 Welcome, everyone. Today is our second lecture, which is very exciting. I want to mention that we are doing this in what's called a hybrid. That's that hopefully that you know what that's a hybrid manner. So we have fewer people here today and in in person, but we have a lot more on zoom so the flexibility some people were on zoom last week and they're live this week and you could do whatever you want whenever you want and we love that. In fact, last week you might be interested to know we have 56 people live and 34 on zoom so we had a total of 90 people watching which we were very excited about. I did want to mention that we're planning another nature walk on Wednesday, September 28 at 1030, and it's going to be down in Shelburne at Meach Cove farms. Maybe some of you know where all souls is was I think they've been sold. So there's a beautiful walk and hopefully the scenery in the foliage will be perfect that day. Beautiful walk down to the lake and it's supposed to be beautiful wonderful so we'll send out an email early next week about it so if you want to sign up you'll you'll let Betty even know she's the chairman of special events. Please turn off your cell phones. That would be awesome. Now I'd like to introduce Rick Winston. I have to look at my notes. The topic is lights camera action, a history of Montpelier Savoy Theater. Rick founded Montpelier's art house cinema the Savoy Theater and owned it until 2009 when he retired. Rick will discuss the origins of the theater, some memorable moments and some of its challenges over the years. Rick is originally from Yonkers, New York, and has lived in Adamant, Vermont since 1970. He's been teaching film history on Zoom and in person at the Montpelier Senior Activity Center. He's also the author of Red Scare in the Green Mountains, Vermont in the McCarthy era. So give a warm welcome to Rick Winston. Greetings everybody it's great to be back at EE. I think this is my third time over the last 10 years. Now I know we have one person in the front row who has been to the Savoy Theater over the years. How many of you have come to Montpelier and gone to the movies at the Savoy. Okay, maybe, maybe about half. It's still a pretty fascinating story. Anyway, Mary got in touch with me about doing this talk. Without knowing that I was hard at work on a book that's coming out this spring. That is about the history of the Savoy Theater and my own life as a movie buff or movie nut however you want to say. And it's called Save Me a Seat, A Life with Movies and it's a, I have a, if you want to sign up I will let you know after the show how to get a hold of a copy when it comes out this spring. So I had a, I was going to read part of the preface. It turns out my preface is in my computer bag that's holding up the projector so we don't, we don't want to do it. But I will tell you what it was kind of giving you a background about how many different strands went into the founding of the Savoy Theater. In the preface I said, I dated, I said, it's now the spring of 2021, which is when I started writing, and my in-person film class in Montpelier has been canceled. But now I'm doing a Zoom film appreciation class, and I'm thinking about what I'm going to be showing. And one of the classes will be about films from a children's point of view. And of course I would have to include the Italian classic, The Bicycle Thief, which I saw for the first time at summer camp, somewhere around 1957 or 58. I was 13 years old. I'd never heard of Italian neorealism that I was so taken with the grittiness of this film, which was so unlike Hollywood. So another Zoom class I was going to do was the films of Bert Lancaster, and I remembered my parents taking me to see Birdman of Alcatraz in seven days in May. And some of his later films like Local Hero in Atlantic City were some of the first hits at the Savoy Theater in the early 80s. Well, another class was going to be films about the ghosts and supernatural. And I was trying to track down a copy of the British film Dead of Night, which I saw in Berkeley, California, when I was a senior at college there. And a supernatural film which so impressed me, and I made sure that it was the first, the inaugural film when I started the film society in Montpelier that predated the Savoy. And I was going to have a class about great French actresses, and I was going to have to include Arlette in the film Children of Paradise, which ever since I was a teenager is one of my favorite films. And at one point I actually thought I was going to write a book about Children of Paradise, and went to Paris to do some research, and was in the Museum of City of Paris called the Carnivalé, actually holding some of the historical artifacts of the real people this film is based on. So I end the preface by saying so many films and so many different parts of my life, from childhood to high school to college. And any anything that involves how I got into film and how the Savoy got started has to go back to my parents, and especially my father who is a real movie not. And I have very vivid memory I can date it because it was 1958 I was 11 years old. And my father had listened to the news in the morning, and then come in and wake my brother and me to go to school, and he would often you know give some tidbit that he heard on the news. So this particular day he came in and said, it's time to get up. Erich von Stroheim died. That was his piece of news from the outside world, the Viennese born actor who is known over his career as the man you love to hate. So I think my, I don't know whether I had seen any of his movies, my father knew that I knew who he was. I guess I was absorbed a lot from watching TV and old movies. So my parents were movie buffs they had lived in the Bronx for many years before moving to Yonkers, the great, great suburban move, the after World War two. And anyway, some movies that I remember them taking me to that made such a big impression on me, probably my first foreign film. Mr. Ulo's holiday was done by Jacques Tati. There was a theater in White Plains, New York that showed very classy foreign films. One New Year's the first day of 1958 we had a family outing to see Alec Guinness in the horse's mouth and still one of my favorite films but for completely different reasons than why I liked it as a 11 year old. But film that really could say it set me on my life's path I wouldn't have been able to articulate it at the time. My parents in their blissful ignorance in 1954. They took a seven year old to see James Stewart in rear window. Of course, a lot of it went went right over my head. But I was thinking you know another 10 year old might have crawled under the seat or said I can't take this anymore it take me home. But I was totally riveted beginning to end it was my very first Hitchcock film and whenever I show it now and any my film classes or talk about it I always take a minute to thank my parents who didn't know what they were doing and then took me to see this movie. So those of those of us who grew up in the radius of Manhattan had a incredible collection of old movies to see on TV. And especially a show that was on Channel nine W or they played the same movie every night, twice every night and then once on the weekend afternoons to call million dollar movie. And my friend who grew up to be a film critic. He said, this made film critics of us whether we knew it or not. When we went to a movie we said boy, I want to see that again, and we saw it every night for a week. And, and, or if not the whole movie said, Oh, it's eight o'clock. Charles a lot and is going to be up in the tower of Notre Dame. So then when I was in high school and I got was able to go into Manhattan on my own, I had my favorite haunts. And of course one of the movies I watched every night when it was on million dollar movie, the bleaker street cinema down in Greenwich Village. And then on the upper west side the New Yorker theater on 88th Street and there's Alfred Hitchcock playing paying a visit to theater owner Dan Talbot. And these are the New Yorker and Celia both Celia was on West 95th Street. They were available to me not only through high school but also my first year three years of college which was at Columbia just a few blocks away. So I did I long story but I left Columbia for Berkeley, California to do my senior year at UC Berkeley. And boy did I get a surprise if there was any place better than Columbia for the old movies. It was Berkeley. They had about 10 theaters, 10, well 10 theaters within walking distance of campus, but also 10 or so film societies on campus, each with a specialty, whether it was foreign films or specifically French films, films from the 30s and 40s, then there was international house that right off campus that showed a great selection of films. So, I had a great film education in college, while I was not studying. The sequence of events brought me to Plainfield I came up to visit some friends from summer camp went up sticking around at Scottard College. I thought I was going to have a job in the film department, but it did not pan out but I already. I liked where I was I was going to stay. And a frequent topic of conversation among my friends who had come to from Vermont to from Philadelphia to New York Boston says, gee, we just can't go to the movies any night of the week that we want to. And somewhere along the line 1972 I got an idea to start a once a week film society in Montpelier. I met a mentor at Goddard who wanted me to work in the film department there, and help me get this film society started. They be all his catalogs, showed me how to order his name is Walter Unger, still around the day 85 and became quite a well known independent filmmaker. So the film society was in the basement of the pavilion auditorium. I don't know how many of you have been to any events, but there was a 200 seat auditorium with fixed seating. And thanks to the Vermont Council and the arts. They were my sponsor to start this film society. So there's a headline film society to have spring series in the capital. There's my very first program, and you can see the very first film is dead of night. East of Eden, which I saw at International House in Berkeley, etc, etc. So, and my father was a master calligrapher, he gladly volunteer to do to help me design my programs. And then after a few years, it really took off and I started to branch out and did a foreign film series at the local high school on another night of the week. By the end of the 1970s, it was clear that there was really an audience in Montpelier. And I found myself. Well, I was also experimenting with, you know, how to kind of render film culture in Vermont. Okay, you go to the movies to be entertaining, but what's, what's behind that what can you learn from these movies. So here's, I reprinted an article by one of my favorite critics Andrew Saras. The curse and glory of cinema that its visual oral field is accessible to all viewers indiscriminately, but is still emotionally intimate with each viewer individually. I really like that. A little excerpt from Frank Capers memoir. This only lasted about five issues. It just got to be too exhausting. But maybe you're familiar with this word zeitgeist. I was a participant in the 70s zeitgeist in central Vermont. There were all kinds of the this film society was not the only thing that was happening. Food co-ops growing co-ops alternative health centers, alternative newspapers, organic farms, you know, it was the, there was just a, you know, an exhibit before the pandemic at the Vermont Historical Society and Barry about specifically about the 70s and all the changes that happened during that period. So what's happening on Montpelier's main street. This is an article in our local Times Argus. My brother John had bought this building and stole it is still housing the drawing board supply store. And then Elmsley the florist, they moved down the street, leaving this empty spot that had just great dimensions for a teeny theater, teeny like 120 seats. As soon as we announced plans for the theater of local guy who ran the photography studio Montpelier said, I found this old photo in the basement. And here it is. And we had just decided that we were going to name the theater the Savoy, because the landlord of the building who sold the building to my brother. He came in one day and he said, well, so what are you boys going to do with this theater. This space and we said, well, you know, a theater will go in there and he said, you know, I think my grandfather ran a theater here and I think it was called the Savoy. So we said, that's it. Okay, that'll be the name of our theater we were stole. And it turned out, his grandfather called it the Savoy because they were from the Savoy region of the Italian Alps. The Savoy it was the Savoy it turned out it was the family of the family theater is called the Miss Suco picture theater. The tenor with a leather lungs. I love that. These films were probably all like five 10 minutes long. This was 19. This is an ad from 1908. The evening Argus, then at some point it changed from the Miss Suco moving picture theater to the Savoy theater with an R E. So it had a very rich history. So my brother and I, you know, took over the space would have been the summer of 1980 planning for a fall or winter opening. And I had made some friends who ran a theater down in Northampton, Massachusetts, and they were gave us all kinds of great advice about where to get the films how to negotiate with the film distributors and also very important where to get your popcorn machine and what kind of candy you're going to want because it is a well known fact in the movie business that the concession is really is what brings in the the big bucks. Because you have to pay a certain percentage of what you take in for the movies back to the distributor, but the concession is all yours. What you can see up there is Ladies and gentlemen, welcome to Savoy theater. So that's me and my partner Gary Ireland. It's an article two months before the theater opened. This is the only movie poster we had and no Roy Rogers think we got from an antique store. You see we're standing in front of an exposed brick wall, which we had worked on. And that is the the whole right hand side of the theater as you go in. So our very first movie was supposed to be an Australian film called my brilliant career with Judy Davis. It was in a big hit like a year before. And as we got closer and closer and closer to day one, it was clear the theater is not going to be open in time. There's just too much work to do. So we had a postpone career and instead we played Casablanca, which was supposed to be our second film. But because it was our first film and we played it for every anniversary, this has become sort of identified with the theater. Of course, the, the hero of cost block played by Humphrey Bogart is named Rick. And the play that Casablanca was was based on is called everybody comes to Rick's. There's another reinforcement there. Not that I wanted anything to do with that, but so these are you see the stamp on the top Goldberg brothers. The Goldberg brothers out of Denver had cornered the market in metal film cans to transport films to such an extent that within a number of years these cans were known as Goldbergs. So we were waiting for our Goldbergs to arrive with three reels of Casablanca on one and three reels of Casablanca and the other. We would go into the projection booth and splice the films together. But we went back, we went to the bus station and we got the Goldbergs and we brought them and it turned out it was the first three reels of Casablanca. And the last three reels of Lenny was Dustin Hoffman and our person that at the United I says, Oh, this never happens. Believe me, this never happens. So we had our. We had our opening with Casablanca some of the early movies we played McCabe and Mrs Miller. The rest of God. Finally my brilliant career. And we found out pretty early on that people loved Australian and New Zealand films. They were foreign, but they were in English. They were beautifully shot. They were accessible. We found to our great surprise that all we had to do is say a film was from Australia, New Zealand in the crowds would show up. Break them around though though it takes place in South Africa was an Australian film. This is from New Zealand Smash Palace domestic drama. Richard Chamberlain in the last wave a supernatural thriller directed by Peter Weir. I love this movie Norman Kay and Wendy Hughes in lonely hearts. Search it down a few are so inclined. We also found that we were doing great with some really odd ball documentaries. This is a movie about the making of a Tibetan sand mandala. We got everybody from every Buddhist community in northern Vermont lining the street. A biography, a documentary about the life of Carl Jung. And anything that had to do with Tibetan I Paul guaranteed to draw a crowd. So this is a documentary about the ones, the nomadic workers who gather the, all the salt off the Tibetan steps. A canoe journey, but done by a Canadian about a Canadian canoeist named Bill Mason. And then little did we know this is this is the vicissitudes of history. We opened the theater in 1980, and all of a sudden the birth of the American indie movement just happened to coincide with our opening. So, Jim Jarmusch's movie stranger than paradise. Spike Lee's first movie she's got to have it. And John sales first movie return of the Chicago seven. And we had our first major guest as a result of Chicago seven, because John sales went to Williams College, and he cast his movie, almost entirely with friends from Williams. And somebody else from Williams lived in Montpelier, he said, Oh, why don't I get my friend Bruce McDonald to come in and talk about the movie. So that was a big thrill and over the years we've had more guests. David Mamet and Lindsey Krause when they still live in the area. Of course Fred Tuttle, and John O'Brien behind him who made the man with the plan and other movies that was that was a very thrilling. We didn't get ripped torn himself but Jay Craven has been at our theater many times with his films. By the time of this film where the river runs through where the rivers flow north by Howard Frank Mosher. By the time the movie was done, Jay didn't care if he ever saw ripped torn again in his life. So, those stories could fill a book. Anyway, so there became another category. A category of film that was a mainstay at the Savoy. And we found out very early that if a movie came out from Columbia Paramount. The universal the five major studios. They had a chance at getting it. They all they all had contracts with the theater down the street of first refusal. So there's no way we were going to play dances with wolves or any of the big hits. But the films that flopped that were done by major studios. They had variety of first refusal and they refused. They had to come up and incredibly wonderful movies that were deemed by the studios to be flops. And this writer put a name to it produced and abandoned. And this is a clay this is an anthology of movies from the 70s and 80s that critics have right written about saying, Why didn't anybody see this movie it was so wonderful. And then we're Harry Dean Stanton and Emilio Estevez and repo man rivers edge with Keanu Reeves. Yet again we're bashing our heads against the wall how do we get teenagers to come to the Savoy. Oh, show a movie about teenagers. Nope, that didn't work. It was a teenager. So movie about teenagers that was meant for adults. I did look that problem of getting teenagers to the movies. One of our wonderful young concessionaires. She was a high school student I said Sophie hot. So how do we get you and your friends to come. She said, Well, I hate to break it to you but my friends have been programmed to want to see crap. We gave up on that. Another movie was bird Lancaster was terrific Diane Lane and Amanda plumber as a really wonderful western cutters way with john Hurd and Jeff Bridges. And really lovely film called dream child, the story of the real Alice in Wonderland Alice Hargreaves and her relationship with Lewis Carol. The animation by Jim Hansen. It's quite a special film. Well, we were losing money year after year with these movies that weren't quite getting enough attendance. This is a headline from 1986. And several things had happened since we opened the our competition down the street. First they twinned, and then they quadrupled and then they left it at five. But, and then the whole video explosion that happened in the early 80s. So we were really, really struggling. And we took our problem to a dear friend of ours named David wise, who had a long career in marketing. And we said, Well, we're thinking of sending out all of the letter to our, you know, all our members saying, and he said, don't send a letter. I said, close. If you send a letter to your mailing list. They're the only ones who are going to know you're in trouble. Close, it'll be on the front page of the paper and say, if you can't raise in this amount of money. If you can raise this amount of money in a month will reopen. And David working with us devised a membership structure that designed for the people who they may not be able to come to the movies but they will want us to be there when they do come. So that really saved the Savoy and our accountant was flabbergasted year after year the difference between losing money and breaking even was exactly what we took in and membership. So it's still a very vital part of keeping the Savoy going. So there we are we reopened a month later, and and didn't have another existential crisis for a long time. And if you can't beat them join them in 1989 we opened our own video store. Savoy had a big empty basement. The bathrooms were down there, and some people actually confessed to us that they didn't want to go to the bathroom down there because the room was so creepy. So we had the space and and our friends down a pleasant street in Northampton, they had opened their own video store. And don't worry about it people will take our videos five nights of the week. And then on the sixth they'll come to the movies. And that's that's sort of what happened. So we had a very curated selection of the movies that we liked and wanted other people to see and foreign movies and documentaries. And this time we could get movies like dances with wolves, you know, by five copies and let them pay for the foreign movies that only went out once a week. It's an article from our 10th anniversary of the Savoy. But then 1992. And you'll have many of you remember the big flood in Montpelier. That's what it looked like. And this is what the video store looked like. Fortunately the flood happened at seven in the morning and not at five in the morning. Enough people were out and our faithful projectionist Chris would notice the river was running the wrong way from his apartment said the video store. They rushed down and he grabbed a human chain off the street to take all our drawers containing the actual films. But this is what the floor of the video store looked like. But because the our stock was not destroyed, we were able to rebuild the store and open again after two months. This man's name is Jeffrey Jacobs, not to be confused with a landlord in Montpelier named Jeffrey Jacobs. He knew from film society days and he had become a what's known in the trade as a film buyer. He was the go between between theaters and distributors. And I was doing my own booking of the films and I was on the way to getting an ulcer is these really high powered businessmen and I didn't know how to negotiate. And Jeffrey said, let me do it for you. Of course for a fee but it paid off quite quickly. We were able to get films like Howard's and the crying game. And all through the 90s, some really terrific. It was, I spoke to Jeffrey recently and he said, those years from 92 to 99 or so. There were so many good films and distributors where we're getting enough money back on these films like Howard's in and crying games that they could afford to take chances on other films. Well, another big development that happened to us in the late 90s was the Green Mountain Film Festival. Anybody go down to Montpelier for this while while it was still going on. We had formed a nonprofit organization called focus on film in our struggling days. Maybe if we the Savoy itself couldn't become a nonprofit after being a profit business, but we could at least form a like friends of the library that kind of thing. So they focus on film sponsored all kinds of really unusual film events. And this was our first big one in 1985 the week of Yiddish language films. But the focus on film had been dormant and until put on a lgb in those days that's where it stopped. Two festivals in Montpelier that were sponsored by focus. But the festival they focus on film was dormant until our friend Chris would the projection as to who saved us during the flood. He said, gee, how about we do a film festival. And quite see but we had great great events, less blank the documentary filmmaker interviewed by Mark Greenberg. And here I am interviewing the NPR film critic Kenneth Turan. We showed spectacular movies. And this is my wife Andrea Sarota in 1999 my original partner Gary Ireland, moved to Seattle, and Andrea and I became kind of a mom and pop operation she was running the video store. But we would book the films at the film festival together. And it was a real high point. Well we started noticing during the during the years from 2000 to 2009 when we saw the theater that audiences just were things were really telling off and the only movies that were hits for us, or some of the few. Were movies starring Judy Dench, or Judy Dench and Maggie Smith, or Helen Mirren. It was like that these, these stately English ladies were our answer to Brad Pitt and Angelina Jolie, you know, they were the ones who are going to get our audiences. We had a very telling conversation with a fellow theater owner, he ran the theater in Reinebeck, New York, and we were showing the Queen and having great crowds and he was showing the Queen having great crowds. And he said, Yeah, you know, at this rate I don't know who's going to die first us or our audience. It was just such a telling comment that we were not that new audience was not coming in. It's a syndrome that's really you can see it in the classical music world even more, you know, who's who's going to be those new audiences. In 2009, Andrea decided, Andrea and I decided that we were going to sell the theater, and we found a buyer it's now has yet another owner for the last five years dreams of handling. So here we are the solving the 25th anniversary. And this is for those of you who have never been there. This is what the theater likes that's the exposed brick wall on the side, very intimate. I wish that heating duct going down the ceiling, we've never been there, because we could raise the seed screen even higher and have more legible subtitles but that's what we had to deal with. Well, that is that that is a kind of a galloping history of the Savoy what led up to it and what our challenges have been. And once again, I'll say if you if you want to read a lot more about the Savoy, or about my life going to the movies, you can sign that notebook and I'll let you know in March or April when it comes out. But for now, I'm really happy to take your questions. Wonderful. Thank you. Now you can hear me. Okay, before we start with questions I do want to remind our zoom audience, please, that you can go on your zoom and where it says Q&A. Type in your questions have Kathy Chamberlain is looking for those so that we can alternate questions between you and our live audience. So let's see Kathy how many do we have. Well, I only have one one so far that's not good. Come on people. So please. Okay. So why don't we start with someone in the live audience anyone have questions. Okay. As a boy in Burlington. We had three dedicated movie creators. Majestic the strong and the friend, the only one survives now performance site. And the month area area journey surviving creative buildings, no matter what you're what are they used for. Yeah. I actually went to the movies at the strong a few times before it burned down early 70s. Yeah. The capital theater down the street has been the capital for really long time. I think to the late 40s. I know that there had been a theater on Main Street on the second floor. It's gone because the landlord. One time approached us say, Hey, I was cleaning out the attic there and I found these beautiful all projectors. Yeah, no, only good for curiosity items. In a Barry. There was just the one theater the paramount. And I know they go back to at least the 1950s. You know, the Alfred Hitchcock film trouble with Harry that was shot partially in Crassbury Common. Hitchcock came up for the premiere at the paramount so their, your photos of that theater then. So, as far as other theaters in Barry, I don't know about that. Where was the majestic. Okay, I can I can find out easily enough. Yeah. Okay, got it. Can you hear me. Here we go. Here's a question. What is your favorite film. Well, I come prepared for that one. I, we saw a little still from it. It's the French film Children of Paradise. Anybody else seen it. To share my opinion. It's a pretty rich film. It's a, I think it's the closest thing that film has come to a big, thick 19th century novel that you're sorry to see and so that's a film I go back to every few years. I still love to see rear window again and again and again. I read something by one of my favorite film critics David Thompson who said I've seen it 25 times. And it's nevertheless fresh than a Meyer lemon. As far as comedies, I love one with Henry Fonda and Barbara Stanway called the Lady Eve from the early 40s. That'd be enough. Was there any film that really caught you by surprise by being an absolute smash hit, turning them away at the door and you actually said the remember groucho with the duck that came down onto the ceiling, you said the word smash. It was that New Zealand film smash palace. We couldn't understand it, you know, it didn't have any recognizable stars. And it was a really rough movie. And I remember, you know, the night had opened and I was having dinner at a friend's house and called to say what we had turned people away. I couldn't understand. That's when we knew we really onto a thing with those down under films. Unfortunately, it usually went the other way. We really hoped and felt would appeal to a large part of the audience and there is a was a great quote from. It was Oscar Hammerstein, the lyricist his father had been a Broadway producer and he said, the producer said it turns out that the number of people who will not attend any given event is infinite. They wanted to put that on a sampler and hang it somewhere. No, thanks. That was a good question. Here's another one from our zoom. In your opinion, has the quality of film become greater or lesser over the years. I think there are still really wonderful movies being made. They're harder. They're getting harder to see. You have to do more searching out. We noticed over the years at the Savoy that they the piece of the pie occupied by subtitle films that got released in America was getting smaller and smaller and smaller. And who could blame a distributor for not wanting to take a chance on a movie that only had a guaranteed kind of ceiling audience. But now I am seeing movies that are released via Netflix films from Morocco and France and, you know, and some American Indies that are very good. So I think that how should I put it. I think there are more. There are as many good films, but there are more bad films. There are the marketing imperatives in the American studio system are such that, you know, really good, thoughtful films that were a staple of Hollywood, the 30s, the 40s, the 50s. And even even some of these produced and abandoned films, you know, there used to be the studio would say, Okay, well this film might only taken so much but that's still, you know, 10 times more than it will cost to make let's go ahead and do it. Now they won't do that unless the film is going to be guaranteed to make 50 times as much, which means that they have to focus on that, you know, 10 to 15 year old boy demographics. And I don't know, it's a pretty depressing scene. I've been interested in the course that you're teaching in Montpelier. Was it through the senior center and could we get hooked up with that somehow. Yeah, yes, actually, I am. You know, this is this zoom thing was in response to the pandemic that you couldn't do in person classes. Now I'm doing in person classes again, but the zoom class still has, you know, 60 this 70 attendees every semester so I'm, I'm doing it. I'll set up another piece of paper here if you want to get information on my zoom class that's every Thursday morning, starting in two weeks. Yeah. As somebody says, if it's zoom, there's room. Yeah, here's a two part question. Are there any Canadian films that you felt were exceptionally noteworthy, and has this avoid ever had a Canadian film festival. We have not had a Canadian film festival as such, but we have featured over over the years, Kebukwa films and films from Ontario Canadian made one that was a big hit for us, you know, going back to your question things that surprised us. There's a Canadian movie called ticket to heaven. It was about the family's attempts, fictional film, but based on true events family to extract their son from a mooney type of religious cult. Excellent film I don't know if it's found anywhere. I love that the Kebukwa films of the director Denise or conned like Jesus of Montreal. That did really well for us. So, yeah, it's very frustrating there. They're just, they're just up there and you know hardly any of the films get a good distribution here. I've been enjoying this immensely so thank you. And if you have an opinion. Do you would you have a recommendation of where on the streaming services you can find the best movies, like whether you would choose Netflix are there any obscure ones that you personally use. That's an easy question to answer. I'll describe to criterion channel. Okay. criterion channel.com. They have the best selection of foreign films, older American films. You want to have your own Ingmar Bergman festival at home, or obscure Japanese Indian films. And there's usually a commentary there interviews with other people you could, you could really never leave your house again, but that's the downside. I don't know if the libraries around here have canopy with a K K and O P Y. It's a free streaming service through your library. They have a great collection. You all did not have pencil and paper because how many wonderful things as he told us start next week. Next Thursday at two o'clock, right Travis. Yes, on CCTV and you should see in the emails that you all get from us, the one you got this week from us. It'll tell you how you can watch next week online on TV. This very program. So bring so do that look at all the films you have. My goodness, you won't ever leave the house but I don't know that that's a good idea we've done that for too many years. But the idea is, please, please do watch this again. And by the way, Travis Washington is our fabulous, fabulous guy from CCTV. And Rick, thank you so much again. This has been wonderful. Just, just terrific. Thank you everyone on zoom. Thank you everyone live we'll see you next week.