New Terrace owners keep theater's indie tradition alive

Numerous advantages attend cinema owners who also happen to be filmmakers.

They are "in the current" in terms of knowledge of film production. They know what is in the pipeline and how likely it is to pour into theaters. They are savvy about what does and doesn't work. And they have industry connections that extend well beyond distribution networks, exhibitor associations and marketing gurus.

Paul Brown and Barbara Tranter grasp the baton as owners of the Terrace Theatre from Mike Furlinger on April 2, and as new residents of the city, they are prepared to hit the ground running. Doubtless gratifying to Terrace loyalists is the news that the Canadian transplants envision no dramatic changes from the art house format. If anything, the ethic will be reinforced.

"Our goal is simply to play the best movies," says Brown, producer of such independent features as "Breakfast With Scot" and "The Assistant."

"Barbara and I have dedicated ourselves and our careers to making films in the independent world, and now, with the support of the Charleston community, we hope to extend the best movies to what we think is the best audience. We have also dedicated our careers to films that stimulate thought and reflection, which is what we want to show at the Terrace."

Brown and Tranter, who also own the Aurora Theater in East Aurora, N.Y., explored several areas in the U.S. before deciding on settling here.

"What attracted us to Charleston and to the Terrace was a wonderful sense of community with a grounding in an art film world, which is very attractive to us. We think this niche, with this audience, will continue to work and to expand. The Terrace exists and thrives because it is offering a top-quality product to a top-quality audience."

Brown worked at the Ontario Film Development Corp. and later Rhombus Media as chief of business affairs before establishing the TV and feature film production company Miracle Pictures Inc. in 1990. His first feature, "I Love a Man in Uniform," premiered at the Cannes Film Festival and captured Genie Awards (the Canadian answer to Oscar) for best actor and best supporting actor.

Not long thereafter, he opened the International Critic's Week Program at Cannes with his second feature, "Soul Survivor," and in 1996 produced "The Assistant," directed by Daniel Petrie and based on the novel by Bernard Malamud.

Mixing features with telefilms, Brown brought "Breakfast With Scot" to the screen in 2007. Following a screening of the picture at the recent Charleston Film Festival, the Terrace will reprise the film in April.

Starring Golden Globe nominees Tom Cavanagh ("Ed") and Ben Shenkman ("Angels in America"), "Breakfast" is an adaptation of the novel by Michael Downing and premiered at the Toronto International Film Festival.

"What I think is so notable about the film -- using humor, drama and ice hockey to tell the tale -- is that it is so specific in its characters: two very straight-seeming gay men raising a gay-er child," Brown says. "The messages, themes, ideas and emotions are incredibly universal. I was not sure how people would react to the characters, but the emotions have touched people deeply."

In the works are a telefilm based on Booker Prize-winning author Peter Carey's children's novel, "The Big Bazoohley," the feature "The Prisoner off Tehran," and the low-budget teen romp, "Truck Stop."

Tranter is equally enthused over the prospects. "It's exciting to think of working in a place where people appreciate good film work," says Brown's partner in business and in life.

Tranter, who broke into the business as an art director, has produced such films as "Babyface," "When Night Is Falling" and "White Room."

As to the division of labor, the owners describe themselves as "idea people" although he's more detail oriented and her forte is the broad stroke. Meanwhile, the balancing act of running two theaters and making films may find Brown more often in the less hands-on role of executive producer.

Neither is averse to well-made hybrid movies -- those combining elements of indie and mainstream pictures -- and they plan to maintain a brisk pace when it comes to turnover.

"If you can find films that are a combination of an artfully made movie that appeals to all audiences, features such as "Juno" or "Billy Elliot," they certainly will be considered," says Brown, who says he intends to continue the newly introduced Charleston Film Festival. "We're going to try to get as many films through here each year as possible. As a theater showcasing independent fare, we will try not to hold on to a given movie for more than two weeks."

The new owners also plan to introduce Charleston-area audiences to Canadian films that often find it difficult to secure distribution in the States.

"That is another of our goals since that's where our associations and allegiances lie. But the idea is to bring a variety of pictures to the theater, like Mike did so well, in addition to bringing in people directly involved in the making of these films for lecture series."

Brown says no significant alterations to the physical plant are anticipated in the near future.