craft

For six years, Californians have been able to shake up a craft cocktail at home using alcohol delivered to their doorstep. Now, it’s last call for the distillery deliveries, unless lawmakers intervene by the end of this month.

That’s unlikely, thanks to opposition from California’s wine industry, Teamsters union truck drivers and corporate alcohol wholesalers and distributors.

The influential, well-funded groups lobbied the Legislature behind closed doors this year to block legislation that would have made permanent pandemic-era rules that allowed craft distillers to ship spirits directly to their customers.

During the pandemic lockdowns, Gov. Gavin Newsom issued an executive order that allowed craft distillers to ship spirits to their customers’ homes. In the years since, lawmakers passed temporary laws allowing craft distillers — defined as those that produce up to 150,000 gallons a year — to keep shipping their spirits.

The latest extension expires Dec. 31.

“I don’t have a lot of hope that we’re going to be able to salvage this,” said Folsom Republican Assemblymember Josh Hoover. He tried unsuccessfully this year to amend one of his bills to let small distillers continue shipping directly to their customers.

The groups blocking Hoover’s proposal have spent more than $1 million lobbying the Legislature and state government this year. They have donated at least 11 times that much to California politicians and their campaigns over the years.

The craft distillers, who have spent a fraction as much on state politics, say all that spending from the opposition, particularly from corporate liquor distributors, appears to have paid off.

Cris Steller, owner of Dry Diggings Distillery, talks about the various products that are made in his distillery.

(Fred Greaves / For CalMatters)

“They went directly to legislators’ offices and basically torpedoed any effort we came up with,” said Cris Steller, acting executive director of the California Distillers Assn. and the owner of Amador and Dry Diggings Distillery in El Dorado Hills, a family-run business that makes whiskey, brandy, vodka and gin.

The fight is about more than whether Californians can have a bottle of whiskey or gin delivered. It illustrates how decisions are made in Sacramento, where wealthy and powerful interests can shape or kill policy in secret negotiations with lawmakers. Politicians, in turn, benefit when proposals die quietly because they don’t have to explain their decisions to voters.

Opponents insist they aren’t using the political system to crush competitors as national alcohol sales slump.

Instead, representatives of the major alcohol wholesalers and distributors that stock shelves at liquor retailers say they oppose the proposal because it primarily benefits out-of-state companies and weakens safeguards that include preventing alcohol deliveries to minors.

Teamsters lobbyist Matt Broad said the labor group’s truck drivers aren’t opposed to allowing craft distillers to ship their product. They just want them to use established shipping companies that have actual employees, including those that employ Teamsters, such as UPS. Those companies, Broad said, have standards to ensure liquor is delivered legally.

Those companies have standards to ensure legal delivery, Broad said. When they employ drivers rather than use contractors, the companies — not the drivers — bear legal liability.

Federal law preempts California from mandating hiring unionized truck drivers, Broad said.

“We are absolutely not opposed to the little guys being able to ship directly to consumers, and in fact, we have a track record of supporting the proposal but with meaningful guardrails that protect our members and protect the public,” he told CalMatters.

The California wine industry, which has been allowed to ship bottles directly to customers in California for decades, isn’t necessarily opposed either. But its representative says wine sellers are leery of giving little alcohol sellers delivery rights when big liquor companies deserve the same. Wineries of any size can ship to their customers in California.

Big Booze, Big Labor spend big

The U.S. Postal Service prohibits most alcohol shipments to homes, but California allows certain types of alcohol sellers to use private shipping companies. Breweries are prohibited from shipping directly to California customers.

Hoover hoped his Assembly Bill 2211, a proposal to give craft distillers the ability to offer tastings and sell spirits at locations other than their distilleries, could be amended to give craft distillers a permanent direct-to-consumer provision.

It has advanced through the Legislature without formal opposition or any lawmaker voting against it, according to CalMatters’ Digital Democracy database. The measure is pending before the full Senate.

There may be no formal opposition, but reports filed with the California secretary of state show an extensive behind-the-scenes lobbying effort aimed at preventing any changes.

At least six groups, including some of the biggest national alcohol distributors, have reported lobbying on Hoover’s bill.

The reports show those groups spent more than $1 million on lobbying this year. State ethics laws only require entities to report the total amount they spent lobbying the government in a year. They’re not required to report how much they spent on specific legislation, so it’s unclear how much they spent trying to influence lawmakers as they considered AB 2211 and its never-published direct-shipping amendment.

Those groups, along with the International Brotherhood of Teamsters and the Wine Institute, have given at least $11 million to both Democrats and Republicans in California since 2000, according to Digital Democracy, including at least $738,000 since 2025, the start of the current two-year legislative session.

By comparison, California’s craft distillers reported spending $54,000 on lobbying this year.

They reported just three donations to lawmakers in the past decade, according to Digital Democracy. One was a $42 bottle of whiskey in 2022 to former Napa Democratic Sen. Bill Dodd, who now lobbies on behalf of the craft distillery industry. In 2023, Assembly Speaker Robert Rivas received $215 in tequila. Democratic Assemblymember-turned U.S. Rep. Adam Gray received a $1,300 campaign donation in 2016.
Hoover said he has been trying since last year to add language to his bill that would allow craft distillers to permanently keep shipping. He succeeded last year in getting the extension that expires Dec. 31, but this year he’s been unable to overcome the opposition to expanding the tasting room measure.

“I’m always open to figuring this out, if there’s a way that we can make this work. … but I don’t have a lot of hope that this bill is going to preserve those provisions this year,” he said.

With less than a month left before the Legislature finishes for the year on Aug. 31, Democratic leaders would probably need to sign off on changes to Hoover’s tasting room measure. They’ve offered little indication they intend to intervene for craft distillers.

Rivas, who’s received at least $108,000 in donations over the years from opponents of Hoover’s unpublished proposal, declined CalMatters’ request for an interview. Senate President Pro Tem Monique Limón, who’s received at least $33,000, responded to an interview request with an emailed statement saying she is aware of the pending deadline.

“This bill will continue to work its way through the legislative process as intended,” it said.

Bottles of spirits produced by Dry Diggings Distillery in El Dorado Hills on Aug. 4.

(Fred Greaves / For CalMatters)

Democratic Sen. Susan Rubio and her sister, Democratic Assemblymember Blanca Rubio, oversee the committees that regulate California’s alcohol industry. When Hoover’s measure passed through their committees, the chairs could have allowed Hoover to add the direct-to-consumer amendment. They did not.

Susan Rubio has received at least $65,000 in donations from the groups blocking the direct-shipping proposal, according to Digital Democracy. Blanca Rubio has received at least $129,000.

Sen. Rubio’s spokesperson, Giovanni Ruiz Reyes, responded to interview requests with emailed statements. The first said “conversations between stakeholders are ongoing” and that she “looks forward” to reviewing potential legislation.

Ruiz Reyes said in a second statement Thursday that she’s supported four previous extensions of the craft distiller shipping policy.

“There is currently no bill or amendment before the committee seeking another extension,” Ruiz Reyes said. “Accordingly, it would be inaccurate to suggest that Senator Rubio or the committee has blocked or refused to hear an extension when no such proposal is currently before the committee.”

Assemblymember Rubio didn’t return interview requests.

Fewer Americans are drinking

The liquor industry is facing a nationwide decline as more Americans cut back on drinking.

In that difficult business climate, corporate liquor wholesalers and distribution companies lobbied “to obliterate competition,” said Dodd, the former state senator from wine country lobbying on behalf of craft distillers.

“We oppose any effort to make DTC (direct to consumer) permanent,” the Wine & Spirits Wholesalers of America, the California Beer & Beverage Distributors and the California Family Beer Distributors wrote in a joint statement to CalMatters.

Craft distilleries’ direct shipping “was always meant to be temporary pandemic relief, and it’s expiring exactly as designed, six years later,” said the groups, which represent local and national companies that move many of America’s best-known beer, wine and liquor brands. They argue that after the law expires, spirits can still be delivered to customers through services such as DoorDash. DoorDash is listed as a member of the Wine & Spirit Wholesalers of America on its website.

The groups’ representative, Kevin Luckey, declined an interview request.

Steve Gross, president and chief executive of the Wine Institute, said the wine industry has worked hard over the decades to have large and small wine sellers treated equally under California and national alcohol distribution laws. He said it would undermine his industry’s efforts if small distillers get delivery rights in California when large ones don’t have them.

“They have the option to go in and try and fight for a bill that we and others could also support,” Gross said. “They’ve chosen not to because those larger distillers are not their members.”

The Wine Institute is a lobbying group that represents more than 700 large and small wine sellers, including one of the world’s largest, Modesto-based Gallo Winery.

Craft distillers say they’ve tried to work with the groups blocking their bill to address their concerns, but they have gotten nowhere.

In the meantime, Steller, the El Dorado Hills distiller, has already started pulling back on shipping bottles to his customers because the Legislature won’t budge.

“I don’t want to keep putting money into a program that’s going to get yanked,” he said.

Ryan Sabalow writes for CalMatters.

One year ago, when tickets first went on sale for “The Odyssey” in Imax 70mm, nearly every screening sold out instantly.

The unprecedented ticket mayhem built hype — not just for the film, but for the format. By the time a second round of tickets were made available last month, buyers swarmed with such frenzy that they crashed the AMC Theatres app.

In Los Angeles, home base for cinephiles of every stripe, scoring one of these coveted opening weekend tickets was particularly challenging. Much of the excitement revolved around the fact that “The Odyssey” was the first feature shot entirely on Imax 70mm film, a technical achievement that involved the invention of a new camera.

• Share via Close extra sharing options

Want to see The Odyssey in 70mm but couldn’t get tickets? Glendale’s historic The Alex Theatre has you covered.

For 28-year-old Van Nuys resident Chase Stanley, who tried and failed to secure a ticket, that milestone was top of mind.

“Ultimately, I’m just jealous that I’m not included,” he said. “Since it’s the first movie to capture the whole thing in 70mm Imax, it’s my due diligence to see it like that.”

Despite the enthusiasm from moviegoers, film projection has been considered a dying art since most movie theaters worldwide switched to digital projection in the early 2010s.

More than a marketing tactic, the scarcity of tickets for Imax 70mm screenings underscored both the dearth of theaters capable of projecting films in the premium large format — only 41 — and projectionists with the requisite skills.

A number of renowned directors, including “The Odyssey’s” Christopher Nolan, prefer to shoot on film and strongly encourage analog viewing. But because few theaters own the necessary equipment or employ full-time projectionists, coordinating a release as massive as “The Odyssey” is its own arduous journey.

Jimmy Gonzales is Cepheus, left, Matt Damon is Odysseus and Himesh Patel is Eurylochus in “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Venues new and old

There are 25 theaters in the United States showing “The Odyssey” in Imax 70mm, eight of which are located in California. One of L.A.’s favorites is the Universal Cinema AMC at CityWalk Hollywood, where veteran Imax projectionist Taylor Umphenour has worked for the last three years.

On his Instagram page, Umphenour shares “projectionist POV” photos and videos with more than 22,000 followers, giving them a unique glimpse into the projection booth for movies like “Sinners,” “One Battle After Another” and “Project Hail Mary.” His company, Film Leader Co., supervises film restorations and runs technical operations for a smattering of cinema houses across the country.

In addition to his work at CityWalk, Umphenour has been busy for weeks overhauling the projection setup at the historic Alex Theatre in Glendale.

Releases such as “The Odyssey” have renewed interest in film projectionists and specialty theaters, including the historic Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

The 100-year-old venue opened in 1925 as a vaudeville and silent movie house where Walt Disney previewed his animated shorts, but it changed identities many times over the course of its history. Now, Umphenour and his team are working with Miles Williams, the theater’s artistic director, to transform it into a “premier cinema house” in time for “The Odyssey’s” release. It marks the first time the theater has been used for a first-run film release since “Terminator 2: Judgment Day” in 1991.

“What better opportunity to relaunch this venue than to open with Christopher Nolan’s ‘The Odyssey’? That’s why this project is on such a tight turn,” Umphenour said.

His team built an entirely new, massive booth in just three weeks to house sound equipment and projectors capable of running both 35mm and 70mm film. To secure the Alex a last-minute 70mm print of “The Odyssey” — which costs tens of thousands of dollars to manufacture, ship and distribute and runs about four miles long — Umphenour relied on his relationship with distribution executives at Universal.

The Alex will screen the movie in 70mm, which uses the same film stock as Imax 70mm but runs vertically instead of horizontally, making each physical frame roughly three times smaller than its Imax counterpart. Audiences seeking the larger-than-life Imax experience will have to look elsewhere — like CityWalk — but Umphenour believes that analog screenings will still draw a crowd.

“What’s special about these — about running on film, about running 70mm, about handling premium large formats — is that it does remind people how much they love going to the movies,” he said.

“What it’s all about is expanding that sense of scope and horizon, the analog color, that sense of immersion.”

Not a job for ‘popcorn projectionists’

In advance of “The Odyssey’s” release, Imax contracted 130 experienced projectionists and required each to attend an intensive, weeklong training program.

“I’ve said for years that the projectionist is the last performer in a long chain of people that started with an idea,” Umphenour said. “They are the final person to deliver the vision of the filmmakers to the audience, and therefore, one of the most crucial.” Far from simply pressing a button, film projectionists must actively guide a screening, threading and splicing reels and closely monitoring for mechanical issues.

But thanks in large part to the dwindling number of theaters projecting analog film since 2013, finding capable, actively working projectionists for releases like “The Odyssey” can be a struggle.

Sean McKinnon, director of specialty presentations and AV integration at Boston Light and Sound, is in charge of hiring these projectionists for about 60 venues across the country screening “The Odyssey” in 70mm. He did the same for “Oppenheimer” in 2023, which had the longest theatrical window of the year.

“It was pretty challenging finding people for ‘Oppenheimer,’ especially because the film was so amazing, it was in theaters for so long,” he said of the 122-day release. Staffing projectionists for “The Odyssey” has been “definitely easier,” he said, as the “word has gotten out.”

The talent pool McKinnon pulls from includes theater managers, retired projectionists, trainees from specialized college programs and even workers in other professions who take PTO for the occasion.

“We get people from really all walks of life,” he said. “It’s a special event and people want to be a part of it.”

Taylor Umphenour checks the projector’s focus at the historic Alex Theatre in Glendale.

(Allen J. Schaben / Los Angeles Times)

Outside of big cities, the lack of local projectionists also means McKinnon’s company has to fly people to Morrow, Ga., or Valley View, Ohio, for instance, to run the booth for the duration of a film’s run.

Leah Saint Marie, a filmmaker and former projectionist at the Vista Theatre in Los Feliz, attributed the staffing struggle to the experience and knowledge divide between hobbyists and experts.

“Training is pretty easy if you want to be what they call a ‘popcorn projectionist,’” she said. They “can thread the movie and push start, but if there are any mechanical issues, they can’t fix it.”

“I don’t think anybody who’s going to run a 70mm Imax are popcorn projectionists, because it’s very technical,” she added. Each Imax film print of “The Odyssey” is 11 miles long and weighs roughly 600 pounds.

The most recent data from the U.S. Bureau of Labor Statistics estimated that in 2023, there were 2,610 motion picture projectionists employed in the U.S. — an increase from 1,900 in 2022. In 2012, the BLS estimated roughly 8,000 projectionists and predicted the number would decline by 26.5% in the next 10 years — but it ultimately decreased by 76%.

“If you want to maintain expertise in the field, what you want are enough [movie] theaters out there running film that somebody can try their hand at it and get better,” Umphenour said.

Why film matters

Could the overwhelming audience demand for Imax 70mm screenings translate into a resurgence of fully equipped theaters? According to Imax Chief Executive Richard Gelfond, it’s more complicated than that.

“The problem is they haven’t made new Imax film projectors in about 50 years,” Gelfond told Variety on Wednesday. “We build new projectors every day, but film projectors, using this film, it’s not practical. So we’ve got to find them and retrofit them and rebuild them, which is what we did for ‘Odyssey.’ But can all 2,000 of our theaters be film projectors? No. There’s just not that many around.”

That said, Cinemark reportedly installed Imax 70mm projectors at three of its theaters ahead of “The Odyssey’s” release, and there are 11 more theaters projecting “The Odyssey” in Imax 70mm than there were for “Oppenheimer.”

Cinema engineer Justin Dennis is working with projectionist and production manager Taylor Umphenour to build a new projection booth capable of running both 35mm and 70mm film at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

Saint Marie recalled working as a projectionist in Pennsylvania during the period when most theaters transitioned from film to digital. While training at a new theater, she was surprised to find an old film projector still stored in the booth, and even more surprised to learn it was for Nolan’s sake.

“When he releases a [movie] on film, we have to have the projector. A lot of places around the United States kept their projectors specifically for Nolan,” she said.

Nolan isn’t the only director with an affinity for large format film and analog media. Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler (whose 2025 hit “Sinners” made quite a splash in Imax 70mm) are others associated with what Umphenour dubbed “the 70mm renaissance.”

According to Saint Marie, theaters worldwide transitioned from film to digital projection mainly because the cost of shipping a Digital Cinema Package is much cheaper than shipping a film release print. But the community of skilled laborers and enthusiastic audiences who champion analog projection say it’s worth it.

“I think there’s something to be said about what film gives you as an artistic community, versus what digital gives you is just consuming as a capitalistic society,” Saint Marie said. To McKinnon, it comes down to the “tradition of humans telling a story by flickering light” harking back to prehistoric times.

For Umphenour, the story of “The Odyssey’s” release and all of the 70mm fanfare is one of preservationists triumphing over countless obstacles.

“There are 70mm theaters running this film throughout the world that, frankly, have been kept alive through the deep devotion of people who care about this format,” Umphenour said. “They really do deserve to be celebrated because, like so many things in life, if you don’t have people that care about it, you don’t end up with a thing.”

“The results of all this work are not images projected on screen,” he continued. “It’s a community brought together to hear a story well told, which allows them to create a life memory they get to carry forward for years and years.”

Film projection takes center stage at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)