Canyon Cinema: the life and times of an independent film distributor 9780520940611, 9780520250871

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IMPRINT IN HUMANITIES The humanities endowment by Sharon Hanley Simpson and Barclay Simpson honors

MURIEL CARTER HANLEY whose intellect and sensitivity have enriched the many lives

that she has touched.

The publisher gratefully acknowledges the generous contribution to this book provided by the Simpson Humanities Endowment Fund of the University of California Press Foundation.

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Freude and Adam Bartlett (“FPS. [Filmmakers’ Portrait Series] #16"), with Adam’s birth certificate, from inside front cover of Cinemanews, 70.3.

136 Incorporation

FROM CANYON CINEMANEWS, 70.3

LETTER

Bruce Baillie

Dear News,

A few reports. You must have lost the one I sent from on the way back to Texas at Christmas, about a girl in a green shirt, shades pulled along the freeway, and so on. , Quick Billy is coming along. I have spent the time since December re-shooting at home in Houston: front projection, 7255, super (Kubrick) 3-M screen and halfsilvered mirror. f-2-f-4, 1000W lamp, 3" lens, reversing original in projector for correct frame orientation, #80 filter. Non-sync @ 24 tps, my Bolex and the B&H projector, no flicker problem. If one unit speed changed, flicker more or less in terms of ratio, e.g., 1:4 speed change gave every fourth frame black, resulting in jerky effect, or flicker. Now A-B-C-rolling the entire three parts, including the final onereeler, entitled “Quick Billy,” which we announced for separate release last year. It turns out Feetfear will include this dramatic film as a conclusion. The entire work — about an hour long — will be called Quick Billy. I should be finished by July, this year. Am working my way out of Houston now, into Part III. When this done, will head West again, stay in Camarillo near LA, work with timer at Consolidated Labs. Hope to visit Brakhages on the way. Finally Chose Consolidated because they consistently exhibit correct filmhandling methods, if nothing else. Also, I know their machines work. The risk here is with the big labs’ tendencies toward mechanized work: automatic color correction, etc. I would continue to have all my work done with Multichrome and Palmer in SF but sometimes need more varied effects lengths and like to set this film up at a lab that can make an interneg. Let me skip around with different things of general interest or concern: Back to the method gradually evolved for O.B.: I don’t know how good it’s going to look, since I haven’t seen a composite of my many months of homework . .. a natural job for electronics — a day’s work at the future video console is taking me about one year of awkward, long-winded, many-phased effort. ‘The re-shooting has been essentially one-roll matting (with my hands) — put together more in the memory than by any mechanical, or even simultaneous visual device. My first workprint dates to about two years ago. Now I am making my first run-through over the light table, A-B-C-ing . . . which will give me a composite workprint. If it looks okay, Pll go on, in California, with corrections, etc. — more orthodox editing, using this 2000' workprint composite. Then it all goes back for another silent work-print, unless I feel I can make it over the table at that stage. Then the track, etc. A long,

as usual. | Incorporation 137

clumsy mixing job, the only way I could finally figure it . .. my own primitive tools

What else? Hindle’s right about projection around the country, it’s abominable. Took a new print up to Canada — stood by the projectionist. Huge scratch down the middle. Had it Vacummated at the works as well as Tough-Coating it myself. Sent it on to a show in France anyway. The same here at Rice. Machines that don’t work, or a loss... of contact of some sort, between persons involved — the guy who runs the projector, this person, that person, running around to put on a show — somehow it falls apart — very easy, happening everywhere. A good visit with Gene & Carlene Dawson up in Regina, Saskatchewan —5 days— pool tournament in their basement. Charlotte hitched across from B.C. — went on the Quebec. Internegatives: One solid year of energy spent via Bell & Howell Films, Chicago, several years ago — their lab, Wilding Inc. — trying to get a reasonable interneg of Castro Street. Always pure pink — over and over. Finally a correct, normal version.

Then pink prints again. Lab & I both gave up. Multichrome made me an optical EK master composite. A little dark, good part of original sparkle gone, but okay for a while. Perhaps same method, same lab, could be better another try. 3 tries @ opt. master for Tung resulted in an excellent piece of work. Just spent 4 months with Cine-Chrome, Palo Alto, interneg for Quixote: their film-handling (at least shipping) procedure extremely and apparently consistently bad: shipping originals and prints on cores in paper envelope containers or ordinary flat cardboard boxes. Weeks spent in the mail, final pos. print. REA strikes NYC — mail very slow — lost for a week at Mus. Of Mod. Art shipping room, etc. Arrived scratched, probably from lab projection. Paid for anyway, since interneg itself pretty good: good timing job there, other times very good. Low level sound seemed to distort. They don’t seem able any-

, more to pay attention. A clear thought on internegatives: recent good offers from museums, etc. to begin making internegatives for some of our films. It is my thought that the first internegatives should be made to allow continuous print circulation. Therefore, they must be made at a given lab and retained there for printing. ‘The preservation motivation comes second, I think, where the interneg is permanently stored at a museum. Many of our films (nearly all of mine, for example) need good internegatives made before any more prints can be drawn from them. Before this can be done, as far as | am concerned, there is needed: An agency, secretary, whatever to do all the business involved. Definite knowledge of a good lab. Money to pay for the work. (The filmmaker to furnish the original materials and necessary lab information. ‘The answer prints to be approved by the filmmaker, wherever he might be at the time.)

138 Incorporation We used to make up a lot of things in the News, that’s why it felt good in those days. Things are more scattered now days — whenever there’s time — all the emptiness needed — you can put together good things. When you've got too many things to do it all comes out the same. It needs all the highs and lows, the ups and downs

of an open life. I guess you can send those into the News yourself... if we can always depend on a few good people to be there to put it together. The last issue looked pretty good — good enough to keep it coming, I think. from some notes: - absolute excellency, I want to know my davenport is going full speed all day.

Canyon Cinema Board of Directors’ Meeting Minutes Sometime around the end of April the directors and office staff of Canyon Cinema Cooperative met. These are the minutes of that meeting. Present were directors Emory Menefee, Lenny Lipton, Loren Sears & Roy Ramsing; manager Jan Lash, & staffers Ken DeRoux & Don Lloyd. The scene opens in room 220, Industrial Center Building, Sausalito, overlooking Gate 5 of the yacht harbor: A breeze whisked the curtain aside as it entered the open window, circled the room and left as it had come in, taking the ragged tail of the curtain & about 14 tons — of cigarette smoke with it. Out there beyond the jaunty sailboats tugging at their moorings, beyond the golden spires of the bridge, even beyond the whitewashed apartment hills of the city — somewhere out there waited the 200 or so members of this now famous cooperative. Waiting for the outcome of this high-level confab. Ken returns from the Big G supermarket with beer & chips. Don & Loren chat quietly in the corner, Roy slouches on the couch. Jan sits in the leather upholstered arm chair Edith had vacated, at the desk Edith had vacated, feet propped up on the writing extension, giggling. We await the arrival of Emory & Lenny from their homes in the East Bay. Ken paces the floor looking for an opener. Jan giggles. Outside, a car door slams & a strange squeaky noise is heard treading the flight of stairs. Everyone looks up, knowing well the sound of Lenny’s Space-shoes making their way up the freshly painted steps. The door bursts open & in squeak Lenny & Emory. Coughing, the latter relights his pipe, nods hello & a volley of greeting is — exchanged all around. We are now all assembled, save for Ben Van Meter who had just returned from a fund raising trip to LA & had gone on home to rest. The agenda, prepared by Don & Loren, is completed after a brief discussion with the two late arrivals. A President is appointed & the meeting begins. “Would you like a beer?” Ken offers and begins trying to find the opener again. Jan leans back too far

Incorporation 139 & just catches herself before nearly falling backwards into the filing cabinet. “Yes” answers Emory, lighting his pipe. We all applaud Jan’s skillful save. A breeze ruffles

the papers on her desk, throwing a few of them into the wicker basket at its side. Someone’s beer has dribbled onto the agenda & the president gets up to find a paper

towel before proceeding. Jan leans back & giggles as the assembly breaks into little enclaves of discussion during the pause. “Where are the corn chips,” inquires Loren. Ken points. Roy’s eyes follow. Lenny passes the sack. Don sits watching the ant colony which has taken residence in the potted plant on his desk. Emory looks ten years younger now, without his beard. Idealism is a thing of the past. We are now preoccupied with a business, with office expenses & salaries, renter relations & marginal income. The weight of these matters hangs heavy in the voice of each as we speak to the situation at hand. First one, then another is heard only as the crunch of a potato chip and guzzling of beer break the thread of thought weaving itself around our heads. Roy, always quiet & contemplative, clears his voice to speak. Emory nods & lenny arches an eyebrow as the President gives floor to Roy. Across the floor march rows of tiny ants, leaving significant patterns in the dust. Loren suggests these may have something to do with the problem & gets down on his hands & knees to watch more closely the hexagrams as they form behind the advancing oracle. This causes Ken to step over him as he goes once more in search

of the opener. Don comments on the patterns these two are making and relates them to those of the ants. Jan coughs in the rising dust and nearly falls backward into

the filing cabinet, accidently kicking the open beer bottle off her desk into the wicker basket at its side. A wave of beer foam & dust engulfs the army of prophecy

making its way across the floor. We take this to mean the end of the meeting. “Peace” crys Lenny. “There is no peace” mutters Emory, “only Struggle.” “24 Frames Per Second” exclaims Roy. “Fate” Ken whispers. And a cloud of earth tones rises before us in the center of the room, lifting Jan to the ceiling before gently plac-

ing her in the filing cabinet. The beer soaked agenda rests in the wicker basket beside Jan’s desk. She & Ken have painted the wall behind the bookshelves a bright, cobalt blue which seems to gen-

erate a light of its own. Cartons of catalogues & new supplements line the opposite wall. A beam of sun light thrown in under the curtain illuminates the dance of a million microscopic dust particles. If one were to freeze their motion, all that has ever happened in the past, and yet the future, everywhere, could be read. L. Sears 5/20/70

140 Incorporation

FROM CANYON CINEMANEWS, 70.4

Arthur Cantrill

RIGHT BACK TO THE BILLABONG | Two experimental films, BILLABONG & THE GREAT BLONDINO, are the first of a group with which the National Library has begun to rejuvenate its study collection, and the action of the censor has raised the whole question of the value of study material which is not protected from the tampering of the Customs Department. BILLABONG by Will Hindle is an 8-minute film poem on the corrosive effect of loneliness in an American west coast Job Corps camp. The scene which caused the trouble is a fleeting 3-second shot which impressionistically suggests masturbation. You need to be alert to make it out: few at Mr Chipps screening in Canberra on Monday last week spotted it, even when the individual frames were projected. Nelson’s earlier WATERMELONS was refused entry by the censor when it was brought out by the Museum of Modern Art in 1968. BLONDINO is a 43-minute film which Nelson made with William Wiley as a dedication to all who live “at great risk for the beauty of it.” The Australian censor gagged over a shot of a girl in a car swearing — ironically one of the very few lines in the film, and, in fact, almost inaudible. It wasn’t heard by the Canberra censor when it was first screened: he referred it to the chief censor because a shot of Blondino stroking a rhinoceros horn worried him. The two films are in the first group of five to be acquired — the others are SIRIUS REMEMBERED by Stan Brakhage, BREATHDEATH by Stan Vanderbeek, and WATTS TOWERS by Gerald Varney. There is a strong case for a government-financed collection of new cinema to

compensate for Australian isolation from the Mainstream of American and European experimental work. Nobody is suggesting that the elusive Australian film industry should be solely engaged in turning out experimental film — but there is no doubt that an interplay of ideas and techniques is essential for a healthy film culture.

Certainly something is needed to lift Australia out of the billabong of world cinema. Below is a quote from Hindle’s programme note on BILLABONG which could just as well be a description of certain aspects of the Australian cultural sensibility. “Many aspects of the self are often drawn off to one side, allowed to stagnate and go unattended. Visions narrow, Horizons cloud over with inactivity and frustrations and apartnesses. But life is still there with all its needs and love and trials. And pale fantasies abound . . . tapping directly the energy it needs from an untutored lifeforce. Stagnant. Yet just beyond these confines lies a giant moving sea.”

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142 Incorporation

Robert Nelson LETTER

[Editor’s note: Nelson's essay was preceded by an epigraph from Bob Dylan: “Right now |! can't read so good/Don't send me no more letters ... no,/Not unless you send them from/ Desolation Row."]

For some reason Canyon Cinema isn’t an alive vital organization. It’s “back” a little bit. It’s not out in front where things are at. There is no longer any prestige involved

in being a member. What it meant to be associated with CC a couple of years ago has been denigrated by what everyone seems to believe to be the naturally short evolution that things have these days. When I agreed to be a director, I did it knowing that my own image of Canyon Cinema had diminished and that caused me to feel a certain ambivalence about the job. I didn’t know if I had my heart in it (I didn’t). Why not just let it go on with its slow disintegration? At the last directors’ meeting Bruce Conner pointed out very clearly that CC is in deep trouble. The look and feel of decay is everywhere in the structure. We got a financial report and found out that rentals are down and on a downward curve and that expenses are up and on an upward curve. We haven’t the money for the much needed catalogue supplement, let alone the money for a comprehensive new catalogue that should be in the works. We’ve got debts, etc. The whole thing could fold in a minute. Bruce Conner’s sharp focus on many of the Coop’s problems allowed me to see it much more clearly in my own terms. That focus plus my own dilemma about whether or not I even wanted to get into it, made me consider more carefully if CC is really valuable or not. Is it valuable? I realized after some thought that the coops (not just Canyon but the other few coops precariously surviving in the world) are truly post-revolutionary organizations. They are the best models that we have for organizations that can service people without exploiting them (and in our case, service art and film as well). The coops are the only place — the only place — that will accept any film without any kind of discrimination or judgments on content, who made it, why, or how. Mostly we have films that couldn’t get in anywhere else . . . films that wouldn’t be distributed by anyone

else. Most of the 800 films that CC distributes could not be seen by the public, except for the fact that the coop exists (and many films that are now very well known owe a deal of their success to the coop). It’s truly an egalitarian organization. It’s completely open to people. The mem-

bership is the Coop. Already we have a four year history (modeled after the NY Coop which is 10 years old) of operating under the guidance of principles that peo-

Incorporation 143 ple are dying in the streets to attain! We have 800 political films (the representation

of human values over commercial values automatically puts a political cast on things these days). We have 800 films that are mailed to colleges, universities, film clubs and theatres all over the country .. . and these films have an eftect wherever they are shown. Any filmmaker that has travelled around the country and talked

with people knows how true it is. ‘The point is that these films represent a kind of humanism, they represent it and express it in every aspect from the effect of the films on the screen to the fact that they are in the coop. The hundreds of screens glowing with this 20th century folk art represent an extraordinary communications feat, because of the mounting resistance, repression and censorship that exists in all the public media. Most people these days, it seems, like myself, are in some kind of dilemma about finding a place to insert themselves, to activate their energies to work for the positive values that are everywhere threatened in the world. In front of us is an organization that breaks from the model of exploitation for capital gains. It is designed to serve all of the people involved with it as well as servicing art and film. It serves the public in the dissemination of vital information, the free expression of people. For those anxious to put themselves into something worthwhile and humane, I suggest the coop. All you have to do is support it in work and deed and, for the occasional times the members are called upon, with your energies. If CC is really doing something worthwhile then the energy to perpetuate itself should naturally flow from the organization. To the extent that we’re ignorant of its value and to the extent that we’re victimized in our own heads by our capitalistic heritage, we may choke off that energy. If CC atrophied for those reasons, we would suffer a genuine loss. At the moment it should be at the front of things, it would instead lie dying. I think that we'll be able to tell soon.

144 Incorporation

FROM CANYON CINEMANEWS, 72.1

Bruce Conner LETTER

People keep asking if I have a new film. Until I got a Ford Foundation Grant seven years ago I was an artist who had made two short movies. Afterwards, I was a filmmaker who incidentally made sculptures, paintings, assemblages, drawings, prints, etc. I was an “established film-maker.” I resented that piece of paper that usurped the kingdom of the artist in favor of the film-maker. Except for that grant all my films have been produced by myself. Style and form of the films were determined by the economic (therefore the technical) limitations of my own pocket. The films were basically a mime or a dance of pictures accompanying sound. Picture and sound are independent of each other but they relate to each other. My pocket wouldn’t let me go beyond this style into synch sound. For ten years my personal income has been less than $4,000 a year (there’s 3 of me) and sometimes less (none) except for 2 years I got rich. All other income went to making films, prints, painting, etc. I’ve never been able to buy synch sound equipment, blimped 16mm camera, etc. after working with a camera and editing bench for ten years. In the last 4 years I’ve been rejected 3 times by Guggenheim Foundation, twice by AFI and more than that by commercial (& educational) T.V. Entry to commercial films is blocked by Bankers (the money) and Unions (the job). The films I wanted to make these last 4 years didn’t happen and they won’t now because they should have been made then and not now. I haven’t used my old style equipment for several years so I’m selling it. It is no longer important to have synch sound or make the movies I planned.

Thoughts about movies I] want to make are turning off. Film-maker goes into hibernation. The artist returns.

Chick Strand LETTER

My dears,

Dedicated to pleasure seekers is rum pie... 14 Ritz crackers — smashed. one cup sugar, “/3 cup pecans, broken up pretty small, but not crushed . . . mix all of this together in a fairly big bowl. Beat 3 egg whites until stiff, add 2 tsp. baking powder and some vanilla, then gently fold the egg white mixture into the dry stuff. Put into greased, floured 9" pan, bake at 300 for 30 min. Top with real whipping cream to

Incorporation 145 which you have added lots of rum, or cream d’cocoa, or whatever you like. If you can wait to chill it, do it, if not, so what. Do whatever you want with the left over egg yolks. Bruce Baillie makes some really fine pies . . . with grapes (seeds left in), geranium petals, whole wheat flour and wine to moisten. He recommends the Lusk Hotel in Lusk, Wyoming, or is it Montana, never mind, that whole area is nice in early summer. I’ve been asked to comment on the old and new Canyon Cinema. Bruce started it years ago . . . held showings outdoors in Canyon . . . projected on an old sheet and had popcorn. Later he got together with Paul Tulley and they began showing features along with independent films at an anarchist café called the Bistro San Martin. People came. It was decided to get some dumb lady to do the correspondence and paper work... I volunteered. We thought that we would run out of independent films in a few months . . . but we showed films for five years at various places, always

one step ahead of the law . . . something about running a business without a licence. We asked for $1 donation, and were always in the hole. We began a film workshop in Chick Callenbach’s basement, and Chick had the idea for the Canyon Cinema News. We all worked very hard. One summer Chick donated his back yard, and we

sat next to Strawberry Creek watching Gilbert Roland as Zorro. Times have changed .. . and we have had to change.

John Jost UNDERGROUND MYTHS AND CINEMA COOPERATIVE REALITIES

(SOME CONCRETE POLICY SUGGESTIONS)

Contrary to one of the dominant myths of the Underground, film isn’t some tanta- , lizing presence unattached to the worldly problems of money, politics and labor. Nor is ‘art.’ Nor are those self-proclaimed genius/artists who occasionally give vent in these pages to their pious disdain for all things ‘commercial.’ Nope, all of these things are just like so much bullshit — as the periodic crises of the coops attest. Like it or not, film and art, and even filmmakers (whatever their disclaimers), are up to the neck in a complex interrelationship with economic/social/political factors that frequently could give a shit less about one’s supposed sensitivity, artistry or budding genius, or about the imagined sanctity of ‘art, or even about your latest theory of film. With utter indifference the latest recession in the economy brings a drop in rentals, or an audience subjected to the umpteenth fit of adolescent ‘selfexpression’ goes to sleep and doesn’t come back until next week. In one fashion or another hard reality intrudes and the wistful theoreticians of the underground get a kick in the ass: the coops flounder, filmmakers can’t get their print costs back, and the newsletters are swamped with a lot of whining. But whining is a bore and it doesn’t help.

146 Incorporation Some Dirty Proposals Aimed At Solvency

(Keeping the Truth in Mind)

The policy which governs the coops is openly idealistic: no censorship; any film is accepted for distribution. Despite the verbal winds of some underground propagan- — dists this means the coops end up carrying a lot of shit. Admitted the coops — made up of member filmmakers — are loath to concede this. ‘This makes the problem all the more difficult: witness the uproar when it was suggested that non-renting films be returned or charged a storage fee. However we would do well to set aside our sentiments and take heed of Mr Natural on the Last Supplement cover: He who shits in the road is going to find flies on his return. To a great degree the flies have come to roost on the coops: it is only natural that someone renting a film from a coop and getting a turd for his bother is going to think twice before he comes back for more. For all the theories devised to prop up the anything-goes policy, he had to sit there and watch some would-be artistic ooze slip by while his audience walked out. Since, like Hollywood, on a random basis, most underground films are just so much junk,

this kind of renter’s blind-man’s-bluff is detrimental to the coops as a whole: the renter once burned is going to start looking elsewhere. And believe it, there are a lot of people who rent films in large quantities who simply will not book from coops because they are afraid they'll get junk. There is, however, a possible solution, and one which would not require a policy change from the coop. (Previews)

In order to eliminate the five card stud game the renter is presently forced to enter, the coops could arrange for previews for bookers. This would let the renter know what he was getting, thus getting him off the situation in which the odds are against him, or that in which he is forced to ‘play safe’ with the handful of ‘names.’ Because the logistics and costs of allowing individual previews are plainly more than the coops could support, it is clear that preview showings would have to be for groups.

This is common practice among commercial distributors, and while it requires some hassle, it is a hassle which to a large part would be happily borne by the would-be renters themselves — film freaks all. ‘The scheme might go like this: coop asks filmmakers if they will/Avon’t allow their films to be previewed. (Figure out why you wouldn’t want yours previewed for yourself.) Then the coop, either through a willing member or through soliciting a heavy renter (through an announcement in the catalogue, newsletter, or by direct mailing), would arrange a series of regional preview showings, locations determined by known rental patterns. ‘Those responsible for such a regional preview would have to obtain adequate facilities. Once that was assured the coop would announce, well in advance, a date or dates in a mailing to the area involved. The mailing would explain the reason for the preview and ask if the party would/would not attend, and, if he would, what films he would like to

Incorporation 147 preview. Of the list this acquired, all, or as many as possible would be shown. If the number were simply too large to handle, those receiving the most requests would take precedence. Through this means the coop would relieve itself of any selective

bias. If well organized, such preview showings could result in an appreciable increase in coop rentals. (Packages and Bulk Rate Discounts) Another factor which discourages rentals is that coop films are rather high priced rel-

ative to other films on the market. This is often blamed on the supposedly difficult economic straits of the independent filmmaker —a problem largely created by the filmmaker’s attitude towards both his audience and the inescapable ‘business’ end of

filmmaking. If more attention were given to both these things rentals could be increased a great deal, and, as a result rental fees could be lowered. There are two methods immediately available to accomplish this: one is to offer a discount for package bookings, the other a discount for bulk rentals. In the case of the package discount, after receiving the filmmaker’s agreement, the coop would offer say a 25% or 30% discount to persons who book a feature length — say 80 minutes or more — program for showing on a single date. This would encourage bookings of this sort, and the discount can be afforded because the operational costs of providing such a program are considerably less than if the same amount of film were dribbled out in separate bookings. The discount would be split

90/50 by coop and filmmaker. In the case of the bulk rate discount a percentage reduction — say 25% — would

be offered to those who booked, in one order, 80 or more minutes of film to be shown individually on separate dates. In this case, since the coop’s costs are not cut as much as with the package, the filmmaker would absorb 2/srds of the discount and the coop !/srd: 1.e., the filmmaker accepts the greater burden in trying to get his film rented more often. This kind of discount would encourage the booking of more films, perhaps especially to renters who regularly book features for whom the drop in rental fees might allow the addition of a short to each program. (Publicity Incentives)

A major drawback of the coops is that, beyond the catalogue, they do not provide any publicity push. As is well understood in the film business, good PR can make a trashy film box-office and lousy PR can kill a good film. The same is true of the underground, and to a large degree it is precisely those who have hustled their work who get good rentals, regardless of the quality of that work. The coops (meaning everybody who has a film with a coop) would do well to provide some incentives for those who can get themselves together enough to do their own PR. It is, after all, the people whose films do rent that make the coop possible at all. One way this might

148 Incorporation be done is to offer the coop’s mailing list and use of the coop 3rd class mailing permit to anyone who shows up with a PR mailing — though he should do the address pasting and pay the costs of copying the mailing list. If there are any other ways in which the coops could help the filmmaker engage in PR activities, they ought to do so.

(Idealism That Doesn’t Work Is No Idealism At All)

The operating principles of the coops, being idealistic, necessarily have a tough go of it when confronted with the less than ideal realities which we face. As much as possible should be done within this idealistic framework to make the coops viable, or else, finally, it will mean nothing since the coops will collapse. To that end members ought to remind themselves that it is a cooperative that they are part of — which is to say they ought to think of what is good for the collective body rather than what appears good only for themselves. I.e.: engage in a little self-criticism — is a film

really good enough for public distribution? has a film become dated? does a film rent or is it just taking up space in the catalogue and shelves? are you helping the coop by your presence or are you just a dead weight? These kinds of questions are at the core of what a cooperative effort means — if coop members can’t seriously confront these things for themselves (rather than having it dictated) then surely the coops will fail . . . and most deservedly so. (A Minor Postscript)

The coop should, as a flat matter of policy, refuse to accept any prints which are in

poor condition (badly scratched, lots of splices, etc.), and should automatically return worn out prints. If someone rents a film in poor condition he thinks that’s what the coop dishes out and he’ll not be back so eagerly — don’t mess it up for everybody else.

CINEMAN S,, 72.2

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