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These are the user uploaded subtitles that are being translated: 1 00:00:03,550 --> 00:00:05,969 - There's a sequence in Amityville Curse. 2 00:00:05,969 --> 00:00:08,805 I'm sure it's in there, where you see... 3 00:00:08,805 --> 00:00:13,268 the shot is right above the top, the entrance to the church. 4 00:00:13,268 --> 00:00:15,437 The camera is hanging over vertically, 5 00:00:15,437 --> 00:00:18,398 and you see a coffin being drawn out, pulled out. 6 00:00:18,398 --> 00:00:22,486 But I suffer from a slight amount of vertigo, 7 00:00:22,486 --> 00:00:24,530 so I said to my grip at the time, 8 00:00:24,530 --> 00:00:28,408 "Go and attach the camera up there. 9 00:00:28,408 --> 00:00:29,784 You have to put it on a hi-hat 10 00:00:29,784 --> 00:00:31,869 and rig it so it's looking straight down." 11 00:00:31,869 --> 00:00:32,828 He said, "Okay, I'll 12 00:00:32,828 --> 00:00:34,080 tell you when you're ready. 13 00:00:34,080 --> 00:00:35,081 I'll call you when you're ready. 14 00:00:35,081 --> 00:00:36,040 You can come up and see it." 15 00:00:36,040 --> 00:00:36,832 I said, "Oh no. 16 00:00:36,832 --> 00:00:38,208 You look through it, and you tell me. 17 00:00:38,208 --> 00:00:39,042 I'm not going up there. 18 00:00:39,042 --> 00:00:40,710 I'm not sticking my head over." 19 00:00:40,710 --> 00:00:43,213 I said, "You know, I'm... you know, I got... 20 00:00:44,214 --> 00:00:46,466 that vertigo problem. 21 00:00:46,466 --> 00:00:48,342 I won't be able to do it, you know?" 22 00:00:48,342 --> 00:00:49,468 So he said, "Okay." 23 00:00:49,468 --> 00:00:52,304 So he said, because he always called me... 24 00:00:52,304 --> 00:00:53,556 he said, "Oh, captain." 25 00:00:53,556 --> 00:00:54,598 I said, "Yeah, that's right. 26 00:00:54,598 --> 00:00:55,682 Said I'm not going, okay?" 27 00:00:55,682 --> 00:00:57,934 Said "Maybe we should call you Captain Chicken." 28 00:00:57,934 --> 00:00:59,936 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 30 00:01:08,819 --> 00:01:09,695 of film students. 31 00:01:09,695 --> 00:01:11,571 The film program had just started. 32 00:01:12,446 --> 00:01:14,657 There was one production course, 33 00:01:14,657 --> 00:01:16,576 an editing course, and that was it. 34 00:01:19,328 --> 00:01:22,456 George and I were... 35 00:01:22,456 --> 00:01:25,334 in the first year that the program started. 36 00:01:25,334 --> 00:01:28,588 Tom Berry was in the second year that it started. 37 00:01:28,588 --> 00:01:33,593 Tom Berry... but his future partner Franco Battista, 38 00:01:33,759 --> 00:01:35,469 who was a producer with him for many years, 39 00:01:35,469 --> 00:01:37,221 and they had a couple of companies. 40 00:01:37,221 --> 00:01:39,056 He was in our class. 41 00:01:41,726 --> 00:01:44,812 Well, when George and I went many, many moons ago, 42 00:01:44,812 --> 00:01:47,481 this is like when we're still in film at Concordia. 43 00:01:47,481 --> 00:01:51,110 I guess it would be the mid-'70s. 44 00:01:52,694 --> 00:01:54,237 Our professor at the time 45 00:01:54,237 --> 00:01:55,821 was a guy called Andre Herman, 46 00:01:55,821 --> 00:01:58,699 who was Polish, a great guy, great film teacher, 47 00:01:58,699 --> 00:02:00,199 and he was also a good friend 48 00:02:00,199 --> 00:02:03,870 of the cinematographer Vilmos Zsigmond, 49 00:02:03,870 --> 00:02:07,081 who was holding a sort of a summer 50 00:02:07,081 --> 00:02:10,918 course in Rockport, Maine at the time. 51 00:02:10,918 --> 00:02:12,294 It was a week long. 52 00:02:12,294 --> 00:02:15,881 We went down, and we studied with Vilmos for a week, 53 00:02:15,881 --> 00:02:18,925 and basically we spent most of the week watching all 54 00:02:18,925 --> 00:02:20,427 of his films and studying his films 55 00:02:20,427 --> 00:02:23,055 and recreating some of the scenes from his films, 56 00:02:23,055 --> 00:02:26,558 including several from McCabe and Mrs. Miller, 57 00:02:27,768 --> 00:02:28,560 that were lit... 58 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... 64 00:02:42,322 --> 00:02:43,698 we didn't have high speed lenses. 65 00:02:43,698 --> 00:02:45,450 That was the other issue. 66 00:02:45,450 --> 00:02:48,787 Films like Barry Lyndon and McCabe and Mrs. Miller 67 00:02:48,787 --> 00:02:51,831 were a great influence on my career. 68 00:02:51,831 --> 00:02:53,833 I wanted to emulate those guys. 69 00:02:53,833 --> 00:02:56,418 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, 71 00:02:58,337 --> 00:02:59,588 that's what I want to do." 72 00:03:02,591 --> 00:03:04,218 The films, I mean... 73 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 00:03:12,475 --> 00:03:14,351 I don't know if you know... 77 00:03:15,686 --> 00:03:17,312 what's it? 78 00:03:17,312 --> 00:03:18,604 Nightmare I think. 79 00:03:18,604 --> 00:03:23,359 It's a 1961 black and white film 80 00:03:23,359 --> 00:03:25,361 from England, I think, 81 00:03:25,361 --> 00:03:30,241 and the director was Freddie Francis 82 00:03:30,241 --> 00:03:33,369 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 00:03:51,137 --> 00:03:52,888 horror or thriller I liked. 89 00:03:52,888 --> 00:03:55,224 I was never into the monsters type, 90 00:03:55,224 --> 00:03:57,393 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, 104 00:04:38,263 --> 00:04:39,097 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. 127 00:05:55,590 --> 00:05:56,466 What was it called? 128 00:05:56,466 --> 00:06:00,595 It's Image Corporation and his chief client was... 129 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 00:06:30,500 --> 00:06:32,502 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... 147 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 00:07:08,786 --> 00:07:11,539 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 00:07:15,418 --> 00:07:18,296 to soften the edges and also 154 00:07:18,296 --> 00:07:21,007 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 160 00:07:36,438 --> 00:07:41,443 in a little... it's a little town or village up in... 161 00:07:41,902 --> 00:07:44,279 north of here. 162 00:07:44,279 --> 00:07:46,073 I'm just west of Montreal. 163 00:07:46,073 --> 00:07:48,282 It was up around the Lachute area, 164 00:07:48,282 --> 00:07:50,534 this little town called Saint-Andre East, 165 00:07:50,534 --> 00:07:52,787 and it was a fabulous house. 166 00:07:52,787 --> 00:07:53,579 It looked good, 167 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 00:08:10,972 --> 00:08:13,933 and we did shoot a couple of sequences in there. 174 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 176 00:08:19,981 --> 00:08:24,986 in what we called "the monster house" in Montreal. 177 00:08:25,236 --> 00:08:26,862 This was a big old house on 178 00:08:26,862 --> 00:08:29,490 De Lorimier Avenue that was vacant. 179 00:08:29,490 --> 00:08:33,911 It had sort of large-ish rooms, comparatively speaking, 180 00:08:33,911 --> 00:08:36,872 with high ceilings, which was always handy for us, 181 00:08:36,872 --> 00:08:40,668 and we shot most of the interiors there. 182 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 184 00:08:46,799 --> 00:08:51,262 part of the finale where Dawna Noonan... Noonan? 185 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 187 00:08:58,144 --> 00:09:00,937 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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