More and more studios are abandoning their classic film departments -- 20th Cen Fox, which closed it's classics department decades ago, at least up until now let their older library be booked out to art houses thru a sublicensing arrangement with Criterion Films. Seems like Fox didn't want to have to deal with any titles older than 2 years (so much for their respect for the studio's history, which they only seem to gush over at the Academy Awards....but try to get a print out of the bastards). Well, just recently they ended that long-standing arrangement with Criterion, so now there is NO PLACE for an art house or a museum or a film society to rent Fox titles on 35mm film. I am still investigating this to find out if some other arrangements are being or have been made so that art houses and non-theatricals can book Fox titles and 2) what is/has happened to all the 35mm prints Criterion had in the warehouse. My fear is that Fox is not going to want the prints back because, well, hey, they HATE film, plus, they have no classics Department to book them and the entire industry has they attitude that of: "film is over; all we want to deal with is a hard drive, and actually we want to get rid of that too and just beam 1s and 0s to the theatre -- shipping a hard drive costs $5.50 USP...why even spend that?" Seems Hollywood now has nothing but contempt for the very medium on which the creative output of our entire motion picture heritage has been viewed for a century billions of people. AND if Fox is true to the collective TWISTED and OBSCENE mind-set of the rest of Hollywood, my worst fear is that they will order Criterion to BANDSAW the Fox prints rather than sending them back. I am not saying this is what is going to happen, but it certainly could be the worst cast scenario. Bandsawing perfectly run-able prints has been the studio's modus operandi of choice when it comes to disposing of release prints. The bandsaw is to studio execs as a flame thrower is to pyromanias. They seem to take degenerate pleasure out of murdering their own. They order perfectly run-able prints to be destroyed -- sawed into quarters even though there are art house and museums and many other organizations that would be happy to store and preserve them AND WANT TO SHOW THEM; even private collectors who would be thrilled to preserve the physical prints and who historically have saved many a title that the studios have lost, are rebuffed in favor of having those prints hacked into pieces. If a studio finds they can't store older prints of titles that their bean-counters deem is not making them enough rental revenue vs. storage costs, then NO ONE will get to store them. It's the ole, "If I can't have her, no one will have her" said the boyfriend after he murdered his ex, syndrome. Sorry guys, I didn't mean to hijack the thread, but when it comes to physical prints and the way Hollywood has shirked it's responsibility to protect the medium on which our film legacy has been recorded, is criminal. The FBI should be throwing studio CEOs and their henchmen in jail for five years and $250,000 fine for EACH print they bandsawed. And if they can't produce a pristine, run-able 35mm print or 70mm print of a work to be shown to a theatre audience, then they should LOOSE THE COPYRIGHT, Philistine pigs that they are. And the Library of Congress too. They were supposed to collect TWO of the BEST representation of the works for an "author" to get a copyright and they waived that provision decades ago. That means TWO 35mm prints or TWO 70mm prints if that was the way it was shown to the PUBLIC, which of course is what the copyright law is supposed to be protecting. Gonads need to be whacked with a hammer as punishment for THAT collusion with the studios by our public "servants" as well. But then, how the studios have manipulated the copyright law to distort and corrupt its intent is the another topic.