3D Meet Bob Furmanek: HTF Golden Age 3-D Consultant (3 Viewers)

[dana martin]

I thought we were talking about The Maze. Now we're talking about 3D Stewardesses....?

an I am thankful that got released as well

 

[Interdimensional]

We were on the lot back in 2013! http://www.3dfilmarchive.com/an-interview-with-ned-price

I'm sure I read this before, but it's an excellent interview, among other things it gives a good example of why WB may not be so keen about allowing archival material to be sent to outside facilities, and goes at least some way to explaining how the cost mounted so high on House of Wax.

I think they'd be well advised to go for some of the low-hanging fruit, try to get out some of the 3D titles that can be mastered without incurring huge expense, such as the B&W Moonlighter.

When it comes to titles that are more problematic for one reason or another, there's always the slim hope that a solution will emerge, but in the meantime it's usually better to focus on titles that are doable and not go broke in the process.

... but on the topic of potentially expensive restorations:

I very much regret to say that FLIGHT TO TANGIER is in danger of not happening. Paramount holds YCM separation elements but the cost of scanning/recombining the left side is 30K - three times our budget.

This sounds like a perfect situation for a Kickstarter campaign. If September Storm can raise $30,000+, I can't see why Flight to Tangier can't be done.

Sadly, that is not an option this time.

Why is that, Bob? I'm sure we could finance it for you.

I suggested that early on and was told it's not an option. That's all I know.

It might have something to do with the licensing terms and/or Paramount's legal department.

If the Film Foundation were interested and able to supply the funding to enable this, do you know would that satisfy Paramount? (I presume you may have already explored this angle and either not got the answer we would hope for, or perhaps can't talk about it). But if they, or a similar organisation were to produce funds required, would Paramount be able to accept such an arrangement?

As one of only two films to have been filmed with the 6 strip Technicolor 3-D system, I would love to see even one of them restored from separation negatives(even if just one side). I accept that this may be wishful thinking and outside of what is possible. I'm just curious to see how good that could look, and if the massive camera and the whole cumbersome process was capable of producing superior results. While there is clearly a lot of expense involved I've been very impressed with some of the digitally recombined Technicolor restorations out there.

 

[RolandL]

Bob, the hints on this page alone, has me hoping for more "Universal" goodness, but being a "Creature" of habit, but, i have to wonder if there is a Gorilla at Large in my future?

That would be through FOX and TT.

 

[dana martin]

That would be through FOX and TT.

i know its a Fox title, but it doesn't necessarily mean that is a TT release

 

[Interdimensional]

TT have licenced Gorilla At Large for 3D-Bluray release, they have spoken about it, but Fox don't have a 3D master. It'll remain in limbo unless that happens, which doesn't seem to be a high priority. TT's business model means they only release existing masters, they don't commission new masters like Kino has been doing.

So Gorilla is locked away in a vault, when it should be At Large, in 3-D!

 

[Malcolm R]

TT have licenced Gorilla At Large for 3D-Bluray release, they have spoken about it, but Fox don't have a 3D master. It'll remain in limbo unless that happens, which doesn't seem to be a high priority. TT's business model means they only release existing masters, they don't commission new masters like Kino has been doing.

So Gorilla is locked away in a vault, when it should be At Large, in 3-D!

Too bad, since with the recent success of Kong: Skull Island and the upcoming Rampage, giant gorilla films seem to be popular at the moment.

 

[Interdimensional]

... that's always a recipe for fun, it's a time-honoured tradition!

And the title really tells you all you need to know.

 

[Bob Furmanek]

I wish I could say otherwise but our hands are tied on FLIGHT TO TANGIER.

I floated the idea to the Film Foundation a few years ago when we were trying to get THE MAZE off the ground. There wasn't much interest, to be honest.

The 35mm elements are not in danger of deterioration so the Paramount Archive has no plans to visit this title (or MONEY FROM HOME) in the foreseeable future.

I tried reaching out to Quentin Tarantino. He and his editor took time off from work on KILL BILL to attend the screening at the first 3-D Expo in 2003. When he learned I was the one that had found and recombined the separated left/right 35mm dye-transfer prints, he had many questions and high praise for the work. We sat together for the show and he was very cordial and complementary.

I never got a response from my inquiry for help on creating a 3-D master.

The bottom line: nobody wants to invest up to $40K to scan the YCM's on the left (and the IP on the right) for the Archive to create a 3-D master. Kickstarter is not an option.

We CAN make it happen if the Archive holding my former left 35mm print will make it available but so far, our requests for access have been denied.

 

[Camps]

We CAN make it happen if the Archive holding my former left 35mm print will make it available but so far, our requests for access have been denied.

Bob, as always please feel free not to answer this question (or to be evasive) if it might risk burning any bridges or violating any confidences.... But what is up with these archives that are (my word, not yours) withholding needed components of at least two 3D movies -- Flight to Tangier and I, the Jury? What is their right/claim to these titles if you (and/or Kino) already have some form of agreement with the studio/rights-holder? What motivates them? What would it take to get them off the dime? Who pulls their strings?

 

[Bob Furmanek]

Well, in the case of TANGIER, the new owner of the print feels it is the studios responsibility to put up the money to create this new digital asset of their property. In other words, "Why should I help them make money?"

He also feels that a 3-D restoration needs to cost several hundred thousand dollars as opposed to our necessary micro-budget.

In order to keep costs down to make it happen, GOG had to be done in 2K. He criticized that budgetary decision as well, basically saying "Do it in 4K at ten times the cost or not at all."

I understand his position, to a certain extent. We countered with the point that if we didn't keep costs down and get things done this way, it would most likely not get done at all and the film will never be seen in 3-D again. We mentioned all the important points - including the window of opportunity slowly closing (this was in April 2017) for 3-D Blu-ray - but it made no difference.

Sadly, this uphill battle happens more than you realize. There are many stories that I have not shared. SANGAREE almost didn't happen because of another Archive that would not allow access to a needed element. Thankfully, we found a way around it. (Ironically, they have no reservation sending the print to a repertory house - with a reputation for bad print handling to boot.) But making it available for a scan to create a digital 3-D master on a micro-budget? Heavens, no!

So far as JURY? Well, that's an entirely different can of worms. We still hope to be involved with a project that we originally initiated so I can't say anymore publicly right now.

 

[Camps]

This guy you're dealing with on Flight to Tangier sounds like the Soup Nazi of film archivists/preservationists.

"No print forrr you !! "

Well, I'm more eager for that 3D blu of Jury. Like I said, you'll have legions not only of 3D fans but Spillane fans backing you on that.

 

[Interdimensional]

I floated the idea to the Film Foundation a few years ago when we were trying to get THE MAZE off the ground. There wasn't much interest, to be honest.

I tried reaching out to Quentin Tarantino. He and his editor took time off from work on KILL BILL to attend the screening at the first 3-D Expo in 2003. When he learned I was the one that had found and recombined the separated left/right 35mm dye-transfer prints, he had many questions and high praise for the work. We sat together for the show and he was very cordial and complementary.

I never got a response from my inquiry for help on creating a 3-D master.

The bottom line: nobody wants to invest up to $40K to scan the YCM's on the left (and the IP on the right) for the Archive to create a 3-D master. Kickstarter is not an option.

I hate to dwell on these things, but it's an unfortunate situation. I'm quite in the dark about how organisations like Film Foundation manage to raise their capital. I wish there was some kind of reserve fund you could dip into for times like that. Who knows, maybe if the word continues to spread about the work you're doing, eventually the right person will take notice. We all know there are people out there for whom this is not an impossible amount of money.

Anyway, I'm thrilled they backed The Maze. I will send them a small donation and message of appreciation when the bluray comes out.

 

[Interdimensional]

Bob, as always please feel free not to answer this question (or to be evasive) if it might risk burning any bridges or violating any confidences.... But what is up with these archives that are (my word, not yours) withholding needed components of at least two 3D movies -- Flight to Tangier and I, the Jury? What is their right/claim to these titles if you (and/or Kino) already have some form of agreement with the studio/rights-holder? What motivates them? What would it take to get them off the dime? Who pulls their strings?

... not to mention the 65mm elements for the original cut of Mark of the Wolfman!

Why can't things just be straightforward?

 

[John Sparks]

Java the Hutt?

View attachment 43978

No, the creature from the Outer Limits...Don't Open Until Christmas.
https://search.aol.com/aol/image;_y...om/cart/images/scifi/03ODD11.jpg&action=click

 

[Jobla]

Don't Open 'Til Doomsday, my favorite OL episode.

 

[John Sparks]

Before I went to 'Nam in 1969, I visited FJA's house on Olympic Blvd. and saw that in his basement, that's why I thought of it.

 

[Keith Cobby]

I think we can live in hope that Flight to Tangier will happen eventually. Who would have thought a couple of years ago that The Maze would be released in 3D.

 

[Bob Furmanek]

THE MAZE had been in the works for several years and only began to really come together after I met Martin Scorsese. The film was a childhood favorite of his and he had been trying to get a 3-D copy from Paramount for years, to no avail.

I gave Mr. Scorsese a copy of the original pop-out issued to theaters in 1953. After that, everything finally began to fall into place with getting the 4K scans off the camera negatives.

You can thank Jerry Lewis for making it happen. He's the one that brought us together at the Museum of the Moving Image in New York.

Ironically, it was at the same time when I told Jerry we had worked everything out and MONEY FROM HOME was going to happen!

Sigh...

 

[Camps]

To tell the truth, I wouldn't mind an I, The Jury re-boot by Mr. Scorsese. Larry Cohen's 1982 version with Armand Assante was fun but just didn't have much of a Spillane feel.

 

[Richard V]

If you turn Salvador Dali's art for THE MAZE upside down, what do you see?

View attachment 43974

A church-like building and that Glob thing from Hotel Transylvania.