Thanks Peter, someday when I am up that way again I would love to pay you a visit. I wish I lived close by so I could run some shows for you.
By the way I am afraid you'r right about the zeigfeld not running 3-D
They just don’t seem to have any interest in doing it right, what with the mess they made with those roadshow movies last time.
What say you and I go over there, and show em how it should be done. Maybe we could get Craig to let us teach them a thing or so.
WOW! What a great opportunity for the Ziegfeld to do something fun, “Dial M for Murder†in 3-D.
I guess it will never happen, but I wonder if Clearview ever even considered it, we know the prints are out there. Of course the guys in the booth would have to cover up that darn platter and run the print on reels, but surly there are some old 306 boys who remember how to run interlock 3-D and would love to do it again, I know I would. Oh well, like I said, it probably ain’t gonna happen.
Someone needs to find out what the heck they do. I imagine they have remote control of most of what goes on in the booth. They can ride the fader, which of course should NOT be done. The film makers hire professionals in sound studios like Dolby, amoung many others, to properly mix the tracks. The last thing they need is someone adjusting levels in the theatre playback. I imagine everything in the console comes from the source, which is in the booth, so who needs em? Surly someone from the Ziegfeld can tell us more.
As to the Stones interlock, I have done many of those, often in studio previews, we would run a magnetic track interlocked with the picture, rather than what is called a married print which has the picture and sound combined, but of course the playback machine is located next to the projector and interlocked.
We have a lot of pros, Rob Endres for example, who post here and I would imagine know more than I do. Someone explain the mystery of “the man behind the curtain” or console
I will always remember giving the “console guy” a piece of my mind when he commented about not needing the guys up there (pointing to the booth) “Oh,so you thread the projectors and make changeovers”,
I barked. Well….no, he sheepishly replied, but we do everything else". “Then, I replied, I suggest you not take credit for something you can’t, or are even capable of doing.
After staring him down a minute I took my seat.
Bill, you make a good point. It may have been “All the Kings Men†which is in screenings now.
I saw it and hated it, a huge disappointment. I hope the Zeigfeld stays clear of that bomb, and if you are a fan of the original you will hate this version even more.
They would be better of with the new Scorsese film “The Departed†Although I must warn you it is very violent. Nickolson’s performance, although a little over the top, is something to see.
50% of the guys who go to screenings, who are old retired folks like me, were turned of by some of it, but the current generation of movie lovers are going to eat it up. I think it would be good for the Ziegfeld.
Good one Bill!! I understand and respect what Pete is saying, but I think Dorothy’s move to the door, at the start of reel two, happens all to fast to ruin the effect of the black and white transformation to color. We all have, and are entitled to, our own opinion as to what worked best here.
Yes Pete, I saw and ran the sepia version as was bugged by why I was watching this brown muddy print instead of the crisp black and white version I was used to. All for what?? so that the 10 seconds it took Dorothy to reach the door should look the same as the Kansas footage?? Oh well… to each his own. Great debating with you!
Ok Pete, thanks for the explanation. I must say however, that when we ran the movie, as I did, with reel one on black and white stock,
the audience, as Stan said to ollie, was none the wiser :)
I guess ya hadda be there.
Thanks guys, however as I recall the effect of the changeover from reel one on black and white stock, to reel two on techniclor stock, was excelent. I still do not see the reasoning for using sepia in the first reel.
By the way my changeovers were always “smooth” :)
Mike, are you sure that was 16mm at Regal?
WB made brand new 35mm prints available for that release and yes, the imagine was small, but ratio correct. I can’t imagine why or how Regal would have shown it in 16mm
Peter, I have always thought the black and white sequences were actually shot on black and White stock, and for some reason some release prints used the sepia stock. My memory of running this film is reel one was on black and white stock. Perhaps it was done both ways. Surly someone knows the story here, more research on this is needed.
I have a qustion about “The Wizard of Oz"
I ran it in a re-release sometime in the late 50s or early 60s.
Reel one ends when Dorothy’s house lands in Oz and Dorothy approaches the door to open it to a Techniclor world.
Reel two began with her opening the door in Technicolor.
As I recall, the first reel was printed on black and white stock and not sepia. Does anyone know if there was there a sepia version as well as a black and white version of the first reel.
The last few minutes, when Dorothy returns, was also on black and white film spliced on to the end of the last reel.
OK movie buffs, what is the deal with the sepia vs black and white?
When the Syosset was triplexed, the two Todd-AO capable
Norelco 35/70 projectors were left intact and used in the upstairs #3 auditorium. Although a platter was also installed, UA projection chief Joe Kelly decided that any 70mm engagements in the
3 house would be run reel-to-reel, with a projectionist
I recieved word that Scott Bosch has returned.
Great to hear you are still saving and restoring organs Scott!
Bob,I was so sorry to hear of the closing of Waikiki #3 but happy to hear the organ has been saved. Some day I hope to visit Hilo again and visit the Palace.
CrazyBob, you are currect about the platters, most of the Jerry Lewis theatres I saw in those days used huge 35mm reels which could hold up to about 2 hours and 20 mins. The projectors had rewind capabilities, cutting back on the need to move the heavy reels.
Barry, while I was not involved in the buiding of the Amboy Multiplex, I was very much involved in the buiding of several other National Amusement locations. Hazlet, for example, took about a year from the time the drive-in was closed in September 1991 to the opening of the Multiplex in August 1992. Much work and planning is needed beyond the actual construction of the theatre. National Amusements has a first rate construction department, one that I worked very closly with over the years, and I can assure you money problems, corruption, or ineptitude, did not play a part in the construction of Amboy. It simply just takes that long.
Bill, It was quite a nice little screening room, we had 12 seats that came from the Staten Island Paramount when it was renovated, the screen came from the Staten Island Lane when they installed Cinemascope. We cut a 6x 8-foot piece, rolled it up, shelped to my house and installed it. We had two Bell and Howell projectors, and yes, we made changeovers. As I recall, an average movie was mounted on three or four reels. You mentioned the movies probably played in my basement at the same time they were in theatres, well, we had United Artists “Hole in a Headâ€, which was in Deluxe color, a week before it opened on B’way at Loew’s State. Maybe my little theatre should be listed here :)
Bill I understand why you get flustered. The best way to enjoy “Journey” was at at the Paramount in four track mag stereo.
Yes, the 16mm print was anamorphic (scope) Fox did not strike the flat letterbox versions of their movies in the initial rollout.
The 16mm prints were made at the same time as the 35mm theatre release for distribution to the the Army and Navy. We were able to borrow all the Fox films, and any other studio that used Deluxe color. I also had “The Blob” from Paramount, and “Elmer Gantry” from U.A among others. I also got my hands on “Physco” though a trade with a buddy of mine at Paramount, I gave him “Can Can”. When “South Pacific” was re-released, the prints were struck by Deluxe rather than Technicolor, so it played my basement as well.
Ed and Bill, I was working for Fox at the time and Ed is correct, it was a Fox picture, the Paramount reference is for the theatre.
I remember it well, a bunch of us from Fox went to the midnight New Years eve show. About a month later I was able to borrow a 16mm print to show in my basement.
Robert, To my knowledge it was the first and only roadshow to play there, I don’t remember how long it played, I worked the house for about 4 weeks and then left. I hope you can find the ad.
Syosset played the movie in 35mm 4 track mag sound, but Five Towns, although we received a mag/optical print, played it in 35mm optical mono. The Rivoli played it in 70mm (blowup) with six track sound.
I worked as relief projectionist when “Fiddler on the Roof” played as a hard ticket roadshow engagement day and date with the Syosset. I can’t recall the date, I remember “Fiddler” opened at the Rivoli in November 1971, however I think it opened on Long Island later in 1972, perhaps someone remembers the date.
What madness! I thought turning the hall into a basketball court was bad, but THIS? I will be wearing all black that day to moarn the end of whatever dignity the hall once had.
Yes Ed, the plan originally was to begin to gradually replace all the signage on the Loews houses to AMC Loews. I am not quite sure how far they have come with that.
longislandmovies, I agree with you. I wonder when the Roslyn was built. I worked the house in the late early 60s for a while, it sure was creaky, The curtain went up and down and squeeked going up and squeeked even louder coming down. But it had a lot of charm back then, with a couple of older dedicated employees like the candy lady who was in her 70s and always gave me free soda with a wink like, don’t tell the boss.
Ed, I have several friends working for the new AMC Loews, they all tell me the name is expected to remain as is. Although there was much apprehension as to what would happen to all of old Loews employeees, for the most part things have been going very well. Everyone seems very happy with what followed after the merger, Of course not everyone survived, but in most cases the in-house staffing at the Loews locations was left intact. Only a few Loews upper management positions were absorbed by AMC.
Thanks Peter, someday when I am up that way again I would love to pay you a visit. I wish I lived close by so I could run some shows for you.
By the way I am afraid you'r right about the zeigfeld not running 3-D
They just don’t seem to have any interest in doing it right, what with the mess they made with those roadshow movies last time.
What say you and I go over there, and show em how it should be done. Maybe we could get Craig to let us teach them a thing or so.
WOW! What a great opportunity for the Ziegfeld to do something fun, “Dial M for Murder†in 3-D.
I guess it will never happen, but I wonder if Clearview ever even considered it, we know the prints are out there. Of course the guys in the booth would have to cover up that darn platter and run the print on reels, but surly there are some old 306 boys who remember how to run interlock 3-D and would love to do it again, I know I would. Oh well, like I said, it probably ain’t gonna happen.
Someone needs to find out what the heck they do. I imagine they have remote control of most of what goes on in the booth. They can ride the fader, which of course should NOT be done. The film makers hire professionals in sound studios like Dolby, amoung many others, to properly mix the tracks. The last thing they need is someone adjusting levels in the theatre playback. I imagine everything in the console comes from the source, which is in the booth, so who needs em? Surly someone from the Ziegfeld can tell us more.
As to the Stones interlock, I have done many of those, often in studio previews, we would run a magnetic track interlocked with the picture, rather than what is called a married print which has the picture and sound combined, but of course the playback machine is located next to the projector and interlocked.
We have a lot of pros, Rob Endres for example, who post here and I would imagine know more than I do. Someone explain the mystery of “the man behind the curtain” or console
I will always remember giving the “console guy” a piece of my mind when he commented about not needing the guys up there (pointing to the booth) “Oh,so you thread the projectors and make changeovers”,
I barked. Well….no, he sheepishly replied, but we do everything else". “Then, I replied, I suggest you not take credit for something you can’t, or are even capable of doing.
After staring him down a minute I took my seat.
Bill, you make a good point. It may have been “All the Kings Men†which is in screenings now.
I saw it and hated it, a huge disappointment. I hope the Zeigfeld stays clear of that bomb, and if you are a fan of the original you will hate this version even more.
They would be better of with the new Scorsese film “The Departed†Although I must warn you it is very violent. Nickolson’s performance, although a little over the top, is something to see.
50% of the guys who go to screenings, who are old retired folks like me, were turned of by some of it, but the current generation of movie lovers are going to eat it up. I think it would be good for the Ziegfeld.
Good one Bill!! I understand and respect what Pete is saying, but I think Dorothy’s move to the door, at the start of reel two, happens all to fast to ruin the effect of the black and white transformation to color. We all have, and are entitled to, our own opinion as to what worked best here.
Yes Pete, I saw and ran the sepia version as was bugged by why I was watching this brown muddy print instead of the crisp black and white version I was used to. All for what?? so that the 10 seconds it took Dorothy to reach the door should look the same as the Kansas footage?? Oh well… to each his own. Great debating with you!
Ok Pete, thanks for the explanation. I must say however, that when we ran the movie, as I did, with reel one on black and white stock,
the audience, as Stan said to ollie, was none the wiser :)
I guess ya hadda be there.
Thanks guys, however as I recall the effect of the changeover from reel one on black and white stock, to reel two on techniclor stock, was excelent. I still do not see the reasoning for using sepia in the first reel.
By the way my changeovers were always “smooth” :)
Mike, are you sure that was 16mm at Regal?
WB made brand new 35mm prints available for that release and yes, the imagine was small, but ratio correct. I can’t imagine why or how Regal would have shown it in 16mm
Peter, I have always thought the black and white sequences were actually shot on black and White stock, and for some reason some release prints used the sepia stock. My memory of running this film is reel one was on black and white stock. Perhaps it was done both ways. Surly someone knows the story here, more research on this is needed.
I have a qustion about “The Wizard of Oz"
I ran it in a re-release sometime in the late 50s or early 60s.
Reel one ends when Dorothy’s house lands in Oz and Dorothy approaches the door to open it to a Techniclor world.
Reel two began with her opening the door in Technicolor.
As I recall, the first reel was printed on black and white stock and not sepia. Does anyone know if there was there a sepia version as well as a black and white version of the first reel.
The last few minutes, when Dorothy returns, was also on black and white film spliced on to the end of the last reel.
OK movie buffs, what is the deal with the sepia vs black and white?
When the Syosset was triplexed, the two Todd-AO capable
Norelco 35/70 projectors were left intact and used in the upstairs #3 auditorium. Although a platter was also installed, UA projection chief Joe Kelly decided that any 70mm engagements in the
3 house would be run reel-to-reel, with a projectionist
asigned just for that auditorium.
I recieved word that Scott Bosch has returned.
Great to hear you are still saving and restoring organs Scott!
Bob,I was so sorry to hear of the closing of Waikiki #3 but happy to hear the organ has been saved. Some day I hope to visit Hilo again and visit the Palace.
CrazyBob, you are currect about the platters, most of the Jerry Lewis theatres I saw in those days used huge 35mm reels which could hold up to about 2 hours and 20 mins. The projectors had rewind capabilities, cutting back on the need to move the heavy reels.
Barry, while I was not involved in the buiding of the Amboy Multiplex, I was very much involved in the buiding of several other National Amusement locations. Hazlet, for example, took about a year from the time the drive-in was closed in September 1991 to the opening of the Multiplex in August 1992. Much work and planning is needed beyond the actual construction of the theatre. National Amusements has a first rate construction department, one that I worked very closly with over the years, and I can assure you money problems, corruption, or ineptitude, did not play a part in the construction of Amboy. It simply just takes that long.
Bill, It was quite a nice little screening room, we had 12 seats that came from the Staten Island Paramount when it was renovated, the screen came from the Staten Island Lane when they installed Cinemascope. We cut a 6x 8-foot piece, rolled it up, shelped to my house and installed it. We had two Bell and Howell projectors, and yes, we made changeovers. As I recall, an average movie was mounted on three or four reels. You mentioned the movies probably played in my basement at the same time they were in theatres, well, we had United Artists “Hole in a Headâ€, which was in Deluxe color, a week before it opened on B’way at Loew’s State. Maybe my little theatre should be listed here :)
Bill I understand why you get flustered. The best way to enjoy “Journey” was at at the Paramount in four track mag stereo.
Yes, the 16mm print was anamorphic (scope) Fox did not strike the flat letterbox versions of their movies in the initial rollout.
The 16mm prints were made at the same time as the 35mm theatre release for distribution to the the Army and Navy. We were able to borrow all the Fox films, and any other studio that used Deluxe color. I also had “The Blob” from Paramount, and “Elmer Gantry” from U.A among others. I also got my hands on “Physco” though a trade with a buddy of mine at Paramount, I gave him “Can Can”. When “South Pacific” was re-released, the prints were struck by Deluxe rather than Technicolor, so it played my basement as well.
Ed and Bill, I was working for Fox at the time and Ed is correct, it was a Fox picture, the Paramount reference is for the theatre.
I remember it well, a bunch of us from Fox went to the midnight New Years eve show. About a month later I was able to borrow a 16mm print to show in my basement.
Robert, To my knowledge it was the first and only roadshow to play there, I don’t remember how long it played, I worked the house for about 4 weeks and then left. I hope you can find the ad.
Syosset played the movie in 35mm 4 track mag sound, but Five Towns, although we received a mag/optical print, played it in 35mm optical mono. The Rivoli played it in 70mm (blowup) with six track sound.
I worked as relief projectionist when “Fiddler on the Roof” played as a hard ticket roadshow engagement day and date with the Syosset. I can’t recall the date, I remember “Fiddler” opened at the Rivoli in November 1971, however I think it opened on Long Island later in 1972, perhaps someone remembers the date.
The 12 screen All Jersey Multiplex, which opened in 1992 on the site of the old drive-in, will close on 9/4/06
What madness! I thought turning the hall into a basketball court was bad, but THIS? I will be wearing all black that day to moarn the end of whatever dignity the hall once had.
Yes Ed, the plan originally was to begin to gradually replace all the signage on the Loews houses to AMC Loews. I am not quite sure how far they have come with that.
longislandmovies, I agree with you. I wonder when the Roslyn was built. I worked the house in the late early 60s for a while, it sure was creaky, The curtain went up and down and squeeked going up and squeeked even louder coming down. But it had a lot of charm back then, with a couple of older dedicated employees like the candy lady who was in her 70s and always gave me free soda with a wink like, don’t tell the boss.
Ed, I have several friends working for the new AMC Loews, they all tell me the name is expected to remain as is. Although there was much apprehension as to what would happen to all of old Loews employeees, for the most part things have been going very well. Everyone seems very happy with what followed after the merger, Of course not everyone survived, but in most cases the in-house staffing at the Loews locations was left intact. Only a few Loews upper management positions were absorbed by AMC.