[laughs]

"Who is it that's putting this film into this cinema? This is ridiculous.

Why are you do..." I mean, now I understand how it works.

Um, but I think I stood in the lobby of the Ritzy serving teas and coffees and selling tickets and talking to customers, and it was more thinking, "Well, you know, I could do a better job than this.

I could do..." Uh, and so it was, it was more that it, it, it was sort of a natural progression.

I mean, I loved being a projectionist.

Mm

...

... getting people out the house.

Yeah, absolutely, and that's what's happening.

Uh, you know, w- we've had a, a terrible few years, but really things are changing and people wanna get out of the house.

They want to get out and be with one another.

That's the most important thing.

It's spending time with each other and having a communal activity, and that's what we're seeing.

Um, and that's what we're seeing.

Are you seeing kind of pre-booking numbers like that at your cinemas?

Claire, as someone who was on the ground as Picturehouse acquired this film, do you remember when you first saw it? What was it about this film?

Well, saw it in Sundance, a snowy Sundance in January.

And I just remember watching it and at the end feeling this is something really, really special.

And this is something that Pitchhouse have to buy, clearly.

But I just thought it dealt with quite serious issues in a way that was profound and not gimmicky.

And it really talked to me as a woman.

And I think it talked to lots of people for its intelligence, its humour and its depth.

And yeah, that's who saw