Can’t you go Super 16mm? (as Tom has for his new film) Film preserved with a heavy dose of grain you can control in post production. As far as I can tell, the highest res digital camera you can get at the mo is the Red/Cam 4k that Steven “overrated” Soderbegh used for films like TRAFFIC and the OCEANS Trilogy, whereas film itself is around 8k+… when digital reaches that level, it’s going to be very strange… Lynch can’t stand High Def which is why he shot INLAND EMPIRE on the same model camera that we used for that short I sent along! “Everything’s too clean with High Def”, I believe were his words.

Leigh was in the Observer this weekend dissing Isabelle Adjani — “just not very bright.” At least she doesn’t look like a garden gnome.

Awaiting the arrival of David Cairns’s HAPPY-GO-LUCKY II: IN EDINBURGH.