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Buck Houghton

Buck Houghton

1 Film

Buck Houghton

1 Included Film

Buck Houghton photo

Archible Ernest "Buck" Houghton Jr. is chiefly remembered as producer of The Twilight Zone (1959) during its first three seasons (more than a hundred episodes in total), his influence palpable in all facets of production, from script selection to renting production facilities, to casting, scoring and editing. Houghton had graduated from UCLA with majors in English and economics. He was at that time known as 'Arch'. The origin of his nickname 'Buck' may have been the result of buck teeth as a child. His career began in Hollywood as back stage help on films by Cecil B. DeMille, then as reader for Val Lewton and story editor to David O. Selznick. Via subsequent stints at Paramount's casting and budget departments, the Office of War Information (where he worked on short propaganda films) and four years as executive assistant at RKO, Houghton worked his way up to television producer by the early 1950's. He served as associate producer on an excellent early action series, Yancy Derringer (1958), which is, sadly, almost forgotten today. William Self, who preferred to remain in his executive position with CBS, offered Houghton the job of producing "The Twilight Zone" and Houghton enthusiastically accepted, having perused the first two scripts. He became popular with many of the directors, for example Douglas Heyes (usually put in charge of more character-driven assignments like "The Invaders"), who regarded him as the best producer he ever worked with. Most importantly, Houghton complemented the creative genius of Rod Serling by his expertise in all minutiae of production. Houghton left "Twilight Zone" at the end of season three, having raised objections about extending the show to the -- as it turned out, much less suitable -- one-hour format. Few of his subsequent appointments proved entirely satisfactory: Houghton more often found his style cramped, clashing with stars he regarded as 'autocratic' (The Richard Boone Show (1963), Hawaii Five-O (1968)) or executive producers he disliked (Lost in Space (1965)). There were several more production credits to his name in the 80's -- mostly B-grade made-for-TV films -- before his retirement in 1994.

UHD Blu-ray
Best English-Friendly:

Paramount 2008 Blu-ray Coppola Restoration

Best Video:

Paramount 2008 Blu-ray Coppola Restoration

Best Audio:

Paramount 2008 Blu-ray Coppola Restoration

Additional Info:

The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0

Best English-Friendly:

Paramount 2008 Blu-ray Coppola Restoration

Best Video:

Paramount 2008 Blu-ray Coppola Restoration

Best Audio:

Paramount 2008 Blu-ray Coppola Restoration

Additional Info:

The Paramount 4K "restoration" is a desecration. It has completely revisionist color timing, harsh HDR, treatment of stock footage, bad encoding, selective DNR and grain management so bad that the entire screen frequently freezes up with only characters moving around in grain soup. It is so bad that the film's restorer Robert Harris publicly washed his hands of it saying essentially the 2007 restoration (with Willis and Coppola supervising) is how the film was intended and made. This is Paramount's modern version done their way. The new 1080p SDR Blu-rays in print are the crap 4K desecration master with the same problems still there just harder to spot and with crap encodes. Part II overall fares better than the first film but it has all the same problems. Randomly some shots are the worst in the trilogy looks mushy and manipulated to death.
The mono option is an unnecessarily processed version of the lossy mono from the 2008 Blu-ray. The 2008 Blu-ray of the 2007 Coppola Restoration while an imperfect outdated disc is LIGHT YEARS better than this 4K desecration. The only truly major issue is that it is very slightly redder than the 2007 finished master as seen on DCPs. The lossy mono on the 2008 Blu-ray is the best version of the original mix known to exist as it is better than the late 80's mastering for VHS and LaserDisc.
DFIC review of the hideous crap 4K Blu-rays: https://youtu.be/0uw6-Kcy_UA?si=ob1nDg0wTCvemjH0

1 film

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