IMAX Blog

James Cameron talks about the Avatar 3D: Special Edition

Julie Brown — Tue, 31 Aug 2010 12:00:00 AM

Avatar director James Cameron talks about the Avatar Special Edition in this two-part video interview. Watch it here!

"It’s all CG. None of it is kinda boring shots of people sitting around in offices at the base, drinking coffee. It’s all out in the rainforest, some of it is at night. There is a big hunt sequence that’s got a lot of flying, a lot of banshee stuff, riding direhorses, very high-energy, high-impact action."

Interview Part 1:

Interview: Part 2

Have you got a HUGGABLE story to share?

Julie Brown — Thu, 26 Aug 2010 12:00:00 AM

CALLING ALL TOY STORY FANS!

In 100 words or less, tell us a story about your most memorable real life Lots-o'-Huggin' moment for your chance to win a GIANT plush Lots-o'-Huggin' Bear toy, or one of 25 IMAX Double Passes!

It could be a huggable moment inspired by a reunion with a long lost friend, a special moment with your children, a romantic encounter with your partner, a reassuring embrace in a moment of crisis, an impulsive burst of affection with a complete stranger... Be as creative and clever as you can! We're sure you have loads of amazing huggable stories out there just waiting to be shared. Remember... this is a family bear, so keep your entries PG! Entries close 17/09/2010, so get huggin' now!

Toy Story 3 is now showing. CLICK HERE to enter the competition now.

Lotso gets friendly with IMAX staff, Miya and James. Now back to work!

Thanks Lotso, I can't wait to see Toy Story 3 on the world's biggest screen. Wanna see it with me?

Lotso & Miya enjoy a special huggable moment after seeing Toy Story 3.

Whats Your Wildest Dream?

Julie Brown — Tue, 3 Aug 2010 12:00:00 AM
In 1999, renowned American mountaineer Conrad Anker made a discovery that reverberated around the globe. High in Mount Everest’s “death zone,” he found the body of George Mallory—75 years after the British explorer mysteriously vanished during his attempt to become the first man to summit the world’s tallest peak.

Mallory had risked everything as he set out, dressed in gabardine and hobnailed boots, in pursuit of his dream of reaching the top of Everest - which in 1924 was the last great adventure left to man. He was last spotted alive just 800 feet below the summit. Then the clouds rolled in and Mallory vanished into legend.

Far more than a film about mountain climbing, The Wildest Dream: Conquest of Everest tells the remarkable story of George Mallory, whose famous reply to a reporter’s question about his reason for wanting to climb Everest (“Because it’s there”) has inspired generations of adventurers. Mallory was a passionate and complex man, torn between two overwhelming and competing loves: his wife and the mountain that ultimately took his life.

Told through the poignant and evocative letters between Mallory and his beloved Ruth, the film combines previously unseen archival photos, specially restored film footage and dramatization with the present-day story of Anker’s expedition to tell the tale of the quest to conquer Everest and the compelling longing for home. In this, Anker’s story parallels Mallory’s in a tale of obsession as relevant today as it was in 1924.

The Wildest Dream: Conquest of Everest starts September 2 at IMAX in Darling Harbour. This is a 2D feature-length presentation, 94 minutes.

Conrad Anker and Leo Houlding in 1920s climbing gear hit the slopes of Everest. Copyright Altitude Films Ltd, Jimmy Chin.

After discovering Mallory’s body, Conrad Anker’s life became intertwined with Mallory’s story. Remarkably, Mallory’s body was found with all his belongings intact. The only thing missing was a photograph of Ruth, which Mallory had promised to place on the summit. Haunted by Mallory's story, Conrad longed to return to Everest to lay Mallory’s ghost to rest.

Re-tracing the journey taken by George Mallory and Sandy Irvine at the foot of Everest. Copyright Altitude Films Ltd, Jimmy Chin.

Directed by Emmy® award winning filmmaker Anthony Geffen (Jerusalem: City of Heaven, The Promised Land, The Greeks: Crucible of Civilisation) and featuring the vocal talents of Academy Award® nominees Liam Neeson and Ralph Fiennes, as well as Hugh Dancy, Alan Rickman and the late Natasha Richardson, The Wildest Dream: Conquest of Everest is a breathtaking mountaineering adventure that seeks to provide answers to the enduring mysteries surrounding the death of George Mallory on Mount Everest. Foremost among them: Could Mallory have succeeded in reaching the summit before he and fellow climber Andrew “Sandy” Irvine disappeared in 1924?

Conrad Anker, in modern climbing gear, ascending one of Everest’s most challenging rock formations. Copyright Altitude Films Ltd, Jimmy Chin.

In the quest for answers, Anker finally returns to Everest in 2007 with British climbing prodigy Leo Houlding, replicating as closely as possible Mallory’s ill-fated expedition. The men retrace the North East Ridge Route, even removing the ladder from the infamous Second Step to “free climb” this dangerous 90-foot sheer rock wall just as Mallory and Irvine would have had to do 83 years earlier.

Conrad Anker and Leo Harding triumphant on the summit of Everest, 14 June 2007. Copyright Altitude Films Ltd, Jimmy Chin.

From September 2, IMAX will re-enact George Mallory's wildest dream - to reach the summit of Everest - in the new film from National Geographic, The Wildest Dream: Conquest of Everest. What's your wildest dream?

Astronauts as IMAX filmmakers in Hubble 3D

Julie Brown — Mon, 2 Aug 2010 12:00:00 AM
Take a look at this incredible photograph taken by Hubble’s Space Telescope - and imagine it rendered in 3D on the world’s biggest screen using proprietary IMAX digital remastering technology! It’s nothing short of breathtaking. Guaranteed.

But that’s only half the story. All the footage of the spacewalks and the scenes of astronauts inside the Space Shuttle were filmed by the astronauts themselves. As director Toni Myers comments, astronauts are fast learners, so they very quickly became adept IMAX 3D cinematographers in space. Their unique footage beautifully captures the delicate and dangerous work of repairing the Hubble Space Telescope, and gives us as cinema audiences a truly unique “you are there” feeling.

The experience of looking back at earth from the vantage point of space is a “gift given to astronauts” as described by astronaut Mike Massimino in the film. While space travel is not something most of us will experience, the gift is certainly one that can be shared at IMAX in Hubble 3D.

The sharpest view of the Orion nebula captured by the Hubble Space Telescope’s Advanced Camera for Surveys. © 2010 Warner Bros. Courtesy of NASA, ESA, M.Robberto (Space Science Telescope Institute/ESA) and the Hubble Space Telescope Orion Treasury Project Team.

April 2009 – Underwater Cinematographer Howard Hall (Under The Sea 3D) moves the IMAX® 3D camera in its waterproof housing to film STS-125 astronauts Michael (left) and Michael Good (right) as they rehearse Hubble Space Telescope repairs in NASA’s Neutral Buoyancy Lab (NBL) at Johnson Space Center in Houston, Texas. STS-125 astronauts operated an IMAX 3D camera on board the Space Shuttle Atlantis to capture the final Hubble Space Telescope repair mission which is included in the upcoming IMAX 3D film Hubble 3D. © 2010 Warner Bros. Courtesy of NASA.

The massive IMAX® 3D Cargo Bay camera, which holds 1800 metres of film, is prepared for installation on the Orbital Replacement Unit Carrier (ORUC) at the Goddard Spaceflight Center in Maryland. Footage shot with the IMAX 3D camera onboard STS-125 is included in Hubble 3D. © 2010 Warner Bros. Courtesy of NASA.

May 2009 – Atop the launch tower at the Kennedy Space Center, looking down at the Space Shuttle Atlantis, Director of Photography/Astronaut Trainer James Neihouse (far right) and crew members place the IMAX® 3D camera in its fireproof housing to film the launch of STS-125. Footage from the launch (filmed with a total of five IMAX cameras) is featured in the newest IMAX 3D film, Hubble 3D. © 2010 Warner Bros.

July 14, 2009 – STS-125 astronauts and Hubble 3D filmmakers gather around the IMAX® 3D Cargo Bay Camera display at the Academy of Motion Picture Arts and Sciences’ “Astronaut as Filmmaker” event at the Samuel Goldwyn Theater in Beverly Hills, CA. This is the actual camera flown on board Space Shuttle Atlantis to capture the final servicing of the Hubble Space Telescope. From left to right: Commander Scott D. Altman, Producer/Director Toni Myers, Mission Specialist Michael T. Good, Mission Specialist Michael J. Massimino, Mission Specialist Andrew J. Feustel, Pilot Gregory C. Johnson, Mission Specialist John M. Grunsfeld and Director of Photography/Astronaut Trainer James Neihouse. Photo credit: Matt Petit / ©A.M.P.A.S.

IMAX's longstanding partnership with NASA has enabled millions of people to travel into space through a series of award-winning IMAX films that have cumulatively grossed more than $500 million worldwide. The IMAX 3D camera made its first voyage into space in 2001 for the production of Space Station 3D, narrated by Tom Cruise, which has grossed more than $100 million worldwide. The Hubble 3D film will mark Warner Bros. Pictures' first venture into space. Hubble 3D, narrated by Leonardo DiCaprio, reunites the Space Station 3D filmmaking team, led by Producer/Director Toni Myers. James Neihouse, Director of Photography, is also the Astronaut crew trainer, Judy Carroll is Associate Producer, and Graeme Ferguson, Co-founder of IMAX and pioneer Producer of many IMAX space films, is Executive Producer.

Hubble 3D opens on August 12.

Christopher Nolan Dreams Big

Julie Brown — Fri, 16 Jul 2010 12:00:00 AM
Christopher Nolan is no stranger to the power of the giant IMAX format, having used the large format film to shoot key sections of the blockbuster hit, The Dark Knight, with spectacular results. With Inception's debut on Thursday 22 July, we can certainly expect big things from the film's IMAX season. The biggest images, combine with 15,000 watts of digital, laser-aligned sound and a steeply-raked stadium-style auditorium to create a truly immersive film experience. At IMAX, you're not just watching Inception's dream, you're in it!

Don't just take our word for it, listen to award-winning director Christopher Nolan talk about the experience of seeing Inception at IMAX.

Make INCEPTION at IMAX a memory, not just a dream.

Julie Brown — Tue, 13 Jul 2010 12:00:00 AM
If you saw The Dark Knight here at IMAX in Darling Harbour, you’ll know what all the hype building for Christopher Nolan’s latest film event is all about. If you didn’t, then you won't want to miss out second time round.

Inception is a mind-bendingly captivating action thriller in which Leonardo DiCaprio plays a master of corporate espionage, Dom Cobb, a thief who extracts secrets from deep within the sub-conscious, during the dream state when we are most vulnerable.

With spectacular locations set around the world, and in the realm of imagination, the giant canvas of the IMAX screen provides a unique backdrop for what has been described as the most innovative and compelling new film of the season.

Take a look at these impressive building ads in NYC...

And here are some of the reviews just in...

Nev Pierce from Empire Magazine gives Inception a rousing IMAX thumbs up: "The images deserve to be untarnished by much explanation — you should see them for yourself and on the biggest screen you can (it’s coming to IMAX — book now) to best appreciate Wally Pfister’s excellent, expansive photography. ...With physics-defying, thunderous action, heart-wringing emotion and an astonishing performance from DiCaprio, Nolan delivers another true original: welcome to an undiscovered country."

Anne Thompson of indieWIRE writes, “Oscar nominations in technical categories are a certainty, but Inception is also a strong contender for multiple nominations, including Best Picture.”

Anton Bitel, in Eye for Film thinks Inception will have you coming back for more. He writes, “You will no doubt need to see Inception more than once to appreciate every nuance of Nolan's carefully balanced ambiguities - but, more importantly, you will also want to.”

Edward Douglass in ComingSoon.net describes Inception as, “Nolan's most personal and daring film…” comparing it to other films such as Memento and proclaiming it as “…his most successful movie in terms of being able to fully realize every nuance of such a rich concept.”

Justin Chang of Variety, comments that, “If movies are shared dreams, then Christopher Nolan is surely one of Hollywood's most inventive dreamers, given the evidence of his commandingly clever Inception.”

The Hollywood Reporter’s Kirk Honeycutt likes the originality of the film’s complex story: “A devilishly complicated, fiendishly enjoyable sci-fi voyage across a dreamscape that is thoroughly compelling. …easily the most original movie idea in ages.”

Inception starts 22 July and tickets are on sale now. CLICK HERE to reserve the seat of your choice and be among the first to experience Inception at IMAX.

With 15,000 watts of powerful digital surround sound, dramatic stadium-style auditorium seating, and an awe-inspiringly giant screen – in fact, the world’s biggest – Inception will no doubt become a memory, not just a dream.

Take a Tour of the Projection Booth

Julie Brown — Thu, 1 Jul 2010 12:00:00 AM
The projection booth is where all the giant action starts at IMAX Sydney. It’s not your run of the mill cinema projector here though. The giant images we’ve all come to enjoy on screen, start with giant reels of film that run a great speed through a similarly oversized projector. That's about 4.2 kilometres of giant 15 perf/ 70mm IMAX film for every 45 minute film, or over 12 kilomtres of film for your average 2 hour feature film! And with 3D, you can add a second reel to that, as the film is separated into a "left eye" and a "right eye" just to complicate matters. Come with us and take a look at what goes on behind the silver screen…

CLICK HERE to take a personal tour of the IMAX Projection Booth with CEO of IMAX Sydney, with Blunty3000 or CLICK HERE to join the tour with SMH's Tim Shepherd.

How PIXAR built Toy Story 3

Julie Brown — Thu, 17 Jun 2010 12:00:00 AM
Toy Story 3 raises the bar for 3D filmmaking and exhibition, and takes full advantage of the newest technology to bring depth and dimension to the story. For this film, the Pixar team has perfected and pioneered the latest 3D advances to tell their story in a visually dynamic way. Unkrich says that while 3D certainly enhances the movie-going experience, Pixar has been incorporating dimension into their films all along.

CLICK HERE to read a fascinating article about how PIXAR "built" Toy Syory 3 using state of the art animation techniques.

"Our approach tends to use 3D as a window into the world so the audience can experience everything in depth,” says director Lee Unkrich. “We converted ‘Toy Story’ and ‘Toy Story 2’ into 3D, and although neither of those films was designed to be 3D, they felt like they had been. I think that’s due to the fact that we were already staging in depth within our 2D images. For ‘Toy Story 3,’ my goal was to tell the best story that I could, while staging the action as dynamically as possible.”

The original “Toy Story” made motion-picture history in 1995 when it became the first full-length animated feature to be created entirely by artists using CG technology. It represented a major milestone in animated moviemaking. All 77 minutes of breathtaking animation, 1,561 shots, and a cast of 76 characters that included humans, toys and a dog were meticulously hand-designed, built and animated in the computer. It became the highest grossing film of 1995, with a US box office of nearly US$192 million, and US$362 million worldwide. “Toy Story” was nominated for three Academy Awards®, and John Lasseter received a Special Achievement Oscar® for his “inspired leadership of the Pixar ‘Toy Story’ team, resulting in the first feature-length computer-animated film.”

In 1999, “Toy Story 2” (Pixar’s third feature), became the first film ever to be entirely created, mastered and exhibited digitally. The film surpassed the original at the box office becoming the first animated sequel to gross more than its inspiration. It won praise from critics and moviegoers alike, and was nominated for an Academy Award® for Best Original Song and two Golden Globes®, winning the Golden Globe for Best Motion Picture – Comedy Or Musical.

“It was always our goal to make a movie that was as at least as good as the first two ’Toy Story’ films,” says Unkrich. “In the history of Hollywood, there are only a few second films that are as good as the first, and we really couldn’t think of any good third movies. The only one that came to mind was ‘The Return of the King,’ which was really more like the third part of one giant story. That’s when I had an epiphany. We needed the three movies to feel like part of one grand story. And that’s always been the driving force for us in creating ‘Toy Story 3.’”

One of the film’s greatest challenges was to take advantage of the new technological advances in computer animation over the past 15 years (since the 1995 debut of the landmark “Toy Story”), while keeping the look and charm of the original film. Production designer Bob Pauley explains, “All of the characters had to be rebuilt. The technology was so old, that we couldn’t just dig them up and put them in the movie. It took a lot of work, and it was very challenging to remake the characters. We dissected the first two films to find the essence of ‘Toy Story.’ There is a consistent design language and a finessed simplicity that we didn’t want to lose.”

Adds Unkrich: “We had an interesting challenge on ‘Toy Story 3’ because the tools and the technology have advanced quite a bit since ‘Toy Story 2.’ Additionally, the level of talent of the artists at the studio has risen dramatically. The films we make now are really gorgeous. I didn’t want ’Toy Story 3’ to feel like it was in a completely different design universe—it’s still a ‘Toy Story’ film—but I certainly wanted to take advantage of the technology and artistry of which we’re currently capable. I believe we’ve created a film that sits comfortably alongside the first two films, yet looks exponentially better in so many ways.”

As with all the great Pixar films, “Toy Story 3” blends comedy, action and heartfelt emotion to give moviegoers a uniquely moving experience that touches the heart and tickles the funny bone. The filmmakers drew on their own life experiences and families to make the story even more meaningful and believable. For one of the film’s key story points, Unkrich tapped into the time he accidentally threw out a bag of his wife’s childhood stuffed animals (placed in an unmarked plastic bag) during the process of moving apartments.

“Lee’s leadership and vision on this film has been a tour de force,” says producer Anderson. “He really steered the storytelling and the filmmaking. He’s been like a maestro directing a symphony in a way that’s just astounding. He knows when it needs to be a little bit quiet, and when to give the story a little more time to unfold. The film has a lot of serious themes, so we wanted to make sure we balanced it out with a lot of humor. It can be as deep as you want it to be. The story reflects how we all move on. It’s all about the human experience.”

“‘Toy Story’ has always been about us,” says John Lasseter (who directed the first two “Toy Story” films and serves as executive producer on the third). “So much of me, Andrew, Pete Docter, Joe Ranft, and Lee has seeped into these stories about Buzz and Woody, and I think ‘Toy Story 3’ continues that. For me personally, I was able to tap into the real emotion of taking my son to college. It was an immensely powerful emotion. You’re with someone since birth, and then all of a sudden they’re going away. The timing between ‘Toy Story 2’ and ‘Toy Story 3’ was perfect for letting Andy—and our own life situations—grow up.”

Whats green and having a mid-life crisis?

Julie Brown — Tue, 15 Jun 2010 12:00:00 AM
Everyone's favourite ogre is back, bigger - and rounder - than ever before, in an all new IMAX 3D adventure on the World's Biggest Screen.

SHREK THE FINAL CHAPTER starts on June 17, so get in early to be one of the first to see Shrek, Fiona, Donkey, Puss and new addition to the gang - the fast-talking, deal-making 'Rumplestiltskin' - embark on the final chapter of their hilarious story.

CLICK HERE to buy tickets online now.

SHREK 3D Advance Screenings 11-14 June. BOOK NOW!

Julie Brown — Tue, 1 Jun 2010 12:00:00 AM
Everyone's favourite ogre is back, bigger - and rounder - than ever before, in an all new IMAX 3D adventure on the World's Biggest Screen.

Advance screenings for SHREK THE FINAL CHAPTER are now on sale for sessions from 11 - 14 June. The film's official release is not until June 17, so get in early to be one of the first to see Shrek, Fiona, Donkey, Puss and new addition to the gang - the fast-talking, deal-making 'Rumplestiltskin' - embark on the final chapter of their hilarious story.

CLICK HERE to buy tickets online now.

CHOOSE YOUR OWN SEAT when you book IMAX tickets online

Julie Brown — Tue, 1 Jun 2010 12:00:00 AM
Next time you book tickets online at the IMAX Theatre in Darling Harbour, you'll have the opportunity to CHOOSE YOUR OWN SEAT. So, whether you like your movies big and up-close, or viewed from the far back - or somewhere in between - you'll be just one click away from your favourite seat.

Now you can select a specific seat when you book online. When we introduced reserved seating last year seats were allocated on the basis of ‘best available’. That didn’t suit everyone and so we’ve introduced CHOOSE YOUR OWN SEAT. So now YOU can select the specific seats YOU want from the pool of available seats.

First up, the computer will offer you a selection of seats, if you are happy with these, then just go ahead and confirm the booking. If they are not the seats you would prefer you can select other seats. All you have to do is follow the simple instructions under the seating plan.

This option is only available to online ticket sales, so if you have a favourite seat make sure you book online and book early. If you print out your ticket then there’s no need to go to the box office, just present your ticket to the usher as you enter the theatre. So now there’s no need to queue ever again to get your preferred seats. Perfect.

Tickets are on sale now for advance screenings for SHREK THE FINAL CHAPTER from 11-14 June, as well as the opening week of the season from 17-23 June. Be first, be quick and buy your tickets now.

CLICK HERE to buy tickets online now.

*Please note that Choose Your Own Seating is not available for pre-booked school groups on excursion.

Essential Downloads For Your Next IMAX Excursion

Julie Brown — Fri, 28 May 2010 12:00:00 AM
Download essential information for planning a school excursion to IMAX in Darling Harbour here.

From the all important RISK ASSESSMENT pro forma which has been developed in consultation with the NSW Department of Education, to the STUDENT CODE OF CONDUCT - for both your students and and other schools at the Theatre - to vital information about PAYMENT OPTIONS, it's all here.

RISK ASSESSMENT

CLICK HERE to download General Infromation about Risk Asessment.

CLICK HERE to download the IMAX Theatre Sydney - Risk Assessment Pro Forma.

STUDENT CODE OF CONDUCT

CLICK HERE to download Guidelines for student behaviour at the Theatre.

PAYMENT GUIDE

CLICK HERE to download details about how to pay for your excursion.

Prince of Persia Costume Designers trade secret: A cement mixer

Julie Brown — Thu, 27 May 2010 12:00:00 AM
A nondescript street in a Marrakesh neighborhood known as the Zone Industrielle has a building that could be a warehouse or factory. But in the months leading up to the filming of “Prince of Persia: The Sands of Time,” and during the duration of its Morocco
shoot, this building was a dream factory, housing a small army of cutters, costumers, cobblers, seamstresses, milliners, dyers, armorers and artisans, all working under the supervision of costume designer Penny Rose.

“There’s no one in her field like Penny,” says producer Jerry Bruckheimer, who enlisted her for the entire “Pirates of the Caribbean” trilogy. “Her attention to detail almost defies description, and her ability to find the exact right costumes to define characters is fantastic. Penny can organize anything, anywhere in the world. She’s a tough taskmaster, but we love her artistry.”

“Orientalist paintings were part of the influence,” says Rose. “Most of those images were painted in Victorian times, so they’re 19th-century impressions of scenes from hundreds of years previous to that. The scale of the Orientalist pictures was the most significant thing to us: the shapes of the garments, the flowing cloaks, the amount of people crushed into small spaces.”

For “Prince of Persia: The Sands of Time,” Rose had to create no fewer than 7,000 costumes, nearly all of them built from scratch. Assisting Rose were assistant costume designers Timothy John Norster, Margie Fortune and Maria Tortu, as well as costume supervisor Ken Crouch, costume designer assistant Lucy Bowring and wardrobe master Mark Holmes. Rose also relied on a veritable army of wardrobe masters, on-set costumers, workshop supervisors, dyers, metalworkers, shoemakers and artisans from all over the world.

Another trick of Rose’s trade, unimaginable to those outside the craft, is the breakdown department. “Very few people on the films I do go to set in a new costume,” explains Rose. “We always have to break it down first. I want costumes to look real, even in a fantasy film like this. Our breakdown department employed tools like a cement mixer. Once the leather goods are newly made, we put them in the cement mixer for a couple of hours with a few stones, and they come out looking well used. They also use cheese graters to distress costumes, believe it or not.”

To obtain the materials for so many thousands of costumes, Rose scoured the four corners of the globe, discovering fabrics from as far away as Turkey, Thailand, Afghanistan, China, Malaysia, Great Britain, Paris, Rome and, of course, Morocco. These materials were then utilized in surprising ways. For example, to create Sheikh Amar’s shabby but colorful coat, Rose fabricated it from three Indian bedspreads sewn together.“Then we took a cheese grater to it until we got this fantastic ragged look, revealing layers of different fabrics, colors, and designs,” says Rose. “The sheikh also has a headdress, and his boots are made from an old carpet.”

Prince of Persia does Parkour?

Julie Brown — Thu, 27 May 2010 12:00:00 AM
From fantastic parkour displays of gravity- and death-defying leaps and acrobatics to outrageous ostrich races to medieval Near Eastern battles on a grand scale, “Prince of Persia: The Sands of Time” gave its stunt coordinators an epic canvas. The daring team was comprised of first-unit stunt coordinator George Aguilar, second-unit stunt coordinator Greg Powell, Morocco co–stunt coordinator Stephen Pope, co–fight coordinators Thomas Dupont and Ben Cooke, and parkour choreographer David Belle.

For the actors, preparation began several weeks before the cameras rolled, with rigorous training programs designed to whip them in shape and get them on horseback. Jake Gyllenhaal was already in prime physical condition as an avid runner, cyclist and allaround athlete.

“There’s no reason to do a movie like this if you can’t do the stunts,” says Gyllenhaal. “It was all about functional fitness, being able to do everything that was asked of me. So I got into the best shape I could, with a whole lot of running, parkour training, weight-lifting and horseback-riding.”

Along with the other cast members, Gyllenhaal did extensive training with horses under the tutelage of Ricardo Cruz Moral, one of Spain’s top equestrians, at his ranch outside of Madrid. For Gemma Arterton, it was a revelation. “I’d never ridden a horse in my life, so I was sent away with the others on a kind of horse-riding boot camp before we started the film. It was brilliant, and now horseback-riding is one of my hobbies. One of the stunts in the film that I do myself is when I’m swept onto a horse as it’s coming towards me, and I was really proud of that.”

Thomas Dupont, whose credits include all three “Pirates of the Caribbean” films, served on “Prince of Persia: The Sands of Time” as co–fight coordinator, with Ben Cooke. He also portrayed the lethal Hassad, a Hassansin who fights with two blade-tipped whips.

Dupont was charged with shooting a big action scene at an elevation of 8,200 feet. “As far as the altitude was concerned, the hardest part was the sustained fighting. We had to do a lot of things at once for up to a minute at a time. Now, that may not seem like a long time, but if you’re performing at full energy, with strikes, running and jumping, that tends to wind you. And if you’re already up 8,000 feet and the oxygen is scarce, it really takes its toll.” Filmmakers incorporated one aspect of Jordan Mechner’s creation that promises to set “Prince of Persia: The Sands of Time” apart. “In the video game, the prince can run up walls and has other skills which are based on parkour,” explains director Mike Newell.

“Parkour started in the suburbs of Paris, where the kids were so bored that they started to use what was available to them as some kind of test. I watched documentaries about them and saw that they really do walk up walls and leap from rooftop to rooftop. They are extraordinary athletes. So we brought some of the great world experts of parkour to teach us what to do and how to make it look good.”

“We decided to go right to the source,” says Bruckheimer. “We wanted the best of the best, and that’s David Belle.” Belle is a young legend and the originator of parkour. ”This is the kind of film that makes me wish I was in the movie industry,” says Belle. “When you watch this type of movie, it’s so magnificent that you want to be a part of the scene. And all of a sudden, I find that I am. It’s like a child’s dream come true.”

In French, parkour is also known as “l’art du déplacement,” or the art of movement. And indeed, to its practitioners and those who observe the astounding feats of traceurs—practitioners of parkour—it is nothing less than wondrous. The action of “Prince of Persia: The Sands of Time” incorporates both parkour and its offshoot, free running.

Says Bruckheimer, “It’s really an art form. It’s so exciting to watch people literally bouncing off of walls, all done without wires, doing it through their own physical force.” Belle’s own description of parkour is, as one would imagine coming from the man responsible for its present form, perfectly concise and lucid. “To make it simple, parkour is a training method that allows a person to develop their physique so that they can overcome obstacles. The more you train, the faster and more efficient you become. When training, you can create a wide range of movements. These movements help you to get through difficult passageways, between buildings and over rooftops. It’s a different way to learn to move your body.”

Belle was impressed by Gyllenhaal’s parkour abilities and the enthusiasm with which the actor quite literally threw himself into the action. “Jake certainly had me convinced,” he says. “I’ve seen his work, his movements in various scenes, and I have no doubt.”

Particularly thrilled to work with David Belle was Will Foster, a junior parkour student portraying young Dastan. “I was quite nervous when I heard that I was going to be training with him,” Foster admits, “but he really put me at ease. He’s also really easy to talk to, because I speak a little French. David showed me quite a lot of jumps and basic vaults. If he sees I’m doing something good, he’ll say so, but then he tells me how to improve it, which is really helpful. It’s really important to David that kids know that parkour isn’t about getting your camera and filming yourself jumping off the highest thing you can find. You have to study for a long time and become very strong.”

On the Prince of Persia set with Jake Gyllenhaal and Gemma Arterton

Julie Brown — Thu, 27 May 2010 12:00:00 AM
Based on the video game, Prince of Persia follows an adventurous prince who teams up with a rival princess to stop an angry ruler from unleashing a sandstorm that could destroy the world. Take a look at this clip featuring some cool behind the scenes footage and interviews with actors Jake Gyllenhaal and Gemmar Arterton.

Tickets are on sale now. Prince of Persia is a 2D presentation digitally enhanced for the giant IMAX screen using proprietary remastering technology pioneered by IMAX Corporation.

Prince of Persia starts 27 May

Julie Brown — Thu, 29 Apr 2010 12:00:00 AM
Hot on the heels of IRON MAN 2 (just launched) is Disney's PRINCE OF PERSIA, starting 27 May here on the World's Biggest Screen.

From the team that brought the “Pirates of the Caribbean” trilogy to the big screen, Walt Disney Pictures and Jerry Bruckheimer Films present PRINCE OF PERSIA: THE SANDS OF TIME, an epic action-adventure set in the mystical lands of Persia. A rogue prince (JAKE GYLLENHAAL) reluctantly joins forces with a mysterious princess (GEMMA ARTERTON) and together, they race against dark forces to safeguard an ancient dagger capable of releasing the Sands of Time – a gift from the gods that can reverse time and allow its possessor to rule the world.

Directed by Mike Newell (“Harry Potter and the Goblet of Fire”) with a cast that includes SIR BEN KINGSLEY and ALFRED MOLINA, and a screenplay by Doug Miro & Carlo Bernard from a screen story by Jordan Mechner and Boaz Yakin, PRINCE OF PERSIA: THE SANDS OF TIME hits cinemas May 27, 2010.

This is a 2D presentation, digitally remastered into the image and sound quality of The IMAX Experience. The crystal-clear images coupled with IMAX's customized theatre geometry and powerful digital audio create a unique environment that will make audiences feel as if they are in the movie.

Rating TBC. Duration 100+ mins approx. No Free Tickets.

Become an IMAX Sydney Facebook fan for a chance to win BIG!

Julie Brown — Tue, 13 Apr 2010 12:00:00 AM
It's Showtime at the World's Biggest Screen. Become a fan of the IMAX Sydney Facebook page and you could win one of five GIANT IMAX SHOW BAGS valued at $250 each!

IMAX Sydney is the biggest new addition to the Facebook scene and we’d love you to become a fan.

So if you’re a regular Facebook user, or thinking about becoming one soon - or maybe you’re just looking for a big enough reason to get active on Facebook again - then enter our competition now!

CLICK HERE to visit the IMAX Sydney Facebook page. Be sure to click “BECOME A FAN” on the page.

CLICK HERE to enter the competition. Terms & conditions apply. See online for details.

It doesn’t matter if you’re already a fan of IMAX Sydney, or about to become a fan, simply enter your details in the competition entry form online and be sure to remain a fan of IMAX Sydney throughout the competition period. Of course, we’ll have loads more giveaways, competitions and big IMAX news posted to our Facebook page in the coming year, so we’d love you to keep in touch!

Dragon slays the reviews

Julie Brown — Thu, 1 Apr 2010 12:00:00 AM
"This film easily stands alongside Coraline and Avatar as one of the finest theatrical 3D experiences thus far."

Don't just take our word for it. These film reviewers also happen to think How To Train Your Dragon 3D is one of the best animated films to come out of Hollywood in recent years. The 3D animation is a real highlight, but it is the emotional heart of the story - the friendship between Viking teen Hiccup and the dragon he is meant to slay - that elevates the the film to another level.

Could this be an AVATAR 3D for kids? Read on and decide for yourself.

“The animation is beyond beautiful and the 3D is genuinely immersive. With all of the current hub-bub about studios racing to convert their live-action films into 3D, here is a shining example of how powerful a tool it can be in animation, especially if it was planned that way from the start. This film easily stands alongside Coraline and Avatar as one of the finest theatrical 3D experiences thus far.”
Scott Mendelson, The Huffington Post, online

“What really elevates the film above the pack, though, are its strong characterisations, generous lashings of humour, distinctly Disney feel - directors Dean DeBois and Chris Sanders made Lilo & Stitch - and great state-of-the-art visuals. The dragons have a cartoonish ferocity, the finale's big beast looks like Godzilla's big brother and the film's flying sequences are every bit the equal of anything we saw in Avatar. And this film has way more jokes.”
- Jim Schembri, The Age, Mebourne

“The animation is staggering. The look of the Vikings' coastal village, lined by massive rock formations that jut out from the sea, is sublime, while the fantastical dragons that terrorise the townsfolk have been unleashed from wildly fertile imaginations… it's the friendship between a boy and his beast that's at the warm heart of this film, and what a beautiful friendship it is.”
Annette Basile, Filmink Australia

The action hots up with spectacular fiery, flying dragon battle sequences, as well as a battle between father and son. The spectacle never comes at the cost of the emotional return and I admit to shedding a tear in the lead up to the climactic finish - all delivered in striking 3D. Just like the fire the dragons exhale, this film is hot.
Louise Keller, Urban Cinefile

The first thing you notice about this film - not surprisingly - is the superb animation, which quickly vanishes and becomes a given. DreamWorks has created a state of the art family movie with a young hero and all the exotic elements of a fairy tale that seems far removed from our daily life. Or is it? I daresay the 10 to 14 year olds for whom the film is primarily made will find the soaring rides as exciting as a simulation video game (only better, faster, louder) - but adults may discern some lessons for mankind, intended or not.
Andrew Urban, Urban Cinefile

And the real distinction of “How to Train Your Dragon” — the reason it deserves to be seen in a theater with special glasses on, rather than slapped on the DVD player when the children are acting up — lies in those airborne sequences. Movies and aviation grew up together, and at least since William A. Wellman’s “Wings” won the first best-picture Oscar back in 1929, filmmakers have been obsessed with using the medium to capture the feeling of flight. When Hiccup first climbs on Toothless’s back and urges the dragon to take wing, the hearts of the audience soar with a primitive and durable delight.
A. O. Scott, New York Times

“…features some thrilling flying sequences that make the movie enormous fun.”
Paul Byrnes, Sydney Morning Herald

How To Train Your Dragon 3D is showing daily at IMAX in Darling Harbour over the April School Holidays.

If you haven't seen it on the World's Biggest Screen, you've only seen it small.

Youd be mad not to take a seat at the worlds biggest tea party

Julie Brown — Fri, 26 Feb 2010 12:00:00 AM
Disney's Alice in Wonderland has premiered to one very wet crowd of fans, with the classic Februrary London weather turning the sprinklers on a gala "Wonderland" green carpet in right royal style. For interviews with all the stars, including Johnny Deep, Helena Bonham Carter and Australia's Mia Wasikoswka, as well as visionary director Tim Burton, just CLICK HERE.

Disney's Alice in Wonderland 3D starts at IMAX in Darling Harbour on 4 March. Tickets on sale now. Reserved seating available.

CLICK HERE to buy tickets online now.

"It takes us back to a time in the history of movies when audiences responded to the images on screen with a combination of awe and fear, when in submitting to them, we felt as if we were submitting to a spell." - Washington Post

"A masterpiece of surrealism that's more Tim Burton than Walt Disney." - Montreal Film Journal

"Alice is macabre, haunting, and very true to the spirit of Carroll's book, exploring the marvels and fears of a child's imagination." - TV Guide's Movie Guide

Who is your favourite Alice in Wonderland character and why?

Early HUBBLE 3D footage brings a tear to astronauts eye

Julie Brown — Tue, 2 Feb 2010 12:00:00 AM
IMAX held two early footage press preview screenings for Hubble 3D last week in New York and Los Angeles. Both events were attended by key press - and the response was spectacular!

Astronaut Mike Massimino, one of the seven who flew aboard the shuttle Atlantis on a daring bid to rescue and repair the Hubble Space Telescope last year, presented the footage at the New York screening and saw the footage for the first time, prompting this emotional response:

"It's OK for astronauts to cry, right?"

No doubt watching oneself floating in space on the giant IMAX screen creates a surge of emotion unlike any other. And for the rest of us, the experience is as close to actually being in space as you can be while still firmly grounded here on Earth.

CLICK HERE to read an article about the screenings in POPSCI online.

Astronaut, Mike Massimino

“The footage of Hubble itself, with the curved Earth as a backdrop, is remarkable. I had not appreciated the size of the instrument until I saw, in the film's footage, how it dwarfed spacewalker Mike Massimino as he climbed inside its access doors to work on the telescope's innards.” – J. Matson, Scientific American. CLICK HERE to read the full article.

IMAX HUBBLE 3D starts in Sydney on 13 May.