Cinerama Dome and ArcLight Hollywood

6360 Sunset Boulevard,
Los Angeles, CA 90028

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Showing 201 - 225 of 1,228 comments

RogerA on November 23, 2012 at 12:07 pm

Pulling Twilight out of the main house to put it in two smaller houses allows them to schedule twice as many shows, giving patrons a larger choice of showtimes. The Arclight has much higher standards than most of the other chains like AMC. There are not many theaters left that can run 35mm 70mm and digital. Of course there is always someone who will bitch and complain.

Cliffs on November 23, 2012 at 1:53 am

BTW, if you want to see Arclight’s incompetence in action (as well as their continued abuse of the Dome as a 3D trash receptacle/extortion tool), they’ve now placed Life of Pi in their in 3D only. They’ve also given it a longer Dome run than either Skyfall or Twilight had. I’m not exactly a Twilight fan, but why in the world a theater would pull the #1 or #2 movie out now from their premiere house to make way for the #6 opener speaks to their desire to cram 3D in there every chance they get (despite numerous complaints from many). I get wanting to diversify the programming in there, but why are they not opening Hitchcock, considering it’s an exclusive with only 2 other theaters in town? Oh, right… cause that’s not in 3D.

Arclight’s become a joke that only cares about squeezing a few extra dollars out of people.

Cliffs on November 22, 2012 at 12:55 am

Because Arclight isn’t what they were 10 years ago when they started. At the birth of Arclight, they were about premium presentations and being a place where movie fans could congregate. Now (and ever since they opened all of the other Arc"LIGHTS" (Sherman Oaks, Pasadena, Beach Cities, La Jolla), they’ve become nothing more than a slightly upscale chain. While they have a historic screen in the Cinerama Dome, they instead insist on using it to extort 3D surcharges (when 3D looks TERRIBLE in there) and would rather run Resident Evil:Retribution 3D for 40 people on a Monday night than try and run something unique and worthy of that screen. I saw a special 35mm screening of The Fly in the Dome a few years ago with Cronenberg doing a Q&A afterwards (on, I think, a Tuesday night) and it was sold out (or nearly). But now, anytime they show Raiders or Ghostbusters or E.T., they show it in one of the standard auditoriums. Occasionally they do good work and have a Cinerama marathon (which, from what I could tell, was EXTREMELY successful) or the run of Kubrick movies they did not too terribly long ago, but for the most part they’ve been abusing what that screen could/should really be.

Flix70 on November 15, 2012 at 11:00 am

I see the Aero Theatre in Santa Monica is screening a new 4K restored print of Lawrence of Arabia on Sun., Nov 25 for its 50th Anniversary. Why in the world is this not screening at the Dome? This is a landmark film that truly needs to been seen on the largest screen possible. Arclight’s actions, or lack there of, are beginning to mirror those of Lakers owner Jim Buss: consistent head-scratchers.

Manwithnoname on October 25, 2012 at 2:00 pm

In addition, if you reserve online and are an Arclight member ticket are $1 less. Additionally,with rare exception prices are not increased for rare screenings. During the recent Cinerama festival regular prices prevailed. I saw 3-strip Cinerama for less than $13 and also got my favorite seat. I do qualify for the senior discount now but even without that what a bargain for what you get.

RogerA on October 25, 2012 at 12:50 pm

A seat is bought for each performance and can be purchased online or at the box office. It is first come first serve and one can book far in advance. The ticket can be printed out at home allowing you admission so need to even go to the box office. It is worth the extra couple of dollars to get the seat you want and not have to fight long lines and pushy teenagers.

bigjoe59 on October 25, 2012 at 12:44 pm

Hello From New York City-

its interesting reading the various comments about the Cinerama Dome’s reserving seats policy. my question is exactly how does it work? one of comments makes it seem as if you can reserve a particular seat you like forever and ever. but i don’t suppose you can actually do that. so if you find a particular seat just right for you how can you make sure you get it for every film you want to see at the Dome? that’s the part i’m a bit fuzzy about.

also since i;m sure the being able to reserve a seat costs more how do people feel about that? regular movies in Manhattan cost $13.50-$14 which is already way to high so who would want to pay extra?

also do people who use the Dome’s reserved seating policy do so for every film or only for films they know will have a line around the block?

Cliffs on October 24, 2012 at 7:23 pm

Agreed Flix70. Reserved seats in the Dome are the best thing ever. I have 2 specific locations I like to sit and reserved seating insures I have the seats I want without having to wait (sometimes hours) to get them. When we went to Grauman’s for the final Harry Potter (and this was before they moved to reserved seating there) we arrived around 9:30 for the midnight show and were already down Hollywood Blvd and around Orange. When we were finally let in, there was row after row of great seats covered with long Harry Potter scarves because 2 or 3 people were staking claim to nearly entire rows for friends that hadn’t arrived yet. My friend and I (who, again, both arrived 2+ hours early were relegated to the back corner, second from last row. I’ve NEVER, in the 100+ times I’ve been to the Arclight, had a bad seat there. Not once. To me, that’s why reserved seating is so great.

RogerA on October 24, 2012 at 12:35 pm

Movies just are not the event they used to be! But the Arclight and the El Capitan do prove that showmanship is not dead.

Flix70 on October 24, 2012 at 11:48 am

I like reserved seating. It just doesn’t guarantee you a seat, it guarantees your seat. I’m sure everyone has a favorite place to sit in a theater, especially at the Dome. Reserved seating guarantees my seat remains my seat.

I agree we’ve lost the pageantry of going to the movies. I do think, however, the Dome is the only theater in town offering some of that lost experience. Their curtain stays closed, we’re treated to classic film scores before the show and with the exception of trailers, there’s no on-screen advertising. For that, I’d pay a premium price every time.

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CSWalczak on October 9, 2012 at 2:04 pm

It may be just my opinion, but “reserved seats” as used today does not carry the same cachet as it did in the roadshow era, especially when everything else about the today’s showings are quite ordinary – no screen curtains, no overtures, no intermissions, no exit music, no souvenir books, etc. The notion has lost much of its prestige.

The only advantage to having a reserved seat these days is that it assures you a seat at a special or likely-to-be-crowded showing. One pays a premium price but that does not always translate to a premium experience either in terms of the film or the ambiance. I have paid for a reserved seat tickets lately only to find the theater three-quarters empty.

jsittig on October 9, 2012 at 1:03 pm

Everything the Dome played between opening and July 4, 1971 was reserved seat. Last reserved seat engagement was SONG OF NORWAY, which opened November 1970 and ran for 35 weeks. First general release film was BLUE WATER, WHITE DEATH. The Cinerama Dome played Los Angeles County exclusive engagements until August 15, 1982. The last exclusive was ABEL GANCE’S NAPOLEON. We occassionally played an early release exclusive like EVITA. APOCALYPSE NOW which opened in August 1979 was reserved seat the first 4 weeks. Since the reopening of the Dome in March 2002 as part of ArcLight, every film, every day is reserved seat.

CSWalczak on October 8, 2012 at 7:44 pm

I do not know of any on-line list that shows all reserved seat engagements in the LA area, regardless of format. The Coate/Kallay lists I cited above show all 70mm showings (regardless of any particular 70mm process; it also includes films exhibited in 70mm even if they were 35mm blowups) that they could identify; there is a list for each year from 1955 through 2012. If the film was shown on a reserved-seat basis, this is noted within the list for each individual year in addition to the theater showing the film and other data.

The Wikipedia article on films exhibited on a roadshow basis has a lengthy list of films shown that way from the 1910’s through the 1970’s. It does not indicate which of these were specifically shown a roadshow basis in LA, but I am sure that as the movie capital of America, I would suspect that many, if not most of them, were. Certainly there were 35m films run on roadshow basis in NYC and LA that did not get this treatment elsewhere, but it may not be always easy to identify if a particular film was run on a two-a-day roadshow basis in any particular city unless one is able to check newspaper archives or releasing studio records.

bigjoe59 on October 8, 2012 at 2:41 pm

Hello To C.S.Walczak-

thanks for the info. after posting the note a thought occurred to me. from its Nov.‘63 opening to the release of the last “in Cinerama” film “Krakatoa East of Java” the only theater in the
Hollywood area other than the Dome capable of showing films “in Cinerama” would have been the Warner/Pacific up on Hollywood Blvd. so with the 9? single lens Cinerama films released from '63 thru '69 plus re-issues of the original 3-strip films i figured the Dome didn’t have the time to host any other reserved seat engagements. this is especially true since when first built the Dome could only show single lens “Cinerama” films. but apparently it did find the time. interesting.

also do you know of a website that lists all the reserved seat engagements in the L.A. area from the Oct. 1955 opening of “Oklahoma” to the Dec. 1972 opening of “Man of La Mancha” after which the studios dropped the policy regardless of what the film was in(Cinerama,70MM,Panavision,35mm etc.)? thanks in advance.

CSWalczak on October 8, 2012 at 1:29 pm

Looking at the lists compiled by Coate and Kallay at the website, I noted at least two: “Camelot” (run began 11-02-67) and “Paint Your Wagon” (run began 10-23-69). The list includes only those films presented in 70mm, so it would not include any 35mm film shown on a reserved seat basis there during those nine years.

bigjoe59 on October 8, 2012 at 12:33 pm

Hello Again From NYC-

i thank my fellow posters in L.A. for replying to my posts. i have a new question for you.

the studios dropped the use of the two a day reserved seat engagement policy after the Dec. 1972 release of “Man of La Mancha”. now the Dome opened Nov. of 1963 with “Its A Mad Mad Mad Mad World”. so in the 9 years the Dome existed while the studios were still using the policy did the theater host any reserved seat engagements of films other than those presented “in Cinerama”?

Bud K
Bud K on October 6, 2012 at 1:11 pm

I also attended the Festival and it was a wonderful experience watching the original films restored and presented in digital showed us that digital is good and new and glorious adventures are still to come, Watching “the Brothers Grimm” brought me to tears at times it was just wonderful, Listening to the laughter during Mad Mad continues the joy of a full theater – you become part of the movie and “This is Cinerama"
and "in the Picture” being with the guys that we’re there when it started and watching the new film one simple word describes the presentations and the Festival “JOY” to John, Dave, the best crew in the booths and the Management and staff of Pacific and the Arclight Cinema’s THANK YOU, THANK YOU, THANK YOU

Chris Utley
Chris Utley on October 5, 2012 at 8:55 pm

I echo the above sentiment. Best wishes, Mr. Sittig.

I also attended the Sunday night showing of “This Is Cinerama” and stayed for the 3 strip short film In The Picture. Epic epic night!

RobertAlex on October 4, 2012 at 12:42 am

Thank you John Sittig for the fantastic Cinerama Festival this week. I attended This is Cinerama on Sunday night and just got home from seeing IAMMMMW in 70mm. Sunday was sold out and tonight was close it it. It was fantastic to see these great films (well ok, TIC is not that great, but it is fun) presented how and where they should be shown!

It was announced Sunday that you will be retiring, and I wanted to personally thank you for decades of the best projection and sound possible! Thank you for your dedication and hard work on restoration so people like myself in 2012 can actually see Cinerama movies in 3 strip Cinerama! Some of my most treasured memories happened on your watch at the Dome over the past few decades, and I wish you much happiness in your retirement!

Bill Huelbig
Bill Huelbig on October 3, 2012 at 8:29 pm

Seeing The Wonderful World of the Brothers Grimm in Cinerama was one of the great movie experiences of my life. Any flaws in the print were so easy to overlook when the film as a whole was so beautiful. If only George Pal had lived to see this show. His love of storytelling was on display in every scene. I only hope some of his surviving family members were aware of it.

dickdziadzio on October 2, 2012 at 10:48 am

When I first saw TIC in Boston in 1960, the projectionist dropped a hinged sephia filter in front of the lens when that segment came up and quickly removed at the seqment end. Those segments had been photographed in black @ white in late 1949.

bigjoe59 on October 2, 2012 at 9:48 am

Hello to J. Sittig-

i just watched the blu-ray disc of the restored remastered “This Is Cinerama”. i quite enjoyed it
and i have two questions- thing i liked about the restored remastered blu-ray disc released Sept. of ‘08 of “How The West Was Won"was that the lines between the panels were virtually eliminated. yet with TIC that was not done. might i ask why?

2.after watching the film first without the commentary i wondered why the Long Island church choir segment was in sepia rather than Technicolor as was the rest of the film. when i watched the film again with the commentary my question was answered by the fact this scene was not shot for TIC but was a test scene shot by Waller to get backing for TIC. of course the sepia isn’t changeable but couldn’t that scene have been restored/remastered a bit more so it had the sharp crisp crystal clear image of the rest of the film?

Manwithnoname on October 1, 2012 at 9:45 pm

Having now attended 4 films at the Cinerama festival here is a quick rundown: “Brothers Grimm” was a decent looking print and the only known 3-strip in existence. Apparently not easy to run as there were technical difficulties but that can happen and I do not fault anyone. In attendance were Russ Tamblyn, Rita Moreno and George Chakiris. “Search for Paradise” could have been great and was flawlessly presented. However, even though in 3-strip the print was pink which spoiled much of the grandeur. There was a song running through the film that was quite annoying and the search itself just wasn’t very thrilling. In attendance were members of composer Dimitri Tiomkin’s family. “Seven Wonders of the World” was to be digital for act 1 and 3-strip for act 2. Instead of 3-strip there was another video version spliced into the restored scenes which were blurry and headache inducing. John Sittig announced someone pretty much made a video of the film while it was running. I still enjoyed it more than “Search” however. Finally “South Seas Adventure” which was fully restored digital and looked much better than I expected. The scenes of Hawaii in the 1950s were fascinating and you can glimpse the marquee of the now demolished Waikiki Theater with “Pride and the Passion” playing. In attendance were Ramini who had a featured role and member’s of producer Dudley’s family. I was witness to the passing of the old and the wave of the future all in these 4 screenings. What a great lesson in film history and I am \glad I was a part of it. I am equally glad these films are being preserved in any format.

Chris Utley
Chris Utley on September 30, 2012 at 4:20 pm

Yep…masking is movable indeed.