14th Todd-AO Festival at the Schauburg
28 - 30. September, 2018

Herbert Born, Filmtheater Schauburg and Thomas Hauerslev (in70mm.com) welcomes you to

"No expenses are spared to give you the very best experience.", says Herbert Born, and he continues: "It is a Harkness Perlux 140 with a 1,4 gain which helps to reduce the cross reflections of the deeply curved Cinerama screen at the Schauburg."

Herbert Born
Filmtheater Schauburg

Festival Highlights:
• Todd-AO Festival Program 2005-2017
• PDF: Alle 70mm Filme in Karlsruhe 2005-2015 by Werner Neuner
• Schauburg Cinerama, Home of The Todd-AO Festival
• Todd-AO Festival Archive
• Pictures from 13th Todd-AO Festival
• Go to Schauburg Cinerama, Karlsruhe, Germany. Home of The Todd-AO Festival
• Go to 70MM at the Schauburg
 

High Lights

Weekend 70mm Program & Breaks

Thursday

• 20:00 Dinner/Imbiß - Break. Gemeinsames Essen / Buffett
• 21:00 "2OO1: A Space Odyssey"

SUNDAY 30. September 2018
• 10.00 Full 70mm Breakfast
Full weekend Schauburg 70mm Breakfast for festival pass holders in Schauburg Cinerama Lounge on the 1st. floor. Schauburg Kino's famous breakfast menu. Enjoy hot and cold with bread, pretzels fresh fruit. Hot sausages, scrambled eggs and bacon. Butter, honey and jam. Salami, smoked salmon, ham and apples served with juice, milk, coffe and the (green & black) and something for the sweet tooth too!

• "Sunday Short" 70mm program including:

• Lecture: "Todd-AO: How it Started" - 60 min about the beginning of Todd-AO. With 65mm Todd-AO test footage and Todd-AO - Distortion Correcting Printing Process, recently digitally restored from faded vintage large format elements in eye-popping 4K resolution.
• "A Year Along the Abandoned Road" plus on-stage interview with Director Morten Skallerud, Norway
• Magellan 65 presentation by Orla Nielsen
• "Sky Over Holland" (22 minutes)

• 13:30 "Phantom Thread"
• 16:00 Coffee & Kuchen / Afternoon tea & coffee
• 17:00 "Play Time"
• 19:30 Dinner/Imbiß - Break. Gemeinsames Essen / Buffett
• 20:30 "Ready Player One"

• 70mm projectors and 65mm cameras will be on display in foyer both Saturday and Sunday.
 

Todd-AO Festival Program Film Information

About shooting on 65MM film:

The level of detail was particularly important as the film was shot on 65mm, a format which heightens every element of the filmmaking process. "In our digital age, it's increasingly rare for films to be shot on celluloid, and mostly when they are, it's 35mm,” said Branagh. “We are shooting on 65mm. So, in crude terms, it's twice the size of the 35mm negative. It allows for a level of definition in the color and the range of tones and contrasts in the movie that, if you like film, some would argue, echoes more the experience of the human eye when viewing things. It essentially means, in layman's terms, that it looks sharper, richer, more colorful, and it feels like you're inside it. That's what 65mm does for me, and I wanted to take the audience onto the train. That's why we chose that format."

Sir Kenneth Branagh

• "Murder on the Orient Express" Production Information
 

About the filming on 3-perf 35mm film and 70mm prints

"The movie was shot 3 perf 35mm, which means you can't make prints without an optical. This means, to retain any quality they'd have to do a DI. For a true 35mm photochemical distribution from a 3 perf negative, this is the workflow: Cut OCN>3 perf IP> 3 to 4 perf blowup IN> release prints. So you'd be dealing with 4th generation for theatrical prints on 35mm. Where with a DI, you scan the negative and you laser out directly to 70mm IN. So release prints are being struck off a 70mm IN which for all practical purposes is an identical replica of the 3 perf 35mm negative. So you're dealing with prints made from 2nd generation, instead of 4th generation with the optical printing process. One could do an optical blow up directly from the negative, but the cost to do every single print that way, is exorbitant, so it's really never done."

Tyler Purcell, Cinematographer, Los Angeles, USA

• Behind the scenes with Annapurna Pictures (YouTube)
• "Phantom Thread" full Production Notes
 

Original titel: "Playtime" / "Playtime - Tatis herrliche Zeiten" (126 min). Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Mitchell 65mm cameras. Presented: on the curved screen in 70mm with 6-track DATASAT digital sound. Aspect ratio: 1,75:1 Country of origin: France. Production year: 1967. World Premiere: 17.12.1967, Empire Cinerama, Paris, France. West German premiere 14.08.1968.

Director: Jacques Tati. Script: Jacques Tati, Jacques Lagrange, Art Buchwald. Photography: Jean Badal & Andréas Winding. Music by: Francis Lemarque.

Jacques Tati (Monsieur Hulot), Barbara Dennek (Young Tourist), Rita Maiden (Mr. Schultz's Companion (as Rita Maïden)), France Rumilly (Woman Selling Eyeglasses), France Delahalle (Shopper in Department Store)

Monsieur Hulot is on his way to contact an American official in Paris, but he gets caught in a tourist invasion and roams around the city with a group of American tourists, causing chaos in his usual manner. In true Tati fashion, we are shown Paris as a stylish maze of mid century modern architecture filled with the latest technological gadgets.

Monsieur Hulot verliert sich im labyrinthartigen Paris. Umringt von Glaspalästen und Wolkenkratzern besucht er zuerst eine Ausstellungsmesse, später ein Nobelrestaurant, in dem es drunter und drüber geht. Meisterwerk! Unverständlicherweise floppte der Film in den Lichtspielhäusern, was Tatis Regierkarriere nahezu besiegelte. Die perfekt getimte „Choreografie des Chaos“ lässt einen Staunen.

About the restoration of "Play Time"

"Play Time" was the only Jacques Tati movie shot for 70mm release. The original (1967) negative material was so worn and damaged that, by the year 2000, it wasn't possible to make new copies without some restoration being done to it. We had to repair the original film elements physically, using both chemical and digital methods, and also repair the sounds. We sought to restore this version of the film to correspond to Jacques Tati's original artistic vision. So, we had to search to find the lost parts of the film, in order to add them to the new 70mm prints. We had to be sure of the cuts Tati was forced to make. We did some research on all the documents we had from that era, and we could also refer to two 35mm copies from the Toulouse and the Lausanne cinematheques, which confirmed our thoughts. The new version is as long as the Toulouse version, about 2 hours 06 min, instead of 1hour 58 min. It's not as long as the complete original, but it was what we could locate and assemble.

Jerome Deschamps, The Reconstruction of the 70mm print of Jacques Tati's "Play Time"

• Die Restaurierung von „Tatis herrliche Zeiten“
• La restauration de "Play Time"
• The restoration of "Play Time"
 

Original titel: 2OO1: A Space Odyssey / "2OO1: Odyssee im Weltraum" (149 min) + intermission. Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70 (2,21:1). Presented: on the curved CINERAMA screen in Super Panavision 70 with 6-track DATASAT digital sound. Aspect ratio: 2,21:1. Country of origin: USA/UK. Production year: 1964-68. World premiere: 02.04.1968, Uptown Theatre, Washington DC, USA. West German premiere: 11.09.1968.

Produktion: Stanley Kubrick. Regie: Stanley Kubrick. Buch: Stanley Kubrick, Arthur C. Clarke. Vorlage: Arthur C. Clarke (Kurzgeschichte). Kamera: Geoffrey Unsworth, John Alcott. Musik: Aram Khatschaturian, Richard Strauss, Johann Strauß, György Ligeti. Schnitt: Ray Lovejoy

Keir Dullea (David Bowman), Gary Lockwood (Frank Poole), William Sylvester (Dr. Heywood Floyd), Leonard Rossiter (Smyslov), Daniel Richter (Mondbeobachter), Robert Beatty (Halvorsen), Frank Miller (Chef der Expedition), Ed Bishop

The Running time of "2OO1: A Space Odyssey" is 2 hours 20 minutes, plus 10 minutes of OVERTURE, ENTRACTE and EXIT MUSIC.

Academy Awards
• Best Effects, Special Visual Effects: Stanley Kubrick
Academy Awards Nominated
• Best Director: Stanley Kubrick
• Best Writing, Story and Screenplay: Stanley Kubrick & Arthur C. Clarke
• Best Art Direction-Set Decoration: Anthony Masters, Harry Lange & Ernest Archer

One of the more common reactions to Stanley Kubrick's "2OO1: A Space Odyssey" is "wait, what the hell happened exactly?" In a 1969 interview with Joseph Gelmis, Kubrick explained the plot in a very straightforward manner:

You begin with an artifact left on earth four million years ago by extraterrestrial explorers who observed the behavior of the man-apes of the time and decided to influence their evolutionary progression. Then you have a second artifact buried deep on the lunar surface and programmed to signal word of man's first baby steps into the universe -- a kind of cosmic burglar alarm. And finally there's a third artifact placed in orbit around Jupiter and waiting for the time when man has reached the outer rim of his own solar system.

When the surviving astronaut, Bowman, ultimately reaches Jupiter, this artifact sweeps him into a force field or star gate that hurls him on a journey through inner and outer space and finally transports him to another part of the galaxy, where he's placed in a human zoo approximating a hospital terrestrial environment drawn out of his own dreams and imagination. In a timeless state, his life passes from middle age to senescence to death. He is reborn, an enhanced being, a star child, an angel, a superman, if you like, and returns to earth prepared for the next leap forward of man's evolutionary destiny.

That is what happens on the film's simplest level. Since an encounter with an advanced interstellar intelligence would be incomprehensible within our present earthbound frames of reference, reactions to it will have elements of philosophy and metaphysics that have nothing to do with the bare plot outline itself.

Stanley Kubrick, 1969

• Warner Bros. Pictures Celebrates 50 Years of Stanley Kubrick's "2OO1: A Space Odyssey"
• Douglas Trumbull - A Conversation
• The Importance of Panavision
• 2001: A Space Odyssey Essential Presentation Procedure
• Introduction to 2001: A SPACE ODYSSEY
 

Making "A Year Along the Abandoned Road" had been a dream for many years, ever since January 1980 when I first came to a deserted, isolated, weather-beaten small village in Finnmark, located in northernmost Norway. Then the dream slowly turned into reality after we found a reliable method of doing extended tracking shots over rugged terrain, frame by frame. "A Year Along the Abandoned Road" is a nature animation film - a kind of time-lapse film in one single shot. We see the Arctic year passing by at 50,000 times normal speed, and at the same time we "fly" along the remains of a 2.5 kilometre internal village road. "A Year Along the Abandoned Road" is intended for large cinema screens. It was shot in 70mm, thanks to a sponsoring deal with Panavision.

Morten Skallerud.

Director Morten Skallerud will be official guest the 14th Todd-AO Festival

• Full production information
 

2018 Tickets

The Todd-AO 70mm Festival is generously supported by the Georg Fricker Stiftung

Georg Fricker Stiftung

Jürgen Brückner
Thomas Burkhardt
Ninette Christensen
Thomas Drumm
Hartmut Fricker
Wolfram Hannemann
Thomas Hauerslev
Marcel Höger
Thorsten Kinne
Adéla Kokešová
Christine Kummer
Claudius Lang
Cordula Lau
Tommy Madsen, Logmar
Orla Nielsen
Gunter Oehme
Jan Olsen
Paul Rayton
Galina Shaveika
Morten Skallerud
Pavel Tomešek
René Wolf

Team Projektion:
Vincent Koch
Marcus Vetter