In the section On Location, I recount the opening of the New Yorker Book Store with Pete Martin and Austen Laber. Pete was the co-founder, with Lawrence Ferlinghetti, of the City Lights Bookstore in San Francisco, birthplace of the Beat Movement and of the literary magazine City Lights, of which five issues were published that included Manny Farber, Pauline Kael, David Riesman, Pete Martin and Parker Tyler. Our bookshelves were built by Manny Farber. The bookstore showcased young neighborhood writers, carried poetry, art books, little magazines and a line of newspapers. Isaac Bashevis Singer, who lived in the neighborhood, came daily to pick up the Forward.The section “Cinephiles” describes our patrons. The theater became a hangout for film buffs from all walks of life: Columbia students Phillip Lopate and Morris Dickstein; critics Vincent Canby, Pauline Kael, Manny Farber, Richard Schickel, Eugene Archer, Andrew Sarris (proponent of the auteur theory), Jonas Mekas, Parker Tyler, Stanley Kauffmann, Peter Bogdanovich, Dwight Macdonald, and Susan Sontag; future film critic James Hoberman, Richard Avedon, Diane Arbus; the musical archivist Miles Kreuger; Jules Feiffer and Bruce Goldstein. Jules Feiffer did a mural that hung in our vestibule. But most were ordinary moviegoers.I devote sections of the book to Sarris, Farber, Kael, Bogdanovich, and Canby, and to directors with whom we formed close relationships: Bernardo Bertolucci, Rainer Werner Fassbinder, Jean-Luc Godard, and Ousmane Sembene. And I describe the genesis of Point of Order, made by Dan and Emile de Antonio, on the Army McCarthy hearings, and of Shoah, Claude Lanzmann’s eight-and-a-half hour work on the Holocaust.Peter Bogdanovich says the New Yorker Theater is where he got his education. Bruce Goldstein, repertory program director of New York’s Film Forum, who now devotes his career to getting better 35mm prints of classic films, was first made aware of that era with a screening of Gold Diggers.As distributors, we launched seminal films and directors: Ousmane Sembene, now regarded as the father of African cinema; independent filmmakers Shirley Clarke, Jim Jarmusch, and John Cassavetes; Cinema Novo’s Glauber Rocha, Nelson Pereira dos Santos, and Carlos Diegues; Chris Marker; Jacques Rivette; Jean Eustache; Werner Herzog; Nagisa Oshima; and Jean-Marie Straub and Daniele Huillet.We had the good fortune to participate as distributor and exhibitor in a score of memorable films: Krzysztof Kieslowski’s Decalogue, Rainer Werner Fassbinder’s Ali: Fear Eats the Soul and Berlin Alexanderplatz, Andrei Tarkovsky’s The Sacrifice, Satyajit Ray’s Apu Trilogy, the Dardenne Brother’s La Promesse and Le Fils, Hirokazu Koreeda’s Afterlife, Werner Herzog’s The Land of Silence and Darkness, and the Enigma of Kaspar Hauser, Theo Angelopulis’s The Traveling Players, Ousmane Sembene’s Borom Sarret and Moolade, Yasujiro Ozu’s Tokyo Story, and Kenji Mizoguchi’s Sancho the Bailiff. At film festivals we were not on the lookout for blockbusters but for innovative works. We pursued works of human resonance that inform and perpetuate the art of cinema, touchstones to re-see over and over and learn from. The New Yorker Theater became a barometer to critical and popular taste, it helped to shape the sensibilities of a new generation.