My career at Laemmle Theatres began in early 1991 after a screening of Gerard Depardieu’s Cyrano de Bergerac at the Town & Country (now the Town Center 5) Theater in Encino. My father pointed out the “help wanted” sign in the box office window, and by March I was scooping and selling popcorn and later sweeping up the errant pieces from the auditorium floors. Soon enough I graduated to the more coveted role of box office cashier. My most memorable shift in that position involved a case of laryngitis and handmade signs reading “which film?” and “$4.50, please” held up to the box office window for bemused moviegoers to read. It was like a silent Chaplin short before the main feature.All of this is by way of introduction to the fact that several decades later, I am leaving Laemmle Theatres next week for a much different job in another field entirely. I’m excited for the future but will miss my Laemmle family. As a final, much appreciated gift, Greg Laemmle has offered me this space to write a few words about my Laemmle story.
In 1999, the late Robert Laemmle and his son Greg, at the suggestion of their longtime employee Gregory Gardner, gave me a career when they promoted me from the Music Hall in Beverly Hills to work alongside them in the main office. In the years that followed, the Laemmles have given me so much, treating me like family. They let me telecommute from France for several months in 2022-2023. Bob gave me a loan for the down payment on my first home. A legendary art house exhibitor, Bob was also the kindest of men, and is much missed. For the last 25 years, I’ve been working in the Laemmle office, programming trailers, proofreading and editing others’ writing about movies, sending hundreds of press releases, and sundry other things to help promote films that are in literally every language spoken on planet Earth. It has been a privilege. 
To some fanfare, the New York Times recently published a feature about filmmakers’, actors’, critics’ and their readers' favorite films of the last 25 years. So I figure I’ll do the same. I base my list on something Emily Dickinson said about poetry. I think it applies to movies too:“If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?”If I see a film and immediately know I want to see it again, I know I’ve seen a movie that reaches a level of cinematic poetry that Dickinson would recognize.Before I share my list, I want to say a few things about the many people I’ve worked with. One thing that’s fun about this job is it touches on a few different fields that make theatrical exhibition possible: exhibitors (the people I’ve worked with in the Laemmle office); exhibitor relations people, i.e. the U.S. studios/distributors of the films who coordinate with exhibitors; theater managers; and film media, i.e. the media and film critics. All are essential to getting films in front of audiences. There are too many terrific people I have worked with and admired to mention here, so I’ll single out one person from each area to thank them and sing their praises. Michele Anderson, née Cecilio, was the longtime general manager of the Laemmle NoHo 7 and later oversaw Laemmle Theatres’ operations. It was a privilege to watch her efficiency and problem-solving talent. She was like Alexander overcoming the Gordian knot with linear thinking, but doing it weekly. She made everyone’s job easier, including mine.Matthew King has been working in the Laemmle main office about as long as I have. He worked with famed GM Roger Christensen at the Sunset 5 right after I did and went on to design and oversee all of the systems that make Laemmle Theatres run, not least a Filmmaker-based database that functions as our internal IMDB. (The first entry? The 1999 documentary Creature.) Matt once took a couple years off to work part-time and remotely while getting a bachelor’s degree in biological psychology from U.C. Berkeley. I figure he’s a literal genius and a deeply good person too.I have loved good film criticism since my grandmother encouraged me to read Pauline Kael in The New Yorker. So I was a bit starstruck when I began working directly with local film critics like Manohla Dargis and Kenneth Turan. I met Chuck Wilson when the L.A. Weekly assigned him to review a compilation of Cuban films we were showing. Like other gifted film critics, Chuck can identify and celebrate a movie’s poetry – overall or merely in a scene, a shot, or a line reading – in writing that borders on poetry itself. Chuck and I would go on to become close friends, and he was the best man at my wedding in 2014.Of the many people at studios/distributors I’ve worked with, Kim Kalyka of Neon Rated stands out. Originally from the Angelika Film Center, Miramax, and IFC Films, it is not an exaggeration to say that Kim is one of the reasons Parasite won the Best Picture Oscar and tops the New York Times list of best films of the century. I don’t know how she can accomplish things like that and still reply to my little emails about posters and trailers faster than anyone I’ve ever worked with, but that’s what she does.Finally, to the Laemmle audience: Thank you for your passionate movie love and adventurous taste and continuing to see movies in theaters. You make Los Angeles the vibrant movie mecca that it is and have kept Laemmle Theatres in business since 1938.And now, my list. Actually, I’m going to cheat and do two lists, one for foreign language films and another for films in English.FOREIGN LANGUAGE FILMSAmélieThe Beat That My Heart SkippedChildren of HeavenCrouching Tiger, Hidden DragonFaces PlacesThe Gleaners and ILet the Right One InParasitePerfect DaysPortrait of a Lady on FireA ProphetRomaA SeparationTogether (Lukas Moodysson, 2000)Y tu mamá tambiénENGLISH LANGUAGE FILMSThe Avengers TetralogyBest in ShowBridesmaidsDune: Parts One and TwoEternal Sunshine of the Spotless MindThe FavouriteGet OutGhost WorldThe Grand Budapest HotelHappy-Go-LuckyHard TruthsMaster and Commander: The Far Side of the WorldMinority ReportMoonlightMulholland DrivePast LivesPhantom ThreadThe Royal TenenbaumsStep BrothersTAR The Lord of the Rings TrilogyNightmare AlleyThere Will Be BloodWALL·EZodiac
In 1999, the late Robert Laemmle and his son Greg, at the suggestion of their longtime employee Gregory Gardner, gave me a career when they promoted me from the Music Hall in Beverly Hills to work alongside them in the main office. In the years that followed, the Laemmles have given me so much, treating me like family. They let me telecommute from France for several months in 2022-2023. Bob gave me a loan for the down payment on my first home. A legendary art house exhibitor, Bob was also the kindest of men, and is much missed. For the last 25 years, I’ve been working in the Laemmle office, programming trailers, proofreading and editing others’ writing about movies, sending hundreds of press releases, and sundry other things to help promote films that are in literally every language spoken on planet Earth. It has been a privilege. To some fanfare, the New York Times recently published a feature about filmmakers’, actors’, critics’ and their readers' favorite films of the last 25 years. So I figure I’ll do the same. I base my list on something Emily Dickinson said about poetry. I think it applies to movies too:“If I read a book and it makes my whole body so cold no fire can warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?”If I see a film and immediately know I want to see it again, I know I’ve seen a movie that reaches a level of cinematic poetry that Dickinson would recognize.Before I share my list, I want to say a few things about the many people I’ve worked with. One thing that’s fun about this job is it touches on a few different fields that make theatrical exhibition possible: exhibitors (the people I’ve worked with in the Laemmle office); exhibitor relations people, i.e. the U.S. studios/distributors of the films who coordinate with exhibitors; theater managers; and film media, i.e. the media and film critics. All are essential to getting films in front of audiences. There are too many terrific people I have worked with and admired to mention here, so I’ll single out one person from each area to thank them and sing their praises. Michele Anderson, née Cecilio, was the longtime general manager of the Laemmle NoHo 7 and later oversaw Laemmle Theatres’ operations. It was a privilege to watch her efficiency and problem-solving talent. She was like Alexander overcoming the Gordian knot with linear thinking, but doing it weekly. She made everyone’s job easier, including mine.Matthew King has been working in the Laemmle main office about as long as I have. He worked with famed GM Roger Christensen at the Sunset 5 right after I did and went on to design and oversee all of the systems that make Laemmle Theatres run, not least a Filmmaker-based database that functions as our internal IMDB. (The first entry? The 1999 documentary Creature.) Matt once took a couple years off to work part-time and remotely while getting a bachelor’s degree in biological psychology from U.C. Berkeley. I figure he’s a literal genius and a deeply good person too.I have loved good film criticism since my grandmother encouraged me to read Pauline Kael in The New Yorker. So I was a bit starstruck when I began working directly with local film critics like Manohla Dargis and Kenneth Turan. I met Chuck Wilson when the L.A. Weekly assigned him to review a compilation of Cuban films we were showing. Like other gifted film critics, Chuck can identify and celebrate a movie’s poetry – overall or merely in a scene, a shot, or a line reading – in writing that borders on poetry itself. Chuck and I would go on to become close friends, and he was the best man at my wedding in 2014.Of the many people at studios/distributors I’ve worked with, Kim Kalyka of Neon Rated stands out. Originally from the Angelika Film Center, Miramax, and IFC Films, it is not an exaggeration to say that Kim is one of the reasons Parasite won the Best Picture Oscar and tops the New York Times list of best films of the century. I don’t know how she can accomplish things like that and still reply to my little emails about posters and trailers faster than anyone I’ve ever worked with, but that’s what she does.Finally, to the Laemmle audience: Thank you for your passionate movie love and adventurous taste and continuing to see movies in theaters. You make Los Angeles the vibrant movie mecca that it is and have kept Laemmle Theatres in business since 1938.And now, my list. Actually, I’m going to cheat and do two lists, one for foreign language films and another for films in English.FOREIGN LANGUAGE FILMSAmélieThe Beat That My Heart SkippedChildren of HeavenCrouching Tiger, Hidden DragonFaces PlacesThe Gleaners and ILet the Right One InParasitePerfect DaysPortrait of a Lady on FireA ProphetRomaA SeparationTogether (Lukas Moodysson, 2000)Y tu mamá tambiénENGLISH LANGUAGE FILMSThe Avengers TetralogyBest in ShowBridesmaidsDune: Parts One and TwoEternal Sunshine of the Spotless MindThe FavouriteGet OutGhost WorldThe Grand Budapest HotelHappy-Go-LuckyHard TruthsMaster and Commander: The Far Side of the WorldMinority ReportMoonlightMulholland DrivePast LivesPhantom ThreadThe Royal TenenbaumsStep BrothersTAR The Lord of the Rings TrilogyNightmare AlleyThere Will Be BloodWALL·EZodiac