In black-and-white the younger generation says "it's gray." It may be gray to them, but to me it's great entertainment. But if they don't watch it, they are missing all of that entertainment. Because they won't watch it in black-and-white, stations will not consider booking these "gray" films. Film buffs, like myself and like many of you, will find fewer and fewer opportunities to enjoy the movies from Hollywood's glorious past.

Woody Allen made a movie recently called "RADIO DAYS" because when he was growing up in the '40s the radio stars were important to him. He would listen to them every day. They were so much a part of not only his life, but about a generation who grew up in the '40s. He made that film to capture the excitement and the feeling that he had about those forgotten people. I don't want Spencer Tracy or Gary Cooper to be forgotten. Charlie Chase already is. And if Stan and Ollie are forgotten too, then we are all losing something very, very special.

Attachment A

Hal Roach Studios Says...

Have it your way.

"TERROR BY NIGHT" is a classic mystery in its original black and white.

And now, "TERROR BY NIGHT" offers even bigger clues in glorious color by Colorization.

Any way you look at it-in its original fine-grain black & white or enriched through the magic of Colorization,"
"Terror By Night" offers mystery longs the best of both worlds.

presented

Mable both versions of

Roach Studios Film Classics is proud to..
Angling thriller!

1

S

tan Laurel and Oliver Hardy may be the greatest screen comedy team of all time. but has been difficult to judge their work property due to problems with poor exting parts and underlying nights. By Special arrangement with Hal Roach Studios, Inc. Fims incorporated as proud to mount the FIRST MAJOR RETROSPECTIVE OF THE TEAM'S SOUND FILMS

Over the three weeks of the festival, there are six different programs featunng seven of Laurel & Hardys greatest sound features plus ten "two-res shorts-all in breathtaking new parts. These new matenate stand in stark contrast to the murky, me lated versions avalable for the last few decades. At the tal-end of the senes. we went to prove that too much's never enough by unresting all ten two-resters in a three-day marathon or LAURELHARDYTHON!

Fri-Sun, October 10-12
WAY OUT WEST (1937 77 man)
PS THE MUSIC BOX (1932)

TOWED IN A HOLE (1932)

One of the mall popular Laure & Hardy leasures. Way Out
Aests a fire-ane Western sabre, compete with song and
sance nenoss Having delivered the dead to a goid mine to
Te wrong on Brushwood Guen, the par tall all over each
ather trying to get back

Fn 4 6 20 9 40 10 50 Sat 140. 4 6 20.8 40. 10 50
Sun 1 3 10 5 20. 7 40 9 50

(1933. 70 man

(1931)

(1930)

Strong in categue as well as sight gags Sone of the Deserte
Pe subs of the Laurel & Hardy in The boys sneak off to
fragmal convention, but they a fer wives the Fay are of

to see for Hardy's nesh. When the sho they were suppOMO
to be on is wrecked so far

Thur 4 10. 8.10.10. 10 10 Fr. 5. 7.9. 11
Sat 1. 3. 5. 7. 9. 11

T

Senator LEAHY. Thank you very much.

Mr. Young, you mentioned in the printed version of your testimony that you have been asked also to redo or restore some of the old Technicolor films.

Is that correct?

Mr. YOUNG. We haven't as yet. We have the capability to do that.

Senator LEAHY. What you do in that case would be to deal contractually with whomever owned that Technicolor film?

Mr. YOUNG. That's correct. If the owner so decided and asked us to color it in our version, we could very conceivably colorize a movie that was shot in color.

Senator LEAHY. If the owner wanted to change the color of any particular thing, clothes, car, set, you could do that?

Mr. YOUNG. With good taste always being the-
Senator LEAHY. Technically you could do that?
Mr. YOUNG. Technically we can do it, yes.

Senator LEAHY. A number of directors and actors have expressed a great deal of concern about seeing their names associated with the colored films. They see ads for a former black-and-white film which now has the director's name or an actor's name, if it is an actor well known and that was associated with it.

Would you consent to a disclaimer being placed at the beginning of a film, explaining the film is a colored version of the original, does not represent the original director's or actor's artistic work? Mr. YOUNG. I can only speak for myself and as owner of films. I would certainly agree to such a worded statement.

Senator LEAHY. You would certainly agree to what?

Mr. YOUNG. Such a worded statement prior to the film being shown. We do not want to be adversaries with the directors. We would like to constructively get together with them and come up with a plan whereby we would be able to further preserve and make available the original black-and-white films.

Senator LEAHY. What are some of the other things you might do? I am told-I haven't seen it—but I am told Frank Sinatra's eyes are brown. Would you turn them back, give "Old Blue Eyes" another shot?

Mr. YOUNG. It gives us another chance to have a new song, "Old Brown Eyes Is Back." We never claimed to be perfect nor do we claim that we must have historically what color eyes somebody has, what color hair.

The only thing we try and do is be as historically accurate as possible within the bounds of good taste: flags, uniforms, et cetera. Obviously, if we are doing Sinatra, he should have blue eyes, we realize that. But certainly even with brown eyes, it was a truer reflection of Mr. Sinatra than it was in black and white.

Senator LEAHY. What do you do? Do you consult with a director or, let's say, the heirs of a director or actor when you are making a colored version?

Mr. YOUNG. Well, we usually do not consult with directors or heirs when we are making a color version. We have our own art directors working on the films. It is their version.

Senator LEAHY. Maybe I should direct a question to both you and Mr. Mayer.