I confess, I have become rather conservative over the past years. Yesterday I brought a parcel to the post office, in it an Arriflex 16 St that I’ve just serviced. Thinking that the owner might put the camera in a vitrine would make me sick. Each film camera or projector I revive gives me hope that somebody is going to make a worthy movie. From a tripod.
It’s the little things I miss, all 16-mm. film available perforated on both sides for the many cameras that deserve it. Think of a Victor 3/4/5 or a Mitchell 16 Professional. The one is lightweight and well portable, the other is still the Queen of the 16-mm. cameras—on sticks (weight). Then the 50-foot spools and fresh Kodak loaded 25-foot Double-Eight magazines. 35-mm. camera stocks P perforated for all the old machines with a crank on them.
Yeah, behind that all must be the will to propagate cellulose triacetate and PETP with a light sensitive slurry on it. It’s to talk to the young (I am 63) so that they hear it from the epicentre of film manufacturing (it began with Reichenbach and Eastman in 1889 [unlawfully]), that they’re worth more than only pressing buttons. Heaven, young strong people idling trough life with electronics around them is so sad. Kodak, make and let them do what’s film. Cut that digital trinkets out. A Kodak Reflex Special, open but loaded with white leader, for the world to see what you’re about, Ciné-Kodak Specials on fluid heads, the mirror reflex finder explained. Twelve perfectly restored Kodak Electric 8 cameras in a line at the CES would certainly make an impression. And projection! No Kodak booth without a popcorn-free (not smelling) pretty little cinema. Why not new, improved Kodak film splicers? Substantial things!