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I had the pleasure of visiting Jordan in 2009 and I made it a big priority to visit Wadi Rum. My boyfriend Kelly and I volunteered full-time in the recovery efforts, and are happy to have made a positive difference. I spent this summer traveling the country in a van, inspired by several songs, in particular “Time to Pretend” by MGMT, an ode to living for the moment.
Oracular Spectacular is a fun album of psychedelic-tinged pop music, and while the other songs on it aren’t as directly inspiring as “Time to Pretend,” they do make for enjoyable listening while cruising down the road.
Adventure, romance, exotic locales and bittersweet farewells make this movie an interesting watch – and even more so for a travel freak. But my favorite CD concerns a place I have visited and with luck will return to many times again. And at Christmas, there’s no getting away from these classic travel adventure movies. My journey was undertaken with the express purpose of creating a novel, one totally unrelated to the actual travel, so I’m of two minds how to answer this. Over 4 years ago a movie came out that inspired me to travel, and more specifically volunteer during my travels.
If we’re talking about movies, then I have to go with the almost cliche by now, The Motorcycle Diaries. For the books, I’m going to take a slightly different route and say it was reading so many blogs out there that got my interested.
I love the Bourne movie but my heart goes out to the Indiana Jones movie series ever since I was a kid. Thanks for this thought-provoking story on movies and music that inspired us to travel in 2009. Subscribe Subscribe for more inspiring stories, advice and insight from the internet's best travel bloggers.
Ryan Gosling's gift of physical comedy, combined with his fantastic chemistry with Russell Crowe, makes "The Nice Guys" worth a look. Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. Laura Poitras's "Risk," on WikiLeaks, and Paul Schrader's "Dog Eat Dog," a noir, have their premieres at the 2016 Cannes Film Festival. When I began as a film critic, Jean-Luc Godard was widely thought to have reinvented the cinema with "Breathless" (1960). When Chicago’s legendary Music Box Theatre became one of the 100 or so movie theaters chosen to exhibit Quentin Tarantino’s “The Hateful Eight” as a so-called “roadshow” presentation with all the bells and whistles, including the projection of actual celluloid prints in the largely defunct 70mm format, it had a leg up on most of its competitors.
Therefore, to give that replacement screen a proper send-off before it is taken down, the theater will be presenting “70mm Film Festival: The Ultimate Edition,” the third iteration of a program of 70mm films that began back in 2013 as a way of exhibiting some of Hollywood’s most spectacular visions in the manner in which they were meant to be seen. For those wondering what the big deal is, 70mm is a film gauge that is twice as wide as conventional 35mm film (actually, the picture information takes up 65mm of the frame with the remaining 5mm going to four magnetic strips containing six tracks of sound).
In the 1950s, with television threatening to overtake the entire film industry, Hollywood was trying to lure audiences back into theaters with things that they could not get on the tube. Advancements in the development of film stocks rendered the format obsolete after only seven years (a version of it would be revived in the late 1970s and employed for shooting visual effects sequences in such films as the original “Star Wars” trilogy, ”Tron” (1982) and “Who Framed Roger Rabbit” [1988]) but during that period, it was employed on such classics as “White Christmas” (1954), “The Ten Commandments” (1956) and “One-Eyed Jacks” (1961). Over the next few years, studios would utilize 70mm for their most epic-scaled productions and would show them in that format in the best theaters in the biggest cities as roadshow presentations before going out into wider release in conventional 35mm prints. The next year saw 70mm utilized to capture two of the biggest productions in Hollywood history. This is not to say that all films utilizing the format were serious-minded epics with nary a laugh to be had.
With the advent of six-track Dolby Stereo sound in the mid-Seventies, many of the big sci-fi, fantasy and action spectaculars would put out a few blowup prints in 70mm for theaters still equipped to play them and knowledgable film fans would seek them out. In the Nineties, developments in digital sound meant that 35mm prints could have the same sound quality as 70mm at a much reduced cost and as a result, the larger format went almost entirely by the wayside. Despite the efforts of filmmakers like Tarantino, Anderson, Nolan and Malick, it is highly unlikely that 70mm will ever make any sort of significant comeback—it is simply too expensive of a format to inspire widespread usage. Although run-of-festival passes are sold out, there are still tickets available for the individual screenings.
More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray.
Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous. Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters.
The opening shot of a movie can tell us a lot about how to view and interpret what follows.
One of the screen’s grandest epics, this monumental story recounts the true-life experiences of T.E.
Are you wondering whether or not you should try to see THE HATEFUL EIGHT’s limited roadshow print?
And yes, while some of these have technically been shot in 65 millimeter, the startling difference from films projected in 35mm is still obviously apparent, as are the ramifications of using such a grandiose field of frame. H Perry Horton is a screenwriter and novelist currently hiding out in the Washington State wilderness like a bespectacled sasquatch. Wir spielen David Leans Meisterwerk LAWRENCE OF ARABIA auf 70mm in der originalen Roadshow-Fassung und mit einer restaurierten Kopie aus dem Jahr 1989. Wir kennen nicht nur dieses und manch anderes gro?artige Zitat aus den vielen legendaren Dialogen dieses epischen Klassikers.
David Lean hat das Unmogliche gemeinsam mit Produzent Sam Spiegel moglich gemacht - und einen der monumentalsten und - weithin anerkannt - gro?ten Filme der Geschichte gedreht. Nach Projektionen einer komplett restaurierten, 4K-digitalen Fassung des Director’s Cut zum 50-Jahr-Jubilaums des Films 2012 prasentiert das Gartenbaukino LAWRENCE OF ARABIA nun endlich auch auf 70mm!
Today, we have a dozen bloggers sharing which movies and music inspired them to travel this year. The sole reason I visited Wadi Rum was because of my love of the movie Lawrence of Arabia which was filmed on location in Wadi Rum.
In February I saw gorgeous communities destroyed (and was evacuated myself for a month) during Australia’s worst natural disaster: the Victorian Bushfires. In addition to volunteering, Kelly was commissioned to compose an album for a bushfire art exhibition. Inspiring words to remind us to not take the gift of life for granted and be concious of the choices we make.
Get jobs in offices and wake up for the morning commute?” As someone stuck in a 9-to-5 job when the year began, that line hit home and reminded me there’s so much out there to do and see in the world.
The cinematography is simply mindblowing and is aptly supported by a haunting musical score. I love their CDs, both those for adults and kids, and find they often inspire me to think of traveling to places I’ve never been (my younger son has been lobbying for a trip to Hawaii every since I checked Hawaiian Playground out of the library).

It is simply called Paris and the music on it, although it is all new and original, is in the classic style called chanson. I love the realism, camerawork and that the focus is on character and plot development more than it is on action. Born Into Brothels is a heartbreaking and inspiring documentary that was awarded the Oscar for Best Documentary in 2005. I realize that this was listed in last years’ discussion, but the fact remains that it has inspired me to explore South America top to bottom. Every time I read someone’s blog talking about the Salt Flats in Bolivia or a random river boat trip in the Mekong, it gets my so interested and thrilled that I want to book the next flight to wherever and get started on my own adventure.
But, it made us think about why we travel and we are always drawn to the freedom that the open road brings. Watching the film made me feel that adventure was my calling and I wanted to go to exotic places like Africa, India, Cuba, Caribbean Island and much more. The cinimatography was really amazing; the beautiful landscape and sparse population really attracted me to Mongolia. A good one is Octopussy, which has some great scenes from around the area of Udaipur (India), as well as From Russia With Love, which takes place along the route of the Orient Express. I have watched this movie couple of times and for months i was thinking to do the same thing as the character. A very useful part of the anatomy, especially when you decide to head out into the world, hitchhike and use other modes of transportation. Though both successful, David didn’t want his children to view him as the dad who was always working. The Music Box already had the special projectors needed to screen it—one of the advantages of being an old-style movie palace dating back to 1929.
Running February 19 thru March 10, along with a separate shorts program of short films and trailers, the Music Box will be showing 14 features—some of them in prints from their original theatrical runs—that run the gamut from Oscar-winning classics to cult oddities to contemporary uses of the format. This means that as the wider film unspools, more light goes through the projector gate and as a result, what appears on the screen has nearly four times the clarity of normal 35mm film—the colors are deeper, richer and the image as a whole displays a stunning sharpness.
One amusement was widescreen photography that could give films an epic feel far removed from the small, square TV tubes of the time. One director who made especially good use of it was Alfred Hitchcock, who utilized the process on “To Catch a Thief” (1955), “The Trouble with Harry” (1955), “The Man Who Knew Too Much” (1956), “Vertigo” (1958) and “North by Northwest” (1959). The first was “Cleopatra,” the notorious, budget-busting epic historical drama that kicked off the legendary love affair between co-stars Elizabeth Taylor and Richard Burton and nearly bankrupted 20th Century Fox in the process. Later in 1963 saw the release of Stanley Kramer’s “It’s a Mad, Mad, Mad, Mad World,” in which the director, who usually gravitated towards heavy dramas along the lines of “On the Beach,” presented viewers with a wild, knockabout farce. To sum up the number of achievements that Kubrick pulled off with this film—a work that still dazzles and divides audiences today—in a mere paragraph is impossible so I will not even try. Even if that weren’t the case, there just aren’t enough theaters able to project it left to make it viable as anything other than a special event (remember that even a release as highly publicized as “The Hateful Eight” only landed in about 100 theaters or so).
Even high-profile pictures become available to home viewers before or at the same time as their theatrical release. They include contributors from (alphabetically) Brazil, Canada, Egypt, Great Britain, India, Mexico, the Philippines, South Korea, Turkey and the U.S. There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered.
In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. Do you find yourself pondering just what effect, if any, 70 millimeter projection has on a film and its narrative? And given that THE HATEFUL EIGHT is dependent on snow-swept Big Sky country as a ninth character, this video is also a good indication of the breathtaking beauty you can expect alongside that sweet, sweet, trademark QT brutality.
Perry HortonH Perry Horton is a screenwriter and novelist currently hiding out in the Washington State wilderness like a bespectacled sasquatch. Er hat sieben Oscars gewonnen, Peter O’Toole und Omar Sharif zu Weltstars gemacht und Generationen von Filmemachern wie Francis Ford Coppola, Steven Spielberg, Werner Herzog, George Lucas oder Terry Gilliam inspiriert. Lawrences Buch „The Seven Pillars of Wisdom“, in dem er seine Erinnerungen an die Kriegsjahre niedergeschrieben hat.
Vielmehr sind es die atemberaubende Kinematografie von Freddie Young, der kongeniale Soundtrack von Maurice Jarre, die gro?artigen schauspielerischen Leistungen von v.a. Gartenbau-Gesellschaft" zu verdanken hat, in dessen Ringstra?en-Palais das alte Gartenbau-Kino 1919 errichtet wurde?das Gartenbaukino als erstes Kino Osterreichs 70mm spielen konnte?das Kino seit Anfang 2016 wieder 70mm spielfahig ist?die Viennale bereits seit 1973 das Gartenbaukino als Spielstatte nutzt?es bis Anfang der 80er Jahre vor den Vorstellungen eine Modeschau gab, wo aktuelle Kollektionen der gro?en Modehauser prasentiert wurden?die analogen Projektoren (Philips DP70 mit den Seriennummern 2032 und 2038) seit Eroffnung die selben und nach wie vor in Betrieb sind?im Saal des Kinos 383 Gluhbirnen installiert sind?das Gartenbaukino als einziges Kino Osterreichs mit einer Cinerama-Leinwand ausgestattet war?der Preis einer Kinokarte im Gartenbaukino bei Eroffnung 1960 zwischen 12 und 40 Schilling lag? Again, it’s fascinating to see just how varied their sources of inspiration can be — people find travel inspiration in everything from the Bourne soundtracks to Indiana Jones and Lawrence of Arabia. It set the scene for a year of slow and painful recovery of the people, houses, and the land around us. On the three days sight-seeing I spent in Liverpool, I couldn’t stop humming Magical Mystery Tour.
After watching the movie, I have a stronger urge to visit Africa and experience the wilderness someday soon.
Think Parisien cafe life around 1959 and you get the idea – it’s the fastest way I know to feel chic and French.
Earlier this year, I downloaded the three soundtracks to listen to as I took the Eurostar under the English Channel from London to Paris.
It serves as a little protection for my DVD drive, and when ever I feel like a little pick me up or inspiration for going off the beaten path I’ll pick one of the four movies at random. Maybe what touched me more was seeing it while living in Ecuador, and truly understanding that scenery of the Andes and the issues they spoke of. It was a perfect film for us wandering and restless types – about a young man keen to leave behind the material world to go in search of … well, I’m not sure – finding himself? I don’t know what holded me back, maybe too scared to do actually do it but this still remains a secret dream. For Jo Magpie, it (both actually) have served her well in her travels – always heading east. So, with the business and house sold, possessions relocated – the four set off to explore.
Though the cats stay home to help the elder son with the yard work and house, the remainder of the family (including the dogs) traverse the open roads of Kiwidom, searching for hidden treasures. However, to give audiences the best possible presentation of the film, the theater did upgrade its sound system and undertook the temporary installation of a new 41-foot-tall screen that would better display the advantages of the format. In an era when moviegoers are increasingly content to view films in multiplexes or on their computers or smartphones, this is a rare chance to see a collection of epic visions in the most sensorially overwhelming manner possible—the kind of cinematic experience that can make someone fall in love with the cinema all over again. From the earliest days of the cinema, there were experiments with this kind of widescreen presentation. In the wake of Cinerama, a process that required a giant curved screen and three 35mm projectors working in perfect synchronization, impresario Michael Todd was determined to create a similar process that would utilize only one projector. Of those films, “Vertigo” remains his most impressive use of the format for how it allowed him to use color as a way of further evoking the emotional and psychological journey that he put both his characters and his audience through.

An even better use came a year letter with David Lean’s 1962 epic “Lawrence of Arabia,” in which the format proved to be the ideal manner of presenting the beauty, mystery and danger of the desert. Seen today, a half-century removed from its controversial production and release, it is not exactly a great movie by any means—even though it clocks in at a staggering 248 minutes, it still feels as if large chunks of narrative were chopped out seemingly at random (which was evidently the case). Most of the top comedic talents of the day turned up—some in leads and some in cameos—to take part in the story of a bunch of ordinary people who find themselves in the middle of an increasingly destructive race to find a fortune in money that has been hidden under a big “W.” Shot in a process meant to replicate the expanse of Cinerama while utilizing only one camera, even it barely managed to contain all the on-screen chaos (it feels at times like a series of overstuffed MAD Magazine panels come to life). However, I will note that over the years, I have seen the film in almost every possible circumstance and can promise that the chance to see the film in 70mm is the kind of opportunity no film fan should pass up. An admittedly cynical attempt to cash in on the success of both “Star Wars” and the likes of “Conan the Barbarian” that marked director Peter Yates’ first and only stab at blockbuster filmmaking (he would also make the much smaller “The Dresser” later that same year), the film is an undeniable mess and it is perhaps not surprising that it turned out to be a massive box-office flop in the summer of 1983.
The great Terrence Malick used it to shoot portions of “The New World” (2005), “The Tree of Life” (2011) and his alternately beautiful and baffling new film “Knight of Cups.” Over the course of his last four films, Christopher Nolan has gone from shooting roughly 20 minutes of “The Dark Knight” (2008) in IMAX to nearly an hour's worth with “The Dark Knight Returns” (2012), to virtually all of “Interstellar” (2014), a sci-fi epic that rivals the likes of “2001” in terms of scale and technical prowess.
To make matters worse, the prints and projectors that currently exist aren't getting any younger and once they fall into disrepair, it is highly unlikely that new ones will be made to replace them.
The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers.
Wonder not, then my friends, and ponder no more, because thanks to this handy-dandy montage from Vimeo user Facets, the emotional power and sweeping prestige of 70mm, specifically its use in shooting landscapes, has been amassed from the few but acclaimed films that have utilized the technology before Tarantino, including David Lean’s LAWRENCE OF ARABIA, Stanley Kubrick’s 2001: A SPACE ODYSSEY, and Paul Thomas Anderson’s THE MASTER.
In aller Kurze erzahlt, geht es um die Story von besagtem Lawrence (Peter O’Toole), einem britischen Offizier, der wahrend des Ersten Weltkrieges nach Kairo beordert wird, um den Aufstand der Araber gegen die mit den Deutschen verbundeten Turken zu planen. I have since had the pleasure of seeing it three more times in theaters in 70mm and have seen it countless times on DVD. Liverpool is a city that is impossible to walk through without looking at it through Beatles-tinted glasses.
Although my family didn’t take a trip to Paris in 2009, we did spend two weeks there in 2008 and this CD was our favorite in the car this past summer as we traveled for 3000 miles in our small sedan across the prairie in Wisconsin, Iowa, Kansas, and Missouri. While there, she befriended their children and offered to teach the children photography to reciprocate being allowed to photograph their mothers.
It made me want to find every little town and talk to as many people as possible, if for nothing else than to understand it all a little better. The effort certainly paid off—“The Hateful Eight” was a huge hit for the theater—but it must have seemed to be a bit of a waste to go through all of that effort just for one movie.
Throughout the film, he uses specific colors to underscore certain moods—from the blue for James Stewart’s guilt over the death in the opening scene that he feels responsible for, to the green that comes to represent Kim Novak, the focus of the eventual obsession that threatens to destroy him, to the bright reds that turn up from time to time to serve as unheeded warnings. This is regularly cited as one of the greatest movies ever made and much of that is due to the visceral reaction that Freddie Young’s cinematography inspires in viewers. While the sheer amount of slapstick and noise may prove to be too much for some viewers, it really is one of the damnedest things that you will ever see. That said, the mashup of genres is so cheerfully lunatic throughout and it has been produced on such a lavish scale that I am willing to forgive the fact that the story is silly, the romantic leads are barely substantial enough to be described as cardboard and that none of it makes a lick of sense. That is what elevates this festival to the status of a must-see event for film fanatics and casual moviegoers alike—it may suggest the last gasps of 70mm filmmaking, but it is certain to take anyone’s breath away in the process. Es gelingt ihm auch tatsachlich, die zersplitterten arabischen Volksstamme unter der Flagge von Prinz Feisal (Alec Guinness) zu einen und die Turken durch gezielte taktische Angriffe zuruckzudrangen.
Lawrence of Arabia is my favorite movie of all time and visiting Wadi Rum was the highlight of my time in the Middle East.
Looking at those enormous stretches of sky, I easily imagine myself sipping a demi in the Cafe de la Paix, which I plan to do as soon as possible.
Even so, I found that the soundtrack complemented the journey perfectly, to the extent that when I marched towards the buffet car to the rhythm of the music, I felt I might have been becoming Bourne himself. The children were given film cameras to learn photography and possibly improve their lives. Although a few films were made in the format—most notably 1930’s “The Big Trail” (a Raoul Walsh Western that featured John Wayne in one of his most significant early roles)—but it was soon abandoned when theater owners, who were then in the process of reconfiguring for sound, showed little interest in dealing with a new projection format as well.
After the successful releases of such Todd-AO titles as “South Pacific” (1955) and “Around the World in 80 Days” (1956), other companies began developing their own super-widescreen processes. The deep and rich depictions of these colors made possible by VistaVision are both gorgeous and terrifying to behold. The scene in which we look upon a vast desert landscape and gradually pick out a speck in the distance that slowly reveals itself to be a person is one of those images that sends chills down the spine no matter how many times you see it.
If nothing else, the money spent is definitely all up there on the screen and some of the elaborate set pieces, as captured by Leon Shamroy’s Oscar-winning cinematography, can still cause jaws to drop today in ways that the current glut of CGI spectaculars can not even begin to approach.
Two years later, British director Ken “The Pirate Movie” Annakin tried his hand at epic comedy with “Those Magnificent Men in Their Flying Machines” (1965), which chronicled the wackiness surrounding a London-to-Paris air race set during the early days of aviation. Even though there were few theaters still equipped to show it in its original form, it did manage to play most of those places to a strong commercial response.
I encourage people to listen (free) to this album (Eden by Syros); $5 from the sale of each CD goes towards ongoing bushfire relief efforts. Anyway, whatever you take from it there are messages, not least about being true to ourselves and living life out as an adventure … and always having that spirit for adventure. One of the most famous of these formats was VistaVision, a version developed by Paramount Pictures that positioned the film in the camera horizontally in order to achieve a finer-grade image.
The end result was wildly uneven, but the special effects employed to bring the airborne sequences to life are still neat to watch. From this point on, most 70mm presentations were actually blow-ups of 35mm prints—a more economical process that wasn’t quite as visually spectacular as pure 70mm, but which was still more impressive than conventional 35mm and had the added benefit of vastly improved sound quality. It was a showcase for his proposed Showscan system, a 60-frame-per-second, 70mm process that would lend a level of hyper-clarity to the vision sequences. When Anderson went on to make his next film, his ingenious Thomas Pynchon adaptation “Inherent Vice” (2014) he shot it in 35mm but had a couple of 70mm prints blown up from it that have only received a handful of public screenings to date. Putumayo donates part of the proceeds from their sales to organizations like Oxfam and Amnesty International in the countries where the music comes from. The children’s work was eventually exhibited, and a book was produced of their work that is sold all over the world. That’s kind of how we are and therefore, it certainly inspired us to keep trying for a life less ordinary.
Sam Peckilnpah’s groundbreaking revisionist Western “The Wild Bunch” (1969), for example, was originally shot in 35mm and then blown up to 70mm. When that proved to be unfeasible, the film was reconfigured so that the regular scenes would play out in conventional widescreen and expand to 70mm for the eye-popping vision sequences.
And, of course, there is “The Hateful Eight,” in which Tarantino and cinematographer Robert Richardson managed to come up with a number of striking and richly detailed images despite the fact that the vast majority of it was set within the confines of a snowed-in watering hole. A stunning look at a culture through the eyes of a child and what a difference you can make if you just take the time to befriend and teach them. I ended up volunteering in Delhi, India teaching computers and English – the highlight of my around the world journeys.

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