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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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MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

INTERVIEWER
Do you outline plays before you start to write them?

PINTER
Not at all. I don’t know what kind of characters my plays will have until they…well, until they are. Until they indicate to me what they are. I don’t conceptualize in any way. Once I’ve got the clues I follow them—that’s my job, really, to follow the clues.

INTERVIEWER
What do you mean by clues? Can you remember how one of your plays developed in your mind—or was it a line-by-line progression?

PINTER
Of course I can’t remember exactly how a given play developed in my mind. I think what happens is that I write in a very high state of excitement and frustration. I follow what I see on the paper in front of me—one sentence after another. That doesn’t mean I don’t have a dim, possible overall idea—the image that starts off doesn’t just engender what happens immediately, it engenders the possibility of an overall happening, which carries me through. I’ve got an idea of what might happen—sometimes I’m absolutely right, but on many occasions I’ve been proved wrong by what does actually happen. Sometimes I’m going along and I find myself writing “C. comes in” when I didn’t know that he was going to come in; he had to come in at that point, that’s all.
~ Harold Pinter

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