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1
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You want a light?
Mm-hmm.
2
00:00:39,120 --> 00:00:41,040
How are things
down the other end?
3
00:01:02,260 --> 00:01:05,930
This is like living in Pittsburgh.
If you can call that living.
4
00:01:08,520 --> 00:01:11,420
A couple of people
have made that observation,
5
00:01:11,510 --> 00:01:13,330
that it's like working
in a foreign country,
6
00:01:13,410 --> 00:01:16,830
working in Pittsburgh.
It gives you a lot of freedom.
7
00:01:16,910 --> 00:01:19,830
In addition to freedom,
it gives you a different perspective.
8
00:01:19,920 --> 00:01:22,840
You're not so much
a victim of trends,
9
00:01:22,920 --> 00:01:25,340
of popular thinking,
of, you know...
10
00:01:27,920 --> 00:01:30,320
What's in the State-of-the-Art
head right now.
11
00:01:32,830 --> 00:01:36,000
This is a scene from
"Night of the Living Dead,"
12
00:01:36,080 --> 00:01:38,830
a low-budget film
co-authored, directed,
13
00:01:38,920 --> 00:01:41,310
photographed, and edited
by George Romero...
14
00:01:41,390 --> 00:01:43,360
In 1968.
15
00:01:43,440 --> 00:01:47,260
Already the head of a successful
commercial production house in Pittsburgh,
16
00:01:47,340 --> 00:01:50,960
this was his first venture
into feature Filmmaking.
17
00:01:51,050 --> 00:01:53,240
Its flaws were mainly budgetary,
18
00:01:53,320 --> 00:01:56,120
while its virtues
were clearly visionary,
19
00:01:56,200 --> 00:01:59,980
earning it popular success
as a horror film,
20
00:02:00,070 --> 00:02:02,490
and a cult following
for exploratory uses
21
00:02:02,570 --> 00:02:05,570
of genre and technique.
22
00:02:22,880 --> 00:02:25,550
Style is difficult to define.
23
00:02:25,630 --> 00:02:27,540
Even in this disembodied clip
24
00:02:27,630 --> 00:02:29,880
the technical aspects
of Romero's style
25
00:02:29,970 --> 00:02:31,890
are making themselves
apparent...
26
00:02:32,870 --> 00:02:35,190
They're in his cutting...
27
00:02:36,480 --> 00:02:38,430
His camera angles...
28
00:02:41,210 --> 00:02:44,430
In his two-dimensional design
within the film frame...
29
00:02:49,120 --> 00:02:51,840
Great spatial movements
from shot to shot...
30
00:02:54,730 --> 00:02:56,700
And even within shot.
31
00:03:03,140 --> 00:03:05,410
Just making films
in Pittsburgh for 10 years
32
00:03:05,490 --> 00:03:07,960
has become a sort
of stylistic statement.
33
00:03:10,040 --> 00:03:11,960
In January of '78,
34
00:03:12,040 --> 00:03:14,890
Romero and his Producer
Richard Rubinstein
35
00:03:14,980 --> 00:03:17,960
allowed a film crew from the
school of visual arts onto the set
36
00:03:18,050 --> 00:03:19,970
of their latest production,
37
00:03:20,050 --> 00:03:22,030
the second part
of the "Dead" trilogy,
38
00:03:22,120 --> 00:03:24,850
"Dawn of the Dead."
39
00:03:24,940 --> 00:03:27,190
Using footage shot
over one long weekend,
40
00:03:27,280 --> 00:03:29,220
a documentary took shape,
41
00:03:29,290 --> 00:03:31,840
focusing first
on the Filmmaking process
42
00:03:31,930 --> 00:03:35,260
and secondly
on directorial vision...
43
00:03:35,350 --> 00:03:37,630
What part of it
reaches the screen unhampered,
44
00:03:37,720 --> 00:03:40,840
what external forces affect it.
45
00:03:40,920 --> 00:03:44,270
But first,
let's introduce our cast.
46
00:03:44,360 --> 00:03:48,740
In pre-production...
George Romero, Screenwriter.
47
00:03:48,810 --> 00:03:52,230
Richard Rubinstein, Producer.
48
00:03:52,320 --> 00:03:55,990
In production...
George Romero, directing.
49
00:03:56,070 --> 00:03:58,490
Richard Rubinstein, producing.
50
00:03:59,580 --> 00:04:03,000
Michael Gornick,
Cinematographer.
51
00:04:03,080 --> 00:04:06,000
Carl Augenstein,
Lighting Director.
52
00:04:06,080 --> 00:04:09,000
Tom Savini,
Creator of Special Makeup,
53
00:04:09,080 --> 00:04:11,100
Actor and Stuntman.
54
00:04:12,840 --> 00:04:15,760
Ken Foree, Actor.
55
00:04:15,840 --> 00:04:18,760
Scott Reiniger, Actor.
56
00:04:18,840 --> 00:04:22,260
David Emge, Actor.
57
00:04:22,350 --> 00:04:24,770
John Amplas, Actor in "Martin"
58
00:04:24,850 --> 00:04:26,770
and Casting Director of "Dawn,"
59
00:04:26,850 --> 00:04:30,270
and in post-production...
Editing the film.
60
00:04:33,240 --> 00:04:36,160
Pre-production involves
writing the screenplay,
61
00:04:36,250 --> 00:04:38,670
raising the money
and organizing the shoot.
62
00:04:38,750 --> 00:04:41,290
- All aboard.
- Good morning.
63
00:04:41,370 --> 00:04:42,790
Hiya.
How long to Pittsburgh?
64
00:04:42,870 --> 00:04:45,290
- 10 hours to Pittsburgh.
- Is there a bar car?
65
00:04:45,370 --> 00:04:47,280
- On your left.
- Thank you.
66
00:04:47,370 --> 00:04:50,170
Madam, traveling alone?
All alone.
67
00:04:50,260 --> 00:04:53,050
- Shall I wake you for Pittsburgh?
- No, I'm going to New York.
68
00:04:53,130 --> 00:04:54,550
- The Big Apple?
- Right?
69
00:04:54,630 --> 00:04:57,550
- Thank you and good night.
- Thank you. Good night.
70
00:04:57,630 --> 00:05:01,430
These are the opening
moments of "Martin,"
71
00:05:01,520 --> 00:05:03,940
the film Romero made
just before "Dawn."
72
00:05:04,020 --> 00:05:06,940
As the story unfolds, you'll
see the screenplay qualities...
73
00:05:07,030 --> 00:05:09,320
All inherently cinematic...
74
00:05:09,390 --> 00:05:11,810
Which begin
to articulate his style.
75
00:05:13,400 --> 00:05:15,820
First the visual imperative.
76
00:05:15,900 --> 00:05:17,810
With few exceptions,
cinema relies
77
00:05:17,900 --> 00:05:20,820
as little as possible
on the spoken word.
78
00:05:20,910 --> 00:05:22,830
Characterization and plot
79
00:05:22,910 --> 00:05:25,830
are best revealed through action
80
00:05:25,910 --> 00:05:28,040
and accumulation of detail.
81
00:05:56,490 --> 00:05:59,720
Montage concepts begin
in the screenplay.
82
00:06:47,540 --> 00:06:50,210
The story is developing
with literally no dialogue,
83
00:06:50,300 --> 00:06:52,720
and suspense is being generated
84
00:06:52,800 --> 00:06:55,220
not only in the horror
of the situation
85
00:06:55,300 --> 00:06:57,710
but in the mystery
of the plot itself.
86
00:06:57,800 --> 00:07:00,830
We still don't know
his identity,
87
00:07:00,920 --> 00:07:03,840
his motives, or his goal.
88
00:07:11,430 --> 00:07:14,350
Romero's use
of dual linear movement
89
00:07:14,440 --> 00:07:17,860
fleshes out the two dimensions
of film into three.
90
00:07:17,940 --> 00:07:21,000
A use of such devices as
the manipulation of time...
91
00:07:28,580 --> 00:07:31,500
Or other devices
such as irony...
92
00:08:05,750 --> 00:08:09,150
As you can see from the final page
of the "Dawn" screenplay,
93
00:08:09,240 --> 00:08:11,650
Romero's use of the form
is unorthodox...
94
00:08:11,740 --> 00:08:13,660
In a medium where one page
95
00:08:13,750 --> 00:08:16,670
generally equals
one minute of film.
96
00:08:16,750 --> 00:08:19,920
The script seems long.
Did you plan to shoot it all?
97
00:08:20,000 --> 00:08:22,920
I mean, giving yourself
leeway in the cutting?
98
00:08:23,000 --> 00:08:25,920
Pretty much.
I usually write long scripts.
99
00:08:26,010 --> 00:08:29,930
"Martin" was a long script
that was really a long script.
100
00:08:30,010 --> 00:08:34,430
The first cut came out at almost
two hours and 45 minutes.
101
00:08:34,520 --> 00:08:36,940
- Wow.
- This is a long script that seems long.
102
00:08:37,020 --> 00:08:38,940
It's not really long.
103
00:08:39,020 --> 00:08:41,430
There is so much description.
104
00:08:41,520 --> 00:08:43,440
And if you read those pages,
105
00:08:43,530 --> 00:08:45,950
there is so much action
106
00:08:46,030 --> 00:08:49,450
described in great paragraphs
107
00:08:49,530 --> 00:08:52,450
where I got carried away
describing the action itself.
108
00:08:52,530 --> 00:08:56,450
Some of those things
take a second and a half.
109
00:08:56,540 --> 00:08:59,460
And it's not cutting that long.
110
00:08:59,540 --> 00:09:01,960
We did...
I cut the first half of the film
111
00:09:02,040 --> 00:09:03,960
and it came in at 45 minutes,
112
00:09:04,050 --> 00:09:06,970
so I think the first cut
will be about a two-hour cut.
113
00:09:07,050 --> 00:09:08,970
- Great.
- Which is not bad for a first cut.
114
00:09:11,050 --> 00:09:14,970
To what extent do other
influences creep into a work?
115
00:09:15,060 --> 00:09:17,480
And at what stage?
116
00:09:22,200 --> 00:09:25,120
A lot of people have
often compared you to Hitchcock.
117
00:09:25,200 --> 00:09:28,630
But you don't buy that.
How come?
118
00:09:28,700 --> 00:09:31,120
They have some nerve.
119
00:09:32,710 --> 00:09:37,130
No, I don't...
Filmmaking is funny.
120
00:09:37,210 --> 00:09:40,130
Filmmakers...
All artists to some extent
121
00:09:40,220 --> 00:09:42,140
are parasitic
of what they've seen,
122
00:09:42,220 --> 00:09:44,640
and what they are
basically imitating,
123
00:09:44,720 --> 00:09:47,140
what attracted them
in the first place.
124
00:09:47,220 --> 00:09:50,140
Filmmakers, maybe
more than any other form,
125
00:09:50,230 --> 00:09:52,650
I mean, it's not like
you can sit down with a pencil
126
00:09:52,730 --> 00:09:55,650
and do your thing...
Or a canvas or whatever.
127
00:09:55,730 --> 00:09:57,640
It's very expensive
and very few people
128
00:09:57,730 --> 00:10:00,150
get enough chance
to work with the hardware,
129
00:10:00,240 --> 00:10:02,660
and get enough chance to really
130
00:10:02,740 --> 00:10:06,160
develop a style...
131
00:10:06,240 --> 00:10:08,150
Except on a very
intellectual level.
132
00:10:08,240 --> 00:10:11,160
That's why unfortunately
the State-of-the-Art
133
00:10:11,250 --> 00:10:14,170
has somewhat gone towards
menus and pre-planning
134
00:10:14,250 --> 00:10:17,170
and everything else...
Which is a little bit destructive.
135
00:10:20,760 --> 00:10:24,680
I would say that if I'm parasitic
of anybody it's more Welles,
136
00:10:24,760 --> 00:10:27,680
and some of the early...
Like Howard Hawks and people like that.
137
00:10:29,760 --> 00:10:32,180
Those were films
that really affected me.
138
00:10:32,270 --> 00:10:34,190
There are certain
Hitchcockian things that...
139
00:10:34,270 --> 00:10:37,690
First of all, I don't consciously
when I'm setting up a shot
140
00:10:37,770 --> 00:10:40,190
say wow, remember
that shot in...
141
00:10:40,280 --> 00:10:42,700
And then try to imitate that.
142
00:10:42,780 --> 00:10:45,200
They are Hitchcock-type
influences...
143
00:10:45,280 --> 00:10:48,200
The sequence in the cemetery in
"Night of the Living Dead"...
144
00:10:50,250 --> 00:10:53,620
Where you see the figure way in the
background and don't know what it is.
145
00:10:53,710 --> 00:10:55,980
And it gradually
gets worked into the plot.
146
00:10:56,060 --> 00:10:58,930
It starts to become a threat,
and then the threat is a real threat.
147
00:10:59,010 --> 00:11:01,170
That's kind of
a Hitchcockian sequence.
148
00:11:05,050 --> 00:11:07,910
Hey, I mean praying's
for church, huh?
149
00:11:07,990 --> 00:11:09,840
Come on.
150
00:11:09,920 --> 00:11:12,340
I haven't seen you
in church lately.
151
00:11:12,420 --> 00:11:14,340
Well...
152
00:11:14,430 --> 00:11:17,850
Not much sense
in my going to church.
153
00:11:17,930 --> 00:11:19,850
Do you remember one time
when we were small
154
00:11:19,930 --> 00:11:23,180
we were out here?
It was from right over there.
155
00:11:23,270 --> 00:11:24,790
I jumped out at you
from behind the tree,
156
00:11:24,870 --> 00:11:27,710
and Grandpa got all excited
and he shook his fist at me
157
00:11:27,790 --> 00:11:30,710
and he said,
"Boy, you'll be damned to Hell!"
158
00:11:30,790 --> 00:11:34,170
Remember that?
Right over there.
159
00:11:34,260 --> 00:11:36,730
You used to really be
scared here.
160
00:11:36,820 --> 00:11:40,170
- Johnny!
- You're still afraid.
161
00:11:40,250 --> 00:11:42,170
Stop it now, I mean it.
162
00:11:45,710 --> 00:11:48,630
They're coming
to get you, Barbara.
163
00:11:49,930 --> 00:11:51,850
Stop it.
You're ignorant.
164
00:11:51,930 --> 00:11:54,750
They're coming for you, Barbara.
165
00:11:54,830 --> 00:11:57,250
Stop it!
You're acting like a child.
166
00:11:57,340 --> 00:11:59,380
They're coming for you.
167
00:11:59,450 --> 00:12:02,670
Look, there comes
one of them now.
168
00:12:02,760 --> 00:12:05,130
- He'll hear you.
- Here he comes now.
169
00:12:05,210 --> 00:12:07,100
- I'm getting out of here.
- Johnny...
170
00:12:07,180 --> 00:12:09,600
A couple of pieces
that I've seen written
171
00:12:09,680 --> 00:12:12,460
about "Night of the Living Dead"
say that it takes us back
172
00:12:12,550 --> 00:12:14,550
to silent cinema storytelling.
173
00:12:18,160 --> 00:12:21,010
Johnny!
Help me.
174
00:12:22,690 --> 00:12:25,210
I can see now a couple
of specific things
175
00:12:25,300 --> 00:12:28,250
in a couple of my films that are
Hitchcockian in that way.
176
00:12:29,530 --> 00:12:32,330
Sometimes people say it
because of the plot lines...
177
00:12:32,420 --> 00:12:35,840
The very certain ironies
in the plots that I use.
178
00:12:35,920 --> 00:12:37,840
I don't think that
has anything to do with form,
179
00:12:37,930 --> 00:12:40,850
I think that's more a content
association people are making.
180
00:12:42,600 --> 00:12:45,770
"The Thing" was the movie that
knocked me down when I was a kid.
181
00:12:45,850 --> 00:12:47,400
That's the one,
I think, horror film.
182
00:12:47,490 --> 00:12:49,910
Everyone says
"What attracts you to the genre?"
183
00:12:49,990 --> 00:12:51,910
And it was probably
"The Thing."
184
00:12:51,990 --> 00:12:53,910
I was the right age
at exactly the right time
185
00:12:53,990 --> 00:12:57,520
and it had exactly the right effect on me.
I've never forgotten it.
186
00:12:57,610 --> 00:12:59,780
The cineographics
of "The Thing,"
187
00:12:59,860 --> 00:13:01,780
and those of "Night" and "Dawn"
188
00:13:01,870 --> 00:13:04,040
are remarkably similar.
189
00:13:04,120 --> 00:13:06,540
Confined spaces within which
groups of protagonists
190
00:13:06,620 --> 00:13:10,040
are eternally on guard
against a deadly foe.
191
00:13:10,130 --> 00:13:13,520
Tranquility never exists
in Romero's world.
192
00:13:13,844 --> 00:13:17,844
You could say his style is derived from
D.W. Griffith's because he uses closeups.
193
00:13:17,990 --> 00:13:21,877
The truth of it is, artists imprint
distinctive auras on their films.
194
00:13:22,073 --> 00:13:25,606
"Genre" is a term which should
have been invented by the distributors.
195
00:13:25,895 --> 00:13:28,695
For the artist,
it's just a departure point.
196
00:13:29,340 --> 00:13:30,740
Thank you
197
00:13:31,402 --> 00:13:34,002
Casting occurs
in pre-production.
198
00:13:34,082 --> 00:13:36,362
Is it an irony
in both "Night and "Dawn"
199
00:13:36,452 --> 00:13:39,622
that Romero's main
protagonists are black?
200
00:13:39,702 --> 00:13:42,122
In "Night of the Living Dead"
201
00:13:42,212 --> 00:13:44,132
the character,
if you read the script...
202
00:13:44,212 --> 00:13:48,132
If you read my shooting script,
203
00:13:48,212 --> 00:13:50,132
the character is never described
204
00:13:50,212 --> 00:13:52,632
in terms of his color.
205
00:13:52,722 --> 00:13:55,142
And Duane was the best actor
that we knew
206
00:13:55,222 --> 00:13:59,142
from among our friends, which
was where we cast that film...
207
00:13:59,222 --> 00:14:02,142
Where we cast that film.
And so he did the part.
208
00:14:02,232 --> 00:14:04,652
Consciously, I resisted
writing new dialogue
209
00:14:04,732 --> 00:14:07,152
because he happened to be black.
210
00:14:07,232 --> 00:14:09,782
And just let it play
and we just shot the script.
211
00:14:09,872 --> 00:14:12,542
As we started to shoot
and got into it,
212
00:14:12,622 --> 00:14:14,542
we lived at that farmhouse.
213
00:14:14,622 --> 00:14:17,042
So we were always into raps
about the implications
214
00:14:17,122 --> 00:14:19,042
and the meanings
and stuff like that.
215
00:14:19,132 --> 00:14:20,922
Some of that maybe
crept into the film.
216
00:14:26,082 --> 00:14:28,382
I think in both
"Night" and "Dawn"
217
00:14:28,472 --> 00:14:30,762
the biggest job
that all of us had
218
00:14:30,842 --> 00:14:32,762
during the production
of both of those films
219
00:14:32,842 --> 00:14:34,902
was subduing
all of those thoughts.
220
00:14:34,982 --> 00:14:36,942
Those can really interfere
with what you're doing.
221
00:14:36,982 --> 00:14:39,802
What you're doing on the surface
is making a comic book.
222
00:14:41,932 --> 00:14:46,602
Those ironies that you're talking about
are that selection process...
223
00:14:46,692 --> 00:14:49,612
Is something again
that happened at script stage,
224
00:14:49,692 --> 00:14:51,612
or on a consciousness level
225
00:14:51,692 --> 00:14:54,112
somewhere beneath the craft
of making the film.
226
00:14:54,336 --> 00:14:56,600
Our news cameras
have just returned
227
00:14:56,639 --> 00:15:00,127
from covering such a search and
destroy operation against the ghouls.
228
00:15:00,162 --> 00:15:04,151
Themes, motifs, and metaphors
229
00:15:04,200 --> 00:15:05,828
trace back to the
screenplay stage
230
00:15:06,835 --> 00:15:09,839
why does the media play such
an important part in his films?
231
00:15:10,032 --> 00:15:13,746
Have been organized to search out
and destroy the marauding ghouls.
232
00:15:14,413 --> 00:15:19,763
I worked in television for so long, that maybe
it's just an important part of my background.
233
00:15:19,830 --> 00:15:24,093
I also just have a lot of attitudes
about what that "reach",
234
00:15:24,261 --> 00:15:30,484
that whole "communications electronic box" has done
to everybody. So I guess I tend to take "jabs" at it.
235
00:15:30,902 --> 00:15:34,991
The plan is, kill the brain
and you kill the ghoul.
236
00:15:36,159 --> 00:15:39,663
- Want anything from the supply wagon?
- No, we're all right.
237
00:15:40,999 --> 00:15:43,300
Hey, cass, put that thing
all the way in the fire.
238
00:15:43,335 --> 00:15:45,964
- We don't want it getting up again.
- All right, I gotcha.
239
00:15:45,999 --> 00:15:47,967
Chief McClellan,
how's everything going?
240
00:15:48,008 --> 00:15:51,055
Oh, things aren't going too bad.
Men are taking it pretty good.
241
00:15:51,472 --> 00:15:53,808
You want to get on the other side
of the road over there.
242
00:15:54,434 --> 00:15:56,674
Chief, do you think we'll be
able to defeat these things?
243
00:15:56,770 --> 00:15:59,399
Well, we killed 19 of them
today, right in this area.
244
00:15:59,607 --> 00:16:02,862
Those last three we caught trying to
claw their way into an abandoned shed.
245
00:16:02,904 --> 00:16:05,658
They must have thought somebody
was in there. There wasn't, though.
246
00:16:06,082 --> 00:16:09,282
People on the television,
not really answering the question
247
00:16:09,406 --> 00:16:12,906
but making it more confusing,
that's been the conscience part of that.
248
00:16:12,930 --> 00:16:15,130
Because that's generally what it's about.
249
00:16:16,437 --> 00:16:20,077
"Ladies and Gentlemen there was a plane crash
that took out a small piece of Manhattan...
250
00:16:20,173 --> 00:16:21,173
more later."
251
00:16:23,526 --> 00:16:27,350
it's never reassuring,
it's always alarming.
252
00:16:28,010 --> 00:16:29,810
That's been a kind of
conscience through-line.
253
00:16:30,112 --> 00:16:33,932
The Producer is in a key
position during pre-production,
254
00:16:34,022 --> 00:16:36,062
securing funds, putting the film
255
00:16:36,142 --> 00:16:38,562
into a viable financial
and legal position,
256
00:16:38,642 --> 00:16:41,062
and thereafter
protecting the director.
257
00:16:41,142 --> 00:16:44,562
I think that we tend to operate
258
00:16:44,652 --> 00:16:47,072
in more a European style in terms
259
00:16:47,152 --> 00:16:49,572
of the way we produce
and the way George directs,
260
00:16:49,652 --> 00:16:51,562
and that we tend to follow
261
00:16:51,652 --> 00:16:54,572
Sarris' auteur theory of direction,
262
00:16:54,662 --> 00:16:57,582
and that I see
my function as a Producer
263
00:16:57,662 --> 00:17:00,082
in terms of providing
George Romero
264
00:17:00,162 --> 00:17:02,572
with a brush,
palette and canvas.
265
00:17:02,662 --> 00:17:05,082
And his creative control
is absolute
266
00:17:05,172 --> 00:17:08,092
in terms of the film itself...
267
00:17:08,172 --> 00:17:10,592
That he's the scriptwriter,
268
00:17:10,672 --> 00:17:12,472
that he's the director
and he's the editor.
269
00:17:12,562 --> 00:17:16,282
And it's totally the product
of one man's vision on a creative level.
270
00:17:16,406 --> 00:17:22,506
This is the largest budget that George has
had to work with in terms of production.
271
00:17:23,883 --> 00:17:28,716
I think that he's got enough money
here to do what he wants to do.
272
00:17:30,092 --> 00:17:34,892
It's not an excessive amount of money by traditional
Hollywood standards. This is a low-budget picture.
273
00:17:35,231 --> 00:17:40,631
Of course anything under $2½ million dollars is
considered low-budget in terms of major studios.
274
00:17:40,662 --> 00:17:42,542
The biggest difference
really in "Dawn"
275
00:17:42,632 --> 00:17:44,552
is working with
a little bit of money
276
00:17:44,632 --> 00:17:47,552
and still being satisfied
with the product.
277
00:17:47,632 --> 00:17:50,552
In fact, it was easier.
I was paranoid about it upfront,
278
00:17:50,642 --> 00:17:53,562
because just having
that extra weight is a trip.
279
00:17:55,142 --> 00:17:58,562
But I'm comfortable with
what "Dawn of the Dead" is.
280
00:17:58,652 --> 00:18:01,572
And the extra money it
took to make it what it is
281
00:18:01,652 --> 00:18:04,572
was really not a hindrance at all.
It was a big, big help.
282
00:18:04,652 --> 00:18:07,072
A lot of people say
"I can't work with money,
283
00:18:07,152 --> 00:18:09,822
I can't work with a lot
of people around."
284
00:18:09,912 --> 00:18:13,832
This film was financed
in somewhat of a traditional way
285
00:18:13,912 --> 00:18:16,322
in that it's co-financed
internationally,
286
00:18:16,412 --> 00:18:18,832
that a group headed
by Dario Argento
287
00:18:18,922 --> 00:18:22,342
in Italy co-financed
the film with us.
288
00:18:22,422 --> 00:18:24,342
And our end
of the co-financing
289
00:18:24,422 --> 00:18:26,332
comes from private individuals.
290
00:18:27,922 --> 00:18:30,342
I think it was unique
in that this project
291
00:18:30,432 --> 00:18:33,352
started off with two creative
people getting together...
292
00:18:33,432 --> 00:18:35,852
Dario Argento and George Romero.
293
00:18:35,932 --> 00:18:38,712
And then the business side
came after that point.
294
00:18:38,802 --> 00:18:41,722
Now the physical
productions begins.
295
00:18:41,812 --> 00:18:43,732
In this second stage
the Director
296
00:18:43,812 --> 00:18:47,232
and Cinematographer stand
to share equally in importance
297
00:18:47,312 --> 00:18:49,292
for what is captured on film.
298
00:18:51,452 --> 00:18:53,372
It's the eighth week
of the "Dawn" shoot,
299
00:18:53,452 --> 00:18:56,372
we're in an $80 million mall
in Pittsburgh,
300
00:18:56,452 --> 00:18:58,372
which Romero is allowed
to use each night
301
00:18:58,462 --> 00:19:00,382
from 11:00 till 7:00
in the morning.
302
00:19:01,962 --> 00:19:04,382
- Everyone ready?
- Camera?
303
00:19:04,462 --> 00:19:06,372
- It's rolling.
- Sound.
304
00:19:17,472 --> 00:19:19,392
Cut.
305
00:19:24,982 --> 00:19:27,902
He does not get uptight,
306
00:19:27,982 --> 00:19:30,402
he asks me if it's possible
307
00:19:30,492 --> 00:19:32,912
and asks me how much time
it's gonna take.
308
00:19:32,992 --> 00:19:36,412
And then he'll give me a straight
"yes" or "no" on whether to do it.
309
00:19:36,492 --> 00:19:39,412
There's no bullshit,
there's no yelling,
310
00:19:39,502 --> 00:19:40,922
it's been a very...
311
00:19:41,002 --> 00:19:43,422
For shooting this long
under these conditions
312
00:19:43,502 --> 00:19:45,822
I'd say it's been
absolutely wonderful.
313
00:19:45,902 --> 00:19:47,802
George Romero
314
00:19:47,892 --> 00:19:49,812
directs pretty much
the way he is...
315
00:19:49,892 --> 00:19:52,312
Pleasant, relaxed,
316
00:19:53,092 --> 00:19:55,012
great sense of humor.
317
00:19:55,026 --> 00:19:57,959
And intelligent,
so the combinations work well.
318
00:19:57,964 --> 00:20:01,164
There's no hurry,
there's no pressure,
319
00:20:01,354 --> 00:20:02,654
we discuss it.
320
00:20:02,753 --> 00:20:04,753
And usually a very few words are exchanged.
321
00:20:04,891 --> 00:20:07,791
There are ideas, a few words
and we've got it.
322
00:20:08,072 --> 00:20:12,272
The man's like water and you're a ship,
so you just float along and do the job.
323
00:20:13,197 --> 00:20:14,197
Okay.
324
00:20:14,658 --> 00:20:15,658
Ready?
325
00:20:16,065 --> 00:20:17,065
Quiet.
326
00:20:19,038 --> 00:20:20,038
Action.
327
00:20:20,672 --> 00:20:23,022
The best thing about him
is that he gets across
328
00:20:23,112 --> 00:20:25,032
what he wants
without telling you.
329
00:20:25,112 --> 00:20:27,532
I don't know how he does it,
but it's incredible.
330
00:20:27,612 --> 00:20:30,032
'Cause he's so clear about what
he wants all the time.
331
00:20:30,122 --> 00:20:34,042
I think when he's working
he's editing at the same time.
332
00:20:34,122 --> 00:20:36,032
When he says it looks good,
333
00:20:36,122 --> 00:20:39,042
we've learned that indeed
it will look good,
334
00:20:39,132 --> 00:20:41,052
because he has a very good eye.
335
00:20:41,132 --> 00:20:44,052
The atmosphere which pervaded
the "Dawn" shoot
336
00:20:44,132 --> 00:20:47,052
was unusual for a film production
in this country.
337
00:20:47,132 --> 00:20:49,052
And while good films
have been created
338
00:20:49,142 --> 00:20:52,562
by directors who were
universally despised,
339
00:20:52,642 --> 00:20:54,562
there's no doubt
that chemistry counts.
340
00:20:57,142 --> 00:21:00,062
I think George likes
confidence in his crew,
341
00:21:00,152 --> 00:21:03,072
but I think he likes to work with
people he feels at ease with.
342
00:21:03,152 --> 00:21:05,022
They have to be confident,
but beyond that
343
00:21:05,102 --> 00:21:07,482
he likes people he can work with till
7:00 in the morning
344
00:21:07,572 --> 00:21:10,492
like we did today...
And feel at ease with them.
345
00:21:10,572 --> 00:21:13,492
There's a lot of rapping
that goes on constantly on the shoots.
346
00:21:13,582 --> 00:21:17,002
A lot of fun
and a lot of hard work.
347
00:21:17,082 --> 00:21:20,502
It's a joy working with George,
because he accepts a lot of input
348
00:21:20,582 --> 00:21:24,002
in terms of what I see or...
It's amazing that even suggestions
349
00:21:24,092 --> 00:21:27,512
that come oftentimes
from crew members through me...
350
00:21:27,592 --> 00:21:31,012
And he's very willing
to accept those observations.
351
00:21:31,092 --> 00:21:33,372
A lot of his film is
input from the crew.
352
00:21:33,462 --> 00:21:35,882
A lot of freedom...
It's a real democracy with George.
353
00:21:41,972 --> 00:21:44,492
The "Dawn" production
took a month off in December
354
00:21:44,582 --> 00:21:48,502
rather than remove and restore
the holiday decorations every night,
355
00:21:48,982 --> 00:21:51,402
losing hours of shooting time.
356
00:21:51,482 --> 00:21:55,402
Romero used that month
to cut what he had already shot.
357
00:21:55,492 --> 00:21:57,412
By the time
the school crew arrived,
358
00:21:57,492 --> 00:21:59,912
four weeks into the second
round of shooting,
359
00:21:59,992 --> 00:22:02,412
he had covered the screenplay
well enough
360
00:22:02,492 --> 00:22:06,412
to stop at any point and edit the
footage into release form.
361
00:22:06,502 --> 00:22:09,422
It was now
in an improvisational stage
362
00:22:09,502 --> 00:22:11,892
where new ideas
were being developed.
363
00:22:11,972 --> 00:22:14,892
This picture's really
designed for right now.
364
00:22:14,972 --> 00:22:17,752
It's much more of a comic book...
It's much lighter.
365
00:22:17,842 --> 00:22:20,642
It didn't seem so in the script.
366
00:22:20,732 --> 00:22:23,152
In fact, the scene
we saw being shot yesterday,
367
00:22:23,232 --> 00:22:25,652
the pie fight...
368
00:22:25,732 --> 00:22:27,652
And I'd heard rumors
369
00:22:27,732 --> 00:22:30,152
that the ending
has been also changed.
370
00:22:30,242 --> 00:22:32,162
Yeah, in fact, we shot both,
371
00:22:32,242 --> 00:22:35,112
because I wasn't willing
to give up the tragic ending.
372
00:22:35,192 --> 00:22:38,112
But this film,
"Dawn of the Dead"
373
00:22:38,202 --> 00:22:41,622
has... it's a very
romanticized film.
374
00:22:43,532 --> 00:22:45,952
MI vida!
Miguelito.
375
00:22:50,832 --> 00:22:53,252
The major change that's happened
376
00:22:53,332 --> 00:22:55,252
that I can see
from my conceptions
377
00:22:55,332 --> 00:22:58,252
upon first reading it and now
378
00:22:58,332 --> 00:23:01,252
is that it's lightening up.
379
00:23:01,342 --> 00:23:03,262
You know?
380
00:23:03,342 --> 00:23:06,762
When I first read it, I thought
it was awfully shocking
381
00:23:06,842 --> 00:23:11,262
to think just in terms of
numbers of bodies being maimed
382
00:23:11,352 --> 00:23:14,772
and gallons of blood
being spilled,
383
00:23:14,852 --> 00:23:16,762
but there is a quality
coming out
384
00:23:16,852 --> 00:23:20,272
that is
counter-weighting that.
385
00:23:22,362 --> 00:23:26,782
It's definitely becoming
more of a fantasy to me...
386
00:23:26,862 --> 00:23:29,282
More of an adventure
to me than I first
387
00:23:29,372 --> 00:23:32,822
conceived of it
upon first reading it.
388
00:23:33,462 --> 00:23:35,232
I think the number
of the special effects
389
00:23:35,352 --> 00:23:37,772
are a substantial
portion of the budget,
390
00:23:37,852 --> 00:23:39,272
where prior to this
391
00:23:39,352 --> 00:23:42,272
they were less so
in George's other films.
392
00:23:42,352 --> 00:23:45,772
It's the number of explosions, the number
of cosmetic effects that Tom Savinl does.
393
00:23:49,642 --> 00:23:50,472
Ya!
394
00:23:50,562 --> 00:23:52,482
Those things take
a certain amount of time
395
00:23:52,572 --> 00:23:55,492
and a certain amount of budgetary
support in order to...
396
00:23:55,572 --> 00:23:58,632
Get them to work.
They don't always work the first time.
397
00:23:58,702 --> 00:24:01,122
A squib is simply a detonator.
398
00:24:01,212 --> 00:24:04,132
But we placed
the detonator in a tube
399
00:24:04,212 --> 00:24:06,132
that was filled with gunpowder.
400
00:24:06,212 --> 00:24:09,462
And that was placed inside
a prophylactic which was filled with blood.
401
00:24:09,552 --> 00:24:12,422
So when the blast went off,
the concussion blew
402
00:24:12,502 --> 00:24:15,922
the prophylactic and the blood
from beneath the clothing.
403
00:24:16,012 --> 00:24:17,932
We're in this mall
when the mall closes,
404
00:24:18,012 --> 00:24:19,932
the mall closes
9:30 or so.
405
00:24:20,012 --> 00:24:22,432
We start coming in around 8:00
to get set up and everything.
406
00:24:22,512 --> 00:24:25,932
We only have until 7:00 in the morning
before we have to stop shooting,
407
00:24:26,022 --> 00:24:28,942
because we got to get all our
stuff out when the mall opens.
408
00:24:29,022 --> 00:24:31,332
They'll be times
in a particular night
409
00:24:31,402 --> 00:24:33,322
where we're shooting
all over the script.
410
00:24:33,412 --> 00:24:36,452
It has to be done fast, because that
all has to be done in seven hours.
411
00:24:39,032 --> 00:24:41,452
George is a wonderful guy.
You can say to George...
412
00:24:41,532 --> 00:24:43,492
He'll be very cool...
No expression on his face...
413
00:24:43,532 --> 00:24:46,452
You can say to him,
"George I've got this fabulous idea,
414
00:24:46,542 --> 00:24:48,462
why don't we take
a screwdriver...
415
00:24:50,792 --> 00:24:53,212
Say the maintenance man
has a screwdriver on his belt,
416
00:24:53,292 --> 00:24:55,212
and have the maintenance man
zombie attack scott.
417
00:25:06,192 --> 00:25:08,232
Scott pulls a screwdriver
out of his bag
418
00:25:08,312 --> 00:25:12,122
and sticks it in the zombie's ear,
shoves it in the brain.
419
00:25:13,952 --> 00:25:15,872
George will go "okay."
420
00:25:15,952 --> 00:25:18,372
You could say "George,
how about if we get dragons
421
00:25:18,452 --> 00:25:20,362
coming out of the fountains
in the mall?"
422
00:25:20,452 --> 00:25:23,372
I'm sure he'd go, "yeah, okay, yeah."
You can't shake him.
423
00:25:23,462 --> 00:25:25,752
The first half of the shooting
was very organized
424
00:25:25,832 --> 00:25:27,752
and there wasn't
a great deal of improvisation
425
00:25:27,832 --> 00:25:30,632
because most of the big
effects were done in the first part.
426
00:25:30,712 --> 00:25:32,882
The things George wrote in the script,
we planned ahead.
427
00:25:32,972 --> 00:25:35,392
We knew exactly...
We would stand in the office
428
00:25:35,472 --> 00:25:37,892
and he would walk the whole
thing through and be a zombie,
429
00:25:37,972 --> 00:25:41,902
be the victim, be the helicopter.
Very organized.
430
00:25:41,972 --> 00:25:43,892
This shoot's a little different.
431
00:25:43,982 --> 00:25:46,402
We've created characters
on our own.
432
00:25:46,482 --> 00:25:50,402
I've created a character and a friend,
a stunt-man's created a character.
433
00:25:50,482 --> 00:25:52,402
He's been developing
those characters
434
00:25:52,482 --> 00:25:54,902
as we shoot...
Day by day.
435
00:25:54,992 --> 00:25:58,412
So it's like really loose,
this half of the shoot.
436
00:25:59,492 --> 00:26:01,412
And just as much fun.
437
00:26:01,492 --> 00:26:03,912
How many zombies
are you making up a night?
438
00:26:04,002 --> 00:26:07,422
It depends on what
we're doing in the script.
439
00:26:07,502 --> 00:26:10,422
Some nights we'll have 200,
sometimes we'll have five.
440
00:26:10,502 --> 00:26:13,422
The nights we have five,
they're the concentrated scenes
441
00:26:13,512 --> 00:26:15,432
between one lead,
442
00:26:15,512 --> 00:26:17,432
and we put five around him
so it looks like
443
00:26:17,512 --> 00:26:20,432
a continuation of the 200
the day before.
444
00:26:20,512 --> 00:26:22,432
It depends, like I say,
445
00:26:22,512 --> 00:26:24,932
it depends on what's in
the script for that night.
446
00:26:27,022 --> 00:26:29,442
Can you explain
what you're doing right now?
447
00:26:29,522 --> 00:26:33,442
Okay, these are foam latex appliances
I'm sticking on his face.
448
00:26:33,532 --> 00:26:36,452
These are zombies... Or people that
have died in interesting ways...
449
00:26:36,532 --> 00:26:40,422
Or not interesting ways, just people
who have died and come back to life.
450
00:26:40,502 --> 00:26:43,912
A lot of them look like
car accident victims,
451
00:26:43,992 --> 00:26:45,912
cancer patients.
452
00:26:45,992 --> 00:26:49,412
One guy came in here in a three-piece
suit, beautiful three-piece suit,
453
00:26:49,492 --> 00:26:51,402
so I made him up like
a mortician would
454
00:26:51,492 --> 00:26:54,162
at a funeral parlor.
And he was like "beautiful."
455
00:26:54,252 --> 00:26:56,172
Overly made-up
with lipstick and all that.
456
00:26:56,252 --> 00:26:59,172
So he was walking around
like a fresh one.
457
00:26:59,252 --> 00:27:02,922
Okay, you have to lean forward just a bit
so I can powder all this.
458
00:27:03,012 --> 00:27:05,682
It'll probably get
all over your shirt here.
459
00:27:05,762 --> 00:27:08,682
Others are people who have
been bitten by other zombies
460
00:27:08,762 --> 00:27:10,672
and who have died
and become zombies.
461
00:27:10,762 --> 00:27:12,682
And they're the ones
that are the grossest.
462
00:27:12,772 --> 00:27:15,442
I don't know what happened to you...
A car accident,
463
00:27:15,522 --> 00:27:17,442
zombie bit your face off
or something like that.
464
00:27:17,522 --> 00:27:20,812
The fun of this thing
is inventing all this stuff.
465
00:27:23,492 --> 00:27:25,912
Can you close your eyes?
466
00:27:26,002 --> 00:27:27,922
And I'm covering them
with this stuff
467
00:27:28,002 --> 00:27:29,922
called rubber mask greasepaint.
468
00:27:30,002 --> 00:27:33,762
It's a greasepaint that has
more castor oil in it.
469
00:27:33,842 --> 00:27:36,762
It keeps the rubber piece from
drying out and changing color
470
00:27:36,842 --> 00:27:38,632
after the makeup
has been on it for a while.
471
00:27:38,712 --> 00:27:40,682
You sculpt them in clay.
You make a mold of them,
472
00:27:40,762 --> 00:27:44,182
and you pour foam latex in the mold...
You bake it in an oven.
473
00:27:44,262 --> 00:27:47,182
I took a big photo tray
and sculpted a zillion wounds,
474
00:27:47,272 --> 00:27:49,692
cast them...
And I had those and I did another one...
475
00:27:49,772 --> 00:27:51,692
Cast them
and I had those wounds.
476
00:27:51,772 --> 00:27:54,682
When I'm making a piece
and I have foam latex left over,
477
00:27:54,772 --> 00:27:58,192
I'll pour it in one of these slabs, and
I'll have extra wounds laying around.
478
00:27:58,282 --> 00:28:00,202
Are there any schools
that teach that?
479
00:28:00,282 --> 00:28:02,202
No, not that I know of.
I had to teach myself.
480
00:28:07,402 --> 00:28:10,322
The director must be
a psychologist.
481
00:28:12,912 --> 00:28:15,832
He must also be
a story-boarder,
482
00:28:15,912 --> 00:28:17,822
an editor...
483
00:28:17,912 --> 00:28:19,832
Linking the disparate
sensibilities
484
00:28:19,922 --> 00:28:22,342
of cast and crew
with his own vision.
485
00:28:22,422 --> 00:28:25,342
Okay, if it's straight up,
we can do it with hands.
486
00:28:25,422 --> 00:28:28,342
Tom Savini, now on
the other side of the camera,
487
00:28:28,422 --> 00:28:30,342
is about to assay
a difficult stunt
488
00:28:30,432 --> 00:28:33,352
which will portray
his demise onscreen.
489
00:28:33,432 --> 00:28:36,352
One can see under these
specialized circumstances,
490
00:28:36,432 --> 00:28:39,352
Romero effortlessly
fulfilling his ongoing roles
491
00:28:39,442 --> 00:28:42,362
as prime mover
of the production.
492
00:28:42,442 --> 00:28:46,362
- Keep going, keep going.
- Ready, Tom?
493
00:28:46,442 --> 00:28:50,492
Keep going...
Okay, okay, good.
494
00:28:52,082 --> 00:28:54,862
- Hold on, Tom.
- All set?
495
00:28:54,952 --> 00:28:56,862
- Any time.
- Are you rolling?
496
00:28:56,952 --> 00:28:59,002
Stand by. You gonna
go right there, Tom?
497
00:28:59,092 --> 00:29:02,012
Yeah, from here.
498
00:29:02,092 --> 00:29:05,622
- Ready, Mike?
- Hold on.
499
00:29:05,712 --> 00:29:08,682
Do you have
Shelby's hand in the light?
500
00:29:08,762 --> 00:29:10,182
Holding the bench on the left?
501
00:29:10,272 --> 00:29:13,272
- I can't see any bench.
- Quiet, please.
502
00:29:19,362 --> 00:29:21,282
- Okay, Mike?
- Beautiful.
503
00:29:21,362 --> 00:29:23,782
Out of sight, beautiful.
504
00:29:30,372 --> 00:29:32,792
What about the approach
you're taking in directing it?
505
00:29:32,872 --> 00:29:34,782
I thought
"Night of the Living Dead"
506
00:29:34,872 --> 00:29:37,792
was pretty tightly story-boarded.
Is that true?
507
00:29:37,882 --> 00:29:40,802
It was and it wasn't.
A lot of the sequences were,
508
00:29:40,882 --> 00:29:43,302
as a lot of the sequences
in this film are.
509
00:29:43,382 --> 00:29:46,802
Oh, 'cause while we've been here,
it seems very loose.
510
00:29:46,892 --> 00:29:49,812
It's been loose, but you've been here
only for a few scenes too.
511
00:29:51,892 --> 00:29:53,802
Some of the scenes...
512
00:29:54,392 --> 00:29:57,812
As you watch the interlock
I think, you'll find to be
513
00:29:57,902 --> 00:30:00,942
very, very close to the way
that script is written.
514
00:30:01,022 --> 00:30:03,442
Story-boarding refers
most commonly
515
00:30:03,522 --> 00:30:07,442
to a series of artists'
renderings prepared in pre-production.
516
00:30:07,522 --> 00:30:12,042
In production, each shot will
correspond to one of these sketches.
517
00:30:12,132 --> 00:30:13,532
George is a genius
in that respect.
518
00:30:13,612 --> 00:30:15,532
He can memorize
his own storyboards.
519
00:30:15,612 --> 00:30:17,532
He prepares them himself.
520
00:30:17,622 --> 00:30:20,542
And Chris, his A.D.,
has helped in that respect too.
521
00:30:20,622 --> 00:30:23,542
But he doesn't literally
storyboard his shots.
522
00:30:23,622 --> 00:30:26,542
He's a very complex director.
523
00:30:26,632 --> 00:30:28,552
He likes to keep it to himself
524
00:30:28,632 --> 00:30:32,052
in terms of the actual story-boarding
of blocking scenes.
525
00:30:32,132 --> 00:30:35,052
And he brings it with him to the set.
That's his style.
526
00:30:35,132 --> 00:30:38,052
There are certain things
that I want to happen
527
00:30:38,142 --> 00:30:40,562
that build on each other.
528
00:30:42,142 --> 00:30:45,062
In this film,
the people starting to get
529
00:30:45,142 --> 00:30:47,062
tempted and attracted
by the mall.
530
00:30:47,152 --> 00:30:49,572
And starting to get...
531
00:30:49,652 --> 00:30:54,572
Adopting the military
approach to taking it over.
532
00:30:54,652 --> 00:30:58,572
And those are the things
that I've tried to keep
533
00:30:58,662 --> 00:31:00,582
as close as possible
to the script...
534
00:31:00,662 --> 00:31:03,582
The sequence when they
go and get the trucks
535
00:31:03,662 --> 00:31:06,582
and block off
the outside of the mall.
536
00:31:06,672 --> 00:31:09,092
Because there is a certain build
537
00:31:09,172 --> 00:31:11,592
that was written
into the script,
538
00:31:11,672 --> 00:31:13,592
which I really think adds to...
539
00:31:16,182 --> 00:31:19,102
The overall flow
of the suspense of the film.
540
00:31:21,682 --> 00:31:23,602
Martin.
541
00:31:26,822 --> 00:31:29,242
Here in a later scene
from "Martin,"
542
00:31:29,322 --> 00:31:31,352
Romero's modern vampire story,
543
00:31:31,442 --> 00:31:34,002
one can feel a tight
pre-structured quality
544
00:31:34,082 --> 00:31:36,352
indicative
of story-boarding.
545
00:31:38,532 --> 00:31:40,442
I had a copy of the script
546
00:31:40,532 --> 00:31:43,702
about a month and a half or two
before we started shooting.
547
00:31:43,792 --> 00:31:46,462
And he already had it
story-boarded to an extent.
548
00:31:54,132 --> 00:31:56,192
Martin.
549
00:31:59,602 --> 00:32:03,022
There's a lot of quick cuts
of you creeping down hallways,
550
00:32:03,112 --> 00:32:05,532
and how would you hit
your mark emotionally?
551
00:32:05,612 --> 00:32:08,532
I generally didn't worry
about it emotionally.
552
00:32:08,612 --> 00:32:12,532
I was more interestedin hitting the mark...
In being in the right place.
553
00:32:14,122 --> 00:32:15,542
Martin.
554
00:32:15,622 --> 00:32:18,042
Martin.
555
00:32:18,122 --> 00:32:20,042
Martin!
556
00:32:20,122 --> 00:32:22,292
Martin?
557
00:32:35,502 --> 00:32:38,302
- Who are you?
- Oh my God.
558
00:32:38,392 --> 00:32:41,312
Look, let's not get
excited about this now.
559
00:32:41,392 --> 00:32:44,812
There's no reason to get upset.
560
00:32:44,902 --> 00:32:46,322
I don't know him!
561
00:32:52,652 --> 00:32:55,572
Were the scenes
very tightly blocked off?
562
00:32:55,662 --> 00:32:59,082
They weren't tightly blocked,
but they were blocked.
563
00:32:59,162 --> 00:33:03,582
Because of being
such an action scene,
564
00:33:03,672 --> 00:33:05,092
we had written blocking
565
00:33:05,172 --> 00:33:08,592
just as if we would work
in a theater.
566
00:33:08,672 --> 00:33:10,582
Of course,
"Martin" was a small shoot...
567
00:33:10,672 --> 00:33:14,202
Generally not more than eight
people on the set in total.
568
00:33:14,292 --> 00:33:17,712
"Dawn" had, I think, 35 in
staff and hundreds in actors.
569
00:33:17,802 --> 00:33:20,222
- Yeah, many nights, hundreds.
- And his attention
570
00:33:20,302 --> 00:33:22,722
was being pulled away
all too often.
571
00:33:22,802 --> 00:33:25,852
So he kept himself
pretty much by himself during that.
572
00:33:25,942 --> 00:33:29,362
But his overall attitude with actors
was pretty much the same.
573
00:33:29,442 --> 00:33:32,862
Your role in "Dawn" was on
the other side of the camera.
574
00:33:32,942 --> 00:33:34,862
I was Casting Director.
575
00:33:34,952 --> 00:33:37,742
Mostly my job
was recruiting zombies.
576
00:33:37,822 --> 00:33:40,742
Creative compromise is the name
of the game in Filmmaking.
577
00:33:40,822 --> 00:33:43,742
Logistics of production
force one to make decisions
578
00:33:43,822 --> 00:33:47,492
counter to the original concept,
but ultimately beneficial.
579
00:33:47,582 --> 00:33:50,002
We were talking before
about the fact
580
00:33:50,082 --> 00:33:53,502
that when he got to the mall,
it had a different atmosphere
581
00:33:53,582 --> 00:33:56,502
than he already thought
582
00:33:56,592 --> 00:33:58,512
about "Dawn" having.
583
00:33:58,592 --> 00:34:01,512
The mall also brought
a futuristic look to the film.
584
00:34:01,592 --> 00:34:03,762
It was so vast.
585
00:34:03,842 --> 00:34:06,262
The idea of the mall itself,
586
00:34:06,352 --> 00:34:10,272
the moment we see it,
the moment we come in and see what it is,
587
00:34:10,352 --> 00:34:13,772
I think it's gonna
become obvious
588
00:34:13,852 --> 00:34:15,772
in terms of what
we're saying about
589
00:34:15,852 --> 00:34:20,272
the false security
of consumer society.
590
00:34:20,362 --> 00:34:22,282
It's a great metaphor.
591
00:34:22,362 --> 00:34:24,272
It's a great set, too.
592
00:34:24,362 --> 00:34:26,282
- Great location, really.
- Great location.
593
00:34:26,372 --> 00:34:28,792
We couldn't do it
without a mall like this.
594
00:34:28,872 --> 00:34:30,792
We were really lucky to get it.
595
00:34:30,872 --> 00:34:33,792
How's it been working with it?
Have there been problems?
596
00:34:33,872 --> 00:34:35,292
There have been
a few problems...
597
00:34:35,372 --> 00:34:37,792
- Mainly technical?
- Mainly technical.
598
00:34:37,882 --> 00:34:39,802
No real people problems at all.
599
00:34:39,882 --> 00:34:42,302
When I read it,
I could easily picture the editing.
600
00:34:42,382 --> 00:34:44,792
I mean your style,
between the angles.
601
00:34:44,882 --> 00:34:46,802
But I didn't picture
the color designs
602
00:34:46,892 --> 00:34:49,812
- or what the mall would look like.
- All of those influences...
603
00:34:49,892 --> 00:34:53,812
Everyone's attitude toward the thing,
as well as my own desire,
604
00:34:53,892 --> 00:34:57,312
I think, to brighten things up...
go more action adventure.
605
00:35:06,912 --> 00:35:09,082
First of all
you're dealing, as I said,
606
00:35:09,162 --> 00:35:11,582
with 3-400 extras
in some scenes,
607
00:35:11,662 --> 00:35:13,582
you're dealing
with a shopping mall
608
00:35:13,662 --> 00:35:16,082
as our primary set,
where their primary business
609
00:35:16,162 --> 00:35:18,082
is in fact selling
consumer goods.
610
00:35:18,172 --> 00:35:21,092
And integrating what we want
to do with the life of the mall
611
00:35:21,172 --> 00:35:23,982
has been an arduous
and complicated task.
612
00:35:24,062 --> 00:35:25,982
There is no way to pay...
613
00:35:26,062 --> 00:35:28,982
Or let's say that there is,
but it's way beyond our capacity to pay
614
00:35:29,062 --> 00:35:31,472
in dollar values what the
use of the mall is worth.
615
00:35:31,562 --> 00:35:33,482
The people that own
the shopping mall
616
00:35:33,572 --> 00:35:35,992
have been aesthetically
attached to Filmmaking
617
00:35:36,072 --> 00:35:39,492
and they are getting enough money
so it doesn't cost them anything
618
00:35:39,572 --> 00:35:41,602
to have us in here,
619
00:35:41,692 --> 00:35:45,622
which is an expensive
proposition in itself.
620
00:35:45,692 --> 00:35:47,612
But in terms of looking at it,
621
00:35:47,702 --> 00:35:50,122
are they making a profit
on our being involved with them?
622
00:35:50,202 --> 00:35:52,122
No, that's not the case.
623
00:35:52,202 --> 00:35:55,112
- What about insurance?
- Insurance is a very costly item...
624
00:35:55,202 --> 00:35:58,722
Particularly where you're
dealing in public places.
625
00:36:00,592 --> 00:36:03,512
If a little old lady
tends to see a zombie,
626
00:36:03,602 --> 00:36:06,522
or happens to see a zombie
wandering around with makeup
627
00:36:06,602 --> 00:36:09,142
and has a heart attack,
that's a potential problem.
628
00:36:09,222 --> 00:36:12,392
I don't want to limit that
to little old ladies, but anyone.
629
00:36:12,472 --> 00:36:15,392
So, yes the insurance...
630
00:36:15,472 --> 00:36:19,492
Tab on this particular picture
is a substantial number.
631
00:36:19,982 --> 00:36:22,902
You all right?
You okay?
632
00:36:22,982 --> 00:36:26,402
- - Yeah, I'm all right.
- All right, Savini.
633
00:36:26,492 --> 00:36:29,412
All right, Savini.
634
00:36:34,392 --> 00:36:36,262
Obviously you can't
light a place this size
635
00:36:36,342 --> 00:36:39,762
without spending
a week to light it.
636
00:36:39,842 --> 00:36:42,762
We discussed doing the
whole thing in one shot...
637
00:36:42,852 --> 00:36:45,272
Rehearsing 30 days
and shoot it one day.
638
00:36:48,352 --> 00:36:50,272
So we have to keep it pretty low
639
00:36:50,352 --> 00:36:52,772
otherwise there would
be really dead areas.
640
00:36:52,862 --> 00:36:55,782
The situation
is not enough time,
641
00:36:55,862 --> 00:36:57,782
not enough lights
642
00:36:57,862 --> 00:37:00,782
and incredibly large spaces
to deal with.
643
00:37:00,872 --> 00:37:05,292
And I think the large spaces
and the fact that we're shooting
644
00:37:05,372 --> 00:37:08,292
a large number of angles
on any given shot
645
00:37:08,372 --> 00:37:11,292
are the biggest problem.
646
00:37:11,382 --> 00:37:14,802
We'll do a setup,
an initial setup and shoot one angle.
647
00:37:14,882 --> 00:37:18,302
And the director
will immediately call for a reversal on it.
648
00:37:18,382 --> 00:37:21,802
Normally, that's not
too big a problem,
649
00:37:21,892 --> 00:37:24,312
but in this case,
one reversal might
650
00:37:24,392 --> 00:37:27,812
encompass 200 or 300 feet
651
00:37:27,892 --> 00:37:30,022
of mall area
652
00:37:30,112 --> 00:37:32,012
where you have background
just to fill in,
653
00:37:32,102 --> 00:37:34,522
just to create touches
to avoid black holes.
654
00:37:34,602 --> 00:37:38,022
Hotspots... There's glass
everywhere creating reflections.
655
00:37:38,102 --> 00:37:41,022
My first reaction
was total panic.
656
00:37:41,112 --> 00:37:43,032
I aggravated myself to death,
657
00:37:43,112 --> 00:37:45,912
because I really...
I wanted it to be better.
658
00:37:45,992 --> 00:37:48,412
The initial shots were so big
659
00:37:48,502 --> 00:37:50,922
that I had to use every light
660
00:37:51,002 --> 00:37:53,422
to its absolute fullest amount.
661
00:37:53,502 --> 00:37:57,422
I couldn't skip
a couple of sections
662
00:37:57,512 --> 00:37:59,932
and say, "I'll fill them
in with another light."
663
00:38:00,012 --> 00:38:03,302
I had to know that between every
10 feet there had to be something,
664
00:38:03,382 --> 00:38:05,302
or every certain area
there had to be
665
00:38:05,382 --> 00:38:07,302
a highlight or a spot.
I had to know that.
666
00:38:07,382 --> 00:38:09,292
And I had to know
exactly what it was.
667
00:38:09,382 --> 00:38:11,302
And I went back to my books
668
00:38:11,392 --> 00:38:13,312
and I read performance figures
669
00:38:13,392 --> 00:38:16,452
on every lamp that I have,
and measured things
670
00:38:16,522 --> 00:38:18,942
and went through it
over and over again.
671
00:38:19,032 --> 00:38:21,952
And finally it came out.
672
00:38:22,032 --> 00:38:24,952
We got the initial
setup done and it worked.
673
00:38:25,032 --> 00:38:28,952
And I felt likeabout five million pounds
was taken off of my head.
674
00:38:29,042 --> 00:38:31,962
While we're swinging with it
on the very, very big shots
675
00:38:32,042 --> 00:38:34,462
right here, right now
we're using a lot of tungsten.
676
00:38:34,542 --> 00:38:36,962
We're pushing one stop...
677
00:38:37,042 --> 00:38:39,962
And we're working with ease
under that situation.
678
00:38:40,052 --> 00:38:42,972
For the very, very big shots
we're pushing one again
679
00:38:43,052 --> 00:38:46,482
and using some zeiss...
680
00:38:46,552 --> 00:38:48,472
- Distagon.
- Distagon lenses,
681
00:38:48,562 --> 00:38:52,982
with the 1.4 which gives us
plenty of light to shoot under.
682
00:38:53,100 --> 00:38:55,520
So then the basis
of this film for me
683
00:38:55,600 --> 00:38:59,020
is to go in and set up areas,
684
00:38:59,100 --> 00:39:01,520
set a main source of light.
685
00:39:01,600 --> 00:39:05,020
And that's not particularly a key light,
it's a source of light,
686
00:39:05,110 --> 00:39:07,530
whether it be
a lamp or ceiling light
687
00:39:07,610 --> 00:39:09,900
or a window light...
Whatever it is.
688
00:39:09,980 --> 00:39:12,400
Then I sit back
and I look at what's there
689
00:39:12,480 --> 00:39:14,390
and build upon that.
690
00:39:14,480 --> 00:39:16,900
A lot of the situations
are available light,
691
00:39:16,990 --> 00:39:20,410
because it's the only
possible way to shoot it.
692
00:39:20,490 --> 00:39:22,410
The shots are either too large
693
00:39:22,490 --> 00:39:25,290
or the movement
is too fast to light.
694
00:39:25,380 --> 00:39:29,300
That's really the biggest problem
is this time situation.
695
00:39:29,380 --> 00:39:32,300
We've managed by doing
basically area lighting
696
00:39:32,390 --> 00:39:34,810
by bouncing a lot
of light around
697
00:39:34,890 --> 00:39:36,810
creating natural effects.
698
00:39:36,890 --> 00:39:39,310
Not lighting to the shot,
but lighting areas.
699
00:39:41,890 --> 00:39:44,430
- Let's go.
- Okay, arrives at the column.
700
00:39:44,510 --> 00:39:46,930
Ricochets ready?
701
00:39:47,020 --> 00:39:49,940
Let's go for one more...
Let's go for just one more shot.
702
00:39:50,020 --> 00:39:54,440
You have it in, and you come off
with the big cocking action.
703
00:39:54,520 --> 00:39:57,440
Fire 'em off the launch towards you.
And then just hold.
704
00:39:57,530 --> 00:40:01,950
'Cause you can always hold in aiming mode
when you realize that there's too many...
705
00:40:07,540 --> 00:40:10,960
Like you see more of them
coming around the corner.
706
00:40:13,040 --> 00:40:15,460
Ready, Mike?
707
00:40:17,550 --> 00:40:19,470
Quiet.
708
00:40:19,550 --> 00:40:20,970
- Sound?
- Rolling.
709
00:40:21,050 --> 00:40:22,970
659, take 7.
Sound 1343.
710
00:40:23,850 --> 00:40:27,280
I had never worked with any other
director in terms of a feature.
711
00:40:27,350 --> 00:40:29,270
I know the reaction
to George's style
712
00:40:29,360 --> 00:40:31,780
as to how he'd get
so many setups in one hour,
713
00:40:31,860 --> 00:40:34,780
while other directors might
spend 3-4 hours on eight shots.
714
00:40:34,860 --> 00:40:37,530
Whereas George, I don't think,
could ever do that.
715
00:40:37,610 --> 00:40:40,530
Yeah, we have discussed
angles and style
716
00:40:40,620 --> 00:40:42,540
on a previous film we did
called "Martin."
717
00:40:42,620 --> 00:40:46,290
We pretty much maintain that mood
when we shoot horror stuff...
718
00:40:46,370 --> 00:40:48,650
Which is a lot of wide angle,
719
00:40:48,740 --> 00:40:50,290
low positions
720
00:40:50,380 --> 00:40:53,920
that accentuate
the monster aspects
721
00:40:54,000 --> 00:40:56,420
of the zombies or whatever.
722
00:40:59,000 --> 00:41:02,020
That's pretty much it
in terms of any adapted style
723
00:41:02,110 --> 00:41:05,510
which we have intensified
in this film
724
00:41:05,590 --> 00:41:08,010
or any previous horror films
which we've done.
725
00:41:10,980 --> 00:41:14,150
This film allows us to be a little
more graceful, a little more beautiful
726
00:41:14,230 --> 00:41:17,010
with our photography because
it's not simply a horror film.
727
00:41:17,100 --> 00:41:20,520
One of our worries was we were getting a
little too far away from the horror genre.
728
00:41:20,610 --> 00:41:23,530
But I can help it along...
I understand where he's going.
729
00:41:23,610 --> 00:41:26,530
I've worked with him enough
that I understand his direction.
730
00:41:26,610 --> 00:41:30,030
George tends to set up scenes
and then let them happen,
731
00:41:30,120 --> 00:41:32,040
rather than being
extremely precise
732
00:41:32,120 --> 00:41:34,540
about every movement
of every actor,
733
00:41:34,620 --> 00:41:36,530
and the delivery of every line.
734
00:41:36,620 --> 00:41:39,170
If he's not happy with the way it
comes out the first time,
735
00:41:39,260 --> 00:41:42,180
he will do another take obviously.
Mm-hmm.
736
00:41:42,260 --> 00:41:44,180
But, I think
overall style-wise,
737
00:41:44,260 --> 00:41:45,680
I think that it's consistent.
738
00:41:45,770 --> 00:41:47,690
I think that it's
a little more traditional
739
00:41:47,770 --> 00:41:50,690
in that he is using... how can I say...
a more standard approach
740
00:41:50,770 --> 00:41:53,680
in terms of reverses
and two-shots on dialogue and the like...
741
00:41:53,770 --> 00:41:55,690
Not a lot but somewhat.
742
00:41:55,780 --> 00:41:59,200
We shoot anywhere
from 15-20 to one.
743
00:42:05,790 --> 00:42:08,710
Senores, please to let me pass.
744
00:42:08,790 --> 00:42:13,210
I cover conversations
with the master.
745
00:42:13,290 --> 00:42:14,710
No, no, no, please.
746
00:42:14,790 --> 00:42:17,710
Just let me pass.
747
00:42:17,800 --> 00:42:20,220
I go up to seventh floor
find my sister.
748
00:42:20,300 --> 00:42:22,720
Then with single head shots
on everybody involved.
749
00:42:22,800 --> 00:42:24,720
People of 107 will do
what you wish now.
750
00:42:24,800 --> 00:42:28,220
These are simple people.
They have little,
751
00:42:28,310 --> 00:42:30,230
but they do not
give it up easily.
752
00:42:30,310 --> 00:42:32,230
And their dead
they give up to no one.
753
00:42:32,310 --> 00:42:34,230
Not so much cutaways,
754
00:42:34,310 --> 00:42:36,230
in other words, I'll cut
to all of the people
755
00:42:36,320 --> 00:42:38,740
or I'll use people
as their own cutaways.
756
00:42:38,820 --> 00:42:43,240
Many have died last week,
on these streets.
757
00:42:43,320 --> 00:42:46,740
In the basement of this building,
you will find them.
758
00:42:47,430 --> 00:42:50,350
I have given them
the last rites.
759
00:42:50,430 --> 00:42:53,340
Now, you do what you will.
760
00:42:53,830 --> 00:42:56,750
You are stronger than us,
761
00:42:56,840 --> 00:42:59,260
but soon I think...
762
00:42:59,340 --> 00:43:01,260
They be stronger than you.
763
00:43:01,340 --> 00:43:03,750
And sometimes if I see
a shot I like
764
00:43:03,840 --> 00:43:06,260
I'll just go do it...
Almost on whim.
765
00:43:06,350 --> 00:43:10,270
When the dead walk, Senores,
766
00:43:10,350 --> 00:43:12,270
we must stop the killing
767
00:43:12,350 --> 00:43:14,270
or lose the war.
768
00:43:20,980 --> 00:43:24,340
Out here, shooting, I don't really
think too much about cutting,
769
00:43:25,110 --> 00:43:27,280
I'd rather let that happen too.
770
00:43:27,370 --> 00:43:30,290
Except in tightly choreographed sequences,
like the truck scene
771
00:43:30,370 --> 00:43:33,290
where I know
what's cutting to what.
772
00:43:48,860 --> 00:43:50,280
In this action scene
773
00:43:50,360 --> 00:43:53,030
notice how he has isolated
the three leads
774
00:43:53,110 --> 00:43:55,910
to better manipulate
the visuals...
775
00:43:58,400 --> 00:44:01,570
Close-ups, medium shots,
776
00:44:01,650 --> 00:44:02,650
long shots
777
00:44:06,610 --> 00:44:09,030
come on. Look, man.
778
00:44:09,110 --> 00:44:11,670
Visceral, disorienting angles,
779
00:44:11,740 --> 00:44:14,910
rhythm and tension
potentials to be inherited
780
00:44:15,000 --> 00:44:18,540
by himself on the editing table.
781
00:44:35,490 --> 00:44:39,910
The most celebrated shot
in "Night" is this one.
782
00:44:39,990 --> 00:44:42,080
A close-up of one zombie
gives way
783
00:44:42,160 --> 00:44:45,000
to an extreme
long shot of several of them.
784
00:44:45,080 --> 00:44:48,450
And the film transforms
into a vision of doom.
785
00:44:50,330 --> 00:44:53,050
A revelation in space,
multiplies the horror
786
00:44:53,140 --> 00:44:55,560
far beyond our expectations.
787
00:44:57,640 --> 00:45:00,420
As a spatial stylist,
Romero is consistent.
788
00:45:00,510 --> 00:45:03,390
He is a master
of spatial design.
789
00:45:03,480 --> 00:45:06,400
I never really put it down
to the use of space,
790
00:45:06,480 --> 00:45:08,400
except that's what it is.
791
00:45:08,490 --> 00:45:10,410
It has to do with, uh...
792
00:45:10,490 --> 00:45:13,410
Again, it's just
breaking from tradition.
793
00:45:13,490 --> 00:45:15,910
There are ways
that you're supposed to shoot that...
794
00:45:15,990 --> 00:45:18,910
Involving screen direction
and involving
795
00:45:19,000 --> 00:45:20,920
a formal patternized
kind of cutting,
796
00:45:21,000 --> 00:45:22,420
which I just don't like.
797
00:45:22,500 --> 00:45:25,420
I think as part... if the scene
is a tension-filled scene,
798
00:45:25,500 --> 00:45:28,420
or if it's a suspenseful scene
or a very active scene
799
00:45:28,510 --> 00:45:30,430
which is meant to grate...
800
00:45:32,030 --> 00:45:34,080
Everything should grate.
801
00:45:42,670 --> 00:45:45,090
Get its head up!
802
00:45:45,170 --> 00:45:46,200
Get its head up!
803
00:45:47,990 --> 00:45:50,160
Roger, get its head up, man!
804
00:46:20,040 --> 00:46:21,960
No matter how much
you work with film,
805
00:46:22,040 --> 00:46:23,950
it never ceases to amaze
me how different it is
806
00:46:24,040 --> 00:46:26,460
once it's up there,
and you're watching all your footage.
807
00:46:26,550 --> 00:46:28,470
It's very hard to translate
when you're on the set.
808
00:46:28,550 --> 00:46:31,470
You can't imagine what it's
going to look like in two dimensions,
809
00:46:31,550 --> 00:46:33,960
up there that big
with electronic amplification.
810
00:46:34,050 --> 00:46:36,470
But I don't think
it's insecurity
811
00:46:36,560 --> 00:46:38,980
to say, "I'm not sure
how this going to work out,
812
00:46:39,060 --> 00:46:42,480
so we're going to shoot it another way.
" That's just exploration.
813
00:46:42,560 --> 00:46:44,980
A lot of film is like watercolor...
It's a lot of accidents
814
00:46:45,060 --> 00:46:47,480
and it's learning how
to control the accidents.
815
00:46:47,570 --> 00:46:50,110
That's where you need to just
keep doing a lot of work.
816
00:47:19,100 --> 00:47:21,520
Goodbye, creep.
817
00:47:48,850 --> 00:47:50,770
The key creative force
818
00:47:50,850 --> 00:47:53,270
in post-production
is the editor.
819
00:47:53,350 --> 00:47:55,760
Who, in this case,
also happens to be the director.
820
00:47:55,840 --> 00:47:58,640
There are a few scenes...
Like a housing project scene
821
00:47:58,720 --> 00:48:01,640
where we raid this housing
project in the beginning,
822
00:48:01,720 --> 00:48:03,640
and there's this...
823
00:48:03,730 --> 00:48:06,650
There are a couple of families
in the apartments there
824
00:48:06,930 --> 00:48:10,350
who come in and we're throwing
them out of the housing project
825
00:48:10,430 --> 00:48:12,350
and various people are killed.
826
00:48:12,440 --> 00:48:14,860
The way some of them are
killed just make you go...
827
00:48:14,940 --> 00:48:16,860
Like that.
828
00:48:16,940 --> 00:48:19,360
And I saw some of the stuff
being shot, the scenes,
829
00:48:19,440 --> 00:48:21,860
but when he put it together
it was, uh...
830
00:48:21,940 --> 00:48:25,360
I was riveted to the seat.
I couldn't believe it.
831
00:48:25,450 --> 00:48:27,870
It was pretty powerful.
832
00:48:29,950 --> 00:48:31,870
Definitely not boring.
833
00:49:05,120 --> 00:49:08,040
On the couch...
Throw her on the couch.
834
00:49:08,120 --> 00:49:09,120
- Come on.
- Okay.
835
00:49:16,170 --> 00:49:18,090
It has been said that Romero
836
00:49:18,170 --> 00:49:20,590
doesn't allow us
to look at his shots,
837
00:49:20,670 --> 00:49:23,590
rather his cutting forces us
to experience them.
838
00:49:31,060 --> 00:49:33,730
This is as true of "Night"...
839
00:49:33,820 --> 00:49:35,740
No. No!
840
00:49:40,690 --> 00:49:42,110
No!
841
00:49:44,190 --> 00:49:46,860
As it is of "Martin"...
842
00:50:00,340 --> 00:50:02,260
As it is of "Dawn."
843
00:50:12,100 --> 00:50:15,640
Considering that quick cutting will
wear an audience down emotionally,
844
00:50:15,730 --> 00:50:17,170
it is remarkable
that he can maintain
845
00:50:17,230 --> 00:50:19,530
such a level of tension
in his films.
846
00:50:19,610 --> 00:50:23,030
They contain almost twice as many
cuts as any other directors'.
847
00:50:23,120 --> 00:50:25,410
He conceptualizes,
by doing takes,
848
00:50:25,480 --> 00:50:28,650
exactly what he needs,
and he's very efficient with his shots.
849
00:50:28,740 --> 00:50:30,540
Some call it choppy,
or some call it heavy-handed
850
00:50:30,620 --> 00:50:32,540
in terms of the editorial style.
851
00:50:46,420 --> 00:50:48,340
Hey, Dick!
852
00:50:49,430 --> 00:50:51,350
Hello.
853
00:50:55,930 --> 00:50:59,730
George's commercial background,
if you will,
854
00:50:59,820 --> 00:51:03,240
has set the tone
for his cutting,
855
00:51:03,320 --> 00:51:06,740
that he has a commercial reel
that I think is slick
856
00:51:06,830 --> 00:51:08,750
as anybody out of New York
or Los Angeles.
857
00:51:08,830 --> 00:51:12,750
Mellon bank and U.S. Steel
and Rockwell and Heinz...
858
00:51:12,830 --> 00:51:15,750
And he used to make very,
very slick 30-second commercials.
859
00:51:15,840 --> 00:51:17,260
And he learned the discipline
860
00:51:17,340 --> 00:51:20,260
whereby you have to say
something quickly, concisely
861
00:51:20,340 --> 00:51:21,760
and get the message across.
862
00:51:23,810 --> 00:51:26,220
What happens when
a Calgon research team
863
00:51:26,300 --> 00:51:28,350
and their submarine
are reduced to micro-size
864
00:51:28,430 --> 00:51:31,430
and sent on a dangerous mission
deep inside a washing machine?
865
00:51:34,520 --> 00:51:37,430
Engines reversed full, captain.
We're stuck.
866
00:51:37,520 --> 00:51:39,940
We've got to find out
what's on those fibers.
867
00:51:40,030 --> 00:51:42,450
Trapped in the fibers
of a giant t-shirt
868
00:51:42,530 --> 00:51:46,450
the Calgonauts discover secrets
of gray dull-looking laundry.
869
00:51:46,530 --> 00:51:50,060
- Why, it feels like...
- Leftover detergent film.
870
00:51:50,150 --> 00:51:52,780
The fibers are covered
with this stuff.
871
00:51:52,870 --> 00:51:55,290
This box has never been opened.
872
00:51:55,370 --> 00:51:58,040
Add the Calgon.
You'll thrill as Calgon
873
00:51:58,130 --> 00:52:00,800
dissolves the dirty
leftover detergent film.
874
00:52:00,880 --> 00:52:03,400
It's working.
The gray is gone.
875
00:52:03,480 --> 00:52:05,000
The fibers are clean.
876
00:52:05,080 --> 00:52:08,500
- Let's get out of here.
- I think I'm in love with you.
877
00:52:08,590 --> 00:52:10,890
If you're tired
of dull detergent films
878
00:52:10,970 --> 00:52:14,390
and grade-b washes,
thrill to the Calgon story.
879
00:52:14,480 --> 00:52:16,900
At your nearby
family washing machine.
880
00:52:16,980 --> 00:52:21,399
This has been transposed
into his feature editing,
881
00:52:21,400 --> 00:52:24,310
so that there is very rarely
a let up in the action.
882
00:52:24,400 --> 00:52:26,320
I don't think there
are very many shots
883
00:52:26,410 --> 00:52:28,330
that last four
or five seconds on screen.
884
00:52:28,410 --> 00:52:31,830
There are not thoselong, long
camera moves... That's true.
885
00:52:31,910 --> 00:52:33,820
Revolving around.
All George would do
886
00:52:33,910 --> 00:52:36,830
would cut them up
if Mike did them.
887
00:52:36,920 --> 00:52:40,340
I shoot a lot,
888
00:52:40,420 --> 00:52:43,840
because I know that I can
make the decisions later
889
00:52:43,920 --> 00:52:45,840
on the cutting table.
890
00:52:45,930 --> 00:52:48,850
So I wind up shooting
a lot of material that I fall in love with,
891
00:52:48,930 --> 00:52:51,850
and I really like.
And there's economically no room for it
892
00:52:51,930 --> 00:52:54,850
in the final piece.
So it's harder.
893
00:52:54,930 --> 00:52:56,850
And it's very hard...
When I sit down and I say
894
00:52:56,940 --> 00:52:58,860
"okay, here are 10 scenes
that I like,
895
00:52:58,940 --> 00:53:01,860
which two
are the least needed?"
896
00:53:01,940 --> 00:53:04,860
It's really...
That's a very difficult process for me.
897
00:53:04,940 --> 00:53:06,860
And I think that's where
all of your bias comes in...
898
00:53:06,950 --> 00:53:08,870
And all of your emotions.
899
00:53:08,950 --> 00:53:11,370
It's very difficult.
It's a lot easier to edit
900
00:53:11,450 --> 00:53:13,860
when you're upfront...
When you're writing it.
901
00:53:15,960 --> 00:53:18,880
There's a lot of people
that work with a formula
902
00:53:18,960 --> 00:53:22,380
in terms of when to use the master,
when to go in and all that.
903
00:53:22,460 --> 00:53:24,880
And people will say
that's very shattering
904
00:53:24,960 --> 00:53:26,880
if you don't follow
some kind of a pattern
905
00:53:26,970 --> 00:53:30,890
or if there isn't some kind
of an expected cutting pace
906
00:53:30,970 --> 00:53:32,890
that people can relax
and get comfortable with.
907
00:53:32,970 --> 00:53:34,890
I don't think
that's true at all.
908
00:53:34,970 --> 00:53:37,890
I don't think people notice cuts...
If they're well done.
909
00:53:37,980 --> 00:53:40,900
If they're not shattering or jarring,
you don't notice them at all.
910
00:53:40,980 --> 00:53:43,400
There's a sequence
in "Martin," for example,
911
00:53:43,480 --> 00:53:45,400
which could have been
just the murder sequence,
912
00:53:45,480 --> 00:53:48,780
but it's elongated as far as I
thought it could be elongated.
913
00:53:48,870 --> 00:53:52,290
- Emergency, now call 911.
- I can't call 911, that's the police...
914
00:53:52,380 --> 00:53:54,300
It's not, it's a general
emergency number!
915
00:53:56,380 --> 00:53:59,300
Some actions are mundane...
Dealing with the telephones.
916
00:53:59,380 --> 00:54:02,800
Call the hospital. Tell them what happened.
We'll be there in five minutes.
917
00:54:02,890 --> 00:54:05,390
All those actions,
no matter how mundane,
918
00:54:05,470 --> 00:54:07,880
become interesting when you look
at them in a certain way.
919
00:54:07,970 --> 00:54:11,390
- I don't know the number.
- Call information. Get the number... call them.
920
00:54:11,480 --> 00:54:14,350
They're all part of the overall
action that's going on.
921
00:54:14,430 --> 00:54:16,740
And they help to build
a certain amount of suspense,
922
00:54:16,820 --> 00:54:19,240
because they are things
that we deal with every day.
923
00:54:19,320 --> 00:54:22,610
Shit! It's fucked up.
Wait a minute.
924
00:54:22,690 --> 00:54:25,610
I gotta do it again.
925
00:54:25,690 --> 00:54:29,110
I can't get through.
I forgot the number.
926
00:54:29,200 --> 00:54:30,620
Wait...
927
00:54:34,200 --> 00:54:36,120
I don't like sloughing
sequences off.
928
00:54:36,200 --> 00:54:39,120
I don't like car chases
that don't do anything.
929
00:54:39,210 --> 00:54:42,630
Because within
a fight in this room
930
00:54:42,710 --> 00:54:45,130
that encompasses
three punches being thrown.
931
00:54:47,100 --> 00:54:49,020
Lewis!
932
00:54:49,100 --> 00:54:51,520
Move aside, you bastard...
933
00:54:51,600 --> 00:54:53,260
I'm not talking about
a big brawl.
934
00:54:53,350 --> 00:54:56,270
You could do
a three-punch fight
935
00:54:56,360 --> 00:54:58,280
and make it last five minutes.
936
00:54:58,360 --> 00:55:01,280
'Cause everything is valid
and everything is information.
937
00:55:01,360 --> 00:55:03,020
And I like to deal with detail.
938
00:55:08,620 --> 00:55:10,540
And I'd like to just
go with a visual,
939
00:55:10,620 --> 00:55:13,040
almost a cubist look at that.
940
00:55:13,120 --> 00:55:15,650
And that's another place
where I'll shoot a lot of film.
941
00:55:15,740 --> 00:55:18,160
Get away from me!
Stop!
942
00:55:24,250 --> 00:55:28,180
What did you do to me?
943
00:55:34,260 --> 00:55:36,680
I use a lot of sound elements.
944
00:55:36,760 --> 00:55:39,680
And I cut, rather thanon a flatbed,
on a table with a synchronizer.
945
00:55:39,770 --> 00:55:42,190
And there's a certain
kind of tactile thing
946
00:55:42,270 --> 00:55:44,070
that I get into
in terms of the tracks.
947
00:55:44,150 --> 00:55:48,070
It's a visual almost
checker-boarding of the tracks.
948
00:55:48,160 --> 00:55:51,080
I don't use film as leader.
I always use white,
949
00:55:51,160 --> 00:55:53,080
because I like to see
950
00:55:53,160 --> 00:55:55,580
that white-brown juxtaposition
of the tracks.
951
00:55:55,660 --> 00:55:57,830
I like to lay the tracks
across on a table.
952
00:55:57,920 --> 00:56:00,840
You can almost visualize
how the track is working.
953
00:56:00,920 --> 00:56:02,840
And I use a lot of track.
954
00:56:02,920 --> 00:56:05,840
And when I do my first cut,
I don't just cut picture-voice.
955
00:56:05,930 --> 00:56:08,850
I cut with some kind of music
956
00:56:08,930 --> 00:56:11,850
and with effects...
957
00:56:11,930 --> 00:56:14,850
You use pre-recorded music
to get the rhythms?
958
00:56:14,930 --> 00:56:16,850
Yeah, to get some kind
of rhythm going...
959
00:56:16,940 --> 00:56:18,860
Until I find a rhythm going.
960
00:56:18,940 --> 00:56:20,860
And I wind up
with a lot of tracks
961
00:56:20,940 --> 00:56:22,860
for a small independent.
962
00:56:22,940 --> 00:56:26,360
I've seen studio productions where
they get into 30-40 tracks,
963
00:56:26,450 --> 00:56:30,370
but that's just because they're
too lazy to lay them in sometimes.
964
00:56:30,450 --> 00:56:34,370
I use 12-15 tracks.
965
00:56:34,450 --> 00:56:38,370
And I like a lot of sound.
I hate dead air.
966
00:56:38,460 --> 00:56:40,380
I'll always use
some kind of an ambiance
967
00:56:40,460 --> 00:56:43,380
and a lot of music,
968
00:56:43,460 --> 00:56:45,380
which is just all form stuff.
969
00:56:45,460 --> 00:56:48,380
Some people say that my tracks
are too driving
970
00:56:48,470 --> 00:56:50,390
or too full,
971
00:56:50,470 --> 00:56:53,890
but that's just
personal preference.
972
00:57:03,100 --> 00:57:05,520
In summary,
this sequence from "Dawn"
973
00:57:05,600 --> 00:57:09,020
clearly demonstrates
Romero's style,
974
00:57:09,100 --> 00:57:11,650
conceptualized
in the screenplay stage...
975
00:57:13,740 --> 00:57:16,160
Given substance
during shooting...
976
00:57:18,750 --> 00:57:20,170
And given shape in the editing.
977
00:57:44,820 --> 00:57:46,690
We don't make
distributions arrangements
978
00:57:46,780 --> 00:57:49,200
till after we finish a picture.
979
00:57:49,280 --> 00:57:52,200
Not wanting to have too many
fingers in the pie too soon,
980
00:57:52,280 --> 00:57:56,200
not wanting to compromise
from ground zero.
981
00:57:56,290 --> 00:57:59,710
Eventually we may have to make some
compromises on a business level,
982
00:57:59,790 --> 00:58:01,710
but at least they start later.
983
00:58:01,790 --> 00:58:05,210
And we've finished the picture so it's
a matterof maybe taking something out.
984
00:58:05,290 --> 00:58:07,710
This statement was made
during production
985
00:58:07,800 --> 00:58:11,720
and carried with it an ominous note which
reverberated for over a year
986
00:58:11,800 --> 00:58:15,220
as Romero fought for
a strong vision.
987
00:58:15,300 --> 00:58:18,970
It stood as a thorn in the side
of negotiations with distributors
988
00:58:19,060 --> 00:58:22,480
even after "Dawn" opened to
tremendous business in Europe.
989
00:58:22,560 --> 00:58:25,340
Finally a breakthrough
was achieved.
990
00:58:25,430 --> 00:58:27,790
We made a couple of errors
in signing the distribution deal
991
00:58:27,880 --> 00:58:30,300
with "Night of the Living Dead"
992
00:58:30,390 --> 00:58:34,310
in that we sold, or we'd signed
a distribution deal worldwide.
993
00:58:34,390 --> 00:58:37,810
We didn't hold out any rights...
television, Canada, Europe... nothing.
994
00:58:37,890 --> 00:58:42,310
16mm... nothing.
We gave the distributor the world.
995
00:58:42,400 --> 00:58:45,070
Basically, I didn't
know anything then...
996
00:58:45,150 --> 00:58:48,570
About the business side of things and
about how to draw a contract.
997
00:58:48,650 --> 00:58:52,070
Now, knowing what I know now,
998
00:58:52,160 --> 00:58:54,580
you want to ask for as many
of those controls
999
00:58:54,660 --> 00:58:56,970
as you can possibly
get your hands on.
1000
00:58:57,050 --> 00:58:58,970
When you have a smash-hit film
out in theaters,
1001
00:58:59,050 --> 00:59:00,970
your 16mm rights
are going to be worth a lot.
1002
00:59:01,050 --> 00:59:03,220
Television rights
will be worth a lot.
1003
00:59:03,300 --> 00:59:05,720
So principally
I would say that...
1004
00:59:05,810 --> 00:59:07,730
Hold for as much as you
can hold out for.
1005
00:59:07,810 --> 00:59:11,680
There were a number of people that
offered us substantial amounts of money
1006
00:59:11,760 --> 00:59:14,170
to deliver an R-rated film
which meant,
1007
00:59:14,260 --> 00:59:17,180
we anticipated, cutting
the guts out of the movie...
1008
00:59:17,270 --> 00:59:19,190
In order to get that "R."
1009
00:59:19,270 --> 00:59:23,190
We looked for a distributor
who recognized, as we did,
1010
00:59:23,270 --> 00:59:25,190
that the best economic
course of action
1011
00:59:25,270 --> 00:59:27,190
was to leave the film untampered
1012
00:59:27,280 --> 00:59:29,200
even though that created
other problems.
1013
00:59:29,280 --> 00:59:30,700
It created the potential problem
1014
00:59:30,780 --> 00:59:32,700
of a newspaper
not taking the ad.
1015
00:59:32,780 --> 00:59:34,700
It created the problem
1016
00:59:34,780 --> 00:59:38,200
of a TV station
not running a commercial,
1017
00:59:38,290 --> 00:59:41,210
a certain theater
not playing the film.
1018
00:59:41,290 --> 00:59:45,710
We believed that ultimately economically
those problems would cost less
1019
00:59:45,800 --> 00:59:50,220
and we would make more if the film
was left as George wanted it.
1020
00:59:50,300 --> 00:59:52,720
Several of the distributors
that wanted it badly
1021
00:59:52,800 --> 00:59:56,720
understanding the problems... For example
with the MPAA, here in this country...
1022
00:59:56,810 --> 01:00:00,230
That the mpaa would
probably "X" the film.
1023
01:00:00,310 --> 01:00:02,730
And the only way to get an "R"
would be to cut it.
1024
01:00:02,810 --> 01:00:05,730
So I wound up holding out
during the negotiations
1025
01:00:05,820 --> 01:00:08,740
and luckily Richard backed me
up all the way on this,
1026
01:00:08,820 --> 01:00:12,240
because there were a couple of times
when it would have been easier
1027
01:00:12,320 --> 01:00:16,240
to take a deal... Would have
been financially easier to take a deal.
1028
01:00:16,330 --> 01:00:20,250
That's the other thing... I think that
Richard and I have had a good relationship.
1029
01:00:20,330 --> 01:00:23,750
So I don't have to worry
about my own internal team.
1030
01:00:23,830 --> 01:00:28,250
And that's big...
Number one.
1031
01:00:28,340 --> 01:00:31,260
Having Richard's support,
I was just able to sit there
1032
01:00:31,340 --> 01:00:33,750
and say "look, I'm not gonna
cut the picture."
1033
01:00:33,840 --> 01:00:36,840
When the distributor took his stance
to put the picture out unrated,
1034
01:00:36,930 --> 01:00:39,850
it's not that he wasn't
accepting the restrictions of an "X"...
1035
01:00:39,930 --> 01:00:41,730
Because he's putting
a flag on it that says
1036
01:00:41,820 --> 01:00:45,240
no one under 17 will be admitted.
Forget with a parent,
1037
01:00:45,320 --> 01:00:48,740
not at all...
And he's accepting those restrictions.
1038
01:00:48,820 --> 01:00:51,740
What he's not accepting
is the symbol itself, the "X,"
1039
01:00:51,830 --> 01:00:53,750
because the "X"
does automatically
1040
01:00:53,830 --> 01:00:56,750
say to most people in America
that this picture is obscene.
1041
01:00:56,830 --> 01:00:59,250
For a major company
in the industry
1042
01:00:59,340 --> 01:01:02,760
to release a film without a rating
is a major break.
1043
01:01:02,840 --> 01:01:05,760
And that was something
that was long and hard in finding.
1044
01:01:05,840 --> 01:01:09,090
We basically are in agreement
with a system which flags movies
1045
01:01:09,180 --> 01:01:10,600
and tells people
what they're gonna see.
1046
01:01:10,680 --> 01:01:14,440
Our point is, there should not be
economic penalties attached to that.
1047
01:01:14,520 --> 01:01:17,440
I also had to fight... You always
have to fight for things like length.
1048
01:01:17,520 --> 01:01:20,440
Usually with an exploitation picture,
a distributor will say
1049
01:01:20,520 --> 01:01:23,940
"It's terrific and I love it,
but cut it to 90 minutes."
1050
01:01:24,030 --> 01:01:26,450
Once again, there's no secret.
1051
01:01:26,530 --> 01:01:28,450
I can't teach you how to get
1052
01:01:28,530 --> 01:01:31,440
the kind of controls that enable you
to leave your picture longer...
1053
01:01:31,530 --> 01:01:34,950
Or to have that kind of creative cut.
It's a matter of holding out for it
1054
01:01:35,040 --> 01:01:37,460
and not selling until
somebody gives it to you.
1055
01:01:37,540 --> 01:01:41,460
And I was able to do that
partially because of my reputation,
1056
01:01:41,540 --> 01:01:44,460
but partially just because
I sat there and said no.
1057
01:01:46,050 --> 01:01:47,970
And there were a couple
of sticky times
1058
01:01:48,050 --> 01:01:50,970
when people would get up from the
negotiating table and walk and go home.
1059
01:01:51,050 --> 01:01:53,970
You got to sit through them,
those are the toughest times.
1060
01:01:54,060 --> 01:01:57,230
You gotta sit through that and say
"okay, see you tomorrow"... hopefully.
1061
01:01:57,310 --> 01:01:59,230
And we did see them tomorrow
and they ultimately
1062
01:01:59,310 --> 01:02:01,530
said "okay, it can be your cut."
1063
01:02:02,218 --> 01:02:04,798
Adam, let me give you something
you might want to use.
1064
01:02:04,888 --> 01:02:07,238
- Okay, keep it going.
- Just roll for a second.
1065
01:02:07,328 --> 01:02:10,618
I think that there
are very few directors
1066
01:02:10,698 --> 01:02:14,118
that have total, final,
real last cut on their movies.
1067
01:02:14,198 --> 01:02:18,248
I say that when they tell you that
these are the rules for the system
1068
01:02:18,338 --> 01:02:20,258
and you can't do it another way,
1069
01:02:20,338 --> 01:02:23,258
they're not correct.
It can be done other ways.
1070
01:02:23,338 --> 01:02:25,258
You can maintain control
of your product.
1071
01:02:25,348 --> 01:02:28,268
I'm not saying it's easy,
but it can be done.
1072
01:02:28,348 --> 01:02:30,268
You don't have to be
in New York or Hollywood
1073
01:02:30,348 --> 01:02:33,768
in order to produce films,
to get attention.
1074
01:02:33,848 --> 01:02:35,768
I think we're the proof of that.
1075
01:02:35,858 --> 01:02:38,278
I would be
as encouraging as possible
1076
01:02:38,358 --> 01:02:40,778
to people to do
what everybody else
1077
01:02:40,858 --> 01:02:43,778
says you can't do.
1078
01:05:34,092 --> 01:05:36,172
So, "Night of the Living Dead"
is the beginning
1079
01:05:36,262 --> 01:05:38,182
and this is the end?
1080
01:05:38,230 --> 01:05:40,150
- This is the middle.
- This is the middle?
1081
01:05:40,272 --> 01:05:43,092
- Is there room for more?
- There's plenty of room for more.
1082
01:05:43,193 --> 01:05:45,203
Zombies are still dumb.
89369
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