The impending closure of the Pico Landmark Theaters is a huge loss for the independent Los Angeles movie scene, which was already sorely missing the shuttered ArcLight Hollywood. Getting fans of the House of Art to return to movie theaters has been difficult as COVID-19 variables have swept the country, and now the question is whether the city where the films are made has enough theaters to show all kinds of titles – not just blockbusters.
For moviegoers on the West Side of Los Angeles, there was something special about Landmark Pico, whose 12 screens programed a variety of independent and mostly foreign films, along with industry and billboard shows.
“Across the country, including in Los Angeles, there are fewer theaters and fewer screens than there were before the pandemic,” says Jasper Bach, president of IFC Films and head of theatrical distribution division IFC Midnight. “The closure of Landmark Beko will contribute to this problem.”
And it can get to Hollywood where it really hurts: think of an Oscar. “It’s going to be a problem to run the academy,” Tom Bernard, co-chair of Sony Pictures Classics, predicts.
So without the popular Landmark location on the Westside, which is set to close at the end of May, where’s the perfect place to open a bustling independent address?
“We are very well positioned to withstand the recession,” says Greg Limel, president of the Limmel Theater, which manages the bulk of the city’s remaining art houses, including the Monica Film Center and the Royal West Side Center. He notes that his theaters regularly program smaller titles that “are not always shown in Century City”.
“We believe in the long-term future of the House of Art exhibition,” says Leimle. But his company has its own share of challenges: Playhouse 7 in Pasadena, for example, operates on a lease that runs only through June.
“We are looking at other options in Pasadena. “It won’t happen right away,” Leimle says. It’s a real estate issue. Can the showroom compete in terms of lease renewals? ‘ asks rhetorically. That was the problem with Landmark Pico, which is next door to the former Westside Pavilion mall that is now Google’s offices.
Persuading moviegoers in art houses, particularly in older populations, to return to theaters after a pandemic, will be crucial to determining how many theaters can survive.
Bringing movie buffs back into the habit of going to the movies requires innovative, up-to-date thinking, says Bernard. “Where’s the innovation?” Asked. “Theaters like Angelica in New York are up to the challenge with a strong internet programme.”
He also points to promotions to help bring moviegoers back like SPC’s recent “Back a Friend to the Movies,” which offered a free ticket to “The Duke” to anyone who bought a ticket in theaters including Angelika and Laemmle.
“We need some change,” Bernard says of how to rethink independent film marketing. “Once people are back at the movies, they’re in. Going to the movies is safer than going to a bar or a restaurant — you have to keep that in mind.”
Meanwhile, larger films from specialty distributors, such as the popular A24 movie “Everywhere All at One,” are shown in huge complexes such as AMC’s locations in The Grove and Century City.
Theater Royal Laemmle in West LA will take over some reservations when Landmark Pico closes.
Laemmle theaters
“AMC took an opportunity with The Grove to begin accommodating art and audience films after ArcLight Hollywood closed,” Bash says. As much as a platform release for rocking indie music can be started, it also refers to Laemmle’s Royal as a “cool place”.
However, Bernard notes, “AMC will make room for fewer art films as the summer goes on.” “It was a fortunate time that independents were able to play it, but now blockbuster movies will be appearing on every screen”
New players are looking for opportunities to open or reopen arts locations in Los Angeles, San Francisco and elsewhere, says Bernard, including discussions about reopening ArcLight. A source close to ArcLight says there is “no update to share.”
“ArcLight has had an exceptional position, and they have developed a reputation for opening the best art house movies in the US, but that could happen elsewhere,” Bash says.
While it has long been prestigious to open films on the city’s high-money industrial Westside, the cultural conversation has also moved east. Younger moviegoers appreciate the food and drink options at the Alamo Drafthouse in downtown Los Angeles, which reserves some independent titles amid major studio releases.
Laemmle also notes that “we’re seeing more work at our Glendale site,” which is convenient for Silver Lake and Highland Park.
Despite the glimmer of hope, there is no doubt that Los Angeles is emerging from the pandemic with far fewer places to watch a variety of films. But those working in this field try to stay positive.
“The multiplex with a high screen count has become a de facto technical home for many areas of the country. The transition period will be a challenge for all distributors, but I am optimistic that once we get over that hump, the loss will be minimal,” Bach believes.
Laemmle still hopes to work on local exhibitions. “Distributors can count on showing their movie in Los Angeles,” he says.
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