Once upon a time in Hollywood:
Itâs July 2019, and no oneâs wearing a mask. Before a huge, revved-up audience, writer-director Quentin Tarantino presents his blood-spattered sentimental ode to an industry in transition, âOnce Upon a Time ⦠in Hollywood,â in 70-millimeter screenings held at the legendary Pacific Cinerama Dome on Sunset Boulevard in Los Angeles.
Youâve probably seen pictures of the Dome. Tarantino made sure it got its close-up in his movie. A cement geodesic volleyball of an LA landmark since 1963, it came from the architect who gave the world the Capitol Records building.
Today, the Dome sits next door to the Sunset Boulevard Pacific ArcLight complex, which up until the COVID-19 pandemic, outgrossed just about every other boutique and specialty and art-house venue in America, depending on the movie. For years the ArcLightâs most popular location held the hearts of thousands and thousands of LA cinephiles. When it opened in 2002 th
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United States Vs. Billie Holiday, Yuh-Jung Youn in Minari, Daniel Kaluuya in Takashi Seida/Hulu, A24, Glen Wilson/Warner Bros., Joshua James Richards/20th Century Studios
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This past year of masks, lockdowns, and capacity restrictions has been the most catastrophic 12 months in the history of movie theaters. It has also been a banner year for diversity at the Oscars.
Odd as this might seem, I suspect those two things are related a matter of industry imperatives meeting cold hard cash. And as salutary as the diversity part is, it s going to take some work to make it permanent. The Academy of Motion Picture Arts and Sciences, which awards the Oscars, has signaled a willingness to do that work with inclusion standards for Best Picture nominees. They ll start phasing them in next year.