quote: Scott Norwood

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Is there a consensus on whether or not City Cinemas Village East is a reputable 70mm venue?

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quote: Martin Brooks

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The building is a former synagogue and the main screen still has much of that old architecture.

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Never a synagogue, it was actually built as a Yiddish theatre, much as the late lamented Landmark Sunshine was. The upstairs auditorium, the former Jaffe Theatre where 70mm shows happen, is beautiful.

I believe they have a Simplex 35/70 up there. They catch all the 70mm shows that come through, and they usually do a good if not spectacular job (although they were off the screen once with The Hateful Eight , I didn't hear why).


 

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Posted by Martin Brooks (Member # 1269) on 04-16-2018, 10:14 PM:
 

quote: Mark Ogden

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Never a synagogue, it was actually built as a Yiddish theatre, much as the late lamented Landmark Sunshine was. The upstairs auditorium, the former Jaffe Theatre where 70mm shows happen, is beautiful.

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quote: Mark Ogden

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I believe they have a Simplex 35/70 up there. They catch all the 70mm shows that come through, and they usually do a good if not spectacular job (although they were off the screen once with The Hateful Eight , I didn't hear why).

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I didn't see it there, but I would guess it's because it was Ultra-Pan with an AR of 2.75:1 and it was too wide for their screen.
 

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Posted by Mark Ogden (Member # 43) on 04-26-2018, 10:37 PM:
 
In Boston, it will move from the Somerville to the Cooledge Corner from 6/15. Or so I'm told.


 

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Posted by Robert Harris (Member # 1712) on 05-08-2018, 01:32 AM:
 
New dupe neg, derived from a previously unused IP.

While dupes should be built in, the prints should still be lovely.
 

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Posted by Jean-Pierre Gutzeit (Member # 7275) on 05-12-2018, 07:49 PM:
 
Pleasing that there is still an apparently useful 65mm Interpositiv from 1999. An expensive order, and I am amazed at why this interpositive was not used when the 70 millimeter re-printing series was in progress between 2001 and 2017.
It was once heard that in the late 1980s "Ben Hur" and "2001" Warner produced 65mm Intermediates. If that's true, then one would have to assume that since 2001, the re-editions of "2001" have relied on a 12-year-old intermediate exposure and only a new mix of the sound masters took place.
Almost all 70mm prints of 2001-2017 had a fluctuating light and color balance, were very grainy, greenish blue green saturated and how are compared to the first run prints also without perfect frame steadiness. The sound mix was balanced towards the center channel. The directional original mix was only to be heard on the contemporary, but now color faded first run prints or on a letterbox DVD Edition from the 1990s still understandable. The brand new version of 2018 promises to bring back the original sound mix. In the sense of preserving the original format, it is gratifying to produce a new Intermediate negative from a better light-determined interpositive.
The interpositive from 1999 could also have a better color saturation than if you make another interpositive from the original negative in 2018.
 

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Posted by Mark Ogden (Member # 43) on 05-12-2018, 09:40 PM:
 
The real story on what this release is and isn't, via the NY Times.

Christopher Nolan was 7 years old when he went to see Stanley Kubrick’s classic “2001: A Space Odyssey” in London with his father. He was gobsmacked.
“You sit there and you just go, ‘This is a film that’s not observing any conventions,’” Mr. Nolan said in a phone interview from Los Angeles.
Four decades later, Mr. Nolan has himself been compared to Kubrick for a similarly meticulous approach to filmmaking and a taste for ambitious productions like “Interstellar.” He shrugs off those comparisons — Mr. Nolan said he’s just a fan — but for his latest project, he put himself directly in Kubrick’s shoes. On Saturday, he’s going to the Cannes Film Festival for the first time to screen a restored 70-millimeter print of Kubrick’s seminal work to celebrate its 50th anniversary.
But calling it a restoration, Mr. Nolan said, isn’t quite right. He prefers “unrestored.”
Mr. Nolan set out last fall to recreate the experience audiences had in 1968, allowing moviegoers today to see the epic exactly as Kubrick intended. His goal meant there would be no digital manipulation in the new version but the occasional visible scratch would be allowed to slip through. In a world of high-definition and 4K resolution, Mr. Nolan is, in effect, time-traveling to the days of analog. Think of it as listening to a classic record on vinyl, with pops and all.

Mr. Nolan has long been a passionate proponent of the 70-millimeter format. His war drama, “Dunkirk,” was shown in 70 millimeter at more than 100 theaters across the country last year. “It’s not about nostalgia,” Mr. Nolan said. “It’s a totally different way of watching a movie, and it’s in danger of being lost.”

Paradoxically, Mr. Nolan got involved in the Kubrick project when he was remastering the films in his own library last fall, digitally restoring them in 4K Ultra High Definition.
Ned Price, the vice president of restoration at Warner Bros., was working in the same lab on a similar update of “2001: A Space Odyssey.” Mr. Price asked Mr. Nolan if he wanted to see copies of the original prints, the film industry equivalent of offering a historian access to an ancient manuscript.
In 1999, as part of a preservation project, Mr. Price’s team had made an “interpositive” of the film — essentially a protection copy of the original camera negatives, made up of 20 reels tucked away in a Burbank studio. To accomplish this in less than a year, the Warner Bros. team carefully cleaned the original negatives, removed old repairs and created new interpositives. The negatives, from which the preservation copies were made, were slightly shrunken and had some color fading. That was where the work stopped. The copies of the original reels were meant only for preservation, not for distribution.
But they were still in good enough shape that an intrigued Mr. Nolan approached the studio about continuing the work that had begun almost two decades ago. He proposed taking it one step further: recreating the 1968 theatrical release. Warner Bros. readily agreed.

Mr. Price and Mr. Nolan began by making duplicate negatives and then initiated a complex method of color correction. This process required some imagining of what Kubrick would want, with prompting from the faded source material.
“If the filmmaker intended the walls to be sort of green and you try to make them white, then other things will be problematic,” Mr. Price said. “The flesh tones will go off. The whites will turn magenta. Strange things will happen. To a certain degree, you have to listen to the camera negative itself.”

There was a singular aim to view the film in its first cinematic form. Instead of fixing several tears in the original negative, the team thought it would be more authentic to retain them. The original 35-millimeter six-channel soundtrack had decayed beyond repair, so Mr. Nolan sourced audio from a 35-millimeter preservation element made in the 1980s — a format rarely, if ever, used anymore.
During the process, Mr. Nolan discovered new quirks in “2001” that even he, a fan of the movie since childhood, hadn’t noticed before. For example, when Dave Bowman, the astronaut played by Keir Dullea, deactivates the supercomputer HAL, the machine asks Bowman if he’d like to hear a song (“Daisy Bell,” from 1892.) Before the restoration (or unrestoration), Mr. Nolan thought Bowman acquiesced to break the tension. But after dozens of viewings since the fall, he has found another motive: aggression.
“He’s saying, ‘Sing it for me,’ because he wants to be sure that he’s actually killing the computer as it sings,” Mr. Nolan said. “He wants to hear it disintegrate. I just never felt that. I never spotted that before.”
That Mr. Nolan found something new after all these years is not surprising to Katharina Kubrick, the daughter of the celebrated director. She recently caught a continuity error in the film she hadn’t seen before, although she wouldn’t say what it was. She said Kubrick would have been thrilled that Mr. Nolan was putting the same care into his film that he would have.

“I think it’s awesome actually,” said Ms. Kubrick, who will appear with Mr. Nolan at Cannes. “This is a movie that’s a half-century old and the fact that people are still fascinated, arguing about it and debating it and that it influenced many directors and filmmakers is nothing short of incredible.”
Stanley Kubrick’s films never played Cannes while he was alive (he died in 1999), and so far neither have Mr. Nolan’s. “I love the idea of going for the first time with an acknowledged masterpiece of another filmmaker,” Mr. Nolan said with a laugh. “I would say that’s a low-stress way of going.”
After the newest (oldest?) version of “2001” has its premiere at Cannes, it will open in select theaters in the United States on May 18. This fall, Warner Bros. will release a 4K version of the film. But it’s the analog version — stripped to its roots — that fascinates Mr. Nolan: “What I want audiences to take away is what I took away when I was a kid seeing it.”
 

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Posted by Jean-Pierre Gutzeit (Member # 7275) on 05-12-2018, 10:09 PM:
 
Beyond theory, however, reality brings disappointments.
I was very disappointed with the intermediate quality of the 70mm 5 perf prints of "Interstellar", "Hateful 8" and "Dunkirk". Years ago, the most important lab experts were dismissed.
Mr. Nolan and Mr. Hoytema would have to try a different way of working with regard to the processing of "2001" in terms of taste and technique.
It's certainly a mistake to announce in advance that you can restore the high-quality impression of premiere prints. With regard to the sharpness of detail and the image status after two stages of the intermediate process, this may never have been successful anywhere in the world.
If the shrinkage index demands modified Bell & Howell printers, it would still be possible today to draw acceptable positives from older negatives. However, if the original negative from "2001" shows some fading phenomena today, only the path of digital restoration remains as it did most recently with "My Fair Lady" and "Spartacus". For a very small amount of prints, perhaps the direct printing of the mechanically repaired original negative would still be feasible, which could achieve a better sharpness, but it is questionable whether one could restitute the shadows and gray values ​​again neutrally without color crossings. But since this film was announced as "unrestored", I hoped for a direct print in Cannes! But after the UHD Revivals of Nolan Films (looked better in the old Blu rays before), I doubt, that they are able to restitute standard qualities of 70mm prints from the 60s.
 

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Posted by Allan Young (Member # 6332) on 05-13-2018, 06:33 AM:
 

quote: Jean-Pierre Gutzeit

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The directional original mix was only to be heard on the contemporary, but now color faded first run prints or on a letterbox DVD Edition from the 1990s still understandable. The brand new version of 2018 promises to bring back the original sound mix.

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quote: Mark Ogden

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The original 35-millimeter six-channel soundtrack had decayed beyond repair, so Mr. Nolan sourced audio from a 35-millimeter preservation element made in the 1980s

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quote: Allan Young

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I'm not entirely sure this is a wise decision. Is he planning to somehow digitally replicate the sound of the original magnetic tracks?

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quote: Scott Norwood

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Presumably, the article was referring to a 6-track mag fullcoat printmaster, not a 35mm release print.

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quote: Stephan Shelley

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they sent two DTS soundtrack version. 5.1 and 6 track with the Le & Re on the normal Ls & Rs tracks.

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quote: Randall Harper

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For those interested...
I’m running a print (don’t remember the print number offhand) at The Regal Continental in Denver through the 21st. The print isn’t perfect, but it’s pretty good, A-/B+.

The only thing that makes me sad is that there is ZERO press on this run, nothing. Not sure what’s happening there.

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Thank you for sharing this, Randall. I live in the front range and had no idea it was playing here. I'll try to see it if I can. Shame on Regal for not promoting it.
 

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Posted by Terry Monohan (Member # 8285) on 06-16-2018, 10:41 PM:
 
Regal & AMC Theatres don't bother with doing and newspaper advertising in San Francisco CA. Not even a small word listing on the weekends. They miss out letting the public know about 2001 in 70mm. Century/CineMark & Landmark still tell the public what they are showing and start times in the SF Bay Area newspapers. Many tourists visiting SF just go watch a movie at Century, they have no idea were the AMC or our one UA/Regal Theatre is in SF. Regal & AMC think everyone goes on the computer to see what is playing and the times. They don't want to spend any money in promoting what they are showing. How sad. That's why they won't be around much longer.
 

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Posted by Randall Harper (Member # 10136) on 06-18-2018, 01:25 PM:
 
I honestly can’t blame Regal for this. Something like Avengers is marketed by the studio so all they have to do is book it and punch in the times. Titles like 2001 need to have some sort of press to make people aware, that just isn’t something that theaters are really equipped to do.

Considering the lack of awareness of this run I think the attendance we do have is encouraging. It’s averaging about 30 people a show.
 

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Posted by Eric Richard (Member # 8635) on 06-18-2018, 03:08 PM:
 
The Edwards(Regal) Greenway Grand Palace in Houston had it on their big marqee outside. It was really cool see it displayed there. I truly believe if more studios would get on board with these releases we could see improved results in regards to grosses. I remember every summer the Northpark I & II in Dallas would bring back classics on the their amazing screens! My print is holding up great, just need more butts in the seats📽


 

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Posted by William Kucharski (Member # 7246) on 06-20-2018, 12:23 PM:
 
For all intents a pristine print at the Regal Continental in Denver this week. Simply incredible.

Never would have known had I not see it on their marquee; it wasn't even on sites like in70mm.com until I had them add it.

Thanks, Randall!!
 

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Posted by Scott Jentsch (Member # 1681) on 06-20-2018, 03:47 PM:
 
We have it listed:

Movies Playing in 70mm - Theaters Playing 2001: A Space Odyssey

There are also listings under:

Movies Playing in 70mm - Theaters Playing 2001: A Space Odyssey in 70mm Format
 

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Posted by Scott Norwood (Member # 30) on 06-20-2018, 07:54 PM:
 
That 2001 listing is missing some theatres. It should be on 13 screens nationwide, according to Box Office Mojo. Coolidge Corner in Brookline, MA. is definitely missing, for example.
 

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Posted by Thomas Hauerslev (Member # 566) on 06-21-2018, 07:37 AM:
 
http://www.in70mm.com/news/2018/one_movie/index.htm

I have a lot of the screenings if you like
 

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Posted by Scott Norwood (Member # 30) on 06-21-2018, 11:56 AM:
 
Thomas's list seems to be the most accurate. I see, also, that the Cinestudio in Hartford, CT. has 2001 booked in 70mm starting on 7/13, so that might be worth adding.

I am amazed that Warner Bros. doesn't have this list on their web site....
 

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Posted by Stephan Shelley (Member # 8587) on 06-21-2018, 02:08 PM:
 
Missing Grand Lake 2 weeks starting 8/24 in Oakland CA.
 

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Posted by Thomas Hauerslev (Member # 566) on 06-22-2018, 01:52 AM:
 
No, Grand Lake is there
 

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Posted by Stephan Shelley (Member # 8587) on 06-22-2018, 02:09 AM:
 
I meant in Scott's listings.
 

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Posted by Eric Richard (Member # 8635) on 06-22-2018, 11:46 AM:
 
Who is still showing the film? I know all the Regal and AMC sites finaled it Thursday.
 

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Posted by Scott Jentsch (Member # 1681) on 06-25-2018, 09:27 AM:
 
As with all of our showtimes, we rely on the theaters to provide the information. If they don't mark their shows as being in 70mm or choose the 70mm version of the movie in the list (2001: A Space Odyssey in 70mm Format), it's not going to be marked as such.

We make it possible for theaters to publicize such things, but if they don't choose to do so, it becomes difficult to do accurately. We could take 3rd person reports, or look on a theater's web site or Facebook page, but what happens if something changes? The most reliable way to do it is to have the theaters provide the info when they're providing the showtimes. We can display showtimes for any date in the future, so things like the Grand Lake getting it in August isn't a problem.

It's a cooperative effort, and we rely on theaters to do their part. We're happy to help them work out the details if they're having issues, though.
 

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Posted by David J Hilsgen (Member # 2614) on 07-04-2018, 11:34 AM:
 
We are holding 2001 till 7/12 at Emagine Willow Creek ,Plymouth ,MN
 

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Posted by Jonathan Goeldner (Member # 4854) on 07-07-2018, 09:53 AM:
 
saw this yesterday morning at the AFI Silver and was really taking notice of the five front channel sound design. The best use was of placing directional dialogue just outside of the center channel when Dave and Frank spoke to one another before the end of the first half. I'm not sure if the AFI Silver is still a licensed THX auditorium or not, but when the outer space scenes occurred and there was no sound on the soundtrack, the silence, to use a cliche, was deafening.
 

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Posted by Bill Brandenstein (Member # 7758) on 07-10-2018, 12:30 PM:
 
Arclight Hollywood has this print going one show per day (NOT in the Dome, of course) through tomorrow, 7/11.

All of which makes for a bit of local intrigue, since the American Cinematheque's Egyptian Theatre in Hollywood had their own 2001 print struck in 2016, with exclusive local showing rights, until Nolan had to come along and mess this up! (wink) They've also had some current showings and, no doubt, will eventually be back around with it again. (I'm assuming that means they have prints of both versions on hand.)

But you knew that. (Original discussion HERE.)
 

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Posted by Mark Ogden (Member # 43) on 07-10-2018, 12:53 PM:
 
I've been wondering about something along those lines. If you're a theatre owner who just threw down for their own exclusive 70mm print, and all of a sudden there are, what, 13 new non-exclusive prints circulating, how do you feel? Granted, you'll save a ton on shipping when you want to play the film, but how many times will you need show this before you amortize what you paid for the print, and how much did THIS run cut into that? I mean, this run proved that the title can still draw an audience, but how many more times?
 

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Posted by Bill Brandenstein (Member # 7758) on 07-10-2018, 07:09 PM:
 
Sadly, with Leo no longer at the Egyptian, we don't have a convenient insider perspective. However, this is a great question. And, based on previous discussions, I suspect happily that the print already paid for itself prior to this year's re-release.
 

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Posted by Aron Toplitsky (Member # 6950) on 07-11-2018, 09:34 PM:
 
Bill,

I was wonder if you or anyone has seen both the Nolan print and the American Cinematheque print? And if so, which one looks better? I've only seen the Nolan print.
 

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Posted by Bill Brandenstein (Member # 7758) on 07-12-2018, 07:42 PM:
 
You know, for one who enjoys movies so much and blathers a lot about them, you'd think I get out more.

Regrettably, so far I've seen neither.
 

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Posted by Eric Richard (Member # 8635) on 07-25-2018, 11:50 PM:
 
Just received a IMAX trailer for this film. Release date is same as the Dark Knight IMAX re release on August 24th. No mention if film or digital, but would assume its digital only.
 

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Posted by Mark Ogden (Member # 43) on 08-01-2018, 11:04 AM:
 
^^^^
Well, here's your answer.

As part of the the 50th anniversary of Stanley Kubrick’s 2001: A Space Odyssey, Warner Bros. is releasing the pic in 350 Imax theaters for one week on Aug. 24. The announcement was made today by Jeff Goldstein, President, Domestic Distribution, Warner Bros. Pictures today. The release is being touted as the first time the landmark sci-fi film is being seen on the largest screen possible.

The Imax run follows an “unrestored” 70mm film release of 2001: A Space Odyssey, which was overseen by Dark Knight filmmaker and Kubrick fan Christopher Nolan.

Four select Imax theaters will show the 70MM print of the film: AMC Universal Citywalk IMAX, Universal City, AMC Lincoln Square IMAX, New York City, AMC Metreon IMAX, San Francisco, and Ontario Place Cinesphere IMAX, Toronto. The Imax 70MM ‘unrestored’ print was created via a true photochemical film recreation struck from new printing elements made from the original camera negative with no digital tricks, remastered effects, or revisionist edits. Additional Imax venues will be showing a brand new 4K restoration of the sci-fi film in Imax with Laser and Imax Xenon projection formats. Tickets go on sale this Friday. 2001: A Space Odyssey was first released in April 4, 1968.

Through eight weeks, the recent 50th anniversary release of 2001: A Space Odyssey has blasted to $1.2M. Overall lifetime cume for the movie stands at $58.6M.

*****

Screw it. I'm going to see it on the 24th at the Grand Lake in Oakland. Much rather see this picture at a classic venue than a place like the Metreon. The Grand Lake has curtains!
 

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Posted by Scott Norwood (Member # 30) on 08-01-2018, 11:37 AM:
 
For those showing the 5/70 version, how are the prints holding up at this point?
 

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Posted by Mitchell Dvoskin (Member # 751) on 08-01-2018, 11:51 AM:
 
Are the IMAX 70mm showing in horizontal 70mm IMAX, or just conventional 5 perf 70mm on the unmasked wrong aspect ratio IMAX screen?
 

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Posted by Stephan Shelley (Member # 8587) on 08-01-2018, 01:19 PM:
 
Mark come and say hi. I should be working the evening shift on the 24th.
 

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Posted by Stephan Shelley (Member # 8587) on 08-01-2018, 07:51 PM:
 
Update on the showing at the Grand Lake Oakland CA, because of the Imax showing at the Metreon we have moved it up a week. It will be starting 8/17 and run for 2 weeks so anybody that has made plans to see it on the weekend of the 24 can still do so. It is going to be followed by a week of Lawrence of Arabia and possible a week of Vertigo all in 70mm.
 

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Posted by Marcel Birgelen (Member # 6801) on 08-02-2018, 02:22 AM:
 

quote: Mitchell Dvoskin

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Are the IMAX 70mm showing in horizontal 70mm IMAX, or just conventional 5 perf 70mm on the unmasked wrong aspect ratio IMAX screen?

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