turning Point, and High Anxiety. What riveted my attention was the spread on a sci-fi title called Star Wars. The graphic didn’t mean a thing (of course it didn’t, no one had seen the picture yet – it showed Luke and Leia from the shaft scene on the Death Star). But the “written and directed by” credit did. And that was why I was excited – for it cited a name that I recognized as the director of American Grafitti, George Lucas.

So, it was with great anticipation that I sat with my wife in the UA Cinema 150 to see it unspool for the first time in Seattle. And we were not disappointed. The Cinema 150 sits (or rather did sit) under a dome and has (had) a gigantic screen. That screen filled an 120 degree field of view to your front. The opening scroll and the electrifying score racheted up the anticipation. And I swear that when that Star Destroyer loomed into the scene in pursuit of the other space ship, you felt that it was directly on top of you (I think it had something to do with the sense of space imparted by that dome).

From that moment I knew that this film was going to do fantastic, light years ahead of American Grafitti, but even so I did not know just how epic the grosses were going to be.

[Aside – I did have problem trying to convince one of our clients to play it at their theater. The Olympic theater in Forks, WA., did not want to take a chance on playing it until it was available for their normal two day schedule. They were only open four days a week – with two changes, one bill on Friday and Saturday and the other on Sunday and Monday. I finally convinced him to play it all four days, resulting in a record gross for him. Not surprisingly, he held it over another weekend].

Viewing Star Wars

With “Star Wars the Force Awakens” everywhere in the news and on the brink of its opening this Friday, I thought I’d chime in with a post about my viewing of the first seminal film. It opened to the public on May 25^th 1977 – the Wednesday before Memorial weekend. But I saw it before the public did, because that was my job.

At that time I worked for the Saffle Theater Service in Seattle, WA, and had been for a year. Part of my job was to attend the screenings of upcoming films and report back whether in my judgment the film would “play” or “not play” in the venues we negotiated for. If it were an art film or a documentary more than likely it was not for us, unless the boss deemed it a candidate for our theaters in the Moscow, ID/Pullman, WA area (homes respectively for the University of Idaho and Washington State University). If it were a saturation booking like “Sky Riders” from Fox, and if it was slated to have a massive TV advertising campaign, then, of course the answer was a resounding yes. We had quite a few drive ins and tank towns that wanted to get in on that action.

When the screening for a sci-fi fantasy film from Fox was announced in May of 1977 there was no buzz, no excitement going around among the denizens of Seattle’s film row. In fact, I don’t think there was any interest at all. I, however, was very interested.

Around Christmas of 1976, Fox had put out a brochure for their upcoming titles for 1977. I perused it as I did for similar offerings from the other distributors. Here Fox was touting the likes of The Other Side of Midnight, Julia, The Turning Point, and High Anxiety. What riveted my attention was the spread on a sci-fi title called Star Wars. The graphic didn’t mean a thing (of course it didn’t, no one had seen the picture yet – it showed Luke and Leia from the shaft scene on the Death Star). But the “written and directed by” credit did. And that was why I was excited – for it cited a name that I recognized as the director of American Grafitti, George Lucas.

So, it was with great anticipation that I sat with my wife in the UA Cinema 150 to see it unspool for the first time in Seattle. And we were not disappointed. The Cinema 150 sits (or rather did sit) under a dome and has (had) a gigantic screen. That screen filled an 120 degree field of view to your front. The opening scroll and the electrifying score racheted up the anticipation. And I swear that when that Star Destroyer loomed into the scene in pursuit of the other space ship, you felt that it was directly on top of you (I think it had something to do with the sense of space imparted by that dome).

From that moment I knew that this film was going to do fantastic, light years ahead of American Grafitti, but even so I did not know just how epic the grosses were going to be.

[Aside – I did have problem trying to convince one of our clients to play it at their theater. The Olympic theater in Forks, WA., did not want to take a chance on playing it until it was available for their normal two day schedule. They were only open four days a week – with two changes, one bill on Friday and Saturday and the other on Sunday and Monday. I finally convinced him to play it all four days, resulting in a record gross for him. Not surprisingly, he held it over another weekend].