Gulliver Arane 65/70mm Laboratory in France
The 70mm Newsletter
and photographed by: Thomas Hauerslev
Failliot, directeur technique d’Gulliver
In July 2008, following our family vacation on the beautiful Normandy
coast of France, we travelled to Paris for few days, before going home
In Paris, on a very hot summer day, I met with Widescreen Academy member
Francois had arranged a tour at the only remaining large format film
laboratory in Europe - the Gulliver Arane, in the Paris suburb of
Clichy. I was very excited to go and looked forward to seeing the
On a previous attempt to see a 65mm/70mm laboratory, I had visited
Technicolor in London, but when I arrived, they would not allow me to
take pictures. A missed opportunity and today the laboratory is closed -
and there are no pictures of the machines and lenses.
I hoped this visit in Paris would be a lot better. Arane Gulliver turned
out to be all I could wish for.
in 70mm reading:
Gallery: Gulliver Arane 65mm/70mm Laboratory, Paris,
France, July 2008
Restoration of "Play Time"
La restauration de "Play
Die Restaurierung von „Tatis
Cinema Circulaire 360 -
Gulliver Arana Sale 2015 (PDF)
31/33, rue Madame de Sanzillon
Tel : +33 331 5521 8370
Fax : +33 331 5521 8379
with large format 65mm negative
I was pleased to be meeting Jean-René Failliot again. I had met Jean-René
previously in Karlsruhe's Schauburg
Cinerama cinema during the Todd-AO Festival the
year before. I also knew Jean-René
from previous correspondence when he wrote about the 65mm restoration of
Jaques Tati's masterpiece
"Play Time" some
years earlier in 2004.
met us in the lobby of Gulliver Arane, and while I remember, there was a
DP70 70mm projector exhibited in the center of the lobby. Being fans of
this particular machine, Francois and I examined it and "took" the
serial number to include it
to the list.
Typical nerd work for a 70mm enthusiast.
device for large format film. Note the three different colors: YMC
- yello, magenta and cyan
happily started the tour with us and showed us the Russian 70mm printer
he bought some years ago in Kiev. Now modified to western standards, it
is fully operational, and has been used to print the new 70mm prints of
"Play Time" and others. The number of items required to run a
professional laboratory like this is staggering. Storage cabinets
everywhere with lenses, filters, rollers and hardware for the machines.
In one room Jean-Rene showed us an original
Superpanorama 65mm camera which in recent years has been used for a
short the film
"Fanny's Wedding" and an even shorter nature animation film
called "Tanakh Bibelen
A large Oxberry printer is in one room to make opticals, along with several
editing tables necessary for the day-to-day work of a busy laboratory.
Naturally, 35mm film was a big part of the work in 2008 when we visited.
35mm negatives were coming in to be developed in the large developing
tanks with endless loops of 35mm on rollers. Next to these giant
machines we saw the 65mm/70mm machines, and in the next room a
small laboratory within the laboratory. Gulliver Arane keeps all the
chemicals in special ventilated rooms. Tests of the developing baths are
made every day. Gulliver Arane is a certified Kodak laboratory and have
strict standards to live up to.
Simone Appleby at Arane-Gulliver. Behind her a lot of 65mm /
When a film has been edited by the film's editor, and before before it
printed, the original negative must be cut accordingly. That job is in the caring
hands of one of the few specialists left to do such delicate work. We said
hello to Mrs Simone Appleby, who was working on some 70mm film with white
gloves to avoid "finger printing" the negative. Simone also cut the final
65mm negative for "The
Master" in 2012.
Gulliver Arane is a very specialized laboratory and they make all sorts of
prints in various formats. A few days before our visit, I had seen
Cinema Circulaire 360
in Arromanches. The film "The Price of Freedom" was a nine panel 360
degree wraparound film about D-day. The film was edited together with
some new 360 degree footage and much of it reprinted from previously seen
original black and white 16mm and 35mm WW2 originals. All cleaned up and
prepared by Gulliver Arane, including splitting some vintage footage into 2
and 3 panels. Presentation at Arromanches was via 9x35mm projectors. It is
now done digitally.
Failliot seen between 35mm film.
Gulliver Arane also works with 70mm 15 perf IMAX films and it was
interesting to learn how the finished prints are prepared for transportation
on VERY large reels and in VERY large shipping containers. There were not
endless amounts of storage rooms for all the reels and cans seen everywhere,
so Gulliver Arane is "keeping a tight ship" to make room for everything
without loosing a single clip or roll of film.
Before the tour was over, Jean-René
showed us Gulliver Arane's private screening cinema. Completely equipped
for 70mm with a Kinoton ST270 non-rewind table and a FP75 projector with a
DTS reader for 70mm. He regretted it was rarely used at that time. Before we
left, we said hello to Mrs. Failliot in her office. On her desk was a 3D
image by Morten Skallerud, who was the director of Photography of
"Tanakh Bibelen al-Quran".
Morten likes to play with 3D and had sent her a framed 18x24 cm still of the
crew behind the short film - including a pair of anaglyptic goggles to view
The visit was very interesting and everything I had hoped for. I'd like to
thank Mr. Jean-René
Failliot and his Gulliver Arane family for their hospitality and
kindness. Taking time of their busy schedule and allow Francois and I inside
to view "Behind the scenes" of the most modern 65mm/70mm laboratory of
Europe - the Gulliver Arane in Paris, France - was magnifique! Merci!
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