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Elston Gunn Plugs This Week’s 70mm L.A. Screenings of 2001, ALIEN, ALIENS, ABYSS, STAR TREK II, GREMLINS, UNTOUCHABLES & More!!
I am – Hercules!!
Longtime contributor Elston Gunn talks to organizers of Laemmle’s 70/70, which celebrates the Laemmle cinema chain’s 70th anniversary with 70mm screenings of a handful of geektastic classics. It runs Dec. 19-23 at the Royal: 11523 Santa Monica Blvd. in West Los Angeles.
The slate:
December 19, 2008 ~ A Little English
THE REMAINS OF THE DAY (1993) ~ 5:15 pm
TOMMY (1975) ~ 8:00 pm
PINK FLOYD: THE WALL (1982) ~ 11:00 pm
December 20, 2008 ~ James Cameron Day
THE ABYSS (1989) ~ 4:00 pm
TITANIC (1997) ~ 7:00 pm
ALIENS (1986) ~ 11:00 pm
December 21, 2008 ~ 80s New Classics Day
TOP GUN (1986) ~ 1:00 pm
GREMLINS (1984) ~ 4:00 pm ~ Actor William Schallert in person
INDIANA JONES AND THE LAST CRUSADE (1989) ~ 7:00 pm
~ PLUS: Special 70 mm trailers
THE UNTOUCHABLES (1987) ~ 10:00 pm
December 22, 2008 ~ Outer Space Day
STAR TREK II: THE WRATH OF KHAN (1982) ~ 5:15 pm
ALIEN (1979) ~ 8:00 pm
December 23, 2008 ~ The Crew is in Trouble Day
THE HUNT FOR RED OCTOBER (1990) ~ 5:15 pm
2001: A SPACE ODYSSEY (1968) ~ 8:00 pm
Royal Theatre, 11523 Santa Monica Boulevard, West Los Angeles
(310) 477-5581
www.laemmle.com
Hello. Elston Gunn here.
If you're in Los Angeles Friday, December 19 through 23, there will be 70mm screenings of ALIEN, ALIENS, STAR TREK II: THE WRATH OF KHAN, GREMLINS, REMAINS OF THE DAY, PINK FLOYD: THE WALL at the Laemmle Royal Theatre on Santa Monica Boulevard in West L.A. The 70/70 film series is a fundraising event of films shown in 70mm and in celebration of Laemmle Theatres 70th anniversary. All net proceeds go to American Diabetes Association-Los Angeles, AIDS Walk Los Angeles, Hollywood Sunset Free Clinic and Laemmle Theatre Charitable Foundation. For more information, visit www.laemmle.com.
Laemmle is a group of arthouse theaters in L.A. founded by Max and Kurt Laemmle in 1938 . The chain's many theaters are known for showing indie and foreign films. After Max's son, Robert, recently retired, Robert's son, Greg was handed the reins of the chain. Greg Laemmle took some time, along with series programmer/Laemmle projectionist Jerry Blackburn, to answer questions for AICN.
[Elston Gunn]: Greg, a hearty congratulations on the 70th anniversary of Laemmle Theatres. Your uncle and grandfather bought their first theater in 1938, so I would imagine that the movie business is so second nature to you. But what do movies and theaters mean to you beyond simply the family business? What are some of your favorite memories growing up in Laemmle Theatres?
[Greg Laemmle]: I fell in love with seeing movies well before I fell in love with the process of showing them. When I went off to college, I was all gung-ho about studying Marine Biology and beoming the next Jacques Cousteau. But at Berkeley, I fell in love with repertory cinema. It was the mid-80s, before the explosion of VHS (and later DVD) killed the repertory circuit. So, I haunted the city’s rep houses catching up on all the great foreign films and Hollywood classics that screened as part of that world. By the end of my four years at college, I had a degree in Marine Biology, but little desire to pursue that as a career. I was hooked on movies.
Some of my earliest moviegoing memories go back to watching a double bill of ENDLESS SUMMER and ON ANY SUNDAY at our Monica Theatre in Santa Monica after spending a day at the beach. I must have seen those films dozens of times that particular summer. Is it any wonder I still love documentaries to this day.
[EG]: Do you have any Carl Laemmle stories?
[GL]: I don’t have any real great Carl Laemmle stories. My grandfather, who founded Laemmle Theatres with his brother Kurt, was not a direct descendant of Carl’s. Rather, their father was a first cousin of Carl’s, who had many other cousins not to mention siblings. Carl, the founder of Universal Studios, did give both my grandfather and his brother their first jobs in the industry. But they lost those jobs when Carl lost control of Universal, and the founding of Laemmle Theatres came without any assistance from Carl. In fact, Kurt’s wife (still sharp at 93) recently related how Carl threatened to sue his “nephews” to prevent them from using the name Laemmle Theatres. Go figure!
[EG]: Other than the 70th anniversary what else served as the impetus for this 70mm event? How did it all come together?
[GL]: Jerry Blackburn is a projectionist with the company and he came to me with the idea of doing some scattered programming using the 70mm projector at the Royal. The equipment had been installed for the 1992 engagement of HOWARD’S END, but had seen scant use since then. Realizing that 2008 represented our 70th anniversary, I suggested doing a whole week of 70mm programming as part of the anniversary celebration. From there, Jerry took the ball and ran with it.
[EG]: What are your feelings about film capture and projection today? Digital projection is ubiquitious now, for example, and Jeffrey Katzenberg has said that the future of cinema is 3D, others say 70mm presentation in Imax is where it's at. Pretty soon there will be a generation of filmgoers who have never seen a movie presented in 70mm or any kind of film.
[GL]: I’m not a technophile, so can’t really answer questions about film versus digital, 2D versus 3D, etc. I’m really not in a position to question Mr. Katzenberg’s or Mr. Cameron’s take on the world of commercial film. For discerning audiences, though, I believe that added dimensions of character and plot are what really attract our audiences. This audience isn’t looking for gimmicks to get them out of the house.
[Jerry Blackburn]: I think Greg answered this, the only thing I would add is that the large formats are a bigger example of my explanation in the next question. At one point, an acquaintance of mine at one of the major distributors had indicated that the cost to revenue was not a good business direction to follow large format. However, that was about 10 years ago. I believe that large format must have made leaps and bounds in this area of the stuidos would not be doing it today.
[EG]: What is it about 70mm, specifically, that you beleive is so special to film buffs? They see "Todd-AO" and it gives them great feeling. There are also websites (http://www.in70mm.com) devoted to the format.
[JB]: Try to think of an artist making a painting. In standard 35mm the artist has basically a 35mm canvass. In 70mm you have the same exact image but on a canvas that is twice as big. You have usually a clearer inmage and much more detail to the image. In the Todd-AO process, film runs at 30fps insted of the standard 24fps. The brain preceives this faster film speed to be more like real life. Also, the magnetic sound was a great multi-channel sound form, before digital. We are actualy using one of the projectors with the Todd-AO design. The image is rock steady.
[EG]: Jerry, what was your criteria in choosing which 70mm prints to show? Were there some you wanted to put in that you weren't able to?
[JB]: Yes, there were several I wanted to play. Particularly, films that were actually SHOT in 65mm for 70mm projection and Todd-AO Format and also filmed with the Technocolor three strip process. I really wanted to play OKLAHOMA and SOUND OF MUSIC. Where Greg studied Marine Biology, I studied music but the movie bug got me as well. These musical gems were shot in 65 3-strip and at 30 fps. I also wanted to play some of the disaster films like EARTHQUAKE that used Sensoround. Since this is a 70th anniversary I wanted to do things of a historical nature.
[EG]: REMAINS OF THE DAY is an interesting choice to kick-off the event in contrast to the larger, more "fantastic" films in the program.
[GL]: I pushed Jerry to include REMAINS OF THE DAY in the program. I wanted at least one film in the series to scream, “Laemmle!” Also, a neat reminder connecting the presence of the equipment in the booth with the Merchant-Ivory team. We would have programmed HOWARD’S END but we couldn’t track down a 70mm print of the film. Ditto for Kenneth Branagh’s HAMLET, the other film that had a lengthy run at the Royal on 70mm.
[JB]: I wanted to do a whole day of Merchant/Ivory films. I tried for almost two weeks to get a print of HOWARD's END to play with REMAINS but were unable to locate a print that was in presentable condition. It's historical for us because as Greg indicated that was the film where the 70mm projector was installed. Also, it is the type of film more along the Laemmle Theatre Genre.
[EG]: I noticed you'e also showing 70mm trailers in front of INDIANA JONES AND THE LAST CRUSADE. Are you keeping those close to vest or can you share a title or two?
[JB]: I'd rather not say at this time, because we are not sure of the condition and how many might be presentable. They are being supplied by an individual.
[EG]: Do you anticipate more 70mm events in the future?
[JB]: For me, this is a possibility. I have had a few new "programming" ideas. Maybe some 70mm could be included in that, but 70mm at this point would depend on print availability. Some archival prints require they be run only reel-to-reel and not on a platter film transport system.
THE REMAINS OF THE DAY (1993) ~ 5:15 pm
TOMMY (1975) ~ 8:00 pm
PINK FLOYD: THE WALL (1982) ~ 11:00 pm
December 20, 2008 ~ James Cameron Day
THE ABYSS (1989) ~ 4:00 pm
TITANIC (1997) ~ 7:00 pm
ALIENS (1986) ~ 11:00 pm
December 21, 2008 ~ 80s New Classics Day
TOP GUN (1986) ~ 1:00 pm
GREMLINS (1984) ~ 4:00 pm ~ Actor William Schallert in person
INDIANA JONES AND THE LAST CRUSADE (1989) ~ 7:00 pm
~ PLUS: Special 70 mm trailers
THE UNTOUCHABLES (1987) ~ 10:00 pm
December 22, 2008 ~ Outer Space Day
STAR TREK II: THE WRATH OF KHAN (1982) ~ 5:15 pm
ALIEN (1979) ~ 8:00 pm
December 23, 2008 ~ The Crew is in Trouble Day
THE HUNT FOR RED OCTOBER (1990) ~ 5:15 pm
2001: A SPACE ODYSSEY (1968) ~ 8:00 pm
Royal Theatre, 11523 Santa Monica Boulevard, West Los Angeles
(310) 477-5581
www.laemmle.com
If you're in Los Angeles Friday, December 19 through 23, there will be 70mm screenings of ALIEN, ALIENS, STAR TREK II: THE WRATH OF KHAN, GREMLINS, REMAINS OF THE DAY, PINK FLOYD: THE WALL at the Laemmle Royal Theatre on Santa Monica Boulevard in West L.A. The 70/70 film series is a fundraising event of films shown in 70mm and in celebration of Laemmle Theatres 70th anniversary. All net proceeds go to American Diabetes Association-Los Angeles, AIDS Walk Los Angeles, Hollywood Sunset Free Clinic and Laemmle Theatre Charitable Foundation. For more information, visit www.laemmle.com.
Laemmle is a group of arthouse theaters in L.A. founded by Max and Kurt Laemmle in 1938 . The chain's many theaters are known for showing indie and foreign films. After Max's son, Robert, recently retired, Robert's son, Greg was handed the reins of the chain. Greg Laemmle took some time, along with series programmer/Laemmle projectionist Jerry Blackburn, to answer questions for AICN.
[Elston Gunn]: Greg, a hearty congratulations on the 70th anniversary of Laemmle Theatres. Your uncle and grandfather bought their first theater in 1938, so I would imagine that the movie business is so second nature to you. But what do movies and theaters mean to you beyond simply the family business? What are some of your favorite memories growing up in Laemmle Theatres?
[Greg Laemmle]: I fell in love with seeing movies well before I fell in love with the process of showing them. When I went off to college, I was all gung-ho about studying Marine Biology and beoming the next Jacques Cousteau. But at Berkeley, I fell in love with repertory cinema. It was the mid-80s, before the explosion of VHS (and later DVD) killed the repertory circuit. So, I haunted the city’s rep houses catching up on all the great foreign films and Hollywood classics that screened as part of that world. By the end of my four years at college, I had a degree in Marine Biology, but little desire to pursue that as a career. I was hooked on movies.
Some of my earliest moviegoing memories go back to watching a double bill of ENDLESS SUMMER and ON ANY SUNDAY at our Monica Theatre in Santa Monica after spending a day at the beach. I must have seen those films dozens of times that particular summer. Is it any wonder I still love documentaries to this day.
[EG]: Do you have any Carl Laemmle stories?
[GL]: I don’t have any real great Carl Laemmle stories. My grandfather, who founded Laemmle Theatres with his brother Kurt, was not a direct descendant of Carl’s. Rather, their father was a first cousin of Carl’s, who had many other cousins not to mention siblings. Carl, the founder of Universal Studios, did give both my grandfather and his brother their first jobs in the industry. But they lost those jobs when Carl lost control of Universal, and the founding of Laemmle Theatres came without any assistance from Carl. In fact, Kurt’s wife (still sharp at 93) recently related how Carl threatened to sue his “nephews” to prevent them from using the name Laemmle Theatres. Go figure!
[EG]: Other than the 70th anniversary what else served as the impetus for this 70mm event? How did it all come together?
[GL]: Jerry Blackburn is a projectionist with the company and he came to me with the idea of doing some scattered programming using the 70mm projector at the Royal. The equipment had been installed for the 1992 engagement of HOWARD’S END, but had seen scant use since then. Realizing that 2008 represented our 70th anniversary, I suggested doing a whole week of 70mm programming as part of the anniversary celebration. From there, Jerry took the ball and ran with it.
[EG]: What are your feelings about film capture and projection today? Digital projection is ubiquitious now, for example, and Jeffrey Katzenberg has said that the future of cinema is 3D, others say 70mm presentation in Imax is where it's at. Pretty soon there will be a generation of filmgoers who have never seen a movie presented in 70mm or any kind of film.
[GL]: I’m not a technophile, so can’t really answer questions about film versus digital, 2D versus 3D, etc. I’m really not in a position to question Mr. Katzenberg’s or Mr. Cameron’s take on the world of commercial film. For discerning audiences, though, I believe that added dimensions of character and plot are what really attract our audiences. This audience isn’t looking for gimmicks to get them out of the house.
[Jerry Blackburn]: I think Greg answered this, the only thing I would add is that the large formats are a bigger example of my explanation in the next question. At one point, an acquaintance of mine at one of the major distributors had indicated that the cost to revenue was not a good business direction to follow large format. However, that was about 10 years ago. I believe that large format must have made leaps and bounds in this area of the stuidos would not be doing it today.
[EG]: What is it about 70mm, specifically, that you beleive is so special to film buffs? They see "Todd-AO" and it gives them great feeling. There are also websites (http://www.in70mm.com) devoted to the format.
[JB]: Try to think of an artist making a painting. In standard 35mm the artist has basically a 35mm canvass. In 70mm you have the same exact image but on a canvas that is twice as big. You have usually a clearer inmage and much more detail to the image. In the Todd-AO process, film runs at 30fps insted of the standard 24fps. The brain preceives this faster film speed to be more like real life. Also, the magnetic sound was a great multi-channel sound form, before digital. We are actualy using one of the projectors with the Todd-AO design. The image is rock steady.
[EG]: Jerry, what was your criteria in choosing which 70mm prints to show? Were there some you wanted to put in that you weren't able to?
[JB]: Yes, there were several I wanted to play. Particularly, films that were actually SHOT in 65mm for 70mm projection and Todd-AO Format and also filmed with the Technocolor three strip process. I really wanted to play OKLAHOMA and SOUND OF MUSIC. Where Greg studied Marine Biology, I studied music but the movie bug got me as well. These musical gems were shot in 65 3-strip and at 30 fps. I also wanted to play some of the disaster films like EARTHQUAKE that used Sensoround. Since this is a 70th anniversary I wanted to do things of a historical nature.
[EG]: REMAINS OF THE DAY is an interesting choice to kick-off the event in contrast to the larger, more "fantastic" films in the program.
[GL]: I pushed Jerry to include REMAINS OF THE DAY in the program. I wanted at least one film in the series to scream, “Laemmle!” Also, a neat reminder connecting the presence of the equipment in the booth with the Merchant-Ivory team. We would have programmed HOWARD’S END but we couldn’t track down a 70mm print of the film. Ditto for Kenneth Branagh’s HAMLET, the other film that had a lengthy run at the Royal on 70mm.
[JB]: I wanted to do a whole day of Merchant/Ivory films. I tried for almost two weeks to get a print of HOWARD's END to play with REMAINS but were unable to locate a print that was in presentable condition. It's historical for us because as Greg indicated that was the film where the 70mm projector was installed. Also, it is the type of film more along the Laemmle Theatre Genre.
[EG]: I noticed you'e also showing 70mm trailers in front of INDIANA JONES AND THE LAST CRUSADE. Are you keeping those close to vest or can you share a title or two?
[JB]: I'd rather not say at this time, because we are not sure of the condition and how many might be presentable. They are being supplied by an individual.
[EG]: Do you anticipate more 70mm events in the future?
[JB]: For me, this is a possibility. I have had a few new "programming" ideas. Maybe some 70mm could be included in that, but 70mm at this point would depend on print availability. Some archival prints require they be run only reel-to-reel and not on a platter film transport system.
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+ Expand All
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Punks
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I would definitely be there for more than one of these screenings, but December 19th-23rd I - like many other LAngelenos, will be headed back east for the holidays. Lame timing!
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fuck all yall
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Dec 16, 2008 4:10:06 PM CST
OMG! Sometimes I hate it to not live in the US of A...
by motoko kusanagi
Like, right now :-(
I mean, HOLY FUCK, what an awesome bunch of classics. ALIENS on the big screen? Beauuuuuuuuuutiful! -
man, that movie is still spectacular, 40 years old! The cavement/ape fx still look phenomenal, whoever did the makeup/costume on those should be commended. The evolution/space travel ending is still pretty cool (and scary with Dave's face) too.
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The HD version of 2001 is mesmerizing. Just keep in mind that 35mm has far more resolution than 1080p -- and the Royal is showing it with four times the resolution of 35mm.
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Yeah i'm with you Ultron. A well-lit model made by a craftsman STILL looks better than the best CGI has to offer. Great selection of films for this run.
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Sounds fantastic.
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Man, I may ask my son if he would want to go. Although 2001 would be unbelievable. Hmmm.
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Holy shit - one of the greatest cinema experiences ever!
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and not in the middle of the US we never get cool screenings like this
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was the only film I knowingly saw in 70mm of that bunch. I now have the opening vistas of the desert, the crunching of the rocks by horse hooves, and the scout leader going "Disssssmount!" backed by the John Williams score in my head now, thank you.
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I saw most of these films at the cinema on their original run, but ALIEN... ALIEN was just a little before my time. I would LOVE to see that movie in 70mm with a couple of friends, a big cup of coke and a cheeky hip flask of whisky...perfect.
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Harry, I know why you are so overweight: you are soooo full of shit! How about you stop treating us like shit and do your job? We want the dvd section every week and on time, get it!? Enough of your bullshit!
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Not that it really matters since everyone has already seen these movies dozens of times already. But it's sort of weird showing Aliens BEFORE Alien.
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I'd eat my own shit to see these movies in 70 mm. I'll just keep hoping I won Capone's The Wrestler contest.
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And Elston Gunn's banner headline says TERMINATOR is showing, but the program says TITANIC. You're gonna get a few Arnie fans sobbing into their popcorn when Celine Dion and the Oirish panpipes strike up.
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L.A. fucks, that is. I'd KILL for watching Aliens, Gremlins and 2001 on the huge screen. Oh and Cobra-Kai is right. Screw you, Terminator fans!
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I wish I lived in L.A.
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Seriously, we need more of these events to happen nationwide, not just fucking LA and NYC. Film lovers live elsewhere too, ya know
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I had the fortunate opportunity to see 2001 in REAL wraparound Cinerama at the Cinerama Dome in Hollywood about 12 years ago... it was absolutely mind-blowing. The best experience I've ever had in a theatre, short of seeing Close Encounters opening weekend in 1977. And I saw Aliens in its 70mm version about three years later at the short-lived 70mm film festival in Long Beach. That was impressive. But keep in mind the 70mm version of Aliens is the original theatrical cut. The director's cut was only made for home video release. I heard they did make a theatrical presentation of the director's cut of The Abyss, but I'm not sure if the 70mm version is that one. Does anyone know?
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I want to be american! Who do I need to marry?
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Dec 16, 2008 6:23:12 PM CST
Alien & 2001 should be screened together...
by film_fanatic_in_the_original_black_and_w
...if no other reason than how Ridley was inspired by Kubrik, as well as George Lucas, when he made Alien. I think that would be a perfect double bill.
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The Abyss screens at 4PM and Titanic screens at 7PM. Since the director's cut is almost three hours, that wouldn't leave any time for the crowd changeover.
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That's what another site says about the 3 movies being shown that day. (Aliens, Abyss, Titanic) Which versions of the movies? As I recall, the Director's cut of The Abyss can be shown in a theater because it's additional scenes were completed on film, unlike Aliens, whose additional footage was completed on video only. (I could have that backwards, though.) Anyway, which versions are they? And are Cameron and Paxton definitely appearing?
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I saw a 70mm print at the Seattle Cinerama earlier this year and it was mind-blowing. I'm a big proponent of seeing films on the big screen, but if I could only recommend one it would probably be 2001: A Space Odyssey. It really is that amazing in 70mm.
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And all I can go see here is crap, projected crapilly. We need more of these events, more of these good films, widespread. *sigh* This is an awesome lineup, and I hope you west-enders take advantage.
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...but it sure smells good!
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Dec 16, 2008 8:08:09 PM CST
Wow! Kahn in 70mm! I look more forward to this than STINO in May
by swivile bobble fizz fizz
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Dec 16, 2008 8:12:05 PM CST
I saw a screening of STAR TREK II in NYC about 3 years ago
by yackbacker
Damn, was that a lot of fun. To anyone who is geographically near this theater, go and see KHAN on the big screen. It's fucking brilliant, and to see it with a crowd is so much fun.
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and yet so far. Wish I could just drive down there and see it all.
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Yes it's slow going, but I can't look away. It's from 68 or 69. I forget, but it forever feels state of the art.
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Ah the CGI wave, used in countless movies, Perfect Storm, Deep Impact, The Day after Tomorrow. Even an upcoming end of the world movie is using it, but we first saw it in The Abyss, Director's Cut
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has it ever been released theatrically, I got the 100 dollar laserdisc on display. It was the primary reason I bought a laserdisc player, then T2 extended, etc. I bet it played for a weekend before the LD hit stores
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and it was awesome. Some parts were so clear it made all this current "hd" shit look silly. It also ruined the film purists "there has to be grain!!" argument. Because there doesnt have to be grain.
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I wish I was in LA and not in the reverse corner of the country
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That's just too awesome. I will admit I am jealous.
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...which have just been blown up to produce 70mm prints, so they're not going to give the awesome resolution of a movie shot for the format. I love Alien and The Abyss, but they're Super 35 which is even worse. Still, I agree with you guys that 2001 is the ultimate true 70mm experience!
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Dec 16, 2008 9:35:41 PM CST
Who cares about this shit when there are only 31 days until...
by nasty in the pasty
...Paul Blart: Mall Cop opens?
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It's one of the primary reasons I moved here - just for opportunities like this. In the last four years I've lost count of the rare screenings I've attended and the number of cool directors/actors/etc. that I've been lucky enough to hear speak in person.But - as I said - unlucky timing here with the holiday, or they'd have me in the seat for at least 2001 & Star Trek 2. And if Cameron and Paxton were making an appearance, I'd certainly be there. I was fortunate enough to catch most of these on the big screen in my youth, but events like this never get old.I'm still going on about this because I'm hoping that some of these can be screened again soon once I'm back in town.
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Carol Marcus gotta eat!
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I saw 2001 in 1968 in it's first run at the Loew's Cinerama theater in Times Square. The space sequences were the most powerful experience I've ever had in a movie theater. Astronauts at the time said it was the closest thing to being in space. I saw 2001 a week later in ordinary 35mm. I literally fell asleep during the film. To be truly appreciated, this film has to be seen in it's original Cinerama format.
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I saw it shortly before the VHS release. Of course, it wasn't actually shot in 70mm though so the blown up image doesn't look much better than 35mm, as a recent 70mm screening of Aliens showed. 2001 however looks absolutely stunning.
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I saw it in 70mm as well, a couple years ago at the Cinerama in Seattle. The print was a little scratched up but fuck, it gave me goosebumps to hear Zarathustra speaketh as the curtains opened... and opened... and kept on opening to reveal the giant screen. I love that movie and the bigger the better.
But I sure hope ALIEN and ALIENS come to the next festival... I haven't caught those in 70 mm before. I did see TOTAL RECALL and, for some reason, KRULL. (Turns out that one is no 2001.) -
I hope I haven't provided an idea for another reboot.
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does the 70MM give them enhanced quality, or does it just look like seeing a movie projected larger on an IMAX screen?
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It was life changing! I have to say, though this film list is great, there is a bit of an emphasis on 80s movies.
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See you at the party Richter!
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Dec 17, 2008 5:37:48 AM CST
Damn I hate living in Australia right now
by nomoredirtyjokespleaseweareyanks
This is the most jealous I have ever been. 2001...just damn......
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rolls right around you. Don't miss it if you have the chance...
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If I weren't going back east for X-mas I would totally be there for the Star Trek 2-Alien double bill in 70mm. Shit.
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widescreen ration, not Super Panavision? Does that mean a blow up to 70mm will lose top and bottom screen information?
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Aliens, Alien, and Indiana Jones 1 on the big screen? Fuck yeah!
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How come I've never watched this? Are you all telling me to go see this this weekend? It never looked all that great to me.
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You really should go see it. It's a change your life experience on the big screen. And it's Last Crusade that's playing, not Raiders.
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You're right
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70mm film has grain dude. The grain is the recording stratum of film. The silver salts (the grain) are what make film film.
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i know its got grain dude...you just can't fucking see it!! I'm talking about the film buffs that like films really grainy...where the screen is buzzing with grain..and they use that as an excuse to hate on digital cinema...cause you cant see any grain. During most of 2001 on 70mm...you cant see any grain. Its crystal clear.
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To tell you the truth, I can't remember the last film I saw in the theatres in 70mm. It was either *The Abyss* or *Batman Returns*. It has been a total crime for Hollywood to ditch 70mm. Hell, digital has caught up to 35mm with 4K projectors. With that in mind, I really wish they'd shoot any film deemed "good" in 70mm for mastering if only to "future proof" the material. I bet George Lucas wished he was able to have shot the original Star Wars in 70mm instead of 35mm. I submitted a question along these lines to Chris Nolan to hopefully answer tomorrow night during BD-Live presentation about why he selected IMAX for portions of TDK instead of just forcing Warner Bros. to allow shooting the entire film in 70mm. I figure it had to do with Warner's special relationship with the Imax Corporation. So if you guys see Nolan answering that type of question, or if he'll push Warners to re-encode "Batman Begins" and "TDK" using AVC [instead of VC-1] for the eventual double dips, and when exactly did they dump plans to use Talia Al Ghul in TDK, then you'll know I am the one that submitted those questions...
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Goddammit. Capone, make something like this happen here in Chicago...
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