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There was an entire “sub-circuit” within the RKO theatre chain called “RKO International 70” that was developed in late 1963, It was designed to be a deluxe set of houses (all 70mm equipped), including locations in Denver, Boston, San Francisco, Cincinnati, Columbus, Dayton, Syracuse, Rochester and the NY Metro area. The SOUND OF MUSIC ad posted to this New Brunswick house listing is actually for the Cincinnati theatre.
They are getting their 6P Laser Projection, Dolby 3D, Dolby Atmos, and other “enhancements.”
The Seattle Cinerama will get the first permanent commercial installation of Christie’s new 4K laser digital projector in Feb. or March of 2014, replacing their current 4K Christie system. The new projector is capable of up to 60,000 lumens, and will handle both 2D and 3D presentations.
Showing THE MASTER in 70mm (commenced November 2, 2012)
The Cinerama is still running THE MASTER in 70mm (looks and sounds great!). Next three regular attractions will be CLOUD ATLAS, SKYFALL, and THE HOBBIT (hopefully in 48fps).
The Ziegfeld used to have changeover and platter capability. Has that status changed?
The new 70mm print of 2001 is on “permanent loan” to the Seattle Cinerama because they paid for the new print to be struck, thanks to theatre owner Paul Allen. Hopefully, then, the print will stay fairly pristine!
Tonight’s screening of 2001: A SPACE ODYSSEY (October 8th, 9PM) was a full house. Great to see all us old fogies lined up, entering after the screening of CLEOPATRA ended.
Having lived about 2 minutes away from this venue back in the late 70’s, I recall my team from TI attending the opening night of SUPERMAN at the Northpark II (600 seats, I think) on 12/14/78. The presentation was flawless, but it was indeed a 35mm print. The labs were way behind schedule with the 70’s on that one due to the late delivery of the final cut. NY and LA got the 70’s from day one, ‘natch. The house was upgraded with a 70mm Dolby Six-Track split-surround print about a week or so later. I did go back!
I also recall when Northpark I was upgraded with Dolby Stereo (big 1100 seater) and attended the opening day of INVASION OF THE BODY SNATCHERS there.
I did also attend the notorious, big splashy preview “premiere” (complete with searchlights) of BEYOND THE POSEIDON ADVENTURE. The packed audience literally laughed it off the screen. The horror.
WB was already writing off the investment…
I lived in Dallas not far from the Medallion until mid-Summer 1979 and it was still a single-screen theatre at that time. I saw the ALIEN sneak preview in 70mm there on 4/7/79; then saw it there again upon its release in late May.
I attended the ALIEN preview (4/6/79) at the Plitt Medallion (a spectacularly good theatre in every way). An usher peeked into the auditorium just when the chest burster scene was on the screen. He fainted. Ridley Scott (hanging out in the lobby) was pleased. Afterwards, I filled out the very extensive survey card. The next day, I was called by a market research firm in Phoenix. The rep interviewed me for THREE HOURS. And my very few issues concerning this amazing film were addressed in the final cut! And it was an advertised preview (not really a “sneak”), as there was a full-page ad in the Dallas papers with the name and all the credits and 70mm Dolby Six-Track Stereo advertised with a huge graphic.
The Medallion had the same status in Dallas as the Ziegfeld does in New York, the McClurg Court did in Chicago, the Coronet did in San Francisco, Cinerama does in Seattle (I could go on…)
All three auditoria were equipped with 70mm projection. And there were times when all three were indeed simultaneously running 70mm presentations (the good old days…)
The Sutton #2 (larger ground-level auditorium post-twinning) was one of the two theatres (gosh, the LA house slips my mind) where Dolby SR-D (Dolby Stereo Digital) was quietly (well, it was loud) beta-tested with the engagement of STAR TREK VI: THE UNDISCOVERED COUNTRY.
I attended the advertised sneak preview test screening of ALIEN at the fabulous, packed Plitt Medallion in Dallas on April 6, 1979 in 70mm. It was indeed a stunner; Ridley Scott was ensconced in the lobby. An usher peaked into the auditorium just when the chest-burster scene was onscreen…he fainted! Mr. Scott was apparently elated.
We filled out the preview cards after the screening; I was then interviewed via phone the next day for three hours, giving my reactions and recommendations on the film (there were a couple of expository issues). I was happy to see that upon release of the film, my issues had been resolved with some re-editing! The preview print that we saw had temporary “vanilla-flavored” titles as well.
There was another preview at the Creve Coeur in St. Louis the night before the Dallas screening.
I was at the Cinerama Dome in Hollywood on opening day. A very long line snaked from the entrance down Sunset and around the corner, enclosing the parking lot. An interesting aspect of this engagement was the mobile home trailer parked in the Dome’s parking lot, fronting Sunset Blvd. It was the HQ for the big “partay” for the APOCALYPSE NOW production crew! They were having a grand old time considering what an ordeal this child’s gestation had turned out to be.
The presentation in the Dome was the finest ever for that venue. The 70mm projection was flawless (except for the geometric distortions one can see at times on that deeply curved screen). The audio was remarkable; particularly the split surrounds.
At the end, the packed house was totally silent as everyone filed out through the various exits, each being handed a black program booklet with the film credits (as there were none on the film).
Coppola also had no credits on his unauthorized presentation of the work-in-progress ONE FROM THE HEART at Radio City Music Hall; another remarkable presentation that I attended.
They are installing one of the mini-IMAX setups at the Dole Cannery 18.
Ahhh…brings tears to my eyes. I attended the first show (Noon) opening day at the Dome in Hollywood after driving in from grad school in Austin, TX and picking up a fraternity brother who flew down from grad school in Berkeley. We met other “brothers” at the Dome in those two huge parallel lines. One for tix for the next show and the other for later shows. I was to buy tix for an evening show as well, since other friends couldn’t attend in the daytime. Never made it to the boxoffice in my line and gave up and went into the Dome at 11:55. Saw it again there Saturday night with a bunch of old classmates. Unbelievable lines snaking around the parking lot at 10AM to buy tix.
Also saw it at the Ziegfeld over the Holidays and at the Alabama and Town and Country in Houston. (plus some 35mm engagements like the Medallion in Dallas, which is where the film had the big sneak preview that TIME mag sneaked into and reviewed). I dunno why the terrific Medallion didn’t get a 70mm print!
Enjoyed such engagements as THE EXORCIST and TOP GUN at the National. Used to live within walking distance many moons ago.
The THX Historic thing never went to fruition at the Senator
The point is not moot, folks! Contribute to the Senator Fund on their website. There has been a big outpouring of support from the Greater Baltimore community and beyond. Half of the needed funds have been raised by the evening of 2/14. Every little bit counts…please donate at http://www.senator.com via Paypal.
Owner Tom Kiefaber has been fighting the good fight against all odds for decades now. The film distributors have been the biggest fiends in all of this situation…
I believe that the two theatres (Chinese 2 & 3) added adjacent to the main house that were subsequently razed, was in 1979, not 1999.
The last I heard, the Mann National’s seating capacity was 1112.