I feel that it is wonderful that classic 70mm films like "2001", LAWRENCE OF ARABIA" and "SLEEPING BEAUTY" are once again being shown in their original film format in theatres but it is not right that the showing are limited to only a few large cities. I will pay any reasonable amount to see some of my favorite 70mm films again which includes "MY FAIR LADY", "THE SOUND OF MUSIC", "AROUND THE WORLD IN 80 DAYS", BEN-HUR", "SOUTH PACIFIC" and "THE ALAMO" in one of the only four remaining 70mm equipped theatre in Honolulu.
-Claude
DISNEY’S ANIMATED CLASSIC SLEEPING BEAUTY REAWAKENS
AT THE EL CAPITAN THEATRE
IN RESTORED ORIGINAL 70 MM WIDESCREEN FORMAT
EXCLUSIVE LIMITED ENGAGEMENT, AUGUST 22ND SEPTEMBER 8TH,
OFFERS SPECIAL ATTRACTIONS FOR FILM BUFFS AND FAMILIES ALIKE
This exclusive two-week engagement of Sleeping Beauty will launch August 22nd at 7:00 p.m. with a special evening featuring a making-of-the-movie panel discussion, programmed especially for film, animation and classical music buffs. The following day and throughout the rest of the run, the film will screen at 12:00 noon, 2:30, 5:00 and 7:00 p.m. daily from August 23rd September 8th.
This special widescreen print of the film also features a restored audio soundtrack that takes maximum advantage of the film’s rich six-track Stereophonic mix and provides the optimal way to hear the magical Academy Award® - nominated score adapted from the immortal music of Tchaikovsky.
Those familiar with Sleeping Beauty know that it took six years for Walt Disney and his talented team of animators to make this masterpiece. On opening night at the El Capitan, the audience will learn how it all came about during a rare panel discussion with some of the filmmakers and assorted experts. Schedule permitting, the line-up includes:
· Mary Costa, the voice of Aurora (or Sleeping Beauty)
· Legendary Disney animator Ollie Johnston, one of Walt’s famed “Nine Old Men” and one of two responsible for bringing the film’s Good Fairy characters to life.
· Andreas Deja, one of today’s top animators and the artist who supervised such memorable characters as Lilo (in the current hit “Lilo & Stitch”), Scar (“The Lion King”), Jafar (“Aladdin”), Gaston (“Beauty and the Beast”) and Hercules. Seeing Sleeping Beauty inspired Andreas to become an animator.
· Musical historian Alex Rannie, a fine musician in his own right, who has extensively researched the musical history of this film.
· Disney restoration expert Scott MacQueen, who has meticulously restored Sleeping Beauty to its original grandeur.
· Veteran animation critic, Charles Solomon, who writes for the Los Angeles
Times, among other publications
· KABC entertainment reporter George Pennacchio, moderator
Ticket prices are $10.00 for adults and $6.50 for seniors, children and matinees, which are the first two shows of the day. Birthday parties are available with a purchase of 20 or more movie tickets, plus a $12.00 party ticket per person. To order tickets in advance, call 1-800-DISNEY6 (1-800-347-6396).
AMIA Members can contact Jill Swartz at jill@currentpr.com or 714-444-9731 ext. 203 to receive a coupon for one free souvenir box of popcorn.
(I recall someone here on Film-Tech was related to the woman who voiced "Aurora")?
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
quote:
DISNEY’S ANIMATED CLASSIC SLEEPING BEAUTY REAWAKENS
AT THE EL CAPITAN THEATRE
IN RESTORED ORIGINAL 70 MM WIDESCREEN FORMAT
I don't know anything about the 'El Capitan', but assuming that it is a good theatre, the ticket price is very low. At the moment, "the Ladykillers', and five other Ealing films are having a limited release in the uk, to celebrate the 100th anniversary of Ealing Studios. These films are being shown at various UGC cinemas around the country, including Shaftsbury Avenue, and Ealing, in london. The Ealing cinema opened in the '30s, as the Forum, then became ABC, then, I think, Cannon, then Virgin, now UGC. I have never seen a film there, but I have been on a visit, it is ok, but has been tripled at some time in the past. This is just normal 35mm mono optical sound. The adult ticket price is £8.50 ($12.99 acording to XE.COM). $10 for 70mm, plus the short, plus the opening night discussion, I assume this is included in the price, it doesn't say otherwise, but even if not, has got to be a bargain.
When I came over to the Loew's Jersey I only had to pay $5 for a ticket. American ticket prices are extremely low.
Dave
quote:
Same thing I was thinking... The El Capitan is a beautifully restored theater with movies, concerts, plays, etc. Used to be the Paramount.
I've had a quick look at their web site, for a 70mm show, with the extras, in that sort of theatre, a ticket price of about £10-12 ($15.28-$18.33) would seem reasonable.
The restored movie palace re-opened with THE ROCKETEER. I remember going there to see ALADDIN, THE LION KING and THE NIGHTMARE BEFORE CHRISTMAS.
I would avoid anything on the upper level. The viewing angle is too steep for movie-watching.
-Claude
When I worked the El Capitan it was still a THX house. All the Amps
were located back stage in a caged in area. The booth had two
Century JJ projectors and and AWII platter. It had a Full Boat CP200,
Dolby Digital. The Re & Le speakers were located in the organ grill area of the theatre. But the El Capitan is the new home of the
famous Fox San Francisco theatre pipe organ. They closed the El Capitan for a few months, a few years ago. They made the former THX sound wall flyable, so the theatre could put on big shows on stage. The old wall was around 20 to 25 feet back from the front of the stage. With the wall flyable they can us the entire stage area for shows. It was about that time that the El Capitan stopped using the THX logos. Los Angeles / Hollywood only had one theatre that used the HPS-4000 sound system, the Loew's/Cineplex Century City theatre. If you go in the booth looking for the HPS-4000 processor. You will find it is three cat. 64 cards. The other part of the system is the speakers in the theatre. The theatres in the area were only putting
in THX systems. That one time GCC theatres was going to put a HPS-4000
system in Sherman Oaks, California. But they were having problems
with the way Mr. Allen wanted the system to go in. GCC Sherman Oaks
was a big preview theatre in the area for the studios. The studio's
would have to bring their own cat. 64 cards for screening.
quote:
The print the el Capitan will be showing is the archival print they struck back in '99 (which has had a couple of other showings at the El Capitan as well as the Long Beach Widescreen Film fest.)
Minor quibble...the Long Beach screening was held in 1997, not 1999.
While some THX theatres are either not set up right, or have one problem or another, there are many excellent ones. I have always applauded THX for attempting to set a standard for cinema sound reproduction. No one has or probably will ever attempt this again. Man, when it works, it works incredibly well.
Perhaps with the sale to Creative THX can again get back on both feet. They've been wobbly way to long!
Mark
quote:
I happened to attend a screening at the Chineese #2 which was one of the added on theatres next door to the original Chineese, now gone. It was equipped with THX and the 70mm screening of Willow which I saw and heard literally blew me away!! And right away from believing any of the HPS hype altogether.
Finally, something good is said about the Chinese! And to think that a lot of people have felt the presentations at the Chinese were substandard! Though you did mention Screen #2 rather than Screen #1. Aah, that could've made the difference!
Actually, WILLOW opened on Screen #1, but was bumped over to Screen #2 (and 3) upon the release of CROCODILE DUNDEE II a week later. DUNDEE played in 35mm on Screen #1 and the 70mm engagement of WILLOW ended up on Screen #2, with a second 70mm engagement added for Screen 3. I always thought it would've made more sense from a booking standpoint to have kept the 70 of WILLOW in #1 and played two 35s of DUNDEE on #2 and #3, especially since the two smaller screens were each roughly half the size of the main auditorium. (Aren't the rental terms often different with 70mm? Higher advance booking fees, different rental terms, etc.) But then the Chinese is a prestige theater, particularly the main, original auditorium, so DUNDEE (which was expected to perform better than WILLOW...which it did) probably made more sense to play in the main auditorium.
I've never understood why so many people bash the presentation quality at the Chinese. I've seen so many incredible presentations there. And not just the obvious 70mm shows (which is an endless list). I can recall a few 35mm-Dolby SR shows (ROBOCOP and U2: RATTLE AND HUM come to mind) that could've fooled many into thinking they were experiencing a 70mm six-track presentation. Now how much of that was a result of THX???
quote:
I was on a trip to LA around 1985
1985? Then you didn't see WILLOW on that visit to L.A. 
quote:
I happened to attend a screening at the Chineese #2 which was one of the added on theatres next door to the original Chineese, now gone.
Mann's Chinese #1 is "now gone" ??? WTF!?
I loved the Chinese theatre. When I was a California resident, it was one of my favorite places to see a movie. I would never bash their presentations. In fact, I took a special delight in taking people there for their first time. Always a jaw-dropping experience for the uninitiate.
~Manny (just do it.)
------------------
John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion
Re: Rattle and Hum. I too saw it in 35mm Dolby SR. I think it was at the then-new Edwards Hutton Center. This was a THX-certified auditorium. I was really amazed at how good the optical sound was. When everything is working right, SR can be very very good indeed. They had the volume cranked to concert levels, and there was no sign of audible stress on the system...
Re: THX. I've said it before, will say it again. When THX is done right and with care in a movie theater, it really does raise the bar. Sure, there are allegedly-THX-certified theaters that are crappy, but in my experience, most THX theaters make a big contribution to experiencing "film done right".
quote:
Because a smaller screen was installed for DLP, the theatre is no longer THX certified but how is the sound today?
The El Capitan lost THX certification because much of the barriers behind the screen were removed when the stage was restored to full usage (hangings, riggings, light beams, etc.)
They never installed a smaller screen. They merely masked down their current screen for the showing of "Mission to Mars" which appeared letterboxed within the confines of their normal 1.85 setting. I have seen no other scope DLP presentations there, so I don't know if this is still the case. The DLP showing of The Emperor's New Groove was shown on their standard 1.85 screen, and looked excellent (yes, i DO realize this originated from digital files). Mission to Mars looked like a film that used a normal telecine to tape transfer, instead of being scanned directly to digital files, but what do I know? Certainly, DLP can show sucessfully on a larger screen, as I witnessed at the Ziegfeld and others saw at the Chinese.
As Michael Coate pointed out, my date for restoration was wrong. It was 5 years ago, not in 1999.
But the article is wrong in several areas. Sleeping Beauty was not filmed in 70 millimeter and three strip Technicolor. It did use Disney's usual 3 primary color exposure system on B&W film with horizontal Technirama cameras. The 70mm prints were of course on standard Eastman printing stock, with 35mm scope prints being IB Technicolor.
Also, the article quotes a Disney rep that says this is the first time it has played at the El Capitan in 70mm. This may very well be true, but if so, then the ad for a children's matinee earlier this year stating the showing was in 70mm was wrong. Certainly not the first time that has happened.
quote:
As Michael Coate pointed out, my date for restoration was wrong. It was 5 years ago, not in 1999.
Sorry to have been so nit-picky about dates. It's just that I find it easy to remember details like that with a film such as SLEEPING BEAUTY because when that 1997 Long Beach one-time-only screening of the new 70mm print was announced I jumped at the chance to attend. You see, I had wanted to see that film in 70mm for many years and had been disappointed on two earlier occasions: 1986 and 1988. (I was born after the original 1959 release, and was living out of the country during its 1979 re-release.) Being a Southern California resident I was disappointed to find that for the 1986 nationwide re-release the New York area was advertising a 70mm engagement but L.A. was 35mm-only. During the fall of 1988, the Cinerama Dome ran a 25th anniversary festival of several films that had played there over the years, SLEEPING BEAUTY being one of them. Due to travel and time contraints I was unable to attend every screening (doesn't that always seem to be the case?) but still somehow managed to attend a few. I passed on SLEEPING BEAUTY because I placed an emphasis on trying to see as many of the films in the fest advertised in 70mm as well as those films shown on "Spielberg Day." Anyway, I was informed after the event that the print they ran of SLEEPING BEAUTY was 70mm. Too bad they didn't advertise it as I would have made an extra effort to attend. (Their screening of BACK TO THE FUTURE from "Spielberg Day" also turned out to be 70mm despite not being noted as such in their ads and programs.) So to make a long story short, I made an extra effort to see SLEEPING BEAUTY in 1997, and was glad I did. Super sharp image...incredibly vibrant color....and since it was a brand new print it wasn't riddled with scratches and splices like too many modern-day 70mm presentations of older films.
quote:
the article quotes a Disney rep that says this is the first time it has played at the El Capitan in 70mm. This may very well be true, but if so, then the ad for a children's matinee earlier this year stating the showing was in 70mm was wrong.
Unless this upcoming engagement is a NEW and DIFFERENT 70mm print, then it *has* played at the El Capitan previously. It's no surprise that company reps can't get the facts straight. When they ran the film earlier in the year, they mentioned to the audience that that screening was the first time the film had been shown in a theater since 1986. Well, what about the two screenings I mentioned above??? And that's just for Los Angeles; it's bound to have been shown elsewhere on occasion.
By the way when "SLEEPING BEAUTY" was first released in 1959, ABC did something different when they presented a special television program sponsored by Disney. Selected scenes were shown on the program but instead of images panned and scanned, they were 'letterboxed' in the full 2.35.1 aspect ratio. In addition to that, the sound was simulcast on the ABC radio network. To listen to the sound in stereo, an AM radio was required by placing it about five feet to the right of the TV set. If you compared it to to today's stereo on television and radio, the sound was very primitive but it was awesome at the time when I was privileged to watch that special telecast.
-Claude
Mary Costa is my cousin. She now lives in Knoxville TN, and still sings like a bird.
quote:
The last time I saw "SLEEPING BEAUTY" was about 1979 when the film was released to a lot of theatres with both 35mm and 70mm prints.
Yes, there was a major re-release that year which included plenty of 70mm prints (there were one or two other re-releases between 1959 and 1979 but I don't recall any 70mm prints being advertised during those releases). Not sure if the '79 re-release was considered a success. Nonetheless, Disney certainly tried to squeeze as much money out of the film as possible by double-billing it with THE BLACK HOLE, which played in several cities at various times throughout 1980 and 81.