Not a bad start, and an interesting effect, but it's not quite a match. The biggest issue I see is that your method doesn't protect the whites -- they flatten out to cyan.

The screen-accurate way to do it involves a bunch of color channel math where you split out the three channels then average and mix them in fun and frightening ways. It's essentially converting RGB to CMYK color space and I have to admit I haven't wrapped my brain around doing it in After Effects.

The quick and dirty, 90%-there way is just to go to Effects > Channel > Set Channels and set the Blue channel to Green. But there's a richness in the orange/browns in the AVIATOR images that you don't get that way. You're getting more of it your way, but again, losing the whites along the way.

It's pretty obnoxious to say we "reallllllly need to tell you what 'Monsters' is" if you already Googled it. And if you hadn't, it's obnoxious that you hadn't bothered to Google before posting.

Here, I'll save you the time. You shouldn't see it. Specifically you, Gregory Harbin, shouldn't see it.

There, all settled. No one is asking Gregory to see a movie he isn't interested in. Let's move on.

Spielberg did believe, at the time. Since then he's changed his position. I don't have the exact quote but it's on the CLOSE ENCOUNTERS Blu-Ray BTS documentary, and he says something very much akin to Randi's own sentiments, to the effect of:

If this were a real phenomenon that was only rarely caught because stills and motion picture cameras were rarely owned by non-professionals, then as more people got cameras we should see a matching increase in the amount of photographic and video evidence. But instead we've seen just the opposite. Nowadays everyone has a camera and most people have video cameras, and we almost never see UFO imagery anymore. As a result, though he would like to, Spielberg no longer believes that we are being visited.

Yeah, as fun as communal development sounds, I've tried it before and it's a big notsomuch. And that was just fanfilmy stuff. Make it a real movie and then you get the suing and whatnot.

Sooo we'll take this one off-list, I think. Carry on everyone.

THE PRODUCERS is suffocatingly stagey and I don't care for it. But I also don't care for it as a musical, so it's not like they ruined a great opportunity in my book.

RENT, on the other hand. Oh, what a waste. Chris Columbus is mediocrity incarnate. As with pretty much all his films, it wasn't bad and it wasn't good. It was just right down the middle -- no risk, no passion, no energy, playing it totally safe and standard. Which I'm sure is exactly why the studio hired him (and just keeps hiring him) but it's also exactly the opposite of the whole point of the show.

It looks like a Sci Fi (sorry, SyFy) channel movie.

Which I mean as a compliment, considering the rest of Asylum's oeuvre. If you can make SyFy out of Asylum, well, hats off.

Now you have to make a SyFy movie and see if you can raise their game, too.

Regarding your list:

5. I do spit-takes sometimes. It's usually not even about the obviously funny jokes, either, so it's essentially at random. Expect the unexpected!

4. That wouldn't make us reset. We'd just spend five minutes talking about it before getting back to the movie.

3. Pretty unlikely, it's way up near the ceiling and she'd have to get in front of the TV on her way, so we'd spot her well in advance. Although she might attack the one that streams the timecode.

4. This has happened before. Both on THE MATRIX and THE FLY. Since getting a new disc player, and usually someone has to watch/refresh on the movie beforehand, we haven't run into any unexpected disc errors. In fact since the anniversary show -- in which we discussed show meltdowns shortly before having one -- we haven't had any real issues with the show. Which is good considering we've started doing it live.

5. Could happen. That would be awesome.