By far the worst audio commentary I have heard on a Region 4 DVD to date is the one featuring John Gaeta, Zach Staenberg and Carrie-Anne Moss, provided for The Matrix. A commentary is meant to inform the viewer about the subtle intricacies of film-making, not to advertise the film that they have just purchased. It is not meant to be a dissemination of how brilliant you think your own work is, and it is certainly not meant to be a place where you make bold claims about the quality of your film's characters that you simply cannot back up. What makes this commentary even worse is the slipshod manner in which it was recorded, with long and frequent periods of silence taking place that reflect the lack of substance to the subject. Indeed, one statement I have heard about this commentary that is consistent with the end results is that Carrie-Anne Moss got so bored with recording this track that she went out to have a cigarette for twenty minutes at one point. Incidentally, Ms. Moss is the only person involved in this commentary that sees the film for what it is: a summer action film with an overblown special effects budget. Once she is taken out of the equation, the commentary makes the film incredibly hard to watch after its rather pompous and arrogant spiel.
Of course, a commentary does not necessarily have to be reduced to an advertisement for the film I've already bought in order to ruin my enjoyment of the film. Before I viewed The Devil's Advocate on DVD, I was able to enjoy the film solely on the basis of its cinematography and forget about certain unpalatable qualities to the story that I had not considered before. That all changed when I listened to Taylor Hackford's commentary, which begins with a statement that the film is about morality and choices. This not only contradicts the very nature of the story, but is grossly offensive to a man like myself who values his right to choose above all else. Suddenly, a fantastic film that mixes a dose of natural greed with gothic romance is made unwatchable because it is made clear that the director doesn't know his history at all. My personal experiences of people's attempts to strip me of rights and choices for paltry ideological reasons have led me to view Al Pacino's character as the true hero of this film, and Judith Ivey as the supreme evil. Combined with the general misogyny and sexual phobia apparent in most, if not all, of the female characterizations, I felt this commentary was a grossly offensive tirade against human nature and the freedom to nourish rather than repress it. [Ed. I disagree.]
Now that I have mentioned two examples of commentary tracks which permanently ruined the film for me, I feel that I should be fair, and point out two of the best commentary tracks that I have heard on Region 4 DVDs. In no particular order, these are Ghostbusters and The Thing: Collector's Edition. In the case of Ghostbusters, Ivan Reitman, Harold Ramis, and Joe Medjuck do not just provide a commentary for a film. They provide a commentary on, and a window into, the time in which the film was created, with insights aplenty into a Hollywood where having a completed script was necessary to get to the stage of principal photography. The insight this film provides on the world as it was in the early 1980s is enhanced by the humour and irony that Ivan and Harold inject into each scene, with an excellent statement about the evils of Panning & Scanning by Harold Ramis that one simply has to hear in order to understand why that dreaded technique is finally on its way out. The Thing: Collector's Edition is accompanied by one of the most historically insightful commentaries I have ever heard, with John Carpenter and Kurt Russell talking about every little subject that is relevant to the film. The coincidence that the film was released at a time when the AIDS virus was a relatively new mystery is given some exploration, as is mankind's natural fear of the unknown. However, what separates this commentary from that which accompanies The Matrix is that it seems very clear that John and Kurt enjoyed working on both the film and the commentary, and have things to say about the film's influence or strengths that are based in fact. Perhaps the most amusing parts of the commentary are those in which the duo talk about ideas for the film that were storyboarded or filmed, but never made it into the final cut.
To summarize, I want my audio commentaries to be more than just advertisements for a film I've already bought. I want them to be revealing, insightful, and to offer me a perspective on a subject that will fascinate me, or at least keep me entertained for a couple of hours. If your commentary track cannot meet these simple basic rules, then I don't want to hear it.
I would also like to see more theatrical or teaser trailers being described correctly, with an accurate statement of their role in the film's advertising campaign, or whether they were actually used at all. There are currently far too many DVDs on the market that have a teaser trailer labelled on the packaging as being the "original theatrical trailer". Total Recall and Terminator 2 are the most prominent examples of this in my collection. Accurate labelling of the trailer, or any extra for that matter, is not that hard to do, especially for a company that spends hundreds of millions of dollars making and advertising a film.
To summarize, I want my theatrical trailers to be given the same treatment and presentation as my films, or the best possible presentation that the source material allows. A theatrical trailer presented in an aspect ratio of 1.33:1 with Dolby Digital 1.0 sound for a film that was made in 1999 is far from acceptable, and a waste of the valuable MPEG space on a DVD, unless that is the manner in which the trailer was recorded, or intended to be presented.
Of course, The World Is Not Enough was at least presented in such a manner that the transfer of the film itself was impeccable in spite of the fact that space is at a premium on the disc, and so a few marks go to Fox Home Entertainment for not presenting so many extras at the expense of the film. Universal Pictures' biggest cult title, The Thing: Collector's Edition did not fare so well, however. More than two hours worth of extra features are compressed onto an RSDL disc with what is almost a two-hour film. Speculation that this transfer is merely a recycled laserdisc master aside, the results of the overcompression speak for themselves, with rampant aliasing and background blurring occurring throughout the film. Conference scenes that should have been a mass of admirable detail have fuzzy, indistinct backgrounds, and the outdoor scenes are all but ruined by the lack of resolution in the transfer. This is made all the more upsetting by the fact that the featurettes which the quality of the film itself was sacrificed for are not all that interesting to look at.
To summarize, I enjoy featurettes that discuss the actual making of the film as much as the next man, but I draw the line at either the film or the featurettes showing visible artefacts as a result of their presence. If a featurette or a film requires more space to breathe, then I will certainly not miss the featurette. I will miss the quality that becomes conspicuously absent if too many featurettes are left on the disc.
A music video for the Violent Femmes' Blister In The Sun or Queen and David Bowie's Under Pressure, on the other hand, would have been a brilliant inclusion on the Grosse Pointe Blank DVD. Here are two quirky and very meaningful songs, especially in the context under which they appear in the film, that present an unparalleled opportunity to show the superiority of the DVD format and how a music video should look and sound. Naturally, Warner Home Video and Hollywood Pictures flubbed it. To provide a positive example of a music video that is a worthy inclusion on a DVD, one is well advised to take a look at Garbage's performance of the theme song from The World Is Not Enough. I have made it no secret that I have a general dislike of the genre which Garbage can be broadly categorized into, but this theme song is a strangely pleasant one to listen to with an imaginative, surreal music video that perfectly complements the theme of the film it accompanies. I realize that this contradicts my statements in my review of the DVD, and whilst I still consider the music to be uninspiring and dull compared to what I normally listen to, the video itself does complement the film, which is what extras are all about.
To summarize, having the most current and fashionable music videos accompanying your film may mean something to advertising executives, but it means less than nothing to the average home theatre enthusiast. Please select the music videos you present on your DVDs a little more judiciously.
Ghostbusters contains an excellent example of the sort of additional footage I would like to see presented as a Blooper Reel or an Outtake. Under the Scene Cemetery menu, there is a forty-three second Outtake simply entitled Bums, featuring Bill Murray and Dan Aykroyd arguing about various things that have nothing to do with the film as Rick Moranis is running from the Keymaster in Central Park. While this is not a particularly funny extra, it is interesting to see because of the new slant it brings to a key sequence in the film.
To summarize, I want my Blooper Reels to be funny, enlightening, or at least have some kind of explanation (possibly even a commentary) as to what makes them worthy of inclusion as an extra.
In other words, I want my animated menus to flow together a little more smoothly. A slight skip when the beginning and end of an audio track or animation come together is barely acceptable, but the jarring pause common to so many DVDs with this feature is not.
Likewise, I don't want to be bombarded with patently false claims about a filmmaker or actor, nor do I want to hear a false positive spin on events that cannot be described in any other way but appalling. I also want my Production Notes or Cast and Crew Biographies to be presented in a readable form, which is simply not forthcoming on such DVDs as Wild Things and Unforgiven. Indeed, in the case of the former, the Cast Biographies are printed in such minute print that the zoom function is required to read them on an eighty-centimetre screen.
To make a long story short, I want my Production Notes and my Cast and Crew Biographies to be grounded in fact, comprehensive right down to the last known detail, and readable. Three screens full of advertising material compressed into one screen is not acceptable.
Additionally, the specifications of many DVD-ROM features are somewhat alarming, with statements to the effect that they will only work in a PC-compatible computer. Apple may not have a very large market share due to the inherently costly nature of their computers, but their operating system is a thousand times more stable and reliable for use with multimedia applications. Excluding such a platform for use with your DVD-ROM software is tantamount to attempting to run a marathon with a broken leg: your results will be rather severely hobbled.
To put it bluntly, I have no use for DVD-ROM extras, and I have no intention of ever upgrading to a DVD-ROM compatible computer. I want these sorts of extras gone from my DVDs post-haste as they are nothing more than a waste of vital bits that could be used to improve the video quality of the main feature.
© Dean McIntosh (my bio
sucks... read it anyway)
June 6, 2000