Photo
Going Up River: Inside Apocolypse Now Blu-ray:
One of the original conversations we began to have when we started looking at doing this work, was using the original transfer in 2001 as a reference – as indicative of the best possible transfer at the time, using that technology, and with a lot of time spent with Vittorio on that original transfer. We also screened – myself, James and Mr. Coppola – the dye-transfer print as well. And we wanted to get back to that in terms of not just aspect ratio, but the contrast and color saturation characteristics of a dye-transfer print in terms of its natural rendition – to be a little bit more, I guess, faithful to that original projection of that dye-transfer print. To get to that point, there was a little bit of negotiation between using both sources as inspiration, I guess is the best way I could put it, between that beautiful dye-transfer print Mr. Coppola had as well as honoring the time and quality of the transfer in ‘01 that obviously had Vittorio’s time put into it. Some scenes tended to carry over very well with regard to the two transfers, and some scenes felt more akin to the dye-transfer print.
Striking difference in color timing for this version. The warm, crimson tones have been modified to appear vivid and dreamlike.
Can’t wait to see this for myself.

Going Up River: Inside Apocolypse Now Blu-ray:

One of the original conversations we began to have when we started looking at doing this work, was using the original transfer in 2001 as a reference – as indicative of the best possible transfer at the time, using that technology, and with a lot of time spent with Vittorio on that original transfer. We also screened – myself, James and Mr. Coppola – the dye-transfer print as well. And we wanted to get back to that in terms of not just aspect ratio, but the contrast and color saturation characteristics of a dye-transfer print in terms of its natural rendition – to be a little bit more, I guess, faithful to that original projection of that dye-transfer print. To get to that point, there was a little bit of negotiation between using both sources as inspiration, I guess is the best way I could put it, between that beautiful dye-transfer print Mr. Coppola had as well as honoring the time and quality of the transfer in ‘01 that obviously had Vittorio’s time put into it. Some scenes tended to carry over very well with regard to the two transfers, and some scenes felt more akin to the dye-transfer print.

Striking difference in color timing for this version. The warm, crimson tones have been modified to appear vivid and dreamlike.

Can’t wait to see this for myself.

(Source: thedigitalbits.smugmug.com)

Photo
October 19. This one includes Hearts of Darkness, the documentary about the making of this masterpiece.

October 19. This one includes Hearts of Darkness, the documentary about the making of this masterpiece.

Quote
"The shoot itself was a nightmare. “My history with The Godfather was very much the history of someone in trouble,” says Coppola. He knew early on “they were not happy with what I had done…”, and expected to be fired at any moment. In the men’s room he heard crew members talking: about the film – “What a piece of junk!”; and about him – “This guy doesn’t know what he’s doing.” Coppola was constantly undermined. Indeed, Elia Kazan was lined up as a possible replacement. Coppola “kept dreaming that Kazan would arrive on the set and would say to me, ‘Uh, Francis, I’ve been asked to…’”."

The Godfather: ‘Nobody enjoyed one day of it’ - Telegraph : Yet another example of why having a vision and sticking to it is so important for the artist in cinema.