The whiteness of the cinema screen is not the pure possibility of all possible moving images, so that it would need have that in it that which was more arousing, repellent, hypnotic or eviscerating than the most powerful images could be. Enough for it to be white when lit and black in the dark and the rest follows by imagination and contrast. In the same way the background to experience is not a concentrated essence of experience, more blissful and painful than any individual experience could ever be. If enough images were projected over each other onto the same screen it would just show white in the same way as if the lights went up in the empty theatre, everything coming down to nothing. It's contrast and context that make for the intensity of experience, not some potential hidden in its substrate.