The Ziegfeld would need to book those 70mm films from the studios, the Egyptian Theatre isn’t a distributor. The Around the World is not a new or restored print, the other two mentioned are new prints. Very doubtful that Warner, Fox, Goldwyn and the archives involved would let the films go to a platter house such as the Ziegfeld. If the Ziegfeld re-enabled their reel-to-reel system and demonstrated that they could handle the films properly, then they might consider it.
I ran Jaws at the Lafayette back in 2004 and the print was fine, Universal having struck several new prints about a year before. There’s no need for a “restoration” on that title as Universal’s negative is excellent.
I ran Jaws at the Lafayette back in 2004 and the print was fine, Universal having struck several new prints about a year before. There’s no need for a “restoration” on that title as Universal’s negative is excellent.
Yes, Jeff. There would be no issue with color fading on NbNW or Ben-Hur as they both had prints struck in recent years. Warner and the other majors are very good about not sending out faded prints any longer, but if that’s all they have they do give plenty of notice so that a programmer has the chance to change the booking to something else. I do it all the time.
Bill – I was at the same show of Lust for Life in 1986 and it was sad, but the new print of The Professionals they ran on the second half of the double-feature was spectacular.
Robert Harris can probably explain better (since he did it), but that was a scene restored back into the film in 1989. The image for the scene existed, but the soundtrack had been lost. The actors were brought in to re-dub their lines, but some of the dialogue was a “guess” because they didn’t have a reference to what was actually said. Obviously, their voices had aged a bit as well in 26 years as well.
That is sadly true, William. I’ve received several repertory prints that came directly from their “premiere” engagement in NY or LA that needed cleaning and/or repair. I’ve also been fortunate to receive a couple of brand-new prints (and newer prints that were immaculately handled). I always ship them back in the same condition, usually with a note in the can that says “Attn Projectionist – this print is new, please treat it with extra care.” But I have also had the sad experience of getting the same print back two years later with more than normal wear & tear on it.
While a nice spot, the Metro does not have enough space for more than 2 screens, which makes it too big of a risk financially. The basement storage area could be converted to additional small screening areas, but to make it building-code compliant would cost a fortune. The current equipment and seats have been or are being removed shortly from the Metro.
While I appreciate the sentiment Bob F, I wouldn’t like to commute to Manhattan. Although for the chance to run 70mmm… :)
The things Robert Harris posted about are what I strive for with my film series at the Lafayette and should be what everyone wants to see at any venue. I applaud the Ziegfeld’s choice to run a classic film series (and I know a just a bit about what that entailed on their part) and hope they do it again in the slow times, but they can take a few extra steps next time to ensure that things are as close to perfect as possible. I’m glad they’ve received much positive feedback and I hope they take the suggestions made in the spirit they are intended.
Maybe “ruined” is too strong a word. How about damaged an expensive reel of film, thereby spoiling the show. The film had been running for days without incident, other than the unforgivable sound sync issue, it is extrememly unlikely that it simply “broke”.
If I were Sony, they’d never get another 70mm print until they demonstrate proper maintenance and training of staff.
I’m sure Sony Pictures will be so very happy to hear that the Ziegfeld ruined a reel of one of their expensive 70mm prints of Lawrence of Arabia and then let an audience member fix the problem. Way to go!
Don’t forget that we have Howard Hawks' SERGEANT YORK on tap for tomorrow morning at 11:30. We’ve gotten what appears to be a brand-new print from Warner Bros., so it should look spectacular.
The new 35mm prints of 2001 are not in the same ‘scope ratio as the other films you mentioned. When they made these new prints, WB kept the original 70mm aspect ratio (about 2.20:1 as opposed to the standard 35mm 'scope ratio of 2.35:1) by putting the vertical black pillars on the left and right. When running this film. it doesn’t completely fill the width of the 'scope screen. When I ran it at the Lafayette in 2004, I was fortunate to be able to manually adjust the side masking on my screen and fit the image perfectly. I would guess that the Ziegfeld does not have manually-adjustable masking for something non-standard or they didn’t notice. As for the intermission – or lack thereof – that is pretty inexcusable.
Regarding folks chatting – I find we sometimes get it at the Lafayette when there’s a large senior citizen contingent.
Bob – thanks for the kind words regarding my shows at the Lafayette.
PKoch – the Lafayette Theatre is in Suffern, New York, about 45 minutes by car from Manhattan. You can get there by NJTransit train from Penn Station in about an hour.
Thanks for the kind words, Jack. The print of Rebel was new with a great stereo soundtrack, it’s a shame that the negative for the movie has faded a bit, making new prints have slightly off color.
Don’t forget the Salute to Movie Musicals weekend this Friday – Sunday. I’ve just finished inspecting the prints and they look great. A surprise – the print of GIGI has a Dolby Stereo soundtrack derived from the original magnetic stereo mix – it sounds terrific!
They handed out a notice last weekend – they are closing for two weeks to install new seats, carpeting, concession stand, and to re-decorate the lobby area. I’m hoping they also replace the torn and dirty screens.
The print that Columbia/Sony currently offers of CE3K is the “Definitive Edition”, which is a re-editing of the original 1977 release, the 1980 “Special Edition” release, with some additions and deletions from both; it was created by Spielberg in 2001. It’s the version that Spielberg has said he prefers (I disagree, I think the original ‘77 version was the best) and is the only one they offer for theatrical play.
Probably not, Howard. The film is regular 35mm Panavision, IMO the biggest reason for 70mm on a film such as that was the six-track stereo sound. The new 35mm prints that Columbia/Sony have are in SDDS/DTS/Dolby Digital sound and will give you 95% of the impact of the 70mm sound.
It is highly likely that the Jersey will be showing the same print that I am running at the Lafayette of Rebel without a Cause; it was struck in Feb. 2005 in the 2.35 ratio and Dolby SR sound. I don’t believe the Jersey has mag stereo capability, nor are there any Rebel prints in circulation with good color and mag tracks.
I believe you are correct, Bob. I just eyeballed the new print of Rebel without a Cause that I’m running this Saturday, March 4, at the Lafayette in Suffern and it appears to be the standard 2.35 ratio.
Thanks for the correction re: Vertigo. That’ll teach me to trust my memory rather than looking it up! :)
Now I’ll have to start my disagreement with Robert A. Harris all over again regarding the awful stereo sound remix on Vertigo, he claimed DTS had nothing to do with it, while the DTS people I spoke to at the premiere told me specifically that DTS contributed their portion of the funding for the “restoration” only if the film had a “loud” multi-channel mix rather than the correct and proper mono mix.
The Ziegfeld would need to book those 70mm films from the studios, the Egyptian Theatre isn’t a distributor. The Around the World is not a new or restored print, the other two mentioned are new prints. Very doubtful that Warner, Fox, Goldwyn and the archives involved would let the films go to a platter house such as the Ziegfeld. If the Ziegfeld re-enabled their reel-to-reel system and demonstrated that they could handle the films properly, then they might consider it.
Gary/Ziegfeld Man:
I ran Jaws at the Lafayette back in 2004 and the print was fine, Universal having struck several new prints about a year before. There’s no need for a “restoration” on that title as Universal’s negative is excellent.
Gary/Ziegfeld Man:
I ran Jaws at the Lafayette back in 2004 and the print was fine, Universal having struck several new prints about a year before. There’s no need for a “restoration” on that title as Universal’s negative is excellent.
Yes, Jeff. There would be no issue with color fading on NbNW or Ben-Hur as they both had prints struck in recent years. Warner and the other majors are very good about not sending out faded prints any longer, but if that’s all they have they do give plenty of notice so that a programmer has the chance to change the booking to something else. I do it all the time.
Bill – I was at the same show of Lust for Life in 1986 and it was sad, but the new print of The Professionals they ran on the second half of the double-feature was spectacular.
Beth:
Robert Harris can probably explain better (since he did it), but that was a scene restored back into the film in 1989. The image for the scene existed, but the soundtrack had been lost. The actors were brought in to re-dub their lines, but some of the dialogue was a “guess” because they didn’t have a reference to what was actually said. Obviously, their voices had aged a bit as well in 26 years as well.
That is sadly true, William. I’ve received several repertory prints that came directly from their “premiere” engagement in NY or LA that needed cleaning and/or repair. I’ve also been fortunate to receive a couple of brand-new prints (and newer prints that were immaculately handled). I always ship them back in the same condition, usually with a note in the can that says “Attn Projectionist – this print is new, please treat it with extra care.” But I have also had the sad experience of getting the same print back two years later with more than normal wear & tear on it.
While a nice spot, the Metro does not have enough space for more than 2 screens, which makes it too big of a risk financially. The basement storage area could be converted to additional small screening areas, but to make it building-code compliant would cost a fortune. The current equipment and seats have been or are being removed shortly from the Metro.
While I appreciate the sentiment Bob F, I wouldn’t like to commute to Manhattan. Although for the chance to run 70mmm… :)
The things Robert Harris posted about are what I strive for with my film series at the Lafayette and should be what everyone wants to see at any venue. I applaud the Ziegfeld’s choice to run a classic film series (and I know a just a bit about what that entailed on their part) and hope they do it again in the slow times, but they can take a few extra steps next time to ensure that things are as close to perfect as possible. I’m glad they’ve received much positive feedback and I hope they take the suggestions made in the spirit they are intended.
Maybe “ruined” is too strong a word. How about damaged an expensive reel of film, thereby spoiling the show. The film had been running for days without incident, other than the unforgivable sound sync issue, it is extrememly unlikely that it simply “broke”.
If I were Sony, they’d never get another 70mm print until they demonstrate proper maintenance and training of staff.
I’m sure Sony Pictures will be so very happy to hear that the Ziegfeld ruined a reel of one of their expensive 70mm prints of Lawrence of Arabia and then let an audience member fix the problem. Way to go!
Don’t forget that we have Howard Hawks' SERGEANT YORK on tap for tomorrow morning at 11:30. We’ve gotten what appears to be a brand-new print from Warner Bros., so it should look spectacular.
Hope to see everyone there!
Also check the forums on www.bigscreenbiz.com, a resource site for independent theatre owners.
Irv:
The new 35mm prints of 2001 are not in the same ‘scope ratio as the other films you mentioned. When they made these new prints, WB kept the original 70mm aspect ratio (about 2.20:1 as opposed to the standard 35mm 'scope ratio of 2.35:1) by putting the vertical black pillars on the left and right. When running this film. it doesn’t completely fill the width of the 'scope screen. When I ran it at the Lafayette in 2004, I was fortunate to be able to manually adjust the side masking on my screen and fit the image perfectly. I would guess that the Ziegfeld does not have manually-adjustable masking for something non-standard or they didn’t notice. As for the intermission – or lack thereof – that is pretty inexcusable.
Regarding folks chatting – I find we sometimes get it at the Lafayette when there’s a large senior citizen contingent.
That’s pretty much how I ran it at the Lafayette in 2004, Vito.
We had Gary Lockwood and Keir Dullea in attendance and they thought the show was great.
From what I’ve heard, the Metro will most likely not reopen as a theatre.
Bob – thanks for the kind words regarding my shows at the Lafayette.
PKoch – the Lafayette Theatre is in Suffern, New York, about 45 minutes by car from Manhattan. You can get there by NJTransit train from Penn Station in about an hour.
Thanks for the kind words, Jack. The print of Rebel was new with a great stereo soundtrack, it’s a shame that the negative for the movie has faded a bit, making new prints have slightly off color.
Don’t forget the Salute to Movie Musicals weekend this Friday – Sunday. I’ve just finished inspecting the prints and they look great. A surprise – the print of GIGI has a Dolby Stereo soundtrack derived from the original magnetic stereo mix – it sounds terrific!
They handed out a notice last weekend – they are closing for two weeks to install new seats, carpeting, concession stand, and to re-decorate the lobby area. I’m hoping they also replace the torn and dirty screens.
Howard –
The print that Columbia/Sony currently offers of CE3K is the “Definitive Edition”, which is a re-editing of the original 1977 release, the 1980 “Special Edition” release, with some additions and deletions from both; it was created by Spielberg in 2001. It’s the version that Spielberg has said he prefers (I disagree, I think the original ‘77 version was the best) and is the only one they offer for theatrical play.
Probably not, Howard. The film is regular 35mm Panavision, IMO the biggest reason for 70mm on a film such as that was the six-track stereo sound. The new 35mm prints that Columbia/Sony have are in SDDS/DTS/Dolby Digital sound and will give you 95% of the impact of the 70mm sound.
It is highly likely that the Jersey will be showing the same print that I am running at the Lafayette of Rebel without a Cause; it was struck in Feb. 2005 in the 2.35 ratio and Dolby SR sound. I don’t believe the Jersey has mag stereo capability, nor are there any Rebel prints in circulation with good color and mag tracks.
I believe you are correct, Bob. I just eyeballed the new print of Rebel without a Cause that I’m running this Saturday, March 4, at the Lafayette in Suffern and it appears to be the standard 2.35 ratio.
The next re-release of the Star Wars films is scheduled for 2007 with the new “converted to digital 3-D versions” that Lucas is currently working on.
Michael:
Thanks for the correction re: Vertigo. That’ll teach me to trust my memory rather than looking it up! :)
Now I’ll have to start my disagreement with Robert A. Harris all over again regarding the awful stereo sound remix on Vertigo, he claimed DTS had nothing to do with it, while the DTS people I spoke to at the premiere told me specifically that DTS contributed their portion of the funding for the “restoration” only if the film had a “loud” multi-channel mix rather than the correct and proper mono mix.
I’m not sure that’s correct, William. When the Vertigo restoration was done there wasn’t 70mm DTS which was introduced, IIRC, with Titanic in 1997.