1
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Hello and welcome
to our audio commentary.

2
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I'm Nick Redmond,
documentary filmmaker and record producer,

3
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and today I have the great pleasure
sitting here with Richard Kline,

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an exceptional cameraman,
who was nominated for an Oscar twice,

5
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among others for CAMELOT,
one of my favorite films,

6
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and for John Guillermin's KING KONG.

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Welcome, Richard.
Thank you for being with us today.

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It's my pleasure.

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I'm looking forward to this moment.

10
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See at the beginning of the film
so we the mechanic,

11
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who is played by Charles Bronson,
and this beginning of the film

12
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is interesting in this respect and
unusual than he, I think,

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16 minutes without
one word of dialogue is enough.

14
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Correct.

15
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That was downtown
from Los Angeles, right?

16
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Can you remember anything?
about the filming

17
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remember for this section?

18
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Well, especially in this part

19
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we had pretty cloudy days,

20
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and that contributed to
to achieve the desired effect.

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Instead of radiant
Californian sunshine

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it was just a little muffled,
and that made it even better.

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That's quite a one
memorable sequence.

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Tell us a little about how you
prepare for filming,

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the bleak reality, so to speak
in a downtown like this.

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Every film is different, and this one
there was really nothing to prepare.

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The live location,
the colors, everything is perfect.

28
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We had nothing to change here.

29
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And I had freedom with them
filming, with the exception

30
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that we get to a point
which I will go into a little later,

31
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but it's all natural
and very easy to rotate.

32
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You point the camera, really.

33
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I have here and there
made a little light,

34
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to emphasize this or that,
such as the stairs

35
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at this particular moment.

36
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And it really was a perfect one
Location for this part of the story.

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It was dark and lent itself to
high-contrast lighting,

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as we see them now.

39
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And that set the mood,
the desired mood for the picture.

40
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- There's your name as we speak.
- Yes.

41
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Michael Wiener was that
Director of this film.

42
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I know you have a long one
had a relationship with him

43
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and you over many
Were good friends for years.

44
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Do you have this film for the first time?
Have you ever worked with him?

45
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This is the first time, right.

46
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And what was the working relationship like?
to him from the beginning?

47
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First of all, I became
interviewed by Michael Wiener,

48
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and we had a 20 minute conversation,
and he said:

49
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"Okay, we'll get back to you."

50
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And I left.

51
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And the next morning he called
me at around six in the morning.

52
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He said: "Can you come back today,
around seven o'clock?"

53
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And I agreed.

54
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And as I walked through the door,
he said in his office:

55
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"Well, you win
or maybe lost."

56
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I didn't know exactly
what he meant by that

57
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but I found out later
that he was the boss.

58
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He is a very articulate man,
very clever, very visual,

59
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but he has one like that
explosive temper,

60
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that there were people on set
who wanted to leave immediately.

61
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But he's not evil at all.

62
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Yes, I can only say good things about him,
and mainly,

63
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because I like his talent and style
of personality,

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which I just mentioned
and that made him successful.

65
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And he did her justice.

66
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And we stayed friends until
to his death last year.

67
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And we may have once
talked to each other every week.

68
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While he was in England and I was here.

69
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Or I saw him,
when I went there or he came here.

70
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But a better friend
you can't wish for it.

71
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And he really was.

72
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I'm glad you said that, Richard,

73
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because I always had the feeling
that Michael Wiener

74
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is treated somewhat neglectfully,
when it comes to

75
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to look back on his work.

76
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People associate him
rather with some, let's say,

77
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less successful films
the final phase of his career.

78
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And they forget that in the
Sixties with films like

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WHAT COMES AFTER...?
which is considered a small classic.

80
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And with all his films from the
American era, which he began in 1970,

81
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especially with actors
like Charles Bronson,

82
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device this very strong medium
Period forgotten.

83
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And I like to hear
that you say that you him

84
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for a very talented one
Director holds.

85
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Boy, oh definitely.

86
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He had a keen eye,
he was very artistic,

87
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and he was a very
fast director.

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No waste of time.

89
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He knew what not to do

90
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what many directors
maybe would do.

91
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A little touch on
a wall in the distance,

92
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which means nothing for the moment.

93
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However, it would take quite a while
to climb a ladder

94
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and everything in the small ones
Space to put in the corner.

95
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He knew how to save time.

96
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And thanks to its precision
did that work.

97
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It's interesting
that he was a privileged man

98
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the one from a pretty
wealthy social environment

99
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and still the value
of a dollar.

100
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He was someone
whose career was boosted by it,

101
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that he was indeed very frugal.

102
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And, as you say, disciplined
in the production of the films.

103
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He was also a very colorful one
Personality, right?

104
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Oh, extreme.

105
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Oh, no one comes close to that.

106
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But the word “frugal” refers
on his lifestyle, right?

107
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Not in his lifestyle,
but in the way

108
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as he filmed
the films have addressed.

109
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Yes, definitely.

110
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- His lifestyle was rather lavish.
- Yes, that was him.

111
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Well, let's get back to Mr. Wiener.

112
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I'm sure
many times throughout the conversation.

113
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But here too we see Charles Bronson,

114
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as he relates to his
prepared for the first attack,

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that we will experience.

116
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And that's quite a one
Fascinating constellation, isn't it?

117
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I remember being quite
was young when this film came out,

118
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but I remember thinking, oh,
I've never seen anything like it.

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There is the idea,
to put some explosives in the stove,

120
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then to get everything going and then

121
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a sophisticated device
develop where the light goes out.

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And then the explosion.

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I think it was ahead of its time.

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This kind of film we see today
take for granted,

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was the beginning of the seventies
still pretty fresh, right?

126
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We made the transition from the
bigger films of the sixties,

127
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the roadshow films.

128
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And we had entered an era
in the films a little smaller,

129
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were darker and more realistic,
and the idea

130
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<i>a little</i> more violence in films,
than we had seen before,

131
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became the norm.

132
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That could be
I really need to think about this.

133
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I'm not saying you're wrong,

134
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but I found
that this film was ahead of its time.

135
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This is, so to speak,
what we see now

136
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where he sets up the pyrotechnics

137
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and is quiet,

138
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so don't say:

139
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"I'm installing this,
I do this, I do that."

140
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It's all done visually.

141
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And I think that's a good thing,
I'm proud of it.

142
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I think the medium of film
is used correctly here, right?

143
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I would agree with that, yes.

144
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As far as I know, Lewis has John Carlino,
who wrote the script,

145
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had written something,
that was completely different.

146
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And the studio had it in a row
offered by well-known actors,

147
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including George C. Scott and others,
to play this role.

148
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But then there was one
series of changes,

149
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until we now come to Charles Bronson and
Jan-Michael Vincent have arrived,

150
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who his boy,
his student, so to speak, will play.

151
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Tell us a little, Richard,
how you got into the business.

152
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I know that you were a long time ago,
in the 1940s,

153
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- you started it, right?
- Yes.

154
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I belong to the second generation.

155
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My mother and my father
were both active in the industry.

156
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My father was a cameraman.

157
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When I was 16 years old
which concluded High Scheel,

158
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the war had already broken out.

159
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And my father could take me in
a studio, Columbia Pictures,

160
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accommodate as a camera assistant,

161
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because many of the men in one
of a certain age were at war.

162
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I did some work
for more than a year,

163
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until I turned 18

164
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and enlisted in the Navy.

165
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And I spent three years with them
Navy spent, especially in China.

166
00:10:20,786 --> 00:10:23,789
And when I came out,
I came back to the studio.

167
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They had a job for me, and
I worked for another year or so.

168
00:10:27,751 --> 00:10:29,753
Then I decided to study,

169
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and I did that too,
I went to the Sorbonne in Paris.

170
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After three years I got married,
returned

171
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and started again for
Columbia to work.

172
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Shortly afterwards I became a camera operator,

173
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what I did for ten years,

174
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and then I became a cameraman.

175
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Can I tell you something about
ask the Sorbonne?

176
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Naturally.

177
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That was a decision.

178
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That was in a way
a daring decision,

179
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to go to Paris, right?

180
00:11:03,620 --> 00:11:05,330
It was a lucky choice.

181
00:11:06,623 --> 00:11:10,127
I turned to them
Veterans Administration because I knew

182
00:11:10,169 --> 00:11:13,630
that I am entitled to
had the GI bill,

183
00:11:13,714 --> 00:11:19,052
who paid $75 per month
and financed my education.

184
00:11:20,429 --> 00:11:23,515
And they asked: "Where to
Do you want to go?"

185
00:11:23,599 --> 00:11:25,642
And I asked, "What's available?"

186
00:11:25,726 --> 00:11:29,897
He said, "Well, we have a lot of schools,
even in Europe if you want."

187
00:11:29,897 --> 00:11:31,106
I asked: "Where in Europe?"

188
00:11:31,440 --> 00:11:33,650
He said: "Paris,
Do you want to go to Paris?"

189
00:11:33,692 --> 00:11:36,361
I said, "Do I go to what school?

190
00:11:36,403 --> 00:11:37,905
And they told me the Sorbonne.

191
00:11:38,155 --> 00:11:42,201
The next morning I left
flew to New York,

192
00:11:43,160 --> 00:11:48,457
took a steamer and went to Paris.

193
00:11:48,665 --> 00:11:53,670
I spent three years there
and studied art history.

194
00:11:53,962 --> 00:11:56,465
I graduated with an art history degree.

195
00:11:57,090 --> 00:12:00,052
And many of my classes were at the Louvre

196
00:12:00,344 --> 00:12:05,140
and in the Jeu de Paume as well as in
other private collections.

197
00:12:05,224 --> 00:12:06,892
It couldn't have been better.

198
00:12:06,975 --> 00:12:10,270
And then I got married there
and came back.

199
00:12:12,439 --> 00:12:15,484
- Did you meet your wife there?
- Yes, I did. Correct.

200
00:12:17,861 --> 00:12:20,781
She's dead, we were divorced,

201
00:12:20,864 --> 00:12:22,950
but an amicable divorce.

202
00:12:23,033 --> 00:12:26,620
And she died about four years ago.

203
00:12:29,248 --> 00:12:33,835
Many of us envy the people
who were in Paris at the time.

204
00:12:33,919 --> 00:12:36,672
That seems to be one of the
to be the most fascinating periods.

205
00:12:36,713 --> 00:12:38,840
Unbelievable, it really was.

206
00:12:39,049 --> 00:12:41,927
You were just about to
to recover from the war.

207
00:12:42,344 --> 00:12:48,183
They weren't particularly friendly
because we bombed Paris,

208
00:12:48,267 --> 00:12:52,312
and the Americans have it
somehow done accidentally,

209
00:12:52,396 --> 00:12:53,814
I mean, not intentionally,

210
00:12:54,106 --> 00:12:58,026
but to clear what they have to clear
had to do it from the air.

211
00:12:58,277 --> 00:13:02,489
And they held it against many people,
they were never really mean,

212
00:13:02,572 --> 00:13:07,786
but there was kind of a mixed bag
feeling towards the Americans.

213
00:13:07,869 --> 00:13:10,247
But it didn't last too long.

214
00:13:10,956 --> 00:13:13,583
I thought the French were fantastic.

215
00:13:13,750 --> 00:13:16,420
I have every moment
enjoyed and learned a lot.

216
00:13:16,753 --> 00:13:23,677
And the food can
not be imitated.

217
00:13:25,095 --> 00:13:30,559
And I could do it
by going to the 75 dollars,

218
00:13:30,642 --> 00:13:35,856
that I got from the government,
$75 increased to $150.

219
00:13:35,939 --> 00:13:37,774
I could live on 150.

220
00:13:38,025 --> 00:13:40,569
And it worked well.

221
00:13:42,279 --> 00:13:45,449
Nobody would have a better one
can experience the moment more than me.

222
00:13:45,532 --> 00:13:49,661
I share every moment with mine
friends, and they wish

223
00:13:49,786 --> 00:13:51,455
they would have done it too.

224
00:13:51,538 --> 00:13:53,790
It probably was
quite a feat,

225
00:13:53,874 --> 00:13:55,876
then to the United States
States to return.

226
00:13:56,084 --> 00:13:57,336
Not necessarily, no.

227
00:13:57,419 --> 00:13:59,129
I was ready to come back.

228
00:13:59,504 --> 00:14:04,384
Then I came back to Columbia
Pictures and worked for them again.

229
00:14:04,926 --> 00:14:07,846
And apparently you are one
stayed at Columbia for a long time.

230
00:14:07,929 --> 00:14:09,931
- 18 years.
- 18 years.

231
00:14:10,682 --> 00:14:12,267
And you have many,
worked on many films.

232
00:14:12,351 --> 00:14:14,061
You were talking about earlier
Sam Katzman spoken,

233
00:14:14,144 --> 00:14:15,604
who you worked with.

234
00:14:15,687 --> 00:14:19,274
Yes. He was what we call
"Quickie producer".

235
00:14:19,358 --> 00:14:26,156
His films had one
Duration of six to 12 days.

236
00:14:26,615 --> 00:14:28,575
Never again.

237
00:14:28,950 --> 00:14:33,789
In these six years I have
I made 108 feature films for Sam,

238
00:14:34,081 --> 00:14:37,376
one of the most creative
producers at all who knew

239
00:14:37,459 --> 00:14:40,379
how to watch a film
can be produced cost-effectively.

240
00:14:40,629 --> 00:14:44,466
And that's the kind of training
the type of schooling,

241
00:14:44,549 --> 00:14:47,594
those for people today
It's just impossible, isn't it?

242
00:14:47,677 --> 00:14:49,679
You learn on the job.

243
00:14:50,180 --> 00:14:56,728
Some of today's films
more producers can be seen in the credits

244
00:14:56,812 --> 00:14:59,147
than we had in the crew, almost.

245
00:14:59,231 --> 00:15:02,567
The whole team, I have to tell you.

246
00:15:02,651 --> 00:15:05,529
And it was a great learning period.

247
00:15:05,612 --> 00:15:06,738
That was really it.

248
00:15:06,822 --> 00:15:11,118
One of the big advantages
of the studio system at the time

249
00:15:11,201 --> 00:15:14,788
is, in my opinion,
that by the fact,

250
00:15:14,871 --> 00:15:17,582
that the employees
both contractually bound

251
00:15:17,666 --> 00:15:21,169
as well as long-term employees,
had a uniform craft

252
00:15:21,253 --> 00:15:24,131
and the people in every department knew
what they did.

253
00:15:24,214 --> 00:15:26,466
They've been doing this for years.

254
00:15:26,758 --> 00:15:32,556
So there was a kind of cumulative
Sense of how it's done.

255
00:15:32,639 --> 00:15:35,559
And everyone knew
what his job was and what place

256
00:15:35,642 --> 00:15:37,018
he occupied in the overall structure,

257
00:15:37,102 --> 00:15:40,647
and he could do that at the same time
Learn tasks from many others.

258
00:15:40,730 --> 00:15:44,526
Really appreciate knowing
what they do, learn and know

259
00:15:44,609 --> 00:15:47,279
what to do, to know
how much time it will take.

260
00:15:47,404 --> 00:15:48,321
Yes, that is very true.

261
00:15:48,363 --> 00:15:51,408
Sometimes it seems
as if everyone is a newbie.

262
00:15:51,491 --> 00:15:54,453
It seems in every film
to give people to every department

263
00:15:54,494 --> 00:15:56,163
who have never made a film before.

264
00:15:56,329 --> 00:16:00,333
And although this is another
Type of workplace learning is

265
00:16:00,417 --> 00:16:04,921
it doesn't have that somehow
inherited cumulative gravity,

266
00:16:05,046 --> 00:16:07,549
if you will, this system.

267
00:16:07,632 --> 00:16:10,469
That changed in the 1960s,
right?

268
00:16:11,219 --> 00:16:14,639
I share your opinion,

269
00:16:14,806 --> 00:16:19,060
but when it comes to an end
was and started again,

270
00:16:19,144 --> 00:16:22,022
whatever,
Didn't it just happen.

271
00:16:23,899 --> 00:16:28,570
We had during this time
great directors,

272
00:16:28,820 --> 00:16:32,824
who controlled the set.

273
00:16:32,908 --> 00:16:36,077
I have for example
worked with John Ford,

274
00:16:36,369 --> 00:16:41,541
and he was never further than five to
six meters from the camera,

275
00:16:41,625 --> 00:16:43,126
while we lit.

276
00:16:43,210 --> 00:16:46,630
And issued the group of
Acting rehearsals and so on.

277
00:16:46,713 --> 00:16:49,549
And he has his eye on us,
while we lit.

278
00:16:49,633 --> 00:16:52,469
And if he knew
that we were ready

279
00:16:52,552 --> 00:16:56,932
he just shouted,
that it starts, that's all.

280
00:16:57,098 --> 00:17:00,936
And everyone stopped listening
talking and the camera was rolling.

281
00:17:01,019 --> 00:17:03,271
I flipped the switch,
I was the operator.

282
00:17:03,396 --> 00:17:05,232
And that's how it was.

283
00:17:05,315 --> 00:17:08,193
And they had many, many directors,

284
00:17:08,276 --> 00:17:11,154
more than maybe
at any other time,

285
00:17:11,238 --> 00:17:13,782
which really something
Films make people understand.

286
00:17:13,990 --> 00:17:19,996
And that is...

287
00:17:20,205 --> 00:17:22,082
How should I say it?

288
00:17:22,874 --> 00:17:24,417
You didn't need to guess.

289
00:17:24,501 --> 00:17:26,044
They knew what was going on.

290
00:17:26,836 --> 00:17:28,964
The scene we are seeing now.

291
00:17:29,047 --> 00:17:31,132
With Keenan Wynn and Charles Bronson.

292
00:17:31,258 --> 00:17:34,553
We wonder if this is that
House in Mandeville Canyon is,

293
00:17:34,636 --> 00:17:36,596
that belonged to Robert Taylor?

294
00:17:36,680 --> 00:17:40,016
I know that before we start our
work talked about it.

295
00:17:40,100 --> 00:17:45,939
One of the houses served in this
Time often used as a backdrop for films.

296
00:17:46,022 --> 00:17:49,025
And Sam Peckinpah was filming
there about ten years later

297
00:17:49,150 --> 00:17:51,361
a large part of THE OSTERMAN WEEKEND.

298
00:17:51,444 --> 00:17:54,864
I'm not 100% sure
sure this is the house,

299
00:17:54,948 --> 00:17:56,658
but I think it could be.

300
00:17:56,866 --> 00:18:00,620
It could very well be
because it's the kind of house

301
00:18:01,079 --> 00:18:07,002
which also includes other filmmakers
would tend because it is spacious

302
00:18:07,377 --> 00:18:11,423
and California represents.
I think there are several reasons

303
00:18:11,506 --> 00:18:15,302
why they became this way
feel drawn to images.

304
00:18:15,677 --> 00:18:19,639
It could be really, really good
but I'm not sure.

305
00:18:21,308 --> 00:18:25,729
How was the selection made?
the locations in this film?

306
00:18:25,812 --> 00:18:27,397
Can you remember where?

307
00:18:27,480 --> 00:18:31,067
Were you with Michael Wiener?
looking for filming locations?

308
00:18:31,151 --> 00:18:34,529
Oh, yes.
The key characters, that is...

309
00:18:34,654 --> 00:18:39,034
Michael Wiener has it with his
people scouted beforehand.

310
00:18:39,075 --> 00:18:43,246
And they had the agreement
decided to use the location.

311
00:18:43,330 --> 00:18:48,251
And then when the crew came in front of the...
filming was put together,

312
00:18:48,335 --> 00:18:51,212
went the most important people,
myself, the electrician,

313
00:18:51,296 --> 00:18:54,883
maybe five people, including Michael.

314
00:18:55,091 --> 00:19:00,722
And we went quickly
the place and discussed it.

315
00:19:00,847 --> 00:19:06,895
And I thought about what I...
would need equipment back then.

316
00:19:08,813 --> 00:19:13,693
And it was a routine, and in
In this case it became very systematic

317
00:19:13,777 --> 00:19:17,113
performed, with Michael,
who really knew what he wanted.

318
00:19:17,238 --> 00:19:21,910
And that's how this project came about.

319
00:19:22,118 --> 00:19:25,830
How do you go about it
when you decide on a set-up?

320
00:19:25,914 --> 00:19:30,168
How many setups will there be, how
do you need a lot of coverage in the scene?

321
00:19:30,251 --> 00:19:32,921
How will this decision be made?
usually met?

322
00:19:33,004 --> 00:19:34,798
This is different for every director.

323
00:19:34,881 --> 00:19:40,804
But with Michael Wiener I have
me during the first order,

324
00:19:40,887 --> 00:19:45,767
the first two days of filming, quickly
learned that he likes quick cuts.

325
00:19:45,850 --> 00:19:47,394
Quick, quick, quick.

326
00:19:47,519 --> 00:19:48,978
And that was his technique.

327
00:19:49,062 --> 00:19:51,690
And we see it here.

328
00:19:51,815 --> 00:19:55,735
Not long ones
conversation scenes or similar,

329
00:19:55,819 --> 00:19:57,112
short shots.

330
00:19:57,195 --> 00:20:00,949
And there's a lot of zooming here,

331
00:20:01,032 --> 00:20:05,161
where Michael is the
had the trigger in his hand,

332
00:20:05,453 --> 00:20:08,081
with which he zooms
could start and stop.

333
00:20:08,164 --> 00:20:11,251
He did it personally. He has
A lot of it was done by myself on set.

334
00:20:11,334 --> 00:20:12,752
He edited the film.

335
00:20:13,169 --> 00:20:15,630
He did everything.

336
00:20:18,049 --> 00:20:22,887
He is really a man
of exceptional...

337
00:20:22,971 --> 00:20:24,806
How should I say?

338
00:20:26,391 --> 00:20:28,476
He is a complete filmmaker.

339
00:20:28,560 --> 00:20:30,437
He really knows a lot.

340
00:20:31,187 --> 00:20:35,942
And we really have each other
well understood from the start.

341
00:20:36,693 --> 00:20:39,696
This is certainly an interesting one
thing that he does the zooming.

342
00:20:39,779 --> 00:20:42,073
Did he do it spontaneously, so to speak?

343
00:20:42,157 --> 00:20:44,617
Or were the zooms pre-planned?

344
00:20:44,701 --> 00:20:52,625
Well, during a rehearsal
he zoomed in and then he knew

345
00:20:54,002 --> 00:20:57,380
where he the side of the
Had to mark lenses

346
00:20:58,339 --> 00:21:01,301
and it is on others
Positions of the camera marked,

347
00:21:01,384 --> 00:21:03,386
which he used to zoom.

348
00:21:03,553 --> 00:21:06,431
He marks it,
or someone marks it for him.

349
00:21:06,681 --> 00:21:09,100
And then he moved
between the marks.

350
00:21:10,059 --> 00:21:12,645
He knew what he was doing.

351
00:21:12,729 --> 00:21:14,355
He was pretty good there.

352
00:21:17,400 --> 00:21:20,445
When you watch a movie
like looking at this one without a sound,

353
00:21:20,528 --> 00:21:27,118
you concentrate a lot
the look and the cut.

354
00:21:27,202 --> 00:21:31,122
And the way Michael
Viennese structured his films,

355
00:21:31,206 --> 00:21:35,210
like you said,
a real, artful simplicity,

356
00:21:35,251 --> 00:21:37,337
with the short scenes
and the abbreviations,

357
00:21:37,420 --> 00:21:39,047
it looks very, very simple.

358
00:21:39,130 --> 00:21:44,093
But I think that's a result
utmost professionalism, right?

359
00:21:44,219 --> 00:21:45,261
Two things:

360
00:21:45,386 --> 00:21:50,975
Yes. And secondly, it is the result
his own adaptation of the film.

361
00:21:51,059 --> 00:21:52,894
He knows where he will cut.

362
00:21:57,148 --> 00:22:02,570
I didn't realize he was in
so committed to all areas.

363
00:22:03,571 --> 00:22:07,909
I have Michael Wiener
never met in person,

364
00:22:07,992 --> 00:22:10,495
but I have some
Talked to him on the phone several times.

365
00:22:10,703 --> 00:22:13,373
When we got some shots of his

366
00:22:13,706 --> 00:22:16,417
Favorite film composers
Jerry Fielding produced.

367
00:22:16,501 --> 00:22:18,294
Who also set KALTER HAUCH to music.

368
00:22:18,378 --> 00:22:20,964
I called him about these recordings.

369
00:22:21,047 --> 00:22:22,882
And he loved Jerry Fielding's music,

370
00:22:22,966 --> 00:22:26,970
and he was always incredible
open-minded and nice on the phone,

371
00:22:27,053 --> 00:22:28,555
when we talked about it.

372
00:22:29,013 --> 00:22:34,644
He was actually a very,
how should I say, loyal person.

373
00:22:34,769 --> 00:22:40,483
When people pleased him,
he respected that.

374
00:22:40,859 --> 00:22:44,737
He was very complimentary.

375
00:22:44,821 --> 00:22:48,741
He complimented, it was real
a pleasure to be with him.

376
00:22:49,242 --> 00:22:51,578
It seems
like he's the kind of person

377
00:22:51,661 --> 00:22:55,582
that you either instinctively liked or
that you somehow couldn't cope with.

378
00:22:55,665 --> 00:22:59,961
And then you sat, as they say,
on the bus, as some directors say,

379
00:23:00,044 --> 00:23:03,506
like Sam Peckinpah, who as
first put people on the bus,

380
00:23:03,590 --> 00:23:06,217
that he knows about
that they won't be there.

381
00:23:06,301 --> 00:23:08,094
And that is one of the ways

382
00:23:08,177 --> 00:23:10,847
as they complete their set
can control.

383
00:23:11,472 --> 00:23:17,729
It wasn't about that, not Michael
to like or be afraid of him.

384
00:23:18,229 --> 00:23:21,274
And many of the team
were afraid of him.

385
00:23:21,357 --> 00:23:28,239
And he could get through it on his own
his voice seem intimidating.

386
00:23:28,907 --> 00:23:31,743
It's not just about
what he said

387
00:23:31,826 --> 00:23:34,454
but sometimes also about
like he said.

388
00:23:36,372 --> 00:23:43,254
And I might show you later
a scene, I don't think so

389
00:23:43,338 --> 00:23:48,927
that we already have it behind us,
but we're stealing a scene

390
00:23:49,010 --> 00:23:51,387
on the street,
which was seen in the opening credits.

391
00:23:51,512 --> 00:23:55,725
We steal a scene on the street,

392
00:23:55,808 --> 00:23:59,145
and it is the last light of the day.

393
00:23:59,228 --> 00:24:01,105
And we really had to get it done.

394
00:24:01,147 --> 00:24:07,528
That's where Charlie Bronson walks the street
down, and then into a building.

395
00:24:07,570 --> 00:24:08,863
We pivot with it.

396
00:24:09,280 --> 00:24:13,117
And he goes into a building, a few
Up stairs and into a building.

397
00:24:14,035 --> 00:24:17,705
We took one shot at a time
others, and it got really dark.

398
00:24:18,039 --> 00:24:20,166
And finally we did it.

399
00:24:20,249 --> 00:24:25,588
But it was so far
that Charlie went up the stairs,

400
00:24:25,672 --> 00:24:31,302
and the poor camera assistant
came out with a box of film,

401
00:24:31,594 --> 00:24:35,682
which said "Panavision",
and he came down the stairs.

402
00:24:35,765 --> 00:24:40,645
And Michael shouted “Cut!” and stormed in
the poor cameraman and started

403
00:24:40,728 --> 00:24:42,522
to beat him up.

404
00:24:42,855 --> 00:24:47,151
And the assistant simply listened to him
and said: "Mr. Wiener said,

405
00:24:47,235 --> 00:24:49,654
if someone had told me
that we turn

406
00:24:49,737 --> 00:24:51,197
I wouldn't have come down."

407
00:24:51,280 --> 00:24:52,740
He said, "You're absolutely right."

408
00:24:52,824 --> 00:24:56,160
He turned around and dismissed
the deputy director.

409
00:24:56,244 --> 00:24:59,455
Why wasn't someone here, one
of your employees to tell him

410
00:24:59,539 --> 00:25:01,249
that he shouldn't come out or something,

411
00:25:01,332 --> 00:25:03,376
and he has the deputy
Director fired.

412
00:25:03,418 --> 00:25:07,588
I mean, that doesn't happen often.

413
00:25:08,339 --> 00:25:09,841
It's strange, isn't it?

414
00:25:09,882 --> 00:25:12,677
Because you always ask yourself,
where is it written that directors

415
00:25:12,760 --> 00:25:15,888
such autocrats must be,
but many of the best directors

416
00:25:15,972 --> 00:25:18,474
are tyrannical in a way, right?

417
00:25:18,599 --> 00:25:22,186
Oh yes. Yes, some do it so subtly,
that you don't notice it,

418
00:25:22,645 --> 00:25:26,149
but that is with everyone
Director a little different.

419
00:25:26,607 --> 00:25:29,777
I know that you, for example, with John
Guillermin worked together.

420
00:25:29,861 --> 00:25:35,199
And I know John and he can
Also pretty rough, right?

421
00:25:35,783 --> 00:25:37,368
Yes.

422
00:25:37,452 --> 00:25:42,081
But I mean, he had a lot
personal problems and things like...

423
00:25:42,165 --> 00:25:44,459
I love John Guillermin, I really do.

424
00:25:44,709 --> 00:25:47,336
I've been with you for a year
worked with him on KING KONG.

425
00:25:47,920 --> 00:25:54,469
But I didn't find him rude.

426
00:25:54,886 --> 00:25:58,306
I have myself sometimes
a little ashamed of him,

427
00:25:58,598 --> 00:26:02,268
when he is emotional
became and things like that.

428
00:26:03,269 --> 00:26:06,689
But I forgive him,
because he is a talent.

429
00:26:06,773 --> 00:26:08,733
John Guillermin has a good eye.

430
00:26:08,816 --> 00:26:09,984
He really did.

431
00:26:10,193 --> 00:26:13,362
And he is a very
talented director.

432
00:26:13,780 --> 00:26:19,619
It's just that his explosiveness,
his personality,

433
00:26:19,702 --> 00:26:24,123
which can simply flare up,
harmed him.

434
00:26:24,457 --> 00:26:28,544
And John I already have one
not seen for a while,

435
00:26:28,628 --> 00:26:30,963
but I heard
that he's not doing particularly well.

436
00:26:31,047 --> 00:26:32,173
Physically, yes.

437
00:26:32,256 --> 00:26:33,883
He's feeling bad now.

438
00:26:33,966 --> 00:26:37,637
Until last year
he couldn't see anyone.

439
00:26:37,720 --> 00:26:39,806
He always had visitors at home.

440
00:26:39,889 --> 00:26:40,890
Is that correct?

441
00:26:41,057 --> 00:26:43,226
But this year was
he is not able to do that.

442
00:26:43,309 --> 00:26:46,270
I think he has something like that
like Alzheimer's, is that possible?

443
00:26:46,562 --> 00:26:50,274
He just seems weakened,
that is the word,

444
00:26:50,358 --> 00:26:52,777
that I would use
somehow very exhausted.

445
00:26:52,860 --> 00:26:56,447
You are a man of veteran age,
and I believe

446
00:26:56,531 --> 00:26:58,908
you and John are almost exactly the same age.

447
00:26:58,991 --> 00:27:02,495
He is 88 years old and I am you
You will also be 88 years old this year.

448
00:27:02,578 --> 00:27:04,372
Correct. We are the same age.

449
00:27:04,455 --> 00:27:07,542
And our birthdays are very close
together, a few days apart.

450
00:27:08,292 --> 00:27:11,295
One of the reasons
why it's such a pleasure

451
00:27:11,379 --> 00:27:14,132
to talk to someone like you,
apart from that,

452
00:27:14,215 --> 00:27:19,095
that you are a wonderfully nice man,
is that it's for people like me,

453
00:27:19,178 --> 00:27:24,225
who are lovers and historians
and legacy and folklore

454
00:27:24,308 --> 00:27:28,271
and love the mythical idea of the film,
is a pleasure,

455
00:27:28,354 --> 00:27:31,357
to talk to someone,
that really throughout life

456
00:27:31,440 --> 00:27:33,025
that has lived for so long.

457
00:27:33,109 --> 00:27:36,320
You've been 72 years old now
in this business, right?

458
00:27:36,487 --> 00:27:38,156
- Yes.
- Isn't that incredible?

459
00:27:38,322 --> 00:27:40,324
I love every minute.

460
00:27:40,408 --> 00:27:42,827
I wouldn't want to trade a moment.
I wouldn't do that.

461
00:27:43,161 --> 00:27:45,329
I'm really a lucky guy.

462
00:27:46,330 --> 00:27:50,084
If you look at the many
looking back on films

463
00:27:50,168 --> 00:27:52,003
that you worked on,

464
00:27:52,086 --> 00:27:55,423
to all the different directors,
tell us a little about it,

465
00:27:55,756 --> 00:27:59,635
how different it is
to make a film like CAMELOT,

466
00:27:59,719 --> 00:28:03,389
which is highly stylized and on
the scenes are tied,

467
00:28:03,472 --> 00:28:05,850
compared to a film where you

468
00:28:05,933 --> 00:28:08,436
a more naturalistic one
use technology?

469
00:28:09,437 --> 00:28:12,773
Let's put it this way:

470
00:28:12,982 --> 00:28:16,652
I'm making a film
and forget about him afterwards.

471
00:28:16,777 --> 00:28:22,325
All my efforts
my thoughts are in production,

472
00:28:22,408 --> 00:28:24,452
which I'm currently working on.

473
00:28:24,785 --> 00:28:28,789
And that's exactly that,
what we have in front of us now.

474
00:28:28,956 --> 00:28:31,083
How long ago was that, 42 years?

475
00:28:31,167 --> 00:28:33,878
I haven't seen him anymore
since the movie came out.

476
00:28:33,961 --> 00:28:37,924
Except that I him
for this interview.

477
00:28:39,759 --> 00:28:41,886
I have never
forgot a movie,

478
00:28:41,969 --> 00:28:46,224
but my thoughts are
the next one I shoot.

479
00:28:47,475 --> 00:28:51,646
The question of what I think about it...

480
00:28:51,687 --> 00:28:54,565
Is there a difference if you...

481
00:28:55,399 --> 00:28:58,653
You answered it by saying,
when a film is finished,

482
00:28:58,736 --> 00:29:01,822
it's like he's in a box
is plugged in and put away.

483
00:29:01,906 --> 00:29:06,202
And if you then with a new one
director or a new type of film,

484
00:29:06,285 --> 00:29:10,164
a new film style begins,
you start all over again, so to speak.

485
00:29:10,248 --> 00:29:12,500
With a specific approach to this.

486
00:29:12,792 --> 00:29:16,045
And I always tried hard
select films,

487
00:29:16,128 --> 00:29:19,632
who are not like those
that I have done so far.

488
00:29:19,882 --> 00:29:24,720
I like other stories

489
00:29:24,804 --> 00:29:28,391
other stories and things like that.

490
00:29:28,641 --> 00:29:33,604
And this film offered
really care about it.

491
00:29:33,813 --> 00:29:37,608
I liked what I heard
and I liked Michael Wiener straight away.

492
00:29:37,900 --> 00:29:40,528
This is a beautiful scene,
that we are currently seeing

493
00:29:40,611 --> 00:29:43,864
although Jill Island
turned out to be a prostitute,

494
00:29:43,948 --> 00:29:46,659
and the romantic soap bubble
has, to a certain extent, burst here.

495
00:29:46,742 --> 00:29:49,829
But there they were,
I think already married.

496
00:29:49,912 --> 00:29:51,580
Charles Bronson and Jill Island?

497
00:29:51,706 --> 00:29:53,332
Jill, yes. Beautiful woman.

498
00:29:53,416 --> 00:29:54,959
Yes, a wonderful woman.

499
00:29:55,042 --> 00:29:59,380
And she became a species
Regular in his films.

500
00:29:59,588 --> 00:30:04,969
Sometimes he shares the burden,
is, so to speak, a co-star,

501
00:30:05,052 --> 00:30:08,306
and sometimes she just appears,
like here in a single scene,

502
00:30:08,389 --> 00:30:09,974
- almost like a cameo.
- Yes.

503
00:30:11,392 --> 00:30:13,519
Tell us a little
about Charles Bronson,

504
00:30:13,602 --> 00:30:18,399
over the years
hears different stories.

505
00:30:18,858 --> 00:30:21,736
- contradictory stories.
- Really?

506
00:30:21,944 --> 00:30:24,655
What was it like working with him?

507
00:30:24,739 --> 00:30:27,867
What was he like as an actor?
in this type of film?

508
00:30:28,534 --> 00:30:31,162
- Oh, we were personal friends.
- You were friends?

509
00:30:31,203 --> 00:30:33,789
Yes, I knew him,
when his name was still Buchinsky

510
00:30:33,998 --> 00:30:37,460
and when he was at Columbia
and played big roles and so on.

511
00:30:37,626 --> 00:30:40,254
For me he always was
a great person.

512
00:30:40,338 --> 00:30:43,007
However, a very introverted guy.

513
00:30:43,424 --> 00:30:45,259
He doesn't expose himself.

514
00:30:45,343 --> 00:30:47,136
How he really is.

515
00:30:47,345 --> 00:30:49,555
And in reality
is he a friendly one,

516
00:30:49,638 --> 00:30:55,144
a very friendly person with a
great, subtle sense of humor.

517
00:30:56,979 --> 00:31:00,900
He is not a showman and is very cooperative.

518
00:31:00,983 --> 00:31:02,985
I can only say good things about him.

519
00:31:03,152 --> 00:31:04,945
And he has a great face.

520
00:31:05,237 --> 00:31:11,619
I mean, his bone structure,
everything about him, he is well built.

521
00:31:11,952 --> 00:31:13,537
He stays in shape.

522
00:31:14,705 --> 00:31:16,791
We were friends for years.

523
00:31:17,208 --> 00:31:20,211
I think his career is worth it
to be highlighted,

524
00:31:20,294 --> 00:31:23,005
because it is unusual in that
when he, as you said,

525
00:31:23,089 --> 00:31:24,924
at the time when he was still Buchinsky,

526
00:31:25,007 --> 00:31:28,344
in episodic westerns
appeared on television.

527
00:31:28,427 --> 00:31:29,929
At Columbia, where I was, yes.

528
00:31:30,012 --> 00:31:34,683
And he was a typical one
character actor who doesn't always,

529
00:31:34,767 --> 00:31:37,144
but most; a villain
or something similar played.

530
00:31:37,228 --> 00:31:38,771
Yes, negative character.

531
00:31:39,063 --> 00:31:44,151
And then, in the sixties, it breaks
he out and becomes a leading actor.

532
00:31:44,235 --> 00:31:46,821
He made a film in Europe,
who made him great.

533
00:31:46,862 --> 00:31:50,866
I think that was PLAY ME
THE SONG OF DEATH with Henry Fonda.

534
00:31:50,991 --> 00:31:52,785
Was it him? I forgot.

535
00:31:52,868 --> 00:31:56,497
But he starred in THE GLORIOUS
SEVEN, BROKEN CHAINS,

536
00:31:56,580 --> 00:31:59,708
THE DIRTY DOZEN,
these were big ensemble films.

537
00:31:59,792 --> 00:32:02,753
And then PLAY ME THE SONG OF DEATH,
where he the man

538
00:32:02,837 --> 00:32:04,130
with the harmonica.

539
00:32:04,213 --> 00:32:06,257
He stays in your memory
of people are liable.

540
00:32:06,340 --> 00:32:09,135
And then, lo and behold,
he is then a leading actor.

541
00:32:09,218 --> 00:32:12,304
And he was almost two decades
long a viable leading actor.

542
00:32:12,388 --> 00:32:13,431
Correct.

543
00:32:13,514 --> 00:32:16,308
We know
that he was <i>about</i> 50 years old here,

544
00:32:16,392 --> 00:32:20,146
and yet he seems like
a much younger man.

545
00:32:20,229 --> 00:32:24,066
I think people like secrets,

546
00:32:24,150 --> 00:32:27,278
and he has something mysterious about him,
when you look at him

547
00:32:27,361 --> 00:32:29,613
or sees him,
even if you know him.

548
00:32:31,115 --> 00:32:35,494
It's not like that
that he wouldn't be friendly,

549
00:32:35,870 --> 00:32:38,247
but he is very attentive.

550
00:32:38,456 --> 00:32:41,292
He likes to observe a lot,
if I remember correctly.

551
00:32:41,375 --> 00:32:44,128
He can sit quietly and see
what's going on,

552
00:32:44,211 --> 00:32:46,839
and you can almost read
what's on his mind.

553
00:32:48,257 --> 00:32:55,264
He really wasn't one
exuberant personality.

554
00:32:55,514 --> 00:32:57,808
He was very busy with himself.

555
00:32:57,892 --> 00:32:59,518
And by his decision.

556
00:32:59,935 --> 00:33:05,399
Like many of the big movie stars
this kind can convey so much,

557
00:33:05,483 --> 00:33:06,859
by not saying much.

558
00:33:06,942 --> 00:33:08,819
Could be. Correct.

559
00:33:09,195 --> 00:33:11,322
No, he was a man of looks,

560
00:33:11,405 --> 00:33:14,617
like even with the harmonica
in PLAY ME THE SONG OF DEATH,

561
00:33:14,992 --> 00:33:17,578
- or is that the...
- Yes, that was it.

562
00:33:18,204 --> 00:33:20,831
Like he did it, I mean.

563
00:33:22,708 --> 00:33:28,214
No, he has this iconographic one
American look,

564
00:33:28,297 --> 00:33:31,967
as if he were the mount
Based on Rushmore or something.

565
00:33:32,051 --> 00:33:33,469
It's like he's made of stone.

566
00:33:33,552 --> 00:33:35,095
I agree.

567
00:33:37,139 --> 00:33:41,977
He is extraordinary,
there is no one like him anymore.

568
00:33:43,562 --> 00:33:47,024
And Jan-Michael Vincent, we
see here, was a child actor,

569
00:33:47,107 --> 00:33:50,986
I think he had at 9, 10,
Started 11, 12 years old

570
00:33:51,237 --> 00:33:53,447
and worked my way up a bit.

571
00:33:53,531 --> 00:33:58,577
And that was sort of it
the beginning of its development

572
00:33:58,661 --> 00:34:01,622
to a serious size.

573
00:34:09,630 --> 00:34:10,839
Look at this face.

574
00:34:10,923 --> 00:34:13,008
I mean, he has this great hair.

575
00:34:15,928 --> 00:34:21,225
And he really, even just got through it
his choice of words when he spoke,

576
00:34:21,308 --> 00:34:28,232
just a few words that were precise,
tells the whole moment.

577
00:34:28,440 --> 00:34:33,279
And he was very economical with words,
he was like that personally.

578
00:34:33,654 --> 00:34:35,489
It's a gift.
I mean, it's a gift.

579
00:34:35,573 --> 00:34:37,783
The camera loves him
and it's a gift,

580
00:34:37,866 --> 00:34:40,077
if you can communicate,
without speaking.

581
00:34:40,160 --> 00:34:44,582
They say that Steve McQueen
was one of the greats in it,

582
00:34:44,665 --> 00:34:47,459
to say exactly what he thought
without saying a word.

583
00:34:47,626 --> 00:34:51,672
And in a certain way,
perhaps to a slightly lesser extent

584
00:34:51,755 --> 00:34:54,633
Bronson has the same gift.

585
00:34:55,926 --> 00:34:59,138
This scene was very controversial,
when the film came out,

586
00:34:59,346 --> 00:35:03,225
because of the cruelty,
that she told the girl,

587
00:35:03,434 --> 00:35:05,436
who threatens to kill himself,
put on display.

588
00:35:05,519 --> 00:35:07,146
Then she cuts
the arteries open up,

589
00:35:07,229 --> 00:35:08,939
and they sit there and watch her.

590
00:35:09,064 --> 00:35:12,443
In the end, Jan-Michael throws
Vincent gives her the car keys,

591
00:35:12,526 --> 00:35:14,653
and she manages
staggering out of the car

592
00:35:14,737 --> 00:35:16,155
and yourself in
to bring to hospital.

593
00:35:16,238 --> 00:35:18,240
Do you have any special memories of it?

594
00:35:18,324 --> 00:35:23,829
whether that's something at this time
was difficult or not?

595
00:35:23,954 --> 00:35:26,206
This is in many ways
a shocking scene.

596
00:35:26,290 --> 00:35:27,416
That's it.

597
00:35:28,250 --> 00:35:32,630
I don't remember those
Public comments

598
00:35:32,838 --> 00:35:37,468
or the critic,
but it could very well be.

599
00:35:38,218 --> 00:35:41,555
Today I don't believe
that that would be the case.

600
00:35:41,639 --> 00:35:42,556
No.

601
00:35:42,640 --> 00:35:44,725
You would look forward to something like that.

602
00:35:44,933 --> 00:35:48,437
I think there's something about this scene
Special, I mean, the young woman,

603
00:35:48,520 --> 00:35:51,065
that of the actress
Linda Ridgeway is played,

604
00:35:51,106 --> 00:35:52,107
-I think that was her name.-Correct.

605
00:35:52,441 --> 00:35:58,530
And she asks
how long it will take until she dies.

606
00:35:58,781 --> 00:36:03,243
And then Charles Bronson replies:
"Well, how much do you weigh?"

607
00:36:03,327 --> 00:36:05,287
And then when she tells him,
how much she weighs,

608
00:36:05,371 --> 00:36:08,123
can he say exactly
how long it will take.

609
00:36:08,207 --> 00:36:09,375
Two and a half to three hours.

610
00:36:09,458 --> 00:36:16,006
The cold statistical facts
deceive you about that,

611
00:36:16,090 --> 00:36:20,135
what you normally find in one
scene like this would feel.

612
00:36:21,595 --> 00:36:24,098
And I think
this is one of the moments that makes the film,

613
00:36:24,223 --> 00:36:27,601
like you already said,
was a little ahead of his time.

614
00:36:27,685 --> 00:36:29,436
He was certainly unusual.

615
00:36:29,812 --> 00:36:34,274
I'm not sure we have one
Have seen the film before.

616
00:36:34,483 --> 00:36:37,945
In this film you will
never see two people

617
00:36:38,195 --> 00:36:42,116
who face each other and talk.

618
00:36:42,282 --> 00:36:46,620
There is always, and that's what I like about it,
Medium close-ups

619
00:36:46,787 --> 00:36:50,833
or two shots,
where a person stands at an angle.

620
00:36:50,958 --> 00:36:54,128
It's never the two of them
who face each other,

621
00:36:54,336 --> 00:36:56,380
which was very common at that time.

622
00:36:56,588 --> 00:36:58,382
And today too, but...

623
00:36:59,258 --> 00:37:01,051
But the same applies here:

624
00:37:01,552 --> 00:37:07,182
If you decide,
to place the camera here,

625
00:37:07,266 --> 00:37:11,228
is this a decision between
one and the director is met.

626
00:37:11,770 --> 00:37:15,023
Says a director like Michael
Wiener to you: What do you think?

627
00:37:15,107 --> 00:37:18,986
Where do you want to put it?
Or does he always know where it should be?

628
00:37:19,194 --> 00:37:24,032
Well, Michael, he knows,
when he sees it.

629
00:37:24,158 --> 00:37:27,911
In other words,
when we get to a new cut

630
00:37:28,036 --> 00:37:33,876
or go to a new scene,
he already knows her in his head.

631
00:37:34,084 --> 00:37:37,921
Maybe not everything
but if we go to different cuts

632
00:37:38,005 --> 00:37:44,511
this one sequence, this one
Skip the scene, let's just go in,

633
00:37:44,803 --> 00:37:47,723
instinct tells him
how he should do it.

634
00:37:49,558 --> 00:37:53,103
And it's like you already have
I haven't seen a two-shot in a long time.

635
00:37:53,270 --> 00:37:57,024
I can't remember
that they faced each other

636
00:37:57,191 --> 00:38:00,778
and talked to each other,
only from a distance.

637
00:38:00,986 --> 00:38:04,490
For me that's not it
normal for this time,

638
00:38:04,573 --> 00:38:06,492
especially not for making films.

639
00:38:06,575 --> 00:38:08,660
I like that.
I love it very much.

640
00:38:08,869 --> 00:38:12,247
Like you said, this scene has
a great sense of space,

641
00:38:12,372 --> 00:38:15,000
the placement and the
Geography of space.

642
00:38:15,292 --> 00:38:19,588
And if you are in one rather
works in a small room, it looks big,

643
00:38:19,671 --> 00:38:22,883
but as we know, spaces always see
bigger when we see them on film.

644
00:38:22,966 --> 00:38:24,885
It can, depends on the lens.

645
00:38:24,968 --> 00:38:29,932
But it's a very imaginative way,
to show a woman

646
00:38:30,015 --> 00:38:33,227
sitting on a bed and two men,
who are watching them.

647
00:38:33,310 --> 00:38:36,104
And yet it works
constantly visually interesting.

648
00:38:36,188 --> 00:38:37,856
It's captivating throughout.

649
00:38:38,941 --> 00:38:42,945
But there are no long camera pans
or quick pivoting movements.

650
00:38:43,028 --> 00:38:47,324
You know, the many things
that you can do.

651
00:38:47,574 --> 00:38:50,202
Here, you see,
they will not be stopped.

652
00:38:50,285 --> 00:38:51,703
They walk and talk.

653
00:38:52,079 --> 00:38:55,207
I don't think so
that there will be a scene,

654
00:38:55,290 --> 00:38:59,086
in which they talk for a long time,
which I think is good.

655
00:38:59,169 --> 00:39:01,880
I'm trying
to incorporate that into my films.

656
00:39:03,841 --> 00:39:06,468
Are you speaking as a cameraman?
recommendations?

657
00:39:06,552 --> 00:39:10,973
In other words: you tell him
Director: "I think it would be better if

658
00:39:11,056 --> 00:39:13,559
if we did this and that.

659
00:39:13,725 --> 00:39:17,312
Well, it depends on the director,
how to proceed.

660
00:39:18,856 --> 00:39:23,777
Often you have to do this in silence.

661
00:39:23,944 --> 00:39:27,614
You don't want anyone to hear
oh, he recommends that,

662
00:39:27,698 --> 00:39:30,701
Egos, there are a lot of egos out there.

663
00:39:30,951 --> 00:39:32,119
And so I'm careful,

664
00:39:32,202 --> 00:39:34,663
not about the director
to embarrass

665
00:39:34,746 --> 00:39:36,957
by saying,
I think it would be a lot...

666
00:39:37,040 --> 00:39:38,834
I will give a perfect example.

667
00:39:38,917 --> 00:39:43,005
On the first day of
Shooting of this film

668
00:39:44,047 --> 00:39:46,216
I had to look at myself
Michael Wiener feel it.

669
00:39:46,508 --> 00:39:50,095
He gave us the first lineup,
and he had the finder,

670
00:39:50,178 --> 00:39:54,725
and he positioned him, and he pointed
on the floor, mark right here.

671
00:39:54,892 --> 00:39:56,852
And that's where the first facility was.

672
00:39:57,060 --> 00:39:59,897
So while I shone,
I knew he was watching me,

673
00:40:00,105 --> 00:40:03,734
and I discovered something.

674
00:40:03,942 --> 00:40:07,779
And when I was done,
I went over to Michael.

675
00:40:07,863 --> 00:40:09,656
I said, "Michael, we're ready."

676
00:40:09,698 --> 00:40:10,824
He said okay.

677
00:40:10,908 --> 00:40:15,037
I said that I would
I noticed that I,

678
00:40:15,120 --> 00:40:18,498
if I move a meter
to the left of the spot,

679
00:40:18,665 --> 00:40:22,252
where the camera is now located,
can see better and I explained

680
00:40:22,336 --> 00:40:24,546
why is it that I don't
can see where the camera is now.

681
00:40:24,630 --> 00:40:28,675
He said, "Mhm," and that was it.

682
00:40:28,926 --> 00:40:30,802
So he said, “Okay, this is how we do it.”

683
00:40:31,053 --> 00:40:33,555
And we did the scene.
He said, "Cut!

684
00:40:33,764 --> 00:40:36,350
"Okay, let's move the camera
half a meter to the left."

685
00:40:36,767 --> 00:40:41,313
And I swear I knew how right away
I had to deal with Michael Wiener.

686
00:40:41,688 --> 00:40:48,570
And it got to the point where we...
usually went for lunch,

687
00:40:48,654 --> 00:40:51,281
around 12:30 p.m., 12 p.m.,
he came to me and said:

688
00:40:51,365 --> 00:40:54,785
"I have a date for
Lunch, you finish the sequence."

689
00:40:54,868 --> 00:40:56,954
And quite often, yes.

690
00:40:57,037 --> 00:40:59,539
- Oh, that's a great compliment.
- Oh, it really is.

691
00:40:59,790 --> 00:41:03,627
End the sequence and things like that.

692
00:41:03,835 --> 00:41:07,756
He really had faith
and I trusted him.

693
00:41:08,048 --> 00:41:14,054
We had over the years
a brotherly relationship, like brothers.

694
00:41:14,429 --> 00:41:20,185
And it was really wonderful
to talk to him,

695
00:41:20,769 --> 00:41:25,649
about worldly things, about movies,
whatever it was, he was humorous.

696
00:41:26,984 --> 00:41:34,408
And he was one of the smartest men,
that I have ever met.

697
00:41:34,491 --> 00:41:37,536
That was really him,
he had a great education.

698
00:41:37,786 --> 00:41:43,291
He was on one
famous British school.

699
00:41:44,084 --> 00:41:45,502
Eaton right?

700
00:41:45,585 --> 00:41:47,087
- Not Eaton, but...
- Harrow.

701
00:41:47,379 --> 00:41:48,505
No, another one.

702
00:41:48,588 --> 00:41:51,633
Rugby, or did he at Oxford
or studied Cambridge?

703
00:41:51,717 --> 00:41:55,470
Oxford. No, no, no, he went...
in England.

704
00:41:57,097 --> 00:42:00,600
We have two large universities
in England, Cambridge and Oxford.

705
00:42:00,684 --> 00:42:01,727
Oh, Cambridge.

706
00:42:01,810 --> 00:42:05,063
And he was there too
the newspaper in Cambridge.

707
00:42:05,188 --> 00:42:09,276
- He was the...
- The editor of the school newspaper.

708
00:42:09,735 --> 00:42:11,611
Yes, he was a

709
00:42:12,779 --> 00:42:14,614
It's ironic

710
00:42:14,698 --> 00:42:16,616
I don't know
how many people in America

711
00:42:16,700 --> 00:42:20,370
Most of the listeners here are probably

712
00:42:20,495 --> 00:42:24,332
that it ended
I shouldn't say ended

713
00:42:24,416 --> 00:42:28,628
But after his film career
apparently it was over,

714
00:42:28,754 --> 00:42:30,964
he became a celebrity
Restaurant critic.

715
00:42:31,048 --> 00:42:32,591
Well, I know that.

716
00:42:32,674 --> 00:42:35,218
I know that you know,
but I'll tell the people who will listen.

717
00:42:35,302 --> 00:42:36,386
Winner's Dinners.

718
00:42:36,470 --> 00:42:37,512
I know.

719
00:42:37,596 --> 00:42:43,393
But he was in the British
tabloids become a joke character,

720
00:42:43,477 --> 00:42:45,062
because he did that.

721
00:42:45,479 --> 00:42:46,563
Oh, okay.

722
00:42:46,646 --> 00:42:51,610
And I always find it a bit sad
that he became a joke figure,

723
00:42:51,693 --> 00:42:56,323
although in reality he is a very,
very clever, unusual

724
00:42:56,698 --> 00:42:59,367
and very talented man.

725
00:43:00,285 --> 00:43:05,540
Well, yes,
his career came to an abrupt end.

726
00:43:06,041 --> 00:43:11,838
And the Winner's Dinners,

727
00:43:12,214 --> 00:43:16,259
I would have to go there
England have lived,

728
00:43:16,343 --> 00:43:24,518
to know that this is not so good
arrived or he was mocked or something.

729
00:43:24,684 --> 00:43:27,312
All I know is,
that we together

730
00:43:27,479 --> 00:43:29,773
a street in Great Britain
could walk along,

731
00:43:29,856 --> 00:43:31,566
and he would the whole thing
Way over to be stopped.

732
00:43:31,733 --> 00:43:33,819
Oh, Mr. Wiener...
You know, whatever.

733
00:43:33,902 --> 00:43:36,488
He was loved by everyone
those who met him praised.

734
00:43:36,613 --> 00:43:39,157
And even if we drive
drive past, we stop at one

735
00:43:39,407 --> 00:43:42,994
Stop sign and someone say:
Michael Wiener is standing next to us.

736
00:43:43,120 --> 00:43:44,788
He was really well recognized.

737
00:43:44,871 --> 00:43:47,707
And I think
Very well known in my opinion.

738
00:43:47,874 --> 00:43:51,128
I think he was something like
a dazzling figure in the scene.

739
00:43:51,211 --> 00:43:52,546
He was a celebrity.

740
00:43:52,712 --> 00:43:53,839
Oh, that was him.

741
00:43:53,922 --> 00:43:55,298
A big one, yes.

742
00:43:57,551 --> 00:44:02,347
And he certainly lived the high life
Live for a long, long, long time.

743
00:44:02,889 --> 00:44:05,892
His wives, my God, I have them...

744
00:44:06,143 --> 00:44:09,020
And Geraldine, the woman he
married a beautiful woman too.

745
00:44:12,440 --> 00:44:16,319
He wrote his autobiography,
just a year or two,

746
00:44:16,403 --> 00:44:18,321
maybe a few years before his death,

747
00:44:18,405 --> 00:44:20,323
he actually wrote
an autobiography.

748
00:44:20,407 --> 00:44:22,075
I think it's called "Wiener Takes All".

749
00:44:22,159 --> 00:44:24,369
Oh, yes.
But that was a few years ago.

750
00:44:24,619 --> 00:44:27,205
Yes, he sent it to me.

751
00:44:31,710 --> 00:44:35,964
God, I mean
It really never gets boring with him.

752
00:44:36,131 --> 00:44:37,424
Never.

753
00:44:37,924 --> 00:44:40,552
You still have a few
Made films with him.

754
00:44:40,635 --> 00:44:43,513
I think, for example, WON TON TON -
THE DOG THAT SAVED HOLLYWOOD.

755
00:44:43,597 --> 00:44:46,766
I made two of the DEATH WISH,
I did two and three.

756
00:44:47,142 --> 00:44:50,604
I did that in the Caribbean.

757
00:44:51,521 --> 00:44:53,315
Was that FIREPOWER?

758
00:44:53,440 --> 00:44:55,233
FIREPOWER. Correct.

759
00:44:55,692 --> 00:44:58,778
I have done others
I did a few others too.

760
00:44:59,529 --> 00:45:01,072
I believe...

761
00:45:01,156 --> 00:45:04,117
No, that wasn't THE LAW I AM.
I'm trying to think.

762
00:45:06,578 --> 00:45:08,371
Maybe you have this on your list?

763
00:45:08,413 --> 00:45:12,250
I happen to have a handy one
List your credits.

764
00:45:12,250 --> 00:45:14,628
Of course not all
because that wouldn't fit.

765
00:45:14,794 --> 00:45:17,589
But you made THE LAW I AM.

766
00:45:18,673 --> 00:45:20,800
- But not with him, I think.
- No, that was a different director.

767
00:45:20,884 --> 00:45:22,344
- Richard Fleischer, yes.
-Richard Fleischer.

768
00:45:22,427 --> 00:45:23,970
With which you also have some
have made films.

769
00:45:24,054 --> 00:45:24,971
A lot of films, yes.

770
00:45:25,055 --> 00:45:30,143
And he's also one of those directors,
who are craftsmen.

771
00:45:30,227 --> 00:45:33,104
And yet his films are
very memorable, I think.

772
00:45:33,188 --> 00:45:35,690
He is undoubtedly a very
skilled filmmaker,

773
00:45:35,774 --> 00:45:38,151
in all areas.

774
00:45:39,778 --> 00:45:42,322
I think he has it quite a bit
controversial MANDINGO made,

775
00:45:42,697 --> 00:45:45,075
He did that, I did that with him.

776
00:45:45,450 --> 00:45:49,120
But I think I have you
already mentioned before,

777
00:45:49,913 --> 00:45:54,834
that we with a new one
movie started...

778
00:45:58,755 --> 00:46:01,508
I had a misfire,
we're talking about... -

779
00:46:01,925 --> 00:46:03,510
Michael Wiener?
No, Richard Fleischer.

780
00:46:03,593 --> 00:46:04,719
Richard Fleischer.

781
00:46:04,803 --> 00:46:08,556
We started a movie
and Michael gathered on the first day of filming

782
00:46:08,640 --> 00:46:09,933
the team around you.

783
00:46:10,016 --> 00:46:13,603
He said, “I just want everyone
let it be known that there are two things,

784
00:46:13,687 --> 00:46:16,648
which I will not tolerate on my set.

785
00:46:17,065 --> 00:46:20,110
One is talking
during rehearsals,

786
00:46:20,193 --> 00:46:22,153
the others are the
Stories by Michael Wiener."

787
00:46:24,447 --> 00:46:25,657
That's funny.

788
00:46:25,740 --> 00:46:29,744
Everyone had a story about
his moment with Michael Wiener.

789
00:46:31,413 --> 00:46:35,542
Even in this time I would be careless,
if I don't have some

790
00:46:35,625 --> 00:46:38,336
of the other films that would speak
you did in the seventies,

791
00:46:38,420 --> 00:46:41,840
especially because you VICIOUS CIRCLE
ALPHA and DIRTY DOGS,

792
00:46:41,923 --> 00:46:43,842
and of course you have it
Robert Wise worked.

793
00:46:43,925 --> 00:46:47,053
You made STAR TREK - THE MOVIE,
which many people today

794
00:46:47,137 --> 00:46:51,850
as very important for the SPACESHIP
View the ENTERPRISE universe.

795
00:46:51,933 --> 00:46:53,518
I guess he does, yeah.

796
00:46:53,601 --> 00:46:58,606
I have another film with Bob
made, THE ANDROMEDA PROJECT.

797
00:46:58,690 --> 00:47:02,193
And that was a good film for movie fans.

798
00:47:02,277 --> 00:47:03,862
Many of them like it.

799
00:47:03,945 --> 00:47:05,822
Well, I found it quite original.

800
00:47:07,782 --> 00:47:10,243
VICIOUS CIRCLE ALPHA,
which you shot with Brian de Palma,

801
00:47:10,327 --> 00:47:14,331
that was a film in which the...
Camera moves quite a bit, right?

802
00:47:14,414 --> 00:47:16,791
Oh, that was his technique, yes.

803
00:47:17,000 --> 00:47:25,383
That was also necessary
to avoid the many static dialogues

804
00:47:25,467 --> 00:47:29,220
to get away between two people,
and it worked well.

805
00:47:29,387 --> 00:47:32,098
I think it kept her alive.

806
00:47:33,266 --> 00:47:37,479
And the film by Lawrence Kasdan,
HOT BLOODED - COLD BLOODED too.

807
00:47:37,729 --> 00:47:42,233
Which is still considered one today
wonderful example of the genre.

808
00:47:42,317 --> 00:47:43,818
Yes, I agree.

809
00:47:44,486 --> 00:47:47,947
Working on this
Movie was very enjoyable.

810
00:47:48,073 --> 00:47:51,409
A nice person, Kasdan,
a great person.

811
00:47:51,618 --> 00:47:54,662
This is a highlight in my life.

812
00:47:55,955 --> 00:48:01,795
If you consider
how many credits you have, it seems,

813
00:48:01,878 --> 00:48:04,672
as if you hardly had time,
to go on vacation.

814
00:48:04,756 --> 00:48:08,426
How do you manage the balancing act between work,
Work, work done,

815
00:48:08,510 --> 00:48:10,762
and take a break every now and then?

816
00:48:10,845 --> 00:48:17,352
Because your filmography shows
that you were there the whole time.

817
00:48:17,519 --> 00:48:21,189
My life is actually
making films,

818
00:48:21,481 --> 00:48:23,608
so everything is like a vacation.

819
00:48:23,691 --> 00:48:24,692
That's it really.

820
00:48:24,776 --> 00:48:29,447
Yes, if you work in the Sahara
and it's stormy, it can be hard.

821
00:48:29,531 --> 00:48:34,077
When you come in, you have sand
in the eyes or something like that.

822
00:48:34,202 --> 00:48:38,957
But apart from a physical one
Irritation I loved every film,

823
00:48:39,040 --> 00:48:41,543
that I worked on.
I enjoyed every moment.

824
00:48:41,668 --> 00:48:44,754
I can actually
complain about nothing.

825
00:48:45,171 --> 00:48:47,882
And I liked it.

826
00:48:47,966 --> 00:48:52,554
I enjoyed the work,
and I love being with people,

827
00:48:52,554 --> 00:48:57,100
the actors and crew
to be together and see the world.

828
00:48:57,142 --> 00:49:00,562
I've been to many places in the world,
to make films,

829
00:49:00,854 --> 00:49:04,482
and you can't
wish for a better life.

830
00:49:05,191 --> 00:49:09,988
Some marriages have broken up because of this
but that's really...

831
00:49:10,071 --> 00:49:13,116
And that has to do with that
to be constantly on the move,

832
00:49:13,199 --> 00:49:15,535
with traveling,
the constant being on the move?

833
00:49:15,910 --> 00:49:17,537
A little, yes.

834
00:49:20,290 --> 00:49:23,168
I'm trying
my family and my children

835
00:49:23,251 --> 00:49:28,339
to take with me everywhere I go,
and they took me to many places

836
00:49:28,423 --> 00:49:30,925
accompanied in the world,
which was an advantage.

837
00:49:31,259 --> 00:49:33,344
But things happen in a marriage.

838
00:49:33,553 --> 00:49:36,139
If you're married, develop
people are not exactly alike,

839
00:49:36,389 --> 00:49:38,183
they go in different directions.

840
00:49:39,142 --> 00:49:42,020
I just wanted to mention this scene
because I know

841
00:49:42,103 --> 00:49:45,398
that we don't always believe everything
what we read on the internet.

842
00:49:45,732 --> 00:49:51,112
But in a COLD BREATH kind of way
Trivia section will be this scene

843
00:49:51,196 --> 00:49:54,866
because of the enormous number
of experiments discussed.

844
00:49:54,949 --> 00:49:58,620
It says that 65 setups
were shot in one day.

845
00:49:58,703 --> 00:50:00,205
The karate scene?

846
00:50:00,288 --> 00:50:02,332
Yes, in that dojo there.

847
00:50:02,624 --> 00:50:05,627
Do you remember anything?
in this context?

848
00:50:05,710 --> 00:50:07,086
About the number of setups?

849
00:50:07,170 --> 00:50:09,756
Yes. Or why was
Everything done in one day?

850
00:50:09,839 --> 00:50:13,218
It seems an enormous amount of work
to be something that had to be done.

851
00:50:13,301 --> 00:50:14,969
That's quite simple.

852
00:50:15,053 --> 00:50:18,515
The karate sequence was
pretty well lit,

853
00:50:18,598 --> 00:50:20,600
and we just followed her.

854
00:50:20,725 --> 00:50:23,061
But Michael Wiener
kept a log every day

855
00:50:23,144 --> 00:50:27,524
about the number of missions,
and 60 were not unusual.

856
00:50:27,941 --> 00:50:29,275
In one day.

857
00:50:29,734 --> 00:50:31,277
- 60 in one day.
- Yes.

858
00:50:31,361 --> 00:50:35,949
How high would you say?
is the average at work

859
00:50:36,032 --> 00:50:37,951
with different directors?

860
00:50:38,034 --> 00:50:40,203
What is the average
Number of setups?

861
00:50:40,328 --> 00:50:46,209
Depending on that, it can
be between 12 and 15.

862
00:50:46,292 --> 00:50:48,545
So 12 to 15 is the average.

863
00:50:48,628 --> 00:50:50,338
And then he did 60 a day.

864
00:50:50,421 --> 00:50:52,173
That wasn't unusual for him?

865
00:50:52,340 --> 00:50:53,675
Not at all, no.

866
00:50:53,883 --> 00:50:58,346
But as I mentioned before,
His attempts were quick and short.

867
00:50:58,555 --> 00:51:02,183
Until now I still have
didn't see any two-shots,

868
00:51:02,392 --> 00:51:05,395
in which the two can be seen
are and talk to each other.

869
00:51:05,562 --> 00:51:09,857
There is a distance,
maybe we can get one here...

870
00:51:10,817 --> 00:51:17,115
In most films today
are turned, they face each other

871
00:51:17,198 --> 00:51:20,201
and you see the profile
of the individual people.

872
00:51:20,285 --> 00:51:23,246
And you can see the profile of the people.

873
00:51:25,498 --> 00:51:29,460
It's like here,
that he looks at the painting.

874
00:51:29,544 --> 00:51:31,921
And there is an interest in it...

875
00:51:32,046 --> 00:51:35,425
The lighting in this one
Scene looks very, very beautiful,

876
00:51:35,508 --> 00:51:37,802
and it looks kind of complicated.

877
00:51:37,969 --> 00:51:41,180
If you have a large number of
Setups with this type of lighting

878
00:51:41,264 --> 00:51:43,474
have to carry out,
how difficult is it then

879
00:51:43,558 --> 00:51:46,394
quickly from one setup to the
to change next and at the same time

880
00:51:46,477 --> 00:51:49,272
the lighting completely
to keep it even?

881
00:51:49,480 --> 00:51:52,066
Well, I have a team,
that I use again and again

882
00:51:52,233 --> 00:51:54,694
in every phase of mine
Career anyway.

883
00:51:54,861 --> 00:51:59,657
And they move, they know
my lighting style and everything.

884
00:51:59,824 --> 00:52:03,661
They move, they know
they can, in a certain way, foresee

885
00:52:03,870 --> 00:52:05,246
what I will do.

886
00:52:05,580 --> 00:52:07,540
And here's a two-shot.

887
00:52:07,624 --> 00:52:09,959
But instead of face to face
to speak face to face,

888
00:52:10,543 --> 00:52:14,047
they don't even talk to each other.
They do it, but...

889
00:52:14,756 --> 00:52:15,965
But that's interesting.

890
00:52:16,049 --> 00:52:19,344
I mean, I like,
what I see here, but still,

891
00:52:19,427 --> 00:52:25,850
which means achieving many setups
When it comes to a day, every day is different.

892
00:52:28,269 --> 00:52:35,068
I have a style in this picture,
that is easy to illuminate.

893
00:52:35,276 --> 00:52:39,072
Backlight, sidelight, things like that.

894
00:52:40,406 --> 00:52:43,993
I mean, these are basic things,
that I'm asking you here,

895
00:52:44,118 --> 00:52:46,954
but I think it's important
that the listeners understand them.

896
00:52:50,124 --> 00:52:54,962
When you start your training,
you first learn

897
00:52:55,046 --> 00:52:57,548
how to become a sharpener,
then a cameraman,

898
00:52:57,674 --> 00:52:59,842
and then you become a cameraman.

899
00:53:00,134 --> 00:53:04,347
How do you learn, for example?
the lighting I always have for one

900
00:53:04,430 --> 00:53:08,059
the most complicated
parts of the work?

901
00:53:09,310 --> 00:53:12,814
By actually doing it,
first, by doing it

902
00:53:13,022 --> 00:53:17,652
and the results are really good
examined, in other words:

903
00:53:17,860 --> 00:53:19,570
Did it work?

904
00:53:20,154 --> 00:53:23,950
I mean, some of these configurations
here, these, you know,

905
00:53:24,158 --> 00:53:26,619
never the standard of
face to face

906
00:53:27,078 --> 00:53:28,913
and people doing things.

907
00:53:29,205 --> 00:53:33,584
But what?
lighting instinct is concerned,

908
00:53:33,668 --> 00:53:39,173
so my instinct might be different
than yours or someone else's.

909
00:53:39,340 --> 00:53:43,261
And my preferences for one
certain type of lighting

910
00:53:43,720 --> 00:53:46,180
can be completely different
than someone else's.

911
00:53:48,433 --> 00:53:52,228
Someone else would illuminate it differently.

912
00:53:53,521 --> 00:53:59,736
Here it became a two-shot,
but you almost have the feeling

913
00:53:59,944 --> 00:54:03,573
that so much is happening in the background,
that there is activity,

914
00:54:04,198 --> 00:54:07,869
he really made it interesting.

915
00:54:09,287 --> 00:54:12,498
I mean, for someone,
who wants to become a filmmaker,

916
00:54:12,707 --> 00:54:19,213
These are examples of very...

917
00:54:21,090 --> 00:54:22,175
how should I say?

918
00:54:22,300 --> 00:54:26,971
It's not safe, but
a very interesting way,

919
00:54:27,180 --> 00:54:30,600
the set and the environment
for sale and at the same time

920
00:54:30,850 --> 00:54:34,479
the actors reciting

921
00:54:34,771 --> 00:54:38,816
of their dialogues almost in close-up

922
00:54:38,900 --> 00:54:40,860
or to show it up close.

923
00:54:41,027 --> 00:54:44,197
And it's also about the best
to get out of the environment, right?

924
00:54:44,238 --> 00:54:47,408
It's about as much as possible
to get out of the matter.

925
00:54:47,492 --> 00:54:50,912
In life we are
a result of the environment.

926
00:54:51,037 --> 00:54:54,457
Your house probably looks
different than the one where I live.

927
00:54:54,582 --> 00:54:56,417
And the environment is so important.

928
00:54:56,876 --> 00:54:58,920
Oh, here he breaks the glass.

929
00:55:03,216 --> 00:55:07,220
There is a lot of work with props here.

930
00:55:07,303 --> 00:55:10,181
When I watched the film the other day,
I noticed

931
00:55:10,264 --> 00:55:13,309
that almost in every scene one of the
Actor fiddling with something,

932
00:55:13,392 --> 00:55:14,769
anything does.

933
00:55:14,852 --> 00:55:17,063
And again it was Bronson
one of these actors,

934
00:55:17,146 --> 00:55:19,607
the very good with props
could handle it, right?

935
00:55:19,690 --> 00:55:21,901
He's good with weapons and
deal with other things.

936
00:55:21,984 --> 00:55:24,403
This is the gift of one
other actor.

937
00:55:24,487 --> 00:55:26,072
- And here is the...
- This one.

938
00:55:26,155 --> 00:55:29,242
The beginning of the motorcycle chase,

939
00:55:29,325 --> 00:55:32,286
These are probably somewhere in here
San Fernando Valley takes place.

940
00:55:32,537 --> 00:55:35,748
And then we go to a house,
where these guys live.

941
00:55:35,873 --> 00:55:39,961
And then there is another one
Chase over the dunes...

942
00:55:40,461 --> 00:55:43,756
That was down on the beach,
right here, I think.

943
00:55:43,840 --> 00:55:46,884
Not Manhattan, but...

944
00:55:47,510 --> 00:55:49,679
I surfed there,

945
00:55:49,846 --> 00:55:55,601
It's actually Manhattan
and the dunes are quite high.

946
00:55:55,768 --> 00:55:57,603
And that's exactly what it was, yes.

947
00:55:57,812 --> 00:56:00,648
You have a few... I mean,
we will talk about them,

948
00:56:00,731 --> 00:56:03,442
when we get to the scenes,
but there are a few high falls.

949
00:56:03,609 --> 00:56:06,904
A motorcycle crashes
from one of these dunes.

950
00:56:07,029 --> 00:56:08,489
It's a long way down.

951
00:56:09,699 --> 00:56:12,076
With a very good stuntman,
who did that.

952
00:56:12,243 --> 00:56:17,707
His specialty was
really motorcycles.

953
00:56:20,334 --> 00:56:22,712
When we said this earlier
Scene on the freeway

954
00:56:22,795 --> 00:56:24,964
seen in the San Fernando Valley,

955
00:56:25,047 --> 00:56:28,259
you asked yourself how it is today
possible with all the traffic

956
00:56:28,342 --> 00:56:30,887
that the whole street has to be closed.

957
00:56:31,095 --> 00:56:36,642
You could do it at a certain time
do it on a Sunday or something similar.

958
00:56:37,018 --> 00:56:40,187
However, 42 years ago there was
not that many cars yet.

959
00:56:40,438 --> 00:56:44,442
Well, you know, there were some,
but not that many.

960
00:56:44,692 --> 00:56:47,653
In California there is

961
00:56:51,282 --> 00:56:54,118
Traffic jams everywhere, no matter where you go.

962
00:56:54,285 --> 00:56:57,496
I just got out of mine on Monday
Hometown London returned,

963
00:56:58,122 --> 00:57:02,209
and I thought that there were times
in which I walked on the street

964
00:57:02,293 --> 00:57:05,338
or maybe in the subway,
where you couldn't move.

965
00:57:05,421 --> 00:57:08,299
And you think that the
Population explosion is so big now.

966
00:57:08,633 --> 00:57:11,093
Soon it will happen,
we will just be totally blocked.

967
00:57:11,177 --> 00:57:13,387
We're not going anywhere anymore
can walk or drive.

968
00:57:14,263 --> 00:57:16,849
I made a film on the subject

969
00:57:19,310 --> 00:57:21,312
where the world...

970
00:57:23,773 --> 00:57:25,232
Oh, what's his name again?

971
00:57:25,316 --> 00:57:26,567
Isn't it YEAR 2022 -
WHO WANT TO SURVIVE?

972
00:57:26,651 --> 00:57:27,860
Yeah right.

973
00:57:29,195 --> 00:57:30,655
Yes, this is a classic.

974
00:57:30,738 --> 00:57:33,491
Lots of science fiction fans
love this film.

975
00:57:33,908 --> 00:57:36,869
I thought that was a good premise.
That was really it.

976
00:57:36,953 --> 00:57:38,829
It's a very popular film.

977
00:57:41,666 --> 00:57:45,378
Looking at your credits,
such as Robert Wise,

978
00:57:45,461 --> 00:57:47,171
with which you can use SPACESHIP ENTERPRISE

979
00:57:47,254 --> 00:57:49,674
and ANDROMEDA: DEADLY DUST
OUT OF ALL, you see,

980
00:57:49,799 --> 00:57:54,261
how many different types of films
you actually tackled.

981
00:57:54,762 --> 00:57:57,014
And all kinds.

982
00:57:57,264 --> 00:57:58,933
Well, I did that on purpose.

983
00:57:59,016 --> 00:58:00,184
That's brave, isn't it?

984
00:58:00,267 --> 00:58:04,271
One can imagine
that some people prefer to stick with that,

985
00:58:04,355 --> 00:58:07,441
what they are familiar with
but you always tried

986
00:58:07,608 --> 00:58:09,944
to do something different, something new.

987
00:58:10,111 --> 00:58:14,073
Yeah, I don't know why, except
that it is something new, something different.

988
00:58:14,615 --> 00:58:20,871
And I had no other premise,
than trying new things.

989
00:58:28,546 --> 00:58:33,217
Of course there is something to be said about when filming
Los Angeles so many different looks,

990
00:58:33,300 --> 00:58:35,428
like the sand dunes you spoke of.

991
00:58:35,678 --> 00:58:39,432
You would never expect them
20 minutes away from here.

992
00:58:39,515 --> 00:58:41,392
No no.

993
00:58:42,309 --> 00:58:47,648
And the sets of this film
are very diverse, aren't they?

994
00:58:47,732 --> 00:58:50,776
Because we start in the city center,

995
00:58:51,027 --> 00:58:54,613
which today is completely different
looks like it did 42 years ago.

996
00:58:54,822 --> 00:59:00,077
We are in beautiful
Areas like the Hollywood Hills

997
00:59:00,161 --> 00:59:02,747
and the Mandeville Canyon,

998
00:59:02,830 --> 00:59:06,042
and then we're on the freeways,
that are not overcrowded.

999
00:59:06,167 --> 00:59:08,502
And just had
we a scene in the zoo,

1000
00:59:08,711 --> 00:59:10,504
and now we will
a number of things

1001
00:59:10,671 --> 00:59:12,339
in this motorcycle chase,

1002
00:59:12,423 --> 00:59:14,091
where they drive through people's gardens.

1003
00:59:14,175 --> 00:59:16,761
And push people into swimming pools,
you know, things like that.

1004
00:59:16,844 --> 00:59:20,347
Can you do that in London, all those
Things you just mentioned?

1005
00:59:20,473 --> 00:59:21,932
I don't think so, no.

1006
00:59:22,016 --> 00:59:24,143
- No.
- I don't think that's possible.

1007
00:59:25,644 --> 00:59:30,733
And the London from my own
Childhood is unrecognizable.

1008
00:59:30,816 --> 00:59:34,403
Just the number of
skyscrapers and construction activity,

1009
00:59:34,487 --> 00:59:36,489
which is taking place there now,
is absolutely incredible.

1010
00:59:36,572 --> 00:59:38,532
I love London, I really do.

1011
00:59:38,657 --> 00:59:40,409
I feel so comfortable there.

1012
00:59:44,121 --> 00:59:47,833
Well, it's still one of the
Hubs of the world, I suppose.

1013
00:59:47,917 --> 00:59:50,795
Like New York, Paris.

1014
00:59:50,878 --> 00:59:51,962
Yes.

1015
00:59:52,046 --> 00:59:55,800
Yes, these are the great cities of the world,
and that's why everyone wants to live there.

1016
00:59:56,092 --> 00:59:58,636
And I have the impression
that just London,

1017
00:59:58,719 --> 01:00:02,056
New York and Paris
have become so expensive.

1018
01:00:02,181 --> 01:00:06,644
That only the oligarchs from
Russia can live there.

1019
01:00:08,270 --> 01:00:11,941
In the three years,
in which I went to school in Paris,

1020
01:00:12,024 --> 01:00:15,069
I lived on $150 a month.

1021
01:00:15,486 --> 01:00:16,654
Unheard of.

1022
01:00:16,737 --> 01:00:18,280
Back then you could still do that.

1023
01:00:18,364 --> 01:00:19,573
Yes, that worked.

1024
01:00:19,657 --> 01:00:20,825
This is amazing.

1025
01:00:30,042 --> 01:00:31,710
I love these streets.

1026
01:00:31,919 --> 01:00:35,965
For me it doesn't matter
where it is, you just know

1027
01:00:36,132 --> 01:00:38,300
that you are in California,
when you see this street.

1028
01:00:38,384 --> 01:00:40,010
Hollywood Hills.

1029
01:00:52,064 --> 01:00:55,067
Like you said,
all of these will be very much to me,

1030
01:00:55,151 --> 01:00:57,695
really aware of it in very short moments.

1031
01:00:57,778 --> 01:00:58,946
Short scenes.

1032
01:00:59,029 --> 01:01:02,199
And yet it doesn't feel
confusing and chaotic.

1033
01:01:02,324 --> 01:01:03,325
Correct.

1034
01:01:03,409 --> 01:01:05,661
Like some films,
where the cutting scheme

1035
01:01:05,744 --> 01:01:08,998
today is so fast and yet confusing.

1036
01:01:09,248 --> 01:01:10,875
You can't really track
what's going on.

1037
01:01:11,125 --> 01:01:12,668
I agree,
especially in a trailer,

1038
01:01:12,751 --> 01:01:15,921
if they have a trailer a lot
show too quickly, I think,

1039
01:01:16,130 --> 01:01:19,758
there should be fewer cuts
and a little

1040
01:01:22,803 --> 01:01:24,013
take longer.

1041
01:01:27,892 --> 01:01:32,354
You know, I suppose
since the world has become faster,

1042
01:01:32,646 --> 01:01:34,481
also has the need of everyone

1043
01:01:34,565 --> 01:01:36,984
after a deceleration of the
Things developed, you know?

1044
01:01:37,067 --> 01:01:39,236
But I think there's something to it
calming and comforting,

1045
01:01:39,320 --> 01:01:42,740
when you see a movie,
which is clocked in this way.

1046
01:01:42,907 --> 01:01:44,241
That's not slow.

1047
01:01:44,742 --> 01:01:47,203
That seems reasonable.

1048
01:01:49,163 --> 01:01:51,165
Well, if I may recommend something:

1049
01:01:51,290 --> 01:01:54,335
Two or three days ago
I saw the best movie,

1050
01:01:54,418 --> 01:01:58,130
that I have ever seen
a British film called BELLE.

1051
01:01:58,631 --> 01:02:01,383
It was beautifully filmed,
the costumes,

1052
01:02:01,550 --> 01:02:04,053
the actors, the story,

1053
01:02:04,803 --> 01:02:07,014
the music, every phase.

1054
01:02:07,223 --> 01:02:09,391
It's a flawless film.

1055
01:02:09,516 --> 01:02:11,685
And it was very interesting.

1056
01:02:11,894 --> 01:02:13,604
It's a historical film.

1057
01:02:13,812 --> 01:02:15,272
I'll take a look at it.

1058
01:02:15,356 --> 01:02:16,857
The film is currently playing in LA.

1059
01:02:17,399 --> 01:02:18,859
Thank you for the recommendation.

1060
01:02:24,281 --> 01:02:26,200
That's it really...

1061
01:02:27,034 --> 01:02:29,453
It's a story about prejudice,

1062
01:02:29,870 --> 01:02:33,207
also about other things,
but she is so well made.

1063
01:02:33,332 --> 01:02:36,460
God, the acting,
great acting.

1064
01:02:37,378 --> 01:02:39,713
I think it's good,
that after all this time,

1065
01:02:39,797 --> 01:02:42,258
in which you can see everything in this
saw business,

1066
01:02:42,466 --> 01:02:47,221
still finds <i>something</i>,
that moves and impresses you.

1067
01:02:47,554 --> 01:02:50,099
That's correct.
I like a good film.

1068
01:02:53,519 --> 01:02:55,312
May I ask about the music?

1069
01:02:55,396 --> 01:02:59,525
I know that music doesn't necessarily
is something that is related to what you do

1070
01:02:59,692 --> 01:03:05,364
related, but Jerry Fielding, the
has set music to six Michael Wiener films,

1071
01:03:05,489 --> 01:03:09,618
has in my opinion
both about this film

1072
01:03:09,702 --> 01:03:11,620
as well as to the others
contributed to five films

1073
01:03:11,704 --> 01:03:13,831
and made the films that way,
what they are.

1074
01:03:13,998 --> 01:03:16,041
Have you ever met Jerry Fielding?

1075
01:03:16,125 --> 01:03:18,377
I can't remember.
I don't believe.

1076
01:03:18,669 --> 01:03:21,046
It's a shame that the composer,

1077
01:03:21,130 --> 01:03:26,385
which makes an important contribution to
film, is often the last to arrive

1078
01:03:26,510 --> 01:03:29,930
and during filming
isn't really there.

1079
01:03:30,139 --> 01:03:32,016
Which is my opinion
after doesn't matter.

1080
01:03:32,099 --> 01:03:37,855
I think it's the composite one
film when put together.

1081
01:03:38,397 --> 01:03:45,195
I would consider music as one
Denote accent for the moment.

1082
01:03:45,487 --> 01:03:48,782
And often it is used far too often,

1083
01:03:48,824 --> 01:03:51,827
especially in dialogues,
where it is not necessary at all.

1084
01:03:52,411 --> 01:03:58,334
But it often bothers me.
Music can be important

1085
01:03:58,792 --> 01:04:04,006
but especially in the film BELLE,

1086
01:04:04,131 --> 01:04:09,636
at BELLE, the music is so appropriate.

1087
01:04:09,887 --> 01:04:11,430
It is simply excellent.

1088
01:04:11,638 --> 01:04:14,933
And you should have the music
really feel as well as hear.

1089
01:04:16,518 --> 01:04:19,730
And in this film
does Jerry Fielding do something,

1090
01:04:19,813 --> 01:04:21,982
what is considered standard output
could describe

1091
01:04:22,066 --> 01:04:24,443
you already know
Chases.

1092
01:04:24,902 --> 01:04:30,115
But his motive for the character of Charles
Bronson, especially at the beginning of the film,

1093
01:04:30,199 --> 01:04:35,788
in preparing the first one
attack, the music is strange, atonal,

1094
01:04:35,871 --> 01:04:39,708
scary and strange,
almost like from another world.

1095
01:04:40,042 --> 01:04:41,585
And that was a gift.

1096
01:04:41,752 --> 01:04:45,798
And also someone like Jerry
Fielding discovers a film and knows

1097
01:04:45,881 --> 01:04:47,966
that not every scene needs music.

1098
01:04:48,342 --> 01:04:51,095
In this era of filmmaking
the composers always said:

1099
01:04:51,178 --> 01:04:53,972
This scene needs music,
this scene doesn't need music.

1100
01:04:54,431 --> 01:04:56,266
While today, as a way out, so to speak,

1101
01:04:56,475 --> 01:04:59,937
inferior to everything and hope
that no one notices.

1102
01:05:00,354 --> 01:05:03,399
There doesn't seem to be that many
Having thought about it.

1103
01:05:03,524 --> 01:05:06,026
That's exactly what I have
just tried to say.

1104
01:05:07,444 --> 01:05:11,865
Here we have a little comedy,
almost like in a "James Bond" film,

1105
01:05:12,116 --> 01:05:16,870
where people are knocked over,
falling in puddles and all that sort of thing.

1106
01:05:17,371 --> 01:05:19,623
It's like a Matt helmet or... Yeah.

1107
01:05:19,832 --> 01:05:24,086
<i>One of, you know, go,
the private detective in excess.</i>

1108
01:05:24,253 --> 01:05:25,796
That's a bit exaggerated.

1109
01:05:25,879 --> 01:05:27,673
The funny thing is,
that Michael Wiener normally

1110
01:05:27,756 --> 01:05:30,217
had a good feel for tone,
for that,

1111
01:05:30,300 --> 01:05:32,136
what you see in a film
would describe as sound.

1112
01:05:32,219 --> 01:05:33,679
Stay consistent.

1113
01:05:34,763 --> 01:05:39,101
But like we said,
there are moments

1114
01:05:39,184 --> 01:05:42,146
in which he a little
goes over the top.

1115
01:05:42,896 --> 01:05:46,483
And yet there seems to be none
Role to play, right?

1116
01:05:46,900 --> 01:05:48,735
No, I agree with you.

1117
01:05:54,491 --> 01:05:58,245
Do you remember whether it is at
the production of such a film

1118
01:05:58,370 --> 01:06:01,623
any comments
or interventions by the studio?

1119
01:06:01,707 --> 01:06:03,709
Or leave Michael
Viennese just carry on,

1120
01:06:03,792 --> 01:06:05,502
and they only see it,
when the film is finished?

1121
01:06:05,586 --> 01:06:07,629
No interventions whatsoever.

1122
01:06:08,380 --> 01:06:10,507
I mean, they were ahead of schedule,

1123
01:06:11,175 --> 01:06:13,343
they have many during the day
scenes filmed,

1124
01:06:14,261 --> 01:06:17,431
They sent the daily footage
back to the studio at night?

1125
01:06:17,514 --> 01:06:18,724
Oh yes.

1126
01:06:18,807 --> 01:06:21,477
And left the next morning
I go through the daytime recordings,

1127
01:06:21,602 --> 01:06:24,646
before filming began.

1128
01:06:24,897 --> 01:06:28,025
I went there at five in the morning
and looked at the daily silence

1129
01:06:28,358 --> 01:06:32,362
and made sure
that they corresponded to the norm.

1130
01:06:35,449 --> 01:06:38,911
Do you know where we are right now?

1131
01:06:39,077 --> 01:06:44,374
Is that on the coast
or somewhere in the Valley?

1132
01:06:45,000 --> 01:06:46,502
This is the Valley.

1133
01:06:46,710 --> 01:06:48,962
I know it's the Valley, yes.

1134
01:06:49,546 --> 01:06:51,131
I had read somewhere,

1135
01:06:51,215 --> 01:06:53,425
that some of it in one place
called Newhall.

1136
01:06:53,509 --> 01:06:55,177
I believe
that is near Valencia.

1137
01:06:55,260 --> 01:06:57,763
It's the Valley, Newhall is... Yes.

1138
01:06:59,723 --> 01:07:01,266
And it's a beautiful landscape

1139
01:07:01,350 --> 01:07:03,018
for a motorcycle chase
in this part here.

1140
01:07:04,394 --> 01:07:06,271
And there is the long fall.

1141
01:07:06,563 --> 01:07:08,649
That's quite a
scary stunt,

1142
01:07:08,732 --> 01:07:10,150
if he at this point
sat on the motorcycle.

1143
01:07:10,234 --> 01:07:12,861
I don't think it was him.

1144
01:07:13,904 --> 01:07:17,241
But here too it is noticeable
that there are no two-shots,

1145
01:07:17,324 --> 01:07:19,701
in which they stand
and talk to each other.

1146
01:07:31,672 --> 01:07:34,550
Also, I like the fact
that many films from this period,

1147
01:07:34,633 --> 01:07:38,345
This also applies to Michael Wiener's works,
the films weren't long.

1148
01:07:38,428 --> 01:07:40,889
He didn't believe in one
two and a half hour film.

1149
01:07:41,139 --> 01:07:45,394
He believed in a species
90-plus minute film.

1150
01:07:45,519 --> 01:07:51,024
He never wanted it to last longer than that
Pushing out the expiration date, you know?

1151
01:07:51,858 --> 01:07:53,443
I believe that many people

1152
01:07:53,569 --> 01:07:55,571
during today's filming
could still learn something.

1153
01:07:55,654 --> 01:07:56,822
I agree.

1154
01:07:56,905 --> 01:08:01,743
Some of the longer films served
maybe to sell the format,

1155
01:08:01,868 --> 01:08:04,746
Widescreen or whatever.

1156
01:08:06,039 --> 01:08:08,542
And that was a mistake too, I think.

1157
01:08:11,920 --> 01:08:14,172
I find

1158
01:08:14,631 --> 01:08:17,426
you should always wish
that the film would be a little longer.

1159
01:08:17,676 --> 01:08:22,014
That one hopes that he isn't like that
ends quickly, you know?

1160
01:08:22,222 --> 01:08:24,975
Well, it was the famous one

1161
01:08:27,185 --> 01:08:31,481
Studio boss Harry Cohn
from Columbia Studios,

1162
01:08:31,732 --> 01:08:37,237
after a preview of a film,
which they filmed in Santa Barbara,

1163
01:08:37,988 --> 01:08:40,741
the light came on and
someone ran to him:

1164
01:08:40,866 --> 01:08:42,909
"Mr. Cohn, how did
Did you like the film?"

1165
01:08:43,076 --> 01:08:45,704
And his answer was:
"I don't use my brain,

1166
01:08:45,829 --> 01:08:47,039
to judge a film.

1167
01:08:47,122 --> 01:08:50,542
I use mine
Butt and it hurts."

1168
01:08:53,211 --> 01:08:55,005
That's the old-fashioned way.

1169
01:09:01,136 --> 01:09:04,431
I believe
here we go to Mr. Big's house.

1170
01:09:04,723 --> 01:09:06,975
The man who is responsible for the whole
thing is responsible.

1171
01:09:07,059 --> 01:09:09,770
And that's a very nice one,
old mansion.

1172
01:09:12,898 --> 01:09:18,111
And everything, we didn't mention that,
everything is actually here.

1173
01:09:18,362 --> 01:09:19,863
I don't think so
that there are any sets.

1174
01:09:19,946 --> 01:09:21,615
No, nothing in the studio.

1175
01:09:24,076 --> 01:09:27,829
That again is, in a way, that
Opposite of many films these days,

1176
01:09:27,913 --> 01:09:30,582
where it often looks like this
like you never leave the studio.

1177
01:09:30,749 --> 01:09:33,126
It really depends on the project.

1178
01:09:38,924 --> 01:09:43,220
Now the film is in
Soon to be relocated to Italy.

1179
01:09:43,720 --> 01:09:47,057
And you said
that you didn't go to Italy?

1180
01:09:47,140 --> 01:09:48,767
That's true, yes.

1181
01:09:49,017 --> 01:09:52,813
And that the film at this point
was taken over by Robert Painter.

1182
01:09:52,896 --> 01:09:53,939
Yes.

1183
01:09:54,022 --> 01:09:57,818
He was also one of
Michael's regular cameramen.

1184
01:09:58,110 --> 01:10:00,737
But what was the reason for that?
that you didn't go?

1185
01:10:00,821 --> 01:10:02,739
Do you have one?
worked on another project?

1186
01:10:02,823 --> 01:10:04,408
I think, no, financially.

1187
01:10:04,491 --> 01:10:07,994
I don't know exactly how high that is
The budget for this film at the time was

1188
01:10:08,078 --> 01:10:10,622
but they were very budget conscious,

1189
01:10:10,789 --> 01:10:15,544
and it was less expensive
and had a crew and everything.

1190
01:10:15,544 --> 01:10:22,175
So they needed me to fly
not to pay and so on.

1191
01:10:23,844 --> 01:10:28,849
It is also interesting that at that time,
I'm not quite sure

1192
01:10:28,974 --> 01:10:33,854
when it comes to details, always
there were also union problems,

1193
01:10:34,146 --> 01:10:39,192
so that they have someone from the countries,
in which they were filming, had to use.

1194
01:10:39,276 --> 01:10:43,530
Well, here I am in the
California union,

1195
01:10:43,864 --> 01:10:47,033
and there was a union
in New York, back then.

1196
01:10:47,451 --> 01:10:50,120
So if I went to New York,
to make a film,

1197
01:10:50,203 --> 01:10:52,998
they would have to get a new one
Hire a York cameraman

1198
01:10:53,123 --> 01:10:56,376
and pay him,
just so he is there.

1199
01:10:56,668 --> 01:10:59,463
And that doesn't exist anymore.

1200
01:10:59,546 --> 01:11:01,590
We are all a union.

1201
01:11:02,048 --> 01:11:04,050
But that was the reason back then.

1202
01:11:04,176 --> 01:11:08,805
So just someone
who stands on set and does nothing.

1203
01:11:09,347 --> 01:11:10,515
Interesting.

1204
01:11:19,357 --> 01:11:22,611
Was it easier back then?
Making films, what do you mean?

1205
01:11:23,320 --> 01:11:25,363
Was the process somehow easier?

1206
01:11:28,575 --> 01:11:30,035
I do not believe that.

1207
01:11:30,118 --> 01:11:33,663
I think it's easier today
for one main reason:

1208
01:11:33,747 --> 01:11:36,541
Equipment has become more mobile.

1209
01:11:37,250 --> 01:11:41,129
It is lighter and very effective.

1210
01:11:42,047 --> 01:11:48,345
That's why we can come with you
fewer people travel.

1211
01:11:48,512 --> 01:11:53,517
You can connect the devices to the
connect house connections,

1212
01:11:53,683 --> 01:11:56,478
instead of taking a generator,

1213
01:11:56,686 --> 01:12:01,274
what the filming
simplified directly on site.

1214
01:12:01,775 --> 01:12:06,279
I love filming on location.

1215
01:12:06,863 --> 01:12:10,033
You also feel it psychologically.

1216
01:12:10,784 --> 01:12:14,496
There is nothing like it
to this kind of truthfulness,

1217
01:12:14,579 --> 01:12:17,457
what you call it,
as if you were really in the middle of it all.

1218
01:12:18,291 --> 01:12:19,960
There is no substitute for this.

1219
01:12:21,586 --> 01:12:24,506
When you mentioned technology earlier,
I suddenly thought:

1220
01:12:24,589 --> 01:12:27,676
My God, in the 70 years,
where you work,

1221
01:12:27,884 --> 01:12:32,055
is technological change,
you in terms of equipment,

1222
01:12:32,138 --> 01:12:35,559
have experienced cameras and the like,
something extraordinary.

1223
01:12:35,976 --> 01:12:38,520
Yes, it was a lot, I have to say.

1224
01:12:38,770 --> 01:12:41,314
But they sneak
to a certain extent.

1225
01:12:41,398 --> 01:12:45,151
It doesn't just go "boom"
and the new something is there.

1226
01:12:45,443 --> 01:12:49,614
It kind of creeps up
on and it continues seamlessly.

1227
01:12:49,698 --> 01:12:51,950
So you can recognize them
big changes,

1228
01:12:52,033 --> 01:12:54,327
when you talk about back then,
when people still did it this way and that way

1229
01:12:54,411 --> 01:12:56,329
and someone says: About it
I've never heard anything.

1230
01:12:56,413 --> 01:12:58,540
What do you think of her?
digital revolution?

1231
01:12:58,623 --> 01:13:00,917
-What do you think about that?
-Oh, I think it's great.

1232
01:13:01,418 --> 01:13:03,086
And you would do that now?

1233
01:13:03,169 --> 01:13:04,629
I even do that.

1234
01:13:04,838 --> 01:13:06,798
-I'm still working.
-Yes I know.

1235
01:13:06,882 --> 01:13:11,970
So you feel like you...
What is the word?

1236
01:13:13,179 --> 01:13:18,852
That you adapt to the new,
is something you have achieved?

1237
01:13:18,935 --> 01:13:22,981
I'm over everything on this
Keeping up to date with what I could.

1238
01:13:26,109 --> 01:13:29,487
And digitalization is here,
and you have to recognize them.

1239
01:13:29,571 --> 01:13:32,991
I love film and am used to it

1240
01:13:33,283 --> 01:13:36,661
but I love digital technology.

1241
01:13:37,203 --> 01:13:42,042
I think it is,
as you can see here, little light,

1242
01:13:42,208 --> 01:13:45,086
and there could be another
be a little less than that.

1243
01:13:45,962 --> 01:13:49,382
You add a little more density,
but it's easier

1244
01:13:49,507 --> 01:13:53,178
and the camera could be my iPhone.

1245
01:13:53,511 --> 01:13:55,096
As small as that.

1246
01:13:55,764 --> 01:13:58,266
This is a wonderful thing,
When you think about it, right?

1247
01:13:58,350 --> 01:13:59,267
Oh yes.

1248
01:13:59,392 --> 01:14:04,773
That things are capable
to grasp such a reality.

1249
01:14:04,856 --> 01:14:06,942
And they are very accurate.

1250
01:14:07,025 --> 01:14:09,986
I mean, I love,
Since we are currently watching COLD BREATH,

1251
01:14:10,278 --> 01:14:12,113
I love the old grain,

1252
01:14:12,197 --> 01:14:15,158
Do you know,
I love the look of the films.

1253
01:14:15,241 --> 01:14:19,621
The word film is something that...
like a veil covers something,

1254
01:14:19,704 --> 01:14:22,165
something that you can hold in your hand
can take, something,

1255
01:14:22,248 --> 01:14:26,044
that is visual and structural,
something you can touch.

1256
01:14:26,252 --> 01:14:28,964
It's almost as if you

1257
01:14:29,172 --> 01:14:32,425
writes with pen and ink
and the type of paper,

1258
01:14:32,509 --> 01:14:38,431
if it is a glossy paper,
feels softer or something.

1259
01:14:38,807 --> 01:14:41,393
And that's exactly it,
what you're talking about.

1260
01:14:41,476 --> 01:14:43,520
A little bit of that
graininess and so on.

1261
01:14:43,687 --> 01:14:47,649
If something is on the
Film itself moves, shakes.

1262
01:14:48,149 --> 01:14:52,362
Yes, that crawling, I think
it's called crawling grain, isn't it?

1263
01:14:53,780 --> 01:15:00,036
Many people we now as
Home theater enthusiasts call

1264
01:15:01,287 --> 01:15:04,374
are with this type of
Things not familiar.

1265
01:15:04,457 --> 01:15:08,878
And I believe that they think
that there is something wrong with the appearance.

1266
01:15:08,962 --> 01:15:10,547
You know, because they're used to it

1267
01:15:10,630 --> 01:15:15,927
the very clean look of one
modern camera.

1268
01:15:16,136 --> 01:15:21,641
When you see BELLE,
you will be very happy.

1269
01:15:21,725 --> 01:15:24,477
It was filmed beautifully.

1270
01:15:38,241 --> 01:15:39,659
Also here in this scene

1271
01:15:39,743 --> 01:15:42,704
there are no two-shots,
like you already said.

1272
01:15:43,079 --> 01:15:45,040
And again, it's just inventive.

1273
01:15:45,123 --> 01:15:46,583
Like two people.

1274
01:15:46,666 --> 01:15:50,295
Normally you would
do this with two settings.

1275
01:15:50,754 --> 01:15:54,507
Well, he didn't even sit down.
He just keeps going.

1276
01:15:55,216 --> 01:15:56,634
For me this is very convenient.

1277
01:15:56,801 --> 01:15:58,762
It's very comfortable.

1278
01:15:59,179 --> 01:16:01,139
And while we were talking,

1279
01:16:01,222 --> 01:16:04,601
and you have in the audio commentary
pointed out several times,

1280
01:16:05,894 --> 01:16:09,856
do you think: As a director
I have another scene,

1281
01:16:09,939 --> 01:16:11,775
in which I have the same two types.

1282
01:16:11,858 --> 01:16:13,276
You are in a room.

1283
01:16:13,526 --> 01:16:15,320
I have to make it look interesting.

1284
01:16:15,653 --> 01:16:18,740
And that's sometimes difficult
right?

1285
01:16:18,823 --> 01:16:21,534
Always two guys in one
Make room look interesting.

1286
01:16:22,035 --> 01:16:25,705
The point is that with the
Choosing the set, when scouting,

1287
01:16:25,914 --> 01:16:29,167
make sure that you have a
interesting looking set.

1288
01:16:29,334 --> 01:16:32,921
An interesting setting for
a film can be an empty wall

1289
01:16:33,588 --> 01:16:35,340
or be a window behind them.

1290
01:16:35,548 --> 01:16:41,304
But this one has all kinds
Filigree and so on, and the walls.

1291
01:16:41,888 --> 01:16:47,185
And that's it,
what makes this house so unique.

1292
01:16:48,269 --> 01:16:51,981
And he actually has it
the previous moment,

1293
01:16:52,065 --> 01:16:54,234
which in my opinion is one
one of the best moments of the film is

1294
01:16:54,317 --> 01:16:57,529
with Bronson lying in that bed,
very well implemented.

1295
01:16:57,612 --> 01:16:59,823
You know what he's thinking,
because he now knows

1296
01:16:59,906 --> 01:17:04,327
that his student him
will kill or try to.

1297
01:17:04,577 --> 01:17:08,164
And with the knowledge
Regret also comes.

1298
01:17:08,248 --> 01:17:10,750
And that is very nicely done.

1299
01:17:11,000 --> 01:17:14,003
I think this is another moment,
in which there is no dialogue.

1300
01:17:14,879 --> 01:17:17,841
I personally think
that the trip to Italy

1301
01:17:19,509 --> 01:17:21,052
could be shortened,

1302
01:17:21,136 --> 01:17:23,304
Or could be omitted entirely.

1303
01:17:23,513 --> 01:17:27,225
Because now it's clear
that he will be the victim.

1304
01:17:27,892 --> 01:17:32,772
But it's going to be a whole lot
It will take a while until that happens.

1305
01:17:32,856 --> 01:17:36,151
And it is this in-between time,
and I think

1306
01:17:36,234 --> 01:17:39,112
the ending is a great ending.

1307
01:17:39,279 --> 01:17:40,572
Unique.

1308
01:17:40,655 --> 01:17:43,491
But I think that all the things
that happen here,

1309
01:17:43,658 --> 01:17:47,704
the chases, the bombs,
that go up and all that...

1310
01:17:53,918 --> 01:17:57,046
There are 99 in total
Minutes and 52 seconds.

1311
01:17:57,130 --> 01:17:59,299
The running time is pretty short.

1312
01:17:59,632 --> 01:18:01,968
But you're absolutely right when you say,

1313
01:18:02,051 --> 01:18:06,097
that this part is narrative
is the weakest part of the film.

1314
01:18:06,264 --> 01:18:09,934
Because as you said, it has
Tension built between the two,

1315
01:18:10,018 --> 01:18:14,731
and Bronson knows he's here
may be the victim.

1316
01:18:15,064 --> 01:18:17,567
And yet they have to be
team work together.

1317
01:18:17,650 --> 01:18:22,071
And there isn't a single one
moment in this overly long sequence,

1318
01:18:22,238 --> 01:18:26,159
in which they have to kill the person,
who they are supposed to kill.

1319
01:18:26,492 --> 01:18:28,578
It never comes to pass
Tensions between them.

1320
01:18:28,661 --> 01:18:33,374
So the overall effect is,
that you forget, so to speak,

1321
01:18:33,458 --> 01:18:38,338
that Jan-Michael Vincents
Character is now also an enemy.

1322
01:18:38,421 --> 01:18:40,298
Yes, exactly.

1323
01:18:41,382 --> 01:18:46,012
You said that this section
was directed by Robert Painter.

1324
01:18:46,095 --> 01:18:47,180
That's correct.

1325
01:18:48,598 --> 01:18:54,938
Do you have the feeling
that the part looks different?

1326
01:18:55,021 --> 01:18:56,147
Well, yes.

1327
01:18:56,231 --> 01:19:00,526
But maybe that was intentional
because it is a happy Italy,

1328
01:19:00,610 --> 01:19:04,614
a happy country and so on,
and the landscape is beautiful.

1329
01:19:05,823 --> 01:19:08,326
That's good. I like that.

1330
01:19:10,578 --> 01:19:16,042
But it's interesting that something from
can be turned to someone else,

1331
01:19:16,125 --> 01:19:19,295
and it's kind of a 30 minute sequence,
let's say...

1332
01:19:19,379 --> 01:19:20,588
Is it that long?

1333
01:19:20,672 --> 01:19:21,965
Almost 30 minutes.

1334
01:19:22,048 --> 01:19:23,049
Really?

1335
01:19:23,132 --> 01:19:26,970
From the time we go to
Italy drove until the end of the film,

1336
01:19:29,138 --> 01:19:32,308
that it is consistent.

1337
01:19:32,392 --> 01:19:34,727
The appearance appears to be balanced.

1338
01:19:34,811 --> 01:19:37,939
You don't feel like you
is in another universe.

1339
01:19:38,022 --> 01:19:39,857
I think he did a good job.

1340
01:20:08,594 --> 01:20:10,638
But here too he has
the same problem:

1341
01:20:10,763 --> 01:20:15,226
He has two men in one
space and have to find out

1342
01:20:15,310 --> 01:20:17,061
how he can make it interesting.

1343
01:20:17,145 --> 01:20:19,063
Michael Wiener always has
still the same problem

1344
01:20:19,147 --> 01:20:20,732
with two people in one room.

1345
01:20:22,191 --> 01:20:26,112
And it has to vary constantly.

1346
01:20:26,863 --> 01:20:28,072
Yes.

1347
01:20:35,955 --> 01:20:40,126
When preparing the killing...

1348
01:20:41,002 --> 01:20:45,340
In the beginning he had diagrams
on the wall and things like that.

1349
01:20:45,757 --> 01:20:49,052
I like that myself.

1350
01:20:49,135 --> 01:20:52,472
Here he has to do everything
choose individual pieces yourself,

1351
01:20:52,555 --> 01:20:54,015
and the audience can't see
what it is.

1352
01:20:54,098 --> 01:20:55,600
No, exactly.

1353
01:20:56,726 --> 01:21:01,439
Well, it just so happened
that Mr. Big told him

1354
01:21:01,522 --> 01:21:04,484
that this attack
must be done quickly.

1355
01:21:04,567 --> 01:21:05,693
Right, yes.

1356
01:21:05,818 --> 01:21:08,821
That's not the way
like the character of Bronson,

1357
01:21:08,905 --> 01:21:12,450
who is called Arthur Bishop in the film,
how he likes to do it.

1358
01:21:12,533 --> 01:21:15,620
So now he's outside
his comfort zone,

1359
01:21:15,828 --> 01:21:19,624
because he has to do something,
which he normally doesn't like to do.

1360
01:21:19,707 --> 01:21:21,417
That's a good argument.
I would agree with that.

1361
01:21:21,501 --> 01:21:28,633
But you're absolutely right,
if it's somehow confusing,

1362
01:21:28,716 --> 01:21:31,469
and it's a bit long,

1363
01:21:33,096 --> 01:21:39,060
and you don't really know anything
about that person's circumstances.

1364
01:21:39,394 --> 01:21:41,979
And of course you don't have to know
why they have to kill him.

1365
01:21:42,063 --> 01:21:46,776
But you have to understand geographically,
where everything is located,

1366
01:21:46,859 --> 01:21:51,781
and it's not that well constructed
such as the first 15 minutes,

1367
01:21:51,864 --> 01:21:54,951
in which you are very good

1368
01:21:57,161 --> 01:22:02,959
can see how something is constructed,

1369
01:22:03,042 --> 01:22:07,713
how it actually comes about and
how it pays off in the end.

1370
01:22:07,797 --> 01:22:13,136
You don't feel like this
is, so to speak, the climax of the film,

1371
01:22:13,428 --> 01:22:18,141
that we are heading towards
the tension develops towards something.

1372
01:22:18,224 --> 01:22:19,559
- That's not the case.
- I agree.

1373
01:22:19,642 --> 01:22:21,018
We lost it.

1374
01:22:21,477 --> 01:22:23,312
There is no secret here at all.

1375
01:22:25,898 --> 01:22:32,029
I believe that there is a tendency to
focuses on the pretty city of Naples

1376
01:22:32,238 --> 01:22:37,201
and the beautiful coast to concentrate,
to distract from the fact

1377
01:22:37,285 --> 01:22:41,539
that the mission and
their own relationship

1378
01:22:41,622 --> 01:22:44,500
at this point in time
a hole fell.

1379
01:22:44,834 --> 01:22:46,961
We see a different scene here.

1380
01:22:47,044 --> 01:22:48,546
Yes, I agree.

1381
01:22:48,629 --> 01:22:53,759
This whole sequence, and above all,
as they go diving and...

1382
01:22:56,304 --> 01:22:58,556
It's a beautiful country.

1383
01:23:01,559 --> 01:23:08,441
But I think we have
lost the charm of the story.

1384
01:23:08,941 --> 01:23:12,153
Well, we got to the point
worked towards, as you said,

1385
01:23:12,236 --> 01:23:15,031
was the real point
the discovery by Bronson,

1386
01:23:15,114 --> 01:23:17,825
that Jan-Michael Vincent will try
to kill him.

1387
01:23:17,992 --> 01:23:19,702
We are building towards this moment.

1388
01:23:19,785 --> 01:23:21,829
And everything that comes before it has up to

1389
01:23:21,913 --> 01:23:24,373
this moment
works and is perfect.

1390
01:23:25,041 --> 01:23:27,084
This is where we are now
in some kind of other film,

1391
01:23:27,251 --> 01:23:32,590
in another universe,
until this attack took place,

1392
01:23:32,673 --> 01:23:36,719
and then we take theirs
own relationship again.

1393
01:23:36,802 --> 01:23:39,805
It comes back all of a sudden,
and you think:

1394
01:23:39,889 --> 01:23:42,934
Oh, now we're back.

1395
01:23:47,104 --> 01:23:51,943
And like we said, Bronson has
never thought about it for a moment

1396
01:23:52,026 --> 01:23:54,946
that he could try
kill me while we do this.

1397
01:23:55,029 --> 01:23:56,155
He really doesn't.

1398
01:23:56,405 --> 01:23:57,865
He doesn't think about it.

1399
01:23:57,949 --> 01:24:02,370
They work together as a team,
to overcome this final obstacle.

1400
01:24:02,620 --> 01:24:05,831
And will be right after that
them become enemies again.

1401
01:24:07,250 --> 01:24:10,920
If you are in the USA
were and there was wine,

1402
01:24:11,128 --> 01:24:16,467
did he sniff it first,
before sipping the wine.

1403
01:24:16,717 --> 01:24:18,719
He didn't sniff it here.

1404
01:24:18,886 --> 01:24:23,933
And then he gets caught later.

1405
01:24:24,016 --> 01:24:27,395
I believe
there is an inconsistency here.

1406
01:24:28,896 --> 01:24:32,525
This is, I think, the scene
in which they go diving.

1407
01:24:33,568 --> 01:24:35,987
That's how you know
a bit like James Bond.

1408
01:24:36,112 --> 01:24:39,156
It's a bit like fantasy.

1409
01:24:39,699 --> 01:24:43,327
The nice thing about the first 16 minutes is,

1410
01:24:43,411 --> 01:24:47,707
that she is a really captivating one
take a look at someone

1411
01:24:47,790 --> 01:24:50,251
the one for his execution
is prepared.

1412
01:24:50,543 --> 01:24:54,839
And it's a movie,
but it's somehow realistic.

1413
01:24:55,006 --> 01:24:58,926
But here is the appearance
disappeared from reality.

1414
01:24:59,010 --> 01:25:01,053
I would agree with that.

1415
01:25:02,597 --> 01:25:05,474
That doesn't mean
that "James Bond" films are bad,

1416
01:25:05,558 --> 01:25:09,437
but in this film we have
seen two different tones.

1417
01:25:09,520 --> 01:25:13,441
It's like the sequence,
in which they push people into the pool

1418
01:25:13,524 --> 01:25:15,776
and drive through people's gardens.

1419
01:25:15,860 --> 01:25:17,820
It's a bit like
a strange moment.

1420
01:25:17,903 --> 01:25:21,157
Until this point
the situation was very serious.

1421
01:25:21,282 --> 01:25:22,325
Correct.

1422
01:25:23,576 --> 01:25:26,662
Or really a little,
not just serious,

1423
01:25:26,746 --> 01:25:28,748
but also a bit mysterious,

1424
01:25:28,956 --> 01:25:32,418
where it is not obvious
what happens.

1425
01:25:34,629 --> 01:25:39,425
What do you mean, that you can watch a film,
when he's finished,

1426
01:25:39,508 --> 01:25:41,802
packed in a box,
metaphorically speaking?

1427
01:25:41,886 --> 01:25:43,971
And you don't think about it anymore,

1428
01:25:44,055 --> 01:25:46,015
you can see them
Of course not watching films.

1429
01:25:46,098 --> 01:25:47,975
If you watch the film once,
when he's finished,

1430
01:25:48,059 --> 01:25:49,727
you go to the screening
and look at him?

1431
01:25:49,810 --> 01:25:53,481
I'll correct the print.

1432
01:25:53,939 --> 01:25:56,692
I do that,
I invest time in this work.

1433
01:25:57,109 --> 01:25:59,570
But when it's over, preview,

1434
01:25:59,695 --> 01:26:03,282
whatever it may be,
I'm already gone.

1435
01:26:03,366 --> 01:26:04,575
You're on to something else.

1436
01:26:04,659 --> 01:26:06,619
My thoughts are on something else.

1437
01:26:06,827 --> 01:26:11,040
Does it make a difference to you
when the reviews are published

1438
01:26:11,123 --> 01:26:13,626
whether the film is received well or badly?

1439
01:26:13,709 --> 01:26:16,170
I mean, I know that everything is fine
has arrived,

1440
01:26:16,337 --> 01:26:21,384
but to what extent do reviews mean
or box office results something?

1441
01:26:22,426 --> 01:26:26,931
I would wish
that everything will be a success for everyone,

1442
01:26:27,306 --> 01:26:30,518
especially for the film.

1443
01:26:35,564 --> 01:26:40,486
And the reviews are
most paid reviews.

1444
01:26:40,569 --> 01:26:42,279
What I mean to say is that they have theirs

1445
01:26:42,363 --> 01:26:44,448
living with
earn from writing.

1446
01:26:44,740 --> 01:26:48,202
And in one way or another
way they could be influenced.

1447
01:26:48,285 --> 01:26:52,123
I have a favorite reviewer,

1448
01:26:52,998 --> 01:26:57,169
in which I believe
Joe Morgenstern of the Wall Street Journal.

1449
01:26:57,670 --> 01:27:00,715
He is a very eloquent man,
very intelligent.

1450
01:27:00,881 --> 01:27:05,177
And if he finds a mistake,
he has a solution for him.

1451
01:27:05,261 --> 01:27:08,431
He can suggest
that maybe it should have been,

1452
01:27:08,514 --> 01:27:09,932
whatever it may be.

1453
01:27:10,015 --> 01:27:12,435
He can in a bad
Be friendly for a moment.

1454
01:27:12,768 --> 01:27:19,066
And there are many who don't,
they find that bad moment

1455
01:27:19,150 --> 01:27:23,112
and go further and further into it.

1456
01:27:23,237 --> 01:27:25,072
Do you know what I'm trying to say?

1457
01:27:25,156 --> 01:27:31,746
And Morgenstern is the best for me,
what currently exists.

1458
01:27:32,955 --> 01:27:34,582
Do you even read his columns?

1459
01:27:34,665 --> 01:27:36,459
I do.
And he's been there for a very long time.

1460
01:27:36,542 --> 01:27:37,710
Oh yes.

1461
01:27:37,835 --> 01:27:41,297
Well, I never met him,
I don't know.

1462
01:27:41,505 --> 01:27:44,175
But he is intelligent.
He really is.

1463
01:27:44,216 --> 01:27:46,927
And he gives the film a chance.

1464
01:27:48,095 --> 01:27:52,016
Do you have a special memory of it?
how this film was received?

1465
01:27:52,099 --> 01:27:53,976
- Do you remember?
- No I have not.

1466
01:27:54,059 --> 01:27:58,022
I know that I believe
that it wasn't a great success,

1467
01:27:58,105 --> 01:28:01,358
but it was a film that probably
recovered its costs.

1468
01:28:01,442 --> 01:28:03,068
The making of this
Film wasn't expensive.

1469
01:28:03,152 --> 01:28:04,403
She wasn't, no.

1470
01:28:05,112 --> 01:28:08,532
And it probably has
meets expectations,

1471
01:28:08,616 --> 01:28:13,037
which back then a lot
were lower than today.

1472
01:28:13,120 --> 01:28:14,246
Oh really?

1473
01:28:14,538 --> 01:28:19,251
Unfortunately, I believe that people
who make big studio films today,

1474
01:28:19,418 --> 01:28:23,506
have to meet such a large requirement.

1475
01:28:23,631 --> 01:28:25,174
The opening weekend must be,

1476
01:28:25,257 --> 01:28:27,593
they must be the largest number
be one and blah, blah, blah.

1477
01:28:27,718 --> 01:28:30,721
All demographic data,
who pursue them,

1478
01:28:30,805 --> 01:28:33,349
tell them
how much they have to earn.

1479
01:28:33,724 --> 01:28:38,604
In the time before blockbusters
Did a film like this only have... Yes.

1480
01:28:38,896 --> 01:28:42,733
This explosion is real, I believe

1481
01:28:42,817 --> 01:28:47,238
they have a small round object that
contains the explosives.

1482
01:28:47,321 --> 01:28:49,740
And it goes off like an atomic bomb.

1483
01:28:50,282 --> 01:28:51,992
I'm sorry,
that I interrupted you.

1484
01:28:52,076 --> 01:28:53,077
That's okay.

1485
01:28:53,160 --> 01:28:55,120
I was,
just to complete the thought,

1486
01:28:55,204 --> 01:28:59,291
the expectations of a film like this
these would have been modest,

1487
01:28:59,625 --> 01:29:03,087
and he has these expectations
probably fulfilled.

1488
01:29:04,630 --> 01:29:07,007
That's a bit silly, I think.

1489
01:29:07,091 --> 01:29:10,469
What I like about this chase
amused is the fact

1490
01:29:10,636 --> 01:29:13,722
that all their opponents
have machine guns,

1491
01:29:13,806 --> 01:29:16,851
when they got down there.

1492
01:29:17,017 --> 01:29:21,814
And they got pump-action shotguns,
that wouldn't fit so well.

1493
01:29:22,064 --> 01:29:23,566
You wouldn't think that.

1494
01:29:24,733 --> 01:29:27,528
They were really lousy
Machine gunners.

1495
01:29:27,611 --> 01:29:29,780
Not only can't you hit anything,

1496
01:29:29,864 --> 01:29:32,449
but you also have
a pump-action shotgun,

1497
01:29:32,533 --> 01:29:35,369
which, if you're lucky,
has five or six shots.

1498
01:29:36,203 --> 01:29:39,582
And we still are
far from that,

1499
01:29:39,665 --> 01:29:42,626
what has been achieved in the USA, do you know?

1500
01:29:42,710 --> 01:29:45,004
The mystery that surrounds him.

1501
01:29:45,087 --> 01:29:47,131
Here they can be seen side by side.

1502
01:29:47,256 --> 01:29:49,800
So nothing will happen.

1503
01:29:49,884 --> 01:29:50,926
No.

1504
01:29:51,051 --> 01:29:55,347
And I wonder if that's in
was somehow intended

1505
01:29:55,472 --> 01:29:57,516
so that the audience might forget.

1506
01:29:58,475 --> 01:30:03,355
When Bronson is poisoned,
this is a shock for people.

1507
01:30:03,480 --> 01:30:04,690
Could be.

1508
01:30:04,899 --> 01:30:06,525
It's just a theory.

1509
01:30:06,650 --> 01:30:11,196
Michael Wiener, I know
that he knew what he was doing,

1510
01:30:12,865 --> 01:30:14,575
but it feels a bit like that

1511
01:30:14,658 --> 01:30:17,286
as if he were after one
strive for action climax,

1512
01:30:17,494 --> 01:30:21,457
as if he were very
make an effort to...

1513
01:30:21,540 --> 01:30:24,460
The point is that he had a reason
to go to Italy,

1514
01:30:25,002 --> 01:30:27,296
and that he has to show Italy.

1515
01:30:27,963 --> 01:30:31,508
Here he shows a lot of Italy, the mountains,

1516
01:30:31,592 --> 01:30:35,930
the street here, and the sea,
that we saw.

1517
01:30:36,180 --> 01:30:38,098
He had a reason.
He had to show it.

1518
01:30:42,603 --> 01:30:44,521
Maybe the reason for the trip was

1519
01:30:44,605 --> 01:30:47,066
that Michael has a vacation
wanted to do in Naples.

1520
01:30:47,149 --> 01:30:48,651
That could have been it.

1521
01:30:48,901 --> 01:30:51,070
That's a really good argument.

1522
01:30:53,113 --> 01:30:56,492
Because you have to ask yourself, I mean,
it may have been in the script,

1523
01:30:56,575 --> 01:30:58,535
that they go to Naples,
they could have gone anywhere,

1524
01:30:58,786 --> 01:31:02,498
but they happen to drive to a very
beautiful part of the Italian coast.

1525
01:31:02,581 --> 01:31:03,624
Correct.

1526
01:31:03,707 --> 01:31:07,294
I think these bombs,
which they throw off,

1527
01:31:07,461 --> 01:31:09,380
are a bit extreme.

1528
01:31:09,964 --> 01:31:12,716
Again, that's all
very, very Dr. No.

1529
01:31:13,133 --> 01:31:15,761
And things like that
GREETINGS FROM MOSCOW.

1530
01:31:20,849 --> 01:31:22,851
And then there was
the question of release.

1531
01:31:22,935 --> 01:31:27,898
I think that the beginning of the film,
which, as I said, is dark and serious,

1532
01:31:27,982 --> 01:31:31,151
and certainly the scene in which the
young woman slitting wrists,

1533
01:31:31,235 --> 01:31:32,778
is a cruel scene.

1534
01:31:32,903 --> 01:31:36,073
But I believe
they also wanted to get a PG rating,

1535
01:31:36,156 --> 01:31:37,449
that the film also received.

1536
01:31:37,950 --> 01:31:40,703
Much of this
what happens in the second half,

1537
01:31:40,828 --> 01:31:43,122
- so it's very, well...
- That could be it.

1538
01:31:43,205 --> 01:31:45,666
I've never heard of it.

1539
01:31:45,749 --> 01:31:48,043
It differs tonally from the...

1540
01:31:48,127 --> 01:31:51,463
It's a different idea
the depiction of violence

1541
01:31:51,547 --> 01:31:53,924
as the first part of the film.

1542
01:31:54,466 --> 01:31:56,343
It's more of a joke.

1543
01:31:57,052 --> 01:32:02,599
But I remember
that people talked about it back then

1544
01:32:02,683 --> 01:32:05,894
- that they loved the ending...
- So the end itself.

1545
01:32:06,145 --> 01:32:07,771
The end. Correct.

1546
01:32:07,855 --> 01:32:10,232
This is supposed to be the climax of the plot.

1547
01:32:10,315 --> 01:32:13,068
I don't think so
that she is very successful.

1548
01:32:13,152 --> 01:32:17,197
But then there is the surprise ending,
which is very effective.

1549
01:32:17,281 --> 01:32:18,574
Oh, extreme.

1550
01:32:20,242 --> 01:32:25,456
Speaking of the end of the film, that is the very,
very successful ending to the film,

1551
01:32:25,539 --> 01:32:27,166
namely when Jan-Michael Vincent,

1552
01:32:27,249 --> 01:32:31,128
after Bronson leaves,
goes back to his house.

1553
01:32:31,336 --> 01:32:33,255
You shot all that?

1554
01:32:33,338 --> 01:32:34,381
Yes.

1555
01:32:38,802 --> 01:32:42,139
And that was it, so to speak
done in one day?

1556
01:32:42,222 --> 01:32:43,515
- Do you remember that?
- Oh yes.

1557
01:32:43,599 --> 01:32:48,312
This was during our regular
Filming was done in the USA.

1558
01:32:49,271 --> 01:32:52,441
Where was that during filming?

1559
01:32:52,524 --> 01:32:55,069
He was already before that
Italian part was filmed?

1560
01:32:55,152 --> 01:32:57,112
- Yes.
- I understand.

1561
01:32:58,322 --> 01:32:59,782
It's strange, isn't it?

1562
01:32:59,865 --> 01:33:04,119
No matter how comfortable you are with
film, it's very difficult

1563
01:33:04,203 --> 01:33:07,539
to understand the fact
that everything in the way,

1564
01:33:07,664 --> 01:33:09,875
how it is rotated,
is not chronological.

1565
01:33:09,958 --> 01:33:11,043
Yes you are right.

1566
01:33:11,126 --> 01:33:13,629
The continuity is broken.

1567
01:33:14,296 --> 01:33:17,132
You could be the last one
Shoot the scene first

1568
01:33:17,216 --> 01:33:20,677
and still make it look like that,

1569
01:33:20,761 --> 01:33:23,472
like it was the final cut.

1570
01:33:27,851 --> 01:33:31,897
What I never found out
except that we assume

1571
01:33:32,147 --> 01:33:35,984
that the character of Michael Vincent...

1572
01:33:40,614 --> 01:33:43,492
In other words,

1573
01:33:43,992 --> 01:33:46,662
Who wrote the note in the car?

1574
01:33:46,745 --> 01:33:48,163
How did he get there?

1575
01:33:48,539 --> 01:33:53,961
The idea is that the...

1576
01:33:56,296 --> 01:33:57,673
What are we talking about right now?

1577
01:33:57,756 --> 01:34:00,300
I think we can
probably assume that...

1578
01:34:00,384 --> 01:34:02,427
He's thought about it before

1579
01:34:02,511 --> 01:34:03,846
Killing Michael Vincent.

1580
01:34:04,096 --> 01:34:07,850
In other words: It doesn't matter whether Jan-Michael
Vincent would be successful

1581
01:34:07,933 --> 01:34:11,019
or not,
Bronson had already set the trap.

1582
01:34:11,186 --> 01:34:12,187
For him.

1583
01:34:12,271 --> 01:34:14,273
He would have done it in any case.

1584
01:34:15,858 --> 01:34:18,152
That's the good surprise.

1585
01:34:18,277 --> 01:34:20,696
I mean, I remember
like I said, I was still pretty young

1586
01:34:20,779 --> 01:34:22,823
when the film came out,
but I saw it in the cinema.

1587
01:34:22,906 --> 01:34:24,324
And I was surprised.

1588
01:34:25,409 --> 01:34:31,331
But when he dies, when Charlie dies,
he could have mentioned

1589
01:34:31,415 --> 01:34:34,501
that it really...

1590
01:34:34,585 --> 01:34:37,421
Don't think it's over already,
or something like that,

1591
01:34:37,504 --> 01:34:41,675
you know, a freebie,
so that when it happens...

1592
01:34:42,009 --> 01:34:43,969
Oh, now I know what he meant by that.

1593
01:34:44,052 --> 01:34:46,471
They would definitely do that today.

1594
01:34:46,597 --> 01:34:49,641
But I believe
Michael Wiener was of the opinion

1595
01:34:49,725 --> 01:34:56,315
that it wasn't necessary back then because that
audience had to make this leap.

1596
01:34:57,441 --> 01:34:59,818
And one of the things
that really work at that moment,

1597
01:34:59,943 --> 01:35:03,071
as Jan-Michael Vincent in
Gets into the car and reads the note,

1598
01:35:03,155 --> 01:35:04,990
that the note ends with something like:

1599
01:35:05,073 --> 01:35:07,576
“You have that
13 second timer broken,”

1600
01:35:07,659 --> 01:35:11,663
and the first thing you think of is,
whether he was in this car for 13 seconds.

1601
01:35:11,830 --> 01:35:14,374
And can he open the door?
open and get out?

1602
01:35:14,458 --> 01:35:15,709
In 13 seconds?

1603
01:35:15,792 --> 01:35:18,587
Yes, this part works.
It really works.

1604
01:35:19,087 --> 01:35:22,424
But just because of the note or the...

1605
01:35:23,342 --> 01:35:27,429
And here he is sniffing it, isn't he?

1606
01:35:27,512 --> 01:35:28,931
He doesn't do that.

1607
01:35:29,014 --> 01:35:32,059
He drinks, he doesn't sniff,
but he's already sniffed it once.

1608
01:35:32,142 --> 01:35:35,437
And you ask yourself,
I mean, that's a leap.

1609
01:35:35,520 --> 01:35:38,857
But you ask yourself,
whether he doesn't almost think

1610
01:35:38,941 --> 01:35:42,819
that I dare him to do it.

1611
01:35:42,986 --> 01:35:46,073
In other words,
he threw caution to the wind,

1612
01:35:46,156 --> 01:35:48,408
he has his natural caution
abandoned at this point

1613
01:35:48,492 --> 01:35:50,327
and done something,
which he normally wouldn't do.

1614
01:35:50,410 --> 01:35:52,663
And he knows
that Jan-Michael Vincent will try

1615
01:35:52,746 --> 01:35:55,249
to kill him,
and takes the drink anyway.

1616
01:35:55,540 --> 01:36:01,213
But then he now looks at the bottle
and thinks something is wrong.

1617
01:36:02,172 --> 01:36:03,674
And he does it very well.

1618
01:36:03,757 --> 01:36:05,509
He does it very well.

1619
01:36:05,592 --> 01:36:07,344
It's a cruel death.

1620
01:36:07,427 --> 01:36:11,848
And you still hope somehow,
that he somehow manages

1621
01:36:11,932 --> 01:36:13,433
that the poison doesn't work.

1622
01:36:13,517 --> 01:36:15,185
That he will recover.

1623
01:36:17,145 --> 01:36:21,483
And here we have a kind of revision
the scene with the young girl,

1624
01:36:21,566 --> 01:36:24,695
that cuts the wrists,
that he speaks to him cynically

1625
01:36:24,820 --> 01:36:28,240
and laughs about it,
that he watches him die

1626
01:36:30,575 --> 01:36:32,327
and explained to him exactly

1627
01:36:32,411 --> 01:36:36,039
what he used and how it was in
the solution disappears and all that.

1628
01:36:36,123 --> 01:36:37,791
True, he will never be discovered.

1629
01:36:38,792 --> 01:36:40,043
And all of that is good.

1630
01:36:40,127 --> 01:36:41,753
All of this is very good.

1631
01:36:41,878 --> 01:36:45,632
But like you said, that's it
Problem that it's been a long time.

1632
01:36:45,841 --> 01:36:48,552
This is a shock,
because we have just seen

1633
01:36:48,635 --> 01:36:52,848
like she did with this Italian one
Job were best friends.

1634
01:36:53,015 --> 01:36:54,141
Well, two things.

1635
01:36:54,224 --> 01:36:56,059
That one was a long time ago
and the other,

1636
01:36:56,143 --> 01:37:00,105
what we have seen in the meantime
have really meant nothing.

1637
01:37:00,314 --> 01:37:05,068
I mean, even as a visual element,
yes, there were beautiful landscapes and stuff...

1638
01:37:05,777 --> 01:37:07,696
It wasn't exactly an action climax.

1639
01:37:07,779 --> 01:37:10,991
But that's the highlight
or this is the penultimate moment

1640
01:37:11,074 --> 01:37:12,743
before the actual climax.

1641
01:37:12,868 --> 01:37:13,994
But it is very effective.

1642
01:37:14,077 --> 01:37:15,454
It ends strong.

1643
01:37:15,620 --> 01:37:20,167
I believe this is the end
people remember from this film.

1644
01:37:20,250 --> 01:37:23,128
People remember
at the end of the film.

1645
01:37:23,211 --> 01:37:25,756
- This conclusion.
- Yeah right.

1646
01:37:26,173 --> 01:37:29,885
You wonder what now,
will happen since Bronson is dead?

1647
01:37:30,260 --> 01:37:35,640
You think he's just in
Charles Bronson's house will live,

1648
01:37:35,891 --> 01:37:39,311
that he will become Charles Bronson,
what he wanted to be.

1649
01:37:39,394 --> 01:37:41,813
And it will be so long
be Charles Bronson,

1650
01:37:41,897 --> 01:37:44,107
until someone does the same to him.

1651
01:37:44,274 --> 01:37:46,068
And the word you use now

1652
01:37:46,151 --> 01:37:47,778
could have been emphasized a bit,

1653
01:37:47,861 --> 01:37:50,655
if he's happy about that,
what he just did.

1654
01:37:50,739 --> 01:37:52,074
I mean Michael Vincent.

1655
01:37:52,157 --> 01:37:57,204
I don't know how to do it
should express, but the fact

1656
01:37:57,287 --> 01:37:59,623
that he will be now and so on.

1657
01:37:59,706 --> 01:38:03,085
He did it more with looks,
here is where I...

1658
01:38:03,168 --> 01:38:04,503
- You're back.
- Yes.

1659
01:38:05,462 --> 01:38:07,172
We are very happy
that you are back.

1660
01:38:07,255 --> 01:38:10,092
We're happy to be back with you
your camera work.

1661
01:38:10,509 --> 01:38:13,428
But I think the audience thinks:

1662
01:38:13,512 --> 01:38:16,556
That's unbelievable, Bronson is gone,
you didn't expect that,

1663
01:38:16,681 --> 01:38:18,850
you didn't expect
that he will be killed.

1664
01:38:19,184 --> 01:38:22,729
And now he just goes in
Charles Bronson's house,

1665
01:38:22,813 --> 01:38:25,857
like he just put it in
would take possession.

1666
01:38:26,400 --> 01:38:29,152
And to live the life of his hero,

1667
01:38:29,903 --> 01:38:33,198
or the person,
whose lives he envied or desired.

1668
01:38:33,949 --> 01:38:36,118
But that will only be short-lived.

1669
01:38:36,201 --> 01:38:38,870
A short-lived experience for him.

1670
01:38:43,208 --> 01:38:46,878
And I also find it very interesting
that at the last moment,

1671
01:38:47,003 --> 01:38:50,674
when the car explodes,
the credits come immediately.

1672
01:38:50,841 --> 01:38:52,968
And it's just a text panel.

1673
01:38:53,135 --> 01:38:56,847
And the film literally ends in
the moment it turns black.

1674
01:38:57,347 --> 01:39:03,645
There is no long musical theme,
that takes us out for five minutes.

1675
01:39:03,728 --> 01:39:07,232
It literally ends the moment
in which the car explodes.

1676
01:39:07,524 --> 01:39:11,611
Because at the moment we have
the ability to analyze everything

1677
01:39:11,736 --> 01:39:13,488
and so on, but even he...

1678
01:39:13,697 --> 01:39:17,659
I don't understand
why he comes out again.

1679
01:39:17,742 --> 01:39:18,994
I don't know, but...

1680
01:39:19,077 --> 01:39:21,079
Well he has to come out,
to take to the air.

1681
01:39:21,163 --> 01:39:22,873
This is a little fun.

1682
01:39:22,956 --> 01:39:24,124
But he has to.

1683
01:39:24,207 --> 01:39:26,334
I believe
he wants to get into the sports car.

1684
01:39:26,418 --> 01:39:27,627
He loves this car.

1685
01:39:27,711 --> 01:39:30,005
He wants to be the one
who drives the car.

1686
01:39:30,088 --> 01:39:34,468
Now he reads the note and finds out
that he only has 13 seconds left.

1687
01:39:34,551 --> 01:39:38,638
And one wonders whether it will expire before it expires
who will get off 13 seconds.

1688
01:39:40,557 --> 01:39:44,811
And as soon as the car explodes, runs
the credits roll and the film is over.

1689
01:39:44,895 --> 01:39:48,815
And that's why I want to say: Richard,
Thank you very much for being with us today.

1690
01:39:48,899 --> 01:39:51,359
It was a great pleasure and
great fun talking to you.

1691
01:39:51,443 --> 01:39:52,861
It was my pleasure.

1692
01:39:52,944 --> 01:39:54,321
And you are a wonderful interviewer.

1693
01:39:54,404 --> 01:39:56,615
- Oh, thank you very much.
- Yes, I really appreciate it.