A Super8 double-exposure: Text over Image in Super 8, the text was shot by Mr. Miller, who had the film rewound, the cartridge repaired, and then handed over to Mr. Todd without describing the content of the text or its timing. Letter from Mr. Miller to Mr. Todd: “I'd rather the film be seen as emulsial, - that is, distinctly non-video and photographic (as in ""light drawing"") than like an exquisite corpse. Exquisite corpses come from painting, right? But painters can't do with paint what we did with emulsion. I think that's important. Fact is, the words (or rather, the chemical *potential* for the words) were resting on (in?) the emulsion for a year before you interlaced them with your cousin (like a gazelle in a herd of women, but why do I feel like they're running from, not to?) in the race. Also, what I find drastically relevant is the science behind the film. Someone explained Dolby Noise Reduction to be once and I think it went the same way Latent did. I shot the text on Plus-X, had Martin Baumgarten rewind, reload and finally file the S8 film cartridge so that your (and every other) S8 camera would recognize it as Tri-X film and subsequently underexpose your image by two stops. Then, by pushing the processing two stops, we brought your image up to an appreciably coherent level while maintaining a two-stop hierarchy of the text above the image. Therefore, the text does not run the risk of being washed out if, say, Rob Todd points his camera to the heavens and fires off a whole roll of the sun.