The previous couple of posts illustrate a real issue when it comes to events like these - namely, the availability of film "prints" to show.
There has always been some difficulty in finding a 35mm (or, at some venues, 16mm) print of the exact title the organizer dreams of showing. Prints of older titles may no longer exist or be in such poor physical shape that they can't be projected any longer. Even when a print exists, there may be legal issues as to ownership (for instance, check out William Friedkin's current battle over SORCERER:
http://www.deadline.com/2012/04/william ... %E2%80%99/) or the studio just doesn't want to deal with digging out a copy for a single showing. Plus, getting brand new films was always difficult for smaller events or festivals because they are considered too small potatoes.
Now, there is the added issue of the sunsetting of 35mm film prints in general. The studios basically want
all celluloid to be gone as far as theatrical exhibition is concerned. Film prints (and negatives) are basically just there to be harvested to strike digital "prints" (DCPs) or DVDS/Digital Downloads from. So, even if a 35mm print has been shown in a theater very very recently, it doesn't mean that it's available to rent. It is also a main reason why so many 35mm showings nowadays are actually
private prints - not, studio copies. It's still worth it to fight and harangue the studios to fork over their 35mm prints whenever possible, but, it is, sadly, becoming a losing battle.
All this is why it is critically important for every venue holding a Festival to upgrade its digital projection to be the best it can be. In Boston, we have a terrific projectionist named David who does his absolute best to make even a screener DVD look as good as it possibly can. It's still half as good as the best 35mm prints, but, it doesn't look like washed out VHS tape either - and, I've been to several digital screenings that look just like VHS!
It truly sucks that this is what theatrical distribution has come to. I wish it were different, but it's only going to get worse and worse. I think it will be a long time before Digital gets close to where top-line 35mm film (let alone 70mm) are.
In the meantime, it is best to look at the bright side. It does mean that your "wish list" film title is more likely to be available to show. Witness, last year's Ohio showing of THE GREEN SLIME. A film which Bruce and I searched for a 35mm print of for
decades. It's half of what it
could have looked like with a pristine 35mm print - but, at least it was shown.