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MovieFanLaura

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About MovieFanLaura

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    http://www.laurasmiscmusings.blogspot.com/

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    Orange Co., CA

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  1. I have had the privilege of hearing Alan Rode introduce countless films over the years and now call him a friend. He is a true historian who has probably forgotten more about films than I know, and frankly I know a lot. The years of research and efforts which went into the Curtiz book alone are staggering. His enthusiasm for films in general and film noir in particular has caused me to try many films and expand my interests and for that I'm especially grateful. I'm delighted that he is now appearing on TCM. He'll also be introducing THE SEA WOLF at TCMFF later this month. As for the Film Noir Foundation, it is a nonprofit which is directly responsible for saving/restoring many films which would otherwise be lost. They do great work and I've been happy to donate to the cause.
  2. TCMFF is definitely more expensive than other festivals I attend, such as the Arthur Lyons Film Noir Festival in Palm Springs, CA or the Lone Pine (CA) Film Festival. It's in a more expensive area and is a huge undertaking with more films and more attendees than the other festivals. That said, it does not need to cost many thousands of dollars unless that's your preference. I have attended for several years and had the classic level pass. With rare exception (the infamous DOUBLE HARNESS pre-Code...but I think I ended up better off at HE RAN ALL THE WAY) I have always gotten in to the movies I wanted to see -- and I typically see 15-16 movies per festival. You will spend very little time in your room if you are seeing as many movies as you can or spending time getting to know fellow film fans. I always stay in one of the boutique hotels behind the Hollywood & Highland Center. You will save many hundreds of dollars per night and have a clean comfortable but not fancy room. Parking there is also much cheaper than at other hotels if you have a car (i.e., my hotel charges $11 a night instead of in the $30s). I'm there to shower, sleep and that's it. Honestly, I'd personally save money for a fancy hotel for a trip where you'll be spending lots of time in the hotel and poolside and have more time to enjoy it! You can be just as centrally located at a different hotel -- mine is just steps away from Hollywood & Highland Center where the Chinese Multiplex Theatres are located. Breakfast is included at my hotel. I typically only have time for one other meal on festival days, usually somewhere affordable like Baja Fresh, CPK or 25 Degrees (in the Hollywood Roosevelt). Before the festival actually starts I usually splurge on a couple nicer meals out with friends. There are some really good blogs out there with tips on making it more affordable such as this post at Out of the Past: http://www.outofthepastblog.com/2015/02/budget-tcmff.html This is a little late as far as answering the original post but with the festival coming up soon perhaps more people will be checking out this topic, I hope the info will be helpful!
  3. SECRET COMMAND with Pat O'Brien and Carole Landis is a personal favorite of mine, a "little" movie that really grabbed me. O'Brien is especially good, and he and Landis have excellent chemistry. (They were good friends offscreen, and he and the film's director were both pallbearers when she died.) Recommended.
  4. Alan K. Rode's book on Michael Curtiz should be out this November (700 pages, University Press of Kentucky), and UCLA will be honoring Curtiz with a retrospective series in a few months. Just some more Curtiz info FYI!
  5. I was there Saturday and Sunday and found it a thoroughly enjoyable experience. Wonderful to see some really interesting obscure movies, especially THE ACCUSING FINGER, UNTAMED, and CAPTAIN BLOOD (1924). Glad you called attention to it here. Highly recommended.
  6. However, the technology did not exist years ago to put out these "lower end" movies. They were able to start doing it seven years ago, and they couldn't flood the market with hundreds of titles at once for myriad reasons, technological and financial. I have been told by folks at WB that while streaming and downloading is growing in popularity, especially on "the coasts," the continued popularity of DVDs is much stronger than many people assume. Eventually that may change, but they aren't seeing a negative impact on the DVD market now, again in large part because collectors aren't so interested in downloading or renting to stream. I don't think the Archive would exist if it didn't make financial sense, as WB isn't a charity. And if they are making money in the last years of this business model...well, so what? And for those who prefer to stream movies, the Archive also has Warner Archive Instant.
  7. Although streaming is increasingly popular, many collectors, myself included, still prefer ownership of hard discs. The Archive is not going to rake in the same money as hugely popular titles, but isn't it great that there is a financially viable model which can make so many people happy? How terrific it is that we're not limited to owning only the "big name" movies and that the Archive found a way to make this work. Many people, myself included, are thrilled to finally own the movies that would have never come out on regular retail DVDs. I'm not sure why there's not "value" in that and they shouldn't be "congratulated"? I don't get the seeming negativity.
  8. "But I think what they're doing is just going through everything Ted Turner acquired and making it all available." Well, that's absolutely true, and it was the Archive's stated goal when it debuted in 2009. For instance, you will find relevant quotes on that topic in my initial blog post on the Archive way back when: http://laurasmiscmusings.blogspot.com/2009/03/warner-dvd-archive.html George Feltenstein said " Our goal is to eventually open up our entire vault." Isn't that what we all want, access to whatever title we'd like to see? Especially as everyone's taste and favorites varies? That said, though the goal is for everything eventually to be available, I'm told by Archive employees that the order of the releases are also guided, in part, by past sales popularity -- which of course helps keep the Archive viable to reach that long-term goal.
  9. "Don't get me wrong, it's nice to have all these films more readily available-- but nobody really wanted these particular titles. And again, if they did, it's because they were drinking." I'm a teetotaler and I'm absolutely thrilled by the Robert Montgomery releases. I've been waiting for some of them for a long time -- and to have the full-length UK version of HAUNTED HONEYMOON? Even better. Montgomery has many fans in classic film fan circles, and the folks at the Warner Archive have told me that past sales success is one factor which informs future release decisions. I infer from that that Montgomery's films have probably sold well in the past and they expect this latest round to do likewise.
  10. "This film desperately needs a restoration." FYI there is a gorgeous 35mm restoration of FRENCHMAN'S CREEK which has played places such as UCLA and MOMA. I saw it and called it a "Technicolor marvel." The print being shown on TCM bears no resemblance whatsoever to the restored print. Universal needs to get its act together and make a good print of this film available to TCM.
  11. I simply don't see the same negatives you do. I love classic film. I work hard to spread the word on classic film (I've been a blogger for over a decade). I am the parent of four children 17-27, including one working in the industry. All of which feeds into the fact that I find it very exciting that the same films of the '20s-'60 which excite those of us who have been film fans for many years are continuing to attract new eyes and that those young people feel the same enthusiasm I felt at their age (still feel today). And what's even better for them is they don't have to stay up till 2:00 a.m. watching a movie hacked up with commercials which might not air again for a couple of years -- they have classic films at their fingertips, and TCM is a huge part of that. It's wonderful. As one of the "older" ones in the TCMFF audience, having crossed the line past 50, I certainly don't feel out of place or a victim of "ageism" when TCM touts its younger demographics; I'm thrilled to know that what I love continues to be loved by others and is not restricted to those of us who are older. The interest across generations also means other things, such as the interest in and funding for preserving films and the availability of films outside of TCM (anything from nationwide digital screenings like this Sunday's ROMAN HOLIDAY to repertory houses which still show 35mm). Actually I have heard many times from younger viewers how great it is that film is the great uniter across the decades. Some of the friends I have gotten to know best in the classic film community are in their 20s and 30s, but although they're not much older than my oldest child -- in fact one good friend was born exactly a month after my oldest -- it doesn't really matter, because what we have in common is movies, including TCM. I think if you were to ask them they *would* say "There were all these cool older people in attendance." The older film fans have a great deal to share with those who are newer to classic film. I attend other film festivals such as the Lone Pine Film Festival, and that festival aging out of existence is a concern because it is much smaller; my husband and I are some of the younger attendees. I've been working the last couple years to spread the word on that festival to my fellow film fans, hoping that younger people will start attending, because that's going to be necessary for it to survive long term. I would love for that fest to have TCM's youthful demographics and if it did I would not feel out of place, I would be happy to know that the word is spreading! In the end, do I have some concerns about TCM sticking to its core mission and not going overboard with movies from the '70s on? Yes. But I also appreciate that TCM is working to expand the audience for classic films, which I believe means good things for everyone.
  12. Thank you, MovieCollectorOH, for sharing your tallies! I'm going to spend some time perusing this data. Appreciate it!
  13. <<The point is that Dorian's rise to power coincided with significant changes that have been reflected on-air. That's undeniable.>> And my point was to make sure we were framing the discussion with accurate information. <<You make it sound like the over 50s are at death's door. And who said that TCM is supposed to last forever? The old AMC certainly did not last forever. TVLand, as it was first introduced, eventually changed. These channels have life cycles just like any brand does.>> TCM has been with us for over 20 years. I'd like to see it around for another 20 years. Today's 50-year-old will be 70 then. If you don't care if it's around "forever," well, okay. I don't know what to say to that. <<The issue that we are discussing is not whether TCM remain the same or die off, but that it grow in a way that remains true to classic movie programming.>> I think this is all part of the same discussion. I actually share your concerns about TCM retaining true to its original mission. And I also care about it staying in business and attracting as wide an audience as possible. Hopefully both are possible.
  14. Jennifer Dorian did not replace Charlie Tabesh, the head of programming. She became the new GM, replacing Jeff Gregor. The info from earlier this year can be found here: https://willmckinley.wordpress.com/2015/01/22/tcm-introduces-jennifer-dorian-as-new-gm-seeks-to-grow/ As far as "ageism," if hypothetically TCM's market is over 50, what happens when the current over 50s die off? TCM needs to continue to grow the audience; today's 30-year-old TCM viewer would hopefully also be a 50-year-old TCM viewer down the road. I don't see that as ageism, but as economic reality. That said, it doesn't seem to be an issue for TCM.
  15. Given the robust numbers of people in their 20s and 30s that I interact with at both the festival and online (i.e., Twitter, where there is a very big classic film community including the #TCMParty), I would be quite surprised if most of the people in the 18-49 demographic are on the verge of aging out of it. That is, of course, just an anecdotal impression. That said, I do have some concerns about the increased number of "newer" films, particularly in prime time. We'll just have to see what develops in the months to come. A friend of mine tallied all the movies shown on TCM in the first six months of 2014, and the "newer" totals weren't all that worrisome: http://immortalephemera.com/46313/tcm-tally-2014/ Whether that has changed much in the year since, especially if you take the Women in Film series out of the tally, is something for which I don't have an answer.
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