Individual tickets for each screening are availble for about $17 each, or you can get a pass for the entire festival, which runs August 7-17.

Here is the Popcorn Frights description of Phantom Of The Paradise:

DATE: Sunday, August 10
TIME: 8:00PM
VENUE: Savor Cinema Fort Lauderdale

EXPERIENCE A TALE OF TWO PHANTOMS IN ONE UNFORGETTABLE NIGHT! CELEBRATE 100 YEARS OF THE PHANTOM OF THE OPERA WITH A LIVE ORIGINAL SCORE, THEN ROCK OUT WITH A ONCE-IN-A-LIFETIME SCREENING OF BRIAN DE PALMA’S PHANTOM OF THE PARADISE LIKE YOU’VE NEVER SEEN IT BEFORE!

Get ready to sell your soul for rock ‘n’ roll! Popcorn Frights is summoning all glam rock ghouls and horror hounds for a once-in-a-lifetime special presentation of Brian De Palma’s cult classic PHANTOM OF THE PARADISE—a mind-melting fusion of FAUST, FRANKENSTEIN, and glam rock fury that will leave your jaw on the sticky theater floor. This is not just another screening. This is a rare, electrifying event that will never happen again in quite this way. We’re not saying it’s legendary… but we’re also not NOT saying it.

This psychedelic rock opera fever dream features an Oscar-nominated score by the one and only Paul Williams (who also stars as the devilishly smooth music mogul Swan) and stars William Finley as the doomed and masked Phantom, plus a knockout performance by Jessica Harper (SUSPIRIA) and scene-stealing glam chaos from Gerrit Graham as Beef.

But that’s not all—this special screening will be introduced by The Swan Archives’ Principal Archivist Ari Kahan, the foremost historian and guardian of PHANTOM lore, who’s bringing exclusive insight and rare treats that will make this a screening for the ages. Trust us—you’ve never seen the film like this, and odds are you never will again.

Whether you’re a die-hard Phantom Phan or a first-time initiate into the cult, this is your chance to experience the film in its full, phantasmagoric glory.

One night only. One stage. One swan. Don’t miss your shot at cinematic immortality.

Phantom of the Paradise, the cult classic 1974 Brian de Palma film that reworked Phantom of the Opera and starred songwriting icon Paul Williams as the manipulative music producer known as Swan, is being made into a stage musical by Williams and Sam Pressman, whose father, Ed Pressman, produced the original.

“I’m excited about having a chance to deliver what fans have been suggesting for years… POTP as a stage musical,” Williams said in a statement to MovieMaker. “I think it’s time has come!”

In addition to starring in the film, which De Palma wrote and directed, Williams composed the score and wrote the songs. Pressman told MovieMaker that he and Williams have spoken to multiple potential writers for the stage musical, including American Psycho and The Shards author Bret Easton Ellis — though no commitments have been made.

Pressman told MovieMaker that he, Williams and Ellis had “such an amazing dinner — Bret’s such a true fan of Phantom and of Paul, and it was awesome to introduce the two of them in person.”

Ellis has also mentioned the meeting on his podcast, though again, nothing is settled in terms of the stage musical’s writer.

Asked about De Palma’s potential involvement in the new stage play, Pressman said there were potentially “different paths… it’s just so early.”

De Palma has been considering a Phantom of the Paradise stage musical for decades. Pressman noted that he recently revisited a libretto, or book, that De Palma wrote for a prospective stage version of the film back in 1987. Pressman has also discussed the project with De Palma.

“We certainly want Brian to feel honored,” Pressman said. “I went to go see Brian last fall, to talk about the dream. Phantom was an early and significant film for him and I’d say the favorite film of my father in his career. I think the chaos and originality of the whole experience was deeply inspiring.”

Pressman noted that the plan is to open the stage play “not on Broadway” but “building to that stage.”

The trailers have not given much away, leading online sleuths to form their own theories about how that on-stage moment in L.A., which Tesfaye has attributed to psychological factors like stress, plays into the narrative. That ambiguity is "very intentional," the singer-turned-actor told Entertainment Weekly in a CinemaCon sit-down with Ortega and director Trey Edward Shults, who, along with Reza Fahim, also co-wrote the script. "With me and Trey, we romanticize the idea of giving out a trailer that doesn't give away anything."

"We never really see that anymore," Tesfaye added of that mystery. "It's always like these three-minute trailers that give out the whole plot because they want people to come to the theater. We trust the audience."

"I also think it's honest to the tone of the film," Shults added. "You can take everything at face value and go on an emotional ride with it, but also, if you want to read things in a deeper layer and infer a lot of stuff, it's pretty rich." In his own personal experience, "the least I know about films, the better," the filmmaker said. "So they can surprise me and I can interact with them."

Ortega, who also executive produces the film, did her best to tease what audiences can expect, calling it an emotional tale with themes of self-interrogation. "Speaking from Ani's perspective, she feels very neglected and unseen," Ortega said. "And she knows that she cares deeply about Abel more than anyone else ever could. It's frustrating when you feel like you're almost talking to a wall of somebody who's so unwilling to look at themselves in the mirror. And that's kind of what the film is about: the fear of having to deal with yourself and open up to yourself."

Expect nods, albeit unintentional ones, to the 1974 rock horror Phantom of the Paradise — about a disfigured composer who sells his soul — and the 1966 thriller Persona — about a famed stage actress who suddenly goes mute. "As things were evolving, we'd start connecting it to certain movies," Shults said.

"We weren't really [looking for] references for the film, it kind of just came to us," Tesfaye added.

Ultimately, Shults said, "the goal was to make something that feels fresh to us and different and unique."

Mary-Ann Vaillancourt was 10 years old when the film premiered. She remembers coming to the now-defunct Garrick Theatre with friends to watch it.

"I stayed for two shows," she said. "And I did it again the next weekend. And I did it every weekend that I was allowed to come out."

Vaillancourt was one of the hundreds of people who showed up for the latest "Phantompalooza," a local event that, this year, marked the film's 50th anniversary.

Craig Wallace, a member of the Phantom 50th committee, said the two planned screenings of a restored version of the film sold out in a day and a half. A matinee, also featuring a Q&A with cast members, was added to meet the demand.

"Winnipeg has brought a lot of people from other provinces here, and they see what we see," said Dean Hunter, singer with Phantom tribute band Swanage, who's also on the committee.

"They might be from all over the world, but they love this movie as much as we do. And we just like to share it with them."

The celebration brought back a lot of memories for fans who attended the matinee Saturday.

Betty Moroz, from Garson, Man., was 14 when she first watched it.

"I thought it was kind of freaky back then," she said, but it stuck with her.

"It's very powerful, very moving. The music, the love and, what you would do for love. Anything for love."

"I have two copies at home," said Stephanie Starr, who came to the screening with her family.

"We love it. We've seen the movies many times before. And of course, you got to get the merchandise, right? I got a couple of buttons."

For other Winnipeggers like Tom Glenewinkel, the matinee was the first time they've actually seen the film.

"Everybody knows all the words to everything," Glenewinkel said. "It was just a great movie to watch, and just to be part of the experience of everybody enjoying it and getting into it."

Vaillancourt brought a C.D. of the movie's soundtrack to the matinee and newspaper clippings about the film she kept with her over the years. V She hoped to meet Paul Williams — star and composer in the film — who decades ago replied to her fan letter. V "'Dear Mary-Ann, thank you for your letter telling me how much you enjoyed Phantom.… P.S. I think I've only seen the movie about four times myself,'" Vaillancourt read, saying that at that point she'd seen the film about 10 times already.

"He made my whole day and my whole summer," she added. "The music is still phenomenal now, and I still listen to it if I want to just be able to sing along, every single word."

"I JUST GOT CAUGHT UP IN THE VIBE THAT IS BRIAN DE PALMA"

A great read over at Bloody Disgusting: "The Phantom Lives: An Oral History of ‘Phantom of the Paradise’" - including these nice bits from Paul Williams:

I had become friends with Liza Minelli. Liza was going up to Harrah’s in Lake Tahoe to play Harrah’s for a month. And she said “I want you to open for me.” I’m doing two shows a night with nothing to do during the day and I’m writing the songs. I had my road band with me. And my road band is the one that played on the Phantom soundtrack, on Bugsy Malone. We became so close that I’d walk in and start singing something and they’re playing chords behind me. And I could walk in and go “Okay, we’re doing a Beach Boys thing. Bum-ba-ba-da-bum… Upholstery.” And all of a sudden, it’s sounding like a Beach Boys record.

Because we were fans of the music that we were satirizing – certainly all of us knew it well enough to recreate it. I had never written anything like “Somebody Super Like You” or “Life at Last”. But I just became a member of a rock and roll band. I became a member of a metal glam band. And the script is the bible. And the script was very fluid and it was developing along the way, and I just got caught up in the vibe that is Brian De Palma. Something happened and it came out of me musically.

It was so much fun, as you can imagine. And Brian seemed to embrace this total, very uncharacteristic for him sentimental side. I remember putting this little piano thing in when Bill is dying. And Brian said “Oh my god. There won’t be a dry eye in the house.” And my side of it is “And let’s show a really good closeup of the face in the record press.” It’s like we traded personalities during the shoot.

There's another very nice tidbit from Paul Williams included in Laurent Bouzereau's latest book, The De Palma Decade:

Larry Pizer was the great cinematographer on the film, but Ronnie Taylor, who became an Academy Award-winning DP with Gandhi [1982], was the camera operator. He did that amazing handheld shot from the point of view of the Phantom, which starts outside the Paradise, goes backstage, up the stairs, and ends inside the wardrobe storage room where he selects his leather outfit, finds the one-eyed mask, and puts it on, literally, over the lens of the camera. This was done in one shot before the Steadicam [existed], and it is spectacular.

You could reasonably make the claim that over the course of the film Paul Williams predicted numerous trends in the music industry. With Somebody Super Like You, he seemed to pre-empt the theatre of bands like Kiss and Goth Rock. Throughout the film, Swan’s group The Juicy Fruits pop up in a variety of guises, performing variations of the Phantom’s work. For this song the group are all dressed as somnambulist Cesare from The Cabinet Of Doctor Caligari, with a stage set that recreates the German expressionist mise en scene. Now called The Undead, this Frankenstein-inspired anthem celebrates an ideal man, assembled from various body parts, creating a campy, terrifying experience. The bone-chilling screams from singer Harold Oblong are incredible, as are his distinctive vocals, full of little tics – “Somebody sssssuper like you!”

Incidentally, this was the highest charting song from the soundtrack. It went platinum, but curiously, only in Winnipeg!