Harmy wrote: I really don't like the idea of getting arrested
There's no arrest involved in things like these, they're civil cases, just some fines. Which will be targeted towards the theater owners before the media manipulators.
I don't think the numbers need to be anywhere close to 1997. These theater showings are in a way advertisements for all the other SW property. The Old Republic is several orders of magnitude bigger then what the movies can do on their best day. The Clone Wars seems to be able to hold on by itself. They may lose money on 4 of the 6 3Ds and it's still a win win. But there maybe some profit level which will support the extra staff needed for the tv show.
Searching around the Variety full page is ~8-10k.
To make a point both in reality and in the land of money. In three years when Star Wars gets a 3D release in theaters. By that time a fan scan of the movie might have been released. Sometime prior a campaign is started to get people on board of going to see the movie in theater, but not on opening day. On opening day the Variety ad goes out saying, "Thank you George for the great movie. As you won't preserve the film, we have. To prove to you our gratitude for the creation of this film we will go see your Star Wars in 3D on the second weekend." Then if the comparison number of opening day to second weekend are of some significance, a point could have been said to have been made.
or replace the going to see the movie with some donation idea. but when you're dealing with money, you're going to lose... The "it's HIS movie concept" is too easy a position to fortify.
Computers can't steal, they can infringe on copyrights.
As a similar movie to this one will be in theaters soon, what are people's suggestions for quick TRM references [in the vein of Rocky Horror] someone could blurt out to find other Ridiculous Menace fans?
http://picasaweb.google.com/102542760950977079734/StarWarsSpecialEditionChangesHD#5664511987029653394
My guess was they shifted the shot and zoomed in the beginning. But alternative take is a possibility. Go to 1:47:00 on the WGv2. Luke says 'This is Red 5, i'm going in.' but the actual shot has dialog 'Luke pull up!'. (shot 1801/1818)
The people's at:
http://www.scifi3d.com/list.asp?intGenreID=10&intCatID=8
might have what you seek.
^ In Empire Building the chapter context is post-Graffiti, while in Skywalking they are talking about how he spent the SW income. But both are vague and this Supersnipe venture is a drop in.
Everyone alludes to this being a silent partner thing, but articles in People magazine from 1977 show that's not the case. If GL was entrenched in the store in 77, then i'd lean more towards this being a post-Graffiti investment, which was your original thought.
The Rolling Stone article:
http://starwarz.multiply.com/journal/item/10/1977_Rolling_Stone_George_Lucas_Interview
It will be interesting to see how Star Wars does overseas.
Yeah. Star Wars is designed with the international market in mind. The French are very much into this genre. They understand it more than Americans do, and it is the same with the Japanese. I own a comic gallery, an art gallery in New York that sells comic art and stuff; the guy that runs the art gallery also runs a comic store and we do a lot of business in France. They understand Alex Raymond, they understand that he was a great artist, they understand Hal Foster and they understand comic art as real art and as a sort of interesting, goofy thing. And I am very much into comic art, and its place in society as a real art, because it is something that expresses the culture as strongly as any other art.
I see that two Lucas biographies differ on when the Supersnipe investment happened.
Empire Building pg.51 [talking about the aftermath of Graffiti]
Lucas indulged himself by buying a stake in a comic-book store, called Supernipe, in New York. Otherwise he remained the son of George Lucas Sr.
Skywalking pg. 193
Lucas allowed himself a few guilty pleasure: he invested in Supersnipe, a Manhattan gallery that specialezed in original comic strip art, and bought a Ferrari sports car. It was, of course, a used Ferrari.
H.W. Wilson Company - 1978 - Snippet view [pg 260]
In addition, Lucas has invested in Super-snipe, a Manhattan art gallery specializing in comic book art. ... he admires in Lucas his singlemindedness, his perfectionism, his sensibility, and his "gift for popular narrative." George Lucas ...
The person to track down is this Simon Dietrich, who did the day to day operations. Not finding much substance, could ask http://www.fantagraphics.com/ as some of his work goes thru them, or contact the brother who seems to have a bigger following, and might be more public.
^ Generally, i've found the comic community is more forgiving on reuse. And they openly acknowledge it. (TMNT's connection to Daredevil for example) As many artists don't just work from zero, they take a picture of someone and that becomes the partial guide for a drawings. And parody has been one of the mediums staples. there's very limited stigma.
added a few things to the above post, an article chain about the Supersnipe connection and the meetings which lead to the SW Marvel comic.
Here's a couple more people remembering the store:
http://www.comicon.com/ubb/ubbthreads.php?ubb=showflat&Number=520251
It was small, maybe 10 feet by 15 feet (real estate in Manhattan costs an arm and a leg), but crammed floor to ceiling with comics.
When you'd walk in, all the new comics were on the right hand side of the wall, graphic novels/reprint books were on the left hand side in a big bookcase, and the classic, old 1960s Marvel pin-ups lined the wall up near the ceiling. Back issues were in boxes behind the counter; If you wanted something, you had to ask. You couldn't root through bins, because there simply wasn't any room for them!*OMIT*
I believe that in addition to Lucas being a partial owner Mark Hamil was involved financially as well.
http://boards.collectors-society.com/ubbthreads.php?ubb=showflat&Number=3388413
Some of the art on display there were George's "Flash Gordon" originals.. during the 80s-early 90s, Russ Cochran was George's auction buyer and bid on comic strips and cartoon cels for him. This was at the same time Russ was buying cels for Jacko
*EDIT*
But Ed was always promoting this Star Wars thing in his shop, well in advance of the movie’s release. There was an early poster, one with Darth Vader’s head being the most prominent element and done in advance of the now more famous one of Luke with the upraised light saber. He had copies of the novelization of the film well displayed. And of course when the Marvel Comics adaptation was released, that got sufficient promotional space in the shop.
which lead to this article, also offline:
In addition, I e-mailed my old friend Ed Summer, who was instrumental in the Star Wars comic existing in the first place; he hoped to write something for this issue, but we hadn't received anything by deadline; we plan to run his commentary at a future date.
This is the article which tells the story of Roy Thomas' dinner with Ed and George and later meeting with Lippencott to get the SW comic done.
The artdealer who went to Supersnipe often is named Mitch Itkowitz and he runs an art/illustration store called graphiccollectibles.com
http://comicscomicsmag.com/2010/09/who-thinks-this.html
Thread on the connections between Jack Kirby books from the 60s & 70s (people mention 'The Fourth World' and 'Black Panther') and SW. [there's a large user post on the connections.] but here's the relevant Supersnipe info:
The Ronin Ro book Tales To Astonish contains several pages on the Lucas/Kirby connection. It first points out that at the time of Kirby’s 70′s Black Panther there were people who thought it was old fashioned or worse. The book then points out some of the close similarities in the basic premise of Jack’s Black Panther book and the Indiana Jones character which appeared a few years later. Boiled down this would be a hero who engages in adventures generated by a search for archaeological treasures.
The book also describes a dinner between Ed Summer owner of Supersnipe, his silent partner at Supersnipe George Lucas, and Roy Thomas. Lucas tried to pitch the idea of a Marvel comic book based on Star Wars (remember the comic book preceded the movie) without success to Thomas. Thomas is quoted as saying he wasn’t interested in Star Wars, but came away from the dinner believing that Lucas had been reading Kirby comics, “I don’t know if George Lucas ever quite admitted it, but I got the impression that there was a little influence there.”
The book then moves on to quote Mike Thibodeaux recalling Jack’s own feelings that a number of things had been borrowed ( Moonrider/Skywalker, Older mentor:Himon/Obi-Wan Ken-obi, Dark Side/Darkseid, Light saber/Mega-Rods, and quite a few more.) Kirby is quoted as saying he didn’t think the resemblances were great enough that he felt he was owed anything other than an acknowledgment from Lucas.
Here is that Ronin Ro (Marc Flores) book's 'Star Wars' sections:
More on the Kirby Lucas debate:
http://www.comicbookmovie.com/fansites/dailycomicsfix/news/?a=27649
I especially enjoyed the part where Jack Kirby and George Lucas have dinner and Jack tells George about a new story he’s working on, the New Gods. He tells George about Mark Moonrider, the “religious presence” known as The Source, his Dark Father, children separated from fathers at birth and the clash between good and evil etc….the book provides many many more details on this. This lunch took place in 1971/1972…..5-6 years before Star Wars was released. I’m not trying to suggest Lucas ripped off Kirby’s idea but there is no doubt Kirby influenced his epic story heavily.
People magazine - 1977.07.18
http://www.people.com/people/archive/article/0,,20068340,00.html
"I'm an introvert. I don't want to be famous," explains Lucas. "I get nervous when people recognize me and say, 'I loved your movie.' " So George drives a 1967 Camaro, and his only indulgence is a co-interest in a modish Manhattan comic-book store, Supersnipe.
^ could but then he'll just be a dick somewhere else. Here's his original introduction:
^ similar vein: Mika (from Japan) explains the trilogy original films
Star Wars - http://www.youtube.com/watch?v=-eCSHJINqCo
Empire - http://www.youtube.com/watch?v=Xk9SR2bqE0w
Jedi - http://www.youtube.com/watch?v=3Zz4Kj3c8gs
BONUS Gay Wars dojinshi - http://www.youtube.com/watch?v=H04Q32Zdlpo
^ On the last one, the video is from one of the Rikter discs and they've added on the subtitles. If you go into the user's library and play the first clip, you'll see Rikter's opening screen:
New York Times - Dec 10, 1978
http://74.125.157.99/url?sa=t&rct=j&q=supersnipe%20comic%20emporium&source=newssearch&cd=1&ved=0CCcQqQIwAA&url=http%3A%2F%2Fselect.nytimes.com%2Fgst%2Fabstract.html%3Fres%3DF40A11FF3F5511728DDDA90994DA415B888BF1D3&ctbm=nws&ctbs=cdr%3A1%2Ccd_min%3A1%2F1%2F1970%2Ccd_max%3A1%2F1%2F1980&ei=1vIlT_-WFdOctweFzMyKDg&usg=AFQjCNGto8OKajOT4Kx-BArhy-Pc4Kqu_g&cad=rja
Superman went on to earn his own comic book. ... just changed hands for a1,000," says Ed Sumner, proprietor of the Manhattan comic book emporium Supersnipe, ...
the rest of the article is behind a paywall.
*EDIT*
New York Times - Jan 1, 1973
http://74.125.157.99/url?sa=t&rct=j&q=supersnipe&source=newssearch&cd=2&sqi=2&ved=0CCsQqQIwAQ&url=http%3A%2F%2Fselect.nytimes.com%2Fgst%2Fabstract.html%3Fres%3DF10B12F73F551A7493C3A9178AD85F478785F9&ctbm=nws&ctbs=cdr%3A1%2Ccd_min%3A1%2F1%2F1970%2Ccd_max%3A1%2F1%2F1980&ei=pfMlT5ODIsiTtweV3tSUDg&usg=AFQjCNFzl-M1Z7VHMCgjM41L08VcN-_doA&cad=rja
Summer is owner of The Mr. Summer continues: Supersnipe Comic Art Empo- This is a good time to deal rium, which for the past four in current books too ...
can read this one:
The Miami News - Jan 3rd, 1973
http://news.google.com/newspapers?id=iMYlAAAAIBAJ&sjid=JfMFAAAAIBAJ&pg=2925,1038072&dq=comic+art+emporium&hl=en
The bulk of the comic book market is made via mail order, bu in most big cities you can buy over-the-counter from a shopkeeper. One such man is Edward Summer, a bearded, ponytailed 26-year-old filmmaker who got into the business because, he says, "filmmaking is a very tight field." Summer is owner of The Supersnipe Comic Art Emporium which for the last four moths has been at 246 East 83rd St., but isin the process of moving around the corner to 1615-17 Second Ave.
Mapquest's got 1615-17 Second Ave at 84th street.
same article (more or less) this time Anchorage:
you've probably seen this as well, but to have all the bits in one location:
http://boards.collectors-society.com/ubbthreads.php?ubb=showflat&Number=4412362
Re: Supersnipe Comic Art Gallery [Re: Nexus] artdealer 
Collectosaurus Rex
Registered: 02/07/06
Posts: 528
First there was the comic book store, which had no room for comic art. The gallery opened around the corner, on 84th street somewhere around 1977 or 78. There was mostly comic art, but nothing Star Wars related, except for a show of McQuarrie and Johnson. There might have been some illustration art, but the focus was on comic art.
There was no art from the comic book as I was Chaykin's art dealer and I sold the pages. The Star Wars poster art was sold through Steranko/Parente catalog in 1977.
Lucas was a VERY silent partner. Ed was never at the gallery. He mostly ran the comic book store. Simon Deitch ran the gallery (brother of Kim Deitch, underground artist). I was there almost every day of the week.
I saw Ed last about 2 years ago at the San Diego Con.
Mitch I.
from the comments of:
http://www.whenmonkeysattack.com/blog/2009/08/16/the-big-tent-was-pitched-long-ago/
- Horatio Weisfeld Says:
08/17/09 at 2:08 pmIf memory serves me:
In the mid-late 70s, Supersnipe’s art gallery (whatever they called it) was a block or two west of Supersnipe comic store (mid-eighties/east side/Manhattan). The art gallery was small, and the one thing I remember was that they had the Frazetta painting (The Red Knight?) with the guy on his horse, pointing his sword down at the viewer, and I had never seen a Frazetta original, so this blew my kid mind (I still remember that they were asking $5,000 for it). It was common knowledge that Lucas (Who I think was in school with Supersnipe owner Ed Summer) was an investor in the place, as the people who ran the joint would talk about it (Summer is listed as associate producer on the first Conan movie). Later, they moved the gallery a block or two east, around the corner from the Supersnipe comic store (at which point the gallery had the FF Blazing Combat painting with the cigar chomping American sticking his bayonet through the Kraut). At some point I heard that the place got robbed – then shut down.
So it sounds like GL didn't get out of it.
Here's a post talking about SCAE and GL:
http://forum.rebelscum.com/t1059123/
more of a get up to speed type article on the connection.
^ yeah the sculpture behind Kurtz threw off a weird vibe of familiarity... and if I had searched then I wouldn't have to remind you that you posted this Kurtz one just a few month ago... but the Fisher and Hamill are thread new.
http://www.youtube.com/watch?v=bK47ZnHRF-A
Carrie Fisher - CityLights interview 1986 (Part 2 gets into SW & GL)
...rolled around in cigarette ashes to make the Hoth costume dirty...
2008 Vote ad
Rapper, rapper, rapper, George Lucas, rapper, rapper... This ad makes more sense when you realize that Red Tails was taking off at the time of the making of the ad.
Fog City Mavericks
http://vimeo.com/7825398 - http://www.imdb.com/title/tt0996396/
doc. about San Francisco film makers. (full doc. is in the user's library)
21-87
Arthur Lipsett - official National Film Board of Canada version?
(http://vimeo.com/33875987 without the burned in logo)
Leia's prison cell number and a Force concept from the movie:
"Many people feel that in the contemplation of nature and communication with other living things, that they become aware of some kind of...ah... force or something behind this apparent mask. Which we see in front of us." 03:30
Star Wars fetish - http://vimeo.com/2098027
The 'Jack Marshall' Phantom Edit - http://vimeo.com/31136202
2002 article on the Phantom Edit - http://www.philadelphiaweekly.com/arts-and-culture/the_phantom_editor-38350364.html
GL's Tribute at VES Award (Visual Effects Society)
Mixture of Lucas' previously unseen student films, like the surprisingly prim "Orgy Beach." One clip showed the young cinephile holding a placard that read "movies should be well made."
Many school day photos and other surprises.
The Joesph Campbell / George Lucas 'Power of Myth' PBS doc is to be rebroadcasted in March.
http://www.youtube.com/watch?v=2F7Wwew8X4Y
via: starwars.com
http://www.texasarchive.org/library/index.php?title=The_Carolyn_Jackson_Collection,_no._3_-_Interview_with_Carrie_Fisher&gsearch=carrie
Quote: "This clip, filmed on June 4, 1977, features Carolyn Jackson interviewing Carrie Fisher at the press junket for the film Star Wars. Their discussion covers such topics as the most frightening moment during filming, Fisher’s desire to be cast in a musical, her Jawa/Munchkin impersonation, tales of the Star Wars cast going out to lunch in costume, and Fisher’s many relatives in Texas."
'Hair don't' is a line i'm surprised I haven't heard her use before.
http://www.texasarchive.org/library/index.php?title=The_Carolyn_Jackson_Collection%2C_no._28_-_Interview_with_Gary_Kurtz%2C_Producer_of_Star_Wars&gsearch=star%20wars
“Will this be the beginning of a new trend of movies?,” Carolyn Jackson asks Star Wars producer, Gary Kurtz. The two discuss several aspects of the upcoming film’s production, including reasons for filming in Africa, and why the film is considered low-budget, despite the 9.5 million dollar price tag. Kurtz also discusses technical details, special effects, and his philosophy of what makes a good sequel.
http://www.texasarchive.org/library/index.php?title=The_Carolyn_Jackson_Collection%2C_no._4_-_Interview_with_Mark_Hamill&gsearch=star%20wars
This clip features Carolyn Jackson interviewing Mark Hamill during the press junket for the film Star Wars. The interview was conducted on the set and begins with Hamill giving a description of the surroundings and some of the props. Discussion topics include Hamill’s career path to Luke Skywalker, his aspirations to direct, favorite Star Wars scenes, why Star Wars is not “sci-fi”, Hamill’s television roles, and his squishy cowboy boutonniere.
...Sky Waller.
DuracellEnergizer wrote:
greenpenguino said:
I thought it was a dildo...
It is ... from a certain point of view.
view... point.. certain... oh geeezzz.
Gogurt Star Wars Tubes Commercialhttp://www.youtube.com/watch?v=opmKlwnu_Oo
http://filmumentaries.com/2012/01/sad-news/
By request of 20th Century Fox, my filmumentaries are no longer available on YouTube.
Sorry to hear this Jambe. But it seems like the parent companies do a round of content removal whenever they release a new product. Problem is each wave makes less and less information available, and society less informed.
^ They didn't print enough of the interview to understand the specifics. My guess is when he refers to the eight percent more, I think he's talking about the DVD not the theatrical release. (which he's saying is original... original as in home video original.) On the first part and the selective upgrading of 2,000 shots, this I think refers to how for the BD they selectively recropped (or returned to the theatrical cropping) because they were now dealing with the eight percent more frame. The 'cleaner, sharper, purer' could allude to the overall filters they apply to unify the shots... From everything else i've read so far, I don't get the sense that they at any time went back in and upgrade digital effects, for the BD/3D of TPM.
Let's hope Cinefex does a story, as that might delve into this at an appropriate level, to understand what they've done.
*EDIT*
Reading more of the article, when they talk about the 3D creation:
The process is, one 'eye' is the movie as you've already seen it and we're creating a synthetic left eye or right eye. You shift everything over, so if you imagine a stereo pair, the other eye is shifted over a little bit horizontally. How does the image change when you move over horizontally? Everything in the image shifts a little bit horizontally, proportional to its depth. So if you take depth information and use that to kind of shift everything over a little big, you've kind of simulating what a view from a second eye looks like. For all the objects that have depth discontinuities on them [something that's in the foreground over something that's in the background], now that everything has shifted over a little bit, you can see around it to a part of the image that wasn't there, so you have to reconstruct that part of the background that wasn't there. That's a process called in-fill and it's the most labor-intensive part of the whole thing.
*EDIT 2*
So did you have to re-animate any of that stuff?
No, mainly because it's old enough now that we use different compositing systems and shot directory back-ups. We keep them for a certain amount of time but after a decade elapses, nobody really bothers keeping hardware to read that stuff or old systems that can run the software that was used back then.