Indiana Jones 4 Movie Collection is available now in a new 4K Ultra HD set. Below is a new clip with Ben Burtt and John Roesch discussing the foley effects behind some of the iconic sounds in the movies followed by our original coverage including behind the scenes interviews with Dennis Muren and Ben Burtt when the films were originally released on Blu-ray.
On September 18th, Indiana Jones the Complete Adventures comes to Blu-ray in a fantastic five disc set with over seven hours of bonus features complete with a new hour long documentary that has deleted scenes and previously unseen behind the scenes from Raiders. Full details can be found in the original press release. To prepare the first three films for their Blu-ray debut, they were first scanned at 4K, then color corrected and cleaned. Raiders required more work than the other two films to correct running scratches and other damage on the negative. The work was supervised by Steven Spielberg and Sound Designer Ben Burtt. Unlike the Star Wars films, no optical effects were updated with CGI. On the audio side, Ben Burtt did make some minor changes using the original tapes to add spatial dimension to the mix and added in a few body blow sound effects from the sound library that were missing from the original mix. New stereo surrounds were created using the original music tracks and original effects that had been recorded in stereo but only used in mono. Improvements were made to bass and dialogue.
Paramount and Lucusfilm recently hosted Home Theater Forum and other media at Skywalker Ranch in Marin County, CA. We had the opportunity to see Raiders at an AMC IMAX theater, hear more about the release and talk with Dennis Muren of ILM and Ben Burtt from Skywalker Sound. We also got to look at (but not touch!) some Indy artifacts from the Lucasfilm archive—I felt like an archeologist.
Raiders looked and sounded better than ever on the big screen. It was refreshing to see the original optical effects. While they may not be as realistic as today’s cutting edge CGI, they looked good and have held up well, a testament to how good they were in the first place. If you are an Indy fan and can’t make it to the four film marathon, or you have never seen it in a theater, now is your chance, don’t miss it.
Dennis Muren and Ben Burtt Share a Few Thoughts on Indiana Jones:
[Note: An additional full length interview and transcript can be found below.]
Julian Blazewicz on the Blu-ray Release:
[Note: Minor edits to the transcript below have been made for readability and to eliminate distractions. Please silence your cell phones J.]
Julian Blazewicz: Good morning and welcome. I’m going to give you just a quick overview of one of the most anticipated Blu-rays of the year. Again, I’m Julian Blazewicz marketing lead on Indiana Jones: The Complete Adventures Blu-ray releasing September 18th. The man whose name is synonymous with adventure is back and looking better than ever. It’s one of the most beloved franchises in cinema history produced by Frank Marshall and Kathleen Kennedy and having won a combined seven academy awards. Viewers will be able to relive every heart-pounding moment like never before with all adventures coming together for the first time on Blu-ray in one collection. It will be accompanied by a collection of over seven hours of bonus features, documentaries, interviews and featurettes, including a new piece that includes deleted and never before seen footage from the set of Raiders. I should also note that we will be releasing the original trilogy for the first time on iTunes, so that’s a big first for us. Supervised by Steven Spielberg and sound designer Ben Burtt, Raiders of the Lost Ark has been meticulously restored with careful attention to preserving the original look, sound and feel of the iconic film. The original negative was first scanned at 4K, color corrected and cleaned. The team then examined it frame by frame so that any damage could be repaired. There was extensive manual touchup that was employed to correct running scratches and damage that were on the negative.
[Note: The above images are not full resolution image captures and are only included here to illustrate the cleanup and color correction done to the negative. Use them to determine DNR application, the actual location of the Ark, etc. at your own peril.]
So hopefully you noticed the difference in the IMAX viewing last night. The sound design was similarly preserved, but Ben Burtt will go into that in more detail a bit later. Temple and Crusade didn’t require quite the same level of restoration, but they were also scanned at 4K, cleaned, color corrected, fully remastered to look just as brilliant as Raiders of the Lost Ark. Those two films will look just as good as Raiders, fully remastered for the Blu-ray release.
The product itself is a 5-disc collection, one disc for each of the movies, and a fifth for bonus material. The discs themselves have been left clean, so the only added material on the movie discs are the original movie trailers which we thought would be a fun treat for fans. The fifth disc has all the bonus content. We created a premium-looking package similar to what we did for Star Wars last year that was very well received, sort of a book format. And within that, to add to the specialness of the packaging, we commissioned an artist who trained with Drew Struzan who did all of the original one-sheets for the Indiana Jones movies. And we did the new spread illustrations for each movie within the book.
On top of that we dug into Lucasfilm Archives and pulled out rare moments from the sets and also the original one-sheets. So here is a look at some of the beautifully illustrated insets. Again we’ve done one of these for each of the films. On the fifth disc, we’ve got over seven hours of bonus features for fans to dig into. Making-ofs, so there is one for each of the films, actually two for Raiders of the Lost Ark. We dug out one that was originally released in the 80s that gives fans a real look back at how a making-of was done then and a second one from 2008. There is casting and crew interviews and featurettes that give behind the scenes peeks into the stunts, special effects, and the overall production. The piece we’re most excited about, however, was an hour-long piece that was created special for this release. We’ve taken raw behind the scenes footage, including a lot of it never before seen and deleted scenes and put it together in a one-hour piece, so the viewer can feel like they’re actually on set of Raiders watching the production. So watching Spielberg give direction to Harrison Ford and the actors and feeling like you’re really there on set as its happening, so a little different take on the footage, different than a traditional making of. Again it includes deleted scenes, gags from the set, alternate scenes. We really think fans will love it. That’s sort of the product overview, a couple other things that we wanted to note as many of you saw last night, we were so excited by how the restoration of Raiders looked that as part of the promotion for this we decided to a limited edition IMAX release. This will come out September 7th through the 13th, so two weeks in advance of the Blu-ray release streeting. Tickets are on sale now for a limited time. And then finally in addition to the IMAX release AMC has been a great partner for us. And so for families and fans who want to see the movies released on the big screen again, the Saturday before release in a limited number of theaters, sixty-nine theaters will be releasing all four movies in a marathon, so one day with all four movies back-to-back. It’s a great event for fans of the films as well as families to go out to theaters and see them again on the big screen. [See www.amctheaters.com/indianajones for locations and to purchase advance tickets.]
Transcript (c) 2012 Home Theater Forum. May not be used without permission.
Ben Burtt and Dennis Muren on making the Indiana Jones films and the September 18th Blu-ray release (full interview):
[Note: Minor edits to the transcript below have been made for readability and no pumpkins were harmed during the making of this film.]
Miles Perkins: So now for the fun part. I have the distinct honor of welcoming to the stage both Ben Burtt and Dennis Muren.
Ben Burtt joined Skywalker Sound for the first film in the Star Wars saga and really hasn’t looked back since. With his Academy Award winning work on Raiders of the Lost Ark and The Last Crusade, Ben has been with Indy since the beginning. He has six Academy Award nominations, four wins. Ben is really a cornerstone of the Indy franchise. And he is also the film industry’s premier sound designer. His most recent project is a Steven Spielberg epic chronicling the life of our 16th president, Lincoln and is set for release this fall. Please welcome Ben Burtt!
Also joining the stage, Dennis Muren, winner of eight Academy Awards and the only visual effects supervisor or artist with a star on the Hollywood Walk of Fame. Dennis has set the tone for modern visual effects with his unique style and keen eye for details. His talents have made him both the go to visual effects supervisor for film making legends such as George Lucas and Steven Spielberg and also as the visual effects supervisor on Indiana Jones and the Temple of Doom. Dennis has really been responsible for creating some of the most iconic images in cinema. Currently he holds the position of Creative Director at Industrial Light & Magic, please welcome Mr. Dennis Muren.
I’m going to ask a couple of questions of each one of them and then we’ll open it up to the rest of you to ask some questions as well. Let me start off with Dennis. Dennis, Indiana Jones has been synonymous with huge action adventure blockbusters. How do you think the imagery of then and what we’re seeing now holds up to today’s standards?
Dennis Muren: You know, I don’t know if you want me to compare the images of then and now because I think the old ones hold up very well, having been there and sort of lived through it. There is something on the reality of it that sort of usurps any technical sort of problems we might have had in those days. And it gives it a very hand-feel look to it. So I think the movies hold up extremely well. And not that the newer ones aren’t good also, but you know the smell and the feel of the FX material I think fit with the rest of the movie you can tell, you know, if these movies were all made in studios it would be one thing, but with those real locations the reality of everything I think it really helps the effects of real things also.
Miles Perkins: And I’m going to sit down here just because I don’t even feel like I should be on the stage with you guys! So the visual effects were as much a character in the film as Harrison. Can you speak a little bit of something to that, I mean, were the visual effects were really a strong part and really carried the film as much as anything else?
Dennis Muren: Yeah, I guess so, but man, I think Harrison is the movie and you know we were supplementary to all that. You know, but they’re important because with George and Steven always wanted was to be able to experience a hyper adventure, that this guy is wild and crazy enough to get into, so the effects were there sort of supplement that. And to go beyond what was ever going on probably in the James Bond movies that were pretty much rooted in reality, and there were times when you could get out of reality and have a real thrill ride adventure. And that’s what they were going for in this film and that’s where the effects needed to come in to do things that just couldn’t be done for real.
Miles Perkins: So kind of along those lines, Ben, we had a conversation earlier about the kind of auditory language that existed pre-Indy and I think you were a little modest when you just said, “oh, yeah, we took that and then kind of moved it forward”, because the one thing that wasn’t out there so much is that kind of mix with what is historically accurate or should be historical accurate, what would you really feel would be there in the place with the supernatural and also with something that’s a little more mystical. Can you comment a little bit about what it was like to kind of embark on the journey in the Indy properties?
Ben Burtt: I started off my career with Star Wars. And of course Star Wars was — the sound was being attached to give credibility to a highly imaginative universe of characters, places and things. And along came Indy, and of course the action adventure genre was my favorite. The films that this series pays homage to are the films I loved growing up, the westerns and adventure movies, the Tarzan movies, Gunga Din, that sort of thing. And so I was so excited to work on it and I knew the sound effects in those classic movies as they are today. Almost all the sounds in films are added after the fact, and they’re not the sounds that are recorded during the filming as you want to control of the sounds later, mostly of course there is no appropriate sound on the set anyways that is right for the final movie. So my job and the team I worked with is to create all of that and add it in. We could have gone to a library in any studio and gotten face punches, fire explosions, trucks, these things had been in movies many times before and they were good recordings, but I wanted to not do that, but to build our own new customized Indiana Jones library which would have its own signature. But conceptually it would be based on my favorite sounds from the classic movies of the past. I would study the gunshots in all of the movies that I loved and I would say, well how did they do it, how can I make something that is better, but is a legacy and owes its origins to what has been movie language up to that point, because so many things about the Indiana Jones series were new visions of things that had existed in movies before, but now put together all of it under the adventures of one character. So we set out to record everything over again: new fire, new explosions, new body falls, new truck skids, new snakes, whatever it might be. And then on top of that level of reality there was always the mystical and supernatural elements in these films. The Crystal Skull, the Sankara Stone, the Ark of the Covenant. In order to portray the sounds for those objects these were the supernatural things maybe a little bit like Star Wars in the sense that they related to things that were unfamiliar, alien things that were new. And we wanted to give those sounds an expressive voice, those objects an expressive voice as well. So that was also my department, to try to come up with sounds for all of that. So there was both the science fiction element (that I would call, the fantasy element) of the sounds as well as the reality-based sound.
Miles Perkins: So there was always the question about going back and seeing how the sausage was made. And I would imagine that going back and looking at some of these films for each one of you evokes certain memories probably very different than the memories that we all may have from the first time we saw them. So Dennis, I wanted to ask you are there some favorite kind of moments that you want to share with us about like you know, Last Crusade?
Dennis Muren: Well, Temple of Doom has got one really memorable one, the big mine chase sequence in that. And which was very difficult, the shots would go on and on going through this tunnel and of course they couldn’t do it for real they had a nice tunnel they could get some shots with, but not the distance or the length of travel needed really to carry the dramatic effect. In order to build these long sets the size was really a miniature sets. The size though was depending on the size of the camera because the camera had to go through the tunnels, and I came up with this idea using just a Nikon still camera instead of shooting with one of the bigger movie cameras, just use a still camera that shoots still frame after frame after frame. And the shots that only ran like four to five seconds anyway, we could get that on one load in a Nikon camera. And that meant that all the sets could be smaller and they only needed to be a 100 feet long instead of 300 feet long. We didn’t have room in San Rafael to build anything pretty long anyway. And they just saved a heck of a lot of money which everybody was happy about because these films no matter how they appear were always on very, very tight budgets and we always had to really work within that.
And then the work came out really great in that sequence to the cave walls are aluminum foil, you know, heavy aluminum foil painted, and they’re all done sort of with stop-motion or go-motion frame at a time motion with motors. And you know, it was really pretty neat. Then the other thing that was neat from my experience was I got to act in one little sequence in Raiders of the Lost Ark which was when Harrison goes on the airplane and there was a spy who sort of was in front reading Life magazine and that was me in there!
And I tell you that was the weirdest experience going from behind the scenes and all to being in front of the camera with Spielberg looking at you here, Harrison was over there and it was like what the heck am I doing there. And we shot it over in Richmond here where the plane was and the plane actually couldn’t fly, but fortunately it was nearby and we went over there and shot all the scenes in, like, one morning. And that was a pretty darned neat experience. I thought it would lead to bigger parts, but actually —
Miles Perkins: I heard he gave Harrison a run for his money, that’s what I heard.
Dennis Muren: You should have seen what they cut out….
Miles Perkins: Well, along the same lines, Ben, whenever I talk to you I am always thrilled because I know that I’m going to get a fantastic story from you. So are there any particular memories that you have of any moment in the film?
Ben Burtt: Well, since we go out on expeditions to gather the sound or we invent special props, there is always a story with every sound. Dennis mentions the mine car chase, we wanted the sound of these cars clattering down the tracks, squealing around corners and we thought perhaps is there any place we can go over and record something full size like that and we ended up making arrangements to go to Disneyland at night when the park was closed and ride all of the rollercoasters and record them. So we would go into Space Mountain, turn all the lights on and turn the music off and ride in the cars or stand alongside the track and get the squealing around the corners. And Gary Summers and I were working together on that, gathering all these wonderful all-night Disneyland experiences like Big Thunder, Space Mountain and the Matterhorn, all of them completely out of context, you know, with the lights on, so you could see all of the, you know, behind the scenes stuff, that was fun.
It is interesting to note that right here on the Ranch, at the time of Raiders of the Lost Ark, this building [Technical Building] did not exist, in fact there were no buildings on the Ranch. It was just an empty property and Gary and I used to come out here every afternoon when it was quiet and there weren’t birds or frogs to interfere with recordings. And we would stage sound effects events here at the Ranch that we needed for Raiders. When you walk out of the front door, you will notice up on the hill here a big rock outcropping. We spent a day laboriously carrying rocks and gravel and everything we could find to the top of that rock outcropping, and then we shoved it down the rock face and recorded all the tumbling rocks and dust and grit. And we have used or derived from that recording just about every rock effect that you can hear in these movies when things are collapsing or a temple falls apart. You’d slow the sound down. Right here where this theater [Stag Theater] is now today, we had a shooting range. There was a gully here around about where you’re sitting and some old cars down in it. We brought out some of the explosive guys from ILM and we blew things up here for a while to get a lot of explosions. We found at this canyon right here where this tech building is today had some wonderful acoustics because the sound would slap back and forth and we did all the gunshots we were going to hear for Indy’s gun. We did it with much higher-powered rifles. Of course, everything in Indiana Jones is exaggerated, so his pistol is not just a little 38 caliber pop, it’s — we would have used a Howitzer if we could go have gotten it in here. We did some gunshot recordings here, slowed them down and beefed them up a lot to get these sounds. We did all the ricochets here. And there are a lot of stories about trying to bounce bullets around, in fact we got in trouble because we had some machine guns and we didn’t tell anyone what we were doing. We arrived here and got a little carried away just shooting things; shooting the ground and other targets with a lot of the ammunition. We had some people from L.A. come up Stembridge Gun rentals, so we had a permit, but we didn’t tell anyone and so finally a bunch of headlights came down the road and we were doing this in the evening and people didn’t even know who we were, you know, terrorists or something and they didn’t understand…the neighbors were complaining, I guess.
But in any event this was our recording studio, this whole outdoor area here in so much of Raiders which really was done right here. We brought a truck up here and I would run and throw myself against the hood of the truck for Indy banging on to the hood. And Gary Summers did the whip cracks on the road right here next to where this building is today, and we could get the echo in the trees and all of that. So this is pleasant memories about deriving sounds. And there were hundreds of things we had to gather like that and it wasn’t just a simply matter of getting the right technical recording, it’s all about finding the right performance in the right acoustic location. We would tend to do things outside because there would be enough echo especially in the trees that when you put that sound in the movie it would really fit into the context of the location in the jungle or something of that sort.
Miles Perkins: The moral of this story is if a sound designer ever asks you to go out in the middle of the night GO because you’re going to have some fun.
Audience Question: This is for Dennis. Every new movie that comes along drives the visual effects field further what was groundbreaking with the Indiana Jones movies, what would you say?
Dennis Muren: Well, you know it was having to cut in hopefully perfectly no sign of an effect in there, totally real, to not break the reality of it. And that gets harder and harder and how do you — hard to do that with every film we did. So it’s — I would say on the artistic side the attention to the detail, the reality, the feel of a Steven Spielberg directed scene even though he didn’t direct the effect scenes, he certainly approved everything. But that, you know, and probably some of the motion stuff we did with the mine chase cars moving so they didn’t look like they were stop-motion or very much like a miniature hopefully. So I wouldn’t say it was like we invented a lot of new gear for it. It was more being able to sort of use it in a way that was more pristine and more in a style of Steven actually out there directing the stuff for real. And that’s really hard to do or else these shots could just pop, and look like they were done by a second unit or something like that.
Audience Question: By far my favorite sound effect in the Indy films is the punches. And that, you know, seeing the film the first time in the theater there was nothing like an Indy punch. It was the biggest most concussive noise I’d ever heard. Where did the punches come from, what was your initial design for them?
Ben Burtt: Well, there is one part I’m not going to tell you, okay? I’m trying to protect a few things, so I have future work because there are punches that will be needed in the movies. Of course there are body punches and face punches and they’re not so simple to do because, you know, an actual face punch if you’ve ever had one or delivered one is not very loud. It’s usually the person going ‘uh’ or ‘ouch’ or whatever. But movies have tradition of something enormoust, you know, going all the way back to the first punches in movies in the early 1930s. They started out using like clapboards and things, you know, to make a slapping sound, a punching sound. But what we did was right here on the road — we had a set up with a lot of baseball gloves like catcher’s mitts and leather jackets and some football equipment and what we would do was, for instance, if you took a baseball bat through a catcher’s mitt in the air and then hit it with a baseball bat as hard as you could. You got a good thwack, you know. One of my favorites involved pumpkins — you take a crochet ball and you put it in a sock so that you have kind of a nunchuck sort of weapon and you beat the pumpkin to death. Every so often one of those hits, out of the five or so, is really good, kind of meaty, kind of choppy and so a library was built up of those kinds of sounds and used for a body blow or a kick and that sort of thing. And we reserved that particular set of effects just for the Indy films, you know, because we wanted it to be associated with Indiana Jones every time that he swings his fist.
Audience Question: I have a two part question, the first one can be for either of you two gentlemen. By the time Crystal Skull rolled around, did you want to embrace sort of the old school methods when it came to the effects sound? And then the second question is, when George Lucas told you he was going to build a building over your favorite recording place, where you dismayed — what was your reaction to that?
Ben Burtt: Well, you know, it’s true. Just for fun a few years ago, I brought one of the guns back and I fired it here next to the building and recorded to see whether it sounded the same here, it didn’t because of the presence of the building. I was let down, you know, thinking we lost — you know when we initially were doing those kind of shots we went all around the Ranch. We probably went to 30 or 40 different spots because the whole key to recording gunshots is the location where you do it, the acoustics, you know, a good gunshot is multiple syllables and kind of a slap that repeats, but you also want to have some trees around, so it gives a slow decay to it, you know, it really got a character. Best gunshots always have two syllables I think you know. It’s one of the biggest mistakes people make today that they use one syllable gunshots, that’s my opinion.
Dennis Muren: Yeah, let me just mention one thing I’m bothered about. What Ben is talking about here is sound effects and even though I don’t do them at all, it’s something like what I do in a different way, but sound effects it’s not like you go to Garage Band and just grab a bullet shot that’s what some people would think, you’ve got your bullet shot, you’ve got your punch. They put it in the movie, they wouldn’t understand why it didn’t have the effect. All the time, Ben is doing take after take, like 30 times going around the Ranch and listening — first of all he has got an idea and then he is hearing the result and saying, “yeah that’s good” or “no that’s not good enough”, you’re making a judgment all the time, you know. And that’s really kind of missing in a lot of the stuff going on today I think. It is like sort of the Garage Band thing. The solution — boom, put in; it will work, but not at all, you know.
Ben Burtt: Thank you Dennis, that was good, I am going to hire you for my next interview.
Audience Question: During the whole restoration process, did you guys talk about the need of bringing new sound or perhaps changing the effects, was there a talk about that?
Dennis Muren: No, there was never any talk about changing effects at all.
Ben Burtt: When it came to sound, I’m an avid film historian and I could have, you know, it’s very hard for me to change the movie in some way that really modernized it, you know, impose an idea that didn’t exist at the time. What I did on Raiders, for instance, is that we did some touchups of things because we had to expand the use of the surround tracks because that was available to us in a way now which it was not available to us back then. And the interesting thing is that some of the sounds that were in the original monaural surround track on Raiders. Of course I had the original stereo recordings of all those sounds, so fortunately I saved all of that and I could find it, and so I was able to go back and take time to match up the recordings with what was there in the original release of the movie and put them in stereo now. So I did add something to the movie, but it was the same content now, just more spatial dimension to it. In a few places where we added a few additional sounds I took them all off the Raiders library, off the tapes that we have. I added a few where I thought were a few missing little body hits from one of the fights that we might have missed. And I took them off the same tape that I had back in 1981. So I wanted to make sure that what was done was still on the same fabric as what was originally there because I didn’t want it to standout and be different. I know there have been some restorations of other films because I have seen them on Blu-ray or DVD in which they’ve actually changed the sound effects. They’ve imposed something brand new into the — an old film and that really throws me off because I immediately recognize it and I wonder why they would do such a thing. But so I didn’t want to have anything of that have to occur, but nonetheless additions that we made to it or because there is more space to put sound in the movie now, just a bigger playback system and you got more opportunity — we added material which was from the original library and so it will be consistent. Yeah, it’s interesting because the original surround track for Raiders. Raiders, you know, obviously been the first one done, was done in the Goldwyn Mixing Facility in Los Angeles before we had our own mixing operation up here.
The surrounds in theaters in 1981 were very problematic, you didn’t know whether they would ever get played correctly, to the correct level or get played at all. And so the original mix on Raiders was we did the mix just left center right across the front of the, you know, speaker we didn’t use the surround track and got the balance of music effects though like everybody’s approval George and Steven. And then as a separate mix after that was approved we began conservatively adding surround effects, the idea being that we knew the movie would work upfront and that’s how it was going to be played in most theaters with more of a guarantee of it being played correctly. And if the surrounds worked they would be a nice enhancement. But we didn’t want to put content in the surrounds that was essential to the storytelling because it might be lost. And that’s just because we knew at that time many theaters as we’re not going to be able to get it right. This was before THX existed and any other sort of digital revolution which have improved theaters. So now going back and listening to Raiders we say, well, boy, we were awfully conservative, so now we can — we can have a richer experience. So let’s recreate it with the same raw material. And that’s what we did, so the surrounds were completely redone, put stereo music in the surrounds instead of monaural and so that’s one of the things that was done.
Audience Question (Gary Reber): So Ben, what’s your thinking on frontal sound perspective versus aggressive more immersive sound field?
Ben Burtt: Well, as time has gone on, there is — we kind of predicted this. First, it was a joke years ago. We thought everything was going to move into the surrounds. That’s what we kind of felt and it’s kind of gone that way to some extent, you know, because there is — we got 5.1 then we have 7.1 and now we have, you know, 11.1 we did Red Tails in and there is the Dolby Atmos process which is now being experimented with. I like it, I like to make it a more immersive experience. I think audience is — what’s again it’s a learning curve too from, you know, one time — when I first started out working in stereo people would — might be distracted sometimes when something was in the surrounds especially if they’re sitting too close to a speaker, you know, so you had to be careful not put a line of dialogue right next to their head or something that would distract them, but as time has gone on and the filmmakers continually move the experience forward, it is always changing and evolving. We’re in a point now where we’re doing a lot more all around the room and we are expecting it to be played that way in home theaters as well as theatrical. And as I think as long as it’s justifiable in terms of the content of the movie I think that’s — I like that direction.
Miles Perkins: All right, well, I just want to thank the two of you for taking the time to speak with us today.
Transcript (c) 2012 Home Theater Forum. May not be used without permission.
We were invited into a corner of Lucasfilm Archives were we had the opportunity to see some of the iconic props from the movie. No word yet if they noticed that I replaced the idol with a bag of sand. Here are some pictures of some of the original props:
While Neil will be doing our full review, from what I have seen of the set, don’t walk, but run to “dig up” a copy of Indiana Jones The Complete Adventures on Blu-ray coming September 18th from Paramount Home Video and Lucasfilm.
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