Live Chat With The Criterion Collection February 16 2004  

Subject:  Live Chat with Lee Kline
Date:  February 16,  2004


<RonEpstein> Without further delay, I'd like to introduce the one,
the only, Lee Kline from THE CRITERION COLLECTION.  Welcome, Sir!

<leekline123> Thanks, Ron. I never thought we would make it.

<RonEpstein> Lee, remind everyone what you do at Criterion, please.

<leekline123> I am the Technical Director (even though I'm not feeling
very technical tonite).

<RonEpstein> What does a Technical Director do?

<leekline123> I keep the direction for picture and sound going for
all our DVD's.  That includes picture, sound, compression...Although
I have a lot of help from all the other Criterion people as well.

<RonEpstein> We appreciate you being here tonight.  We are now going
to open the floor to questions

<leekline123> Let me say one quick thing...
<RonEpstein> sure...

<leekline123> I'm not really here to answer questions about what movies
are coming up, but more to talk about tech stuff -- mastering,
compression, transfers, sound.  Although I will field an occasion
release question.  

<RonEpstein> We ask attenddes to keep that in mind when asking questions

<ZacharyTait> Mr Kline. Welcome. I would like to know if Criterion plans
on re-releasing Seven Samurai in a 50th Anniversary Edition this year.

<leekline123> We would really like to, and have just started thinking
about what we can do for a new release.  As many of you know, the Japanese
mastering is probably the most difficult for us. Film elements have been
kept poorly, and many original negatives and Master Postives (fine grains)
are not in existence.  We're going to be doing some tests on Seven Samurai
soon to see if we can make it look better than the previous version very soon.  

<KeithPaynter> Welcome Mr. Kline.  What software and tools do you most
frequently use for telecine transfer and rendering?

<leekline123> There are two primary telecine machines to choose from -
one is the Spirit and the other is Cintels C reality.  Although, we prefer
the Spirit for most films, the C Reality has really come along way,
especially with the Oliver electronic wet gate system.  What do you
mean by rendering?

<KeithPaynter> I think in compression and conversion.

<leekline123> Ahhh. <leekline123> We've been using various compressors -
Sony Vizario and the Panasonic encoder.   They both have proved to be
very good at dealing with film grain, something that is awfully common
in many of our films.  Which leads me to say "We Love Film Grain."  We
try to keep it, work with it, and make it compress well.  It's what
makes film film.

<Ryan_Walsh> Hi Lee, thanks for coming out tonight. I really enjoyed
2003's releases of Fear and Loathing, Straw Dogs (WOW!), Schizopolis,
and Naked Lunch. Is there any way Criterion may start licensing more
special features to other studios to create revenue for restoration
(visually and sonically,) "new" features, and other costly procedures?
Seems like that vault of excellent special features could be a cash cow!
Thanks for chatting!

<leekline123> You're referring to special features we've done on previous
laser and dvd releases?

<Ryan_Walsh> yes.

<leekline123> It's an interesting question -- Sometimes we've held our
supplements and then the studio has finally relicensed the film to us,
so it has paid off waiting.  We've also traded studios for things, and
licensed some stuff when they're nice...

<BaileyHouse> Hi lee, Some Criterion discs are packed with extras and
retail for $29.95, others have only a commentary and retail for $39.95.
If commentary track participants are paid only a small honorarium, for
their work, are the tracks themselves so cotly and/or techinically dificult
to produce that they automatically engender a $39.95 price?

<leekline123> Unfortunately, I don't make the decisioin as to what price
is put upon the releases, but I do know that it's been pretty much the same
from day 1 of DVD.  Anyone who bought $99/$129 laserdiscs will still be
happy with the $39 price.  We also pay a royalty unlike a studio who owns
a film who doesn't have to pay.  They also have worldwide rights many times,
when we only have North America.

<BrunoOHanrahan> Thanks for (finally!) making it Lee. The following discs
directly oppose the Criterion "mission statement" ("for every disc we track
down the best available film elements in the world") - YOJIMBO, SANJURO,
THE SCARLET EMPRESS, and  SAMURAI TRILOGY.  Whilst AMARCORD, HIGH AND LOW
and ANDREI RUBLEV (either non-anamorphic 1.85:1 or 2.35:1; the first two
having no extras at all) are very poor value for money ($40) in today's DVD
market, especially compared with more modern Criterion releases. Are there
any plans to retire these versions to maintain your reputation and uphold
your mission statement? --- [Big shout out to those from the
http://www.criterionforum.org --- done.]

<leekline123> Yes, there are plans to re-release some non-anamorphic titles
with CHARADE being one of the first.  And on YOJIMBO and SANJURO, I personally
would like to retransfer these in anamorphic transfers.  As for SCARLET
EMPRESS, we were told by Universal that this is the best element that they had.  
Thanks to you guys at the Criterion forum- it's a pretty amazing group.

<BrianPB> Welcome back, Mr. Kline. I wondered if you could give us a status
report on three silent film projects Criterion is rumored to be working on:
EISENSTEIN: THE SILENT YEARS, Pabst's PANDORA'S BOX, and  and Dreyer's VAMPYR
(for the latter, I trust you'll use Martin Koerber's definitive 1998 restoration).
From a technical standpoint, these must be among the most difficult releases
(due to aged and compromised elements).

<leekline123> You said it- these are tough ones, and we are continually working
on getting these films out.  Eisenstein is moving along, but it's the hands of
the Russians right now, and they move VERY slow. Pandora is complicated because
it is a huge restoration, with many film elements involved in the hands of many
people. The "restoration" that was done in the 90's was done on video, in Pal
format, and is not suitable for NTSC conversion.  As for VAMPYR, I have no new
news, although we would definitely use Martin Koerber's restoration (if we
could easily access it!)

<JuanNovaro> Lee, as Criterion probably knows, a very interesting extended print
of Cassavettes' Shadows was recently discovered. How do such new finds impact
Criterion's release schedule; does the company only race out for these elements
if the title is already on the production schedule, or would this cause heightened
interest and reconsideration of a release?

<leekline123> Gosh, these are good questions! Well, Juan, if you always wonder
why we're all always pushing release dates and changing things around in the
schedule, it's due to thing like the print of SHADOWS. 1 disc becomes 2 discs...
A better sounds source comes up at the last minute...A fine grain on RULES
OF THE GAME finally is found...We feel that once the DVD finally comes out, it's
going to be on the shelf for a long time - it should contain everything worthy
that we can find, and waiting to get these things is worth it.  Do you agree?

<JakeJohnson> Hello. Great job you do at Criterion. Are you working on an
anamorphic transfer of Brazil? And I have heard rumors that  Bottle Rocket
is being cleaned up for a release as well. Sorry if that question is not  
very technical. Its all I've got. Thanks again.

<leekline123> That's ok. We are not working on a new transfer of BRAZIL at
the moment, sorry.  As for BOTTLE ROCKET, I have no news on that.

<AgeeBassett> Hi Lee. First, I want to compliment you and your team on the
very fine transfer done on The Devil and Daniel Webster. It would be
interesting to hear of your experiences transferring the Dieterle print.
Anyway, my question is, as one of my most anticipated releases of this year,
will Richard III feature a transfer from VistaVision elements or from a
35mm reduction?

<leekline123> I'm glad you liked DEVIL since we worked pretty hard on that
one.  It's still not perfect, but compared to all the other elements we've
seen, the Diterle print was the best.  The flicker is a bit annoying, and
there were some pretty stubborn scratches.  As for RICHARD, I'm sorry to
say that the original vista-vision negative is in poor condition and needs
a major restoration.  We used a 4 perf CRI that was stunning, and you'll be
very happy with the results, I promise.  If you're intrigued by a true
vista vision transfer, wait till you see THE LEOPARD...it may be one of the
nicest pieces of film I've ever encountered and the transfer should become
a staple in the demonstration department (although I can't say you'll really
want to demonstrate the mono sound that accompany's it!)  Looking at what
I wrote, I'm not saying it's bad sound quality, but simply Italian looped
mono optical...

<TravisBickle> in your opinion whats the best transfer you have done and
the worst?

<leekline123> The worst?  Like I'm gonna admit that here!  But some of
the ones I'm most proud of, especially recently, would be THE LEOPARD,
RICHARD III, RED CIRCLE.  HONEYMOON KILLERS is a personal favorite.  I
really love looking at good black and white, and UMBERTO D and IL POSTO
are just that.  I think that TESTAMENT OF DR MABUSE is gorgeous, especially
for the age of the film and MAMMA ROMA, which is coming out this year
looks great.  We are also putting out a beautiful transfer of TIN DRUM,
but I can't take credit for it since it was done in Germany without me.

<ChristianLiemke> Hi Lee! I've read, that the BFI-disc of Visconti's
"The Leopard / Il Gattopardo" has been delayed to 4th quarter of 2004
because of problems with the restoration. We all know, that Criterion is
working on the master for your own and the BFI-disc, so what's the problem
with the source material? Are there any problems, because you mentioned
the title as being stunning.

<leekline123> It's really cool to me that THE LEOPARD is so highly
anticipated, and I know that this is going to be the one that everyone
goes "wow" about.  We used the original 8 perf camera negative for this
film to transfer and scanned the full resolution on a Spirit.  The
negative had been rarely touched, and I have to thank my good friend Gianni
Vittori in Rome for helping us find it. The BFI was using a different
element, which didn't have the range of the original neg. By the way,
I forgot to mention that THE LEOPARD was supervised by legendary
cinematographer Giuseppe Rotuno.

<PatrickMcCart> First, I'd like to thank you and the rest of Criterion
for the non-stop great quality of your releases. Could you explain a
little about how the Mathematical Technologies image restoration system
is used for your releases?

<leekline123> MTI is a great system.  We evaluated (and continually evaluate)
many retsoration systems.  We always come back to the MTI system since
they've managed to let us repair a frame and keep the film grain the same.
It's a slow process, but now that we're doing the work in high definition,
we feel that the time spent will be definitive for many years to come.
We go through the film frame by frame and repair as much imperfections as
possible.  We continually run each master through a stringent quality
control to make sure that the "repairs" are good, and that we haven't
missed something (or taken out too much!)  There are about a half dozen
QC and restoration people working at Criterion, and they're the one of
the best groups doing this kind of work.  It's a passion for the material
that they're working on which makes a difference.  And a shout out to all
of em: Matt, Alex, Stephan, J

<DanRudolph> I was wondering if there's any chance of an anamorphic
rerelease of Time Bandits.  Also, Life of Brian doesn't look nearly as good
as most Criterion transfers.  Was this just a matter of the elements, or
another factor?  How do you go about cleaning things up when all available
elements are in rough shape?  Is it all done digitally or is there some
film restoration involved too?  

<leekline123> I've heard that about LIFE OF BRIAN before, but I really
don't agree.  I think we might have done a little more dirt repair on it,
but I think it's a good transfer from a good low contrast print. As for
TIME BANDITS, there is no immediate plan for this to be re-released,
although it's not unforseeable.   When elements are in rough shape, we
determine how much time we can spend and then continue to assess how much
more work is needed until we feel satisfied.  Unfortunately, this method
is utilized way too often because many of the films are in bad shape.

<SeanCullen> Hello Lee.  Can you give us any additional information
on TIN DRUM?  

<leekline123> I can tell you that the director has done a new 5.1
mix. (which sounds GREAT!) As far as extras, I really don't know (sorry!)

<GustaveII> Hi Lee. Thanks for chatting with us this evening. I have
a question about some of the old LD releases. Specifically, I?m interested
in Ophuls and Mizoguchi. Do you know I those DVD releases are being held
up because of poor film elements or is there a problem with the rights?

<leekline123> As for Ophuls, I know we have something coming up, but
I can't remember what. As for Mizoguchi, we will begin work on UGETSU
sometime soon.  I personally would like to see STREET OF SHAME on the
schedule, but that's not happening just yet.

<Guy> Good morning. (this is more a question in regard to the potential
movie release of Fitzcarraldo and the documentary "Burden of Dreams."
Will Fitzcarraldo get a criterion set including the documentary 'Burden
of Dreams'? Or will this be an alienated release containing just the
documentary? Anchor Bay losing the rights to the Herzog catalogue, can
we expect this, or any other Werner Herzog criterions in the future?

<leekline123> We've been talking to Les Blank about BURDEN OF DREAMS,
but there no news to report just yet. I'm not sure about Herzog, sorry.

<JeffNewcomb> We know you are working on John Ford - I'm assuming that
it is the Iron Horse.  This is quite an old film which I don't believe
has been transferred to video before.  Has this presented any special
technical or restoration challenges?  If I'm wrong about The Iron Horse,
please enlighten us.

<leekline123> I believe we don't have IRON HORSE.  I don't think I'm
supposed to talk about John Ford just yet...

<JasonEls> Hi Lee, thanks for coming tonight. I also want to thank you
for bringing Onibaba to us. I wanted to know if there are any transfers
that Criterion would love to do but are in such bad shape that they
cannot be done just yet. Also, has any restoration started on Tales of
Hofmann? Thanks again!

<leekline123> ONI BABA is great, isn't it?  I was lucky enough to be in
Tokyo for the interview with Mr. Shindo (92 years old I believe) and he's
as frisky as ever.  Well, Pandora is one, but I think we're going to figure
that one out.  Tales of Hoffman has problems, and a new restoration needs
to be done.

<BrandonConway> I hope this isn't too personal a question, but I'll try
anyway: how did you go about becoming Technical Director at Criterion?
I'll be graduating from BYU this April, and while my interest in film
history, preservation & restoration, and DVD authoring is very high,
I am finding it terribly difficult to find even a starting point of
entry into such an occupation. Perhaps other people attending the
chat have the same goals as me.

<leekline123> I had a love for film and Criterion, and I had a good
video background before I worked for the company.  A lot of people want
to work for us, and we only have so many slots.  Many of the guys in
our restoration department have come from the NYU film school as
interns and some end up staying on.  I think the real "film" people
are a dying breed, so I would suggest getting in to a film lab or
film realted facility as a start.  You can learn a lot from the old
timers there. Good luck.  

<PercyCrumple> Hi Lee, thanks for coming and for keeping your transfers
smooth and clean (just how I like my women).  I want to ask if you
have any plans for Orson Welles, because it really is a glaring oversight
in the collection thus far. I know Janus struck a new F FOR FAKE print
recently for the Film Forum retrospective is that a hint of some kind?

<leekline123> I think we're about to embark of F FOR FAKE soon, but again,
I make no promises.

<TristanS> What are the hardest and easiest Bresson transfers that have
yet to come out? Also, please reveal any titles that haven?t yet been
revealed tonight! Props to the Criterion Forum, represent!

<leekline123> Well, I know we're planning a bunch of Bresson films in the
next couple of years, starting with DIARY OF A COUNTRY PRIEST, which looks
really beautiful. And we've already done Ladies of the Bois de Boulogne,
which had a lot of film problems.  That's about all I can tell you right now.  

<DaveG> Hello ,thanks for coming,,just a quick 2 Qs,First did Wenders do a
commentary for Paris,TX,,second did anyone do a commentary for the upcoming
Hitchcock,and if you can let us know which Hitch it will be,that would rock.

<leekline123> Hey Dave, glad I could be here. I don't know the asnwer to
the Wenders question.  Hopefully they'll be a new Hitchcock in the next year,
but I can't say which one.

<Samuel_Fred> I'm curious about your choices to release some titles as
single-layered DVDs and others as dual-layered DVDs: we know that a
dual-layered disk will have better resolution.  Why then is the second
disc of Children of Paradise single-layered where the first disc dual-layered.  
The length of the second half of the film is about the same.  Also, would
you consider re-issuing older releases that might benefit from a second
layer for resolution.
 
<leekline123> We do tests when the limit is questionable as to whether a
dvd-5 or dvd-9 is needed.  In the case of CHILDREN OF PARADISE, we had enough
space on a DVD-5 to justify not doing a DVD-9.  It just didn't need it.
If I felt that compression on an older dvd could be improved, I would lobby
for rereleasing it.  That hasn't happened though, since we're pretty strict
about making sure the compression looks good the first time around.  In the
case of something like LA STRADA, we felt that we needed to spread the movie
over a larger capacity disc to make it work best, which is why it went to
2 discs. These type of things delay the releases, and drive our Qualty Control
people bonkers, but that's what you get for $39.95.

<JonathanZofo> Hey, whats the down-low on Playtime and i noticed Criterion
was short onn westerns, any that might come to the collection, straight up
from the c forum

<leekline123> The lowdown on PLAYTIME is complicated.  Scanning 70mm
material has numerous problems...The machines that can do it are not all
that great, and there are only a few in the world.  Most facilities have
souped up machines that they've created themselves to do the job.  For
instance, in the case of SPARTACUS, I spoke with Bob Harris about the
idea that transferring a 35mm IP on a good machine as opposed to a large
format element on a not so good machine might be better.  We're going to
do some tests on PLAYTIME. More to come on this one.  

<LyleH> Hello, Lee. I'm glad you could join us. Before I begin I have to
thank you for your great DVDs, especially Throne of Blood and Sisters, two
personal favorites. I was just wondering with the theatrical run from Rialto
of Eyes Without a Face, if Criterion plans to release this title on DVD, one
of the best horror films of all-time, sadly not on DVD. Any other horror
titles in the works?

<leekline123> Thanks for the nice words.  I was really happy with THRONE OF
BLOOD too- that was one where the Japanese actually had a good film element
in their vault that they let us transfer.  I believe we will do EYES WITHOUT
A FACE, which is a totally great movie.  I'm not sure about other Horror
films just yet.

<AdrianCorreia> HI!  Thanks for the great work!  Any updates on The Lower
Depths?  What determines the amount of extra features on a DVD?  Example,
All that Heaven Allows has tons, but not as much for the great Written on
the Wind.  Any more Von Sternberg on the way?  

<leekline123> The Lower Depths is in production, but no release date yet.  
As for extras on the Sirks, I don't why one had more than the other.
You're asking the wrong person about this one, sorry.  

<Tak-WaiCoddington> First of all, I want to say I love your company's
work very much. Here in Thailand your DVDs are very hard to come by (legally)
but I still make sure to get every one I can. With that said: You spoke of
Rules of the Game, which contained a wonderful hour-long documentary on
Renoir directed by Rivette. Recently I saw another documentary from the
same French TV series, on Aki Kaurismaki. What are the chances of making
other documentaries from the same French TV series available as extras on
further releases, as they are appropriate?

<leekline123> Its a good possibilty- we have a small Paris office now that
handles all things French and/or European.  They've opened up many doors for
us.  Plus, with our contacts in Germany, UK, Italy, etc, they're always
bringing all these great docs and extras to us.  

<JonathanNovack> Hi Lee.  I was wondering, usually Criterion delivers great
transfers, but sometimes re-releases of Criterion movies by other compaines
have far better transfers (Time Bandits comes to mind).  Just curious to why
that is.

<leekline123> In the case of Time Bandits, Terry Gilliam approved the transfer
we used.  You can like the other transfer better, but Terry might not have had
anything to do with it.  I always stand by the filmmaker for a transfer.  

<EdgarNazaretyan> Hi, Lee I love Criterion and I want to thank you for all
your work for film, I know you don't have a lot of movies licensed from Fox
Lorber, but is there any chance you will get more liscenses: for example,
Jules and Jim, Breathless, My Life To Live, The Bicycle Thief, Shoot the
Piano Player, and etc. If so which ones?

<leekline123> Gosh, Edgar, I can't really answer your question.  But I will
say that you might get some of those.

<GregoryMesh> Hi, Lee. Shochiku recently released Ozu boxsets in Japan,
some of the early titles are in a really bad shape.  What does Criterion
plan to do with restoration of those?  Does Shochiku provide you with film
elements?  What titles should we expect after Floating Weeds?  

<leekline123> Shochiku has been awesome.  They have really tried to work
with us and their film elements.  We recently went to Tokyo and transfer
a lot of their precious Fine Grain masters for many Ozu films.  But I
have to leave the titles coming up as a suprise.  

<MarkJCrawford> Hi Lee. Thank you for your time in being here. How about
Howard's End? I heard Criterion was doing that. Any progress?

<leekline123> Howards End will be part of the Merchant Ivory collection,
produced in association with Criterion.  I'm not sure when it's coming, but
it will be beautiful, I promise (and i know that for a fact.)

<Buddy> Hi Lee.  I have a question about two Hitchcock releases, specifically
(The 39 Steps, and The Lady Vanishes.)  During scenes with lots of background
noise, (The theatre scenes in the 39 Steps particularly,) I can barely hear the
voices.  I know that at the time, sound stages were not widely used, and I am
not sure if this was the problem with the soundtrack, or if I'm, just nuts.  
Both of these are from the mid 1930's.

<leekline123> Can you see the dialogue in the SDH files?

<Buddy> Yes, I can see the dialogue

<leekline123> I think I recall what you're talking about.  I'll have to ask my
audio department for more info.  Can you email Jon Mulvaney about it and have
him direct it to me and we'll research it.  

<PimKeysergracht> By what standards does Criterion approach extra material.
Im here specific thinking of audeo commentaries, as those vary hugely in
quality. Are extra material secondary to the presentation of the film?

<leekline123> Can you give me an example of one being higher quality and
another being lesser?

<PimKeysergracht> Yes. Of lesser quality for instance the Keane commentaries
on the Hitchcock, and of better qualities for instance the one of Spartacus
or Silence of the Lams. The latter are subjective of course.

<leekline123> When you say "quality" are you talking sonically, or editorially?

<PimKeysergracht> editorial...

<leekline123> Well, I think it's a matter of opinion- I like the Keane
commentaries very much, but find some of the others less interesting.  Some
commentaries, here again Keane, are more or less, the commentator looking at
the film and just making things up as he/she goes along.

<leekline123> I will pass that along to the producer of the commentaries.  

<RyanBurgos> Thank's so much for making it tonight! It means a lot to us.
Question: Was it hard to bring "The Vanishing" (Spoorloos) to Criterion since
the subtitles and video transfer were redone. Pat yourselves on the back because
the entire dvd looks amazing! Done!

<leekline123> Thanks, Ryan. It was a bit of work, but we bought a new film
element that we made off the original negative and transferred it here in NY
with an a talented colorist named Chris Ryan. Looking back on it, this was
actually an easier one than most! What was dissapointing was that the director
didn't want to participate...transfer or extras.

<ChristopherBlig> Hello Lee. from a big Criterion fan, to someone part of
the Criterion food chain, thank you for all the superb work...and now onto
my question...What is the status with the elements of Beyond The Valley of
the Dolls and The Game? What has been the most difficult film of elements to
transfer to DVD, and what does it take to participate in a Criterion commentary
for I would love to sometime in the future?

<leekline123> whew! You mean you want to be interviewed?

<ChristopherBlig> for the right title, I'd like to :)

<leekline123> No news on BEYOND THE VALLEY OF THE DOLLS at this time, or
THE GAME for that matter.  If you're an expert on a movie and want to be
interviewed, you should email Jon Mulvaney and tell him.  He's pretty good
about passing on emails to the right people.  One of the most difficult
transfers was RICHARD III  Since it was taken from many different elements
to create the long version, it was exhausting.  Having the film in the
UK didn't really lessen the burden.  Also, the 16mm transfers are tough.
Many times you want to go back to the originals, but they're broken up
into A/B reels, like GIMME SHELTER and MONTEREY POP.  GIMME was probably
the most work as to any transfer I've been involved with, although most
of the credit goes to one of the most talented people I know in the
business, a woman by the name of Maria Palazzola.  Talk about great eyes
and ears.  She doesn't miss a beat. Film elements were spread into little
cans of film in multiple locations.  Some shots were missing.

<FarleyFerlinghetti> I wondered if you could speak off the record about
films which you'd personally like to have a stab at - in your capacity as
technical director. Do you find yourself dreaming about certain "holy grails"?
Films that whisper your name quietly as you dream of them?

<leekline123> That's a good question. Sometimes its really exciting
working on something that has never looked good and you see this great
film element and it's like "hold cow!"  THE LEOPARD comes to mind in this
situation.  I would like to work on some more VistaVision stuff because of
that. I really love working with Raoul Coutard since he's really got his stuff
together.  To me, it's the most exciting being in a transfer room with the
Cinematographer cause I can say "How did you do that?" Or "what kind of stock was
this" etc. One of the most talented people I've met recently was the DP from
GEORGE WASHINGTON, Tim Orr.  This is somebody to keep track of and see
whatever they do.

<MarkvdH> Many (most?) of your classic titles have mono soundtracks. In that
case, uncompressed (PCM) audio tracks don't seem to be too space/bandwith-consuming.
What are the difficulties preventing this from happening?

<leekline123> The PCM tracks actually take up more room than you think. We've
discussed it many times, and don't really feel it's necessary, especially when
we have to take data away from the picture.  I'd much rather add a DTS track for
a 5.1 mix.

<LyleH> This isn't so much a question (partly) as a thank you. I recently watched
The Harder They Come (1973) and LOVED IT. The soundtrack was so good, I had to order
the CD. Any chance on re-releasing the disc with the soundtrack? Will any future
Criterion DVDs feature film soundtracks?

<leekline123> Well, we've been occasionally adding M&E tracks, but not a full
soundtrack (except maybe the Glass score on BEAUTY AND THE BEAST.)  I'm still not
100% sure that anyone really listens to the M&E tracks though, do they?  Do you?

<LyleH> I don't, personally.

<LyleH> However, I do listen to the Old Time Radio Broadcasts on the DVDs if
you can consider that.  

----- ANNOUNCEMENT -----

<leekline123> I do have an announcement I've been told I could make

<ParkerClack> We like those!
<RonEpstein> Cool

<leekline123> The following movies have been announcedfor summer:

<RonEpstein> (drumroll...)

<leekline123> Stray Dog, Tin Drum, Testament of Dr Mabuse, The Leopard,
Mamma Roma, Smiles of a Summer Night, A Woman is a Woman, Jaws.

<Leekline123> (just wanted to see if you were still paying attention...)
<leekline123> No Jaws

<ParkerClack> :)
<RonEpstein> aaawwww

<leekline123> All the above in glorious MONO, except for Tin Drum

<RonEpstein> I'd like to take this opportunity to thank Parker Clack for
helping Moderate tonight's chat.  I'd like to thank all of you for coming here,
participating, and asking some questions.  Of course, we want to thank our guest,
Lee Kline for taking time out of his day to talk with all of us.  It was an
absolute pleasure to have you here, Lee.

<leekline123> Thanks, Ron.  See you all soon.

<ParkerClack> I am going to say goodnight and thanks for all the hard work Lee.
Thank all your crew for us and tell them to never give up on their passion for film.

Session Close: Mon Feb 16 23:41:49 2004

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