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Really weird of them to cite the 1989 Tom Selleck vehicle (ha) An Innocent Man when mentioning Howard Shore.

I know it's a running joke that Gary includes at least one explicit frame, but he really went to town here- at times pulling various clips from the same scene like flip-book animation. NSFW

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Svet wrote:I would be lying if I wrote that I understand precisely what turns on the people in David Cronenberg's Crash.

The review for the audio has me excited. I don't know if it was ever mixed for surround in it's original release, but I figured it would be a very good candidate for 5.1 because of the music and overall ambiance.

The film always had a surround element, whether this was just standard Dolby Stereo 2.0 or if it was available with digital 5.1 on release I don't know.

The Arrow and Turbine options include both 5.1 and 2.0 surround, whilst Criterion have opted to ditch the latter. Which is fine in my book if the film was released with digital 5.1 in 1996, not so much if it only ever had 2.0 surround.

Is there any difference between doing a 2.0 Dolby Surround track or directly putting the matrixed information into a 5.1 track ?

From my reading on stuff done for music in 5.1, sometimes an upmix is made because all of the elements are not there and they essentially fake a full surround by using only the elements of a 2-channel stereo mix. I've never heard of that happening for a movie, though.

tenia wrote: Fri Dec 04, 2020 3:02 pm Is there any difference between doing a 2.0 Dolby Surround track or directly putting the matrixed information into a 5.1 track ?

No, but without the 2.0 to compare to, there's no way to know if a 5.1 is indeed a 1:1 map of the original matrixed information or if "tweaks" have been made.

I've just finished working my way through the extras on both the Arrow and Criterion releases of this wonderful film. I was really impressed with NIGHTMARE ANGEL after the review in Video Watchdog #152 wasn’t entirely laudatory and the director’s comments in the Arrow booklet were quite modest too. It’s thoroughly Ballardian and remarkably similar to Cronenberg’s film – so much so that I wonder if Cronenberg had seen it before he made his movie (though it may just be due to the fact that both films are reasonably faithful adaptations of the book).

I had to get the Criterion release as well because it contains the Cannes Press Conference and the Cronenberg laserdisc commentary. The conference seems remarkably well-mannered for such a controversial film. No footage of Alexander Walker frothing at the mouth and storming out, unfortunately. I was rather baffled when the announcer introduced Ballard as “one of the most elusive writers this side of Thomas Pynchon and J. D. Salinger”. He’d been on telly and radio and been interviewed a zillion times so he was hardly a recluse! Cronenberg was introduced as one of the two most twisted minds in cinema. He can be seen asking the people next to him “Who’s the other one?” Gotta be Lynch!