I’ve never done a movie that required such elaborate sound effects. The sheer detail of lighting a set is mind-boggling. Everything will have to be lit artificially. Since most crews don’t understand this, “Clear the eyeline” becomes a never-ending refrain. Sometimes the style of the picture is apparent when I close the script after the first reading. It can create ugliness. The general quality of cable and free TV keeps sinking steadily like a foot in mud. Position, and length of takes. Howard Hawks was once asked to name the most important element in an actor’s performance. You’re a better director for having worked with him. We had daylight by 7:00 a.m. Of course, we’d begun work while it was still dark. Overlength is one of the things that most often results in the destruction of the movie in the cutting room. By the end of the movie,… Some highlights have been hidden or truncated due to export limits. Tears welled up, overflowed, she said the line, and we had a terrific take. I also make sure that I have the time to read a script straight through. So I tried whenever possible to use a longer lens for Brando than for any other person in the scene. By now I have an almost set speech I make just before the first reading of the script. Two of them turned out to be good and were hits. Lenses have different feelings about them. Moreover, as far as I know, no studio chief has ever died poor. Depending on how much lighting the location will need, they arrive one, two, sometimes three days ahead of us. And unless we want a ceiling for dramatic reasons, we don’t want to put one in. Die Aussagekraft des Vergleihs ist sehr wichtig. To me, there are two main elements to editing: juxtapositioning images and creating tempo. Add six security men, two per shift, three shifts if you’re on that location overnight. I told him we’d use only autumnal colors, colors with a feeling of age. So one has to substitute “actions” that can stimulate emotions to compensate for the loss of instinct. Immediately, a “lens plot” occurred to me. Before we started, Burtt and I broke them down to individual characters: Sixteen yentas (busybodies), who were then broken down even further—“You two know each other, you four hate those two because they’re too good at mah-jongg.” These six teenagers were playing hooky. I don’t think anyone does. Obviously, any mechanical error endangers the reality of the movie. When I asked why, he said he had to be able to relate to her sexually if he was to play the love scenes properly. The teamsters. We’ll find something else that’ll work as well. Many of my relationships with writers have been just the opposite. We used filters. And I’m Dustin’s height (five feet six). For example, I’ve seen mixers raise the audio level of a quiet scene or moment and lower the audio level of a loud scene or moment. But I was determined to get this movie gay, if I had to kill myself and everyone else to accomplish it. I didn’t know what the problem was, so I couldn’t solve it. They had to be the best actors—great actors, if possible—and, in addition, have great personas. For this picture, I wanted the exact opposite of the rigid visual structure of Prince of the City. And those errors must be eliminated in the future. Sometimes an actor will have a critical scene with a character who appears in only one scene in the movie. I’m convinced. Would he have to relate to her murderously in order to play the part? The Pawnbroker was superb. Four relightings take an entire day! I’m out my door five minutes early. Some tell a story, leave you with a feeling, give you an idea, and reveal something about yourself and others. Boris couldn’t lighten up, literally. Again, this can be put to tremendous use. exteriors or interiors, pick the one that is already the right color, the one that takes the… Some highlights have been hidden or truncated due to export limits. It can change space. They come from all over the country, shaving their heads, dressing like Minnie Pearl or Minnie Mouse—emphasizing whatever physical characteristic they feel might get them hired, just wanting a job for 180 days a year. When you know what you’re doing, you feel much freer to improvise. Their reality has nothing to do with the reality of an audience watching a movie for the first time. We’ve never heard a train leave the station in three-quarter time.” He walked out, and we never saw him again. Generally, I like one or the other to do the job. This frees them for something more spontaneous. The varying physical characteristics of the actors may also necessitate changes. I honestly don’t know. Trying to get them in a tight two-shot presents some problems. lens, because of its shorter focal depth, the image tends to be a bit softer. The decorators are easy to recognize. The foreground object (a car, a horse, a running person) seems to be covering more ground faster. Most consonants will work as the point where you can splice two different audio tracks together. Emotion came pouring out of him. When this happens, the actor has an awful time. Dialogue is like anything else in movies. But the process I’ve been describing—of the sum being greater than the parts—that’s shaped by the director. Two blocks away, Victor placed a lamp to backlight the crowd standing on the corner. The letter X without a number indicates the stunt coordinator, to whom the stunt people report. Used in front of lights, the stop is unaffected or can be compensated… Some highlights have been hidden or truncated due to export limits. Even in the studio, tracks come out with very different sound qualities. If extras are being used and the location’s outside the city, as Running on Empty was, a bus must transport them. Ed Pisoni, a former assistant of Tony’s, was the art director. We’ve lit for perhaps an hour or an hour and a half, but we’ve shot for two and a half or three hours. What makes my work so endlessly interesting is that every picture requires its own specific approach. and yellow. And that gives me a chance to be right or wrong again. It can provide excitement. Everything about the movie has become incredibly boring. On Running on Empty, a small picture, we wound up with about sixty people on location, not counting cast. For whatever reason, producers and studio executives sit in the last row. We could shoot in any direction, and the light would be the same. Sitting next to me is the timer. The only shot that had sky in the frame was practically… Some highlights have been hidden or truncated due to export limits. Along with camera, art direction (the settings) and costume design are the most important elements in creating the style—in other words, the look—of the movie. Thematically it was a film about life’s disappointments. She wanted to play the retarded Swedish maid. To start with, music is a quick way to reach people emotionally. His eye is extraordinary. He said that he loved seeing what his work evoked in others. But that’s a lot of work, and they can use a breather. A warm brown would have fought against what we wanted to… Some highlights have been hidden or truncated due to export limits. melodramas and chase pictures are not hard to edit if the basic material has been provided. That’s how you really learn. As the lights came up, Merrick derisively called from the back, “Is that it?” I called back, “Ask me in that tone of voice again and I’ll smack you, you shit-heel.” Like all bullies, he hurried out of the room. if instinct told me to do the shot another way, I’d follow it, without doubts or fears. After the take, I said, “Let’s go again, and Bill, on this take, would you try something for me? This was enormously helpful with three cameras.