MARTY SALVADOR: I was born and raised here, right in a nearby town in Stockbridge.

HATTIE: (Voiceover) Marty Salvador grew up in the Berkshires and actually posed for this Norman Rockwell painting.

MARTY: I'm right in the middle here behind John Kennedy.

HATTIE: So did all your family recognize you?

MARTY: Oh, yeah. They still do.

HATTIE: (Voiceover) Marty has been in the insurance business in Great Barrington for 30 years.

MARTY: Richard and Joe have done some things to regenerate interest in some of the older buildings, places in town, that were being let go or run down and created some real activity and interest. And this was really important in their case, because it was in the core area of town, center of town, which, you know, if that dies, then the rest of the body dies with it. And I think what they've done has been really great.

HATTIE: You've built this. You've renovated this space. You've created something wonderful. Now what next?

JOE: Oh, it's simple. This terrace is still not working very well. When good weather, there should be a crowd here and...

HATTIE: It ought to be hopping.

RICHARD: Yes.

JOE: This is where the action should be and it's not happening.

HATTIE: The first time I came to the triplex I saw this shiny surface it shocked me only because I was in this old town and I hadn't seen any of the modern part of it. It;s great. But let me ask you this question, Joe. Did you have a little bit of conflict with folks wanting to do something modern?

JOE: Well, if you look around here at the backs of all these existing buildings there are no great buildings here. This is exactly what it is, the backs of...

HATTIE: Old buildings?

JOE: ...and I didn't feel any great need to conform to an architecture or to an ambience. There was none. And back in colonial times, we did not make movie theaters...

HATTIE: That's right.

JOE: ...with blank walls and black boxes.

HATTIE: That's right. No, I love it. I'm just saying I'm surprised...

JOE: So we had to find an expression that we thought was commensurate and, you know, that flows, that made sense, and--without imposing what I call `a phony colony look.'

HATTIE: There's no phony colony here.Why does this building that I'm sitting in, that you designed--why does it feel so good to me?

JOE: Well, I don't know if it does feel good.

HATTIE: Oh, it does. It does. And I like being in here. I like it. And I'm going to guess the light has a lot to do with it. I don't know. I'm not an architect. I just know when I came in, I felt good.

JOE: You know, what are the intangible things, the scale, the character, the shaping of the space, the color, I don't know, the views out. There's a lot of things that goes into, you know, shaping a space and I think this extension, the plaza, so that you're not in the parking lot, that you're a bit elevated from it and so on, is very helpful. And it's a very compact plan actually. It may feel rather spacious out here, but there's almost not a room to put an extra shoe box into this building. I mean, it's very tightly worked out. I had never done a movie theater or theaters at all before. So this was a new experience for me.

HATTIE: If a person is good in business, are they good in all business?

RICHARD: Well, I think if somebody's a good entrepreneur, I would say, by definition, they could do anything.

HATTIE: OK. So what does it take--specifically, what do you need to know to run a movie theater that you had to learn that you didn't know?

RICHARD: Well, in my mind, the only thing different about a movie theater that's really different is understanding the product flow. And, I mean, you still have the same issues that if you show this movie and nobody comes, well, boy, I guess it's the wrong movie. And you got to, you know, figure out about the movie didn't work, and conversely, if movies do work, I'm always trying to figure out why did they work. In my mind, I don't think of this as a movie theater. I look at this as a community asset.