James Strangroom

Plaza head honcho Pete Harris takes a quick break

“I can remember opening The Blair Witch Project before all the Internet hype,” recalls Pete Harris, manager of the Plaza Theatre. “We had decorated the theatre with wicker and tree branches everywhere. We sold out for a whole week. That was pretty special.”
    History stumbles through the Plaza, cracks and chips left behind in its wake. Creaking chairs speak of 25-cent matinees during the Depression, while the ceiling fan listlessly spins like it did during newsreel footage of the Second World War. Art deco fixtures cling to the building like the faded features on a Polaroid. As Calgary’s oldest and only remaining independent theatre, the Plaza Theatre in Kensington evokes a period lost in the machine of the multiplex. This history is why the Calgary International Film Festival and its presenting sponsor, American Express, have set out to restore the building.
    “We were discussing ways of becoming more engaged in the community with AMEX,” says Jacqueline Dupuis, executive director of the Calgary International Film Fest (CIFF). “They’re very interested in preserving cultural and historical spaces. The Plaza is the oldest neighbourhood theatre left in Calgary, and we want to protect that and (make) a commitment to art-house, repertoire and indie programming in Calgary.”
    The restoration of the Plaza Theatre begins with fundraising. AMEX has started a donation fund in which 10 per cent of all purchases made by AMEX cardholders at participating establishments will be donated to the Plaza Theatre restoration initiative, to a maximum of $100,000. As well, a dollar from the Front of the Line service charge, a service which gives AMEX cardholders preferred seating at screenings, will also be donated to the Plaza.
    “AMEX will make the donation, but we’re letting Calgarians get involved in raising the money,” says Paul Rogers, director of establishment services marketing at AMEX. “Calgarians are people who like to do good and are very committed to being involved in the community. We’re going to fund it, but we’re asking for your help to make it happen.”
    Some Calgarians may balk at making a donation through AMEX, especially those who aren’t cardholders. Already, some people are irritated by what they feel is limited access to this year’s CIFF due to the Front of the Line service and other exclusives through AMEX. “I’m certain we’re going to receive complaints, but I think we’ve always provided special access to our sponsors and their clients,” defends Dupuis. “What we’re doing with AMEX isn’t near as invasive as what Toronto or Vancouver would do with Visa.”
    AMEX’s involvement in the restoration initiative conjures worries of corporate meddling and branding. Harris had similar concerns when first approach by AMEX. Much like the Plaza, Harris embodies the independent spirit of the film community, having long been involved in several of the city’s film festivals, including CIFF. After all, the Plaza has a reputation as a fiercely independent theatre, serving as a cornerstone for the Calgary film community.
    “Everybody’s got a bit of a bullshit detector and mine was up at the beginning,” admits Harris. “The people from AMEX presented it in a way that was a no-brainer on our end. They define it as restoration rather than renovation and, obviously, the big difference there is maintaining the character and integrity of the reputation of the Plaza.
    “Nothing is going to change in terms of our programming, nothing is going to change in terms of our staffing and there won’t all of a sudden be corporate brands everywhere. We’re not worried in the least, because we’re going to now be around for 20 more years instead of worrying about having the doors open in two years.”
    Rogers assures Calgarians that the Plaza will remain independent and not undergo a name change for the sake of branding. “No, I don’t think that’s in the scope, at least from what I’m aware of,” he says.
    The actual restoration will be headed by CIFF staff, who will serve as project managers. As well, CIFF will handle fundraising after the initial campaign by AMEX, the first of which will happen six months after the film festival. The repairs and restoration won’t begin for awhile, but everybody remains optimistic about the Plaza’s transformation.
    “We want to restore the Plaza to its original glory, but give it updated technology and exhibition capabilities,” says Dupuis.
    Harris agrees. “To get new seats, new carpets, new sound system, state-of-the-art and top-of-the-line everything in here will be a dream come true for the Plaza and its patrons. That’s the thing we’re still going to do here, open the door and be an affordable screen for the non-profit film community.”