AFI Silver Theatre and Cultural Center
8633 Colesville Road,
Silver Spring,
MD
20910
8633 Colesville Road,
Silver Spring,
MD
20910
26 people
favorited this theater
Showing 101 - 125 of 378 comments
actually ‘Pulp’ was on screen 2.
I’ve seen quite a few movies on screen 3 and personally I like the smallness of it – it’s comes across as more as a private screening.
how come I miss all the scuffles ? I was more than likely still at Potbelly having dinner.
[side comment: I was over at the Arclight today trying attempt number two to see ‘Big Hero 6’, well they ARE still trying to calibrate the two Dolby Atmos audio systems – as a result screens 6 and 7 aren’t playing anything (yet), even though I had bought a ticket yesterday to see the film at 12:05pm today – had a quick look see into screen 6 – whoah – it’s really large – I can NOT WAIT to see a movie here!
Landmark Bethesda is going to get serious competition since the Arclight is advertising it’s auditoriums as ‘black box’ – low level (no?) lighting (think Cinema Arts – the only light in the auditorium is from the screen – it’s pitch black) – I hate (hate… HATE!) the new ambient wall lighting at Bethesda since it remains on during the movie and ruins any and all dark scenes – it’s as if they know that seniors frequent Bethesda and don’t want them tripping up or down the stairs when the movie is playing]
Haha. Giles! I knew 2001 had a very short run and I read about ‘Pulp..’ but 2001 won out for me since last night was its last night and ‘Pulp..’ is showing in #3. For as long as AFI Silver has been open, I’ve never seen a movie in that auditorium. I’m sure its okay, but it is the smallest of the 3. :P
If the venue has curtains, why not use them? Its part of the showmanship that cinemas are losing nowadays. Look at our local AMCs and cough Regals. But hey, we are getting comfy oversized leather, or faux leather, recliners! Ho-hum. Theaters should do everything they can from excellent customer service to venue amenities to keep people coming back.
I haven’t checked out the new Arclight, but hope to very soon. I think AFI and Landmark will get some competition from them and if their concession fare is better then AFI’s, which from the website, it seems to be, its going to be tough.
I’m not sure when you arrived, but did you hear/see the little commotion about the patron who got kicked out? I’m not sure if the AFI employee was the manager, he was casually dressed, or security. From what the patron was saying, he was caught switching theaters, but the employee just said ‘you know what you did.’ Not sure how it all ended since I was already late.
From my last two blogs, security there is lax. I walked in (with my print at home ticket) and there was no one there to check in..I just went in straight to #1 and saw the movie. Then there was the homeless guy with his cart of belongings, maybe he did have a ticket..shouldn’t be judgmental..I know. :)
oh, I was right next door last night at the ‘Pulp: A Film about Life, Death and Supermarkets" during '2001’
interestingly I saw ‘National Gallery’ before hand and I thought it was interesting for a documentary the curtains were used.
for a THX auditorium (screen 1) – I had forgotten how utterly quiet it is, during the end credits which had no music —– you could literally hear a pin drop.
I caught ‘2001: A Space Odyssey’ in 70mm tonight. The website denoted a Montgomery College gathering and I had mistakenly thought it was for students only. Surprisingly, the attendance was large for a weeknight showing, then again there were many students in attendance for a class discussion that followed after the movie.
With traffic, I knew I was going to run late and printed my ticket but still waited in the concession line to get in. I’m thinking to myself, whats the point in home ticket printing if you still have to wait to be let in. I understand its advantageous to buy concession stand fare, but its still a time waster. I missed maybe 1 minute as the movie started at the point of the ‘Thus Spake Zathrusta’ or whatever its called beginning music. It appears the curtain was used and there were probably no previews showed.
On the Concession stand front, I tried the Hummus with Pita bread for $5. While they microwaved the 5 little and I mean little pitas, its not worth $5. Maybe $2. The Capuccino was great for $3.50 and should sufficiently caffeinate someone for a movie that runs as long as 2001. :)
This time around, I just wanted to enjoy the movie and hoped the print was decent enough. On the in70mm site, there was a report about a new 4K print, yeah, this was 70mm..fine. This film print definitely was not new, or recent, there was some fading particularly the scene where the graphics to the stasis pods of the Discovery’s scientists in hybernation. Bowman’s close ups of his BIG BLUE eyes weren’t colorly vibrant, but thats ok. He looks less scary. :) Towards the middle of the end, after intermission, there were noticeable artifacts, line down the middle, blocks/patches..expected for aging film prints but not detractable from the enjoyment.
Some detractions other than the film were hearing the projector clackety clack from the booth up above when there was no music from the movie was playing (which was a good portion of it). I had thought there was sound proofing but evidently not. Also, a radio or CD playing could be heard, which I thought was an adjacent auditorium, but remembered this was no where near 2 and 3. Must have been the booth. Then there was a guy who added his own touch to the soundtrack with his buzz saw snoring. Thankfully, the intermission gave a break to it, but I believe he nodded off again afterwards but caught himself before the first snore. :)
Even with the amount of times of seeing this movie (or any favorite), sometimes you find something new that you didn’t from the prior viewings. During the Dawn of Man sequence, there seems to be a matte painting of a body of water..perhaps lake that was just beyond the ape encampment. I hoped they would reuse the same set up for a future scene to double check, but didn’t notice it again, which means I’ll need to watch the sequence the movie again to be sure.
A new question that popped in my head was why is it Dr. Floyd is the ONLY passenger not just on the Pan Am space flight to the station, but to the American moon base, too. Can you imagine an airline running a flight with just ONE passenger on it? I’d think they’d just cancel it. Not sure what Kubrick was thinking, of course, but he could have had a few more extras in those scenes other than the flight crew. Its no wonder Pan Am is out of business..can’t make money on single passenger space flights… :)
Sitting on the the other side of the theater, I did experience some surrounds not memorable from previous showings. HAL’s voice, for one. To be sure, I compared it to the voices of Bowman and Poole and sure enough, there voices were in front. I believe there needed to be more bass especially during the Stargate Corridor sequence based on my prior theatrical and home viewings. Not sure if they can be adjusted anyway.
When the movie ended, I was curious to see if anyone was going to clap and thought I would be first, but an older couple behind me beat me to it and the audience towards the theater’s rear followed. After the closing credits, a gentleman stood up and announced a discussion for his students and audience members who wanted to stay behind. I wish I had had time to stay just to see what Millenials, the close minded ones, would have to say about this film. I bet at least one would say that the 3 hour movie was 2 hours and 50 minutes too long. :)
Steve, if and when you read this, can you comment on whether the #1 or any of AFI’s auditoriums or modern venues in general, have some kind of equalizer or similar electronic device to tweak the sound? On the Ziegfeld page, with the current discussion on ‘Interstellar’s IMAX soundtrack, Vito was mentioning that on 70mm films he ran, they could improve on sound levels using some kind of equalizer.
HDCAM-SR? SR standing for spectral recording (stereo)? :)
I attended a showing of 2005’s ‘Corpse Bride’ along with two Tim Burton shorts in the Historic Auditorium. I believe I saw it originally in DP in #10 at BowTie Annapolis Mall during its original run. Unfortunately, someone deleted all pre-2K7 posts, so I can’t be sure, now. :P The print seems to hold up well and the sound was amazing showcasing Burton-fave composer, Danny Elfman and his wonderful score. I came in as they were drawing the curtain, surprise surprise! I didn’t know the Historic Auditorium had side masking (cropped for the shorts). When my friend and I saw the original King Kong in #2, I believe the screen was curtained off, but not sure, as that post is gone. I remember the THX trailer and thinking whats the point? This is an old B&W mono sound movie. Sadly, there was probably only 5 people in the whole auditorium for the show.
I like the director Robert Wise film memorabilia. The original Star Trek movie Enterprise model looks cute. I have the original souvenir movie program and some other things, I wonder if they’d be interested in showcasing them (on loan, of course) in exchange for some free movie passes? :)
HDCAM is an HD format…1080i. There is also HDCAM-SR, which tops out at 1080p and 4:4:4 color space though it is almost always 4:2:2. It is nothing to worry about image or sound wise. That is the format most movies are formatted in all of the way up until release.
HDCam being cassette?? Nooooo. That would be a travesty. I shudder at the thought of how that would look widescreen in either #2 or the Historic Auditorium.
I think the DE of TMP was made specifically with standard DVD in mind, which is what.. 480 dp? So when BluRay came out, they couldn’t release the DE of TMP because the supplemental effects would need to be rendered for the higher standard. The AFI schedule did indicate a lot of showings compared to other Wise films. I’m hoping they present it the way I remember it, complete with curtains, light dims and the overture. :)
‘Sound of Music’ has been confirmed to be the 4K DCP
‘West Side Story’ – a 70mm print? – oh I’ll be there!
HDCam looks like a Betamax/VHS cassette – I’m not sure why it’s encoded, delivered, presented as such since I thought it can only feature a movie no longer than 124 minutes in length (‘Star Trek: The Motion Picture’ is 132 minutes)
Howard, I think I’m going to see the film locally at one of the Smithsonian IMAX theaters. I’m looking forward to it. If the movie is still booked through the holidays, maybe I can convince my friend to drive up with me to the Ziegfeld.
Looking at the AFI’s calendar, it seems they are booking ‘West Side Story’ in 70mm, afterall. The last time I saw it here in 70mm was underwhelming. One of the posters on the Ziegfeld page claimed he heard snaps and whistling from all over the theater, (was it) before the credits, in its original 70mm release. I didn’t experience that though I did sit way in the back in the lounge seats.
Now, if they can find one of the newer 70mm prints for ‘Sound of Music,’ this would be a retrospective even the late Robert Wise would love to attend.
It also appears they’ve changed the version of Robert Wise’s ‘Star Trek: The Motion Picture’ as they are showing the director’s cut in some format called HDCam. What the heck is that? Sounds like video taken with a HD camera??? As far as I know, they never printed a film from the director’s cut even though Wise had supposedly wanted a re-release ala the ‘Star Wars’ special editions. Judging by the DVD version, its good they didn’t. I really hate the way they dumbed some of the original audio elements that, imho, took away some of the original dramatic edge. It plays okay for tv. Wouldn’t it be cool to have all 3 versions; original film (if there’s a good print), Blu-Ray (as originally planned) and the director’s cut. :)
It would be nice to have a Robert Wise pre-movie featurette before each Wise film. Or, at least have an AFI employee or intern introduce each one. With iMovie, youtube and the AFI archives, they could easily put something together… :)
JodarMovieFan, I saw Gone Girl yesterday at the Ziegfeld. For several years, I haven’t seen the curtain used. The surround sound is incredible. It is a quicker trip from Philly than DC, but if you want to see Interstellar in regular 70mm, your other choice might be to wait to see it if is in a 70mm classic series or showing at the AFI. I doubt the Regal Majestic wants it next door at the same time.
Regarding Star Trek II at the MacArthur…I have a more lengthy response but since that is about the MacArthur, I decided to post it on THAT page instead…if interested, please go there. http://cinematreasures.org/theaters/764
Hmm. I haven’t been to the Ziegfeld in almost 8 yrs, but I’d love to see 70mm there. Unfortunately, I’m reading their curtain isn’t used. I wasn’t so enthused about The Master when it came out. Looking back, it was just a nicely filmed movie with first rate acting that
With regard to Regal, they’ve got their IMAX-lite, AFI has real 70mm, they (Regal) shouldn’t feel threatened or try to prevent the AFI from getting it.
The tweet/response I got from the Silver in regards to the booking of the 70mm print of “Interstellar” was that they are looking into it. I’m sure the too close to the Regal Majestic and their IMAX digital screen might be problematic.
JodarMovieFan, so far AFI hasn’t booked it. DC has 70mm Imax but if you want to see it in regular 70mm, go to NYC to the Ziegfeld (where I saw The Master). I didn’t know the Senator no longer has 70mm. https://interstellar.withgoogle.com/70mm-film https://interstellar.withgoogle.com/imax-experience-in-70mm
With Chris Nolan’s ‘Interstellar’ getting a 70mm initial release before it goes wide, I’m wondering if the AFI will book it! It should since its the only venue that can play 70mm now. I am told the Senator quietly got rid of their 70mm projectors during the remodel. What a waste!
I saw the preview recently and was quite impressed with the visuals. Nolan knows what do with his 65mm camera and the visuals, at least the space ones should look really decent in the original format as opposed to blow ups and/or digital manipulation.
As a Trek purist, first, then cinephile second with a stickler for good showmanship, I do remember distinct sound fx in the original theatrical releases of the Trek films, so when it comes to the movie’s soundtrack, I can pretty much tell you, which film, had this particular sound effect and how it was experienced in its original release.
However, the original post was meant to express general disappointment over 70mm anything, with regard to Wise’s films, especially with ‘Sound of Music’ and ‘West Side Story’, both of which have decent 70mm prints out there, the former having been shown just a year or two ago!
With regard to the BluRay of TMP, at least it better preserves the original theatrical release of the movie (with its flaws), which I believe is superior to the director’s edition, in that they didn’t tamper with the better sound fx, that for unnecessary reasons, was replaced for either timing or revisionist reasons and toned down in the DE DVD.
Technically speaking, TMP, aside from the reboot films, was shot in 65mm with the fx shots, which are a lot. Even reduced to 35mm, you’ve still got first rate photo res as the original source was 65mm and its larger format. I remember being disappointed with Star Trek II’s 70mm resolution (blown up, of course), at the MacArthur, and the noticeable grain and subdued colors on its initial opening weekend. On the other hand, there were some cool sound fx and tricks afforded the 6-track format. One that stands out is when Kirk yells ‘KHAAAAN’, as Khan tells Kirk he’s marooned on Ceti Alpha V forever.. that resonates starting from the front of the theater, then to the middle and trails off to an echo in the rear. My favorite sound trick was prior to that, after the crew beams down (new transporter beam effect, loud and multi layered sound beams) where one of the Regula station crew drops a ‘screw’ that hits the floor and is distinctly heard right and rear of the theater. In my subsequent viewings of the movie, it made me chuckle to myself, to watch people turn their heads towards the sound as of something DID drop inside the theater.
Robert, you’re right, the 70mm Trek movie showings were at the Royal. On TrekMovie’s website, they had the guy, who runs it I think, hosting the TOS movies along with special guest stars. From what clips I saw of the Q&A, it could’ve been much better moderated with a proper panel discussion like they do real film retrospectives.
For TMP, they did show it somehow, I think it was 35mm and it may have been that awful print I saw in WV 5 years ago. At first, I didn’t think a 70mm print existed, but was told by the moderator that there were several but in very bad shape and the one decent print, was only ½ way presentable. I would’ve shown ½ in 35mm and the rest in 70mm, with intermission, but thats just me. :)
The guest they had for TMP’s showing was one of Kirk’s girl-of-the-week TOS' guest stars, who had nothing to do with the TMP movie. I forget her name, but I think she just recently passed away. I believe they got Nick Meyer, for Q&A, for Trek II. I would’ve gladly cashed in frequent flier miles for a ticket for that, but decided not to. Given your experience, in a way I’m glad I didn’t, but I would have liked to have met Nick Meyer and asked some pointed questions about the movie.
With TMP’s rushed release, there weren’t initial 70mm prints, but I have to believe they were in the process or making them because in either Starlog or Cinefantastique, they make mention of them coming later into the release and for the European release of the movie. Plus Susan Sackett’s ‘Making of’ book makes particular mention of work on the soundtrack for an eventual 70mm release.
This is an aside and off topic, but Trek’s 50th anniversary is in 2016. Wouldn’t it be cool to have a 70mm retrospective here? I wouldn’t mind seeing a pink print of Wrath of Khan as long as the soundtrack is preserved. The succeeding movies probably look better with age. DC never got VI in 70mm, the best they could get was the ‘Grand’ THX house at the now closed Union Station 9.
If I had Steve Allen’s (whatever that Microsoft guy’s name is) money, who owns the Cinerama and has made his own preservation prints, I’d make IMAX-lite versions of the TOS movies, preserve them for DCP. :) Heck, maybe even throw in D-Box versions.
whoever did the mastering of Paramount’s classic ‘Chinatown’ – (I saw the DCP here at the Silver and my jaw was on the floor) should do the Star Trek films the justice they deserve. There is no reason why these films should NOT look and sound their best (that properly mastered DCP resolution/audio replication can deliver)
I few summers ago (2010 or 2011?) i went to the Star Trek 70mm festival at the Royal, in West Los Angeles before it got chopped up and was still one single screen. They showed the movies on Saturday nights at midnight for a few weeks in a row.
From what I recall, they could not even find a 35mm print of the original Star TreK, The Motion Picture. I think they started the festival with ST2: Wrath of Kahn, which was a horrible 70mm print that was faded and looked all green. It was still a blast, and the sound was fantastic.
a bluray presentation of “Star Trek: The Motion Picture” – ewww, yuck. Have any of the Star Trek movies outside of the two latest versions been encoded on DCP? For such Paramount tent pole A-list sci-fi films, the transfers to bluray have been a mixed bag (i.e, pathetic)
as for Wise’s ‘West Side Story’ and ‘Sound of Music’ the AFI is still working out if said presentations will be 35mm prints or DCP’s – but the tweet I got from them, said that 70mm was a no-go [insert sad face]
After checking the AFI Silver’s website, they are finally having a Robert Wise film tribute. This is a long time coming. They should’ve done this years ago. I may actually make time for this one.
What is interesting to note is that his more popular films, ‘West Side Story’ and ‘Sound of Music’ are NOT in 70mm. BOO! And they have two measly showings of each film. TWO!
I’m especially glad to see they’ve booked the Wise’s ‘Star Trek: The Motion Picture’ on the list! I have not seen the movie theatrically in 5 years and that was a horrible, horrible scratched up print that definitely was not cared for. Its too bad they couldn’t get a good archive 70mm print or a decent studio print they had for a 70mm Trek festival in Hollywood a few years ago. AFI is showing it on Blu Ray and its not the Wise revised director’s cut! Ho hum. Might as well see it at home. :P
The last movie I saw here on Blu Ray was the Superman II Donner cut, which I had seen on DVD at home, but here, theatrically, even in the Historic Auditorium, was a major disappointment. Little surrounds, very low sound levels.
As I’ve seen the movie many times during its original release as a child and since, it introduced me to the world of cinema showmanship, at its best, with curtains opening and closing, proper light dims and a real overture. While the movie has its detractors and criticisms, it was an event experience for me that is forever ingrained in my mind. I am hoping the AFI will show the film the way it should be shown..with the complete overture, the curtains opening and closing and the light dims at the right time! Even if its not in the Historic Auditorium, I’ll settle for #2, which has a similar size screen anyway. :) With the THX certs and the volume amped up, Blu Ray’s digital mix of the original soundtrack, theoretically, the experience should SURPASS my original memory of the first theatrical release back in ‘79, right? Okay, sans the 900 or so in the sold out crowds back then.
It would be nostalgic if they played the original trailers that are on the DVD. The teaser one has a 5.1 surround mix that plays nicely at home. On the big screen, it should be better.
I can’t speak to the Ziegfeld’s set up…but I can to the AFI/Silver’s (and MOST of the 70mm venues in the DC area during 70mm’s heyday. At some point, I probably tuned most of them…notably, the K-B Cinema, The Uptown and even Embassy and Avalon. the AFI/Silver’s sound system(s) are spot-on on levels, including surrounds.
In fact, few venues outside of a studio get the kind of attention the AFI gets. They have to run most every type of movie ever made in whatever format it was made.
Setting levels is not something done on popularity of having hot surrounds but by precise measurement to recreate, as accurately as possible, the environment that the movie was mixed. This is NOT something that a home release enjoys where the mix is deliberately altered from the theatrical mix to cater to wants of the home and the typically different listening environment.
Unfortunately, the subject of surround levels is further muddied by the fact that before digital audio, SOME cinema sound processors (Dolby CP55 and CP65, in particular), would raise the optical surround level by 3dB…allegedly to overcome the effects of the 2:4 decoder. This is a practice that was not used in prior processors (CP50, CP100, CP200) or latter processors (CP500, CP650).
Cinema surrounds has yet another complication that home video does not have to contend with…a legacy of a monaural surround. The surround level when all speakers are playing should have the SAME SPL level as any one of the stage speakers given the same input level. However, when cinema went to a stereo surround, it was essential that the same soundtrack play at equal level in a mono or stereo surround theatre. To accomplish this, the stereo surrounds are lowered by 3dB each such that when they acoustically sum, they once again play at the SAME level as either a mono surround system or any one of the stage speakers. When Surround EX came out in 1999…we AGAIN had to ensure that regardless of the theatre capability, the same track would play at the same level and Surround-EX decoders had to ensure that either stereo surround or EX movies would play properly at the same level. At the AFI you can go through any mode, mono surround, stereo surround, Surround-EX, Surround 7.1…given the same source level, the same SPL will be in the theatre and precisely balanced to the stage channels. Furthermore, when non-Cinema content is played (Broadcast or even consumer formats like BluRay), there are gain stages in the sound systems to ensure that they too will playback at the correct level since they didn’t ever have to content with the legacy of backwards compatibility with a mono surround system.
Now add into all of that exhibitors know that people like to hear the surrounds and would goose the levels (“If I paid for them, I want to hear them!”). It doesn’t make it right but it make make some happy. Whereas I often have to set up a theatre for a studio screening, the levels have to be exactly right.
The DCP of “Oklahoma!” was a 4K 30fps version. It was within a Scope container. The image was good, the colors were very good. It was a FAR cry from a 70mm image though. It was more akin to a good 35mm image.
-Steve
Yes, we’ve now met. Thanks again for taking the photo. Had seen a 70mm print of The Sound of Music in 1991 at the Uptown. My article at top right links to my article last year about 70mm festival at Seattle Cinerama. Saw magnificient newer, restored looking 70mm print of The Sound of Music there.
in regards to “Oklahoma!” – which I wasn’t able to see, it doesn’t make sense that the restorers spent so much time on the image, but couldn’t encode the sound with the five front channel setup, when DCI compliant processors actually can encode/extract the left/center, right/center channels of sound.
The bluray is actually mixed to 7.1 sound (left, center, right, side-left surround, left center rear, right center rear, side right surround). Technically the AFI Silver which can playback 7.1 films on all it’s three sceens, this could have been a possibility, but ultimately that would have furthered the sound experience from the original theatrical mix (that SHOULD have been on the DCP). Interestingly the bluray is video encoded at 1080i to recreate the 30 frame per second Todd-AO ‘look’.
this weblink actually denotes the change from the planned DCP to a 35mm ‘Sound of Music’ screening:
http://afi.com/silver/films/2013/p62/70mmspectacularpart2.aspx
while I agree that the pink-red tinged print of the ‘Around the World in Eighty Days’ was disappointing, I thought the directional sound was the highlight, except when there was some odd ‘thumping’ in the surround channels (which I assume indicated that the audio tracks on the prints were slightly damaged in some way)
but overall I was very very impressed by ‘Ryan’s Daughter’ (both films I had not scene before)– notably the photography during the love making scene in the forest – it felt like maybe Terrence Malick was inspired by said scene.