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• 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

hearthesilence wrote: Wed Jun 08, 2022 4:17 am 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.

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!

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.

Finch wrote: Wed Jul 20, 2022 12:29 pm 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.

bad future wrote: Thu Jul 21, 2022 8:11 pm 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!

Finch wrote: Thu Jul 21, 2022 10:36 pm 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.

Adam X wrote: Fri Jul 22, 2022 3:14 pm 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.