- Joined
- May 9, 2003
- Messages
- 3,103
I kept the original Paramount Apocalypse Now DVD because it had the Kurtz Compound destruction footage, which the later DVDs did not have. I didn't even think that there could be a difference in the edit on the Dossier version. At this point, I have the Dossier and that original DVD. This new Blu-ray should render both of those obsolete - but I'm keeping my eyes open just in case. For the same reason, I'm hanging on to the Hearts of Darkness DVD because it has the Youth Without Youth documentary.
Carl, I hear what you're saying about the difference in edit, and most likely there's no problem. When I read the interview, it sounded like they were talking about the original just being a shorter version of Redux, and that the seamless branching was just to add back in the extra scenes. I'll be glad to be proven wrong in any worries here. (As Tom Petty says, "Most things I worry about, never happen anyway...")
Will, the issue for me of the color timing is a critical one that I really have to respect the Director of Photography on. It's the same thing as the work that Gordon Willis did for the Godfather movies which Robert Harris talks about on those Blus - where he was literally leaving nothing in the blacks to bring up by someone after the fact. I can disagree with Storaro on the merits of his framing of the home video editions, in the same way that I disagreed with Stanley Kubrick over his reluctance to have widescreen home video editions of his later films. But when it comes to color temperatures and shadings, we're in a completely different world.
Carl, I hear what you're saying about the difference in edit, and most likely there's no problem. When I read the interview, it sounded like they were talking about the original just being a shorter version of Redux, and that the seamless branching was just to add back in the extra scenes. I'll be glad to be proven wrong in any worries here. (As Tom Petty says, "Most things I worry about, never happen anyway...")
Will, the issue for me of the color timing is a critical one that I really have to respect the Director of Photography on. It's the same thing as the work that Gordon Willis did for the Godfather movies which Robert Harris talks about on those Blus - where he was literally leaving nothing in the blacks to bring up by someone after the fact. I can disagree with Storaro on the merits of his framing of the home video editions, in the same way that I disagreed with Stanley Kubrick over his reluctance to have widescreen home video editions of his later films. But when it comes to color temperatures and shadings, we're in a completely different world.