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Gregory wrote: For example, Becker said a couple of years ago that they had decided to release Ugestu Monogatari without regardless of how much it might sell. Due to these same standards they also release a certain number of titles like Equinox and Koko regardless of how well or how poorly they sell. .

I wouldn't take that statement by him very seriously Greg. He's just living his role of Our Hero, bravely showing his immunity against those cheapening capitalist forces that compromise 99% of every studio (and human being who must work for a living) product. They're not a charity-- they knew UGETSU was a dream-release for every serious director, cinematographer, serious employee of every film and television studio, and every professor of film around the world, plus their usual crop of cineastes. We have very real examples of films that were shot down by Becker (MIRROR, for example, which Sean-Wright Anderson was pleading to release) for the stated reason of low profit level.

By the way-- in a moderate sense, he is a "hero" (so to speak), for trailblazing (and turning into a vastly profitable operation) a biz model that most investors wouldn't have gone near with a radiation/level-4 filovirus protective suit and air-supply.

justeleblanc wrote:I say we keep it, just to keep it contained.

Keeping it will not contain it because it's out of control.

I still vote that Matt put a permanent lid on it...

The now-changed name of the thread is nice.

HerrSchreck wrote:We have very real examples of films that were shot down by Becker (MIRROR, for example, which Sean-Wright Anderson was pleading to release) for the stated reason of low profit level.

Do you have any more info on this? I can't imagine The Mirror selling significantly less than a lot of Criterion's titles. Was there some huge cost in acquiring the rights from Kino?

Langlois68 wrote:

HerrSchreck wrote:We have very real examples of films that were shot down by Becker (MIRROR, for example, which Sean-Wright Anderson was pleading to release) for the stated reason of low profit level.

Do you have any more info on this? I can't imagine The Mirror selling significantly less than a lot of Criterion's titles. Was there some huge cost in acquiring the rights from Kino?

I read it online about two years ago in an interview w SWA beck when he was still w CC. You may be able to google it, though my preliminary attempt failed.

I just made a few quick attempts and couldn't find it, either. Someone please post it if it turns up.
Perhaps more importantly, are there any more examples?
I took the statement by Becker as something true to their general approach, which I don't think was disingenuous. I admit that particular claim came across a little odd, in and of itself, because he was talking about Mizoguchi. While cinephiles who have been clamoring for more Mizoguchi on DVD are a small group relative to the mainstream of the DVD market, I think we're a large and dedicated enough group to ensure that sales for Ugetsu would be at least as large as for many of Criterion's other releases, which probably sell only a few thousand copies. If that's true then so is my larger point: Criterion routinely releases titles (the Barbet Schroeder films come to mind) that it knows won't sell all that well simply because it fits with their project of releasing an eclectic collection of titles that they find worthy, going off the beaten path (but still selling enough to stay in business). And since we agree that their business model is so unusual, we may also agree that they're consequently somewhat less concerned about "pocketbook votes" than most companies, although of course they can't ignore it completely all the time.

I strongly suspect HerrSchreck is referring to this interview with Mark Rance. Keep in mind, though, that he's talking about the laserdisc era. The market has transformed for such films since then.

It's been a couple years but remember it as being SWA, though with all the drugs I could be misremembering =P~ .

In addition to what Narshty's mentioning, there is also the vindication, since the time of the interview, of CC's business model. What started out as an obscure product line with monstrous production (relatively) values, with a potential for sales that was at best Questionable, has turned into the most excellent home ent operation on the planet.

EDIT It goes back to what I had mentioned when comparing the CC operation vs. someone like Kino (who I always defend because I love their collection to death, esp their silent collection which is the premeire silent catalog on the planet)-- CC almost seems to create these dream editions of films they love, like fantasy incredible-quality editions so they can watch them at home themselves... this vs. Kino who some times I do admit come out with editions that I could never inna million years believe Krim & Shepard could be happy with and watch at home.

lovermanzig wrote:I understand that Marker's work is available on DVD all over the world, but still...something else!

If by "Marker's work" you mean roughly four films, I guess that's true.

I think I preferred the circular spiraling rambling to this off-topic "random speculation" which obviously belongs in other threads.

Although I don't really want the circular argument to continue either.

I didn't realize how little of Marker's work is available...any reasons, aside from the idea that they wouldn't sell? Copyright issues?

HerrSchreck wrote: EDIT It goes back to what I had mentioned when comparing the CC operation vs. someone like Kino (who I always defend because I love their collection to death, esp their silent collection which is the premeire silent catalog on the planet)

I love Kino, too, based on their theatrical approach. I ran the Austin Film Society back in the 90s, and they were the ONLY distibutor who would freely and happily refer me to other distribution houses for options when I was curating a series. They were also the only ones to warn me off their own releases if the print quality was lacking. That's why I don't bad mouth them on their poor dvd releases because I can only assume it's due to a lack of resources (I dont know this for sure, as I haven't dealt with them since 1998).

New Yorker was the complete opposite. They would actually lie about the quality of their prints. There were a couple of occasions where I granted full refunds to my audience because a New Yorker print was so bad, and New Yorker would then refuse to discount the rental fee because of this. I remember Weekend in particular, when blood ran pink. The audience began catcalling "Godard is a fag!" whenever blood was shown. Great times.

Langlois68 wrote:

HerrSchreck wrote: EDIT It goes back to what I had mentioned when comparing the CC operation vs. someone like Kino (who I always defend because I love their collection to death, esp their silent collection which is the premeire silent catalog on the planet)

I love Kino, too, based on their theatrical approach. I ran the Austin Film Society back in the 90s, and they were the ONLY distibutor who would freely and happily refer me to other distribution houses for options when I was curating a series. They were also the only ones to warn me off their own releases if the print quality was lacking. That's why I don't bad mouth them on their poor dvd releases because I can only assume it's due to a lack of resources (I dont know this for sure, as I haven't dealt with them since 1998).

New Yorker was the complete opposite. They would actually lie about the quality of their prints. There were a couple of occasions where I granted full refunds to my audience because a New Yorker print was so bad, and New Yorker would then refuse to discount the rental fee because of this. I remember Weekend in particular, when blood ran pink. The audience began catcalling "Godard is a fag!" whenever blood was shown. Great times.

Great anecdotes. Of course it's only my taste (though I know others around here feel the same way, Denti for one), but if you compare the Kino catalog to the CC catalog, there's just not any comparison. Kino is the real hardcore deal. Problem is in many cases owing to the truly limited audience & budget for much of their collection, it is a poor man's Real Hardcore Deal. And yeah it's true the guys up there on 39th st are very cool folks, very down to earth. In the end though, rather than comparing the two, we can be thankful CC & Kino both exist, as they compliment each other nicely. Lord knows Becker aint in any rush to release more politically incorrect masterpieces, like pre-WW2/WW2 German, or any silents (beyond the 4 or so already released).

I started the thread and I'll look even more the retard if I shout about it. You will recall, in my lame defense, that I asked for a similar close-thread show-of-hands from the get.

But, really, where would (the other, better) Matt dump the whining from other threads if he shuts this down? Are you going to volunteer your backyard? Hmmmmmm?

DVD Journal has the release dates for the July Criterion titles:

Finally, The Criterion Collection has finalized their July lineup, with Yi Yi and Koko: A Talking Gorilla due on July 11. And now added to the list is a three-disc Olivier's Shakespeare featuring the previously released Hamlet, Henry V, and Richard III (July 18), while Michael Powell and Emeric Pressburger's 1944 A Canterbury Tale will feature scenes from Michael Powell's re-edited American version, a commentary by film historian Ian Christie, and the documentaries "A Pilgrim's Return" and "Listen to Britain" (July 25).

Thanks, but the release dates can also be found on Image's site.

So I got a "newsletter" from Criterion DVD today, and they say:

Criterion is planning to release improved versions of the following titles this fall:
AKIRA KUROSAWA: FOUR SAMURAI CLASSICS
AMARCORD
SANJURO
SEVEN SAMURAI
THIRD MAN
YOJIMBO

I don't know if these have all already been confirmed on here or not (I know that most of them have been), but here's another "Amarcord" and "Third Man" confirmation.

jorencain wrote:So I got a "newsletter" from Criterion DVD today, and they say:

Criterion is planning to release improved versions of the following titles this fall:
AKIRA KUROSAWA: FOUR SAMURAI CLASSICS
AMARCORD
SANJURO
SEVEN SAMURAI
THIRD MAN
YOJIMBO

I don't know if these have all already been confirmed on here or not (I know that most of them have been), but here's another "Amarcord" and "Third Man" confirmation.

That might explain the THIRD MAN bickering, unless this forum is their source.

Got tired of waiting and bought a few Rossellinis from brazil.Last night I watched 'Stromboli,terra di Dio' two times in a row,(Ingrid=HOT)after watching "Viaggio in Italia' the night before.

Re-issues:

Amarcord
Grey Gardens
High and Low (Possibility)
Picnic at Hanging Rock
Salo (Possibility)
Sanjuro
Seven Samurai
Third Man
Yojimbo

I'd wish they'd get to Andrei Rublev and Brazil.

cinephrenic wrote:Re-issues:

Amarcord
High and Low (Possibility)
Picnic at Hanging Rock
Salo (Possibility)
Sanjuro
Seven Samurai
Third Man
Yojimbo

I'd wish they'd get to Andrei Rublev and Brazil.

Amacord, Sanjuro and Yojimbo??

Fantastic news... I've avoided buying these titles because they weren't anamorphic!! FINALLY!!!!

I hope you're right about High and Low!!!

cinephrenic wrote:Re-issues:

Amarcord
High and Low (Possibility)
Picnic at Hanging Rock
Salo (Possibility)
Sanjuro
Seven Samurai
Third Man
Yojimbo

I'd wish they'd get to Andrei Rublev and Brazil.

What's your source for High and Low?....other than they desperately need to revisit that title.

Actually these are old news. The High and Low was mentioned as a possibility in the future by a interview along with the other Kurosawa titles mentioned and now confirmed. I doubt we see it this year, but it is in Criterion's radar.

Criterion newsletter:

jorencain wrote:So I got a "newsletter" from Criterion DVD today, and they say:

Criterion is planning to release improved versions of the following titles this fall:
AKIRA KUROSAWA: FOUR SAMURAI CLASSICS

Whoa! So they're gonna repackage the three updated releases with Hidden Fortress again? That's pretty generous, if it's true.