Brian
Jamieson is alongside Nick Redman the co-founder of the boutique
Blu-ray label Twilight Time, which produces limited-edition runs of new
to the format studio pictures, both popular and not well-known. Prior to
Twilight Time, Jamieson was a highly successful studio executive with
Warner Bros. in his native country of New Zealand, and in England and
Los Angeles, forging successful creative relationships with the likes of
William Friedkin, Fred Zinnemann and especially Stanley Kubrick.
Following his first year with Warners in 1977 and the sucess of his
campaigns for THE DEEP and CLOSE ENCOUNTERS OF THE THIRD KIND, he was
named International Publicist of the Year. As a preservationist,
Jamieson was involved in the restored releases of films such as GIANT
(1956), THE WILD BUNCH (1969) and THE BIG RED ONE (1980), and he
produced many in-depth documentaries and featurettes for Warners' home
video releases of their classic films. He produced the documentary
CANNES ALL ACCESS in 2007, and directed a documentary on Nancy Kwan, the
star of THE WORLD OF SUZIE WONG, entitled TO WHOM IT MAY CONCERN: KA
SHEN'S JOURNEY (2009). In the final part of a three-part interview, I
spoke to Jamieson about Twilight Time, his Nancy Kwan documentary TO WHOM IT MAY CONCERN, and his passion for film.
Parts one and two.
What are some of the
challenges of running the Twilight Time label?
Parts one and two.
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Brian with Village Roadshow Management (wearing head scarves), Steve
Guttenberg/ cast members from POLICE ACADEMY
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We don't have a huge
budget for advertising. Our marketing is mainly on social media,
which Nick works very hard on. We have seen our numbers on Facebook
rapidly increase. We get a lot of 'ink' from websites and bloggers
too, and on certain genre-specific titles, mainly horror, we
advertise in magazines. We try to aim towards the cineaste audience
and get films that they are interested in but that market is
shrinking. We have to keep finding ways of reinventing ourselves and
expand our base.
How do you feel about
the importance of having extras on your Blu-ray releases?
The trouble is that we
are governed by our budgets. We put out five or six titles a month,
which is a big outlay. Extras tend to eat into our margins, and if we
start to compromise there then we won't have a business. We have to
draw a line somewhere. We are very proud of the products we release.
Even though Sony and Fox give us beautiful transfers, which are often
4K restorations, we do sometimes have to go the extra mile and spend
the money bringing the quality up to our own rigid standards. In
fact, there were some titles, like ON THE BEACH (1959), that we
passed on because we weren't happy with the elements, and there was
no way we were going to put out a print with lines across the image
when we are charging our customers $29.95. We want our customers to
always expect pristine masters for our titles. There were a few
titles that we put out that were marginal in that area, but we felt
that spending any extra money cleaning up the prints, especially on
our limited budget, would not have made a significant difference.
Commentaries like
those on STATE OF GRACE (1990) and THE FABULOUS BAKER BOYS (1989)
were astounding.
We've been able to do
some of these commentaries, with Nick sitting with the filmmakers,
because they haven't charged us to do them. Nick's research is always
impeccable and because of his great knowledge he is able to prompt
filmmakers throughout the process of doing the commentaries. It's
then when all the memories start to come back and all the information
floods out. Our commentaries have been very good and have been
well-received so we are going to try and continue doing them,
although we can't do them for all of our titles.
When Warners released
the Director's Cut of THE EXORCIST (1973) on DVD, they asked me to
sit in with Billy Friedkin to do a commentary with him, and once we
got him talking, it was fascinating. I remember he was talking about
the challenges of shooting the opening scenes in Iraq. If you love a
film it's always interesting to hear how they did certain things.
When I was 18 I saw her
in the film LOVE IS A MANY-SPLENDORED THING (1959), and like most men
of the day, I fell in love with her. I thought at the time she was
the most stunningly beautiful creature I had ever seen. When FLOWER
DRUM SONG (1961) came out I thought she was really going to go
places, but she did a number of pictures and then seemed to fade
away. I never stopped wondering why this had happened. While I was at
Warner Brothers I wanted to put three of her pictures out on DVD –
THE MAIN ATTRACTION (1962), HONEYMOON HOTEL (1964) and THE WILD
AFFAIR (1965). I also thought about doing a thirty minute documentary
about her life and career as one of the extras. Warners were not so
interested in putting the titles out, but as I researched her life
and career further, I became more and more fascinated, and I found
out that there was more to her life than I already knew. For exampe,
in THE WORLD OF SUZIE WONG (1960) she has a child and loses it. The
same thing happened to Nancy in real life. Iy was a case of art
imitating life, and life imitating art.

I left Warner Brothers
on March 30th 2006. I had decided that a documentary on
Nancy was going to be my first project. That night I was on a plane
to Kowloon/ Hong Kong to start filming the Hong Kong Suzie Wong
Ballet, which I used as an integral way to tell Nancy's story. I did
a deal where I agreed to bring Nancy to help promote the show, and in
exchange they'd let me film the show. They wanted a standard press
conference in a hotel, but I suggested doing it on a ferryboat that
was synonymous with THE WORLD OF SUZIE WONG. It took a while to
convince the Hong Kong Ferryboat Company to loan us a 60s Ferry Boat
for the press occasion, but the press conference proved a big
success. It helped make the show hugely popular, to the extent that
they brought it back the following year.

Has your passion for
film ever waned over the years?
Not at all to be
honest. Frankly I think my passion for film has kept me young. I've
been lucky to work in film for pretty much all of my life. I got some
terrific breaks. I got to see a lot of the world through Warner
Brothers. I think only about 10% of people in the world get to do
what they love. Working with Nick on Twilight Time has only
reignited the passion because we are working on films from the
periods that we love. I've been blessed. As I once told a Japanese
journalist, ''If film was a woman, then for me, I have lived the
great romance of all time. '' Film is intangible but that's what's
great about it – you get to live your dreams through it. I've had a
pretty interesting life, and I have met a lot of amazing people. I
still get excited about films as much as I ever have.
Interview by Paul Rowlands. Copyright © Paul Rowlands, 2017. All rights reserved.
Interview by Paul Rowlands. Copyright © Paul Rowlands, 2017. All rights reserved.
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