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There are more things in life than just widescreen!
or My Date with Jenny | Read more at in70mm.com The 70mm Newsletter
| Written by: Wolfram
Hannemann, MBKS, | Date:
07.06.2010 |
Town
Hall, Bradford. Image
by Wolfram Hannemann
The first thing you’ll notice about
Bradford when descending the coach at the central bus station is the
smell of exquisite Indian spices, while you’re on your way to the
Midland hotel. Being a big fan of Indian cuisine since my visits to
London in the 80s, this lovely smell always promises me another big
thrill while in Bradford, apart from the Widescreen Weekend. Well, at
least the latter mentioned event is the reason why I am willing to
travel from my home town in Southern Germany to the far North of England
- the end of the world, as it sometimes seems to me.
The Widescreen Weekend has become one of the regular attractions within
the Bradford International Film Festival (BIFF) and 2010 marked its 15th
year already (although this was BIFF #16). 2010 also marked the first
time that the Widescreen Weekend had to relocate to another auditorium
for the Sunday evening event. This was due to the fact that BIFF was
shortened from sixteen days to just eleven, leaving the Closing Night
gala of the film festival in Pictureville Cinema on Sunday evening.
| More in 70mm reading:
Wolfram Hannemann's
70mm Film Introductions
John Harvey "Mr. Cinerama" in Bradford
Speech for John
Harvey
Cinerama Showcase
Internet link:
wolframhannemann.de
laserhotline.de
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NMM. Image
by Wolfram Hannemann
The Widescreen Weekend 2010 – as far as I can judge – became one of the
most emotional ever. It started off on Friday morning with the
traditional screening of „This is Cinerama!“ in the original 3-strip
process. As a surprise guest the organizers presented one of the editors
who worked on that film, Jim Morrison. It was his first visit to England
in many years and I think if his daughter had not married a Yorkshire
man, we probably would not have had the pleasure of meeting him. Before
the start of the film Duncan McGregor introduced the audience to Jim and
asked him to say some words on his experience whilst editing „This is
Cinerama!“ After only a few sentences Jim obviously was so overwhelmed
by his memories that he couldn’t stop tears from running down his face
and all of a sudden stopped his speech saying “Come on – let’s get this
thing started!” and dropped off the stage. I thought that this must have
been one of the most emotional moments I have ever encountered since
attending the festival. Luckily, Jim returned to the microphone during
the film’s intermission and told some interesting facts about his work.
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Sheldon
Hall and Dave Worrall Image by Wolfram Hannemann
The other really moving moment during the
Widescreen Weekend was John Harvey’s appearance. John must be regarded
as the driving force behind all Cinerama installations in the past 20
years and he was deeply involved in the Pictureville installation.
Unfortunately John had a stroke some years ago and now, often requires
the assistance of a wheelchair to get about. It was his first visit to
Bradford since helping install the Cinerama screen back in 1993 and
thanks to sponsor and Cinerama afficionado Tom March from Canada,
everything necessary was arranged to make John‘s stay as comfortable as
possible. In a screentalk with Larry Smith, John’s buddy for many many
years, the audience was invited to learn about John’s enthusiasm for
Cinerama, his kindness in helping cinemas to re-install the system and
his support in bringing this breath-taking process to next generation
audiences. In addition to the screen talk, John Harvey finally got his
long overdue entry into the “Widescreen Academy”. Well done John!
OK – let’s now plunge into the movies which I picked to see during that
fantastic weekend.
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„This is Cinerama!“ (3-strip Cinerama, 7-track
magnetic stereo sound)
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Jim
Morrison with his daughter. Image
by Tom March
The more I see this classic the better it
gets! My stomach still feels very strange once the 3-strip camera takes
us on that rollercoaster ride. You should know that I only once went
onto a real rollercoaster – and hated it! So seeing it from the safe
position of my reserved seat in Pictureville’s auditorium probably gives
me the thrill I am missing on rollercoasters in real life! While I
decided on last year’s visit to Widescreen Weekend only to sit through
the first part of the film, this year I gave it the full treatment and
watched it through until the very end – and that is when the exit music
finishes.
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„Manhattan“ (35mm, Scope 1:2.35, Mono optical
sound)
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Lee
Pfeiffer and Dave Worrall. Image
by Tom March
It felt somewhat strange to see a classic
Woody Allen movie in the weekend’s schedule. However since this was
Woody’s first (but not last) film in the 2.35:1 ratio, it was okay to
have it as part of Widescreen Weekend. Duncan did a nice introduction to
it, revealing that this is one of his favourite movies. The perfectly
framed black and white pictures by Gordon Willis and the music of George
Gershwin set against the background of New York, make this comedy very
enjoyable. And of course there is this gorgeous cast led by Woody Allen:
Mariel Hemingway, Meryl Streep and Diane Keaton. I soon realized how
young they were back in 1979 when the picture was shot! The 35mm print
we were watching was young, too. According to Duncan it was only two
years old. So I guess that it is due to bad printing that the blacks
weren’t really black, but looked more like a very dark grey. Too bad
that such prints are allowed to be screened commercially!
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„Battle of the Bulge“ (70mm, Rectified Ultra
Panavision print, 6-track magnetic stereo sound, Swedish subtitles,
presented on the curved screen)
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Mark
Lyndon, Francois Carrin and Wolfram Hannemann. Image
by Tom March
This WWII film from the point of view of
Cinerama Inc. came in a quite good 70mm print from the Swedish film
archive. The colours were a bit faded, but still there. It was an
optically corrected print to be shown on deep curved screens, i.e. the
left and right edges were squeezed anamorphically, whereas the centre of
the frame was not squeezed. However, it was shown in Pictureville cinema
using an anamorphic lens, which resulted in the edges being undistorted
and the centre being just a bit too stretched. In addition, the usage of
the anamorphic lens did give us a picture which was a bit too dark.
Anyway I enjoyed the show, although I must admit that I regard this
movie as being trashy – and I love trash! There are two sequences in the
film which try to copy the famous rollercoaster ride from „This is
Cinerama!“. They certainly do not belong in a movie about WWII! Another
thing I like about the film is another very funny fact... at least if
you are able to understand German. During one scene American soldiers
are shooting their way out of an ambush by the Nazis. In the film you
clearly can here the German dialogue “Der Schuss kam von da oben!” which
would translate to “The shot came from up there!”. The very same
dialogue can be heard throughout the film as soon as German soldiers are
seen on screen. Of course this sentence makes no sense at all in these
other places, where it is used as a loop! „Battle of the Bulge“ was
introduced by Tony Earnshaw, the artistic director of BIFF. In his intro
he mentioned that director
Ken
Annakin died only recently and that he
was a very good friend of the National Media Museum.
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„Die Hard“ (70mm, 1:2.2, 6-track Dolby Stereo
magnetic sound)
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The first ever Bruce Willis non-stop
action movie was presented in a nice print, which was not faded at all.
The only disappointment for me was the sound. There was some distortion
during very loud scenes and I suspect that the magnetic pre-amps had not
been aligned correctly. Being a real classic meanwhile, DIE HARD makes
for the perfect alternative Christmas movie. I think the audience also
felt the same.
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„Windjammer“ (HD Digital, 1:3 (Smilebox), Dolby
Surround Sound (PCM 2.0), Presented on the curved screen)
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Image
by Tom March
This was something very special. Having
been treated to the original 3-strip Cinemiracle print with completely
faded colour and German narration, the audience was treated to a unique
premiere on Saturday morning. Regulars Dave Strohmaier and Randy Gitsch
from the USA have been remastering „Windjammer“ for presentation in a
digital format. Before the film they gave us a lecture which explained
in detail what they have done with the original materials during the
past several months. To be honest, had they not done the remastering
presentation before the film screening, I probably would have thought:
“What rubbish are we looking at!” Don’t get me wrong, Dave and Randy did
an absolutely marvellous job! It was the first time in many years that
we could watch „Windjammer“ in colour! The print was mastered in the
Smilebox format especially to fit Pictureville’s Cinerama screen and the
original English 7-track sound was remastered by Chace Audio into a
Dolby Surround mix for this presentation (a 5.1 or 7.1 mix should be
available for it’s Blu-ray and DVD release). Dave and Randy were very
precise in saying that they have not restored the movie, but only
remastered it digitally and I think that it really should only be
regarded as such. In my opinion showing it as a digital cinema
presentation only makes sense if the remastering lecture comes with it.
I am sure that it will look great on Blu-ray and DVD once it is
available.
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„Alien“ (70mm, 1:2.2, 6-track Dolby Stereo magnetic
sound)
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John
Harvey on stage with Larry Smith. Image
by Tom March
Since a special retrospective at the 2010
BIFF was dedicated to British actor John Hurt, it was an obvious choice
to screen „Alien“ in the 70mm version during Widescreen Weekend. Having
not seen this classic for almost 30 years, I was astonished about how
well it still serves as a perfect horror movie. I know that a lot of
movie goers think that it belongs in the sci-fi genre, but I prefer it
to be regarded as a real horror trip. And I can assure you that nobody
in the audience fell asleep! Although the print is beginning to fade, it
still was nice to watch and offered a marvellous clear and sharp
picture. I felt very unhappy for all those patrons who had never seen
the film before, for Tony Earnshaw gave the plot away in his
introduction speech!
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„2001: A Space Odyssey“ (70mm, 1:2.2, 6-track Dolby
Stereo SR magnetic sound, presented on the curved screen)
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Dave
Strohmaier, Randy Gitsch and Chris O'Kane. Image
by Tom March
The auditorium was really crowded by now.
It is obvious that a classic like Stanley Kubrick’s sci-fi master piece
still rocks and it proves once and for all that a film like this can
only improve by presenting it on the big curved screen in all its 70mm
glory. Of course we were going to see the restored version which was
done back in 2000, the sound being redone with Dolby SR noise reduction.
After a short intro by Sheldon Hall, who told us that back in the 60s a
lot of teenagers used „2001: A Space Odyssey“ as the perfect movie to
watch while inhaling marihuana(!), the feature started. As soon as the
apes appeared on screen making funny noises, I began wondering whether
there was something wrong with the sound. It sounded terribly muffled. I
instantly had an idea what might have gone wrong. Sitting tight between
other patrons in the centre of the cinema I hoped that someone else in
the auditorium would realize the problem too and tell Duncan and his
team of projectionists. However nobody stood up, so I decided to wait
until the first dialogue in the movie is heard. If the problem was still
there, I would tell the projectionists. Guess what happened? Yes, I had
to ask my patient neighbours to stand up so that I could sneak out of
the theatre. I immediately ran into the projection booth, but nobody was
there. Suddenly I heard somebody calling my name – it was Duncan who was
having a discussion with his colleagues at the adjacent bar. I asked
whether the correct set of speakers were activated and they immediately
checked it out. I was right – the speakers behind the flat screen which
vanished into Pictureville’s ceiling to give way for the big curved
screen were activated, instead of those sitting behind the Cinerama
screen. One switch and everything was in perfect order again. I decided
to wait until the film’s intermission to return, in favour of not
troubling the other patrons again.
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„2010“ (70mm, 1:2.2, 6-track Dolby Stereo magnetic
sound)
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Directly after the screening of „2001“ it
was time to screen Peter Hyams‘ sequel to Kubrick’s masterpiece. After
having seen „2001“ (or at least parts of it) on Pictureville’s curved
screen, „2010“ was shown – correctly – on the flat screen. What a
difference this makes! „2010“ wasn’t as impressive as „2001“ and you
could clearly see that it was a mere blow up print. However, the colours
were still intact.
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„Flying Clipper“ (70mm, 1:2.2, 6-track DTS digital
sound, German narration, presented on the curved screen)
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Mark
& Margaret Lyndon talking to Jim Morrison & his daughter. Image
by Tom March
It seems that this German travelogue was
the star of this year’s Widescreen Weekend. It was the only film where
the audience also applauded at the film’s intermission! The sharpness
and the colours of this brand new print looked marvellous on the big
curved screen. Feedback from the audience was really enthusiastic and
they all wanted to buy the film on DVD or Blu-ray. However there are no
plans for this, although the audio may have already been prepared for
such a future release. I had the pleasure of introducing this film and
once I had finished, as always walked back to my seat in the centre of
the auditorium. I then realized that nothing had happened on screen, as
I expected the film’s overture to start as I was walking off the stage.
Only after quite some time did it begin. During the intermission I asked
Duncan about this. He told me that as soon as he started the projector,
he realised that the sound reader was not decoding the signal and the
DTS processor needed re-booting! A problem that seems to be quite
regular on 70mm DTS screenings in Bradford. It is believed that the huge
voltage burst required when striking the xenon lamp can cause the DTS
processor to crash – hopefully this problem will be eliminated one day.
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„The Blue Lagoon“ (70mm, 1:2.2, 6-track magnetic
stereo sound)
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Bill
Lawrence taking images. Image
by Tom March
I previously only saw this film on a
pan-and-scan VHS version, so this 70mm screening (on the flat screen)
was definitely an improvement over the home video release and it came
along with a nice 6-track mix. Joe Blackwell, who sponsored this
screening, did a nice introduction in which he mostly cited from a
letter he got from the film’s director Randal Kleiser. Kleiser wanted to
attend this screening, but couldn’t get time off his other duties.
Watching the film it was remarkable to see how much nudity was in it,
especially considering this was an American movie!
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„Quest for Fire“ (70mm, 1:2.2, 6-track Dolby Stereo
magnetic sound)
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Paul
Samuels, Randy and Dave, Howard Rust, Brenda and Keith Swadkins. Image
by Tom March
Now this was a film I had not seen for
almost 30 years! When it came out in Germany I went down by train to
Munich where a 70mm print was shown. The print which was shown in
Bradford still looked quite good and the sound was nicely mixed. I
suspect that this print was made up from two different prints though,
because on some reels the changeover sign was elliptical and on the
other reels it was round!
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„The Hunt for Red October“ (70mm, 1:2.2, 7-track
Dolby Stereo magnetic sound)
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Mike
Taylor and Malcolm Clarke. David Coles in background. Image
by Tom March
I must say that the last film of this
Widescreen Weekend was also the best sounding one! Unfortunately I still
couldn’t follow all of the dialogue in the film (is my English THAT
bad?) and therefore was a bit puzzled by the storyline. But this gave me
the opportunity to really listen to the film’s marvellous 7-track Dolby
Stereo sound. It not only gave Basil Poledouris‘ score the right scope,
but also gave the audience the impression of being on board a nuclear
submarine. Very impressive, very clear and very loud. And last but not
least, all the colours survived. So this film made a perfect ending for
the 2010 edition of the Widescreen Weekend.
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„Cineramacana“
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Here
they are again! Lee and Dave from Cinema Retro. Image
by Tom March
Being an old tradition for the Widescreen
Weekend, Sundy morning was dedicated to bits and pieces, some provided
by members of the audience. As always this was real fun to watch. It
started off with a big bang: a 2k digital trailer for the recent Bond
movie – „Quantum of Solace“. This looked so brilliant on the flat screen
and it sounded very good. Next in line was the traditional quiz. This
time the famous kissing montage from Guiseppe Tornatore’s „Cinema
Paradiso“ was used and the audience should identify as many movies and
actors/actresses as they could. Meanwhile, having seen this film so
often I realized that I have never spent any thoughts on the movies from
which the kissing clips were taken, so I had to give up very early! May
be next time I will get another chance of collecting a prize! Larry
Smith was the lucky guy who won first prize: a goodie bag including the
„Sharks“ Imax soundtrack CD, a T-shirt and the „West Side Story“
collector's edition DVD including screenplay. The quiz was followed by
another tradition: the „In Memorium“ montage. A lot of famous people who
were also friends of the museum died recently: Jack Cardiff, Jean
Simmons, Ian Carmichael,
Ken Annakin and Richard Todd. The montage was
cut to “Lara’s Theme” from „Doctor Zhivago“, composed by Maurice Jarre,
who sadly also belonged to the artists gone forever. When Bill Lawrence
took to the microphone after this screening, you really could tell that
he was very moved as he and Jack Cardiff became very close friends over
the years. A real big loss.
To cheer us all up a bit after this sad
interval, the original teaser trailer for „Psycho“ came up. Well, that
definitely has nothing to do with widescreen at all, but for me
personally, that was the best bit within Cineramacana! I had never
before seen it and just loved it! In it Hitchcock moves around the
„Psycho“ set in glorious black and white, telling the audience all about
the grisly scenes that are to happen here. That is what I call black
humour at its very best! The teaser was found by one of the museum’s
projectionists inside the booth of a cinema which had no further use of
it. Good to know that it now belongs to the National Media Museum’s
archive. Ben Wales came up next with a 35mm black and white demo reel
from „Raiders of the Lost Ark“, demonstrating how the different layers
of sound come together to make a perfect Dolby Stereo soundtrack. I saw
this reel many years ago during one of Dolby’s presentations in Munich
and it was great seeing it again. Next we were seeing a short scope film
in Vistarama called „Aloha Nui“. It was provided by Dave and Randy and
was projected using the 1:1.37 aperture plate. Then, young filmmaker
Grant Wakefield came up on stage introducing two digital films he
provided: the trailer for „Remnants“ and the short subject „Times Littany“. Both were presented in 2k digital with PCM 5.1 sound and both
were showcasing time lapse photography made by Grant Wakefield. Grant
co-incidentally is the only person who has ever actually supplied new
content which is currently being produced and/or made in 1:2.35 format.
Arts Alliance Media sponsored and produced the 2k drive. Grant’s films
always remind me of „Baraka“ and I am sure that he knows that film!
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After that we were treated to a very unusual clip from the museum’s
vaults: the opening reel of Dario Argento’s „Suspiria“ (still banned in
Germany!) in 35mm CinemaScope and 4-track magnetic stereo sound. What an
impressive sound mix that was! I think that the complete film should be
included in a forthcoming festival. The next clip was provided by Ben
Wales again - this time he went for a 70mm clip of „Bolshoi Ballet“.
Well, not my type of film, but nice to see in the 70mm format. Then the
projection team had to switch to the curved screen. While this was done
we were treated to the overture from „Goodbye Mr. Chips“ running off a
70mm blank print with 6-track magnetic stereo sound. Once the curved
screen was ready to go, two 70mm ride films came up which were donated
by Chris O’Kane (who gave a short update on his Vistamorph process) to
the museum’s archive. This was followed by a picture only 70mm clip from
„Cheyenne Autumn“, which was faded, but still showed off real good
quality. Its soundtrack obviously was replaced by all sorts of sound
alignment tones. Before the Academy of the Widescreen Weekend assembled
on stage to welcome John Harvey as a new member to the club, Dave Strohmaier provided what he calls a „Thrill Reel“. This was a 14 minute
3-strip Cinerama demonstation film made up from various Cinerama films
like „This is Cinerama!“ and „How the West was won“. This was absolutely
stunning and my stomach began to rebel when the camera was taken up on a
merry-go-round!
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Image
by Tom March
Well, didn’t we miss one tiny little
thing? Oh yes – we missed the traditional Audience on Stage picture!
Sadly Thomas Hauerslev could not attend the weekend this time and so
nobody seemed to be prepared for taking the annual photograph! Later,
Duncan told me they were all set to do it, but ran into severe timing
problems with Cineramacana over running and therefore had to drop it at
the last minute. Well, next time I hope everything will be back on
schedule as usual.
In between the screenings there was another lecture which I quite
enjoyed. David Coles came all the way from Australia to tell the whole
truth about Oyster Bay. That is the location in the USA where it all
started with Cinerama. David’s powerpoint presentation had so many facts
about this area that it took almost a whole hour to get through
everything. The good thing was that he has a very funny way of telling
things and I really liked this guy’s sense of humor. It was a very
entertaining lecture!
As always I was able to meet a lot of friends during the many
intermissions as well as the delegate‘s reception. It is always such
great fun chatting about our favourite subject – movies and widescreen.
Even Johan Wolthuis came over for just one day to present his latest
publication on the subject of Digital and 65mm. Of course I bought my
copy and wished him a lot of luck with this project.
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Johan
Wolthuis - unstoppable promoting 70mm. Image
by Tom March
For me in particular there was another
highlight which I should mention. Since the Bradford International Film
Festival, of which the Widescreen Weekend is a part of, was reduced in
length to give a more focused dynamic to the overall festival, the
Pictureville theatre was reserved for the festival’s closing night
ceremony.
This meant that all widescreeners had either to watch „Alice
in Wonderland“ in the IMAX auditorium or listen to “Cinerama’s Legacy”
in the Cubby Broccoli theatre. Having already seen Tim Burton’s „Alice
in Wonderland“ in IMAX 3D on the day of my arrival in Bradford, I
decided to go for something completely different: watching the closing
film of the festival!
Now that certainly had nothing to do with
widescreen at all, but it starred my heroine from the seventies: Jenny Agutter. The film in question was
„The Railway Children“ and it was
going to be screened in a restored 2k digital version with three members
of the cast attending. Oh yes – lovely Jenny was one of them! This was
definitely something I couldn’t resist attending. While I was waiting
for the auditorium to open, my dear friend Francois approached me and
asked what I was waiting for, so I explained. You should have seen the
expression on Francois‘ face when he said to me “But this is not even
widescreen!” “Well Francois, you see there are more things in life than
just widescreen!” I replied, with a smile on my face.
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Left
to right: Tony Earnshaw, Sally Thomsett, Bernard Cribbins and Jenny
Agutter. Image
by Wolfram Hannemann
„The Railway
Children“ was completely sold out and everybody in the audience seemed
to know this English classic by heart. Before the film started Tony Earnshaw did a screen talk with guests Bernard Cribbins, Sally Thomsett
and Jenny Agutter, which was very interesting. I was most impressed when
Jenny suddenly referred to the film’s composer and his lovely score for
the film! Unfortunately the cast had to leave before the film started,
due to their other duties. I really enjoyed watching the film and
judging by the audience’s reaction, everybody felt the same. The picture
quality of the 2k digital print was really stunning. After the film
finished, I was suddenly approached by one of the guys sitting next to
me during the Widescreen Weekend. He also decided to go for this special
event. If Francois could only have known...! By the way: I was told
afterwards that „Cinerama’s Legacy“ was a huge success with all those
attending the session. Hopefully some readers who actually attended this
lecture could let us know a bit about it? Well, Francois, that’s your
turn!
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"The
End". Image
by Tom March
As always I felt a bit exhausted after
such a lengthy time inside a cinema, having seen so many movies and
meeting a lot of friends. Since my flight back to Germany was not until
Tuesday evening, I suggested to Duncan that we partake of a nice Indian
dinner on Monday evening, followed by English beer tasting afterwards in
the pub. Of course Duncan willingly accepted – he really needed some
rest after the festival! As always, we discussed some interesting ideas
for the next Widescreen Weekend while enjoying our pints. I am already
looking forward to it and I know for sure that Duncan has already begun
planning it!
Right at the end of my story I would like to point out something which
worries me a little bit. When I saw „The Taming of the Shrew“ on Pictureville’s flat screen in a 70mm presentation last year, I wondered
why the opening credits were severly cut on both left and right edges.
Back then Duncan told me he believed it was already printed that way on
the 70mm blow up print. I had no reason for not believing this, keeping
in mind that „Taming“ most probably was a one off print and nobody ever
thought about the safe area. This year however, I noticed the same thing
on the 70mm print of „Alien“, which also was projected on to the flat
screen. Again there were cut-offs at the left and right edges during the
opening credits. Not that this effect spoiled the overall experience,
but I am beginning to believe there could be another problem involved.
Hopefully Duncan will check this out soon – I am sure that he will be
able to eliminate the problem. That is what professionals are for, arent’t they?
(Note: My sincere thanks goes to Duncan McGregor for proof reading my
story)
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