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One of the problems with both of these films, is that they were designed to be viewed on huge screens. Therefore viewing on even the largest flat panel, in the wrong aspect ratio does major damage - especially when also viewed via a small gauge mastering element. The Alamo, because of optics...

The Alamo could have made its costs back in theatrical. No home video or streaming necessary.

A bit of the way

X-copies of both the 6-tracks of the general release version as well as the 70mm print. Thus, audio is not a problem.

No preservation, with the exception of an x-copy of the roadshow tracks.

Financing was not a problem. Permission to save the film is the problem.

It is not. We have different understandings of what this film can and should look like, and 1920 x 1080 is not a reference. The Alamo was, and should be, one of the most highly resolved large format films.

There were no terms. Some basic guidelines: major corporate sponsors would receive credit and be able to access the restoration for screenings to promote other charities. I have no problem helping raise funds for the likes of The American Cancer Society, St. Jude’s, or for that matter, the AFI...

Funds were never an issue.

Information came from Beverly Faucher. Don’t know if she’s still with MGM, but I’d take her at her word.

MGM has reported that all original elements are pristine.

There is more than one 65 scanner in town, and not that many projects.

MGM is incapable of getting the best results out of it.

??

Mr. Clothier knew his way around a camera.

The long version is not preserved.

Correct. Thank you!

First, I don’t believe there was any “material” involved in this product, so there is nothing to protect. In 1967-68, Mr. Wayne took enough time off protecting our west coast in his converted PT Boat, to direct The Green Berets for WB.

That’s wonderful. But what did Koch actually do to save the film elements?

I’m not certain about that. Birdwell was Texas born.

More than a bit short-sighted. One must wonder whether there was a publicist involved or if Mr. Wills did this on his own.

What would be the source of 4k?

Less than a minute. Footage damaged during telecine and replaced with reaction shots. It Roadshow can still be fixed, although it will never look any better than Mad World. The cut version - I do not agree with MGM’s old assessment - gets worse with time, and would be a bear of a restoration...

Continuity is easy. Mine was used to understand what was needed for the laser transfer. There are no known 35mm roadshow prints. I located a single reel. So some were struck in 1960, possibly as back-up.

Once more, with feeling… ”There is no complete Roadshow version of The Alamo on home video.” ”There never has been a compete Roadshow on home video.”

There is no prime quality 16:9. It’s 4:3.

The refuse to allow a proper restoration of the cut version. The Uncut cannot be properly restored. For the record the imagery of the Uncut takes the same format as Mad World, the inner parts of the frame, losing about 20% on all sides to achieve a 35mm 2.35 aspect ratio.

A bit obtuse. None of these images relate to cut footage.

It is not. There are re-cuts and cover shots to disguise damage that occurred during the telecine.

I had a fraternity brother from a place called Balmo, and we occasionally needed sub-titles to understand him.