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Hello, my name's Adrian Lyne,

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and I directed Fatal Attraction
all those years ago.

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It does seem a long while ago,

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so I hope that I can remember
something about this.

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I have the worst memory in the world,
but I'll do my best.

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I remember that I wanted

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the best skyline for those water towers

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that I just love in New York,

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and so this was the best,
I thought, that we found

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and we did it in the magic hour.

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And this little window that we go into,

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obviously there's nothing to do
with the interior of where we shot.

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It was just the window,
I don't know whose house it was,

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but we used this skyline quite nicely.
There's a plane going by.

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So strange to watch
New York skylines now

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'cause one endlessly looks
for the twin towers.

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And of course, this was over
on the West Side, as I remember it.

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I remember when we cast Ellen,
their daughter.

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I remember Billy saying, "She's the best.

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"She's just the best
of all of the kids out there,"

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and I saw everybody, obviously.

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But he was right, she was.

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This was a program that was
very popular with kids at the time.

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I used to canvass my daughter Amy,
who was about the same age as Ellen.

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I think a lot of Ellen's behavior in this,

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in the family,
reflects my daughter Amy, really.

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I like the mess of the household,
you know.

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I like the way Michael's
sitting in his underpants

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and the dog sitting on the sofa.

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It has a nice sort of messy feeling.

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And I think you... I hope you fairly...

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Michael tripping up there is nice.
On one of the kids' toys, or whatever.

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And I think you get a feeling of,
just that this is a nice family.

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It's a family you wanna know about.

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And obviously in view
of the story that we have,

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you have to be invested in the family.

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I like the way things...

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A lot of things are going on
at the same time.

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The telephone call with a friend,

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and in a moment
he can't find his pants, you know.

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This is certainly me.
I can never find them.

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I'll tell you something
about this apartment,

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which I haven't mentioned before,

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and funny enough,
one person noticed it.

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This is the same apartment
that they used in Nine 1/2 Weeks

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for Kim Basinger's apartment
with her friend.

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And I searched all over New York
endlessly for another apartment.

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You know, for an apartment
that I liked in terms of light,

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in term of the angles,
and I just couldn't find one.

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So, the irony is, it's the same one.
The secret's out.

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This is Mr. Chow's in Manhattan.

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On 57th Street, I think.

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Stuart Pankin, I think,
is interesting casting.

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He's a terrific actor, but amongst
other things, he's a standup comic.

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Or used to be. He used to do a lot
on Comedy Central and things like that.

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And I think it always helps
to have somebody

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who just won't literally
be doing the script.

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He'll be offering up his own stuff.
One-liners and humor the whole time.

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And he did it all the way through.

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Mike Nussbaum, here,
wearing the neck brace.

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He's wearing a neck brace

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because Stanley Jaffe, our producer,
used to wear one a lot.

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He would get spasms in his neck
and I would think, "God, that's sort of..."

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I thought it was kind of amusing-looking,
to be honest.

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So, obviously, Michael Douglas
had a chance to make jokes about it,

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about how he got the neck brace,
et cetera.

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So it's nice having
little idiosyncratic stuff like that

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so that you feel these people
actually have a history, you know.

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That he actually hurt his neck skiing,
or whatever.

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Makes you feel like they're real people.

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I was very worried
about Glenn's hair here.

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I thought, "Oh, God.

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"It's a little over the top,
this Medusa thing."

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And it's funny 'cause it's something
that the critics grabbed hold of

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and mentioned a lot.

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So, I guess, out of what I felt at the time
was a little bit of a mistake,

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good happens, you know.

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It's funny, I just fixated on her hair

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and I thought,
"God, that doesn't seem to be right."

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But it was too late then.

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The barman here is Tommy Saccio,
our prop-man. A very fine prop-man.

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Maybe less good as an actor.

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Though he'd hate me for saying it.

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It's funny, Glenn,
as I guess people have heard,

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Glenn pursued this movie, really.

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She was very anxious to do the movie
and I thought, "Well, that seems wrong."

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You know, I didn't...

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I thought she was a fine actress,

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but she'd always played sweet,
stay-at-home, home-loving people,

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and I thought the idea of her
playing this woman

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who eventually becomes psychotic
was just strange.

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But we had her in,

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and I watched her work with Michael
and it was just extraordinary, really,

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just what a fine actress she was.

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And in the end,
you're not casting two individuals,

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you're casting what happens
when the two meet.

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And Michael and Glenn meeting

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is something that
I think any director would want.

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Anne Archer is a terrific actress.

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I had known her for a long while
and she'd come in on many castings.

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And she just has...

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Again, she's a fine actress,
but she is nice.

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And I think what was interesting
was to cast somebody like Anne,

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who is just wonderful-looking,
apart from anything else.

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And she's so attractive, sexually,
and she's so attractive as a person.

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I thought, "I love the arbitrary
nature of infidelity,

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"of how, even though you have
the best-looking wife on Earth,

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"you still sometimes have an affair."

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I have an affair with Labradors.
I adore them as dogs.

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Look at this fine animal.

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I actually have the daughter
of this dog, Quincy.

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I'm so fond of this dog.

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As an indication
of how old this movie is now,

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the daughter puppy is on her last legs,
poor animal.

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This is something
that would happen to me endlessly.

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Come in and find your daughter in bed.

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This is an interesting scene now

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because I love the way
everybody is talking together here.

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Literally, there are three different
conversations going on at once.

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Anne Archer is talking to the kid

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at the same time as Michael
is talking to Anne

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and the kid, at the same time,
is talking to Anne.

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So it's three conversations at once.

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It is a challenge, but again,
it feels real, you know.

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You can't believe that this man
would ever have an affair.

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Why could he possibly have an affair

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when his family is so nice
just to be with, you know?

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But I guess that's the way it happens.

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There's the neck brace again.

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So this is, as far as I remember,

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Michael improvises a little story
about the neck brace.

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There's a moment coming up
with Glenn

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that I've actually talked about before,
which I think is kind of nice.

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Michael's eating
a bagel and cream cheese,

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and I was looking for a moment
when you're really gonna sense

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that maybe Michael and Glenn could
maybe fall in love with each other.

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It's a moment of real sweetness
between them, if you like.

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And I knew I had to find something,

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and in the end, it was Michael
who came up with the idea

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of the cream cheese going on his nose

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and Glenn telling him about it.

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But it was fun to shoot
because we could never get

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the right amount of cream cheese
to go on his nose.

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And sometimes
it would literally coat his face

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and I would have hysterics.

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They would literally
have to carry me off laughing.

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He would see me laughing, Michael,

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and would laugh himself
and we'd have to start all over again.

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It was hilarious doing this.

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That was about take 18.

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Take 18 getting this little amount
of cream cheese on his nose.

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Michael has a very nice feeling
for comedy, I think.

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This whole thing
with the umbrella is fun now

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and very endearing, I think, you know.

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Something that
a woman would like, I think,

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seeing this guy struggle
with the umbrella

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that eventually goes inside out.

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Those cheap umbrellas that you can buy

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on any street corner in New York
when it starts to rain.

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People materialize from nowhere
with bunches of umbrellas to sell.

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This was a fabulous restaurant
that I love,

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that I used to go to myself quite a lot,

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called the Goulue,
La Goulue, it was called.

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It used to off Madison,
now they moved it to Madison.

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It's not quite as nice as it used to be.

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So it's nice eating at places
and seeing restaurants and thinking,

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"Shit, I gotta use this.

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"If I was gonna shoot a scene like this,

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"I'll shoot it in that table
in the corner there."

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You know, you never really stop
thinking about shots

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and this sort of thing.

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This bar is fabulous.

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They moved everything
to the other address,

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but it doesn't have the feeling
of the old place like this.

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This is Bill Evans
playing on the piano here.

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It's funny, they said, "You don't need
Bill Evans to play the piano.

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"You can get anybody to play the piano
for the background music."

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But somebody else did play it
and it sounded horrible.

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And it's just a nice moment.

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There's a gap in the conversation
when the piano comes through,

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and it really makes a big difference
without realizing it.

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So when I did the rehearsal
with Michael and Glenn,

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one of the scenes that we did
was this one,

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where she says, "Are you discreet?"

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And it's funny 'cause she did it
over and over again, the scene,

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and I suddenly realized
that she had done...

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Each time she had said,
"Are you discreet?"

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she did it with a different inflection.

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It was just extraordinary.
When I played the takes back,

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and I saw how many different ways
she had said that line,

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it just made me realize what
an extraordinary actress she is, really.

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And what a craft it is, really,

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to be able to say things
in different ways like that.

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One thing I did
during this scene was have

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Glenn play footsie with Michael
under the table

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that he was sort of unprepared for,

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and there's a nice moment,
I've forgotten where it comes exactly,

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but there's a nice moment
where you can tell that she's doing that.

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This is the piano bit I'm talking about.

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Beautiful.

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Listen to the way it comes through.

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Amazing.

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Look how it accents the scene,
it's just extraordinary.

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When he's made the decision.

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I like this jump cut. Bang.
You go into them making out, you know.

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00:16:59,186 --> 00:17:03,941
And they're both very courageous here,
with the underwear and stuff.

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It's funny,
we talked about the love scene,

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00:17:07,152 --> 00:17:09,488
or I would bring it up earlier on,

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maybe a couple of weeks
before we'd do it,

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and I'd say,
"Well, only a couple of weeks to go."

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00:17:14,660 --> 00:17:16,994
And then I'd think, "Oh, God.
I wish I hadn't brought it up

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00:17:16,995 --> 00:17:19,873
"'cause now they're gonna be thinking
about it as well as me."

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00:17:20,541 --> 00:17:23,001
And I remember when we did this,

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00:17:23,043 --> 00:17:25,044
they had a couple of drinks,
which always helps.

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You know,
they had some champagne and stuff,

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00:17:29,258 --> 00:17:32,803
which always loosens anybody up.

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00:17:35,973 --> 00:17:39,726
And I like the grab nature of it,
you know.

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00:17:39,810 --> 00:17:42,729
I think that it would have been
kind of boring

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if they just sort of slipped into bed
or something, you know.

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00:17:45,816 --> 00:17:47,275
And also, I like the humor of it.

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00:17:47,276 --> 00:17:49,403
I like this moment
when he's carrying her.

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00:17:49,486 --> 00:17:52,239
He can't get out of his pants here,
underpants.

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This is brave, man.

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00:17:54,575 --> 00:17:58,120
I think this is just so brave of Michael
to do this like that.

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00:17:58,203 --> 00:18:01,540
You know, not be kind of grabbing.
You see, he's walking across there...

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Both of them pretty naked.

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00:18:04,876 --> 00:18:08,338
And I just love the spirit of actors
who will do that

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00:18:08,422 --> 00:18:10,674
and not question it endlessly.

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00:18:11,049 --> 00:18:13,969
And just go balls out
and do a scene like that.

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00:18:14,261 --> 00:18:18,181
Because it's them
that are benefitting from it, you know.

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00:18:18,348 --> 00:18:20,017
And me, obviously.

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00:18:20,392 --> 00:18:25,981
You just sense
the freedom of the scene, you know.

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00:18:29,860 --> 00:18:34,656
I was saying, I think that comedy
is just incredibly important, really,

236
00:18:35,240 --> 00:18:39,244
and within a love scene,
or sex scene like that

237
00:18:39,328 --> 00:18:43,707
because people are inclined to laugh
because they're embarrassed.

238
00:18:44,625 --> 00:18:46,751
So if you don't give them
something to laugh at,

239
00:18:46,752 --> 00:18:49,046
they'll laugh at you.

240
00:18:49,504 --> 00:18:52,048
So that's why I always try
and get comedy in, you know.

241
00:18:52,049 --> 00:18:55,927
The idea of the plates clanking around
while they're making out.

242
00:18:56,053 --> 00:19:01,058
Or later on in the movie,
the scene in the elevator,

243
00:19:01,141 --> 00:19:04,728
when there's a guy walking past
who could potentially interrupt them.

244
00:19:05,354 --> 00:19:08,065
This was a great club
called Club Broadway.

245
00:19:08,231 --> 00:19:10,691
Though I've never been back to,
I always thought I would.

246
00:19:10,692 --> 00:19:12,736
Amazing salsa music.

247
00:19:13,862 --> 00:19:16,323
It's funny 'cause salsa now
is fashionable.

248
00:19:37,969 --> 00:19:42,974
I had Glenn's apartment
be in the meat market,

249
00:19:43,058 --> 00:19:47,104
which in those days, when you went
through there late at night...

250
00:19:47,187 --> 00:19:51,108
It's changed a lot now 'cause I think
there's less meat and more couture.

251
00:19:51,817 --> 00:19:55,195
But at the time,
you'd see these braziers burning

252
00:19:55,237 --> 00:19:57,823
and people would be
trying to keep warm.

253
00:19:57,906 --> 00:20:01,535
And there'd be transvestites,
there'd be everybody on Earth

254
00:20:01,618 --> 00:20:04,621
who would be gathering around.

255
00:20:06,665 --> 00:20:08,124
People said all sorts of things like,

256
00:20:08,125 --> 00:20:11,211
"It was a metaphor for hell,"
and all this sort of nonsense,

257
00:20:13,338 --> 00:20:18,427
but I thought it was an interesting place
to put her apartment.

258
00:20:18,510 --> 00:20:20,929
I remember Stanley's face,
Stanley Jaffe's face,

259
00:20:21,012 --> 00:20:22,639
when I showed him the apartment,

260
00:20:22,723 --> 00:20:26,184
and it was a crappy sort of space,

261
00:20:26,226 --> 00:20:28,227
but I just loved the fact
that you could look out

262
00:20:28,228 --> 00:20:30,689
and you could see
people carrying meat around.

263
00:20:32,232 --> 00:20:34,151
Here's the other love scene.

264
00:20:34,818 --> 00:20:36,903
It's funny how people
remember the love scene.

265
00:20:36,987 --> 00:20:39,573
Both of these scenes are very short,

266
00:20:41,158 --> 00:20:44,703
but people say about me,
"You make those sexy films and stuff."

267
00:20:45,162 --> 00:20:50,333
But it's so funny it's that
that people tend to remember.

268
00:20:52,919 --> 00:20:56,923
Like this scene
and the scene over the sink.

269
00:20:57,299 --> 00:21:00,469
I guess people are interested in sex.

270
00:21:03,555 --> 00:21:06,183
Here's the moment of humor,
which I think helps.

271
00:21:07,184 --> 00:21:08,284
Hopefully it helps.

272
00:21:43,220 --> 00:21:46,556
I love the way Michael grabs for her
after she's gone, there,

273
00:21:46,640 --> 00:21:48,099
like he's had a few drinks.

274
00:21:50,310 --> 00:21:53,772
He's got a lovely sense of humor.
Just a very amusing man, Michael.

275
00:21:54,689 --> 00:21:58,235
Nice person to have a drink with,
apart from anything else.

276
00:22:19,339 --> 00:22:21,258
I like this kitchen.

277
00:22:23,927 --> 00:22:25,929
Just the bits and pieces.

278
00:22:27,180 --> 00:22:30,725
Stuff hanging off the walls, you know,
the kid's drawings.

279
00:23:06,386 --> 00:23:10,390
This is where the worm turns a bit,
and he has to start lying.

280
00:24:05,195 --> 00:24:09,240
It's nice the way
the rabbit is set up early on.

281
00:24:09,324 --> 00:24:12,368
I remember when I read
the screenplay in France,

282
00:24:12,369 --> 00:24:14,120
I live in France,

283
00:24:15,580 --> 00:24:17,582
and I sat down on the steps in my place

284
00:24:17,666 --> 00:24:20,376
in the middle of nowhere
in the South of France,

285
00:24:20,377 --> 00:24:23,296
and I started to read it,
and I couldn't put the script down.

286
00:24:23,380 --> 00:24:27,842
At the end of about an hour and a half
that it took me to read it,

287
00:24:27,926 --> 00:24:29,176
I was still sitting there on the steps,

288
00:24:29,177 --> 00:24:31,763
and I went racing through
to my wife Samantha,

289
00:24:31,846 --> 00:24:37,477
and I said, "If I don't screw this up,
this is amazing. I've got to do this."

290
00:24:37,519 --> 00:24:39,479
It's a James Dearden script,

291
00:24:39,521 --> 00:24:43,149
and it's very rare
that you feel like that.

292
00:24:43,233 --> 00:24:48,405
Usually, you feel it's a nice idea,
and something you have to work on,

293
00:24:48,488 --> 00:24:52,408
and we did work on this,
God knows we worked a lot on it,

294
00:24:52,409 --> 00:24:58,415
with, I think, more than one writer,
but it just felt strong, I thought.

295
00:24:59,207 --> 00:25:03,420
I love relationship pieces,
I always say the same thing.

296
00:25:04,629 --> 00:25:09,342
I love movies where you can
put your feet in the shoes of the actors.

297
00:25:12,512 --> 00:25:18,435
I like the way you see Glenn's breasts,
a little bit, right there,

298
00:25:18,476 --> 00:25:22,981
and she's not trying
to keep her robe close together,

299
00:25:23,064 --> 00:25:27,444
which, of course,
you wouldn't do if you're by yourself.

300
00:25:28,445 --> 00:25:31,114
This place is kind of Spartan,
her apartment.

301
00:25:32,449 --> 00:25:37,370
I like that because I'd seen
lots of editors' apartments.

302
00:25:37,454 --> 00:25:43,543
I'd gone to look at them with
Mel Bourne, the production designer.

303
00:25:43,835 --> 00:25:48,048
And all they had was
piles of manuscripts next to their beds,

304
00:25:48,131 --> 00:25:51,634
and they looked a little mournful, really,
so we did that.

305
00:26:01,227 --> 00:26:03,855
I like this little hand-held shot.

306
00:26:04,647 --> 00:26:07,901
Craig had a rig.
I used to call it the sickle.

307
00:26:07,984 --> 00:26:11,362
It was a little rig
that got the camera really low

308
00:26:11,446 --> 00:26:13,489
so that you could practically
scrape the ground with it,

309
00:26:13,490 --> 00:26:18,495
and you really get a nice feeling
of speed when the camera's that low.

310
00:26:36,805 --> 00:26:40,141
This was in Central Park,
in the West Side, I think.

311
00:26:47,273 --> 00:26:49,400
Again, there's that little rig there.

312
00:26:49,484 --> 00:26:52,987
That little point-of-view move
in on Michael there.

313
00:26:54,531 --> 00:26:56,533
It's kind of a tubular rig.

314
00:26:57,534 --> 00:27:01,830
The camera,
he puts an Arriflex on the bottom of it,

315
00:27:01,955 --> 00:27:04,624
and you can get it really low.

316
00:27:14,759 --> 00:27:18,054
I like this double thing
where she pretends

317
00:27:18,138 --> 00:27:20,597
that she's lying about
her father's heart attack, in a minute,

318
00:27:20,598 --> 00:27:23,685
but then he finds out
later on in the apartment,

319
00:27:25,061 --> 00:27:27,814
that, in fact, she was telling the truth.

320
00:27:37,407 --> 00:27:42,287
Which is interesting 'cause you really
feel that this woman is mentally sick.

321
00:27:46,374 --> 00:27:47,667
I remember doing this.

322
00:27:47,750 --> 00:27:51,254
This is one of the first shots we did,
this shot of Manhattan,

323
00:27:51,337 --> 00:27:55,633
and I remember Stanley arriving,
Stanley Jaffe, the producer, arriving.

324
00:27:55,675 --> 00:27:57,593
We'd been about three hours
doing the shot,

325
00:27:57,594 --> 00:28:02,182
and he was epileptic with rage
that we'd still be doing the shot.

326
00:28:14,444 --> 00:28:17,989
I don't know much about opera
but I did come to love this, actually.

327
00:28:18,072 --> 00:28:19,407
Madame Butterfly.

328
00:28:28,166 --> 00:28:31,920
This is the apartment
in the Meat District.

329
00:28:32,795 --> 00:28:38,468
You can see out of the windows
that the Meat District is down below.

330
00:28:38,551 --> 00:28:41,095
There's a little bit coming up,
which I quite like,

331
00:28:41,179 --> 00:28:42,638
with the dog and the pigeons.

332
00:28:42,639 --> 00:28:46,726
We had to keep the pigeons in,
obviously, or they would've flown away.

333
00:28:46,768 --> 00:28:52,190
So we put Perspex that you can't see,

334
00:28:52,273 --> 00:28:57,862
Plexiglas around the window outside,
and when the dog barks,

335
00:28:57,946 --> 00:28:59,739
that kept the pigeons in.

336
00:29:47,245 --> 00:29:48,413
Brilliant music.

337
00:29:48,496 --> 00:29:54,544
I don't go to opera much,
but this Puccini opera is amazing.

338
00:29:54,627 --> 00:29:56,379
Heartbreaker, really.

339
00:29:56,546 --> 00:30:00,633
We had an ending
that reflected Madame Butterfly

340
00:30:00,717 --> 00:30:05,263
more at the end, which was interesting.

341
00:30:05,346 --> 00:30:06,619
But in the end, I thought...

342
00:30:06,681 --> 00:30:08,850
There's the pigeons I was talking about.

343
00:30:11,602 --> 00:30:15,690
So, they couldn't get out
because they had that Plexiglas there.

344
00:30:15,732 --> 00:30:17,816
We had a scene, funny enough,
later on in the movie

345
00:30:17,817 --> 00:30:22,864
where Glenn went to the opera,
and Michael wasn't there.

346
00:30:22,947 --> 00:30:25,366
Michael's seat was empty.

347
00:30:25,450 --> 00:30:30,538
It was kind of a heartbreaker,
but we couldn't afford to do it.

348
00:30:30,621 --> 00:30:35,626
You know, have all the people involved
in the audience for the opera, et cetera,

349
00:30:36,794 --> 00:30:42,300
just for one shot of her sitting there
with Michael's seat empty

350
00:30:42,425 --> 00:30:45,303
'cause she invites Michael to the opera.

351
00:30:45,762 --> 00:30:51,976
So I just did the same thing
with her sitting by the light,

352
00:30:52,769 --> 00:30:54,062
the lamp,

353
00:30:54,562 --> 00:30:56,564
switching the lamp on and off,

354
00:30:56,689 --> 00:30:59,442
and you see the opera tickets
on the table,

355
00:30:59,567 --> 00:31:03,863
so that was the cheap
and cheerful way of doing the opera.

356
00:31:03,946 --> 00:31:05,073
But I think it worked

357
00:31:05,156 --> 00:31:08,785
'cause I quite liked her
switching the light on and off.

358
00:31:08,826 --> 00:31:11,621
It's kind of a bizarre thing to do.

359
00:31:12,330 --> 00:31:14,540
It's funny,
when we previewed the movie,

360
00:31:14,749 --> 00:31:16,833
there'd always be a couple of people
who would laugh

361
00:31:16,834 --> 00:31:19,796
when she switched the light on and off.

362
00:31:20,797 --> 00:31:25,343
So, that's kind of an interesting moment
in a preview.

363
00:31:25,468 --> 00:31:29,222
You have to say to yourself,
"I like the shot. I'm gonna keep it in

364
00:31:29,389 --> 00:31:32,809
"regardless of the fact
that people are laughing here."

365
00:31:52,286 --> 00:31:54,329
I think Glenn Close's character
is interesting, really,

366
00:31:54,330 --> 00:31:56,833
'cause I think we've all
known somebody...

367
00:31:56,916 --> 00:32:00,044
I think this is one of the reasons
why the movie caught on.

368
00:32:00,128 --> 00:32:02,505
We've all known somebody who,

369
00:32:03,840 --> 00:32:07,427
like in this situation here,
he says, "It can't work out. I'm married."

370
00:32:07,510 --> 00:32:10,513
And there's a sort of look on their face

371
00:32:12,348 --> 00:32:16,853
that says that
you're just not getting through,

372
00:32:16,894 --> 00:32:22,400
that it doesn't matter what you're saying,
they don't understand.

373
00:32:31,617 --> 00:32:34,871
There's a shot coming up,
as far as I remember it, where...

374
00:32:36,956 --> 00:32:38,874
I often have arguments
with the editors, actually.

375
00:32:38,875 --> 00:32:41,669
There's a shot where
she's sitting up in bed,

376
00:32:41,752 --> 00:32:43,045
as far as I remember it.

377
00:32:44,505 --> 00:32:46,131
At one moment,
her breasts are covered,

378
00:32:46,132 --> 00:32:48,426
and another moment, they're not.

379
00:32:48,509 --> 00:32:50,219
It's coming up here.

380
00:32:50,428 --> 00:32:51,887
Of course, the editors say,

381
00:32:51,888 --> 00:32:55,391
"You can't use that shot
because the continuity's bad."

382
00:32:56,058 --> 00:32:58,644
It's coming up. I think this is the scene.

383
00:33:01,939 --> 00:33:03,191
It's coming up here.

384
00:33:03,274 --> 00:33:05,985
And I chose the shot
that was best for her performance,

385
00:33:06,027 --> 00:33:09,363
and the fact that her breasts
are showing in one

386
00:33:09,447 --> 00:33:12,450
and not in the next,
in the end, I don't think matters.

387
00:33:12,658 --> 00:33:15,828
Five or six people will notice
that the continuity's wrong,

388
00:33:16,037 --> 00:33:20,166
but in the end, what's important
is the actual performance, for me.

389
00:33:22,919 --> 00:33:27,924
Again, I think, so brave,
the way she's sitting here like this,

390
00:33:27,965 --> 00:33:30,468
because it's real, you know.

391
00:33:30,801 --> 00:33:34,764
It's not necessarily the most
flattering way for her to be sitting,

392
00:33:34,847 --> 00:33:37,767
but that's life.

393
00:33:51,447 --> 00:33:54,200
There we are, there's the shot.
Now she's covered.

394
00:33:55,117 --> 00:34:00,998
But I thought that the performances
were best in this take.

395
00:34:36,075 --> 00:34:39,287
Maurice's music is nice here.
Maurice Jarre's music.

396
00:34:39,704 --> 00:34:43,958
I love scores that don't
draw attention to themselves.

397
00:34:44,000 --> 00:34:47,086
I've never been a fan of those scores

398
00:34:47,169 --> 00:34:53,009
that feel like they're a separate movie
going on above the visual one.

399
00:34:53,467 --> 00:34:57,972
So this one is just nice.
It just reflects the mood of the piece.

400
00:35:00,474 --> 00:35:03,018
Richard Dean's makeup is terrific.

401
00:35:03,019 --> 00:35:06,272
Coming up, his slit wrists are great.

402
00:35:15,031 --> 00:35:17,033
I like the way the blood
is revealed there,

403
00:35:18,034 --> 00:35:22,121
that we see it before he does,
which I think is interesting.

404
00:35:54,362 --> 00:35:58,491
Funny enough, I've never been sure
about these kettledrums here.

405
00:35:58,574 --> 00:36:01,452
I'm not sure I'm crazy about them.

406
00:36:01,535 --> 00:36:04,372
Having said that,
I love to work with Maurice Jarre.

407
00:36:04,455 --> 00:36:06,624
He's just a fabulous composer, really.

408
00:36:09,627 --> 00:36:12,546
It's nice. You'll go down to his house
in Malibu where he lives,

409
00:36:12,630 --> 00:36:16,133
and he'll play the theme for you
on the piano there,

410
00:36:16,175 --> 00:36:20,805
and it's a terrific moment.
You feel lucky to be there.

411
00:36:20,888 --> 00:36:22,161
He'll play different themes,

412
00:36:22,181 --> 00:36:26,185
and if you don't like something,
he'll do another one.

413
00:36:28,813 --> 00:36:33,776
It's always nice,
just getting a one-note piano theme,

414
00:36:33,859 --> 00:36:39,031
and you know that
in two or three months' time,

415
00:36:39,115 --> 00:36:43,494
you're gonna hear it with an orchestra.
It's exciting the way it develops.

416
00:37:26,787 --> 00:37:29,290
We built quite a lot
within this apartment.

417
00:37:29,373 --> 00:37:34,378
For example, that bath wasn't there.
The partitions weren't there.

418
00:37:34,462 --> 00:37:37,172
This brick that you're looking at
isn't real brick.

419
00:37:37,173 --> 00:37:39,675
It's brick that Mel put in.

420
00:37:41,761 --> 00:37:43,763
But I just liked... I don't know.

421
00:37:43,846 --> 00:37:48,601
You react instinctively to stuff,
I suppose.

422
00:37:50,603 --> 00:37:53,189
Often, there's no logical reason.

423
00:37:53,272 --> 00:37:55,023
See, this is what I liked,
was the fact that

424
00:37:55,024 --> 00:37:56,942
you could shoot that from the window.

425
00:37:59,111 --> 00:38:00,946
It doesn't look so good now, it's funny.

426
00:38:01,030 --> 00:38:04,825
The Meat District
has gradually become gentrified

427
00:38:04,909 --> 00:38:07,203
and the rag trade's moved in.

428
00:38:08,329 --> 00:38:11,665
It was nicer in those days.

429
00:38:11,749 --> 00:38:14,543
I'm getting quite nostalgic for it,
really.

430
00:38:22,510 --> 00:38:24,720
She'll go down and check the meat.

431
00:38:24,804 --> 00:38:28,557
The Meat District is fabulous.
It won't be there much longer.

432
00:38:35,272 --> 00:38:40,235
For a long while,
I really sympathized with Glenn, really.

433
00:38:40,236 --> 00:38:43,030
I just thought, "Here's a guy
who has a one-night stand,

434
00:38:43,113 --> 00:38:47,284
"and he wants just to have it
and forget about it and move on."

435
00:39:11,642 --> 00:39:14,562
It's a nice moment, I think, coming up,

436
00:39:14,645 --> 00:39:18,566
when he gives the spaghetti sauce
to the dog.

437
00:39:22,611 --> 00:39:24,363
Michael just did that.

438
00:39:24,446 --> 00:39:31,287
Just the idea of making it look like
he's been sleeping in the bed

439
00:39:31,579 --> 00:39:35,666
and not messing it up with his hands
but actually getting in it, was his idea,

440
00:39:35,749 --> 00:39:37,710
and I just think it's brilliant.

441
00:39:39,003 --> 00:39:42,381
He's just a fabulous comedian
apart from anything else.

442
00:39:52,600 --> 00:39:55,394
There's Wall Street, on a very long lens.

443
00:39:59,356 --> 00:40:02,818
This is my dear friend, Lois Smith,
who I've used before.

444
00:40:02,902 --> 00:40:06,739
I always try and use Lois.
She's just such a fine actress.

445
00:40:06,864 --> 00:40:09,324
I like the way she had her sneakers on,
and she's carrying...

446
00:40:09,325 --> 00:40:14,204
This is a very New York thing,
of coming in with your sneakers

447
00:40:14,288 --> 00:40:18,959
and changing into your high heels
when you get to work.

448
00:40:19,043 --> 00:40:21,545
You know, it's a very New York thing.

449
00:40:22,254 --> 00:40:25,132
It's nice, I think,
when you do stuff like that.

450
00:40:44,485 --> 00:40:49,448
A nice shot of her
carrying his briefcase off like that.

451
00:40:49,531 --> 00:40:53,035
That's something that Amy did,
again, my daughter.

452
00:41:02,002 --> 00:41:05,881
How could anybody have an affair
when they're married to Anne Archer?

453
00:41:37,371 --> 00:41:40,916
This is a scene I talked about
before, actually, that I kind of like.

454
00:41:41,000 --> 00:41:45,045
Again, my daughter Amy
would always be telling me card tricks,

455
00:41:45,129 --> 00:41:49,508
showing me card tricks
that didn't work, you know,

456
00:41:49,550 --> 00:41:54,013
so I like the layer of it in this scene.

457
00:41:54,096 --> 00:41:57,057
It was kind of a boring scene,
to be honest.

458
00:41:57,141 --> 00:42:00,144
She's trying to persuade him
to go up to the country

459
00:42:00,227 --> 00:42:04,189
and see this house
that she wants them to buy.

460
00:42:04,273 --> 00:42:08,527
And it was sort of expositional
and a little bit boring, I thought,

461
00:42:08,610 --> 00:42:12,531
and so adding the whole layer of the kid,

462
00:42:12,614 --> 00:42:16,410
who's very charming, Ellen,
teaching him this card trick,

463
00:42:16,452 --> 00:42:23,250
I think it made the scene fun
and it just felt like family, you know.

464
00:42:26,462 --> 00:42:28,756
It's great working with a kid like Ellen.

465
00:42:28,839 --> 00:42:32,760
That age is just fabulous.
She was six, I think, as I remember it.

466
00:42:35,471 --> 00:42:39,474
'Cause it's before
they get that knowing quality.

467
00:42:39,475 --> 00:42:42,477
Eight or nine, they change.
They become little adults.

468
00:42:42,478 --> 00:42:46,815
But then, there's just a sweetness.

469
00:43:03,916 --> 00:43:06,502
The exterior of the house

470
00:43:06,585 --> 00:43:10,505
wasn't the same as the interior,
if that makes sense.

471
00:43:10,506 --> 00:43:14,593
All of it was on location,
but I love this exterior.

472
00:43:14,635 --> 00:43:17,721
But for whatever reason,
the interior didn't really work,

473
00:43:17,805 --> 00:43:21,350
so I used the interior somewhere else.

474
00:43:21,600 --> 00:43:24,520
This was the scene
that we did first of all.

475
00:43:24,728 --> 00:43:26,271
Everybody was a bit petrified.

476
00:43:26,355 --> 00:43:29,525
It's always a bit agonizing,
the first scene.

477
00:43:29,983 --> 00:43:32,152
I was very nervous, I know that.

478
00:43:42,079 --> 00:43:46,416
This is Justine Johnston.
I worked with her on Nine 1/2 Weeks.

479
00:43:46,500 --> 00:43:51,547
She was the lady that was trying to sell
Mickey Rourke and Kim Basinger

480
00:43:51,880 --> 00:43:55,592
the bed that they were lying on,
or Kim was lying on.

481
00:44:05,519 --> 00:44:09,857
I like the attic here, that later on,

482
00:44:09,940 --> 00:44:16,572
Michael listens to the tape recording
that Glenn Close has left him.

483
00:44:21,160 --> 00:44:24,663
I remember when I was doing
this scene, it was just agonizing.

484
00:44:24,788 --> 00:44:30,752
I couldn't work the shot out at all,
and I was sweaty,

485
00:44:30,836 --> 00:44:35,883
and Stanley was behind me,
biting his nails.

486
00:44:36,300 --> 00:44:38,594
He was more worried than I was.

487
00:44:58,155 --> 00:45:01,366
It's a great coat, isn't it?
I like Glenn's coat.

488
00:45:03,785 --> 00:45:05,204
Brilliant.

489
00:45:08,624 --> 00:45:10,125
This is quite a nice track here.

490
00:45:10,209 --> 00:45:12,377
I remember it was a little tough

491
00:45:12,461 --> 00:45:17,966
to incorporate with Stuart here,
Stuart Pankin.

492
00:45:40,822 --> 00:45:42,699
There's a nice moment coming up,

493
00:45:44,493 --> 00:45:48,580
when Michael hugs her
at the end of the scene.

494
00:45:49,790 --> 00:45:52,834
And you sense Glenn's need.

495
00:45:52,960 --> 00:45:55,754
It's just a heartbreaking moment, I think.

496
00:46:00,092 --> 00:46:02,094
He hugs her at the end of the scene,

497
00:46:02,177 --> 00:46:05,347
and you see Glenn's face
over his shoulder,

498
00:46:05,430 --> 00:46:10,936
and he doesn't see it,
but we just sense, in a way,

499
00:46:11,019 --> 00:46:13,062
the awfulness
of what Michael is doing to her.

500
00:46:13,063 --> 00:46:17,693
At this stage, I really feel
enormous sympathy for her.

501
00:46:17,734 --> 00:46:20,904
I was always attacked vehemently
by the feminists.

502
00:46:20,988 --> 00:46:25,492
It was said that I was destroying

503
00:46:28,495 --> 00:46:31,707
people's idea of career women.

504
00:46:33,542 --> 00:46:37,254
They said that I was making
an indictment of career women

505
00:46:37,337 --> 00:46:40,007
and nonsense like this, you know.

506
00:46:40,549 --> 00:46:43,010
You know, she was one career woman

507
00:46:43,093 --> 00:46:46,221
who happened to end up
being psychotic.

508
00:46:46,305 --> 00:46:49,349
But the idea of it being an indictment
of all career women

509
00:46:49,433 --> 00:46:51,810
was just hilarious, just ridiculous.

510
00:47:01,737 --> 00:47:04,865
She really breaks your heart here,
I think, the whole thing.

511
00:47:08,702 --> 00:47:11,163
With the offer of the tickets.

512
00:47:18,879 --> 00:47:24,426
There's a thing on his desk that I put on,
a kind of ball of rubber bands.

513
00:47:27,179 --> 00:47:29,805
I was looking for something
that somebody would fiddle with,

514
00:47:29,806 --> 00:47:35,854
something that made
the desk like his own.

515
00:47:35,896 --> 00:47:37,772
You'll see it in a minute now.

516
00:47:37,773 --> 00:47:41,776
I always think that details like that help.
There it is, you can see it down there.

517
00:47:41,777 --> 00:47:44,279
He fiddles around with it, later on.

518
00:47:44,363 --> 00:47:46,865
This is the moment I'm talking about.

519
00:47:49,534 --> 00:47:51,370
There. Jesus.

520
00:47:52,537 --> 00:47:54,956
It really breaks your heart,
and he doesn't see it.

521
00:48:07,719 --> 00:48:09,970
That's later on, when he...
This is the scene I was talking about.

522
00:48:09,971 --> 00:48:14,518
The cheap and cheerful
Madame Butterfly opera scene.

523
00:48:17,104 --> 00:48:20,107
This is what people
laughed at sometimes.

524
00:48:35,539 --> 00:48:37,124
The intercutting works nicely.

525
00:48:40,252 --> 00:48:41,753
The stuff with Stuart, here.

526
00:48:42,838 --> 00:48:45,757
We made that real, really.
They were drinking beers and stuff.

527
00:48:45,841 --> 00:48:47,259
It was fun, you know.

528
00:48:47,342 --> 00:48:49,344
People are very serious
on movies these days.

529
00:48:49,428 --> 00:48:52,973
I'd say "We'll give them a drink or two."

530
00:48:53,098 --> 00:48:55,141
"Well, you can't do that.
Somebody might sue you.

531
00:48:55,142 --> 00:48:57,227
"Or they might fall over or something."

532
00:48:57,978 --> 00:49:01,356
But I guess those were happier days.

533
00:49:02,190 --> 00:49:04,443
I mean, you can see
they're having fun, really.

534
00:49:07,320 --> 00:49:09,865
Oh, man. It was fun to do.

535
00:49:14,286 --> 00:49:17,914
It's a nice kind of contrast
with poor Glenn here.

536
00:49:19,958 --> 00:49:22,919
So you should think about
whether this is a better scene

537
00:49:22,961 --> 00:49:29,176
than maybe her sitting alone
in an opera without Michael there,

538
00:49:29,259 --> 00:49:30,594
maybe this is better.

539
00:49:33,889 --> 00:49:35,682
This is Fred Gwynne.

540
00:49:36,892 --> 00:49:38,768
Munsters.

541
00:49:38,935 --> 00:49:41,271
Fred Gwynne is a terrific actor.

542
00:49:41,938 --> 00:49:44,107
Unfortunately no longer with us.

543
00:49:47,486 --> 00:49:48,612
Very tall man, Fred.

544
00:49:48,695 --> 00:49:52,115
It was a challenge to shoot him
with Michael, who's about a foot shorter.

545
00:50:19,017 --> 00:50:22,979
Lois was great in Five Easy Pieces.

546
00:50:23,063 --> 00:50:26,941
She played Jack Nicholson's sister,
as I remember it.

547
00:50:26,942 --> 00:50:29,236
Just an amazing, amazing movie.

548
00:50:48,588 --> 00:50:55,262
So this is where he uses that
elastic band ball I was talking about.

549
00:50:55,345 --> 00:50:57,055
That's funny, isn't it?

550
00:51:29,629 --> 00:51:31,923
Again, the phone
with that kind of attachment

551
00:51:32,007 --> 00:51:35,371
so that you don't have to actually hold
it, I thought that was interesting.

552
00:51:35,927 --> 00:51:37,721
Again, it gives it a bit of history.

553
00:51:37,804 --> 00:51:40,890
It makes it a phone
that he actually uses.

554
00:51:40,974 --> 00:51:43,059
This is a sexy scene, I think.

555
00:52:06,416 --> 00:52:09,043
It's often the scenes

556
00:52:09,044 --> 00:52:13,131
that suggest what might happen
rather than...

557
00:52:13,256 --> 00:52:15,884
In sexual terms, I'm talking about.

558
00:52:16,009 --> 00:52:20,054
Rather than when
they're actually happening.

559
00:52:20,055 --> 00:52:23,266
The suggestion of
what might happen here

560
00:52:23,391 --> 00:52:25,268
is very sexy, I think.

561
00:52:29,397 --> 00:52:31,483
I like this shot.

562
00:52:36,279 --> 00:52:38,406
And then the bell rings.

563
00:52:47,123 --> 00:52:52,087
See, if Anne Archer had been plain,
it wouldn't have worked, I don't think.

564
00:52:52,128 --> 00:52:55,089
This scene was fun to do.

565
00:52:55,090 --> 00:52:56,466
We shot it...

566
00:52:57,467 --> 00:53:00,470
Again, a lot of this was just made up,

567
00:53:00,553 --> 00:53:02,097
was just improvised, really.

568
00:53:03,348 --> 00:53:06,184
Again, as I said,
Stuart is hilariously funny.

569
00:53:07,102 --> 00:53:08,103
And this is another scene.

570
00:53:08,186 --> 00:53:11,232
There's a lot of scenes in this movie
where they had a drink or two.

571
00:53:14,609 --> 00:53:16,528
It's all flooding back.

572
00:53:18,738 --> 00:53:22,659
A lot of this, as I said,
the dialogue was improvised.

573
00:53:45,265 --> 00:53:48,268
I like this thing where they do
the Japanese together.

574
00:53:48,643 --> 00:53:50,228
Well, this one now.

575
00:53:53,148 --> 00:53:55,108
They just kind of did it, you know.

576
00:53:57,402 --> 00:54:01,281
It's fabulous when
as a director, you just turn it on

577
00:54:01,364 --> 00:54:03,157
and they just do it for you.

578
00:54:03,158 --> 00:54:06,035
What you do is
you try and create a situation

579
00:54:06,119 --> 00:54:07,244
where they're not aware of you.

580
00:54:07,245 --> 00:54:09,914
The camera was a long way away.

581
00:54:09,998 --> 00:54:11,665
And so, half the time,
they didn't really know

582
00:54:11,666 --> 00:54:14,127
whether we were shooting or not.

583
00:54:16,087 --> 00:54:20,759
One thing I try to do is, quite often,
to put the clapperboard on at the end.

584
00:54:21,676 --> 00:54:24,178
Because I always think
that the sound of the clapperboard

585
00:54:24,179 --> 00:54:26,180
petrifies everyone, me included.

586
00:54:26,181 --> 00:54:31,185
And actors, especially,
when you bang that thing, they tense up.

587
00:54:31,186 --> 00:54:33,188
So I try and put it on at the end,

588
00:54:33,271 --> 00:54:35,565
which doesn't endear me to the editors,

589
00:54:35,648 --> 00:54:38,193
who quite often get it out of synch.

590
00:55:04,761 --> 00:55:07,261
It's quite a nice move, I think,
through the glass here.

591
00:55:08,932 --> 00:55:10,474
It's always nice shooting through glass.

592
00:55:10,475 --> 00:55:13,102
Shooting through a layer, I think,
is always...

593
00:55:14,854 --> 00:55:18,066
It's fun, you know,
just makes it more interesting.

594
00:55:19,400 --> 00:55:24,906
In this scene coming up, I always think
that Glenn is truly terrifying in it.

595
00:55:24,989 --> 00:55:30,286
You feel that she's gonna leap down
the phone at him. It's amazing, I think.

596
00:55:54,435 --> 00:55:56,271
I love her breathing.

597
00:56:06,406 --> 00:56:08,700
This is every man's nightmare.

598
00:56:10,952 --> 00:56:13,204
I mean, over and over again,
people are...

599
00:56:13,288 --> 00:56:15,198
When this movie came out,
people would say,

600
00:56:15,248 --> 00:56:18,376
"Well, thanks a million,
you've ruined it for us."

601
00:56:20,295 --> 00:56:24,340
Many, many married men
were pissed off at me.

602
00:56:31,139 --> 00:56:32,724
I'd be there.

603
00:56:38,438 --> 00:56:41,524
This is a nice hand-held.

604
00:56:41,608 --> 00:56:45,403
I think this was on the Steadicam.
I'm not crazy about the Steadicam

605
00:56:46,487 --> 00:56:50,825
because it tends to have a floaty quality.

606
00:56:51,159 --> 00:56:54,370
I prefer hand-held, really,

607
00:56:55,038 --> 00:56:58,249
but this was the only way, really,
to do this in one piece.

608
00:56:58,333 --> 00:57:00,334
I mean, this shot now, coming up,

609
00:57:00,335 --> 00:57:02,962
as far as I remember is, I think,
a Steadicam.

610
00:57:03,463 --> 00:57:04,797
Maybe it wasn't.

611
00:57:07,425 --> 00:57:09,135
I think it was.

612
00:57:22,148 --> 00:57:25,360
This scene coming up,
when she says that she's pregnant,

613
00:57:27,362 --> 00:57:28,404
There.

614
00:57:28,446 --> 00:57:31,407
I started off doing it
as a circular track.

615
00:57:31,449 --> 00:57:35,411
We laid down track around them,
literally, a circle of track.

616
00:57:37,288 --> 00:57:39,373
So that this conversation was

617
00:57:39,374 --> 00:57:41,834
one minute seeing her,
one minute seeing him.

618
00:57:42,835 --> 00:57:45,254
And I started off, and then abandoned it.

619
00:57:45,338 --> 00:57:49,759
Because it just didn't seem
to be working, dramatically.

620
00:57:49,842 --> 00:57:51,594
It was better in the end, I think,

621
00:57:51,678 --> 00:57:53,680
to shoot it conventionally like this.

622
00:57:53,763 --> 00:57:57,391
Because then you can alter
the weight between the actors.

623
00:57:57,392 --> 00:58:01,395
But although the other one
was attractive to look at,

624
00:58:01,396 --> 00:58:04,399
the circular track,
I think it took away from these moments.

625
00:58:27,338 --> 00:58:31,551
I like this advert.
We thought about it quite a lot,

626
00:58:32,301 --> 00:58:37,098
him standing against this idyllic scene
with the rings or whatever.

627
00:58:39,100 --> 00:58:41,936
The idealized, romantic...

628
00:58:42,937 --> 00:58:46,065
Yeah, here it is, there.
I thought that's quite funny, really.

629
00:59:08,337 --> 00:59:11,466
Just a truly terrifying moment, I think,
for Michael, really.

630
00:59:15,178 --> 00:59:19,724
I think it's terrifying for a lot
of married men, who, somewhere,

631
00:59:21,350 --> 00:59:24,187
thought about the remote possibility
of having an affair.

632
00:59:30,693 --> 00:59:33,905
It's funny how people have taken...

633
00:59:33,988 --> 00:59:36,352
It's exciting, really.
Have taken the movie to heart.

634
00:59:36,407 --> 00:59:40,703
And they talk about women
who are of similar quality

635
00:59:40,828 --> 00:59:45,458
or character to Glenn's here,
as being bunny boilers.

636
01:00:30,753 --> 01:00:32,546
This is quite an interesting...

637
01:00:32,547 --> 01:00:36,801
Again, this is shot through
a car window, as I remember it,

638
01:00:36,884 --> 01:00:39,512
just to make it more interesting.

639
01:00:39,554 --> 01:00:41,264
It was pouring with rain, I remember.

640
01:00:41,347 --> 01:00:43,808
I just didn't want to do it boredly,

641
01:00:43,891 --> 01:00:45,982
him crossing the road,
and so it's interesting,

642
01:00:46,060 --> 01:00:49,021
more interesting,
like now you see him, now you don't,

643
01:00:49,105 --> 01:00:52,942
shooting it through
the actual car window.

644
01:00:55,278 --> 01:00:57,460
And then when we go to the staircase
in a minute,

645
01:00:57,488 --> 01:01:01,659
that was yet another interior,
it was another cheat.

646
01:01:01,701 --> 01:01:03,369
This wasn't.

647
01:01:04,620 --> 01:01:06,998
It just had a great staircase.

648
01:01:09,750 --> 01:01:14,046
It's funny how you use bits and pieces
from different locations

649
01:01:14,130 --> 01:01:15,798
and they fit together.

650
01:01:17,800 --> 01:01:21,262
Producers don't like you
doing it too much.

651
01:01:21,345 --> 01:01:23,973
See, this bit here is another building.

652
01:01:28,603 --> 01:01:31,856
You'll like the fact.
This is a nice hand-held here, I think.

653
01:01:31,981 --> 01:01:34,650
This was hand-held,
but with the stabilizers.

654
01:01:34,692 --> 01:01:40,615
Again, Craig, the operator has
these interesting gyro stabilizers,

655
01:01:40,656 --> 01:01:44,702
which make the hand-held camera
just a little bit more stable,

656
01:01:44,785 --> 01:01:47,205
but not as stable as the Steadicam.

657
01:02:06,390 --> 01:02:09,310
This is where you find out,
in a minute, that, in fact,

658
01:02:09,393 --> 01:02:13,731
she was telling the truth
about her father dying.

659
01:02:13,773 --> 01:02:15,691
It's quite interesting.

660
01:02:44,679 --> 01:02:47,515
It's always a challenge when
you have to do a bio of somebody,

661
01:02:47,598 --> 01:02:50,684
an imaginary character like that,

662
01:02:50,685 --> 01:02:52,728
and to do it believably.

663
01:03:00,695 --> 01:03:04,699
I quite like this opening there,
with the guy with the trolley.

664
01:03:05,700 --> 01:03:07,743
This was interesting.
This is a scene that,

665
01:03:07,785 --> 01:03:09,953
to be absolutely honest,
didn't work great, I didn't think.

666
01:03:09,954 --> 01:03:12,707
And so we cut it way, way, way down.

667
01:03:12,790 --> 01:03:15,251
I've forgotten exactly
what we did cut out.

668
01:03:40,151 --> 01:03:41,569
I've always liked trolleys.

669
01:03:41,652 --> 01:03:46,532
I used a trolley in Jacob's Ladder
with a wheel that was wonky

670
01:03:46,615 --> 01:03:48,826
and sort of flipped around.

671
01:03:49,744 --> 01:03:53,456
It's funny how you have bits and pieces

672
01:03:53,539 --> 01:03:57,209
that go from one movie to another.

673
01:04:00,963 --> 01:04:03,758
Suppose the danger is repeating itself.

674
01:04:27,406 --> 01:04:30,117
This was a real case. I remember that.

675
01:04:30,201 --> 01:04:32,495
The police brutality case.

676
01:04:38,084 --> 01:04:40,002
The operator is pretty funny
on this scene.

677
01:04:40,086 --> 01:04:42,546
This was something
that we added in later on,

678
01:04:42,630 --> 01:04:45,091
when we were doing the post-synch.

679
01:05:20,126 --> 01:05:23,087
This scene coming up
is half-interesting,

680
01:05:23,212 --> 01:05:25,381
when he gets home
and he finds Glenn there.

681
01:05:25,464 --> 01:05:28,259
I think it was shot
quite interestingly, really.

682
01:05:29,468 --> 01:05:31,929
With her looking into the camera,

683
01:05:33,848 --> 01:05:36,642
directly into the camera sometimes

684
01:05:36,725 --> 01:05:40,521
rather than looking off-screen to him,

685
01:05:40,646 --> 01:05:43,107
it was more unnerving, I think.

686
01:05:43,190 --> 01:05:45,942
And I like this shot coming up,
where he comes around the corner,

687
01:05:45,943 --> 01:05:51,490
and it's like his point of view,
as if he hears a voice here.

688
01:05:51,657 --> 01:05:55,870
But then the camera creeps
around the corner and finds her.

689
01:05:55,953 --> 01:05:57,872
Here it is.

690
01:05:58,873 --> 01:06:01,876
With that nice cue from Maurice.

691
01:06:02,918 --> 01:06:05,880
It's nice the way the cue,
the music creeps in.

692
01:06:05,963 --> 01:06:08,591
The danger is it becomes

693
01:06:08,716 --> 01:06:11,969
like television or something,
it really feels like a cue.

694
01:06:15,890 --> 01:06:18,851
See the way she's looking
into the camera there,

695
01:06:18,893 --> 01:06:21,395
rather than off-screen to him, it's good.

696
01:06:25,149 --> 01:06:28,819
It's kind of interesting, I think.
More unnerving.

697
01:06:34,283 --> 01:06:36,911
Oh, God. Imagine going through that.

698
01:06:38,704 --> 01:06:42,041
Now she's looking off-screen to him.
It's interesting.

699
01:06:43,918 --> 01:06:46,712
Now she's looking
straight into the camera.

700
01:06:50,925 --> 01:06:52,927
But he's always looking off-camera.

701
01:06:53,928 --> 01:06:57,973
Obviously because
it's unnerving for him.

702
01:07:00,392 --> 01:07:03,854
Now, I think, is when your heart starts
to go out to Michael now.

703
01:07:03,938 --> 01:07:06,273
Your allegiance changes, you know.

704
01:07:17,451 --> 01:07:20,329
It's horrifying that she now knows
that address as well.

705
01:07:30,256 --> 01:07:32,550
The end of the scene
was tough to sort out,

706
01:07:32,633 --> 01:07:33,967
just in terms of the shooting.

707
01:07:33,968 --> 01:07:36,387
I remember thinking
how complicated it was.

708
01:07:36,470 --> 01:07:38,847
I'm not the brightest of people.

709
01:07:38,931 --> 01:07:44,979
It was when Anne goes off now
to get the telephone.

710
01:07:46,063 --> 01:07:49,191
To write a telephone number down,
I think.

711
01:07:49,316 --> 01:07:51,318
It's very complicated.

712
01:07:54,822 --> 01:07:55,990
So it's a nice moment,

713
01:07:57,366 --> 01:08:01,996
because it now leaves
Michael alone with Glenn.

714
01:08:03,872 --> 01:08:06,292
Which is a nice moment,
when he wants to kill her.

715
01:08:08,002 --> 01:08:11,338
He wants to leap on her
and grab her by the throat.

716
01:08:14,300 --> 01:08:17,845
It looks easy,
but it was complicated to work out

717
01:08:17,928 --> 01:08:22,308
in terms of the actual shooting of it.

718
01:09:22,159 --> 01:09:25,078
It's kind of heartbreaking the way
she's kind of dressed up for him.

719
01:09:25,079 --> 01:09:28,749
You know, she's put
the nice nighty on for him.

720
01:09:34,713 --> 01:09:36,674
I always remember in this scene

721
01:09:36,757 --> 01:09:41,178
how Michael screamed himself
hoarse for Glenn.

722
01:09:42,262 --> 01:09:43,847
And so often with an actor,

723
01:09:43,931 --> 01:09:48,477
they will sort of save their performance
for themselves.

724
01:09:49,186 --> 01:09:53,065
But I just remember how much
he gave off camera for Glenn.

725
01:09:54,400 --> 01:09:56,110
It was amazing, really.

726
01:09:56,151 --> 01:10:02,783
A lot of actors don't realize
that if the other actor is good,

727
01:10:02,866 --> 01:10:04,827
they look good, as well.

728
01:10:05,744 --> 01:10:08,122
There's often a kind of rivalry
between actors,

729
01:10:08,205 --> 01:10:11,250
but there certainly wasn't in their case.

730
01:10:47,578 --> 01:10:48,871
Fabulous.

731
01:10:48,954 --> 01:10:51,457
And it's somewhat funny
how the allegiance goes,

732
01:10:51,540 --> 01:10:54,877
'cause you go, "Yay,"
when she says that, you know?

733
01:11:07,181 --> 01:11:10,893
This moment is great,
when she says she'll tell the wife.

734
01:11:14,146 --> 01:11:15,481
Scary moment.

735
01:11:16,190 --> 01:11:17,191
It's a good angle.

736
01:11:17,274 --> 01:11:20,819
I think that low angle
sort of works nice there.

737
01:11:26,450 --> 01:11:28,827
It's nice staying low, I think.

738
01:11:48,388 --> 01:11:51,558
I like the way the phone becomes
a third character, really,

739
01:11:51,642 --> 01:11:54,061
in this scene.

740
01:12:01,360 --> 01:12:05,823
And on one end of the table here
is "Packy" Dolan, our gaffer.

741
01:12:06,323 --> 01:12:07,825
A fine actor.

742
01:12:39,231 --> 01:12:41,275
There he is. A fine actor.

743
01:12:50,909 --> 01:12:52,286
I used to do commercials,

744
01:12:52,327 --> 01:12:56,290
and I remember
Anne Archer was mocking me

745
01:12:58,125 --> 01:13:01,837
about this particular scene,
where she's doing the painting at home,

746
01:13:01,920 --> 01:13:05,257
and she said it reminded her
of a commercial.

747
01:13:29,406 --> 01:13:32,492
It's funny.
I like her fingers here, covered in paint.

748
01:13:32,576 --> 01:13:36,121
It's the sort of thing
it'd be very easy to forget,

749
01:13:36,204 --> 01:13:41,835
you know, not do, not to have
the paint on her fingers, you know.

750
01:13:42,252 --> 01:13:45,339
And, unconsciously,
it would feel wrong, you know.

751
01:13:50,052 --> 01:13:52,428
There's a scene coming up
that I quite like in the elevator,

752
01:13:52,429 --> 01:13:56,516
where you kind of feature
the rabbit prominently,

753
01:13:56,850 --> 01:14:01,229
and he's going up to get his car,
which, of course, would never happen.

754
01:14:01,313 --> 01:14:03,523
They would get the car for him.

755
01:14:03,607 --> 01:14:05,483
But in a movie, it doesn't really matter,
you know,

756
01:14:05,484 --> 01:14:11,365
and I wanted him to be alone
and to have Glenn looking down on him.

757
01:14:12,115 --> 01:14:16,370
I wanted there to be
maximum suspense.

758
01:14:17,454 --> 01:14:23,835
And obviously, another thing is that
there would be a gate on the elevator,

759
01:14:23,919 --> 01:14:30,467
but I wanted to see the stories as
you go up and down, the different floors.

760
01:14:31,468 --> 01:14:34,304
I mean, obviously, this would be
incredibly dangerous,

761
01:14:34,388 --> 01:14:36,807
but you don't really think about it.

762
01:14:37,599 --> 01:14:41,895
I stuck the red light in there.
I thought it was kind of more interesting

763
01:14:41,979 --> 01:14:44,898
to get the red light on the bunny.

764
01:14:47,442 --> 01:14:52,405
I like the way Maurice's music
comes out of that sound effect,

765
01:14:52,406 --> 01:14:57,661
and you're really not quite aware of
what is music and what is sound effect.

766
01:14:57,744 --> 01:15:02,499
That's the way it should be, really.
It's a great shot of Glenn there, I think.

767
01:15:03,875 --> 01:15:05,419
She looks amazing.

768
01:15:05,919 --> 01:15:08,922
Again, shooting through glass,
through windows, is always fun,

769
01:15:09,006 --> 01:15:11,591
you know, so much more interesting.

770
01:15:11,800 --> 01:15:15,345
She looks great.
And she looks best here, I think,

771
01:15:15,429 --> 01:15:18,056
better here than anywhere in the movie.

772
01:15:23,437 --> 01:15:25,856
I like the false alarm
of the car alarm here,

773
01:15:25,939 --> 01:15:29,735
before he sees the acid on his car,
coming up.

774
01:15:31,361 --> 01:15:35,449
This was tough to do and make it
sort of look believable.

775
01:15:35,907 --> 01:15:38,452
Again, shooting through the glass,

776
01:15:39,327 --> 01:15:41,621
I find it's much more interesting.

777
01:16:14,780 --> 01:16:17,199
It's funny, when Michael did this,

778
01:16:17,282 --> 01:16:21,036
that scene, Kirk Douglas, his father,
turned up.

779
01:16:25,791 --> 01:16:31,505
I remember, on the morning
of this shoot,

780
01:16:31,546 --> 01:16:33,840
they turned up with a red car.

781
01:16:34,508 --> 01:16:37,469
And I said,
"I can't do it with a red car."

782
01:16:37,511 --> 01:16:41,890
And one thing I try to do, by the way,
and you'll notice it on this street,

783
01:16:41,973 --> 01:16:47,270
is I always try and keep color,
as much as I can, out of the scene.

784
01:16:47,354 --> 01:16:52,484
I love when color is
kind of monochromatic, you know,

785
01:16:52,526 --> 01:16:55,487
when it's like black-and-white,
but in color.

786
01:16:56,571 --> 01:16:59,532
So there was a frantic search
for another car,

787
01:16:59,533 --> 01:17:03,411
and everybody was incensed with rage
'cause we were waiting,

788
01:17:03,954 --> 01:17:08,375
and then, eventually, one of the crew
had this car, so we used his car.

789
01:17:11,336 --> 01:17:16,424
This tape is based,

790
01:17:17,092 --> 01:17:20,303
the kind of ramblings on the tape,
if you like,

791
01:17:21,221 --> 01:17:25,559
are based on something that an actress,

792
01:17:26,059 --> 01:17:29,855
who also, funny enough,
came in for Fatal Attraction,

793
01:17:29,938 --> 01:17:33,900
told me about. She told me about a girl
who was obsessed with her husband,

794
01:17:33,984 --> 01:17:36,069
who was actually an actor,

795
01:17:36,653 --> 01:17:42,576
and how this girl would camp out, literally,
in her car, outside of their door.

796
01:17:42,868 --> 01:17:45,787
And she gave me the tape,
funny enough,

797
01:17:45,871 --> 01:17:48,331
of one of this girl's conversations,

798
01:17:48,415 --> 01:17:52,961
and I gave the tape to Glenn,

799
01:17:53,587 --> 01:17:55,269
and I said, "I'd like you to do this.

800
01:17:55,297 --> 01:18:00,886
"I'd like you to follow
this very closely."

801
01:18:00,969 --> 01:18:03,388
And that's exactly what she did.

802
01:18:16,234 --> 01:18:19,278
It's funny, 'cause when I listened to
the tape, it was kind of heartbreaking.

803
01:18:19,279 --> 01:18:21,489
You would hear that...

804
01:18:21,573 --> 01:18:25,368
You would understand that this woman
had made the tape in her room,

805
01:18:25,452 --> 01:18:28,788
in her bedroom somewhere,
and off screen,

806
01:18:28,872 --> 01:18:30,999
you would hear other people talking,

807
01:18:31,082 --> 01:18:33,710
and when she was doing the tape,

808
01:18:33,793 --> 01:18:37,422
you would hear that
part of the time, she'd be crying.

809
01:18:37,631 --> 01:18:39,757
And you'd hear a kind of a clicking
from the tape.

810
01:18:39,758 --> 01:18:43,011
It was obviously some cheap
sort of tape recorder.

811
01:19:28,974 --> 01:19:31,684
This is a nice focus pull now,

812
01:19:31,685 --> 01:19:35,063
if I remember, her car being behind.

813
01:19:35,146 --> 01:19:38,942
Actually, it wasn't that great a focus
pull. It should have been slower.

814
01:19:39,025 --> 01:19:41,194
Should have just pulled focus,

815
01:19:41,278 --> 01:19:44,781
racked focus slower,
through to Glenn's car.

816
01:19:48,326 --> 01:19:52,080
I like the way Howard lit those trees,
you know?

817
01:20:06,886 --> 01:20:10,932
Again, I think your allegiance
sort of changes here,

818
01:20:11,016 --> 01:20:15,312
and you think, "Oh, God."
You feel so sorry for the woman,

819
01:20:15,979 --> 01:20:20,608
in her cold apartment looking at this
sort of cozy domesticity,

820
01:20:20,984 --> 01:20:24,404
and you understand
her throwing up after it, really.

821
01:20:52,390 --> 01:20:54,183
This is the scene
I was talking about before

822
01:20:54,184 --> 01:20:57,729
that just was a nightmare to shoot.
I don't know why.

823
01:20:58,563 --> 01:21:00,773
The shadow's nice there, I think.

824
01:21:00,774 --> 01:21:03,109
It was later on, actually.

825
01:21:05,195 --> 01:21:07,405
I remember when I was trying
to get some suspense

826
01:21:07,489 --> 01:21:11,868
out of the actual listening
to the tape recorder here.

827
01:21:13,119 --> 01:21:15,914
Trying to get some
sort of a tracking move.

828
01:21:16,414 --> 01:21:19,959
It's not this close-up.
It's, I think, when you cut wider.

829
01:21:24,798 --> 01:21:26,883
Maybe I didn't use the shot.

830
01:21:29,010 --> 01:21:32,889
Obviously, the shot didn't work out.
I spent so long doing it.

831
01:21:37,143 --> 01:21:39,729
Oh, this was the shot here.

832
01:21:39,938 --> 01:21:41,893
I was trying to track past things,
you know,

833
01:21:41,898 --> 01:21:46,403
past sort of upright beams and stuff
like that, and it just didn't work.

834
01:21:48,363 --> 01:21:49,906
This is nice, I think.

835
01:21:49,989 --> 01:21:54,244
As I remember it, Anne's hand comes
on his shoulder or something like that,

836
01:21:54,327 --> 01:21:56,830
so we are shocked, as well as him.

837
01:21:57,330 --> 01:21:59,374
We're not prepared for it.

838
01:22:00,750 --> 01:22:01,850
There.

839
01:22:14,264 --> 01:22:15,848
People were very frightened
in this movie.

840
01:22:15,849 --> 01:22:20,145
I remember at the end,
when Glenn appears in the bathroom,

841
01:22:20,228 --> 01:22:24,023
and he's downstairs in the kitchen
making the tea or whatever,

842
01:22:25,066 --> 01:22:28,111
there really was bedlam in the theater.

843
01:22:28,194 --> 01:22:32,365
People would be screaming and yelling
and jumping into each other's laps.

844
01:22:32,449 --> 01:22:33,867
It was great.

845
01:22:48,923 --> 01:22:50,883
This was a real police
station we did it...

846
01:22:50,884 --> 01:22:53,178
I mean, it all was real, really.

847
01:22:53,261 --> 01:22:57,890
The only thing we did use a studio for,
or sort of a studio,

848
01:22:57,891 --> 01:23:00,893
was for the actual scene at the end,

849
01:23:00,894 --> 01:23:03,730
when we had the bath overflowing
and stuff like that, you know.

850
01:23:03,813 --> 01:23:06,316
We had to build the bath on a plinth,

851
01:23:07,358 --> 01:23:10,737
so that we could do all of that
overflowing and stuff, you know.

852
01:23:10,820 --> 01:23:14,908
We didn't want to flood a house,
a real house.

853
01:23:21,831 --> 01:23:25,460
This is Sam Coppola,
who I used later on in Jacob's Ladder.

854
01:23:28,213 --> 01:23:30,381
He's a taxi driver in that.

855
01:24:46,833 --> 01:24:51,462
I particularly have enjoyed working on
this movie with Howard Atherton,

856
01:24:51,546 --> 01:24:53,047
who's somebody that I used to...

857
01:24:53,089 --> 01:24:55,049
Howard Atherton being
the cinematographer,

858
01:24:55,091 --> 01:24:59,387
who I've worked with in the past
on commercials,

859
01:24:59,470 --> 01:25:02,682
and also, subsequently,
he did Lolita with me.

860
01:25:03,641 --> 01:25:09,897
This was his first American feature film,
anyway, and it was...

861
01:25:10,481 --> 01:25:14,026
I was so excited
at the prospect of working with him,

862
01:25:14,027 --> 01:25:18,698
because I'd worked so many times
with him on commercials,

863
01:25:18,781 --> 01:25:22,910
but, of course, convincing people
that somebody who you've worked with

864
01:25:22,994 --> 01:25:28,040
on commercials is going to work out fine
for a feature film is not always easy.

865
01:25:28,041 --> 01:25:32,920
So I remember it was something
of a battle to get him to do this.

866
01:25:34,047 --> 01:25:37,008
But I'm just thrilled
at working with him, really.

867
01:25:37,050 --> 01:25:42,305
We've subsequently done Lolita
and other movies together,

868
01:25:42,388 --> 01:25:48,061
and I think we bring out the best
in both of each other's work.

869
01:26:11,876 --> 01:26:15,088
And the idea of intercutting Ellen
going to the...

870
01:26:15,713 --> 01:26:18,841
Here she is going off
to the rabbit hutch thing.

871
01:26:19,342 --> 01:26:23,763
The idea of intercutting that
with Anne finding the bunny in the pot,

872
01:26:23,846 --> 01:26:27,600
I think it's quite interesting, really.
It worked quite well.

873
01:26:36,109 --> 01:26:39,654
This shot kind of sets up
that there's something wrong,

874
01:26:39,737 --> 01:26:41,489
something a bit off.

875
01:26:46,786 --> 01:26:50,748
I like that shot there. I like
when you half see people, you know.

876
01:26:50,832 --> 01:26:55,128
You don't see them too clearly,
so they're half in the frame. It's nice.

877
01:27:14,647 --> 01:27:16,899
The intercutting starts soon,

878
01:27:19,444 --> 01:27:21,154
if I remember it.

879
01:27:21,612 --> 01:27:23,573
She approaches here, I think.

880
01:27:32,248 --> 01:27:35,168
So the two discoveries
are at the same time.

881
01:28:28,221 --> 01:28:32,809
This is where Michael finally tells Anne.

882
01:28:40,233 --> 01:28:44,153
There's a scene coming up that's
quite interesting with the kid, you know.

883
01:28:44,237 --> 01:28:50,451
I wanted Ellen to cry, and I remember
talking to Ellen's parents about it,

884
01:28:50,535 --> 01:28:53,996
and I said, "What we're going to do
is play a little bit of a trick on her.

885
01:28:54,080 --> 01:28:56,624
"We're going to pretend
to take away her dolly."

886
01:29:00,419 --> 01:29:03,255
As I remember it,
I was kind of the good guy,

887
01:29:03,256 --> 01:29:06,300
and Michael was the bad guy.
Michael said he was going to keep her.

888
01:29:06,342 --> 01:29:08,051
And there's a dolly,
I forgot what it was called,

889
01:29:08,052 --> 01:29:11,514
Kangy or something,
it was a kangaroo, I think,

890
01:29:11,597 --> 01:29:14,433
that Ellen would have the whole time,

891
01:29:15,226 --> 01:29:19,105
and he said, "I'm going to keep it,"
or something like that,

892
01:29:19,188 --> 01:29:22,274
and I said, "No, give it back to her."

893
01:29:22,275 --> 01:29:26,279
You know, it helped her to cry,
and it was a little something

894
01:29:26,362 --> 01:29:29,281
we went through
very carefully with Ellen's parents.

895
01:29:29,282 --> 01:29:31,909
But you'll see in a minute.

896
01:31:11,050 --> 01:31:15,054
This is the moment coming up
that I was talking about with Ellen.

897
01:31:16,973 --> 01:31:19,892
That was the dolly
that I was talking about.

898
01:31:28,150 --> 01:31:32,405
It's funny, 'cause after this shot,
I remember rushing in

899
01:31:32,446 --> 01:31:36,200
and cuddling her.
Literally, a frame after that shot,

900
01:31:36,784 --> 01:31:39,829
I was in it, I was in the frame.

901
01:32:27,543 --> 01:32:31,255
It's funny, my mother,
who lives in England, actually,

902
01:32:31,338 --> 01:32:34,717
my mother worked with autistic kids,

903
01:32:34,800 --> 01:32:38,429
and I went along to watch her
work with them,

904
01:32:38,471 --> 01:32:40,556
and they had
a certain sort of a mannerism,

905
01:32:40,598 --> 01:32:44,685
the way they sat, and the way
they would fiddle obsessively

906
01:32:44,769 --> 01:32:46,520
with their hands or whatever,

907
01:32:46,562 --> 01:32:53,360
and I tried to get Glenn's body language
to be a bit like that,

908
01:32:53,444 --> 01:32:56,238
to get a sense that she was mentally ill.

909
01:33:06,957 --> 01:33:12,088
When Anne Archer tells her here,
the audience yells,

910
01:33:12,171 --> 01:33:14,340
the audience applauds there.

911
01:33:22,723 --> 01:33:25,226
This is what I was talking about.

912
01:33:25,684 --> 01:33:27,185
I've forgotten exactly what she does.

913
01:33:27,186 --> 01:33:29,855
She does something there
with her hands.

914
01:33:36,362 --> 01:33:38,531
There's a funny moment here, when...

915
01:33:38,614 --> 01:33:44,286
We put an extra cushion on the stool
for Ellen, to bring her up high.

916
01:33:44,537 --> 01:33:47,664
We put some gaffer tape, you know,
the prop man put it on or whatever,

917
01:33:47,665 --> 01:33:50,417
and in a minute, now, you see it,
there it is on top.

918
01:33:50,501 --> 01:33:52,586
You shouldn't really see that.

919
01:33:53,087 --> 01:33:54,672
And I like this fruit roll thing.

920
01:33:54,755 --> 01:33:59,009
Again, my daughter was always
eating these fruit rolls,

921
01:33:59,093 --> 01:34:03,472
and she'd kind of wrap them around her
finger and suck on them, you know,

922
01:34:03,556 --> 01:34:09,186
which is what Ellen does in this...
Again, I stole this from Amy.

923
01:34:17,111 --> 01:34:20,739
This is a bit of Chopin,
it's a prelude that I really love.

924
01:34:21,407 --> 01:34:24,576
And Anne, I got her to learn to play it.

925
01:34:24,577 --> 01:34:28,581
She didn't play much piano,
but she played it nicely, I think.

926
01:34:42,595 --> 01:34:47,599
What's so lovely about kids of Ellen's
age is you can tell them

927
01:34:47,600 --> 01:34:51,312
you want them to eat the Fruit Roll-Up,
whatever,

928
01:34:51,395 --> 01:34:54,064
while they're talking,
and they'll make it all so charming.

929
01:34:54,148 --> 01:34:56,317
You won't have to say anything.

930
01:34:56,400 --> 01:35:01,614
They'll just sort of make it enchanting.

931
01:35:06,619 --> 01:35:09,663
Always smart to get lots of dogs
and kids in your film,

932
01:35:09,705 --> 01:35:12,833
then you've got a fighting chance.

933
01:35:33,812 --> 01:35:36,273
This is quite interesting. I remember,

934
01:35:36,357 --> 01:35:39,401
after Anne Archer finds
that the kid's missing,

935
01:35:39,485 --> 01:35:44,782
that Ellen's missing, she goes out
and drives frantically, looking for her.

936
01:35:48,452 --> 01:35:51,663
What I didn't have was her point of view,

937
01:35:51,664 --> 01:35:53,999
looking around for Ellen,

938
01:35:54,083 --> 01:35:58,963
and I asked Craig to go out and shoot
some point-of-views,

939
01:35:59,672 --> 01:36:03,008
using a hand-held camera,
through the windshield.

940
01:36:03,592 --> 01:36:08,764
And he went out and shot it, I think,
on a 35, either on a 35 or a 40.

941
01:36:09,765 --> 01:36:12,538
And it's interesting, 'cause when
he brought the footage back,

942
01:36:12,559 --> 01:36:16,814
it just didn't look sort of
like her point of view.

943
01:36:16,897 --> 01:36:20,192
The angle was too wide,
so he went back and did it on a 50,

944
01:36:20,276 --> 01:36:23,696
or maybe it was a 75, I've forgotten.
I think probably a 50.

945
01:36:23,737 --> 01:36:26,824
And it suddenly worked.
It suddenly felt like her viewpoint.

946
01:36:26,907 --> 01:36:28,867
I like this shot here,

947
01:36:28,951 --> 01:36:33,539
where the kid's got her coat half on
in silhouette, there.

948
01:36:33,622 --> 01:36:38,627
It's a kind of interesting image.
Again, this was hand-held, obviously.

949
01:36:42,464 --> 01:36:44,716
But these are the points-of-view
that I'm talking about here,

950
01:36:44,717 --> 01:36:48,720
where the camera's kind of
swinging around looking for her,

951
01:36:48,721 --> 01:36:50,639
looking for the kid.

952
01:36:51,390 --> 01:36:52,766
Here.

953
01:36:53,600 --> 01:36:56,020
And when he came back,
having shot it with a...

954
01:36:56,103 --> 01:37:00,065
I think this is...
This may be a 75, actually, some of it.

955
01:37:06,739 --> 01:37:10,743
That's nice,
that kind of whirligig music there,

956
01:37:11,994 --> 01:37:15,456
the way it's intercut
with the dramatic stuff.

957
01:37:16,749 --> 01:37:17,849
Here.

958
01:37:20,252 --> 01:37:21,879
I quite like that Dutch shot.

959
01:37:21,962 --> 01:37:24,505
If I was doing that shot again
of her running up the stairs,

960
01:37:24,506 --> 01:37:28,761
I would Dutch it a bit less, I think.
It seemed a bit over-the-top.

961
01:37:37,436 --> 01:37:40,772
I remember...
I'm not big on roller coasters.

962
01:37:40,773 --> 01:37:44,485
I get queasy.
I don't feel that well on them.

963
01:37:44,568 --> 01:37:46,862
And I had to, unfortunately,
go on this thing.

964
01:37:46,945 --> 01:37:49,573
This is at a place called Playland.

965
01:37:49,865 --> 01:37:52,951
There's the point-of-view stuff again.
This,

966
01:37:53,577 --> 01:37:57,456
which I think is quite good. It feels like
her glancing, looking out the window.

967
01:37:59,833 --> 01:38:04,129
I had to go on this rollercoaster
to work out where to put the camera.

968
01:38:04,463 --> 01:38:08,384
And I remember, every time I got on it,
thinking, "God, what am I doing here?"

969
01:38:08,467 --> 01:38:10,052
I just loathed it.

970
01:38:12,221 --> 01:38:14,890
I would have given any money to get off.

971
01:38:19,770 --> 01:38:22,815
But Ellen liked it a lot. It's funny,

972
01:38:23,232 --> 01:38:26,318
because we had to make sure
she was well strapped down.

973
01:38:28,821 --> 01:38:30,364
She loved it.

974
01:38:33,283 --> 01:38:37,621
See, we had to put mounts, of course,
on the rollercoaster, you know,

975
01:38:37,704 --> 01:38:42,543
to get her near to the rails
and different places.

976
01:38:48,841 --> 01:38:50,884
Crash, quite a lot of the...

977
01:38:50,926 --> 01:38:54,430
Some of the shots on the...
Or one shot, I think, on the crash,

978
01:38:54,513 --> 01:38:56,849
was shot in reverse, you know,

979
01:38:57,349 --> 01:39:01,103
tracking back from the number plate.

980
01:39:24,042 --> 01:39:27,880
Amazing. When he does
emotional scenes, Michael,

981
01:39:29,548 --> 01:39:32,509
his voice takes on a kind of husky thing,

982
01:39:32,593 --> 01:39:37,139
like he can hardly get the words out,
and I never quite know whether

983
01:39:37,222 --> 01:39:41,977
it's just for real, or whether he does it.
But whatever it is, it works.

984
01:40:10,214 --> 01:40:16,053
It's always interesting when an actor
has to dig down emotionally, you know,

985
01:40:16,136 --> 01:40:17,971
and you need tears in the scene.

986
01:40:18,013 --> 01:40:20,516
I think the moment
that helps him here is,

987
01:40:20,599 --> 01:40:23,936
she has a little plastic bracelet on,

988
01:40:24,228 --> 01:40:27,939
and I have a feeling that looking at that,
you know, the hospital thing

989
01:40:27,940 --> 01:40:30,943
that is what helped him.

990
01:40:43,872 --> 01:40:46,291
I remember, funnily enough,
I remember,

991
01:40:46,375 --> 01:40:48,001
with Tim Robbins in Jacob's Ladder,

992
01:40:48,043 --> 01:40:53,340
he was trying to find a moment

993
01:40:54,967 --> 01:40:57,386
of heartbreak, you know,
with his son, who had died,

994
01:40:57,469 --> 01:41:00,764
and he couldn't find it, and eventually,

995
01:41:00,847 --> 01:41:03,892
the way that he found it was
sort of scratching...

996
01:41:03,976 --> 01:41:07,980
He was looking at the kid's photograph
and he was scratching a bit of dirt off

997
01:41:08,063 --> 01:41:11,900
that had gone on the photograph,
and that's what helped him dig down

998
01:41:11,984 --> 01:41:14,528
and find the tears. It's interesting,

999
01:41:15,988 --> 01:41:18,699
you know, what different actors find.

1000
01:41:21,326 --> 01:41:24,371
Again, this Dutched angle here
works quite nicely with...

1001
01:41:24,454 --> 01:41:28,625
This scene was fairly elaborate,
when he's chasing after her.

1002
01:41:29,167 --> 01:41:33,005
We used a little skateboard dolly,
you know, a little tiny...

1003
01:41:36,341 --> 01:41:38,677
On the ground, in a minute, I mean.

1004
01:41:38,760 --> 01:41:42,013
This is just static, obviously, here.
Again, Dutched.

1005
01:41:42,014 --> 01:41:46,393
But there's a moment later on,
where the glass breaks,

1006
01:41:46,727 --> 01:41:49,688
where there's a little skateboard dolly
that we use.

1007
01:41:49,771 --> 01:41:54,025
I like this image when her face is
against the window there.

1008
01:41:54,026 --> 01:41:57,028
I remember thinking at the time that
it would have been corny to do that,

1009
01:41:57,029 --> 01:42:01,575
but then Michael suggested it,
and she did it and it worked.

1010
01:42:02,367 --> 01:42:03,368
Again, Dutched here,

1011
01:42:03,452 --> 01:42:06,663
and this skateboard dolly
is coming up in a minute,

1012
01:42:06,747 --> 01:42:10,000
just after this, there,
with the glass there.

1013
01:42:10,042 --> 01:42:12,044
There, with the glass again.

1014
01:42:13,545 --> 01:42:15,547
It's kind of interesting.

1015
01:42:24,056 --> 01:42:25,474
And there's a nice moment now,

1016
01:42:25,557 --> 01:42:28,143
when the lamp is swinging
backwards and forwards,

1017
01:42:28,185 --> 01:42:32,481
so we're using that as our light source,
like, dark, light, dark, light,

1018
01:42:32,564 --> 01:42:37,444
and if you think about it, it's swinging
for much longer than it really would do.

1019
01:42:38,070 --> 01:42:39,945
One other thing I would say here,
which I really like

1020
01:42:39,946 --> 01:42:42,407
is that when he's throttling her there,
you see,

1021
01:42:42,491 --> 01:42:44,575
Michael again taught me something
that was interesting,

1022
01:42:44,576 --> 01:42:49,080
was that he would be trying
to pull his hands apart,

1023
01:42:49,081 --> 01:42:52,376
whereas Glenn would be trying
to squeeze his hands together,

1024
01:42:52,459 --> 01:42:55,086
and, of course, Michael would win,

1025
01:42:55,087 --> 01:42:58,256
but that's an interesting technique
to make it look like

1026
01:42:58,340 --> 01:43:02,135
you really are throttling somebody
without actually doing it.

1027
01:43:06,056 --> 01:43:08,849
I like the knife setup there.
You know that's going to be used.

1028
01:43:08,850 --> 01:43:13,021
You know, it's always nice when...
See, it's still swinging, the lamp,

1029
01:43:13,105 --> 01:43:16,108
which is a bit nuts, but it sort of works.

1030
01:43:17,984 --> 01:43:22,447
But it's interesting, when you set up
the suspense of the use of the knife.

1031
01:43:24,658 --> 01:43:28,203
There's a moment I really like
in a minute, which I think is bizarre,

1032
01:43:28,286 --> 01:43:32,833
when they look at each other, you know,
when he puts the knife down, here,

1033
01:43:32,916 --> 01:43:35,127
and she stares at him,
and he stares at her,

1034
01:43:35,210 --> 01:43:40,132
and I really think, in a twisted,
strange, strange way,

1035
01:43:40,882 --> 01:43:43,301
there's a kind of a sexuality
in the moment.

1036
01:43:43,385 --> 01:43:45,220
They're like animals here.

1037
01:43:45,262 --> 01:43:48,140
And then she smiles in a minute, and I...

1038
01:43:49,141 --> 01:43:53,395
I really wanted to sort of,
in a strange way, get the feeling

1039
01:43:53,478 --> 01:43:57,190
that they could almost have
fucked their brains out here.

1040
01:43:58,150 --> 01:44:03,238
That, insane though it would have been,
it might have been,

1041
01:44:04,156 --> 01:44:07,159
without being crude,
the fuck of the century.

1042
01:44:07,200 --> 01:44:10,120
The moment I'm talking... It's a strange,

1043
01:44:10,162 --> 01:44:13,165
strange moment, the moment's here,

1044
01:44:13,498 --> 01:44:15,167
when she smiles at him.

1045
01:44:18,170 --> 01:44:20,046
In a minute. Not yet.

1046
01:44:23,884 --> 01:44:25,594
It's now, coming up.

1047
01:44:25,969 --> 01:44:27,679
Such a weird moment.

1048
01:44:32,267 --> 01:44:33,518
There.

1049
01:44:36,354 --> 01:44:37,647
Strange.

1050
01:44:42,903 --> 01:44:44,946
And kind of nuts, as well.

1051
01:45:10,305 --> 01:45:13,517
It's interesting,
'cause with the original ending,

1052
01:45:13,642 --> 01:45:17,771
when he puts the knife down there,

1053
01:45:17,854 --> 01:45:22,234
it's kind of the setup
for his fingerprints being on the knife,

1054
01:45:22,317 --> 01:45:27,364
and, in the original version,
she commits suicide,

1055
01:45:27,447 --> 01:45:29,699
and he gets the blame for it.

1056
01:45:30,033 --> 01:45:31,200
Which I always thought was great.

1057
01:45:31,201 --> 01:45:34,120
That was in the original screenplay,

1058
01:45:34,204 --> 01:45:37,081
and I thought, "That's fabulous."
She gets him from the grave, you know.

1059
01:45:37,082 --> 01:45:40,794
He's carted off to prison,
having got the blame,

1060
01:45:40,877 --> 01:45:43,797
and so, as I say,
she gets him from the grave.

1061
01:45:43,880 --> 01:45:49,386
But then, what I didn't think worked
was that

1062
01:45:50,136 --> 01:45:53,390
we had a solution
to get him out of the prison,

1063
01:45:53,473 --> 01:45:57,602
which was the finding
of the tape recording

1064
01:45:57,686 --> 01:46:00,397
that suggests that
she's going to kill herself

1065
01:46:00,480 --> 01:46:02,274
if he doesn't come through for her,

1066
01:46:02,315 --> 01:46:06,486
and I just thought it was too easy.
I thought it was too pat, you know.

1067
01:46:06,570 --> 01:46:08,363
This is a pretty shot.

1068
01:46:46,192 --> 01:46:48,612
It's funny, quite a lot of people
didn't quite know,

1069
01:46:49,446 --> 01:46:53,950
because of her haircut, whether Ellen
was a little boy or a little girl.

1070
01:47:11,134 --> 01:47:15,305
This whole sequence coming up
was fun to do,

1071
01:47:15,347 --> 01:47:18,183
the different elements, you know,
with the plug and the faucets

1072
01:47:18,266 --> 01:47:21,394
and the water spilling over and...

1073
01:47:23,104 --> 01:47:24,898
It was a lot of fun to do, really.

1074
01:47:27,359 --> 01:47:31,154
There's a moment when you set up
the gun in the drawer in a second,

1075
01:47:33,782 --> 01:47:36,534
and he locks all of the doors,
and you know absolutely

1076
01:47:36,618 --> 01:47:38,369
that she's going to be
in the house somewhere,

1077
01:47:38,370 --> 01:47:41,748
that essentially, he's locking her in,
rather than out.

1078
01:47:47,045 --> 01:47:49,339
There's the setup for the gun.

1079
01:47:49,422 --> 01:47:51,800
But it was fun, I think, just...

1080
01:47:51,925 --> 01:47:56,680
In the cutting, especially, was how long
you could keep him downstairs

1081
01:47:56,763 --> 01:48:01,768
making the tea and looking at water
coming through the ceiling.

1082
01:48:03,228 --> 01:48:07,398
And her upstairs, with Glenn.
You know by that time,

1083
01:48:07,399 --> 01:48:09,985
the audience knows
that Glenn is upstairs,

1084
01:48:10,068 --> 01:48:12,737
because they've seen her
in the reflection in the mirror.

1085
01:48:12,821 --> 01:48:17,367
And the fun is to know
how long, believably,

1086
01:48:17,409 --> 01:48:20,245
you can delay Michael downstairs

1087
01:48:20,328 --> 01:48:23,248
before he goes up
and rescues her, and...

1088
01:48:23,748 --> 01:48:26,501
'Cause you want the audience
to be at screaming point,

1089
01:48:26,543 --> 01:48:29,295
I mean, literally at screaming point.

1090
01:48:33,425 --> 01:48:36,803
This is quite nice,
'cause you've set up the mirror before.

1091
01:48:36,886 --> 01:48:40,265
You know, she's looking at
her black eye from the...

1092
01:48:40,890 --> 01:48:42,072
Very good makeup, I think,

1093
01:48:42,100 --> 01:48:45,020
Richard Dean's make-up there,
of the black eye.

1094
01:48:45,228 --> 01:48:47,564
Tough to do convincingly, I think.

1095
01:48:56,865 --> 01:49:00,285
I like the way the door shuts here.
This suggests...

1096
01:49:00,452 --> 01:49:04,831
You know, we've spent a lot of time
just making it creep shut, you know,

1097
01:49:04,914 --> 01:49:08,543
so that you get a sense
that something awful is going to happen.

1098
01:49:08,626 --> 01:49:13,423
All of this locking of the doors,
you know it's all going to go to rat shit.

1099
01:49:23,767 --> 01:49:27,562
This is the sequence I'm talking about
with the kettle

1100
01:49:28,563 --> 01:49:30,482
and the intercutting.

1101
01:49:46,414 --> 01:49:51,044
I spent a lot of time working
with Peter Berger on this sequence.

1102
01:49:59,385 --> 01:50:03,389
It's interesting,
doing all of this in one shot.

1103
01:50:03,515 --> 01:50:08,228
I like the idea of moving from the water,
via the faucets, up to the mirror,

1104
01:50:08,311 --> 01:50:13,066
when she goes squeak, squeak, squeak,
and wipes the condensation away.

1105
01:50:14,567 --> 01:50:15,667
And then we see Glenn.

1106
01:50:15,735 --> 01:50:18,446
It's kind of a challenge,
doing all of this in one,

1107
01:50:18,530 --> 01:50:20,573
and then we see Glenn's face.

1108
01:50:27,330 --> 01:50:28,622
It's a fabulous moment in the theater.

1109
01:50:28,623 --> 01:50:31,626
I mean, the whole place screams,
you know.

1110
01:50:33,545 --> 01:50:36,339
This moment, when she appears

1111
01:50:36,673 --> 01:50:40,051
with the knife is interesting
'cause Glenn was very anti,

1112
01:50:40,135 --> 01:50:42,553
for a long while, doing the new ending,
as we all were.

1113
01:50:42,554 --> 01:50:46,599
We were all sort of very wary
of re-shooting the ending,

1114
01:50:46,641 --> 01:50:50,436
'cause we liked the Madame Butterfly
aspect of the ending.

1115
01:50:51,688 --> 01:50:55,984
And one thing Glenn was petrified of
was that she would look like

1116
01:50:56,067 --> 01:50:57,902
kind of a one-note villainess,

1117
01:50:57,986 --> 01:51:01,197
coming into the bathroom here
with a knife.

1118
01:51:01,281 --> 01:51:03,991
I remember talking to her about this,
this moment here, and saying,

1119
01:51:03,992 --> 01:51:06,451
"Well, you don't have to, you know,
be wielding the knife.

1120
01:51:06,452 --> 01:51:08,579
"It can be down at your side."

1121
01:51:08,580 --> 01:51:13,042
And then I thought,
"Well, God, what if the knife,

1122
01:51:13,126 --> 01:51:16,713
"which would be very sharp,
would cut the cloth?"

1123
01:51:16,796 --> 01:51:20,258
And then I thought,
"Well, what if it went further

1124
01:51:20,341 --> 01:51:23,344
"and cut her skin, as well,
and into her flesh?"

1125
01:51:23,428 --> 01:51:28,391
And the idea of her not feeling that
would be extraordinary,

1126
01:51:28,474 --> 01:51:30,852
because if she couldn't feel that pain,

1127
01:51:30,935 --> 01:51:34,605
it would set up the most
amazing jeopardy, the most awful...

1128
01:51:34,606 --> 01:51:36,191
Here it is now.

1129
01:51:36,608 --> 01:51:40,612
You know, the awful jeopardy
of what she might do to Anne Archer.

1130
01:51:47,744 --> 01:51:50,246
This is good, and all the time
Michael's downstairs,

1131
01:51:50,330 --> 01:51:51,663
and the water's
coming through the ceiling,

1132
01:51:51,664 --> 01:51:54,125
and the dog's licking it up here.

1133
01:51:55,835 --> 01:51:57,628
And it's nuts, really,
when you think about it,

1134
01:51:57,629 --> 01:51:59,631
he would see the ceiling.

1135
01:51:59,923 --> 01:52:03,092
I liked him eating the fruit roll.

1136
01:52:12,644 --> 01:52:14,646
Here, I mean, Michael... It's crazy.

1137
01:52:14,729 --> 01:52:18,650
Michael didn't run up
and say, "Look, the bath's overflowing."

1138
01:52:19,484 --> 01:52:21,361
But I guess it worked.

1139
01:52:24,739 --> 01:52:29,244
See, he still hasn't gone up
to tell her the bath's overflowing.

1140
01:52:36,709 --> 01:52:38,669
It's interesting, when we were thinking

1141
01:52:38,670 --> 01:52:40,755
about what Anne Archer
could possibly use

1142
01:52:40,797 --> 01:52:46,219
as a weapon against her,
and the fact that she had a plaster cast

1143
01:52:48,680 --> 01:52:51,516
on her arm was obviously
a good solution.

1144
01:52:56,187 --> 01:52:58,314
The glass here.
So it was rigged, obviously.

1145
01:52:58,439 --> 01:53:01,609
That was broken already.

1146
01:53:03,778 --> 01:53:05,446
I like the slashing of the thing.

1147
01:53:05,530 --> 01:53:09,701
That was the real knife,
the slashing of the curtain.

1148
01:53:14,914 --> 01:53:16,916
That's a cardboard knife.

1149
01:53:17,709 --> 01:53:22,463
One thing that was fun, with the water,
it was actually amazing with the water,

1150
01:53:24,090 --> 01:53:26,801
was that we did a little test with Glenn,

1151
01:53:26,884 --> 01:53:32,265
and she tried to go backwards into
water and keep her eyes open and...

1152
01:53:32,807 --> 01:53:34,599
By the way, this, I think, is a mistake.

1153
01:53:34,600 --> 01:53:38,104
I think I shouldn't have put
the white contact lenses in here.

1154
01:53:38,187 --> 01:53:41,816
I think that was a mistake, really,
when I look back at it.

1155
01:53:42,525 --> 01:53:45,069
But Glenn found terrible difficulty.
I mean, she...

1156
01:53:45,153 --> 01:53:48,823
There, the white things,
I think they're a mistake, really.

1157
01:53:53,161 --> 01:53:54,662
I like that, setting up.

1158
01:53:54,746 --> 01:53:57,790
You know she's going to come out
with the knife again.

1159
01:53:59,834 --> 01:54:04,755
She could not spend any time
under the water with her eyes open.

1160
01:54:04,756 --> 01:54:06,798
And she just practiced and practiced
and practiced,

1161
01:54:06,799 --> 01:54:09,218
and finally managed to do it.

1162
01:54:15,725 --> 01:54:17,310
I couldn't do it.

1163
01:54:18,269 --> 01:54:21,606
You know she's going to come
out of the water here.

1164
01:54:27,153 --> 01:54:29,780
This moment here, actually,
I have to say,

1165
01:54:29,781 --> 01:54:34,160
I remembered from a Clouseau movie
of years ago...

1166
01:54:34,786 --> 01:54:37,789
I've forgotten what it was called.
Amazing movie.

1167
01:54:39,582 --> 01:54:41,334
This is a good shot.

1168
01:54:52,970 --> 01:54:55,806
It's interesting, when we were
talking about the ending,

1169
01:54:55,807 --> 01:55:00,228
the possibilities for the ending,
the new ending,

1170
01:55:00,311 --> 01:55:02,271
you know, it came up at one stage,

1171
01:55:02,355 --> 01:55:04,815
I remember Stanley bringing it up,
as far as I remember,

1172
01:55:04,816 --> 01:55:10,988
that the only person who, in the end,
could kill Glenn, if she had to be killed,

1173
01:55:11,072 --> 01:55:14,242
was the only innocent in the piece,
Anne Archer.

1174
01:55:14,450 --> 01:55:17,077
Then he sort of dismissed it,
and I remember grabbing on to it

1175
01:55:17,078 --> 01:55:19,956
and thinking, "No,
that's such a good idea."

1176
01:55:20,415 --> 01:55:23,626
And there we are.

1177
01:55:24,001 --> 01:55:27,922
I mean, I'm sure there's a better ending
than what we've just seen.

1178
01:55:28,005 --> 01:55:32,969
I'm sure something less operatic,
may be more credible or whatever,

1179
01:55:33,803 --> 01:55:36,722
but in the end, it was fun to do

1180
01:55:36,806 --> 01:55:39,851
and it was, I think,
better than the original,

1181
01:55:39,892 --> 01:55:42,895
in that the original just seemed...

1182
01:55:44,355 --> 01:55:46,190
It seemed anticlimactic.

1183
01:55:46,274 --> 01:55:49,860
We felt that the movie worked
until the last 10 minutes,

1184
01:55:49,861 --> 01:55:52,113
and then it sort of fell
apart dramatically,

1185
01:55:52,196 --> 01:55:58,869
and the critics all said, inevitably,
"The marketing men changed it,"

1186
01:55:58,870 --> 01:56:00,037
and all of this nonsense,

1187
01:56:00,121 --> 01:56:03,833
and it was just me and the writer
and Stanley and Sherry

1188
01:56:04,459 --> 01:56:08,171
sitting in the theater,

1189
01:56:08,254 --> 01:56:11,298
saying, "Well, what are we going to do?
'Cause it doesn't work here."

1190
01:56:11,299 --> 01:56:14,051
And there weren't any
marketing men there.

1191
01:56:15,887 --> 01:56:17,889
So there we are.

1192
01:56:18,681 --> 01:56:23,352
Again, the critics said
that this photograph means

1193
01:56:24,187 --> 01:56:27,732
the family that kills together
stays together,

1194
01:56:27,815 --> 01:56:29,901
and this sort of nonsense.

1195
01:56:29,984 --> 01:56:34,697
And I always thought that this
photograph was sort of ironic, really.

1196
01:56:34,780 --> 01:56:38,117
I mean, there's no way
the family's going to stay together

1197
01:56:38,201 --> 01:56:42,747
in delirious happiness
for the rest of their lives.

1198
01:56:44,123 --> 01:56:47,585
So, as I say, I saw it in
a sense of irony, really,

1199
01:56:47,668 --> 01:56:49,629
but there we are.

1200
01:56:51,339 --> 01:56:54,884
Anyway, thank you for letting me do this,

1201
01:56:54,926 --> 01:56:58,012
and I hope some of it
is amusing or helpful.

1202
01:56:58,888 --> 01:57:00,097
Thank you.