Recent content by Mark Edward Heuck

Has anyone viewed this, and if so, is it 16x9 and have they kept the music intact?

Someone at Film Score Monthly made an astute observation: that by replacing the Paramount logo with a Universal logo, it counted as an editing change and thus allowed for recopyrighting this restored edition of the film, and protecting the transfer from being hijacked by other PD companies...

Normally Universal has been good about preserving logos, especially Paramount ones. Your restorations on REAR WINDOW and VERTIGO were proof of that. Even on PSYCHO, where for years they clipped the still Paramount image off the front, it was put back more recently. This is particularly...

Cinelicious' DCP and upcoming BluRay release of Leslie Stevens' PRIVATE PROPERTY is apparently going out at 1.33. I would swear that when I saw it at UCLA last year during their Festival of Restoration, they ran it 1.85. It certainly is from the era when they would have been composing for that...

I guess it doesn't fit the "Studio Classics" branding, but Kino did also announce a reissue of Eric Rohmer's wonderful PAULINE AT THE BEACH for Blu and DVD.

Yes, Shout Factory bought the Westchester library, but the majority of those titles are already tied up in existing licenses to many labels - Criterion has the prime stuff like the Cassavetes films and B&W classics from the Caidin Trust, while Hen's Tooth, Code Red, Scorpion, and Kino Lorber...

Found a NY Times article that lays out some interesting context. Apparently, both as a dodge against an impending director's strike and an experiment, Paramount greenlit a package of low-budget films, of which YOUNG LUST was part of. As the article reveals, most of the other films in that...

You've got me very intrigued. This would have been the just-departed Robert Stigwood's follow-up to STAYING ALIVE, but perhaps the failure of that movie made Paramount cool on it. And it's an early writing credit for Bruce Wagner, who wrote the David Cronenberg film MAPS TO THE STARS. Cool cast...

FEAR IS THE KEY is owned by Paramount in the U.S. still. As I recall Olive had initially planned this as a release in their first licensing deal with Paramount, along with Peter Collinson's THE LONG DAY'S DYING, but cancelled both. My speculation is that Paramount did not have HD transfers...

Seen it speculated elsewhere, but I think the kings doodle refers to Wim Wenders KINGS OF THE ROAD and not THREE KINGS. Seeing that Janus has been mounting large Wenders retrospectives across the country, that seems plausible to me.

A potential problem (or solution?) towards getting a Blu of FM is that when Anchor Bay did their release, there were five major labels - Universal, WEA, EMI, Sony, and BMG - and now there are only three - Universal, WEA, and Sony. Which could either mean inflated rates for licensing music due to...

This-TV is owned by MGM, but in the last few years has been acquiring movie packages from Paramount, Miramax, and other studios. So AFRICA-TEXAS STYLE is probably still in Paramount's control, but will not likely surface unless a label like Olive attempts to sublicense it.

Before we all start getting our hopes up, I don't think this means a repair in the longtime break between Criterion and StudioCanal. Criterion is likely getting the movie from MGM, taking advantage of the "first dibs" arrangement MGM inherited and continues to have for select Embassy titles from...

Fox also struck 35mm in 1994 on CBS' behalf for some revival play as well. I got to handle one of those prints for a holiday run in Columbus that year, it looked nice. But I take your answer to mean that no, CBS will not be making any 35mm prints available of this restoration. Rats.

A dumb question to ask, I suppose, but as part of the overall asset strategy, were any 35mm elements or prints created, and would CBS make a 35mm print available for play. I know one high-level client (not the one you would automatically suspect) who would like to view it in such a manner, even...