FantaticalAboutOdeon—Thank you for the fascinating information on the post-“zing” interior. It would be most interesting to see photos!
The “rolling wave” design was not the same as the 1987 neon splay wall feature?
On the subject of its exterior, as I posted above, I recall a “patch up” job on part of the facade. This, I think, is visible in this photo; however, it now seems to be largely covered by the smaller LED displays positioned either side of the balcony.
Its impressive and imposing facade is, in peak season, invariably photographed by tourists.
FantaticalAboutOdeon—I did notice, on the occassions when the contour curtain was used in the “laser show” era, the machinery sounded rather “clunky”—albeit this may not have been any indication as to its condition.
Talking of the 90’s, I recall right up until the late 90’s, there was a older gentleman who always seemed to be positioned at the bottom of the vestibule, and if I remember correctly—although it is a vague memory now—he still wore an old Empire staff uniform. I can only assume he had been working there for decades!
I see there have been a couple of pictures of the “Lamb” Empire uploaded by Ken Roe recently to CT, this one ppears to show sets of steps up to the circle level and steps down to the stalls. It’s not quite clear from the pictures, but it still seems to me that a fair amount of reconfiguring occured in the 1962 conversion.
This still leaves the question of what the Leicester Street entrance lead to… and also what remains of the original Empire Theatre—other than the Leicester Street facade. I assume that the original facade was altered and possibly moved forward slightly, to yield the “Lamb” design.
In terms of the rake of the circle stepping, I think it may look that way due to higher seat backs? Also, there were a few rows of “loge” seats at the front of the “Lamb” Empire’s circle.
This picture shows just how much the ceiling has been raised. I can imagine that the divding wall isn’t far off from protruding out of the roof, so heaven knows how it was “hung”! It is also obvious that very little of the “Lamb” Empire’s interior could have survived the 1962 conversion (as previously discussed on this site)—certainly not the ceiling, nor splay walls, nor proscenium.
I had previously linked to some photos of the 1928 Empire, but those links (at the time of writing) no longer work; here are some alternative links to what I believe to be the same stock photos:
I suspect the LEDs behind seats are simply in keeping with the current fashion. I did mention at the end of the very first public screening that the colour sequencing wasn’t the same as “Screen 1” and was informed that they could be reprogrammed in any desired manor, although I suspect my comment was promptly cast aside as AFAIK nothing has changed!
I am trying to put the £150,000 figure for the 1968 Stockton Odeon into context—running that figure through the Bank of England’s Inflation Calculator gives £2.3m in today’s money. If my recollection is correct, the 1967 Plaza reconstruction would be £10m using the same converter—so it would seem to be a very good result given the budget. Regarding the capacity, was a twin cinema not considered?
It is interesting to speculate on why the Empire Leicester Square hasn’t been replaced. It may well be the case that, in more recent years, following the sale of the building by First Leisure, the change of use of the nightclub to casino saved it. I suppose one should not begrudge casinos too much; after all the Hippodrome had a restoration of sorts (albeit neither that nor the original Matcham interior are to my taste) thanks to its conversion—far better than yet another useless hotel in the heart of the West End!
FanaticalAboutOdeon—Thank you for the fascinating structural information! One wonders how the poor old building is still standing when bearing the load of successive conversions—as I mentioned in a previous post, according to the recent Cinema Tech. Magazine article, the massive IMAX/IMPACT dividing wall is “hung” from the girders and floats off the floor—and the Casino below has additional mezzanine floor sections, etc.
There are some further elements of the 1962 conversion which remain puzzling to me. One is that I assume the “circle” section reused the structure/stepping of the 1928 auditorium; however, it appears to have been shortened. I assume the main girder is somewhere around the gangway between the “circle” and “stadium” sections. Therefore, is that part of the 1928 circle still lurking under there?
The other is the foyer—the cross-sectional diagrams (which do not appear to be accurately drawn) on the British History site show that the replacement foyer is smaller in size, and indeed the current seating area opposite the long bar has a slopped ceiling; so I assume the floor was raised up.
Soundproofing-wise, according to the article linked to from this post, the floor is 5" thick concrete. Of course, these days a floating floor would be added on top.
Regarding the LEDs, I think it was a mistake to add them behind each row of seats, and the sequencing needs to be reprogrammed.
In the post-multiplex era, it is impossible to conceive of a grand space like the 1968 Stockton Odeon being built in the West End or similar, let alone in the regions. With the flat “stalls” section, I initially assumed it was a conversion—but a quick search on Cinema Treasures revealed otherwise—though I’m slightly puzzled as to why the split flat/stadium raking. It is good to hear that, at least for a time, it had some good runs!
FanaticalAboutOdeon—I see what you mean about the “stage” end of the “New” Empire being in what was the stage house—it is clear from the cross sectional plans on the British History site.
The difficulty I can see with a further “cove” towards the screen is that it would be difficult to fit those tiles on a steep curve; albeit, your suggestion is a shallow curve. But the reason I suggested there could be difficulities around the constraints of converting an existing building was that, looking at photos of the “Thomas Lamb” auditorium, it would seem that, crown of the dome perhaps notwithstanding, the ceiling of the 1962 Empire was higher than that of the 1928 Empire, and the highly curved section at the projection end presumably approximately follows the constraints set by the roof. So, not knowing how the replacement ceiling was supported or hung, I’m thinking there were some constraints which led to that design—or perhaps I’m wrong and it is a flaw!
Very interesting information on the coloured lighting—thank you. Green, of course, is used with the new (inferior) LED lighting. Quite possibly the mink tiles didn’t change colour, but the gold colour tiles, I’m quite sure, did.
I have indeed seen the Flickr photo you refer to, very nice. (As an aside, I stumbled on your upload of the 1960’s Odeon Stockton whilst browsing through your Flickr pages—looks like it was reasonably impressive!)
I don’t think the contour curtain was taken down until a larger screen was installed in 2006? If I’m not mistaken, it can be seen in this YouTube video of the “laser show”—which is also an excellent example of “showman” presentation skills. However, for the majority of presentations I saw in the “laser show” era, (unfortunately) I don’t recall it being dropped.
FanaticalAboutOdeon—Good point on the “half dome” feature above the screen, although I liked that feature, particularly with, as you say, the fibre optic “starfield;” nonetheless, it did look somewhat disjointed.
There were hidden exits either side of the screen, behind the curtains. Also, towards that end of the Empire, there was a tank room above (now converted to offices), and it seems that at the far end the pitched roof grinds to a halt and there is a drop down to a flat roof section. So, to speculate, the lack of a “proper” proscenium may have been the price paid for converting an existent building.
If the tiles were mink and gold, when did they change colour? It seemed that there were two sets of tiles, one stuck on top of the other…
I would also be interested to know if there were any changes to the concealed lighting scheme over the years. AFAIK a new lighting control system was installed during the 1988 refurbishment, but—and I can’t find the reference right now—I gather that they were colour-sequenced right back to 1962.
As for which venue is the “zenith of cinema design,” there are of course a few candidates, but I think it’s fair to say both of those examples are great!
I should have made it clear that I am not in any way suggesting that George Coles could not be responsible for the design of the “new” Empire… just curious for the above reasons. Indeed, this plan was by his practice:
That said, a (non-cinema) example is Centre Point, which looms over Oxford Street. It had been attributed to Richard Seifert for many years but it is now considered to be designed by George Marsh, who worked for his practice.
My preference is for art deco and modernist designs; the 1928 Empire interior to me (my apologies to all those on this site who are enthusiastic about the work of Thomas Lamb) is absolutely hideous, albeit I can only find B&W photos and films of it.
For me, the 1962 Empire is, aesthetically, the high point of cinema design. Whilst the staggered walls/ceiling with bands of concealed lighting is clearly reminiscent of Radio City Music Hall, I consider the design to be more elegant, whilst producing the effect of massive spaciousness, and I think the tiled walls/ceiling added to this.
So, I wouldn’t agree with the opinion of the author of your quote! (Except regarding the seats—they were fantastic.) Incidentally, I have a copy of the book “The First Hundred Years: The Story of The Empire Leicester Square” by David High; unfortunately I don’t have access to it at the moment, but my recollection is that it discusses the trepidation around the 1962 reconstruction, but states that subsequent to opening, the public was “delighted” by what they saw.
Mike… My Father was a Project Architect and so I know a little bit on how things work in that field, which is what lead me to ask the question.
Unfortunately (for me?!), he did not work on any cinemas but the most relevant projects he had some involvement with were Planet Hollywood London and Planet Hollywood Gatwick Airport. If I remember correctly, in both cases the designs were done by an American practice and sent to the practice he worked for, to produce final drawings, ensure that UK building regulations were met, etc. (e.g. Some of the materials the Americans had specified did not meet UK fire regulations!) Also, as you say, once building work commences supervision is required and in this example it was also undertaken by the same UK practice.
Also, in projects he worked on, the individual(s) whom the practice bore the name of (or rather the partners/bosses) had varying levels of involvement, but they would always be responsible for having contact with potential clients and getting in work. Design wise, their input varied from none whatsoever (one practice he worked for had 100+ staff…) to designing the building (but not producing detailed drawings… one of them apparently didn’t even know how to use a mouse!) Different parts of a building could be designed by different Architects… or others could be responsible for the interior design details/fit-out…
All of which is to say that, on a project of larger scale than a house extension, the idea of an Architect as “auteur” can be, I suspect, a bit misguided.
Speaking of George Coles, does anyone know who was actually responsible for the design of Empire 1? AFAIK it bears no resemblance to any other cinema designed by Coles' practice, and I can’t help but wonder if they were the UK architect for what was in fact an American design, or if MGM had instructed them to do something “inspired” by the Radio City Music Hall.
I can’t find the references right now, but my previous archive searches brought up articles which stated that, in 1961, MGM sold the Empire to Mecca, and their intention was to replace it with a new building incorporating offices, cinema, dance hall, etc. By 1962 this scheme had been shelved for the conversion of the existing building to what came to be known as Empire 1, and of course the dance hall below.
Terry—A lot of “ifs” there! When the multiplexes arrived, the greater choice and pristine interiors were a revelation.
Now I’m not saying I liked them—outside of venues such as the Warner West End, the ambience was often poor and the presentation could be sloppy (e.g. failure to do the anamorphic lens change!) I also remember being shocked to see slide projection with adverts for local businesses in a Cineworld… hardly the way to set the mood…
Regarding IMAX/laser projection—I fully anticipate it to provide superior picture quality.
It is not the “fault” of the technology but the operator if there is a failure to achieve a good standard of presentation in all respects. The Empire’s IMAX auditorium may lack tabs, but the colour-changing concealed lighting, suitable “non-sync” music, etc., and of course the very attractive foyer, remain.
As for the Chinese, it’s a world-famous landmark theatre in a “megacity” which also happens to be the movie capital of the West. They were fortunate enough that the building/site constraints did not stop them from digging a large hole in the ground. The Empire LS was more constrained, but in upgrading to meet today’s expectations, was fortunate enough to have a steeply racked circle which works well for IMAX, and that modern acoustic absorption could be applied to the walls/ceilings without annihilating the interior look and feel.
In most cases, it’s surely easier and presumably cheaper to sell out to a developer looking to build flats or similar and do a new-build on another site…
JD Wetherspoon (operators of The Twyburn pub, within the same complex as the Odeon Marble Arch) have received permission for outdoor seating until February 2016, so it may be assumed the existent Odeon Marble Arch will stand until at least then…
The developer has submitted a planning application dated November 2014, which is pending a decision. Perhaps surprisingly, 6 screens, albeit 5 of which appear to be “studio” size, are shown in the drawing for basement level 1. The proposed entrance is on Edgware Road with access via escalators.
Here’s the link to the IMAX press release—it is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
According to Empire’s Auditorium Information page, Screen 1 will be the IMAX screen, with 337 seats, and therefore will co-exist with the IMPACT screen.
FanaticalAboutOdeon, thanks for the reply. A shame so few images of the house curtains are available, but the “replica” pair do add that special touch to your home cinema—very nice!
What was on the splay walls after the 1960’s “zing” alterations?
Seems the Odeon LS has an uncertain future, perhaps? I noticed in Cinema Technology Magazine that the new “MK Dons” Odeon is said to be their “flagship” site. In the meantime, as you say, still a wonderful place to watch a film…
Rather odd to see comments regarding the 1980s American ‘invasion’ on the page of a cinema originally built for Loews/MGM…!
Suffice to say that by the time of the ‘first wave’ of new-build multiplexes in the UK, the average local cinema, at least in my experience, had been badly subdivided and in some cases offered an utterly miserable standard of presentation and comfort.
However, the current situation is very different; the leading operators are Cineworld, Odeon/UCI and VUE, and the first generation multiplexes, if not refitted and/or reconfigured, are obsolete in design. Indeed, ‘The Point’ in Milton Keynes, ostensibly the first ‘true’ multiplex in the UK, is approved for demolition, having been sidelined after the construction of a nearby Cineworld, and finally closed following the recent opening of a replacement Odeon (with IMAX screen.)
A replacement basement cinema is shown.
The purposed quasi-“pastiche”/postmodern (or whatever—“carbuncle-style” will do ;–) ) exterior design, IMO, is hideous.
The 400 seater at least has the potential to be a decent “large format”-style screen and (presumably?) is needed for moveovers from the OLS. The cinemas (once opened) could be repurposed as conference spaces, but then again, they can always be hired out as such anyway…
FantaticalAboutOdeon—Thank you for the fascinating information on the post-“zing” interior. It would be most interesting to see photos!
The “rolling wave” design was not the same as the 1987 neon splay wall feature?
On the subject of its exterior, as I posted above, I recall a “patch up” job on part of the facade. This, I think, is visible in this photo; however, it now seems to be largely covered by the smaller LED displays positioned either side of the balcony.
Its impressive and imposing facade is, in peak season, invariably photographed by tourists.
Just stumbled on these photos of the cinema under construction:
Construction Photo 1 Construction Photo 2 Construction Photo 3
Can’t increase screen size without closing rear stalls due to sightlines… Reconfiguration to compete is urgent IMO…
IIRC the facade had a bit of a “patch up” job during the late 1990’s works.
FantaticalAboutOdeon—I did notice, on the occassions when the contour curtain was used in the “laser show” era, the machinery sounded rather “clunky”—albeit this may not have been any indication as to its condition.
Talking of the 90’s, I recall right up until the late 90’s, there was a older gentleman who always seemed to be positioned at the bottom of the vestibule, and if I remember correctly—although it is a vague memory now—he still wore an old Empire staff uniform. I can only assume he had been working there for decades!
I see there have been a couple of pictures of the “Lamb” Empire uploaded by Ken Roe recently to CT, this one ppears to show sets of steps up to the circle level and steps down to the stalls. It’s not quite clear from the pictures, but it still seems to me that a fair amount of reconfiguring occured in the 1962 conversion.
This still leaves the question of what the Leicester Street entrance lead to… and also what remains of the original Empire Theatre—other than the Leicester Street facade. I assume that the original facade was altered and possibly moved forward slightly, to yield the “Lamb” design.
In terms of the rake of the circle stepping, I think it may look that way due to higher seat backs? Also, there were a few rows of “loge” seats at the front of the “Lamb” Empire’s circle.
This picture shows just how much the ceiling has been raised. I can imagine that the divding wall isn’t far off from protruding out of the roof, so heaven knows how it was “hung”! It is also obvious that very little of the “Lamb” Empire’s interior could have survived the 1962 conversion (as previously discussed on this site)—certainly not the ceiling, nor splay walls, nor proscenium.
I had previously linked to some photos of the 1928 Empire, but those links (at the time of writing) no longer work; here are some alternative links to what I believe to be the same stock photos:
Foyer 1 Foyer 2 Auditorium
I suspect the LEDs behind seats are simply in keeping with the current fashion. I did mention at the end of the very first public screening that the colour sequencing wasn’t the same as “Screen 1” and was informed that they could be reprogrammed in any desired manor, although I suspect my comment was promptly cast aside as AFAIK nothing has changed!
I am trying to put the £150,000 figure for the 1968 Stockton Odeon into context—running that figure through the Bank of England’s Inflation Calculator gives £2.3m in today’s money. If my recollection is correct, the 1967 Plaza reconstruction would be £10m using the same converter—so it would seem to be a very good result given the budget. Regarding the capacity, was a twin cinema not considered?
It is interesting to speculate on why the Empire Leicester Square hasn’t been replaced. It may well be the case that, in more recent years, following the sale of the building by First Leisure, the change of use of the nightclub to casino saved it. I suppose one should not begrudge casinos too much; after all the Hippodrome had a restoration of sorts (albeit neither that nor the original Matcham interior are to my taste) thanks to its conversion—far better than yet another useless hotel in the heart of the West End!
FanaticalAboutOdeon—Thank you for the fascinating structural information! One wonders how the poor old building is still standing when bearing the load of successive conversions—as I mentioned in a previous post, according to the recent Cinema Tech. Magazine article, the massive IMAX/IMPACT dividing wall is “hung” from the girders and floats off the floor—and the Casino below has additional mezzanine floor sections, etc.
There are some further elements of the 1962 conversion which remain puzzling to me. One is that I assume the “circle” section reused the structure/stepping of the 1928 auditorium; however, it appears to have been shortened. I assume the main girder is somewhere around the gangway between the “circle” and “stadium” sections. Therefore, is that part of the 1928 circle still lurking under there?
The other is the foyer—the cross-sectional diagrams (which do not appear to be accurately drawn) on the British History site show that the replacement foyer is smaller in size, and indeed the current seating area opposite the long bar has a slopped ceiling; so I assume the floor was raised up.
Soundproofing-wise, according to the article linked to from this post, the floor is 5" thick concrete. Of course, these days a floating floor would be added on top.
Regarding the LEDs, I think it was a mistake to add them behind each row of seats, and the sequencing needs to be reprogrammed.
In the post-multiplex era, it is impossible to conceive of a grand space like the 1968 Stockton Odeon being built in the West End or similar, let alone in the regions. With the flat “stalls” section, I initially assumed it was a conversion—but a quick search on Cinema Treasures revealed otherwise—though I’m slightly puzzled as to why the split flat/stadium raking. It is good to hear that, at least for a time, it had some good runs!
FanaticalAboutOdeon—I see what you mean about the “stage” end of the “New” Empire being in what was the stage house—it is clear from the cross sectional plans on the British History site.
The difficulty I can see with a further “cove” towards the screen is that it would be difficult to fit those tiles on a steep curve; albeit, your suggestion is a shallow curve. But the reason I suggested there could be difficulities around the constraints of converting an existing building was that, looking at photos of the “Thomas Lamb” auditorium, it would seem that, crown of the dome perhaps notwithstanding, the ceiling of the 1962 Empire was higher than that of the 1928 Empire, and the highly curved section at the projection end presumably approximately follows the constraints set by the roof. So, not knowing how the replacement ceiling was supported or hung, I’m thinking there were some constraints which led to that design—or perhaps I’m wrong and it is a flaw!
Very interesting information on the coloured lighting—thank you. Green, of course, is used with the new (inferior) LED lighting. Quite possibly the mink tiles didn’t change colour, but the gold colour tiles, I’m quite sure, did. I have indeed seen the Flickr photo you refer to, very nice. (As an aside, I stumbled on your upload of the 1960’s Odeon Stockton whilst browsing through your Flickr pages—looks like it was reasonably impressive!)
I don’t think the contour curtain was taken down until a larger screen was installed in 2006? If I’m not mistaken, it can be seen in this YouTube video of the “laser show”—which is also an excellent example of “showman” presentation skills. However, for the majority of presentations I saw in the “laser show” era, (unfortunately) I don’t recall it being dropped.
FanaticalAboutOdeon—Good point on the “half dome” feature above the screen, although I liked that feature, particularly with, as you say, the fibre optic “starfield;” nonetheless, it did look somewhat disjointed.
There were hidden exits either side of the screen, behind the curtains. Also, towards that end of the Empire, there was a tank room above (now converted to offices), and it seems that at the far end the pitched roof grinds to a halt and there is a drop down to a flat roof section. So, to speculate, the lack of a “proper” proscenium may have been the price paid for converting an existent building.
If the tiles were mink and gold, when did they change colour? It seemed that there were two sets of tiles, one stuck on top of the other…
I would also be interested to know if there were any changes to the concealed lighting scheme over the years. AFAIK a new lighting control system was installed during the 1988 refurbishment, but—and I can’t find the reference right now—I gather that they were colour-sequenced right back to 1962.
As for which venue is the “zenith of cinema design,” there are of course a few candidates, but I think it’s fair to say both of those examples are great!
FanaticalAboutOdeon—thanks for the reply!
I should have made it clear that I am not in any way suggesting that George Coles could not be responsible for the design of the “new” Empire… just curious for the above reasons. Indeed, this plan was by his practice:
http://www.arthurlloyd.co.uk/Archive/July2003/Plan.htm
That said, a (non-cinema) example is Centre Point, which looms over Oxford Street. It had been attributed to Richard Seifert for many years but it is now considered to be designed by George Marsh, who worked for his practice.
My preference is for art deco and modernist designs; the 1928 Empire interior to me (my apologies to all those on this site who are enthusiastic about the work of Thomas Lamb) is absolutely hideous, albeit I can only find B&W photos and films of it.
For me, the 1962 Empire is, aesthetically, the high point of cinema design. Whilst the staggered walls/ceiling with bands of concealed lighting is clearly reminiscent of Radio City Music Hall, I consider the design to be more elegant, whilst producing the effect of massive spaciousness, and I think the tiled walls/ceiling added to this.
So, I wouldn’t agree with the opinion of the author of your quote! (Except regarding the seats—they were fantastic.) Incidentally, I have a copy of the book “The First Hundred Years: The Story of The Empire Leicester Square” by David High; unfortunately I don’t have access to it at the moment, but my recollection is that it discusses the trepidation around the 1962 reconstruction, but states that subsequent to opening, the public was “delighted” by what they saw.
Also, according to:
http://www.arthurlloyd.co.uk/Archive/July2003/Facts.htm
The “New” Empire had “ceiling and walls of plaster tiles finished in mink and gold.” Perhaps you know if this was the case?
Mike… My Father was a Project Architect and so I know a little bit on how things work in that field, which is what lead me to ask the question.
Unfortunately (for me?!), he did not work on any cinemas but the most relevant projects he had some involvement with were Planet Hollywood London and Planet Hollywood Gatwick Airport. If I remember correctly, in both cases the designs were done by an American practice and sent to the practice he worked for, to produce final drawings, ensure that UK building regulations were met, etc. (e.g. Some of the materials the Americans had specified did not meet UK fire regulations!) Also, as you say, once building work commences supervision is required and in this example it was also undertaken by the same UK practice.
Also, in projects he worked on, the individual(s) whom the practice bore the name of (or rather the partners/bosses) had varying levels of involvement, but they would always be responsible for having contact with potential clients and getting in work. Design wise, their input varied from none whatsoever (one practice he worked for had 100+ staff…) to designing the building (but not producing detailed drawings… one of them apparently didn’t even know how to use a mouse!) Different parts of a building could be designed by different Architects… or others could be responsible for the interior design details/fit-out…
All of which is to say that, on a project of larger scale than a house extension, the idea of an Architect as “auteur” can be, I suspect, a bit misguided.
Speaking of George Coles, does anyone know who was actually responsible for the design of Empire 1? AFAIK it bears no resemblance to any other cinema designed by Coles' practice, and I can’t help but wonder if they were the UK architect for what was in fact an American design, or if MGM had instructed them to do something “inspired” by the Radio City Music Hall.
I can’t find the references right now, but my previous archive searches brought up articles which stated that, in 1961, MGM sold the Empire to Mecca, and their intention was to replace it with a new building incorporating offices, cinema, dance hall, etc. By 1962 this scheme had been shelved for the conversion of the existing building to what came to be known as Empire 1, and of course the dance hall below.
Terry—My apologies if I misinterpreted what you had said regarding technology/presentation. Looks like we’re on the same page there!
Up to date with trends… including modern B-chain sound equipment… or were still using Altec VOTT?
Due to open this Summer.
https://www.picturehouses.com/cinema/Picturehouse_Central
Some drawings of the bar area etc. Looks hideous!
Terry—A lot of “ifs” there! When the multiplexes arrived, the greater choice and pristine interiors were a revelation.
Now I’m not saying I liked them—outside of venues such as the Warner West End, the ambience was often poor and the presentation could be sloppy (e.g. failure to do the anamorphic lens change!) I also remember being shocked to see slide projection with adverts for local businesses in a Cineworld… hardly the way to set the mood…
Regarding IMAX/laser projection—I fully anticipate it to provide superior picture quality.
It is not the “fault” of the technology but the operator if there is a failure to achieve a good standard of presentation in all respects. The Empire’s IMAX auditorium may lack tabs, but the colour-changing concealed lighting, suitable “non-sync” music, etc., and of course the very attractive foyer, remain.
As for the Chinese, it’s a world-famous landmark theatre in a “megacity” which also happens to be the movie capital of the West. They were fortunate enough that the building/site constraints did not stop them from digging a large hole in the ground. The Empire LS was more constrained, but in upgrading to meet today’s expectations, was fortunate enough to have a steeply racked circle which works well for IMAX, and that modern acoustic absorption could be applied to the walls/ceilings without annihilating the interior look and feel.
In most cases, it’s surely easier and presumably cheaper to sell out to a developer looking to build flats or similar and do a new-build on another site…
JD Wetherspoon (operators of The Twyburn pub, within the same complex as the Odeon Marble Arch) have received permission for outdoor seating until February 2016, so it may be assumed the existent Odeon Marble Arch will stand until at least then…
The developer has submitted a planning application dated November 2014, which is pending a decision. Perhaps surprisingly, 6 screens, albeit 5 of which appear to be “studio” size, are shown in the drawing for basement level 1. The proposed entrance is on Edgware Road with access via escalators.
Wonderful!
This is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
According to Empire’s Auditorium Information page, Screen 7 will be the IMAX screen, and is due to open June 11 for Jurassic World.
Here’s the link to the IMAX press release—it is one of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
According to Empire’s Auditorium Information page, Screen 1 will be the IMAX screen, with 337 seats, and therefore will co-exist with the IMPACT screen.
One of three Empire Cinemas locations, following on from the Empire Leicester Square, that will have an IMAX screen:
http://www.prnewswire.com/news-releases/empire-cinemas-expands-imax-commitment-with-three-theatre-deal-in-england-300068241.html
Looks like the original foyer (in particular, the floor) has been retained, now being used as the gym’s reception:
http://www.kinesisgym.co.uk/about-us/take-a-tour/
FanaticalAboutOdeon, thanks for the reply. A shame so few images of the house curtains are available, but the “replica” pair do add that special touch to your home cinema—very nice! What was on the splay walls after the 1960’s “zing” alterations?
Seems the Odeon LS has an uncertain future, perhaps? I noticed in Cinema Technology Magazine that the new “MK Dons” Odeon is said to be their “flagship” site. In the meantime, as you say, still a wonderful place to watch a film…
Rather odd to see comments regarding the 1980s American ‘invasion’ on the page of a cinema originally built for Loews/MGM…!
Suffice to say that by the time of the ‘first wave’ of new-build multiplexes in the UK, the average local cinema, at least in my experience, had been badly subdivided and in some cases offered an utterly miserable standard of presentation and comfort.
However, the current situation is very different; the leading operators are Cineworld, Odeon/UCI and VUE, and the first generation multiplexes, if not refitted and/or reconfigured, are obsolete in design. Indeed, ‘The Point’ in Milton Keynes, ostensibly the first ‘true’ multiplex in the UK, is approved for demolition, having been sidelined after the construction of a nearby Cineworld, and finally closed following the recent opening of a replacement Odeon (with IMAX screen.)
Here’s an article on the laser projectors/12 channel audio system. Not yet known which film will be first to feature?
http://www.pocket-lint.com/news/133875-imax-laser-projectors-and-12-channel-surround-sound-to-arrive-in-uk-by-summer
Looks like Terminator Genisys will be playing also…
More details on this replacement scheme from this public exhibition blurb:
http://www.marblearchtower.co.uk/consultation-boards_2014_1027.pdf
A replacement basement cinema is shown. The purposed quasi-“pastiche”/postmodern (or whatever—“carbuncle-style” will do ;–) ) exterior design, IMO, is hideous.
The 400 seater at least has the potential to be a decent “large format”-style screen and (presumably?) is needed for moveovers from the OLS. The cinemas (once opened) could be repurposed as conference spaces, but then again, they can always be hired out as such anyway…