Homeless man who squats at Broadway-Lafayette St subway station?
There’s one middle-aged, thin black man who frequently hangs around the turnstiles under Broadway/Houston. Last summer he wore a red plaid shirt and jeans with one of the back pockets falling off (exposing way too much to those unfortunately behind him when he bent over) until someone left him a new pair from the A&F on the corner. Can be seen yelling at a propped up banana peel or taking a shit on the steps, but otherwise generally harmless.
Just kind of curious. Is he still there? Know his name? Does anyone happen to have a picture of this guy?
By now, you’ve probably heard about Lensgate, but if not, here’s a quick rundown:
It’s come to light (ha!) that many, if not all, theaters are incorrectly projecting 2D movies with the 3D lens still attached to the projector, meaning the film is projected up to 85% darker than intended. Not only that, but both 3D and 2D movies are being projected with 3000W bulbs set at 2000W in a misguided attempt to save money.
Both these practices, while thrifty and convenient in the short term are representative of disturbing trends that have emerged in recent years. Firstly, the average audience doesn’t know that these things are going on. Though a dimly lit movie may be noticeable, it certainly won’t occur to many that this is not only the theater’s fault but is something that is on purpose and can be actively rectified. Secondly, the theaters take advantage of this ignorance all too often.
If you’re watching a movie in a theater and it’s projected wrong for even a minute, you can ask for your money back. It’s a dickish move, yes, but it can be done. A better option might be to wait it out for a few minutes then politely bring it to the management’s attention, at which point they should correct the issue or even restart the movie. If they don’t, make it clear you’re not giving them your business for as long as they neglect their primary function as a cinema.
It’s a shame that it’s come to this. Projection is not a dying job but a dying art. Much can be said for digital cameras and digital projectors, but it’s important that audiences and distributor’s don’t lose sight of the inescapable fact that 3D is still a gimmick, and that digital production is necessary to facilitate this gimmick. Even as modern greats like Jackson, Speilberg, Scorsese and Bay (just kidding) embrace the medium, they more often than not acknowledge a curiosity that led them to the method in the first place. Curiosities are fleeting. 3D is still in its earliest and most fragile days, but theaters are subscribing to an as yet untested and temporary digital trend like it’s going to replace film entirely in a few years.
There’s a modest but significant audience that still wants to see a film on film. And while there are filmmaker juggernauts that can’t wait to get their hands on 3D cameras, there are ones just as big and just as enamored with more traditional methods. Chris Nolan has famously fought time and time again against 3D production and distribution. Quentin Tarantino has been among the more vocal, and once said “If it actually gets to the place where you can’t show 35mm film in theaters anymore and everything is digital projection, I won’t even make it to 60.”
US Box Office results have indicated a decline in 3D interest this summer, with Pirates 4 and Kung Fu Panda IIunderperforming in 3D screens. However, international receipts still show a steady haul for the medium. This isn’t the collapse some publications would have you believe, but there is a wavering. As long as everyone keeps a clear head, agrees to a necessary moderation in 3D and digital movies and projects the damn movie correctly, everything will be OK for everyone. Except for those that saw Hoodwinked! Too last week. There’s no hope for those guys.