With technological evolution comes hiccups. The exhibition and film festival community tell horror stories about the vagaries of showing DCPs (digital cinema packages). While not widely reported, the September 29 NYFF premiere of Brian De Palma’s “Passion” hit a disappointing snafu when the DCP of the film refused to play.
Unfortunately, De Palma was in person for the screening that never was. Reportedly festival director Richard Pena, soon to retire after 25 years of running the fest, came on stage to report that the DCP had worked mere minutes before showtime, but that due to a missing code the hard drive had locked itself down.
At Telluride, Greta Gerwig was in tears in the lobby of the theater where “Frances Ha” had started twice without sound (MOS, as German directors supposedly coined it). Eventually the film did proceed. At another NYFF screening intermittent subtitles plagued the DCP of Mexican film “Here and There.”
Cue the digital hand-wringing. As frustrating, discouraging and worrying as instances like this are, the digital revolution would be unlike any other technological transition in history if it didn’t have potholes to navigate. Patience, people — surely there were some thoroughly botched screenings in the early days of talkies that left audience members wondering why cinema couldn’t stay silent forever.