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ESKAY
IS THE
OPTICAL
HOUSE
In The Midwest
PROV/D/NG
• Optical Effects
• Animation Photography
• Aerial Image Titles
• Liquid Gate Blow-ups
• Film Strips
• Slide Duplication
• Color Reversal tnternegatives
(C.R.I.)
• Full service for producers
The most completely equipped
and competently staffed
optical end animation house
in the midwest.
continued
FDLM f?.ERVnCIFf§
540 North lab* Short Otlv«
Chicago. Illinoii AMI1
Oil. 447.6350
Circle 127 oti reiider service cdrd
Paradox
failure producj the same kind of deep depression. Finally I found a clue from ihe two experiences. In a play, you give up a year of life, and when it folds you waleh thai >ear yo down the dr.iin. I Ihink \ou should get \our stage failures t>iu of the way when \ou're young hecause >t)u still have no appreciation for just how precious a lull year of your life can he. It's twicc' as important at thirty as it is at twentyfive, and ten limes as important at forty as it is at thirty.
The arithmetic works that way for sales nieelings. tiH). I think. If you write a good movie, the print e.xists afterward: you can show it, getting pleasure and a sense of success from it long after the premiere showing. With a good song, you can play it repeatedly. A hook can he read again and again, and with each reading sou recreate the experience of success.
But with a sales meeting, it's somewhat like a play. When a play closes or a sales meeting ends, that's it — my friends — it's over. No record remains. Even if you tape the meeting, it's still "Goodhye Columhus" because no sane man will sit down to listen to five days of tapes to recreate a feeling. "Vou can't take pictures during a meeting, and even if you publish a newspaper afterwards, it's only a partial record of the event. It helps, but it's not enough. In a sense, no matter how successful a .sales meeting is. it is still a failure: it cannot be brought back to life again.
This paradox is true also for traveling shows. When the hist show is over, the last trunk closed and the last truck driver dispatched, you then look at each other and say, "Well, that's it. Now what?" The following Monday vou find yourself in your office pushing paper from one side of the tiesk
to the other, remembering how cxcil ing the show was. Boy, do you evi feel rotten!
By a craftily executed aria da ca, we have returned to my original thesi that It is very important to keep bus; When vou're realK bus\. you j haven't the lime to be depressed; least, you haven't the time to be pressed right now. It all has to bottled up and preserved for a ti when you have leisure and can affoi the luxury of depression.
If you want to stay hot commci cially, you have to keep cool c atively. That really means that yi have to do the best job you can each job. whether it's one you wan or not. whether it's high budget or lo' whether it's interesting or dull, means also that you can't try to re the future. I've had some of the wildi and most unpredictable years, in te of work-load and material contetll with absolutely no logic or reason hind them.
For several years, I was doing film] on engines — two cycle versus foi cycle, diesel versus gasoline, selling advantages of two-cycle diesel. sho' ing how to service the engine, ad ii liniliiin. I became a flaming expert engines, and it kept my children ii nursery school.
Two years ago I had a sudden in explicable run on films about kidneys No kidding. In my books. \9M wa "The Year of The Kidney." I did ; professional medical film on cancc of Ihe kidney, a lay film on the ar tificial kidney, a professional film o renal insufficiency, and a lay film 01 kidney transplants. No two of the* pictures were at all related to eaci other. They were not for Ihe sami producer, for the same audience
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