My comments here focus more on the technical and post-production aspects. The director and author of the film, Frank Kerr worked with my brother Michael Phillips, Tom O'Hanian and myself as we had just launched our post-production facility The Edit House. The was a beta-site for Avid Technologies brand-spanking new, frame-accurate 24fps digital editing system then known as the Avid Film Composer. As I recall the movie originated on Agfa negative stock, was transferred to videotape at (will fill in soon), and we The Edit House took it from there. The complexities of going from one format, film recorded at 24fps, going to interlace video aka 89.94 fields per second, digitizing not just the film rolls, but all the associated metadata (before metadata was "a thing") via FlexFiles; tracking the source audio from 1/4" Nagra (special thanks to John Garrett ;), syncing in the Avid editing system, organizing the several hours on source material so that the editor could be as productive as possible with the new power of random- access, non-destructive editing! We are talking 1996, remember. As editing moved forward, and pick-up scenes were added, the excitement just kept growing at the quality of Frank's film as it moved from organized bins to rough-cut and eventually to final version. We had the opportunity to work with the DigiDesign/Avid AudioVision (thanks Darren Abrams), which we brought to Soundtrack at Finish Post in Boston, where the final sound design and audio re-recording took place. We as post support learned a lot from the experience, as did the 'film engineers' at Avid at the time -there were some painful moments once in a while depending on the laboratory, but all issues were addressed by AVid's crew, by the labs and by The Edit House folks, naturally!
