You are now listening to post-mortem with Mick Harris, where the most influential voices in horror cinema will spill their guts, literally.

To the renowned horror director, writer, and producer.

Now here's your host, McGarris.

I'm McGarris and from Nice Sky Productions world headquarters overlooking the glamorous San Fernando Valley.

This is post-mortem.

I had an interesting experience the other day that had a lot to do with the changing technology of

cinema. As we record this, it's fall and in the world of film and television

fall is awards season. Members of the guilds and academies are invited to screenings of the award

contenders as well as being sent DVDs and online screeners of the films and shows.

Last week I went to the Vista Theater in Hollywood, a classic cinema that dates back to the

1920s and occupies the same building where Ed Wood had his office back in the 50s. It's a beautiful historic place and a wonderful atmosphere

to see movies. The movie in question was Marriage Story, a film by the very talented writer

director Noah Bambuck. Keep in mind that the film was made

for Netflix with very limited release in theaters mostly for Academy Awards

consideration. Despite the fact that the film's primary platform is to stream and the fact that almost all movies are

shot and projected these days on digital media, Bambach shot that movie on 35mm film, and that was how it was projected.

The film began to roll, and there were ugly black scratches that ran vertically all the way through every frame of the movie from beginning to end.

It destroyed the whole purpose of the free tickets to the screening to put the best foot forward for the film and its awards

chances. It was an annoyance and a distraction to an otherwise very good movie. Technologies

evolve and usually for good reason. very good

reason. I understand filmmakers who were raised on 35 millimeter film

and use it to create the greatest art of our film

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