This is topic Moulin Rouge in forum Feature Info, Trailer Attachments & REAL Credit Offsets at Film-Tech Forum ARCHIVE.
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Posted by Michael Goucher (Member # 199) on 05-15-2001, 02:36 PM:
Moulin Rouge in NY and LA May 18th and breaking wide June 1st.
Current trailer info: attached--Planet of the Apes. enclosed--Kiss of the Dragon. (Those are the FOX trailers, there may be others; trailer information is subject to change) 
Feature Info: 9 reels, scope, Quad track sound. Platter-assemble picture frame to picture frame except for the following: end of reel 8 there is a slow fade out after one title
frame (memorial for Leonard Luhrman)---look closely in black you will see lab cues present. The incoming reel 9 should be assembled (using foot counter) 3 feet from the number 3 (still in black) so you will catch the fade-up of credits and music in the right place. 
Posted by Mike Jones (Member # 522) on 05-22-2001, 11:15 AM:
You said it was 9 reels, correct? So what is the running time you got?The info I have puts it at 119 minutes.
Posted by Michael Goucher (Member # 199) on 05-22-2001, 02:03 PM:
I believe it's 119 before the credits roll. Add about 11 more minutes for the credits and rating. --mg
Posted by Darryl Spicer (Member # 711) on 05-22-2001, 07:34 PM:
that is still a lot of reels for a movie that is 130mins. did all the reels have small amounts of film on them or were they full?
Posted by Michael Goucher (Member # 199) on 05-23-2001, 08:56 AM:
Some reels are shorter than others. No reel is "stacked". I believe the concept of two scenes per reel applied, whether or not the scenes were long or short. Obviously, from above notes, the credits reel is only 11 minutes and is the shortest. Since they are non-standard credits (i.e., not white credits crawling on a field of black), they were treated as a separate picture reel.
By the way, working this on a tandem 2-projector set-up with separate mag track was challenging, to say the least. Now that I'm previewing married prints I get to enjoy the show a bit more now. My belief is that director Baz Luhrman will be studied in college film courses for years to come.
Posted by John Pytlak (Member # 331) on 05-24-2001, 05:43 AM:
Scott Madsen found this message in BoxOffice.Com :ExhiBrief: A Message to Exhibitors From Baz Luhrmann
5/24/01
Fox is sending out the following note on presentation to exhibitors from Baz Luhrmann, director of the studio's "Moulin Rouge," which played at two New York and L.A. theatres to sold-out crowds over the weekend (grossing $167,540 for an average of $83,770) and which goes wide on June 1:
To the Exhibitor,
Two points that I would like to raise about Moulin Rouge. Firstly the film begins in black before the Fox logo and you hear the sound of the audience murmuring. I mention this so that projectionists are aware of exactly what to expect.
I would like to make another point. As Moulin Rouge is a musical the sound level is very important and we have found that the show has been playing very well in various sized houses at 6.5 (on your sound meter), although in a very big space you may find 7 is appropriate. I know that you will determine the correct level in your particular house and I thank you for taking the time to make this adjustment.
I know that the most important moment in the film's life is in your hands and I pass on these remarks so that we can get the best results for our most precious audience.
Warmest Regards,
Baz Luhrmann
Director of Moulin Rouge
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Eastman Kodak Company
Research Labs, Building 69, Room 7419
Rochester, New York, 14650-1922 USA
Tel: 716-477-5325 Cell: 716-781-4036 Fax: 716-722-7243
E-Mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Posted by John Wilson (Member # 269) on 05-24-2001, 07:40 AM:
Correct running time is 128 mins. Reels 1 and 5 are really the only reels close to being full. The rest are all small and it fits easily on two 6000ft reels. (1,2,3,4-5,6,7,8,9)Ran this on '7' which is high for us (normally 5.4 to 6.0 max.)
Fantastic.
Attached: Dr Dolittle 2 / Planet Of The Apes c/s (complete with flat censor tags aaarrrrrgggghhhh!!!!). Can't they print a bloody scope version for goodness sakes??? as well as 'dirty framed' black spacing between the two trailers. Someone at the lab needs a lesson in scope screen image area. I removed this 'black'. If anyone at he lab or Baz Luhrman is reading this and would like more clarification, you can get me at the Randwick Ritz.
Posted by Michael Goucher (Member # 199) on 05-24-2001, 11:34 AM:
Hey, John--
Which lab in which country did the prints which you received? Also, were your trailers physically spliced in rather than inserted during printing? I was asked in NYC, USA to splice on some trailers for preview audiences here and am wondering if that's also the case in Oz...regards -MG
Posted by Michael Barry (Member # 237) on 05-24-2001, 02:03 PM:
Michael Goucher: I can chime in to answer those questions if you wish!The local print run was done by Atlab in Australia on 2393 stock - see my post in a thread on 'Film Handler's Forum', and those two trailers John Wilson mentioned were printed in.
Posted by Michael Goucher (Member # 199) on 05-24-2001, 02:34 PM:
Thanks for that info. Today 5/24 all my prints were swapped out for showprints prepped at Eastern (U-S-A) depot. No Baz Luhrman letter, but a "heads up" note from TAP informing that the looooooong black at the head contains sound information. ( 
Should I not have assumed that one and all among us would splice at 3-feet from the number 3?)
Also, so none of us nimrods would chop out that footage, TAP insist that the attached trailer (Title "A") must remain attached. In the U-S that means our compatriots will then be allowed to cut on the frame lines of the MPAA Rating at front. 
However, Title "A" is not the trailer attached to the front of the film--a circumstance which will only lead to abundant confusion in the megaplex booth on Thursday 5/31 when an aggregate 60 reels of film might be the number to be loaded on to platters. 
That's why in New York the district office makes out a trailer list for each screen and whatever is on the front of the film is removed, and the feature is simply tagged on to the end of the trailer routine (which if all goes well is prepped the day before).
I have to say that Baz's use of theatrical anticipation right up front to enhance the 20th Century Fox Fanfare really works 
and sets a musical comedy tone that propels our audience ( 
whoooosh!) right into a genre the movie moguls had long ago declared dead. He has given it a whole new life indeed. So remember to keep that anticipation in there by assembling reel one correctly to whatever material is at the front of your show. Thanks! 
Posted by Mark Lensenmayer (Member # 134) on 06-02-2001, 08:45 PM:
Just for the record, I believe that this film does NOT have an SDDS track. Mark Lensenmayer
Posted by Brad Miller (Member # 2) on 06-02-2001, 08:53 PM:
Mark, Moulin Rogue is in SRD/DTS/SDDS. This is the first Fox film in a long while to carry an SDDS track. I'm sure Baz had something to do with that, being a musical and all.
Posted by James R. Hammonds, Jr (Member # 673) on 06-03-2001, 03:59 AM:
Actually CAST AWAY was the last FOX print (i think) to carry an SDDS track and MEN OF HONOR right before that did also.
but youre right....fox hardly uses it....they do tend to use it on most films they expect to be big if i remember correctlyi wonder if Baz specifically wants his films in all three formats.
i know romeo + juliet carried sdds and most likely dolby digital.
i dont remember if it had dts because i didnt work with it then and didnt really care about it.
Posted by Michael Goucher (Member # 199) on 06-03-2001, 01:37 PM:
Is any boothtech showing Moulin Rouge in DTS? How about SR? At FOX-NY we use SRD only, except for mag tracks.
Posted by Aldo Baez (Member # 790) on 06-04-2001, 04:46 AM:
We're showing it in DTS and it sounds great. I also saw it both times in DTS at a nother theatre as well. You know when you get those please leave the fader at 7 memos it usually is way too loud at that setting, but with Moulin its just right, loud when it needs to be, quiet (but not too quiet that you can't hear talking) when it should be.
Posted by Michael Brown (Member # 890) on 10-20-2001, 12:21 PM:
The BBFC www.bbfc.co.uk
puts this at 127m 42seconds
Posted by Michael Brown (Member # 890) on 01-27-2002, 05:23 PM:
Ok I just ran this
no attached TrailerAnd NO SDDS track (must be some non-SDDS prints floating around.
Also to point about the 8-9 reel change. Reel 8 fades to black (faint framelines present i think and cue-marks) but there is no fade in at the start of reel 9. Reel 9 starts immediately with a faint green image in the frame (an id frame can be left on the header for this).
The reels are small. The first hour of the film runs at about 5 and a half reels.
Posted by John Wilson (Member # 269) on 01-28-2002, 07:06 PM:
It's supposed to fade in at start reel 9.
Posted by Michael Brown (Member # 890) on 01-29-2002, 03:10 AM:
Interesting mine started with this green image. And it looked ok on screen so that suggested to me that i wasn't missing any footage at the start of the reel.
Posted by Brad Miller (Member # 2) on 01-29-2002, 03:26 AM:
Actually, if you look real closely at the start of reel 9, there isn't actually a *complete* fade in from black. The picture does give the *illusion* of fading in as the splice passes(assuming no ID frame was cut off), but close examination reveals it is missing a frame or two of *almost black* to be a true fade in.
Posted by Michael Brown (Member # 890) on 01-29-2002, 03:29 AM:
yes, its kind of a green glow in the center of the frame.
Posted by Michael Goucher (Member # 199) on 01-29-2002, 12:13 PM:
I believe the actual visual effect Baz Luhrman was looking for was of a mechanical changeover to the credits reel, even though 99% of the time the picture will be platter mounted. This is in keeping with the "antique" look of the overall film.
Posted by Brad Miller (Member # 2) on 01-29-2002, 12:32 PM:
Hmmm, so Baz was intentionally trying to give that look of a changeover where the incoming projector was cued down too far, eh? Steve, ya out there? 
Posted by Michael Brown (Member # 890) on 03-07-2002, 01:37 PM:
I remembered. My Print also had 3 lab splices (non on the frame line, 2 were bang in the middle of the frame) in the 1st half of reel 1
Posted by Michael Goucher (Member # 199) on 03-07-2002, 01:47 PM:
Did you notice any loss of sound continuity--which would mean there was an actual "patch" made to repair a rip or something? Perhaps if there was no such disruption the print was printed on short ends or remainders spliced together in the darkroom. Many times short ends are used to save money.
Posted by Michael Brown (Member # 890) on 03-07-2002, 02:10 PM:
It was a bit of a time ago. But i dont think there were any sound issues.