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DarkVader

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Why, oh why did they have to dump this in a boxed set with (some) films I have no interest in owning!!!!!!!
 

David Norman

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But Prime is far from free and returns aren't that hard.

$15-20 buys lots of Goodwill on a $100 set esp considering I've had far more damaged items from Amazon than DD and I order a lot more from the latter. And I have Prime FWIW.

Different strokes
 

noel aguirre

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But Prime is far from free and returns aren't that hard.

$15-20 buys lots of Goodwill on a $100 set esp considering I've had far more damaged items from Amazon than DD and I order a lot more from the latter. And I have Prime FWIW.

Different strokes
Correct and nothing beats next day delivery for me. And I also get cash back as I have a Prime Visa so I applied an additional $15 towards the purchase rewarded from prior purchases at Whole Foods which I didn’t mention .

To each his own- that’s my philosophy.
 

noel aguirre

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Re Oliver - Kudos to Columbia for doing the overture right without a picture. I wish everyone would follow this as a still or whatever was never meant to be shown during overtures unless originally included as in My Fair Lady.
 
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Indy Guy

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Nobody has mentioned the inappropriate music that plays during Oliver's menu screen! If anything could set up viewing a bootleg disc, it's wacky music like this.
Oliver is one of the greatest musicals of the 60's, and to start this excellent 4K transfer we are treated to what sounds like a burlesque show! Who was responsible for this?
 

dukiejosh54

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Nobody has mentioned the inappropriate music that plays during Oliver's menu screen! If anything could set up viewing a bootleg disc, it's wacky music like this.
Oliver is one of the greatest musicals of the 60's, and to start this excellent 4K transfer we are treated to what sounds like a burlesque show! Who was responsible for this?
I noticed this as well! It's very strange they didn't use any music from the film for the menu. The music is so out of place i almost wonder if it has to be a mistake.
 

DFurr

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I've got a chance to purchase a 35mm Technicolor print of Oliver with 5 minutes of walk-in music at the beginning. The print is in decent condition. Just haven't decided yet if it's one a want to keep. I had a print back in the early 90's and sold it.
 

titch

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I've got a chance to purchase a 35mm Technicolor print of Oliver with 5 minutes of walk-in music at the beginning. The print is in decent condition. Just haven't decided yet if it's one a want to keep. I had a print back in the early 90's and sold it.
Wouldn't the UHD in this case be an example of how a digital restoration projected from a tiny silver disc onto a large screen can better the experience from a Technicolor print? Especially regarding the sound?
 

DFurr

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Wouldn't the UHD in this case be an example of how a digital restoration projected from a tiny silver disc onto a large screen can better the experience from a Technicolor print? Especially regarding the sound?

Not for us purest film people. I'd rather see film on the screen than digital. Having said that, you're right....the sound with digital would be better.
 

KPmusmag

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I prefer a silent menu anyway. And it seems that the menu music is often louder than the movie and it blasts you when it goes back to the menu after the movie if you don't think to turn it down immediately after the movie ends.

Another thing about menus for Roadshow films - I would love to be able to choose an option where, at the end of part 1, it would go to a secondary menu with a "Resume" button - at this point, you can take a break if you want to (I usually need to, especially in a longer film like Lawrence). The part 2 walk-in music would then start when you press resume. I usually pause the film at intermission, but the secondary menu would mean I wouldn't have to fumble for the remote in the dark, which is distracting from what is usually a climactic moment.
 

Johnny Angell

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My guess is that whatever music they used was chosen because it was cheaper than using music actually from the movie.
This is a release of the movie. Are you saying it would cost extra to use music from the film? Surely they already have the rights to use the music on the disc? I’m voting for laziness. Somebody wouldn’t spend the time to select and edit music from the film for the menu.
 

TravisR

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This is a release of the movie. Are you saying it would cost extra to use music from the film? Surely they already have the rights to use the music on the disc?
I could be wrong but I figure there are cases (such as with movies that pre-date home video) where they'd have to pay whoever owns the rights to the music to use it any way that's not part of the movie. Sony can do whatever they want with the movie but using the music for a menu isn't the same as having it as part of the movie and, in some cases, I think they'd have to pay to do that. That's the only way that it makes sense to me that they'd use and pay for someone else's music for the menu. Unless the menu music is public domain, Sony had to pay at least a little bit to use it and that's more than if they had the right to do whatever they want with the music from this movie.
 

PMF

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The sound design and fidelity was never good. It’s ironic that it received an Academy award for best sound.
The original stems are MIA or forever lost. The Oscar for Best Sound was valid and justified.
Nobody has mentioned the inappropriate music that plays during Oliver's menu screen! […] Who was responsible for this?
TBH, I got a kick out of it. It’s got to be connected to something archival, such as the music created for theaters of that era to play in-between shows while the lights were up and the ushers swept crushed popcorn off the floor.
 
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Stephen PI

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The soundtrack for OLIVER! was mixed at Shepperton Studios. The original mix was 4-track stereo (L.C.R.S). The 6-track was created by the studio during the print-mastering stage. Up till then, in the UK, all stereo mixes were 4-track. For 70mm releases, London's Technicolor lab handled the 6-track spread conversion plus laying the audio back to the magnetic stripes. Shepperton was the first to produce a 6-track print master, on OLIVER!, which is not the same as producing a discrete 6-track, mix that at the time no sound department in the UK could produce. Only facilities like Todd-AO in Hollywood were equipped to handle the traditional 6-track configuration discrete mixes. Cubby Broccoli's production of CHITTY CHITTY BANG BANG which had most of its post production done at Pinewood, had to ship all the necessary sound elements to Todd-AO Hollywood for the 6-track. I think the first 6-track mixing in England was at Pinewood on SUPERMAN in 1978, but by then a new 6-track configuration was used.
 

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