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Visit biografmuseet.dk about Danish cinemas


Arriflex's ARRI 765

All 70mm film lists
Edited by: Thomas Hauerslev Date: November 2002

Short films with the ARRI 765

Title Released Cinema Notes
BMW 850i
1989 Short film. German. Commercial
"Jesus Etait Son Nom" / "Jesus Was His Name"
1991 Palais des Sports, Paris, France
Backgrounds for a large stage show. 30 frames per second

"Jesus Etait Son Nom" was a multimedia version of the Christ story that uses film shown on a 58-foot-wide screen, opera scenery and a sound track with three narrators, music and sound effects. The spectacle was conceived by Robert Hossein, a French producer.

Jesus Was His Name opened in 1991 and drew 600,000 during a 152-performance run at the Palais des Sports in Paris. After embarking on a 31-city tour of the United States, the play was sailing right along until it hit New York for an 11-day stand at Radio City Music Hall in early June [1992].
"The Theatre of Noah"

Three films in SHOWSCAN:
• "The Legion of Noah"
• "Noah and the Burning Forest"
• "Noah and the Killers of the Serengetti"
1992 Huis Ten Bosch Village, Nagasaki, Japan
Three short films. Showscan 60 frames per second. From ARRI News:

BOSS Film director/cameraman Niel Krepela on photographing "The Theatre of Noah" in the Showscan process.

We shot in 65mm, of course, at 60 frames-per-second. We used the Arriflex 765 for most of our work in the United States, and shot more footage with it than any other camera on the job. We found it easily the quietest 65mm camera at 60 fps of them all. We even shot sync sound with it at that speed!

From the production side, one of its most valuable abilities was that it ran so long and so consistently at 60fps. We've used 65mm cameras for years, and at speeds up to 120 fps. but 60 fps from a production camera was incredible. We shot 10.000 feet a day on cranes and odd mounts, and we had NO down time with it. It was rock-steady.

Shooting in 65mm has been impractical - the cameras were antiques. We've never had state-of-the art 65mm until ARRI's 765. Production in 65mm is now as easy as in 35mm.
Tour Eiffel
1994   Short film. German
Pic du Midi
1996 Short film. French, produced for Futuroscope, Poitiers
The Witness
1999 CT, USA Short film. USA. Some parts filmed in Super Panavision 70
1999 Short film. USA
2000 Salt Lake City, USA Short film. USA. Some parts filmed in Super Panavision 70
“As Good as it Gets”
2006 7. November 2006, James Bridges Theatre, Los Angeles, USA Short film. German/USA. 70mm demonstration film

Elements, part 1: The Air Over Bernina

2008   Short film. German
Several short demonstration films for Venice Film Festival
2008   Short film. Italy
Mr. Burberry
  Short film. UK

• Youtube: Mr. Burberry
• Youtube:
The Art of Film
• ARRI Crew: 65mm Sean Bobbitt, Tomboy Films
Bianca 2018   Short film. USA


Bianca is a damsel distressed, having just sabotaged the only real relationship she has ever had. Spinning drunk narratives of lovers past from the safety of her bathtub, she desperately tries to evade her own paranoia, self-loathing, and fears. It is a dating nightmare, a love story, and a coming of age tale, reaching its culmination when her fancy delusions finally collide with reality.

Photography: Lowell A. Meyer
Director: Zach Lasry
Nore in 70mm reading:

Interview With Otto Blaschek - The Making of ARRI 765

A Visit to ARRI in München

Arriflex's ARRI 765


Feature films with the ARRI 765

Title Released Cinema Notes
“Far and Away”
22.05.1992 Ziegfeld, NYC, USA

70mm Engagements
The ARRI 765 was used for short segments

"I also used Arri's new ARRI765 camera which could go up to 120 frames per second."

Best wishes with "Far and Away",
Mikael Salomon
"Little Buddha"
01.12.1993 France The ARRI 765 was used for short segments
22.12.1996 Ziegfeld, NYC, USA

70mm Engagements
The ARRI 765 was used for short segments
Bochum Fantasy Filmfest Nights, Germany
Arri 765 for one scene:

From American Cinematographer, August 2007:

The filmmakers used 65mm to achieve one particularly surreal effect. In the scene, volatile crewmember Mace (Chris Evans) is trying to chill out in the “Earth Room,” a virtual-reality environment designed to simulate earthly environments that relax the spectator. “We wanted to give the Earth Room a surreal feel, so we decided to shoot the plates and Chris on 65mm,” says Küchler.

Photography: Alwin H. Küchler
Director: Danny Boyle
"The International"
12.02.2009 Germany Less than 5 minutes in the final film was photographed with ARRI 765
"Nanga Parbat"
14.01.2010 Germany  
"Shutter Island"
19.02.2010 USA Short sequences filmed in Panavision PFX System 65 & Arri 765

From American Cinematographer:

In prep, the filmmakers tested various methods of further enhancing the hyper-real look of Teddy’s visions; 65mm, anamorphic 35mm and high-definition video were all considered as mates for the project’s main format, Super 35mm. “The goal was to capture as much detail as possible for the DI suite,” says Richardson. “There weren’t as many differences among the filmouts as you might expect — the DI was the great equalizer — but 65mm had a definitive edge. We could wrestle with it in the digital world without the normal side effects encountered with a smaller negative. After he saw the tests, Marty agreed to shoot Teddy’s dream states on 65mm.” Unfortunately, after filming one day with a Panavision PFX System 65 Studio and an Arri 765, both cameras broke down on a frigid night. “Only a few of those shots remain,” says Richardson. (Ed. Note: These can be seen in a dream sequence that shows Teddy in Dachau in civilian clothes.)
18.02.2011 USA Arri 765 for some scenes, most of the film is Super 35
28.08.2013 Venice Film Festival, Italy
The final scene was photographed with ARRI 765

From ICG Magazine:

“We are back down on Earth at the end, so to give that a different dimension and gravity, we shot it in 65 millimeter, which has its own kind of hyper-reality. You can almost breathe the wind as you watch that scene.”

From American Cinematographer:

Lubezki shot most of the live-action material in the film with Arri Alexa Classics and wide Arri Master Prime lenses, recording in the ArriRaw format to Codex recorders; the package was supplied by Arri Media in London. (Panavision London provided a Primo Close Focus lens that was used for a single shot.) He filmed a scene set on Earth on 65mm, using an Arri 765 and Kodak Vision3 500T 5219, to provide a visual contrast to the rest of the picture.
"Autumn Blood"
Oldenburg International Filmfest, Germany
We shot 20% of the movie on 65mm Kodak negative. Love the 765 camera an the way it feels when looking through the viewfinder. Hopefully I get to do this again. Thanks for keeping 70mm alive and remembered.


Photography: Reed Morano
Director: Markus Blunder
"Sunset Song"
04.12.2015 England Exteriors in ARRI 765
"The Hateful Eight"
07.12.2015 7OMM Roadshow Engagements
The ARRI 765 was used for short segments
"The Death and Life of John F. Donovan"
10.09.2018 Toronto International Film Festival
The ARRI 765 was used for short segments

From collider.com 11. May 2017:

Without giving away any surprises, Dolan’s storytelling approach with John F. Donovan appears to be very emotionally earnest via some scenes that look and feel much bigger in scope than anything he’s done before. He’s even shooting on 65mm, which the director said, “changed my life”.

Photography: André Turpin
Director: Xavier Dolan
“Matthias and Maxime”
22.05.2019 Cannes Film Festival, France
Arri 765 for one scene:

"We also used the 65mm format for a climactic love scene to have it emerge from the rest of the film. Very satisfying of course."

DoP: André Turpin
Director: Xavier Dolan
26.08.2020 The premiere cinemas
The ARRI 765 was used running backwards for short segments

"The big screen is best for movies"
"No Time to Die"
30.09.2021 London, UK
From American Cinematographer, April 2020:

When the System 65 units were unavailable toward the end of production, the filmmakers turned to the 65mm ARRI 765 — which was more often used by the production’s 2nd unit for dialogue within Imax sequences.
"AL’s Brand" - - 2020, Zanzibar Films

Photography: Halyna Hutchins
Director: Dennis Hauck
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Updated 07-01-23