David, the original HOBO TYPE on the OLYMPIA marquee was the ABC Florida State Theatres' trademark. Just look at the ads from the sixties and seventies.
Thanks to Facebook contributor Steve Abraham.
https://www.nytimes.com/2019/12/13/nyregion/new-plaza-cinema-uws.html?nl=todaysheadlines&emc=edit_th_191215&fbclid=IwAR1M93M8zH45JrXxe9xWbg4QsSFtmNKj36cL-MSJjYieidUaNo_fxk7xJc0
70mm usually refers to the actual film stock width shown by the theatre. A film shot in 35mm could be blown up for 70mm projection. The soundtrack strip on the 70mm film was also superior in quality. The Fresh Meadows multiplex, for example, has fairly small screens but the quality of a 70mm projection in the same complex was visibly superior in sight and sound to the 35mm screen, although not so different in size.
“SCENT” was the original in 70mm Smell-o-Vision. Since the film bombed and was somewhat of a travelogue mystery/comedy, it was re-edited and blown up for Cinerama release as “Holiday in Spain”. That also failed. The version shown on TCM was the Cinerama version but it seemed to have some 70mm scenes added in from the original.
This opened in 1989. The UA Movies at Pembroke Pines opened in 1986.
This location was a General Cinema house.
I worked in the cinema industry in Miami from 1974 to 1990 and I never heard of them. Hornstein was the name I remember for all projection products.
David, the original HOBO TYPE on the OLYMPIA marquee was the ABC Florida State Theatres' trademark. Just look at the ads from the sixties and seventies.
Thanks to Facebook contributor Steve Abraham. https://www.nytimes.com/2019/12/13/nyregion/new-plaza-cinema-uws.html?nl=todaysheadlines&emc=edit_th_191215&fbclid=IwAR1M93M8zH45JrXxe9xWbg4QsSFtmNKj36cL-MSJjYieidUaNo_fxk7xJc0
It closed in 1992.
https://www.facebook.com/picturehouses/videos/1049749945357841/UzpfSTY5NzEyODMzNToxMDE1Nzk2ODM5Mzc1MzMzNg/
Cineworld Picturehouse restore in place.
I think Disney has their eye on AMC. https://variety.com/2019/film/news/paramount-antitrust-consent-decrees-movie-business-analysis-1203409589/
According to the Sunday NY Times, the next Netflix film (“ATLANTICS”) will open at MOMA.
So, no one who sat in the tiny uncomfortable seat of a Broadway theatre for a three hour and 29 minute movie has any comments?
That’s a good question for any Hollywood studio ever.
Netflix' PR guy said that quick service to their subscribers was more important than boxoffice revenue even on a national level.
Astyanax, my NYT ad lists the Paris today as it did Sunday. The major chains demanded a 90 day theatrical window and Netflix refused.
70mm usually refers to the actual film stock width shown by the theatre. A film shot in 35mm could be blown up for 70mm projection. The soundtrack strip on the 70mm film was also superior in quality. The Fresh Meadows multiplex, for example, has fairly small screens but the quality of a 70mm projection in the same complex was visibly superior in sight and sound to the 35mm screen, although not so different in size.
Walter Reade’s wife sponsored the Lincoln Center screens for several years.
It re-opened as a sixplex but Cineplex Odeon opened a few screens while work was still going on in the others.
Sony Dynamic Digital Sound, a little known industry gimmick also know in the industry as “Still Doesn’t Do Shit”. SDDS.
I saw “ONCE UPON A TIME..” and “GOLDFINCH” here and didn’t see any bedbugs or rodents. I guess they only show up for STAR WARS and MARVEL movies.
And may this continue to happen more often.
Are Netflix' Paris and Belasco projects the ‘last hurrah’ or a resurgence of public cinema
“SCENT” was the original in 70mm Smell-o-Vision. Since the film bombed and was somewhat of a travelogue mystery/comedy, it was re-edited and blown up for Cinerama release as “Holiday in Spain”. That also failed. The version shown on TCM was the Cinerama version but it seemed to have some 70mm scenes added in from the original.
American.
“HOLIDAY IN SPAIN” opened here as “SCENT OF MYSTERY” in Smell-o-Vision, but not in Cinerama. I don’t believe “THE GOLDEN HEAD” ever played Manhattan.
Al Schwartz and Michael Landis were all about the money and could care less.