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94 Film Preservation 1993
But for the most part, they've been very cooperative. In a lot of cases we've tried to approach private collectors through educational institutions because it seems whenever-and this is not ahvays the case, maybe it's an exception-whenever the name Universal is attached to a piece that we need from a private collector, suddenly there is a very expensive price that goes with this piece. And you then lose the sort of spirit of preservation and the privateer comes into play. So we found a lot of cases that that's happened to us also.
MR. GARDD4ER: We actually were in that situation where that happened to us. And even though there would have maybe been an agreement, there was a back away just out of fear. Regardless of whether there was going to be any money exchanged or not That's where this issue of "should I or shouldn't F comes into play.
CHAIRWOMAN KANIN: So the amnesty thing would be a very good thing, if we could ever achieve it.
MR. GARDINER: Yes.
MR. MAY: We've had quite~a few quite nice things come forth from collectors, primarily through the UCLA Archive, who holds a lot of Warner material. And people have come forth to UCLA and said we have this. And we have cooperated with UCXA in the preservation of it.
And in another case, simply a private collector who had a thirty-year-old 16mm print of a picture that was better than we can provide just came along and said I've got it. It isn't a lot though. We have gone more to saying "thank you, we are happy to give you a cassette or whatever of what you helped to provide."
MR. TABB: Dr. Billington?
DR. BILLINGTON: On the question of sharing information, if you're going to make vast national efforts to collate and do these things, it's important to not only have just sort of a general agreement, but specific knowledge of what the limitations of the exercise would be. For one thing, on copyright, that's all publicly available from us, from the copyri^t office. So that's not a big problem.
But I wanted to ask the more realistic question of what are the other kinds of information that you would not want to divulge to such a thing? What's the studios' pocition on that? In other words, you agree in principle, but when it comes to practice, are there some categories of things you would not want to divulge about your hoklings?
MR. SLUSSER: I think quite frankly that the answer to that is probably yes and no. UntQ we start to get in it, until we start to