All language subtitles for 11 Breaking the Rules

When is it appropriate
to break the rules?

Honestly, except for
traffic, I believe Mr. Eddie.

And I believe in Mr. Eddie.

Do you know how many
fucking car lengths it

takes to stop a car
at 35 miles an hour?

That tailgating is really
bad and that people should stop

for stop signs and red lights.

But in cinema, I
don't like rules.

We shot downtown LA.

I don't know that I even
knew that you needed permits.

So we just went down there
in a innocent way shooting

and found some fantastic
beautiful places.

And this was in the early '70s.

And there was no graffiti.

Would I advise people to
go out and steal the shots

without a permit?

You know, I know that Werner
Herzog would want to do that.

I would want to do that.

But I think we live in a
world now where it's better

to go and get those permits.

And a lot of times, they'll work
with you if you're low budget

and, you know, a student
film or whatever but.

And also it's very important
to go, when you go out,

in a safe way so
no one gets hurt.

It's better to be safe all
the way around, I think.

[MUSIC PLAYING]

That was part of
this Lumiere project

where they asked 40
different directors

to make a film using the
original Lumiere brothers

camera, which is made of
wood, beautiful wood, brass,

and glass.

And the deal was
you had three takes.

And each take was
about 55 seconds

in a beautiful, little, wooden
magazine hand-cranked camera.

And you got three takes.

You had to use natural light.

You could not edit.

But you could put
in sound or music.

And so it's one continuous take.

The camera was the same.

The lenses were the same.

The motion was the same.

And those were the rules.

I was in my wood shop.

And I got this idea of different
sets and to move from one place

to another.

And then Gary D'Amico
and Phil built this box.

You just pulled
this little string.

And the doors just slammed shut.

And it's absolutely black.

And then we'd go to another set.

And they'd fly open.

And then they'd,
you know, slam shut.

Then we move to
another place or this--

we'd open up on smoke
and go to four--

The mother in the
beginning on the couch,

they find the little
boy, the police.

Then it goes to the
mother on the couch.

Then it goes to the women
and the deer and, you know,

in this place.

And then they had to move
the couch and the mother

out around into another
part of the set.

We built these sets out
of Gary D'Amico house.

It was so much fun.

Restrictions, sometimes, can
conjure really great ideas

that provide solutions.

It's really true, necessity
is the mother of invention.

These things flow out
sometimes with restrictions.

And if you have tons
of money, you just

don't think about those things.

You just know, you know, what
the normal way to do it is,

and you do that.

But if you have
restrictions, you

could come up with
ideas to make it work.

And it could even
be more interesting,

you know, than the
solution with the money.