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Topic: Interstellar locations running in 70MM
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Michael Coate
Phenomenal Film Handler
Posts: 1904
From: Los Angeles, California
Registered: Feb 2001
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posted 10-02-2014 04:49 PM
http://www.hollywoodrepor ter.com/news/why-theater-owners-arent-happy-737661?utm_source=Sailthru&utm_medium=email&utm_term=hollywoodreporter_breakingnews&utm_campaign=THR+Breaking+News_now_2014-10-02+13%3A51%3A43_ehayden
<Sorry, I kept receiving an error message when I tried pasting in the article's text.>
quote:
Why Theater Owners Aren't Happy About Christopher Nolan's 'Interstellar' Film Initiative
1:50 PM PST 10/02/2014 by Pamela McClintock
After spending millions to convert their cinemas to digital at Hollywood's behest, theaters are being asked to roll back the clock — that is, if they want early access to Christopher Nolan's Interstellar, starring Matthew McConauhey, Anne Hathaway and Jessica Chastain.
On Wednesday, Paramount and Warner Bros. said theaters still equipped to project 35mm and 70mm film will get Nolan's Interstellar two days early, on Nov. 5, including 41 Imax locations. Many cinemas are bringing in film projectors to play the film, including TCL's Chinese Imax theater in Los Angeles. Some 240 theaters in 77 markets are participating, including 41 Imax locations.
"This devalues what we've done," said Joe Paletta, chief and founder of Spotlight Theatres, a small chain in Georgia that is now all-digital. "I can't afford to get the projectors out of the warehouse for two days, and I don't even have anyone to operate them."
Read more 'Interstellar' Trailer Reveals the Movie's Mission
Nolan, who has a strong relationship with exhibitors, is a fierce advocate of film, and he's got enough clout with studios to make his passion a reality, but theater owners say the Interstellar experiment sends a confusing message. Nearly all of the country's cinemas have been converted to digital as Hollywood studios cease sending film prints. Earlier this year, Paramount became the first studio to stop distributing film, with the caveat that it might send some film prints in certain instances.
Paramount vice chairman Rob Moore said the decision to release Interstellar in film is about encouraging the moviegoing experience, period. In 2011, the studio opened Mission: Impossible — Ghost Protocol five days earlier in Imax to highlight that format. It also generated intense word of mouth (the film went on to become the top-grossing film in the franchise).
"Interstellar plays spectacularly, and we have a filmmaker who loves film, so we wanted to take a moment to showcase film as an important part of our heritage," said Moore, adding that Nolan will host a special community on Google exploring all formats, and not just film.
But Foothills Cinemas president and CEO Byron Berkley, whose company operates four theaters in Texas, agrees with Paletta. "It makes no sense to step back in time," he said.
For smaller exhibitors like Paletta and Berkley, the digital transition was especially daunting from a financial perspective, although the Hollywood studios have helped to defray some of the cost through virtual print fees.
Read more Christopher Nolan Talks 'Interstellar,' Plugs Film Over Digital in Hollywood Reporter Q&A
Nolan shot Interstellar using a combination of 35mm film and 65mm Imax film.
Of those theaters getting Interstellar earlier, 189 locations will play 35mm prints, while 10 will play 70mm prints. The 41 Imax theaters will play enhanced 70mm prints.
[ 10-02-2014, 05:34 PM: Message edited by: Brad Miller ]
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 10-02-2014 11:15 PM
quote: Brad Miller
*If running changeovers, go back to that leader rule. ADD MORE! And whatever you do, don't attach the leader to the takeup reel and spin it until you get to the countdown before you thread. That's the absolute incorrect way to do it. Ensure you have some framelines to thread on at the beginning of the newly-extended leader (even if you have to draw a dozen with a Sharpie over clear leader), thread there and then after you are sure you are comfortable with the threading motor it down to the countdown. The reason so many repertory prints look bad around the reel ends is because people are handling the films too damn close to the first and last frame of action on each reel. (This rule even applies to proper 35mm changeover operation.)
Agreed, and the labs making the prints would make a huge contribution to protect them if it put, say, 50 feet of spacing before the start of the leader, and at the start of that 50 feet, a single lined frame, clearly marked "THREAD IN GATE HERE, THEN ADVANCE TO COUNTDOWN > ".
The problem with adding more leader is this: how many of the houses playing these prints are likely to have hundreds of feet of 70mm spacing sitting around? And even if they're prepared to buy it (unlikely), do any of the major supply houses still sell it?
I'm also hoping that they'll put decent lab cues on the prints and a note in the shipping cases urging projectionists not to add their own. So many prints made from lasered-out DIs towards the end of the mainstream film era did not have any cues on them, so multiple sets were added with office hole punchers, grease pencils, power drills, etc. etc (especially prints of arthouse movies that were more likely to play in changeover houses), which made the reel ends look even worse.
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