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The director does not pay the cinematographer. Both individuals were paid by the studio. Therefore, what gives the director the right to decide anything about the look of the film, either? By your logic, only the president of the studio can make that decision, as that's the ultimate person in...

A recent piece on Digital Bits announcing a new label called Celluloid Dreams contained the following statement: "We’ve learned that the release will be coming from a new label called Celluloid Dreams. And one of the company’s chief ambitions is never to run their transfers through an...

Despite it having been explained to you previously, you still don't seem to understand that Robert Harris, the man you're responding to with that comment, has actually worked with those original film elements for the 2007 restoration and knows very well what they are actually supposed to look like.

This is just the latest out of countless examples of filmmakers changing their mind regarding movies they made years earlier, and retroactively imposing new ideas onto their old work. William Friedkin insisted that he absolutely always wanted The French Connection to have weird "pastel" colors...

Coppola is not always consistent in this regard. For exampe, the theatrical cut of The Cotton Club was not reissued when the "Encore" version was released.

It's so strange, this divide the industry has fallen into. On the one hand, you've got a group of filmmakers and content producers who want to take their new digital things and rough them up to look grainy and "analog," based on some half-mythologized idea of what they believe analog film looked...

Cundey approved about 12 different video masters for The Thing, and no two of them look anything alike! :D

The studios aren't just going to let these titles in their catalogs lie fallow. They will find some way to continue monetizing them. One way to make a new restoration appealing for streaming services would be to pull the title from circulation for a time, and then return it later, boasting of a...

Fair enough. It becomes a matter of whether the changes are severe enough to detract from enjoyment of the film. In the case of Star Wars and The French Connection, the altered versions are unwatchable, IMO. The Godfather, probably not. I agree that it's unlikely Paramount would redo the work...

This is just the latest example of a filmmaker substantively changing work he made decades earlier. Some of these revisions are subtle, and some of them outright desecrate their old movies. Are you one who defends the Star Wars Special Editions because, "This what George Lucas says he wants, and...

Let's not overestimate the number of people actually upset about this. I would venture that the great majority of them post in this thread. Elsewhere in the world, there's been almost nothing but praise for this release, as nobody realizes there's anything wrong with it.

As Ghostwind said a few posts above, a 4K release of the prior restoration would probably only be a small improvement over the Blu-rays. RAH has said that master should not have HDR applied, and I believe he's suggested that the film elements only have around 3K worth of resolvable detail...

On the one hand, I take Eric's point that demanding perfection from every detail of everything we watch is neither realistic nor healthy much of the time. People will drive themselves mad wondering, "Could this have been done differently? Would it have been better doing this instead of that?"...

Wasn't Soderbergh's Unsane shot entirely wih iPhones?

Criterion does not always create all of the video masters they use. They do at times license masters from other entities, which is how the "restoration" of Children of Paradise wound up such a mess despite being released under the Criterion label. Let's suppose there were a world in which...

No label is perfect. Criterion typically defers to the wishes of the filmmakers, even when they want to make radical changes to their work - such as Vittorio Storaro cropping The Last Emperor, Michael Cimino not just re-editing but drastically changing the photographic look of Heaven's Gate...

Yeah, it feels like some reading between the lines may be necessary here. Though, if that video willyTass posted above is close to an accurate comparison, the color change does not seem offensively different to me. It's not like, for example, the way that Batman '89 was given a sickeningly...

Since we're off on this tangent now... Lost Highway already has extended fades-to-black built into the movie. One of the side breaks on the Japanese LD was so well placed in the middle of one of those that, if you had a player with a quick change and that displayed a black frame during the...