Chat Transcript: The Criterion Collection's Lee Kline on Home Theater Forum

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Chat Transcript: The Criterion Collection's
Lee Kline on HTF

The following is a complete transcript of the on-line chat with with Lee Kline of The Criterion Collection, held on Monday, February 16th on The Home Theater Forum. Thanks to Ron Epstein, Parker Clack and everyone at HTF for all their hard work, and for providing the transcript for all to read. Enjoy!

Home Theater Forum
https://www.hometheaterforum.com

Subject: Live Chat with Lee Kline
Date: February 16, 2004

[RonEpstein] Without further delay, I'd like to introduce the one, the only, Lee Kline from THE CRITERION COLLECTION. Welcome, Sir!

[leekline123] Thanks, Ron. I never thought we would make it.

[RonEpstein] Lee, remind everyone what you do at Criterion, please.

[leekline123] I am the Technical Director (even though I'm not feeling very technical tonite).

[RonEpstein] What does a Technical Director do?

[leekline123] I keep the direction for picture and sound going for all our DVD's. That includes picture, sound, compression...Although I have a lot of help from all the other Criterion people as well.

[RonEpstein] We appreciate you being here tonight. We are now going to open the floor to questions

[leekline123] Let me say one quick thing...

[RonEpstein] sure...

[leekline123] I'm not really here to answer questions about what movies are coming up, but more to talk about tech stuff -- mastering, compression, transfers, sound. Although I will field an occasion release question.

[RonEpstein] We ask attenddes to keep that in mind when asking questions

[ZacharyTait] Mr Kline. Welcome. I would like to know if Criterion plans on re-releasing Seven Samurai in a 50th Anniversary Edition this year.

[leekline123] We would really like to, and have just started thinking about what we can do for a new release. As many of you know, the Japanese mastering is probably the most difficult for us. Film elements have been kept poorly, and many original negatives and Master Postives (fine grains) are not in existence. We're going to be doing some tests on Seven Samurai soon to see if we can make it look better than the previous version very soon.

[KeithPaynter] Welcome Mr. Kline. What software and tools do you most frequently use for telecine transfer and rendering?

[leekline123] There are two primary telecine machines to choose from - one is the Spirit and the other is Cintels C reality. Although, we prefer the Spirit for most films, the C Reality has really come along way, especially with the Oliver electronic wet gate system. What do you mean by rendering?

[KeithPaynter] I think in compression and conversion.

[leekline123] Ahhh.

[leekline123] We've been using various compressors - Sony Vizario and the Panasonic encoder. They both have proved to be very good at dealing with film grain, something that is awfully common in many of our films. Which leads me to say "We Love Film Grain." We try to keep it, work with it, and make it compress well. It's what makes film film.

[Ryan_Walsh] Hi Lee, thanks for coming out tonight. I really enjoyed 2003's releases of Fear and Loathing, Straw Dogs (WOW!), Schizopolis, and Naked Lunch. Is there any way Criterion may start licensing more special features to other studios to create revenue for restoration (visually and sonically,) "new" features, and other costly procedures? Seems like that vault of excellent special features could be a cash cow! Thanks for chatting!

[leekline123] You're referring to special features we've done on previous laser and dvd releases?

[Ryan_Walsh] yes.

[leekline123] It's an interesting question -- Sometimes we've held our supplements and then the studio has finally relicensed the film to us, so it has paid off waiting. We've also traded studios for things, and licensed some stuff when they're nice...

[BaileyHouse] Hi lee, Some Criterion discs are packed with extras and retail for $29.95, others have only a commentary and retail for $39.95. If commentary track participants are paid only a small honorarium, for their work, are the tracks themselves so cotly and/or techinically dificult to produce that they automatically engender a $39.95 price?

[leekline123] Unfortunately, I don't make the decisioin as to what price is put upon the releases, but I do know that it's been pretty much the same from day 1 of DVD. Anyone who bought $99/$129 laserdiscs will still be happy with the $39 price. We also pay a royalty unlike a studio who owns a film who doesn't have to pay. They also have worldwide rights many times, when we only have North America.

[BrunoOHanrahan] Thanks for (finally!) making it Lee. The following discs directly oppose the Criterion "mission statement" ("for every disc we track down the best available film elements in the world") - YOJIMBO, SANJURO, THE SCARLET EMPRESS, and SAMURAI TRILOGY. Whilst AMARCORD, HIGH AND LOW and ANDREI RUBLEV (either non-anamorphic 1.85:1 or 2.35:1; the first two having no extras at all) are very poor value for money ($40) in today's DVD market, especially compared with more modern Criterion releases. Are there any plans to retire these versions to maintain your reputation and uphold your mission statement? --- [Big shout out to those from the www.criterionforum.org --- done.]

[leekline123] Yes, there are plans to re-release some non-anamorphic titles with CHARADE being one of the first. And on YOJIMBO and SANJURO, I personally would like to retransfer these in anamorphic transfers. As for SCARLET EMPRESS, we were told by Universal that this is the best element that they had. Thanks to you guys at the Criterion forum- it's a pretty amazing group.

[BrianPB] Welcome back, Mr. Kline. I wondered if you could give us a status report on three silent film projects Criterion is rumored to be working on: EISENSTEIN: THE SILENT YEARS, Pabst's PANDORA'S BOX, and and Dreyer's VAMPYR (for the latter, I trust you'll use Martin Koerber's definitive 1998 restoration). From a technical standpoint, these must be among the most difficult releases (due to aged and compromised elements).

[leekline123] You said it- these are tough ones, and we are continually working on getting these films out. Eisenstein is moving along, but it's the hands of the Russians right now, and they move VERY slow. Pandora is complicated because it is a huge restoration, with many film elements involved in the hands of many people. The "restoration" that was done in the 90's was done on video, in Pal format, and is not suitable for NTSC conversion. As for VAMPYR, I have no new news, although we would definitely use Martin Koerber's restoration (if we could easily access it!)

[JuanNovaro] Lee, as Criterion probably knows, a very interesting extended print of Cassavettes' Shadows was recently discovered. How do such new finds impact Criterion's release schedule; does the company only race out for these elements if the title is already on the production schedule, or would this cause heightened interest and reconsideration of a release?

[leekline123] Gosh, these are good questions! Well, Juan, if you always wonder why we're all always pushing release dates and changing things around in the schedule, it's due to thing like the print of SHADOWS. 1 disc becomes 2 discs... A better sounds source comes up at the last minute...A fine grain on RULES OF THE GAME finally is found...We feel that once the DVD finally comes out, it's going to be on the shelf for a long time - it should contain everything worthy that we can find, and waiting to get these things is worth it. Do you agree?

[JakeJohnson] Hello. Great job you do at Criterion. Are you working on an anamorphic transfer of Brazil? And I have heard rumors that Bottle Rocket is being cleaned up for a release as well. Sorry if that question is not very technical. Its all I've got. Thanks again.

[leekline123] That's ok. We are not working on a new transfer of BRAZIL at the moment, sorry. As for BOTTLE ROCKET, I have no news on that.

[AgeeBassett] Hi Lee. First, I want to compliment you and your team on the very fine transfer done on The Devil and Daniel Webster. It would be interesting to hear of your experiences transferring the Dieterle print. Anyway, my question is, as one of my most anticipated releases of this year, will Richard III feature a transfer from VistaVision elements or from a 35mm reduction?

[leekline123] I'm glad you liked DEVIL since we worked pretty hard on that one. It's still not perfect, but compared to all the other elements we've seen, the Diterle print was the best. The flicker is a bit annoying, and there were some pretty stubborn scratches. As for RICHARD, I'm sorry to say that the original vista-vision negative is in poor condition and needs a major restoration. We used a 4 perf CRI that was stunning, and you'll be very happy with the results, I promise. If you're intrigued by a true vista vision transfer, wait till you see THE LEOPARD...it may be one of the nicest pieces of film I've ever encountered and the transfer should become a staple in the demonstration department (although I can't say you'll really want to demonstrate the mono sound that accompany's it!) Looking at what I wrote, I'm not saying it's bad sound quality, but simply Italian looped mono optical...

[TravisBickle] in your opinion whats the best transfer you have done and the worst?

[leekline123] The worst? Like I'm gonna admit that here! But some of the ones I'm most proud of, especially recently, would be THE LEOPARD, RICHARD III, RED CIRCLE. HONEYMOON KILLERS is a personal favorite. I really love looking at good black and white, and UMBERTO D and IL POSTO are just that. I think that TESTAMENT OF DR MABUSE is gorgeous, especially for the age of the film and MAMMA ROMA, which is coming out this year looks great. We are also putting out a beautiful transfer of TIN DRUM, but I can't take credit for it since it was done in Germany without me.

[ChristianLiemke] Hi Lee! I've read, that the BFI-disc of Visconti's "The Leopard / Il Gattopardo" has been delayed to 4th quarter of 2004 because of problems with the restoration. We all know, that Criterion is working on the master for your own and the BFI-disc, so what's the problem with the source material? Are there any problems, because you mentioned the title as being stunning.

[leekline123] It's really cool to me that THE LEOPARD is so highly anticipated, and I know that this is going to be the one that everyone goes "wow" about. We used the original 8 perf camera negative for this film to transfer and scanned the full resolution on a Spirit. The negative had been rarely touched, and I have to thank my good friend Gianni Vittori in Rome for helping us find it. The BFI was using a different element, which didn't have the range of the original neg. By the way, I forgot to mention that THE LEOPARD was supervised by legendary cinematographer Giuseppe Rotuno.

[PatrickMcCart] First, I'd like to thank you and the rest of Criterion for the non-stop great quality of your releases. Could you explain a little about how the Mathematical Technologies image restoration system is used for your releases?

[leekline123] MTI is a great system. We evaluated (and continually evaluate) many retsoration systems. We always come back to the MTI system since they've managed to let us repair a frame and keep the film grain the same. It's a slow process, but now that we're doing the work in high definition, we feel that the time spent will be definitive for many years to come. We go through the film frame by frame and repair as much imperfections as possible. We continually run each master through a stringent quality control to make sure that the "repairs" are good, and that we haven't missed something (or taken out too much!) There are about a half dozen QC and restoration people working at Criterion, and they're the one of the best groups doing this kind of work. It's a passion for the material that they're working on which makes a difference. And a shout out to all of em: Matt, Alex, Stephan, J

[DanRudolph] I was wondering if there's any chance of an anamorphic rerelease of Time Bandits. Also, Life of Brian doesn't look nearly as good as most Criterion transfers. Was this just a matter of the elements, or another factor? How do you go about cleaning things up when all available elements are in rough shape? Is it all done digitally or is there some film restoration involved too?

[leekline123] I've heard that about LIFE OF BRIAN before, but I really don't agree. I think we might have done a little more dirt repair on it, but I think it's a good transfer from a good low contrast print. As for TIME BANDITS, there is no immediate plan for this to be re-released, although it's not unforseeable. When elements are in rough shape, we determine how much time we can spend and then continue to assess how much more work is needed until we feel satisfied. Unfortunately, this method is utilized way too often because many of the films are in bad shape.

[SeanCullen] Hello Lee. Can you give us any additional information on TIN DRUM?

[leekline123] I can tell you that the director has done a new 5.1 mix. (which sounds GREAT!) As far as extras, I really don't know (sorry!)

[GustaveII] Hi Lee. Thanks for chatting with us this evening. I have a question about some of the old LD releases. Specifically, I’m interested in Ophuls and Mizoguchi. Do you know I those DVD releases are being held up because of poor film elements or is there a problem with the rights?

[leekline123] As for Ophuls, I know we have something coming up, but I can't remember what. As for Mizoguchi, we will begin work on UGETSU sometime soon. I personally would like to see STREET OF SHAME on the schedule, but that's not happening just yet.

[Guy] Good morning. (this is more a question in regard to the potential movie release of Fitzcarraldo and the documentary "Burden of Dreams." Will Fitzcarraldo get a criterion set including the documentary 'Burden of Dreams'? Or will this be an alienated release containing just the documentary? Anchor Bay losing the rights to the Herzog catalogue, can we expect this, or any other Werner Herzog criterions in the future?

[leekline123] We've been talking to Les Blank about BURDEN OF DREAMS, but there no news to report just yet. I'm not sure about Herzog, sorry.

[JeffNewcomb] We know you are working on John Ford - I'm assuming that it is the Iron Horse. This is quite an old film which I don't believe has been transferred to video before. Has this presented any special technical or restoration challenges? If I'm wrong about The Iron Horse, please enlighten us.

[leekline123] I believe we don't have IRON HORSE. I don't think I'm supposed to talk about John Ford just yet...

[JasonEls] Hi Lee, thanks for coming tonight. I also want to thank you for bringing Onibaba to us. I wanted to know if there are any transfers that Criterion would love to do but are in such bad shape that they cannot be done just yet. Also, has any restoration started on Tales of Hofmann? Thanks again!

[leekline123] ONI BABA is great, isn't it? I was lucky enough to be in Tokyo for the interview with Mr. Shindo (92 years old I believe) and he's as frisky as ever. Well, Pandora is one, but I think we're going to figure that one out. Tales of Hoffman has problems, and a new restoration needs to be done.

[BrandonConway] I hope this isn't too personal a question, but I'll try anyway: how did you go about becoming Technical Director at Criterion? I'll be graduating from BYU this April, and while my interest in film history, preservation & restoration, and DVD authoring is very high, I am finding it terribly difficult to find even a starting point of entry into such an occupation. Perhaps other people attending the chat have the same goals as me.

[leekline123] I had a love for film and Criterion, and I had a good video background before I worked for the company. A lot of people want to work for us, and we only have so many slots. Many of the guys in our restoration department have come from the NYU film school as interns and some end up staying on. I think the real "film" people are a dying breed, so I would suggest getting in to a film lab or film realted facility as a start. You can learn a lot from the old timers there. Good luck.

[PercyCrumple] Hi Lee, thanks for coming and for keeping your transfers smooth and clean (just how I like my women). I want to ask if you have any plans for Orson Welles, because it really is a glaring oversight in the collection thus far. I know Janus struck a new F FOR FAKE print recently for the Film Forum retrospective is that a hint of some kind?

[leekline123] I think we're about to embark of F FOR FAKE soon, but again, I make no promises.

[TristanS] What are the hardest and easiest Bresson transfers that have yet to come out? Also, please reveal any titles that haven’t yet been revealed tonight! Props to the Criterion Forum, represent!

[leekline123] Well, I know we're planning a bunch of Bresson films in the next couple of years, starting with DIARY OF A COUNTRY PRIEST, which looks really beautiful. And we've already done Ladies of the Bois de Boulogne, which had a lot of film problems. That's about all I can tell you right now.

[DaveG] Hello ,thanks for coming,,just a quick 2 Qs,First did Wenders do a commentary for Paris,TX,,second did anyone do a commentary for the upcoming Hitchcock,and if you can let us know which Hitch it will be,that would rock.

[leekline123] Hey Dave, glad I could be here. I don't know the asnwer to the Wenders question. Hopefully they'll be a new Hitchcock in the next year, but I can't say which one.

[Samuel_Fred] I'm curious about your choices to release some titles as single-layered DVDs and others as dual-layered DVDs: we know that a dual-layered disk will have better resolution. Why then is the second disc of Children of Paradise single-layered where the first disc dual-layered. The length of the second half of the film is about the same. Also, would you consider re-issuing older releases that might benefit from a second layer for resolution.

[leekline123] We do tests when the limit is questionable as to whether a dvd-5 or dvd-9 is needed. In the case of CHILDREN OF PARADISE, we had enough space on a DVD-5 to justify not doing a DVD-9. It just didn't need it. If I felt that compression on an older dvd could be improved, I would lobby for rereleasing it. That hasn't happened though, since we're pretty strict about making sure the compression looks good the first time around. In the case of something like LA STRADA, we felt that we needed to spread the movie over a larger capacity disc to make it work best, which is why it went to 2 discs. These type of things delay the releases, and drive our Qualty Control people bonkers, but that's what you get for $39.95.

[JonathanZofo] Hey, whats the down-low on Playtime and i noticed Criterion was short onn westerns, any that might come to the collection, straight up from the c forum

[leekline123] The lowdown on PLAYTIME is complicated. Scanning 70mm material has numerous problems...The machines that can do it are not all that great, and there are only a few in the world. Most facilities have souped up machines that they've created themselves to do the job. For instance, in the case of SPARTACUS, I spoke with Bob Harris about the idea that transferring a 35mm IP on a good machine as opposed to a large format element on a not so good machine might be better. We're going to do some tests on PLAYTIME. More to come on this one.

[LyleH] Hello, Lee. I'm glad you could join us. Before I begin I have to thank you for your great DVDs, especially Throne of Blood and Sisters, two personal favorites. I was just wondering with the theatrical run from Rialto of Eyes Without a Face, if Criterion plans to release this title on DVD, one of the best horror films of all-time, sadly not on DVD. Any other horror titles in the works?

[leekline123] Thanks for the nice words. I was really happy with THRONE OF BLOOD too- that was one where the Japanese actually had a good film element in their vault that they let us transfer. I believe we will do EYES WITHOUT A FACE, which is a totally great movie. I'm not sure about other Horror films just yet.

[AdrianCorreia] HI! Thanks for the great work! Any updates on The Lower Depths? What determines the amount of extra features on a DVD? Example, All that Heaven Allows has tons, but not as much for the great Written on the Wind. Any more Von Sternberg on the way?

[leekline123] The Lower Depths is in production, but no release date yet. As for extras on the Sirks, I don't why one had more than the other. You're asking the wrong person about this one, sorry.

[Tak-WaiCoddington] First of all, I want to say I love your company's work very much. Here in Thailand your DVDs are very hard to come by (legally) but I still make sure to get every one I can. With that said: You spoke of Rules of the Game, which contained a wonderful hour-long documentary on Renoir directed by Rivette. Recently I saw another documentary from the same French TV series, on Aki Kaurismaki. What are the chances of making other documentaries from the same French TV series available as extras on further releases, as they are appropriate?

[leekline123] Its a good possibilty- we have a small Paris office now that handles all things French and/or European. They've opened up many doors for us. Plus, with our contacts in Germany, UK, Italy, etc, they're always bringing all these great docs and extras to us.

[JonathanNovack] Hi Lee. I was wondering, usually Criterion delivers great transfers, but sometimes re-releases of Criterion movies by other compaines have far better transfers (Time Bandits comes to mind). Just curious to why that is.

[leekline123] In the case of Time Bandits, Terry Gilliam approved the transfer we used. You can like the other transfer better, but Terry might not have had anything to do with it. I always stand by the filmmaker for a transfer.

[EdgarNazaretyan] Hi, Lee I love Criterion and I want to thank you for all your work for film, I know you don't have a lot of movies licensed from Fox Lorber, but is there any chance you will get more liscenses: for example, Jules and Jim, Breathless, My Life To Live, The Bicycle Thief, Shoot the Piano Player, and etc. If so which ones?

[leekline123] Gosh, Edgar, I can't really answer your question. But I will say that you might get some of those.

[GregoryMesh] Hi, Lee. Shochiku recently released Ozu boxsets in Japan, some of the early titles are in a really bad shape. What does Criterion plan to do with restoration of those? Does Shochiku provide you with film elements? What titles should we expect after Floating Weeds?

[leekline123] Shochiku has been awesome. They have really tried to work with us and their film elements. We recently went to Tokyo and transfer a lot of their precious Fine Grain masters for many Ozu films. But I have to leave the titles coming up as a suprise.

[MarkJCrawford] Hi Lee. Thank you for your time in being here. How about Howard's End? I heard Criterion was doing that. Any progress?

[leekline123] Howards End will be part of the Merchant Ivory collection, produced in association with Criterion. I'm not sure when it's coming, but it will be beautiful, I promise (and i know that for a fact.)

[Buddy] Hi Lee. I have a question about two Hitchcock releases, specifically (The 39 Steps, and The Lady Vanishes.) During scenes with lots of background noise, (The theatre scenes in the 39 Steps particularly,) I can barely hear the voices. I know that at the time, sound stages were not widely used, and I am not sure if this was the problem with the soundtrack, or if I'm, just nuts. Both of these are from the mid 1930's.

[leekline123] Can you see the dialogue in the SDH files?

[Buddy] Yes, I can see the dialogue

[leekline123] I think I recall what you're talking about. I'll have to ask my audio department for more info. Can you email Jon Mulvaney about it and have him direct it to me and we'll research it.

[PimKeysergracht] By what standards does Criterion approach extra material. Im here specific thinking of audeo commentaries, as those vary hugely in quality. Are extra material secondary to the presentation of the film?

[leekline123] Can you give me an example of one being higher quality and another being lesser?

[PimKeysergracht] Yes. Of lesser quality for instance the Keane commentaries on the Hitchcock, and of better qualities for instance the one of Spartacus or Silence of the Lams. The latter are subjective of course.

[leekline123] When you say "quality" are you talking sonically, or editorially?

[PimKeysergracht] editorial...

[leekline123] Well, I think it's a matter of opinion- I like the Keane commentaries very much, but find some of the others less interesting. Some commentaries, here again Keane, are more or less, the commentator looking at the film and just making things up as he/she goes along.

[leekline123] I will pass that along to the producer of the commentaries.

[RyanBurgos] Thank's so much for making it tonight! It means a lot to us. Question: Was it hard to bring "The Vanishing" (Spoorloos) to Criterion since the subtitles and video transfer were redone. Pat yourselves on the back because the entire dvd looks amazing! Done!

[leekline123] Thanks, Ryan. It was a bit of work, but we bought a new film element that we made off the original negative and transferred it here in NY with an a talented colorist named Chris Ryan. Looking back on it, this was actually an easier one than most! What was dissapointing was that the director didn't want to participate...transfer or extras.

[ChristopherBlig] Hello Lee. from a big Criterion fan, to someone part of the Criterion food chain, thank you for all the superb work...and now onto my question...What is the status with the elements of Beyond The Valley of the Dolls and The Game? What has been the most difficult film of elements to transfer to DVD, and what does it take to participate in a Criterion commentary for I would love to sometime in the future?

[leekline123] whew! You mean you want to be interviewed?

[ChristopherBlig] for the right title, I'd like to :)

[leekline123] No news on BEYOND THE VALLEY OF THE DOLLS at this time, or THE GAME for that matter. If you're an expert on a movie and want to be interviewed, you should email Jon Mulvaney and tell him. He's pretty good about passing on emails to the right people. One of the most difficult transfers was RICHARD III Since it was taken from many different elements to create the long version, it was exhausting. Having the film in the UK didn't really lessen the burden. Also, the 16mm transfers are tough. Many times you want to go back to the originals, but they're broken up into A/B reels, like GIMME SHELTER and MONTEREY POP. GIMME was probably the most work as to any transfer I've been involved with, although most of the credit goes to one of the most talented people I know in the business, a woman by the name of Maria Palazzola. Talk about great eyes and ears. She doesn't miss a beat. Film elements were spread into little cans of film in multiple locations. Some shots were missing.

[FarleyFerlinghetti] I wondered if you could speak off the record about films which you'd personally like to have a stab at - in your capacity as technical director. Do you find yourself dreaming about certain "holy grails"? Films that whisper your name quietly as you dream of them?

[leekline123] That's a good question. Sometimes its really exciting working on something that has never looked good and you see this great film element and it's like "hold cow!" THE LEOPARD comes to mind in this situation. I would like to work on some more VistaVision stuff because of that. I really love working with Raoul Coutard since he's really got his stuff together. To me, it's the most exciting being in a transfer room with the Cinematographer cause I can say "How did you do that?" Or "what kind of stock was this" etc. One of the most talented people I've met recently was the DP from GEORGE WASHINGTON, Tim Orr. This is somebody to keep track of and see whatever they do.

[MarkvdH] Many (most?) of your classic titles have mono soundtracks. In that case, uncompressed (PCM) audio tracks don't seem to be too space/bandwith-consuming. What are the difficulties preventing this from happening?

[leekline123] The PCM tracks actually take up more room than you think. We've discussed it many times, and don't really feel it's necessary, especially when we have to take data away from the picture. I'd much rather add a DTS track for a 5.1 mix.

[LyleH] This isn't so much a question (partly) as a thank you. I recently watched The Harder They Come (1973) and LOVED IT. The soundtrack was so good, I had to order the CD. Any chance on re-releasing the disc with the soundtrack? Will any future Criterion DVDs feature film soundtracks?

[leekline123] Well, we've been occasionally adding M&E tracks, but not a full soundtrack (except maybe the Glass score on BEAUTY AND THE BEAST.) I'm still not 100% sure that anyone really listens to the M&E tracks though, do they? Do you?

[LyleH] I don't, personally.

[LyleH] However, I do listen to the Old Time Radio Broadcasts on the DVDs if you can consider that.

----- ANNOUNCEMENT -----

[leekline123] I do have an announcement I've been told I could make

[ParkerClack] We like those!

[RonEpstein] Cool

[leekline123] The following movies have been announcedfor summer:

[RonEpstein] (drumroll...)

[leekline123] Stray Dog, Tin Drum, Testament of Dr Mabuse, The Leopard, Mamma Roma, Smiles of a Summer Night, A Woman is a Woman, Jaws.

[Leekline123] (just wanted to see if you were still paying attention...)

[leekline123] No Jaws

[ParkerClack] :)

[RonEpstein] aaawwww

[leekline123] All the above in glorious MONO, except for Tin Drum

[RonEpstein] I'd like to take this opportunity to thank Parker Clack for helping Moderate tonight's chat. I'd like to thank all of you for coming here, participating, and asking some questions. Of course, we want to thank our guest, Lee Kline for taking time out of his day to talk with all of us. It was an absolute pleasure to have you here, Lee.

[leekline123] Thanks, Ron. See you all soon.

[ParkerClack] I am going to say goodnight and thanks for all the hard work Lee. Thank all your crew for us and tell them to never give up on their passion for film.

Session Close: Mon Feb 16 23:41:49 2004

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