Second Sight Films (UK)

[eerik]

Special features for Monster:

• Audio Commentary with Writer / Director Patty Jenkins, Actor / Producer Charlize Theron and Producer Clark Peterson
• Making a Murderer: a new interview with Director Patty Jenkins
• Producing a Monster: a new interview with Producer Brad Wyman
• Light From Within: a new interview with DoP Steven Bernstein
• Monster: The Vision and Journey
• Based on a True Story: The Making of Monster
• Deleted and Extended Scenes with Director Commentary
• Monster: Evolution of the Score
• Original Trailer
• English subtitles for the hearing impaired

No details on the transfer. 1080 BD only, so probably an old 2K master? But new interviews with director, producer, and DOP? So maybe a new master, too?

[Black Hat]

They’re showing “Martin”! Granted probably not the longer cut (we’ll see when the date and time are announced) but still that’s worth catching.

FYI: The longer cut is a rough cut not meant for public consumption.

[Finch]

The George A Romero Foundation has issued a statement on the print that is now up for auction.

Many of our fans, followers, and supporters have reached out to us about the print of MARTIN that is currently for sale. We truly appreciate your concern and diligence, so thank you!

The George A. Romero Foundation (GARF) has reached out to the seller's agent to discuss its acquisition. At this time, it appears that the print will be sold to an individual buyer.

The GARF has also been in contact with those involved with the production of the film to determine exactly what this print may be. This print of MARTIN is a "slop print" - that is, a B&W spliceless duplicate of the workprint used to make corrections in the sound mix. This print was purportedly produced for and exhibited at a theater in New Jersey so that the production company (Braddock Associates) could apply for funding for its completion and eventual distribution.

This print made its way to its current owners through the location scouting process for DAWN OF THE DEAD. Regardless of physical ownership, this print may not be exhibited, as the intellectual property is owned by New Amsterdam Entertainment.

This cut of MARTIN does, however, have intrinsic scholarly value. It is our hope that this print may ultimately be installed within the University of Pittsburgh Library System's (ULS) George A. Romero Archival Collection.

The print needs to be properly transferred so that it can be viewed without the risk of its destruction. The celluloid itself then needs to be meticulously preserved. The ULS has both the capability and the desire to do so.

We sincerely hope that the buyer will consider donating the film to the collection so that it may be added to the enormous body of work already there.

That's all the information we can share at this time. As always, please stay tuned for new developments and of course -- Stay Scared!

[L.A.]

MARTIN update! For several months this has been on hold while we tried to negotiate rights to include the longer cut. Sadly despite our efforts this has been unsuccessful. We're now going ahead and releasing before end of year, date TBC. Thanks for everyone’s patience.

[therewillbeblus]

Wow, so cool that they were still trying this whole time. I thought SS had already given up on that pipe dream.

[Finch]

Happy to have Martin restored, in any cut, really but respect to Second Sight for doing everything they could under the circumstances. Looking forward to the UHD/BD of the theatrical.

[Finch]

Second Sight have teased UK films Bull and Boiling Point as forthcoming releases (presumably theatrical first, home video later) on Twitter.

[Finch]

The Martin DC print sold for $51,200, allegedly to a friend of the Romero Foundation. Maybe they can come to an agreement with Rubinstein and the DC will see the light of day.

[hearthesilence]

The Martin DC print sold for $51,200, allegedly to a friend of the Romero Foundation. Maybe they can come to an agreement with Rubinstein and the DC will see the light of day.

$51,200 is not nothing (I'd be pretty damn thrilled if that dropped in my lap), but that feels like a modest amount given what's being bought. Maybe it's because Martin isn't as widely known as, say, a hypothetical "director's cut" of Welles's The Lady from Shanghai?

[dwk]

Yes, but a person really can't do anything with the long version of Martin. There is no real way to monetize it, you can only preserve it, which costs money. So the people that had the print vastly overestimated the market for it.

[hearthesilence]

Yeah, very true. Reminds me of an argument I once heard about the original formula for Coca-Cola - even if you could steal it and get away with it, it's arguably worthless for similar reasons. (I think this came up in a discussion about Flaming Moe's from The Simpsons of all things.)

[bad future]

Just watched this very interesting panel from Cinema Ritrovato in which the restoration company that handled Picnic at Hanging Rock detail their work.

They get into the color grade, surprisingly different from the Criterion, as illustrated in a clip, but apparently truer to the intended and original look. They worked closely with Weir and cinematographer Russell Boyd, plus consulted reference prints and things like costumes and the novel's references to color(!?). The color was extended beyond what they were able to do in the 70's in just a few nighttime shots where they hadn't been able to capture the color of the gas lighting at the time. Weir insisted the aspect ratio was 1.66:1 and Boyd said 1.85:1; they went with the former because that's how the early prints were marked. Oh, and the new restoration is from the OCN while the last one was just an interpositive apparently.

Thankfully they've restored both the original cut and the director's cut, and they say Weir has approved the home release including both! They've restored the mono soundtrack for the original cut, and are using Weir's preferred 5.1 remix on the DC. They mention digitally removing telephone poles and things from shots, and I thought seemed to suggest that would only apply to the DC, but I could be wrong. They talk about trying to balance taking advantage of HDR while remaining true to the ethereal, faded, narrower color range of the photography. Cool stuff, and I can't wait to see Second Sight's release!

[beamish14]

Just watched this very interesting panel from Cinema Ritrovato in which the restoration company that handled Picnic at Hanging Rock detail their work.

They get into the color grade, surprisingly different from the Criterion, as illustrated in a clip, but apparently truer to the intended and original look. They worked closely with Weir and cinematographer Russell Boyd, plus consulted reference prints and things like costumes and the novel's references to color(!?). The color was extended beyond what they were able to do in the 70's in just a few nighttime shots where they hadn't been able to capture the color of the gas lighting at the time. Weir insisted the aspect ratio was 1.66:1 and Boyd said 1.85:1; they went with the former because that's how the early prints were marked. Oh, and the new restoration is from the OCN while the last one was just an interpositive apparently.

Thankfully they've restored both the original cut and the director's cut, and they say Weir has approved the home release including both! They've restored the mono soundtrack for the original cut, and are using Weir's preferred 5.1 remix on the DC. They mention digitally removing telephone poles and things from shots, and I thought seemed to suggest that would only apply to the DC, but I could be wrong. They talk about trying to balance taking advantage of HDR while remaining true to the ethereal, faded, narrower color range of the photography. Cool stuff, and I can't wait to see Second Sight's release!

That all sounds fantastic, except for the digital removals…

Still, I’m so glad that original theatrical cut is not being neglected

[Finch]

Speaking of Peter Weir, Ethan Hawke suggested in an indiewire interview the other day that Weir has effectively retired from filmmaking which given that his last film was in 2010 or 2011 is not surprising but a pity just the same.

[hearthesilence]

Speaking of Peter Weir, Ethan Hawke suggested in an indiewire interview the other day that Weir has effectively retired from filmmaking which given that his last film was in 2010 or 2011 is not surprising but a pity just the same.

And he blamed Russell Crowe and Johnny Depp! Given the very public troubles Crowe had over the next few years, I can see how he broke him.

[therewillbeblus]

Master and Commander sounds like it would be a difficult shoot regardless- perhaps having a demanding lead actor would be the straw to break the back, but that's a lot of accountability to place on one element on one side of the street

[Adam X]

Whether or not it’s a primary cause, I can easily believe it’s true. As someone who works in the live performance industry, and used to work in film, you sometimes come across individuals whose personality has such a detrimental affect on your experience of the production, it seriously makes you question why you’re doing something that should be enjoyable.

Unlike, say, an office job, where you could conceivably just change employers, in the arts, where you’re often only a couple of degrees away from knowing everyone (at least in your city/country), and the chance of having to work with them again is fairly high, it can sometimes seem like a better idea to give up than continue on. A thick skin is generally pretty useful to survive, but it’s not always enough.

[therewillbeblus]

Of course, I'm just saying that any statement declaring that 'X broke Y' doesn't account for Y's side of the street and oversimplifies accountability, especially if it's pertaining to why someone quit the industry- removing their agency entirely (it's that actor's fault why he retired.. what?) I have a source who spoke with Martha Coolidge about Real Genius, where she said that Val Kilmer was so needy and inconsistent that he took 90% of her attention when she needed to focus that attention on an entire crew of people, but she was able to acknowledge that despite that energy-drainer, it was her first big picture and there were other strains that caused his behavior to be so exhausting and leave the shoot as one of her most unpleasant. Doesn't mean that his side of the street was clean and that he should void accountability! There are just other factors too, and it's disingenuous to assert otherwise

[Adam X]

I’m not quite sure you understood what I wrote? It was simply an observation from personal experience about a subjective response, and no argument was intended.

[therewillbeblus]

I’m not quite sure you understood what I wrote? It was simply an observation from personal experience about a subjective response, and no argument was intended.

I meant it was disingenuous on Hawke's part, or how the articles I'm reading are contextualizing his quote. I understood you just fine and didn't perceive any argument put forth, I was merely adding to it by relaying another subjective account and then zooming out

[hearthesilence]

I don't know if this offers any insight, but when Crowe worked on Winter's Tale, his marriage was in trouble and he asked to be let out of the film because he wanted to fly back to Australia to save it. Akiva Goldsman apparently refused because he said Crowe needed to stay in the U.S. and keep the film on schedule. In retaliation Crowe made Goldman's life a living hell and even said he would beforehand. I have no idea what that entailed, but regardless, it was reported to be that bad. Crowe was served divorce papers from Australia during filming, so he definitely wasn't wrong that his marriage needed help.

[mfunk9786]

Received the big UHD boxsets of Drive and The Witch a couple of days ago. Have only watched the latter, but it is the best the film has ever looked by a considerable margin, and all of the bonus features are actually on the UHD disc, which is especially important for those importing from other regions (hint hint hint Criterion)

Highly recommend both of these!

[swo17]

Drive is of course completely sold out already though, even the standard edition UHD

[mfunk9786]

When did that become my problem? \:D/

[domino harvey]

So you're saying this was a Drive buy eschewing