Guy Maddin

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willoneill
Joined: Wed Mar 18, 2009 10:10 am
Location: Ottawa, Ontario, Canada

Re: Guy Maddin

#52 Post by willoneill » Sat Mar 23, 2024 12:08 am

Guy Maddin was in Ottawa tonight to introduce a screening of the Archangel restoration, and during the post-screening Q&A he said that Careful is being restored next and should be out later this year.

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therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: Guy Maddin

#53 Post by therewillbeblus » Sat Mar 23, 2024 12:21 am

Didn't he say that about Brand Upon the Brain! just a few years ago?

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Peacock
Joined: Mon Dec 22, 2008 7:47 pm
Location: Scotland

Re: Guy Maddin

#54 Post by Peacock » Sat Mar 23, 2024 5:00 am

therewillbeblus wrote:
Sat Mar 23, 2024 12:21 am
Didn't he say that about Brand Upon the Brain! just a few years ago?
Yeah but you forget who has the rights to that one…

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willoneill
Joined: Wed Mar 18, 2009 10:10 am
Location: Ottawa, Ontario, Canada

Re: Guy Maddin

#55 Post by willoneill » Sat Mar 23, 2024 9:58 am

In the case of Careful, the work is underway. They're using the original negative (which I think TIFF had in storage) and he's working with Zeitgeist to redo the colour timing; I note that because Maddin himself admitted he doesn't trust himself not to over-saturate the colours if left to his own devices. I thought that was an interesting admission considering the many debates over the years between physical media labels honouring a director's wishes vs. releasing an image as close as possible to how the films were originally seen.

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MichaelB
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Re: Guy Maddin

#56 Post by MichaelB » Sat Mar 23, 2024 10:01 am

The late Barney Platts-Mills said something similar about Bronco Bullfrog - he personally vastly preferred the BFI edition to the one that he authored himself because, to quote him directly, “James White knew what he was doing, and I didn’t.”

Der Ungrund
Joined: Thu Sep 21, 2023 9:55 pm

Re: Guy Maddin

#57 Post by Der Ungrund » Fri Apr 26, 2024 2:34 pm

willoneill wrote:
Sat Mar 23, 2024 9:58 am
In the case of Careful, the work is underway. They're using the original negative (which I think TIFF had in storage) and he's working with Zeitgeist to redo the colour timing; I note that because Maddin himself admitted he doesn't trust himself not to over-saturate the colours if left to his own devices. I thought that was an interesting admission considering the many debates over the years between physical media labels honouring a director's wishes vs. releasing an image as close as possible to how the films were originally seen.
He said on the commentary for the Kino DVD that he experimented with oversaturating the colors and adding an effect where they shimmer like older 2-strip technicolor, but decided against it. I suspect he'll decide against it again.

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