Dan Rudolph
Senior HTF Member
- Joined
- Dec 30, 2002
- Messages
- 4,042
If the IMDB doesn't accept something, post in the contribution help forum. They'll either explain why somethign wasn't accepted or get it in there.
Thanks -- and two cheers for mono, by the way, whether presented as two track or a single track; I'm certainly not in Woody Allen's "surround sound is distracting" camp, but a good, clean mono track can ... well, for lack of a better word, caress a film in a unique and rather beautiful way.As much as I like stereo I agree that some mono sountracks sound superb. I'm thinking particularly of ROSEMARY'S BABY which is surely one of the finest mono tracks ever. It is so wonderfully clear, varied and subtle.
As much as I like stereo I agree that some mono sountracks sound superb. I'm thinking particularly of ROSEMARY'S BABY which is surely one of the finest mono tracks ever. It is so wonderfully clear, varied and subtle.Agreed.
Altman's, McCabe & Mrs Miller mono mix is also superb.
And the original mono soundtrack of Jaws is real beauty, too. But it's only on the DTS DVD version; I'd double-dip on a 2-disc version of Jaws in a heartbeat. A Carl Gottlieb commentary would be really something. Spielberg schmielberg!
Gordy
And the original mono soundtrack of Jaws is real beauty, too. But it's only on the DTS DVD version;It is?
To expand on this a bit further, what I'm specifically assuming here is that the anamorphic squeeze (performed in capturing the image, rather than after the fact, as with Superscope) is capturing a breadth of visual information that simply couldn't be captured from the same "distance" (both practical, in camera placement, and apparent, in lens length) by flat Academy Aperture photography -- thus, if you wanted to capture a lemonade stand between two oak trees, with CinemaScope you might capture both trees and the stand in a medium shot, but to capture all of this in flat photography would require a much longer lens and therefore a shot of much greater apparent "distance" from the subject (a long shot). Is that about right?Precisely!
For Down With Love to be a 'true' CinemaScope film, for me, it would have to have been filmed with original Chretien lenses or original Bausch & Laumb lenses. I doubt that Panavision would have allowed the film to be released as being filmed "In CinemaScope", but maybe they have a sense of humour! I think it's a great touch. I don't recall what the most recent film was that had "Filmed In Panavision" in the opening credits.
Great stuff.
Gordy