I'm pleased that Mr. Williams referred back to the old discussion, as his point is well taken.
It is the film elements which have now been used to full advantage, returning to three-strip originals or protection masters for the first time since YCM Labs created the first modern interpositive to be made from the originals in 1988.
The work performed by YCM was, as always, superlative. I don't believe that any other facility has the background and knowledge that they do in the photo-optical re-combining of original Technicolor elements.
What Warner Brothers has now done, is well beyond that, and via totally different means, thereby providing a far superior product than was possible fifteen years ago.
I haven't always been a fan of the work done at Warners, although in a way I grew up there, in the New York offices.
It is doubtful that some at the studio have forgotten my appearance on The Today Show, speaking, in no uncertain terms. against their 1999 "restoration" of Gone with the Wind. That was something which I took no pleasure in doing, yet felt that the truth of the situation needed to be weighed against a mass of studio publicity heralding the new coming of film restoration in their work.
I vehemently did not agree.
I try very hard to be open and fair in examining classic films, not only when resurrected for theatrical screenings, but just as importantly for home video. I try to examine each situation based not only upon the look and feel of the final product, but what I know that product should, or could, look like. There are certain occasions, where friends are involved that I choose to simply remain mute.
I find it extremely important to remain honest in my reports. If I don't, and constantly report "brilliance," then how can one communciate extraordinary work when it appears...
as in the new Gone with the Wind.
There is a fine short documentary as a companion to the new DVD, with comments from the technical staff regarding the restoration and final visual and audio work toward the creation of the DVD.
While those involved sit somewhat comfortably and speak with the interviewer about their work, I cannot help but believe that very, very few viewers will really have any idea about the hellish months of long days and nights which went into creating this DVD set. There is a great deal of blood and angst in these restorations. The documentary can of necessity, only gloss over the work performed. The problem is that it makes it look all too easy, which is the furthest thing from reality. I truly hope that Mr. Cookson, Mr. Hummell and Mr. Price get deserved parking spaces closer to their offices as a small "thank you" for their work. They deserve it.
RAH
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