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Agreed.

Best example I can think of is To Kill a Mockingbird. It's an attempt to mitigate grain in very grainy scenes or films. Most recently, it involves degraining a harvest, then adding back "simulated grain" in an effort to create a uniform appearance of grain in movies originated on film. Much like...

Once a film is released into the wild, the director has little to no control over how it is received and how his vision is interpreted by the audience. If a director is able to wrest control back, sometimes it works and sometimes it doesn’t. There are many high profile examples of this where the...

Agreed. I'm a huge fan of the newsreel type framing device. I remember seeing this on closing night at the local theatre and loving it. When FFC is on his game, there are few who can equal him, and a great performance from Jeff Bridges.

David Lynch, Mark Christopher, and many others would like to have a word. The director's word is only final if he has final cut.

But Kubrick still had to rely on other people to execute his vision. You don’t get Barry Lyndon without John Alcott’s approach to lighting, you don’t get 2001: a space odyssey without the contributions of the effects crew and camera department. Directors don’t work in a vacuum and they can’t do...

I’m not insisting I know better than Coppola; I’m saying that Coppola is no longer the filmmaker he was in 1972. I’m glad he isn’t, because to suggest otherwise would be to claim that filmmakers should be frozen in time. However, their films should be preserved as they were at that point in...

You lost me at Elia Kazan. I'm all for the art not the artist, but what he did with respect to the Blacklist was inexcusable.

This would be fine if auteur theory had any basis in reality. It doesn't; every single film is a collaborative process between artists, technicians and craftsmen. What we know from the 2007/08 restoration is that the restoration team had access to archival elements, as well as the memories...

Roger Deakins was involved in one of the earliest DI titles, O Brother, Where Art Thou. This particular mini doc really covers why the OCN is not the final word.

Thanks for this. Several filmmaker names were rotating through my head as I read this.

Read more carefully. In the same sense that Apocalypse Now: Redux and Apocalypse Now: The Final Cut are reimaginings of an archival film, CODA is a recut and is therefore not bound to the "original look" of the 1990 release. The Best Picture wins for the first two films just reinforce that the...