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Widescreen Weekend 2006 | Read more at in70mm.com The 70mm Newsletter | |||||||||||||||
| Written by: Thomas Hauerslev, and many more | Date: 6. May 2006 | |||||||||||||||
| For the 11th consecutive year I went to Bradford in England, to take part in "The Widescreen Weekend". And as usual it is a busy weekend, seeing films and meeting the people which I have come to know from year to year since 1996. It's like a big family meting as many of the visitors have also returned every year in March to experience what cinemas used to be like. For me I can only imagine what it was like, as I was born in 1963, and never experienced it. But many "widescreeners", as the guests affectionally are know, were there when it happened and many saw the 70mm films when they were originally released. In 1996, Bill Lawrence (Head of film at the museum) invited me to come to Bradford in my capacity of editor of "The 70mm Newsletter". Over the years I have become more and more involved it the activities and the past two years I can proudly say, that I have been responsible for the program planning. That means, coming up with a general outline of films to show depending on availability and economy. And I'm still learning from Bill I'm proud to say. He is a great inspiration and has a excellent sense of how to formulate which films go into the evening and in the morning. Bill has also "promoted" me to become a honorary staff member of the Museum, which means I don't get paid for the work I do. A great honor which I enjoy of course. In 2005, many people came up to me and acknowledged how happy they were to see all those Todd-AO titles in one weekend, and how hard they they thought it would be to top that program for 2006. They were right, and I decided to deliberately downplay 2006 and mainly play films which had not been show previously in Bradford. A "what haven't we show yet" approach, or let's "clean up the basement". I'd also focus on UK 70mm prints to save some transportation costs. Unlike 2005, when we celebrated the 50th anniversary of the Todd-AO process by playing plenty of Todd-AO films, we only had a few titles to celebrate the 50th anniversary of Technirama in 2006. One particular title I looked forward to show was "The Golden Head" - almost not seen anywhere since 1965 and supposed to be superiorly bad. My first attempt at coming up with a program failed completely, as my main source of prints turned out to be inaccurate. OK, no problem, Bill and I reshuffled the titles which we knew we had, and discussed the available show times. I also wanted to show 3-strip in the late afternoon to please fans of Cinerama and give non-Cinerama fans a break. Regularly, fans of the Widescreen Weekend approaches Bill and myself with suggestions for titles. We discuss ideas and try to include whatever is available. As much as we want to show rarely seen titles, it always comes down to one simple thing - where can we find a print? We have an excellent working relationship with the big movie companies and distributors. They are all very supportive and willingly give us the prints we would like to show, provided they are available. Some prints are archive prints in museums and some prints are still in circulation - and usually just collecting dust and slowly fading. Finally there is a group of "private" prints sitting in basements with collectors. We can usually borrow the prints - and of course pay the movie companies their fees - keeping everyone happy. In some rare cases we are approached by movie enthusiasts who have interesting prints - but no projectors. Unfortunately they will not share the prints and have them shown professionally. They "dream up" a set of conditions which in reality makes it impossible for us to show the films. I have wasted a lot time on a couple of occasions. It's a big mystery to me - why collect 70mm and 3-strip films and not show it? Films are useless unless they are shown to people. That is what they are called "MOVIES" - as they move. Films stored in cans in basements and vaults are just worthless plastic. People want movies - free the films - get them out of the cans!! Sometimes nice rumors are brought to our attention about long lost film titles in fantastic and fabulous film formats. Like last summer when I was told there might be a complete 3-strip print of "Brothers Grimm" stored with a private person in England. Never shown, Technicolor and in pristine condition. I contacted a few people in the 70mm/Cinerama "rumor mill" to search for it. Have to admit it did sound too good - and until now, nothing - but I assure you my source is very reliable. Hope is not lost and it was worth pursuing, as "Grimm" has been on our wish list for many years. If you are aware of 70mm and Cinerama prints waiting to be shown, please contact The Editor. All in all, the final 2006 program was edited in late December with a fine tuning in late January. And in the end, we had films photographed in Todd-AO, IMAX, Super Technirama 70, Cinerama, Ultra Panavision 70, MCS-70 Superpanorama, Cinemiracle, Technirama, Dimension 150, Panavision Super 70, Panavision 70 - what a bouquet? And where to see all this? ONLY ONCE A YEAR @ the Pictureville cinema, Bradford, England. The weekette festival starts on a Thursday and continues throughout the weekend, and ends with a final performance on Monday morning. Tickets are sold for individual shows and as a weekend package. The package includes free access to all films at the museum, lectures, the VIP reception and IMAX films. Tickets can be booked and bought in advance by contacting the Pictureville Cinema. Bradford hotels usually have special weekend rates - please remember to ask for the special weekend price when you book your hotel for 2007 (once the programming is published). | More in 70mm reading: Widescreen Weekend Reviews Delegates reception + Pictueville + IMAX + Misc. images Internet link: NMPFT Bradford Film Festival | |||||||||||||||
Travelling to Bradford | ||||||||||||||||
| I've always sent out e-mails to people in Denmark about what is going on in Bradford. Unfortunately, not many are interested in 70mm and only very few have found their way to the festival over the years. I was very pleased to learn that Jan Niebuhr and Rikard Købke and his dad Niels, decided to go to Bradford this time. And even more surprised to meet Morten Jacobsen in Bradford. Five Danes during one weekend - a new record. We flew out of Kastrup airport 8:15 (Gate A12) and arrived safely in Manchester 100 minutes later. It was an economy flight, which means no food unless you want to pay for a meal. Actually we didn't depart until 9:00 because the SAS plane could not open the door. It was raining slightly upon our arrival, but we soon found the train and bought the return fare for GBP 18.50. It's very convenient and the the train from Manchester takes about two hours to get to Bradford Interchange. We changed trains in Huddersfield and went via Halifax. In Bradford it is a short walk across the city to the Midland hotel only find my room wasn't ready yet. Jan took my suitcase into his room and we went straight to the Pictureville to see "Krakatoa, East of Java". | ||||||||||||||||
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Thursday 9. March 2006 | ||||||||||||||||
| 10:30 – 12:41 and again 14:00 - 16:11 (changed 5. March from 16:30) “Krakatoa: East of Java” on the curve in 70mm Todd-AO/Super Cinerama with 6-track magnetic stereo. (2:11) Print: NMPFT A faded 70mm p projected flawlessly. A few splices in the print and perfect sharpness on the curve. Good sound. Head of film, Mr. Bill Lawrence introduced the Widescreen Weekend and said hello to all the friends. Intermission 15:15. | ||||||||||||||||
| When "Krakatoa" finished we walked back to the hotel. On our way Jan and I managed to buy some DVD´s. I bought "Ryan's Daughter" - another timeless classic for the collection. Jan, Rikart, Niels and myself had dinner at the hotel. I had the ushrooms and chicken, a large Fosters and a British ale - very good and outstanding service. | ||||||||||||||||
| 20:00 – 22:21 (changed 5. March from 20:15) “Batman Begins: The IMAX Experience” in 70mm IMAX with 6 track digital stereo (2:21) Print: NMPFT. I was curious to see my first regular film, blown up to IMAX. I did see "Special Effects" some years ago here in Copenhagen, but have never seen a complete film. My first impression was, it was very good. The print, projection and sound was exceptional. Rock steady images and a very transparent sound. It was loud - which I like. The colors were rich, great, very bright and very sharp. Not sharp as in 65mm, but still very good - MUCH better than regular 35mm anamorphic film. I found it a challenge to follow the action, especially the fight scenes. It was so large and edited so fast, that most of the fight sequences was lost on me. The relationship between a very large screen and fast editing and a close viewing distance is very close. The closer I sit to the screen, the less I will understand, if the editing is too fast and I am too tired. Did I say the film was "letterboxed" inside the IMAX frame - well it was. I must admit that I was very tired and nodded off from time to time. I guess the film wasn't too involving for me. Besides, the seats in the IMAX cinema are NOT designed for a 2½ hour film. Way too uncomfortable - and the distance to the next row is too short unless you are a dwarf. | ||||||||||||||||
Friday 10. March 2006 | ||||||||||||||||
| Schauburg: We are just in production of a 10-12 minute featurette about THE RETURN OF SENSURROUND ... are you willing to do for us in Bradford an interview about EARTHQUAKE and SENSURROUND, telling us your impressions, etc. | ||||||||||||||||
| 10:00 – 12:23 + intermission “Custer of the West” on the curve in 70mm Super Technirama 70 with 6-track magnetic stereo (2:23) (1967, ABC/Cinerama) Print: NMPFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
| 13:30 - 16:12 + intermission “How the West Was Won” on the curve in 3-strip Cinerama with 7-track magnetic stereo (2:42) Print: NMPFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
| 16:45 Widescreen Welcome - Reception - drinks for the weekend delegates – Kodak gallery | ||||||||||||||||
| 18:15 Tony Cutts 50th Anniversary as projectionist Moderator: Bill Lawrence | ||||||||||||||||
| 19:30 – 22:38 + intermission “The Fall of the Roman Empire” on the curve in 70mm Ultra Panavision 70 with 6-track magnetic stereo (3:08) Print: NFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
Saturday 11. March 2006 | ||||||||||||||||
| 10:00 – 11:42 + 10 min short. "The Golden Head" on the curve in 70mm Super Technirama 70 with 6-track magnetic stereo (1:42) Print from Pacific Theatres, USA + ”Fortress of Peace” in 70mm MCS-70 Superpanorama with 6-track magnetic stereo. Print from Bob Gaffney / Ron Muki, USA Print Info and quality Guests & introducers Projection quality | January 2006 We ran GOLDEN HEAD last Wednesday. It is very good physical shape, much better than HOLIDAY IN SPAIN. It is badly faded, mostly red with some yellow and an occasional green. It has an overture, intermission card and music, call back music, no THE END title, just fade out and walk out music. Did not play FORTRESS OF PEACE. Good Luck, John Sittig, Pacific Theatres, Los Angeles Dear Thomas, Re your enquiries about the above film, I can confirm that it was coupled with THE GOLDEN HEAD at the Royalty, London, in 1965 (showing from 8.4.65 to 2.6.65 inclusive). It also played with HOLIDAY IN SPAIN (the deodorised re-edit of SCENT OF MYSTERY) at the Coliseum in early 1966 (27.2.66 to 6.4.66). The following comments are taken from FILMS AND FILMING for June 1965 (pp. 31-32), from a review of THE GOLDEN HEAD by Robin Bean: "Showing with the film in London is FORTRESS OF PEACE, a short which utilises the visual effect of Cinerama very well. Directed by John Ferno, it shows the Swiss army on military manoeuvres. The aerial shots of the Alps are beautiful, as in a strange way are those of the troops crossing the mountains in full pack. The mock battle scenes too are well shot: tanks smashing through the woods, flame thrower fired at the camera, a row of trees being felled by dynamite to block a road. In one shot the entire screen seems to disintegrate, as a cliff face is blasted." As a matter of interest, THE GOLDEN HEAD is described as "a pathetic attempt at the first story film [sic] in one lense [sic] Cinerama." Do you or any of your readers know how widely the latter, or any of the other 70mm films released by Cinerama in this period (LA FAYETTE, [THE STORY OF] THE FLAMING YEARS, THE BLACK TULIP, HOLIDAY IN SPAIN), were shown in the UK outside of London or in other countries? The only one I've seen (panned and scanned on TV) is THE BLACK TULIP. I note from your own list that FLAMING YEARS was shown at Atlantic Todd Teater in Denmark in 1963. Best wishes, Sheldon | |||||||||||||||
| 12:00 – 14:07 + intermission “Windjammer” on the curve in 3-strip Cinemiracle with 7-track magnetic stereo (2:07) Print: NMPFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
| 15:00 – 17:18 + intermission “Zulu” on the flat screen in 35mm Technirama. (2:18) Print: Paramount Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
| 17:30 “Zulu” cast and crew Moderator: Sheldon Hall | ||||||||||||||||
| 19:30 – 22:21 + intermission "South Pacific" on the curve in 70mm Todd-AO with 6-track digital DTS sound (2:51). New print. Print from Fox Library Services, Los Angeles + "The March of Todd-AO" on the curve in 70mm Todd-AO with 6-track digital DTS sound. New print. Print from the Academy of Motion pictures, Arts and Sciences, Los Angeles. The print should be picked up from Fox Library Services: 20th Century Fox Library Services Building 99, Room 120 10201 West Pico Boulevard Los Angeles, CA 90035 Print Info and quality Guests & introducers Projection quality I saw "South Pacific" last Monday night in D-Cinema in Hollywood. It was 2K digital transferred from 4K. I must say in all objectivity it was superb! I now believe D-cinema is close to replacing film. Best regards, Dick Vetter | ||||||||||||||||
Sunday 12. March 2006 | ||||||||||||||||
| 10:00 – 12:00 Cineramacana including "Stuyvesant", ”Motion” + the odd surprise. Audience on stage and Academy of the Widescreen Weekend | ||||||||||||||||
 Photo credit: park archives | a scene from El Cid from the reel 1, when Charlton Heston decides to let the moors go, second clip is from Greatest Story Ever Told, reel 1B, when the Jewish kids are murdered, very, very beautiful pictures and looks much sharper than EL CID last clip will be from King Of Kings | |||||||||||||||
Cineramacana running order | ||||||||||||||||
| Flat screen Speakers only ”Oh Todd-AO” Mp3 file + slides with lyrics on screen. “The Todd-AO song”, from the album of stage show, "Forbidden Hollywood" 2:28 The Plymouth Story by David Jones A video film made for audiences at the new Drake Cinema Plymouth. Followed by 3 mins of silent footage of the staff and the technical equipment. 12mins Chris O’Kane –VistaMorph update? Power Point 5 minutes 70mm quiz 70mm David Jones 2 min 70mm line up film for “Gone With The Wind” 70mm Adrian Raistrick approx 5 mins "Stuyvesant" 65mm/70mm film cigarette commercial 70mm From Herbert Born 5 min 70mm footage Keith Eisberg (camera man) – new 65mm footage from shelved project (Paul Rayton) 6 minutes Cinerama curve 70mm trailer promoting Schauburg cinema's 100th anniversary A scene from "El Cid" from the reel 1, when Charlton Heston decides to let the moors go, second clip is from "Greatest Story Ever Told", reel 1B, when the Jewish kids are murdered, very, very beautiful pictures and looks much sharper than "El Cid" last clip will be from "King Of Kings" 10 min “The Great American Thrill Show” Cinema 180 from Adrian Raistrick, Greenwich Picturehouse approx 10 mins “Motion” - 1967 World Fair Film 70mm by Bob Gaffney 15 min “The Miracle of Todd-AO” 70mm DTS + 30 frames per second New restored print 12 min. New print. Print from the Academy of Motion pictures, Arts and Sciences, Los Angeles. “Far and Away” – “this is our movie” trailer Dion Hanson This time on the curve – before the film in the evening on the flat screen. 4 minutes Cinerama curve - non film events Academy of the Wide Screen Weekend - Presenter Chairman Thomas Hauerslev 10 minutes Projectionist appreciation + enthusiastic applause from the audience. - Presenter Bill Lawrence 5 minutes Audience on Stage Full house lights and light on screen Paul directing the troops, Thomas runs on stage and takes picture 10 minutes | ||||||||||||||||
Academy of the Widecreen Weekend | ||||||||||||||||
| The past winners are: 2006 - Francois Carrin 2005 - Paul H. Rayton 2004 - Anthony B. Sloman 2003 - Keith Swadkins 2002 - Willem Bouwmeester 2001 - Thomas Hauerslev (Chairman) 2000 - John Belton 1999 - Howard Rust | ||||||||||||||||
| 13:00 – 15:54 + intermission “The Bible...in the beginning” on the curve in 70mm Dimension 150 with 6-track magnetic stereo (2:54) Print: NFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
| 16:15 Richard Vetter in conversation with Thomas Hauerslev about Todd-AO & Dimension 150 | ||||||||||||||||
| 17:00 – 18:55 + intermission “This is Cinerama” on the curve in 3-strip Cinerama with 7-track magnetic stereo (1:55) Print: NMPFT Print Info and quality Guests & introducers Projection quality | ||||||||||||||||
70mm Workshop | ||||||||||||||||
 How 65mm origination can be used for several release platforms. Brian GuckianDear Thomas Just letting you know that I've emailed Bill Lawrence at Bradford re. the possibility of having a small meeting on the 65mm / 70mm project on the Sunday; Ramon has suggested it could be during "This Is Cinemara" or during "Cineramacana". However in view of the tight timings of pieces in "Cineramacana" I felt that using the time that "This is Cinemarama" is on would be better. The idea is that the "diehards" will all have seen "This Is Cinemarama" many times over, so that they may be willing to forego some of this to contribute to a meeting. In fact it could be pitched as a Workshop rather than a meeting. I think "Meetings" are quite passive events. If you have anything to contribute on this, please feel free to respond. Best regards Brian Guckian Dear Thomas, Thank you for your email. Nice to hear from you! I would be very interested indeed. I am moving homes now and I am rather busy but I will try to do it this weekend. As you point out there is no conclusion yet, this is a work in progress. As you know, an individual or a small group of individuals will not bring back 70mm. But if we use all the films enthusiasts, among all of us perhaps we can manage to bring all the parts together. I think this is the main aim, do the research and bring all parts interested together. As you can see from one of my posts, I think you are a paramount individual to bring 70mm back. It is a very difficult task and I hope you do not think that 70mm is only history. There might be a future for 70mm. I will ask Brian Guckian, who has also posted on the film-tech to give me a hand with the white paper. He has got plenty of ideas. Obviously the international crowd who attends Bradford can help a lot. I honestly think that cinema has to use a language that it is as unique as possible to get customers (this applies to all business) and 65/70 with the Todd-AO immersive approach is the best way forward. Regards, Ramon Lamarca Marques | BTW I will explain more about the Workshop - I will bring large sheets of paper plus pens and marker pens. These I have from a recent workshop I did here with some local people on community issues (which was very successful!). This is to facilitate the creative process. I will also do up some names for the tables, so people will go to the Technical, Financial or Marketing one. Of course, many will go to the technical, which is just what we want, considering the size of the task there. I will also draft posters and talk to Ramon on this, because he will be there in good time. | |||||||||||||||
| 20:00 – 22:20 “Far and Away” + “Far and Away” trailer "This is our movie" on the flat screen in 70mm Panavision Super 70 with 6-track magnetic stereo (2:20) Dolby 43 'SR' Print: DeLuxe Print Info and quality Guests & introducers. Intro = Thomas/Salomon Projection quality | ||||||||||||||||
Monday 13. March 2006 | ||||||||||||||||
| 10:30 – 13:47 + intermission “Doctor Zhivago” on the flat screen, filmed in 35mm Panavision and presented in 70mm with 6-track magnetic stereo (3:19) Print: NMPFT |
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