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By Ray Pride Pride@moviecitynews.com

Patio Theater and Chicago Cinema Society Announce Partnership

The newly re-opened and beautifully restored Patio Theater and The Chicago Cinema Society are very proud to announce their new partnership, which will bring unique independent film programming to the Patio. In addition to the Patio’s standard Hollywood programming, Chicago Cinema Society will be presenting features outside the Patio’s normal schedule, with Friday and Saturday “Late Night” screenings at 10 p.m., Saturday and Sunday screenings at 2:30 or 3:00 p.m., and special Monday night screenings at 7:30 p.m.
This programming ranges from Chicago premieres of exciting new films such as “Vanishing Waves,” a critically acclaimed science-fiction film, to exclusive runs of family favorites (such as the newly-remastered DCP of “Willow” created for the film’s 25th anniversary) and cult/genre classics presented in special 35mm screenings (“The Warriors,” “Shogun Assassin,” “Sartana,” etc.).

“The Patio has strong roots in this community,” says Patio owner Demetri Kouvalis. “We’ve been here for a long time, and the support for the theater from the community has been amazing. With our new partnership with the Chicago Cinema Society, we aim to bring the kind of interesting and varied programming available throughout Chicago to the Patio.”

“We could not be happier about this new partnership,” says Neil Calderone, founder of The Chicago Cinema Society. “My mother used to take me the Patio when I was a kid as I grew up not too far south of the theater. Being able to bring our programming to The Patio and expanding into other genres is a situation that we have been searching for and is extremely exciting for us. Our aim is to make the Patio an anchor for the surrounding community as well as a destination theater that brings in people from all over the city to see films they may not be able to see anywhere else on the big screen.”

The Chicago Cinema Society at The Patio kicked off with an exclusive run of Dave Grohl’s documentary “Sound City,” followed by “Dragon” (aka “Wu Xia”), a martial arts drama starring international stars Donnie Yen and Takeshi Kaneshiro. The Patio’s 35mm film series begins on March 22nd with a screening of “The Warriors” from a very rare 35mm print.

The March/April schedule for The Chicago Cinema Society at The Patio is listed below, although the schedule is subject to change. Interested parties are encouraged to visit the CCS and Patio web sites and Facebook pages for the latest information regarding screenings.

March 1-4:
The Other Side of Sleep (Cannes Directors’ Fortnight Selection; Chicago Premiere!)
Willow (25th anniversary; newly-remastered DCP from Lucasfilm)

March 22-25:
The Warriors (Extremely rare 35mm print)

March 29-April 1:
Vanishing Waves (The film that swept the 2012 Fantastic Fest Awards! Chicago Premiere!)
Tales of the Night (Beautiful animation from Michel Ocelot)
Shogun Assassin (One night only! 35mm print!)

April 5-8:
If You Meet Sartana, Pray for Your Death (Spaghetti Western Classic! 35mm print!)
Tabu (Directed by Miguel Gomes; Winner- Jury Prize, Berlin International Film Festival)

April 12-15:
Bring Me the Head of the Machine Gun Woman (Chicago Premiere!)
8 1/2 (50th anniversary of Fellini’s masterpiece! 35mm print!)
Riki-Oh: The Story of Ricky (One night only! Incredibly rare 35mm print!)

April 19-25:
Antiviral (Winner- Gold Hugo, Chicago International Film Festival; feature film debut of Brandon Cronenberg!)
It’s a Disaster (Chicago Premiere!)

About Chicago Cinema Society (from the CCS web site):
We are a collective of individuals who are passionate about unconventional, daring, innovative and eccentric cinema. After having traveled to many domestic and international film festivals, we have been saddened by the fact that really great works of filmmaking go undiscovered here in our city of Chicago. Many great filmmakers tragically find their works overlooked by major film studios as their narratives are not easily marketable to the general public. These artists are writing and producing films that will inspire filmmakers for decades to come. One of our goals is to see that such filmmakers are not overlooked and to give their films the exposure that they deserve. We  look forward to sharing our collective passion for cinema with all of you. See you at the Big Screen!

About The Patio Theater (abridged from the Patio Theater site):
The Patio Theater, located on the Chicago’s northwest side, is the only movie palace of the bygone era still in service to the community. Lovingly restored and decorated in the grand tradition complete with all the elements that make a night at the movie a memorable experience for the whole family to enjoy. Come and see your favorite movies on one giant screen under a simulated blue sky, flickering stars and moving clouds.

Enjoy an evening at the movies under twinkling stars and moving clouds, a state of the art sound system featuring Dolby SR and JBL speakers, and a grand neo-Pompeian lobby restored to original elegance in an open space of 1000 seating capacity; the largest single screen in Chicagoland.

Websites:

Chicago Cinema Society- http://www.chicagocinemasociety.org

Patio Theater- http://www.patiotheater.net

Facebook:

Chicago Cinema Society- http://www.facebook.com/pages/The-Chicago-Cinema-Society/208637469220413

Patio Theater- https://www.facebook.com/PatioTheater

Twitter:

Chicago Cinema Society- @CCinemaSociety

Patio Theater- @PatioTheater

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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