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Since this format was introduced back in 1997 to consumers it is amazing to see the transformation in the quality and content of DVDs. Everything from menu screen designs and animations to the addition of DVD-ROM content.

For example, compare some of the first titles released on DVD THE FUGITIVE from Warner Brothers or JERRY MAGUIRE from Columbia. These two discs are very basic in content (being movie only discs with just some alternate subtitle selections in the way of supplimental material) and menu design (boring, ugly, and motionless) these were great movies but horrible discs when compared to what has since come out. The talented people that created these disc are as much artists as the people who made the movies themselves. Granted they are confined to the limits of what the studios are willing to pay for, but their talent shines through and enhances the viewing pleasure of DVDs in general.

BinaryFlix is a web site devoted to the love of DVDs.The idea for it came about when I found myself renting DVDs just to see the extra features. Forget about the movie, I wanted to listen to the director's commentary and the watch the behind-the-scenes documentaries, as well as the production notes, deleted scenes, and anything else that was on the disk.What I've tried to do is recreate the DVD experience by making the menus react the same way as they do on the disk. Obviously, I can't play any of the footage, but you get the idea.

If you have any comments, requests, or questions or if you find any problems with any of the links please let me know.

For direct mail address information or how to contact us directly, please e-mail your request with an explanation as to what you need to the editor at press@binaryflix.com.

CHRIS OSGOOD - Webmaster/Reviewer

cosgood@binaryflix.com

Chris is the youngest reviewer on the team, being born in 1980, and consequently the least experienced. This however does not stop him from expressing his opinions about his passion: cinema. If you asked him what type of movie-watcher he is, he would say he is a "vido-masochist", a joking term he coined for someone who enjoys painfully-bad movies. His favorite films are more mainstream, such as BLADE RUNNER, TAXI DRIVER, the somewhat obscure BRAZIL and most of Woody Allen's catalogue, but he loves B-films from such directors as Roger Corman (THE RAVEN), Bert I. Gordon (THE MAGIC SWORD) and Sandy Frank (TIME OF THE APES) for the sheer badness factor. As on the once-aired television show Mystery Science Theater 3000, one of his favorite pastimes is to mock bad filmmaking with his friends. He hopes to make a full-time job out of film review, but his ultimate goal is to be involved with filmmaking so that others may enjoy mocking his efforts.

Damon Houx has for a long time been a very avid film goer, having watched over 3500 films in his short 24 years of life. Though attending the University of Oregon to major in English and Philosophy, he has dedicated himself to the study of film. This love led to a job at Portland's prestigious Movie Madness, where he served as a manager and head buyer for DVD's and laserdiscs, and still works occasionally as an advisor. He now works directly in the movie business as a film buyer.

Having grown up on David Lynch and Spike Lee, he loves foreign cinema, and exploitation films. His favorite directors are Jean Renoir, Howard Hawks, Sam Fuller, and Jean Pierre Melville. Recently, he's been quite fond of Woody Allen, Wong Kar Wai, and Takeshi Kitano, along with a love for SOUTH PARK. He has also been quite fond of VELVET GOLDMINE, KNOCK OFF, and Kevin Costner's THE POSTMAN, to the bafflement of almost everyone around him. He contributes to the blaxploitation centered 'zine Badazz Mofo, most notably with his infamous theory that midgets control Hollywood. His favorite piece of publicity was when he was interviewed for Hustler's Jail Babe magazine about Movie Madness' Women in Prison films. To get his FIGHT CLUB DVD you'd have to pry it from his cold dead hands.

mdupont@binaryflix.com

Maximilian DuPont is a long-time film writer and movie buff. DuPont has
alternated writing unproduced screenplays with gigs in the trenches of arts
journalism. Now a wage slave, DuPont labors for an e-merchant while
squeezing in precious time to watch DVDs (he refuses to attend public
screenings that have bad presentation at high prices), write about them,
and write his own future DVDs (Mr. DuPont rocks himself to sleep at night
by rehearsing his future audio commentaries).

DuPont makes or breaks friendships on whether or not they like TAXI DRIVER.
He is a strict Wellesian-Sternbergian-Ophulsian, with a lot of Hitchcock,
Ford, Keaton, Hawks, Sturges, and Wilder thrown in, and with a contemporary
interest in Bertolucci, Leone, Scorsese, Schrader, Curtis Hanson, and the
Coen Brothers, among a few hundred other filmmakers. He finds the Hong Kong
cinema terribly overrated, but what else is new? (Though he is still
researching the matter.) Foreign directors he admires include Bresson,
Godard, Melville, Rohmer--and those are just the French ones. He doesn't
care for English cinema that much, outside of Michael Powell. He wants to
know a lot more about Cy Endfield. But DuPont does not want to be viewed as
a blinkered auteurist: he loves the screenplay format, read hundreds of
them a year (in fact just found Kubrick's Napoleon script on a Dutch
website), and thinks that the screenplay is, in and of itself, one of the
great art forms of the 20th century.


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