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Special Features:
Isolated Music & Effects Track
Audio Commentary with Writer-Director Randal Kleiser
The Making of "Summer Lovers"
Screen Tests
Basil Poledouris: His Life and Music
Original Theatrical Trailers

Special Features:
Isolated Score Track
Original Theatrical Trailer

Special Features:
Isolated Score Track
Audio Commentary with Film Historians Eddy Friedfeld, Lee Pfeiffer, and Paul Scrabo
Introductions by Karen Kramer, Steven Spielberg, Tom Brokaw and Quincy Jones
A Love Story for Today
A Special Kind of Love
Stanley Kramer: A Man’s Search for Truth
Stanley Kramer Accepts the Irving Thalberg Award
2007 Producers Guild Stanley Kramer Award Presentation to An Inconvenient Truth
Original Theatrical Trailers

Special Features:
Isolated Score Track
Audio Commentary with Film Historians Julie Kirgo and Nick Redman
Audio Commentary with Film Historians Alain Silver and James Ursini
Fox Movietone Newsreels
Original Theatrical Trailers

Special Features
Isolated Score Track
Original Theatrical Trailers

domino harvey wrote:And it's now the 30th Twilight Time release to sell out

giovannii84 wrote: Once a release sells out, does that mean another label can license it out for their own release, or does it remain out of print indefinitely?

EddieLarkin wrote:Presumably because Sony wanted to release it in time for Halloween, which is well before the end of TT's licence period.

• Isolated Score Track
  Audio Commentary with Film Historians Lem Dobbs and Nick Redman
  Original Theatrical Trailer

• Isolated Score Track
  Audio Commentary with Director James Foley and Film Historian Nick Redman
  Original Theatrical Trailer

andyli wrote:I wonder if the 4K transfer of Fat City is the same as the one used by the French disk.

A limited special offer from TWILIGHT TIME this Wednesday, August 5th at 4 PM Eastern time - an autographed copy of APRIL LOVE- signed by SHIRLEY JONES! This will be available to those customers who spend a minimum of $149.75, before shipping, on other TWILIGHT TIME product. You must add the signed edition to your cart and check out successfully with an order confirmation number to qualify. There will be a page just like the other titles to be added to your cart located on the homepage within the TWILIGHT TIME new releases box. This is a first come first serve offer, with a limit of one per customer. YOU MUST HAVE THE QUALIFYING TWILIGHT TIME ITEMS WITHIN YOUR CURRENT ORDER, NO PREVIOUS ORDERS OR FUTURE ORDERS QUALIFY. Only at http://www.screenarchives.com" onclick="window.open(this.href);return false;

Criterion focuses on 'important films'. What would you say Twilight Time's focus or agenda is?
Well, the first agenda was to get the films we could get! When it became clear that the studios were really going to be on board with this and that they were going to give us films we had never dreamed we could get, the second agenda became choosing titles that reflect the taste of the people who work at Twilight Time - Brian and I, and Julie Kirgo, who writes the essays in the booklets and does some of the commentaries with me. That's not to say that we love each and every title that we put out. They're not all our personal favourites. But we feel that all of the titles in some shape or form fit the Twilight Time brand, just as Criterion focuses on 'important films' as you said. Although I look at a lot of their titles and I think they're not important at all. What they really focus on is esoteric movies that can all come under the generalised banner of 'art.' They have been around for thirty years but they have released titles in the last few years that they never would have even looked at ten years earlier. That is a concession to reality. The films might not be all that good but they might sell well. Any company that wants to stay in business and wants to keep growing and evolving in some way has got to keep refining what it's doing and reinvest in itself. I started interacting with Criterion in the 1980s when they were based in Santa Monica on PCH. They were a small group of IT nerds. They weren't even really like film people. They were much more about the gadgetry than they were about the movies. Then they evolved into a real repository of international film history, and today they think about things commercially in a way that perhaps they didn't twenty years ago. I think this is good for everybody because it shows you that it is not just about obscure art. It can also be about commercial movies. The line is becoming blurred. All of us that are older are going to think more fondly about the movies we loved when we were young than we are about the movies made today, which are made to be disposed of as quickly as possible. They're not even designed to have any life at all, beyond their immediate life. They have the life cycle of a tsetse fly. They come out, they burn very brightly for five seconds and then they're gone. We are more interested in the movies that have lingered, the ones that you can't shake, the ones that you keep thinking about forty years after you saw them. The ones that you watch over and over again.