sounds like imagery from a sci fi story
On Mon, Aug 25, 2014 at 12:16 PM, Francisco Torres <fjtorre...@gmail.com>
> 1n 1988 I had the ''pleasure'' of having to spend 2 weeks excavating the
> facilities of Montclair Print in the far west side looking for any material
> that belonged to the production company I worked for. It was a nightmare,
> they had no real filing system, the place occupied many floors of a HUGE
> building. You walked through miles of shelves and filing cabinets perusing
> content to see if you found any of your stuff. I must have walked a dozen
> miles each day, it made me dizzy. Everything was covered with a thin layer
> of gray soot (cigarette smoke?) that defied even editing gloves... I had to
> wear a face mask with filters and take allergy meds every day.
> 2014-08-25 12:00 GMT-04:00 Dominic Angerame <dominic.anger...@gmail.com>:
> I have heard this complaint for decades from filmmakers who have their
>> originals stored in Du Art. This includes Sandy Daley who could not
>> retrieve her original 16mm negs of Robert Having His Nipple Pierced. In the
>> late 80's Du Art (the supposed Rolls Royce of Labs) wanted to charge her a
>> fortune to retrieve her negatives. I do not know whatever the outcome was.
>> This is part of Du Art's legacy I do not think that history will miss this
>> Holding original experimental films for ransom is unforgivable no matter
>> who the filmmaker is. The $200k should have been used to investigate those
>> negatives that belong to the cinema art world.
>> On Fri, Aug 22, 2014 at 11:49 PM, Bill Seery <b...@mercermedia.com>
>>> Better get them while you can. I've seen plenty of films I've worked on
>>> sitting around there. No mention of all of the films that have been tossed
>>> in the dumpster over the past few years.
>>> Bill Seery
>>> FrameWorks mailing list
>> FrameWorks mailing list
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