Poster and film stills courtesy of Kyle de Vre.
In 2017, East Village–based photographer Kyle de Vre began photographing Sophie's regulars during his Tuesday afternoon bartending shifts, capturing familiar faces at the longtime neighborhood bar on Fifth Street between Avenue A and Avenue B.
That long-running portrait project, released in 2022 as the photo book "See You Next Tuesday," has now found a second life on screen with "Irregular," a 80-minute film composed of barroom vignettes from random Tuesdays.
Populated by quirky regulars, suspicious patrons, and the occasional unexplained smell, "Irregular" leans into the rhythms of bar life. More than anything, the film is a love letter to the decades-old Sophie's, with the camera lingering on the bar itself, including artwork by longtime regulars, the late Eddie Boros and Markand Thakar, among others.
"Irregular" feels like a natural extension of your photo book — the same bar energy, but
now in motion. At what point did you realize these moments needed to be filmed, not just
photographed?
Being a direct extension of the photo book was always my intention. I had always wanted to
make a movie about Sophie's, and the book was an outlet because I didn't need a full cast and
crew to create it.
Having a single subject and a camera was much more accessible to me than
a production, and luckily, over the years, and a lot of it through the bars in the East Village, I met
friends willing to take on the project with me.
The film includes characters playing longtime regulars who are no longer with us —
Freddy Corea and John the Architect (John Crellin). Other characters feel inspired by regulars
or one-time encounters. How much of what we see comes directly from barroom
reality?
A lot of the movie is taken from real stories or situations, or an amalgam of situations I have
found myself in. Some stories colleagues experienced and told me, for example, the "toilet
teas." [This involves a sketchy patron who brings in his own beverages.]
Freddy and John were two of my closest regulars, and I spent a lot of time with them. They used to be considered part of the furniture at some of the locals, so I figured it would only be right to dedicate a vignette to each of them, but trust me, there are many more stories that I would like to tell.
Film still: Kirk Marcoe as John Crellin
I always prefer to be behind the camera, but for scheduling and authenticity purposes, I chose to play the bartender. The directing part was simpler than the acting, in my opinion, because I had a very clear idea in my mind what I wanted it to look like. Can't say the same
about my acting.
My cast, made up of friends, made it really easy for me to direct them. I
consider myself incredibly lucky to have had the opportunity to have worked amongst people who
are so dear to my heart and make out as well as I did, especially my cinematographer, Andrew
Poland.
What was the reaction when you approached ownership about shooting a movie at Sophie's? Co-owners Kirk Marcoe (as John the Architect) and Richie Corton (the narrator) play key roles in the
film.
Kirk and Richie have been so incredibly supportive of me throughout my nearly 12 years
working at the bars, no matter what stupid ideas I got cooking in my head. Without their help, this project could not have happened.
We shot each vignette in single-day shoots, over the course of three years, from 5 a.m. to 2 p.m., when the bar is closed. And as long as we left no trace and didn't affect the hours, I got the green light.
I started EV Grieve in 2007 because of rumors that Sophie's and Mona's were for sale. (Long story.) To me, Sophie's is — and always has been — one of the greatest places in the neighborhood and NYC. "Irregular" often feels like a love letter to the bar, and to the idea of the neighborhood bar itself. Was that intentional from the start?
It was my goal to include [Kirk and Richie] in this project
because it truly is yet another love letter to Sophie's and the neighborhood, and my biggest goal
was that it was authentic for all of our sakes. I can't stand seeing a bar in a film that isn't done
well. Like, get your drinks off the goddamn pool table.
What's next for "Irregular"? Are you planning to submit the film to festivals? Are there other
screenings on the horizon?
I have been submitting to festivals, and fingers crossed. I'd prefer to screen it at a festival rather
than independently, but I will most likely screen it independently when I get denied from
all of them.
What do you hope Sophie's regulars (and maybe even the occasional patron) —
especially those who may see themselves reflected on screen — take away from "Irregular"?
I want them to know that no one is safe. Especially my regulars. If you give me a reason to tell
a story about you, I will.
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Learn more about the film:
• IMDb
