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Master and Commander, There Will Be Blood, and Doubt

Besides Minghella’s The English Patient and Cold Mountain, his film version of Patricia Highsmith’s The Talented Mr. Ripley, another Paramount/Miramax, would also be a great pick for Criterion since they already have Purple Noon.

crimlaw wrote: Sat Jan 11, 2025 4:25 pm Besides Minghella’s The English Patient and Cold Mountain, his film version of Patricia Highsmith’s The Talented Mr. Ripley, another Paramount/Miramax, would also be a great pick for Criterion since they already have Purple Noon.

I hope Truly, Madly, Deeply is a possibility. The MGM disc became very rare, and his commentary on it is fantastic

Mr.DarjeelingLimited wrote: Sat Jan 11, 2025 4:19 am Master and Commander, There Will Be Blood, and Doubt

Master and Commander is with Fox (and therefore Disney) for home video rather than Miramax (Paramount).

dwk wrote: Fri Jan 10, 2025 5:39 pm

flyonthewall2983 wrote: Fri Jan 10, 2025 4:59 pm How are Jackie Brown and Kill Bill still Lionsgate titles?

The rights reverted to Tarantino and he licensed thevfilms to Lionsgate.

Excuse the digression, and my ignorance, but how common is this sort of thing, a mainstream studio director owning (or regaining, in this case?) the rights to his own work? And how does it come to be? Does Spielberg, for example, likely the richest and most powerful director in Hollywood, own any of his own films? Are they available to him? Does he not want to own them? Can properties be co-owned by the creator and studios? When Kubrick withdrew Clockwork Orange in the UK in the 70s, did he own the rights, or was that just a matter of a willingly compliant studio acceding to his concerns?

beamish14 wrote:

crimlaw wrote: Sat Jan 11, 2025 4:25 pm Besides Minghella’s The English Patient and Cold Mountain, his film version of Patricia Highsmith’s The Talented Mr. Ripley, another Paramount/Miramax, would also be a great pick for Criterion since they already have Purple Noon.

I hope Truly, Madly, Deeply is a possibility. The MGM disc became very rare, and his commentary on it is fantastic

I imported the BBC blu-ray into Canada and can confirm it’s region free, if that makes a difference. It contains a Minghella intro, interview and the commentary.

jazzo wrote: Sun Jan 12, 2025 6:49 am

beamish14 wrote:

crimlaw wrote: Sat Jan 11, 2025 4:25 pm Besides Minghella’s The English Patient and Cold Mountain, his film version of Patricia Highsmith’s The Talented Mr. Ripley, another Paramount/Miramax, would also be a great pick for Criterion since they already have Purple Noon.

I hope Truly, Madly, Deeply is a possibility. The MGM disc became very rare, and his commentary on it is fantastic

I imported the BBC blu-ray into Canada and can confirm it’s region free, if that makes a difference. It contains a Minghella intro, interview and the commentary.

Just came by to say the same (around the $15 mark nowadays), though I'm not sure if it's an upscale as I feel it has a better rep in the UK - it used to always pop up on VHS previews I saw as a kid, so finally seeing it was a revelation.

A CC uplift in Minghella overall is promising, and who could blame them?

Maladroit Aggregator wrote: Sun Jan 12, 2025 4:24 am Excuse the digression, and my ignorance, but how common is this sort of thing, a mainstream studio director owning (or regaining, in this case?) the rights to his own work? And how does it come to be? Does Spielberg, for example, likely the richest and most powerful director in Hollywood, own any of his own films? Are they available to him? Does he not want to own them? Can properties be co-owned by the creator and studios? When Kubrick withdrew Clockwork Orange in the UK in the 70s, did he own the rights, or was that just a matter of a willingly compliant studio acceding to his concerns?

Not really common in modern US filmmaking, but it does happen (Jim Jarmusch eventually gets the rights back to his work and licenses his films to Criterion/Janus and Coppola owns a number of his own films, which he has licensed to Lionsgate.) I recall one of the things when Tarantino was shopping Once Upon a Time in Hollywood was that the film's rights would revert to him in xx number of years, so I suspect that it is something he has requested for everything post Pulp Fiction and eventually all the films he has made after that will revert to him. But these examples are really in the independent realm, not the studio realm (even though Disney owned Miramax in the 90s- early 2000s.)

I don't know Spielberg's ownership situation for the Dreamworks titles, but no he doesn't own anything pre-Dreamworks. I suppose, after a certain amount of success, he could have insisted on reversion clause, but his films are so expensive and make so much money that I assume he figured it was better to just get a bigger chunk of the profits.

Kubrick/Clockwork was just the studio doing what he asked.