Frank Lee spent almost his whole life working in a cinema. At the age of 70, after working as a professional professional as an operator of the Justice Theater in San Francisco, he and his spouse and co-owner Lida wanted to promote the docks and the Presidential Theater they supervised for reasons in the early 2000s. But he said the expertise of the film should not be completed.
Lee hopes to “see these two theaters as cinemas.”
He said he might be unhappy with the farewell theaters, all located in the Pier District of Ritz Road and part of the theater business near Lee, but it was the best second for all.
“I believe it's time. After 60 years in the enterprise, this may be a great alternative now. And the problem is being tried.” choose. “I believe that this year’s discharge schedule is likely to hope to be regularly scheduled from hybridization again.”
The foyer of the San Francisco Pier Theatre.
Courtesy of Frank Lee
Since 2004, Lees has operated a four-screen main platform since 2008 and operates a two-screen dock.
“Obviously, the community wants these two theaters,” Lee said.
Their first profitable theater was the two-screen 4-star theater in Richmond District, which they offer from 1992 to 2021.
Lee Si will leave behind a large group history in the theater. They have become part of the San Francisco tradition of curating films, especially in the nineteenth century and early 2000s, once they programmed Asian films. They even held a pious Asian film pageant on the Four Stars.
The competition will introduce movies like Ang Lee's “Wedding Banquet”, Zhang Yimou's “Elevating Forest Lantern”, Park Chan-Wook, Park Chan-Wook's “Mr. Vengeance's Compassion”, Bong Joon Ho's “Barking Canine no Mane Mane Mane Chunk”, and from Korea, Japan Japan, Parewan, Taiwan, Philippine, Philippines, Philippines, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka, Sri Lanka. Takashi Miike confirmed his film “Lifeless or Alive” to compete.
“We have shown some great products in all these Asian countries,” Lee said.
Currently, Lee is persistent in sharing with his father, who works in every round of distribution and display of Asian films from 1964 to 1987. “I almost helped him, at hand, grow with the business,” Lee said.
His father, Frank Lee Sr., had theaters all over the United States, held theaters in Toronto, largely serving the Chinatown neighborhoods in their respective cities — “He has a theater wherever Chinatown is,” Lee said. His theaters include the Bella United Theatre in San Francisco; Cinema East and Europa in Los Angeles (before the new Beverly (before the new Beverly); Fifty-fifth Street in New York, Theatre and Canal Cinema, and School Theatre in Toronto.
Frank Lee Sr. worked in these venues throughout the interval, when the Chinese Language Theater was always a cultural hub for the Chinese immigrant community. Plus, he was part of some of the reasons for Asian films and even arrived in the United States
Born and raised in San Francisco's Chinatown, Lee recalls the 9-year-old who participated in the San Francisco Global Film Pageant, accompanying his father, Frank Lee Sr. Civil Engineer and Frank Lee Sr. The broadcast producer, then obtained the three-year Shaw brothers, distributing movies in the United States
Li said his father thought: “Why is there no one [is] Show it? These days, they have been showing outdated Hong Kong black and white movies. Brothers Shaw's movies are almost about Hollywood, widescreen, coloring, very good works and everything else. ”
These movies were an unconventional alternative to Mandarin in Mandarin, when Cantonese was spoken generally in the United States at that time, according to Lee's regulations. “He got a lot of assistance from the New York media, the San Francisco media and the Los Angeles media, especially today's newspapers. They actually supported the movies, so they looked back on every movie he introduced from Hong Kong,” Lee said.
Frank Lee Sr. started showing Hong Kong movies and moved to Taiwanese movies instead of recirculating to Hong Kong cinemas again. “There are about 5 or 6 distributors in this country who have been fighting in Hong Kong and Taiwan for 20 years. So my dad is one of many major people,” Lee said.
“us [would] Today, the right to buy movies in Taiwan and again distributed to up to 50 screens on the same day, in the 1970s and early 1980s. ” Lee added.
Courtesy of Frank Lee
Lee said his father closed his film business in the late 1980s as house videos became more and more extensive. Throughout the pandemic, Lee once again played the film’s prints from his father’s work to film archives in Hong Kong and Taiwan. Lee's personal deal with the show Asian film ended after the 2000s with the development of competitors in the field. However, he was satisfied with his and his father’s achievements: “I said he was a pioneer, bringing Asian films to non-Asian audiences in the 1960s. Then, I continued in the early 1990s.”
As of late, he and his spouse have shown a series of movies. Comedy and female-oriented films do work effectively, but theatre also showcases a mix of industry, Oscar nominations and art films. Lees hires auditoriums on personal occasions such as birthday events, corporate occasions and screenings by the Association of Show Screen Actors. Local faculty and staff use the theater area for fundraising screenings. The San Francisco Global Film Pageant used every theater in every theater last April.
Exterior of the San Francisco Pier Theatre.
Courtesy of Frank Lee
Li said there are not many competitors from different theaters. “In the West, where we are, we are almost one, six protons that exist now,” he said. “The thing we are able to guide the theater we like is a theater in that space.”
He envisioned the Pier and Presidio could be developed with the theater's expertise to serve the town's culinary tastes. “We’ve seen some places here where operators may need to be available and have a meal,” he said.
The town has allowed the marina to put in the restaurant. Despite the same job permitting, Lee said that if a brand new everyone wants to pursue this possibility, even with a common blueprint in every theater, even with dining components in every theater, even a ghost kitchen that works in many theaters can work in many theaters. Lee describes the Chestnut Road as a “food space”: “Any new restaurant opens, it’s amazing, it’s an occasion.”
The couple has two sons working as doctors, whose goal is to retire and try to talk to potential consumers.
When he and his spouse let go of the dock and Presidio, Lee foresees that their legacy as San Francisco theater operators are likely about their contribution to the local film scene.
Their time in theater businesses included pandemic-like obstacles, except for the 2000s authorized combat to carry 4 stars authorized combat while handling the eviction of the property's home owners. Lees received group assistance and hundreds of people signed a petition to save a lot of theaters.
He added: “A lot of people keep us in mind, which means – fairness, hands-on, taking up many possibilities in the fourth hour, is a current problem that almost does not exist for people.”
