 "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 |
 Restoring Cinemascope 55 |
 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. |
 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". |
70mm in Mexico City
by Miguel Carrara |
LFCA 2005 “Large Format: Strategize and
Thrive”
by Bill Kallay |
|
Philips DP70 at the ABC
Coleshill Street, Birmingham, England |
 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
By
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. |
|
The Bat Wispers
by Rick Mitchell |
Schauburg,
Karlsruhe, Germany |
 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" |
Matt Lutthans |
Cine 160
by Allan Silliphant |
 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. |
"Carousel" screening
by Rick Mitchell |
 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”. |
A Brief History of 70mm
by George Flaxman |
My Life in the Cinema - Bob Spencer |
|
"The New World" in 65mm - no 70mm prints |
A Cinerama Pilgrimage - Jan Niebuhr
goes to Hollywood
By Jan Niebuhr |
 Landmark Bradford Cinema due for
demolition |
 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 |
|
Reformatting films in SDS-70's "DMX" Process |
 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. |
DP70s at the ABC in Birmingham
by John Duddy |
A comment about "The Lost World of
70mm"
by Peter Mason |
 "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". |
New Progress in Film Preservation |
|
|
 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. |
