The end is built into the beginning.
— Charlie Kaufman
III.
Some prefer the disintegration,
and a document of time. Damage
the film over and over, each
slash of dark standing for shadow.
In the film, the sleepwalker walks
again. A dust mote on the frame.
II.
Some prefer the disintegration,
the film as a document of a time
and a document of time. Damage
can be printed into the light.
Still, the preservationists restore
the film over and over, each
actual shadow cast on a painted
slash of dark standing for shadow.
In the film, the sleepwalker walks
alone in a room, over and over
again. A dust mote on the frame.
Splice. Censor. The dirt, saved.
I.
Some prefer the disintegration,
the decay as part of the image,
the film as a document of a time
and a document of time. Damage
can last seconds. A mote of dust
can be printed into the light.
Still, the preservationists restore
the film over and over, each
rescuing a bit of face, a detail
swallowed before by vignette,
actual shadow cast on a painted
slash of dark standing for shadow.
In the film, the sleepwalker walks
to the edge, collapses. Is found
alone in a room, over and over
again. A dust mote on the frame.
Splice. Censor. The dirt, saved.
When an actor dies, he’s archived.