Search results

Again I'm not sure that it will have much effect. Bertolucci clearly has some contractual rights to approve the final version of the film and he has done so. There may be nothing that Criterion can do because of this. Doug

Well personally I won't support it because I'm not really interested in seen this film at 2.00:1. I'm not really sure there is much that can be done about it other than just to not buy the film if you don't agree with his choice. Doug

I'm going to have to disagree with you on this. While its not exactly like word or sentence structure, there is a definite language to film. If there weren't you wouldn't be able to tell stories with no dialog. If I take 4 shots, and cut them together in particular order and particular...

Sorry I didn't think of it so much as a debate as a friendly conversation about film theory. :D Doug

This is just my opinion but I think there are probably less than 2 dozen people in the history of cinema that I would refer to as an artist. This is not at all to take anything away from other filmmakers. For the most part I consider filmmaking to be a craft that very rarely rises to the level...

Well the truth of the matter is I agree with you and I wouldn't crop a film of my own like that. And honestly I'm not sure I would want to watch it that way. But I can't really argue with the people who created the film if they say thats the way it should be seen. With missing information I...

Actually I'm very much an OAR advocate. Your talking to the guy who got permition to go into a projection booth with a video camera in 1982 so I could get my own letterboxed copy of Raiders of the Lost Ark. But there is a point of taking it too far. If information is missing then I have a BIG...

Actually watching a 1.85:1 open matte film at 1.33:1 really doesn't bother me that much, as long as there aren't mics and lights in the shot. Doug

I generally notice the aspect ratio on the company logos, after that if I'm paying attention to the ratio then the movie really isn't very interesting. Granted if there is truly missing information or very awkward compositions, then it might pull me out. But for the most part I'm into the...

Well like I said I don't agree with Storaro's choices, but they are his choices to make and I fully support his right to make them. Doug

I don't mind asking questions either, but Storaro has given his answer, and while I don't agree with him I respect his obviously long thought over choices. Doug

In my opinion they are the ONLY ones truly qualified to bring the material to home video. You know honestly in the film industry there isn't this slavish attention focused on the kinds of things that people who visit this kind of forum look at. The DP isn't out measuring the frame dimensions...

Artists have been changing their works for thousands of hears. The old masters would frequently go back and paint over a supposedly finished painting because the had a new or different idea. In the days of 70mm road show films, the 35mm general release was almost always a different cut, and...

Sorry I just found this thread and was catching up on about 2 weeks of conversation. According to Storaro he is taking into account HDTV as well as SD. Apparently he doesn't agree with the stated goals of home theater aficionados. Frankly I would rather have TLE and AN framed at 2.35:1 also...

Well like Jar Jar or not it was his choice to go that direction and I think a daring choice to try that kind of broad humor to see if it would work. I think even he was unhappy with the result or he would have pushed him more into the next two films. Doug

Yes but maybe the director feels that the theatrical aspect ratio isn't appropriate for home viewing no matter what the size or aspect ratio of the screen. Honestly as a filmmaker myself, I have in the past prepared several version of work that I have done. Each version is just as valid as...

Storaro is one of the greatest visual artists in the history of cinema. His credibility is vastly more than zero. Doug

Most directors are not that technical and leave those things up to the DP after a general agreement on the camera angle. Of course some like Ridley Scott and Steven Spielberg are more hands on. In reality however it's Storaro's camera operator who ultimately decides what the final composition...

Yes there were fast film stocks in 1986 and 87, and they had golf ball sized grain before the introduction of t-grain films in 1988. All you have to do is look at Aliens to see the results of very fast film stock before t-grain. Both Silverado (1985 and also had a 70mm blow up) and Top Gun...

The aspect ratio of HDTV actually had more to do with the fact that at the time the choice was made, manufactures of TVs didn't think that they could make a glass picture tube any wider than 16x9, and not have a high percentage of broken TVs in shipping. Of course this was about 10 years or so...

If The Last Supper was truly his inspiration for wide screen composition, then he may have subconsciously been been composing for this aspect ratio for many many years before he realized what he was doing. Doug

Artistically, its the director's film to do with what he wants. I don't think it's anyone else's place to tell the director that any choice he has made is wrong. I see many choices in films that as a director that I wouldn't make, the least of which is aspect ratio presentation. But it's not my...

All of the above. As long as it's done by the filmmakers. Doug