The Princess Bride - Criterion Collection Laserdisc Preservation

The Criterion Collection, a continuing series of important classic and contemporary films, presents

BLU-RAY EDITION

A high-spirited adventure that pits true love against inconceivable odds, The Princess Bride has charmed legions of fans with its irreverent gags, eccentric ensemble, and dazzling swordplay. A kid (Fred Savage), home sick from school, grudgingly allows his grandfather (Peter Falk) to read him a dusty storybook—which is how we meet the innocent Buttercup (Robin Wright, in her breakout role), about to marry the nefarious Prince Humperdinck (Chris Sarandon) though her heart belongs to Westley (Cary Elwes). The wedding plans are interrupted, however, by a mysterious pirate, a vengeful Spaniard, and a good-natured giant, in a tale full of swashbuckling, romance, and outrageously hilarious spoofery. Directed by Rob Reiner from an endlessly quotable script by William Goldman, The Princess Bride reigns as a fairy-tale classic.

Audio: English DTS-HD Master Audio 5.1 /

Audio Commentary Dolby Digital 5.1 Subtitles: English Main title: 1080p Supplementary material: 480p Laserdisc source

THE PRINCESS BRIDE is under exclusive license from MGM Home Entertainment TM 2021 by MGM Home Entertainment. All Rights Reserved. © 2021 The Criterion Collection. All Rights Reserved. Cat. no. CC1472L. ISBN 7-155150-0848-8.

Warning: unauthorized public performance, broadcasting, or copying is a violation of applicable laws. Printed in the USA. First printing 2021.

1987

SPECIAL FEATURES u Audio commentary by director Rob Reiner, screenwriter William Goldman, producer Andrew Scheinman, and actors Billy Crystal and Peter Falk u Rob Reiner reading excerpts from William Goldman’s novel The Princess Bride u Behind the scenes footage u Production scrapbook by unit photographer Clive Coote u Production designer Norman Garwood’s design sketches u Excerpts from the television series “Morton and Hayes,” directed

by Christopher Guest

1987 98 MINUTES COLOR SURROUND 1.85:1 ASPECT RATIO

The Criterion Collection is dedicated to gathering the greatest films from around the world and publishing them in editions of the highest technical quality, with supplemental features that enhance the appreciation of the art of film. Visit us at Criterion.com

Design and Layout - pineapples101@gmail.com Original preservation and design - originaltrilogy.com/user/bdev/id/2412

LD 320

The Criterion Collection, a continuing series of important classic and contemporary films, presents

BLU-RAY EDITION

A high-spirited adventure that pits true love against inconceivable odds, The Princess Bride has charmed legions of fans with its irreverent gags, eccentric ensemble, and dazzling swordplay. A kid (Fred Savage), home sick from school, grudgingly allows his grandfather (Peter Falk) to read him a dusty storybook—which is how we meet the innocent Buttercup (Robin Wright, in her breakout role), about to marry the nefarious Prince Humperdinck (Chris Sarandon) though her heart belongs to Westley (Cary Elwes). The wedding plans are interrupted, however, by a mysterious pirate, a vengeful Spaniard, and a good-natured giant, in a tale full of swashbuckling, romance, and outrageously hilarious spoofery. Directed

by Rob Reiner from an endlessly quotable script by William Goldman, The Princess Bride reigns as a fairy-tale classic.

Audio: English DTS-HD Master Audio 5.1 /

Audio Commentary Dolby Digital 5.1 Subtitles: English Main title: 1080p Supplementary material: 480p Laserdisc source

THE PRINCESS BRIDE is under exclusive license from MGM Home Entertainment TM 2021 by MGM Home Entertainment. All Rights Reserved. © 2021 The Criterion Collection. All Rights Reserved. Cat. no. CC1472L. ISBN 7-155150-0848-8.

Warning: unauthorized public performance, broadcasting, or copying is a violation of applicable laws. Printed in the USA. First printing 2021.

1987

SPECIAL FEATURES u Audio commentary by director Rob Reiner, screenwriter William Goldman, producer Andrew Scheinman, and actors Billy Crystal and Peter Falk u Rob Reiner reading excerpts from William Goldman’s novel The Princess Bride u Behind the scenes footage u Production scrapbook by unit photographer Clive Coote u Production designer Norman Garwood’s design sketches u Excerpts from the television series “Morton and Hayes,” directed by Christopher Guest

1987 98 MINUTES COLOR SURROUND 1.85:1 ASPECT RATIO

The Criterion Collection is dedicated to gathering the greatest films from around the world and publishing them in editions of the highest technical quality, with supplemental features that enhance the appreciation of the art of film. Visit us at Criterion.com

Design and Layout - pineapples101@gmail.com Original preservation and design - originaltrilogy.com/user/bdev/id/2412

LD 320

The Criterion Collection, a continuing series of important classic and contemporary films, presents

DVD EDITION 1987 98 MINUTES COLOR SURROUND 1.85:1 ASPECT RATIO

A high-spirited adventure that pits true love against inconceivable odds, The Princess Bride has charmed legions of fans with its irreverent gags, eccentric ensemble, and dazzling swordplay. A kid (Fred Savage), home sick from school, grudgingly allows his grandfather (Peter Falk) to read him a dusty storybook—which is how we meet the innocent Buttercup (Robin Wright, in her breakout role), about to marry the nefarious Prince Humperdinck (Chris Sarandon) though her heart belongs to Westley (Cary Elwes). The wedding plans are interrupted, however, by a mysterious pirate, a vengeful Spaniard, and a good-natured giant, in a tale full of swashbuckling, romance, and outrageously hilarious spoofery. Directed by Rob Reiner from an endlessly quotable script by William Goldman, The Princess Bride reigns as a fairy-tale classic.

Audio: English DTS-HD Master Audio 5.1 /

Audio Commentary Dolby Digital 5.1 Subtitles: English Main title: 480p Supplementary material: 480p Laserdisc source

1987

SPECIAL FEATURES u Audio commentary by director Rob Reiner, screenwriter William Goldman, producer Andrew Scheinman, and actors Billy Crystal and Peter Falk u Rob Reiner reading excerpts from William Goldman’s novel The Princess Bride u Behind the scenes footage u Production scrapbook by unit photographer Clive Coote u Production designer Norman Garwood’s design sketches u Excerpts from the television series “Morton and Hayes,” directed

by Christopher Guest

THE PRINCESS BRIDE is under exclusive license from MGM Home Entertainment TM 2021 by MGM Home Entertainment. All Rights Reserved. © 2021 The Criterion Collection. All Rights Reserved. Cat. no. CC1472L. ISBN 7-155150-0848-8.

Warning: unauthorized public performance, broadcasting, or copying is a violation of applicable laws. Printed in the USA. First printing 2021.

The Criterion Collection is dedicated to gathering the greatest films from around the world and publishing them in editions of the highest technical quality, with supplemental features that enhance the appreciation of the art of film. Visit us at Criterion.com

Design and Layout - pineapples101@gmail.com Original preservation and design - originaltrilogy.com/user/bdev/id/2412

LD 320

CAST Cary Elwes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Westley Robin Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Buttercup Mandy Patinkin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inigo Montoya Chris Sarandon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prince Humperdinck Christopher Guest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Count Rugen Wallace Shawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vizzini AndrĂŠ the Giant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fezzik Fred Savage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Grandson Peter Falk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Grandfather Peter Cook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Impressive Clergyman Mel Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Albino Carol Kane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Valerie Billy Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miracle Max Anne Dyson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Queen Willoughby Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The King Margery Mason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Ancient Booer

CREDITS Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rob Reiner Screenplay by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Goldman Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Scheinman Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rob Reiner Executive producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Norman Lear Music by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Knopfler Director of photography . . . . . . . . . . . . . . . . . . . . . . . . . . . Adrian Biddle Production designed by . . . . . . . . . . . . . . . . . . . . . . . . . . . Norman Garwood Film editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Leighton Associate producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Stott Associate producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steve Nicolaides Costume designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phyllis Dalton Supervising art director . . . . . . . . . . . . . . . . . . . . . . . . . . . Keith Pain Art director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Holland Assistant director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Baker Assistant director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Bennett Swordmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Anderson

H

Here is how the novel The Princess Bride happened.

I loved telling stories to my daughters. When they were small, I would go into their room and stories would just be there.

Anyone who knows me knows that I don’t think much of what I do is very terrific, but my God, I was wonderful those evenings.

Stuff just came. I knew that, because the girls would sneak out and tell their mother and she would say to me, “Write it down, write it down,” and I told her I didn’t need to. I was on such a hot streak I knew I’d remember.

All gone, of course, and of all the stuff I’ve done over 40-plus years of storytelling, more than anything I wish I had those moments back. Doesn’t matter, really. Woulda shoulda coulda. At any rate, I was on my way to Magic Town around I970, and I said to them both, to Jenny, then seven, and Susanna, then four, “I’ll write you a story, what do you most want it to be about?” And one of them said “princesses”. and the other one said “brides.”

“Then that will be the title,” I told them. And so it has remained.

There is a story of Olivier after a particularly remarkable performance of Othello. Maggie Smith, his Desdemona, knocked on his dressing room door as she was on her way out of the theater and saw him staring at the wall, holding a tumbler of whisky. She told him his work that night was magic. And he said in, I suspect, tears and despair, “I know it was… and I don’t know how I did it.”

This relates to me in but one way: The Princess Bride is the one book of mine that I really like. And I don’t know how I did it.

Ross Macdonald, who I admired greatly but never got to meet, wrote that it was a “joyous and releasing book” and I treasured these words because that was how I felt while I was writing. Since I had no idea where I was, I kept bringing chunks home to my then wife - I ordinarily never show anybody anything until it’s done - and asking was it okay? did it make sense? and all she ever said was keep writing, keep writing, and I did.

For the only time, I was happy with what I was doing. You can’t know what that means if most of your life you’re stuck in your pit, locked forever within your own limitations, unable to tap the wonderful stuff that lurks there in your head but flattens out whenever it comes near paper.

Here is how the movie The Princess Bride happened.

The Greenlight Guy at Fox liked the book. I was in.

Problem: the GG at Fox was fired.

Here is what happens when that happens. The old GG is stripped of his epaulets and his ability to get into Morton’s on Monday nights and off he goes, rich - he had a deal in place for when this happened - but humiliated.

And the new GG takes the throne with but one rule set firmly writ in stone: nothing his predecessor had in motion must ever get made.

Why? Say it gets made. Say it’s a hit. Who gets the credit? The old GG. So when the new GG, who can now get into Morton’s on Mondays, has to run the

gauntlet there, he knows all his peers are sniggering, “That asshole, it wasn’t his pictures.”

Death.

So The Princess Bride was buried, conceivably forever.

Fox had the book. So what if I had the screenplay, they could commission another.

They could change anything they wanted. So I did something of which I am genuinely proud. I bought the book back from the studio, with my own money. I think they were suspicious I had a deal or something. I didn’t. I just didn’t want some fuckhead destroying what I had come to realize was the best thing I would ever write.

After a good bit of negotiating, it was again mine. I was the only fuckhead who could destroy it now.

The truth is, that after a decade and more, I thought it would never happen. Every time there was interest, I kept waiting for the other shoe to come clunking down and it always did. But events had been put in motion a decade before that eventually would be my salvation.

I wrote a book about Broadway called The Season. In the course of a year I went hundreds of times, both in New York and out of town, saw everything at least once. But the show I saw the most was a terrific comedy called Something Different.

By Carl Reiner.

He was terribly helpful to me and when The Princess Bride was done, I sent him the novel. And one day he gave it to his eldest son, Robert. “I think you’ll like this,” he said.

Fortunately for all concerned, Carl was right. Rob was years away from being a director at that point. He was starring in the number one TV show of the decade, All in the Family, created and produced by Norman Lear. Ten years later, Rob was a director and had formed a little company with his friend and producer Andy Sheinman. Reiner had directed This Is Spinal Tap, had just finished a rough cut of his second movie, The Sure Thing. They were sitting around one day wondering what to do next, when Rob remembered the book, talked about it, reread it, and got excited.

Eventually, we met and the movie happened. It was my happiest movie experience.

I am almost never around the set mainly because it is so boring.

Now, the producer Andy Scheinman and I would arrive late morning and stay through dailies. There were the standard tensions caused by weather, budget, and ego - all movies sets are plagued by weather, budget, and ego - but beyond that, the shoot went wonderfully well.

It has been a difficult wait, a decade and a half. I started writing something for my kids when the Seventies started. It’s the Nineties now and your kids can see it. When you say that, smile.

This essay was excerpted from Four Screenplays, by William Goldman, Applause books, I995. Used by permission of the author.

CAST Cary Elwes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Westley Robin Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Buttercup Mandy Patinkin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inigo Montoya Chris Sarandon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prince Humperdinck Christopher Guest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Count Rugen Wallace Shawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vizzini AndrĂŠ the Giant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fezzik Fred Savage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Grandson Peter Falk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Grandfather Peter Cook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Impressive Clergyman Mel Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Albino Carol Kane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Valerie Billy Crystal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Miracle Max Anne Dyson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Queen Willoughby Gray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The King Margery Mason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Ancient Booer

CREDITS Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rob Reiner Screenplay by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . William Goldman Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Scheinman Produced by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rob Reiner Executive producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Norman Lear Music by . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mark Knopfler Director of photography . . . . . . . . . . . . . . . . . . . . . . . . . . . Adrian Biddle Production designed by . . . . . . . . . . . . . . . . . . . . . . . . . . . Norman Garwood Film editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Robert Leighton Associate producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Stott Associate producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Steve Nicolaides Costume designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phyllis Dalton Supervising art director . . . . . . . . . . . . . . . . . . . . . . . . . . . Keith Pain Art director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Richard Holland Assistant director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ken Baker Assistant director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter Bennett Swordmaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Anderson

H

Here is how the novel The Princess Bride happened.

I loved telling stories to my daughters. When they were small, I would go into their room and stories would just be there.

Anyone who knows me knows that I don’t think much of what I do is very terrific, but my God, I was wonderful those evenings.

Stuff just came. I knew that, because the girls would sneak out and tell their mother and she would say to me, “Write it down, write it down,” and I told her I didn’t need to. I was on such a hot streak I knew I’d remember.

All gone, of course, and of all the stuff I’ve done over 40-plus years of storytelling, more than anything I wish I had those moments back. Doesn’t matter, really. Woulda shoulda coulda. At any rate, I was on my way to Magic Town around I970, and I said to them both, to Jenny, then seven, and Susanna, then four, “I’ll write you a story, what do you most want it to be about?” And one of them said “princesses”. and the other one said “brides.”

“Then that will be the title,” I told them. And so it has remained.

There is a story of Olivier after a particularly remarkable performance of Othello. Maggie Smith, his Desdemona, knocked on his dressing room door as she was on her way out of the theater and saw him staring at the wall, holding a tumbler of whisky. She told him his work that night was magic. And he said in, I suspect, tears and despair, “I know it was… and I don’t know how I did it.”

This relates to me in but one way: The Princess Bride is the one book of mine that I really like. And I don’t know how I did it.

Ross Macdonald, who I admired greatly but never got to meet, wrote that it was a “joyous and releasing book” and I treasured these words because that was how I felt while I was writing. Since I had no idea where I was, I kept bringing chunks home to my then wife - I ordinarily never show anybody anything until it’s done - and asking was it okay? did it make sense? and all she ever said was keep writing, keep writing, and I did.

For the only time, I was happy with what I was doing. You can’t know what that means if most of your life you’re stuck in your pit, locked forever within your own limitations, unable to tap the wonderful stuff that lurks there in your head but flattens out whenever it comes near paper.

Here is how the movie The Princess Bride happened.

The Greenlight Guy at Fox liked the book. I was in.

Problem: the GG at Fox was fired.

Here is what happens when that happens. The old GG is stripped of his epaulets and his ability to get into Morton’s on Monday nights and off he goes, rich - he had a deal in place for when this happened - but humiliated.

And the new GG takes the throne with but one rule set firmly writ in stone: nothing his predecessor had in motion must ever get made.

Why? Say it gets made. Say it’s a hit. Who gets the credit? The old GG. So when the new GG, who can now get into Morton’s on Mondays, has to run the

gauntlet there, he knows all his peers are sniggering, “That asshole, it wasn’t his pictures.”

Death.

So The Princess Bride was buried, conceivably forever.

Fox had the book. So what if I had the screenplay, they could commission another.

They could change anything they wanted. So I did something of which I am genuinely proud. I bought the book back from the studio, with my own money. I think they were suspicious I had a deal or something. I didn’t. I just didn’t want some fuckhead destroying what I had come to realize was the best thing I would ever write.

After a good bit of negotiating, it was again mine. I was the only fuckhead who could destroy it now.

The truth is, that after a decade and more, I thought it would never happen. Every time there was interest, I kept waiting for the other shoe to come clunking down and it always did. But events had been put in motion a decade before that eventually would be my salvation.

I wrote a book about Broadway called The Season. In the course of a year I went hundreds of times, both in New York and out of town, saw everything at least once. But the show I saw the most was a terrific comedy called Something Different.

By Carl Reiner.

He was terribly helpful to me and when The Princess Bride was done, I sent him the novel. And one day he gave it to his eldest son, Robert. “I think you’ll like this,” he said.

Fortunately for all concerned, Carl was right. Rob was years away from being a director at that point. He was starring in the number one TV show of the decade, All in the Family, created and produced by Norman Lear. Ten years later, Rob was a director and had formed a little company with his friend and producer Andy Sheinman. Reiner had directed This Is Spinal Tap, had just finished a rough cut of his second movie, The Sure Thing. They were sitting around one day wondering what to do next, when Rob remembered the book, talked about it, reread it, and got excited.

Eventually, we met and the movie happened. It was my happiest movie experience.

I am almost never around the set mainly because it is so boring.

Now, the producer Andy Scheinman and I would arrive late morning and stay through dailies. There were the standard tensions caused by weather, budget, and ego - all movies sets are plagued by weather, budget, and ego - but beyond that, the shoot went wonderfully well.

It has been a difficult wait, a decade and a half. I started writing something for my kids when the Seventies started. It’s the Nineties now and your kids can see it. When you say that, smile.

This essay was excerpted from Four Screenplays, by William Goldman, Applause books, I995. Used by permission of the author.

MGM Home M 2021 by Ente r ta ent T ainm violation of applicable laws. P inme t r n a rint te s i n ed t. Al E g n i e in t l R py m ig he Ho or co US hts A. Re GM ing, M st Fi rs ser om dca tp a

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The Princess Bride Criterion Collection - Laserdisc Preservation Princess Bride, The: Special Edition #320 (1987) [CC1472L] https://www.lddb.com/laserdisc/07534/CC1472L/Princess-Bride-The:-Special-Edition Blu Ray - Region A/B/C DVD - Region All Audio: English DTS-HD Master Audio 5.1 / Subtitles: English

Audio Commentary Dolby Digital 5.1

Main title: 1080p Supplementary material: 480p Laserdisc source

Artwork Criterion Blu Ray Case - Inlay 273mm x 160mm Standard Blu Ray Case - Inlay 269mm x 148mm Standard DVD Case - Inlay 272mm x 182mm Criterion 4 Page Booklet - Exterior Fold down middle 240mm x 160mm Criterion 4 Page Booklet - Interior Fold down middle 240mm x 160mm Background photo created by aopsan www.freepik.com/free-photo/old-book-open-dark-wood-background_1273906.htm

Standard 4 Page Booklet - Exterior Fold down middle 235mm x 145mm Standard 4 Page Booklet - Interior Fold down middle 235mm x 145mm Background photo created by aopsan www.freepik.com/free-photo/old-book-open-dark-wood-background_1273906.htm

Blu Ray Disc Art 115mm x 115mm