By Ray Pride Pride@moviecitynews.com

Alamo Drafthouse Sets 7-Screen Brooklyn Enclave

Posted Tuesday, April 5th, 2016 - Comments Off on Alamo Drafthouse Sets 7-Screen Brooklyn Enclave
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(New York, NY | April 5, 2016) “You talkin’ to me?” Not at the Alamo Drafthouse Downtown Brooklyn. The Austin-based cinema chain, known for its strict “no talking, no texting” policy is pleased to officially announce their much-anticipated theater in Downtown Brooklyn is set to open Summer 2016.

Currently in its final phase of construction, the flagship theater, located at 445 Gold Street – at the intersection of Fulton and Flatbush Avenues – will be a movie-lover’s paradise featuring seven screens celebrating all forms of cinema. True to the brand’s roots, Alamo Drafthouse Downtown Brooklyn will feature a diverse programming slate blending the best arthouse and independent releases with Hollywood’s biggest blockbusters. With the ability to screen both 35mm film and digital formats, the theater will also boast a robust repertory program that salutes the classics and the obscure with equal fervor.

“It’s been a long time coming but we cannot wait to bring the Alamo Drafthouse experience to Brooklyn,” said Alamo Drafthouse Founder and CEO Tim League. “The impact on film from this region is indelible and expansive. Hopefully, we can add to that rich fabric and give fans, new and old, a place to honor the joy of cinema.”

While this new location will feature the Alamo Drafthouse’s signature series Terror Tuesday, Video Vortex and Girlie Night, the programming will also champion the distinct tastes of Brooklyn and New York audiences.  “As a local and avid moviegoer myself, I know New Yorkers are equally excited for the latest from Pixar as they are the first from Michael Haneke,” says Brooklyn Creative Manager Cristina Cacioppo. “This city has the most adventurous audiences of anywhere in the world and our screens will be reflective of that.”

Like all of the company’s theaters, Alamo Drafthouse Downtown Brooklyn will match its love of movies with its love of food and drink to provide in-theater dining in all seven screens featuring a full menu influenced by local flavors and ingredients. The theater bar will also showcase a deep array of the best local beers on tap as well as the finest hand-crafted cocktails. And true to form, the ironclad “no-talking, no-texting” policy will be in full effect along with unique special events, multi-course film feasts, live performances and the extensive participation of filmmaking talent.

For more information on Alamo Drafthouse Downtown Brooklyn, please visit:https://drafthouse.com/nyc

For developments on Alamo Drafthouse Downtown Brooklyn, follow us on Facebook & Twitter.

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Website: https://drafthouse.com/nyc

 

Additional Alamo Drafthouse Social Media:

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YouTube: youtube.com/alamodrafthouse

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Vimeo:                                      vimeo.com/alamodrafthouse

Website: drafthouse.com

About Alamo Drafthouse

Tim and Karrie League founded Alamo Drafthouse Cinema in 1997 as a single-screen mom and pop repertory theater in Austin. 19 years later, the now 23-location chain has been named “the best theater in America” by Entertainment Weekly and “the best theater in the world” by Wired.com. The Alamo Drafthouse Cinema has built a reputation as a movie lover’s oasis not only by combining food and drink service with the movie-going experience, but also introducing unique programming and high profile, star-studded special events. Alamo Drafthouse Founder & CEO, Tim League, created Fantastic Fest, a world renowned film festival dubbed “The Geek Telluride” by Variety. Fantastic Fest showcases eight days of genre cinema from independents, international filmmakers and major Hollywood studios. The Alamo Drafthouse’s collectible art gallery, Mondo, offers breathtaking, original products featuring designs from world-famous artists based on licenses for popular TV and Movie properties including Star Wars, Star Trek & Universal Monsters. The Alamo Drafthouse Cinema is expanding its brand in new and exciting ways, including Drafthouse Films which has garnered two Academy Award nominations in its short three-year existence and Birth.Movies.Death., an entertainment news blog curated by veteran journalist Devin Faraci.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon