Vito
commented about
Waikiki 3on
Apr 19, 2005 at 8:50 am
Scott, I am not surprised to hear those amplifiers are still cooking. Joe Schmidt (remember him) and I installed them all over Oahu in most of the Royal theatres. They were his design, very reliable, inexpensive, and put out a very nice quality. I actually moved a couple of them from the Royal, when it closed, to the newly twinned King theatre. I donated the blue travelor curtain to a local high school to dress up their stage, and the gold curtain was
moved to the Kapiolani. I got away from Consolidated before the axe fell, I heard Sol retired, and last I heard, Wes was managing the Pearlridge. Too bad you are not in Hawaii to help with the organ removal. I am sure they could use your expert advice about doing it carefully and with respect. It was a great place to work in those days, lots of magnificent theatres. I miss that.
Vito
commented about
Waikiki 3on
Apr 18, 2005 at 7:09 am
Great hearing from you Scott! Westley, Sol and I dismantled the Royal when it was sold. It was a very unpleasant experience, being a part of killing it and watching it die was very sad. I hope never to have to do that again.
We had fun at #3 with “Earthquake” in Sensurround and running the spotlight for dear ole John on the weekends. It sure was lonely up that projection room late at night. Of course, who could forget the great “Buck” Richards, our beloved manager and his Aloooooooooooha.
Vito
commented about
Waikiki 3on
Apr 17, 2005 at 6:42 am
Hi Scott,Yup I heard the same thing. It’s hard to believe all the Waikiki thetares, #1,#2,#3,Cinerama and Kuhio are all gone.
Remember the Royal? (also gone)
Sorry to tell you, the theatre is now an auto parts store.
I remember those long lines for many films we showed at the theatre such as “Towering Inferno”, “Young Frankenstien” and “Poseidon Adventure”, all of which had long lines around the corner to the back of the parking lot for most of the day. In those days the films were exclusive at the Cinerama and people would come from all over the island to see them. Cinerama was the premier roadshow house, showing most of the big reserved ticket blockbusters of the day. The last roadshow (reserved seat) engagement we played was the 70mm reissue of “This is Cinerama” in 1973
“Star Wars” opened May 25th 1977 playing both the Cinerama and Kapiolani theatres. Both theatres played the film in 35mm.
“Empire Strikes Back” opened at Cinerama on May 21 1980 in 70mm
“Return of the Jedi” opened May 25 1983 also in 70mm.
We had one in Hawaii in early 1973, it did not last long, partly due to the strict ban on R rated movies. It was eventually sold to one of the Royal theatre chain and then to an independant operator who along with regular releases in 35mm, showed classic films in 16mm. It ran for a few years before closing.
Ah Bill, Arch Obler, who will ever forget “Bwana Devil” in 3-D
Rememeber the ads? “A lion in your lap”, “A Girl in Your Arms”
A bottle of aspirin in the projection booth.
Bill, I remember it well, a lot of noise over what today would be
PG-13. I sat through two complete screenings:)
Warren, I remember all the trouble we had with 3-D projection, it was at times a nightmare and was one of the main reasons for it’s demise. Another reason if course was the public got bored with the whole idea. In fact the Criterion stoped showing “French Line” in 3-D
towards the end of the run due to all the projection problems. The add read, “Now you can see it without glasses”
Warren, Would you agree Jane Russell’s “The French Line” was the biggest and highest grossing 3-D film to ever play the Criterion?
I remember the giant billboard proclaming, JR in 3-D,need we say more?
dave, that was the practice for a long time. Films were rarely shot in 65/70mm, the cost was just too much. However a 70mm blow up is still better than no 70mm at all, I suppose.
Michael, With the exception of IMAX, 70mm is dead, there have not been any prints available, other than a short run of “Playtime” in 2004. We have had a few 70mm prints such as “A Space Odyssey” in 2001 and the DTS re-issue of “Lawrence of Arabia” in 2002, but no movie has had a wide 70mm release since 1997. The most recent releases have not been Dolby encoded, the sound has been DTS which does not have a magnetic track, but a CD Rom which plays with a time code printed on the print. I know of no new theatre built in the New York area that has installed 70mm since the mid 1990s. It is a shame, since watching a film in 70mm is magnificent way to see a movie. However, with the added cost of the prints and maintenance of the projection equipment 70mm struggled for some time. Multiplex operators did not want 70mm because after a few weeks, when the grosses on a new film begin to drop, they move it to a smaller auditorium and make room in the bigger houses for the new incoming movies, with 70mm usually installed in only one of 10-12 auditoriums, that could not be done. Then along came Dolby Digital which became the last nail in the coffin for 70mm. DTS manufactured a sound reproducer for 70mm, Dolby did not.
Thanks REndres for all that info, I have wondered about that for some time. Is Ben still around? he must have some great stories.
He worked when projectionists were artists and like you, it had to have been a wonderfull, if not nerve shattering job, to project at the hall. Please tell us, how many men worked a shift, how was the work divided up. I know the cues were called out during a changeover. what other secrets/stories can you share? Has anyone ever missed a cue or screwed up a changeover? Tell us all you can, RCMH had to have been a projectionists dream job.
REndres, thanks a lot for the VistaVision info. You have confirmed what I belived the facts to be relating to that. I assume then no other films were ever projected in VistaVision at the hall? I understood Century did eventually build a VistaVision projector complete with a sound head shortly after “White Christmas”. I recall them being installed at the Paramount, RCMH never installed them?
One other question regarding magneic prints, did RCMH play all of those great MGM musicals of the 50s and 60s in four track mag or perspecta? or for that matter prior to the 35/70mm projector installations, did they ever use four track mag at all?.
I was not sure where to post this, however since all of my Cinema Treasure friends visit this page I thought I would put it here
I came across and old newspaper movie listing from November 1963, if we had all decided to go to a movie that day we would have had quite a time decided where to go from the following choices.
Loew’s Tower East, played “Fantasia” in 4 track stereo sound
Radio City Music Hall,“ On screen "The Wheeler Dealers”
On stage “High Spirits”
Rivoli, reserved seat engagement of “Cleopatra"
Warner Cinerama, reserved seat engagement of "Mad Mad World"
Loew’s Cinerama, reserved seat engagement of "How the West Was Won"
Oh heck, let’s just take the weekend off and visit all those fabulous theatres.
Thanks Pablo, you mentioned “The King and I” had a Dolby Digital 4 track print. Dolby Digital is a 6 track process, which may explain the lack of surrounds. Perhaps only the stage speakers were used.
Generally the six Dolby Digital tracks are six descrete channels,
1.Left #2.center #3.right #4.sub woofer and #5 are used for stereo surrounds,(left wall,right wall), and ex surrounds which create a rear speaker config. It still should have sounded great and I am sorry I missed it.
Perhaps REndres can answer the question about VistaVision. I have always wondered what the history of that process was. I recall Century projector did not have enough time to build the complete projector, and supplied only the picture head for “White Christmas” so the sound had to be interlocked on a second projector. How true is that story, was a perspecta(s)optical sound format used? and how long did RCMH project actual VistaVision before switching to the reduction prints.Lastly, I believe the line up of the five projectors is, #1 and #5 are Simplex XL 35mm projectors with RCA Photophone sound heads, and #2 #3 and #4 are Simplex 35/70 with penthouse Dolby Digital sound reproducers mouted above the magnetic penthouse. Educate us please.
70mm Dolby-encoded prints were around untill the late 80s. I can remember working in at a theatre that did not have a Dolby processor, Universal shipped us a 70mm non-Dolby 6-track mag print of “E.T”.
Great story Paul, so I guess the sound was not so “Phonic” after all.
Seriously however, it reminded me of those wonderfull times in the 50s when we had the birth of all of those great sight and sound inovations in motion pictures. As projectionists, we seem to have a new toy to play with almost every couple of months.
Many friends and I have had long conversations about what has happened to the movie palaces. Certainly there are many more options for entertainment today than we had a few years back, the cost of a movie ticket has skyrocketed, real estate is to expensive to support a single screen theatre, and most plexs have ample free parking as opposed to the local palace which may depend on street parking. With all due respect to CConnolly’s remarks about collectivly watching a movie, many people hate going to the movies due to todays audience members who seem to have lost respect for others by talking out load, receiving cell phone calls etc.In addition, there are simply
to many screens. Movie palaces need exclusive engagements to fill all those seats. It’s a problem with many parts, but sadly the bottom line, of course, is movie palaces are gone forever
I never get tired of it Bill, sometimes I catch the first few minutes of a movie on Fox movie channel just to watch the fanfare. I always hated it when they would substitute the fanfare for other music behind the searchlights, ie: Peyton Place, A Farewell to Arms, and worst of all, “Sound of Music” with silent searchlights. I don’t like the new fanfare either, the tempo has been slowed and instrumentation has been altered. It’s sacreligious(s) I tell you.
Scott, I am not surprised to hear those amplifiers are still cooking. Joe Schmidt (remember him) and I installed them all over Oahu in most of the Royal theatres. They were his design, very reliable, inexpensive, and put out a very nice quality. I actually moved a couple of them from the Royal, when it closed, to the newly twinned King theatre. I donated the blue travelor curtain to a local high school to dress up their stage, and the gold curtain was
moved to the Kapiolani. I got away from Consolidated before the axe fell, I heard Sol retired, and last I heard, Wes was managing the Pearlridge. Too bad you are not in Hawaii to help with the organ removal. I am sure they could use your expert advice about doing it carefully and with respect. It was a great place to work in those days, lots of magnificent theatres. I miss that.
Great hearing from you Scott! Westley, Sol and I dismantled the Royal when it was sold. It was a very unpleasant experience, being a part of killing it and watching it die was very sad. I hope never to have to do that again.
We had fun at #3 with “Earthquake” in Sensurround and running the spotlight for dear ole John on the weekends. It sure was lonely up that projection room late at night. Of course, who could forget the great “Buck” Richards, our beloved manager and his Aloooooooooooha.
Hi Scott,Yup I heard the same thing. It’s hard to believe all the Waikiki thetares, #1,#2,#3,Cinerama and Kuhio are all gone.
Remember the Royal? (also gone)
Sorry to tell you, the theatre is now an auto parts store.
I remember those long lines for many films we showed at the theatre such as “Towering Inferno”, “Young Frankenstien” and “Poseidon Adventure”, all of which had long lines around the corner to the back of the parking lot for most of the day. In those days the films were exclusive at the Cinerama and people would come from all over the island to see them. Cinerama was the premier roadshow house, showing most of the big reserved ticket blockbusters of the day. The last roadshow (reserved seat) engagement we played was the 70mm reissue of “This is Cinerama” in 1973
“Star Wars” opened May 25th 1977 playing both the Cinerama and Kapiolani theatres. Both theatres played the film in 35mm.
“Empire Strikes Back” opened at Cinerama on May 21 1980 in 70mm
“Return of the Jedi” opened May 25 1983 also in 70mm.
Add Route 35 Drive-In Hazlet (now a 12 screen multiplex) to that sisters list.
We had one in Hawaii in early 1973, it did not last long, partly due to the strict ban on R rated movies. It was eventually sold to one of the Royal theatre chain and then to an independant operator who along with regular releases in 35mm, showed classic films in 16mm. It ran for a few years before closing.
Ah Bill, Arch Obler, who will ever forget “Bwana Devil” in 3-D
Rememeber the ads? “A lion in your lap”, “A Girl in Your Arms”
A bottle of aspirin in the projection booth.
Bill, I remember it well, a lot of noise over what today would be
PG-13. I sat through two complete screenings:)
Warren, I remember all the trouble we had with 3-D projection, it was at times a nightmare and was one of the main reasons for it’s demise. Another reason if course was the public got bored with the whole idea. In fact the Criterion stoped showing “French Line” in 3-D
towards the end of the run due to all the projection problems. The add read, “Now you can see it without glasses”
Warren, Would you agree Jane Russell’s “The French Line” was the biggest and highest grossing 3-D film to ever play the Criterion?
I remember the giant billboard proclaming, JR in 3-D,need we say more?
dave, that was the practice for a long time. Films were rarely shot in 65/70mm, the cost was just too much. However a 70mm blow up is still better than no 70mm at all, I suppose.
Michael, With the exception of IMAX, 70mm is dead, there have not been any prints available, other than a short run of “Playtime” in 2004. We have had a few 70mm prints such as “A Space Odyssey” in 2001 and the DTS re-issue of “Lawrence of Arabia” in 2002, but no movie has had a wide 70mm release since 1997. The most recent releases have not been Dolby encoded, the sound has been DTS which does not have a magnetic track, but a CD Rom which plays with a time code printed on the print. I know of no new theatre built in the New York area that has installed 70mm since the mid 1990s. It is a shame, since watching a film in 70mm is magnificent way to see a movie. However, with the added cost of the prints and maintenance of the projection equipment 70mm struggled for some time. Multiplex operators did not want 70mm because after a few weeks, when the grosses on a new film begin to drop, they move it to a smaller auditorium and make room in the bigger houses for the new incoming movies, with 70mm usually installed in only one of 10-12 auditoriums, that could not be done. Then along came Dolby Digital which became the last nail in the coffin for 70mm. DTS manufactured a sound reproducer for 70mm, Dolby did not.
Thanks REndres for all that info, I have wondered about that for some time. Is Ben still around? he must have some great stories.
He worked when projectionists were artists and like you, it had to have been a wonderfull, if not nerve shattering job, to project at the hall. Please tell us, how many men worked a shift, how was the work divided up. I know the cues were called out during a changeover. what other secrets/stories can you share? Has anyone ever missed a cue or screwed up a changeover? Tell us all you can, RCMH had to have been a projectionists dream job.
REndres, thanks a lot for the VistaVision info. You have confirmed what I belived the facts to be relating to that. I assume then no other films were ever projected in VistaVision at the hall? I understood Century did eventually build a VistaVision projector complete with a sound head shortly after “White Christmas”. I recall them being installed at the Paramount, RCMH never installed them?
One other question regarding magneic prints, did RCMH play all of those great MGM musicals of the 50s and 60s in four track mag or perspecta? or for that matter prior to the 35/70mm projector installations, did they ever use four track mag at all?.
I was not sure where to post this, however since all of my Cinema Treasure friends visit this page I thought I would put it here
I came across and old newspaper movie listing from November 1963, if we had all decided to go to a movie that day we would have had quite a time decided where to go from the following choices.
Loew’s Tower East, played “Fantasia” in 4 track stereo sound
Radio City Music Hall,“ On screen "The Wheeler Dealers”
On stage “High Spirits”
Rivoli, reserved seat engagement of “Cleopatra"
Warner Cinerama, reserved seat engagement of "Mad Mad World"
Loew’s Cinerama, reserved seat engagement of "How the West Was Won"
Oh heck, let’s just take the weekend off and visit all those fabulous theatres.
Thanks Pablo, you mentioned “The King and I” had a Dolby Digital 4 track print. Dolby Digital is a 6 track process, which may explain the lack of surrounds. Perhaps only the stage speakers were used.
Generally the six Dolby Digital tracks are six descrete channels,
1.Left #2.center #3.right #4.sub woofer and #5 are used for stereo surrounds,(left wall,right wall), and ex surrounds which create a rear speaker config. It still should have sounded great and I am sorry I missed it.
I wonder, did they have a mag stereo print of “King and I”?
Perhaps REndres can answer the question about VistaVision. I have always wondered what the history of that process was. I recall Century projector did not have enough time to build the complete projector, and supplied only the picture head for “White Christmas” so the sound had to be interlocked on a second projector. How true is that story, was a perspecta(s)optical sound format used? and how long did RCMH project actual VistaVision before switching to the reduction prints.Lastly, I believe the line up of the five projectors is, #1 and #5 are Simplex XL 35mm projectors with RCA Photophone sound heads, and #2 #3 and #4 are Simplex 35/70 with penthouse Dolby Digital sound reproducers mouted above the magnetic penthouse. Educate us please.
70mm Dolby-encoded prints were around untill the late 80s. I can remember working in at a theatre that did not have a Dolby processor, Universal shipped us a 70mm non-Dolby 6-track mag print of “E.T”.
Gee TC what a sad picture that is. Does anyone have the great 1940s photo posted in the Advance a while back.
Great story Paul, so I guess the sound was not so “Phonic” after all.
Seriously however, it reminded me of those wonderfull times in the 50s when we had the birth of all of those great sight and sound inovations in motion pictures. As projectionists, we seem to have a new toy to play with almost every couple of months.
What an education these last threads have provided, thanks!
Many friends and I have had long conversations about what has happened to the movie palaces. Certainly there are many more options for entertainment today than we had a few years back, the cost of a movie ticket has skyrocketed, real estate is to expensive to support a single screen theatre, and most plexs have ample free parking as opposed to the local palace which may depend on street parking. With all due respect to CConnolly’s remarks about collectivly watching a movie, many people hate going to the movies due to todays audience members who seem to have lost respect for others by talking out load, receiving cell phone calls etc.In addition, there are simply
to many screens. Movie palaces need exclusive engagements to fill all those seats. It’s a problem with many parts, but sadly the bottom line, of course, is movie palaces are gone forever
Sorry about the triple posts guys, not quite I know what happened.
I never get tired of it Bill, sometimes I catch the first few minutes of a movie on Fox movie channel just to watch the fanfare. I always hated it when they would substitute the fanfare for other music behind the searchlights, ie: Peyton Place, A Farewell to Arms, and worst of all, “Sound of Music” with silent searchlights. I don’t like the new fanfare either, the tempo has been slowed and instrumentation has been altered. It’s sacreligious(s) I tell you.