I would say that my only things to pick with what I’ve seen of Legacy are as follows:
- The grain reduction. I prefer 35mm grain over the negative, and even when he’s using 35mm prints, he’s reducing the grain to achieve a near negative medium.
Wholeheartedly agree. I loved the grain on the -1 v. 2.0 preview. This is why, frankly, while I support the Legacy Edition I really, really want just a scan of the IB Technicolor print. I’m also not wild about some of Verta’s “corrections.” I agree with Spielberg here:
"(In the future) there’s going to be no more digital enhancements or digital additions to anything based on any film I direct. I’m not going to do any corrections digitally to even wires that show.
If 1941 comes on Blu-Ray I’m not going to go back and take the wires out because the Blu-Ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history… And I think the other good thing is that they understand when they see a movie and they suddenly see something that obviously could have been done much better today and could have been corrected in the DVD/Blu-Ray transfer, they really appreciate seeing the strings attached.
If somebody put out George Pal’s War of the Worlds and took the strings off the machines I’d be very upset. When that machine crashes in downtown Hollywood, and you see the strings going from taut to slack, that’s the thing that allows me to both understand this movie is scaring the hell out of me and at the same time this movie is a creation of the human race.
That little taut-to-slack moment of those wires on that wingtip makes the original George Pal War of the Worlds work for me. It embraces my fears and it also alleviates them in the same breath."