Filmmaking - Susan Ritchie Communications

FILMMAKING
The 15/70 Factor
Inside
CYBERWORLD
Anatomy of a Film
Science Museum of Minnesota
JAN
FEB
2000
INSIDE
2
Message from Brad Wechsler
& Rich Gelfond
IMAX Days 2000
3
Fantasia/2000: The Imax
Experience
4
5
Film Distribution
6
7
The 15/70 Factor
8
Booth Talk
9
The pioneers of large-format 2D grasped the fledgling technology and took risks that have
brought us from To Fly and The Dream Is Alive to being able to put a camera on the top of
Mount Everest. This combination, of technological risk plus filmmaker risk, is what put Greg
MacGillivray’s Everest in the top 10 highest grossing box office films in North America, and what
attracted more than 42 million people to see The Dream Is Alive. This is also what is getting the
attention of mainstream studio talent.
Favorites: The Dream Is Alive
Testing The Waters
There is a delicate balance to attracting new talent to the biggest canvas in the world. The IMAX
Experience attracts established filmmakers because of the exceptional opportunity the technology
offers to them. On the other hand, this same technology can pose a risk for them. It takes the
right kind of personality and the right stage in one’s career to be willing to take that risk.
Theatre Profile
11
12
Spotlight On: Reed Smoot
Stephen Low’s Across the Sea of Time took 3D a step further as did Brett Leonard’s very visually
unique and creative way of telling T-REX’s story and use of special effects. Now, with Leonard’s
Siegfried & Roy, the potential of special effects in 3D is starting to be revealed.
Group Sales: Plan For Success
This year’s offering of films to the network represents the addition of new and important talent –
Fantasia/2000, CyberWorld and Michael Jordan to the Max represent a whole new approach to
filmmaking. Through animation, computer-generated imaging and live sports, new dimensions
will be added to the giant screen. In addition, the overwhelming success of Fantasia 2000 has
focused the interest of the commercial filmmaking community on the IMAX network. This
promises to open up many new avenues and opportunities for all of us.
Lights! Camera! Action!
Our goal, as an industry, should be to continue to push the envelop in terms of what we do,
and to attract new talent to keep that innovative edge. We hope that you share our excitement
about this year.
The
®
APRIL 2 - 5,TURNBERRY ISLE RESORT, FLORIDA
January/February 2000 Volume 4 Issue 1
Publisher
Jennifer Rae
Design/Layout
Hard Drive Design Inc.
Editor
Susan Ritchie
The IMAX Experience is
published six times per
year by Imax Corporation.
Senior Editors
Victoria Dinnick
Sue Mander
Design Consultant
Gayle Bonish
Contributing Editor
Liam Romalis
Circulation Assistant
Suzanne Tibbo
Photo Assistant
Beth McLeod
Imax Corporation
2525 Speakman Drive
Mississauga, Ontario L5K 1B1
Tel: (905) 403-6500
Fax: (905) 403-6450
e-mail: [email protected]
©2000 Imax Corporation.
All rights reserved.
Printed on recycled paper.
IMAX®,The IMAX Experience® and SANDDE™ are
trademarks of Imax Corporation, Mississauga, Canada.
Cover photo: Michele Hall ©1998, Island of the Sharks.
• In Spain, the film set a new performance
record for any indoor theatre event in
the nation’s history. L’Hemisferic IMAX
Theatre has sold over 100,000 advance
tickets to date.
We have accelerated our efforts to attract more mainstream projects into the Imax pipeline;
trying to attract top level creative talent. There’s no magic to it; you simply try to attract the right
people who have the vision and, since more commercial films are being produced, each one
advances the process in a different way.
News From Theatre Operations
Getting It On Film
• At the Henry Ford Museum &
Greenfield Village IMAX Theatre
(Dearborn, Michigan) 90 per cent of the
first weekday shows have been sold out
to school groups for the entire fourmonth run.The theatre’s 107,000 advance
tickets sales are enough to fill every
seat in the auditorium completely for
an entire month.
This year will see many more new largeformat filmmakers test the waters of this
singular medium, still somewhat in its
infancy; its potential hardly scratched.
Programmers’ Guide
10
Fantasia/
2000 Facts
Message from Brad Wechsler
and Rich Gelfond
IMAX Days Registration Deadline
by Susan Ritchie,
Affiliate Communicat ions
IMAX Days 2000 will offer more networking opportunities, more industry
insights and more in-depth breakout sessions than ever before. It is truly a
not-to-be-missed event for IMAX theatre operators. Because of hotel room
restrictions, we must limit registration to the same number of delegates as
in 1999. Therefore, please register now if you would like to attend IMAX Days
2000 as we expect to stop accepting registrations by the end of February at the
latest. Registration information is available through IMAX Affiliates Online,
or by contacting Susan Lytle at [email protected] or at 905-403-6251.
Susan Ritchie can be reached at [email protected]
• 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.
Fantasia/2000
A Quotable Success Story
by Victor ia D innick, Communicat ions
The proof is in the press, and in the direct feedback coming from you and your guests.
Here are a few notable quotes:
From The Chicago Tribune: “Disney’s strategy of presenting Fantasia/2000 only at
IMAX theaters during its first four months of release is paying big dividends. Although
available on just 54 screens throughout the U.S., the animated film, … grossed $7.3
million during its first three weekends, averaging about $45,000 per screen per weekend.
By contrast, Stuart Little, the No. 1 film on two of those three weekends, took in $37.2
million at nearly 3,000 screens – or about $4,100 per screen per weekend.”
From Richard Cook, Chairman, The Walt Disney Motion Pictures Group, in a press
release dated January 30, 2000: “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.
From Wes Wenhardt, Tech Museum of Innovation in San Jose, California: “From an
exhibitor’s standpoint, it is very desirable to exhibit a film property that enjoys such a
wide mix of national and international media and marketing support. We are building
awareness and broadening the base of visitation at the Tech by attracting new audiences
to the theatre. The industry has been raised to another level!”
From a Famous Players Inc. press release: “…opening week results for Walt Disney
Pictures’ Fantasia/2000 The IMAX Experience broke box office records in all seven
Famous Players IMAX theatres in Canada.”
Victoria Dinnick can be reached at [email protected]
• At Sony IMAX at Sony Theatres Lincoln
Square (New York), school principals
have booked tickets for their entire
student body for the first time.
• 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.
• At the Science Center IMAX theatre
(Louisville, Kentucky), 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 (Halifax, Nova
Scotia) has booked the highest number
of school groups in that venue’s history.
• Regal Cinemas, Inc. reports that
Fantasia/2000 merchandise is selling
faster than they can keep it in stock.
• In its first 17 days,The Hong Kong Space
Museum surpassed the best January
performance in its 25 year history.
• Cinemark Theatres report that IMAX
purchases for Fantasia/2000 account for
87 per cent of their internet sales.
• 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.
• At the Museo del Niño in Mexico City,
the first two matinee performances
through April 30 are already sold out.
• On opening weekend, Edwards IMAX
Theatres sold out 90 screenings in six
IMAX theatres.
3
PROGRAMMERS’ GUIDE
Film Distribution
by Michael Agulnek, Film Mar ke t ing
Marketing Basics
by Michael Agulnek, Film Mar ke t ing
Successfully launching a large-format film requires a balance between paid
advertising, strong publicity and local promotional efforts. These three factors can
create the greatest awareness for a film and, consequently, an exceptional launch.
Pre-awareness
All marketing campaigns should generate awareness of a
film before it opens. Demographic information provided by
distributors can help tailor the marketing efforts but some
basic rules can be followed for every launch.
Film trailers should be up on screen as early as possible. Posters
should be displayed in theatre lobbies. Paid advertising can start
early. Holding a series of pre-launch screenings can also help.
Press screenings at least two weeks before opening are a must.
How else can a journalist expect to run an opening day review
or conduct a phone interview with a filmmaker to run before
opening if they have not even seen the film yet? Include all media
outlets – print, radio and television – and do not forget to invite
those whose interests may be specifically relevant to a film. For
example, Environmental Weekly could be invited to a nature film.
Promotional screenings sponsored by print, radio and television
partners are an easy way to heighten awareness. Some require
a token advertising buy to get involved. If advertising dollars
are already being spent on a media campaign, try to leverage
these dollars for extra spots giving away screening passes.
Galapagos
This island adventure, sponsored by AOL, is
breaking box office records. It grossed more
than $125,000 in its first two weeks in Washington
D.C., playing only four shows daily – a new record
for the state-of-the-art Johnson IMAX Theater at
the Smithsonian’s National Museum of Natural
History. It also captured the ninth spot on the list
of Top Ten Films its second weekend in Australia –
a list which includes 35mm films. And it is the
second highest-grossing film at the California
Science Center in Los Angeles since Everest.
Stay tuned for even more phenomenal results.
Promotions like these benefit their subscribers so they should
be open to the idea.
Word-of-mouth screenings that show the film to the proper
demographic groups help pass the message along too. If scuba
instructors are invited to see an underwater film, they can be
expected to tell their friends about it. Hotel concièrges, taxi
drivers, tour guides and others whose jobs bring them into direct
contact with the public should also be invited. Don’t forget the
importance of educators and school groups when setting these up.
These screenings should be seen as inexpensive ways to increase
awareness and not as giving away seats and taking away from
the overall box office.
15th AnniversAry
Post-launch Efforts
Release Date: June 21, 1985 (Premiered at the National Air & Space
Museum’s Langley IMAX Theater in Washington D.C.)
Once a film opens, remember to continue the marketing
efforts. Paid advertising can continue. Media pieces on the film,
including its success or relevance to a current event, can all be
pitched to local publicity outlets to continue the buzz. Run-ofengagement passes (ROEs) – tickets to a screening of the film
during its run – can be given to print, radio or television outlets
to continue with local promotions as well.
Leases Signed to Date: 112
Estimated Gross Box Office: US $148.7 million*
Siegfried & Roy: The Magic Box
They may be back in Las Vegas putting on their
world-renowned show, but their movie, filmed
for IMAX 3D screens, continues to roll out across
the world.
Michael Agulnek can be reached at [email protected]
Things to
Keep in Mind
G
N
MI
N
OO
S
4
Language Versions: 15
This stunning large-format film offers an insider’s view of NASA’s space shuttle
program and features spectacular in-flight footage shot by 14 astronauts on three
separate missions in 1984.
CO
Released in 1985, this year marks the 15th anniversary of this epic and beautiful film
which The New York Times called “splendid,” The Los Angeles Times called
“breathtaking,” and the Washington Post called “a wow!”
• Inviting a filmmaker or local
specialist on a film’s topic to
speak can make events more
interesting to attendees.
• In markets with more
than one IMAX theatre, day
and date launches, when all
theatres open a specific film
on the same day, can benefit
all parties involved as the
efforts of two, three or even
four theatres in one area
combine to maximize a
film’s marketing potential.
Reported Attendance: 42.3 million*
Honor: Winner of the Public Prize for Best Film at the First
International OMNIMAX® Film Festival in Paris, September 1987
!
• Hiring publicity and
promotional agencies can be
a great source of experience
and help in your planning.
FAVORITES
CyberWorld
NARRATOR ANTHONY HOPKINS
IS INTERVIEWED AFTER THE LOS
ANGELES PROMOTIONAL SCREENING
OF SIEGFRIED & ROY:THE MAGIC BOX
October 6, 2000
Still in production, this 3D film will truly knock
your socks off. It combines animated shorts
(including segments from The Simpsons, Antz,
Monkey Brain Sushi and Joe Fly and Sanchez) with
cutting-edge music and wild visuals. It is the first
full length 15/70 film that incorporates SANDDE™
animation technology with computer generated
images. CyberWorld’s educational study guide will
include a unique interactive component.
As a treasured feature of our film catalogue, The Dream Is Alive is more than relevant
to the new century. Technological advances in space travel and exploration make it
too easy to forget where our interest in space began. The Dream Is Alive takes us back
to where our “dreams” started and allows us to appreciate how far we have come
since then.
* estimated GBO based on reported numbers as at June 30, 1999; where possible,
reported GBO and/or reported ticket prices have been used.
Michael Agulnek can be reached at [email protected];
For booking information please contact Geoff Atkins at [email protected]
5
HOLLYWOOD AND
THE IMAX EXPERIENCE
TESTING
THE WATERS
by Andy Gellis, Film
FIRES OF KUWAIT
EVEREST
Does Disney know more than the other
Hollywood studios? Is Fantasia/2000 a
millennium aberration or the beginning of
legitimate Hollywood interest in The IMAX
Experience? With a burgeoning number of
commercial venues, and museum theatres
seeking to gain a nighttime audience, the
expanded IMAX theatre base is causing
Hollywood to pay attention.
ANTARCTICA
The technical and creative attributes unique to large-format cinema are frequently referred to as
“the 15/70 factor.” Among 15/70 filmmakers, the expression is widely understood as a euphemism for the
challenges specific to working in the format: moving bulky equipment, increased production costs, managing
more complex logistics, longer set-up times and more elaborate planning due to three-minute film loads.
THE 15/70 FACTOR
The phrase sees equal usage by producers,
directors, cinematographers, film editors,
production designers, sound designers,
recording engineers and, lately, actors. It’s a
sweeping reference that means something
slightly different for each person. So what’s
really behind this expression? What is it
that’s so unique about working on 15/70
productions? What is the 15/70 factor?
Meticulous Planning
Award-winning underwater filmmaker
Howard Hall (Into The Deep, Island of the
Sharks) believes that “15/70 production
requires meticulous logistics planning…
a flaw that might be a minor inconvenience
for a television crew can shut down
a 15/70 production.” To deal with the
15/70 factor, filmmaker Greg MacGillivray
draws elaborate storyboards that carefully
anticipate how one scene blends into
another, and how each cut will advance
6
the story. Says MacGillivray, “It’s very
different from the ‘let’s go out and see
what happens’ school of filmmaking.
Research and pre-planning are critical.”
An Enhancement
Reed Smoot, (cinematographer, see
Spotlight On, page 11) concurs: “I’ve
always looked upon the 15/70 factor as an
enhancement – the unique considerations
of the format force you to think about
your subject and audience in a far more
meaningful way. When I put a roll of
35mm-still film into my Leica, I have no
problem shooting 36 pictures in a matter
of minutes. When I take out my four-byfive field camera, I have to make decisions
more carefully… for me the 15/70 factor
requires that I approach my work
differently – I have to be so much more
aware of the final presentation and the
audience’s role in the overall experience.”
The Irony
While there’s no question that 15/70
productions are more demanding than
their small-format cousins, there’s an ironic
twist to the notion of a 15/70 factor. The
15/70 professionals most likely to use the
term are the very same filmmakers who
take the world’s most demanding motion
picture system into the least hospitable
environments on Earth resulting in films
like Fires of Kuwait, Titanica, Mission To
Mir, Everest, and Antarctica. Sean Phillips
(director of photography and visual effects
supervisor for Siegfried & Roy) says:
“Inevitably, you’ll want to film the world’s
most spectacular places with the world’s
most involving film format – it creates
a far more realistic experience for the
audience and provides an end result you
simply can’t get from feature films.”
by Lor ne Or leans, Film
A Mental Wash
The 15/70 factor provides plenty of
challenges, frustration and exhilaration.
And, despite the rigors involved, filmmakers
keep coming back for more of it, while
others hope to try their hand at it for the
first time. Howard Hall sums it up well
when he says, “I love 15/70 production
because it is so difficult.” Several years
ago, Jean Jacques Annaud, Director of
Wings of Courage said, “…going with
15/70 requires a mental wash.” The world
of 15/70 filmmaking is filled with people
who are particularly passionate, dedicated
and committed to capturing spectacular
images, telling great stories and bringing
unique experiences to our audiences, and
accomplishing it in spite of the 15/70 factor.
The 15/70 format and IMAX theatres have
already garnered accolades from major
Hollywood filmmakers. Jean-Jacques Annaud
and Brett Leonard, with 15/70 films under
their belts, are only the first to cross over
from 35mm. At Imax, we have been working
with major Hollywood writers and directors
in script development for the past few years.
Paramount,Twentieth Century Fox,Warner’s,
and Universal have all talked with us about
future film projects. Jim Cameron wants
to take us to Mars. The trend is likely to
continue and, in 2000, two or three new
films will bring established directing talent
to the format.
The success of Everest and T-REX, on the
heels of narrative films like Wings of Courage
and Across the Sea of Time, has broadened the
appeal of 15/70 films. Disney recognized it
had a unique product in Fantasia/2000.To
emphasize its special qualities it needed a
special attention-getting situation, and they
found it with the IMAX theatre network.
Great marketing, and great news, for IMAX
theatres.We’d like to believe Disney’s faith
in The IMAX Experience as a legitimate
platform to launch its film will continue
a trend that’s well underway.
Andy Gellis can be reached at [email protected]
Lorne Orleans can be reached at
[email protected]
Fires of Kuwait: ©MCMXCII Imax Corporation
Everest: A MacGillivray Freeman Film. Presented by Polartec®.
Antarctica: ©1991 MSI & FFC
Mission To Mir: ©MCMXCVII Imax Corporation/Lockheed Martin Corporation
7
Booth Talk
News From Theatre Operations
Muffin
Mondays
XENON
ARC LAMPS
A Strategy for Meeting Sales Goals
by Klaus Kessler,
Theat re Technical Ser v ices
Extreme caution must be practiced in
the handling of Xenon Arc Lamps.These
lamps are under high internal pressure
when cold and 10 times higher pressure
when hot.They should be replaced at
1,000 hours of use, but never later than
1,250 hours because, at that point, the
glass envelope becomes brittle and the
danger of an explosion increases.
Whenever covers are removed, the
complete safety gear provided by Imax
must be worn to avoid potential injury.
Recently, a 7 kw lamp exploded about
five seconds after the projectionist had
done a z-axis alignment, through the
rear, where the panel had been removed.
Luckily, no one was standing behind the
projector when the glass shot out.
Those who have experienced an
explosion while handling a lamp will be
forever grateful that they were wearing
all the safety gear, but there are always
limits in how much can be done to
protect a person.The most important
safety precaution is common sense.
Klaus Kessler can be reached at
[email protected]
Generally only one size of safety jacket is
supplied to theatres and some projectionists
may have a problem wearing it. If that is
the case, drop me a note or send an e-mail
and we will provide you with a jacket in
your size (up to XXXL). Gloves are also
available in a larger size.
by Cars on Malone, Affiliate Ser v ices
The Science
Museum of Minnesota
by Fred Guy, Affiliate Ser v ices
THE NEWLY COMPLETED SCIENCE
MUSEUM OF MINNESOTA REOPENED
It’s five o’clock on a Monday afternoon…
time to start the five o’clock show. Your
theatre is quiet and mostly empty. You
are not surprised. This particular hour of
this day at your theatre is often like this,
causing you to question the need to have
this show on your schedule at all.
IN ITS MISSISSIPPI RIVERFRONT
Most theatres have certain show slots
which are notorious for being slow.
It might be Wednesday, rather than
Monday, but the problem is the same –
external factors in the community or
guest traffic patterns make it difficult
to fill the theatre at a certain time.
Sometimes, the theatre director will
choose to remove that show from the
schedule altogether. However, having
a dark period in the middle of the day
is not an effective use of resources,
and significantly limits the capacity
for revenue.
AND EXECUTIVE PRODUCER, “TO
A better option is to aggressively go
after customers for that show in an
unconventional way sometimes referred
to as Muffin Mondays. The real meaning
of the phrase is “off-site ticket sales.”
The concept of taking the theatre’s box
office off the premises is not a new one.
Theatres have been offering tickets in bulk
to other organizations and businesses to
sell for years. What’s different about this
approach is that it offers groups a chance
to purchase tickets for a specific show at
the group rate without having a minimum
number of people.
In this strategy, a representative from the
theatre pre-arranges a speaking engagement
to a group, such as a civic organization,
social club, church or other association.
Many of these have regular meetings and
are usually happy to have someone from
the community speak to them. After
giving an overview of the theatre in which
the IMAX technology and current films
are explained, the representative declares
8
Theatre Profile
LOCATION ON DECEMBER 11, 1999
FEATURING A NEW IMAX DOME
THEATRE. “WHAT A LUXURY,” SAID
MIKE DAY, THEATRE DIRECTOR
CLOSE ONE THEATRE AND BUILD
a specific show (such as five o’clock
next Monday) as a show dedicated to that
organization’s members. He or she then
offers to sell tickets to that show at a
discounted rate at the conclusion of the
meeting. As an added bonus, the theatre
could offer complimentary refreshments
in the lobby to greet them – hence the
nickname Muffin Mondays.
This involves pulling a block of tickets
and pre-printing them beforehand for
the desired show. Since the theatre is
only offering this arrangement for the
historically slow showtimes, there is
usually no danger that any walk-up traffic
will be turned away. This is not a private
screening, and theatres needn’t close
to the public to host these groups.
A potential wellspring for this practice is
the burgeoning seniors’ market. As baby
boomers move into retirement, perhaps
no other segment of the population has
as much discretionary income or time.
They tend to be highly mobile and looking
for entertainment for a small circle of
friends and family.
Since organizing a group visit for 20 or
more people can be a logistical challenge,
the Muffin Monday approach can be the
ideal incentive for individuals with common
interests to purchase small blocks of tickets
and help you fill otherwise sparse shows.
Carson Malone can be reached at
[email protected]
New Features
The new theatre auditorium features
increased seating capacity, 400 versus
330 seats, digital rather than analog
sound, a RoDo (rotating dome) screen,
and improved seating and sight lines.
Says Day, “Row one is where row four used
to be, and the seats are business class as
opposed to coach.” They are especially proud
of disabled-accessibility considerations
including a mid-level wheelchair balcony
and companion seating.
ANOTHER ONE FROM SCRATCH.
I RECOMMEND IT HIGHLY.”
The impetus for the $99 million relocation
came from the combination of the
museum’s crying need for space coupled
with the vision of a civic government
with a progressive attraction strategy.
The sponsors of the original theatre,
which opened in September 1978, quickly
signed on for the new development.
Day projects that attendance in the new
William L. McKnight – 3M Omnitheater –
an IMAX Dome will increase from the
current 600,000 to 750,000.
An Impressive Destination
The Museum itself, an impressive
destination double the size of the former
facility, incorporates features which will
support this attendance. These include an
800-stall parking structure, catering and
meeting capacity and complementary
attractions such as a Lightspeed 3-D Laser
theatre and an outdoor event area.
FILMS LIKE
TROPICAL
RAINFOREST
POSSESS
LASTING
EDUCATIONAL
RELEVANCE…
The theatre-guest experience has been
enhanced through improved visitor
amenities, including washrooms at both
entrances, food services and queuing
made “as comfortable as possible.” The
dedicated theatre queuing area overlooks
the exhibition galleries and the Mississippi
River. It features seating and three pairs of
video monitors for pre-show messaging.
Prior to opening, the Science Museum
hosted more than 40 presentations in the
theatre over a three-week period. These
included member, convention bureau
and educators’ events and a gala.
Film Production
The Science Museum of Minnesota is well
known and respected for its involvement
in large-format film production. According
to Day, in the mid seventies, when the
theatre was first under consideration, the
museum board made three key decisions –
to build the theatre, to simultaneously
raise funds for a large-format film and
that the proceeds from films be recycled
to produce more films. The Science
Museum approaches each film as a project
incorporating complementary educators’
institutes, displays, resource materials
and teachers’ guides. Films like Tropical
Rainforest, produced in 1992 with the
support of the MacArthur Foundation
and the National Science Foundation, are
created with a view to their role as “library”
films, possessing lasting educational
relevance and a long-term shelf life.
The Science Museum of Minnesota is
currently, together with Science North
and Discovery Place, engaged in producing
its 11th film project under the working
title The Jane Goodall Story.
Fred Guy can be reached at [email protected]
Facts
Theatre Name William L. McKnight - 3M Omnitheater
Location Science Museum of Minnesota, St. Paul
Original Opening Date September 1978
Re-opening Date December 11, 1999
Director and Executive Producer Mike Day
Population nearly 300,000 in St. Paul / Minneapolis
Type of theatre Convertible IMAX Dome, 400 seats
Opening Film Program Epic Journeys:The Great Migrations
Website www.smm.org
9
Getting It On Film
ANATOMY OF A
number of approaches to
developing, financing, shooting
and post-producing a film,
depending on the content and
the work style of the producer/
director team, most films
follow similar templates from
conception to completion.
Development
Development refers to the time between
“I have an idea” and “I’m now fully prepared
to market and sell my idea.” A successful
development period will culminate with
production financing being secured. This
stage may last anywhere from a few months
to a few years. Many producers spend the
bulk of their time creating a development
package that consists of a film treatment or
script, a preliminary budget and a proposed
schedule. The package may also identify
talent – director, cameraman and actors.
Promotional artwork, sales flyers and a
demo reel may be created during this stage.
Pre-production
Pre-production, or “prep,” occurs after
Group Sales – Plan For Success
Panic! It’s July 21st and your groups numbers are
half what they should be for the month.Worst of
all, you don’t know why. After searching through
files to compare with last year, you finally realize
that the summer youth programs have passed you
by.You desperately contact the group organizers to
make amends for whatever caused this collective
decision.Was it a price change? Was it a policy
change? They tell you that regardless, it’s too late
for this year. “This will not go over well,” you think,
as you take a deep breath and tell your boss.
A true story.
development and prior to the first day
of filming and may last several weeks or
months, depending on a film’s complexity
and shooting schedule. Well-orchestrated
preparations enable crews to concentrate
on making films instead of spending
valuable time awaiting decisions.
During prep, final arrangements are made
and negotiations held for most things
required for the shoot and a corporate
entity is set up. The budget and schedule
are finalized, logistics are ironed-out,
crew is hired and casting is underway.
Production
The goal of production is straightforward
– to capture the best possible images
and sound in the most creative and cost-
by Claire Ryan, Affiliate Ser v ices
Successful sales programs begin with the
creation of a good sales plan. Having a sales
plan can help avoid situations like the one
described by identifying problem areas before
it’s too late. So step right up and order your
sales plan from Imax Affiliate Services.We
have created a sales plan template in Excel
format and you can replace our categories with
your own, change the language or customize
this template in any way to suit your needs.
guides, for example) are expected. Private
screening and facility rental goals can be broken
out, along with other revenue streams such
as bulk tickets, sponsorships and gift certificates. Objectives should be by revenue, not
attendance, although attendance should be
tracked in each market.Theatre directors and
sales managers should agree on expectations
at the beginning of the fiscal year, and meet
regularly to discuss progress.
Once you have a template, you’re ready to
go. Ultimately, the theatre director sets the
revenue objectives, but it’s up to the sales
manager to provide a detailed plan stating how
the objectives will be reached. In an institution,
you might have an entire sales team but each
salesperson’s goals should feed into a master
plan for your theatre.The best sales plans
focus on quantitative objectives – how much
money you expect to make. An appendix can
include your sales strategy: sales calls, Chamber
of Commerce activity, promotions, mailings,
advertising in trade publications, tourism
marketplaces and teachers’ conventions.
If your theatre has been functioning for a year,
you already have the basis for a complete
sales plan (last year’s numbers). Start-up
theatres can set attainable objectives with a
plan that will become a tool for the future as
the business is built.Your goal might be to
increase sales by five per cent annually.
Remember that it’s normal to lose some
clients each year, so you must plan to replace
lost clients. It takes concentrated effort and
excellent client services just to maintain the
status quo.To increase your business, the best
place to start is with the planning and
execution of a clear sales plan and a winning
sales strategy.
To develop a detailed plan, you can break
objectives down by month and by target
market, establishing how many school groups,
seniors or community groups (scouts and
Don’t wait for disaster, contact Raffaela Bramante
at [email protected] or 905-403-6253 to
get your copy of the sales plan template.
Claire Ryan can be reached at [email protected]
10
by Lor ne Or leans, Film
effective manner possible. Achieving this
goal is an effort in clear communications
and flawless coordination. A film production
has many departmental units organized
around tasks and equipment. A flood of
paper is generated during production and
every last detail is carefully documented
in order to have answers to questions
that might arise months, or even years,
down the road.
Screening dailies is an essential part of
the production since it’s the only means
of properly assessing a day’s work. The
process is unique for 15/70 productions
since 35mm and video are often employed
and it takes an experienced eye to fully
appreciate how images will translate onto
the large screen. The beginning and end
of the production
phase are considered
to be the first and last
day of filming.
Post-production
Post-production is the stage of 15/70
filmmaking that differs most from the
world of conventional cinema –
everything about the final presentation is
unique to 15/70 and requires much
greater attention to detail. Postproduction activities include picture and
sound editing, screenings, music
composing and recording, narration
recording, foley recording, looping or
ADR, sound mixing, negative cutting,
titles, opticals and answer printing. Fifty
SPOTLIGHT ON…
While there are an unlimited
FILM
Reed Smoot
by Liam Romalis, Communicat ions
This month,The IMAX Experience puts the spotlight
on director of photography Reed Smoot, who just
completed principal photography on the upcoming
NOVA-produced film, The Endurance.
or 60 deliverables must be provided to the
film’s distributor including a final sound
mix ready for mastering, the answer print
and an interpositive (protection negative).
Once post-production is completed,
the film is ready for the next stage –
distribution, marketing and exhibition.
Lorne Orleans can be reached at
[email protected]
For a detailed guide to 15/70 filmmaking, check out
the 15/70 Filmmakers’ Manual available through
www.imax.com
No one is more excited about the world of large-format filmmaking than
Reed Smoot. Starting out in the Sixties shooting 16mm documentaries and
working his way into dramatic features, Reed was filming on location in
Washington, D.C. when he saw his first large-format film at the National Air
and Space Museum.The year was 1979 and the film was Living Planet. “After
seeing that film,” says Reed, “my whole perspective on filmmaking shifted
dramatically and I wanted to participate in this new, involving format that had
the power to transport audiences unlike any other.” Reed’s first opportunity
to work in the industry arose several years later in 1983, when Reed was
asked by Kieth Merrill to be the Cinematographer on Grand Canyon: Hidden
Secrets. He jumped at the chance.
From there, Reed went on photograph such films as The Great American West,
Alamo:The Price of Freedom, Polynesian Odyssey, Zion Canyon, Yellowstone, Cirque
du Soleil: Journey of Man and Mysteries of Egypt. Says Reed:“I’ve been really lucky
to work on great projects that have always allowed for new challenges. My
personal growth over the years has been very dramatic, partly because the more
you do the more you learn, and because I’ve been part of an industry that has
constantly been evolving.Today, audience expectations are far greater.As cameramen, we’re always looking for ways to more effectively transport audiences.”
Reed’s enthusiasm is palpable when talking about his most recent film project,
The Endurance, shot in and around Antarctica. “Overall, it was a very
successful shoot with careful and discreet recreations of the expedition,
which proved to be a tremendous challenge from a logistical standpoint.
But the results are incredible.There is no way you can fake the kind of stuff
we got down there. It’s definitely a world that people haven’t seen before.”
When asked about the future of the large-format film industry, Reed Smoot doesn’t
mince words: “I’m extremely optimistic and excited about the direction things
are going and really tremendously thankful for the opportunity to be involved.”
Liam Romalis can be reached at [email protected]
11
CYBERWORLD’S HOST, PHIG (BELOW) IS
VOICED BY JENNA ELFMAN, STAR OF THE
TELEVISION SERIES DHARMA & GREG
Lights! Camera! Action!
by Hug h Mur ray, Film
CyberWorld was born of the idea that existing computer
animations could be successfully re-shot in high resolution
15/70. This was a simple concept that grew into a most
complex production.
The eight segments of CyberWorld are
presented as exhibits in the Galleria
Animatica, a spectacular virtual gallery of
computer animation. These segments are
introduced by Phig, the feisty female host
and the audience’s guide to the Galleria’s
exhibits. Her nemeses are a trio of wacky
computer bugs who live by consuming the
complex computer code that flows through
the structure of the Galleria. These bugs
threaten the integrity of the entire Galleria
and, finally, Phig herself. For those of
you who were fans of Paint Misbehavin’,
this element of CyberWorld takes our
SANDDE™ process to a whole new level
of technical quality.
Before we could conclude discussions
with Twentieth Century Fox, we discovered
that we needed to negotiate separate
agreements with each of the six voice
actors who are in this segment, or the
characters wouldn’t sound quite like
they should.
The deals for all the segments are now in
place, and a delightful cast of characters
will soon have their debut in IMAX 3D
theatres. CyberWorld is scheduled to
open on October 6, 2000.
Hugh Murray can be reached at
[email protected]
The film has presented numerous creative
and technical challenges, as well as
issues around contracts and rights.
To obtain permission to use
The Simpsons “Homer 3” segment, we
had to work with its many
stakeholders. These included PDI,
the creators of the computergenerated portion of the “Homer 3”
segment, Matt Groening, Homer’s
true creator, and Film Roman and
Gracie Films, the producers of
the animated TV show.
THE SIMPSONS™ & © 2000 Twentieth Century
Fox Film Corporation. All Rights Reserved.
THE PET SHOP BOYS “LIBERATION”
Cyber Segments
Phig and the Galleria Animatica are being created by SPIN Entertainment in Toronto, and will
occupy in total a little over 10 minutes of the film’s running time. Final animation is well underway.
The computer Bugs are being rendered by Imax SANDDE Animation in Montreal.The contributed
segments are, in order of appearance: Monkey Brain Sushi by Sony Pictures Imageworks (USA),
Flipbook by Satoshi Kitahara and Inertia Pictures (Japan and USA), Krakken by Ex Machina (France),
The Pet Shop Boys “Liberation” by EYE (UK), Out Of The Box by Rezn8 (USA), Joe Fly and Sanchez by
Spans and Partner (Germany), ANTZ by DreamWorks SKG and PDI (USA), The Simpsons “Homer3”
by Twentieth Century Fox and PDI (USA).