When you finish a film, any film,
one of the last stages
is you go to the lab
and you do colour correcting and timing.
Colour correcting is you make the scene
a little yellower, bluer, redder.
You have certain, you know, controls,
an overall kind of feel of the film.
Warm or cool or a little bit of this,
a little bit of that.
You dial these things in.
Timing is light and dark.
Every single shot, especially
within a scene, they got to live.
You cut from this shot to that
and they're not matched,
bang, you're out of the film.
It'll just break something.
It's got to hold in a certain way,
especially scene by scene,
so it doesn't break.
And it's tricky business.
There are some great timers
in the world,
that help you get that thing feeling correct.
Then when it goes to DVD,
you got to go into the telecine bay again
because what you did in film
doesn't translate to high def.
Colour-correct every single shot,
every single scene, timing,
and sit in a dark room 
hour after hour.
In the case of Wild at Heart, we started
that process a year and a half ago.
And I think we noticed that
it was a little funky in places
but we were able to fix it
until we get to night scenes.
And night scenes,
they just turned to pure garbage.
Grain, no latitude,
you couldn't get anything.
We realised we were using
the bad fine-grain positive.
And bless their hearts,
MGM said, "OK, we'll spring
for a brand-new one."
"Correct."
And off the negative they went,
got a brand-new one.
Dan Muscarella at FotoKem, you know,
is one of the world's greatest timers,
tweaked that bad boy,
and we started the process again,
shot by shot,
all the way through the film,
and just recently 
finished that process.
So this DVD, you know,
it'll look like any other,
but it took a long time to get there.
Now there's a very good 
high-def master, corrected properly.
So it's a good thing.
