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Will Around the World in 80 Days ever get a special deluxe edition like The Wonderful World of The Brothers Grimm? (1 Viewer)

RolandL

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I know that we have another thread for 80 days, but I wanted to start another to focus on David Strohmaier and his possible future work on digital restorations that could include 80 Days. We all know Grimm was quite a success as a restoration as well as a terrific seller on Blu-ray for the Archive.

I just had a lengthy phone conversation with David on 80 Days. He informed me he had proposed to George Feltenstein and other staff at Warner about three months ago David’s possible involvement with the restoration. At that time they hadn’t decided if they would have Dave & Tom March or their own staff to do the digital restoration.

Let’s hope at some point Dave might be willing to weigh in on this topic.
 

Capt D McMars

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I would just like to see a decent 4K restoration of the film done within my lifetime. And I don't care if it's not the "Roadshow" edition ( i know, a feel the tension). It is an essential title and it will take a dedicated team and massive funds to accomplish this task.
 

Patrick McCart

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One major difference between "80 Days" and Brothers Grimm is that this is a Best Picture winner that was a massive box office success in its day. I'd prefer a Blu-ray (or even UHD) to be the byproduct of a larger project to restore both the 30fps and 24fps versions long term. I don't think anyone is going to get on Warner's case for focusing mostly on DCP and home media when it came to Brothers Grimm as it's been more of a niche title... but this is one of their crown jewels.
 

john a hunter

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Of course that implication would be wrong and that is why it was never implied Robert.
80 Days is an important film, with technical difficulties yes, but should have surfaced before now.
Hopefully the conversations between Dave and George will produce some results.
 

Robert Crawford

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Of course that implication would be wrong and that is why it was never implied Robert.
80 Days is an important film, with technical difficulties yes, but should have surfaced before now.
Hopefully the conversations between Dave and George will produce some results.
Such a restoration costs money! In case you haven't noticed, Warner has undergone severe organizational and financial changes including massive layoffs. I think we're lucky that Warner Archive has survived up to now because it was almost dead and buried. Just because you think it should have surfaced before now that doesn't mean that timing and conditions were right for such a restoration investment.
 

Josh Steinberg

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Such restoration costs money! In case you haven't noticed, Warner has undergone severe organizational and financial changes including massive layoffs. I think we're lucky that Warner Archive has survived up to now because it was almost dead and buried. Just because you think it should have surfaced before now that doesn't mean that timing and conditions were right for such a restoration investment.

Agreed - for better or worse, we’re talking about a film that has for all intents and purposes exhausted its profit potential. This is a film that might sell a few thousand copies and occasionally draw small audiences in repertory theatrical presentations. I’d love a better copy than what’s currently available but I also don’t fault a for-profit company for not having spent millions of dollars for which there is no viable pathway to recover that investment. Each year the digital tools that could make a quality remaster possible become more and more affordable and bringing the costs down to something the studio could possibly recover is the only realistic hope.
 

Thomas T

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Such restoration costs money! In case you haven't noticed, Warner has undergone severe organizational and financial changes including massive layoffs. I think we're lucky that Warner Archive has survived up to now because it was almost dead and buried. Just because you think it should have surfaced before now that doesn't mean that timing and conditions were right for such a restoration investment.
Some film buffs live in a bubble protected from the real world! Because certain "classic" titles (Around The World In 80 Days, Raintree County, High Society to name just three) haven't been released yet these bubble inhabitants seem to think Warners or Disney or fill in the blank doesn't care about these titles and are letting them gather dust in some vault. I'm sure those at their respective studios (like George Feltenstein) are fighting the suits to get money allocated for these expensive and extensive projects that take time and money and aren't top priority. Warners recently scrapped two expensive movies (Acme Vs. Coyote and Batgirl) that were already in the can rather then release them because they thought it was economically favorable to the studio. Why then would they be eager to dump money into an almost 70 year old movie that they'll be lucky to break even on in physical media sales?
 

Robert Harris

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Of course that implication would be wrong and that is why it was never implied Robert.
80 Days is an important film, with technical difficulties yes, but should have surfaced before now.
Hopefully the conversations between Dave and George will produce some results.
What are taking about? Do you have any idea what’s occurring behind the scenes?

Your comments are not appreciated, and can actually cause damage.

Why don’t You restore and release the film?

Got elements?

Speak to Dave.
 

PMF

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I wholeheartedly believe in the powers that be.

Whomever is overseeing Around the World in 80 Days; be it while sitting in a salt mine or being assessed for a restoration; I am certain that indifference has never been the issue nor ever come into play.
 
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Strohmaier

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Weighing in on “80 Days”

Yes, I have had talks with WB about performing digital image clean-up work on “80 Days.”
This is mostly due to the wonderful response to the work having been done on “Brothers Grimm.” A little more than a year ago a good friend of mine who has followed my career of digitally restoring Cinerama 3-panel and 70mm Cinerama titles and who is also well acquainted with the board members of the Elizabeth Taylor Foundation asked me about “80 Days.” As some of you may know, Miss Taylor sold the rights to “80 Days” to Warners back in 1983 so technically the foundation would have no real say about a restoration but hopefully could retain some influence on a such a project.

On a conference call the Taylor folks asked what I thought about a needed restoration of “80 Days” in 30 fps, a title that is certainly dear to their hearts and an important part of the family’s legacy. I gave them my thoughts on such a project and what we could do with it if WB moved the eventual digital restoration over to us. Besides the Foundation’s interest the Mike Todd Jr. Estate and family were also made aware of such a proposed project as Mike Jr. was instrumental in his father’s massive production. I told them that if we were to end up doing the digital restoration and clean up like the “Grimm” project, we would also create and provide several important extras to make it more than a special home video release. They said they will open up their archives to us as well as their film deposits at the Library of Congress to access some very interesting related items which include never before seen behind the scenes footage. This discussion prompted a letter from the Taylor Estate & Foundation along with Mike Jr. family to several key personnel at WB recommending that I do a similar “Grimm” type overall package for “80 Days.” This letter then prompted a discussion with me and the WB folks about such a project.

My history with the title goes back to when I was seven years old and I saw two films that were instrumental in inspiring me eventually going into the movie industry. The two titles were Cinerama’s “Seven Wonders of the World” and “Around the World in 80 Days.” I actually saw “80 Days” five times at my local Keokuk, Iowa movie theater and my parents were ready to have me committed. Who goes to the same move five times, must be something wrong with Dave! My first actual job in the industry was nine years later as a projectionists at the ripe old age of 16 (we’re talking change overs and arc lamps here folks). Next stop was film school in 1968 then to the surprise of my University of Iowa professors, I immediately got a job in the mail room at Warner Brothers in 1972 after graduation. Flash forward - after a long 36-year career in post-production at most of the major Hollywood studios, I retired from the Editors Guild to finish up the Cinerama restorations including the very troublesome “Seven Wonders of the World”. As retirees, both Tom March and I do this work as a payback to having a successful career in the industry. So with our excellent pensions intact we are able to do the work for pennies on the dollar and with some basic expenses.

In cases like this I feel we help solve the dilemma of such massive digital restoration budgets which is often prohibiting a major distributor from tackling troubled projects, since they most likely won’t make back the expense of such a restoration. Thus with our efforts and interest in preserving film history, this allows them to get some difficult projects completed and hopefully more than compensate for the scanning expenses along with the sound fixes. Without knowing the actual stats, I believe “Brothers Grimm” allowed WB to more than break even with the home video sales.

Besides the many Cinerama projects and “Brothers Grimm” we also are very proud of the job we did for “Whistle At Eaton Falls” a little known B&W 1951 gem from the Louis de Rochemont Estate. We totally feel passionate about films like “80 Days” and “Brothers Grimm,” not to mention that this allows the restoration departments at major studios to concentrate on the more historically important and potentially profitable legacy titles such as “Giant,” “The Searchers” and hundreds more like them.

Any questions?
 

Jim*Tod

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Weighing in on “80 Days”

Yes, I have had talks with WB about performing digital image clean-up work on “80 Days.”
This is mostly due to the wonderful response to the work having been done on “Brothers Grimm.” A little more than a year ago a good friend of mine who has followed my career of digitally restoring Cinerama 3-panel and 70mm Cinerama titles and who is also well acquainted with the board members of the Elizabeth Taylor Foundation asked me about “80 Days.” As some of you may know, Miss Taylor sold the rights to “80 Days” to Warners back in 1983 so technically the foundation would have no real say about a restoration but hopefully could retain some influence on a such a project.

On a conference call the Taylor folks asked what I thought about a needed restoration of “80 Days” in 30 fps, a title that is certainly dear to their hearts and an important part of the family’s legacy. I gave them my thoughts on such a project and what we could do with it if WB moved the eventual digital restoration over to us. Besides the Foundation’s interest the Mike Todd Jr. Estate and family were also made aware of such a proposed project as Mike Jr. was instrumental in his father’s massive production. I told them that if we were to end up doing the digital restoration and clean up like the “Grimm” project, we would also create and provide several important extras to make it more than a special home video release. They said they will open up their archives to us as well as their film deposits at the Library of Congress to access some very interesting related items which include never before seen behind the scenes footage. This discussion prompted a letter from the Taylor Estate & Foundation along with Mike Jr. family to several key personnel at WB recommending that I do a similar “Grimm” type overall package for “80 Days.” This letter then prompted a discussion with me and the WB folks about such a project.

My history with the title goes back to when I was seven years old and I saw two films that were instrumental in inspiring me eventually going into the movie industry. The two titles were Cinerama’s “Seven Wonders of the World” and “Around the World in 80 Days.” I actually saw “80 Days” five times at my local Keokuk, Iowa movie theater and my parents were ready to have me committed. Who goes to the same move five times, must be something wrong with Dave! My first actual job in the industry was nine years later as a projectionists at the ripe old age of 16 (we’re talking change overs and arc lamps here folks). Next stop was film school in 1968 then to the surprise of my University of Iowa professors, I immediately got a job in the mail room at Warner Brothers in 1972 after graduation. Flash forward - after a long 36-year career in post-production at most of the major Hollywood studios, I retired from the Editors Guild to finish up the Cinerama restorations including the very troublesome “Seven Wonders of the World”. As retirees, both Tom March and I do this work as a payback to having a successful career in the industry. So with our excellent pensions intact we are able to do the work for pennies on the dollar and with some basic expenses.

In cases like this I feel we help solve the dilemma of such massive digital restoration budgets which is often prohibiting a major distributor from tackling troubled projects, since they most likely won’t make back the expense of such a restoration. Thus with our efforts and interest in preserving film history, this allows them to get some difficult projects completed and hopefully more than compensate for the scanning expenses along with the sound fixes. Without knowing the actual stats, I believe “Brothers Grimm” allowed WB to more than break even with the home video sales.

Besides the many Cinerama projects and “Brothers Grimm” we also are very proud of the job we did for “Whistle At Eaton Falls” a little known B&W 1951 gem from the Louis de Rochemont Estate. We totally feel passionate about films like “80 Days” and “Brothers Grimm,” not to mention that this allows the restoration departments at major studios to concentrate on the more historically important and potentially profitable legacy titles such as “Giant,” “The Searchers” and hundreds more like them.

Any questions?
Mr Strohmaier---

Thanks so much for all that you have done to preserve not only the Cinerama films but in being an advocate for film preservation over the years. I was recently reading Ron Haver's book about A STAR IS BORN and was pleased and surprised to find your name mentioned as having a role in getting that film restored. I was lucky enough to attend Cinerama screenings at the New Neon in Dayton a few decades back. We all owe John Harvey a lot for making that happen. And the manager there, Larry Smith, I believe now works for the Library of Congress archives and had a hand in your restoration of WHISTLE AT EATON FALLS (amazing film by the way.). I really think the Academy should present people like you and Robert Harris awards for all you have done.
Clearly I am a fan and I am pleased to be able to thank you. Sorry if this post rambled a bit.
 

Robert Harris

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Weighing in on “80 Days”

Yes, I have had talks with WB about performing digital image clean-up work on “80 Days.”
This is mostly due to the wonderful response to the work having been done on “Brothers Grimm.” A little more than a year ago a good friend of mine who has followed my career of digitally restoring Cinerama 3-panel and 70mm Cinerama titles and who is also well acquainted with the board members of the Elizabeth Taylor Foundation asked me about “80 Days.” As some of you may know, Miss Taylor sold the rights to “80 Days” to Warners back in 1983 so technically the foundation would have no real say about a restoration but hopefully could retain some influence on a such a project.

On a conference call the Taylor folks asked what I thought about a needed restoration of “80 Days” in 30 fps, a title that is certainly dear to their hearts and an important part of the family’s legacy. I gave them my thoughts on such a project and what we could do with it if WB moved the eventual digital restoration over to us. Besides the Foundation’s interest the Mike Todd Jr. Estate and family were also made aware of such a proposed project as Mike Jr. was instrumental in his father’s massive production. I told them that if we were to end up doing the digital restoration and clean up like the “Grimm” project, we would also create and provide several important extras to make it more than a special home video release. They said they will open up their archives to us as well as their film deposits at the Library of Congress to access some very interesting related items which include never before seen behind the scenes footage. This discussion prompted a letter from the Taylor Estate & Foundation along with Mike Jr. family to several key personnel at WB recommending that I do a similar “Grimm” type overall package for “80 Days.” This letter then prompted a discussion with me and the WB folks about such a project.

My history with the title goes back to when I was seven years old and I saw two films that were instrumental in inspiring me eventually going into the movie industry. The two titles were Cinerama’s “Seven Wonders of the World” and “Around the World in 80 Days.” I actually saw “80 Days” five times at my local Keokuk, Iowa movie theater and my parents were ready to have me committed. Who goes to the same move five times, must be something wrong with Dave! My first actual job in the industry was nine years later as a projectionists at the ripe old age of 16 (we’re talking change overs and arc lamps here folks). Next stop was film school in 1968 then to the surprise of my University of Iowa professors, I immediately got a job in the mail room at Warner Brothers in 1972 after graduation. Flash forward - after a long 36-year career in post-production at most of the major Hollywood studios, I retired from the Editors Guild to finish up the Cinerama restorations including the very troublesome “Seven Wonders of the World”. As retirees, both Tom March and I do this work as a payback to having a successful career in the industry. So with our excellent pensions intact we are able to do the work for pennies on the dollar and with some basic expenses.

In cases like this I feel we help solve the dilemma of such massive digital restoration budgets which is often prohibiting a major distributor from tackling troubled projects, since they most likely won’t make back the expense of such a restoration. Thus with our efforts and interest in preserving film history, this allows them to get some difficult projects completed and hopefully more than compensate for the scanning expenses along with the sound fixes. Without knowing the actual stats, I believe “Brothers Grimm” allowed WB to more than break even with the home video sales.

Besides the many Cinerama projects and “Brothers Grimm” we also are very proud of the job we did for “Whistle At Eaton Falls” a little known B&W 1951 gem from the Louis de Rochemont Estate. We totally feel passionate about films like “80 Days” and “Brothers Grimm,” not to mention that this allows the restoration departments at major studios to concentrate on the more historically important and potentially profitable legacy titles such as “Giant,” “The Searchers” and hundreds more like them.

Any questions?
We’ll agree to disagree on one point, Dave. I believe the film could easily return it’s investment.
 

garyrc

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I would just like to see a decent 4K restoration of the film done within my lifetime. And I don't care if it's not the "Roadshow" edition ( i know, a feel the tension). It is an essential title and it will take a dedicated team and massive funds to accomplish this task.
IMO, if possible, it should be from one of the two original color 65mm negatives (30 fps, 24 fps, or both if necessary) and from the best 6 channel sound sources, maybe from a 35mm 6 channel magnetic sound source. In the theater, when the band at the beginning marches off the screen to the left, the sound -- particularly the bass drum -- moves part way up the left side of the theater, and it is grievously missing in the surround on the DVD. There were rumors that double system sound was used in some of the 70mm roadshow presentations. There are photos that hint that this is true. One is in Arthur Knight's The Liveliest Art, at least in my old, old paperback copy; it is a picture of a frame of a print, with no soundtracks visible, implying that the sound was on a separate, synchronized, piece of film, hopefully on a 6 channel 35mm mag film. The photo of the film frame, was labeled "actual size," (do we trust this?) and measures 65mm, yet it is not a negative, but a normal contrast positive, with no soundtracks in sight.

The DVD is O.K.ish, but there is a slight bit of distortion in the very high frequencies, removable by my using Audyssey Reference, with its narrow dip at 2K, then returning to flat, to later roll off to - 5 dB at 15KHz.

Like you, Capt., I saw it when young -- 3 times in 70mm in 1956-- the first time with the California Scholarship Federation in the 10 grade, a group of "the best and brightest," although I had my doubts then and now. They loved it. The CSF was packed with film buffs, audiophiles, amateur photographers, and members of orchestras. We loved the several kinds of comedy, the suspense, the almost 3D photography, and the super dynamic, clean, sound of the 114 piece orchestra.

I'm 81, so I hope they hurry.
 

Jeff Fearnside

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I must also add my thanks to Mr. Strohmaier for his thoughts on Around the World in 80 Days, which has long been on my wish list of upgrades, as it has been for so many others. Let's continue to hold out hope the restoration on this moves forward and that we see a physical home video release of it someday, preferably sooner than later.

As an aside, this is my first post here--after visiting this site for many years as my go-to source for All Things Film--for this forum, announcements of upcoming releases, and the excellent reviews by all the reviewers, with a special nod to those by the venerable Mr. Harris--I finally realized I should have joined long ago. I guess I feel passionate enough about this film that it finally moved me to action!
 

dana martin

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I must also add my thanks to Mr. Strohmaier for his thoughts on Around the World in 80 Days, which has long been on my wish list of upgrades, as it has been for so many others. Let's continue to hold out hope the restoration on this moves forward and that we see a physical home video release of it someday, preferably sooner than later.

As an aside, this is my first post here--after visiting this site for many years as my go-to source for All Things Film--for this forum, announcements of upcoming releases, and the excellent reviews by all the reviewers, with a special nod to those by the venerable Mr. Harris--I finally realized I should have joined long ago. I guess I feel passionate enough about this film that it finally moved me to action!
Welcome to the party Jeff!
 

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