We really wanted to invite all of you to our 2007 Editors' Choice Awards, 64 stories above Vegas. But then somebody said something about "fire codes," and that was that.
Really, there should be a law. Oh, sure, the F.C.C. has a regulation that TV commercials can't be louder than the programming surrounding them, but the advertisers skirt around that with some kind of compression trick. So ultimately, the commercials still sound . . . loud. And as for why so many TV stations come in at different sound levels . . . anyone?
If we can do it, anyone can! We created Sarah Palin (right) by employing an mStation 2.1 stereo orb (top left) and a Boston Acoustics tower speaker (bottom left).
It was an epic effort requiring superhuman vision and hearing and, above all, heroic resolve. For in order to download the high-definition version of Superman Returns onto Microsoft's Xbox 360 at the Sound & Vision video lab, I, too, would have to return - and return, and return ...
True, it's not as cool a user experience as moving holographic frames in midair, like Tom Cruise did in Minority Report. But admit it: You get the slightest thrill when you work a touchscreen. And if that screen just happens to be built into a remote control, well, you feel as finger-empowered as E.T.
The job would have to be done at midnight. That's when Mission: Impossible III was debuting at Manhattan's Ziegfeld theater. The six bootleggers didn't always have to wait until a movie opened to the public. Sometimes they'd get into private screenings, courtesy of a scalper who'd sell them tickets for a few hundred dollars.
Except for the color bursting from the reception-area movie posters - The Double Life of Veronique, Black Orpheus, and the Beastie Boys Video Anthology among them - the Criterion Collection's new Park Avenue South headquarters in Manhattan are styled in the same palette as many of the films that the company painstakingly restores and releases on DVD: black and white, with profound gray area