Hello, my name's Justin the Clueh, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're going back to Hong Kong, which we go to all the time because we love those filmmakers.

We're talking about Johnny Toe.

And one of the reasons we're talking about him is because there's a big retrospective of his work going on at the Tiff Bell Lightbox here in town.

So I think we've both dipped into it in and out, seeing some of the stuff.

They're playing them on 35mm.

And the thing about Johnny Toe is that he's such a technically proficient filmmaker, even in a place like Hong Kong, which is usually like rushed and make them quick and it looks a little bit cheap, that to see them on the big screen and we've seen some 35 millimeter archival prints where they're just pristine is the way that those movies are meant to be seen. Dan, the way the color looks on film, I've been watching these movies and then I think of all

the shot on digital Hong Kong action movies that have come out in my adult lifetime and

just makes you want to cry.

And that difference between the technical presentation is something that is very personal

to me because when I first started getting into Johnny Toe and Hong Kong cinema, these DVDs,

the films on them look like shit.

Like they looked really bad.

Me and Will saw A Hero Never Dies.

And on DVD, all the colors were blown out, so you lose all the detail and anything

that was white when you see it projected and it looks perfect.

I think I also get a little sad because all the movies today, I sound like Peter

Bogdanovich, all the movies today, but so much can be color corrected afterwards.

And back then they had to fucking make these colors on the set, you know?

Yeah, you had that.

Jels and shit.

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