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Widescreen Weekend 2008
Come and see Cinerama and 70mm in all its splendour

The 70mm Newsletter

Text by: Thomas Hauerslev Date: 17.03.2008

Come and enjoy the first person experience at the Pictureville cinema in Bradford, England when we show digital, 35mm, Cinerama and 70mm in all its splendour. We have confirmed prints of "Windjammer" (50th anniversary screening), "This is Cinerama", "STAR!" in a new Todd-AO 70mm DTS print, "The Sand Pebbles", "2001: A Space Odyssey" (40th anniversary screening), "Blade Runner" (25th anniversary screening), "Hamlet" and "Honeymoon".

Besides Todd-AO, we include the usual mix of lectures, screen talks, format demonstrations, 3-strip Cinerama, 3-strip Kinopanorama, Panavision Super 70, Super Panavision 70, Panavision, Technirama and Digital 2K on curved and flat screens in all size and shapes.

Not forgetting the sound, this year a multitude of soundtrack are coming out of the speakers everywhere. They are all here; 70mm Dolby Stereo SR, 70mm Dolby Stereo Todd-AO layout, Dolby Digital, DTS Special Venue and ol' fashioned analouge mono. We have a couple of Robert Wise films and three films with special photographic effects by Douglas Trumbull - and all made in 65mm large format film. We are very excited to present the final cut of
"Blade Runner" in a 2k Digital presentation.

2008 is a landmark year in many ways. We can celebrate the following anniversaries and birthdays; 100th, 80th, 50th, 40th and 35th. Delegates booking will be available in January 2008. Book your hotel soon and remember it is an early start on Friday, but there will be something interesting to see Thursday evening.

Thomas Hauerslev
Film Programmer

Pictureville Seating

Pictureville Seating lay-out. Click to enlarge

Widescreen Weekend Passes went on sale on Jan 14th but we cannot sell them on the web because we need to know which seats you require. If you want to book email Jennifer Hall. and you will be contacted shortly. Go to NMM and download booking form. Pass prices are £70 full price and £45 concession price.

to Bradford from March 7 - March 10, 2008.

Friday 7 March 2008

"This is Cinerama"

10:00 – 12:00 “This is Cinerama” (2:00) + intermission. Filmed in: 3x35mm 6 perforations, 26 frames per second. Principal photography in: Cinerama. Presented in: On the curve in 3-strip Cinerama with 7-track magnetic stereo. Aspect ratio: 146°. Country of origin: USA. Production year: 1952. World Premiere: 30.09.1952 The Broadway Theatre, New York, USA.

Developed by Fred Waller. Narrated by Lowell Thomas. Supervised by Michael Todd and Michael Todd Jr. Produced by Merian C. Cooper and Robert L. Bendick. Music by Cinerama Philharmonic Orchestra. Cinematography by Harry Squire.

Print: National Media Museum

Academy Award Nominated: Best Music, Scoring of a Dramatic or Comedy Picture

This is the original Cinerama feature which launched the widescreen era, here presented in a recently struck print in the original three-strip format, with seven-track stereo sound. There is no narrative, merely a variety of 'attractions': the famous rollercoaster ride is followed by a series of musical and travelogue episodes culminating in an aerial tour of America. More than a technological curio, it's a document of its era.

What is Cinerama?

Cinerama is a very complicated projection process with three projectors electronically locked together, showing three 35mm films side by side on the same curved screen, at the same time. Cinerama, very effectively creates an illusion of reality, by photographing an extreme wide-angle picture on three strips of film. Cinerama is shown on a large curved screen like
Pictureville's. The curve is defined as being 146 degrees of a circle. The screen is geometrically the same size as the human eye, which when a spectator sits somewhere close to the center of the circle, looking at the middle of the screen, he’s having A First Person Experience. He’s having the sensation he is there, right in the middle of the action. The audience will feel a sensation of participation. 

Why does a Cinerama screen have to be deeply curved?

”If you photograph a cavalry of horses coming toward you and sweeping past, using conventional narrow angle lenses (and this includes CinemaScope), the camera never sees the sides of the horses. If this is now projected on a screen, even a wide curved one, wrapped around the audience, as the horses go off the screen, they all turn facing you and gallop sideways. This is a subtle effect, but the fact that you never see the sides of objects, destroys the participation effect - the sense of being in the middle of the action.”

Brian O'Brien, Jr. about Cinerama.


"The Great Escape"

13:30 - 16:23 “The Great Escape” (2:52) (+ intermission). Filmed in: 35mm, 24 frames per second. Principal photography in: Panavision. Presented: On the flat screen in a new 2K digital. Sound: Fully uncompressed 6 channel 5.1 sound.  Aspect ratio: 2,39;1. Country of origin: USA. Production year: 1963 World Premiere: 15.04.1963, USA.

Produced and Directed by John Sturges. Written by James Clavell. Music by Elmer Bernstein. Cinematography by Daniel L. Fapp. Edited by Ferris Webster

Steve McQueen (Capt. Hilts "The Cooler King"), James Garner (Flight Lt. Hendley "The Scrounger"), Richard Attenborough (Squadron Leader Roger Bartlett "Big X"), Charles Bronson (Flight Lt. Danny Velinski "The Tunnel King"), Donald Pleasence (Flight Lt. Colin Blythe "The Forger"), James Coburn (Flying Officer Louis Sedgwick "The Manufacturer")

An immediate classic on its release, this timeless tale of courage in adversity remains notable for the emergence of Steve McQueen as a bonafide movie star. Based in part on Paul Brickhill’s book on the mass escape from a German prison camp during WWII, the film goes off into flights of Hollywood fancy as McQueen heads for the Swiss border on a stole German motorcycle. But it’s the sheer verve and machismo that drives the story forward.

Academy Award Nominated: Best Film Editing + Stalag Luft 3

Special Guests

John Layton in Pictureville foyer. Image by Thomas Hauerslev

Special appearance by John Leyton, who starred in "The Great Escape" as Flight Lieutenant William Dickes "The Tunneller"

John Leyton was born Feb. 17th 1939 in Frinton-on-Sea, Essex, England. His parents already had connections with show business, his father owning cinemas and theatres and his mother acting on the London stage under the name of 'Babs Walters'.

Although having experienced phenomenal success as a pop star, John felt far more at home as an actor than a singer. He returned to acting and his motion picture debut came when cast alongside Charles Bronson, Steve McQueen and Richard Attenborough as 'WILLIE THE TUNNEL KING' in the classic true war movie "The Great Escape". His performance prompted 20th Century Fox to put him under contract and next came a starring role in "Guns at Batasi" with Richard Attenborough and Mia Farrow. For this performance he was nominated by American Cinema Editors Inc. for 'BEST PERFORMANCE BY AN ACTOR'. This was followed by "Von Ryan's Express" with Frank Sinatra and Trevor Howard.

John Layton also appeared in the large format film "Krakatoa"

John Layton's web site

Still not confirmed, but Tom Adams might also appear in Pictureville. Tom Adams starred in "The Great Escape" as Dai Nimmo "Diversions"

Tom Adams (born March 9, 1938 in London, England) is a burly English actor with roles in horror and mystery films, and several TV shows.


17:00 Reception for weekend delegates in the Kodak Gallery

Images from the 2008 reception


Movie Sound Formats

18:30 "Optical Sound on 35mm Film" Lecture by Dion Hanson - a Power Point presentation showing the way optical sound has developed over the years.

The original show was to explain to new projectionists how the release print has changed over time.

Dion Hanson is no stranger to Picturevillle's audience, but here's his quick resume.

My life in cinemas began in 1960 as a rewind boy in my local cinema, The Crescent Pontefract, whilst at school. Did relief work around the country during the summer holidays. Went to Huddersfield Polytechnic to study Electrical Engineering. After that went to work for Westrex in Leeds finishing up as supervisor in 1975. Left them to work for Rank Leisure as installation engineer. Installing many of the first Dolby CP50 units around the country and left them to join Dolby itself around 1984. Where I supervised many installations around the world and trained hundreds of engineers how to install the various processors. Started working freelance in 2001 doing installations and supervising special screenings as well as checking out equipment in such venues as film laboratories.

"2001: A Space Odyssey"

19:30 - 21:59 “2001: A Space Odyssey” (2:29) + intermission. Filmed in: 65mm, 24 frames per second. Principal photography in: Super Panavision 70. Presented: On the curved screen with 6-track Dolby Stereo, format 43. Aspect ratio: 2,21;1. Country of origin: USA. Production year: 1968. World Premiere: 02.04.1968 The Uptown Theatre, Washington, USA.

Produced and directed by Stanley Kubrick. Cinematography by Geoffrey Unsworth. Edited by Ray Lovejoy. Douglas Trumbull (special photographic effects supervisor).

Keir Dullea (Dr. Dave Bowman), Gary Lockwood (Dr. Frank Poole), William Sylvester (Dr. Heywood R. Floyd), Daniel Richter (Moon-Watcher), Douglas Rain (HAL 9000 (voice))

A film deserving of the description “ground-breaking”, Kubrick’s "2001: A Space Odyssey" remains one of the all-time classics of science-fiction cinema. It is presented during WSW in its original Cinerama format in a restored 70mm print with sixtrack magnetic stereo sound on the curved Pictureville screen.

Oscar: Special Visual Effects, Stanley Kubrick

Academy Award Nominated: Best Art Direction-Set Decoration, Best Director, Best Writing, Story and Screenplay - Written Directly for the Screen

Full credits
The CD Soundtrack
A Roadshow Odyssey
Restoring the soundtrack
"2001" and the
curved screen
The Original Reserved Seat Engagements Of "2001: A Space Odyssey"

Christiane Kubrick's Website
Creating special effects for "2001"
Kubrick Films
and old Christiane Kubrick web site hosted by Warner Brothers.
Warner Brothers' 6 year old "2001" web site

9th Anniversary of Stanley Kubrick's passing
40th Anniversary Screening of the films premiere
80th Anniversary screening
on the occasion of
Stanley Kubrick's birth (26 July 1928 - 7 March 1999)

Introduced by Jan Harlan

Jan Harlan in conversation with Thomas Hauerslev

Jan Harlan 08.03.2008. Image by Thomas Hauerslev

Jan Harlan is the brother of Christiane Kubrick, Stanley Kubrick's widow. He acted as Kubrick's Executive Producer for more than 30 years "Eyes Wide Shut" (1999), "Full Metal Jacket" (1987), "The Shining" (1980), "Barry Lyndon" (1975)) and as Assistant to the Producer for "A Clockwork Orange" (1971)). Harlan was also Executive Producer for Steven Spielberg's "Artificial Intelligence: AI" (2001), a collaboration between Spielberg and Kubrick. Harlan directed "Stanley Kubrick: A Life in Pictures" (2001). He has three sons, Manuel, Dominic and Ben. He is married to Maria.


What Is Out There? (2007) (V) (producer)
O Lucky Malcom! (2006) (producer)
Artificial Intelligence: AI (2001) (executive producer)
Stanley Kubrick: A Life in Pictures (2001) (producer)
Eyes Wide Shut (1999) (executive producer)
Full Metal Jacket (1987) (executive producer)
The Shining (1980) (executive producer)
Barry Lyndon (1975) (executive producer)


O Lucky Malcom! (2006)
Stanley Kubrick: A Life in Pictures (2001)

Saturday 8 March 2008


10:00 – 12:22 “Windjammer” (2:22) + intermission. Filmed in: 3x35mm 6 perforations, 26 frames per second. Principal photography in: Cinemiracle. Presented: On the curve in 3-strip Cinemiracle with 7-track magnetic stereo. Aspect ratio: 146°. Country of origin: USA. Production year: 1958. World Premiere: 09.04.1958 The Chinese Theatre, Los Angeles, USA.

Directed by Bill Colleran & Louis De Rochemont III. Produced by Louis De Rochemont III. Original Music by  Morton Gould. Cinematography by Joseph C. Brun & Gayne Rescher. Film edited by Film Editing by Peter Ratkevich. 

Pablo Casals (Himself), Yngvar Kjelstrup (Captain), Lasse Kolstad (Third assistant bosun), Sven Libaek (Cadet #35), Harald Tusberg (Cadet #32)

Print: National Media Museum

The 50th anniversary of the release of this film shot in Cinemiracle. Widescreen fans love it. It’s a great cultural experience as a group of cadets on a training exercise take the SS Christian Radich from Oslo, across the Atlantic and on to New York. Featuring great and much sought-after music.

Cast and Credits +

50th Anniversary Screening

"The Bigger Picture"
a very personal overview of the history of movie presentation

13:30 - 14:30 Illustrated lecture by Tony Sloman.

45-60 min

Tony Sloman could accurately be described as a "Human Movie Database". His recall of the most obscure incident, character, director, or even musical theme of some long-forgotten film is phenomenal. His knowledge of film formats, aspect ratios and technical data is equally as impressive. He is involved with all aspects of film production.

Academy of the Widescreen Weekend

"The Sand Pebbles"

14:45 - 17:47 “The Sand Pebbles” (3:02) + intermission. Filmed in: 35mm anamorphic, 24 frames per second. Principal photography in: Panavision. Presented: On the flat screen in a new 35mm Dolby Digital print. Aspect ratio: 2,39:1. Country of origin: USA. Production year: 1966. World Premiere: 20.12.1966 The Rivoli Theatre, New York, USA.

Directed by Robert Wise. Written by Robert Anderson. Produced by Charles H. Maguire. Original Music by Jerry Goldsmith. Cinematography by Joseph MacDonald. Edited by William Reynolds

Steve McQueen (Holman), Richard Attenborough (Frenchy), Richard Crenna (Collins), Candice Bergen (Shirley), Mako (Po-han)

Print: 20th Century Fox

In between "The Sound of Music" and Star!, Robert Wise delivered a classic war epic set in 1920s China. The Sand Pebbles boasts an Oscar-nominated performance by Steve McQueen’s as engineer Jake Holman, who upsets the status quo on board the US gunboat San Pablo. Remastered digitally at the highest resolution, this new 35mm print receives its UK premiere.

Academy Award Nominated:
Best Actor in a Leading Role
Best Actor in a Supporting Role
Best Art Direction-Set Decoration, Color
Best Cinematography, Color
Best Film Editing
Best Music, Original Music Score
Best Picture
Best Sound

See Crispin Garcia's
The Sand Pebbles web site


Restoration of “The Sand Pebbles”, overseen by Twentieth Century Fox VP of Asset Management and Film Preservation Schawn Belston, was completed by Ascent Media Group (AMG). The workflow started with a complete evaluation, inspection and physical repair of the original negative at Cinetech (Ascent Media’s film restoration and full service motion picture laboratory). Next, a series of photo-chemical direct prints were struck from the original in order to better identify the digital restoration needs followed by a 4K, 10-bit pin registered scan on Ascent Media’s Northlight scanners. Digital restoration was performed at full 4K resolution at AMG’s Digital Media Data Center (DMDC) using Quantel’s integrated iQ digital intermediate and Pablo color correction systems. After final approval of the color and restoration, the files were recorded back out to a 4K negative. Cinetech then manufactured the composite 35mm check print using an audio track restored by Ascent Media’s POP sound division. POP processed out the hisses and ticks, time-aligned the original 70mm version 6-track to the reference picture and conformed and remixed the music using the original interlocked 6-track and dual 3-track 35mm magnetic scores. Effects enhancements were created from the original sound design, as well as a new Dolby LTRT discreet 5.1 surround mix using newly created subwoofer, equalization, and spatializing technique.

Faded 70mm frame


“The Sand Pebbles”
was a Fox film and thus 'Color by De Luxe'. What this meant back in 1966 was that all prints (including the blow up 70mm Roadshow copy) were struck directly from the 35mm Panavision camera negative. We're talking three to four hundred prints struck from the original which really wore it out.

In 2005, Fox decided to use "The Sand Pebbles" as their first 4K restoration. The extremely faded and worn camera negative was scanned into the digital machine at this resolution. Then a frame at a time (at 182 minutes) was fixed which is why it took so long. The end results are outstanding and as good as it looked back in 1966.

"Making of HTWWW" seminar
Hosted by David Strohmaier & Randy Gitsch

18:00 - 19:00

Randy Gitsch and David Strohmaier

"Making of HTWWW" seminar / rough cut (Digital Video 4 x 3 Projection) 1 hour hosted by Dave and Randy. (Randy & I will introduce several start and stop video segments and talk between them, this will be a "rough cut" of a 40 minute documentary for Warner Home Video. )

This will cover the origins of How The West Was Won beginning with a 1923 pageant, the seven part Life Magazine series, the popular Bing Crosby record album, and through the gigantic production that became the highest grossing picture made in the year 1962.

This would feature rare audio recordings of Henry Hathaway and the three ASC cameramen who shot the film talking about the difficulties of the Cinerama filming. On screen will be rare behind the scenes stories and never before seen interviews with the actors, producer and editors. An added bonus is an unusual look at the films spectacular locations back then and how they look today after 45 years.

We would briefly discuss the remastering of
"How the West Was Won" and what the Warner Brothers plan is for SmileBox deluxe collectors edition.

We would also spend the last 15 minutes of the hour getting feedback on what the audience would like to see included in the final cut documentary.

This presentation will begin with a the showing of the 6 minute 3-panel trailer for "How the West Was Won" on the curved screen.

Bonus: A little 3 minute video of the Duncan and Tony running "How the West Was Won" in 2007.


19:30 - 22:32 “STAR!“ (2:54) + Intermission. Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Todd-AO. Presented: On the curved screen in a new Todd-AO 70mm DTS print. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1968. World Premiere: 18.07.1968 Dominion,  London, England

Produced by Saul Chaplin. Original Music by Lennie Hayton. Cinematography by Ernest Laszlo. Film Editing by William Reynolds.  Production Design by Boris Leven. Directed by Robert Wise.

Julie Andrews (Gertrude Lawrence), Richard Crenna (Richard Aldrich, Producer ), Michael Craig (Sir Anthony Spencer), Daniel Massey (Noel Coward), Robert Reed (Charles Fraser), Bruce Forsyth (Arthur Lawrence)

Print: 20th Century Fox

Academy Award Nominated:
Best Actor in a Supporting Role
Best Art Direction-Set Decoration
Best Cinematography
Best Costume Design
Best Music, Original Song
Best Music, Score of a Musical Picture (Original or Adaptation)
Best Sound

40th Anniversay Screening

What is Todd-AO?

"TODD-AO 70mm film, plus the TODD-AO special camera, plus the TODD-AO newly developed 6 channel high fidelity magnetic sound, plus the TODD-AO "all purpose" 70mm projector and the great arched TODD-AO screen equal the most revolutionary of all screen inventions, with clarity of perspective, detail and color reproduction never before achieved. As a result, with TODD-AO, audience participation now has its fullest and truest expression. Todd-AO is the dream of Michael Todd, plus the technical skills of the American Optical Company whose research staff headed by Dr. Brian O'Brien, jointly succeeded in developing "a motion picture system that would photograph action in a very wide angle....with one camera....on one strip of be projected from a single projector....on a very wide screen....with a quality so perfect that the audience would be part of the action, not just passive spectators.

Sunday 9 March 2008


10:00 – 12:30 Cineramacana including the odd surprise and the Academy of the Widescreen Weekend presentation.

One of the most popular events of the Widescreen Weekend and a great way to wake up on a Sunday morning, Cineramacana brings together all those little bits and pieces that lie around in people’s cupboards or on dusty shelves in archives and seldom see the light of a projector. Over the years there have been some magical discoveries and nobody knows what will be shown until the event itself. Even then there is the occasional surprise.

And there will just be time for the traditional Audience on stage photograph of all the WW delegates.
Kinopanorama during Cineramacana

I am pleased to announce that I have authorised Mr David Strohmaier of "The Cinerama Adventure" to screen our two-reel 3-panel restoration footage of "Opasniye Povoroty" (1961) and the black & white newsreel of "Moscow Cinema Chronicle Number Six" (1958) at this years' Bradford Widescreen Festival. This is the premier screening of either film in the UK, not to mention the first screening of any 3-panel Kinopanorama print at Bradford in some 11-years.

Screentalk with Kenneth Branagh

Kenneth Branagh in Copenhagen. Photo by Thomas Hauerslev

Head of Cinema, Tony Earnshaw will be doing a one hour screentalk with Kenneth Branagh on stage discussing his career, before "Hamlet"

This event has already sold out.



13:30 - 17:32 “Hamlet” (4:02) + intermission. Filmed in: 65mm, 24 frames per second. Principal photography in: Panavision System 65. Presented: On the flat screen with 6-track Dolby Stereo, format 43. Aspect ratio: 2,21;1. Country of origin: USA. Production year: 1996. World Premiere: 25.12.1996 The Ziegfeld Theatre, New York, USA.

Produced by David Barron. Original Music by Patrick Doyle. Cinematography by Alex Thomson. Edited by Neil Farrell. Directed by Kenneth Branagh.

Kenneth Branagh (Hamlet), Julie Christie (Gertrude), Charlton Heston (Player King), Derek Jacobi (Claudius), Kate Winslet (Ophelia)

Academy Award Nominated:
Best Art Direction-Set Decoration
Best Costume Design
Best Music, Original Dramatic Score
Best Writing, Screenplay Based on Material from Another Medium

"Hamlet" 1996 press release

"Hamlet" reviews

"Hamlet" cast/credits



18:00 - 19:45 “Honeymoon“  / "Luna de Miel" (1:45). Filmed in: 35mm 8 perforations, 24 frames per second. Principal photography in: Technirama. Presented: On the flat screen in a new restored 35mm print. Aspect ratio: 2,39:1. Country of origin: United Kingdom and Spain. Production year: 1959. World Premiere: 29.03.1959, Spain

Directed by Michael Powell. Written by Luis Escobar, Gregorio Martínez Sierra & Michael Powell. Produced by Cesáreo González and Michael Powell. Cinematography by Georges Périnal & Claude Renoir. Edited by Peter Taylor & John Victor-Smith.

Anthony Steel (Kit Kelly), Ludmilla Tchérina (Anna), Antonio (Antonio), Léonide Massine (Der Geist)

Cannes Film Festival Technical Grand Prize

Nominated Golden Palm
Introduced by Charles Doble, restorer of the film. From the "Honeymoon" restoration web site:

The storyline is best summed up in this release, published at the time in 1959:

"Ludmila Tcherina and Anthony Steel are on a fabulous honeymoon in sunny Spain. They are rich. They are happy. And then they meet the fiery Spanish dancer Antonio... When Antonio discovers the bride is a prima ballerina who has given up her career for marriage, he refuses to rest until he has persuaded her to dance again - as his partner. Wherever they drive in their gleaming silver convertible, they run into Antonio. On the road outside Santiago; in a fashionable bar in Madrid; at the caves of Grenada. Antonio conducts a captivating campaign. He persuades her to dance with him in his studio. He tempts her with his dancing feet; he lures her on with his mischievous eyes. He breathes into her ear that only she can dance the leading role in his latest production. He ignores the jealous husband. When the three meet in Madrid for the last time Antonio has apparently called off his campaign. Everything it seems, will be back to normal. The honeymooners are free to continue their world cruise. But there's still a twinkle in Antonio's eyes. For he is about to go with his dance company...on a world tour!"

Charles Doble in Pictureville foyer. Image by Thomas Hauerslev

It was originally produced in stereo; a four track magnetic version. Visually, it was released in both Wonderama and Technirama. These were very new processes. One of these was an attempt to get over the problems of loss of focus where projection was onto large curved screens. This involved a complicated and heavy series of lenses mounted on the front of the 35mm projector. Each cell of the film was divided vertically into two halves. From a projection point of view it was a nightmare to get the two halves to meet seamlessly in the centre of the screen and at the same time, even with the largest projectors, the colossally heavy adaptor for the ARC 120 process caused uncontrollable picture shake.

"Honeymoon" restoration notes
"Honeymoon" in ARC-120
To Split or Not to Split

"Blade Runner - The Final Cut"

20:30 - 22:27 “Blade Runner - The Final Cut“ (1:57). Filmed in: 35mm 4 perforation + special effects in 65mm 5 perforations, 24 frames per second. Principal photography in: Panavision. Presented: On the flat screen in a new digital 2K print. Sound: Fully uncompressed 6 channel 5.1 sound.  Aspect ratio: 2,39:1. Country of origin: USA. Production year: 1982. World Premiere: 05.10.2007 New York,  USA

Directed by Ridley Scott. Written by Hampton Fancher and David Webb Peoples. Produced by Michael Deeley. Original Music by Vangelis. Cinematography by Jordan Cronenweth. Edited by Marsha Nakashima

Harrison Ford (Rick Deckard), Rutger Hauer (Roy Batty), Sean Young (Rachael Edward James Olmos (Gaff), M. Emmet Walsh (Bryant), Daryl Hannah (Pris)

Academy Awards Nominated:
Oscar Best Art Direction-Set Decoration
Best Effects, Visual Effects


Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built by the Tyrell Corporation for use in dangerous off-world colonization. Deckard's former job in the police department was as a talented blade runner, a euphemism for detectives that hunt down and assassinate rogue replicants. Called before his one-time superior (M. Emmett Walsh), Deckard is forced back into active duty. A quartet of replicants led by Roy Batty (Rutger Hauer) has escaped and headed to Earth, killing several humans in the process. After meeting with the eccentric Eldon Tyrell (Joe Turkel), creator of the replicants, Deckard finds and eliminates Zhora (Joanna Cassidy), one of his targets. Attacked by another replicant, Leon (Brion James), Deckard is about to be killed when he's saved by Rachael (Sean Young), Tyrell's assistant and a replicant who's unaware of her true nature. In the meantime, Batty and his replicant pleasure model lover, Pris (Darryl Hannah) use a dying inventor, J.F. Sebastian (William Sanderson) to get close to Tyrell and murder him. Deckard tracks the pair to Sebastian's, where a bloody and violent final confrontation between Deckard and Batty takes place on a skyscraper rooftop high above the city.

Monday 10 March 2008

"Edward Scissorhands"

10:30 - 12:10 “Edward Scissorhands“ (1:40). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision flat. Presented: On the flat screen in a vintage 70mm blow-up print with 6-track Dolby Stereo. Aspect ratio: 1,85:1. Country of origin: USA. Production year: 1990. World Premiere: 06.12.1990 Los Angeles, USA

Directed and produced by Tim Burton. Written by Caroline Thompson. Music by Danny Elfman. Cinematography by
Stefan Czapsky

Johnny Depp (Edward Scissorhands), Winona Ryder (Kim), Dianne Wiest (Peg), Anthony Michael Hall (Jim), Kathy Baker (Joyce) and Vincent Price (The Inventor)

Print: National Media Museum

Academy Awards Nominated:
Best Makeup

An elderly inventor creates Edward, a living being, but dies before he can complete the hands. Edward is left alone – but with a dazzling array of knives and scissors at the ends of his arms. Peggy, the local Avon lady, finds him and brings him back to town. There he becomes a star at topiary and hairdressing. A very peculiar vision of small town America sees Tim Burton at his imaginative best. Edward is one of cinema’s great sympathetic characters.


12:24 - 14:00 “Brainstorm“ (1:36). Filmed in: 35mm 4 perforations + 65mm 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70. Presented: On the curved screen in a vintage Super Panavision 70 Dolby Stereo print. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1983. World Premiere: 30.09.1983, The Ziegfeld Theatre, New York, USA

Directed and produced by Douglas Trumbull. Original Music by James Horner. Cinematography by Richard Yuricich. Edited by Freeman A. Davies and Edward Warschilka

Christopher Walken (Dr. Michael Anthony Brace), Natalie Wood (Karen Brace), Louise Fletcher (Dr. Lillian Reynolds), Cliff Robertson (Alex Terson), Jordan Christopher (Gordy Forbes), Donald Hotton (Landan Marks)

Print from BFI, London

With a machine that can put you into someone else’s experiences then this could be a great fun experience or learning device. But the military can also see some great potential. Partly shot in 70mm, this is a great ride and action movie from Douglas Trumbull, the man responsible for the effects in Kubrick’s 2001.

25th Anniversary Screening of "Brainstorm"


Lillian Reynolds (Louise Fletcher) and Michael Brace (Christopher Walken) head a team of scientists who have developed a device capable of recording and playing back sensory experience and even emotions and memories. Michael uses the device to effect a reconciliation with his estranged wife, Karen (Natalie Wood), by replaying to her his feelings about their relationship.

Although their boss, Alex (Cliff Robertson) promises that their work will not be misused, it becomes clear to Lillian and Michael that the project is being sold to outsiders. Lillian suffers a fatal heart attack. While dying, she records her experience for Michael. Lillian’s death allows the take-over of the project by the military. Michael discovers that the device will be used for brainwashing and is banished from the project. Increasingly obsessed both with sabotaging the project and with experiencing the tape Lillian left for him, Michael conspires with Karen to destroy his work.

Douglas Trumbull

Dennis Muren, Steven Spielberg and Douglas Trumbull at the recent Visual Effects Society Awards in Los Angeles. Picture curtsey Bill Kallay.

"Brainstorm" directed by Douglas Trumbull

Selected filmography as Director (films in 65mm):

Leonardo's Dream (1989) Showscan
Let's Go (1985) Showscan
Brainstorm (1983)
Big Ball (1983) Showscan
New Magic (1983) Showscan

Selected filmography as Special Effects Supervisor (films in 65mm):
Blade Runner (1982)
Star Trek: The Motion Picture (1979)
Close Encounters of the Third Kind (1977)
2001: A Space Odyssey (1968)
To the Moon and Beyond (1964)
How to get there:
How to travel to Bradford
By Paul Rayton
No matter where you are coming from (unless you are already in the UK), you have to get there by air plus some kind of ground transportation.

Widescreen Weekend 2008
70mm Festival

Friday, 7. March
10:00 – 11:55 “This is Cinerama” (1:55) + intermission. On the curve in 3-strip Cinerama with 7-track magnetic stereo
13:30 "The Great Escape"
18:30 Cinematic Sound Formats: with Dion Hanson
19:30 "2001: A Space Odyssey" in 70mm Cinerama on the curve with the D-150 lens.

Saturday, 8 March

10:00 “Windjammer” on the curve in 3-strip Cinemiracle with 7-track magnetic stereo
13:30 The Bigger Picture - Tony Sloman
14:45 "The Sand Pebbles"
18:00 The Making of "How the West Was Won"
19:30 "STAR!" On the curved screen in a new Todd-AO 70mm DTS print

Sunday, 9 March

10:00 – 12:30 Cineramacana including the odd surprise. Academy of the Widescreen Weekend and Audience on stage
13.00 Screentalk: Kenneth Branagh + "Hamlet" 70mm
18:00 "Honeymoon"
20:30 "Blade Runner"

Monday, 10 March

10.30 "Edward Scissorhands" 70mm + "Brainstorm" 70mm
Accommodation and the Weekend Pass

CONCESSION PRICE (Senior Citizen or student) FULL PASS - £45

This includes a reserved seat for every event/film during the weekend, but all delegates must state which events they want to go to. If there are any events they do not want to attend, it means we can sell that seat to a member of the public. If an event sells out, it means we don't have empty seats, even though they have been covered by a pass.

Individual screenings will be £5,00 / £3,30.
Film Festival Rates 2008 29th February until 15th March:
The Midland Hotel is providing a ‘package’ for attendees, which will be on a 2, 3 or 4 night basis. Rates are as follows and will not be available any cheaper elsewhere.

Bed & Breakfast for 2 nights @ £46.00 per person per night sharing a Standard Double/Twin bedroom.

Bed & Breakfast for 3 nights @ £42.00 per person per night sharing a Standard Double/Twin bedroom. 3 night reservation will be upgraded, subject to availability, and will be given a complimentary bottle of wine in their bedroom upon arrival.

Bed & Breakfast for 4 nights @ £38.00 per person per night sharing a Standard Double/Twin bedroom. 4 night reservation will receive the above and Dinner complimentary on one of the evenings.

*Premium bedroom supplement of £10.00 per person per night.

*A single supplement of £30.00 applies per room per night.

Dinner will be available from £16.95 per person, per night with a Special Themed Menu running throughout the festival.

Bookings are to be made directly through the Midland Hotel and festival guests will be advised to quote “Bradford International Film Festival” when booking.

Details for contacting the Midland are + 44 1274 735 735
Other Bradford Hotels
Holiday Inn Express +44 0870 850 9083

Great Victoria Hotel +44 01274 728706

Hilton Hotel +44  01274 734734

Academy of the Widecreen Weekend

The past winners are:

2008 -
2007 - David Strohmaier
2006 - Francois Carrin
2005 - Paul H. Rayton
2004 - Anthony B. Sloman
2003 - Keith Swadkins
2002 - Willem Bouwmeester
2001 - Thomas Hauerslev (Chairman)
2000 - John Belton
1999 - Howard Rust
65/70mm Workgroup
Third Session
The 3rd 65/70mm Workshop will take place on Sunday March 9th from 2.30pm to 4pm. This is your chance to input into the continuing promotion of 65mm production and 70mm exhibition, with an emphasis on practical ideas and a willingness to challenge the status quo!

All welcome - please gather in the Pictureville cafe-bar.

Dear Thomas

I would like to thank you for sending me my "Friends of 70 mm" certificate. I also wanted you to know that you can count on my support this year again and in the future.

Thank you also for your efforts in continuing providing 70 mm enthusiasts like myself with such a great web site.

Unfortunately I will not be able to attend Bradford wide screen week end this year, my schedule will not permit me to get away that week.

I will definitely be in Karlshure in October and cant wait for a great week end of 70 mm at the Schauburg. Hopefully this year will feature more restored films. Last year in my opinion had too many PINK presentations.

Kindest regards

Christian Losito
Macon, GA

15. February 2008


I am very pleased with your programming

Rich Greenhalgh


I hope to attend Bradford next year. It all depends of the workload, but since I have retired, at least I have the possibility.

Saw that "STAR!" is likely to be shown - wonderful.

How about accommodation? Saw a hotel on, but no price.

And how do you get to Bradford  - beyond flying to London I presume? I Hope to see you there

Best from
Sebastian Rosacker, Malmø, Sweden


Bradford is will be my first trip beyond the USA and Canada.

I live in the vicinity of Washington, DC. There is a gentleman from New Mexico, Henry Taylor, who has travelled there several times who will also be there. I met him last year as a result of a notice put out by Bill Lawrence describing my 50th Anniversary showing of "Oklahoma!" on my 13 foot (4 metre) curved screen at my home.

If the Festival in Karlsruhe refers to the Shauburg, I'm afraid my funds and schedule will not allow that, but I will be at Bradford.

I'm sorry I never mentioned how much I enjoy your "In 70mm" newsletter. It is a truly monumental undertaking.

Until then,
Paul Samuels


I am looking forward to meeting you again at Bradford in March 2008. I have already booked accommodation for my daughter Xandra and myself and cannot tell you how much I am looking forward to it.

Having to miss this years Widescreen Weekend due my ill health and the treatment that I had to have was quite a bitter blow. I am determined that I will be there next year.

Hopefully I will be fit and capable of attending next March and meeting up with you again.

Best wishes and regards
Ralph Miller (ex London Cinerama 3 x strip and 70mm projectionist)

sadly, Ralph passed away in late February 2008. Editor
14. marts 2008 23:36:51

Hi Tom,

Another great WW in Bradford this year. Just a quick note regarding pictures from last years reception. With me on the photo are John Cartwright (older guy on the left with light brown jacket) and Ray George (with blue bag and darker jacket)

I'd never seen Star! I was blown away by the scope and scale of the pic, interesting story and a powerful performance by Julie Andrews. But I was particularly impressed (as I thought I would be) by the digital 2k presentation of Blade Runner. The biggest waste of time was Honeymoon - the negative aught to be burnt!!!

Siddique Hussain
Odeon Bradford
On the screen in PV foyer on Sunday morning: About the Odeon building opposite Pictureville:

THREE digital image sequences of photos taken in 2006 amd 2007 inside the building - the largest theatre/cinema site in Europe currently up for grabs for development. The automatic sequences each contain circa 60 high resolution images optimised for projection and complete with transition effects, animation, titles/credits and most photos have never previously been published.

1. Inside the Odeon
Shows condition of the public areas of foyers, bar, bingo hall and all three cinemas - still in good condition and mostly in tact.

2. Behind the Scenes
Areas never seen by the public from cellars to the roof, offices, projection rooms, stage flytower, managers flat.

3. Hidden Secrets of the Odeon Building
Behind the conversion work of the 1969 and 1988 there is much of the former New Victoria/Gaumont era; flytower grids still there, original staircases, lift, ornate plaster ceilings and classic leaded windows, dressing rooms and organ chambers.

Colin L. Sutton
Bradford & Shipley
Cinemas Historian.
Tele: 01274 595875
• Three full days + Monday morning
• Several film anniversaries; 100th, 80th, 55th, 50th, 40th and 35th
• Primarily good new prints in color
• Proper selection between flat vs. curved screens.
• ”TIC” and ”Windjammer” in 3-strip Fri and Sat.
• 6 films never shown at WSW including a brand new 70mm print
• Illustrated lectures by Tony Sloman and Dion Hanson
• Interactive presentation by David Strohmaier about “How the West Was Won”
• ”Commercial” films evening performances for the broader and local Bradford audience
• Large variety of film and sound formats: DTS 70mm (special venue and standard 5.1), 6-track magnetic in Todd-AO layout, 6-track Dolby magnetic, 7-track Cinerama sound, and 6-track uncompressed digital sound, 3-strip Cinerama & Cinemiracle, Todd-AO, Super Panavision 70, Panavision Super 70, Panavision, 2k digital projection, large variety of blowups, video-to-film, film-to-video
Dear Thomas

I wanted to take this opportunity to thank you and your collaborators for this year's Widescreen Weekend. It is the first time I attended and I did so from a slightly more 'research perspective' and not really knowing what to expect. I thought the program struck a good balance between the films themselves and the underlying technology, whilst the lectures were informative and interesting. Indeed, I was surprised at the often vociferous debate, especially concerning film vs. digital (not all of it that well informed it has to be said). Perhaps this issue could be explored further in future 'Weekends', love it loath it, the future of widescreens, big-screens, even deep-curve screens seems more allied to this new technology than it does to 70mm...perhaps? Overall a really interesting and stimulating conference. Thanks again.

Best wishes
Dr Guy Walker
Research Fellow, Brunel University, Uxbridge
Just a quick note to express my thanks for all the hard work in planning of the Widescreen Weekend and most of people I chatted too enjoyed it and I was encourage to see some new faces this year and they liked the social side meeting with fellow Widescreen supporters that is rarely seen at other Festivals.

Very little comments about D-Cinema and most are not really interested in that Format at the Widescreen Weekend.

Ben Wales
Striporama Poster
Flowerama store
Pzzarama sign
Launderrama sign
Trailerama sign
Color rama
License plate
More in 70mm reading:

Widescreen Weekend home

2008 Galleriers: Friday, Saturday, Sunday, Monday

Cinerama at the Pictureville Cinema
65/70mm Workshop
To Split or not to Split

"2001" full credits
The CD Soundtrack
A Roadshow Odyssey
Restoring the soundtrack
"2001" and the
curved screen
The Original Reserved Seat Engagements Of "2001: A Space Odyssey"

"Hamlet" 1996 press release
"Hamlet" reviews
"Hamlet" cast/credits

2009 weekend preview

restoration notes

Internet link:

National Media Museum

Bradford Film Festival

The Digital Spy

The Sand Pebbles


Christiane Kubrick

About "Honeymoon" restoration

John Layton's web site + Stalag Luft 3

Christiane Kubrick's Website

Creating special effects for "2001"

Kubrick Films
and old Christiane Kubrick web site hosted by Warner Brothers.

Warner Brothers' 6 year old "2001" web site

Kubrick: a marketing odyssey.It took some quick thinking by Mike Kaplan to reassure the 2001 director that his masterpiece was in safe hands. Here, he recounts the rocky start of a long friendship
Friday November 2, 2007
The Guardian

Kubrick: a marketing odyssey

Adrian Raistrick's video on

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Updated 22-12-16