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The Art of Business>At the Movies Film Buff: Upstate Films Maintains
its Edge
These days, the state-of-the-art house cinema is getting mixed reviews. On the one hand, filmgoers have become more sophisticated and are demanding more avant-garde fare. On the other, because of that, more theaters are making more screens available for those films, leaving alternative theaters without their previous cachet. “Over the years, because of our interest, we’ve been ahead of the curve, but people have caught up with us,” notes Steve Lieber, who founded Rhinebeck’s Upstate Films in 1972 with his wife, Dede, and Susan Goldman. Though he’s wary of the competition, Lieber also acknowledges that financial success wasn’t necessary the trio’s main goal. “We’re a place whose prominent role wasn’t to make money, but to bring the experience, through our own appreciation of international cinema, to others, by bringing in the people who make the films, who created those images and ideas, to come to the theater to talk to the people.” And though the “whole culture of America is about ‘how do we get young males between 18 and 30 to buy our product,’” Lieber says that is irrelevant to the mission of Upstate. “Who cares, because what it’s more about is to have an audience for something we’re showing in the theater, to fill those seats, and we’re doing that.” One way the theater manages to do that is through its
membership, which according to its Web site hovers around 1,000. Billed
as a “non-profit member-supported arts organization,” Upstate
generates 85 percent of its budget through admissions, membership, concessions
(which both Steve and Dede say are very inexpensive: “We’re
not trying to nail people”), and advertising in the newsletter.
The rest of the funding comes through a combination of grants and corporate
support. “It would be great to have a cushion, but we’ve also
tried to operate within our means,” Lieber points out. “We
never spent money we didn’t have.” But it isn’t easy. “A lot of people think
it would be a cool thing to do, but except for six weeks out of the years
when you get something like Lost in Translation, it’s weeks and
weeks when it’s really a struggle,” Lieber says. The main draw, of course, are the films themselves, most of which are pre-screened by the Liebers and Goldman. “We’ll go to something like the Toronto Film Festival, where there are 300 films showing, and we’ll split up and see almost all of them,” Lieber says. “There are also videos sent to us that distributors want us to watch. I have seven on my desk right now.” He cites In This World, a film by Michael Winterbottom (Wonderland, Welcome to Sarajevo) that he saw recently at Toronto, as one example of something he’s looking forward to showing. “It’s about what would it be like to be human contraband,” he explains. The film, which follows people being smuggled across borders, is shot in digital video and was shown at Upstate for one week in November. Over the years, Upstate Films has evolved from a single-screen
cinema showing films Thursdays through Sundays to a two-theater operation
with a staff of seven and a seven-day-a-week rotation. The theaters average
700 shows a year, many of which are accompanied by workshops or discussions
with the filmmakers involved. In fact, the Web site features a list of
those who have appeared, in alphabetical order, and it goes on for several
pages. “We’re pretty dedicated to it,” says Dede. “And
it’s interesting to see how it’s changed over the years. We’ve
gone from this secret cinema to this institution. It’s mind boggling.” Sidebar: The Viewing Public |
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