One of my favorite things to do in the pre-COVID era was hosting a screening for Terror Tuesday or Weird Wednesday [subject of the great new book “Warped and Faded”] at the Alamo in Brooklyn. I love the content of the older repertoire that I was able to present like “Death Race 2000” or “Santa Sangre”. Right now, most of Alamo’s revival content is centralized in Houston and curated across all locations, as opposed to the localized scheduling managers you used to have. As COVID becomes less of a thing and theaters return in the dark, is the idea to eventually bring back unique localized programming?

Yeah yeah. We’re kind of going to get there gradually, aren’t we? Coming out of Chapter 11 and watching our bank balance very carefully, we had to cut back. But we have to be, right? We have to get back to Alamo in its best light. Especially in New York, and especially with the arrival of Staten Island, there are just too many. It’s too large an audience and we need to be at our best, we need that too. We have to go back. So that’s the plan and the goal. We’ll take it step by step as people get comfortable returning to the movies.

Yonkers and Brooklyn have movie projectors, but the Manhattan location does not yet. Are there any plans to eventually turn one of these 14 screens into a cinematographic screen?

This is what we want. It was really budgetary. There are a lot of little things that, as we’re going over budget, we’re cutting things back to keep costs in line. But there is no greater supporter of 35MM in the United States than me. I think it’s important to do it.

You said that AGFA actually does more print distribution than the Motion Picture Academy.

We love our movies to be played, right?