It was pure joy to sit on a platform with Tilda again the other night. The digitally re-mastered ORLANDO looked and sounded fully present, with the colours as vibrant as they were originally intended to be. Sound really gains enormously by not being projected optically from a print; harmonics (the very high and low frequencies) become as audible as they were in the original studio mix.
I only watched the beginning of the film to check if all was okay and to see how it corresponded with the work we had done in the re-mastering suite (perfectly, as it turned out) and then sat outside to wait for Tilda’s arrival. I found that my heart was pounding with eager anticipation. We fell into each other’s arms and the talk on the platform felt like a natural extension of our years of work together, shoulder to shoulder in England, Russia and Uzbekhistan.
Tilda was extra tall in some astonishingly high-heeled shoes, a very cosy height for me to nestle into her shoulder. I adore the glorious affection that comes from a long process of work together. Filmic collaborations in all their myriad manifestations are extraordinarily intense relationships. Work becomes love and love is in the work.
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