"He worked with Loyal Griggs to mute the color, something other than 'Glorious Technicolor.' The more muted look is now more common. He also worked with the production designer and costume designer [Edith Head] to keep away from bright colors.... The clothes were well worn and very real looking."
Naturally, Stevens Jr. supervised the mastering of "Shane" with Technicolor after the three-strip negatives were scanned at 4K and digitally cleaned and registered correctly. He suggests the distinctive look is well represented but was particularly concerned about getting the day for night scenes to look just right. But, he adds, "Nothing will surpass the original 35 mm print of 'Shane' projected properly in a theater. That is the true experience."
Unfortunately, Stevens Jr. won't be able to attend the TCM screenings of "Shane" or "Giant" (digitally restored by Warner Bros. and coming to Blu-ray later this year) preceding it. He'll be at the Tribeca premiere of son Michael's doc, "Herblock -- The Black & White," a tribute to the Pulitzer Prize-winning political cartoonist, Herbert Block, whom Stevens Jr. first met while working on "Giant." His father would've wanted it that way.
Speaking of movie families, the festival will also premiere on Sunday the TCM doc, "Don't Say No Until I Finish Talking: The Story of Richard D. Zanuck," a celebration of the Oscar-winning producer who passed away last year, directed by Laurent Bouzereau, and featuring interviews with a who's who of Hollywood luminaries (including Tim Burton, Steven Spielberg, Johnny Depp).
Passing down the craft and appreciation of movies from generation to generation is what the TCM Fest is all about.
View the complete TCM Classic Film Festival schedule here.