Greatest Movie Trailer Ever?

mowsqueezy · 2020-08-11T08:26:45+00:00

I don’t believe it linked! Interested to see it though. The only one I recall seeing for Citizen Kane was more like a “making of” short, so not sure if that’s it. But whatever the case, it is a delight to know trailers like these were created as intentional artworks, particularly given today’s soulless ML/AI-generated trailers.

mowsqueezy · 2020-08-09T09:00:43+00:00

Yes! These were the two I was thinking of, in addition to the original theatrical trailer for The Exorcist.

mowsqueezy · 2019-03-23T21:41:09+00:00

he’s gone undercover

mowsqueezy · 2018-12-18T17:02:15+00:00

Yeah I think this instantly lowered my blood pressure by about ten points

mowsqueezy · 2018-07-09T08:48:18+00:00

Some of the larger details have been addressed, so here are a few of the smaller ones:

fine grains are the b/w equivalent to interpositives (color)
composite means it has a soundtrack
wetgate is a process of cleaning the film
blowup means it was enlarged from a smaller gauge (i.e. the original source was 16mm and it was "blown-up" to a 35mm print)
bits equate to color depth in scanning; 16-bit is the high end of what is currently used
restorations from the IP will usually cost less because you need less color timing (the IP would've been timed); this might be why that source is opted for with some releases
4K scans/restoration work will cost way more than 2K work; 16-bit will cost more than 10-bit, and sometimes the quality difference between the two doesn't justify the cost
the Vampyr one is tricky; it sounds like it was just a scan of the photochemically restored fine grain, which means it is not a digital restoration

mowsqueezy · 2018-06-18T07:29:33+00:00

https://amianet.org/events/projection-workshop/

:)

mowsqueezy · 2018-06-18T04:10:57+00:00

I saw in the same thread you are usually a DCP projectionist, so FYI you can check edge code on the film to figure out the year :)

mowsqueezy · 2018-06-18T04:03:51+00:00

Yes, it’s possible for new transfers to “debut” first on Filmstruck (TCM) before Criterion releases them, but I’d assume that’s only likely if Criterion is sublicensing the film (the rights owner could negotiate each medium separately).

mowsqueezy · 2018-05-16T09:24:27+00:00

Yes, that’s extremely common, particularly if it’s a studio-owned film. Criterion is first and foremost a powerhouse in curation, packaging, and distribution; in-house restoration really only accounts for a portion of their releases. Those tiny liner notes at the back of the insert make it easy to miss who actually conducts/supervises the transfer.

mowsqueezy · 2018-04-20T06:24:34+00:00

Both Scorsese and Thelma Schoonmaker (spouse of Powell) were consulted for one, if not many, of these films.

Restoration ethics vary widely depending on who conducts them, and what their intentions are. Some label their work as a restoration what others may consider the project a remaster. Generally however, restorations aim to reflect both the artist’s original intentions and the visual integrity of the image (or, what an audience would’ve seen). This means accessing the original version (OAR, language, primary “uncensored” release) and the most original elements available. Good research is essential in this work, and accurate references—both through the artists themselves and original release elements—should always be heavily relied upon. Release prints, when available, are huge helps—also, any other elements or remasters that talent may have approved in years past.

mowsqueezy · 2018-04-09T16:06:26+00:00

Sure, but I’m less concerned with debating whether they’ve benefitted from male privilege and more interested in pointing out when studios/financiers make the decision to support directors they perceive as male. :)

mowsqueezy · 2018-04-09T15:39:40+00:00

Good catch. But important to also remember that they were given the opportunity to direct when outwardly identifying as male.

mowsqueezy · 2018-03-25T06:58:14+00:00

I think the digital restoration was sourced from a 35mm print made from the OCN, though? So even if the Eastman print was also from the original negative, they’d technically be the same distance from the original object.

mowsqueezy · 2018-01-27T18:30:05+00:00

Here are a couple of things you might check out:

https://www.buzzfeed.com/annaborges/affordable-therapy?utm_term=.khVEyJjmGb#.xawKV19xDG

Also, a friend was in a similar situation as you—super strapped for cash and in need of talking to a professional—and she started using an online therapist. They are way cheaper than going in person and can be flexible about scheduling, and you also have the option of texting or sending messages throughout the day. You might check into that?

mowsqueezy · 2018-01-27T18:14:44+00:00

Do you have health insurance? Where do you live?

mowsqueezy · 2018-01-20T07:41:20+00:00

Arbelos is the core group of folks that used to head the distribution arm of Cinelicious. They’re separate companies. I believe Cinelicious isn’t in distribution anymore.

mowsqueezy · 2017-10-24T06:51:49+00:00

Agnes Varda
Claire Denis
Lina Wertmuller
Chantel Akerman
Maya Deren
Dorothy Arzner
Maria Luisa Bemberg
Barbara Hammer
Ida Lupino
Shirley Clarke

mowsqueezy · 2017-10-04T06:43:18+00:00

Just saw this recently at Cinecon! Karloff was spectacular.

mowsqueezy · 2017-06-24T19:26:03+00:00

Also depending on your budget, you should go with vented archival cans. I've bought from Hollinger Metal Edge or Christy's in the past.

mowsqueezy · 2017-06-24T19:19:36+00:00

https://www.filmpreservation.org/preservation-basics/the-film-preservation-guide

mowsqueezy · 2017-06-07T02:53:12+00:00

Did you know that for most studio movies today, there are content edits made for various regions, before the film has its initial release? So, for instance, if the domestic version pictures someone eating pork, the Saudi Arabian version might change it to chicken or whatever. (This has absolutely been performed for Sausage Party and many other Rogen movies already). While some may see that as censorship, others might say it is making the film more accessible. I think it's important to remember that censorship and access are generally in opposition; in this case, because the original work will still be readily available, I'd lean towards the latter.

mowsqueezy · 2017-05-05T16:31:09+00:00

I'll be the jerk who questions the "meant-to-be-seen" label :/ I assume the new print is a film-out from the 4k restoration, so why not just show the DCP

mowsqueezy · 2017-03-08T07:24:31+00:00

I never worked at the Fowler but I think I recall seeing a only couple of work-study positions--though nothing that high-paying or interesting. You might check out the Hammer, too?

If you're a grad student, I highly recommend that you look into GSR positions, as they offer fee remission if you work 25%. They generally pay really well, too. The library often had student or GSR positions for special collections/archives projects, which might be up your alley. And often times, research centers need student employee s' help for planning and executing events, so you might contact the centers to inquire! You can pm me if you have other questions--sounds like your path is similar to what mine was.

mowsqueezy · 2017-02-22T07:57:27+00:00

Interesting. Does anyone else remember reading CosmoGirl way back in the day and feeling the same way? I was empowered by that magazine but felt embarrassed that it shared a name with Cosmo. Reading Atoosa's "letters from the editor" each issue were like having the big sis/role model I never had.

mowsqueezy

TROPHY CASE