![]() ![]() I didn’t sit down to sketch it out, but the entire way the movie loops around and around and kind of falls back into itself, that came to me in a matter of seconds. That whole realization, that whole idea, was like a gift. ![]() It was like this: could I put myself in that situation on the screen and react? That seemed a lot easier with contemporary horror movies. I couldn’t get as affected by those movies anymore. But at a certain point I became aware of a separation. What made you want to make a contemporary horror movie?Īs a kid I used to love those movies. When you made the film, Hammer was still doing gothic period pieces. But in some projection booths they are so damn conservative when it comes to sound. At some moments the sound will get much louder than in the original setting. And then the modulation of it is different. Selectively we moved moments that were already mixed around the theater, so that the sound is behind you, beside you, in your head. It was duplicated many times and then spread apart. We were able to play with it, in a way that… It isn’t some faux surround sound, like when they just started making surround sound out of mono. All of it was beautifully mixed, in many layers of sound, without losing what was in the original mix. He had worked on a lot of great pictures outside of the horror genre.īut you also contributed a lot of creepy sounds and crazy instruments to the mix, right? He was like a six or seven time Academy Award nominee. Yes, I didn’t want to lose the original mono mix, because everything was kind of perfect. Their collection still consists of film prints, but it won’t be long before everything is DCP.īut it’s great that it’s done, because the film has never looked or sounded better. Yes, and also in the Museum of Modern Art. Isn’t there also a print in the Congressional Library? I don’t know how that’s going to help, because the emulsion is all gone. Now the original is being stored by the Academy, in a salt mine. So, the film would not even exist anymore if we didn’t do a restoration. Checking the A-B rolls, we discovered the splices were getting apart. The film had been stored that way for, I don’t know, like ten years. The cans were exposed to sunlight, so they would heat up. I was told the cans were just sitting there in someone’s office, in a major studio, against the window. And later on I met the production designer and he explained they built a whole set.īut back to the restoration: it had to be done because the emulsion was separating from the celluloid. But as I watched it I was thinking: there is no way Brendan Gleeson could have gotten up that staircase. And when I had climbed all those stairs I thought: why did I do that? Later on I saw that film IN BRUGES. Last time I was here I went up the tower in Bruges. ![]() I’m really jetlagged and I just went up these stairs. And the uhm… Give me a couple of minutes here. Were you involved in the restoration of THE TEXAS CHAIN SAW MASSACRE? ![]()
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