VLVL2 (10) Realists and dreamers, 198

[Paul Nightingale]

(198.9-15) "When DL came aboard, she and Sledge, with whom she shared a
fondness for enlightenment through asskicking, immediately became the
realist wing of 24fps, counterposed to the often dangerously absent dreamers
Mirage and Howie. Frenesi and the Pisks soldiered on in the centre, and the
task of trying to keep everybody 'happy' fell to Krishna."

The opposition of "realism" to some kind of alternative. In this chapter,
that takes in the different modes of film production that the opening page
alludes to, which theme the chapter will return to anon. Here, "realism" is
defined as "enlightenment through asskicking": cf the earlier description of
DL's role, in the "tactics and timetables" passage, 195-196.

In that earlier passage, DL is juxtaposed to Frenesi; her invisible labour
underpins Frenesi's role, either behind or in front of the camera. Here, she
is associated with Sledge, who has just been seen in the role of would-be,
albeit ineffectual peacemaker.

(198-19-20) "... it was always Krishna who found the right music, expertly
manipulated the tape speed ..."

Krishna turns the raw material into something that works, and in the process
manages to "keep everybody 'happy'". The scare-quotes are perhaps an
intimation of doom.