Green River Honey Review + David Huffman on the Cleveland Cinematheque

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Bob Book: On today's Film and Whiskey, we've got a pretty special bonus episode ahead of us.

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Bob Book: We're going to be reviewing Green River Honey, and then we're going to be talking with
David Huffman, the new director of the Cleveland Cinematheque, one of the best repertory

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Bob Book: theaters in the country.

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Bob Book: That's all ahead on Film and Whiskey.

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Bob Book: Well, hey there, everybody.

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Bob Book: Welcome into the Film and Whiskey Podcast.

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Bob Book: I'm Bob Book.

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Brad Gee: I'm Brad Gee.

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Bob Book: Brad, it's good to see you again, man, in this interseason extended break that we're
taking.

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Bob Book: And you know what, dude?

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Bob Book: Life just keeps happening and we just keep extending this break, but I feel like we're on
a pretty good cadence of like getting episodes out.

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Bob Book: I don't feel bad about this.

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Brad Gee: yeah, dude.

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Brad Gee: Still getting some episodes out, some audio for our lovely listeners.

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Brad Gee: And soon enough, some video, soon enough, we are going to be diving into season 11, which
is gonna be insane, dude.

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Brad Gee: I'm super excited.

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Bob Book: Do you think is it time for us to to tell the folks what the format of season eleven is
going to be, Brad?

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Brad Gee: I don't know.

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Brad Gee: That that's kind of a big deal, Bob.

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Bob Book: I don't know that we can tease it any longer, Brad.

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Bob Book: What to the best of your knowledge, I'll let you do this.

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Bob Book: Why don't you tell the listeners what season eleven is actually about?

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Bob Book: This is actually a test of your uh what's recall is the word.

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Brad Gee: So it's it's a little bit of a combo season.

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Brad Gee: We're we're trying something new, but we have the AFI top one hundred list.

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Brad Gee: Through the history of the Film and Whiskey podcast over the last ten years, we have gone
through probably fifty, sixty of the movies.

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Bob Book: at least.

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Bob Book: Yeah.

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Bob Book: I mean we might be up to like almost eighty by now, dude.

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Bob Book: We're we're doing pretty good on that list.

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Brad Gee: Exactly.

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Brad Gee: And I've even watched a few of them outside the podcast.

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Brad Gee: And so I'm like getting close to a hundred.

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Brad Gee: I know you're already you've already seen the whole hundred, but we are going to part A of
the combo.

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Brad Gee: We're gonna go through some of these other top one hundred AFI films and try to finish off
as much of the list as possible.

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Brad Gee: But the part two of the combo, this is where it gets really fun.

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Brad Gee: We've been doing let's make it a double since what season four, five?

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Brad Gee: Like it's it's been a long time.

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Brad Gee: We are going to let's make it a double the whole season.

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Brad Gee: So we have picked out what what would it be, 12 movies?

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Brad Gee: To 10 movies?

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Brad Gee: Okay.

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Brad Gee: So we've picked 10 movies.

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Brad Gee: And at the end of the film, whatever movie Bob and I pick for Let's Make It a Double is
going to be the next two movies.

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Brad Gee: That we watch for the season.

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Bob Book: Yep.

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Bob Book: Basically creating like a three movie mini program.

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Bob Book: So, you know, let's just say for example we're watching The Godfather, and then we get to
the end of The Godfather and Brad's like, you know what?

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Bob Book: I want to pair this movie up with whatever it might be.

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Brad Gee: And and

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Brad Gee: Bob would say, I want to pair it with Godfather two.

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Brad Gee: And then Brad would say, Godfather three, baby.

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Bob Book: No, what would happen is you would quote the Family Guy episode where Peter says, you know
what movie I liked?

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Bob Book: The Money Pit.

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Bob Book: And then we would we would pair it up with The Money Pit.

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Bob Book: So what will happen is, you know, it has to be a movie, obviously, that we have not
already reviewed for the podcast, but it could be anything.

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Bob Book: Like it doesn't have to be another gangster movie.

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Bob Book: It could.

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Bob Book: Or it could just be like, you know, I really like Marlon Brando, and we've only done a few
of his movies.

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Bob Book: Let's pick another Brando movie.

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Bob Book: Whatever Brad, let's it's Brad's week to pick first.

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Bob Book: Brad will pick his movie.

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Bob Book: And then I think the really fun part is following Brad's pick, if I'm the second one to
pick, I think we could decide either, hey, let's go back to what I picked for The

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Bob Book: Godfather, or I could pick, you know, you did the money pit.

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Bob Book: What movie do I want to watch after the money pit?

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Bob Book: And we could just basically be playing, let's make it a double telephone through the whole
season.

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Bob Book: I I think that there is both a lot of like built in classics we're gonna hit.

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Bob Book: And the opportunity for like complete chaos this season.

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Bob Book: I I have not been this excited for a season in a long time, dude.

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Brad Gee: I am going to pick second hand lions ten times.

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Brad Gee: It's just every single time.

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Bob Book: I told you about the one season that I was like, how many movies can I pair ET with?

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Bob Book: Because I think it it could happen.

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Brad Gee: that is a good question.

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Brad Gee: It's it's probably quite a few.

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Bob Book: Alright, I have nestled in my bottle of Green River honey right here behind me, if you're
watching on video.

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Bob Book: So let's dive into talking about this because, Brad, we do have an interview coming up
that we're gonna throw to after this review.

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Bob Book: But we've been sent a bottle of Green River's new honey finished bourbon.

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Bob Book: Now, I don't want to dive too deep on the details and like legality of what's going on
here.

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Bob Book: And like

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Bob Book: I don't think anything illegal is going on here.

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Bob Book: It's real curious because I no, it's not Uncle Nearest.

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Bob Book: I do think that there's like some interesting uh gray areas based into what we know about
the definition of bourbon, which is that, you know, among other things, bourbon, and

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Bob Book: especially if it's labeled as like Kentucky Strait bourbon, has a ton of legal
requirements that you have to meet.

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Bob Book: And one of them is that it cannot have additives in it.

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Bob Book: And so the you know, the world of finished bourbons has exploded over the past few years.

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Bob Book: And the distinction is always like we aged this bourbon according to the rules of bourbon
aging, right?

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Bob Book: New chart oak barrel, depending on, you know, uh what the designation is for X number of
years.

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Bob Book: If it's bottled in bond, then it's in a government bonded warehouse, whatever it might be.

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Bob Book: And then we took that bourbon and took it into a different barrel and finished it in.

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Bob Book: A barrel that had rose or a barrel that had what what have you.

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Bob Book: And that's technically a finished bourbon.

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Bob Book: And they're allowed to kind of get away with that because they followed the rules of the
bourbon aging process when it was in its original container.

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Bob Book: Now, what Green River has done with this new honey bourbon, and I want to make sure that I
use their words correctly.

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Bob Book: They say we start with real four-year Kentucky straight bourbon and then add real locally
sourced honey directly into the barrel.

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Bob Book: Then we let time do what it does best, and that's it.

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Bob Book: Here's my question, man.

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Brad Gee: It's like

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Brad Gee: feels like it fits the finished because as long as it's bourbon first and then you add
something to it, I think you're chill at that point.

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Bob Book: Now that's the question, though, is like, because it doesn't sound like they're actually
putting it into another barrel to finish it.

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Bob Book: It's not a barrel finishing process.

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Bob Book: It's a we're dumping something else into the barrel that was already aging this bourbon.

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Bob Book: So it kind of just sounds like to meet the legal requirements, all you have to do is at
some point say, This bourbon is done aging according to the legal process, and now we're

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Bob Book: gonna put things in the barrel.

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Bob Book: And that's gonna be considered a finish and not an additive.

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Bob Book: And I find that really interesting.

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Bob Book: Do you know what I mean?

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Brad Gee: What would be another what would be a cinnamon synonym for interesting, uh, in your in
your w in your little brain there, Bob?

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Bob Book: dropping listeners like flies.

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Bob Book: I don't know, dude.

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Bob Book: I like again at the end of the day, all we ever care about on this show is like, does it
taste good?

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Bob Book: But it is interesting to see, the the clever marketing of some of our favorite brands and
how they kind of, you know, tiptoe along the edges of what is allowed and not allowed in

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Bob Book: this world of spirits.

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Brad Gee: What I know is I have drank other flavored, finished, honey type whiskey.

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Brad Gee: often it's not very good, Bob.

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Brad Gee: That is something I know for a fact.

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Bob Book: I actually just had I like, I don't know, I found it in our my room of whiskey down here,
Brad.

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Bob Book: It was like an old Irish whiskey that was a honey flavored Irish whiskey.

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Bob Book: And it was very sweet, and you could tell that it was like full of sugar.

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Bob Book: Usually when you have something honey finished, it's a liqueur or it's just like really,
really heavily sweetened.

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Bob Book: And this one, I will, you know, to its credit, it clocks in at I believe 92 proof.

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Bob Book: So this does still meet, especially at the, the proof point for bourbon.

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Bob Book: This is not dropping down into the liqueur category.

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Bob Book: Uh, and I'm excited to try it because we love Green River.

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Bob Book: We've always appreciated their stuff.

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Bob Book: And Brad, with all that said, I think it's time for us to get into this Green River Honey.

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Bob Book: Now we are both sat sipping this for at least the second time here, but we decided to do
it live on air with each other.

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Bob Book: And Brad, I'll turn it over to you.

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Bob Book: What are you getting on the nose of this Green River Honey?

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Brad Gee: Bob, wouldn't you know it?

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Brad Gee: I can smell honey on this whiskey.

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Brad Gee: It's right there on the nose.

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Brad Gee: I'm I don't know about you, but I'm a professional judge of whiskey.

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Brad Gee: And I I could smell that honey on there.

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Brad Gee: it's got a really nice honey nose.

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Brad Gee: For me, it it smells like actual honey versus honey sweetener.

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Brad Gee: And that's honestly, I I'm being I've been a little facetious.

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Brad Gee: That's honestly a very big difference.

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Brad Gee: It has a really nice clover honey vibe going on.

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Brad Gee: And I would say that there's like a nice palette of vanilla underneath that is really
pleasant.

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Brad Gee: I if we are judging this as a non-flavored, like this is we're not judging this as a
liqueur, like we're judging this as a whiskey.

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Brad Gee: I'll give it a six out of ten.

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Bob Book: I see.

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Bob Book: I think it's more pleasant than a six, but I am with you that it's not super complex.

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Bob Book: You know, the other note that I would be getting on this, and I've mentioned it before,
when you go out like in the country in the middle of summer, and there is just this

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Bob Book: overwhelmingly kind of like powdery sweet smell from some weed that grows somewhere.

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Bob Book: And I don't think it's honeysuckle, but no one's ever been able to identify like what is
the plant that makes the country smell real sweet like that in the summertime.

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Bob Book: It's the same note that I always get when we try uh amburana finished stuff.

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Bob Book: That's that's here a little bit.

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Bob Book: And I will chalk that up to the honey finish.

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Bob Book: It's really nice.

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Bob Book: Uh the bourbon itself is just not that complex.

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Bob Book: So I'm gonna give this a seven out of ten on the nose, and we can dive into the taste
here.

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Brad Gee: Yeah, and I think when you get into the taste for this, the honey is there.

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Brad Gee: It infuses everything that you are going to get here.

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Brad Gee: I think that you get some almonds, you get a little bit of that nice bourbony caramel,
there's vanilla.

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Brad Gee: It's a really pleasant palette that I actually was really impressed with, Bob.

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Brad Gee: I enjoyed it a lot.

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Brad Gee: I will give it a 7.5 out of 10.

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Bob Book: Yeah, I'm in the same spot, except that like I don't have a lot of notes to support that
score.

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Bob Book: You know what I mean?

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Bob Book: Like it's just a very honey forward bourbon.

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Bob Book: And I think that like, you know, we've always been bigger fans of Green River stuff at
foolproof than we have uh at the at the sort of entry proof that they have not the entry

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Bob Book: proof, but like the entry-level bourbon that they have here.

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Bob Book: And it's a very standard kind of four-year bourbon that you're getting with quite a bit of
honey on top of it.

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Bob Book: You know, I will also say, Brad, that like honey syrups in cocktails are not always my
favorite because I think that they do kind of get lost really easily.

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Bob Book: Like it's just barely distinguishable from like a a Demerara sugar syrup.

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Bob Book: It's a little bit different, but like if you're dumping like really hot brown liquor on
top of that, like you're just not gonna notice it so much.

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Bob Book: So it's subtle.

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Bob Book: I like it.

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Bob Book: Um, if you had put it in front of me without all of the branding and marketing around it,

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Bob Book: Tell me that there it was honey finished.

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Bob Book: I don't know if I would immediately know that, which is a good thing, I think.

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Bob Book: Like it doesn't taste like a liqueur, it just tastes like a very honey forward bourbon.

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Bob Book: So I'm at a 7.5, and that's all to say, like, not super complex, right?

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Bob Book: On the finish, once again, like really pleasant.

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Bob Book: I I don't know if it's just my taste buds or like whiskey has changed in the last couple
years, but I've noticed that more and more.

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Bob Book: The sort of sour and bitter notes linger on the back of my palate when I've been tasting
whiskey lately.

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Bob Book: And once again, like they added honey to this, so I'm glad that it's not doing that.

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Bob Book: But it is really refreshing to have a whiskey that finishes sweet, and then the lingering
notes afterwards are still pleasant and sweet.

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Bob Book: Once again, not complex.

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Bob Book: I get a little bit of like a mineral water kind of thing here that that it's not quite
salt.

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Bob Book: But you know what I'm talking about.

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Bob Book: There's a little bit of like a almost like an irony kind of thing going on that to
complement that sweetness.

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Bob Book: I like it quite a bit.

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Bob Book: I'm gonna give it a seven out of ten.

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Brad Gee: Yeah, I'm also at a seven out of 10.

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Brad Gee: For me, it gets a little bit mint grassy kind of vibe going on at the back end.

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Brad Gee: But you are right.

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Brad Gee: That that honey sweetness sticks around quite a bit.

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Brad Gee: It's a seven out of 10.

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Brad Gee: I think balance.

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Brad Gee: I'll also give it a seven out of 10.

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Brad Gee: It is what it is.

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Brad Gee: There's nothing complex about it.

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Brad Gee: It's got a really nice honey forward experience with some vanilla and a little bit of
nuttiness, a little bit of grass.

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Brad Gee: It's a really pleasant, nice whiskey.

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Bob Book: I would love to see what a foolproof version of this tasted like.

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Bob Book: You know, uh I I think ultimately this is this is I don't want to say destined for
cocktails because it's better than like I don't want to say that it can't stand on its

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Bob Book: own.

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Bob Book: But even if you go to the Green River website, like right below the description of it,
they've got like six or seven recipes for making cocktails with it.

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Bob Book: One of which is the classic gold brush cocktail, which we've talked about here before.

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Bob Book: uh

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Bob Book: I personally I like the variant of the gold rush called the brown derby, which uses
grapefruit juice and honey syrup.

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Bob Book: I think that this would make a phenomenal gold rush.

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Bob Book: I might go try it tonight because you get the honey syrup in addition to the honey finish
here.

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Bob Book: And I think that might stand up a little bit better to that, you know, ruby red grapefruit
juice.

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Bob Book: yeah, all that to say, Brad, well balanced.

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Bob Book: Now, where it really has to kind of earn its keep is in terms of value, because you can
get cheap.

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Bob Book: Flavored whiskey for probably half the price as this.

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Bob Book: It's not four-year bourbon, right?

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Bob Book: And it's not, it doesn't go through the process that this purports to go to.

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Bob Book: So, Brad, I would say, and I don't know the price on this, I'll ask you in a second, but
if this is around $30, I'm gonna say it's a pretty good value.

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Bob Book: So I'd love to hear where are you actually finding the price point on this?

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Brad Gee: Well, when I was looking at this MSRP, it was $25.

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Brad Gee: I am pulling it up on OHLQ right now, and it is $24.99.

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Brad Gee: I think at 25 bucks, this is an eight and a half, dude.

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Brad Gee: Like, this is a really good value.

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Brad Gee: I, heck, I'll give it a nine out of 10.

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Brad Gee: I like for if this cost $35, I'd be at like

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Brad Gee: a 5 or a 6 out of 10.

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Brad Gee: For 25 bucks, this is better than any other honey whiskey out on the market.

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Brad Gee: This is an easy recommend for me.

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Bob Book: Think you've talked me up to an 8.5 here as well.

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Bob Book: And that's gonna take my final score to a 37 out of 50.

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Bob Book: Brad, where are you coming out to on this one?

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Brad Gee: I am at a 36.5 out of 50.

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Bob Book: are very close on this one.

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Bob Book: 73 and a half out of 100 or a 36.75 out of 50 on average, which puts it comfortably above
that 35 mark where we start recommending.

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Bob Book: Folks, look, I'm not gonna say this is a contender for whiskey of the year.

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Bob Book: I do think it's a really interesting product expansion for Green River.

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Bob Book: And, you know, if they're gonna start making flavored stuff, I'd prefer that it's in this
sort of finished

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Bob Book: wheelhouse instead of like we're adding syrup to this, right?

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Bob Book: So you know, I I think it's great for twenty five dollars.

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Bob Book: You could do a hell of a lot worse.

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Bob Book: I'm glad I drank this, Brad, to be honest with you.

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Brad Gee: Yeah, and honestly, I would say that this would actually be like a good, hey, you've never
had bourbon before, but you like honey.

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Brad Gee: Like, I don't know, try this.

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Brad Gee: It might be an easy way because there is enough bourbon characteristics about this and it
doesn't have any syrupy sweetness.

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Brad Gee: This could be a good intro whiskey for certain whiskey newbies.

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Bob Book: Absolutely.

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Bob Book: I didn't even think about that.

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Bob Book: But yeah, at 92 proof, it'll stand up in a cocktail.

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Bob Book: It's fun to drink neat.

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Bob Book: Thank you to Green River.

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Bob Book: And yeah, I'll give it a thumbs up, Brad.

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Bob Book: Two two thumbs up.

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Bob Book: There we go.

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Bob Book: All right.

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Bob Book: So I sat down and talked with a new friend of the show, David Huffman, who has just been
named a director up at the Cleveland Cinematheque.

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Bob Book: Now the Cinematheque is what we call a repertory theater.

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Bob Book: Rep theaters are all over the country, usually in big cities.

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Bob Book: And they'll show like experimental films.

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Bob Book: They'll show classic movies.

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Bob Book: A lot of times they'll try to source movies from owners that have a copy of it on like 35
millimeter so that they can show a movie on film.

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Bob Book: They're usually attached to nonprofits or to museums.

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Bob Book: And the Cleveland Cinematheque is one of the longest running in the country and and one of
the most respected now.

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Bob Book: They just filled this vacancy.

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Bob Book: David is a really cool guy.

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Bob Book: I had never met him before, but I think it's really important that we talk about what rep
theater is.

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Bob Book: Why it's important in the cinema landscape and why it's important to have places that are
showing like Citizen Kane every now and then, that isn't just like a fathom event shown on

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Bob Book: some shitty, you know, regal cinemas theater around the country.

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Bob Book: So, like it's nice to have these things as an option.

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Bob Book: And David does a really great job breaking that down.

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Bob Book: So let's go over to my interview with David Huffman.

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Bob Book: All right, I am joined by David Huffman, who is the new director of the Cleveland Cinematheque, and I've known him for almost ten minutes now, and he's already given me permission

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Bob Book: to call him Dave.

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Bob Book: So, Dave, great to meet you and introduce you to film and whiskey.

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Bob Book: How are you today?

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David C Huffman: I'm all right, I'm gonna insist on calling you Robert though.

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David C Huffman: All right.

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Bob Book: it gives me a huge power trip.

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Bob Book: So I love it.

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David C Huffman: you feel fancy, doesn't it?

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Bob Book: Absolutely.

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Bob Book: So the Cleveland Cinematheque is one of my favorite institutions here in Northeast Ohio.

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Bob Book: And we won't I I promise I'm gonna try not to get too nerdy about different places I like
to frequent in Northeast Ohio.

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Bob Book: But I think it's an important place to talk about for our audience because we really
haven't talked about repertory theater before.

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Bob Book: And before we get into talking about the Cinematheque itself, I want to talk a little bit
about you because you have now been named the director of one of the most prestigious

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Bob Book: institutions in repertory theater.

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Bob Book: in the country, which is, I mean, you know, not to tee you up with what a huge honor that
must be, but it really is.

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David C Huffman: it is.

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David C Huffman: It it I feel very privileged to uh take over the stewardship of this incredible
organization that I've loved as long as I've lived in Cleveland.

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David C Huffman: Um, but of course when I first moved to Cleveland, because of my work schedule, I
frequently couldn't ever go to see anything at the Cinematheque.

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David C Huffman: So it was just like getting the schedule was just a mean tease because it'd be like, I'd
love to go to that, but I have to work.

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David C Huffman: So but now I get to go to work and see the movies if I want to there.

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David C Huffman: So it it kind of works out perfectly.

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David C Huffman: I'll make up for lost time.

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Bob Book: That's kind of the dream.

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Bob Book: And now you get to force everybody to watch what you want to show them too.

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Bob Book: So it's it's like having a captive audience in the truest sense of the term.

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David C Huffman: Well, you know, film programming is something that I've done for a many, many years.

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David C Huffman: Pretty much I joke like really since college, you know, and and I'm and I'm not the
youngest guy on earth.

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David C Huffman: So it's been quite a few decades that I've been doing it.

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David C Huffman: And you know, I ran the campus film program at Bowling Green for a few years and
programmed the the the weekend films and the classic films there.

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David C Huffman: Then, you know, I was a movie theater manager for a few years, and then I started working
for Cleveland Cinemas here and kind of

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David C Huffman: Created my own job there.

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David C Huffman: I was technically the director of marketing for Cleveland Cinemas, but I was really
marketing and programming.

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David C Huffman: So all the special series that people would identify with the Cedarly in the Capitol
Theater at the time were really, you know, I was me back there like planning all that

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David C Huffman: stuff.

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David C Huffman: And so, you know, it's just something that I've always done.

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David C Huffman: And even during the pandemic, when the movie theaters were shut down, I was.

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David C Huffman: I bought a blow up movie screen from my backyard and programmed a whole summer of movies
so my friends had movies to go see, you know.

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David C Huffman: So even when I'm not getting paid, I'm still programming movies.

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Bob Book: So

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Bob Book: I love that.

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Bob Book: Yeah, and and quick shout out to Cleveland Cinemas, you know, it it independent theater
chains got really it was difficult for them during COVID.

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Bob Book: We'll just put it like that.

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Bob Book: It's nice to see Cleveland Cinemas is do still doing well.

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Bob Book: Cedar Lee is, I think, probably nationally known, especially among uh like film lovers, as
like it's the only real destination in this area for independent cinema, and it's really

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Bob Book: been punching above its weight for a long, long time.

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David C Huffman: there's also the Cleveland Cinematheque, so you know.

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Bob Book: That's that's true.

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Bob Book: That's true.

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Bob Book: See, this is why I bring you on.

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Bob Book: Thank you for the immediate clarification.

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Bob Book: But let's talk a little bit about your background with Cleveland cinemas, because I think
for our audience, as we start to talk about what a repertory theater is, how is it

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Bob Book: different programming movies for a repertory theater than it is for like a theater chain,
the way you would with Cleveland cinemas?

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David C Huffman: Yeah, so I mean, it's interesting because the Cinematheque does show a lot of repertory,
probably.

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David C Huffman: I don't know what the percentage of the programming would be, and of course I'll be the
one dictating that, I guess.

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David C Huffman: So it'll be up to me.

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David C Huffman: there is a lot that is repertory, and that means that films that are classic Hollywood
films, or it could even mean a movie that maybe came out a year or two ago that fits in

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David C Huffman: with a series or something that they bring back.

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David C Huffman: But they also do show like new movies as well.

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David C Huffman: You know, the Cinematheque is the theater that first showed uh the secret agent, which you
know, was up for a bunch of Oscars this year.

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David C Huffman: They opened that movie at the at the Cinematheque this year, not at the Cedar Lee.

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David C Huffman: The Cedar Lee opened it after the Cinematheque.

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David C Huffman: So sometimes the Cinematheque gets a jump on, you know, like a newer uh art house film as
well.

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David C Huffman: Um, but a big majority of the programming that uh is that people think of when they think
of the Cinematheque is repertory stuff.

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David C Huffman: And that could be, you know, international classics to, you know, Hollywood classics to,
you know, everything.

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David C Huffman: And honestly, even before I was hired as the director of Cinematheque, I was

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David C Huffman: Coordinating with the my predecessor, Bilgesu, uh, in my current job as a self-employed
vegan baker, uh, to do a promotion for Pride Month.

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David C Huffman: uh and we I picked an uh classic Pedro Almodóvar movie, Law of Desire, that's gonna be playing
at June twenty-seventh at the at the Cinematheque.

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David C Huffman: And, you know, so I was already kind of, you know, working with them on an idea.

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David C Huffman: And so I've technically, I guess, already programmed one movie, the Cinematheque, even
before I worked there.

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Bob Book: it's very cool.

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Bob Book: So, for our audience, I want to take a step back and talk about repertory theater just in
general.

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Bob Book: You know, i if, you know, we could just do the Merriam-Webster definition of what is rep
theater, but I th I kind of want to give a little bit of historical context as well.

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Bob Book: when did we start seeing, especially in America, rep theaters spring up and then where are
they typically located?

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Bob Book: Because I think the fact that we have such a great one in the Midwest like this, is
telling.

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David C Huffman: Yeah, I mean they're generally, I mean, you know, what you're not gonna find one usually
in a small town because there's just not the economics to support it, because you know,

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David C Huffman: movies do cost money to get from the studios and you know, you have to be able to pay the
bills.

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David C Huffman: Um, so they're generally all in larger or mid sized cities at the at the smallest.

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David C Huffman: And you know, as far as when they first started to come, it's hard to say because
historically film distribution used to be very, very different than how we think of it

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David C Huffman: now.

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David C Huffman: Um, studios used to constantly reissue their own movies, you know.

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David C Huffman: Like, uh, you know, I I'm staring right now.

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David C Huffman: You can see classic movie posters behind me, but I'm staring at a movie poster for one of
my favorite movies, The Women, which is from 1939.

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David C Huffman: But this is actually a re-release poster from like 1943, I think.

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David C Huffman: So, like they would put their own movies out again before VCRs and and TV to like stream
things.

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David C Huffman: So, in a way,

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David C Huffman: All movie theaters used to play some repertory stuff because the studios would put out
movies that were successful.

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David C Huffman: So you'd have more and more chances to see these on the big screen, you know, sound of
music played for years, you know, whenever it was originally out, things like that.

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David C Huffman: So as far as like repertory houses, you're probably looking at later, probably like
sixties, seventies, seventies for sure, you know, like New York, you would really get some

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David C Huffman: iconic kind of like repertory kind of things there.

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00:24:39,598 --> 00:24:43,373
David C Huffman: But it took a little while before those um, you know.

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David C Huffman: And and there's even theaters that specialize in like silent films.

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David C Huffman: There's still I think the silent theater that's out in Los Angeles that only plays silent
movies still.

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David C Huffman: So, you know, that's a very specific repertory and you know, like the new Beverly out in
LA.

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David C Huffman: There's there's a ton of repertory theaters, obviously in LA because, you know, it's the
how the where you go for movies.

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Bob Book: So yeah.

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David C Huffman: Yeah, I mean, uh, you know, I was actually just reading an article this week about the
release strategy of movies like Jaws and Star Wars in the 70s.

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Bob Book: And we've talked about how they kicked off the summer blockbuster, but I don't know if on
this podcast we've ever really gotten into the nitty-gritty of the distribution style,

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Bob Book: where, you know, the studios purposely decided to saturate the market where this is
playing on at the time, you know, maybe 1500 screens nationwide.

365
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Bob Book: That had never really been done before.

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Bob Book: No.

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Bob Book: tent pull movies kind of followed this roadshow format before that.

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Bob Book: And you'd you'd get it for a couple weeks, but it wasn't like every theater in every town
around you was all only showing Jaws.

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Bob Book: And I feel like that's kind of how reps got started because it's like, hey, we could just
do a whole theater where all we show is old movies, and it's counterprogramming to what

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Bob Book: you see in every other theater around you.

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David C Huffman: And obviously people love people that love movies love to go to the movies and love to see
the things on the big screen.

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David C Huffman: And so it's film lovers like you and like me that keep repertory theaters going because
again, if if if you weren't selling tickets, no one would be, you know, that they wouldn't

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David C Huffman: survive.

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David C Huffman: And you know, the Cinematheque's been around now for uh we're in the fortieth year and it's
gone strong.

375
00:26:16,908 --> 00:26:19,569
David C Huffman: And like you said earlier, it has an incredible reputation.

376
00:26:19,569 --> 00:26:21,577
David C Huffman: You know, John Ewing, who founded it.

377
00:26:21,577 --> 00:26:31,293
David C Huffman: and and and was you know ran it for basically the first 40 years uh he you know ended up
getting knighted by the French government for his contribution to the arts you know what I

378
00:26:31,293 --> 00:26:34,845
David C Huffman: mean so he is uh he's my only uh friend that is a knight.

379
00:26:34,845 --> 00:26:39,118
David C Huffman: I only have one and I don't call him Sir John but I I guess I technically should.

380
00:26:39,118 --> 00:26:47,619
David C Huffman: Um and you know so the importance of film as art is something that the Cinematheque strives
to keep alive.

381
00:26:47,619 --> 00:26:55,745
David C Huffman: And when I was with Cleveland Cinemas, you know, obviously I worked for the Cedarly and I
did the film marketing for a lot of like the specialty arthouse films that can't pay like

382
00:26:55,745 --> 00:27:01,789
David C Huffman: the, you know, the smaller distributors that can't afford to hire a publicist in each
market, I would take that over.

383
00:27:01,789 --> 00:27:07,553
David C Huffman: So I would be arranging all the PR and like interviews and making sure reviews are running
and that kind of stuff.

384
00:27:07,553 --> 00:27:16,099
David C Huffman: Um, but then the programming things that I would do for Cleveland Cinemas were more kind
of, you know, like filling niches that I felt like

385
00:27:16,099 --> 00:27:19,882
David C Huffman: we weren't doing, you know, like the cult series, which we call the late shift.

386
00:27:19,882 --> 00:27:24,725
David C Huffman: Um, I've got the current series, the WTF Wednesdays that's going on, you know, that kind
of stuff.

387
00:27:24,725 --> 00:27:29,309
David C Huffman: So a lot of the stuff that people see as my programming is a lot of the cult and horror
things.

388
00:27:29,309 --> 00:27:32,551
David C Huffman: But you know, I love I I love classy stuff too.

389
00:27:32,551 --> 00:27:39,966
David C Huffman: I keep having to joke with people, you know, like if they only think that I run 12 hours
of terror, and I know I'm sitting here in front of uh a wall of classic William Castle

390
00:27:39,966 --> 00:27:43,410
David C Huffman: horror movies, but I really do love all different kinds of movies.

391
00:27:43,410 --> 00:27:46,746
Bob Book: Well, I I'm gonna try to tee you up for an easy one here, but it's not really easy.

392
00:27:46,746 --> 00:27:49,139
Bob Book: I think there's there's it's multifaceted.

393
00:27:49,220 --> 00:27:55,029
Bob Book: But why do you feel like rep theaters matter in today's cinema landscape?

394
00:27:55,456 --> 00:28:07,553
David C Huffman: well, I think all movie theaters matter in today's landscape because I think that people
more and more people and even like y the you know, the Gen Z and Gen Alpha people are

395
00:28:07,553 --> 00:28:16,208
David C Huffman: starting to realize that like a movie going experience is an authentic experience and
people are looking for more experiences as opposed to living their life on their phone.

396
00:28:16,208 --> 00:28:22,534
David C Huffman: And you know, when you have to give something your complete attention and you're in the
dark with strangers and you're just having that communal experience.

397
00:28:22,534 --> 00:28:25,625
David C Huffman: It can't be replicated anywhere other than in a movie theater.

398
00:28:25,625 --> 00:28:35,968
David C Huffman: So the Cinematheque playing, you know, classic films, it gives people an opportunity to see
kind of essential building blocks of cinema, if you will, you know, and uh as well as fun

399
00:28:35,968 --> 00:28:44,630
David C Huffman: things too, you know, like uh Bilgesu did a great job of bringing in a lot of kind of
like, you know, Euro culty kind of things, you like Vampiros Lesbos and stuff like that,

400
00:28:44,630 --> 00:28:46,447
David C Huffman: which is a blast to see with an audience.

401
00:28:46,447 --> 00:28:49,112
David C Huffman: There was, you know, probably like 200 people at that show there.

402
00:28:49,112 --> 00:28:50,278
David C Huffman: And you just

403
00:28:50,278 --> 00:28:57,176
David C Huffman: It's way more fun to watch Vampiros Lesbos in an auditorium with two hundred people than
it is sitting in your T in your living room watching it with a friend.

404
00:28:57,176 --> 00:28:57,956
Bob Book: Yeah.

405
00:28:58,373 --> 00:28:59,134
Bob Book: Yeah.

406
00:28:59,134 --> 00:29:05,869
Bob Book: We talk all the time about how, you know, people consider going to the movies an event
now, which I guess is true, right?

407
00:29:05,869 --> 00:29:15,277
Bob Book: But if if we're breaking down the economics of the events I do in a year, it's still the
cheapest way I can spend two hours with a date or with a family.

408
00:29:15,277 --> 00:29:23,915
Bob Book: You know, people complain about ticket prices at the multiplex all the time, but even if
I'm dropping fifty or sixty dollars for two hours of entertainment, and the thing with,

409
00:29:23,915 --> 00:29:27,297
Bob Book: you know, I don't have to tell you this, we're both movie lovers, but

410
00:29:27,439 --> 00:29:38,602
Bob Book: There is something about being, you know, in that environment where you are exposed to a
great work of art that will make a lasting impression on you that goes way beyond the the

411
00:29:38,602 --> 00:29:42,005
Bob Book: two hours you spent outside of the house to make sure you saw it.

412
00:29:42,429 --> 00:29:43,019
David C Huffman: Exactly.

413
00:29:43,019 --> 00:29:50,461
David C Huffman: And I think that that's something that I don't know why I enjoy like film programming and
presenting movies to the public as much as I do.

414
00:29:50,461 --> 00:29:55,014
David C Huffman: Like it is kind of a weird thing to like I don't know, but I I'm kind of passionate about
it.

415
00:29:55,014 --> 00:30:04,458
David C Huffman: So I'm very excited about this job, obviously, because I treasure the fact that other
people, other film programmers, have really given me memories that I cherish, you know,

416
00:30:04,458 --> 00:30:07,809
David C Huffman: and there's too many of them to start listing, quite frankly.

417
00:30:07,809 --> 00:30:10,700
David C Huffman: But you know, like when you see something that is

418
00:30:10,952 --> 00:30:18,719
David C Huffman: just so much fun with a crowd, like that it it is like going to a concert or something
like that, you know, where you have that shared energy.

419
00:30:18,719 --> 00:30:28,166
David C Huffman: And or even if it's not a fun movie necessarily, maybe it's one that just like really
knocked you down, but it's still something that you can't replicate anywhere else.

420
00:30:28,166 --> 00:30:38,755
David C Huffman: So places like the Cinematheque are so important to keep that tradition alive, to keep, you
know, the audiences engaged so that they understand that that there's different levels of

421
00:30:38,755 --> 00:30:40,198
David C Huffman: uh, you know,

422
00:30:40,198 --> 00:30:41,889
David C Huffman: cinema, if you will, you know.

423
00:30:41,889 --> 00:30:50,799
David C Huffman: And uh and when I say different levels, I mean the experience of seeing it in the theater
as opposed to watching it at home or God forbid watching it on an airplane or, you know, I

424
00:30:50,799 --> 00:31:00,224
David C Huffman: I just tr I was took a just came back from vacation and I had a very long flight on the
way home and I watched a bunch of movies on the plane and I try to either watch movies

425
00:31:00,224 --> 00:31:04,625
David C Huffman: that I'm not that that I I'd either seen before, like I rewatched Household Saints.

426
00:31:04,625 --> 00:31:08,012
David C Huffman: I hadn't seen that in forever and I was like, yeah rewatch Household Saints.

427
00:31:08,012 --> 00:31:10,854
David C Huffman: And you know, but I try not to watch something for the first time.

428
00:31:10,854 --> 00:31:16,598
David C Huffman: It's certainly not something that I think needs to be like a big screen kind of cinematic
experience.

429
00:31:16,598 --> 00:31:17,478
Bob Book: Yeah.

430
00:31:18,640 --> 00:31:19,320
Bob Book: Yeah.

431
00:31:19,320 --> 00:31:23,712
Bob Book: I want to focus in on just a little tidbit of what you just shared with us.

432
00:31:23,712 --> 00:31:35,706
Bob Book: And what I've always been curious about is at a place like the Cinematheque, how do you
intend to balance like the the obscure and kind of introducing this to an audience who may

433
00:31:35,706 --> 00:31:40,998
Bob Book: have never seen it in this area before with that sort of like film one one repertory?

434
00:31:40,998 --> 00:31:47,321
Bob Book: Because I think that there are sometimes films that we let fall through the cracks because
we just kind of assume that they're in the canon now.

435
00:31:47,321 --> 00:31:56,683
Bob Book: you know, I was talking with somebody about the Criterion Collection the other day, and
I'm pretty sure Criterion Spine number one is Grand Illusion.

436
00:31:56,864 --> 00:32:07,827
Bob Book: And that's a movie that like I nobody even talks about that movie anymore because it's
just kind of been so canonized that it's it's almost become irrelevant in a way.

437
00:32:07,827 --> 00:32:12,868
Bob Book: So I wonder how you how how do you allow yourself to say, you know what, we haven't shown

438
00:32:13,038 --> 00:32:20,919
Bob Book: I don't know, Citizen Kane or the best years of our lives, or whatever it might be in ten
years, and and be okay dedicating space to that as well.

439
00:32:20,919 --> 00:32:28,922
David C Huffman: it's funny that you say that because honestly, even even before I was hired, as soon as I
started the interview process, my film programmer brain just started to go.

440
00:32:28,922 --> 00:32:32,003
David C Huffman: And I was like, I have a you know, the the notes app on my phone.

441
00:32:32,003 --> 00:32:39,867
David C Huffman: I just kept like typing like ideas for like series and things and then and I'd watch a
movie and then that movie would make me think of like, well, how would this work with

442
00:32:39,867 --> 00:32:42,878
David C Huffman: other movies that maybe thematically work with this or whatever, you know?

443
00:32:42,878 --> 00:32:43,544
David C Huffman: And

444
00:32:43,544 --> 00:32:45,686
David C Huffman: And then I would start to write these things down.

445
00:32:45,686 --> 00:32:52,871
David C Huffman: And you know, I've seen a lot of movies of the Cinematheque, but I certainly don't have
the, you know, I forget how many thousands of movies have been played over the years to

446
00:32:52,871 --> 00:32:55,192
David C Huffman: know like how long ago it's been played.

447
00:32:55,192 --> 00:32:58,965
David C Huffman: And you know, like everyone's memory, you think, yeah, we just showed that.

448
00:32:58,965 --> 00:33:02,557
David C Huffman: And this would happen to me at that uh at for Cleveland Cinema sometime.

449
00:33:02,557 --> 00:33:04,058
David C Huffman: I'd be like, Yeah, I just showed network.

450
00:33:04,058 --> 00:33:06,680
David C Huffman: And then I'd look and I'm like, actually I showed network ten years ago.

451
00:33:06,680 --> 00:33:07,251
David C Huffman: You know what I mean?

452
00:33:07,251 --> 00:33:09,923
David C Huffman: Like, so it's hard to like remember.

453
00:33:09,923 --> 00:33:12,006
David C Huffman: And so that kind of stuff, like you do

454
00:33:12,006 --> 00:33:19,479
David C Huffman: want look at that, you know, like, you know, sure you could show Citizen Kane every year
if you wanted to, and you probably get people to come, but at a certain point you're like,

455
00:33:19,479 --> 00:33:20,480
David C Huffman: not Citizen Kane again.

456
00:33:20,480 --> 00:33:29,203
David C Huffman: You know, but Citizen Kane every once in a while, yeah, people need to have that exposure
because there might be a whole new group of people that are discovering Orson Wells and

457
00:33:29,203 --> 00:33:31,905
David C Huffman: there's a reason why that movie has the reputation that it does.

458
00:33:31,905 --> 00:33:40,191
David C Huffman: And, you know, and you know, Jeanne Dielman un unseated it as the number one movie on the
sight and sound list, you know, and the Cinematheque played that, I think, when it

459
00:33:40,191 --> 00:33:43,464
David C Huffman: took over that slot and then they played it a few years after that.

460
00:33:43,464 --> 00:33:50,910
David C Huffman: So pretty frequently in the world of Jeanne Dielman screenings, I would say, because it's
not a movie that have you seen Jeanne Dielman?

461
00:33:51,111 --> 00:33:52,492
David C Huffman: Have you seen that one?

462
00:33:52,673 --> 00:33:53,179
Bob Book: Okay.

463
00:33:53,179 --> 00:33:58,893
Bob Book: waiting to see it in a theater experience too, so shame on me for not catching it at the
Cinematheque.

464
00:33:58,893 --> 00:34:06,189
David C Huffman: but I really suggest you do wait until I bring me, I guess, will be the one that brings it
around because it's three hours long.

465
00:34:06,189 --> 00:34:12,644
David C Huffman: It is, as one of my favorite college film professors said, uh lyrically paced, uh, meaning
it's a slow burn.

466
00:34:12,644 --> 00:34:13,155
David C Huffman: You know what I mean?

467
00:34:13,155 --> 00:34:19,640
David C Huffman: It's basically like hours of this woman just doing housework and her routine, but it
builds and it's really great.

468
00:34:19,640 --> 00:34:24,372
David C Huffman: Uh and you know, it's it's it's a really fascinating movie.

469
00:34:24,372 --> 00:34:26,473
David C Huffman: Uh, but it's definitely not for everybody.

470
00:34:26,473 --> 00:34:34,208
David C Huffman: You know, I definitely wouldn't say to, you know, someone that only watches fast and
furious movies probably isn't gonna like Jeanne Dielman, but you know, the right kind of

471
00:34:34,208 --> 00:34:37,400
David C Huffman: person is gonna wanna give it the attentions that it deserves.

472
00:34:37,400 --> 00:34:45,545
David C Huffman: And I think seeing it in the theater is like for most movies, the best way to do it,
especially a movie like that, that maybe commands your attention a little bit more.

473
00:34:45,545 --> 00:34:50,268
David C Huffman: You might be, if you're watching it at home, you might be tempted to like pick up your
phone and start, you know.

474
00:34:50,480 --> 00:34:54,873
David C Huffman: looking up all the information on IMDb about the movie as opposed to just watching the
movie.

475
00:34:55,493 --> 00:35:00,116
Bob Book: So I want to talk a little bit about the Cinematheque and its relation to Cleveland.

476
00:35:00,116 --> 00:35:02,156
Bob Book: you you mentioned the New Beverly a while ago.

477
00:35:02,156 --> 00:35:06,929
Bob Book: And I think the thing about the New Beverly is that it both reflects the mind of its
owner, right?

478
00:35:06,929 --> 00:35:09,620
Bob Book: Like it's a very Quentin Tarantino establishment.

479
00:35:09,620 --> 00:35:16,143
Bob Book: But I feel like it's also a very LA like what they show is it's very LA centric.

480
00:35:16,143 --> 00:35:18,778
Bob Book: And I think that what go ahead, please.

481
00:35:18,778 --> 00:35:29,055
David C Huffman: No, I was gonna say that frequently, as a film programmer that's been working in Cleveland
for many, many years, I'm very aware of like I see programs that the New Beverly does, and

482
00:35:29,055 --> 00:35:32,558
David C Huffman: I always joke that still one of my favorite series of all times.

483
00:35:32,558 --> 00:35:38,702
David C Huffman: They did a just it was a double feature, I think, but they called it Vanity Insanity,
where they played like two movies starring Vanity.

484
00:35:38,702 --> 00:35:41,864
David C Huffman: And I just thought that was I just love a cheesy name like that.

485
00:35:41,864 --> 00:35:42,785
David C Huffman: It made me laugh.

486
00:35:42,785 --> 00:35:47,598
David C Huffman: But like if I did a Vanity Insanity series here in in Cleveland.

487
00:35:47,814 --> 00:35:48,655
David C Huffman: I'd get four people.

488
00:35:48,655 --> 00:35:49,205
David C Huffman: You know what I mean?

489
00:35:49,205 --> 00:35:58,293
David C Huffman: Like this you just have to know that, you know, Los Angeles has millions and millions of
people and Cleveland does not, you know.

490
00:35:58,293 --> 00:36:03,237
David C Huffman: So it's like the amount of people that are you and you have to program for that.

491
00:36:03,237 --> 00:36:12,354
David C Huffman: But the good thing about the Cinematheque is that unlike my mission with Cleveland Cinemas,
which really was driven by, you know, we have to make sure that it's up, you know, they're

492
00:36:12,354 --> 00:36:13,906
David C Huffman: it's a profit-based business.

493
00:36:13,906 --> 00:36:17,052
David C Huffman: And so we had to make enough butts and seats to buy popcorn and stuff.

494
00:36:17,052 --> 00:36:24,356
David C Huffman: The Cinematheque, we want butts and seats, but it's also a nonprofit arts organization that
has additional elements to its mission.

495
00:36:24,356 --> 00:36:33,071
David C Huffman: We want people there to see these movies, but if there's a really great, challenging movie
that I think probably only five or ten people are gonna come see, I would still play it at

496
00:36:33,071 --> 00:36:40,485
David C Huffman: the Cinematheque because I think it's important for that movie to have an outlet to be
shown, uh, artistically, culturally, whatever.

497
00:36:40,485 --> 00:36:46,630
David C Huffman: And and you know, maybe it's a very specific community that's looking for that movie and
they're gonna be so excited that.

498
00:36:46,630 --> 00:36:50,744
David C Huffman: we're showing it and then maybe they'll discover other things that the Cinematheque is
playing.

499
00:36:50,744 --> 00:36:58,542
David C Huffman: And I think that that sort of role that the cinemate plays is so different than a theater
like the Cedar League.

500
00:36:59,403 --> 00:37:06,488
Bob Book: You know, and I I wanna ask about that as well, because I do think there's an element of,
yes, we're in a a smaller market here and we're in the Midwest.

501
00:37:06,488 --> 00:37:12,533
Bob Book: And so there's an element of like exposing people to things they may not have seen if
they're not in LA or New York.

502
00:37:12,533 --> 00:37:18,243
Bob Book: But I think the flip side then is how do you make the programming kind of reflect its
Clevelandness?

503
00:37:18,243 --> 00:37:20,469
Bob Book: Like is that does that make sense?

504
00:37:21,207 --> 00:37:22,998
David C Huffman: Yeah, it makes total sense.

505
00:37:23,119 --> 00:37:26,411
David C Huffman: you know, Clevelanders love to see Cleveland on screen.

506
00:37:26,411 --> 00:37:34,898
David C Huffman: So anytime, you know, you show, like when I was at Capitol and Cedar League, we show Major
League, which I think the Capitol is playing as part of the Ohio Goes to the Movie series

507
00:37:34,898 --> 00:37:35,808
David C Huffman: soon.

508
00:37:35,949 --> 00:37:39,332
David C Huffman: you know, people show up because they love to just see shots of Cleveland.

509
00:37:39,332 --> 00:37:40,092
David C Huffman: you know.

510
00:37:40,092 --> 00:37:42,454
David C Huffman: And so there's just that.

511
00:37:42,504 --> 00:37:45,637
David C Huffman: you know, it's been always joked, but no one's ever done it yet.

512
00:37:45,637 --> 00:37:47,018
David C Huffman: Like to show Howard the Duck.

513
00:37:47,018 --> 00:37:51,096
David C Huffman: I, you know, I'm sort of think I'm probably gonna show Howard the Duck at some point
because

514
00:37:51,096 --> 00:37:57,349
David C Huffman: I it's a Cleveland movie that no one really shows and you know, even has, you know,
Cleveland adjacent, I guess.

515
00:37:57,349 --> 00:38:05,213
David C Huffman: But yeah, Clevelanders do love uh, you know, I'm originally from Pittsburgh, which I know
is controversial to be from Pittsburgh and live in Cleveland.

516
00:38:05,213 --> 00:38:15,277
David C Huffman: Uh, but you know, Pittsburgh gets so much of its identity from its sports teams, and then
Cleveland, since they didn't have the sort of, you know, traditionally the winningest

517
00:38:15,277 --> 00:38:16,358
David C Huffman: records,

518
00:38:17,070 --> 00:38:21,691
David C Huffman: Their pride just seemed to come from their underdog kind of uh spirit.

519
00:38:21,691 --> 00:38:25,602
David C Huffman: And so I you know, you see people just walking around Cleveland just wearing shirts that
say Cleveland.

520
00:38:25,602 --> 00:38:29,303
David C Huffman: You'd go to most cities, people aren't wearing a shirt that just says the name of the city
that they're from.

521
00:38:29,303 --> 00:38:32,754
David C Huffman: Um, but Clevelanders really take it with a lot of pride.

522
00:38:32,754 --> 00:38:40,696
David C Huffman: And you know, the fact that you know, a Christmas story house is becoming such a, you
know, tourist destination and they've turned that into a whole industry, you know.

523
00:38:40,696 --> 00:38:45,553
David C Huffman: So I mean Clevelanders really respond to a lot of hometown pride.

524
00:38:45,553 --> 00:38:46,874
David C Huffman: And I respect that.

525
00:38:46,874 --> 00:38:53,759
David C Huffman: And, you know, I I look forward to, you know, anytime there's a local-ish connection to
something, I think it's worth exploring.

526
00:38:53,870 --> 00:38:57,363
David C Huffman: you know, I hope to try to bring in some, you know, hometown heroes.

527
00:38:57,363 --> 00:39:05,573
David C Huffman: You know, there's a lot of people from Cleveland, you know, like you know, David Wain and
which is having, you the what hot American Summer like anniversary this year.

528
00:39:05,573 --> 00:39:09,443
David C Huffman: Uh, and I've he's I've worked a little bit with him when I was at Cleveland Cinemas and
stuff.

529
00:39:09,443 --> 00:39:14,597
David C Huffman: So, you know, there's there's hometown people that I'm gonna try to be reaching out to to
see if we can do things with them.

530
00:39:14,749 --> 00:39:19,890
David C Huffman: you know, it's not always the easiest thing to convince people, even that are from
Cleveland, to come back to Cleveland.

531
00:39:19,971 --> 00:39:23,372
David C Huffman: you know, Cleveland isn't a a glamorous resort town.

532
00:39:23,372 --> 00:39:27,813
David C Huffman: You know, when I worked for the Provincetown Film Festival, we would always have, you
know, we had big names.

533
00:39:27,813 --> 00:39:37,435
David C Huffman: We had Tarantino, we had Tilda Swinton, Tilda Swinton, we had you know, Darren Aronofsky,
we had like big name people, uh, Oscar-winning people, because they get to go to this cool

534
00:39:37,435 --> 00:39:38,496
David C Huffman: little resort town.

535
00:39:38,496 --> 00:39:43,373
David C Huffman: And that's why a lot of the big prestigious film festivals are in fancy resort towns
because

536
00:39:43,373 --> 00:39:45,415
David C Huffman: Fancy people like to go to fancy places.

537
00:39:45,415 --> 00:39:48,769
David C Huffman: And Cleveland just isn't a a fancy resort town, unfortunately.

538
00:39:48,769 --> 00:39:52,994
David C Huffman: So it's hard to lure them here like how how about a glamorous vacation in Cleveland?

539
00:39:52,994 --> 00:39:55,887
David C Huffman: You know, that doesn't appeal to everybody other than maybe Drew Carey.

540
00:39:55,887 --> 00:39:57,669
David C Huffman: Maybe maybe he'd be into it.

541
00:39:57,669 --> 00:39:57,945
Bob Book: Yeah.

542
00:39:57,945 --> 00:40:00,991
Bob Book: been I've been trying to work on getting Carrie Coon just to come on the show.

543
00:40:00,991 --> 00:40:03,206
Bob Book: I'm like, I live five minutes away from where you grew up.

544
00:40:03,206 --> 00:40:07,815
Bob Book: Just come just come talk about Copley with me for twenty minutes and then I'll let you go,
you know?

545
00:40:08,176 --> 00:40:09,466
David C Huffman: Well, yeah, no.

546
00:40:09,466 --> 00:40:12,237
David C Huffman: well we'll talk offline about Carrie.

547
00:40:12,237 --> 00:40:13,037
David C Huffman: No, Carrie's great.

548
00:40:13,037 --> 00:40:13,477
David C Huffman: I love Carrie.

549
00:40:13,477 --> 00:40:15,197
David C Huffman: We had her at no, I do.

550
00:40:15,197 --> 00:40:16,138
David C Huffman: I know Carrie.

551
00:40:16,138 --> 00:40:18,018
David C Huffman: Her brother is one of my good friends.

552
00:40:18,018 --> 00:40:23,849
David C Huffman: And yeah, so no Carrie, whenever Gone Girl is coming out, she did a QA for us at the
Capitol.

553
00:40:23,849 --> 00:40:25,250
David C Huffman: I mean, Carrie's amazing.

554
00:40:25,250 --> 00:40:25,930
David C Huffman: I I love her.

555
00:40:25,930 --> 00:40:30,669
David C Huffman: She's super funny, and that's the thing, like she's just such an amazing dramatic actress.

556
00:40:30,669 --> 00:40:34,366
David C Huffman: But no one has really given her the chance to be sh show how funny she is.

557
00:40:34,366 --> 00:40:37,241
David C Huffman: So 'cause she really is really funny.

558
00:40:37,241 --> 00:40:39,745
David C Huffman: And her QA's that she did at the Capitol, she killed.

559
00:40:39,745 --> 00:40:42,260
David C Huffman: She was just really very sharp witted.

560
00:40:42,260 --> 00:40:43,292
David C Huffman: She's she's great.

561
00:40:43,292 --> 00:40:44,018
David C Huffman: I love Carrie.

562
00:40:44,018 --> 00:40:45,298
Bob Book: we gotta get her back in town then.

563
00:40:45,298 --> 00:40:48,920
Bob Book: All right, Dave, before I let you go, uh one last question here.

564
00:40:49,461 --> 00:40:58,166
Bob Book: Every time I've been to the Cinematheque, I have tried to line it up with not just a movie
that I really want to see on the big screen, but it's always in, you know, you're showing

565
00:40:58,166 --> 00:41:01,037
Bob Book: it on 35 or like it's a pristine print.

566
00:41:01,037 --> 00:41:04,769
Bob Book: And usually you guys will make note of like how good the print is on something.

567
00:41:04,769 --> 00:41:13,674
Bob Book: I I want to talk just really quickly about like presentation style and why it's important,
especially at the Cinematheque, because I feel like in addition to the

568
00:41:13,674 --> 00:41:23,978
Bob Book: The curation element, there's kind of a preservation uh mantra at the Cinematheque as well,
that it is important to show movies on film when possible.

569
00:41:23,978 --> 00:41:29,229
Bob Book: Now, I've seen like really degraded prints before, and it's like, okay, maybe we could
have done a DCP on this one, you know?

570
00:41:29,229 --> 00:41:37,412
Bob Book: But like, I I want to know where you stand on that, and is that kind of part of the
expectation for your role or something you're passionate about apart from that?

571
00:41:38,307 --> 00:41:47,232
David C Huffman: I mean if I if they let me know in advance, yes, we have a thirty-five millimeter print of
this, like I'm I'll just uh I'll pick a movie that I know is beautiful and even and I know

572
00:41:47,232 --> 00:41:50,494
David C Huffman: that there's gorgeous prints of, but but like Lawrence of Arabia.

573
00:41:50,494 --> 00:41:56,057
David C Huffman: Say I wanted to show Lawrence of Arabia on film and but for whatever reason they said, the
only print we have is in terrible shape.

574
00:41:56,057 --> 00:42:02,117
David C Huffman: It's got scratches all through it and all this other stuff, I'd be like, Well, in that
case, we'll show the d the digital print, we'll show the DCP.

575
00:42:02,117 --> 00:42:06,180
David C Huffman: Um, because there I think the you know, the presentation would really matter.

576
00:42:06,180 --> 00:42:14,032
David C Huffman: There's a little bit of damage, if there's little bit of scratches for depending on what
the movie is, that adds a sort of like charm to it in a way, as long as it's not terrible.

577
00:42:14,032 --> 00:42:16,542
David C Huffman: And uh, and then there's the flip side of that.

578
00:42:16,542 --> 00:42:26,815
David C Huffman: Like if you're watching like kind of like a 70s grindhouse y horror movie, or like, you
know, if we were showing some old Doris Wishman movie or something like that, uh, that

579
00:42:26,815 --> 00:42:29,836
David C Huffman: kind of, you know, it adds a charm to it in a way.

580
00:42:29,836 --> 00:42:30,336
David C Huffman: You know what I mean?

581
00:42:30,336 --> 00:42:35,297
David C Huffman: It adds the to the kind of experience of seeing a film that is maybe not in the best
condition.

582
00:42:35,691 --> 00:42:43,267
David C Huffman: So this last weekend I was in um Helsinki, and coincidentally there was just a John Waters
series going on while I was there.

583
00:42:43,267 --> 00:42:47,351
David C Huffman: And they uh they showed it on 35 millimeter.

584
00:42:47,351 --> 00:42:54,597
David C Huffman: So it was a 35mm print of polyester with an Odorama card, so that was nice, and with
Finnish and Swedish subtitles.

585
00:42:54,597 --> 00:43:02,163
David C Huffman: And the print was not in terrible shape, but like most 35mm prints, the heads and the
tails, so every time there's a real change, it was pretty scratchy and damaged, but

586
00:43:02,163 --> 00:43:03,644
David C Huffman: overall it was in pretty good shape.

587
00:43:03,644 --> 00:43:05,249
David C Huffman: Um so

588
00:43:05,249 --> 00:43:12,154
David C Huffman: Like if they told me the only print available, it's a little bit of damage, has these
subtitles, or you could show the digital print, I'd probably go, well, let's play the

589
00:43:12,154 --> 00:43:13,335
David C Huffman: digital print, you know?

590
00:43:13,335 --> 00:43:16,156
David C Huffman: So but that's the kind of consideration.

591
00:43:16,156 --> 00:43:25,042
David C Huffman: And you don't always know because sometimes they tell you the print's in better shape than
it actually is, because they it's not like they meticulously go over every one of these

592
00:43:25,042 --> 00:43:26,043
David C Huffman: when they come back.

593
00:43:26,043 --> 00:43:34,849
David C Huffman: But most places that are now still playing film treat it with a tremendous amount of
reverence and are really like the Cinematheque, um

594
00:43:34,849 --> 00:43:40,073
David C Huffman: Not to get too like film nerdy, but you know, we have a real-to-real system, which means
there's two projectors.

595
00:43:40,073 --> 00:43:44,627
David C Huffman: So like real number one's threaded up on this projector, then real number two is on this
projector.

596
00:43:44,627 --> 00:43:51,703
David C Huffman: And a 20-minute mark, when you see that little cigarette burn, then the projectionist
knows, all right, time to start the other projector, and then up, now it's on that one.

597
00:43:51,703 --> 00:43:58,629
David C Huffman: And when you show films on those real-to-reel systems, that is less problematic, causes
less damage to the films.

598
00:43:58,629 --> 00:44:03,940
David C Huffman: Uh, most mainstream, like multiplex cinemas, they use what's called a platter system.

599
00:44:03,940 --> 00:44:13,145
David C Huffman: Where you have to cut the heads and the tails off of each film and you splice each reel
together and it's kind of on one giant flat platter system like this that feeds out

600
00:44:13,145 --> 00:44:15,576
David C Huffman: instead of vertically, it's horizontal.

601
00:44:15,576 --> 00:44:20,399
David C Huffman: And you know, that causes more damage to the film because obviously you're cutting it
every time.

602
00:44:20,399 --> 00:44:29,610
David C Huffman: And some people, because they're lazy, they would just keep making cuts because you always
leave one frame of film to match it to make sure you know like which reel, like, all

603
00:44:29,610 --> 00:44:33,155
David C Huffman: right, this is the last image on real one, this is matches up with that image.

604
00:44:33,155 --> 00:44:36,326
David C Huffman: But if someone's lazy and they don't want to peel the splice tape off, they would just
keep cutting.

605
00:44:36,326 --> 00:44:41,427
David C Huffman: So, you know, that's that's why films get in bad shape because things like that.

606
00:44:41,427 --> 00:44:52,761
David C Huffman: So the Cinematheque and other repertory houses that are still showing uh film pretty much
are almost, I can't say this for sure, but I I can't imagine any of them have um platter

607
00:44:52,761 --> 00:44:53,451
David C Huffman: systems.

608
00:44:53,451 --> 00:45:00,525
David C Huffman: And that means that because we're using the real to reels, then that means that archives
and collectors and things like that.

609
00:45:00,525 --> 00:45:10,026
David C Huffman: We we can source thirty five millimeter prints from those places as opposed to, you know,
if we were back in the day, like and we were just opening Jurassic Park and Universal was

610
00:45:10,026 --> 00:45:14,630
David C Huffman: sending us a print, it was just like from there, you know, the prints that they just
struck.

611
00:45:14,630 --> 00:45:18,671
David C Huffman: These there's obviously not that many thirty-five millimeter prints left of some of these
films.

612
00:45:18,671 --> 00:45:21,332
David C Huffman: And sometimes there's only one or two in the world that they know of.

613
00:45:21,332 --> 00:45:24,523
David C Huffman: So they want to treat those extremely carefully.

614
00:45:24,803 --> 00:45:26,125
Bob Book: that's super fascinating.

615
00:45:26,125 --> 00:45:26,666
Bob Book: All right.

616
00:45:26,666 --> 00:45:30,210
Bob Book: we are out of time, but I I want to give you 30 seconds here.

617
00:45:30,210 --> 00:45:37,359
Bob Book: Give a quick plug for repertory cinema in general and then for the Cinematheque as well.

618
00:45:38,221 --> 00:45:43,284
Bob Book: Yeah, I mean, like I said, uh if you're a movie lover, there's nothing like seeing a movie
on the big screen.

619
00:45:43,284 --> 00:45:51,449
David C Huffman: You've gotta have that experience and you have to support places like the Cinematheque
because it's you buying a ticket that keeps them going.

620
00:45:51,449 --> 00:45:56,612
David C Huffman: And it's just like how everybody memoans that there's aren't as many bookstores or there
aren't as many record stores and things like that.

621
00:45:56,612 --> 00:45:59,534
David C Huffman: It's like, well, that's because people stop supporting them.

622
00:45:59,534 --> 00:46:05,315
David C Huffman: So don't let repertory theaters and and movie theaters in general do that because it is
such a

623
00:46:05,315 --> 00:46:08,266
David C Huffman: Critically part of our, you know, especially American culture.

624
00:46:08,266 --> 00:46:14,949
David C Huffman: You know, our American films obviously dominate most of the world still culturally, uh,
outside of like India and China.

625
00:46:14,949 --> 00:46:17,370
David C Huffman: You know, there's some markets that have huge film markets too.

626
00:46:17,370 --> 00:46:20,581
David C Huffman: But for the most part, like when you're in Europe, everyone is playing.

627
00:46:20,581 --> 00:46:24,473
David C Huffman: You know, I just saw obsession at a multiplex in Helsinki this last weekend.

628
00:46:24,473 --> 00:46:26,914
David C Huffman: So, you know, those are the films that are playing at those theaters.

629
00:46:26,914 --> 00:46:29,255
David C Huffman: They're not, it's not packed with Finnish films.

630
00:46:29,255 --> 00:46:29,735
David C Huffman: Yeah.

631
00:46:29,735 --> 00:46:32,136
David C Huffman: So it's important to come out and support the Cinematheque.

632
00:46:32,136 --> 00:46:34,027
David C Huffman: And I hope you'll respond to the things I show.

633
00:46:34,027 --> 00:46:35,393
David C Huffman: And I plan on showing.

634
00:46:35,393 --> 00:46:36,184
David C Huffman: All kinds of things.

635
00:46:36,184 --> 00:46:38,277
David C Huffman: New stuff, old stuff, weird stuff.

636
00:46:38,277 --> 00:46:42,001
David C Huffman: I love weird movies, so you know, uh the weirder the better in my opinion.

637
00:46:42,894 --> 00:46:46,774
Bob Book: Well, Dave Huffman, new director at the Cleveland Cinematheque.

638
00:46:46,774 --> 00:46:51,325
Bob Book: Thank you so much for joining us today and telling us a little bit more about repertory
theater.

639
00:46:52,099 --> 00:46:52,302
David C Huffman: Sure.

640
00:46:52,302 --> 00:46:54,038
David C Huffman: Well thank you very much, Robert.

641
00:46:54,805 --> 00:46:58,507
Bob Book: We'll be back on Tuesday with another regularly scheduled episode.

642
00:46:58,507 --> 00:47:02,264
Bob Book: But until then, I'm Bob Book and we'll see you next time.