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This topic comprises 3 pages: 1 2 3
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Author
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Topic: Time machine
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Leo Enticknap
Film God

Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 09-07-2011 08:00 AM
quote: Martin McCaffrey With all due respect to Leo, I would go back and prevent the invention of safety film. Therefore, no platters and no multiplexes (as we know them). Skilled labor to run the films, and knowledge that if you don't do film right you are going to get hurt or killed [evil]
So I take it you agree with the road safety activists who suggest that you should remove all airbags from steering wheels and replace them with razor-sharp spikes mounted with the pointy end facing the driver?
I agree that the safety precautions associated with nitrate had a positive side-effect in that anyone involved in handling it, either in cinematography, post-production or theatre projection, by definition had to be a dedicated professional. My rationale for wishing that it had never been invented was that if the industry had used safety from the word go, both films and lives would have been saved.
At least now, the worst a mickey mouse projectionist can do is to scratch a print. In the 1908 Boyerstown fire or the 1929 Glen Cinema fire, for example, they succeeded in killing dozens of innocent people (almost all of them children, in the latter case).
quote: Martin McCaffrey While I was at it I would magically install in all the producers, exhibitors and film handlers that each film is a cherished thing that needs to be properly handled, stored, preserved and protected for future generations.
But by preventing the invention of safety film you'd also make it a lot more difficult and expensive for archivists to achieve that. OK, we now know that nitrate will store for centuries if kept in a very cold and dry environment. But we can only take advantage of that fact if we manage to get the stuff into the system before it's seriously started to decompose, and have a lot of money to maintain atmospherically controlled vaults that also have very elaborate fire prevention measures in place. Granted, you also need the atmospheric control for acetate and all colour film (but not blastproof compartments etc.). But if the first 50-60 years or so of b/w cinema history had been shot on polyester, then it could be stored more or less at room temperature and humidity, and a 50-year gap between a film ending its theatrical run and someone deciding that it was worth preserving in an archive would be a lot less likely to mean that it got lost forever.
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