“Cinema is an event seen through a keyhole,” wrote Jean Cocteau, which André Bazin points out in an essay from 1951 called “Theater and Cinema.” The Hotel Artemis Quad lobby situation was an event that gave my friend and me a keyhole view into the world of Hollywood film publicity in New York, but that was not what Cocteau had in mind. Les parents terribles was an important film to Bazin because for him it proved that filming a play did not have to be uncinematic. This was a theoretical argument in postwar France, where directors like Bresson asserted that the theater and the cinema were distinct media that should have nothing to do with each other. By directing his own play for the screen just as he had staged it, and with the same actors, Cocteau, Bazin claimed, had shown that filmed drama did not have to be stagey, even if the action was restricted to a couple of sets.