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Loach’s producer Rebecca O’Brien said she thinks Jimmy’s Hall could be the last ever feature film made in the traditional way “shot on film, edited on film” but possible disaster struck this time last week when, she said, they realised they needed some 25 rolls of “edge numbering” tape vital for synchronising picture and sound when they are two separate, physical tracks. “We could have gone to a manufacturer and persuaded them to make up a new batch but that would be 500 rolls minimum and completely out of our price bracket,” said O’Brien. Instead, O’Brien persuaded UK film industry trade magazine Screen to run a short item, and she was staggered by the response. Steve Bloom, an editor working at Pixar Animation studios just outside San Francisco who just completed a second editor role on Monsters University, got in touch on behalf of Pixar’s entire editing team, to offer them their entire stock 19 rolls of edge number tape and FedExed it over straight away. Loach said: “Most of us in this business enjoy working with real 35mm film stock.
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The Pixar illustration that accompanied their gift of editing tape to director Ken Loach. Photograph: Pixar Help can sometimes be found in the most unlikely places. Ken Loach , the most indefatigable of old-school, social-conscience film directors, has had his plea for vital film-making supplies answered by the animation house Pixar , some 5,300 miles away just outside San Francisco. What’s all the more remarkable is that Pixar, the cutting-edge studio, which has revolutionised animation through the use of computers and digital technology, has supplied the British film-maker with hard-to-find, fast-disappearing equipment for traditional film editing, done the old fashioned way with celluloid and adhesive tape. Loach, 77, is currently working on Jimmy’s Hall, an Irish-set drama about a communist who returns to the country of his birth in the 1930s to reopen the dance hall he once ran. It is likely to be Loach’s last full-length feature film, after which he plans to concentrate on documentaries. The veteran director is editing the film in London’s Soho on a Steenbeck flatbed editing machine unlike nearly all modern film editing, which employs computer-based systems like Avid or Final Cut Pro.
For the original version including any supplementary images or video, visit http://www.theguardian.com/film/2013/oct/29/pixar-ken-loach-analogue-editing-tape

Loach, 77, is currently working on Jimmy’s Hall, an Irish-set drama about a communist who returns to the country of his birth in the 1930s to reopen the dance hall he once ran. It is likely to be Loach’s last full-length feature film, after which he plans to concentrate on documentaries. The veteran director is editing the film in London’s Soho on a Steenbeck flatbed editing machine unlike nearly all modern film editing, which employs computer-based systems like Avid or Final Cut Pro. Loach’s producer Rebecca O’Brien said she thinks Jimmy’s Hall could be the last ever feature film made in the traditional way “shot on film, edited on film” but possible disaster struck this time last week when, she said, they realised they needed some 25 rolls of “edge numbering” tape vital for synchronising picture and sound when they are two separate, physical tracks. “We could have gone to a manufacturer and persuaded them to make up a new batch but that would be 500 rolls minimum and completely out of our price bracket,” said O’Brien. Instead, O’Brien persuaded UK film industry trade magazine Screen to run a short item, and she was staggered by the response.
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Sign in Sign in to YouTube Sign in with your Google Account (YouTube, Google+, Gmail, Orkut, Picasa, or Chrome) to dislike Variance Films’s video. Add to Sign in to YouTube Sign in with your Google Account (YouTube, Google+, Gmail, Orkut, Picasa, or Chrome) to add Variance Films’s video to your playlist. Coming to theaters this November! Bernice (LisaGay Hamilton) and Fontayne (Yolonda Ross) grew up the closest of friends, so close people said they could “go for sisters”… but time sent them down different paths. Twenty years later, those paths cross: Fontayne is a recovering addict fresh out of jail, and Bernice is her new parole officer. When Bernice’s son Rodney goes missing on the Mexican border, his shady associates all in hiding or brutally murdered, Bernice realizes she needs someone with the connections to navigate Rodney’s world without involving the police…
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