Lidt mere nyt om balladen omkring Lost Highway.
Tim Lucas, der jo havde indtalt et kommentarspor til den nye udgivelse, som endte med at blive droppet, har skrevet følgende på FB:
I’ve seen it. It’s gorgeous. If you disagree, you can call me on it - and realistically, there will not be another BD release till Universal’s and Kino Lorber’s rights expire, so we’re looking at a wait of a few years at the soonest, and we can all point to restorations from the negative that went awry. This is just bad sportsmanship on Mr. Lynch’s part. It’s very wide with deep blacks and juicy color. It’s not from the old pan and scan elements that were used for the previous DVD release, which is how he makes it sound. I’m sure the disc review sites that reproduce frame grabs will support everything I’ve said, once they get the disc in hand.
- Tim Lucas
Jeg holder meget af Tim Lucas, men jeg synes, at det er lidt af en stråmand, han sætter op her. Lynch nævner jo ikke den tudsegamle pand and scan-master, og det er heller ikke den, som blev anvendt til seneste dvd-udgave. Det ændrer ikke på, at den seneste dvd-udgave er henved ti år gammel, og at filmen selvfølgelig kunne have fordel af et ny 4K-transfer.
Mere interessant, så har en, der udgiver sig for at være filmens fotograf Peter Deming, skrevet følgende i kommentarfeltet til en artikel om balladen:
if a transfer isn’t from the negative, it’s useless. if david had access to the negative i’m sure he would be involved. i wrote to KinoLorber multiple times to try to be involved. they never responded. this release is a waste of time. trust me. peter deming a.s.c.
Til det har Kinos repræsentant svaret:
Yes, he did write us while we were discussing this with Mr. Lynch. The Dupe-negative was in the U.S. and the original camera negative was in France. We were willing to do whatever it took.
Kino har nu officielt svaret tilbage på Lynch' kritik:
We reached out to Mr. Lynch via email to oversee and color grade a new 4K transfer (from the original camera negative) and get his approval on the dozen or so extras we had planned to include. Once we knew he was not interested in working with us, we had no choice, but to go ahead with the current Universal master and the few extras we had already produced and acquired. To our surprise, the master in question was a very good one, so we were happy to release it with some extras. We found out later that the extras and packaging also had to be approved by him (not the norm) and we sent email after email without one response. We delayed the release by a month, hoping we could at least get him to approve the trailer, the essay and our packaging, at this point we knew the interview and commentary were not possible, but after a few more weeks, we dropped the essay, the trailer and changed our front art to the previously approved DVD art. The BD only includes the film on a dual-layered BD50 disc, maxing out the feature at 30mbps with 5.1 surround and 2.0 lossless audio. We were planning to take the high road and not play the blame game, but after his tweet this weekend, we felt like we had to respond.
We’re still huge David Lynch fans and are proud to release one of his masterpieces on Blu-ray.
Yderligere uddybning postet samme sted:
We were planning a special edition, new 4K transfer (approved by the filmmaker), all the previously produced extras including the one-hour interview which has not appeared anywhere, brand new interviews with the cast and crew, the Lucas commentary, the Nick Pinkerton essay and newly commissioned art for the slipcase with original poster art as a reversible.
And I read some very unfair and disrespectful posts over the weekend and will not respond to them. I just want to clear up one thing, this had nothing to do with the potential cost of the transfer, we were willing to do whatever it took to make him happy, money or the potential cost of the transfer was never discussed.
Det lugter desværre mere og mere af, at det hele blot handler om, at Lynch er sur over, at det ikke er Criterion, der har fået fingre i rettighederne. For hvis Kinos svar står til troende, så har de jo både tilbudt ham at lave et helt nyt 4K-transfer fra negativet og også været villige til at betale ham for at kontrollere det og arbejde med på udgivelsen (nogle har spekuleret i, at det springende punkt netop skulle have været, at Kino ikke ville betale for Lynch' tid og arbejde).
Det er i hvert fald svært at se, hvad han ellers kan være utilfreds med, når Kino tilsyneladende har været villige til at gå hele vejen med denne udgivelse ...
Lynch har også allerede før vist, at han er hurtig til at brokke sig på Twitter, hvis tingene ikke bliver, som han ønsker (jf. balladen omkring de nye afsnit af Twin Peaks sidste år).
Det ser i hvert fald ud til, at det er David Lynch selv, der har dummet sig og misset chancen for at restaurere og sende et officielt godkendt nyt transfer ud i verden.