In defense of Jim Van Bebber
GRNDHOUSE
Van Bebber and the DEADBEAT AT DAWN DVD released by Synapse. In my opinion, all
of the mudslinging going on is very childish and unprofessional. I cannot
believe that dirt about Jim's personal life is being dredged up and used to
invalidate his opinion of the transfer of his movie. Nor can I believe the
posting of his private phone messages to Don May for the general public to hear
and ridicule. I have seen the disc and, while I admire the overall presentation
and commend everyone involved for their immediately apparent care and hard work
in regards to the package as a whole, I must say that I agree with Jim on the
quality of the transfer itself.
In my professional opinion, the first half of the movie does look excellent.
The color and density looks great and the shot-to-shot flow is very smooth. The
decision to do the transfer from the original A and B rolls was definitely
worthwhile. A 16mm internegative struck from a color reversal original would
never have yielded such rich detail. However, in the second half, things get
pretty rough, especially in the action sequences (and in many of the dialogue
scenes as well). At times it looks almost like a one-light transfer, with
little consistency in regard to shot-to-shot color balance. When every shot is
a different color the overall effect on the scene is very detrimental. The
action doesn't flow the way the filmmaker intended. The scene seems choppy and
the editing jarring instead of fluid. These scenes are the highpoint of Jim's
movie. I can totally understand his outrage at their mishandling. It only takes
a few minutes of uncaring transfer time to ruin something that has taken hours
to light, days to shoot and weeks to edit. A bad transfer instantly sabotages
the filmmakers' hard work.
Don notes that because Jim was not available during the original telecine
sessions he therefore somehow forfeited his right to check the transfer and
sign off on it. This is ridiculous and a cop-out on Don's part. A full six
months passed between the time that the transfer was completed and the pressing
of the DVD. At any point along the way Jim could have been sent a check
cassette to give his notes. Maybe Don didn't have a contractual obligation to
solicit Jim's input, but he sure had a moral one.
Any company releasing a movie owes an incredible responsibility to uphold the
integrity of the movie and the vision of its filmmakers. Unfortunately, this
responsibility has traditionally been ignored by companies who have had no
interest in the movies beyond their ability to generate a quick buck. We have
all suffered through the crummy transfers of companies like Wizard, Prism,
Continental and Vestron. Transfers which, at best, are unrepresentative of the
actual look of the film and, at worst, totally undermine most of the
filmmakers' artistic intentions.
It is the director of the film who should ultimately dictate a movie's final
look. Therefore, if possible, he is the one who must be consulted for his
opinion. Not the telecine operator, nor the producer or distributor. Of course,
sometimes this isn't possible. For example, with THE BEYOND we obviously did
not have this luxury since Lucio Fulci had passed away a few months before we
began the transfer process. We had planned to involve him at every step.
However, we were able to contact Lucio's cinematographer Sergio Salvati, who
worked with us at Technicolor Rome to oversee the color timing of the new print
we produced and make sure it was a reflection of what he and Fulci had
originally intended.
In the case of DEADBEAT, Jim may not have been available during the actual
telecine transfer, but he was available later to give notes on what was done.
Any changes he had asked for could have been very simply accommodated in a tape
to tape color correction session. This is a process whereby the digital tape
produced on the film to tape transfer machine is run through the same kind of
color corrector that was originally used in the film to tape process. Because
the signal is component digital (meaning the chrominance and luminance - color
and brightness - information are separate) the operator has virtually as much
latitude changing the look of any individual shot as there was when originally
working directly from the film. Hence, complete ability to correct color and
density problems at any time (or to make overall aesthetic changes in a scene -
for instance, to make a scene look warmer where the look is currently bluish,
or to make it look like nighttime when it currently looks like day). So to say
it was ever too late to address Jim's changes, up to the point of pressing, was
ridiculous. Obviously this costs money, but so does every other step in the
process. The bottom line is that Don chose not to involve Jim in the transfer
approval process because he didn't want to risk having to go through the cost
of re-doing something. He made a choice and now is facing the repercussions of
that choice - Jim's feelings of anger and betrayal. Instead of admitting that
he
intentionally cut the filmmaker out of the process to save a buck, he's
pointing the
finger at Jim. He's furthermore passing the buck by stating "I was only using
the final product they gave me and, suddenly, IT'S ALL MY FAULT." Well, yeah,
it is your fault Don. The last couple reels of the transfer should have been
rejected by you, the last guy in the chain, the boss. When we received the our
video transfer of THE BEYOND that was done in Rome (without our supervision,
though they were working with the element that we had produced in conjunction
with Salvati), we immediately scrapped it and re-did it from scratch here in
LA. We felt it was just unacceptable on many levels and did not reflect the
high quality of the cinematography that we knew to exist (shockingly enough
this transfer was sold without our knowledge to EC entertainment who has used
it for their laser and DVD releases. Most people think it looks great. Go
figure! I guess it does when compared to the fourth generation bootlegs most of
us are used to seeing, but it certainly does not do the movie justice). Anyway,
the last thing we wanted to do was to spent more money on a project that we had
already gone way over budget on, but it had to be done. We didn't want to
settle for anything that was less that the best. Releasing a movie demands that
responsibility.
On every project I've ever been involved in, from low budget features like
NIGHT OF THE SCARECROW, to studio films like ARMY OF DARKNESS, to our own video
releases, there were unforeseen problems that had to be addressed right up to
the eleventh hour. And I've always fought to correct those problems, regardless
of the financial cost, rather than forever live with something less that
perfect. If something is worth doing, it's worth doing right or you shouldn't
be doing it. That's why all of our releases, from CANNIBAL FEROX to CAT IN THE
BRAIN to our upcoming releases of THE BEYOND and CANNIBAL HOLOCAUST, take as
long as they do. We receive a lot of criticism for the delays, but I hope the
insane attention to every tiny detail shows in the final release. I have
immense respect for Jim Van Bebber because he shares this same perfectionist
attitude. This is the reason his films take so long to finish. CHARLIE'S FAMILY
remains unreleased not because Jim has lost interest or is too lazy to finish
it, but because he has the integrity to insist that everything be done right.
This costs money. He could have just slopped it together years ago with the
money he had, but he believed it was more important to wait until the necessary
money was there to do it right. For this he is criticized.
Synapse chose the easy, cheap road with the transfer of DEADBEAT. Jim was
rightfully outraged. And, shockingly enough, he is now being condemned for his
outrage by those who should agree with him and admire his refusal to sell out
and settle for less than perfection.
Bob Murawski
Grindhouse Releasing
Dave Snyder
I'm sure you know what your talking about considering the great job you have
done with your releases. However the comments........
>Any company releasing a movie owes an incredible responsibility to uphold the
>integrity of the movie and the vision of its filmmakers.
>Unfortunately, this
>responsibility has traditionally been ignored by companies who have had no
>interest in the movies beyond their ability to generate a quick buck.
A quick buck and Don May Jr. are two things that just don't go together in the
same sentence.
>We have
>all suffered through the crummy transfers of companies like Wizard, Prism,
>Continental and Vestron.
Surely you wouldn't put Synapse or Elite in this group of companys.
~ Dave
( The chief enemy of creativity is "good taste". )
----Pablo Picasso
Dave Snyder
>the
>same sentence.
Ok, well they are not in the same sentence. But you get my point. ;)
Don May, Jr.
to the obvious attempt to take advantage of a difficult situation between
Synapse Films and Jim Van Bebber on your part to grab attention to your own
company, Grindhouse Releasing. Your post is factually incorrect, blatantly
one sided and ludicrous in content. You have no idea what went into this
project, yet you feel qualified to pontificate on it.
Now, on with the post at hand....
GRNDHOUSE" <grnd...@aol.com> wrote in message
news:20000202050033...@ng-cj1.aol.com...
> It's been pretty disheartening for me to read all of the posts regarding
Jim
> Van Bebber and the DEADBEAT AT DAWN DVD released by Synapse. In my
opinion, all
> of the mudslinging going on is very childish and unprofessional. I cannot
> believe that dirt about Jim's personal life is being dredged up and used
to
> invalidate his opinion of the transfer of his movie. Nor can I believe the
> posting of his private phone messages to Don May for the general public to
hear
> and ridicule. I have seen the disc and, while I admire the overall
presentation
> and commend everyone involved for their immediately apparent care and hard
work
> in regards to the package as a whole, I must say that I agree with Jim on
the
> quality of the transfer itself.
Jim is certainly entitled to his opinion and so are you. I thank you for
your comments on the presentation and I understand he is not happy.
Perhaps, if Jim had called me in a sober state to discuss his displeasure,
we at Synapse may have handled this situation differently. He called me
repeatedly in what seemed like an alcohol induced state at approximately
7-8am California time screaming into our business phones...the calls
continuing later on my personal phone line at home after 10pm the same
evening. During my brief conversations with him that day, Jim told me that
(and you can hear it on the messages) he would NOT call the press and keep
quiet about his displeasure with the DVD. I was all ready to work with him
and see what we could do to make him happy until the following Monday
morning...when I heard from magazines he had called that he was shouting
profanities and defaming the DVD to the press...something he had told me the
previous day he wasn't going to do. At that point, my trust and respect for
Jim went out the window. I had talked to him many times that Sunday and
only a couple times did I feel he was actually listening to anything I had
to say.
Keep in mind, that my agreement was with Mercury Films...not specifically
with Jim Van Bebber. Karim Hussein DID send copies of the film transfer to
producer Mike King MONTHS in advance...since Jim didn't see these tapes, he
feels it's my fault, I guess. If Mercury Films decided not to send one to
Jim for his approval, it isn't my fault, or my responsibility. Perhaps Jim
should've taken this up with Mercury Films. Mike saw the tape and decided
it was "fine"...he told me this and told others. After Jim expressed his
displeasure in the way it looked, Mike decided to keep this opinion
silent...I guess he didn't want to face the wrath of Jim. We sent the
transfer to Mercury Films and they didn't have us make any changes. End of
this part of the story.
He is not happy with the transfer and that is unfortunate. Do you think
that this is an isolated case? Nope. Transfers happen all the time without
the intervention of the creators of the film. When a company signs over the
rights to a picture, the company getting the film rights doesn't necessarily
give the director the right of approval of the transfer. It would be a time
consuming, expensive proposition for ANY company to put, in writing, that
the director has final approval of the film transfer. If they do this, the
studio/company gives the director the opportunity to spend, spend, spend
until the transfer is "right" in his/her eyes. A "losing" proposition for
any company. Of course, for things like TITANIC or STAR WARS this might be
acceptable...they made super box office grosses and could re-coup the money
spent for the presentation. Do you think Tinto Brass probably sat down with
CALIGULA on DVD and went WOW, this is EXACTLY how I wanted my movie to look?
While DEADBEAT AT DAWN is a great movie, we never thought of this title as a
super big seller (not many people or, better yet, DISTRIBUTORS had heard of
it) and we did it because we liked Jim and the movie. We wanted to do it
because we thought the movie was cool. It seems that no one else wanted to
give it a chance on video/DVD except us...Mike King (the producer) told me
personally that he tried to get this title to many companies and no one was
interested but us. We gave the film a chance because we believed in it and
he hoped Jim would at least be thankful we gave the film a chance to be
seen.
Where was your above statement stated in this context? I don't see my
mentioning this anywhere in this way. The bottom line is...we sent the
tapes to Mercury Films...they said NOTHING to us in regards to the
image/transfer quality...we continued with our project. Period. The end.
Furthermore, how could I have said he somehow "forfeited his right to check
the transfer and sign off on it" when he never was given that right in the
agreement in the first place?
This is ridiculous and a cop-out on Don's part. A full six
> months passed between the time that the transfer was completed and the
pressing
> of the DVD.
The bottom line is...we sent the tapes to Mercury Films...they said nothing
to us in regards to changes in the image/transfer quality...we continued
with our project. Period. The end.
At any point along the way Jim could have been sent a check
> cassette to give his notes.
UH...we sent the tapes to Mercury Films...they said nothing to us in regards
to changes in the image/transfer quality...we continued with our project.
Period. The end.
Maybe Don didn't have a contractual obligation to
> solicit Jim's input, but he sure had a moral one.
We sent the tapes to Mercury Films...they said nothing to us in regards to
changes in the image/transfer quality...we continued with our project.
Period. The end.
> Any company releasing a movie owes an incredible responsibility to uphold
the
> integrity of the movie and the vision of its filmmakers. Unfortunately,
this
> responsibility has traditionally been ignored by companies who have had no
> interest in the movies beyond their ability to generate a quick buck.
Doing DEADBEAT AT DAWN to generate a quick buck? HAHAHAH! Hmmmm...OK...I
think this is a jab at ME personally, Bob. People in this business KNOW
what kind of stickler I am at quality. I have been doing transfers in this
business for almost seven years, working with studios like New Line Cinema
(Nightmare on Elm Streets), Paramount (The Stepford Wives) and MGM (Brain
Damage)...not to mention the THX NIGHT OF THE LIVING DEAD and CHAINSAW
restorations. People know my style and quality...I did the best I could
with what we were given. My track record speaks for itself.
We have
> all suffered through the crummy transfers of companies like Wizard, Prism,
> Continental and Vestron. Transfers which, at best, are unrepresentative of
the
> actual look of the film and, at worst, totally undermine most of the
> filmmakers' artistic intentions.
> It is the director of the film who should ultimately dictate a movie's
final
> look. Therefore, if possible, he is the one who must be consulted for his
> opinion.
I agree totally!!! That's why we sent check tapes to Mercury Films...they
said nothing to us in regards to changes in the image/transfer quality...we
continued with our project. Period. The end.
Not the telecine operator, nor the producer or distributor. Of course,
> sometimes this isn't possible. For example, with THE BEYOND we obviously
did
> not have this luxury since Lucio Fulci had passed away a few months before
we
> began the transfer process. We had planned to involve him at every step.
> However, we were able to contact Lucio's cinematographer Sergio Salvati,
who
> worked with us at Technicolor Rome to oversee the color timing of the new
print
> we produced and make sure it was a reflection of what he and Fulci had
> originally intended.
Yes that is true. And, just for the record, the person at Mercury Films
that we sent our tapes to was the Director of Photography (and producer),
Mike King...the obvious next choice for transfer approval if the director
isn't available.
> In the case of DEADBEAT, Jim may not have been available during the actual
> telecine transfer, but he was available later to give notes on what was
done.
He had many telephone conversations, before the transfer began, with the
telecine supervisor Karim Hussein on how the movie should be timed and
presented. If Jim had wanted certain sections of the film to be paid
attention to more than others (i.e.. the end fight scene), perhaps he should
have gone over this with him before it was started.
I didn't say this...the tapes were sent MONTHS before the pressing. We
could have corrected any problems they had, had we actually heard about any
changes they wanted to make. We sent the tapes to Mercury Films...they said
nothing to us in regards to changes in the image/transfer quality...we
continued with our project. Period. The end.
Actually, once the DLT is created from the tape master, it IS arguably too
late. The DLT was made and if any changes were to occur, we would've had to
completely reencode the DLT for those sections. Costing LOTS of time and
money. Do you realize how much these costs are? For example, a 5 second
scene in VAMPYROS LESBOS that I wanted to change after the fact cost our
company over $1000 because of the re-encoding process to put the film on
DVD. They basically have to do totally new re-encoding for the sections.
This changes the bit rates, etc. When you deal with DVD, you have a totally
different kind of final master to deal with...not just a D1 or D2 that was
used for many years in the LaserDisc business. To go back in and re-encode
"minutes" of a film to a DLT to fix any image quality problems would've cost
us more that the film probably cost to make. The bottom line is...we did
what we did and were not verbally assaulted on the phone by Jim until well
after the final DLT was already delivered to the pressing plant. A little
too late...
Obviously this costs money, but so does every other step in the
> process. The bottom line is that Don chose not to involve Jim in the
transfer
> approval process because he didn't want to risk having to go through the
cost
> of re-doing something.
So, what you are saying is...if I loved movies as MUCH as you, I would've
caused our company to teeter on bankruptcy to fix a problem the director had
with his movie after he had opportunities to see it. What you are saying is
not true...if I didn't want Jim involved, then I would have forbid him from
coming to Canada and doing it himself. He could've gone and superivsed it
ANY TIME he wanted to. He didn't...and he NEVER asked me if it would be
possible to do so. He told me that he trusted Global Vision and Karim
Hussein to do the project correctly and, based on his decision, I let them
do it. In my opinion, and the opinion of many DVD reviewers, they did a
great job.
He made a choice and now is facing the repercussions of
> that choice - Jim's feelings of anger and betrayal. Instead of admitting
that
> he
> intentionally cut the filmmaker out of the process to save a buck, he's
> pointing the
> finger at Jim.
I made NO choice...I sent tapes for approval. Jim didn't see them. I have
a business to run and other projects to do...I don't spend 100% of my time
dealing with only DEADBEAT AT DAWN. I spend my time working on many things
at once. If Jim trusted Global/Karim to do a job correctly then I respect
that. I saw the work they did...I saw the old master from the old release
and considered this new version an improvement.
He's furthermore passing the buck by stating "I was only using
> the final product they gave me and, suddenly, IT'S ALL MY FAULT." Well,
yeah,
> it is your fault Don. The last couple reels of the transfer should have
been
> rejected by you, the last guy in the chain, the boss.
Well, that's YOUR opinion. Based on the previously released transfer, what
I was shown was a vast improvement. No matter how much passion I have for
the films I release...in the long run or the short run...I am just a company
releasing a product and I released a product that I thought was a vast
improvement based on it's previous presentation on home video.
Practically your ENTIRE post so far is saying that I cut Jim out and didn't
let him see the film before it was "too late". This is totally NOT true.
Again, I will stress that the film was licensed from Mercury Films...NOT Jim
Van Bebber. Mercury Films saw the tapes...Jim didn't for one reason or
another...I am not going to start pointing fingers at who's fault it is that
the director isn't happy. In a sense, the "buck" does indeed stop with me,
but I am the kind of person that let's the licensors see the work that is
being done and I did just that. His transfer supervisor was hand picked by
Jim...I respected Jim's wishes and did this for him. I, as well as the
color timer, also went to the time and expense to utilize the A/B from the
film instead of using the IP. I followed all of his wishes, including going
so far as to specifically state in the contract that we HAD to use the A/B
roll. Something that NO ONE else would have done at any other company.
Well yes...that may be true, but you are a Hollywood editor who works on
major studio productions and probably takes home a lot more money than I do
with my business. So, you might have the money and income to do such a
thing....I don't.
> If something is worth doing, it's worth doing right or you shouldn't
> be doing it.
OK, then oh so wise and great video company (and friend to Jim) that you
are, WHY didn't Grindhouse Releasing take DEADBEAT AT DAWN instead?
That's why all of our releases, from CANNIBAL FEROX to CAT IN THE
> BRAIN to our upcoming releases of THE BEYOND and CANNIBAL HOLOCAUST, take
as
> long as they do. We receive a lot of criticism for the delays, but I hope
the
> insane attention to every tiny detail shows in the final release. I have
> immense respect for Jim Van Bebber because he shares this same
perfectionist
> attitude. This is the reason his films take so long to finish. CHARLIE'S
FAMILY
> remains unreleased not because Jim has lost interest or is too lazy to
finish
> it, but because he has the integrity to insist that everything be done
right.
> This costs money. He could have just slopped it together years ago with
the
> money he had, but he believed it was more important to wait until the
necessary
> money was there to do it right. For this he is criticized.
I'm not about to take the above paragraph personally, because I feel my
output speaks for itself. I, too, take as long as it's needed to release a
product (TEXAS CHAINSAW MASSACRE and VAMPYROS LESBOS anyone?). So, I'm not
going to address that because I feel my output and reputation speak for
itself. I will take this opportunity to discuss your statement that Jim is
being criticised for being a perfectionist....NO ONE is criticising Jim
about taking the time to finish something, that is not the point. As a
matter of fact, the only thing I've heard people say bad about him is
something he seems to lack and it is called "tact". Others say he has an
anger problem. Jim is an amazing filmmaker. He has such great potential,
but the fact of the matter is most people that enjoy Jim's work don't want
to get involved with him because of his temper. Time and time again, he had
had the opportunity to finish CHARLIE'S FAMILY (don't forget...I still talk
to Mike King and I know MANY people who have tried to help him in the past),
but he's pissed so many people off and burned so many bridges (like with me)
that many people no longer want to work with him. Why did Mike King (a
friend with Jim since they were in high school) move back to Ohio, after
moving to Los Angeles with Jim? Perhaps you should ask him sometime. Jim
has a temper. He is "bullish" with his tactics...and if anyone is
complaining it certainly isn't about his perfectionism.
Let me tell you something...I was in discussion with Mike King for months in
regards to CHARLIE'S FAMILY and, as Mike will attest, I was fully preparing
to give Mercury Film the $40,000-$50,000 in finishing money they needed to
get CHARLIE'S FAMILY finished and released by February of this year. After
being verbally assaulted by Jim, do you think I'm giving the money now?
ABSOLUTELY NOT!!! I was in discussion about this with Mike all the way back
to the middle of last year while Jim was incarcerated. After those phone
messages, I decided it wasn't worth my time and effort any more. Had Jim
had "tact" and not been a liar (he was...he lied about not talking to the
press to me) and so beligerent, he would probably be preparing to finally
edit CHARLIE'S FAMILY right now. But, sadly, the money isn't going to him
or Mercury Films anymore...we'll let someone else do it. Jim's true colors
were shown to me and we decided not to give him the money.
> Synapse chose the easy, cheap road with the transfer of DEADBEAT. Jim was
> rightfully outraged. And, shockingly enough, he is now being condemned for
his
> outrage by those who should agree with him and admire his refusal to sell
out
> and settle for less than perfection.
You know, like I stated before, I was willing to work out something with Jim
to "remedy" is concerns and complaints about the transfer. ON THE PHONE at
around 10:30pm at my home (after a day of screaming answering machine
messsages), I told Jim we would do something for him to make him happy...and
you know what he said to me? He said he would rather see Synapse Films go
bankrupt than to have his film released on DVD the way it was. At that
point, I decided that Jim Van Bebber didn't care about me...so, we went
ahead and released it and you know what? The reviews are good and if
anything...all this publicity (good or bad) has gotten Jim's work out there
and seen by more people than it ever would have been in the first place.
His rantings and the controversy he caused translated into more people
seeing this DVD. He told me that, if people saw this DVD, he would never
get any work and that it wasn't something he could show potential investors
or employers...he felt people would see this DVD and NOT employ him.
My partner and I, about two weeks ago, were completely over this whole
situation and were moving on to bigger and better things. We were not going
to continue talking about this...we were not going to press up any more
DVDs...and we were through with DEADBEAT. If Jim and Grindhouse want to
continue to dredge up this controversy, then so be it. All it's going to do
is sell more pieces of the DVD for us. In a way, I guess, ironically, Jim
has become our best friend!
From my partner, Jerry Chandler, who is reading this message now:
"I would like to add something. Bob, after reading your post it becomes
VERY obvious you have an agenda. Its obvious you and Jim wrote this post
together. The DVD speaks for itself. The transfer has been highly
acclaimed by every reviewer who has seen it. Now Jim has one other person
in the world who agrees with his point of view. Congratualtions! Now there
are two of you. In the meantime, Mike King, from Mercury Films has stated
(and I quote) that the DVD looks "great". I find it a personal affront that
you would insult Don's integrity in this manner. It is ludicrous and highly
unprofessional. You have made a fool of yourself in front of the entire
world. Respond...send posts...say what you will...we will no longer respond
to you or this nonsensical thread. We are washing our hands of an extremely
ungrateful Jim Van Bebber and of this project. We want nothing more to do
with it. To all the fans and supporters of Synapse Films, I ask only that
you judge us by our product and not by the inane ramblings of one of Jim Van
Bebber's cronies...someone who wasn't even involved with this DVD and has NO
idea of the troubles we went through and what occurred during it's
production...yet feels qualified to judge us. Bob, your post is a disgrace
and does not merit a response...and certainly no further responses will be
forthcoming.
For an UNBIASED opinion of this DVD, I would recommend that people check out
http://www.dvdnightmare.com
http://www.dvdunleashed.net
http://www.thedigitalbits.com
Disgustedly Yours,
Jerry Chandler
Vice President, Synapse Films"
That's all...
Don May, Jr.
President, Synapse Films
http://www.synapse-films.com
Ctrl+Alt+Del
When I read the original post from Grindhouse, I was quite offended by
it. Maybe that's an over-reaction, but I really was. My reasons for not
responding right away were (1) it really has nothing to do with me and
(2) I wanted to see what Don would say first.
Maybe I'm wrong, but my initial feeling was also one of the first points
Don brought up: you (GH) are trying to take advantage of a situation and
bring attention to yourself - and THAT is what is childish and
unprofessional.
You referenced how great GH is too much (even took an oppertunity to
cheap shot EC Entertainment who keeps beating you to the DVD market
with certain titles). Seemed more like an ad in some places. You also
have no right to imply any knowledge about something you had no direct
participation in. Are you just trying to get JVB to give you the rights
for something now?
Don copping out and trying to make money? Give me a break. Do you have
the slightest grasp of the market for this title (or Don's history and
reputation for that matter)? The audience for this title must be
painfully small. If not for the contreversy JVB started, it might not
have even sold half as much (however much that was). I actually thought
it was all a publicity gimmick at first because of this. Don takes the
cheap and easy road? The efforts behind "Vampyros Lesbos" alone prove
this comment is an outright lie.
With regards to posting JVB's phone messages, they became available for
this the moment Jim left them on a recording device. So long as someone
knows they are being recorded - which is obvious when you leave a phone
message - they open themselves up to this. I believe courts in every US
state even accept recorded messages as admissable evidence so long as the
person is aware they are being recorded. I also cannot imagine how any
rational person could side with Jim after hearing those messages. They
were beyond absurd. It would have been laughable if they weren't real.
In Don's place, I would have been fearing for my personal safety. That
goes beyond being "passionate" about your work and wanting it protected.
Don't talk responsibility or morality when you are violating both by the
very nature of such a post. You could have *EASILY* posted in JVB's
defense without directing personal comments at Don, slandering Synapse's
business practices (with inaccurate information no less), or trying to
promote GH (which you don't even need to do in a group like this).
I've always had a great deal of respect for Grindhouse in the past. You
have done well by horror fans and the industry. This post, however, was
unfortunate and hurtful. It should have been done better. You will only
distance your customers by publically making personal comments about your
competition. At least this makes me question my opinions of you - even
though I'm just one insignificant person and others may feel differently.
I'd prefer you spend more time actually putting out DVD's (like Synapse
and ECE) instead of criticizing them. The past LD's are outstanding, but
LD is a dying breed. Can't you just compete by releasing quality DVD's
instead? Actions really do speak louder than words.
As for Don, I (for what little it is worth) have great respect for his
past work with Elite and current work with Synapse. Yes, Synapse has
been slow getting started and doesn't have titles with the most broad
ranging appeal - but that's kind of the point. They are appealing to a
very niche market and are coming along nicely. Synapse deserves nothing
but praise for providing quality genre releases to a normally critical
cult audience. If they were a crap outfit just in it for the money, they
would be constantly ripped appart by the customers they appeal to.
As for Deadbeat, I have not seen a bad *independant* review of the disc
and think it looked fine (although I cannot evaluate it from a technical
or professional video savy standpoint). From what Don has said in the
past, and in his reply to this post, he certainly seems to have done the
best he could - and he met every legal and moral obligation. The most it
seems anyone can say is that Mercury Films *might* have been wrong not to
have Jim approve the final transfer - but that is not Don's fault or
responsibility. Only so much is financially (and humanly) possible.
Again, this is all just my personal opinion. I'm sure others see it
differently. Maybe Don is just a greedy bastard - but based on sales
figures for the limited interest titles Synapse puts out, he'd be pretty
bad at it...
Hope this doesn't turn into a flame war between Grindhouse and Synapse
now. I'd rather see Grindhouse just release some great DVD's like I
believe they are capable of. Just please show some respect to your
competition. I know it's business, but at least keep it professional and
impersonal.
- Reboot (who seems to never get motivated to post something
here unless someone slams a DVD studio I like...)
CLF93
was very slanderous! Your post was very well written and put together very
well. Just wanted to comment on that and for the record, I've NEVER seen
Deadbeat At Dawn.
Joe
CLF93
From: Ctrl+Alt+Del ann...@all.spam
Date: 02/02/2000 5:06 PM Eastern Standard Time
Message-id: <MPG.130274697...@news.mindspring.com>
When I read the original post from Grindhouse, I was quite offended by
it. Maybe that's an over-reaction, but I really was. My reasons for not
responding right away were (1) it really has nothing to do with me and
(2) I wanted to see what Don would say first.
Maybe I'm wrong, but my initial feeling was also one of the first points
Don brought up: you (GH) are trying to take advantage of a situation and
bring attention to yourself - and THAT is what is childish and
unprofessional.
---------------------------------------------------------------
I do agree, the GH post was very slanderous towards Don. From what I've read
about this whole situation, it seems to me like Don was trying to be a nice guy
to Jim, but was royally screwed by him being belligerent and drunk. And again,
for the record, I have NEVER seen Deadbeat At Dawn.
WideScreenPig
<slagging Don May Jr. snippage>
No offense Bob, but a great many of the things you've said about Don
May Jr., especially with regard to him taking the easy and cheap road,
simply do not jibe with his behaviour, his reputation or the quality
of Synapse's product.
Grindhouse and Synapse are both fine companies with a lot of great,
well-cared-for product to their credit, but you cannot dismiss the
fact that Van Bebber, while a talented artist, is also unstable and,
on occasion, highly abusive to others. His actions and treatment of
Don bear this out.
In addition, the fact that you co-own a company who are in direct
competition with Synapse calls a great many of your comments into
question. You call the "mudslinging" childish and unprofessional, but
then proceed to sling a whole lot of it yourself. What gives? Did
you get scooped on a title by Synapse?
______________________________________
WideScreenPig
"Excuse me... what does God need with a starship?"
Dave Snyder
have written before I post and not after!
I wrote that I'm sure Bob knows what he's talking about and that I think he
does a great job on his transfers.I didn't mean this to sound like I agreed
with his statements at all. As I've posted I think the DBAD disc is great. The
only reason I responded was I couldn't beleive he would accuse Don of try ing
to make a Quick Buck by putting out a half ass product. It was bull and that is
what I was trying to bring up.
Don, I hope you didn't take my post the wrong way. The way I worded it would
make that easy to do.If so I trully apologize.
adam_...@my-deja.com
I'm really not familiar enough with either of these companies, except by
reputation, to offer an informed comment on this issue. I can however offer
this observation. To wit: I've been here for 2 years, and in that time
(especially lately), I've noticed that Don May comes here and participates in
our discussions, offering opinions, cool anecdotes, and so forth. Perhaps
my memory is faulty, but prior to today I can't remember ever seeing a post
from Grindhouse and/or Bob Murawski (sp?) that wasn't spam for an upcoming
release.
Sent via Deja.com http://www.deja.com/
Before you buy.
Mark Towns
Now Bob, after our _little_ discussion about *me* bad mouthing your
company you decide to take a cheap shot at Don. Come on man you really
aren't doing yourself any favours. If and when your product is out it
better be pretty fucking perfect, because if it isn't as you are gonna
get one hell of a panning.
BTW, why get involved in this situation, it has (from what I can see)
fuck all to do with you.
MMTowns
Martin Nike
> May Jr., especially with regard to him taking the easy and cheap road,
> simply do not jibe with his behaviour, his reputation or the quality
> of Synapse's product.
I agree! Anyone who releases Jess Franco films is certainly not
onto a "fast buck". I imagine, a "few bucks" is more likely.
thompa...@nospamhotmail.com
Being DVDless, I only wish Synapse releases came in VHS as well. Had
a chance to see their Vampyros Lesbos DVD on a friend's giant plasma
screen recently. All I can say is that after years of watching my
scratchy VHS copy, it was like I'd never really seen the film before.
Soledad Miranda in big screen living color!
Art Ettinger
BEYOND on the big screen was the best. Bob's comments were needed to
balance out the debate. Van Bebber sure sounds nuts on those answering
messages, and Synapse probably has a basis for being upset. From an
outsider's view, it's awfully hard to tell who's in the "right" here. Van
Bebber makes good movies. Synapse seems like a good company, as does
Grindhouse. What a mess...art
MPRocks221
>balance out the debate.
Are you stupid? He was totally out of line.
And if Grindhouse rules so much, how come they cant f***ing get The Beyond out
on video already?
CLF93
for such slander. Bob's comments were very well written unlike Grindhouse,
whose comments were not very well written. BTW, was the messages left on the
answering machine by Van Bebber ever available on any website? If so, let me
know!
I3thDREAM
True the public airing of this dirty laundry has had a few positive effects -
the sales and exposure of a small independent film have gone through the roof,
and hopefully Synapse and Mercury both will benefit financially some because of
it. Otherwise it's all very sad.
Should Don have posted the messages on his site for all to hear? Usually I'd
say no. Wether it was legal or not, I would believe it ethically to be an
invasion of privacy and a violation of standard business relation
confidentiality. However, since Jim had taken his views public attacking Don,
Synapse and the DVD to all these magazine editors and film reviewers
beforehand, yes, I think he had every right to defend his position. As hurtful
to Jim and his friends as their being available for public consumption may be,
after Jim's threats, attacks and slanderings, Don's posting of the recordings
is brutal but certainly fair game.
Bottom line is though, I can't condemn Jim. I don't mean this in as a jab,
sarcastic putdown or to be taken as being condescending, but I truthfully feel
sorry for him. The guy is obviously fucked up and needs to find help. The
recordings bare this out. We all can say he's a freak, an asshole etc. but
alchoholism and depression are legitimate diseases and the guy seems to be
dying from both. Does this take the pain and sense of betrayal Don and company
are experiencing? No, but it does help explain what happened.
Beyond that, as many here are simply unfamiliar, MANY artist types are truly
irrational, out of control nuts! Their emotions, passions and views (sound or
not) are all consuming. Not that Jim has reached the level of many of the
great filmmakers in the history of cinema, but a HUGE number of the masters
have been accused of or described as being screaming, theatening, physically
and emotional abusive psychopaths! Billy Friedkin first comes to mind. Is
this "right" or "justified"? No. But it is at times the nature of the
filmmaking beast. If Don's exposure to those who's film's he's released so far
has been primarily a happy experience, I congratulate him and wish him
continued luck. However, I strongly suspect that Jim won't be the last
director he deals with that seems fit for a straight-jacket.
As far as the disc in question, I've heard rumblings from a few filmmaker types
that some of Jim's criticisms of the disc are legit, shot to shot color and
exposure matching etc., (I haven't seen it yet) but none of them for a second
thought his reaction was justified. And in regard to Don's responsibility for
the flaws that may or may not be on the disc, it seems he did everything he
could to allow Mercury Films to make suggestions and alterations. It is
unfortunate that Jim could not have participated on the transfer more or given
his input earlier, but this does not at all seem to be the fault of Synapse.
I've heard too many details of the enormous amount of time and labor spent on
preparing the disc (from inside or closely related sources) to believe for a
second it was a slapdash job to make a quick buck. Synapse seems to have done
the best they could (and beyond) for the budget available.
As far as Bob's post? Yeah, much of it was inappropriate, but am I the only
one who sensed that Bob and Jim are friends? Nobody likes to see their close
pals get raked over the coals, even if it's a bed of coals the friend built
himself, poured gasoline on, lit it and jumped in head first - as Jim obviously
did. The way I see it, Bob's defending a friend. Poorly? At times maybe.
But I myself have let my emotions get ahold of me to my disadvantage on
occasions that someone I cared for was being hurt. ( And though the bottom line
is that it probably is Jim's fault, all this has to be fucking with him
deeply.) Was Bob "promoting" Grindhouse? As someone said earlier it's not
really necessary on this site, but who knows? As far as slamming Don
personally, I also sensed that their was some previous baggage between Synapse
and Grindhouse or Don and Bob beyond the Jim fiasco that was fueling Bob's
remarks. I suspect they didn't much care for each either long before Jim
started making phone calls, but I could be wrong.
Both Grindhouse and Synapse have proven themselves to be friends of the horror
fan (I still have my eyeball from the midnight showing of THE BEYOND and the
VAMPYROS LESBOS disc is without argument - beautiful) and I suggest we the
fanboy collective stay out of their shit. Hopefully on a positive note, their
animosity for each other will fuel a barrage of DVD quality oneupmanship and
then we'll all benefit in the long haul.
Everybody who has expressed their opinions here and beyond has a right to
choose sides, to decide whether they'll ever buy from one company or the other
again etc. etc., but right now I hope we can drop the mud slinging and stop
fanning the flames of all this bullshit. All it's going to achieve is more
anger, accusations and division. Just more bullshit.
People get crazy, people overreact, mistakes happen, budgets run out, bridges
are easier burned than built, feelings get hurt etc. etc. - the bottom line is
SHIT HAPPENS. This is one fanboy who still supports Synapse and Don, Jim and
Mike, Bob and Grindhouse and will continue to do so in the future. Now come on
you fuckers - let the healing begin. Group hug.
Peace. 13
Mortado Filth
In the true spirit of exploitation, I have them available in streaming
realmedia here-
http://www.shadows.com/mortado/reviews/mortado/deadbeat.htm
Cheers,
Mortado
"What is real? Are you certain you know what reality
is? How do you know at this second you aren't asleep
in your bed, dreaming that you are here..."
-The Wizard of Gore
Mortado's Page of Filth- http://www.shadows.com/mortado/
bruce h
>need
>>for such slander. Bob's comments were very well written unlike Grindhouse,
>>whose comments were not very well written. BTW, was the messages left on
>the
>>answering machine by Van Bebber ever available on any website? If so, let
>me
>>know!
>In the true spirit of exploitation, I have them available in streaming
>realmedia here-
>http://www.shadows.com/mortado/reviews/mortado/deadbeat.htm
>Cheers,
>Mortado
i would also like to point out that our pal Mortado mixed all the messages into
a Napalm Death song that you can download as well.
bruce h
______________________________________
"It is very sad that I am always mentioned because of those cannibal movies"
- Umberto Lenzi
Burgle.Net: reviews + tapes fo' sale
http://www.crosswinds.net/~bruceh/
George Eastman Tribute Page coming soon!
Mortado Filth
>
>i would also like to point out that our pal Mortado mixed all the messages into
>a Napalm Death song that you can download as well.
> bruce h
>______________________________________
>"It is very sad that I am always mentioned because of those cannibal movies"
>- Umberto Lenzi
>Burgle.Net: reviews + tapes fo' sale
>http://www.crosswinds.net/~bruceh/
>George Eastman Tribute Page coming soon!
Actually, I changed that shortly after posting it:) The music used now
is a loop from a track on Winter's "Into Darkness" CD.
JeffCBurr
Bebber based on the internet "debate" and unfortunate posting of various
messages left by him. I feel his frustration, as anyone who has ever made a
truly independent movie can or anyone who aspires to this goal. To know your
best chance at a great presentation of the film is gone leads to an almost
crippling anger. I am not condemning Don May, for it was a true labor of love
to put out the movie in the first place. What I am saying is that if the
director did not approve the transfer and/or the presentation, then don't
release the movie until he does!! That is what you get into when you want to
put out special director's editions. They literally should sign each frigging
DVD like a painter signs a canvas. Criterion in fact does this. I know from
experience how frustrating it is to do specific photographic work on a film and
have that compromised in the transer. It's part of the territory, but it
shouldn't happen on these special editions. I know Jim to be a committed
filmmaker, not a buffoon, and it's unfortunate that some people seem to have
that opinion. Not to say he's not his own worst enemy however. And the points
Bob Murawski brought up in his postings are very valid. I know him to be a
totally dedicated artist, whether he's editing a film or gathering materials to
release one. He has sunk a great deal of time and money into Grindhouse, for
no reason other than to present movies he loves at the highest level. I'm sure
that's Don May's mandate as well, but sometimes to enforce that mandate blood
and dollars have to be spilled. And everyone must be prepared to do it, or we
should all pack it in...and wait for the next mainstream bad movie to be shoved
down our throats and kill us just a little more.
Ol' BattleMonkey
>
> Criterion in fact does this.
Yeah, but Criterion discs are also $120 sometimes, which is probably why
they lost so much money. I like DEADBEAT AT DAWN and all, but I wouldn't
pay $120 for it. Actually, I don't have a DVD player, so it's all moot
to me, but I don't think it's fair to compare what Synapse can do to
what Criterion can do, or at least tried to do.
--
Ol' BattleMonkey
The Innovator of Extreme RiverDance
This is NOT Your Father's RiverDance!
Teleport City Webzine
http://www.teleport-city.com
WideScreenPig
I don't think that anyone here is questioning Van Bebber's integrity
as an artist, merely his treatment of Don May Jr. And neither is
anyone impugning Grindhouse's reputation, merely pointing out that Bob
Murawski's post was inflammatory, highly biased and potentially
actionable. His points with regard to the quality of the disc were
swamped by his personally-motivated attack and plugs for Grindhouse
product.
Your points about the need for companies to release director's
versions are well taken, but bear in mind that if companies like
Synapse can't afford to not release their product pending much-delayed
approvals (and, according to Don's version of events, all concerned
were given ample opportunity to review the material prior to pressing
the DVDs). To do so would be financial suicide, the companies in
question would collapse and they'd have no choice but to "pack it in"
as you say, and we'd be left in the same boat
As I'm sure you know, the balance between art and commerce is always
an uneasy one, especially when the people concerned are so dedicated
to releasing quality material. You yourself say that Van Bebber is
"his own worst enemy" - and his apparently self-destructive nature has
now spilled over and potentially affected others as well, people who
wanted nothing more than he wanted - to release his film with some
quality and care paid to it. And that, for me, is the biggest tragedy
of all.
Ctrl+Alt+Del
Very well said. I was hoping Bob would at least be nice enough to
apologize for the personal attacks on Don - especially after the
reactions to that original post. This is the only way I can see
real closure for this issue - and I think it would be respected by
everyone on all sides. I feel bad about this since I (like everyone
else) admire both Synapse and Grindhouse and just wish it didn't happen
the way it did. At least this is just a newsgroup thread.
From the start, I wanted to hear Jim's viewpoints in an unemotional and
professional manner. Bob's post would have done this perfectly if not
for the "attacks and plugs" as you put it. I could have even forgiven
the plugs since Grindhouse deserves the respect - but public personal
attacks on anyone are uncalled for. Opinions are fine and welcome, but
even subtle slander is another thing.
For what it's worth and whatever else comes of this, NOTHING can justify
JVB publically slandering or threatening Don (or anyone) in any way - if
you believe certain comments were meant to be veiled personal threats
(which is arguable - I'm not trying to incite anything). No, I do not
question his integrity - but I must question his methods and behavior.
There is too much anger there - perhaps an abnormal amount.
I actually wonder about one last thing. Based on what Don has said over
the progression of this, it may be arguable that Mercury could have went
to Jim for various levels approval at different times. It is also known
that during some point in this process Jim was in prison. Could it be
that Mercury couldn't get to Jim during a reasonable timeframe because he
was in prison when the approval process was occuring? Yes, I can already
hear "They could have waited!" if that was the case - but sometimes
business simply must progress realistically. Don, was this in any way
the case? (Just ignore the question if you want this dropped - I don't
actually want to irritate you by rehashing things).
Anyway, I still look forward to all future Grindhouse and Synapse
releases. I especially look forward to "The Beyond" and appreciate Bob's
efforts there. Fulci is my favorite director. My thanks to both studios
for all their wonderful past, present, and future work. I even hope
things work out for Jim and he gets some help.
- Reboot
Dr Walpurgis
--
"Oh, the times we have to live in . . . TAXI!!!"
(Lucio Fulci - QUELLA VILLA ACCANTO AL CIMITERO)
Vincent Pereira
to the guy who say the GRINDHOUSE dude "evened out the debate"- BULLSHIT!
Mr. GRINDHOUSE stuck his nose where it didn't belong and defamed Don May with
no reason or provocation), and figured that, as a filmmaker who is currently
working with Don on the DVD release of my own film, I'd put my own two cents
in on what it's like to work with Synapse Films. I'm not going to comment on
GRINDHOUSE as a company of their product, just give an account of my own
experiences working with Synapse.
In a word, GREAT. I can remember while making A BETTER PLACE way back in
1995, I was an avid laserdisc collector and many of the Elite titles Don
co-produced where in my collection, and I always had it in the back of my
mind, "Wouldn't it be great if Elite did my film on laserdisc?" Most
filmmakers think "Criterion", as a horror fan I thought "Elite". When Don
left Elite and started Synapse, I promptly bookmarked his site and would
always check it out, and then in the back of my mind it was- "Wouldn't it be
great if Synapse and Don May did the DVD for A BETTER PLACE?" Well, around
the end of 1998, just as I was finishing up a year or so on the
festival/college circuit with A BETTER PLACE, who should I get an e-mail from
but Don May, saying he'd heard about my film and wanted to check it out. I
promptly sent him a screener, he dug the film, and we were in business.
Quite simply, working with Don, discussing my ideas with him, doing the
transfer for A BETTER PLACE- it's all been a dream, a simply perfect
experience. I was able to supervise the transfer with Don at Global Vision
(the same facility that did DEADBEAT AT DAWN)- I can't imagine that Jim Van
Bebber would have been turned away if he wanted to supervise his transfer-
and Don even let me work with my own graphic designer friend to put together
the jacket artwork. Even though Don was happy to release the festival print
of the film, I explained to him that I had cut a few sequences early in the
initial editing that I'd come to regret removing, and wanted to restore
them. Although this would neccessitate additional editing and a sound remix,
Don was all for it and let me do it. He's also been incredibly patient with
my perfectionism, letting me work at my own pace to get everything together
so that we do this thing RIGHT. He doesn't legally have to let me do a
re-edit, or remix- he could easily take the existng master and release the
title. But he cares enough about the film itself, and my own sensibilities
as a filmmaker, to allow me to continue working on the "final cut" so to
speak. Reading the GRINDHOUSE post, with such malicious accusations as
saying that Don and Synapse took "the easy, cheap way out" was extremely
disheartening- I'm a filmmaker who has (and is) working with Don, and I
don't think I've ever met a man more dedicated to putting out the best
possible product that he can. I talked to him many, many times about the
trials and tribulations of the DEADBEAT AT DAWN and VAMPIROS LESBOS
transfers- I know how much he sweated over these. One thing I personally
witnessed in Montreal while doing the A BETTER PLACE transfer- Don rejected
the first MPEG-2 compression of DEADBEAT..., not because it was defective,
but because he wanted it at a slightly higher bit rate when he saw that there
was space left over and he could raise the data rate. Yeah, really sounds
like a guy who "takes the easy and cheap way out", huh, Mr. GRINDHOUSE? As
for the phone meessages and Van Bebber's "private life", well, when you call
somebody who has sweated and toiled to put out the best possible version of
your film on DVD and make drunken threats over their answering machine, be
prepared to suffer the consequences. Don kept quiet for months re: Van
Bebber's incarceration, but when Van Bebber turned on Don like a rabid pit
bull, Don had no obligation to keep quiet anymore. if Van Bebber was going
to publically cry about having not supervised the transfer, the public had a
right to know exactly why that was the case.
All in all, I have to say it's quite disturbing and disheartening to see a
friend and a man who so obviously is in love with what he does (and it shows
in the care with which he handles the films he releases on DVD) as Don May,
Jr. is. He doesn't deserve this- if GRINDHOUSE wants to throw stones, throw
them at Mercury, since they had the check tapes and they didn't show them to
Jim (apparently). And not for nothing, but GRINDHOUSE's statement that
"working off the A/B roll was clearly the way to go over using an
internegative"- what planet are you from? An IN or IP would have been
preferable, if only because they would have been single strand and timed
already. Negatives are almost NEVER used for video transfers, let alone
camera-original reversal A/B rolls. The extra time that was taken to do an
A/B roll transfer alone refutes GRINDHOUSE's assertion that Don is in the
wrong and was out to make a "quick buck"- do you even realize, Mr.
GRINDHOUSE, that to do an A/B roll EVERY shot in the film had to be re-edited
together after the transfer? This is "quick and easy"? They also had to
redo all the dissolves, fades, etc.- of which there are many in DEADBEAT.
"Quick and easy" this transfer was not, and Mr. GRINDHOUSE would do better in
the future than to talk out of his ass on a matter that he has nothing to do
with and knows nothing about.
--
VINCENT PEREIRA
http://www.viewaskew.com/vincent/
writer/director/editor: A BETTER PLACE
ABP official website: http://www.film-411.com/A_Better_Place
Ctrl+Alt+Del
I see over at DVD Express you guys worked out a deal to sell limited
editions with a film cell and autographed by you (Vin P.) and Kevin
Smith:
http://www.dvdexpress.com/consumer/
products_movies_fr.asp?PRODUCTNUMBER=12834
That's pretty damn cool. I don't remember seeing anyone do that before -
unless it was a convention signing or something like that.
This should be one kick-ass disc. Criterion themselves couldn't have put
together a better package - and from what you posted it sure sounds like
it will look great.
I really look forward to seeing this one. Just one question though: Who
is on the commentary track?
- Reboot
PS: Speaking of commentaries (if you happen to see this Don) - has there
been any confirmation yet about a director's commentary on "Evil Dead
Trap"? And was any thought given to getting the MST3K commentary
track for "The Brain That Wouldn't Die"? Too late now I suppose.
Probably wouldn't match up to the extended cut anyway - but it would
be a fun extra (hint, hint... nudge, nudge...).
Don May, Jr.
up (yes...it was completely redesigned from the ground up and should be
on-line in a few weeks or so), I will have pictures of the film cell
envelopes, etc. Right now, we (Synapse and Vincent Pereira) are in the
process of remixing the soundtrack and doing some new music for the extra
scenes. The main film transfer is complete (we transferred the entire film
on the Philips Spirit Datacine, a new high definition unit that kicks total
ass!)
Kevin Smith and Scott Mosier will be doing an introduction to the film for
us and we will be recording the commentary track shortly. I planted a bug
in Vincent's ear about the possibility of putting ALL the View Askew movie
trailers on the DVD as a bonus, but we'll have to see about that one.
> PS: Speaking of commentaries (if you happen to see this Don) - has there
> been any confirmation yet about a director's commentary on "Evil Dead
> Trap"? And was any thought given to getting the MST3K commentary
> track for "The Brain That Wouldn't Die"? Too late now I suppose.
> Probably wouldn't match up to the extended cut anyway - but it would
> be a fun extra (hint, hint... nudge, nudge...).
EVIL DEAD TRAP will have a commentary. The director, as well as the special
effects supervisor (who, incidentally, is the SPFX supervisor for Godzilla
2000 as well) have already done it from what I understand from the licensor.
I have not heard the commentary yet, but I'm sure it'll be very cool.
We contacted "Best Brains" about THE BRAIN THAT WOULDN'T DIE (as well as the
possibility of putting the MST3K version of the film on the DVD as well) and
they didn't even want to talk to us about it. They said the ONLY company
they can do anything with on the MST3K titles is Rhino and that working with
us wouldn't be possible. Oh well...their loss...
Kindest Regards,
Ctrl+Alt+Del
> EVIL DEAD TRAP will have a commentary. The director, as well as the special
> effects supervisor (who, incidentally, is the SPFX supervisor for Godzilla
> 2000 as well) have already done it from what I understand from the licensor.
> I have not heard the commentary yet, but I'm sure it'll be very cool.
>
Wow, even better! The director AND (unexpectedly) the FX guy.
Personally, when it comes to horror and sci-fi type stuff, I think the
most interesting commentaries can come from FX folks. This is one of
the reasons I loved "Document of the Dead" so much. I learned some
interesting stuff from Savini's comments and makeup footage. (Of course,
Savini also works in front of the camera - so he has an outgoing
personality and the ability to express himself well.) Considering the
reputation of EDT's gore level, I look forward to hearing that fellow.
Hey, maybe if you establish a relationship there you can get to do the
future US Godzilla 2000 DVD? Sure wouldn't mind seeing at least one good
Godzilla disc out there...
And while I'm thinking future DVD's, have you ever considered trying to
get the DVD rights to "From Beyond"? This would be a cool follow-up to
the Elite "Re-Animator" disc. (Did you do the work on that one?)
> We contacted "Best Brains" about THE BRAIN THAT WOULDN'T DIE (as well as the
> possibility of putting the MST3K version of the film on the DVD as well) and
> they didn't even want to talk to us about it. They said the ONLY company
> they can do anything with on the MST3K titles is Rhino and that working with
> us wouldn't be possible. Oh well...their loss...
>
Wait a minute... Aren't these the guys who always asked us to "Circulate
the tapes!"? I think they even say this in the closing credits. Maybe
if you get a copy on tape and put it on the disc, you can argue that you
were following instructions. Maybe there's some legal loophole in there
so long as the source was a tape? ;-)
Seriously though, pretty stupid of them. You would think they would want
any publicity and income at this point. Sadly, it's really more of a fan
loss than theirs.
I always loved MST3K. Maybe there just locked into some contract with
Rhino that they agreed to without thinking much about the potential
future. Ah well.
- Reboot