John has a bunch of stuff in his attic, so he put together all these boxes, got in his Buick, and drove up from Baltimore and met us at the corner outside the office. We took it all upstairs and started going through it, but not much was labeled, or if it was, the tape was so old it fell off. We found two things. One was the original mag tracks that had never been used, and that’s what ended up becoming the soundtrack we used for the movie. It was basically a box from the lab that had never been opened, so the tracks were pristine and in great condition. It’s the best sound that had ever been heard for this movie. The rest of the stuff was mostly just loose sound and picture. Luckily we had John’s original notebook that listed what was on each reel.

We didn’t have a way to view all these reels, so we rented a Steenbeck and set it up in our library. Our postproduction coordinator, Andrew Alvarez, had some film editing skills so he sat there for weeks with me putting reels up. We would play it through until a splice came up, but the splices were so old that it would break and you’d have to take the film out, resplice it, continue watching, and resplice it every time. So it took weeks to find deleted scenes, outtakes, and anything that might be interesting. We transferred about three hours of material and that’s what we used to build some of the supplements on our disc.