| innerSpaceman |
10-27-2007 11:22 AM |
Wow thanks for that site, flippyshark.
Of course, on the question I have, there's conflicting information ... which leads to the regrettable conclusion that both versions of The Shining are authentic.
It seems Kubrick may have composed the shots for full drame while he shot them.
Quote:
Originally Posted by Kubrik FAQ
It seems to have been Kubrick's preference for his films to be shown in the 4:3 or "full frame" aspect ratio, because, according to his long-standing personal assistant Leon Vitali, that was the way he composed them through the camera viewfinder and if it were technically still possible to do so, he would have liked them to be shown full frame in cinemas as well. As Vitali said in a recent interview: "...when he composed a picture through the camera, he was setting up for what he saw through the camera - the full picture. That was very important to him. It really was. It was an instinct that never ever left him. [...] He did not like 1.85:1. You lose 27% of the picture, Stanley was a purist. This was one of the ways it was manifested."
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On the other hand, the film was edited with compositions at 1:85:1.
According to Gordon Stainforth, assistant editor on the film:
Quote:
Originally Posted by Kubrick FAQ
Although The Shining was shot with the full academy aperture, it was designed and composed entirely for the 1.85:1 ratio, and that is the only way it should be projected in the theatre.
All the Steenbecks in the cutting rooms accordingly had their screens marked, or even masked off, with the 1.85:1 ratio. The 6-plate Steenbeck in Stanley and Ray's main cutting room was masked off with black masking tape, because you cannot cut a movie properly unless you can see the frame exactly as it will appear in the cinema.
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And yet Kubrick's assistant, Vitali, and his Estate, seem to believe Kubrick wanted the films released in 1.33:1, even though Kubrick never publicly said so.
I'm glad someone else finally had the clout to release The Shining in its theatrical aspect ratio. The color timing is certainly superior to the earlier release ... so I'm gonna come down on the side of the widescreen being the "real" version of the film. Truthfully, though, they are both real. Bah. |
