he value of audio commentaries as a marketing tool was revealed during the heyday of 

Laserdisc,
the laser-based video format produced before the introduction of DVDs. The Criterion
Collection company, for example, produced high-quality "deluxe" editions of classic films on
Laserdisc, using the best available prints and re-edited versions. These were often very expensive
compared to today's DVDs and included bonus material such as trailers, deleted scenes, production
stills, behind-the-scenes information, and audio commentaries from
the directors, producers, cast, cinematographers, editors, and production designers. They were
marketed to movie professionals, fans and scholars who were seen as an elite niche of consumers
who could afford to pay more for definitive, quality editions. The audio commentaries on laserdiscs
were typically encoded on secondary analog tracks which had become redundant, as modern
Laserdiscs had stereo audio encoded digitally alongside. This is why certain older videodisc players,
which pre-date the digital audio standard, are only able to play back analog tracks with audio
commentary.
The first audio commentary was featured on the Criterio

Hello, ladies and gentlemen, I'm Ronald Haver, and I'm here to do something which we feel is rather
unique. I'm going to take you on a lecture tour of King Kong as you watch the film. The laserdisc
technology offers us this opportunity and we feel it's rather unique — the ability to switch back and
forth between the soundtrack and this lecture track...
The idea for the commentary track arose in the film-to-tape transfer room when laserdisc producers,
Peter Crown and Jennifer Scanlin of Romulus Productions, Inc., thrilled by Haver's incredible
commentary, suggested to Bob Stein and Roger Smith that this material needed to be included on
the disc. They played back the completed movie as Ron watched and ad libbed his comments.
The decline of the Laserdisc format and the increasing popularity of DVD was highlighted in the fall
of 1997, when simultaneous Laserdisc and DVD editions of the movie Contact were released. The
former contained one bonus audio commentary track by director Robert Zemeckis, and producer
Steve Starkey. However, the DVD contained two additional, separate audio commentaries (by Jodie
Foster and the special effects producers), as well as other bonus features. Despite its history with
laserdiscs, the idea of audio commentary was still such an uncommon notion that, in its January
1998 review of the Contact DVD, Entertainment Weekly scoffed, "Who in the universe would want to
journey through more than eight hours of gassy, how-we-filmed-the-nebulae trivia included in this
"Special Edition" disc? Meant to show off DVD's enormous storage capacity, it only demonstrates its
capacity to accommodate mountains of filler." [3]
In general, directors are open to recording commentary tracks, as many feel it can be helpful to
young filmmakers, or they simply want to explain their intention in making the film. Eli Roth, for
example, specifically states on the producer's commentary track for The Last Exorcism, that he and
the other filmmakers will offer advice to people interested in making films, as well as film school
students. He is a strong proponent of the educational use of audio commentary, having recorded five
commentary tracks for his debut, Cabin Fever. He also recorded insightful commentary tracks, with
Quentin Tarantino, for both Hostel films, in which the two horror movie fans share film-making
anecdotes and offer advice on working in the movie business. Meanwhile, others (such as Steven
Spielberg, Joe Johnston, Clint Eastwood, M. Night Shyamalan & David Lynch) feel commentary can
de-mystify and cheapen a movie. Director Steven Spielberg has not recorded commentary tracks for
any of his films. He feels that the experience of watching a film with anything other than his intended
soundtrack detracts from what he has created. Woody Allen has a similar lack of enthusiasm for
commentaries, stating, "I'm not interested in all that extra stuff. [...] I want my films to speak for
themselves. And hopefully they do."[4] Similarity, some of Joe Johnston's movies handled
commentary by the special effects team (like Jurassic Park III and Jumanji), and by the author
(October Sky). The only exception to this rule was Captain America: The First Avenger.[citation needed]