“Ned Price offered to show me some reels from a print made from the original 70-mm camera negative, and they were amazing,” he recalls. Nolan had been working in this very Burbank room last year, minding his own business and making sure the colors of the 70-mm prints of “Dunkirk” would be matched by the 4K version used for a Blu-ray release, when Kubrick’s film reentered his life. To sit in a theater and be taken on that kind of journey, it’s a screening I’ve carried with me.” “I remember the scale of it, how larger than life it was. “When I was 7 my dad took me to see it at London’s Leicester Square, a very big theater with 70-mm projection,” he recalls. “2001” has been one of Nolan’s touchstone films since childhood. The emotional impact this film has is direct more than empathetic: you travel through the Star Gate yourself, you are in there with it.” “I must have watched that scene 20 times,” the director says when it’s over, clearly affected, “and every time the space station enters the shot, it moves me. After its May 13 debut in Cannes, “2001” opens May 18 for limited runs in Los Angeles, New York, Chicago and San Francisco, with Hollywood’s Arclight scheduling virtually round-the-clock screenings starting at 9 a.m.) (Moviegoers eager to share this experience do not have long to wait. ![]() But seeing the deep colors of the rich, supple images in a 70-mm print made from new elements taken from the original camera negative is frankly breathtaking.
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