Who Else (Besides Me) Thinks THE SHINING Would Be Excellent Showcase For WIDESCREEN?

Discussion in 'Archived Threads 2001-2004' started by David Von Pein, Aug 10, 2002.

  1. David Von Pein

    David Von Pein Producer

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    Too bad that THE SHINING is only available in 4x3 format.
    Don't you agree that the vastness of the Overlook Hotel, plus the sweeping panoramic overhead shots that are provided early in the picture, would look much better in Widescreen?
    While not one of my all-time favorite motion pictures, I'd still love to see the HUGE Overlook in 2.35:1 splendor! How 'bout you guys? [​IMG]
    [​IMG]
     
  2. Adam Lenhardt

    Adam Lenhardt Executive Producer

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    The express written wishes of Stanley Kubrick state that the Academy Ratio is his prefered ratio for this film. That is why this (and many other works by him) are only represented by full frame transfer. Note however that the transfer is open matte, so if you desire you can create your own mattes.

    In short, this movie will never be released on DVD in widescreen and considering the information we have presently I'm not sure it should be. Please do a search, as the topic has been debated throughly in the past.
     
  3. greg_t

    greg_t Screenwriter

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  4. Patrick McCart

    Patrick McCart Lead Actor

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  5. Dave Mack

    Dave Mack Producer

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    While I agree wholeheartedly w/ artistic intent etc...(So no attacks please!) whoever shot 2nd Unit for Kubrick in Oregon, I believe certainly didn't compose for Academy ratio... "Helicopter shadow" anyone...? And Kubrick left that shot on the filmwhich is invisible when matted to 1:85:1..

    Since 1:85-1 is the way I saw it in the theater back in 80' I have NO problems watching it zoomed on my widescreen set, looks pretty good. On some shots in 1:33-1, there is quite a bit of headroom!


    AND an anamorphic transfer would have been nice, resolution-wise...
     
  6. Inspector Hammer!

    Inspector Hammer! Executive Producer

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    Yep, Kubrick wanted this film to be at 1.33:1. Those were his wishes, that's what he composed for, so that's what I want to see it in.

    Here's something fun to do next time you see that film, watch just about every scene and you'll notice that various objects, and even walls and ceilings form a vanishing point effect. Altering the films ratio from 1.33:1 will ruin this illusion. One of the more famous ones is the scene in the bathroom when Grady is instructing Jack about what he has to do. Look at the walls, ceiling, and stalls in the long shot. This is visible all through the film.

    Someone posted screen grabs of that shot in the past, perhaps someone could do so again.
     
  7. Patrick McCart

    Patrick McCart Lead Actor

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  8. Michael Reuben

    Michael Reuben Studio Mogul

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  9. Inspector Hammer!

    Inspector Hammer! Executive Producer

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    I think that he may just be wishing that the film was shot in 2.35:1. He's imagining what The Overlook would look like in that ratio I think.
     
  10. Patrick McCart

    Patrick McCart Lead Actor

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    It's just another case of "If it's in fullframe, it must be 2.35:1!" syndrome.
    I think it's funny, but nearly all P&S discs are open matte (In fact, Episode II should be the first scope film to have a dual versions...). If there's a fullframe disc out, it's more likely for it to be 1.85:1 than being 2.35:1.
    Even WB, who never releases widescreen discs [​IMG] , doesn't dare to release a scope film in pan & scan only.
     
  11. Michael Reuben

    Michael Reuben Studio Mogul

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  12. Douglas R

    Douglas R Cinematographer

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  13. Patrick McCart

    Patrick McCart Lead Actor

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  14. Scott Merryfield

    Scott Merryfield Executive Producer

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  15. Patrick McCart

    Patrick McCart Lead Actor

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  16. Chad R

    Chad R Cinematographer

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    "Mummy" and "Mummy Returns" were both scope (and the former was one of the very first dual releases). I think the decision has to do more with the studio than whether the film was originally scope. Not to forget all of the films with both ratios on one disc where the original process didn't matter.

    Also, sorry to nitpick, but Episode II is digitally shot to 1.78 and matted for the 2.35 so it's more akin to Super 35 than scope.
     
  17. Jack Briggs

    Jack Briggs Executive Producer

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    My turn:



    I don't think it is our place to question Stanley Kubrick's artistic decisions; the master's work speaks for itself. It is a well-established fact that Mr. Kubrick was a dedicated fan of the Academy Aspect ratio; as our own Robert A. Harris has noted, Mr. Kubrick liked height in his compositions.

    The Shining looks gorgeous--and appropriate--in its 1.37:1 OAR. I'll take the film as the filmmaker gave it to me. So I, among many others, very much care about what Mr. Kubrick wanted. And no filmmaker was more "up to date" on the technical issues and errata of film, cinematography, and film exhibition.
     
  18. Geoff_D

    Geoff_D Supporting Actor

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    The remastered DVD has been transferred so well it holds up even if you zoom the image on a 16x9 set. Every now and then I do a little comparison with the disc by watching one scene in 4:3, then playing it again zoomed in.

    The difference in composition is striking, with the characters dominating the frame in the 'matted' version. But in 4:3 the Overlook and it's gorgeous interiors (the true stars of the show) take over. Fascinating stuff.
     
  19. GaryEA

    GaryEA Second Unit

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    I agree the film is presented just fine. I also think the film would have be just as stunning if Kubrick had shot it for widescreen.

    However, I have to respectfully disagree with one comment.

     
  20. David Von Pein

    David Von Pein Producer

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