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San Francisco Film Society Oral History Project Interview with ...

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had Z, on of his films, a couple years later. We had really good Yugoslavian and good Eastern European<br />

films. We had another John Korty film.<br />

MARGARITA LANDAZURI: Jacques Demy?<br />

CLAUDE JARMAN: Special programs, Bambi—maybe that was the year we had Walt Disney.<br />

MARGARITA LANDAZURI: Let’s go back, because there’s a quote from you about controversy,<br />

probably to do <strong>with</strong> How I Won the War, and you said, “Controversy is nothing new to the Festival.<br />

We don’t expect protests. We’re not in politics, and we’re not taking any stands.” What were some of<br />

the controversies of that year?<br />

CLAUDE JARMAN: If you sit back and think about ’67, ’68, it just seemed that everything was<br />

controversy. You were going to find people on both sides of the fence. So anything you did was<br />

controversy. If you had Henry Fonda, “Well, why do you have some old actor? Why don’t you have<br />

somebody like Jack Nicholson, or somebody else?” So we always tried to have a certain mixture of<br />

people that managed to provoke and antagonize everyone. (LAUGHS)<br />

MARGARITA LANDAZURI: But it certainly was an odd choice to have something like How I Won<br />

the War. Was that intentional?<br />

CLAUDE JARMAN: I think it was just something that we wanted to do. It went <strong>with</strong> the times. We also<br />

had this film, Festival, which was based on the Newport Folk Festival <strong>with</strong> Bob Dylan. It was a<br />

midnight showing. We had a lot of people there for that. We tried to have continuous activity. We<br />

always felt very strongly about trying to keep everything in one place. And I still believed in the movie<br />

star image. We still needed to encourage people to come. We weren’t competing <strong>with</strong> the Pacific <strong>Film</strong><br />

Archive. There was a lot of people who wanted us to have a Tom Luddy-type festival, where you had<br />

many varieties of films, and who cares whether people came or not? We had to care because the event<br />

had to be paid for. One year we announced that the Festival had actually ended up <strong>with</strong> a surplus of<br />

$8,000 to $10,000. The next year, the Hotel Tax Fund cut $10,000, because they said we didn’t need it.<br />

And I said, “We will never, ever make money again,” because supporters like to feel that they’re giving<br />

25

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