Johnfender a écrit :Donc c'est un fake alors ? Je suis déçu, j'avais espéré en voyant la pochette...

Merci : )

Edit : Ce qui m'étonne quand même c'est de l'avoir vu sur ce site : http://worldofsoundtrack.blogspot.com/2 ... atraz.html

Je sais que sur internet tout est possible, mais ce site référence pas mal de BO qui elles existent bien. Je ne sais pas si quelqu'un connait ce site, peut être es ce un fake lui aussi ?

Why don't they hire a staff? Why don't they let people, like folks at Intrada, who know what they are doing, work for a lower pay (for incentive on Paramount's part? Heck, maybe Doug or Roger would go pro bono just to get in there.

I think Paramount was the one that someone told me (who is in the know) has their vault interrible condition; nearly everything unlabeled (so they don't know what's what or where it is -- and that's a lot of stuff!!!), in poor/deteriorating condition. So in order to find out what is what, you'd have to chance playing something that may not be able to be played a second time, or get ruined during it's play on a regular machine. Some scary shit.

Heck, some pay and a trailer on the lot to live in, and I'd go threw the vault best I can.

tharpdevenport wrote:
Why don't they hire a staff? Why don't they let people, like folks at Intrada, who know what they are doing, work for a lower pay (for incentive on Paramount's part? Heck, maybe Doug or Roger would go pro bono just to get in there.

Why don't they hire a staff? Because it costs money. Money they don't have to waste. It's really that simple. Hiring a staff means paying a staff, and for offices, and overhead, and support, and benefits. And it doesn't stop there. Contracts on all these films must be researched by lawyers, fees paid, artwork found and cleared legally -- these things cost money. It's a miracle any studio bothers. Don't get me wrong -- I'm incredibly grateful that there are individuals at other studios who consider it a worthy endeavor. But it doesn't shock me that other studios do not. It simply isn't a business model that works for them. (Sort of like pro bono work 400 miles south of their homes might seem like a poor business model for Doug and Roger.)

Quote:
I think Paramount was the one that someone told me (who is in the know) has their vault interrible condition

I have friends who work at Paramount. (And no, they're not in any position to help our cause.) With some regularity, in the course of their jobs, they have to access the music archives. They've always been able to find what they needed. Which is not a guarantee that everything's there, in good condition and well-labeled, of course. I'm sure, as in all the studios, tapes are lost or crumbling. But I don't know where your someone in the know got his "know."

Please understand, I would do a happy dance for days if Paramount would do us fans the enormous favor of opening their vaults. But please don't suggest that it's simple or obvious. There are real world issues here, and valid business decisions, even if they're not convenient for our hobby. I'm betting that someday, a sympathetic hire at Paramount will open the door a crack. And I hope and trust that that day, the producers who've been working at them for all these years (and most of our favorites seem to have been) will be rewarded with the rights to release them.