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Current seating for all theatres is 3,864. The IMAX house is still 15/70 film. Saw Zero Dark Thirty in the Loews house last Thursday. Still a treat to sit in a real balcony.
It’s easy to see where the original writer made their mistake, if one is not familiar with how the company is set up.
Half his problem is that he serves Pepsi, and at ridiculously low prices.
At 0:17, they show a 6,000ft reel that has “Monica 4-plex” written all over it. Think someone would have caught that before they started filming.
PTA is a strange bird. I ran a test screening of his cut of Sydney (later to be known as Hard Eight) years ago, and he demanded my projectionist jerry-rig a volume knob for him so he (PTA) could control the sound levels in the theatre during the screening… even though that meant having to remove the smaller port glass window so the cable could run down to the theatre, causing the noise from the projector to drown out portions of the sound from the screen. And you can’t tell the director “Hey dude, that’s the job of the sound mixer during post-production, man!”
Roger: it is true, which is also why the 70mm prints are hard-matted to 1.85:1. No, it doesn’t really make sense, especially considering all of PTA’s other features were shot 2.39:1, which is closer to 70mm’s 2.20:1 than Academy flat’s 1.85:1, but that’s what happened.
CSWalczak: PTA shooting most of the film in 65mm (only using 35mm for scenes where a 65mm camera would not have fit or otherwise worked) was his way of making a statement about the current state of digital cinema. If one may never be able to work with film again, especially if one is only making a film every five years now, why not go out on the format with something special?
RogerA, while more than half of The Master was shot in 65mm, using Kodak 5201, 5207 and 5213 stock, the remainder was shot in 35mm.
According to the Maya Cinemas web site, the location is now being called the Century Mall 16. From the showtimes, it looks like 12 of the auditoria are now open.
The Village East Cinemas website used to have a rental pricing chart which listed the seating capacity of each theatre. According to that chart, the main house has (or had, in 2003) 444 seats.
Theatre 3 has 416 seats. It and its upstairs twin #10 are the two largest auditoria in the Arclight part of the complex.
Seating at the Sundance Sunset has been reduced from 836 (230/131/131/150/194) to 606 (177/98/97/113/121).
Theatre projection is only as good as the equipment used and the talent trained to use it.
It’s obvious Westwood is a dead zone for moviegoing. From 10 commercial movie theatres with 19 screens just ten years ago to three single screeners today, with nary a sellout at any of those houses no matter what is playing is proof of that.
The moviegoing public today would rather go down Westwood Blvd. a mile or so and go to a certain twelve-screener with smaller rooms with smaller screens, because there is more and cheaper parking closer to the building, more things to do near the theatre and a nice wine bar right there in the lobby. Or they’ll go a couple miles down Santa Monica Blvd. to a certain fifteen-screener with smaller rooms and smaller screens, because there is more and cheaper parking closer to the building, more things to do near the theatre and a place to have beer and wine next door to the theatre.
If they come back to the IPic Theaters at Avco Center in 2013, it’ll be solely because there isn’t anything else like it in the area, because it’ll be expensive to keep the kids and tightwads out, and they’ll be beer and wine right there at your seat.
The plain and simple truth is, exhibitors go where the patrons go. If people didn’t want dinner theatres, there wouldn’t be so many dinner theatres opening. If the people didn’t want the screening lounge seating with plush leather sofas and love seats, there wouldn’t be so many of these types of auditoriums being converted.
Westwood’s issues with theatrical exhibition could be fixed in a heartbeat, if those in charge of Westwood Village wanted those changes. But they don’t. They don’t want the excessive traffic problems of the 1970s, 1980s and 1990s. They don’t want an Arclight-style setup for the Bruin or Village. They don’t care if the Crest or the Festival ever open again or they get torn down like the National and left as unused plots of land.
It’s easy to sit on the sidelines and bemoan what’s wrong with the exhibition industry. The Avco wouldn’t be where it’s going now, and the Crest and Festival where they remain, if the business supported their staying open in their previous states.
Oops, forgot one more link. Photos from the final stage of refurbishment, courtesy the San Jose Mercury News.
Time to update the venue.
The Maya Cinemas Pittsburg 16 opens its doors tomorrow, August 3rd.
Over 20 years? Try over 30! I remember when I was a kid, I was so excited to have a new movie theatre within biking distance of my mom’s house. But the one and only movie I ever got to see there was the original Raiders of the Lost Ark in 1981, because my mom moved to Santa Cruz a few weeks later. I don’t remember much about the venue, but I was amazed it stayed open as long as it did, especially with the Arclight opening right down the street a couple years ago.
Grauman’s Chinese. Not opening day, but opening week. Tuesday or Wednesday afternoon. Sat almost on the very end of the left side of the theatre, maybe seven rows from the screen. The greatest movie moment that nine year old boy had to date. Saw it at least fifteen more times that summer.
As chance would have it, one of my friends from school was one of the first families to have a VHS player, and somehow his dad had gotten ahold of a top-quality bootleg tape of Star Wars. He lived right across the street from school, so every day after school for an entire year, we’d rush over to his house and watch Star Wars. We easily watched it three hundred times.
Over the years, I’ve had copies of the original 1984 CBS/Fox VHS release, the 1993 Definitive Collection laserdisc and the 2006 Limited Edition DVD, and I will not be buying the Blu-Ray or any other future edition unless it includes a new hi-def scan of the original movie I saw at Grauman’s Chinese in 1977.
“I don’t know.”
That’s the most common answer I get from people I remove from my theatres for texting during the movie, when I ask them why they spent money on a movie and then kept doing something they could be doing for free somewhere else.
The Brenden Pittsburg 16 closed after 22 years this past Sunday. Maya Cinemas is supposed to be reopening the building by Memorial Day.
There must be a sponsored fund that pays out to anyone who will write an article about how “The Sky Is Falling!” for theatres that have not yet converted to digital.
The writing was on the wall about digital cinema several years ago, and every theatre still open today that was open then has had the same amount of time to prepare for the inevitable.
Chris has obviously never been to the Royal. :)
When I first started working at the Del Mar in 1986, the theatre’s GM at the time, Joe, gave me a ~80 page thesis paper done up by a UCSC student about the history of the Del Mar Theatre, for its 50th anniversary. I may still have it in storage somewhere, but considering some of my stuff may still be in storage in Los Angeles at my dad’s place, it might take a while to locate.
Except for the fact that, by the time I moved to New York City on 9/9/01 (two days before the original election date for the Mayoral race that would eventually elect Bloomberg), the Disneyfication of Times Square was pretty much concluded.
The Empire 25 as it’s stood for the past dozen years really isn’t much of a cinema treasure. It was an interesting experiment that didn’t work out as well as it could have, aesthetically. As a powerhouse grosser, it obviously has worked out extremely well, and in the end, that’s what a movie theatre is supposed to do. Make money.
I don’t know if I would call 2.2 miles “practically around the corner,” Chris. But then, I never realized the Landmark is 1.5m from the Crest. I thought a mile was stretching it.