Several of the other extras marvel at the production design, the film's lavish sets, and the ambitious matte paintings largely responsible for conveying the scale of this Civil War epic, yet they're not explored in any considerable depth either. Also featured here are a conversation with Mickey "Baby Beau" Kuhn, how wonderfully Gone with the Wind serves as a time capsule of 1939 despite its period setting, debating that it's not Rhett who has the most intense and powerful relationship with Scarlett in the film, how its continued success prompted a sweeping change in the studios' attitudes towards film preservation, the movie's fiftieth anniversary celebration, and dedicated "Windies" who collect every treasured speck of memorabilia they can unearth and even trek out to the real-life Tara in Ireland. Among the other topics of conversation here are his initial drive to become an actor as a means to escape poverty, winning an Oscar for a small role he was forced into as "punishment", establishing himself as the top box office draw in the country, the devastating blow of Carole Lombard's untimely death, his military service during WWII, and passing away without ever having a chance to meet his son that would be born just a few months later. From the aristocratic old world of Tara to the horrors of Atlanta under siege, Gone with the Wind features any number of indelible scenes and images: the genteel girls taking an enforced siesta during the Twelve Oaks barbecue, a horrified Scarlett walking through the wounded, the flight from burning Atlanta, and Scarlett's moving pledge against a burnished sunset set to Max Steiner's glorious music score. A sleeve labeled "Art of Gone with the Wind" opens to reveal ten pieces of conceptual artwork for the film's lavish plantation sets.

When they talk about defending the honor of the South, I can't shake the impression that they haven't invested any real thought into the war that stands before them. SD): The retrospectives for Clark Gable and Vivien Leigh were told through the words of others and spanned their entire lives. The Lion's Roar" opens with the merger that created MGM and the factory mentality the studio would have to adopt to meet its ambitious goal of releasing a new feature film every week. Chips, The Women, The Roaring Twenties, Dodge City, Dark Victory, Confessions of a Nazi Spy, Son of Frankenstein, Only Angels Have Wings, The Hunchback of Notre Dame, Love Affair, Jesse James, Of Mice and Men, Wuthering Heights, Babes in Arms, and, of course, Gone with the Wind.Selznick was notorious in the industry for his onslaughts of memos, and it's even mentioned in Rudy Behlmer's audio commentary that much of what's known about the film's production is owed to those reams upon reams of notes. This audio commentary with Rudy Behlmar is in every way exceptional, and even with the sheer volume of extras spread across this set, this is the most essential of them all. For those seeking out something to read, though, a 20 page reproduction of an original playbill offers brief biographies and even reasonably lengthy retrospectives by both Vivien Leigh and Clark Gable. The still-charming de Havilland opens with a terrific story about being asked to covertly read for the part despite being under contract to Warner Bros. The American public took it for granted that Clark Gable would star as Rhett Butler, and they were wholly correct: he does a marvelous job in the part.

Meticulous color correction, manual dirt and scratch removal, edge detection when merging the different records of 3-strip Technicolor, mixing and matching different elements, and dealing with shrinking, warping, and tearing are all discussed here.SD): The city of Atlanta celebrated the Civil War Centennial with another gala premiere of Gone with the Wind, and David O.