Radio City Music Hall
1260 6th Avenue,
New York,
NY
10020
1260 6th Avenue,
New York,
NY
10020
116 people
favorited this theater
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Bill, As far as I know, “Inland Empire” does not have a distributor as yet, however I believe it is currently scheduled to be shown at the NY Festival, probably at Alice Tully Hall, sometime next week. It is also going to be shown at the AFI festival in LA.sometime in November. Although it was shot in digital format it is being shown in 35mm for now.
Perhaps some smart executive from Universal, the studio that released the David Lynch production of “Mulholland Drive”, will see it and pick it up.
Vito said: “I believe we will see less and less film. Think about it, a lot fewer people are using film to take pictures today.”
David Lynch shot his new 3-hour film “Inland Empire” on digital video. Now if only some brave US distributor will have the courage to pick up the movie so we can all have a chance to see it!
REndres: your name seems really familiar and I’m amazed that it sticks in my mind… is your first name Roger or Robert? I seem to remember sreading that name like 30 years ago… were you mentioned in 60s-70s souvenir books about the Music Hall? Either that or I remember you from a Boxoffice article about presenting a roadshow inthe late 60s… Boy do I miss Showmanship!
Well Ed, looks like you have joined REndres and I to the “dark side"
We have to be realistic and accept the fact that we must consider preserving our treasured films to a Digital format for future generations to enjoy. The jury is still out, and I often get into discussions, about the possibility of film going the way of vinyl records and replaced by digital technology. I hope we will always have film but as new generations less interested in film begin to take over the movie business, I believe we will see less and less film. Think about it, a lot fewer people are using film to take pictures today.
I have only one concern, and that is the preservation of theatres and the movie going experience, and if that means a complete transformation to digital, then with a heavy heart I say, so be it.
The plus side for me would be the end of the dreaded platter.
Hey… I love film myself – particularly large format film – and I worry about the loss of richness and detail from a great old Technicolor print… But I definitely can see the advantages of digital cinema. One of those bonuses may well turn out to be that some older titles will be digitized from pristine restored prints and may find their ways into retrospective series and revival programs a lot easier and with greater quality then we sometimes find. As technology improves and image degradation is diminished, a restored 70mm film can be faithfully preserved on digital media and played at any big-screen facility with the proper equipment.
Rob, I completely agree with you regarding Digital for movies and stage presentations.
It took me a while to fully appreciate and except the changes in technology, but as I see and hear all the new innovative and improved methods of projection available now, and in the process of being developed, I have come to accept and welcome theses changes.
I will always love film but I loved my 78-rpm records as well, times of course are a changin and very much for the better.
I am a bit concerned about the future of theaters, attendance is down and continues to drop, we have good weeks and bad weeks, but the growing trend is folks are not going to the movies as they did in years past
Other threats are a shrinking window of release dates from theatre and DVD and Internet downloadable movies. We need to make it worth their while for people to start going back to the theatres,one way I see to move in that direction is to improve the quality of the presentation, perhaps try and give them what they can’t get at home on DVD. I was not happy to see Digital Cinema come along, we had a lot of problems with Pixels along with computer problems such as not being able to load the proper media or not being able to select certain media to play. We had a lot of lost shows and in the beginning it was necessary to have a 35mm print in the booth as back up, my feeling was who needs it. However I have seen many improvements in Digital, and if theatre owners and studios ever settle on who is going to pay for it, I now believe it will be a good thing for us.
I am especially impressed with Digital 3-D, Yes I know, we have tried that before with film going back to the early 50s, but the Digital presentation is quite amazing.
As you know, old 3D films typically did this with two projectors. The new generation of digital projectors does it with just one machine, alternating rapidly between images meant to be seen by the right and left eyes.
The technology shows 144 frames per second, and the alternating left eye, right-eye images are projected with polarized light.
Another technique is about to be used by George Lucas who is going to create 3D versions of the “Star Wars” films. This system is primarily focused on creating 3D masters of 2D originals, but it is also backing a technology using “active” glasses, in which each lens actually goes rapidly dark in turn. This may be easier for theaters to use, since it doesn’t require installation of a silver or reflective screen. However, it does require a significant investment in glasses, which currently cost about $15-20 a pair.
It is also very important for the Music hall to change with the times, we want the old girl to be around for generations to come, it is good to hear they are moving in that direction with conversions to Varilights and other innovations in stage presentations.
As for Digital projectors in the booth, well I suppose you would have my blessing, I have not run across the Heresy projector as yet, my experience has been mostly Christie/Technicolor. As you said we may have some losses in the beginning but I already see vast improvements over the last two years.
I recently saw a Digital version of “The Departed†and was very impressed with the quality, the movie is a knockout as well.
Vito, Thanks for the kind comments. I’m afraid if I went back to the Hall now I would be pushing for (heresy!) digital cinema projectors. The facility I’m at now has both 35/70mm film projectors and 2K digital cinema projectors with both D-5 and HDCam feeds. I see a lot of first generation digital material (including digital dailies), and its getting very good indeed. Especially compared to the quality of film prints pulled in a hurry to fill a 4,000 theatre opening schedule. When I think of all the apertures I cut to fit film effects into the scenery at the Hall, and how much more easily (and probably effectively) it can now be done digitally, I’m afraid I’m going over to the “dark side”! Music Hall management is very aware of the latest in staging effects, especially in performing venues such as the Las Vegas casinos, and want to be state of the art at the Hall. Times do change. I can remember seeing one of the last of the original “Undersea Ballet” performances when I was in high school and being blown away by the film and slide effects in the show. I was also blown away by the huge number of carbon arc follow spots employed both from Front Lights and D-Cove and from towers backstages in the entrances. By the time I started there, they were no longer viable. The arc spots were used because there were no lamps bright enough to work in spaces that large, but by the 60’s there were, and their brightness in turn wiped out the Brenograph slide and motorized water effects. Now those effects can be duplicated with VariLights which are capable of doing so much more. So its going with film projection. There will be some losses as there were in the transition from tubes to transistors and vinyl to digital recordings, but in time the newer media will gain in quality, and when creative people such as Fred Waller who invented Cinerama discover how to use the new technology artistically, we may find that we have gained something exciting in the process.
Rob, I had not realised it has been eight years since you left, my goodness where does the time go?
I hope you are going to consider the head of production’s offer to get you back, there are only a few of us “showmen” left, and RCMH would ne lucky to have you. I am also happy to hear about the use of the surround system, in the old days I believe most if not all the surrounds were in the ceiling, the effect was minimual, but now with the speakers placed everywhere in the hall it is very impressive,
I was also glad to see the speakers were covered in gold fabric.
Good luck to you, I hope you come back home to the hall soon.
Vito, it was good to see the Hall again, although I was with another member of my current firm who was there to discuss surround capabilities of movie system for use in the stage presentations. (We did have a surround sound mix for “Riverdance” and it was very effective, particularly for thunder in one of the dance routines.) I really hadn’t been in the booth since I worked on film effects for the first Christmas Show after I left. At that time construction was underway,and it was rather depressing. Yesterday everything was cleaned up and rather impressive. While I’m not going to work the Christmas Show, their head of production was kind enough to ask twice what it would take to get me to come back. The Music Hall crew really is a family — even after I’ve been away for almost eight years now.
Thanks Bill, what a treasure! I love seeing those again.
Rob, glad to hear you are “back home” at the hall.
I will be sure to watch the “Jeopardy” shows when they air, I am a big fan of that show.
7kw lamps!! they must put out a magnificent image, are you going to work the Christmas show?
Ed, as to the 70mm festival I am sure with REndres aboard it would be presented with class and perfection. However, somehow I doubt it would ever happen, but we can dream.
To make it easier, here are the last 17 ads I posted to various theater pages. They’re mostly for LA, with a few NY, NJ and DC ones thrown in:
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I tried to get tickets to “Jeopardy” but they were “unable to fill my request” due to overwhelming demand. I was last at the Hall for the 2001 Tony’s and the place looked magnificent. I’d love the chance to see a good 70mm film festival at the Hall, but I wonder if the schedule is too cramped – and probable financial return too light – for such an event to be worked into the year.
Vito, I just came back to work from the Hall about hour ago, and they are well underway for the “Jeopardy” tapings. The stage really looks like the “Jeopardy” set. When I was there I worked the tapings of “Celebrity Squares” and “Wheel of Fortune”, and they were fun, so be sure to watch. I hadn’t walked through the house since the refurbishment was finished, but it did look good, and I also got chance to see the new 7kw lamphouses used on the 70mm machines for the 3-D sequence in the Christmas show. Very impressive!
Vito and Robert: I recently posted some old ads for Los Angeles theaters (Grauman’s Chinese, El Capitan, Cinerama Dome, Hawaii Theatre).
Robert, I love the ads from the 50s movies. Thanks for that!
Have you posted any in other theatre threads? Warren has posted some great ads from the 30s and 40s as well. It just feels so good to go down that memory lane.
Christmas 1953
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This should be fun
NEW YORK, Sept. 27 (UPI) — A bevy of stars will battle it out with their brains this fall when the venerable U.S. television series “Jeopardy” marks its 5,000th episode.
The two-week “Celebrity Jeopardy” tournament will be aired in November and will feature actors Martin Short and Susan Lucci, TV hosts Rachel Ray and Nancy Grace, and Boston Red Sox pitcher Curt Schilling.
Also on the roster are Paul Schaefer, Neil Patrick Harris, Soledad O'Brien and Regis Philbin.
Host Alex Trebek said in a news release issued Wednesday that the celebrities will compete for some $1 million in prize money, which will be donated to their favorite charities.
Taping will take place at Radio City Music Hall in New York Oct. 5, 7 and 8. The tournament will be aired Nov. 8-21.
Did they really remove all the seats?
I saw “Fashion Rocks” and it was great to see the Music Hall restored back to normal after the desecration commited by the
Video Awards people. Christien Aguilera even used the curtain.
I remember this 1969 Christmas show with Tanya the balancing elephant on stage
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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.
The reserved seat policy was as follows: As a rule matinees tickets were good from house opening to 3 PM. Evening tickets were good anytime between 7 PM and the start of the last overture. (usually around 9:15 PM). On holidays a different reserved seat plan went into effect. Tickets for morning shows were good from house opening, usually around 8 AM, to about 10 AM. You could not stay for a second show in those seats but could go up to the second mezzanine if you chose to. You had to vacate your seats for the matinee audience whose tickets read “good between 1 PM to 3 PM.” These times are approximate and based on the running time of the feature. Empty seats in the first mezzanine would also be sold as non-reserved but at the higher admission price between 3 PM and 4 PM to keep the seats filled.
But even the day after I wonder if there were many people in theaters. How long did it take for business to rebound?
Does anybody know about the extra reserved seats which is in the ad?
Does this mean that Thanksgiving weekend still did so well in ‘63 that the second mezz was turned into reserved seating?
According to a lot of the ads I found in those papers, big department stores and retailers (Macy’s, Sterns, Brentano’s, Horn and Hardart, Best & Company, etc) were closed that day and it appears that many movie theaters were either closed or did not open their doors until 6pm that evening.