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I posted my front custom covers for Psycho and Vertigo earlier... here's my take on Frenzy:

DavePattern: You're right! Final script for Rear Window: http://www.dailyscript.com/scripts/rearwindow.pdf Just skimming over it, it has some extra dialogue in spots that's not in the finished film. There's an awkward line from Thorwald near the end that was thankfully replaced with his...

Correct me if I'm breaking rules, but my local library has the original Rear Window DVD... Perhaps I could upload the screenplay PDF somewhere for those who got the Masterpiece Collection version.

I really wish they made the bonus disc a DVD-18 so that the Psycho and The Birds making-of's would be on one side, the AFI Salute condensation, the Masters of Cinema segment (which I thought was excellent) and the other side would have the Shadow of a Genius documentary Universal produced for...

Oh, I missed the part about the UK set. That really seems like an idiotic move on the UK branch, considering they probably have access to the American HD transfers. Even worse, I can't believe that they'd release some of his films in P&S-only!

Greedy? People wanted a better priced collection of the films, better DVD's of many of the films (Psycho, Vertigo, Shadow of a Doubt, The Bids, and Marnie). Save for the fairly awful Man Who Knew Too Much, they put out exactly what was wanted. If they wanted to be greedy, they could have...

Nearly all 1.85:1/1.66:1 films are matted on the top and bottom to achieve a widescreen image. This is usually done in-projector by an aperture plate. Some films are hard-matted (Kubrick did this with several of his 1.66:1 films like Dr. Strangelove and A Clockwork Orange) in-camera or on prints...

Or "Voitago" in order to publicize recreational balls along with the movie!

Well, maybe studios aren't as interested because people will pass over their regularly priced DVD's and get the PD DVD's. While I'm sure restoration plays a factor in it, note that Warner Bros. hasn't released DVD's of Royal Wedding, Life with Father, or Meet John Doe. From what I've heard, MGM...

Public domain labels offer films with absolutely no regard for respect for them. So, they're cheap... well, would you buy a steak that's been digested and expelled because it's $10 cheaper? On Notorious... I'm not sure, but I think Selznick sold certain rights to RKO, but the film...

Not so... The four Selznick films directed by Hitchcock (Rebecca, Spellbound, Notorious, and The Paradine Case) are owned by Disney (via ABC, who owns all Selznick International films, with a few exceptions). They licensed most to Anchor Bay initially, then a few to Criterion. MGM picked up a...

What exactly is the complaint? :D DavePattern: Thanks for the Rear Window comparisons... I noticed that only in the new R1 DVD you can see the lines on Stewart's shirt sleeve. They're invisible in all the other DVD's.

I really don't think LDI needs to work on any of the Universal Hitchcocks. Color restoration could be achieved via digital intermediate and damage/dirt removal could be manually erased (as seen in Cinesite's work). However, those are really the only problems the films need resolving. Perhaps...

I think the re-rating of Psycho is idiotic. No 1960 film could possibly deserve an R rating.

It's 6.9 mbps. According to DVD Beaver, the original DVD was 5.41 mbps. Also, the film takes up 5.8 GB of space on the new DVD (7.25 GB for the whole disc). About restoration... Nearly any restoration can be improved. A lot of films have already been restored several times. Disney had...

Although, they could simply make it a DVD-14 with the DVD-9 in the box set, with the other side just having the documentary. Same thing for The Birds.

Rear Window, though, has an extremely fine-grained texture. Sure, there's grain, but check out how finely detailed everything is.

In Power DVD, I manipulated the frame to simulate a non-anamorphic DVD and it ended up looking a lot like the old DVD, except sharper. I really think the old edition hid a lot of the grain and opticals artifacts by its lower-res nature (not to mention that I suspect it had a light amount of DVNR...

I think TCM ads were placed in the W.C. Fields and Marx Bros. sets, too. The cross-promotion is a wise idea since TCM has the broadcast rights to nearly all Alfred Hitchcock films (British and American). Also, Universal moved most of their classic film packages to TCM... the monster films, Marx...