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A 50th anniversary is celebrated in gigantic proportions in October. 50 years ago Todd-AO introduced the 70mm format with its large and sharp images, almost three dimensional, and sound with five channels behind the screen and surround effects in the cinema.
During a full weekend, ten gigantic epics are shown in the impressive Todd-AO 70mm format on a huge 136 sqm curved screen in the famous classic cinema. The Schauburg Cinerama is one of the few surviving cinemas, with 70mm projectors, a red curtain and the huge curved screen. It’s the perfect framework for the presentation of these brand new 70mm prints with DTS digital sound. There will also be small exhibitions, functions and line of 70mm short subjects and a lecture.
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quote:That was a great movie, with stunning photography, and a really well told story without any hocus pocus or kitschy special effects (well, OK, there was one, with the deer). I would really like to see that again on the big screen.
"Pathfinder" (86 min). 17:15 – 18:41. Vintage Norwegian 70mm blow up print with 6-channel magnetic sound and English subtitles.
quote:70mm in New York -- Mystery Titles
1970
January 14:
The Wild Bunch
Anamorphic Blow-Up / Six-Track Stereo
Warner Bros.-Seven Arts
Miracle Mile: [UA] 4 Star
[Academy Award-consideration engagement — First time in 70mm — original 1969 Los Angeles engagements in 35mm — Also see 1995 re-issue entry]
quote:70mm in Los Angeles -- 1995
1995
March 3:
THE WILD BUNCH (Re-Issue)
Anamorphic Blow-Up / Six-Track Dolby Stereo
Warner Bros.
“The Original Director’s Cut”
Manhattan: [Sony] Lincoln Square (THX)
First time shown in New York in 70mm — Original 1969 engagements in 35mm
Additional 70mm Screenings
Manhattan: [Lincoln Center] Walter Reade* (Mar. 31)
Queens: American Museum of the Moving Image** (Aug. 9 & 10, 2003)
*Screened once during the Sam Peckinpah Retrospective
**Shown during the “Eyes Wide Open: The Evolution of Widescreen Cinema” series — Shown once each day
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1995
March 3:
The Wild Bunch (Re-Issue)
Anamorphic Blow-Up / Six-Track Stereo
Warner Bros.
"Presented in 70mm Six-Track Stereo — The Original Director's Cut"
Hollywood: [Pacific] Cinerama Dome
[70mm Trailers:"Bad Boys," "Batman Forever," "Crimson Tide," "Pocahontas"]
[Film also re-issued in 35mm-Dolby Digital]
Also see 1970 entry
quote:And here is a quote from Bobby Henderson from October, 1999:
In NYC, "The Wild Bunch" will be shown at the new, state-of-the-art Sony Lincoln Square multiplex on Broadway and 68th Street.
The old Cinerama Dome on Sunset Blvd. will be showing TWB in 70mm
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Warner Brothers had two 70mm Dolby A prints booked in New York and Los Angeles for the 25th Anniversary release. A number of other markets received 35mm Dolby Digital prints, such as Dallas' Northpark Mall theater(which could have presented the show in 70mm).
Bobby Henderson
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.quote: Paul MayerThe nearest Local Airport to Karlsrule is Karlsure-Baden and is about 30k from Karlsure City, there are no Train connections from the Airport.
I need to use or lose some vacation time. Hmmm, flying on an ID90 pass from here to Frankfurt (which I assume is the closest airport with airline service)... Will HAVE to look into this.
quote: John McConnelI will bring a big suitcase to carry this home
For projector freaks, there are AA-IIs stored in the basement of the Schauburg.
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It has been 1084 days since the last post.
quote: Thomas HauerslevIt's 1.85:1 (despite a "Filmed in Technovision" credit).
"Out of Africa" Technovision 70mm blow-up
quote: Michael CoateYes, I remember reading an interview with the director some where and he did not want the distortion(s) and abberations to appear in the film that are normally generated when using anamorphic lenses...
It's 1.85:1 (despite a "Filmed in Technovision" credit).
quote: Thomas HauerslevSomething not quite right here!, Was Thomas going to unveil his Philips DP70 in this Van or was it already overloaded?
just made a short film in UltraVision 70 about the "Out of Africa" 70mm show.
quote: Mark GulbrandsenOut Of Africa's director, Sydney Pollack, certainly didn't say anything like that when I interviewed him about a decade ago. In fact, throughout his career he was very pro-anamorphic, with most of his films being done that way including just about everything he did from the late-'60s through the early '80s. The reason he gave me for (reluctantly) switching to 1.85:1 was because of the disastrous results of having his scope films panned-and-scanned for the ancillary markets.
Yes, I remember reading an interview with the director some where and he did not want the distortion(s) and abberations to appear in the film that are normally generated when using anamorphic lenses...