"ARTHERAPY" started as a low budget project in the (Psirri) neighbourhood, with a small but multi-skilled crew of old friends and new artists whom I had encountered at the beginning of the crisis and who had to overcome their basic fear that, in my kind of movie-making, their art would automatically be commercialized to the degree that it would cease to be art! The only thing I could promise them was that mainstream film audiences would not rush to see "ARTHERAPY". During filming, when the team learned that the participation of ODEON and Christos Constantakopoulos would ensure them decent compensation, their fears were re-awakened that the movie would slip into the blockbuster category. But I was able to reassure them and finally kept my promise to the maximum, because nobody rushed to see it, not even the audience that detests mainstream commercial movies. They were probably afraid they would see soldiers acting and singing while painting murals on façades. The movie was seen in five cinemas by approximately 2900 viewers, a smaller audience than the one that saw my first film in 1972, in two cinemas after it was broadcast by the ZDF. Our domestic cinema seems still to be standing firmly on the prejudices and obsessions of its small regular audiences that were largely created by itself with the full sup-port the of state intervention, the television support and the critics. The Greek inability to reconcile art with commerce also made it difficult for the creative teams at ODEON and Parade. I am still bewildered by the idea of an interactive poster, although the team that invented it loved it as much as the audiences that scribbled on it in the cinema lobbies. Unfortunately, the number of viewers was not large enough for anyone to draw conclusions or plot statistics.