Cinerama Dome and ArcLight Hollywood

6360 Sunset Boulevard,
Los Angeles, CA 90028

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KramSacul on December 24, 2007 at 7:06 pm

Why would anyone want to see 2001 on the Dome’s smile-vision screen?

Chris Utley
Chris Utley on December 24, 2007 at 10:44 am

I call Sherman Oaks “Arclight Lite.” It’s literally a smaller version of Arclight Hollywood – but they went too far trying to replicate Arclight Hollywood’s lobby at the Sherman Oaks location. “Cramped” is an UNDERSTATEMENT!

Cliffs on December 21, 2007 at 4:54 pm

Oh, and it appears tickets for Close Encounters have gone one sale…

At the Arclight Sherman Oaks!!!!

Hey Rizzo, does Arclight know that they actually own the Dome?

Cliffs on December 21, 2007 at 4:43 pm

Well, it looks as if the Chinese is getting Cloverfield on the 18th, so I would think Rambo in the Dome is a good bet now (which actually makes 2001 in the Dome a less likely proposition since Rambo will be in its first week). I hope 2001 was pulled from sale so that they could establish a Dome showing (although, based on Rizzo’s new info, I wonder if they are waiting to evaluate the condition of the 70mm print before committing to the screen).

Chris Utley
Chris Utley on December 21, 2007 at 11:35 am

Call me crazy, but I’m willing to give Arclight a pass if they can’t get a good 70MM print. Just as long as they boot “Cloverfield” or “Rambo” out of the Dome if only for 1 night so they can show 2001 in there.

Chris Utley
Chris Utley on December 21, 2007 at 11:32 am

My fingers are crossed…

neeb on December 21, 2007 at 5:55 am

FYI, the ArcLIght website is no longer selling 2001 tickets.
It is now in the “On Sale Soon” box.
And since the topic of 70 mm has come up…
Is there a 70 mm print of Dr Zhivago available? I thought there was one for the 1995 re-release but I’ve not seen anything since.

Cliffs on December 20, 2007 at 3:00 am

Rizzo, I’m sure your source was very clear, but the show (Jan 30th @ 8PM is now available for sale and it does NOT indicate a Dome showing. The showtime isn’t bolded and when you get to seating, it’s clearly one of the black box auditoriums. There’s also no indication at all that this will be in 70mm. The show page just has info on 2001’s AFI rankings.

However, I also bought tickets for Beowulf’s Pre-Opening Thursday Dome show about a month ago and a few days before the show, the listing suddenly became Black Box. When I called to ask about the November 15th 10PM Dome show, the first time I was told that it was still in the Dome. When I called back the next day (the day of the show) I was told that it was never for sale in the Dome. I’m fairly confident that I know the difference between the shape of the Dome and the shape of the black boxes (oh and the seats I had don’t exist in the boxes.

But the moral is, there’s no guarantee that 2001 will ultimately end up in the theater its booked for right now (for all we know, Arclight could move it to a smaller screen by Jan 30th). But I’m fairly confident, based on their track record, that 2001 will NOT be in the Dome. These AFI shows never are, especially if Arclight manages to snag either Cloverfield or Rambo.

JSA on December 19, 2007 at 9:49 pm

Well, that’s a disappointment.
Might as well head north to Seattle: “2001” will screen in 70 mm at the Cinerama early next year…


Cliffs on December 19, 2007 at 9:29 pm

Tickets are now on sale, but unfortunately it’s not showing in the Dome, but rather one of Arclight’s smaller theaters. Also no indication of a 70mm show. Arclight is continuing to become one big bust. They seem so preoccupied with their branding that they’ve forgotten why they bothered in the first place. It’s quickly becoming something quite different than “where movie-lovers belong.”

JSA on December 19, 2007 at 3:57 pm

Per the Arclight website, “2001” will screen January 30, 2008. Other goodies for the month of January include “Dr. Zhivago”, “El Cid”, “Close Encounters of the 3rd Kind” & a few more classics. Not a lot of details though.


JSA on December 14, 2007 at 3:56 pm

Thank you Rizzo, that’s great news!

KramSacul on December 7, 2007 at 9:28 am

Is Beowolf being shown on a 2k projector at Arclight? They used to have an older 1.3k DLP.

KramSacul on December 6, 2007 at 10:53 am

So essentially it’s playing windowboxed. Jeez, no wonder people would be disappointed.

Is the Village showing Beowolf like that too? I hope not.

KramSacul on November 19, 2007 at 6:53 pm

Anyone see Beowolf in digital 3-d here? I was thinking about going but heard it’s being shown letterboxed, not using the full screen. If that’s true then forget it.

neonitenick on October 17, 2007 at 8:13 pm

Thanks William. When the change occured the grosses were phenomenal and still breaking b/o records. The film played for a year and 5 months. The Palace was the first in town to convert to CinemasScope in ‘53 opening with “The Robe” in stereophonic sound, so it may be that the upstairs booth still contained the mag penthouse. But apparently they didn’t utilize it when they went upstairs with the SOM print as the soundtrack reproduction was no longer in stereo. Unless the unit was not operational? I think you offered the best explanation: the studio probably pulled the Mag print for another engagement and exchanged it for an optical print.

William on October 17, 2007 at 9:21 am

Nick it sounds plausible. But it might have been that the studio needed that 4-Track Mag print for another engagement. When the change happened was the grosses still great or just good on the business. Studios have done that by pulling the print if the grosses were falling to a point too. So if they moved that print to the upstairs booth thta booth must have had the mag penthouse on the projector since the CinemaScope conversion days in the 50’s.

neonitenick on October 16, 2007 at 8:36 pm

Thanks William. That’s amazing! Had no idea there was so much more involved regarding licensing fee/screen size/print exhibition. I think your explanation may clear up a mystery I’ve been wondering about since 1965 when “The Sound of Music” first opened.

They projected the print (I’m assuming it was 35mm ) from the Cinerama booth on the main level. The screen was masked at the top and sides for 35mm Scope, and I recall changeovers being made. I’m guessing the three Cinerama projectors had already been stripped out, and the print was being projected on the recently installed 35/70mm projectors. I do recall the soundtrack being in stereo.

Now here’s the mystery: after the first few weeks of showings they suddenly switched from the downstairs booth to the old upstairs 35mm booth. There was no change in screen size, and the only noticable difference was the sound…it was no longer in stereo.

My guess is that a print with a stereo soundtrack was more expensive to lease so once they got the crowds in and were assured of an extended long run, the decision was made to save some dollars and exchange the stereo print for a monural print. As such there was no longer any reason to project print from the 35/70mm booth. That’s my take on the switch. Sound plausible?

William on October 16, 2007 at 5:27 pm

Well “2001” was photographed in Super Panavision to begin with and Presented in Cinerama. MGM made a licensing deal with Cinerama for three pictures (2001, Ice Station Zebra, Grand Prix) tobe presented in Cinerama. And that’s what the logos say on most of the films. There was a similar licensing agreement with the D-150 process. In the projection booths of the Cinerama and D-150 houses there was masking setting control buttons. That controlled the size of the screen to be used. There was flat/scope/70MM and then the full screen setting for Cinerama. So if the producing company/studio paid that special licensing fee they could advertise and use the whole Cinerama name and screen for their films. So there was a dual-invertory of prints of these titles. So later reissues of those titles many not carry the Cinerama logo on them.

neonitenick on October 16, 2007 at 4:59 pm

Bill and Roadshow:
Your 2001 Cinerama postings brings to mind a big dissapointment. When 2001 opened in ‘68 it played at the PALACE here in Tampa in 70mm Cinerama, and it was breathtaking to see AND hear. The film was brought back at least two additional times in 70mm within 2 years after the initial roadshow engagement. By now the Cinerama logo had been replaced by Super Panavision.

The last time the film played it was part of “MGM’s Fabulous Four” series (Gone with the Wind, Dr. Zhivago, Ryan’s Daughter, and 2001.) Knowing these films had played in 70mm in years past I was anxiously chomping at the bit in anticipation of seeing 2001 once again on the big screen, although there was no mention of 70mm in the ads.

I remember thinking, “surely they can’t run 2001 in 35mm in a Cinerama theater when they have 70mm capability not to mention the big Cinerama screen!” What a rude awakening it was when the curtain parted revealing the screen had been masked down for 35mm presentation…one of the biggest letdowns for me ever in a theater. Seeing 2001 in 35mm on the same screen where it had been shown many times in 70mm was a total downer to say the least :–(

Bill Huelbig
Bill Huelbig on October 12, 2007 at 12:57 pm

Maybe we should report all this to Paul Allen, so he can get on their case. Didn’t he pay for the Seattle renovation specifically because of his fond memories of Cinerama?

exit on October 12, 2007 at 11:28 am

Exactly, Bill. As I said, Seattle patrons have been enjoying movies on the real Cinerama screen for decades. They are on the edge of inaccuracy and certainly misleading when they refer to the second screen being developed by “Cinerama architects,” They are referring to an independant company that has no relation whatsoever to Cinerama, other than being hired to revamp a theatre with that name. The way that sentence is written gives wholly undue credence to a group whose main objective was to get the real Cinerama screen out of the way.

The line about “2,000 independently angled louvered strips” was written before the screen was ever used, and at that time, the strips were not in fact angled at all. Anchoring the strips firmly in place is one thing, angling them correctly is another. The strips were attached to the top and bottom of the frame, but they are held to the frame with something elastic enough to allow them to flutter in the breeze of the AC.

The strips would have to be anchored horizontally with thin wire (often the same stuff used on fishing rods). It would take great care, and attention to detail, to anchor and align the 1" strips into proper position, and it’s not likely to have been done right if it was done by Seattle’s own staff without some kind of guidance and supervision from Cinerama experts. Just imagine the precision necessary to turn 2000 one inch strips, which overlap each other, so that they are facing straight to the front around the entire curve.

The entire setup for the two screens in Seattle was deliberately designed (by the non-Cinerama designers) for the real screen to be the lowest priority. It is a very complicated and expensive process to bring out the big screen, which guarantees that it would rarely be used. It would probably take about 2-3 full capacity houses to pay for the conversion. Seattle would need to be sure of at least a dozen full houses to be willing to pay for the switch, which would require them to close for 2 days before and after.

I would hold out no hope at all for the big screen to be used for 2001. It’s a shame, but a reality.

Bill Huelbig
Bill Huelbig on October 12, 2007 at 9:27 am

This was taken from the official Seattle Cinerama website:

“True to its namesake, the new Cinerama also features a completely restored curved screen for special presentations of 3-strip films such as "How The West Was Won” and 70mm Cinerama classics like “2001: A Space Odyssey.”

This massive, 90-foot-long, 30-foot-high screen, constructed of 2,000 independently angled louvered strips, provides a clear, brilliant picture for patrons sitting anywhere in the theater. For screenings of modern 70mm/35mm first-run movies, however, Cinerama architects developed a second screen that sits immediately in front of its massive counterpart. An impressive display of engineering, this modular 68-foot-long screen breaks down in a matter of hours in preparation for special Cinerama presentations on the larger screen."

After reading that, should I get my hopes up for “2001” on the Cinerama screen after all? It’s baffling to me to have a real Cinerama screen installed in a theater named after Cinerama, and then not to use it.

I e-mailed the theater about this yesterday and am awaiting a reply. If they’re not using the bigger screen, I won’t be going.

droben on October 12, 2007 at 4:33 am

Thanks for the commments. First off, I’m not aware how they fixed the screen so that it wouldn’t ripple. I’m guessing that each slat was attached to the bottom frame, but I could be wrong.

There are two major reasons why they are not using the Cinerama screen for the 70mm series. One has to take into consideration the time and cost of tearing down the “flat” (but still gently curved) screen. As mentioned above, it takes all day and night to do the job and I’m sure those workers don’t come cheap. And since AMC is continuing with their regular programming at the same time, films not presented in 70mm or three-panel Cinerama look absolutely
horrible on the Cinerama screen. Because of the deep curvature, a standard scope film (the Seattle Cinerama never seems to show flat films) is terribly distorted, with the most bizarre masking you’ve ever seen (I can’t really describe it in words, but trust me).

In a perfect world, the Cinerama screen would be used, but logistically speaking, it doesn’t make any sense. Still, I don’t think you’ll find a better venue for 70mm in the country.

As for the ceiling obstructing some of the Cinerama screen, this is the first time I’ve heard this complaint. If it is true, and it may very well be, the effect is minor at worse and to my eyes, never even noticed (and I’ve seen four Cinerama films (HTWWW, This is Cinerama, Cinerama’s Search for Paradise and Windjammer) on that gorgeous screen).

If any of you are planning to come up to Seattle to check out one of the films, here’s a tip regarding where to sit. The theater is split across the middle with a crossover aisle. This aisle is where the handicapped seating is. The problem is that if there are any patrons there, your view will most definitely be partially blocked if you sit in the upper half. I personally love the row just in front of the crossover aisle. There’s nobody behind you to kick your seat (handicapped seating is on a ledge at about the level of your head), and the image will fill your eyes and then some. There’s also a balcony, but unless you are in the front row, blockage becomes a problem there, too. Besides, the impact of the big screen is somewhat diminished since the balcony is rather small and, in my opinion, too far away from the screen.

Of the films being screened, I personally would go for Lawrence of Arabia. Not only was it originally shot on 65mm, you’ll get to experience the theater’s amazing sound system with the films' DTS soundtrack. And, unlike some of the AFI event films at the Dome/Arclight, there WILL be a real intermission!

2001 is also very impressive, to be sure.

As I noted above, at some point, real Cinerama will make a reappearance. The moment I hear of anything (I personally know one of the three-panel Cinerama projectionists), I’ll post on the Arclight page as well as the Seattle Cinerama page.