Fair enough Steve, you have unique insight on that archive. Shame its contents aren't seen more often.
I sometimes wonder ho much of FOM's archive will just vanish to the back of dusty shelves (not that Bernie would accept dust settling on his shelves!!), as so little is correctly logged. It's more than just a shame, it criminal!
I suspect to use "pre edited" foot, meant that it worked out cheaper, as FOM's charges aren't known for being at the lower end! Perhaps I am being a little unfair on the editors of Senna, and I accept I have been spoilt working with some of the very best. I used to do the Rueters edit after each Grand Prix, and thought I was doing ok, until one day one of THE editors within FOM sat with me and pointed out how he would have done it, and why. It certainly is a talent. I suspect the modern world of Avid and Final Cut-Pro have made it easy for people with a little talent to step further up the ladder in editing. Gone are the days of counting frames per second, cutting and splicing the film while logging the 24ths of a second now need to fill later, in Avid, you drop the shot in and hit the "make it fit" button!!
For all that, I'd rather have a film like Senna as it is, than not at all.