Quote:
Originally Posted by
Vincent_P 
And Storaro has clearly stated his reasons for cropping these films. A change is a change is a change. Why do you think it was okay for Fincher to do this, but not okay for Storaro? Oh, and what about the alterations to the framing of SEVEN? Are they okay just because the black bars are the same size?
Vincent
Depends on why one believes OAR (or any such thing) is important. If one believes that they should be treated as historical documents, then Fincher should at least allow both the original and his new version to be made available (as should Storaro).
However, in terms of the "art" itself, Storaro's change is different from Fincher's because Storaro's appear to be motivated by something other than the specific piece of "art" itself while Fincher is apparently doing it for the sake of that specific piece of "art", which is actually far more in line w/ what's been historically done and generally *accepted* in the art world.
I haven't heard of too many artists going back to apply a set AR crop (or whatever alterations) at a wholesale level to their previous works seemingly in order to promote some other agenda for the future and then have the art world accept that as legitimate. Touching up, refining, etc. some specific piece of art (or music) over the years is OTOH far less controversial than that and has been regularly done for centuries, if not millenia.
And when one considers the *actual* results of Storaro's choices, there is IMHO absolutely no reason to believe he has been applying them for the good of those films. Sometimes, you just canNOT trust the artist and must judge the art (and its alterations) itself -- and this seems to be one such instance.
Of course, these are all just opinions, so you may continue to disagree w/ them...
_Man_
