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

CLAUDE JARMAN: Maybe the city cut us back a little bit. But, it should not have affected our regular
sales. I don’t know. The Hotel Tax Fund and Wells Fargo. The sponsors were good—Mark Hopkins,
Quinn Martin. Some of the same group.
MARGARITA LANDAZURI: You did raise prices on Opening Night. That was one way that you dealt
with it. Any other ways that you tried to make up the money that was lost?
CLAUDE JARMAN: Well, we still had the Palace of Fine Arts and the Castro, so were still doing pretty
well. Did we say we lost a lot of money that year?
MARGARITA LANDAZURI: Just that your budget was cut. [You used the Pacific Film Archive] for
New Cinema of Eastern Europe. This was a series of daytime programs. Why did you decide to add
PFA?
CLAUDE JARMAN: I think we were still trying to broaden our horizons somewhat, at the Castro and
then the East Bay. We probably had plenty of films that year that we weren’t going to be able to show at
the Palace, so we tried to move them around, and it worked. We had some good films that year.
MARGARITA LANDAZURI: The press reports refer to a strained history with the Pacific Film Archive
and the Festival. What was that all about?
CLAUDE JARMAN: That was primarily because of the relationship they had with Albert. Tom Luddy
and Albert were very close. So I think that was pretty much what the situation was there. But I always
got along with Tom Luddy, so I never had a real problem with him.
MARGARITA LANDAZURI: Opening Night was Who’s Killing the Great Chefs of Europe?
CLAUDE JARMAN: That was kind of a fun film.
MARGARITA LANDAZURI: Robert Morley was here for that.
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