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Company Press Release
SOURCE: Imax Corporation
TORONTO, Feb. 9 -- Imax Corporation (Nasdaq: IMAXF - news; Toronto: IMX - news) today announced an agreement with Buena Vista Pictures Distribution, a unit of The Walt Disney Company, for an exclusive four-month release of Disney's newest animated classic Fantasia 2000 to IMAX® theatres. Beginning on January 1, 2000, the IMAX theatre release will be an exciting element of Disney's new millennium celebration and will follow a five-city live orchestral tour of Fantasia 2000 in New York, London, Paris, Tokyo and Los Angeles. Fantasia 2000 will be the first theatrical full-length feature film to be reformatted into Imax's 15/70 film format and released to IMAX theatres around the world in its full 90-minute length. The film release marks the launch of both Imax's Hollywood-film and animation strategies to bring more mainstream commercial films to IMAX theatres.
"This is a milestone event in the history of Imax Corporation which we believe offers continued validation of the Company's long-term potential," said Imax co-Chief Executive Officers Brad Wechsler and Rich Gelfond. "We feel this release, combined with the rapid expansion of the IMAX brand and IMAX theatre network, will result in record awareness levels and box office results for IMAX theatres."
Disney Vice Chairman Roy E. Disney commented, "Fantasia 2000 is a labor of love which expands upon a bold experiment in sight and sound that was started over six decades ago by my Uncle Walt and my father. With a theatre experience as majestic as Imax's, we can fully showcase the six new segments of Fantasia 2000 which have allowed a whole new generation of animators to push the boundaries of the medium and their imaginations. Uncle Walt and my father would have appreciated seeing this masterpiece on the giant IMAX screen and we are excited to share Fantasia 2000 with today's audiences in this exciting film medium."
Produced under the personal supervision of Roy Disney and 12 years in the making, Fantasia 2000 will be reformatted into the 15/70 film format in its full 90-minute length and released in 2D to IMAX theatres around the world for an exclusive four-month run from January 1 - April 30, 2000. Fantasia 2000 will be distributed by Disney's Buena Vista Pictures Distribution and Buena Vista International, which will provide marketing and promotional support for the film.
Imax co-Chief Executive Officers Brad Wechsler and Rich Gelfond added, "The original Fantasia broke new ground in animation and sound at the time of its initial release. The exhibition of Fantasia 2000 using IMAX theatres' giant, immersive images and unparalleled sound systems will provide a new standard for the 21st century. For over a year we have been looking for the right project with which to launch our strategy to bring more mainstream commercial films to IMAX theatres. The similarity of our demographics and family-friendly film content, and the unequalled quality of Disney animation, make Fantasia 2000 an ideal release for IMAX theatres."
Since their debut in 1970, IMAX theatres have delivered the world's premiere cinematic experiences with screens up to eight stories high and state-of-the-art sound systems that make audiences feel as though they are a part of the movie. Over 500 million people have seen an IMAX presentation since the medium premiered. In 1999, more than 70 million people world-wide are expected to attend an IMAX theatre. As of December 31, 1998, there were more than 180 permanent IMAX theatres in 25 countries, with a backlog of more than 75 theatre systems scheduled to open in 15 new countries during the next few years. In 1997, Imax was awarded an Oscar® for Scientific and Technical Achievement by the Academy of Motion Picture Arts and Sciences.
This press release contains forward-looking statements that are based on management assumptions and existing information and involve certain risks and uncertainties which could cause actual results to differ materially from future results expressed or implied by such forward looking statements. Important factors that could effect these statements include the timing of theatre system deliveries, the mix of theatre systems shipped, the timing of the recognition of revenues and expenses on film production and distribution agreements, and foreign currency fluctuations. These factors and other risks and uncertainties are discussed in the Company's Annual Report on Form 10-K for the year ended December 31, 1997 and in the subsequent reports filed by the Company with the Securities and Exchange Commission.
SOURCE: Imax Corporation |
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 Jim DiDio posted on Wednesday, February 10, 1999 - 12:24 pm
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| Someone clear this up for me. In one part, they say that the film will be "reformatted" into 1570. This, I assume, means they'll be blowing it up from 4/35 or 5/70. However, while they do call this a four-month "exclusive" run, nowhere does it actually say that it will be released FIRST to IMAX theaters, and then after the four months it will be released to commercial theaters. This, obviously, would be a big difference from just reformatting it for 1570 after it's been kicking around the 35 circuit for a while. The way this is written, it sounds like it will be going to 1570 first, and then to 4/35 after the four months, but I don't know why they didn't just say this if it's the case. |
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| From what I understood from the IMAX Distribution, the film will be reformatted in 15/70. It will first be shown in IMAX theaters only and then it will go to regular theaters after that. IMAX wants all the theaters to show the film at the same time similar to what MacGillivray did with Everest but obviously with with more marketing clout. Check out the website at: http://www.fantasia2000.com |
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| Anonymous posted on Friday, February 12, 1999 - 07:39 pm
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| The initial concept conceived by Walt Disney Imagineering was for the film, which is in a 1.66:1 ratio for standard theatrical release, to be world premiered in IMAX 3D. The decision to go on a 2D basis was based on both cost and resolution issues. |
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| Anonymous posted on Wednesday, February 24, 1999 - 01:14 pm
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| I've heard that Disney wants 100% of the show schedule. If true, this would be ridiculous. Many places already have signed contracts for films next year, and can't simply push aside another film to make room for "Fantasia" even if they wanted to. However, the commercial market (especially the 3DSRs that haven't opened yet) has that flexibility. So the message here seems to be: screw the loyal support base of institutional/educational theaters. |
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| Anonymous posted on Friday, February 26, 1999 - 04:52 pm
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| In my humble opinion that's been the 'message' ever since IMAX went public. After all we got IMAX where it is, now they need to 'grow into other markets'. I can't wait until the folks that put out such classics as 'nutcracker' and 'houseguests' start to compete with the big studios. |
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| Anonymous posted on Thursday, March 18, 1999 - 11:25 am
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In case I am the first to see the proposal from Buena Vista, here's the "deal":
January 1 through April 30 engagement.
100% of the show schedule.
1/2 of gross receipts, $11 minimum adult price.
90-minute running time, no intermission.
Print and soundtrack are free (but pulled after April 30).
Gross receipts to be reported daily (in some cases hourly).
No on-screen sponsor recognition.
Now, you are saying "this must be a joke". And, I'm sure, there will be considerable amounts of negotiation. However, this does not look like a deal that many institutional theaters can take. |
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| Anonymous posted on Thursday, March 18, 1999 - 12:03 pm
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Hmm....once again the "evil mouse" is trying to dictate how, when and where...I am assuming that with each print will be a chart that shows when the projectionist is allowed to go to the bathroom .....
If I seem to dislike the "mouse", it's because I went round and round with them in Huntsville, AL. The mouse tried unsuccessfully to force me to alter showtimes for "The Rocketeer". Upshot: I kept my showtimes, and the mouse ran for cover. |
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| Anonymous posted on Thursday, March 18, 1999 - 12:45 pm
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I don't think it sounds all that outrageous actually. At $11 (give or take), the per-minute value to the guest seems about the norm for the format. And although 50% of the gate may seem steep, the theater isn't having to fork out $50,000 for a print/audio. As for prohibiting on-screen sponsorship, even existing "traditional" 15/70 films have stipulated this at times. It's only fair to the people who really deserve the credit for the film, and to avoid conflicts (i.e. Universal Studios is now pleased to present Fantasia 2000).
I do have my doubts as to whether this release will be a profitable one for any of the players (Disney, IMAX, and/or the theaters), but I think it will bring great attention to the format, which could spark more "conventional" projects to make their way to the big screen.
While the contract for Fantasia 2000 may seem a bit strict and bigger than that of say To Fly!, you get what you pay for. Anyone familiar with what the contract for the new Star Wars flick looks like?
I suppose the bottom line is the bottom line. If it looks like your theater could make more money showing something else... show something else. |
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| Anonymous posted on Friday, March 19, 1999 - 11:20 am
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There are so many hidden pitfalls in this last posting that I have to address them individually.
In the first place, even though you don't have to pay for the film, $11 a whack at 50% IS very steep. It may not seem steep to the big-city IMAX theaters which charge more, but to a lot of us in mid-size cities, $11 is more than we charge for the EXH/IMAX combo.
As far as not allowing on-screen sponsorhip goes, this is also a dangerous precedent. It is the type of thing that another distribution company recently pulled, by having "their own trailer" attached to the front of their prints, and working the linguistics into the contract. By "on screen sponsorship", do they infer that you can't have your own film sponsor, and can't even have a pre-film slide on the dome? Although not printed into an IMAX film, a walk-in slide is technically "on screen sponsorship"... so where do you draw the line?
Also, you cannot compare the 1570 industry to "Star Wars" and conventional theaters. And the last sentence is where the real danger is: they are making this thing unaffordable and impractical, but more so to the institutional theaters. By requesting things like 100% of the schedule with only 10 months' notice (when many institutional--but few commercial--IMAX theaters have already signed legally binding contracts to run something else), this is setting a dangerous precedent. So, what's next? Will all films have stipulations written into them (e.g. 100% of the schedule, 50% gate, no on-screen sponsorship) which slant them towards commercial theaters and not institutional? It's bad enough that 3D is now "the way to go", with the domes and the institutional theaters only being thrown the educationally-oriented bone now and then; are we now going to see everyone filming "entertainment oriented" films in 3D as WELL as 2D, with an eye towards only the multiplex 3DSRs? I'm still interpreting all of this as one big giant "screw you" to the institutional theaters, and especially the Domes. |
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| Anonymous posted on Friday, March 19, 1999 - 01:13 pm
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| Leave it to Disney. First, they gobble up ABC/Capital Cities for a whopping $19 billion, and now they want to profit from IMAX and its audiences. When is enough going to be enough for Disney? Must they have their nose in every medium of entertainment on the face of this planet? Will the next press release tell us that Disney has bought Imax Corporation for another $19 billion? God forbid. Buena Vista already dominates the profits in 4/35, and still they want more, more, more. As far as I'm concerned, Disney should go "shopping" elsewhere. If this venture profits and benefits IMAX and its theaters, then it may be worthwhile. But IMAX beware: should this venture fall short of Disney's appetite for dead presidents, they will dump it faster than sinking stocks on Wall St. Case in point: The retired ocean liner "Queen Mary" moored in Long Beach, CA. Disney used to manage it as a hotel and tourist attraction. Well, they did a lousy job. Profits were low, and so they let the condition of that beautiful ship go to pieces--they didn't care--they only saw it as a potential money-maker, not the chance to preserve it as a piece of history. When it didn't go according to their plans, they passed it on to someone else to worry about like a used car salesman. I illustrate this example to point out that the possibility exists that Disney may do the same with this Fantasia thing if it doesn't pan out. If they do, will the public misconstrue it as the negligence/ignorance of Imax rather than Disney? I hope not. Let's hope that doesn't happen. Let's pray that the integrity, ingenuity, and high standards of excellence set forth by Imax Corporation do not suffer, or be lowered to the level of mainstream Hollywood- compliments of Disney. I wonder what 'Ol Walt would say... |
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| Anonymous posted on Friday, March 19, 1999 - 02:36 pm
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| I heard (and even saw) that in Europe BVI doesn't ask for a 100% showschedule. They want as much shows as possible, but they didn't talked about a 100%. This branch even looked it up at their handbook. They want 50% filmrental which is not that bad if thety handle all the marketing and printcosts (and version for most europeans) |
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| Anonymous posted on Friday, March 19, 1999 - 03:14 pm
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You get what you pay for! Maybe...
Fantasia 2000 was not created in 1570 resolution.
A 1570 conversion (even a digital conversion) can only mean one thing: a 35mm to 1570 blow-up. Should this be the case, Fantasia 2000 will be our industry's Trojan horse and Imax Corporation's worse strategic blunder to date. A total lack of vision on Imax's part and a hit-and-run approach for Disney, using the 1570 theatre network to showcase their new release...
A true 1570 version will require major changes (resolution, framing, editing ...) and I doubt it can be done with traditional cel animation.
Does anybody know? |
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| Anonymous posted on Friday, March 19, 1999 - 10:12 pm
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| Disney hasn't done "traditional cel animation" since The Little Mermaid. The drawings are now scanned into a computer and then "painted" digitally. As I'm sure someone from nWave might be able to attest, the quality that can then be output would depend on the output to film device. Granted, Fantasia 2000 will also contain some of the original scenes from the original film, but it won't be the first 15/70 film with footage that's been blown up from another format. |
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Someone from nWave will try to answer... The
quality of the 1570 image will not depend on the
output device per se. Most companies outputting
to 1570 use the CINE III from Management Graphics.
The Cine III makes it possible to output at very
high resoultion. Imagica and ourselves go
routinely to 5.5 k resolution outputs. The
quality of the final product will depend on the
resolution the drawings were scanned at. For the
35mm version, the drawings were probably scanned a
at between 1K and 2K resolution. This would be
insufficient for a good quality 1570 version. In
3D one can get away with 3K scans. In 2D however
4K would be more appropriate. At the end of the
day who really cares about resolution? All we
need to know is: does it look good on the big
screen? A product coming from Disney will in all
likelihood look great. Having said that, I am
also be curious to find out more about the way
they are doing the conversion. Resolution is one
thing, but as we all know there are many other
issues cruicial for a seamless conversion. In our
new film Alien Adventure (working title), to be
presented at LFCA, we re-use converted several
attraction film (2D 8 perf) to 1570 3D. While it
is much less expensive to start from an existing
database, we did have to re-frame every shot, use
wider (digital) lenses, slow down the action by as
much as 40% in some case and we had to re-render
every frames for both eyes. I would be grateful
if someone from Disney (or whoever is doing the
conversion) would care to share infromation about
their conversion process. In any case good luck
with it! Ben Stassen |
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Wow... this is sure getting heated. There are a lot of different topic areas in this thread, but I'll try to group my thoughts/questions into this one entry:
• What's an EXH/IMAX Combo (March 19th, 12:20p post)? I'm assuming it's the facility admission and a flick, but want to make sure I'm not missing something.
• How are most theaters going to be able to accomplish the "no intermission" clause? Seems like a lot of theaters would have to upgrade their Reel Units and/or sound systems.
• 50% of the gate is high, but it would be an exclusive engagement during that time, someone else is eating the cost of the print, and I'd imagine the theater won't be on its own when it comes to the marketing (which you do have to agree Disney does quite well). Maybe it's a small price to pay for the publicity and it might open some additional doors in the future. I wonder if the theaters that say "no" will get a different deal, or be left out? Or if there is any negotiating? Film negotiations have always been so secretive. Having worked in many theaters, often showing the same film, I do know that not everyone always pays the same amount to show a film, but of course that's another topic.
• It would be interesting to compare this title to Stones: At The Max or perhaps Nutcracker as I believe both of those films had some contract requirements that may have been similar in some regards.
• Although I understand Anonymous's (March 19th 2:13p) post, I don't know if there'd even have to be a vote if Disney were to fork over $19 billion to buy IMAX. You'd be able to spot the IMAX shareholders a mile away... because they'd all have "IMAX smiles" (very big) from becoming rich off of their investment, no matter how small. While I say that with a smile of my own, I don't know if I'd compare the purchase of ABC/Capital Cites with the engagement of a single film.
• Is "expanding into new markets" really that bad? Guess it depends on the market. IMAX is now a public company (like Disney), and needs to explore and succeed in order to grow. Although the Disney involvement might indeed just be in passing, I don't think it looks bad to have their support.
• Finally, thanks Ben, for the info on digital scanning and conversion. It's great to have someone around with first-hand experience with such. You have stirred up another couple questions about such processes in my mind, but I'll post them in a new post as I'm sure this one hasn't seen its last entry.
I guess I'm sort of excited about Fantasia 2000 (and I didn't particularly care for the original). I know I'll travel wherever I have to (and pay) to see it, and I can't imagine I'm the only one. It might not be a film that every theater can, or will want to show (I doubt I'll be watching it at the Kennedy Space Center), but what film is? |
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| Anonymous posted on Monday, March 22, 1999 - 08:39 am
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Re. No intermission clause
To accommodate a 90 minute show most theatres will have to upgrade their reel units. I have it on good authority that Imax will fund the upgrades.
Re. No on-screen sponsors
Can anyone clarify this? Does it mean that theatres can't engage a sponsor for the film itself (understandable) or no on-screen sponsorship at all? What happens if you have an ongoing relationship with a company which sponsors your theatre and part of the pre-show includes the obligatory sponsor's credit? Would that be legal or illegal under Disney law? |
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| Anonymous posted on Monday, March 22, 1999 - 11:40 am
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Brian: yes, by EXH/IMAX I was referring to the combo price. Where I am, we charge under $10 for someone to do both the Museum and the Imax. So how do they expect you to charge $11 for just the film?
And I'm surprised no one's discussing the real "poison pill" of this whole deal: the 100% show schedule clause. It would be different if this film was coming out in two years, and everyone could work it in... but I'm sure many institutional theaters, if not most of them, already have a signed contract for whatever film they're planning on opening in ten months (e.g. "Dolphins"). How does Disney expect an institutional theater to do it? Answer: they don't, 'cause they don't care.
This whole thing seems aimed towards the commercial market only. And it stinks to high heaven. The message from Imax seems to be: "Institutional theaters, beware. We finally have what we want--a foothold into the mainstream film industry. We have the technological foothold (3DSR), the real estate foothold (presence in multiplexes), and backing from traditional Hollywood studios. Basically, we are about to abandon you. So, prepare yourselves: because in three years, you'll see two educational 2-D films a year... one good one from McGillivray, and another one on "The Life of the Dung Beetle" or some other lovely topic, guaranteed to draw crowds as large as 10 or 12 people." |
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| Anonymous posted on Monday, March 22, 1999 - 12:57 pm
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| To respond to the questions about the Stones At The Max, I know from one reliable film distributor that the deal was 50% with a $5.00 minimum License Fee and THE EXHIBITOR PAID FOR THE PRINT. In the end the License Fees averaged between 40%-50% with the $5 minimum. Also, the ticket prices averaged between $12-$15. A premium price was charged because it was 90 minutes and the live concert was $45+. Also, I beleive Imax co-oped on advertising with the first 10-20 theaters. Here comes the kicker, the show requirement was on average between 10-15 shows per week. Overall, the Disney deal seems very fair except for the 100% of show schedule. If they are prepared to compromise on the % of show schedule to recognize reality, than this is a good deal for everybody, not just the commercial exhibitors. If they are not, then Fantasia 2000 on 100 IMAX screens is a long shot. |
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| Most Hollywood films open on a 90/10% split and drop accordingly. Disney has always had the policy of no advertising, slides or trailors for other than disney products and took it to an extreme that a few years ago when Garth Drabinsky intoroduced corporate trailers at Cineplex Odeon Plitt they lost all Disney product across the U.S. |
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| Anonymous posted on Tuesday, March 23, 1999 - 01:31 pm
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Does 100% of the schedule include school shows? What the he** business is it of The Mouse or anyone else's what I use my theater for during the hours that we are not open to the public??
I smell a rat! |
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| Anonymous posted on Wednesday, March 24, 1999 - 08:52 pm
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Is Disney really planning to go through with F2K in 15/70? Their roadshow is reported to be very light on details. Maybe they're 'intending' to follow through, but using the roadshow and product reel to put a toe in the water. Or mabe this is the Trojan Horse strategy to get a peek inside Imax Corp and the LF biz before attempting a takeover...
From what has been said about the cost of mounting the IMAX engagement, this isn't a business for Disney. (Add 'em up: 5 mil for prints, 10 - 14 mil for 're-purposing', 20+ mil for marketing: total 40 mil plus). But they might justify this if they chock the 40 mil up to marketing costs for the real show -- the 35 mm feature on many thousands of screens. |
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| Anonymous posted on Wednesday, March 24, 1999 - 10:23 pm
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I don't think there's any doubt whether Disney is going to go through with F2K in 15/70. Now, whether they do it again with another feature will be more of a question.
As for a Disney takeover of Imax, I'll start up another coversation on this site. I think it's worthy of a posting of its own. |
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| Anonymous posted on Friday, March 26, 1999 - 06:06 am
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Below is an email describing the upcoming Disney animated film TARZAN. It is slated to be released in the USA in July 1999. There´s a possiblity that it´s release in Europe and other parts of the world may not happen until late 1999 or early 2000. If this is true, then the release of TARZAN will conflict with the marketing of Fantasia 2000. Not that Disney can´t handle releasing two animated films at once, it´s just that they will potentially compete for the same audience. It would stand to reason that young adults would have more fun watching the TARZAN film than the more musically adult-themed Fantasia, with it´s classical music score. Does anyone have confirmation on the release date of this film?
Here´s the email from a Disney fan found on the net
TARZAN EMAIL
I can't wait to see this movie! I think this will be one of Disney's best films in many years, I'd say better than Beauty and the Beast or Aladdin. The production art for this movie was spectacular. There were some fabulous paintings done for it, one of which can be seen above, and two below. All the artwork was fantastic, actually. I tried to read through as many of the storyboards as I could while I was there, but we really weren't there for very long, and the storyboards weren't in order. You could be reading through a scene from Tarzan, then all of a sudden you were looking at boards from Hercules. oh well. what I was able to make out should make a very good movie. argh! I'm really not supposed to, but I can't resist saying this, in the original book, Tarzan's father is killed by the gorilla's, but I guess Disney didn't want the apes to look bad, so in this version, he's taken out by a leopard. This scene was extremely powerful, even just in storyboards.... can't wait to see it animated. Another one of the scenes in the film shows eccentric professor Porter disguised as a monkey to study to the apes more closely. very funny!
My personal favorite Character design was of Tantor, the Elephant, alas, I have been unsuccessful in locating any pictures of him anywhere on the net.
Kevin Lima and Chris Buck are co-directing. the great Glen Keane is the lead animator of Tarzan. Songs are to be compsed by Phil Collins, lyrics by Davis Zippel and Original Score by Alan Silvestry. Tarzan is bieng voiced by Tony Goldwin, Jane's voice will be provided by Minnie Driver, Nigel Hawthorne-Porter will supply the voice of Jane's father, Rossie O'Donnel as Terkoz, Brien Blessed as Clayton, Wayne Knight as an Elephant named Tantor, Glen Close as as Kala, the gorilla who raises Tarzan, and Lance Henricksen as the gorilla leader Kerchak.
Tarzan is a striking character with long, wavy black hair, and a lean, muscular build, wearing nothing but a skimpy loincloth, of course. Jane will not be in the film as much as you might think, since it spends quite a bit of time focusing on Tarzan's childhood, and is pretty faithful to the original Edgar Rice Burrughs story "Tarzan of the Apes" and Edgar Rice Burroughs hated the character of Jane, he wanted to kill her off, but his wife convinced him not to. Backgrounds will be rendered in 3d, with a special process called Deep Canvas where the background painters paint onto the 3d models, while the characters will be traditionally drawn.
ooooohhhhh... a clip of Tarzan was shown on the Rosie O'donnel Show!! looked terriffic! I had never seen any actual animation from it until then because they were just begining to animate when I was there. man, the characters, and animation looks great, and those leaves!! that Deep Canvas thing looks great! hey, I'm an animator, I notice these things...
NARRATION VOICE-OVER CAST
•Tony Goldwin (Tarzan)
•Alex D.Linz (Young Tarzan)
•Minnie Driver (Jane)
•Nigel Hawthorne (Porter)
•Rosie O'Donnel (Terkoz)
•Glenn Close (Kala)
•Wayne Knight (Tantor)
•Lance Henricksen Kerchak
Directed by: : Kevin Lima & Chris Buck
Produced by: Bonnie Arnold & Chris Chase
Screenwriter: Tab Murphy
Lyrics by: David Zippel
Music by: Phil Collins
Original Score Composed and Conducted by: Mark Mancina |
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| Anonymous posted on Monday, March 29, 1999 - 04:18 pm
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F2K! What a great moniker, and so appropriate. Kudos to the person who came up with that one.
Does anyone know a theater who has already committed 100% of their show schedule to F2K? |
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| Anonymous posted on Saturday, July 03, 1999 - 03:21 pm
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| This thread has been dormant for a while. Does anyone know of any theaters that have signed up for F2K, and whether they're commercial or institutional? And does anyone know whether Disney has officially softened their stance yet in regards to the "100% of schedule" aspect? This strikes me as absurd--especially as, according to one person, they supposedly don't even want you to show something different to SCHOOL groups (which, in my opinion, is none of their business). |
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| I'm told that the new Imax theater at Sony Metreon in San Francisco has booked F2K under the stipulated terms. |
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| Anonymous posted on Tuesday, July 06, 1999 - 08:24 am
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Well, that's one. :) I think Disney is going to find that, by doing this in their typical "all-mighty" hard-line way of doing things, they are going to fall woefully short of that "F2K will be booked into 100 theaters" prediction. They'll be lucky to be in 50 theaters, I'd say.
I don't know what compelled Imax to allow Disney to make two crucial blunders (announcing this film with only 10 months' advance notice--thus crippling the ability of most institutional theaters to book it--and insisting on 100% of the schedule). What's unfortunate is that this experiment could make or break the commercial future of 1570, and by letting Disney screw this up, Imax is unwittingly lending a possible helping hand in their own eventual downfall. |
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| All of the IMAX owned theatres (Vancouver, Calgary, West Nyack, South Miami, Tempe, Luxor, and Sacramento) are signed to show F2K. |
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| Anonymous posted on Wednesday, July 14, 1999 - 07:24 pm
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I understand that a certain west coast institution is close to signing - but there is a unique situation. The institution has recently opened a new 3-D theater to replace its aged 2-D. It turns out that the old theater (although closed) has not been decommissioned - all the equipment is still in place and still operational.
Thus, they are looking to contract with the Mouse and show F2K in the old theater, without affecting either their currently planned public schedule or appropriate service to their school group and other educational audience. |
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| Sounds like a certain science center in the Seattle area that has two IMAX screens. |
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| That takes a load off my mind. I was worried it might be a certain science center in the L.A. area, with a very leaky old theater that I believe is slated for demolition but possibly still standing. |
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We are finalizing the last few engagements for Fantasia/2000. Just so there is no confusion, we will not accept bookings after September 3rd. And no, the venue that we have in Los Angeles will not have a leaky roof. :-)
It will be interesting to read postings on this site in a few months. |
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| Anonymous posted on Wednesday, September 01, 1999 - 07:33 pm
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SHAME...SHAME....SHAME....
What a waste of what could have benefitted the
entire industry.
It's unfortunate when a mega-company tries to
throw its weight around. |
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| Anonymous posted on Thursday, September 02, 1999 - 08:42 am
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| You know, I've worked with a lot of slackers, and whenever a co-worker would complain about a certain employee, I would say, "Yeah, but, you know, the employee is only half the problem. The other half of the problem is the boss who lets the employee get away with that kind of behavior." And in this case, I give as much of the blame to Imax as I do to Disney. Imax knew that 10 months was not enough notice to most theaters; they knew that most theaters could not agree to a 100% show schedule; they knew that many theaters had already agreed to show "Dolphins" at the same time "F2K" is out. And yet, they allowed the MegaMouse to dictate what would be happening. Why, I don't know. Some have postulated that they no longer care about the institutionals and non-3Ds, and are only concerned with supporting their now-over-50%-of-the-market 3Ds. And that may be the case. But, regardless of the reasons, if this move kills the 1570 industry--or at least seriously hurts the institutionals and/or non-3Ds--then Imax has no one to blame but themselves. This whole thing was bolluxed from the get-go. |
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| Anonymous posted on Thursday, September 02, 1999 - 09:43 am
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| Finally, some good dialogue about what might become the biggest missed opportunity in large format history. Good points made by the previous posting! The sad thing about this is that if someone would have looked at historical facts they could have told Disney that a feature length large format film cannot SUCCESSFULLY play more than 10-15 times per week, as was the case with ROLLING STONES. Instead Disney demands 100% of show schedules (why shouldn't they?), which is more like 30-40 shows per week. Lets be realistic. After the first couple of weeks, how many people are actually going to go see F2K at 2:00pm on a Tuesday? Instead of having more than 100 theaters running the film, including I would venture to say, MANY MUSEUMS, there will probably be no more than 35-40, two thirds of whom are very unproven. I agree with the last posting, this could have been a great thing for the entire large format industry. Too bad no one thought to look back at actual examples of this type of venture. Will the audience really care if the film is playing twice daily versus 5-6 times daily? F2K is a great idea. Hope it doesn't go the way of other great ideas no one ever heard of. This is more than only caring about commercial 3D theaters, this is about rushing blindly into any brand that can boost a stock price. |
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I don't get this discussion about who's to blame for the 100% show schedule. I personally agree that a 75% schedule would have generated more revenues for the studio and would have been better for the 15/70 community. But a studio wants to make a film in 15/70 film and they think they know how to handle it. It would have been rather strange if IMAX would have told them; you can't do that! Actually I'm glad that IMAX can't boss around Disney!
We've decided to show the film in Rotterdam, we rather had a 75% show schedule but agreed to a 100. And if I see how BVI handles it, I grow more confidence with the day. We are already are playing the trailers, they arrived in our theater this week (in the Dutch language). You should know how seldom I get trailers four months in advance with a new film. |
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| Anonymous posted on Thursday, September 02, 1999 - 01:31 pm
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| One good experience does not make a success. 25% - 50% of one hundred theaters' schedules will generate much more revenue than 100% of forty theaters' schedules. Perhaps there shouldn't be blame after all, only disappointment. |
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| I can only agree with the last posting. With a lower show schedule we would also have played it in our The Hague theater. |
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| Judith Rubin posted on Thursday, September 02, 1999 - 11:39 pm
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| Do you suppose it could be a sort of loss leader to help establish a new distribution model in the industry? |
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| Anonymous posted on Friday, September 03, 1999 - 08:54 am
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Either way, it's trouble. If it fails, Hollywood will stay away longer and it could kill the industry. If it succeeds, Hollywood will demand the same outrageous contracts (100% of the schedule, including your School Group and Function Event times; no other advertising; the right to sell merchandise at the theater... hell, I wouldn't be surprised if they make the theater staff wear mouse ears and put a giant inflatable pair on top of some Domes).
And to respond to Berend: no one said they wanted to tell Disney how to make a 1570 film. But they shouldn't have attempted to force their 35-mm. contract on a special-venue theater that is located in many educational institutions and has a different clientele and different operational hours and systems than a normal movie theater does. It's unreasonable. Hell, F2K is going to take up a 2-hour slot: the more I think about it, the more I think that even demanding 75% of the schedule would have been unreasonable! This would have been a nice schedule for most places:
11am: F2K
1pm: normal 1570 film (e.g. "Everest")
2pm: F2K
4pm: F2K
6pm: F2K
8pm: normal 1570 film
9pm: F2K
That's 5/7ths of the schedule and gives them a show at 11, 2, 4, 6, and 9... yet it still gives you two time slots, one in the early afternoon and one in the evening, where you can give your "normal" clientele a traditional IMAX film. What would've been the problem? |
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| Anonymous posted on Friday, September 03, 1999 - 09:03 am
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Whomever posted the last message, way to go!
Can't wait to see 1570.com around March or April 2000. |
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| Fred M. Burr posted on Friday, September 03, 1999 - 04:04 pm
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| Okay, IMAX is aiming F2K at commercial sites. And yes, I agree that 100% of the schedule is ridiculous. However, as my theatre is going to be showing F2K...how am I going to stay sane for four months only showing one movie? HELP ME! |
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| Anonymous posted on Friday, September 03, 1999 - 04:17 pm
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| Ignore the content,do not monitor channel 3,pay attention to the image stability,illumination balance, focus,dust bunnies and system guages. Also pray that your paying customers enjoy the 'show'. |
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Fred:
I have the perfect solution, which I will use during my run of F2K...a lava lamp... |
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| Jim DiDio posted on Sunday, September 05, 1999 - 09:02 am
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| As I have the luxury of working in a Dome, I don't have to worry about watching the films. That's what the Ushers get to do. But, for you flat screen guys... isn't that why Imax installed that nice automatic field lens screen on your PLC, so you don't have to watch the film? [g] |
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| Monte Brock posted on Sunday, September 05, 1999 - 09:20 am
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| LOL Yup,that auto-cycler is the best thing IMAX ever invented! But in-Booth Internet Access via T1 scores pretty high too |
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| Fred M. Burr posted on Sunday, September 05, 1999 - 11:43 am
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| Heck, I'd love to just have a computer in the projection room. Internet access would be the holy grail (and a T-1 would be Heaven). |
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| Anonymous posted on Sunday, September 05, 1999 - 01:13 pm
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What would be better is if the imax equipment
didn't need a field lens in the first place. No
other system requires dust to be removed from its
aperture like that. It's the "achilles heel" of
the thing if ever there were one.
The rolling loop should be improved to eliminate
this kind of silliness. It's gone almost thirty
years without a major change. |
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I must say the schedule that Anonymous proposed on Friday, September 3, 1999 - 09:54 am: has even more F2K shows in it than what I proposed to BVI for our two Dutch theaters. But I don't believe it's trouble either way. At this moment in the conventional film industry (at least in The Netherlands) we are allowed to share screens with other films in most cases. In some cases the distributor insists on a 100% show schedule (some BVI films but also Fox with The Phantom Menace).
Another thing that could help distributors to recoup costs in the future would be to separate North American and European releases. This would enable print sharing. Distributors could launch a film in the US and Canada first and half a year later in Europe, using the same prints. ( I rather see it the other way around of course).
Why is almost everybody posing as anonymous? is it fear or laziness? |
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| Anonymous posted on Monday, September 06, 1999 - 01:43 pm
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| I've stood by and watched everyone discuss this issue to death. Is there ANYONE out there who thinks that this is a GOOD idea?? Stand up and be accounted for! This %100 show schedule nonsense is nothing more than a POWER PLAY by Disney...That's it, that's all, There is no more. It should be ABSOLUTELY NOBODY'S BUSINESS what a theater owner/operator does with THEIR RESOURCES outside of a contractual obligation that guarantees the distributor a minimum dollar amount and/or percentage of box office receipts! This is Crazy! I'm posting anony"mouse" 'cause My theater is one of the sorry bunch that will not be offering school shows due to this restriction. |
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| Anonymous posted on Monday, September 06, 1999 - 07:51 pm
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Rubin, I think you have it right!
The @$#%@$!# mouse is just taking the next step in its attempt to control the entire entertainment industry. and when you look at its TV holdings (even ABC!), its new radio network, cruise ships, publishing enterprises, entertainment parks (and don't forget the burgeoning one in Times Square, NYC), toys and related merchandise, etc., etc., etc - and now it wants to expand its motion picture activities to control the large format industry.
Unfortunately, in so doing, it is changing it - for the negative - for evermore.
Who has a giant mouse trap? Its time! |
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One other way of looking at it is the compition is tied up on an exclusive Fanatasia engagement other insitutional theatres should be able to make hay of not having competion in the educational schoolgroup market
it one way of looking at it |
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| Anonymous posted on Wednesday, September 08, 1999 - 08:23 pm
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Gordon,
The real way of looking at it is to acknowledge that Disney, by its offensive actions, has made it virtually impossible for millions of potential customers to even have the chance to decide whether they would like to attend F2K. Large geographic regions are simply left out.
Since reasonable contract terms would only have meant MORE viewers, MORE revenue for Disney, and MORE visibility of the film prior to the 35mm launch, the logic is clear that Disney had other reasons for its terms - regardless of what Mr. Hollihan states in another thread. |
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While we're on the subject of media leviathans, perhaps the next 35mm - 15/70 crossover film will be from Microsoft; I believe MS holds some interest in Dreamworks SKG, giving a media infastructure to Microsoft which is strikingly parallel to Disney's.
The question, then, is (in classic aptitude test format):
A Bug's Life:Antz :: Fantasia:__________ ? |
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| Judith Rubin posted on Wednesday, September 22, 1999 - 12:05 am
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| When I spoke of the booking strategy as a possible loss leader to establish a new distribution model, I wasn't implying an additional step towards Disney world domination. I was thinking more in terms of an experiment. The scheme may succeed or it may fail but it seems to me that either way it won't "wreck the industry." It may be proved a bad scheme or it may turn out to be something that works for some kinds of films and some kinds of theaters, or something that doesn't work now but will work 5 years from now. But for some reason, which I suppose is related to a rapidly changing industry, someone thought the time was right to attempt this new approach. |
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| Anonymous posted on Wednesday, October 06, 1999 - 02:38 pm
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| Time to stir it up. Has anyone seen the finished picture yet? Does anyone know how many theaters have "really" booked it? |
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| Anonymous posted on Wednesday, October 06, 1999 - 06:47 pm
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| Yes, and Yes. |
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| Anonymous posted on Wednesday, October 06, 1999 - 07:06 pm
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| Did anyone else notice how awful (read that as grainy) the piece of Sorcerers Apprentice was when shown at GSTA? |
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The public is the only critic whose opinion is worth anything at all.
- Mark Twain |
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| Anonymous posted on Thursday, October 07, 1999 - 02:49 am
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| Touché |
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| Anonymous posted on Thursday, October 07, 1999 - 10:37 am
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| Will there be any opportunity for pre-lease screening of the film (or a portion of the film, due to time limitations of most existing equipment)? I believe that many large format theaters are in the habit of screening potential films to find out what the public thinks. |
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I am not sure that I understand the question.
We will have press screenings and promotional screenings in each of the "FANTASIA/2000" markets prior to opening.
If the question is "I am waiting to book the picture until I can gage audience reaction", then the track record of Walt Disney animated features seems to have been overlooked. As to booking at this late date, I am afraid that ship has pretty much sailed. |
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| Anonymous posted on Saturday, October 09, 1999 - 08:33 am
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Because of the diversity in film subjects, film quality, and audience interest, many large format theaters screen prospective films to select (or random) audiences to assist in film leasing decisions. Most theater operators realize that their own opinions are probably subject to question, simply by nature of being exposed to so many films. I realize that "Fantasia 2000" is a new film, and many theaters lease new films sight unseen. I also realize that this is a "special" deal, so the details quite dissimilar from usual large-format industry practices. However, many of the pre-lease contracts I've seen allow theaters to pull out if the final product does not meet theater or audience expectations. I do not wish to suggest that "Fantasia 2000" is not a good film or will not perform even better than expected, but "the track record of Walt Disney animated features" is not exactly proven in this industry.
Personally, I hope all goes very well for this venture, and I hope is signals (good) changes to come in the large format world. But, no, I do not wish to change my mind at this late date. |
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Paul,
could you tell us if the production of the film is on schedule and when the film in 15/70 will be finished? When can theaters expect to receive the 15/70 prints? |
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| Anonymous posted on Thursday, October 14, 1999 - 09:54 am
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I heard that the press and promotional screenings prior to January 1 are all in 35mm. Is this true and if so what's the sense in trying to promote an initial large format release in this way?
Is it also true that theaters that even talk about putting the 1570 print on the screen before that date have been threatened with not having their print delivered until December 31? |
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| Anonymous posted on Thursday, October 14, 1999 - 10:06 am
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| Oh no, the future of the free world is at stake! Do they really take themselves that seriously? |
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| Anonymous posted on Thursday, October 14, 1999 - 10:11 am
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| Oh no, the future of the free world is at stake! Do they really take themselves that seriously? |
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Dear Berend: The film is on schedule. Theatres should expect to receive prints prior to December 15th. International sites will be shipped first.
The press and promotional screenings will be in 1570, of course!
Anonymous: Why would someone hold a press screening after January 1st?
By the way, the first public showings may be at 12:01 on New Years Day, should the theatre choose to do so. |
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I would like to offer my two cents with respect to the posting from "Anonymous" dealing with press and promotional screenings rumoured to be in 35 mm. This is an example of the only thing I find wrong with the 1570.com site - repeated complaining by "Anonymous". If you are not prepared to attach yuor name to the message, why bother posting it for our collective review.
This "Anonymous" message continued the seemingly neverending complaining about the Fantasia 2000 efforts of both the Disney Corporation and Imax by spreading completely unfounded rumours that in this case were not only false and somewhat ridiculous. Rather than posting this pearl of wisdom, why not pick up the phone and ask someone from Disney directly. I think you will find that they are very approachable and perhaps to your surprise actually want you and your theater to succeed with their film |
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Thanks, Brian, for saying what some of us have secretly been thinking.
My phone number is (818) 560-7011. |
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| Anonymous posted on Monday, October 18, 1999 - 02:01 pm
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| Despite Mr. Anderson's idealism, and constructive point of view, (which I happen to share), I am going to post this message anonymously for the simple reason that we are a small industry and like it or not, speaking our mind freely can and most likely will have negative repercussions. I am not an exhibitor but have been around the industry for a long time and can say from experience that the reason for rumors is not just because of petty jealousies. It is also because of poor or even non-communication of philosophies and objectives. |
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I agree that anonymity can be a good thing if it encourages productive and constructive communication.
I trust that the reference to poor communications was to something other than Buena Vista's distribution of FANTASIA 2000. I might point to the fact that we have made personal presentations to exhibitors on this film in Seattle, Dallas, Atlanta, Chicago, Phoenix, San Jose, New York (at least 3 times), Los Angeles (maybe 6 times), Berlin, Paris, London, Washington DC (twice), and San Diego. Each presentation was followed by clear, written confirmation of our terms and conditions (the same for everyone) and objectives followed by oh, a few thousand telephone calls. We are following up on our commitment by sending key executives to personally make presentations to educators in every market. It does take two to communicate effectively, one to talk and BOTH to listen.
Maybe the reference was to all those other distributors that have posted their direct phone numbers on this site?
:-) |
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| Mark Katz posted on Tuesday, October 19, 1999 - 08:55 am
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Great idea!
Mark Katz
nWave Pictures Distribution
34 East Putnam Avenue, Suite 103
Greenwich, CT 06830
tel: 203-661-5678
fax: 203-661-5556
email: nwavemk@ibm.net
As always, I am available 24 hours a day. |
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| Judith Rubin posted on Wednesday, October 20, 1999 - 05:24 pm
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| 24 hours? I *thought* you looked kinda tired the last time I saw you, Mark... |
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| We are showing the F2K trailer with Island of the Sharks. We have several large school groups (ages 7-11) a week in to see Sharks. I have noticed that the kids always ooh and ahh everytime the flying whales appear in the trailer. We have even had a couple of groups applaud after the trailer. But mostly they seem interested in the whales. Anyone else notice anything like this? |
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| Has anyone looked up Fantasia 2000 on ebay.com yet? Now would be a good time to check it out. There are people paying 50 bucks so some pathetic loser can pull a mangy rabbit out of a flea market ha...(ohhhh, I think I may have already seen it too many times) I mean, people are paying 50 or more smackers for F2K posters/press kits etc...AND -- Someone is ACTUALLY SCALPING TICKETS for an L.A. presentation on 1/28...and doing quite well. Sheeesh! |
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| ...and they are offering the vinyl "Donald and Daisy" poster for 50 bucks! Somebody at Disney hopefully will prosecute these people...and it makes you wonder where they got them! |
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I'd thought that I'd share my thoughts about Fantasia 2000. I am employed by a theater that is currently engaged in the F2K contract. I'll probably be stepping on a few toes...But I think anyone as big as Disney can handle a bit of criticism from a little guy like me. In fact, I'd encourage a public response.
The Film: Yes it is good! As a 35mm film, I'd consider it quite good. I am very impressed with the animation and the incredible match to the musical selections. However, both technically and compositionally, it not REALLY MADE to take advantage of the Imax format. Why? Well, I'm not gonna complain about the Sorcerer's apprentice segment...it was restored well. Like many previous Large-Format films, F2K calls upon the use of old footage, and I simply take it for what it is -- historic. The introductions could have been filmed in 1570 (or at least 870)...I don't believe anyone would argue the fact that they DO SHOW GRAIN. The animated segments do what a lot of other Imax/LF filmmakers are guilty of...making everything BIGGER, instead of giving the audience MORE. Exceptions: the Piano Concerto No. 2 and Firebird Suite segments. Considering that few films really take full advantage of the format, Disney is more or less on par.
The Contract: Manipulative, aggressive, not healthy for the growth of the LF industry, and unfair to the general public. Our theater is doing wonderful attendance with F2K, but there are still lulls. I know we would do even better if we were allowed to devote 10-20% of our schedule to a B-film (And that is NOT asking much). There are folks that are very annoyned by the fact that F2K is all they can see until May, without a day-trip involved -- This includes me! As I understand it we (or any other theater in the F2K contract) may not even host a PRIVATE event/rental that includes a screening of anything other that Fantasia 2000. School groups as well. LF Film Producers & Distributors have had to "work around" F2K. In Hollywood, this is all business as usual. In this young industry where production and exhibition work together, it is aggressive.
Disney reports box office sales are high, but even Everest (Which broke sales records without all of the primetime spots) had to share it's schedule...It ended up getting extra play because of it's draw, but at least it was a decision that considered the value of the film and in giving people something different to see the next time they visit.
One very positive thing that will occur as a part of the Disney/Imax venture is that many people will be seeing an Imax film for the very first time...introducing an all-new demographic to the world of LF.
The anonymous poster(s) is/are getting on my nerves as well...but (s)he is not entirely wrong...just a coward that could use a little more tact. |
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| There is an interesting irony in the Fantasia 2000 release. It brings together IMAX and IWERKS, since it was Ub Iwerks (the father of Don) who draw MM for the first time (plane crazy in two weeks time)! |
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| Jim DiDio posted on Friday, January 28, 2000 - 12:40 pm
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| Actually, I think Iwerks makes a loop cabinet, and if I recall correctly it may have been in use in Disney's "Horizons" pavilion where the dual Imax projectors ran. But I'm not sure... Brian probably knows, dont'cha Brian? |
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This is off on a bit of a tangent, but just about every fact you could want to know about Epcot Horizons can be found here... except, of course, information on the loop cabinet and who made it. I'll see what I can find out.
Back on the topic however, it doesn't appear that Ub made the credits of the original Fantasia, although he surely played a part in Disney animation history. |
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| Anonymous posted on Sunday, January 30, 2000 - 11:04 pm
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Sunday January 30, 2:42 pm Eastern Time
Company Press Release
"Fantasia/2000" Soars Past the $21 Million Mark in
Just One Month of Release At 75 Venues Worldwide
Only 90 Days Left to Experience the Film At IMAX Theatres
BURBANK, Calif.--(ENTERTAINMENT WIRE)--Jan. 30, 2000--In just one month of limited release at 75 venues, Walt Disney Pictures' animated extravaganza, ``Fantasia/2000'' has set records at IMAX® theatres from Texas to Tokyo with its phenomenal worldwide gross of $21,101,440, it was announced today (1/30) by Richard Cook, chairman of The Walt Disney Motion Pictures Group. With only 90 days remaining in the film's exclusive IMAX engagements, advance ticket sales continue to soar and many shows are selling out. For its first month of release, the per-screen average for ``Fantasia/2000'' stands at an unprecedented $281,353.
Commenting on the announcement, Cook said, ``The IMAX engagements of `Fantasia/2000' are an incredible success all over the world and the response has exceeded our wildest expectations. Moviegoers of all ages are turning out in record numbers to see the film and group sales are continuing to climb on a daily basis. In some areas, entire schools have bought tickets to see the film and have used it to discuss a variety of educational topics. This has been a win-win situation for Disney, IMAX and all the individual theatre operators. With such a high number of sold-out engagements, we encourage moviegoers to order their tickets now to ensure that they get to experience this extraordinary film on the giant screen before its final engagement on April 30th.''
Imax co-CEO's Richard L. Gelfond and Bradley J. Wechsler added, ``Attendance in many locations throughout the IMAX theatre network has more than doubled as a result of the success of `Fantasia/2000.' Additionally, the experience of seeing the film on the giant IMAX screen is bringing new audiences, and repeat customers, to IMAX theatres in unprecedented numbers.''
Among the individual milestones that ``Fantasia/2000'' has set around the world:
-- At the Henry Ford Museum & Greenfield Village IMAX theatre (Dearborn, Michigan), "Fantasia/2000" has sold out every weekend show for the first four weekends of the engagement. For the entire four-month run, 90% of the first weekday shows have been sold out to school groups. The theatre's 107,000 advance tickets sales are enough to fill every seat in the auditorium completely for an entire month.
-- Disney's "Fantasia/2000" IMAX Theatre, Los Angeles has sold over $1.4 million in advance ticket sales and has sold out every weekend show since opening.
-- At Sony IMAX at Sony Theatres Lincoln Square (New York), school principals have booked tickets for their entire student body for the first time.
-- The Sony IMAX theatres in New York, Chicago and San Francisco all broke weekly and weekend records.
-- In Louisville, Kentucky at the Science Center IMAX theatre, moviegoers are driving up to four-hours to see the film. Every show during the first three weekends has been a sell-out (a first
in the theatre's 11-year history).
-- The Empire Theatre in Halifax, Nova Scotia has booked the highest number of school groups in that venue's history.
-- In San Jose, the Tech Museum of Innovation has sold over 89,643 advance tickets with an astonishing 20% of them over the internet.
-- In Japan, "Fantasia/2000" has grossed over $1.4 million in four cinemas in 30 days. The Tokyo IMAX theatre posted 24 consecutive sold-out performances.
-- The IMAX theatre at the Luxor Hotel in Las Vegas has scheduled extra showings -- a record 12 per day -- to meet the increased demand for the film.
-- Regal Cinemas, Inc. reports that "Fantasia/2000" merchandise is selling faster than they can keep it in stock.
-- Cinemark Theatres report that IMAX purchases for "Fantasia/2000" account for 87% of their internet sales.
-- In Spain, the film set a new performance record for any indoor theatre event in the nation's history. The L'Hemisferic IMAX Theatre has sold over 100,000 advance tickets to date.
-- IMAX theatres in Indianapolis, Baltimore, Kansas City, St. Augustine and San Jose have all added additional weekend shows, some as late as midnight to meet demand.
-- In its first 17 days, The Hong Kong Space Museum surpassed the best January performance in its 25 year history.
-- At the Museo del Nino in Mexico City, the first two matinee performances through April 30 are already sold out.
-- In Canada, Famous Players has had to add extra phone lines to keep up with the sales demand.
-- On opening weekend, Edwards IMAX theatres sold out 90 screenings in six IMAX theatres.
For additional information about the film, a list of IMAX engagements or for ticket information, check out the official Web site at www.fantasia2000.com. |
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| Brian, there are a lot of films that Ub worked on with Disney where he never made the credits and often you can find him under the ubiquitous credit of "special processes." Don Iwerks, his son started out by working with and designing specialized projection systems for the Disney theme parks, such as Circlevision and Disney's 5/70 3D system. In fact, other than the two IMAX projectors at EPCOT, almost all major projection systems at the Disney parks (as well as Universal) are from Iwerks. |
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Jim,
The IMAX Ridefilm systems at the Luxor hotel have projection booths (rather than self-contained projectors above the motion bases like elsewhere) that have Iwerks looping cabinets. |
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| Anonymous posted on Monday, January 31, 2000 - 07:38 pm
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| You go, Joe! |
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