Late this morning I made a trip over to the Liaison of Independent Filmmakers of Toronto (LIFT) to make a financial donation. While there I got into a discussion with Chris Kennedy, who was manning the front desk, about my history with the group: in the 1990s I donated a set of rewinds and a few 'split-reels', and in 2008 I taught a course on "Optical Printing". Formerly a Film Effects, Toronto machine, one I operated while employed there, before jumping ship to Film Opticals of Canada, Ltd., our reintroduction would prove to be a moving moment for me — film movement.
Chris asked me if I would like to say hi to my old flame; my emotions ran deep, and given my rubbery legs, I could only come up with a "I'd love to". On the way to the "Oxberry 1700" optical printer room, my guide took me to the equipment room and introduced me to Robin and Noah. The three of us got into a spirited discussion: parts technology, art, and reminiscence. They also showed me LIFT's "JK" optical printer, and the animation stands — more flashbacks to my days in "opticals". The only thing missing was Film Effects' old upright-Moviola editing machine.
Before venturing off to LIFT today, I was not anticipating such immersion.
Special thanks must go to Chris, Robin, and Noah for being such wonderful and charming hosts.
* * *
Postscript: some flicks I did titles and composites for utilizing the "1700": Only You, Dance Me Outside, M. Butterfly, Ghost Mom (originally titled "Bury Me in Niagara"), and Darkman III. By the way, the travelling split-screens for David Cronenberg's Dead Ringers were composited on this printer, but that was before my time at Film Effects. In the photo above, the film magazine (Mickey Mouse Ears) is mounted on a contact-printer in the background, another donated FE machine.
No comments:
Post a Comment