The Criterion Collection

[AaronJ]

Originally Posted by MifuneFan

Wow, the Brooklyn Academy of Music will be showing The Tree of Life accompanied by a live orchestra

http://www.bam.org/film/2016/the-tree-of-life

I hate you, and all of you who live in NYC.

[MifuneFan]

Originally Posted by AaronJ

I hate you, and all of you who live in NYC.

It's not till November, start planning

[Edward J Grug III]

I saw a few films at a local festival over the last two weeks:

Our Man in Havana
Hobson's Choice
Odd Man Out
The Life and Death of Colonel Blimp
A Passage to India

Odd Man Out and Col Blimp being the two highlights (and the only two I had already seen) though I enjoyed them all.

[AaronJ]

Originally Posted by MifuneFan

It's not till November, start planning

Oh OK. I will.

It's just that earlier today another guy here was saying that he won tickets to see The Neon Demon in London, with a Q&A with Refn afterwards. When you said that, I thinking, "OMG, Can things get any worse?!" I've only been waiting about 15 years to see The Neon Demon and now someone is going to get to see The Tree of Life with a live orchestra in NYC?

The life of someone in living in the Mid-West really sucks.

(But I will make my plans ... I will.)

[ravenus]

Originally Posted by Bates_Motel

Are you serious? Getting paid is a waste of time? Sounds like its the actors who are more pretentious here. If the film works better without them, then they will be cut EVERYTIME, no matter the director.

From what I've heard most of the big stars signing up for Malick films do it at a hefty discount far below their market rate, purely for the prestige value of working with and appearing in a Malick film. Depending on the shooting schedule, they would also have to refuse / adjust other commitments for that period, and to end-up as a footnote or non-entity makes a deficiency in their portfolio they have to make up for. IMO there's nothing pretentious about them being at least a little pissed off if all their work is left on the editing floor. I suppose there's some romance associated with a new-age mystic shooting acres of footage most of which will be discarded, and I love some of Malick's films like Badlands and Thin Red Line but I certainly couldn't blame the actors for any dissatisfaction they might have.

Edit: By that count, Malick is paid by the studio so they have the right to recut his films any which way they want? Can't see many people agreeing to that

[shadedpain4]

Originally Posted by ravenus

From what I've heard most of the big stars signing up for Malick films do it at a hefty discount far below their market rate, purely for the prestige value of working with and appearing in a Malick film. Depending on the shooting schedule, they would also have to refuse / adjust other commitments for that period, and to end-up as a footnote or non-entity makes a deficiency in their portfolio they have to make up for. IMO there's nothing pretentious about them being at least a little pissed off if all their work is left on the editing floor. I suppose there's some romance associated with a new-age mystic shooting acres of footage most of which will be discarded, and I love some of Malick's films like Badlands and Thin Red Line but I certainly couldn't blame the actors for any dissatisfaction they might have.

Edit: By that count, Malick is paid by the studio so they have the right to recut his films any which way they want? Can't see many people agreeing to that

If *you* are aware of all of this information, surely the actors agreeing to work in Malick films are too? And they're, like, adults making grown up decisions to work on these films anyways? And then we're saying we can't blame them for they're dissatisfaction? Why not? They should know what they're getting into, and if they're the overly sensitive type that will be dissatisfied if they end up cut from the final product, this probably isn't the right opportunity for them. Can we not buck the popular trend in society these days and actually hold people accountable for the results of the choices and decisions they make?

[Polaroid]

Originally Posted by AaronJ

Oh OK. I will.

It's just that earlier today another guy here was saying that he won tickets to see The Neon Demon in London, with a Q&A with Refn afterwards. When you said that, I thinking, "OMG, Can things get any worse?!" I've only been waiting about 15 years to see The Neon Demon and now someone is going to get to see The Tree of Life with a live orchestra in NYC?

The life of someone in living in the Mid-West really sucks.

(But I will make my plans ... I will.)

Thanks for reminding me of the TTOL screening.

[bwdowiak]

Started Chaplin's The Gold Rush last night and found it very entertaining. Chaplin's facial expressions when in different goofy situations are so very good. I was tired so I had to pause it halfway through, but this one is heading towards being my favorite Chaplin.

I really like the 5.1 score , too. Sounds crisp, clear, and loud. Good stuff.

[Namuhana]

Originally Posted by bwdowiak

Started Chaplin's The Gold Rush last night and found it very entertaining. Chaplin's facial expressions when in different goofy situations are so very good. I was tired so I had to pause it halfway through, but this one is heading towards being my favorite Chaplin.

I really like the 5.1 score , too. Sounds crisp, clear, and loud. Good stuff.

If I'm ever in a bad mood, I always turn to The Gold Rush (or Modern Times). It's so entertaining.

[octagon]

Originally Posted by ravenus

Edit: By that count, Malick is paid by the studio so they have the right to recut his films any which way they want? Can't see many people agreeing to that

Count me in. Well, to the more general proposition that films belong to the studios that produce them (or more accurately, to whoever holds the copyrights) anyway.

I've never really been on board with the tendency to reflexively recoil whenever studios 'interfere' with the artistic process. The parties putting up the money have legitimate interest in things like runtimes and content and the like.

Barring any contractual restrictions, I'm pretty much in the camp that say copyright holders are free to do pretty much whatever they want with their movies.

I mean, I do think there are moral/ethical obligations to be responsible stewards of the films they control but at the end of the day, the movies are theirs.

[pedromvu]

Originally Posted by octagon

Count me in. Well, to the more general proposition that films belong to the studios that produce them (or more accurately, to whoever holds the copyrights) anyway.

I've never really been on board with the tendency to reflexively recoil whenever studios 'interfere' with the artistic process. The parties putting up the money have legitimate interest in things like runtimes and content and the like.

Barring any contractual restrictions, I'm pretty much in the camp that say copyright holders are free to do pretty much whatever they want with their movies.

I mean, I do think there are moral/ethical obligations to be responsible stewards of the films they control but at the end of the day, the movies are theirs.

Agree that the movies are not theirs, at least unless the director, writers, etc are actually the producers, in that case they can do whatever they want, but that almost never happens.

That reality of course doesn't mean that movies get better because of contractual restrictions, although in some cases they may.

Malick though, like Bergman, Cassavetes, Lynch and Woody Allen among others, seems to me is on the camp of directors who pretty much do whatever they want for better or worse.

[jw007]

Originally Posted by AaronJ

Oh OK. I will.

It's just that earlier today another guy here was saying that he won tickets to see The Neon Demon in London, with a Q&A with Refn afterwards. When you said that, I thinking, "OMG, Can things get any worse?!" I've only been waiting about 15 years to see The Neon Demon and now someone is going to get to see The Tree of Life with a live orchestra in NYC?

The life of someone in living in the Mid-West really sucks.

(But I will make my plans ... I will.)

I know how it feels living in the "Rust Belt". Sucks here in Sh#tsburgh too my man. I'm a 7 hour drive from NYC but its always a whole day of traveling getting to/from there, but I go there 2 or 3 times a year. I might consider another trip to NYC in November if you wanna meet up and check out TTOL! Enroute to the Brooklyn Academy of Music in Boerum Hill, the mountains of garbage in Lower Manhattan won't be reaking by then as the weather will be nice n' cooler.

And hey, seeing that you're somewhere in Michigan, at least you got good ol' Detroit Rock City. Life could be worse.

[AaronJ]

Originally Posted by jw007

I know how it feels living in the "Rust Belt". Sucks here in Sh#tsburgh too my man. I'm a 7 hour drive from NYC but its always a whole day of traveling getting to/from there, but I go there 2 or 3 times a year. I might consider another trip to NYC in November if you wanna meet up and check out TTOL! Enroute to the Brooklyn Academy of Music in Boerum Hill, the mountains of garbage in Lower Manhattan won't be reaking by then as the weather will be nice n' cooler.

And hey, seeing that you're somewhere in Michigan, at least you got good ol' Detroit Rock City. Life could be worse.

Truth, truth. Actually, I live in Grosse Pointe, so it's not that bad. But I miss out on a lot of stuff.

[Reddington]

Anyone have the Studio Canal Region B releases of Army of Shadows, Le Cercle Rouge, and Pierrot Le Fou? I'd like to get the Criterion editions, but having just gone region-free, these are very tempting given OOP prices. But I'm wondering how they stack up against the Criterions.

[Polaroid]

Oh also.

They are doing a live orchestra set and showing clips/scenes from Lars Von Triers films.

Experience the works of Lars von Trier live in Concert! Zentropa Productions and Danish Broadcast Corp is happy to announce a great collaboration on a concert with the music from von Triers movies. Experience the Danish National Symphony Orchestra play the music live to filmclips spaning the entire career of Lars von Trier. Just to mention a few: Melancholia & Wagner, Antichrist & Händel & Dogville & Vivaldi - not to forget Europa. Tickets are available here: https://www.billetlugen.dk/buy/ticke...rvLPOO6Jm5gWXN

https://www.facebook.com/Lars.von.Tr...4863270409922/

[joie]

Originally Posted by Reddington

Anyone have the Studio Canal Region B releases of Army of Shadows, Le Cercle Rouge, and Pierrot Le Fou? I'd like to get the Criterion editions, but having just gone region-free, these are very tempting given OOP prices. But I'm wondering how they stack up against the Criterions.

"Pierrot le Fou" is region A/B. I prefer it to Criterion's offering. Criterion's was "approved" by the cinematographer, but its green-tinted shot of Sam Fuller at a party may not be what's on film. It has been said that he was shot in white light because he's the only "real" person at the party.

edit: I've sold the two Criterion Melvilles and didn't replace them.

[bwdowiak]

Originally Posted by joie

"Pierrot le Fou" is region A/B. I prefer it to Criterion's offering. Criterion's was "approved" by the cinematographer, but its green-tinted shot of Sam Fuller at a party may not be what's on film. It has been said that he was shot in white light because he's the only "real" person at the party.

edit: I've sold the two Criterion Melvilles and didn't replace them.

I've had both Pierrot le Fou releases and I much prefer Criterion's. You'd be fine, I think with the UK versions of the 2 Melville films. CC's LCR is nothing special.

[monorail91]

Discussions from the New Year's wacky drawing are pretty aligned that Beyond the Valley of the Dolls is in there (or possibly the original Valley of the Dolls), so wanted to share that Valley will be screened this next Thursday at the Laemmle NoHo 7 in North Hollywood, CA: http://www.laemmle.com/films/40663. BYO pills n booze!

[CPinheiro]

Originally Posted by jw007

And hey, seeing that you're somewhere in Michigan, at least you got good ol' Detroit Rock City. Life could be worse.

Sorry for intruding on this thing, but indeed, it could be worse! At least you guys dont need to import Criterion movies and pay absurd charges (not to mention the currency rate that doesn't help me either).
Speaking of NYC, it might sound crazy but when I used to work for American Airlines I could get some really cheap tickets, so sometimes I'd go there whenever I had 3 days off (a 10 hours flight to go and 10 more to come back) only to buy movies. Still easier than waiting weeks/months for an order to arrive from amazon or ebay, like I do nowadays.

P.S: I'd love to see The Tree of Life with a live orchestra too.

[filmmusic]

Thought to post this here too, although i posted it in the relevant thread:


This should raise some interesting conversation!
Entirely new "teal-ish" color palette for the Criterion Fantastic Planet.
The comparisons of course is with the Eureka DVD, but the Eureka Bluray features the same transfer.

http://www.dvdbeaver.com/film5/blu-r...et_blu-ray.htm

here's a direct comparison of the 2 Blurays:
http://screenshotcomparison.com/comparison/174065