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• To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films. Both during making and during running the films in projection rooms and as the audience, looking at the curved screen.
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in70mm.com News 2005

Philips DP70 at the ABC Coleshill Street, Birmingham, England
Schauburg, Karlsruhe, Germany
Matt Lutthans
Reformatting films in SDS-70's "DMX" Process
New Progress in Film Preservation
My Life in the Cinema - Bob Spencer
"The New World" in 65mm - no 70mm prints
LFCA 2005 “Large Format: Strategize and Thrive”
by Bill Kallay
70mm in Mexico City
by Miguel Carrara
The Bat Wispers
by Rick Mitchell
Cine 160
by Allan Silliphant
"Carousel" screening
by Rick Mitchell
A Brief History of 70mm
by George Flaxman
A Cinerama Pilgrimage - Jan Niebuhr goes to Hollywood
By Jan Niebuhr
DP70s at the ABC in Birmingham
by John Duddy
A comment about "The Lost World of 70mm"
by Peter Mason
"EMVF in 65mm: Movies for Your Ears"
By James Tavella, film producer
The idea of telling a story through scene action and content motivated by grand symphonic sound design with limited dialog.
"Man in the 5th Dimension"
By Thomas Hauerslev
One of the most unique and rarely seen Todd-AO films ever produced, was a 28 minute film filmed in 1963 to be shown exclusively at the Billy Graham Pavilion at the 1964-65 Worlds Fair in New York
70mm films in Mexico
By Miguel Carrara
The Mexican movie going public was not able to experience deluxe 70-millimeter and Cinerama presentations until many years after those innovations had been introduced in other countries around the world. However, once 70mm came to Mexico, a LOT of movies were shown in the large format
A Nostalgic View of 70mm in New York City 1950-1970
By Jonathan Kleefield
"Lawrence of Arabia" was a milestone, and I had the privilege of attending this presentation at the Criterion Theatre. The impact that this film made on me was simply staggering and an overpowering experience.
Ultra Panavision 70 - almost like a real story
By Rick Mitchell
Due to a financial investment from MGM, the new format was initially known as "MGM Camera 65". Because, one of its design considerations was to yield higher quality 35mm anamorphic prints, directors, cinematographers, and camera operators were instructed to keep important action within the safe action area of 2.35:1 anamorphic 35mm prints with an optical track.
Todd-AO Festival at the Schauburg
by Thomas Hauerslev
Some thoughts after a 2004 screening
By Rick Mitchell
A very young Denholm Elliott, does very well in a role that appears to have been conceived for a David Niven, but Peter Lorre seems to be sleepwalking through his part and Paul Lukas and Leo McKern weren't exactly household names in those days.
Restoring Cinemascope 55
Savoy The only Cinerama venue in Finland
by Rabbe Sandelin
Robert Wise
By Rick Mitchell
On "Star Trek", whenever I had to call the set for some reason, I was surprised at how often Bob, not an assistant director or p.a., would answer the phone. And, in the six years before "Star Trek", out of the respect for him and the esteem in which I held him, I always called him "Mr. Wise" about a month into shooting, an assistant took me aside and told me that he was bothered by that, that he felt we'd known each other long enough that I should be calling him "Bob".

"Scent of Mystery" comments
By Marvin Walowitz
I was working (about 1959) on the same lot as Todd-AO at the time (the old Chaplin studio), and I would drop in on the dubbing stage when I had time, and would observe the mixing (or really pre-dubbing). Some years later (about 1966), I bought a batch of 17.5mm mag rolls from someone who worked at Todd-AO sound (they had moved to Seward St.). These were the original production recordings for "Scent of Mystery".
Widescreen Weekend 2005
By Thomas Hauerslev
I had invited my daughter Maria with me again. Our flight was around 14:00 in the afternoon and I had scheduled our arrival in Bradford to be around 18:00 in the evening.
The Lost World of 70mm Theatres
By Ian Hanson
Not so long ago a movie would appear with the tag ‘Presented in 70mm and six-track stereophonic sound.’ Such descriptors have all but disappeared from newspapers, radio and television. This story is about the rise and fall of 70mm film presentations and some of the theatres that used to screen them regularly; a review from a personal perspective, aided by some input from other keen followers of the subject.
The Astor Cinema
By George Florence & Kevin Adams
My involvement has seen the culmination and fruition of a life-long dream, and a labour of love. It has been very gratifying that well over one and a half million patrons have passed through our doors in the years since we opened in our current format. That so many identified in this "real-cinema experience" is deeply appreciated, as it re-inforced my firm beleif that the Astor needed to be saved and preserved as a living museum to cinema-going at its grandest.
The new Schauburg is unrecognizable
Badische Neueste Nachrichten
The renovation in 1968 did not take quite as long as the almost 3 years it had taken to produce the film, and was completed, including the golden wallpaper, for approx. DM 300,000. By today’s standards that is an incredibly small sum for such a conversion of Karlsruhe’s first large-capacity cinema. Those responsible undertook a strategy of using technically innovative and aesthetically pleasing design techniques in order to benefit the public.
Le CAPRI Juan les pins
By Sylvian Coudène
The theatre was inaugurated with a Todd-AO 70mm festival, first screening was "Cleopatra", is these times listed as a third rate film, today a masterpiece. "Cleopatra", "West side Story", "Can Can", "My Fair Lady" and "Lawrence of Arabia" were screened during the opening month.
Le CAPRI Juan les pins
By Sylvian Coudène

Car, bien sûr, la salle était équipée dans ce format et inaugura sa programmation par un Festival Todd-Ao et 70mm, le premier film présenté étant « Cléopâtre », film décrié à l’époque et considéré aujourd’hui comme un chef-d’œuvre. Le programme du mois d’ouverture accueillit donc Cléopâtre, West side story, Cancan, My Fair Lady et Lawrence d’Arabie.
Empire - Cinerama, Paris Kingdom of curved screen
by Francois Carrin
CINERAMA arrived in 1955 in Paris near the Place de l'Etoile. It was a theatre called EMPIRE which was chosen to play "This is CINERAMA"
John Harvey's Cinerama Achievements Recognized
By Bill Lawrence
The NMPFT felt it was in place to pay tribute to John with a special award - a scroll - , thanking him for his contribution to revitalize Cinerama. Thanks to John's enthusiasm, Cinerama has again been made available to the public.
Sam Lomberg, MBE - An Englishman in Denmark
By Thomas Hauerslev
In 1959 he accepted an offer to join NTA as their Director of Foreign Sales. It was while he was with NTA that he became involved with Cinemiracle and the road showing of “Windjammer”.
Landmark Bradford Cinema due for demolition
2024, 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011, 2010, 2009, 2008, 2007, 2006, 2005, 2004, 2003, 2002, 2001, 2000, 1999, 1998, 1997, 1996, 1995, 1994

A sons recollections - Work in progress
By Peter H Rondum
I always knew dad had worked for Cinerama. But being that it simply did not exist for most of my lifetime, I never really grasped impact of Cinerama until stumbling upon the "Cinerama Adventure"
Conversations with Olivier Brunet, "Fanny's Wedding"
By Ramon Lamarca
Choosing 70mm could have been a way to try to conceal my weaknesses... I have no true answers to that. I still wonder. I think truth is now in the eye of the audience. The film does not belong to me anymore.

Olivier Brunet Interview
by Ramon Lamarca
Todd-AO Epilouge
By Walter Siegmund
We can at least say, we once had our day and perhaps we did leave our mark on the revival of motion pictures - fifty years ago.

The 70mm Newsletter Issue 70

• Go to Working at Todd-AO Sound Studios
• Go to Gallery: Visit to Todd-AO Studios
Working for Mike Todd
By Glenda Jensen
Midori Tsuji was a fascinating and beautiful woman. I was in awe of her. She was a person very much in command of herself. She took care of everything for Mike and, occasionally, for Elizabeth. I wanted to be like her.
Walter Siegmund's Todd-AO History
By Thomas Hauerslev

Todd-AO could be considered to have begun with the fateful meeting in 1952 between Mike Todd and Dr. O'Brien at the Rochester (NY) airport, where I was the silent witness. Who would have thought then that movies would again become so popular and lucrative? Did Todd-AO make the difference? It would be nice to think so!

• Go to Grant Lobban's review of Walter Siegmund interview
• Go to More reviews of Walter Siegmund interview

• Go to
in70mm.com News 2005

Online: 02-06-1999. Updated: 21-01-2024