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70mm Short Stories
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This
article first appeared on
in70mm.com
The 70mm Newsletter
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| Written
by happy readers |
Date:
06.07.2008 |
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 20.06.2008
Au début des années 1980, j’étais projectionniste pour les cinémas du
Havre (France, Normandie).
D’abord, laissez-moi vous parler de la fantastique expérience qu’est de
montrer et de voir des films en 70 mm…
Le cinéma s’appelait «Concorde» (comme l’avion supersonique Français).
Il avait un écran de 14 m par 6 m, incurvé, protégé par des rideaux
comme dans les anciens cinémas ou théâtres. Le projecteur était un
Philips DP70 refroidi par eau, avec une lampe au xénon de 4000 W. Le son
était délivré via un processeur Dolby CP200 et des racks d’amplis qui
amplifiaient séparément les graves et les aigus. Dans la salle, il y
avait 3 grandes enceintes et un caisson de renfort de basses derrière
l’écran, des enceintes d’ambiance de chaque côté de la salle et sur le
mur du fond, et aussi dans le plafond au dessus des derniers rangs qui
étaient sous la cabine de projection.
Chaque fois que nous avions un film en 70 mm, nous (les deux
projectionnistes) nous projetions le film avant la première séance afin
de s’assurer que nous pourrions donner le meilleur aux spectateurs.
Je me souviens particulièrement de deux de ces séances privées, los
desquelles je m’étais installé tout spécialement au premier rang de la
salle:
- "Ben Hur", pendant la célèbre course de chars ;
- "La guerre des étoiles – Le retour du Jedi", pendant la poursuite en
motos volantes dans la forêt d’Endor.
Je me souviens aussi:
- d’une « nuit La guerre des étoiles » au cours de laquelle nous avions
projeté les épisodes 4 à 6 à la suite durant toute la nuit ;
- une projection spéciale de l’assaut sur la musique de la chevauchée
des Walkyrie dans "Apocalypse Now", quand un haut-parleur d’ambiance
sous le plafond de la cabine s’est décroché à cause des vibrations
provoquées par le son trop fort !
- la panique que nous avions ressentie quand nous avons testé l’épisode
4 de La guerre des étoiles avec une bobine sans son !
Nous avons projeté aussi :
- "Les 55 jours de Pékin";
- "Le pont de la rivière Kwai" ;
- "Dersou Ouzala" (Akira Kurosawa) ;
- "Alien" ;
- "Brainstorm" (la seule manière d’apprécier vraiment ce film est de le
voir en 70 mm) ;
- et d’autres dont je ne me souviens plus…
C’était géant !
Au Havre, il y a un autre cinéma avec un projecteur 70mm Cinemeccanica
: «Le Volcan» (c’est la Maison de la Culture du Havre), mais je ne
sais pas s’ils projettent encore des films en 70mm.
En tant que spectateur, je me souviens du cinéma parisien « Kinopanorama
». Tout spécialement, j’y ai découvert "West Side Story". Un grand
moment !
La pellicule 70mm est maintenant utilisée dans des salles spéciales
comme au parc du «Futuroscope» à Poitiers (vous pouvez trouver des
informations sur leur site web) ou au cinéma parisien appelé « La Géode
», à côté du «Parc de la Villette». De grandes sensations dans ces
cinémas également !
Merci de m’avoir remémoré tout ça !
Philippe Leménager,
Le Havre, France
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20.06.2008
Hello, I just discover your website about 70mm movies. I don't known if
there is a place for my comment on your site. Excuse me if there are some
faults in my text ; I'm French.
In the early 1980's, I was operator for
cinemas in Le Havre (France, Normandy). First, let me tell you about this
fantastic experience that showing and seeing 70mm is...
The cinema was
called "Concorde" (like the French supersonic airplane). It had a screen
sized 14m x 6m, curved, protected by curtains like in old cinemas or
theatres. The projector was a Philips DP70 refreshed by water, with a
4000W xenon lamp. The sound was delivered through a CP200 Dolby processor
and amplificatory racks which amplified separately basses and trebles. In
the theatre, there was three big baffles and a subwoofer one behind the
screen, ambiance baffles on each side of the theatre and on the wall
opposite to the screen, and also in the ceiling onto the last rows which
were under the cabin.
Every time we had a 70mm film, we (the two
operators) projected it for only ourselves on Wednesday morning before
the first public show, in order to be sure that all was ok to give the
best to the audience.
I remember particularly two of these private
screenings, while I sat at the first row (imagine I was at a few meters
from the great screen !) :
- "Ben Hur", during the race of tanks ;
- "Star
Wars - The return of the Jedi", during the race in the Endor forest with
flying motos.
I remember too:
- One "Star Wars night" when we have shown
the episodes 4 to 6.
- A special screening of the "Walkyrie assault" of
"Apocalypse Now" when a baffle in the ceiling under the cabin fell because
of the vibration caused by the too high sound !
- The panic when we tested
"Star Wars episode 4" with a reel without sound!
We projected too :
- "55
days in Peking"
- "Bridge on the river Kwai"
- "Dersou Ouzala" (Akira
Kurosawa)
- "Alien"
- "Brainstorm" (the only way to really appreciate this
film is to see it in70mm)
- and others I don't remember now...
It was
great...
In Le Havre, there is another theatre with a Cinemeccanica 70
mm projector :"Le Volcan" (it's the house of culture theatre) but I
don't know if they project 70 mm films yet.
As a spectator, I remember
the Paris theatre "Kinopanorama". I specially have discovered
"West Side
Story" there. A great moment ! 70mm film is used in special theatres now
like in the park called "Futuroscope" in Poitiers (you can find
information on their website) or in the Paris theatre called "La Geode"
near the "Parc de la Villette". Great sensations in these theatres too !
Thank you for the remember of this !
Philippe Leménager,
Le Havre, France |
29.03.2004
Hi Thomas,
sorry for the dealy in letting you know the latest news regarding 70mm in the CINEPLEX Frankfurt, but had to focus on some other quiet important things in our cinema, which kept me busy.
BUT let me tell you one thing .... 70mm will for sure continue very very soon!!!
the 70mm projector (BAUER U2) we used last year was a loan machine, which we loaned from our service company to start and test the possibilities of doing 70mm in our biggest theatre (450 seats, 20 x 9 meter screen)
As you may have heard the results were very good, we did almost 20 shows and we had a growing audience.
So we took decission to buy us an own 70mm machine. Unfortunately the "loan machine" was not available to buy.
We bought now a DP70 (which formely did their work in the legendary MGM-theatre Berlin) and are currently in the process to build up the machine in our theatre. There are some slight modifications necessary, which slow down the process of installement. The machine got new electronic cables totally, we have to install the 70mm dts reader and to find a way to get the film from the platter through the machine without destroying the original design. this will keep us busy the next 2 - 3 weeks.
Then we will do a major upgrade to the sound.
An optimized MPU-1 will be installed, with professional delay facility to give old conventional magentic sound some delay, because these roadshow prints were mixed for old big roadshow houses, which had a totally different delay characteristic in sound than "modern" THX cinemas.
We will install full 5-channel front sound. Before we had 3 channel front sound only.
When all this has been done and is tested properly and the results are approved, i will start rescheduling our 70mm
programm.
At the monent I took decision to postphone everything with regard to 70mm including the "seminar".
As from next month on, there will be the big KUBRIK exhibiton in Frankfurt, we will most possibly start with screenings of the 70mm restored SPARTACUS print and the 70mm print of 2001.
As soon as there are news, I will keep you informed.
take care ...
best regards
Herbert
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16.01.2004
Hello,
I have enjoyed your web site. I might add a bit of 70mm trivia.
Back in the late 1960s, an attempt was made to employ 70mm film in flight simulators. I was working for McDonnell Douglas (now part of Boeing)
and in the flight simulator area. The name of the simulators was Conductron and made flight simulators for commercial aircraft as well as
military. In an attempt to provide high fidelity visuals, the use of 70mm film projected on a very large curved screen in front of the
cockpit was tried. I do not remember the name of the studio that we contracted with. They mounted a 65mm Panavision 70 camera in the front
of an airplane and made many approaches and take offs from Los Angeles International airport.
The projector was below the cockpit in a large simulator test room. I designed the electronics that added a very large dove prism in front of
the projector lens to allow "roll" to happen. We spent about $1.5M back then on this experiment. We then invited pilots to come in and "fly"
the simulator. I was not very impressed myself so expected the pilots to negative about it - and they were! Too much distortion and lacked
correct perspective from the pilot's point of view, too restrictive. So it came to nothing.
Much of the early Cinerama activity was aimed at providing simulators with visual systems. In the flight simulators of today, everything is
pretty much computer generated and projected on large domes.
David W. Brooks
Wednesday, April 14, 2004
Hello Thomas,
No I have not been able to locate any of the old data. I though I had a
strip of the 70mm film but that too seems to be lost. It has been over
35 years since that work took place. Most of the engineers I knew have
either retired or passed away. Anyway, all I have are my recollections.
David Brooks
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20.01.2004
I am delighted to find your website, with its encyclopedic discussion of the history and technical features of this legendary projector. As a youngster growing up in 1950's NYC, I had the benefit of viewing films at nearly every DP 70 installation. I can attest to the truly magnificent images this
projector provided for the top run films of that era, including Ben Hur,
Oklahoma, Porgy and Bess, and Lawrence of Arabia.
Aside from IMAX, the conventional movie multiplex "experience" of today is simply pathetic, digital surround sound notwithstanding. The pitiful remant of a screen, devoid of curvature, appropriate size or even a dignified curtain makes the theatre going experience practically irrelevant. At least in my own home theatre, we properly dim the lights as the film begins, especially in the old "roadshow" spetacles that have "overtures"-e.g. Ben Hur and Lawrence.
I am really glad to learn that Bob Harris has two DP 70's to view the marvelous results of his restoration efforts.
Keep up the fine work.
Thanks again.
Jonathan and Sharon Kleefield
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23.09.2003
Dear John Belton,
Your article on the internet 'The Rivoli' made for some interesting reading.
I am always trying to source info on ROXY and to try and bridge the gap
somehow and work out how were are related to each other.
I have the book "best remaining seats' and my aunty is in the process of
exploring the entire Rathapfel, Rothapfel, Rothafel and Redapple genealogy.
I visited Roxy's grandson and family in LA several years ago and plan to
perform in America in the near future when my schedule allows.
So, thanks for your interest in Samuel. Very much appreciated.
Paul ROXY Rothapfel
RedApple Entertainment
PO Box 79 Carrington NSW 2294 AUSTRALIA
+61249400758
www.musonet.com.au/roxy |
21.03.2004
Greetings,
I´ve been the projectionist at the Fox Theatre in Atlanta, GA for the past 28 years, starting when the Fox was saved from the wrecking ball, through the installation of the projectors brought over from the Loews Grand until the current day, and have projected all of the 70mm films in that time span. We don't actually have Todd-AO DP70 projectors; the ones from the Grand that we still use today are Century
JJ's.
We have shown Oklahoma a time or two in Todd-AO (and I believe Around the World in 80 Days, if my memory serves me right) by switching to a 30 fps motor pulley. At that time we showed it reel-to-reel and converted both projs. to 30 fps.
We still have the 2 JJ's, but have also added a platter about 8 or 9 years ago, and converted from carbon arc to xenon lamphouses at that time. When we show 70mm now, as in "Titanic" and "Vertigo" that you listed, we dedicate one JJ to 70mm that's fed from the platter. This JJ also has a dual-reader,
dual-player DTS installation for the current digital soundtracks. I can also still use the mag head for older 70mms, as I did recently for a Rolling Stones concert film (the exact title escapes me.)
In addition, I've converted this projector to a variable-speed DC motor drive, with programmable speed memories. It would be a simple matter to
dial up a 30 fps speed for Todd-AO in the future, if needed. There would be no changing of motors or pulleys required. The main reason for the variable speed is to play old silent 35mm films accompanied by pipe organ at the slower speeds they were filmed at: 18 fps, 20 fps, etc. But since the DC motor will only max out at the same 1725 rpm that the old AC motor did, I couldn't increase the speed to show 30 fps. But I thought, ...hey, why not leave the 30 fps pulley on all the time, that way it can top out at 30 fps, and the rest of the time I can run films at the reduced speed of 24 fps, or whatever. But to avoid strain on the motor I installed a DC motor with more torque than the AC motor I replaced (1/2 hp as opposed to 1/3 hp.)
I haven't had much time to peruse your sight but it looks very interesting and informative.
Scott Hardin
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06.04.2004
Dear Mr. Hauerslev,
I just wanted to pass along thoughts and well wishes
for your excellent web site. It's an excellent
compendium for people like me who love movies and
great theatre experiences. Sadly, even though I live
in arguably one of the top film restoration cities in
the world (being a resident of Rochester, NY), I can't
say that I have ever had such an experience here in
Rochester. (While the Eastman House's Dryden Theatre
now has 70mm projectors, I believe they only recently
showed their first 70mm print - a restored 2001.
Sadly, I was working that night and missed out.)
Being a film fan from birth, I was always fascinated
whenever the newspaper advertised a film as being in
70mm. (It's equally as fascinating when you read that
a place you knew as a XXX-rated theatre once showed
70mm prints. Weird.) I can still remember trying to
talk my parents into taking my siblings and I to see
'Dick Tracy' when it played one of Rochester's
suburban theaters in 70mm.
Ironically, the one time I did see a 70mm film in
college, I didn't realize that it was 70mm until I
noticed the screen was really wide when I sat down in
my balcony seat. It was one of the restored prints of
Vertigo at Shea's Theatre in Buffalo, NY (they didn't
advertise the film as being in 70mm). Shea's is a
beautifully converted movie palace which is now a
performing arts center. They still show free films
once a month. (It blows the water out of a normal
multiplex experience.)
Anyway, enough rambling by me. Once again, good job,
Mr. Hauerslev. Thanks for reading, and keep up the
excellent work.
Regards,
Jim Barg |
16.06.2003
Hi Thomas,
I am a first time emailer to your site and must say that your tribute to your late father was most loving and moving. I would like at this time to offer you my deepest sympathy.
I also wish to state how much I enjoy your site. Although my primary interest is 3-strip 35mm rather than 70mm, your coverage of TODD-AO is superb. It is really too bad that its full potential has not been fully realized.
If I may, I would like to comment on the IMAX article (Will IMAX Fade to Black?) and the hyped use of standard 35mm in the IMAX screen. The only time I saw that was at a showing of some old "Star Trek" episodes and no attempt was made to over inflate the image, but it suffered from pincushion distortion as the screen was curved, tilted and masked to correct for the top and bottom smiles.
I also enjoy your Kinopanorama coverage, but can you tell me why there are no current contact links to John Lasher and his Fifth Continent operation?
Looking forward to hearing from you.
Paul Samuels |
14 Apr 2004
Subject: 70MM fullcoat
Tom.
We are a transfer and restoration house down the street from what was once known as Todd/AO-GlenGlenn Studios. We have what we understand to be somewhat of a propreitary format that apparrently was supposed to get picked up and used widely---but did not.
The process used 70MM fullcoat mag film of heretofore unknown origin, the only thing we know about it is that there are 14-track 18-track and 26-track versions of the recordings on the reels.
When sprayed with MagnaView, either 12 tracks across the center and one each between the edge and holes shows up---or either 16 and one on each edge or either 24 and one on each edge. Film speed varies from 108 feet/min to 112.5 feet/min to 135 feet/min depending on the reel
A man by the name of Manley who once lived here in Santa Monica gave us the impression it might have been a Bob Leonard invention sometime in the middle 50's. We have no clue what the proigram material might be, and if we can find head(s) to use on a 70MM dubber transport we already have, we are guaranteed hundreds upon hundreds of multitrack music masters for what appear to be early stereophonic experiments on various scoring stages in Hollywood.
So, as I said, if we could find some information---as well as the appropriate heads with which to perform a playback we would be most grateful.
>Is it soundtracks for music (audio) or film soundtrack you have on 70mm full coat?
Depends on the reel. Some things are clearly labeled as `14/18/26 track music elements' meaning they belong to a picture, and other things say they are the multitrack master to an LP cut in the late 50's or early 60's.
PS---I LIVE and work in Hollywood, and so I've already contacted people like Kenny the chief of the Chinese, Al the chief of what was once the Cineplex Odeon, various chiefs of arthouses around town who are used to strange formats----and hundreds of guys in what remains of Local 150 without much success.
70MM guru Manley (British feller) who as I said lived once upon a time here in Santa Monica had no inkling of information other than what I told you---that it could possibly be a Universal/Bob Leonard invention proprietary for what was once known as Todd/AO-Glen Glenn. Even THEIR current and two retired chiefs of operations were clueless. The new people don't know or care about anything over twenty-four hours old and the vintage people had never worked around this particular format before.
>112,5 ft/min is regular 5 perf 70mm soundtrack speed.
And what about 108 feet/min or 135 feet/min? And should we find out further information, what about head availability for which to perform a playback?
NDM&E Transfer and Restoration
Hollywood CA
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Hello,
Many...many...many thanks for the picture of the projector at the Kallet
Shoppingtown Theater in DeWitt, NY USA. I found your site doing a Google
search on the history of Shoppintown.
I grew up in DeWitt NY back in the 1950s' and 1960's and went to this
theater many times to see the big epic films such as Mutiny on the Bounty,
King of Kings, Around the World in 80 Days, all in 70mm.
This was a "high-end" theater in that they would not allow you to take food
or drinks into the theater. (Imagine that now!) Instead, we would go to the
lobby during the intermission of the movie, (they had them then) and would
eat and drink our food then. We usually had about 15 minutes to eat and get
back to our seats for the second half of the movie. It was a wonderful
experience to see these movies in 70mm and multi-channel sound. I miss those
days!
Again, thanks for your nice website.
John Hafer
Woodbury, Minnesota USA |
1 April 2005
Dear Ed.
Wow ! fancy discovering this website. I was an assistant projectionist with
Greater Union, Hoyts and as a projectionist with Village during the
seventies and early eighties. I remember running "Earthquake" at the
Forum.
Earlier then that they were doing re-runs of the great 70mm musicals at the
Mayfair, not to mention the infamous "Rollerball". I found it
interesting regarding the 70mm running of "Titanic". I was under the
impression that 70mm was no longer needed due to all the new 35mm sound
formats etc we now have.
I am still in the industry up in Queensland and when over the years I have
trained some one up, I must admit I reminisce about the good old days, to
try to give them some insight into the industry. The one thing I vividly
remember as it was like yesterday is walking into the box and smelling the
magnetic oxide of a 70mm print and the click of the water jackets for cooled
jaws on an Ashcraft or Cinemeccanica carbon arc. Now what brings me to write
to you is that I ran in Village Cinema City 1 around mid 1982, I think? a
70mm print of "Blade Runner" starring Harrison Ford. Cinema 1,
despite all the trends for platters etc was equipped with 2 Bauer A3 dual
35/70 projectors and would have been one of the last existing plants running
spool to spool 70mm during that era. I can't recall seeing this one on your
list.
Thanks once again for a moment of memories.
Kindest Regards
Ralph Ashby
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12 March 2006
Subject : HAIR in 70mm?
Hello
Congratulations on the site. Love its nostalgic feel.
I'd like to ask if you have any information on 70mm prints struck for Milos
Forman's HAIR. I haven't found anything on the web about these prints, but
this film became an isolated phenomenon in 1980, when it played at the now
defunct Veneza cinema, here in Recife, Brazil (equipped for 70mm until 1983,
the last film to play in the format was RETURN OF THE JEDI).
HAIR played for 7 months straight and, at that time, it became one of the
biggest ever box office draws in the history of the city, and if you ask any
40 something who knows little about film projection, they will certainly
mention the aural and visual experience it was seeing the
film at the Veneza. Although I was underage at the time (film rated 18 by
the then military government), I still have newspaper ads with the film and
the logo "In 70mm, six track magnetic sound"). The film was definetely shown
in 70mm, I even have a stolen frame from that print, given to me by a senior
projectionist who kept some.
The reason I write is that, it seems, outside this historic thing around
HAIR, in Recife, there is no evidence the film was shown in 70mm anywhere
else. The Veneza did show other widely ackowledged 70mm films (RYAN'S
DAUGHTER, AIRPORT, ANNE OF A THOUSAND DAYS, WEST SIDE STORY), but as a kid,
I also remember seeing other films which do not appear to have been shown in
the format anywhere else (Steve McQueen's THE HUNTER, the infamous double
bill CAN'T STOP THE MUSIC and XANADU). In fact, it was XANADU, of all films,
that first drew my attention to film sound.
Anyway, if you have any information, please let me know. All
the best, Kleber
KLEBER MENDONçA FILHO, Recife,
Brazil
|
12 December 2005
Dear editor:
I note that your list of 70mm films does not include any of the productions
of the several Mutoscope & Biograph companies made between 1896 and the
early 1900's. Though short, and not specifically 70mm (usually called 68mm
today, but not so in 1896), the company used the large screen format for
their American, British, French and German made films which were projected
in major variety theaters in the North Armerica and Europe (Palace Theatre
of Varieties in London; Folies Bergere in Paris, Wintergarten in Berlin and
Keith's Union Square in New York). They were also shown in large format in
Mutoscope (peep show) machines. They were almost universally judge to be the
best and most spectacular of the early projections and were imitated by wide
screen copies made by Edison, the Lumieres and others. There's a production
log at the Museum of Modern Art that lists more than 2500 title made before
the company began a switch to 35mm in 1903 (they continued to make large
format productions until c. 1907) There is a reconstructed list of the
British productions made by Barry Anthony in "A Victorian Film Enterprise"
the book he co-wrote with Richard Brown.
PAUL SPEHR
17 Valley View Trail
Fairfield, PA 17320
USA |
11 November 2005
Do you happen to know what the control track was for in the original
Todd-AO? It was referred to in the Around the World in 80 Days souvenir
program, and mentioned in several books. The wording was often something
like: "There is a control track to control the other six sound tracks."
As one who saw both 80 Days and Oklahoma! repeatedly in Todd-A0, I've always
wondered if the control track turned the sound up and down, to achieve a
dynamic range far greater than the unaided medium could produce. Either
that, or the projectionists were turning it up and down. The 70mm
projectionists screening Paint Your Wagon in the 1960s told me they were
asked by the studio to sneak up the volume during the opening credits, as
the audience adapted to it, then punch it up (to a predetermined setting)
when the wagon careens down the hill near the beginning of the film (a place
where the audience would accept a lot of clatter) and then leave it up for
the rest of the film. It seems to me that this kind of thing could be
handled better if automated, so I'm thinking that for at least some films in
Todd-AO, it may have been the job of the control track. Two examples: 1) The
music just before the intermission in 80 Days gets gloriously loud, then
just when you think it go no louder, it really rips the air (trombones and
tuba leading a big brass sound) at the very end. I can't imagine any unaided
soundtrack -- then or now -- doing that with great warmth and without
over-recording distortion, unless it was turned up on playback in the booth
by man, woman, or the control track. 2) Ditto for "The Farmer and the
Cowman" stomping, clapping, big brass, again especially tuba (or even
Sousaphone) and trombones in Oklahoma! The sound is limp, by comparison, in
both DVDs even on a great sound system.
Thanks,
Gary Camp |
12 September 2006
Hi Thomas Hauerslev,
My name is Marcus Macann, former projectionist at the old Embassy theatre
Invercargill (35mm), and currently studying film making at a technical
college.
Congratulations on your fabulous website, and on your entire rationale about
70mm films. Having seen many great classic 65mm orginated 70mm prints in
Auckland (years ago), I agree whole heartedly that 70mm is simply the only
way for film makers to compete properly with digital home systems. In fact,
what is wrong with the film making companies? For how long must we endure
the curse of super thirty five? It's great to be able to get in touch with
you at any rate, so perhaps my enthusiasm spills over somewhat. My favourite
movie camera is the fearless 1929 model 65mm (the same year my mother was
born.) Todd-ao is my favourite movie system, from 1955 (the same year I was
born.) The world is a flat place without new examples of appropriately
scripted 70mm presentations. What we need, in my view, is another Mike Todd.
Nothing less, someone who has a pssion to produce, and make healthy profits
too. After all, the film production industry is the second most profitable
business in the world, isn't it?
At least various enthusiasts can have some sort of forum about 70mm, and my
hope is that everyone so involved will be mightily encouraged, and that the
movement will grow as time goes on. I would love for my six year old son
Stephen, to some day see 70mm (5 pf) films at least once or twice a year.
70mm used to be shown in Dunedin (about three hours drive away.) However, as
a pure flight of fancy; just imagine if film companies, motivated as much by
thoughts of wealth as by anything else; decided to stage such a revival of
70mm projects, that most population centers could see such films on a
regular basis? Back to the "real"
world. But what is "real"? Guess it takes a Mike Todd type, but the vision
can be there.
Keep up the good work Thomas. Your website and your efforts are valuable,
long live 70mm.
Kind regards, Marcus Macann
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