Celluloid Dreams II

What did I write? “I call the sound guy to see how we’re looking to do the promised final mix in beautiful digital Dolby surround on Sunday…He’ll call me back to confirm. I’m not holding my breath…” Good farking job I wasn’t.

Hey, guess who just called? “Err, the dubbing mixer can’t make it this weekend — she’s got too much work on…” Oh, really. I am SO surprised. Look at the amazement on my face. No, that IS amazement. Really. No, you’re not telling me a familiar story at all. Oh, no.

So tell me more. “…but we’re going to do it during the week next week. In the evenings. I’m going to have to do some of her work for her so she has time to do it…”

Am I grateful? Well, of course, I am. But let me put it this way — when someone has sat on your freaking project for twelve freaking months the temptation is to freaking scream at them until their freaking ears bleed. So my capacity for gratitude is pretty much gone and, yes, I did just go back and change the word I originally typed instead of ‘freaking’.

Oh, yes. Twelve months; I realised the other day I actually gave them the sound material last April. I remember how young and spritely I was when I started this film, to say nothing of poor old Norman, one of my actors. He was 85 then. I only hope he lives to see it.

“What we’ll do is get it done on Tuesday and Wednesday and mix it down to a Dolby 5.1 surround, then (yadda yadda yadda)…” Yeah yeah. I’ll believe it when I see it. God, I’m unimpressed and that’s an understatement.

Well, fingers crossed for Norman’s sake.