 Come
and enjoy the first person experience at the Pictureville cinema in
Bradford, England when we show digital, 35mm, Cinerama and 70mm in all its
splendour. We have confirmed prints of "Windjammer"
(50th anniversary screening), "This is
Cinerama", "STAR!" in a new Todd-AO 70mm DTS
print, "The Sand Pebbles", "2001: A Space Odyssey"
(40th anniversary screening), "Blade
Runner" (25th anniversary screening),
"Hamlet" and "Honeymoon".
Besides Todd-AO, we include the usual mix of lectures, screen talks, format
demonstrations, 3-strip Cinerama, 3-strip Kinopanorama, Panavision Super 70,
Super Panavision 70, Panavision, Technirama and Digital 2K on
curved and flat screens in all size and shapes.
Not forgetting the sound, this year a multitude of soundtrack are coming out
of the speakers everywhere. They are all here; 70mm Dolby Stereo SR, 70mm
Dolby Stereo Todd-AO layout, Dolby Digital, DTS Special Venue and ol'
fashioned analouge mono. We have a couple of Robert Wise films and three
films with special photographic effects by Douglas Trumbull - and all made
in 65mm large format film. We are very excited to present the final cut of
"Blade Runner" in a 2k Digital
presentation.
2008 is a landmark year in many ways. We can celebrate the following
anniversaries and birthdays; 100th, 80th, 50th, 40th and 35th. Delegates
booking will be available in January 2008. Book your hotel soon and remember
it is an early start on Friday, but there will be something interesting to
see Thursday evening.
Thomas Hauerslev
Film Programmer
NMM
Bradford
England
|
Pictureville Seating
|
 Pictureville Seating lay-out. Click to enlarge
Widescreen Weekend Passes went on sale
on Jan 14th but we cannot sell them on the web because we need to know which
seats you require. If you want to book email
Jennifer Hall.
and you will be contacted shortly. Go to
NMM and download booking form. Pass prices are £70 full price and £45
concession price.
Travel
to Bradford from March 7 - March 10, 2008.
|
Friday
7 March 2008
|
"This is Cinerama"
|
  10:00 – 12:00 “This is Cinerama”
(2:00) + intermission.
Filmed in:
3x35mm 6 perforations, 26 frames per second.
Principal photography in: Cinerama. Presented in:
On the curve in 3-strip Cinerama with 7-track magnetic stereo.
Aspect ratio: 146°. Country of origin: USA. Production year:
1952.
World Premiere: 30.09.1952 The Broadway Theatre, New York, USA.
Developed by Fred Waller. Narrated by Lowell Thomas. Supervised by
Michael Todd and Michael Todd Jr. Produced by Merian C. Cooper and
Robert L. Bendick. Music by Cinerama Philharmonic Orchestra.
Cinematography by Harry Squire.
Print: National Media Museum
Academy Award Nominated: Best Music, Scoring of a Dramatic or Comedy
Picture
This is the original Cinerama feature which launched the widescreen era,
here presented in a recently struck print in the original three-strip
format, with seven-track stereo sound. There is no narrative, merely a
variety of 'attractions': the famous rollercoaster ride is followed by a
series of musical and travelogue episodes culminating in an aerial tour
of America. More than a technological curio, it's a document of its era.
What is Cinerama?
Cinerama is a very complicated projection process with three projectors
electronically locked together, showing three 35mm films side by side on
the same curved screen, at the same time. Cinerama, very effectively
creates an illusion of reality, by photographing an extreme wide-angle
picture on three strips of film. Cinerama is shown on a large curved
screen like
Pictureville's. The curve is defined as being 146 degrees of a
circle. The screen is geometrically the same size as the human eye,
which when a spectator sits somewhere close to the center of the circle,
looking at the middle of the screen, he’s having A First Person
Experience. He’s having the sensation he is there, right in the
middle of the action. The audience will feel a sensation of
participation.
Why does a Cinerama screen have to be deeply curved?
”If you photograph a cavalry of horses coming toward you and sweeping
past, using conventional narrow angle lenses (and this includes
CinemaScope), the camera never sees the sides of the horses. If this is
now projected on a screen, even a wide curved one, wrapped around the
audience, as the horses go off the screen, they all turn facing you and
gallop sideways. This is a subtle effect, but the fact that you never
see the sides of objects, destroys the participation effect - the sense
of being in the middle of the action.”
Brian O'Brien,
Jr. about Cinerama.
|
"The Great Escape"
|
 13:30
- 16:23
“The Great Escape”
(2:52) (+ intermission).
Filmed in:
35mm, 24 frames per second.
Principal photography in: Panavision. Presented:
On the flat screen in a new 2K digital.
Sound: Fully uncompressed 6 channel 5.1 sound.
Aspect ratio: 2,39;1. Country of origin: USA. Production year:
1963
World Premiere: 15.04.1963, USA.
Produced and Directed by John Sturges. Written by James Clavell. Music
by Elmer Bernstein. Cinematography by
Daniel L. Fapp. Edited by Ferris Webster
Steve McQueen (Capt. Hilts "The Cooler King"), James Garner (Flight Lt.
Hendley "The Scrounger"), Richard Attenborough (Squadron Leader Roger
Bartlett "Big X"), Charles Bronson (Flight Lt. Danny Velinski "The
Tunnel King"), Donald Pleasence (Flight Lt. Colin Blythe "The Forger"),
James Coburn (Flying Officer Louis Sedgwick "The Manufacturer")
An immediate classic on its release, this timeless tale of courage in
adversity remains notable for the emergence of Steve McQueen as a
bonafide movie star. Based in part on Paul Brickhill’s book on the mass
escape from a German prison camp during WWII, the film goes off into
flights of Hollywood fancy as McQueen heads for the Swiss border on a
stole German motorcycle. But it’s the sheer verve and machismo that
drives the story forward.
Academy Award Nominated: Best Film Editing
historyonthenet.com +
Stalag
Luft 3
|
Special Guests
|
 John
Layton in Pictureville foyer. Image by Thomas Hauerslev
Special
appearance by John Leyton, who starred in "The Great Escape" as
Flight Lieutenant William Dickes "The Tunneller"
John Leyton was born Feb. 17th 1939 in Frinton-on-Sea, Essex, England.
His parents already had connections with show business, his father
owning cinemas and theatres and his mother acting on the London stage
under the name of 'Babs Walters'.
Although having experienced phenomenal success as a pop star, John felt
far more at home as an actor than a singer. He returned to acting and
his motion picture debut came when cast alongside Charles Bronson, Steve
McQueen and Richard Attenborough as 'WILLIE THE TUNNEL KING' in the
classic true war movie "The Great Escape". His performance
prompted 20th Century Fox to put him under contract and next came a
starring role in "Guns at Batasi" with Richard Attenborough and
Mia Farrow. For this performance he was nominated by American Cinema
Editors Inc. for 'BEST PERFORMANCE BY AN ACTOR'. This was followed by
"Von Ryan's Express" with Frank Sinatra and Trevor Howard.
John Layton also appeared in the large format film "Krakatoa"
John Layton's
web
site
|
Still not confirmed, but Tom Adams might also appear in Pictureville. Tom
Adams starred in "The Great Escape" as Dai Nimmo "Diversions"
Tom Adams (born March 9, 1938 in London, England) is a burly English actor
with roles in horror and mystery films, and several TV shows.
|
Reception
|
 17:00 Reception for weekend delegates in the Kodak Gallery
Images from the 2008 reception
|
Movie Sound Formats
|
 18:30
"Optical Sound on 35mm Film" Lecture by Dion Hanson - a Power
Point presentation showing the way optical sound has developed over the
years.
The original show was to explain to new projectionists how the release
print has changed over time.
Dion Hanson is no stranger to Picturevillle's audience, but here's his
quick resume.
My life in cinemas began in 1960 as a rewind boy in my local cinema, The
Crescent Pontefract, whilst at school. Did relief work around the
country during the summer holidays. Went to Huddersfield Polytechnic to
study Electrical Engineering. After that went to work for Westrex in
Leeds finishing up as supervisor in 1975. Left them to work for Rank
Leisure as installation engineer. Installing many of the first Dolby
CP50 units around the country and left them to join Dolby itself around
1984. Where I supervised many installations around the world and trained
hundreds of engineers how to install the various processors. Started
working freelance in 2001 doing installations and supervising special
screenings as well as checking out equipment in such venues as film
laboratories.
|
"2001: A Space Odyssey"
|
 19:30
- 21:59
“2001: A Space Odyssey”
(2:29) + intermission.
Filmed in:
65mm, 24 frames per second.
Principal photography in: Super Panavision 70. Presented:
On the curved screen with 6-track Dolby Stereo, format 43.
Aspect ratio: 2,21;1. Country of origin: USA. Production year:
1968.
World Premiere: 02.04.1968 The Uptown Theatre, Washington, USA.
Produced and directed by Stanley Kubrick. Cinematography by Geoffrey
Unsworth. Edited by Ray Lovejoy. Douglas Trumbull (special photographic
effects supervisor).
Keir Dullea (Dr. Dave Bowman), Gary Lockwood (Dr. Frank Poole), William
Sylvester (Dr. Heywood R. Floyd), Daniel Richter (Moon-Watcher), Douglas
Rain (HAL 9000 (voice))
A film deserving of the description “ground-breaking”, Kubrick’s
"2001: A Space Odyssey" remains one of the all-time classics of
science-fiction cinema. It is presented during WSW in its original
Cinerama format in a restored 70mm print with sixtrack magnetic stereo
sound on the curved Pictureville screen.
Oscar: Special Visual Effects, Stanley Kubrick
Academy Award Nominated: Best Art Direction-Set Decoration, Best
Director, Best Writing, Story and Screenplay - Written Directly for the
Screen
Full credits
The CD
Soundtrack
A Roadshow
Odyssey
Restoring the
soundtrack
"2001" and the
curved screen
The Original Reserved Seat Engagements Of "2001: A Space Odyssey"
Christiane Kubrick's Website
Creating special effects for "2001"
Kubrick
Films and old Christiane Kubrick
web site hosted by Warner Brothers.
Warner Brothers' 6 year old "2001"
web site
9th Anniversary of Stanley Kubrick's passing
40th Anniversary Screening of the films premiere
80th Anniversary screening
on the occasion of
Stanley Kubrick's birth (26 July 1928 - 7 March 1999)
Introduced by Jan Harlan
|
Jan Harlan in conversation with Thomas Hauerslev
|
 Jan
Harlan 08.03.2008. Image by Thomas Hauerslev
Jan
Harlan is the brother of Christiane Kubrick, Stanley Kubrick's widow. He
acted as Kubrick's Executive Producer for more than 30 years "Eyes Wide
Shut" (1999), "Full Metal Jacket" (1987), "The Shining" (1980),
"Barry Lyndon"
(1975)) and as Assistant to the Producer for "A Clockwork Orange" (1971)).
Harlan was also Executive Producer for Steven Spielberg's "Artificial
Intelligence: AI" (2001), a collaboration between Spielberg and Kubrick.
Harlan directed "Stanley Kubrick: A Life in Pictures" (2001). He has three
sons, Manuel, Dominic and Ben. He is married to Maria.
Producer:
What Is Out There? (2007) (V) (producer)
O Lucky Malcom! (2006) (producer)
Artificial Intelligence: AI (2001) (executive producer)
Stanley Kubrick: A Life in Pictures (2001) (producer)
Eyes Wide Shut (1999) (executive producer)
Full Metal Jacket (1987) (executive producer)
The Shining (1980) (executive producer)
Barry Lyndon (1975) (executive producer)
Director:
O Lucky Malcom! (2006)
Stanley Kubrick: A Life in Pictures (2001)
|
Saturday
8 March 2008
|
"Windjammer"
|
 10:00 – 12:22 “Windjammer”
(2:22) + intermission.
Filmed in:
3x35mm 6 perforations, 26 frames per second.
Principal photography in: Cinemiracle. Presented:
On the curve in 3-strip Cinemiracle with 7-track magnetic stereo.
Aspect ratio: 146°. Country of origin: USA. Production year:
1958.
World Premiere: 09.04.1958 The Chinese Theatre, Los Angeles, USA.
Directed by Bill Colleran & Louis De Rochemont III. Produced by Louis De
Rochemont III. Original Music by Morton Gould. Cinematography by
Joseph C. Brun & Gayne Rescher. Film edited by Film Editing by Peter
Ratkevich.
Pablo Casals (Himself), Yngvar Kjelstrup (Captain), Lasse Kolstad (Third
assistant bosun), Sven Libaek (Cadet #35), Harald Tusberg (Cadet #32)
Print: National Media Museum
The 50th anniversary of the release of this film shot in Cinemiracle.
Widescreen fans love it. It’s a great cultural experience as a group of
cadets on a training exercise take the SS Christian Radich from Oslo,
across the Atlantic and on to New York. Featuring great and much
sought-after music.
Cast and Credits
+ Transcript
50th Anniversary Screening
|
"The Bigger Picture"
a very personal overview of the history of movie presentation
|
 13:30
- 14:30 Illustrated lecture by Tony Sloman.
45-60 min
Tony Sloman could accurately be described as a "Human Movie Database".
His recall of the most obscure incident, character, director, or even
musical theme of some long-forgotten film is phenomenal. His knowledge
of film formats, aspect ratios and technical data is equally as
impressive. He is involved with all aspects of film production.
Academy of the Widescreen Weekend
|
"The Sand Pebbles"
|
 14:45
- 17:47
“The
Sand Pebbles”
(3:02) + intermission.
Filmed in:
35mm anamorphic, 24 frames per second.
Principal photography in: Panavision. Presented:
On the flat screen in a new 35mm Dolby Digital print.
Aspect ratio: 2,39:1. Country of origin: USA. Production year:
1966.
World Premiere: 20.12.1966 The
Rivoli Theatre, New York, USA.
Directed by Robert Wise. Written by Robert Anderson. Produced by Charles
H. Maguire. Original Music by Jerry Goldsmith. Cinematography by Joseph
MacDonald. Edited by William Reynolds
Steve McQueen (Holman), Richard Attenborough (Frenchy), Richard Crenna
(Collins), Candice Bergen (Shirley), Mako (Po-han)
Print: 20th Century Fox
In between "The Sound of Music" and Star!, Robert Wise delivered
a classic war epic set in 1920s China. The Sand Pebbles boasts an
Oscar-nominated performance by Steve McQueen’s as engineer Jake Holman,
who upsets the status quo on board the US gunboat San Pablo. Remastered
digitally at the highest resolution, this new 35mm print receives its UK
premiere.
Academy Award Nominated:
Best Actor in a Leading Role
Best Actor in a Supporting Role
Best Art Direction-Set Decoration, Color
Best Cinematography, Color
Best Film Editing
Best Music, Original Music Score
Best Picture
Best Sound
See Crispin Garcia's
The Sand Pebbles
web site
|
From
digitalcontentproducer.com
Restoration of
“The
Sand Pebbles”, overseen by Twentieth Century Fox VP of Asset
Management and Film Preservation Schawn Belston, was completed by Ascent
Media Group (AMG). The workflow started with a complete evaluation,
inspection and physical repair of the original negative at Cinetech (Ascent
Media’s film restoration and full service motion picture laboratory). Next,
a series of photo-chemical direct prints were struck from the original in
order to better identify the digital restoration needs followed by a 4K,
10-bit pin registered scan on Ascent Media’s Northlight scanners. Digital
restoration was performed at full 4K resolution at AMG’s Digital Media Data
Center (DMDC) using Quantel’s integrated iQ digital intermediate and Pablo
color correction systems. After final approval of the color and restoration,
the files were recorded back out to a 4K negative. Cinetech then
manufactured the composite 35mm check print using an audio track restored by
Ascent Media’s POP sound division. POP processed out the hisses and ticks,
time-aligned the original 70mm version 6-track to the reference picture and
conformed and remixed the music using the original interlocked 6-track and
dual 3-track 35mm magnetic scores. Effects enhancements were created from
the original sound design, as well as a new Dolby LTRT discreet 5.1 surround
mix using newly created subwoofer, equalization, and spatializing technique.
 Faded
70mm frame
From
hometheatershack.com:
“The
Sand Pebbles” was a Fox film and thus 'Color by De Luxe'. What this
meant back in 1966 was that all prints (including the blow up 70mm Roadshow
copy) were struck directly from the 35mm Panavision camera negative. We're
talking three to four hundred prints struck from the original which really
wore it out.
In 2005, Fox decided to use "The Sand Pebbles" as their first 4K
restoration. The extremely faded and worn camera negative was scanned into
the digital machine at this resolution. Then a frame at a time (at 182
minutes) was fixed which is why it took so long. The end results are
outstanding and as good as it looked back in 1966.
|
"Making of HTWWW" seminar
Hosted by David Strohmaier & Randy Gitsch
|
 18:00
- 19:00
Randy
Gitsch and David Strohmaier
"Making of HTWWW" seminar / rough cut (Digital Video 4 x 3 Projection) 1
hour hosted by Dave and Randy. (Randy & I will introduce several start
and stop video segments and talk between them, this will be a "rough
cut" of a 40 minute documentary for Warner Home Video. )
This will cover the origins of How The West Was Won beginning with a
1923 pageant, the seven part Life Magazine series, the popular Bing
Crosby record album, and through the gigantic production that became the
highest grossing picture made in the year 1962.
This would feature rare audio recordings of Henry Hathaway and the three
ASC cameramen who shot the film talking about the difficulties of the
Cinerama filming. On screen will be rare behind the scenes stories and
never before seen interviews with the actors, producer and editors. An
added bonus is an unusual look at the films spectacular locations back
then and how they look today after 45 years.
We would briefly discuss the remastering of
"How the West Was Won" and what the Warner
Brothers plan is for SmileBox deluxe collectors edition.
We would also spend the last 15 minutes of the hour getting feedback on
what the audience would like to see included in the final cut
documentary.
This presentation will begin with a the showing of the 6 minute 3-panel
trailer for "How the West Was Won" on the curved screen.
Bonus: A little 3 minute video of the Duncan and Tony running "How the West Was Won"
in 2007.
|
"STAR!"
|
  19:30
- 22:32 “STAR!“ (2:54) +
Intermission.
Filmed in: 65mm 5 perforations, 24 frames per second.
Principal photography in: Todd-AO. Presented:
On the curved screen in a new Todd-AO 70mm DTS print. Aspect ratio: 2,21:1. Country of origin: USA. Production year:
1968.
World Premiere: 18.07.1968 Dominion, London, England
Produced by Saul Chaplin. Original Music by Lennie Hayton.
Cinematography by Ernest Laszlo. Film Editing by William
Reynolds. Production Design by Boris Leven. Directed by
Robert Wise.
Julie Andrews (Gertrude Lawrence), Richard Crenna (Richard
Aldrich, Producer ), Michael Craig (Sir Anthony Spencer), Daniel
Massey (Noel Coward), Robert Reed (Charles Fraser), Bruce
Forsyth (Arthur Lawrence)
Print: 20th Century Fox
Academy Award Nominated:
Best Actor in a Supporting Role
Best Art Direction-Set Decoration
Best Cinematography
Best Costume Design
Best Music, Original Song
Best Music, Score of a Musical Picture (Original or Adaptation)
Best Sound
40th Anniversay Screening
What is Todd-AO?
"TODD-AO 70mm film, plus the TODD-AO special camera, plus the
TODD-AO newly developed 6 channel high fidelity magnetic sound,
plus the TODD-AO "all purpose" 70mm projector and the great
arched TODD-AO screen equal the most revolutionary of all screen
inventions, with clarity of perspective, detail and color
reproduction never before achieved. As a result, with TODD-AO,
audience participation now has its fullest and truest
expression. Todd-AO is the dream of Michael Todd, plus the
technical skills of the American Optical Company whose research
staff headed by Dr. Brian O'Brien, jointly succeeded in
developing "a motion picture system that would photograph action
in a very wide angle....with one camera....on one strip of
film....to be projected from a single projector....on a very
wide screen....with a quality so perfect that the audience would
be part of the action, not just passive spectators.
|
|
|
Sunday
9 March 2008
|
Cineramacana
|
 10:00 – 12:30 Cineramacana including the odd surprise and the Academy of the
Widescreen Weekend presentation.
One of the most popular events of the Widescreen Weekend and a
great way to wake up on a Sunday morning, Cineramacana brings
together all those little bits and pieces that lie around in
people’s cupboards or on dusty shelves in archives and seldom
see the light of a projector. Over the years there have been
some magical discoveries and nobody knows what will be shown
until the event itself. Even then there is the occasional
surprise.
And there will just be time for the traditional
Audience on stage photograph of all the WW delegates.
|
 Kinopanorama
during Cineramacana
I am pleased to announce that I have authorised Mr David
Strohmaier of "The Cinerama Adventure" to screen our
two-reel 3-panel restoration footage of "Opasniye Povoroty"
(1961) and the black & white newsreel of "Moscow Cinema
Chronicle Number Six" (1958) at this years' Bradford
Widescreen Festival. This is the premier screening of either
film in the UK, not to mention the first screening of any
3-panel
Kinopanorama print at Bradford in some 11-years.
John S Lasher
|
Screentalk with Kenneth Branagh
|
 Kenneth
Branagh in Copenhagen. Photo by Thomas Hauerslev
Head of Cinema, Tony Earnshaw will be doing a one hour screentalk with
Kenneth Branagh
on stage discussing his career, before "Hamlet"
This event has
already sold out.
|
"Hamlet"
|
 13:30
- 17:32
“Hamlet”
(4:02) + intermission.
Filmed in:
65mm, 24 frames per second.
Principal photography in: Panavision System 65. Presented:
On the flat screen with 6-track Dolby Stereo, format 43.
Aspect ratio: 2,21;1. Country of origin: USA. Production year:
1996.
World Premiere: 25.12.1996 The Ziegfeld Theatre, New York, USA.
Produced by David Barron. Original Music by Patrick Doyle.
Cinematography by Alex Thomson. Edited by Neil Farrell. Directed by
Kenneth Branagh.
Kenneth Branagh (Hamlet), Julie Christie (Gertrude), Charlton Heston
(Player King), Derek Jacobi (Claudius), Kate Winslet (Ophelia)
Academy Award Nominated:
Best Art Direction-Set Decoration
Best Costume Design
Best Music, Original Dramatic Score
Best Writing, Screenplay Based on Material from Another Medium
"Hamlet" 1996
press release
"Hamlet" reviews
"Hamlet"
cast/credits
|
"Honeymoon"
|
 18:00
- 19:45
“Honeymoon“
/ "Luna de Miel" (1:45).
Filmed in: 35mm 8 perforations, 24 frames per second.
Principal photography in: Technirama. Presented:
On the flat screen in a new restored 35mm print. Aspect ratio:
2,39:1. Country of origin: United Kingdom and Spain. Production year:
1959.
World Premiere: 29.03.1959, Spain
Directed by Michael Powell. Written by Luis Escobar, Gregorio Martínez
Sierra & Michael Powell. Produced by Cesáreo González and Michael
Powell. Cinematography by Georges Périnal & Claude Renoir. Edited by
Peter Taylor & John Victor-Smith.
Anthony Steel (Kit Kelly), Ludmilla Tchérina (Anna), Antonio (Antonio),
Léonide Massine (Der Geist)
Cannes Film Festival Technical Grand Prize
Nominated Golden Palm
|
 Introduced by Charles Doble, restorer of the film.
From the
"Honeymoon" restoration
web site:
The storyline is best summed up in this release, published at the time
in 1959:
"Ludmila Tcherina and Anthony Steel are on a fabulous honeymoon in sunny
Spain. They are rich. They are happy. And then they meet the fiery
Spanish dancer Antonio... When Antonio discovers the bride is a prima
ballerina who has given up her career for marriage, he refuses to rest
until he has persuaded her to dance again - as his partner. Wherever
they drive in their gleaming silver convertible, they run into Antonio.
On the road outside Santiago; in a fashionable bar in Madrid; at the
caves of Grenada. Antonio conducts a captivating campaign. He persuades
her to dance with him in his studio. He tempts her with his dancing
feet; he lures her on with his mischievous eyes. He breathes into her
ear that only she can dance the leading role in his latest production.
He ignores the jealous husband. When the three meet in Madrid for the
last time Antonio has apparently called off his campaign. Everything it
seems, will be back to normal. The honeymooners are free to continue
their world cruise. But there's still a twinkle in Antonio's eyes. For
he is about to go with his dance company...on a world tour!"
|
 Charles
Doble in Pictureville foyer. Image by Thomas Hauerslev
It was originally produced in stereo; a four track magnetic version.
Visually, it was released in both Wonderama and Technirama. These were
very new processes. One of these was an attempt to get over the problems
of loss of focus where projection was onto large curved screens. This
involved a complicated and heavy series of lenses mounted on the front
of the 35mm projector. Each cell of the film was divided vertically into
two halves. From a projection point of view it was a nightmare to get
the two halves to meet seamlessly in the centre of the screen and at the
same time, even with the largest projectors, the colossally heavy
adaptor for the ARC 120 process caused uncontrollable picture shake.
"Honeymoon"
restoration notes
"Honeymoon"
in ARC-120
To Split or Not to
Split
|
"Blade Runner - The Final Cut"
|
 20:30
- 22:27
“Blade Runner - The Final Cut“ (1:57).
Filmed in: 35mm 4 perforation + special effects in 65mm 5 perforations, 24 frames per second.
Principal photography in: Panavision. Presented:
On the flat screen in a new digital 2K print.
Sound: Fully uncompressed 6 channel 5.1 sound. Aspect ratio: 2,39:1. Country of origin: USA. Production year:
1982.
World Premiere: 05.10.2007 New York,
USA
Directed by Ridley Scott. Written by Hampton Fancher and David Webb
Peoples. Produced by Michael Deeley. Original Music by Vangelis.
Cinematography by Jordan Cronenweth. Edited by Marsha Nakashima
Harrison Ford (Rick Deckard), Rutger Hauer (Roy Batty), Sean Young
(Rachael Edward James Olmos (Gaff), M. Emmet Walsh (Bryant), Daryl
Hannah (Pris)
Academy Awards Nominated:
Oscar Best Art Direction-Set Decoration
Best Effects, Visual Effects
From:
fandango.com:
Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa
2019. L.A. has become a pan-cultural dystopia of corporate advertising,
pollution and flying automobiles, as well as replicants, human-like
androids with short life spans built by the Tyrell Corporation for use
in dangerous off-world colonization. Deckard's former job in the police
department was as a talented blade runner, a euphemism for detectives
that hunt down and assassinate rogue replicants. Called before his
one-time superior (M. Emmett Walsh), Deckard is forced back into active
duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has
escaped and headed to Earth, killing several humans in the process.
After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of
the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one
of his targets. Attacked by another replicant, Leon (Brion James),
Deckard is about to be killed when he's saved by Rachael (Sean Young),
Tyrell's assistant and a replicant who's unaware of her true nature. In
the meantime, Batty and his replicant pleasure model lover, Pris (Darryl
Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get
close to Tyrell and murder him. Deckard tracks the pair to Sebastian's,
where a bloody and violent final confrontation between Deckard and Batty
takes place on a skyscraper rooftop high above the city.
|
|
|
Monday
10 March 2008
|
"Edward Scissorhands"
|
 10:30
- 12:10 “Edward
Scissorhands“ (1:40).
Filmed in: 35mm 4 perforations, 24 frames per second.
Principal photography in: Panavision flat. Presented:
On the flat screen in a vintage 70mm blow-up print
with 6-track Dolby Stereo. Aspect ratio: 1,85:1. Country of origin:
USA. Production year:
1990.
World Premiere: 06.12.1990 Los Angeles,
USA
Directed and produced by Tim Burton. Written by Caroline Thompson. Music
by Danny Elfman. Cinematography by
Stefan Czapsky
Johnny Depp (Edward Scissorhands), Winona Ryder (Kim), Dianne Wiest
(Peg), Anthony Michael Hall (Jim), Kathy Baker (Joyce) and Vincent Price
(The Inventor)
Print: National Media Museum
Academy Awards Nominated:
Best Makeup
An elderly inventor creates Edward, a living being, but dies before he
can complete the hands. Edward is left alone – but with a dazzling array
of knives and scissors at the ends of his arms. Peggy, the local Avon
lady, finds him and brings him back to town. There he becomes a star at
topiary and hairdressing. A very peculiar vision of small town America
sees Tim Burton at his imaginative best. Edward is one of cinema’s great
sympathetic characters.
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"Brainstorm"
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 12:24
- 14:00
“Brainstorm“ (1:36).
Filmed in: 35mm 4 perforations + 65mm 5 perforations, 24 frames per second.
Principal photography in: Super Panavision 70. Presented:
On the curved screen in a vintage Super Panavision 70 Dolby Stereo print. Aspect ratio: 2,21:1. Country of origin: USA. Production year:
1983.
World Premiere: 30.09.1983, The Ziegfeld Theatre, New York, USA
Directed and produced by Douglas Trumbull. Original Music by James
Horner. Cinematography by Richard Yuricich. Edited by Freeman A. Davies
and Edward Warschilka
Christopher Walken (Dr. Michael Anthony Brace), Natalie Wood (Karen
Brace), Louise Fletcher (Dr. Lillian Reynolds),
Cliff Robertson (Alex Terson), Jordan Christopher (Gordy Forbes), Donald
Hotton (Landan Marks)
Print from BFI, London
With a machine that can put you into someone else’s experiences then
this could be a great fun experience or learning device. But the
military can also see some great potential. Partly shot in 70mm, this is
a great ride and action movie from Douglas Trumbull, the man responsible
for the effects in Kubrick’s 2001.
25th Anniversary Screening of "Brainstorm"
From
bluemountains.com:
Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken)
head a team of scientists who have developed a device capable of
recording and playing back sensory experience and even emotions and
memories. Michael uses the device to effect a reconciliation with his
estranged wife, Karen (Natalie Wood), by replaying to her his feelings
about their relationship.
Although their boss, Alex (Cliff Robertson) promises that their work
will not be misused, it becomes clear to Lillian and Michael that the
project is being sold to outsiders. Lillian suffers a fatal heart
attack. While dying, she records her experience for Michael. Lillian’s
death allows the take-over of the project by the military. Michael
discovers that the device will be used for brainwashing and is banished
from the project. Increasingly obsessed both with sabotaging the project
and with experiencing the tape Lillian left for him, Michael conspires
with Karen to destroy his work.
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Douglas Trumbull
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 Dennis
Muren, Steven Spielberg and Douglas Trumbull at the recent
Visual Effects Society Awards in Los Angeles. Picture curtsey Bill
Kallay.
"Brainstorm" directed by
Douglas Trumbull
Selected filmography as Director (films in 65mm):
Leonardo's Dream (1989) Showscan
Let's Go (1985) Showscan
Brainstorm (1983)
Big Ball (1983) Showscan
New Magic (1983) Showscan
Selected filmography as Special Effects Supervisor (films in 65mm):
Blade Runner (1982)
Star Trek: The Motion Picture (1979)
Close Encounters of the Third Kind (1977)
2001: A Space Odyssey
(1968)
To the Moon and Beyond (1964)
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| How to get there: |
 How to travel to Bradford
By Paul Rayton
No matter where you are coming from (unless you are
already in the UK), you have to get there by air plus
some kind of ground transportation.
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Widescreen Weekend 2008
70mm Festival
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Friday, 7. March |
10:00 – 11:55 “This is Cinerama” (1:55) + intermission. On
the curve in 3-strip Cinerama with 7-track magnetic stereo
13:30 "The Great Escape"
18:30 Cinematic Sound Formats: with Dion Hanson
19:30 "2001: A Space Odyssey" in 70mm Cinerama on the curve
with the D-150 lens. |
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Saturday, 8 March |
10:00 “Windjammer” on the curve in 3-strip Cinemiracle with
7-track magnetic stereo
13:30 The Bigger Picture - Tony Sloman
14:45 "The Sand Pebbles"
18:00 The Making of "How the West Was Won"
19:30 "STAR!" On the curved screen in a new Todd-AO 70mm DTS
print |
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Sunday, 9 March |
10:00 – 12:30 Cineramacana including the odd surprise.
Academy of the Widescreen Weekend and
Audience on stage
13.00 Screentalk: Kenneth Branagh + "Hamlet" 70mm
18:00 "Honeymoon"
20:30 "Blade Runner" |
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Monday, 10 March |
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10.30 "Edward Scissorhands" 70mm + "Brainstorm" 70mm |
| Accommodation and the Weekend Pass |
FULL PRICE FULL PASS -
£70
CONCESSION PRICE (Senior Citizen or student) FULL PASS - £45
This includes a reserved seat for every event/film during
the weekend, but all delegates must state which events they
want to go to. If there are any events they do not want to
attend, it means we can sell that seat to a member of the
public. If an event sells out, it means we don't have empty
seats, even though they have been covered by a pass.
Individual screenings will be £5,00 / £3,30.
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Film Festival Rates 2008 29th February until 15th March:
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The Midland
Hotel is providing a ‘package’ for attendees, which will be on a 2, 3 or
4 night basis. Rates are as follows and will not be available any cheaper
elsewhere.
Bed & Breakfast for 2 nights @ £46.00 per person per night sharing
a Standard Double/Twin bedroom.
Bed & Breakfast for 3 nights @ £42.00 per person per night sharing a
Standard Double/Twin bedroom. 3 night reservation will be upgraded, subject
to availability, and will be given a complimentary bottle of wine in their
bedroom upon arrival.
Bed & Breakfast for 4 nights @ £38.00 per person per night sharing a
Standard Double/Twin bedroom. 4 night reservation will receive the above and
Dinner complimentary on one of the evenings.
*Premium bedroom supplement of £10.00 per person per night.
*A single supplement of £30.00 applies per room per night.
Dinner will be available from £16.95 per person, per night with a Special
Themed Menu running throughout the festival.
Bookings are to be made directly through the Midland Hotel and festival
guests will be advised to quote “Bradford International Film Festival” when
booking.
Details for contacting the
Midland
are + 44 1274 735 735
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Other Bradford Hotels |
Holiday
Inn Express
+44 0870 850 9083
Great Victoria Hotel
+44 01274 728706
Hilton
Hotel
+44 01274 734734 |
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Academy of the Widecreen Weekend
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The past winners are:
2008 -
2007 - David Strohmaier
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
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65/70mm Workgroup
Third Session |
The 3rd 65/70mm Workshop
will take place on Sunday March 9th from 2.30pm to 4pm. This
is your chance to input into the continuing promotion of
65mm production and 70mm exhibition, with an emphasis on
practical ideas and a willingness to challenge the status
quo!
All welcome - please gather in the Pictureville cafe-bar.
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Audience |
22.02.2008
Dear Thomas
I would like to thank you for sending me my "Friends of 70
mm" certificate. I also wanted you to know that you can
count on my support this year again and in the future.
Thank you also for your efforts in continuing providing 70
mm enthusiasts like myself with such a great web site.
Unfortunately I will not be able to attend Bradford wide
screen week end this year, my schedule will not permit me to
get away that week.
I will definitely be in Karlshure in October and cant wait
for a great week end of 70 mm at the Schauburg. Hopefully
this year will feature more restored films. Last year in my
opinion had too many PINK presentations.
Kindest regards
Christian Losito
Macon, GA
U S A
15. February 2008
Thomas,
I am very pleased with your programming
Rich
Greenhalgh
05.08.2007
I hope to attend Bradford next year. It all depends of the
workload, but since I have retired, at least I have the
possibility.
Saw that "STAR!" is likely to be shown - wonderful.
How about accommodation? Saw a hotel on
www.in70mm.com, but no
price.
And how do you get to Bradford - beyond flying to
London I presume? I Hope to see you there
Best from
Sebastian Rosacker,
Malmø, Sweden
03.08.2007
Bradford is will be my first trip beyond the USA and Canada.
I live in the vicinity of Washington, DC. There is a
gentleman from New Mexico, Henry Taylor, who has travelled
there several times who will also be there. I met him last
year as a result of a notice put out by Bill Lawrence
describing my 50th Anniversary showing of "Oklahoma!"
on my 13 foot (4 metre) curved screen at my home.
If the Festival in Karlsruhe refers to the Shauburg, I'm
afraid my funds and schedule will not allow that, but I will
be at Bradford.
I'm sorry I never mentioned how much I enjoy your "In 70mm"
newsletter. It is a truly monumental undertaking.
Until then,
Paul Samuels
03.08.2007
I am looking forward to meeting you again at Bradford in
March 2008. I have already booked accommodation for my
daughter Xandra and myself and cannot tell you how much I am
looking forward to it.
Having to miss this years Widescreen Weekend due my ill
health and the treatment that I had to have was quite a
bitter blow. I am determined that I will be there next year.
Hopefully I will be fit and capable of attending next March
and meeting up with you again.
Best wishes and regards
Ralph Miller (ex
London Cinerama 3 x strip and 70mm projectionist)
sadly, Ralph passed away in late February 2008. Editor
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| Reviews |
14. marts 2008 23:36:51
Hi Tom,
Another great WW in Bradford this year. Just a quick note
regarding pictures from last years reception. With me on the
photo are John Cartwright (older guy on the left with light
brown jacket) and Ray George (with blue bag and darker
jacket)
I'd never seen Star! I was blown away by the scope and scale
of the pic, interesting story and a powerful performance by
Julie Andrews. But I was particularly impressed (as I
thought I would be) by the digital 2k presentation of Blade
Runner. The biggest waste of time was Honeymoon - the
negative aught to be burnt!!!
Regards
Siddique Hussain
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Odeon Bradford |
On the screen in PV
foyer on Sunday morning: About the Odeon building opposite
Pictureville:
THREE digital image sequences of photos taken in 2006 amd
2007 inside the building - the largest theatre/cinema site
in Europe currently up for grabs for development. The
automatic sequences each contain circa 60 high resolution
images optimised for projection and complete with transition
effects, animation, titles/credits and most photos have
never previously been published.
1. Inside the Odeon
Shows condition of the public areas of foyers, bar, bingo
hall and all three cinemas - still in good condition and
mostly in tact.
2. Behind the Scenes
Areas never seen by the public from cellars to the roof,
offices, projection rooms, stage flytower, managers flat.
3. Hidden Secrets of the Odeon Building
Behind the conversion work of the 1969 and 1988 there is
much of the former New Victoria/Gaumont era; flytower grids
still there, original staircases, lift, ornate plaster
ceilings and classic leaded windows, dressing rooms and
organ chambers.
Colin L. Sutton
Bradford & Shipley
Cinemas Historian.
Tele: 01274 595875
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• Three full days + Monday morning
• Several film anniversaries; 100th, 80th, 55th, 50th, 40th
and 35th
• Primarily good new prints in color
• Proper selection between flat vs. curved screens.
• ”TIC” and ”Windjammer” in 3-strip Fri and Sat.
• 6 films never shown at WSW including a brand new 70mm
print
• Illustrated lectures by Tony Sloman and Dion Hanson
• Interactive presentation by David Strohmaier about “How
the West Was Won”
• ”Commercial” films evening performances for the broader
and local Bradford audience
• Large variety of film and sound formats: DTS 70mm (special
venue and standard 5.1), 6-track magnetic in Todd-AO layout,
6-track Dolby magnetic, 7-track Cinerama sound, and 6-track
uncompressed digital sound, 3-strip Cinerama & Cinemiracle,
Todd-AO, Super Panavision 70, Panavision Super 70,
Panavision, 2k digital projection, large variety of blowups,
video-to-film, film-to-video
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Striporama Poster
Flowerama store
Pzzarama sign
Launderrama sign
Trailerama sign
Bowlarama
Scaraorama
Color rama
License plate
Kinopanorama
Circlorama
Pornorama
Rastaurama
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