a 70mm giant screen experience from the creators of STOMP
a poetic and upbeat audio-visual travelogue featuring extraordinary performers in beautiful settings... It's an exciting film that pulsates with the sounds of a global beat, and the UK's biggest cinema screen -five double decker buses high and 26 metres wide- is the place to see it.
If you've seen the hit show STOMP and loved it, make the IMAX your next stop.... a spectacular global journey. Its a feelgood world music fest that will quicken your pulse and up the beat.
The pictures are stunning enough, but it's the clarity and depth of the audio that truly astounds
Seeing a film at the IMAX theatre is always pretty special, because the extra-large screen and surround sound quality adds depth to any picture. And when the film also involves the stage show STOMP, you know you're in for something extraordinary. But before you go to the IMAX, eliminate all preconceptions about STOMP from your mind, because this film does much more than a stage show could ever do. (It's) a symphony of world music, rhythm and dance. This is a fun, modern, rhythmic performance that both adults and children will enjoy. *****
This soundtrack celebrates the rhythm that binds everyone together, the one language all the world understands. In our difficult times, what could be more exciting than that?
NEW YORK POST:
The camera soars above the globe in dazzling panoramic shots that make the most of the large-screen format, before swooping down on a string of exotic locales, scooping the whole world up in a joyous communal festival of rhythm.
PULSE... offers a glimpse of how harmonious our planet might be, if we stopped talking for a minute and just started listening.
NEW YORK DAILY NEWS:
the movie is a clear call for pan-cultural respect, and also just plain fun. Take the kids.
BIG MOVIE ZONE
Spontaneous cheers and thunderous applause are rare things inside any movie theater ... The clapping hands and delighted shouts heard inside the Ontario Place Cinesphere.. were all the more amazing because they belonged to seen-it-all veterans of the Large Format industry.... PULSE: A Stomp Odyssey had just rocked the proverbial house...
Originally published 2002
BMZ : With the film focused on people and performance art, the visuals are a departure from your normal, sweeping IMAX vistas – what was your visual philosophy and how are the visuals working? What do you say to those who say human close ups don't work on a Big Movie screen?
SM : I love Imax movies: the first I ever saw was Chronos... then I saw Imax movies whenever I could... Blue Planet, the Dream is Alive, Serengeti, Antarctica... I've always been a big fan of the scope of the image and the breadth of sound in Imax theatres... but I always knew that if I could choose a subject for Imax, it would be people, not places. That's why the first thing we shot in Imax was carnival in Brazil... the human equivalent of the Grand Canyon.
(We were) more interested in humanity than vistas... of course we wanted our movie to have helicopter shots, underwater shots... because expansive images work so well in Imax... but we wanted to concentrate on the face... we heard all the warnings about close ups not working in Imax, but we thought that if our human close ups were like portraits against a black background, it would help shrink the image, focus the image a little, so that the expansive shots would explode onto the screen with more impact...
We thought this was such an original idea: but then we saw Tiger Child, the first ever Imax movie, made for the Osaka world fair in 1970... and it blew us away... it's full of human close ups, full of images that constrict the field of vision and then open it up again, so that the impact of every 70mm full screen shot is preserved... it's one of the most beautiful films I've ever seen in any format, and was truly humbling... I'm glad we didn't see it before we made Pulse, because we might have been nervous to try so many portraits...
Incidentally, the portrait sequence at the climax of the film has probably the highest number of cuts per minute in an Imax sequence... this really is thanks to the fact that the portraits are all in alignment and all have a black background... it's still Imax, but it only takes about a quarter of the screen real estate... so we can have a speedier cut...
Read the entire interview at BigMovieZone
Presented by Walden Media and Giant Screen Films
A Giant Screen Production by Stern Films, Leve Films, Giant Screen Films
Created and directed by Luke Cresswell and Steve McNicholas
Produced by Don & Steve Kempf, Jim Stern, Harriet Leve
Cinematography by James Neihouse and Christophe Lanzenberg
Line Produced by David Marks
Sound by Mike Roberts
Post Sound by
Post Visuals by DKP
GIANT SCREEN FILMS (GSF) has established itself as a pioneer in the large-format industry, producing and distributing films that push the boundaries of the medium. The company is recognized as one of the world’s leading and most active large-format producers and is based in Evanston, Illinois.
Domingo Escutia Muñoz
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