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- There's a sequence in Amityville Curse.
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I'm sure it's in there,
where you see...
3
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the shot is right above the
top, the entrance to the church.
4
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The camera is hanging over vertically,
5
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and you see a coffin being
drawn out, pulled out.
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But I suffer from a
slight amount of vertigo,
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so I said to my grip at the time,
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"Go and attach the camera up there.
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You have to put it on a hi-hat
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and rig it so it's
looking straight down."
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He said, "Okay, I'll
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tell you when you're ready.
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I'll call you when you're ready.
14
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You can come up and see it."
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I said, "Oh no.
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You look through it,
and you tell me.
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I'm not going up there.
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I'm not sticking my head over."
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I said, "You know,
I'm... you know, I got...
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that vertigo problem.
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I won't be able to do it, you know?"
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So he said, "Okay."
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So he said, because
he always called me...
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he said, "Oh, captain."
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I said, "Yeah, that's right.
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Said I'm not going, okay?"
27
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Said "Maybe we should
call you Captain Chicken."
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So after that, the name stuck.
29
00:01:05,315 --> 00:01:08,819
We were the first or
second generation at Con U
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of film students.
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The film program had just started.
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There was one production course,
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an editing course, and that was it.
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George and I were...
35
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in the first year that
the program started.
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Tom Berry was in the second
year that it started.
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Tom Berry... but his future
partner Franco Battista,
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who was a producer with
him for many years,
39
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and they had a couple of companies.
40
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He was in our class.
41
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Well, when George and I
went many, many moons ago,
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this is like when we're
still in film at Concordia.
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I guess it would be the mid-'70s.
44
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Our professor at the time
45
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was a guy called Andre Herman,
46
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who was Polish, a great
guy, great film teacher,
47
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and he was also a good friend
48
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of the cinematographer
Vilmos Zsigmond,
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who was holding a sort of a summer
50
00:02:07,081 --> 00:02:10,918
course in Rockport,
Maine at the time.
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It was a week long.
52
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We went down, and we studied
with Vilmos for a week,
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and basically we spent most
of the week watching all
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of his films and studying his films
55
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and recreating some of
the scenes from his films,
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including several from
McCabe and Mrs. Miller,
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that were lit...
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00:02:28,560 --> 00:02:30,812
well, actually there's
lanterns on the table,
59
00:02:30,812 --> 00:02:33,815
those lanterns were
augmented by little Fresnels
60
00:02:33,815 --> 00:02:35,191
here and there,
61
00:02:35,191 --> 00:02:37,067
and I learned a lot from that
62
00:02:37,067 --> 00:02:39,569
and from Barry Lyndon. The
advantage of Barry Lyndon
63
00:02:39,569 --> 00:02:42,322
of course is they
developed high speed...
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00:02:42,322 --> 00:02:43,698
we didn't have high speed lenses.
65
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That was the other issue.
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Films like Barry Lyndon
and McCabe and Mrs. Miller
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were a great influence on my career.
68
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I wanted to emulate those guys.
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I saw what they did, and
it looked so beautiful
70
00:02:56,418 --> 00:02:58,337
and low key and natural
and like, "Yep,
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that's what I want to do."
72
00:03:02,591 --> 00:03:04,218
The films, I mean...
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00:03:04,218 --> 00:03:07,096
that influence me most
as thrillers, the ones
74
00:03:07,096 --> 00:03:09,223
I wanted to emulate and wanted to
75
00:03:10,683 --> 00:03:12,475
have my name on at the time
where it's things like,
76
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I don't know if you know...
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what's it?
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00:03:17,312 --> 00:03:18,604
Nightmare I think.
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It's a 1961 black and white film
80
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from England, I think,
81
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and the director was Freddie Francis
82
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I believe, who was also a DOP,
83
00:03:34,245 --> 00:03:36,247
and it was this incredible
black and white...
84
00:03:36,247 --> 00:03:38,249
it was the scariest
film I'd ever seen.
85
00:03:38,249 --> 00:03:41,836
And, you know, that to me is
like one of the best ever.
86
00:03:41,836 --> 00:03:44,505
You don't hear much of it now,
but you should check it out.
87
00:03:44,505 --> 00:03:48,134
It's a fantastic film,
but that was the kind of
88
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horror or thriller I liked.
89
00:03:52,888 --> 00:03:55,224
I was never into the monsters type,
90
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I was just into the straightforward
91
00:03:57,393 --> 00:04:01,272
scary sort of supernatural
type of thing a little bit.
92
00:04:01,272 --> 00:04:03,524
The early Hammers were fantastic,
93
00:04:03,524 --> 00:04:06,235
but that was a...
94
00:04:06,235 --> 00:04:08,654
they were kind of hokey,
many of them,
95
00:04:08,654 --> 00:04:11,365
in many ways, but they
were fun and scary,
96
00:04:11,365 --> 00:04:12,158
so yeah.
97
00:04:14,785 --> 00:04:17,246
I immigrated to Canada when I was 19,
98
00:04:17,246 --> 00:04:20,623
so I spent a lot of time
watching that stuff in my youth.
99
00:04:23,877 --> 00:04:25,753
We certainly screened it.
100
00:04:25,753 --> 00:04:29,631
We must have certainly screened it.
But other than that,
101
00:04:29,631 --> 00:04:32,509
I wouldn't say it was
of any great influence.
102
00:04:32,509 --> 00:04:35,470
There's many... seen many horror
103
00:04:35,470 --> 00:04:38,263
thriller films in my life,
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and I could think
105
00:04:39,097 --> 00:04:41,767
of others that were more
influential than that one, but
106
00:04:41,767 --> 00:04:45,979
at the time, Tom's
partner Pierre David,
107
00:04:45,979 --> 00:04:48,231
I don't know if you know him,
108
00:04:48,231 --> 00:04:53,236
but they were... Pierre was...
had his company in L.A.,
109
00:04:53,528 --> 00:04:58,533
and they were largely producing
films straight-to-video,
110
00:04:59,242 --> 00:05:01,411
and they were going
to the production...
111
00:05:01,411 --> 00:05:06,416
the distribution company
was Suban or something,
112
00:05:07,125 --> 00:05:09,753
and Pierre would just
offer... we did many with them,
113
00:05:09,753 --> 00:05:11,797
with those guys.
114
00:05:11,797 --> 00:05:14,674
I don't know. We did like
five a year for several years,
115
00:05:14,674 --> 00:05:17,427
but they would... Pierre
would always get this
116
00:05:17,427 --> 00:05:19,638
what he would call
this concept film,
117
00:05:19,638 --> 00:05:22,307
and then we'd run with it,
118
00:05:22,307 --> 00:05:24,559
and one of his concepts was,
119
00:05:24,559 --> 00:05:26,061
"Let's make an Amityville sequel."
120
00:05:26,061 --> 00:05:28,188
So away we went.
121
00:05:31,316 --> 00:05:36,279
Not only was there never any
talk of shooting on video,
122
00:05:36,780 --> 00:05:39,533
there was never any talk
of shooting it in 16.
123
00:05:39,533 --> 00:05:44,329
Everything we shot was in
35 because, at that time,
124
00:05:44,329 --> 00:05:46,706
Pierre David, as I said,
125
00:05:46,706 --> 00:05:50,669
Tom's co-producing friend,
who had his company
126
00:05:50,669 --> 00:05:55,590
in L.A. at 700 Sunset Boulevard.
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00:05:55,590 --> 00:05:56,466
What was it called?
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00:05:56,466 --> 00:06:00,595
It's Image Corporation and
his chief client was...
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00:06:00,595 --> 00:06:04,099
I think they were called Suban.
130
00:06:04,099 --> 00:06:06,351
Anyway, they insisted
131
00:06:06,351 --> 00:06:10,355
that it be shot in 35
because they maintained at
132
00:06:10,355 --> 00:06:15,360
the time that 16 millimeter
was not a professional format.
133
00:06:15,569 --> 00:06:18,572
It was an amateur,
independent format,
134
00:06:18,572 --> 00:06:21,867
so he always insisted
that we shoot in 35.
135
00:06:21,867 --> 00:06:24,744
So we did... that was
the luxury that we had.
136
00:06:24,744 --> 00:06:26,496
We always shot in 35.
137
00:06:29,499 --> 00:06:30,500
We would have the equipment
138
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and because we'd have it...
139
00:06:32,502 --> 00:06:37,132
sometimes we'd only
have it for a day
140
00:06:37,132 --> 00:06:40,010
for certain shots because
it was scripted in it.
141
00:06:40,010 --> 00:06:43,971
But if we had it for a
day, we've done our shot,
142
00:06:43,971 --> 00:06:46,015
now the tendency was always,
143
00:06:46,015 --> 00:06:48,642
"Well, it's still here
and it's been paid for.
144
00:06:48,642 --> 00:06:50,602
Let's use it again."
145
00:06:50,602 --> 00:06:55,148
So often we would use it on
shots where... crane shots
146
00:06:55,148 --> 00:06:57,650
and moving shots that could
have been done just as...
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00:06:57,650 --> 00:07:01,029
probably as efficiently and easily
148
00:07:01,029 --> 00:07:02,989
with a dolly or some other way,
149
00:07:02,989 --> 00:07:04,616
but no, we used it anyway.
150
00:07:07,368 --> 00:07:08,786
To make it look as realistic
151
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as possible and as
passable as possible,
152
00:07:11,539 --> 00:07:15,418
we always try to use
some kind of filtration
153
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to soften the edges and also
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to keep the light as low
as possible, but still
155
00:07:21,007 --> 00:07:24,302
being able to make out
detail, you know?
156
00:07:24,302 --> 00:07:26,679
So that was a bit of a challenge.
157
00:07:29,390 --> 00:07:31,309
I remember that we
did have to look far
158
00:07:31,309 --> 00:07:34,686
and wide to find a house
that looked sort of right,
159
00:07:34,686 --> 00:07:36,438
and we ended up shooting
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00:07:36,438 --> 00:07:41,443
in a little... it's a little
town or village up in...
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00:07:41,902 --> 00:07:44,279
north of here.
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I'm just west of Montreal.
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It was up around the Lachute area,
164
00:07:48,282 --> 00:07:50,534
this little town called
Saint-Andre East,
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and it was a fabulous house.
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00:07:52,787 --> 00:07:53,579
It looked good,
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00:07:53,579 --> 00:07:55,331
and we got good exteriors.
168
00:07:55,331 --> 00:07:57,333
The location was fantastic,
169
00:07:57,333 --> 00:07:59,460
but we could not use the interior.
170
00:07:59,460 --> 00:08:01,462
Attached to the house,
171
00:08:01,462 --> 00:08:06,467
there was like a kind
of a summer kitchen,
172
00:08:06,926 --> 00:08:10,972
if you wish, and breakfast
room, a covered gallery,
173
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and we did shoot a couple
of sequences in there.
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00:08:13,933 --> 00:08:16,602
Other than that, I don't
recall because we all...
175
00:08:16,602 --> 00:08:19,981
and the rest, I know we shot a lot
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00:08:19,981 --> 00:08:24,986
in what we called "the
monster house" in Montreal.
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This was a big old house on
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De Lorimier Avenue that was vacant.
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00:08:29,490 --> 00:08:33,911
It had sort of large-ish rooms,
comparatively speaking,
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00:08:33,911 --> 00:08:36,872
with high ceilings, which
was always handy for us,
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00:08:36,872 --> 00:08:40,668
and we shot most of
the interiors there.
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00:08:43,546 --> 00:08:45,631
I don't even recall
the sequences anymore,
183
00:08:45,631 --> 00:08:46,799
but I know there's a sort of
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part of the finale where
Dawna Noonan... Noonan?
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00:08:51,262 --> 00:08:53,764
Dawna Wightman has to go down,
186
00:08:53,764 --> 00:08:58,144
the usual stupid sequence
where a woman alone
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and vulnerable in an environment
188
00:09:00,937 --> 00:09:02,689
hears some spooky noise downstairs,
189
00:09:02,689 --> 00:09:05,150
and instead of running away,
decides to go down
190
00:09:05,150 --> 00:09:08,069
and investigate with
a candle or something.
191
00:09:08,069 --> 00:09:10,029
Anyway, she does that, but I remember
192
00:09:10,029 --> 00:09:13,323
that location was particularly small
193
00:09:13,323 --> 00:09:16,035
and cramped and difficult and
194
00:09:16,035 --> 00:09:18,579
it was a horrible place to shoot in,
195
00:09:18,579 --> 00:09:23,417
but that was the job
that we had and...
196
00:09:23,417 --> 00:09:25,335
the mission we had to accomplish.
197
00:09:25,335 --> 00:09:27,838
I remember the church sequences,
198
00:09:27,838 --> 00:09:29,590
and that gave us an opportunity
199
00:09:29,590 --> 00:09:32,051
because we actually
shot inside a church,
200
00:09:32,051 --> 00:09:35,220
and I don't know how much of
it ever made it into the film,
201
00:09:35,220 --> 00:09:38,724
but it was nice to
be able to work inside
202
00:09:38,724 --> 00:09:43,228
a nice big environment
and easy to light,
203
00:09:43,228 --> 00:09:44,980
low key because you
had lots of room.
204
00:09:47,733 --> 00:09:50,611
The locations are too small,
205
00:09:50,611 --> 00:09:52,571
and the equipment
that we had to use...
206
00:09:52,571 --> 00:09:56,617
because the film stock was
very slow, was very bulky,
207
00:09:56,617 --> 00:10:00,370
and took up a lot of room
and created lots of heat.
208
00:10:00,370 --> 00:10:05,125
And it was... always a sweat box.
209
00:10:05,125 --> 00:10:07,377
As I recall...
210
00:10:07,377 --> 00:10:10,964
it wasn't full summer yet,
211
00:10:10,964 --> 00:10:13,133
but it was early summer
or late spring,
212
00:10:13,133 --> 00:10:15,009
so it was...
213
00:10:15,009 --> 00:10:17,887
the weather was warming
up, but it was
214
00:10:17,887 --> 00:10:19,889
pretty uncomfortable.
215
00:10:19,889 --> 00:10:22,474
We would have to bring in...
216
00:10:22,474 --> 00:10:25,727
the two fifties, the five hundreds,
217
00:10:25,727 --> 00:10:30,023
the big Fresnel lights on occasion.
218
00:10:30,023 --> 00:10:32,150
And the other thing
that that always created
219
00:10:32,150 --> 00:10:35,153
because those lights were
big, of course, was that
220
00:10:35,153 --> 00:10:39,032
it was always incredibly hot,
221
00:10:39,032 --> 00:10:41,535
which you don't have... you
have less of that problem now
222
00:10:41,535 --> 00:10:44,120
because the lighting packages
are that much smaller,
223
00:10:44,120 --> 00:10:46,913
and you can shoot practically
with available light,
224
00:10:46,913 --> 00:10:50,500
but we... because we were
always using big Fresnels,
225
00:10:52,043 --> 00:10:53,545
...and sometimes quartz light,
226
00:10:53,545 --> 00:10:55,421
open face quartz light...
227
00:10:55,421 --> 00:10:57,549
it was often... it
was a cooker in there.
228
00:11:00,926 --> 00:11:05,264
My personal philosophy
229
00:11:05,264 --> 00:11:08,057
was that I didn't want
230
00:11:08,057 --> 00:11:11,434
the technique to get into
the way of the storytelling.
231
00:11:12,435 --> 00:11:14,437
I thought it's gotta be seamless.
232
00:11:14,437 --> 00:11:15,939
People have gotta be able to
233
00:11:15,939 --> 00:11:18,692
watch it and not say, "Oh,
that's a great camera move,
234
00:11:18,692 --> 00:11:21,027
or that's a great shot."
235
00:11:21,027 --> 00:11:22,821
You've gotta be into the narrative.
236
00:11:22,821 --> 00:11:25,448
You've gotta be carried away,
237
00:11:25,448 --> 00:11:28,326
invested in the story
and the character.
238
00:11:28,326 --> 00:11:31,454
That to me is the best
type of films, when people
239
00:11:31,454 --> 00:11:33,707
don't notice the technique.
240
00:11:36,334 --> 00:11:38,670
Let me be frank,
241
00:11:38,670 --> 00:11:42,215
I probably was not blown away by
242
00:11:42,215 --> 00:11:44,843
the script myself,
243
00:11:44,843 --> 00:11:49,848
and I remember...
sometimes the acting was
244
00:11:52,851 --> 00:11:57,439
less than convincing, let's say.
But no, I don't...
245
00:11:57,439 --> 00:12:01,234
I know that it did not...
246
00:12:02,110 --> 00:12:04,487
If you look on IMDb, for example,
247
00:12:04,487 --> 00:12:07,365
I'm sure it does not
rate very highly.
17783
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