| The 70mm Newsletter Issue 56 | Cinerama Downunder
70mm's Last Stand? - The Future of 70mm |  Ole Olsen of UIP in Copenhagen, Denmark
By Thomas Hauerslev
I was not destined for the cinema business at first, but circumstances directed me into it. My father ran the cinema at the Danish Film Museum in Frederiksberggade in downtown Copenhagen. It was a childhood full of film. My brothers and I saw films all the time. |  Planning the Wide Screen Weekend
By Thomas Hauerslev
Wide Screen Weekend organizer Mr. Bill Lawrence lets you see behind the scenes of his ideas on planning the 1998 Wide Screen Weekend | | | | |
| | The 70mm Newsletter Issue 57 | 70mm in France
International 70mm Publishers Meeting |  2001 bit and pieces
"Originally Kubrick wanted to shoot 2001 in the wide-screen format of 1,85. "I said, You've got to make it visceral. If you are going to put people in space there's nothing bigger than 70mm wide screen to do that and Cinerama is even better because it would be curved, and he agreed". |  "Orpheus in the Underworld" - Introduction
By Ingolf Vonau
The film that you are about to see was the last 70mm production in East Germany. After 7 feature films and 2 documentaries this production line came to an end. Why did the East German film company DEFA decide to film in 70mm? |  Freddie Young
By Tony Sloman
Freddie Young achieved a dazzling hat-trick, unequalled and unrivalled, in being triple-Oscared for three movies, all of which premiered in the 70mm format, leading them a scale and distinction that, despite the punctilious direction of master craftsman director David Lean, would have unquestionably remained wanting without the contribution of the great Frederich A. Young's camerawork. |  Jan Jacobsen
By Gerhard Fromm
Jacobsen met with Mr. Travnicek and Mr. Pinelli and they convinced him to develop a European version of the highly successful Todd-AO process. So was "MCS 70" founded and in a short time Jacobsen and his small team built six 65mm 5-perf field cameras. | | | | |
| |  There Were Giants in the Land: Stanley Kubrick
By Tony Sloman
If David Lean΄s three 70mm epics are but flawed masterpieces, there is no doubt that two of the finest 70mm movies, indeed two of the finest works in all cinema, are "Spartacus" and "2001:A Space Odyssey", both directed by Stanley Kubrick, who passed away in his sleep March 7, 1999 at the relatively early age of 70, having just delivered his last, and inevitably long-gestating and ultra controversial movie, the highly erotic "Eyes Wide Shot". |  Mission Report Widescreen Weekend 1999
By Thomas Hauerslev
This was the 5th festival of its kind. Most of the films shown during the busy weekend were in 70mm and 3-strip Cinerama, two very popular film formats among the audiences. What follows here is a collection of memories garnished with some pictures of guests and crew from the Pictureville Cinema. |  Widescreen Weekend 1999
By Thomas Hauerslev
Bill Lawrence introduced Louis de Rochemont III who received a standing ovation from the audience. Louis directed "Windjammer" and had not seen the film in 40 years. The experience was overwhelming, and I am almost certain that Louis had a tear in his eyes. Louis signed many autographs after the film.
Go to Gallery: Bradford, Widescreen Weekend 1999 |
| | The 70mm Newsletter Issue 58 | Video Projection Revolution: The Phantom Improvement
The Lost Kingdom
Looking for DEFA 70
LFCA Conference 1999 |  "CineSpace 70" Credits"
By Lee Parker & Richard Vetter
Demonstration Film in four major parts. Purpose of the demonstration film is to show the merits of filming with updated 65mm Todd-AO cameras. Following examples are included: zoom, steadicam, low light, high speed, slow motion, time lapse, CU's to infinity, aerial, under water, exterior, people, nature, daytime, nighttime, extreme wide angle to telephoto etc. | 
Go to Radio City Music Hall
Go to gallery Radio City Music Hall, New York City, USA | | | | |
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| | The 70mm Newsletter Issue 59 | Planning and Running the American
Cinematheque's First 70mm Festival | 
Go to The Rivoli Theatre | 
Go to Film Restoration on the eve of the Millennium |
| | |  How to Create the Best experience in the Cinema
By Thomas Hauerslev
Films like "Titanic" and "Braveheart" should have been shot in 65mm simply because they are "big" movies. But shooting in 65mm doesn't need to be limited to the obvious mega productions. Small independent movies would benefit enormously with the sharper picture. I'd enjoy seeing films like "Enemy of the State", "As Good As It Gets" and "You've Got Mail" and many more, shot on 65mm stock and presented in 70mm. | | | | | | | | | | |
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Go to in70mm.com News 1999 | | |
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