Bill Thanks for that ad, actually if memory serves I saw it on new years Eve, we watched it twice then joined the crowd outside in Times Square to ring in the new year. Do you have the date of that ad? Id like to be sure it was the movie we saw that new years eve.
Perhaps Warren knows the playdate
I remember the film festival, sure would be nice if they did as the ad said and have it annually. I hope the owners fix the RCMH page soon, maybe some of the older posts will have to be eliminated. Meanwhile I am sure the Roxy lovers will let us post here for a while.
Well Bill, that’s because it is an amazing theatre. I am always happy when a new thread is posted here, I can’t get enough info about this magnificent hall. A special thanks to REendres for all his contributions.
Bob, I had not realised that, it has been a long time since seeing the film in 3-D. I thought the recent showings on TCM was he same as the 3-D version. We are just going to have to get TCM to dig up the 3-D version to show. Interesting fact you shared, thanks.
I remember “The French Line” in 3-D, it did very very well.
Towards the end of the run at the Criterion, when the 3-D craze was nearing it’s end, the Criterion finished the run in 2-D. Jane wore a very skimpy outfit in the big dance number at the end of the movie and it had to be filmed with one camera at a long shot as not to show too much of Ms Russell. Today,“French Line” would be rated G
Thanks Jerry for getting his name right. Ted always had a smile and and a great disposition. You forgot to mention that great old automation board with the pins (diodes) which programmed the show,
the boys from National Cinema Service (the old RCA) were having trouble getting parts for that towards the end. You mentioned the two projectors in each theatre, the 70mm house, #7, still had the two 35/70 projectors right up to the theatre closing, for a while Ted would rotate using each of them with the platter. Did you work with Walter Titor on that installation? I was Managing Director in
1990-91.
Rob, a couple of questions if I may, regarding the 70mm 3-D sequence, Are both projectors running interlock or is the left/right image on one print. Also, What is the wattage on the 35mm lamphouses.
Lastly, when you run digital prints, where is the projector located?
and does RCMH have it’s own digital projector(s) Thanks
He will deliver the Keynote Address at the opening of VSDA’s Home Entertainment 2005, the annual convention for the home entertainment industry. Ten of the classic Jerry Lewis films(which he owns)were recently released on DVD, Jerry was involved in every aspect of their release from the films' restorations to the creation of the special material. Later this year, “Dean & Me: A Love Story.” written by Jerry will be in bookstores.
That projectionist was Ted Healy,He was one of the best, very dedicated just an all around great guy. He created an interlock for four of the auditoriums at Amboy Cinemas and kept all of the projection equipment in top condition.
Well Mike you have me scratching my head on this one. The last time I worked the original Hicksville Twin South was 9/83, which agrees with your thinking about 10/83 and 12/84. My next recollection is going there around 4/85 to work on the new booth for the six-plex. So what happened between 9/83 and 4/85 is the question I am trying to answer.I just can’t seem to get it out of my head that it was converted in 1985. I also remember when we converted the Syosset to a triplex in January 84 discussions were also going on about Mid Plaza Six which was a competative theatre. But then I remeber palying “Platoon” at Mid Plaza Six in Dec 86 and seem to remeber the theatre had not been open as a six-plex for very long. The Mid Island Six was the last theatre I worked on Long Island in Nov 87, I shared that last week working there and Cinema 150 before transfering to Westchester New York to work for National Amusements. I will continue to research this and if I come up with any more info I will post it. Hang in there Mike we will solve this mystery.
This thread from the Missouri theatre explains the Missouri Rockets became the Roxyettes and then the Rocketts Whew!
Gae Foster was the choreographer. /theaters/3209_0_2_0_C/
Yup Bill, I had a habit of playing with the fader from time to time I couldn’t help myself. Besides,“Journey” made me do it.
Vincent, I don’t recall Hope attending the big premiere, however you would have had a bit of competition, there was a lot of talk at the time of a romance she may have been having with co-star Stephen Boyd, this before she married Don Murray.
Bill, I never understood the thinking behind the silent logo or additional music other than the fanfare playing. There were several even during the 50s. It was a magnificent way to start a movie with the full Fox fanfare and scope extension playing in full four track mag stereo sound. Somehow when ever I played a Fox picture the fader was always up about 2 or 3 DBs during the fanfare.
Vincent, many Fox films played the Paramount during the 50s
Who could forget the giant Elvis strummin his guitar below the Paramount sign. We also had a huge premiere for “The Best of Everything” at the Paramount in the fall of 1959. The last one to play the Paramount before I left Fox was “Journey to the Center of the Earth”
Thanks Warren, I shall look forward to that. I spent a couple of years working in New York for Fox during the mid to late 50s. I saw all the Fox films during that time at the Fox “Little Theatre” screening room and often again in a theatre, usually the Roxy or Paramount. It will be a kick to see those titles and dates. I still get goose bumps whenever I hear the fanfare, I am speaking about the original fanfare extension as it was written, not the awful version used today.
From New York:
To all of my Cinema Treasures brothers and sisters in London.
My thoughts and prayers are with you. Do not allow the uncivilized indiviuals who commited this cowardly act break your spirit.
Condolences to those who have suffered.
This was another argument against scope for Spielberg. He disliked
pan n scan for VHS, he went on record stating how much he hated the format. There was a bit of a war with “Raiders” when he fought the format from being used. He later gave in.
Oh Bill, you are gonna give Warren such a swell head. However I must add my two cents by whole heartingly agreeing with your comment, and how much I have learned from folks like yourself, Warren, Vincent, Michael and so many others.
Michael I stand corrected, thanks for pointing that out. I checked back, and since I had spent a great deal of time at the Mid Plaza in early 1987 I remembered it as having just opened. However it was the summer of 1985 when the theatre first opened as a sixplex, “Silverado” played in June. I remember because we had a studio preview of “Silverado” in 70mm at the Sunrise Cinemas on
6/29/85. As for “Dune” and “Star Trek”, I was bouncing around between the D-150, Mid Plaza and Sunrise so much at that time I honestly can’t be sure which was in 70mm. Sunrise did play all three in 70mm of that I am sure. During the 80s it was not uncommon to have as many as three 70mm prints running at the same time at Sunrise.
Gerald, you have opened a deep wound for me with that one. When a theatre is designed, the projection lenses should be choosen to fit the screen. This is done by choosing the proper focal length which is determined by the distance from the projector to the screen (“throw”) and on the screen size, in far to many theatres not enough care in taken in this area. What you are describing is a theatre which simply threw a lens in the projector that closly fit the size of the screen. The proper method is, once you have determined the proper lens focal length, a test film (loop) should be run to properly fit the aspect ratio. These test films, provided by SMPTE or your lens provider, are projected on the screen and guide you in the proper aperature plate cutting to fit the image to the screen perfectly. Some theatres simply put a white light (no film) on the screen and cut the plates to match the screen with no regard to the lose of image or cropping caused by this method. Every new theatre must buy properly fit projection lenses, one for flat and one for scope. The anamprphic attachment is a one size fits all and is attached to the prime lens, but the prime lens MUST be the proper focal length. I am sure someone on this site might be able to explain the technicalities of all this better than I can but that is the jest of the problem you have described.
Vincent, I am not so sure I agree, the bobby soxers of the 40s most certainly danced in the aisles at the Paramount for Benny and screamed up and down the aisles for Frank Sinatra. I think the 80s Carnegie Hall crowd was more subdued, not so much however at the 1938 concert.
Spielberg preferes 1:85. Here is a quote from an interview:
To me, widescreen formats like CinemaScope were a Hollywood invention of the 1950s. I find the widescreen to be an artificial aspect ratio, whereas 1.85 more closely approximates the way the human eye really sees, in the sense that we see as high to low as we do from side to side. If I had to make a choice, I’d rather see from high to low. I think the most human perspective is [the range] from 1.66:1 to 1.85:1. The slickest format for theaters is 2.35:1. I’ve chosen the 1.85 format for my last four pictures because they were intended to be more lifelike.
Oh and how Rob, remeinds me of the fab 50s when we had a new projection toy to play with every other month or so.
As for IMAX, it sure is catching on, especially with the new
DMR (digital remastering technology, now any movie can be converted to IMAX.) Warners has really taken that ball and run with it, audiences are eating up the IMAX version of “Batman Begins” and the new “Harry Potter” will open in IMAX in November. I did not know Lucas had decided tp take the IMAX plunge, I remember hearing talk about it but nothing concreate, that’s good news! We also have a new exciting IMAX 3-D projesct opening in September called, Magnificent
Desolation: Walking on the Moon" with never before seen NASA footage.
So if all good things from the past come back to greet us, when can we look forward to the return of movies and a stage show at RCMH?
Yeah I know, times have changed and that would not work anymore.
But I had to say it anyway :))
Bill,I would like to second Porter’s remarks, the ads are a treasure
What great memories they stir up!
Bill Thanks for that ad, actually if memory serves I saw it on new years Eve, we watched it twice then joined the crowd outside in Times Square to ring in the new year. Do you have the date of that ad? Id like to be sure it was the movie we saw that new years eve.
Perhaps Warren knows the playdate
I remember the film festival, sure would be nice if they did as the ad said and have it annually. I hope the owners fix the RCMH page soon, maybe some of the older posts will have to be eliminated. Meanwhile I am sure the Roxy lovers will let us post here for a while.
Well Bill, that’s because it is an amazing theatre. I am always happy when a new thread is posted here, I can’t get enough info about this magnificent hall. A special thanks to REendres for all his contributions.
Bob, I had not realised that, it has been a long time since seeing the film in 3-D. I thought the recent showings on TCM was he same as the 3-D version. We are just going to have to get TCM to dig up the 3-D version to show. Interesting fact you shared, thanks.
I remember “The French Line” in 3-D, it did very very well.
Towards the end of the run at the Criterion, when the 3-D craze was nearing it’s end, the Criterion finished the run in 2-D. Jane wore a very skimpy outfit in the big dance number at the end of the movie and it had to be filmed with one camera at a long shot as not to show too much of Ms Russell. Today,“French Line” would be rated G
Thanks Jerry for getting his name right. Ted always had a smile and and a great disposition. You forgot to mention that great old automation board with the pins (diodes) which programmed the show,
the boys from National Cinema Service (the old RCA) were having trouble getting parts for that towards the end. You mentioned the two projectors in each theatre, the 70mm house, #7, still had the two 35/70 projectors right up to the theatre closing, for a while Ted would rotate using each of them with the platter. Did you work with Walter Titor on that installation? I was Managing Director in
1990-91.
Rob, a couple of questions if I may, regarding the 70mm 3-D sequence, Are both projectors running interlock or is the left/right image on one print. Also, What is the wattage on the 35mm lamphouses.
Lastly, when you run digital prints, where is the projector located?
and does RCMH have it’s own digital projector(s) Thanks
He will deliver the Keynote Address at the opening of VSDA’s Home Entertainment 2005, the annual convention for the home entertainment industry. Ten of the classic Jerry Lewis films(which he owns)were recently released on DVD, Jerry was involved in every aspect of their release from the films' restorations to the creation of the special material. Later this year, “Dean & Me: A Love Story.” written by Jerry will be in bookstores.
That projectionist was Ted Healy,He was one of the best, very dedicated just an all around great guy. He created an interlock for four of the auditoriums at Amboy Cinemas and kept all of the projection equipment in top condition.
Well Mike you have me scratching my head on this one. The last time I worked the original Hicksville Twin South was 9/83, which agrees with your thinking about 10/83 and 12/84. My next recollection is going there around 4/85 to work on the new booth for the six-plex. So what happened between 9/83 and 4/85 is the question I am trying to answer.I just can’t seem to get it out of my head that it was converted in 1985. I also remember when we converted the Syosset to a triplex in January 84 discussions were also going on about Mid Plaza Six which was a competative theatre. But then I remeber palying “Platoon” at Mid Plaza Six in Dec 86 and seem to remeber the theatre had not been open as a six-plex for very long. The Mid Island Six was the last theatre I worked on Long Island in Nov 87, I shared that last week working there and Cinema 150 before transfering to Westchester New York to work for National Amusements. I will continue to research this and if I come up with any more info I will post it. Hang in there Mike we will solve this mystery.
This thread from the Missouri theatre explains the Missouri Rockets became the Roxyettes and then the Rocketts Whew!
Gae Foster was the choreographer.
/theaters/3209_0_2_0_C/
Yup Bill, I had a habit of playing with the fader from time to time I couldn’t help myself. Besides,“Journey” made me do it.
Vincent, I don’t recall Hope attending the big premiere, however you would have had a bit of competition, there was a lot of talk at the time of a romance she may have been having with co-star Stephen Boyd, this before she married Don Murray.
Bill, I never understood the thinking behind the silent logo or additional music other than the fanfare playing. There were several even during the 50s. It was a magnificent way to start a movie with the full Fox fanfare and scope extension playing in full four track mag stereo sound. Somehow when ever I played a Fox picture the fader was always up about 2 or 3 DBs during the fanfare.
Vincent, many Fox films played the Paramount during the 50s
Who could forget the giant Elvis strummin his guitar below the Paramount sign. We also had a huge premiere for “The Best of Everything” at the Paramount in the fall of 1959. The last one to play the Paramount before I left Fox was “Journey to the Center of the Earth”
Thanks Warren, I shall look forward to that. I spent a couple of years working in New York for Fox during the mid to late 50s. I saw all the Fox films during that time at the Fox “Little Theatre” screening room and often again in a theatre, usually the Roxy or Paramount. It will be a kick to see those titles and dates. I still get goose bumps whenever I hear the fanfare, I am speaking about the original fanfare extension as it was written, not the awful version used today.
From New York:
To all of my Cinema Treasures brothers and sisters in London.
My thoughts and prayers are with you. Do not allow the uncivilized indiviuals who commited this cowardly act break your spirit.
Condolences to those who have suffered.
This was another argument against scope for Spielberg. He disliked
pan n scan for VHS, he went on record stating how much he hated the format. There was a bit of a war with “Raiders” when he fought the format from being used. He later gave in.
Oh Bill, you are gonna give Warren such a swell head. However I must add my two cents by whole heartingly agreeing with your comment, and how much I have learned from folks like yourself, Warren, Vincent, Michael and so many others.
Michael I stand corrected, thanks for pointing that out. I checked back, and since I had spent a great deal of time at the Mid Plaza in early 1987 I remembered it as having just opened. However it was the summer of 1985 when the theatre first opened as a sixplex, “Silverado” played in June. I remember because we had a studio preview of “Silverado” in 70mm at the Sunrise Cinemas on
6/29/85. As for “Dune” and “Star Trek”, I was bouncing around between the D-150, Mid Plaza and Sunrise so much at that time I honestly can’t be sure which was in 70mm. Sunrise did play all three in 70mm of that I am sure. During the 80s it was not uncommon to have as many as three 70mm prints running at the same time at Sunrise.
Sorry I made a typo with anamorphic which is of course the scope lens
Gerald, you have opened a deep wound for me with that one. When a theatre is designed, the projection lenses should be choosen to fit the screen. This is done by choosing the proper focal length which is determined by the distance from the projector to the screen (“throw”) and on the screen size, in far to many theatres not enough care in taken in this area. What you are describing is a theatre which simply threw a lens in the projector that closly fit the size of the screen. The proper method is, once you have determined the proper lens focal length, a test film (loop) should be run to properly fit the aspect ratio. These test films, provided by SMPTE or your lens provider, are projected on the screen and guide you in the proper aperature plate cutting to fit the image to the screen perfectly. Some theatres simply put a white light (no film) on the screen and cut the plates to match the screen with no regard to the lose of image or cropping caused by this method. Every new theatre must buy properly fit projection lenses, one for flat and one for scope. The anamprphic attachment is a one size fits all and is attached to the prime lens, but the prime lens MUST be the proper focal length. I am sure someone on this site might be able to explain the technicalities of all this better than I can but that is the jest of the problem you have described.
Vincent, I am not so sure I agree, the bobby soxers of the 40s most certainly danced in the aisles at the Paramount for Benny and screamed up and down the aisles for Frank Sinatra. I think the 80s Carnegie Hall crowd was more subdued, not so much however at the 1938 concert.
Very good point Benjamin, I forgot about the magnificent Paramount, and yes it would fit that bill. Warren, any thoughts?
Spielberg preferes 1:85. Here is a quote from an interview:
To me, widescreen formats like CinemaScope were a Hollywood invention of the 1950s. I find the widescreen to be an artificial aspect ratio, whereas 1.85 more closely approximates the way the human eye really sees, in the sense that we see as high to low as we do from side to side. If I had to make a choice, I’d rather see from high to low. I think the most human perspective is [the range] from 1.66:1 to 1.85:1. The slickest format for theaters is 2.35:1. I’ve chosen the 1.85 format for my last four pictures because they were intended to be more lifelike.
Oh and how Rob, remeinds me of the fab 50s when we had a new projection toy to play with every other month or so.
As for IMAX, it sure is catching on, especially with the new
DMR (digital remastering technology, now any movie can be converted to IMAX.) Warners has really taken that ball and run with it, audiences are eating up the IMAX version of “Batman Begins” and the new “Harry Potter” will open in IMAX in November. I did not know Lucas had decided tp take the IMAX plunge, I remember hearing talk about it but nothing concreate, that’s good news! We also have a new exciting IMAX 3-D projesct opening in September called, Magnificent
Desolation: Walking on the Moon" with never before seen NASA footage.
So if all good things from the past come back to greet us, when can we look forward to the return of movies and a stage show at RCMH?
Yeah I know, times have changed and that would not work anymore.
But I had to say it anyway :))