At the time, sometime in the late 1980s, after working on Captain EO, I was editing a Showscan film, which is another kind of super, not 70 mm 3D, but 70 mm at 60 frames a second. And Dougie Slocombe, the cinematographer I had worked with on Julia, was a friend of the producers. And he came by to see what this was. And it was great to see him again. And I showed him the film. And I showed him how we were working with it. And he said, in his inimitable way, that if anything, we have a problem in 35 mm with things being too sharp. We're always trying to add a little smoke, or a little diffusion, or putting gauze over the lens. We rarely are saying, 'I wish this was sharper because of exactly this illusion that I'm talking about.' You don't want it to be too realistic, to see every pore on the skin, and all of these other things. And that was his observation about what we were doing with this Showscan film, and by implication, IMAX films, and certainly by implication, you know, 8K 3D films. That there is a limit, which we are pushing against, of things being visually too precise. Because it starts to inhibit this ability to project the yearnings of the audience for whatever it might be onto the film itself.
