There were mutual financial advantages as well. In exchange for footing the party bill, Universal benefited from the nonprofit's access to theaters, discounted vendor rates, and contributions from beverage sponsors.

All that good news can nonetheless create headaches for event producers. Instead of planning for the still-considerable guest list of 1,000-plus typical of film premieres, organizers had twice that many mouths to feed—about 2,500—at the double-barreled events. Still, lines remained manageable; Along Came Mary, which catered the closing-night festivities, provided 22 buffet stations for the masses exiting four Westwood theaters at once.

“One of the things we pride ourselves on is, we know what these things are like in terms of people hitting these events at the same time, so we know how to make sure there are enough buffets and bars and waitstaff to serve an onslaught of hungry folk,” Davids said. “Our goal is to make it an evening where people say, 'I love the movie. This was a great experience.' They don't walk away stressing about the parking, all the little things that can ruin a night for somebody.''

On opening night, Jameson Irish Whiskey provided visual punch as well as drinks with brightly lit bars at the post-screening street party on the Broxton Avenue block abutting the Mann Village Theatre, where the main Wanted screening was held. The decor was simple, with gold cloths and electric candles topping tables, market umbrellas shading the Napa Valley Grille's buffets, and plenty of cost-effective lighting techniques.

For the Hellboy II premiere on closing night, organizers stepped up the decor, which was inspired by del Toro's lush interpretation of the sci-fi comic book character's world. Taking their cue from scenes at a busy bazaar for magical creatures, designers created tableaux for Universal's V.I.P. party adjacent to the street festivities, arranging props from the film (think models of creatures and golden army “pods” in which the dormant warriors rested) with vintage birdcages, pillar candles, Moroccan lamps, and boxes covered in Egyptian-style friezes. Other tableaux featured rusty boilers and chains hinting at the New York underground where Hellboy's magical creatures lurked.

Throughout the festival, filmmakers and V.I.P.s had the opportunity to loung at the sleek Target Red Room, a temporary space on Westwood Boulevard that featured a bar, DJs, Target snacks, and computers. Lighting and style were provided by mini clear-plastic chandeliers fitted with red bulbs, while guests relaxed on black and red furniture topped with red pillows. Target's corporate logo was a ubiquitous design element, showcased on the bar front, cocktail table tops and pillows.

By contrast, Sunday evening's relatively intimate LAFF Awards ceremony was a study in simplicity. Westwood's Hammer Museum courtyard was the backdrop for the cocktail reception, where waitstaff circulated with Wolfgang Puck's tuna tartare in sesame cones, duck and mango spring rolls, and Szechuan beef nibbles. Nearly 300 guests attended the awards ceremony at the Hammer's Billy Wilder Theater, where actor Don Cheadle was regaled before receiving the Spirit of Independence Award as the festival came to a close.   —Irene Lacher