A Personal Experience
Whether historic buildings like The Davis or The Catlow or one-of-a-kind programming—from CineFamily's crazy Lost and Found archival 16mm nights, with grilled cheese sandwiches, to other theaters' documentaries and foreign films that are unavailable anywhere else, it's those venues that distinguish themselves from the nearby multiplexes that are getting a boost.
The Downing Film Center, located in New York's Hudson Valley, has reached over $50,000 in its "Drive to Digital" campaign, thanks in part to its unique setting: a single-screen venue with 50 reclining chairs. "It's like a cozy screening room," says Downing Film Center president Kevin M. Burke, who runs the theater with his parents, Brian and Sharon Burke.
As part of their campaign, they sent out emails, invested in a 2-minute trailer that played before each screening, and bought a digital projector even before raising the money, with two loans. "It showed to the community that we were serious and they could see the results. And I think that sped up the donations," says Burke.
"And people want to continue to see those unique films like 'Searching for Sugar Man' or 'Amour,'" adds Burke. "And it's a family-run nonprofit: my parents sells tickets and do concessions, so there's face to face trust."
Similarly, the 40-year-old Upstate Theatre in nearby Rhinebeck, has raised roughly $160,000, thanks to its longstanding presence, a healthy amount of local and family foundations, and its soft pitch, according to founder Steve Leiber.
"We don't have onscreen advertising, so before each film, we go up in front of the audience and we lay it out to them. Here's the story: the distributors are saying we need digital projectors, so hopefully you value this place, and if you can make a contribution it really helps," he says. A couple days after such a plea, "a guy from Woodstock gave me a personal check for $10,000," adds Leiber.
Likewise, the owners of the Cable Car Cinema and Café in Providence, Rhode Island, which is currently in the midst of a Kickstarter campaign to go digital, say their outreach with local organizations and film festivals has given them a strong presence in the community. "What we have discovered is that people know us and our staff and there's a level of intimacy," says Daniel Kamil. "It’s a public place that people feel good in."
"Obviously there's this question: what is the relevance of cinema when you can bit torrent anything at any time?" adds Kamil. "But people still want to go out and they want to be part of the community. And that's what we can offer them."
CineFamily, famously, managed to get into the good graces of star Robert Downey, Jr., who has pledged to pay for the theater's digital projector. (They have not yet received it, but Downey's people are currently looking at quotes supplied to them by Belove.) While Belove says the celebrity component is overstated, he does admit their "Telethon" in the middle of their Kickstarter campaign was a huge boost.
"The Telethon propped up the middle of our campaign," he explains, so instead of just receiving fundraising bumps at the beginning and end of their campaign, which is the standard, they also saw a surge in the middle.
Similarly, during the Brattle's Kickstarter campaign, famed author Neil Gaiman and performance artist Amanda Palmer, who are presenting films at the theater this May, offered to give four $1,000 donors a private screening and evening. The perk sold out.
Ohio's Little Art Theatre (in Yellow Springs, pop. 3,516) held its first fundraiser in June 2010 with an event called "Clooney At The Movies." But it wasn't that Clooney: It was his dad, author Nick Clooney ("The Movies That Changed Us: Reflections on the Screen"), who spoke to donors as part of a silent and live auction. "It was a great success," says Little Art Theatre executive director Jenny Cowperthwaite, who notes that the event allowed them to balance the budget for that year, and just as importantly, "lay away three months reserve."
In January of last year, the venue embarked on an ambitious $475,000 capital campaign, which they eventually achieved with the help of foundation support as well as trustee and community donations. This spring, the Little Art will be completely renovated.
Now that many art-house theaters have successfully fundraised their way into the 21st century, they still hold worries about the future of their newly digitized business. While most theater owners say picture and sound quality are improved (no scratched prints, no projection "bounce") and operations may be easier with the new digital systems (no shipping containers, projection with the press of a button), many theater owners have a healthy dose of skepticism towards their new technology.
"When you compare digital vs. 35mm, in terms of reliability, staying power and ease of use, 35mm wins," says The Brattle's Hinkle. "Film works, and if there's a problem, you can take it and tape it back together. When a digital file doesn’t work, it just doesn't work."
Theater owners are also concerned that the equipment they've recently taken great pains to buy will be obsolete in a couple of years. "It's like buying a computer," says Leiber. "And then [the companies] say, 'We don't support that system anymore, and you need the new software.'"
Many cheaper digital projectors have 2K resolution, but a lot of films are being produced in 4K. "If it ever becomes an issue, the projectors should be upgradeable to 4K," says Hinkle. "But what's the cost of that? I don't know."
Other theater-owners are feeling ever more bitter toward the digital shift. "I resent it and the hell it's putting people through," says the Railroad's Eisen. "And worst of all, for an inferior product that will undoubtedly be relatively short-lived as well."