Film-Tech Forum ARCHIVE: Academy's 'Sound Behind The Image': Part II

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Topic: Academy's 'Sound Behind The Image': Part II

Michael Coate
Phenomenal Film Handler

Posts: 1904
From: Los Angeles, California
Registered: Feb 2001

posted 05-10-2007 04:33 AM

Continuing where Part I (now locked) left off.

I attended some of these screenings so I thought I'd relay some details. Any other film-tech members attend?

First, a recap:

quote:
Sound, Camera, Action!

In conjunction with its upcoming “The Sound behind the Image” program on May 17, the Academy’s Science and Technology Council presents a screening series highlighting sound achievement in a selection of influential and immensely popular films from the past four decades. While these films have often been singled out for their striking visuals, spectacular sequences or career-making performances, their success owes a considerable debt to the ability of sound to augment and clarify action.

All screenings will take place at the Academy’s Linwood Dunn Theater in Hollywood, except for the 20th anniversary screening of Lethal Weapon, which will be held at the Academy’s Samuel Goldwyn Theater in Beverly Hills.

Saturday, April 28, at 7 p.m.
Grand Prix (1966)

Sunday, April 29, at 7 p.m.
The French Connection (1971)
Jaws (1975)

Friday, May 4, at 8 p.m. at the Samuel Goldwyn Theater
20th anniversary screening of Lethal Weapon (1987)

Saturday, May 5, at 7 p.m.
Top Gun (1986)
Platoon (1986)

Sunday, May 6, at 7p.m.
Total Recall (1990)
Speed (1994)

GRAND PRIX ... Looks phenomenal (I saw the print a year ago, as well, during a private screening at which time no public screenings were planned). The sound was an interlock.

JAWS ... New print. There was some controversy over what sound mix would be played. (A stereo remix with new SFX was made a few years ago and is on one of the DVDs.) They ended up screening it in its original mono.

THE FRENCH CONNECTION ... see write-up for "Jaws."

LETHAL WEAPON ... The days leading up to the screening played out like a soap opera. The original plan was to screen a 70mm print from the original '87 release. It was pre-screened and someone thought it was not in good enough shape to present considering cast and crew members would be in attendance. (The screening doubled as a 20th anniversary celebration.) So Plan B was to screen a new 35mm print struck off the original negative and do the interlock thing with the film's six-track master. Before I had a chance to get excited about Plan B, I received word the afternoon of the screening that Plan C was being considered: running Warners' "vault" print, which was a 35mm-optical print and the condition of which, I'm told, was on par with what one might expect at a second-run house following several months in first-run. Upon arriving at the theatre, a friend who works for the Academy told me about Plan D: digital projection of the movie's HD master.

After a highly-entertaining Q&A, the film rolled: What did they run? They ran the 70mm, after all. Sure, it had a few splices (never more than a frame or two missing), some occasional scratches, and audio defects with some of the high frequencies on every other reel, but otherwise was perfectly screenable.

Of course, director Donner said after that he hated the print and that it wasn't even his cut! He mentioned something about a missing bit with Murtaugh's wife ending up in the bathtub during the birthday cake and singing scene near the beginning. Anyone remember this? Is he thinking of maybe an early test screening cut or one of the recent DVDs that had some extra stuff put back into the film?

The Q&A guests were Donner, actor Gary Busey, three of the producers, the DP, the production designer, and two of the re-recording mixers. The panel was moderated by the film's screenwriter, Shane Black (who should be a stand-up comedian). No Mel or Danny.

TOP GUN ... Yay, they did it right!!! This is my all-time favorite sound mix, so the pressure was on for the Academy to do this one right. I'm pleased to say I was not disappointed. The deal: new 35mm print (scope, by the way, for anyone still not convinced this movie was released that way originally). And the best part: the sound was an interlock of the original six-track. One of the film's sound editors (Cecelia Hall) was present and spoke briefly about the experience working on the film.

PLATOON ... New 35mm print with a new SR audio track. It sounded pretty good for an '80s Lt-Rt mix, but I still cannot believe this won the '86 Best Sound Oscar, beating out mixes from films like "Top Gun," "Star Trek IV" and "Aliens."

SPEED ... I didn't attend.

TOTAL RECALL ... Didn't attend. Have been told conflicting accounts of what was screened.

I applaud the AMPAS staff and everyone involved with the series for making an effort to screen the films with a sound mix that matched or closely matched what was heard in their original release. On the contrary, the recent screening of "Star Wars" (shown during the "Great To Be Nominated" series and doubling as a 30th anniversary) was a digitally-projected Special Edition ('04 version, not '97). I thought it looked and sounded great...but, of course, did not look or sound like the film we grew up knowing and loving, nor did it look or sound like the film that was nominated for all of those Oscars that made it eligible for the "Great To Be Nominated" series. It was worth it for the 15+ member Q&A and to observe Mark Hamill looking bored out of his mind wishing he never agreed to participate!

The highly anticipated Ben Burtt/Kevin O'Connell thing is next week, and I'll post again with a report.

[ 05-10-2007, 05:39 PM: Message edited by: Michael Coate ]