Viktor Wynd

Two Theatres' of Broken Dreams
A Cinematical Experiment Proposed by:
Viktor Wynd, Chancellor of The Last Tuesday Society
Part I - Viktor Wynd's Caravan of Broken Dreams
Part II - Viktor Wynd's Cinema of Broken Dreams

Premise

From it's origins in the magic lantern shows on the early 19th century cinema and the moving image has been about magic, about presenting a strange surreal dream world, another life eerily similar yet different. Early audiences screamed and ran away when a steam train was projected heading full steam ahead into the audience. Cinema used to be an experience and event, yet with the advent of television, then video, then DVD then cheap home cinemas and internet movies it has changed to becoming a basic and fundamentally dull part of everybody's life, it's lost its magic and faded into background noise, perhaps vaingloriously I aim to reignite the experience of film, to represent cinema as something profoundly different and to touch a peoples lives with a kind of magic, a broken dream. When I left home and moved to Paris in 1995 knowing no one and nothing that I hadn't read in a book, but excited by the avant garde and a Paris that was already dying, there was a plethora of tiny art house cinemas, mainly on the Rive Gauche in St.Germain that would show, night after night, obscure films from the 1920s on These cinemas would show films that weren't on vhs and weren't on the box and finding one with a film I lusted after was an event and I would squeeze my very francs for a ticket, and sometimes there was a kind of magic, both in the film and in the cinema, once I thought I was the only one sitting in a rather forlorn & shabby cinema watching Jean Cocteau's Les Enfants Terrible but as I walked out an old man shuffled up to me, his eyes filled with tears and he told me of his lifelong friendship with the now dead Jean Marais. There was a kind of magic.

Project One - Viktor Wynd's Caravan of Broken Dreams

A Lorry or other vehicle will be converted into a travelling cinema. Inside will be a perfectly built cinema in miniature - everything that a cinema should have will be there - from the box office to the auditorium. The cinema will cruise the British isles and beyond, parking surreptitiously on the corner in busy areas, public parks and at festivals, it will be staffed by charming and utterly serious performers, dressed in the uniform of cinema ushers, who will announce to passers by that the film will be starting in 10 minutes, gather as many people as they can and provide a quite spontaneous experience. There will be something profoundly disturbing, but deeply magical, dreamlike about being hustled out of a busy public place, and into a lorry, only to discover that the lorry, tardis like, contains a cinema and then to watch a film that would not normally be watched when one was least expecting it

Project Two - Viktor Wynd's Cinema of Broken Dreams

The era of the art house cinema is dead, the time when the lover of film would a cinema and show the films that he or she believed were the films that matter and be buggered to the commercial consequences, leaving us with some profoundly dull, and definitely unmagical institutionalised state funded cinemas, and a handful of cinemas that would like to be art house but are financially obliged to show the same films as everyone else. We propose to build a pop-up art house cinema for 3 - 6 months, in a unconventional building where, from the outside you would least expect it, such as a warehouse down an alley, you would enter another world.

Within, a sinister, 1950's inspired interior, with everything one would expect a foyer to have, a piano played by a man in white tie, with a diva singing sad songs, a popcorn machine and a little booth selling tickets. Inside would be a perfect auditorium, with a circle, and private "lovers" boxes.

The Films

In an age where most films are available from your local video store or online to buy of download but of the aim of the cinema's would be to show films that people will not have seen, both ones that are rarely available to the general public and underrated classics, though with the caravan most of the films would be ever so slightly obscure classics, like Chaplin's The Great Dictator, Bergman's The Seventh Seal, Jodorowski's Santa Sangre, Peter Greenaway's Prospero's Books etc etc

Whilst the Cinema of Broken dreams would concentrate more on both unique and lost films and a different take non cinema, The Last Tuesday Society would use it's unique relationship with the country's intelligentsia to ask leading writers and thinkers to choose and introduce their favourite films, there would be a midnight movie on Friday and Saturday, with a suitably morose and sentimental Sunday afternoon film.

Demographics

Both projects would reach out to a huge and varied audience, but an audience of primarily creative independent thinkers, the reach would however be far greater than the actually numbers entertained (though that should be substantial too) as the aim is to create a project that will change the way people think and that will be widely talked about and discussed in the media.

Brand Exposure

There will be plenty of opportunity for discrete, though substantial, exposure for a potential sponsor, including the showing of a short commercial, & thank you note, at the beginning of every film, to branding on the substantial publicity materials.

Publicity Materials

The Last Tuesday Society Believes that the most effective way of publicising events is by word of mouth and has a membership/mailing list of 20,000+ and a website receiving over 40,000 hits a month, however we also pride ourselves on producing interesting and innovative publicity materials. For these projects we would build dedicated websites, posters and flyers, for the caravan the hosts would spend part of their time handing out flyers to people in the street with a great flourish, and a promise of excitement, whilst for the cinema 20,000 beautiful illustrated programs would be produced and distributed through the letter boxes of a large area and left in public places, together with a vigorous poster and leafleting campaign across London. All publicity material would have space to thank a potential sponsor.