ROCKET SQUAD - 16mm - IB TECHNICOLOR - Daffy Duck And Porky Pig
Item History & Price
ROCKET SQUAD (1956)In a futuristic city, Detectives Monday and Tuesday pursue a wanted criminal. Print is in good condition.Save a film from destruction -- adopt one
I NEED HELP. Do you have or know of any one who has old western trailers for sale I?d appreciate it. There is a good chance I will be leaving Ebay shortly, the future doesn't look like much fun with the changes that coming.
After collecting films for over 75 years I am now relu...ctantly parting with them. Looking for a new home for them. Hopefully the flashing images on the screen will be with the true collector for some time to come. They are a national treasure.
If you need more information on a title, just ask. FILMS can be returned in 7 days if they are not as described. Dennis
BLOG UPDATE #3 9/4\20On a modern note a reader of this blog says he has been researching the way sound tracks were/are made. The old photo chemical way vs. modern electronic way. He has a good thing there, for when I can watch a movie from 1930 and hear every word vs. modern crap. When Warner Brothers sold their backlog to AAP in the 60's a name that is very familiar to older film collectors crops up, Stanley Stark. He was in charge of non-theatrical sales. You could buy new prints or used TV prints. At $75.00 a print collectors went crazy. Later he raised it to 100.00 per print!Stanley did so many things for me, I don't were to start. He gave me the vault records of WB which showed what AAP had bought. It was curios that a vault of silents and one of part-talkies were totally missing. On questioning Stanley he told me AAP didn't care because their was no TV value! One title stands out in my memory, Seven Footprints To Satan, now consider a lost film. Around this time Coleen Moore was making appearances with Irene and she told me that Jack Warner gave her the print, it was test run to see television interest in silents. This dated after WB had sold the rights. Also there was a nitrate vault fire at WB reported in Boxoffice. Now how could that have happened they should be nitrate free by then.Stanley would order me a print of anything on approval. Big Boy, Glorious Adventures (no track), Moby Dick with decomp firmly setting in and .John Barrymore in Don Juan, one of my favorite films. Being it was the first print they made it was a reduction from the 35mm negative, lab cost was 225.00. I am proud to say it looks better then what TCM shows. Then one day he announced they had secured the rights to The Thief Of Bagdad (Korda) Being he was offering in b/w like all previous offering I inquired about a Technicolor release. After a week or so he said it would be expensive due to prints being made in England. $800.00 a bargain in my book. The print arrived on Christmas Eve.My third adventure was with Republic Pictures, they were a grand old bunch. First off they were a hold over from the operating days and still at 4024 Radford Ave. Carl Bryant was a good man, a fan of Roy Rogers, too boot.. They were accommodating, they would dig thru the vaults to find me uncut versions of their features. One date he mentioned they had made a demo up for NBC of a Roy Rogers feature in color, they had rejected it, and it was somewhere in the vaults. About a week or so I heard back they had found it, did want it? It cost me 1/2 of the lab cost. A IB print of The Quiet Man was 525.00.I had the idea of cutting Adventures Of Captain Marvel serial into a feature. They supplied me with a chapter by chapter breakdown. From that I ordered the needed chapters and ended up with a 100 minute show. A short time later they told me they liked the idea and came out with a TV package of the re-cut, renamed serials. Then there was Harry Post of Post Pictures, who was producing pictures as far back as 1917. He was a nice guy, took you to dinner, but he refused to talk about the old days. Our loss.I was hired to consult on the possible purchase of Charlie Tarbox's Film Classic Exchange. At this point Charlie had sold of most of his original prints, leaving not much of value except the name, but I got to spend a day with Ed Finney the producer and Johnny Hines. WOW.In 1972 I went to Washington D.C. Larry Karr from AFI took me around town. Their headquarters were a stones throw from "Watergate". At the Library Of Congress I met with David Parker a man of remarkable history and a fountain of knowledge.The FBI hadn't bothered me for ages but Frank Magilo from Sargoy and Stein a NY law firm for the studios came into my life. Don't recall the circumstances under which we met, but they were friendly to say the least. It helped somewhat. One day Frank shows up and apologizes because he needed to confiscate a list of Disney titles. Leo Letty had turned me in.
BLOG UPDATE 6/22/20 (UPDATE #2NOTES FROM A OLD FILM COLLECTOR )My discussions with RKO with Vice President Harry Giddleson were touchy, because unlike the other people I dealt with Harry really hated film collectors. I asked him what about the old RC and FBO silent films. And I never forgot his reply "You mean like the readers of The 8mm Collector, (now called CLASSIC IMAGES) There are only 5 left and I would rather burn them before they got them.I have had several inquires as to what else in in my film room. A beautiful Movieola Flat bed!When I look at the old prints from before the 1950?s even without a projector the images are beautiful. Shot on 35mm, then reduced directly to 16mm is a sight that is breathtaking. Thanks Kodak for killing the dream by taking the silver (resolution) out of the picture in 1950. When I was a kid I had a nitrate print The Invisible Man. Outstanding. Now today you cam see the film as it was in the Ultra version of Blue Ray.Then the fiasco of Eastman color, doesn't fade away from our memory.And while were at it thank 20th Century Fox for engineering the demise of Technicolor! In 1969 Fox was charging 15.5 cents a foot for 35mm. Technicolor was charging 50 cents a foot for 16mm. Several years later it was published in BOXOFFICE what Fox did. Luckily Ebayers have liked my brief comments, here?s one of particular interest, Just had to comment.....I used to work at 20th Century Fox circa 1978-1986 or so. We used to call it ?Pink by DeLuxe?.One day (I was a sound editor) I happened to walk by the vaults. There was a stack of cans sitting out in the full sun, and it was about 100F outside. After a few days my curiosity got the best of me, and I wondered what these cans held. I looked at the label and about choked. ?BUS STOP R1 SCOPE CUT EK NEG? It was the camera original for the entire feature. This was right about the time that VHS started making an inroad and the studios started to realize their catalogue might actually be worth something. I couldn?t believe it. I opened one can, gingerly. Yep. It was cut negative.I learned later that DeLuxe tried to pull a good print...and the snow was all urine-yellow...... I?m guessing they had to go back to the YCM protections.New message from: icus878 (45Yellow Star)Wow....I had no idea DeLuxe was undercutting Technicolor so much!A story you may like. I worked on the feature MAKING LOVE with William Reynolds, ACE. I asked him ?what was the biggest editing disaster you ever had?? He said, ?oh, easy.....reels 1 and 2 of CAROUSEL!? He explained that the negative cutters at DeLuxe were so used to 35mm negative cutting, they forgot to adjust to the differential synchronizer for the 55mm CinemaScope 55 negative....David Ice (look him up on IMBD.)In the 70?s I put my love of film to good use, along with Jim Limbacher, we started a series of education films on the history of the movies. Ably assisted by John Muri who played for the silents, and whom could take a Barton Organ sound like a Wurlitzer. Then throw in actor Bill Kennedy for narration, we were off and running. "...And who, disguised as Clark Kent, mild-mannered reporter for a great metropolitan newspaper, fights a never-ending battle for truth, justice and the American way!" Remember that familiar voice on TV's Adventures of Superman (1952)? That belonged to Bill Kennedy.Our first production was ?The Lost World Revisited.? At the first public screening Paul Killiam was there and graciously endorsed our project. By the time we were done we had made nine productions and it only ended because Walter Reade (our distributor) went skiing and slipped fatally. Walter Reade/ Sterling was a match us for us because we had access to their library which we drawled upon up for two Educational TV series we produced, It took another year and they closed up shop.
I NEED HELP. Do you have or know of any one who has old western trailers for sale I?d appreciate it. There is a good chance I will be leaving Ebay shortly, the future doesn't look like much fun with the changes that coming.
After collecting films for over 75 years I am now relu...ctantly parting with them. Looking for a new home for them. Hopefully the flashing images on the screen will be with the true collector for some time to come. They are a national treasure.
If you need more information on a title, just ask. FILMS can be returned in 7 days if they are not as described. Dennis
BLOG UPDATE #3 9/4\20On a modern note a reader of this blog says he has been researching the way sound tracks were/are made. The old photo chemical way vs. modern electronic way. He has a good thing there, for when I can watch a movie from 1930 and hear every word vs. modern crap. When Warner Brothers sold their backlog to AAP in the 60's a name that is very familiar to older film collectors crops up, Stanley Stark. He was in charge of non-theatrical sales. You could buy new prints or used TV prints. At $75.00 a print collectors went crazy. Later he raised it to 100.00 per print!Stanley did so many things for me, I don't were to start. He gave me the vault records of WB which showed what AAP had bought. It was curios that a vault of silents and one of part-talkies were totally missing. On questioning Stanley he told me AAP didn't care because their was no TV value! One title stands out in my memory, Seven Footprints To Satan, now consider a lost film. Around this time Coleen Moore was making appearances with Irene and she told me that Jack Warner gave her the print, it was test run to see television interest in silents. This dated after WB had sold the rights. Also there was a nitrate vault fire at WB reported in Boxoffice. Now how could that have happened they should be nitrate free by then.Stanley would order me a print of anything on approval. Big Boy, Glorious Adventures (no track), Moby Dick with decomp firmly setting in and .John Barrymore in Don Juan, one of my favorite films. Being it was the first print they made it was a reduction from the 35mm negative, lab cost was 225.00. I am proud to say it looks better then what TCM shows. Then one day he announced they had secured the rights to The Thief Of Bagdad (Korda) Being he was offering in b/w like all previous offering I inquired about a Technicolor release. After a week or so he said it would be expensive due to prints being made in England. $800.00 a bargain in my book. The print arrived on Christmas Eve.My third adventure was with Republic Pictures, they were a grand old bunch. First off they were a hold over from the operating days and still at 4024 Radford Ave. Carl Bryant was a good man, a fan of Roy Rogers, too boot.. They were accommodating, they would dig thru the vaults to find me uncut versions of their features. One date he mentioned they had made a demo up for NBC of a Roy Rogers feature in color, they had rejected it, and it was somewhere in the vaults. About a week or so I heard back they had found it, did want it? It cost me 1/2 of the lab cost. A IB print of The Quiet Man was 525.00.I had the idea of cutting Adventures Of Captain Marvel serial into a feature. They supplied me with a chapter by chapter breakdown. From that I ordered the needed chapters and ended up with a 100 minute show. A short time later they told me they liked the idea and came out with a TV package of the re-cut, renamed serials. Then there was Harry Post of Post Pictures, who was producing pictures as far back as 1917. He was a nice guy, took you to dinner, but he refused to talk about the old days. Our loss.I was hired to consult on the possible purchase of Charlie Tarbox's Film Classic Exchange. At this point Charlie had sold of most of his original prints, leaving not much of value except the name, but I got to spend a day with Ed Finney the producer and Johnny Hines. WOW.In 1972 I went to Washington D.C. Larry Karr from AFI took me around town. Their headquarters were a stones throw from "Watergate". At the Library Of Congress I met with David Parker a man of remarkable history and a fountain of knowledge.The FBI hadn't bothered me for ages but Frank Magilo from Sargoy and Stein a NY law firm for the studios came into my life. Don't recall the circumstances under which we met, but they were friendly to say the least. It helped somewhat. One day Frank shows up and apologizes because he needed to confiscate a list of Disney titles. Leo Letty had turned me in.
BLOG UPDATE 6/22/20 (UPDATE #2NOTES FROM A OLD FILM COLLECTOR )My discussions with RKO with Vice President Harry Giddleson were touchy, because unlike the other people I dealt with Harry really hated film collectors. I asked him what about the old RC and FBO silent films. And I never forgot his reply "You mean like the readers of The 8mm Collector, (now called CLASSIC IMAGES) There are only 5 left and I would rather burn them before they got them.I have had several inquires as to what else in in my film room. A beautiful Movieola Flat bed!When I look at the old prints from before the 1950?s even without a projector the images are beautiful. Shot on 35mm, then reduced directly to 16mm is a sight that is breathtaking. Thanks Kodak for killing the dream by taking the silver (resolution) out of the picture in 1950. When I was a kid I had a nitrate print The Invisible Man. Outstanding. Now today you cam see the film as it was in the Ultra version of Blue Ray.Then the fiasco of Eastman color, doesn't fade away from our memory.And while were at it thank 20th Century Fox for engineering the demise of Technicolor! In 1969 Fox was charging 15.5 cents a foot for 35mm. Technicolor was charging 50 cents a foot for 16mm. Several years later it was published in BOXOFFICE what Fox did. Luckily Ebayers have liked my brief comments, here?s one of particular interest, Just had to comment.....I used to work at 20th Century Fox circa 1978-1986 or so. We used to call it ?Pink by DeLuxe?.One day (I was a sound editor) I happened to walk by the vaults. There was a stack of cans sitting out in the full sun, and it was about 100F outside. After a few days my curiosity got the best of me, and I wondered what these cans held. I looked at the label and about choked. ?BUS STOP R1 SCOPE CUT EK NEG? It was the camera original for the entire feature. This was right about the time that VHS started making an inroad and the studios started to realize their catalogue might actually be worth something. I couldn?t believe it. I opened one can, gingerly. Yep. It was cut negative.I learned later that DeLuxe tried to pull a good print...and the snow was all urine-yellow...... I?m guessing they had to go back to the YCM protections.New message from: icus878 (45Yellow Star)Wow....I had no idea DeLuxe was undercutting Technicolor so much!A story you may like. I worked on the feature MAKING LOVE with William Reynolds, ACE. I asked him ?what was the biggest editing disaster you ever had?? He said, ?oh, easy.....reels 1 and 2 of CAROUSEL!? He explained that the negative cutters at DeLuxe were so used to 35mm negative cutting, they forgot to adjust to the differential synchronizer for the 55mm CinemaScope 55 negative....David Ice (look him up on IMBD.)In the 70?s I put my love of film to good use, along with Jim Limbacher, we started a series of education films on the history of the movies. Ably assisted by John Muri who played for the silents, and whom could take a Barton Organ sound like a Wurlitzer. Then throw in actor Bill Kennedy for narration, we were off and running. "...And who, disguised as Clark Kent, mild-mannered reporter for a great metropolitan newspaper, fights a never-ending battle for truth, justice and the American way!" Remember that familiar voice on TV's Adventures of Superman (1952)? That belonged to Bill Kennedy.Our first production was ?The Lost World Revisited.? At the first public screening Paul Killiam was there and graciously endorsed our project. By the time we were done we had made nine productions and it only ended because Walter Reade (our distributor) went skiing and slipped fatally. Walter Reade/ Sterling was a match us for us because we had access to their library which we drawled upon up for two Educational TV series we produced, It took another year and they closed up shop.
