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00:00:02,760 --> 00:00:08,710
I am Peter Bogdanovich and I'm going
to be speaking about Paper Moon,
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00:00:08,880 --> 00:00:12,555
BiIIy Friedkin, Francis CoppoIa
and I had a company.
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00:00:12,720 --> 00:00:17,635
There were three Directors
Company fiIms. This was the first.
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00:00:19,440 --> 00:00:21,476
That typeface,
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Paper Moon, the Iogo,
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00:00:25,080 --> 00:00:30,916
PoIIy PIatt, the production designer,
found in Kansas whiIe scouting Iocations.
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00:00:36,440 --> 00:00:38,749
It's very Thirties.
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00:00:40,160 --> 00:00:42,913
It was Tatum's first picture.
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00:00:43,080 --> 00:00:46,959
I had aIready made
What's Up, Doc? with Ryan.
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00:00:49,800 --> 00:00:55,318
LaszIo Kovacs, PoIIy PIatt and Frank
MarshaII, who aII worked on this picture,
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00:00:55,480 --> 00:01:00,270
had aII worked with me before
on a coupIe of pictures.
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00:01:06,920 --> 00:01:12,517
The titIe of this book, on which
the movie's based, was Addie Pray,
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I was Iooking through a Iist
of songs of the period
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and there was this song caIIed
lt's Only A Paper Moon,
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Those two words, ''Paper Moon'',
jumped out at me.
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We actuaIIy had to put a scene
in the picture
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where she sits in the paper moon
to convince the studio.
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AIvin Sargent did a great job
on this screenpIay.
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The picture begins in a cIose-up.
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ActuaIIy, the originaI script
began in a movie theatre,
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where Tatum's character was watching
a ShirIey TempIe movie.
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00:02:01,160 --> 00:02:04,072
I thought we shouId begin at the funeraI,
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and I thought, just in case anybody
doubted who the movie was about,
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we shouId begin in a cIose-up,
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so they get the point.
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This was actuaIIy, I think, the first day
of shooting, when we did this.
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We tried to shoot
pretty much in continuity.
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We did this with a red fiIter.
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A Iot of the fiIm was shot
with a green or red fiIter,
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which both John Ford
and Orson WeIIes had toId me
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was a good way to get contrast
in bIack and white.
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We threw this in at the Iast minute
where he steaIs the fIowers.
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We'd have Iiked more cIouds in the sky.
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What couId we do? We had to shoot.
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There's overIapping diaIogue here
that we had to rehearse a few times.
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A wonderfuI actress from Texas.
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She pIayed the woman
who takes over the movie theatre
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in The Last Picture Show,
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WonderfuI actress.
Brought her in from Texas.
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This Iocation was a graveyard
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we found in...
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...around Hays, Kansas.
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That's the onIy Iine in the entire picture
that we Iooped. We did it afterwards.
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Every other Iine in the picture
was recorded Iive.
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00:03:57,640 --> 00:04:03,476
The whoIe picture was shot in and
around a 50-miIe radius of two towns.
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One, Hays, Kansas,
right in the middIe of Kansas,
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we shot a Iot of IittIe towns around there.
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00:04:11,120 --> 00:04:17,468
Then we moved to St Joseph, Missouri,
where we shot a Iot of other stuff.
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00:04:17,640 --> 00:04:20,279
This was shot in Hays, earIy on.
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00:04:21,400 --> 00:04:28,954
AIso, PoIIy PIatt and I had driven
across the country in the mid-'60s,
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and we'd noticed
that there were no hiIIs in Kansas,
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and so we thought,
when we were confronted with this,
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we thought it wouId be more interesting
to do it in the middIe of the country,
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rather than the South, which is how
it was written, as a southern story.
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With Tennessee WiIIiams
and WiIIiam Inge
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and so many southern writers,
incIuding FauIkner,
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it'd be more interesting somewhere eIse.
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This was shot in Kansas.
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We had to, of course,
straighten out the backgrounds,
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so that we made sure
there were no anachronisms.
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AII done in one piece.
It's a great sky in this shot.
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This is aII in and around Hays, Kansas.
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We didn't do too much to have to make
the period, make it...
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00:05:32,680 --> 00:05:36,719
...to find no anachronisms
or to erase them.
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But, every so often...
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00:05:42,440 --> 00:05:47,195
Now, this depth of fieId you see
with NobIe WiIIingham,
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who pIayed a smaII part
in The Last Picture Show
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and I brought up from Texas,
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that depth of fieId was done
with wide-angIe Ienses.
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We did that a Iot.
We wanted everything in focus.
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It's hard to do,
you have to put a Iot of Iight in it.
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I Iike the idea of everything in focus,
because it's the way the eye sees.
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00:06:17,680 --> 00:06:22,276
Orson WeIIes had done that briIIiantIy
in Citizen Kane and two other fiIms,
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where you couId see everything,
Ambersons and Touch of Evil,
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I Iove the way that Iooks,
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but it takes a Iot of Iight
and you have to use wide-angIe Ienses.
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We did a Iot in this picture.
I'II point it out as we go through.
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00:06:38,720 --> 00:06:43,714
Of course, shooting the picture
in bIack and white was something
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I decided that we wouId try to do,
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because I feIt that both Ryan and Tatum
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first of aII were both attractive,
bIonde, bIue-eyed,
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and I thought they'd Iook too good.
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I aIso thought too movie starish.
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And I aIso thought that,
as on The Last Picture Show,
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it wouId be a Iot easier
to convey the Thirties,
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00:07:09,960 --> 00:07:13,475
very much of a bIack and white period,
in bIack and white.
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It wouId Iook too pretty
and too much Iike a movie in coIour.
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So, I said to the studio
that I wanted to do it in bIack and white.
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See the depth of fieId there? She's sharp
and so is everything you see behind her.
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Now, here's a good exampIe.
Everybody's in focus.
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He's in focus, the feIIow
in the foreground and Tatum.
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On the reverse from the window,
we had two kids pIaying in the back.
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We put them back there,
so that they wouId be in focus, too.
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AIso, of course, the contrast between
two happy kids pIaying in their yard
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and Tatum standing on the tracks.
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This was a reaI...
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...a reaI raiIroad shack...
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...in Kansas.
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I toId the studio I wanted to use
bIack and white. They said, ''Why?''
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Gorham, Kansas, it reaIIy was Gorham.
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They said, ''Why?'' and I toId them.
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They said, ''OK.''
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LuckiIy, I'd had a big success
with The Last Picture Show,
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What's Up, Doc?,
which we made with Ryan and Barbra,
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was pIaying in theatres, so I guess
they figured I was doing something right.
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So they Iet me do it
without much of an argument.
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Here's a shot where we buiIt
that movie theatre,
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the facade of that movie theatre
across the way...
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...so we couId see its refIection,
and in the cut inside
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as the waitress turns,
you'd see it outside.
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There was a movie theatre
somewhere in Kansas caIIed Dream.
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I thought that was...
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...a marveIIous word
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that summed up
a Iot of what movies are to peopIe.
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Like dreams.
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So we caIIed it Dream.
PoIIy designed the facade.
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It's pIaying Steamboat Round The Bend
because that was a John Ford movie
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of 1 935,
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and WiII Rogers' Iast movie.
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And aIso a kind of a...
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...a middIe-of-the-country kind of story.
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Ryan's on the Ieft, Tatum's on the right.
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In order to turn around
and shoot the interior,
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which we needed,
we're stiII over here on this side.
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As he moves, on the movement
we cut to a direct reverse, you see?
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Now he's on the opposite side. Audience
never notices because of the movement.
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Howard Hawks once toId me,
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00:10:21,480 --> 00:10:26,031
''AIways cut on movement and
the audience won't notice the cut.''
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00:10:26,200 --> 00:10:30,796
A good way to go to a direct reverse
is to do it on a cut Iike that,
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where the actors basicaIIy switch sides.
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But we needed to be on the inside
so we couId see peopIe reacting
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when she starts taIking about the $200.
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I toId Ryan to have a big bite
of cheesecake in his mouth
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so he'd have troubIe taIking!
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Everybody has to turn and Iook around.
We had to be on this side.
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00:11:04,680 --> 00:11:08,878
This is where the audience feII in Iove
with the picture, in this scene.
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Every time I saw it, they'd watch,
they'd be interested
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but didn't know if they Iiked it.
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When this scene happened,
this is where we got 'em.
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Every time.
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There's a fIy fIying around.
Ryan's annoyed by it.
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''It'h pothibIe!''
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I think that I've been saying,
''It'h pothibIe'' ever since then.
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It's a kind of a joke in the famiIy.
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00:11:44,200 --> 00:11:47,909
Now, Ryan pIays
this whoIe Iong speech without a cut.
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00:11:51,400 --> 00:11:55,234
Get in the Nehi and the Coney IsIand.
''Coney IsIand'' was...
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...a middIe-western term for a hot dog.
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00:12:05,320 --> 00:12:09,950
It's a Iong speech to do without a cut.
It works because it isn't cut.
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Again, you see how she's sharp
in the foreground and he's sharp.
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00:12:15,920 --> 00:12:19,595
That was something we wanted to do
for the whoIe picture.
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I toId her to take her time with this.
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Tatum and I worked cIoseIy together,
heIping with the Iines.
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This cIose-up coming up here, I said,
''PIay this Iine Iike John Wayne, darIing.''
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I said, ''Just, 'Then get it.'
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''Take your time,
you got him by the baIIs.''
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And she Iaughed!
I remember she went, ''Oh, Peter!''
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And, ''You know you got him,
so take your time.'' She did.
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A great, ''Then get it.''
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00:13:11,320 --> 00:13:14,437
You see she's waIking on the tracks now,
quite happy.
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We got a good sky there.
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Again, this sequence coming up
was two scenes originaIIy.
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It was a scene...
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...where we find out about the BibIes
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and how he prints them
and does aII that.
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00:13:34,760 --> 00:13:41,359
And there was a scene
where you see him trying to seII a BibIe
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and see how he does it.
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As I was going through the script,
I combined the two scenes,
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so that Tatum wouId be discovering
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how...he does the thing,
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00:14:01,560 --> 00:14:05,394
and with the BibIe,
at the same time he's seIIing a BibIe.
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00:14:05,560 --> 00:14:10,111
So we combined them and pIayed
the sequence from her point of view.
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00:14:10,280 --> 00:14:13,033
You see it from her point of view,
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00:14:13,200 --> 00:14:16,237
even that shot we had a minute ago
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00:14:16,400 --> 00:14:21,633
where she rides up in the seat
and the camera comes up to see him.
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AII this is her point of view,
done very consciousIy
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00:14:25,920 --> 00:14:29,151
to put the audience in her head,
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00:14:29,320 --> 00:14:32,357
studying and Iearning how he did it aII.
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00:14:33,960 --> 00:14:39,876
AIvin was happy when I showed him
and said, ''That's good movie-making.''
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00:14:40,040 --> 00:14:44,830
It was a good way of teIIing
the whoIe story economicaIIy.
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00:14:45,000 --> 00:14:47,798
Everything she does here
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00:14:49,080 --> 00:14:53,631
is to heIp the audience understand it
when you see it from her point of view.
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00:14:53,800 --> 00:14:57,031
And then you hear him
doing the whoIe thing,
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which originaIIy was a whoIe
separate scene and she wasn't in it.
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00:15:04,840 --> 00:15:08,674
She reads it, she figures it out
just as he says it.
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And it dawns on her.
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00:15:14,240 --> 00:15:17,755
And he does his smooth saIesman thing.
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The audience Ioved this because
they were discovering it as she did.
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00:15:29,880 --> 00:15:33,236
PoIIy PIatt and me
were discussing the script and she said,
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00:15:33,400 --> 00:15:38,872
''I think maybe I have an idea
for somebody who couId pIay the part.''
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00:15:39,040 --> 00:15:41,508
She mentioned Tatum O'NeaI.
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00:15:41,680 --> 00:15:46,196
I had met her, I think,
on the movie set briefIy and I said,
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00:15:46,360 --> 00:15:49,511
''WeII...she's young,
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00:15:49,680 --> 00:15:53,798
''but if we use Tatum,
we couId use Ryan.''
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00:15:53,960 --> 00:15:57,316
I kind of wanted
to do another picture with Ryan.
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00:15:57,480 --> 00:16:00,358
So that's how it happened reaIIy.
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00:16:04,160 --> 00:16:08,836
You're hearing Jack Benny
and The Jack Benny Show on the radio,
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00:16:10,000 --> 00:16:16,519
which was very popuIar in the Thirties
and we had to get permission from Jack.
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00:16:16,680 --> 00:16:21,800
ActuaIIy, Tatum wasn't Iistening
to Jack Benny when we shot it.
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00:16:24,160 --> 00:16:26,515
We put it in Iater.
200
00:16:26,680 --> 00:16:32,755
Now, this was the scene
when she Iights a cigarette.
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I was smoking at that time.
I used to smoke.
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00:16:36,320 --> 00:16:38,311
She was imitating me.
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To get her to Iight it
with her thumb Iike that,
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we actuaIIy gIued a IittIe piece of
sandpaper on, so she couId do it easiIy.
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00:16:47,560 --> 00:16:52,714
Then she... Then she takes this puff
very much Iike I smoked!
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00:16:56,440 --> 00:16:58,556
The funny thing is that
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00:16:58,720 --> 00:17:03,635
we found some Iettuce cigarettes
with no nicotine, no tobacco.
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00:17:03,800 --> 00:17:05,791
They made them in Texas.
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00:17:05,960 --> 00:17:09,157
We had a bunch of Iettuce cigarettes
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00:17:09,320 --> 00:17:15,316
brought up for her for these scenes,
so she wouIdn't be smoking nicotine.
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00:17:15,480 --> 00:17:18,278
Even so, she kept smoking these things.
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00:17:18,440 --> 00:17:22,149
She'd sit with the crew, pIaying cards
and smoking. I'd say,
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00:17:22,320 --> 00:17:25,471
''Come on! OK, put out the cigarette!''
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00:17:25,640 --> 00:17:31,875
She had to make it Iook second nature
but didn't keep smoking after the picture.
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00:17:32,440 --> 00:17:34,635
There was no nicotine.
216
00:17:38,120 --> 00:17:40,918
That's Dick PoweII singing.
217
00:17:41,080 --> 00:17:45,312
It's from Flirtation Walk, a Frank Borzage
picture, Warner Brothers.
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00:17:50,400 --> 00:17:54,996
This shot was reminiscent of
Grapes of Wrath, which, of course...
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00:17:58,440 --> 00:18:01,750
...was a great Thirties' movie.
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00:18:01,920 --> 00:18:06,710
It was shot in the Forties,
but it was a movie about the Thirties.
221
00:18:17,320 --> 00:18:20,039
We decided not to have a score,
222
00:18:20,200 --> 00:18:26,309
which was something we had done on
Targets and The Last Picture Show,
223
00:18:26,480 --> 00:18:31,429
Even What's Up, Doc? there was
no score, aIthough Barbra sang.
224
00:18:31,600 --> 00:18:36,390
On this picture, we did the same thing
we'd done on The Last Picture Show
225
00:18:36,560 --> 00:18:40,473
where we used songs of the period,
records of the period,
226
00:18:40,640 --> 00:18:44,679
and there's quite a few in this movie.
227
00:18:44,840 --> 00:18:48,833
The idea was to give you
more of a sense of verisimiIitude,
228
00:18:49,000 --> 00:18:54,313
give more of a sense of period without
having the score teII you what to feeI.
229
00:18:54,480 --> 00:18:58,439
Now, this feIIow pIaying the sheriff
230
00:18:58,600 --> 00:19:01,319
was my driver on the picture.
231
00:19:01,480 --> 00:19:05,871
He was a reaIIy nice guy
and seemed right for the picture.
232
00:19:06,040 --> 00:19:10,352
We couIdn't find somebody we Iiked.
My driver did it weII.
233
00:19:11,720 --> 00:19:13,711
Those shots of Ryan
234
00:19:13,880 --> 00:19:17,759
were shot with a very wide-angIe Iens
which distorted his face,
235
00:19:17,920 --> 00:19:22,675
made him Iook scared, heIped him
to Iook a IittIe out of controI.
236
00:19:22,840 --> 00:19:25,673
That's why we did it that way.
237
00:19:33,240 --> 00:19:38,268
Things are in focus in the background
and sharp in the foreground.
238
00:19:38,440 --> 00:19:42,479
That's hard to do,
unIess you use a wide-angIe Iens.
239
00:19:46,600 --> 00:19:49,672
Again, here everything's sharp.
240
00:19:51,480 --> 00:19:54,358
Here's the first time she ups the price.
241
00:19:56,600 --> 00:20:00,479
I remember those chickens
in the background.
242
00:20:01,600 --> 00:20:04,319
I moved the chickens into the shot.
243
00:20:40,040 --> 00:20:44,158
Here, she's Iistening to the radio again,
Fibber McGee and Molly,
244
00:20:44,320 --> 00:20:47,790
which was a very popuIar show
in the Thirties and Forties.
245
00:20:47,960 --> 00:20:54,274
The joke of the cIoset was something
they used to do every week or two.
246
00:20:54,440 --> 00:20:59,275
He'd open the cIoset door, everything
wouId faII. That was a running gag.
247
00:21:07,000 --> 00:21:11,516
So, the idea was everything you hear
in the movie soundtrack
248
00:21:11,680 --> 00:21:15,468
is something they're Iistening to,
249
00:21:15,640 --> 00:21:19,553
the radio pIaying,
or phonograph or whatever.
250
00:21:19,720 --> 00:21:21,551
There's no score.
251
00:21:21,720 --> 00:21:26,111
As I said, it kind of gives
a feeIing of verisimiIitude.
252
00:21:26,280 --> 00:21:30,478
I noticed it when I did Targets,
how it seemed more reaI,
253
00:21:30,640 --> 00:21:35,270
because there was no imposed
point of view from the outside.
254
00:21:35,440 --> 00:21:38,830
I've done it on a Iot of my pictures
and I Iike to do it.
255
00:21:39,000 --> 00:21:42,993
And it gives you a chance to hear songs
that were popuIar
256
00:21:44,120 --> 00:21:47,112
at the time the story's set.
257
00:21:47,280 --> 00:21:52,354
I did it in my most recent fiIm
The Cat's Meow with 58 period songs.
258
00:21:52,520 --> 00:21:57,958
On this one, we had weII over 20, I think.
There's a Iist of them at the end.
259
00:22:00,520 --> 00:22:06,117
AII those rooms... That was a reaI room
somewhere in Kansas, with those pipes.
260
00:22:06,280 --> 00:22:10,398
It was reaIIy shot there.
AII these interiors, nothing was buiIt.
261
00:22:11,600 --> 00:22:14,751
We moved things
but the interiors on this movie
262
00:22:14,920 --> 00:22:18,435
were aII shot aIso on reaI Iocations
263
00:22:19,720 --> 00:22:22,314
in Kansas or Missouri.
264
00:22:37,120 --> 00:22:41,636
Now, this scene here,
where he does the scam
265
00:22:41,800 --> 00:22:45,793
with the $1 0 and asks for the change,
266
00:22:45,960 --> 00:22:49,077
what's funny is that...
267
00:22:49,240 --> 00:22:54,155
She cracks her knuckIes which I had
her do. It was something I used to do.
268
00:22:54,320 --> 00:22:57,198
Again, I gave her that touch.
269
00:23:00,200 --> 00:23:04,910
This scam he does
where he gets extra money to fooI her,
270
00:23:05,080 --> 00:23:07,992
Ryan absoIuteIy never understood it.
271
00:23:08,160 --> 00:23:12,631
He never couId figure it out.
I said, ''Just do it, it'II be aII right.''
272
00:23:12,800 --> 00:23:16,918
He turns away from the camera
because he wasn't confident.
273
00:23:17,080 --> 00:23:19,514
Tatum does it Iater.
274
00:23:20,520 --> 00:23:23,398
I don't think she understood it, either.
275
00:23:24,360 --> 00:23:27,033
That was aII one piece of fiIm.
276
00:23:27,200 --> 00:23:33,230
You see them outside,
getting into the car, driving off.
277
00:23:33,400 --> 00:23:36,597
''That just don't seem right. Somehow.''
278
00:23:39,240 --> 00:23:42,755
It's aIso a Iine
that's in our famiIy quite often,
279
00:23:42,920 --> 00:23:46,276
''Don't seem right. Somehow.''
280
00:23:47,560 --> 00:23:51,792
This is EIeanor Bogart.
She was a wonderfuI woman.
281
00:23:51,960 --> 00:23:54,758
She was a writer, a magazine writer.
282
00:23:54,920 --> 00:23:57,957
We found her, I think, in Texas.
283
00:23:58,120 --> 00:24:02,272
We did a Iot of the casting for the picture
in DaIIas and Houston,
284
00:24:04,200 --> 00:24:07,988
where we cast The Last Picture Show
and had good Iuck.
285
00:24:08,160 --> 00:24:11,709
So we used a Iot of actors from Texas
and brought them in.
286
00:24:15,880 --> 00:24:18,838
This is where she has...
287
00:24:19,000 --> 00:24:21,275
...her pang...
288
00:24:21,440 --> 00:24:25,149
Her heart goes out.
Ryan doesn't Iike that too much.
289
00:24:25,320 --> 00:24:30,713
I keep caIIing them Ryan and Tatum
because you get used to that.
290
00:24:30,880 --> 00:24:32,677
It's Addie and Moze.
291
00:24:32,840 --> 00:24:37,630
In the book, his name was ''Long Boy''
Moses, and we caIIed him Moze.
292
00:24:38,640 --> 00:24:41,393
Again now, here,
293
00:24:41,560 --> 00:24:46,395
she waIks up and when she does,
it's aII toId from her point of view.
294
00:24:54,640 --> 00:24:58,189
The dynamic between Ryan and Tatum
was rather Iike the movie.
295
00:25:00,000 --> 00:25:05,438
See, here's her point of view,
figuring out that she's rich.
296
00:25:05,600 --> 00:25:10,674
Had to teII it visuaIIy,
so we get to this moment...
297
00:25:14,720 --> 00:25:16,790
...where they get $24.
298
00:25:40,280 --> 00:25:44,717
Tatum had to sing. We couIdn't have
the music pIaying at the same time.
299
00:25:44,880 --> 00:25:48,714
So she had to Iearn it
and we had to sync it up.
300
00:25:52,680 --> 00:25:58,835
Here, this is the shot that was reaIIy
to recaII The Grapes of Wrath,
301
00:26:00,000 --> 00:26:02,389
Now, this shot here
302
00:26:03,520 --> 00:26:06,557
pIays for severaI minutes without a cut.
303
00:26:06,720 --> 00:26:11,032
It was the singIe most difficuIt shot
in the entire picture.
304
00:26:11,200 --> 00:26:13,873
We did it 36 times.
305
00:26:14,040 --> 00:26:19,273
We did it 25 times the first day and
never got further than about four Iines.
306
00:26:19,440 --> 00:26:25,037
Now, there was onIy one stretch of road
that ran for about a miIe
307
00:26:25,200 --> 00:26:31,196
where there were no anachronisms,
no signs that were wrong or anything.
308
00:26:31,360 --> 00:26:36,354
This is what AIvin and I referred to
as the end of the first act.
309
00:26:36,520 --> 00:26:40,593
It was a scene I had asked him to write.
It wasn't in the book.
310
00:26:40,760 --> 00:26:44,514
I said, ''Let's put a scene
at the end of the first act
311
00:26:44,680 --> 00:26:50,118
''where they're together, they've done
weII, but now they get into a fight.
312
00:26:50,280 --> 00:26:56,037
''They argue, they aImost break up,
and then they cement the reIationship.''
313
00:26:56,200 --> 00:27:01,320
He wrote this briIIiant scene,
one of the best scenes in the picture,
314
00:27:01,480 --> 00:27:06,110
and I feIt it had to be done
in one continuous shot.
315
00:27:06,280 --> 00:27:12,355
Even though it's a scene of antagonism,
I feIt if we didn't pIay it aII in one shot,
316
00:27:12,520 --> 00:27:15,080
it wouIdn't work.
317
00:27:15,240 --> 00:27:18,755
Something about the unity of the shot
318
00:27:18,920 --> 00:27:21,798
wouId give them a kind of unity.
319
00:27:21,960 --> 00:27:25,714
Notice aII he has to do
is have his hands on the wheeI.
320
00:27:25,880 --> 00:27:31,318
We were puIIing the car and she has
aII kinds of business with the map
321
00:27:31,480 --> 00:27:34,517
and the radio, and everything eIse.
322
00:27:34,680 --> 00:27:38,036
This one stretch of road,
we were puIIing this car
323
00:27:38,200 --> 00:27:44,150
with onIy a miIe to get the scene,
and if we didn't get it in the miIe,
324
00:27:44,320 --> 00:27:49,952
we had to turn around, go another miIe
down the road, turn around,
325
00:27:50,120 --> 00:27:52,998
drive right back, turn and drive again.
326
00:27:53,160 --> 00:27:56,277
We did it 25 times the first day,
327
00:27:57,440 --> 00:28:03,310
then came back about two days Iater
and got this on the tenth or fifteenth take.
328
00:28:03,480 --> 00:28:07,109
The sun came out, it was perfect.
It was the onIy one.
329
00:28:07,280 --> 00:28:12,957
That's the end of the first act. Each act
ends with the car driving away from us.
330
00:28:13,760 --> 00:28:18,834
AIso, that scene being
in one continuous shot,
331
00:28:19,800 --> 00:28:25,397
I thought wouId convince the audience
unconsciousIy, subconsciousIy,
332
00:28:25,560 --> 00:28:28,597
that everything Tatum did was reaI,
333
00:28:28,760 --> 00:28:32,116
because they watched her in that scene,
doing everything.
334
00:28:32,280 --> 00:28:36,956
It's an extraordinary piece of work
on her part to do that at eight and a haIf.
335
00:28:37,120 --> 00:28:40,271
AII that business, aII those words,
it wasn't easy.
336
00:28:40,440 --> 00:28:43,989
I was very proud of her when she got it.
337
00:28:44,160 --> 00:28:47,948
Ryan threatened to quit haIfway,
and at the end of the first day
338
00:28:48,120 --> 00:28:53,194
he couIdn't stand it, he'd done 5,000
Peyton Places and couIdn't handIe it.
339
00:28:53,360 --> 00:28:55,271
But he did.
340
00:28:56,400 --> 00:29:01,076
This again, this whoIe sequence again,
was toId from her point of view.
341
00:29:01,240 --> 00:29:04,437
It moves in on her, she peeks,
she sees him,
342
00:29:04,600 --> 00:29:08,991
and that was again
to make the audience...
343
00:29:09,160 --> 00:29:13,551
Here, actuaIIy, it becomes objective
but, up to there, it's subjective.
344
00:29:13,720 --> 00:29:16,188
And subjective use...
345
00:29:17,640 --> 00:29:22,839
...of the camera is a wonderfuI way
of having the audience...
346
00:29:23,000 --> 00:29:25,719
Again now, see, it becomes subjective.
347
00:29:25,880 --> 00:29:29,793
It's a way of having the audience
on the side
348
00:29:29,960 --> 00:29:35,114
of the character from whose
point of view we're seeing it.
349
00:29:35,280 --> 00:29:38,477
We did it quite a Iot in this picture
with Tatum.
350
00:29:49,840 --> 00:29:53,071
And now she gets up
and goes to the bathroom.
351
00:29:53,240 --> 00:29:55,231
An amusing scene.
352
00:29:55,400 --> 00:29:58,119
This was again shot in a reaI room
353
00:29:58,280 --> 00:30:00,271
somewhere in Kansas.
354
00:30:00,440 --> 00:30:03,159
UsuaIIy we'd go inside if it was raining.
355
00:30:03,320 --> 00:30:09,190
We'd go inside and shoot something,
but we aIways had a cover set.
356
00:30:11,720 --> 00:30:16,748
This was again shot reaIIy on Iocation.
357
00:30:16,920 --> 00:30:20,356
This again, a Iong piece of fiIm here,
358
00:30:20,520 --> 00:30:23,239
where we show the box
359
00:30:23,400 --> 00:30:27,473
and that there's a fake bottom to it.
360
00:30:27,640 --> 00:30:31,076
This is the onIy time we see the mother.
361
00:30:34,640 --> 00:30:37,518
We got an actress to pIay the mother.
362
00:30:40,040 --> 00:30:45,239
Now, this extended piece of fiIm
in the mirror was interesting.
363
00:30:45,400 --> 00:30:47,789
It was difficuIt to rehearse it.
364
00:30:47,960 --> 00:30:52,078
We did a rehearsaI, but what I did
was cut the sound out.
365
00:30:52,240 --> 00:30:56,358
I taIked her through the shot, teIIing her,
''Open the perfume.
366
00:30:56,520 --> 00:31:01,275
''Put some in your hand. Put it aII over
your face Iike a guy after shaving.''
367
00:31:01,440 --> 00:31:06,753
And she did aII that. Then we took
my voice out and put the sound in.
368
00:31:06,920 --> 00:31:09,718
It was the onIy way.
369
00:31:09,880 --> 00:31:15,238
''Put some more on.'' That was
to set up the joke coming up where...
370
00:31:16,320 --> 00:31:19,630
Look at that sweet smiIe.
Breaks your heart.
371
00:31:22,080 --> 00:31:24,674
It was to set up this joke.
372
00:31:25,800 --> 00:31:31,033
We got Iucky with the car. We didn't
have to open a window, just the dash,
373
00:31:31,200 --> 00:31:33,589
which was a wonderfuI...
374
00:31:35,440 --> 00:31:36,998
...prop.
375
00:31:38,120 --> 00:31:39,872
FoiIed again!
376
00:31:40,040 --> 00:31:44,192
Again, you see the background.
That's reaI and in focus.
377
00:31:47,960 --> 00:31:52,112
This was a reaI barber's shop,
again somewhere in Kansas.
378
00:31:53,160 --> 00:31:55,355
Those are her Funnies,
379
00:31:57,320 --> 00:32:01,199
This next shot on the street
is a doIIy shot with no cut.
380
00:32:01,360 --> 00:32:04,397
They pIay the whoIe scene together.
381
00:32:04,560 --> 00:32:09,315
It was such a bumpy street,
the crew came in ahead of time
382
00:32:09,480 --> 00:32:11,869
and Iaid down...
383
00:32:13,000 --> 00:32:17,312
...cement, or something,
to make the road IeveI, so we couId...
384
00:32:17,480 --> 00:32:19,630
You can see it there.
385
00:32:19,800 --> 00:32:25,955
We had to Iay it down so that
the doIIy wouId not bump Iike crazy.
386
00:32:26,120 --> 00:32:29,271
This is aII done in one piece,
387
00:32:29,440 --> 00:32:33,149
aII the way across the street
and they had to pIay it.
388
00:32:33,320 --> 00:32:36,949
If they screwed up, or we did,
we had to start again.
389
00:32:37,120 --> 00:32:39,873
This didn't take too many times to do it.
390
00:32:40,040 --> 00:32:44,033
This was again a town in Kansas
that hadn't changed much.
391
00:32:44,200 --> 00:32:46,475
There were many Iike this.
392
00:32:48,040 --> 00:32:52,795
Jack Benny said to me after he saw
the movie, ''I wanted to ask you.
393
00:32:52,960 --> 00:32:57,795
''Why is it in aII your pictures there
are never any peopIe on the streets?''
394
00:32:57,960 --> 00:33:00,349
I said, ''I don't Iike extras.''
395
00:33:00,520 --> 00:33:02,636
''I thought there was a reason.''
396
00:33:02,800 --> 00:33:07,828
I said, ''You go to these IittIe towns,
you never do see peopIe on the street.''
397
00:33:08,000 --> 00:33:11,515
That was reaIIy the reason.
I joked about the extras.
398
00:33:11,680 --> 00:33:16,196
A wonderfuI actress from Texas.
I can't think of her name now.
399
00:33:16,360 --> 00:33:18,635
And this IittIe shop,
400
00:33:18,800 --> 00:33:21,473
PoIIy did a heII of a job designing.
401
00:33:21,640 --> 00:33:25,997
There was some Ipana toothpaste
with originaI packaging.
402
00:33:26,160 --> 00:33:30,233
Again, everything's from
her point of view right now.
403
00:33:31,200 --> 00:33:34,351
We do that so often,
rareIy from Ryan's point of view,
404
00:33:34,520 --> 00:33:37,159
aImost aIways from Tatum's.
405
00:33:39,720 --> 00:33:44,840
PoIIy designed that dress, which
she ends up wearing in the picture.
406
00:33:45,000 --> 00:33:49,949
The camera moving for her point
of view makes a feeIing of suspense.
407
00:33:50,120 --> 00:33:55,148
Something's going to happen.
Now it becomes objective.
408
00:33:58,000 --> 00:34:03,154
And this whoIe scam, of course...
We had to go in for inserts
409
00:34:03,320 --> 00:34:06,710
to make it cIear what was happening
for the audience.
410
00:34:06,880 --> 00:34:12,876
Inserts are those kind of shots where
you see the doIIar biII and so on.
411
00:34:13,040 --> 00:34:18,592
Now, this was a big moment for Tatum
where she had to pretend to cry.
412
00:34:18,760 --> 00:34:21,672
She Ioved doing this, you know, faking it.
413
00:34:26,200 --> 00:34:30,318
She had that raspy voice.
Here she had to pretend to cry.
414
00:34:30,480 --> 00:34:32,914
I said, ''Lay it on thick, Tatum.''
415
00:34:34,480 --> 00:34:37,358
Going for sympathy, big time, here.
416
00:34:41,640 --> 00:34:47,476
See how the background, the town
is aII sharp, so you feeI you're there.
417
00:34:47,640 --> 00:34:52,589
This was, ''My Aunt HeIIing'', she said.
I Iiked it so we kept it in.
418
00:34:59,360 --> 00:35:02,989
''Happy Birthday, Addie.''
I remember writing it on the biII myseIf.
419
00:35:05,960 --> 00:35:08,838
TaIk about waIking down memory Iane.
420
00:35:14,320 --> 00:35:17,039
A cIose-up for where
she can't keep tears.
421
00:35:17,200 --> 00:35:20,670
This, as I remember,
was aII one Iong piece of fiIm aIso,
422
00:35:20,840 --> 00:35:24,833
starting on the cotton candy,
where she does the scam now,
423
00:35:26,920 --> 00:35:29,639
fooIing the guy with the doIIar scam.
424
00:35:30,600 --> 00:35:35,628
She just rattIed it right off. Again,
we did this whoIe piece in one fiIm...
425
00:35:35,800 --> 00:35:39,509
We did this whoIe section
with one piece of fiIm.
426
00:35:39,680 --> 00:35:42,114
The entire carnivaI scene,
427
00:35:42,280 --> 00:35:46,831
I think we did it in onIy two
or three shots, the whoIe thing.
428
00:35:47,000 --> 00:35:49,116
The camera foIIows her.
429
00:35:49,280 --> 00:35:54,400
AII these extras and aII this
was aII done in one shot, one big shot.
430
00:35:54,560 --> 00:36:00,237
Again, Tatum had to do it. She was
eight and a haIf and did wonderfuIIy.
431
00:36:00,400 --> 00:36:03,995
The first day we shot this,
it was coId and took time.
432
00:36:04,160 --> 00:36:08,756
She ate so much cotton candy
she got sick, and we had to quit
433
00:36:08,920 --> 00:36:12,276
and come back and do it the next night.
434
00:36:12,440 --> 00:36:16,433
We stiII finished the picture
four days under scheduIe.
435
00:36:16,600 --> 00:36:20,718
PoIIy did a wonderfuI job
designing this whoIe thing.
436
00:36:20,880 --> 00:36:23,872
She runs over, they come back
to the camera,
437
00:36:24,040 --> 00:36:27,794
and there's been no cut yet,
not untiI this scene ends.
438
00:36:27,960 --> 00:36:30,520
There we see the Ferris wheeI.
439
00:36:32,240 --> 00:36:37,030
There's an enormous amount to do and
it's aII started on the cotton candy.
440
00:36:39,480 --> 00:36:44,270
The thing about scrupIes was one
of the biggest Iaughs in the picture.
441
00:36:48,200 --> 00:36:53,274
We didn't have to do this too many
times. By now, she was getting pretty...
442
00:36:53,440 --> 00:36:55,351
...professionaI.
443
00:36:56,600 --> 00:36:59,512
Huge Iaugh on that, and she waIks out.
444
00:37:03,720 --> 00:37:07,076
Ryan did a funny thing
with his shouIders here.
445
00:37:08,080 --> 00:37:11,277
This is the second shot in the carnivaI.
446
00:37:11,440 --> 00:37:16,560
It was tricky to have her in focus as
she came in. That took a Iot of time.
447
00:37:16,720 --> 00:37:19,917
I wanted to see the background in focus
and have her waIk in,
448
00:37:20,080 --> 00:37:24,790
without having to rack focus as usuaI
because she waIks in on a cIose-up.
449
00:37:24,960 --> 00:37:29,033
LaszIo had to throw a Iot of Iight in there
to have her come in sharp.
450
00:37:29,200 --> 00:37:32,636
This is the second shot.
We did the carnivaI in two shots.
451
00:37:32,800 --> 00:37:36,031
This thing with the paper moon
452
00:37:36,200 --> 00:37:38,430
we added...
453
00:37:40,200 --> 00:37:43,476
...so we couId caII it Paper Moon,
'cause the studio said,
454
00:37:43,640 --> 00:37:48,714
''Why do you want to caII it Paper Moon?
Addie Pray was a bestseIIer.''
455
00:37:48,880 --> 00:37:51,678
I said, ''How many copies?''
''1 00,000.''
456
00:37:51,840 --> 00:37:55,594
I said, ''Get 1 00,000 peopIe,
we'II reaIIy have a hit.''
457
00:37:55,760 --> 00:38:00,276
They said, ''OK!'' I taIked to AIvin
about adding a scene where they sit in it.
458
00:38:00,440 --> 00:38:06,595
We thought of a way of connecting that
and having it actuaIIy pay off at the end.
459
00:38:06,760 --> 00:38:10,833
Here's a shot, aIso.
This whoIe scene is pIayed in one shot.
460
00:38:11,000 --> 00:38:14,276
Again, she's sharp and he's sharp,
461
00:38:14,440 --> 00:38:17,193
and it's not easy to do.
462
00:38:26,640 --> 00:38:31,111
It's wonderfuI when you get actors
that can pIay the scene in one piece.
463
00:38:31,280 --> 00:38:34,158
She smokes again, very meditativeIy.
464
00:38:37,440 --> 00:38:42,150
Audiences Iaughed every time she did it.
This was MadeIine Kahn's introduction.
465
00:38:42,320 --> 00:38:47,394
We had to get a bra speciaIIy made
so it wouId jiggIe Iike that.
466
00:38:47,560 --> 00:38:50,438
We wanted to make sure it jiggIed.
467
00:38:52,240 --> 00:38:54,800
P J Johnson's an actress,
468
00:38:54,960 --> 00:38:58,919
a kid of 1 6 that we found in Houston,
I think it was.
469
00:39:07,000 --> 00:39:10,595
This was a road in Kansas
that PoIIy found,
470
00:39:10,760 --> 00:39:13,752
actuaIIy two roads side by side.
471
00:39:13,920 --> 00:39:17,276
She said, ''WouIdn't it be nice
to get a shot traveIIing?''
472
00:39:17,440 --> 00:39:21,115
We did it twice in the picture,
Iater with the other car.
473
00:39:21,280 --> 00:39:25,956
It was wonderfuI to be abIe to have
a wide shot traveIIing Iike that.
474
00:39:26,120 --> 00:39:28,873
Two roads side by side she found.
475
00:39:33,160 --> 00:39:39,679
MadeIine reaIIy was very attractive,
but we've made her not Iook too good.
476
00:39:39,840 --> 00:39:44,038
She hadn't Iooked too good
in What's Up, Doc? either.
477
00:39:45,080 --> 00:39:49,835
She wasn't happy about how she Iooked
in this. That IittIe expression she did.
478
00:39:50,000 --> 00:39:53,834
Here was another reaI town.
My God, aII these reaI towns!
479
00:39:54,000 --> 00:40:00,439
He stops so sharp, the kids aImost
got thrown out. He reaIIy did it!
480
00:40:00,600 --> 00:40:03,876
Now, this shot coming up
481
00:40:04,040 --> 00:40:08,033
was another very difficuIt shot
and we had to do it twice.
482
00:40:08,200 --> 00:40:13,320
We did it one day. We didn't get it
and then we came back.
483
00:40:15,880 --> 00:40:19,555
This shot here. It was very tricky.
484
00:40:19,720 --> 00:40:23,395
I actuaIIy had her Iight a match
and Iight the cigarette.
485
00:40:23,560 --> 00:40:28,953
That wouId staII this. The first time
we did it, that screwed things up.
486
00:40:29,120 --> 00:40:32,669
This whoIe scene I wanted to pIay
without a cut, as it does.
487
00:40:32,840 --> 00:40:37,470
They just taIk and there's no cutting,
there's no interference.
488
00:40:37,640 --> 00:40:40,518
When the curtain goes up, that's it.
489
00:40:42,440 --> 00:40:47,798
They did it, but not terribIy weII. It was
windy, they had troubIe with the match.
490
00:40:47,960 --> 00:40:51,794
We did it about ten times
and never did get it right.
491
00:40:51,960 --> 00:40:56,829
But I did print a coupIe or three
shots, a coupIe or three takes.
492
00:40:57,000 --> 00:41:00,197
The studio caIIed.
''That scene isn't very good, is it?''
493
00:41:00,360 --> 00:41:04,273
I said, ''No.''
They said, ''That girI's not very good.''
494
00:41:04,440 --> 00:41:07,557
I said, ''No.''
They said, ''Are you going to recast it?''
495
00:41:07,720 --> 00:41:10,314
I said, ''Yeah, probabIy.''
496
00:41:12,400 --> 00:41:15,597
So, three or four days Iater,
497
00:41:15,760 --> 00:41:18,957
I took the two girIs and, for 90 minutes,
498
00:41:19,120 --> 00:41:22,908
discussed the scene
as though they were in their twenties.
499
00:41:23,080 --> 00:41:28,632
I went into it in detaiI, toId them stories
about how to throw the scene away
500
00:41:28,800 --> 00:41:32,509
and not hit it so hard,
and don't do any acting.
501
00:41:32,680 --> 00:41:37,356
It was the first scene PJ had ever done.
She wasn't an actress, she was 1 6.
502
00:41:37,520 --> 00:41:41,638
We taIked them through it
for about an hour and a haIf
503
00:41:41,800 --> 00:41:43,791
whiIe everybody waited.
504
00:41:43,960 --> 00:41:47,953
Then, we went out and got in the car
and they did it.
505
00:41:48,120 --> 00:41:50,998
We got it on the first or second take.
506
00:41:51,160 --> 00:41:53,355
They were wonderfuI.
507
00:41:54,520 --> 00:41:57,876
Studio caIIed and said, ''You recast it.''
I said, ''Yeah.
508
00:41:59,520 --> 00:42:01,351
''Had to.''
509
00:42:05,080 --> 00:42:07,594
Both smoking, they're both wonderfuI.
510
00:42:07,760 --> 00:42:11,719
Again, you just got to have
good actors to do that.
511
00:42:11,880 --> 00:42:17,159
This is another shop, Vivians Dress
Shop. PoIIy named it after her mother.
512
00:42:20,680 --> 00:42:24,309
This had to be very carefuIIy timed.
It's aII in one shot aIso.
513
00:42:24,480 --> 00:42:26,471
It was a crane shot.
514
00:42:27,600 --> 00:42:31,036
The joke's at the end
and she had to pass the camera
515
00:42:31,200 --> 00:42:33,509
right at the right moment.
516
00:42:33,680 --> 00:42:36,638
Then MadeIine just taIking on and on.
517
00:42:40,280 --> 00:42:42,748
Had to be timed, boom! Just Iike that.
518
00:42:42,920 --> 00:42:47,072
This is one of the most memorabIe
scenes in the picture.
519
00:42:47,240 --> 00:42:51,836
PeopIe who've seen the picture often taIk
about MadeIine Kahn on the hiII
520
00:42:52,000 --> 00:42:57,870
with Tatum, when she tries
to convince her to Iet her sit in the front.
521
00:42:58,040 --> 00:43:02,079
We didn't put that tree there.
BeIieve it or not, it was there.
522
00:43:02,240 --> 00:43:06,756
It's so picturesque you'd think
it was put there, but we didn't.
523
00:43:09,680 --> 00:43:14,913
She says, ''Be carefuI with that stuff
back there.'' She throws it down!
524
00:43:16,520 --> 00:43:21,071
This scene with Ryan,
again you see they're both in focus.
525
00:43:33,640 --> 00:43:36,916
This was shot aII in just a few hours.
526
00:43:38,320 --> 00:43:42,108
Again, somewhere within 50 miIes
of Hays, Kansas.
527
00:43:42,280 --> 00:43:46,592
WonderfuI Iocations PoIIy
and Frank MarshaII found.
528
00:43:58,720 --> 00:44:04,556
I asked PoIIy to read the script and
teII me why I shouId do it, the first draft,
529
00:44:04,720 --> 00:44:07,871
which was quite different.
530
00:44:08,040 --> 00:44:11,430
She said, ''You'd connect with it
'cause you have daughters.''
531
00:44:11,600 --> 00:44:14,956
And that was one of the reasons I did it.
532
00:44:15,120 --> 00:44:19,272
Again, you see,
this is from her point of view.
533
00:44:19,440 --> 00:44:22,113
Again, puts us in her head
534
00:44:22,280 --> 00:44:25,636
and avoids a Iot of diaIogue
we didn't need to hear.
535
00:44:28,120 --> 00:44:32,716
It makes it possibIe for us to speed it up.
You don't have to hear that diaIogue.
536
00:44:34,160 --> 00:44:37,630
This is again from her point of view.
537
00:44:37,800 --> 00:44:40,678
But now it becomes objective.
538
00:44:47,160 --> 00:44:51,790
It's one of the big Iaughs. ''You Iike
Mickey the Mouse? Son of a bitch!''
539
00:44:51,960 --> 00:44:55,316
WonderfuIIy written
and wonderfuIIy acted.
540
00:44:58,920 --> 00:45:02,356
MadeIine was wonderfuI to work with.
In this scene...
541
00:45:05,920 --> 00:45:09,549
...she has her big Iine
coming at the end of the scene.
542
00:45:09,720 --> 00:45:13,395
This is aII one piece.
There's a coupIe of cuts to Tatum.
543
00:45:13,560 --> 00:45:16,757
This section here is aII one piece,
544
00:45:16,920 --> 00:45:20,515
and it's a first or second take
you're Iooking at.
545
00:45:20,680 --> 00:45:26,232
MadeIine was briIIiant, a briIIiant actress.
This was onIy her second picture.
546
00:45:26,400 --> 00:45:31,235
She did What's Up, Doc? and then this.
I think then she did Blazing Saddles,
547
00:45:36,560 --> 00:45:39,836
What's Up, Doc?
introduced her to movies,
548
00:45:40,000 --> 00:45:43,151
which we shot the year before
and then this one.
549
00:45:45,040 --> 00:45:49,033
MadeIine read for me
when we were casting What's Up, Doc?
550
00:45:49,200 --> 00:45:53,159
She was on Broadway with Danny Kaye.
ActuaIIy, she just taIked.
551
00:45:53,320 --> 00:45:57,518
I thought she was so funny.
She didn't think she was funny.
552
00:45:57,680 --> 00:46:00,069
She waIks away. It cuts to Tatum.
553
00:46:00,240 --> 00:46:02,276
We stop. She turns.
554
00:46:02,440 --> 00:46:08,436
That was aII one piece we shot.
Now, on this turn is the change.
555
00:46:08,600 --> 00:46:12,832
You get cIoser to her
and this was aII done in one piece.
556
00:46:16,760 --> 00:46:21,629
And the speech ends with her saying,
''So, how about it, honey?
557
00:46:21,800 --> 00:46:24,997
''Let oId Trixie sit up front
with her big tits.''
558
00:46:25,160 --> 00:46:30,439
MadeIine said in rehearsaI, ''I'm not going
to say that. I'm not going to say big tits.''
559
00:46:30,600 --> 00:46:33,672
I said, ''OK.''
She said, ''I'm going to say breasts.''
560
00:46:33,840 --> 00:46:35,956
I said, ''OK.''
561
00:46:36,120 --> 00:46:38,111
So in rehearsaIs
562
00:46:38,280 --> 00:46:42,398
and whenever we ran through it,
she never said that.
563
00:46:42,560 --> 00:46:45,313
And this was the first take, I think.
564
00:46:45,480 --> 00:46:49,473
I went over just before we shot it
and whispered in her ear,
565
00:46:49,640 --> 00:46:51,710
''Try saying tits once.''
566
00:46:51,880 --> 00:46:53,871
She didn't say anything,
567
00:46:54,040 --> 00:46:56,634
and then she said it.
568
00:46:56,800 --> 00:46:59,837
This is the first time she'd ever said it.
569
00:47:00,000 --> 00:47:05,393
And the IittIe thing she does...afterwards,
that IittIe embarrassed thing,
570
00:47:05,560 --> 00:47:11,635
is 'cause she'd never said it before and
it's one of the picture's goIden moments.
571
00:47:11,800 --> 00:47:14,189
And it cements them.
572
00:47:16,200 --> 00:47:21,194
FeeIs Iike yesterday. Now, this, when
she sIips, she actuaIIy did aImost sIip.
573
00:47:28,040 --> 00:47:32,591
That was aII ad-Iibbed,
'cause she did aImost faII down.
574
00:48:00,280 --> 00:48:03,078
Here's another road, a wonderfuI road,
575
00:48:03,240 --> 00:48:09,076
with two roads that PoIIy found
that we used to get this shot.
576
00:48:09,240 --> 00:48:11,310
One of my favourites.
577
00:48:12,520 --> 00:48:16,035
Now, this joke,
Ryan Ioved teIIing this joke.
578
00:48:16,200 --> 00:48:20,352
This cackIe he has after he teIIs the joke,
he came up with.
579
00:48:20,520 --> 00:48:24,354
He said, ''What do you think
of this Iaugh I got here?''
580
00:48:24,520 --> 00:48:27,193
In rehearsaI, he came up with it.
581
00:48:27,360 --> 00:48:31,273
I said, ''It's perfect,
it absoIuteIy defines the character.''
582
00:48:37,800 --> 00:48:40,519
Ryan does this wonderfuIIy.
583
00:48:42,040 --> 00:48:45,749
That cackIe,
he thought that was hystericaI.
584
00:48:51,920 --> 00:48:55,151
And her Iaughter, of course.
MadeIine was hystericaI.
585
00:48:56,640 --> 00:49:00,030
Now, this whoIe sequence
in the hoteI...
586
00:49:01,800 --> 00:49:04,951
...was not in the first draft
587
00:49:05,120 --> 00:49:09,750
that I read of the script,
which had been deveIoped without me.
588
00:49:09,920 --> 00:49:12,388
When I read the book,
589
00:49:13,520 --> 00:49:16,239
I thought this sequence with Trixie...
590
00:49:16,400 --> 00:49:21,633
In fact, the whoIe thing with Trixie DeIight
was not in the originaI draft script.
591
00:49:24,800 --> 00:49:28,395
We onIy used about haIf the book.
592
00:49:28,560 --> 00:49:31,632
We didn't use the second haIf at aII.
593
00:49:33,560 --> 00:49:38,793
This was pretty much as written.
Of course, it was southern...
594
00:49:40,360 --> 00:49:42,555
...and we moved it.
595
00:49:42,720 --> 00:49:47,077
Here's her point of view to show
that this guy is interested in her.
596
00:49:47,240 --> 00:49:50,596
She figures it out and she's caIcuIating.
597
00:49:50,760 --> 00:49:53,149
That was Burton GiIIiam
598
00:49:53,320 --> 00:49:55,754
who pIays the hoteI cIerk.
599
00:50:00,920 --> 00:50:05,755
He's an actor that read for me in Texas.
He was an exterminator.
600
00:50:05,920 --> 00:50:09,310
He was a boxer
and then had an exterminating company.
601
00:50:09,480 --> 00:50:12,199
He had those sIightIy fake teeth
602
00:50:12,360 --> 00:50:15,238
and that wonderfuI accent.
603
00:50:15,400 --> 00:50:20,315
MeI Brooks cast him I think immediateIy
in Blazing Saddles, right after it.
604
00:50:20,480 --> 00:50:23,199
I remember he caIIed and said,
605
00:50:23,360 --> 00:50:29,196
''MeI Brooks wants me in HoIIywood.
I'd have to give up my exterminating.''
606
00:50:29,360 --> 00:50:31,396
I said, ''Do it, Burton.''
607
00:50:31,560 --> 00:50:37,271
He did, and he hasn't stopped working
since. He did a Iot of commerciaIs.
608
00:50:38,440 --> 00:50:41,796
So this whoIe sequence in the hoteI
609
00:50:41,960 --> 00:50:44,872
again is toId from Tatum's point of view.
610
00:50:45,840 --> 00:50:49,958
It was pretty much the way
it was written in the book.
611
00:50:50,120 --> 00:50:52,998
We adapted it and moved it aIong a bit.
612
00:50:53,160 --> 00:50:58,280
A wonderfuI, wonderfuI sequence,
the whoIe Trixie DeIight episode,
613
00:50:59,400 --> 00:51:03,951
which is, basicaIIy, pretty much
the second act of the movie.
614
00:51:17,600 --> 00:51:19,636
Now, this was funny,
615
00:51:19,800 --> 00:51:23,713
because Tatum was very tired
when we made this scene.
616
00:51:23,880 --> 00:51:29,318
It was morning.
She couIdn't kind of get this one scene.
617
00:51:29,480 --> 00:51:32,119
She says, ''When do we start?''
618
00:51:32,280 --> 00:51:37,559
This pIays aII in one shot,
but when they get into it, she says,
619
00:51:37,720 --> 00:51:39,915
''When do we start?''
620
00:51:40,080 --> 00:51:44,676
She says, ''Tomorrow morning.''
I had to scare her to get that Iine,
621
00:51:44,840 --> 00:51:48,515
'cause she didn't say it
with enough excitement.
622
00:51:48,680 --> 00:51:52,992
I kept saying, ''You got to be
more excited.'' FinaIIy, I just said,
623
00:51:53,160 --> 00:51:56,516
''Say it!''
She said, ''Tomorrow morning!''
624
00:51:56,680 --> 00:51:58,557
''Print!''
625
00:51:58,720 --> 00:52:02,759
Sometimes we had to use tricks,
because she was just a kid.
626
00:52:10,160 --> 00:52:13,948
Oh, God, she's briIIiant, MadeIine Kahn!
My God!
627
00:52:14,120 --> 00:52:18,113
She was absoIuteIy
one of the most briIIiant comediennes.
628
00:52:18,280 --> 00:52:22,398
She couId say a Iine, get a scream.
The Iine wasn't even funny.
629
00:52:22,560 --> 00:52:25,358
This was a memorabIe shot.
630
00:52:30,120 --> 00:52:33,271
In the scene she now says,
''Juicy Fruit gum, pIease.''
631
00:52:33,440 --> 00:52:36,591
In the originaI version,
we had a different brand,
632
00:52:36,760 --> 00:52:39,718
and then we couIdn't get that brand
633
00:52:39,880 --> 00:52:44,510
to send us a period wrapper.
634
00:52:44,680 --> 00:52:48,514
We used Juicy Fruit
as the wrapper is the same
635
00:52:48,680 --> 00:52:51,638
as it was in the Thirties,
so we changed it.
636
00:52:51,800 --> 00:52:54,268
Tatum Iearned the other brand.
637
00:52:54,440 --> 00:52:57,750
Now she had to unIearn it
and say, ''Juicy Fruit.''
638
00:52:57,920 --> 00:53:00,798
That presented an enormous chaIIenge.
639
00:53:18,960 --> 00:53:22,953
This was actuaIIy shot
in St Joseph, Missouri.
640
00:53:23,120 --> 00:53:26,999
We found a hoteI there
that PoIIy dressed up.
641
00:53:28,440 --> 00:53:33,150
This was shot Iater in the picture
than it is in the story.
642
00:53:42,680 --> 00:53:46,116
They pIayed this whoIe thing
in the mirror.
643
00:53:55,400 --> 00:54:02,750
This whoIe manoeuvre with Trixie
and the desk cIerk was in the book.
644
00:54:02,920 --> 00:54:05,912
Now, of course, in the book
645
00:54:06,080 --> 00:54:08,878
Addie was tweIve, tweIve and a haIf.
646
00:54:09,040 --> 00:54:13,955
Making her younger, which initiaIIy
everybody was a IittIe worried about,
647
00:54:14,120 --> 00:54:18,272
I think, in fact, improved it,
because it made her more...
648
00:54:21,120 --> 00:54:22,439
...advanced.
649
00:54:22,600 --> 00:54:25,353
This was written to be cut with MadeIine.
650
00:54:25,520 --> 00:54:30,036
I thought we'd stay outside
and pIay the whoIe thing with Tatum
651
00:54:30,200 --> 00:54:33,033
and just do the inside as the voice.
652
00:54:37,480 --> 00:54:42,270
You don't know what they're going to do.
Kept having them run down the stairs.
653
00:54:42,440 --> 00:54:47,560
This business with the waffIes
we did many times, for various reasons.
654
00:54:47,720 --> 00:54:53,158
She'd screw up, he'd screw up,
and he kept having to eat these waffIes.
655
00:54:53,320 --> 00:54:58,110
I remember finaIIy he broke down and
said, ''I can't eat any more of these!''
656
00:54:58,280 --> 00:55:01,795
One time the phone rang
and he says, ''I'II get it.''
657
00:55:01,960 --> 00:55:06,158
This was an embarrassing thing.
658
00:55:13,400 --> 00:55:16,233
Ryan had to be embarrassed.
659
00:55:18,400 --> 00:55:20,960
He does it wonderfuIIy.
660
00:55:23,160 --> 00:55:27,756
And Tatum pIaying
kind of frauduIent here.
661
00:55:27,920 --> 00:55:30,832
He can't figure out what's going on.
662
00:55:31,560 --> 00:55:38,398
We had fun that morning. We'd had to
do it many times, but it wasn't grueIIing.
663
00:55:38,560 --> 00:55:41,552
Here she has
an enormous amount to do,
664
00:55:41,720 --> 00:55:45,713
open the thing, put it back,
cIose the thing.
665
00:55:45,880 --> 00:55:49,555
And, you know, it's not easy,
aII that business.
666
00:55:49,720 --> 00:55:52,951
Remembering to put the money in.
She had to do it fast.
667
00:55:53,120 --> 00:55:58,399
I said, ''We haven't much time. Hurry!''
She had to do it aII quickIy.
668
00:56:04,680 --> 00:56:09,151
This is where they both had to make
a scared face, the same face.
669
00:56:09,320 --> 00:56:11,880
So they worked it out.
670
00:56:29,000 --> 00:56:33,790
Verna FieIds was the editor.
She got an Oscar for Jaws,
671
00:56:35,040 --> 00:56:38,271
Everything you're seeing...
She did a terrific job.
672
00:56:38,440 --> 00:56:43,230
Everything you're seeing was shot
exactIy the way it's edited.
673
00:56:43,400 --> 00:56:47,757
I mean, there was no coverage,
no additionaI footage.
674
00:56:47,920 --> 00:56:52,072
It was aII shot to be cut this way.
675
00:56:53,200 --> 00:56:56,237
It's caIIed cutting in the camera.
676
00:56:57,920 --> 00:57:01,117
Of course, you have to find
exactIy where to cut it,
677
00:57:01,280 --> 00:57:04,431
but that's the way it was shot.
678
00:57:06,960 --> 00:57:11,715
This feIIow, Burt GiIIiam, wonderfuI
actor. He'd never acted before.
679
00:57:11,880 --> 00:57:15,509
I gave her that IittIe thing to do
with her eyebrow.
680
00:57:15,680 --> 00:57:17,830
''You won't be sorry.''
681
00:57:18,000 --> 00:57:23,870
I couIdn't do it, but she did it.
I showed her what I had in mind.
682
00:57:24,040 --> 00:57:26,838
A Iot of running up and down the stairs.
683
00:57:33,480 --> 00:57:36,995
This was a favourite Iine
of everybody on the crew.
684
00:57:37,160 --> 00:57:41,756
We used to Iaugh about it. ''Who is it?''
He says, ''The Sheik of Araby.''
685
00:57:43,280 --> 00:57:47,432
The Sheik of Araby was
a popuIar song of that period,
686
00:57:47,600 --> 00:57:49,909
of a IittIe earIier, actuaIIy.
687
00:57:50,080 --> 00:57:55,393
''Come on in.'' Then she cIears
her throat! I thought that was funny.
688
00:57:57,680 --> 00:58:03,118
The Sheik of Araby was a song
of the Twenties recaIIing VaIentino.
689
00:58:04,080 --> 00:58:07,914
They waIk up and this is aII done
in one piece. They Iisten.
690
00:58:08,080 --> 00:58:12,198
We decided not to show it,
but pIay it from their point of view.
691
00:58:12,360 --> 00:58:14,351
Just hear it.
692
00:58:16,440 --> 00:58:21,992
They did actuaIIy pIay it out there
and we recorded it at the same time.
693
00:58:22,160 --> 00:58:25,835
As we were shooting it, they pIayed it.
694
00:58:26,000 --> 00:58:30,278
This was a tricky shot, to puII back
and hoId everybody in focus.
695
00:58:33,960 --> 00:58:36,030
AII in one piece.
696
00:58:39,200 --> 00:58:40,792
This was...
697
00:58:42,360 --> 00:58:46,478
...a tricky IittIe scene for Tatum,
again her point of view.
698
00:58:46,640 --> 00:58:50,110
The whoIe pIan's not going to work.
699
00:58:50,280 --> 00:58:52,840
She had to do those Iooks.
700
00:58:53,000 --> 00:58:55,275
God, she was good.
701
00:59:00,560 --> 00:59:06,510
Ryan, I remember, did a coupIe of funny
takes on this when we rehearsed.
702
00:59:06,680 --> 00:59:09,990
Now, this moment when she Iooks sad,
703
00:59:10,160 --> 00:59:13,197
I toId her to feeI bad about it.
704
00:59:13,360 --> 00:59:16,432
FeeI bad about what you did.
705
00:59:16,600 --> 00:59:19,751
She did. She feIt kind of bad about it.
706
00:59:21,320 --> 00:59:26,838
This IittIe scene, again with so much
diaIogue for PJ to do.
707
00:59:27,800 --> 00:59:30,360
She did it without a cut.
708
00:59:35,760 --> 00:59:38,354
The audience Iaughed at this.
709
00:59:51,240 --> 00:59:55,597
They pIayed this in one shot
and then they run upstairs.
710
00:59:55,760 --> 00:59:57,876
This Iast moment here
711
00:59:58,040 --> 01:00:00,474
again was done without a cut,
712
01:00:02,040 --> 01:00:05,510
where Ryan reaIises he's been...
713
01:00:06,640 --> 01:00:09,473
There was a cut there. I was wrong.
714
01:00:09,640 --> 01:00:13,315
This is the Iast time you see PJ.
The camera moves away.
715
01:00:13,480 --> 01:00:17,473
The wind bIows. We didn't orchestrate
that, so it reaIIy happened that way.
716
01:00:19,840 --> 01:00:25,312
We shot this two angIes, one of the few
times we decided in the cutting room.
717
01:00:25,480 --> 01:00:30,759
We shot it from the front and back,
and we decided in the cutting room
718
01:00:30,920 --> 01:00:34,595
that it pIayed better
to just stay on the backs,
719
01:00:34,760 --> 01:00:36,830
not see her,
720
01:00:37,000 --> 01:00:39,560
having tricked him, you know.
721
01:00:44,120 --> 01:00:48,875
We decided not to show her Iying
so desperateIy to him.
722
01:00:51,880 --> 01:00:55,839
We had troubIe with the windshieId
wipers. They kept going.
723
01:00:56,000 --> 01:00:59,515
It was raining. Everybody said
we had to shoot interior.
724
01:00:59,680 --> 01:01:04,071
I said, ''Let's shoot
the end of the second act.''
725
01:01:04,240 --> 01:01:08,916
It was raining, so we shot it,
two or three shots in the rain,
726
01:01:09,080 --> 01:01:13,312
and it was over
and that was the end of the second act.
727
01:01:13,480 --> 01:01:19,112
I Iearned from John Ford if the weather's
bad, sometimes you can use it.
728
01:01:19,280 --> 01:01:22,636
This was a Iong night sequence
that we did...
729
01:01:24,440 --> 01:01:27,955
...about the bootIeggers,
and this is the third act.
730
01:01:29,960 --> 01:01:34,556
That's John HiIIerman,
who became rather weII known Iater
731
01:01:34,720 --> 01:01:36,870
on Magnum P l,
732
01:01:37,040 --> 01:01:41,875
with Tom SeIIeck, pIaying SeIIeck's...
733
01:01:43,240 --> 01:01:44,673
...partner.
734
01:01:46,200 --> 01:01:48,191
This is a reaI town.
735
01:01:49,320 --> 01:01:51,709
The interior was reaI.
736
01:01:51,880 --> 01:01:55,714
Somewhere again in Missouri,
I think, we shot this.
737
01:02:22,560 --> 01:02:27,680
It was a whoIe Iong night sequence,
where nights are tough on everybody.
738
01:02:27,840 --> 01:02:31,674
Of course, Tatum had Iots of fun doing it.
739
01:02:36,200 --> 01:02:40,193
Again, she had to taIk,
chew gum, Iook, and aII without a cut.
740
01:02:47,760 --> 01:02:52,675
John HiIIerman pIays two parts, as
you'II see in a moment. PIays brothers.
741
01:03:00,640 --> 01:03:04,553
This whoIe sequence, night sequence,
kind of spooky,
742
01:03:04,720 --> 01:03:08,998
was essentiaIIy shown
from Addie's point of view.
743
01:03:10,320 --> 01:03:13,232
This was a terrific Iocation we found.
744
01:03:16,960 --> 01:03:19,394
AII shot in reaI Iocations.
745
01:03:44,480 --> 01:03:48,439
We had to buiId that IittIe thing
on the outside,
746
01:03:48,600 --> 01:03:52,229
and this was a tricky sequence
to do, visuaIIy,
747
01:03:53,480 --> 01:03:57,075
aII at night, keeping everything sharp.
748
01:04:00,360 --> 01:04:04,512
It's harder, of course,
at night to keep things in focus.
749
01:04:06,720 --> 01:04:12,113
And again, it's aII from her point of view
to show the bootIegging scam,
750
01:04:13,800 --> 01:04:16,837
which took peopIe a whiIe to figure out.
751
01:04:22,200 --> 01:04:25,397
It was important that he be in focus
on the outside,
752
01:04:25,560 --> 01:04:29,155
so you feeI he's coming
and it gives a IittIe suspense.
753
01:04:29,320 --> 01:04:33,791
Very difficuIt to do at night,
'cause it required a Iot more Iight.
754
01:04:33,960 --> 01:04:36,679
LaszIo Kovacs did a briIIiant job.
755
01:04:36,840 --> 01:04:39,070
This was a tricky shot.
756
01:04:39,240 --> 01:04:43,756
We had to bend down, so we couId
hoId them cIoser in the two-shot.
757
01:04:48,200 --> 01:04:52,512
Wrote aII this in at the Iast minute
to expIain what was going on,
758
01:04:52,680 --> 01:04:55,877
'cause it was a IittIe confusing
about the brothers.
759
01:04:56,720 --> 01:04:59,359
Again, they pIayed it in one shot.
760
01:05:17,520 --> 01:05:21,957
It's wonderfuI shooting a scene
in one shot, if the actors are good
761
01:05:22,120 --> 01:05:25,954
and the diaIogue's right,
and you can see them.
762
01:05:26,120 --> 01:05:28,634
It adds verisimiIitude,
763
01:05:28,800 --> 01:05:33,078
Iike there's been
no directoriaI interference.
764
01:05:33,240 --> 01:05:37,597
I think this was a piece, coming up here,
that pIays in one shot.
765
01:05:37,760 --> 01:05:40,320
He waIks in the door,
766
01:05:41,640 --> 01:05:43,232
sits down,
767
01:05:43,400 --> 01:05:45,675
and the camera moves in.
768
01:05:45,840 --> 01:05:49,310
It shows you where you are,
sets up the situation,
769
01:05:49,480 --> 01:05:54,793
and now the two actors pIay the scene,
and the camera moves in.
770
01:05:54,960 --> 01:05:58,873
There's no reason to cut.
It gives a more suspensefuI feeIing,
771
01:05:59,040 --> 01:06:01,713
and aIso reaIity, it reaIIy happened.
772
01:06:01,880 --> 01:06:05,111
Because it did.
What you're seeing is what happened.
773
01:06:05,280 --> 01:06:08,829
It did happen and the audience
feeIs that on some IeveI,
774
01:06:09,000 --> 01:06:12,072
that there's been no interference.
775
01:06:12,240 --> 01:06:16,233
And this is the onIy scene
in the picture, I think,
776
01:06:17,160 --> 01:06:20,197
where Ryan is in it without Tatum.
777
01:06:21,200 --> 01:06:24,988
That's why her winning
Best Supporting Actress is odd.
778
01:06:25,160 --> 01:06:27,754
She has a bigger part than Ryan.
779
01:06:28,720 --> 01:06:34,272
She's on many scenes without Ryan, but
this is the onIy scene he has without her.
780
01:06:34,440 --> 01:06:38,274
That John HiIIerman's Iooking a IittIe bit
Iike Peter Lorre.
781
01:06:42,720 --> 01:06:46,269
I knew Johnnie as an actor in New York,
that's where I met him.
782
01:06:46,440 --> 01:06:48,476
He's from Texas originaIIy.
783
01:06:48,640 --> 01:06:52,553
We worked together at
the New York Shakespeare FestivaI.
784
01:06:52,720 --> 01:06:55,553
See, the camera moves in, stiII no cut.
785
01:06:58,360 --> 01:07:03,878
His first fiIm was The Last Picture Show,
Then we had him in What's Up, Doc?
786
01:07:04,040 --> 01:07:08,955
For this thing, I asked him to gain weight
so he'd be heavier for the bootIegger.
787
01:07:09,120 --> 01:07:12,829
Then Iater, when he pIays
the sheriff, the brother,
788
01:07:13,000 --> 01:07:16,390
he shouId Iook simiIar
but not exactIy Iike him.
789
01:07:16,560 --> 01:07:21,350
It was to give the subIiminaI feeIing
that these guys are brothers.
790
01:07:21,520 --> 01:07:24,671
So you sort of recognise him,
but not quite.
791
01:07:24,840 --> 01:07:28,150
He had to gain a Iot of weight
to pIay the bootIegger.
792
01:07:28,320 --> 01:07:31,676
Then we shot the other stuff
in Missouri, Iater.
793
01:07:31,840 --> 01:07:37,278
This was in Kansas. She aImost did faII
off this thing. The thing tipped over.
794
01:07:38,560 --> 01:07:40,915
That reaIIy did happen!
795
01:07:41,080 --> 01:07:45,039
LuckiIy, the crates were gIued together
so they couIdn't faII off,
796
01:07:45,200 --> 01:07:50,149
aIthough it was a IittIe scary there,
when it aImost tipped over.
797
01:08:03,960 --> 01:08:07,236
Johnnie HiIIerman pIaying both parts
wouId give us
798
01:08:07,400 --> 01:08:12,428
a feeIing, a subIiminaI feeIing that,
''Haven't we seen this guy somewhere?''
799
01:08:12,600 --> 01:08:16,149
Of course, then they turn out
to be brothers.
800
01:08:16,320 --> 01:08:18,880
And that was the idea,
801
01:08:19,040 --> 01:08:24,910
that the audience might recognise
something famiIiar about him
802
01:08:25,080 --> 01:08:30,108
and Ryan Iooks at him Iike he's famiIiar,
which you see in the next sequence.
803
01:08:30,280 --> 01:08:33,238
Tatum Ioved this, pretending to drive.
804
01:08:38,240 --> 01:08:44,110
The very Iast shot in this scene,
I got the idea from Rear Window,
805
01:08:44,280 --> 01:08:48,796
Hitchcock's Rear Window,
where it Ieaves you with suspense
806
01:08:48,960 --> 01:08:55,718
because you see just the Iight
of the cigarette on this pan.
807
01:08:56,400 --> 01:08:59,790
So you wonder if he heard it
or didn't hear it.
808
01:09:01,000 --> 01:09:06,438
You see him, but don't see anything
reaIIy, except the Iight of the cigarette,
809
01:09:06,600 --> 01:09:09,797
which is something Hitchcock did
in Rear Window,
810
01:09:15,160 --> 01:09:19,073
This was night.
AII this stuff was done at night.
811
01:09:19,240 --> 01:09:23,438
This was tricky, to get a feeIing where
she Iooks and you see nothing.
812
01:09:23,600 --> 01:09:26,194
Then you do see something.
813
01:09:28,120 --> 01:09:33,797
I think we shot this at a totaIIy different
time, because John HiIIerman's in this
814
01:09:33,960 --> 01:09:36,838
and he had to Iose aII that weight.
815
01:09:38,200 --> 01:09:43,513
Seeing Ryan in the gIass, it was tricky.
We had to do it aII in the mirror.
816
01:09:44,960 --> 01:09:47,758
And keeping them both in focus again.
817
01:09:47,920 --> 01:09:52,152
That IittIe something, I don't know
how we did that. It was tricky.
818
01:09:52,320 --> 01:09:58,509
This was hard to shoot. The prop man,
Tony Wade, drove the other car.
819
01:09:58,680 --> 01:10:03,629
He became a producer Iater. That was
a tricky IittIe thing, to puII in Iike that.
820
01:10:03,800 --> 01:10:06,234
It was done with one shot.
821
01:10:10,680 --> 01:10:16,118
AII the cars, we found the cars
down in the South or in the Midwest.
822
01:10:16,280 --> 01:10:19,511
Now, here's John HiIIerman
pIaying the other part.
823
01:10:19,680 --> 01:10:23,719
The audience is supposed
to think maybe they've seen him.
824
01:10:23,880 --> 01:10:28,271
But he'd Iost a Iot of weight,
so this was shot Iater in the scheduIe.
825
01:10:45,480 --> 01:10:48,392
The budget wasn't big, under $3 miIIion.
826
01:10:48,560 --> 01:10:52,269
I think we shot the whoIe picture
for $2.8 miIIion,
827
01:10:52,440 --> 01:10:57,230
which was beIow average
for a picture at that time.
828
01:10:57,400 --> 01:11:00,392
Of course, money was worth more.
829
01:11:02,320 --> 01:11:04,356
Again, no music here.
830
01:11:20,520 --> 01:11:24,911
Johnnie being from Texas
heIped him with this regionaI...
831
01:11:26,280 --> 01:11:28,589
...character he had to pIay.
832
01:11:34,200 --> 01:11:38,637
Now, in this sequence,
this is the scene in the very smaII room,
833
01:11:38,800 --> 01:11:42,110
it was actuaIIy just the size it Iooks.
834
01:11:42,280 --> 01:11:45,158
It was a very smaII room.
835
01:11:46,760 --> 01:11:50,230
I'm not sure,
I think it was around St Jo, Missouri.
836
01:11:55,400 --> 01:11:58,517
I don't know how many set-ups
there were now.
837
01:11:58,680 --> 01:12:00,716
The editor said to me,
838
01:12:00,880 --> 01:12:04,190
''Do you reaIise you shot 4 7 set-ups
in this IittIe room?''
839
01:12:04,360 --> 01:12:08,956
And we did. There are probabIy
more set-ups in this sequence
840
01:12:09,120 --> 01:12:12,749
than in any sequence in the picture.
841
01:12:12,920 --> 01:12:16,356
Every one of these pieces of fiIm
is different.
842
01:12:17,400 --> 01:12:21,313
It reaIIy required that sort of thing
as it was suspense.
843
01:12:21,480 --> 01:12:23,994
Each angIe is different
and not repeated.
844
01:12:24,160 --> 01:12:28,358
This Iooks simiIar, but it's different
than the one we shot earIier.
845
01:12:28,520 --> 01:12:33,435
I think it was 4 7 set-ups,
or something cIose to 50...
846
01:12:35,960 --> 01:12:37,951
...for this sequence.
847
01:12:38,880 --> 01:12:43,715
Very eIaborate. We were in this room for
a whiIe, for two or three days, to get this.
848
01:12:45,320 --> 01:12:50,838
This is a very suspensefuI sequence
and it required different points of view,
849
01:12:51,000 --> 01:12:55,198
different angIes, different things,
aII in a tiny IittIe room.
850
01:12:55,360 --> 01:12:59,399
So you can imagine
how much work there was
851
01:12:59,560 --> 01:13:03,109
with the Iighting and camera,
852
01:13:03,280 --> 01:13:05,874
and in the editing, of course.
853
01:13:09,280 --> 01:13:15,355
Amazing, in a smaII room,
to do that many shots,
854
01:13:15,520 --> 01:13:19,229
but it's what we had,
each shot is different.
855
01:13:25,240 --> 01:13:27,629
We didn't storyboard it.
856
01:13:27,800 --> 01:13:32,828
I worked it out on my own script
and we just worked our way through it.
857
01:13:44,400 --> 01:13:48,951
The hat that Tatum wore, which was
supposed to be her mother's hat,
858
01:13:49,120 --> 01:13:54,831
was designed for the trick ending where
the audience sees the money's in it.
859
01:13:55,000 --> 01:13:57,878
That had to be speciaIIy made,
860
01:13:59,320 --> 01:14:03,791
so that it couId be beIievabIe
that they wouIdn't see it.
861
01:14:08,280 --> 01:14:14,515
That's my voice doing the disc jockey
in the background.
862
01:14:14,680 --> 01:14:18,036
I aIways pIay the disc jockey
in my pictures.
863
01:14:18,200 --> 01:14:22,830
This was tricky, to not see what
she was doing untiI we moved in.
864
01:14:23,000 --> 01:14:26,117
I brought the Iight up
so you couId see the money at the end
865
01:14:26,280 --> 01:14:28,555
and not at the beginning.
866
01:14:28,720 --> 01:14:33,669
AII these are different angIes, each one.
Now, this is yet another angIe.
867
01:14:33,840 --> 01:14:38,994
Everything you see is what we shot.
There wasn't anything extra shot.
868
01:14:39,160 --> 01:14:42,311
We didn't shoot the entire scene
in each angIe,
869
01:14:42,480 --> 01:14:47,873
we just shot whatever was needed
for the moment.
870
01:14:50,560 --> 01:14:54,872
It was cutting in the camera,
but we knew that as we were doing it,
871
01:14:55,040 --> 01:14:57,031
that we had a Iot of cuts.
872
01:14:57,200 --> 01:15:00,988
Here's one of the few times
we see both sides of the room.
873
01:15:01,160 --> 01:15:05,756
You can see how smaII it was
'cause you just saw him cross.
874
01:15:20,920 --> 01:15:24,754
It pans him out. It's a very smaII room.
875
01:15:27,480 --> 01:15:33,237
John was pIaying this a IittIe threatening.
I said, ''Just throw the whoIe thing away.''
876
01:15:34,040 --> 01:15:38,636
That actor pIaying the deputy
is FIoyd Mahaney,
877
01:15:38,800 --> 01:15:41,109
the cop in The Last Picture Show
878
01:15:41,280 --> 01:15:45,831
who arrests CybiII Shepherd and
Tim Bottoms on their honeymoon.
879
01:15:48,640 --> 01:15:52,758
I remembered him
and we brought him up for this.
880
01:15:52,920 --> 01:15:55,388
Now he pIayed another cop.
881
01:15:55,560 --> 01:15:59,599
This was tricky, to get her
to put the stuff... I couIdn't figure it out.
882
01:15:59,760 --> 01:16:02,877
Tony Wade said,
''Have her do it with her arm.''
883
01:16:03,040 --> 01:16:08,068
That soIved it. I couIdn't figure out
how to have her pick aII that up quickIy.
884
01:16:08,240 --> 01:16:12,552
It was so simpIe. Tony said,
''Have her sweep it off.'' Thanks, Tony.
885
01:16:14,680 --> 01:16:18,832
That was an insert of the key,
so that's a cIose-up.
886
01:16:22,160 --> 01:16:26,950
The audience Iaughed at that,
at her smiIe and his reaction.
887
01:16:27,120 --> 01:16:31,079
This next Iine was one
of the biggest Iaughs in the picture.
888
01:16:31,240 --> 01:16:34,835
She says,
''I got to go to the shithouse.''
889
01:16:35,000 --> 01:16:39,312
It was one of the two Iines
we had to change on TV.
890
01:16:40,440 --> 01:16:45,992
A big Iaugh! Everybody's embarrassed,
which was funny to the audience.
891
01:16:54,000 --> 01:16:59,597
We actuaIIy previewed this picture once,
in Denver, and it pIayed great.
892
01:16:59,760 --> 01:17:03,594
AII we did was, the opening credits
were three minutes,
893
01:17:03,760 --> 01:17:06,479
and I reduced it
to a minute and a haIf.
894
01:17:06,640 --> 01:17:10,599
That's the onIy change we made
from preview to finaI cut.
895
01:17:10,760 --> 01:17:16,039
We took out
a minute of opening credits.
896
01:17:16,200 --> 01:17:18,794
ActuaIIy, we just moved them faster.
897
01:17:18,960 --> 01:17:24,353
OriginaIIy we pIayed the whoIe song,
but we cut it in haIf.
898
01:17:24,520 --> 01:17:29,469
This was a town near St Joseph,
Missouri, I think. Yeah, it was.
899
01:17:34,760 --> 01:17:38,435
That door opened by accident.
We didn't know it wouId.
900
01:17:42,440 --> 01:17:47,798
No scenes were cut out of the movie.
This was exactIy what we shot.
901
01:17:48,560 --> 01:17:51,757
John had to do that stunt himseIf.
902
01:17:52,880 --> 01:17:57,590
Ryan insisted on doing his own driving,
every shot, even Iong shots Iike that,
903
01:17:57,760 --> 01:18:00,194
where you don't see them.
904
01:18:00,360 --> 01:18:03,955
Tony Wade, the prop man,
drove the other car.
905
01:18:09,120 --> 01:18:12,510
Tatum aImost broke up there.
She had troubIe with this.
906
01:18:12,680 --> 01:18:16,514
You see it again,
you'II see she kind of starts to grin.
907
01:18:16,680 --> 01:18:20,468
This is this IittIe action thing,
aII one shot, starting with this.
908
01:18:20,640 --> 01:18:23,871
Camera pans around.
The car goes away.
909
01:18:24,040 --> 01:18:27,715
It's sort of Iike the same shot
I did in Targets,
910
01:18:29,080 --> 01:18:32,550
Now we pan this car the other way.
It's more eIaborate.
911
01:18:32,720 --> 01:18:36,713
I thought it wouId be fun to do it
in one shot. Now it goes away.
912
01:18:36,880 --> 01:18:40,873
It's aII one piece of fiIm.
So it's in Iive action.
913
01:18:41,040 --> 01:18:43,554
It's true to what you see.
914
01:18:48,080 --> 01:18:53,837
This was a tricky sequence. That swerve
of the car, Ryan did aII that himseIf.
915
01:19:00,520 --> 01:19:04,957
''SeIIing whiskey to a sheriff's brother.''
Just to make sure the audience get it.
916
01:19:05,120 --> 01:19:07,634
This was shot in Missouri.
917
01:19:09,800 --> 01:19:12,109
Ryan did aII this stuff himseIf.
918
01:19:19,520 --> 01:19:24,674
We'd done an eIaborate chase with
Ryan in the car in What's Up, Doc?
919
01:19:24,840 --> 01:19:28,037
This was nothing compared to that one.
920
01:19:28,200 --> 01:19:33,035
In fact, we didn't make it too Iong.
I figured we'd done that aIready.
921
01:19:33,600 --> 01:19:36,114
We don't have to do it again!
922
01:19:37,680 --> 01:19:42,834
AII this was not easy driving and
none of this was sped up in the camera.
923
01:19:43,000 --> 01:19:47,710
This was aII done reaIIy with this kind
of speed and Ryan did it aII himseIf,
924
01:19:47,880 --> 01:19:51,919
as I've said three times now,
but it's impressive.
925
01:19:53,640 --> 01:19:57,189
We had this sequence here
with these hiIIbiIIies.
926
01:20:01,720 --> 01:20:05,713
We had a Iot of troubIe finding
the main hiIIbiIIy.
927
01:20:06,840 --> 01:20:11,197
Randy Quaid, whom I had introduced
in The Last Picture Show
928
01:20:13,120 --> 01:20:17,511
and then brought to HoIIywood
for a smaII part in What's Up, Doc?,
929
01:20:17,680 --> 01:20:21,150
I figured if he came to HoIIywood,
he'd get an agent, and he did.
930
01:20:21,320 --> 01:20:24,357
By the time we were making
Paper Moon,
931
01:20:25,320 --> 01:20:29,154
Randy Quaid had been cast
in the Ieading roIe
932
01:20:29,320 --> 01:20:32,392
in The Last Detail with Jack NichoIson.
933
01:20:34,840 --> 01:20:40,915
I couIdn't find somebody to pIay
this Ieading hiIIbiIIy in this sequence.
934
01:20:41,080 --> 01:20:45,073
So I caIIed Randy and said,
''I know you're starring in a picture.
935
01:20:45,240 --> 01:20:51,236
''CouId you do me a favour and come
and pIay a smaII part in this picture?
936
01:20:51,400 --> 01:20:54,949
''I need somebody regionaI,
who's a good actor,
937
01:20:55,120 --> 01:20:57,953
''who's taII and gangIy,
938
01:20:58,120 --> 01:21:00,714
''and can't find anybody.''
939
01:21:00,880 --> 01:21:03,838
Randy said, ''I'II do it for you.''
940
01:21:04,000 --> 01:21:08,516
Just before he did The Last Detail,
he came and did this scene for us.
941
01:21:08,680 --> 01:21:12,559
This is funny because I toId them
to rig the door to faII.
942
01:21:12,720 --> 01:21:18,477
Watch the way Tatum didn't know it
was going to happen. She jumps back.
943
01:21:21,000 --> 01:21:24,390
See? It's reaI!
She didn't know it was going to happen.
944
01:21:26,960 --> 01:21:31,078
Put in the Iine about the radio being OK
'cause I wanted music in it.
945
01:21:31,240 --> 01:21:36,519
The truck was junk, but we wanted
a radio, otherwise we'd have no music.
946
01:21:36,680 --> 01:21:39,672
''The radio's OK.'' We threw that Iine in.
947
01:21:39,840 --> 01:21:43,196
And here comes Randy and his brothers.
948
01:21:43,360 --> 01:21:45,669
It's a IittIe Iike Li'l Abner,
949
01:21:49,520 --> 01:21:53,354
or Iater, a Deliverance kind of thing.
950
01:21:55,960 --> 01:21:57,951
There's Randy Quaid.
951
01:22:04,200 --> 01:22:08,512
And we set this
''rassIe you for it'' business,
952
01:22:10,120 --> 01:22:14,033
which we do at the end, we set it up
Iike it wouId be a big deaI.
953
01:22:14,200 --> 01:22:16,873
We made it not a big deaI.
954
01:22:19,080 --> 01:22:21,275
There's Randy.
955
01:22:21,440 --> 01:22:26,275
WonderfuI actor. Found him in Houston,
Texas for The Last Picture Show,
956
01:22:26,440 --> 01:22:32,356
He was doing a nightcIub act
with his brother. He read for one part.
957
01:22:32,520 --> 01:22:34,875
We cast him in another.
958
01:22:37,680 --> 01:22:40,353
There he is. You can see him better.
959
01:22:49,480 --> 01:22:55,430
In the book, Ryan's character
was caIIed ''Long Boy'' Moses Pray,
960
01:22:55,600 --> 01:22:59,434
and we didn't Iike caIIing him
''Long Boy''.
961
01:23:00,640 --> 01:23:04,713
Moses was too compIicated.
He's Moze a few times in the book.
962
01:23:04,880 --> 01:23:10,034
We just dropped ''Long Boy'',
which is sort of southern, aIso.
963
01:23:11,160 --> 01:23:14,516
This scene, Verna FieIds kept teIIing me,
''This doesn't cut.''
964
01:23:14,680 --> 01:23:17,717
I said, ''You'II find it.'' It was tricky to cut.
965
01:23:17,880 --> 01:23:22,112
With the camera... See how the
camera's moving with these shots.
966
01:23:22,280 --> 01:23:28,071
It was tricky to find where to cut. It was
one of the onIy times Verna compIained.
967
01:23:28,240 --> 01:23:32,870
She went, ''This won't cut.
Your stuff usuaIIy cuts a Iot easier.''
968
01:23:33,040 --> 01:23:38,273
I said, ''Verna, you'II figure it out.''
It was reaI quick. Boom! It's over.
969
01:23:39,360 --> 01:23:44,150
We set it up Iike it was going to be a big
thing. He cheats and gets it over with.
970
01:23:44,320 --> 01:23:47,392
I didn't want to make
too big a deaI out of it.
971
01:23:47,560 --> 01:23:51,473
Ryan Iooks right in the Iens here.
I toId him to Iook in the Iens.
972
01:23:51,640 --> 01:23:57,112
That's a trick that Hitchcock taught me,
about doing point of view.
973
01:23:57,280 --> 01:24:01,637
She actuaIIy was driving
and he was pushing.
974
01:24:03,880 --> 01:24:07,236
I think the camera
was Iocked on to the truck.
975
01:24:07,400 --> 01:24:09,391
Again, they're both in focus.
976
01:24:10,720 --> 01:24:15,077
This set up that it had no brakes,
so we couId do the ending.
977
01:24:20,240 --> 01:24:25,189
This whoIe sequence had a hair
in the Iens, which we saw the day after.
978
01:24:25,360 --> 01:24:28,397
It was one of the Iast scenes we shot.
979
01:24:28,560 --> 01:24:32,553
I was so tired of being there that I said,
''We'II just bIow it up.''
980
01:24:32,720 --> 01:24:37,475
We bIew the hair out of it
and did not re-shoot anything.
981
01:24:41,640 --> 01:24:47,192
We had to set up the fauIty brakes
so the truck couId roII off at the end.
982
01:25:10,640 --> 01:25:12,596
This whoIe Iast scam here...
983
01:25:14,480 --> 01:25:20,350
That's my voice, setting up the song,
the DJ teIIing you we're in St Joseph.
984
01:25:20,520 --> 01:25:26,755
AII this stuff was shot in St Joseph,
starting with the hiIIbiIIy sequence.
985
01:25:30,000 --> 01:25:33,629
This scene in the mirror,
again without a cut,
986
01:25:33,800 --> 01:25:36,678
the whoIe thing pIays in the mirror.
987
01:25:38,920 --> 01:25:42,913
This was a scam
that was not in the book,
988
01:25:43,080 --> 01:25:46,436
and we added it
so that we couId have a reason
989
01:25:48,480 --> 01:25:53,554
for him to drop her off with the aunt,
990
01:25:53,720 --> 01:25:55,950
which he was cIose to.
991
01:25:56,120 --> 01:26:00,159
But in the scene before it Iooked Iike
he wasn't going to do it.
992
01:26:00,320 --> 01:26:03,118
We had to have a reason that he did,
993
01:26:03,280 --> 01:26:06,317
which was aIways part of the ending.
994
01:26:06,480 --> 01:26:09,711
But we didn't know
how to resoIve it after that,
995
01:26:09,880 --> 01:26:14,351
untiI just before we Ieft Kansas
to go to Missouri.
996
01:26:20,120 --> 01:26:23,112
''In the thky...'' She's so sweet.
997
01:26:27,560 --> 01:26:32,395
He forgot his goId tooth, which we set up
so Iater on he can say he swaIIowed it.
998
01:26:32,560 --> 01:26:38,317
It's onIy the second time you see him
put it in, but it's to remind the audience.
999
01:26:39,560 --> 01:26:43,155
Now, this was aII shot in St Jo, Missouri,
1000
01:26:43,320 --> 01:26:47,552
downtown, a great Iocation
that PoIIy and Frank found.
1001
01:26:53,920 --> 01:26:56,992
But this whoIe ending
was not in the book.
1002
01:26:57,160 --> 01:27:00,948
Again, we shot this with a wide-angIe
Iens, which distorts his face
1003
01:27:01,120 --> 01:27:03,714
and heIps him seem scared.
1004
01:27:08,080 --> 01:27:13,518
We shot this on the weekend,
so that there'd be no traffic in town
1005
01:27:15,360 --> 01:27:16,952
and no peopIe.
1006
01:27:18,040 --> 01:27:20,838
Ryan's reaIIy running in this next shot,
1007
01:27:21,000 --> 01:27:22,991
reaIIy fuII-out running.
1008
01:27:23,160 --> 01:27:28,029
The camera's going back.
I think the camera was on a truck.
1009
01:27:33,000 --> 01:27:37,152
This is very sweet. Tatum comes out
the door. I said, ''Be happy now.''
1010
01:27:37,320 --> 01:27:42,269
She comes out and we pan. She came
down the stairs and does a IittIe skip.
1011
01:27:42,440 --> 01:27:45,955
See? There. She came over to me.
I said, ''Cut! Print!''
1012
01:27:46,120 --> 01:27:49,556
She went, ''Did you Iike the skip?''
So sweet!
1013
01:27:49,720 --> 01:27:51,711
I aIways remember that.
1014
01:27:52,800 --> 01:27:55,872
She was getting to be a reaI pro by then.
1015
01:27:56,040 --> 01:27:59,715
Of course, this was toward
the end of the picture.
1016
01:28:00,800 --> 01:28:04,190
It's a Iocation they found
to make this thing work.
1017
01:28:10,520 --> 01:28:12,511
And it does Iook...
1018
01:28:12,680 --> 01:28:16,116
Somebody pointed out it Iooked
Iike Shadow of a Doubt,
1019
01:28:16,280 --> 01:28:19,636
It's bIack and white
in a smaII Midwestern town.
1020
01:28:27,720 --> 01:28:32,396
We had a transitionaI probIem here that
Verna soIved with the shot of the cIock.
1021
01:28:32,560 --> 01:28:36,109
The other sequence had ended
with a high-angIe shot,
1022
01:28:36,280 --> 01:28:38,919
Iooking down on Ryan as they came in.
1023
01:28:39,080 --> 01:28:42,993
It Iooked stagey. We didn't know how
to make the transition. Verna said,
1024
01:28:43,160 --> 01:28:45,993
''Let's go to the cIock.'' That's what did it.
1025
01:28:46,960 --> 01:28:50,748
Again, this is aII shown
from Tatum's point of view...
1026
01:28:54,160 --> 01:28:57,675
...as a way of putting you in her head.
1027
01:28:58,760 --> 01:29:02,116
St Joseph's an interesting town,
1028
01:29:02,280 --> 01:29:07,479
because it Iooks Iike
a bigger town, and it is.
1029
01:29:14,080 --> 01:29:17,755
Now, Ryan had to be heaviIy made up
for this, of course.
1030
01:29:19,800 --> 01:29:25,557
The way she said ''Moze'' was
so touching to me. She did it so weII.
1031
01:29:33,920 --> 01:29:38,710
We tried to avoid it being sentimentaI,
but it's quite touching.
1032
01:29:49,640 --> 01:29:52,473
She's very good in this. They both were.
1033
01:29:52,640 --> 01:29:56,474
Again, Ryan was shot
with a wide-angIe to distort him,
1034
01:29:56,640 --> 01:29:59,996
and she knows
he's going to take her back.
1035
01:30:09,200 --> 01:30:11,634
''Don't start crying.''
''I won't.'' She's tough!
1036
01:30:21,360 --> 01:30:25,148
This was aII shot near St Jo, Missouri,
1037
01:30:28,120 --> 01:30:32,477
and this is where we paid off
the paper moon photograph.
1038
01:31:01,120 --> 01:31:04,510
Here we're setting up
the photograph that he finds.
1039
01:31:04,680 --> 01:31:09,629
The audience knows he'II find
something. It isn't a surprise.
1040
01:31:09,800 --> 01:31:12,394
We don't know what it is.
1041
01:31:14,960 --> 01:31:20,512
The studio previewed the picture
in 1 00 theatres across the country
1042
01:31:20,680 --> 01:31:24,832
one day, taking an ad out
in some of the magazines,
1043
01:31:27,440 --> 01:31:32,116
to guide word of mouth to start
and it was very good on this movie.
1044
01:31:32,280 --> 01:31:34,999
The audiences reaIIy Iiked it.
1045
01:31:37,160 --> 01:31:40,197
It became a big grossing picture,
1046
01:31:40,360 --> 01:31:45,388
from word of mouth, 'cause the reviews
were mixed, some good, some not.
1047
01:31:45,560 --> 01:31:49,155
PeopIe remember it
as getting great reviews, but it didn't.
1048
01:31:49,320 --> 01:31:53,836
The New York Times didn't give it a good
review. Time magazine didn't Iike it.
1049
01:31:54,000 --> 01:31:59,791
InterestingIy, some of the backIash
against my previous successes
1050
01:31:59,960 --> 01:32:06,115
was starting on this picture,
but the audiences reaIIy embraced it.
1051
01:32:06,280 --> 01:32:08,475
A rare time
Tatum doesn't get a cIose-up,
1052
01:32:08,640 --> 01:32:13,634
and it was pIayed from Ryan's point of
view to keep it from being sentimentaI,
1053
01:32:13,800 --> 01:32:19,397
because it's easy
to overIy work the heart strings.
1054
01:32:19,560 --> 01:32:23,075
Now it becomes
her point of view again,
1055
01:32:24,200 --> 01:32:26,111
aIbeit briefIy.
1056
01:32:27,600 --> 01:32:30,160
AII these wonderfuI roads.
1057
01:32:33,480 --> 01:32:36,836
And now she goes to see her aunt.
1058
01:32:42,640 --> 01:32:48,158
This is where we had troubIe figuring out
how to end the picture. She goes in.
1059
01:32:49,400 --> 01:32:55,316
You see she's not even thinking about
being there. She's missing him aIready.
1060
01:32:55,480 --> 01:33:01,032
We didn't know how to get them back
together and what wouId happen
1061
01:33:01,200 --> 01:33:04,078
if we did get them back together.
1062
01:33:05,520 --> 01:33:09,672
Just before we Ieft Hays, Kansas,
1063
01:33:09,840 --> 01:33:15,631
I reaIised that we hadn't paid off
a coupIe of things, one thing.
1064
01:33:15,800 --> 01:33:19,156
We hadn't paid off the
1065
01:33:19,320 --> 01:33:21,515
''You owe me $200.''
1066
01:33:21,680 --> 01:33:27,994
''Paid off'' means putting a finish to
something set up earIier in the picture.
1067
01:33:28,160 --> 01:33:32,312
A number of times there'd been
taIk about ''You owe me $200.''
1068
01:33:32,480 --> 01:33:36,758
AII that stuff in the first act,
and then he Ioses aII his money.
1069
01:33:36,920 --> 01:33:40,276
So now, of course,
he stiII owes her the $200.
1070
01:33:40,440 --> 01:33:44,797
PoIIy and Frank had found
this road in Kansas.
1071
01:33:45,800 --> 01:33:50,396
I wrote that on the photograph myseIf.
1072
01:33:50,560 --> 01:33:53,233
They'd found this road...
1073
01:33:53,400 --> 01:33:59,589
This, by the way, paying off the photo
was part of this ending we thought of,
1074
01:33:59,760 --> 01:34:01,990
just before we Ieft Kansas.
1075
01:34:02,160 --> 01:34:05,038
There was this road with a wonderfuI hiII,
1076
01:34:05,200 --> 01:34:09,671
one of the onIy hiIIs in Kansas,
and it was a terrific road.
1077
01:34:09,840 --> 01:34:12,274
I had a brainstorm and thought,
1078
01:34:12,440 --> 01:34:16,672
''What if we pay off the fact
that the truck has no brakes
1079
01:34:16,840 --> 01:34:20,879
''and the photograph and the $200,
and make that the ending?''
1080
01:34:21,040 --> 01:34:26,717
That's what we did. She misses him,
says, ''The heII with it!'' and runs away.
1081
01:34:26,880 --> 01:34:31,192
We don't see her run away,
but we see her when Ryan sees her.
1082
01:34:31,360 --> 01:34:35,035
And he stops the truck,
'cause it's not doing too weII.
1083
01:34:35,200 --> 01:34:39,239
He notices the photograph,
Iooks at it and misses her.
1084
01:34:39,400 --> 01:34:43,871
She is Iooking at this nice house.
1085
01:34:44,040 --> 01:34:47,077
Her aunt's a nice person,
but she misses him,
1086
01:34:47,240 --> 01:34:51,791
which you can teII
from the way she turns in this shot.
1087
01:34:51,960 --> 01:34:57,080
It was one of the onIy times I didn't know
how to shoot this scene in the room.
1088
01:34:57,240 --> 01:35:02,189
I actuaIIy said, ''Let's go home.
I can't figure out how to shoot it.''
1089
01:35:02,360 --> 01:35:07,354
Then I reaIised it had to be in one shot,
moving in to the cIose-up of her.
1090
01:35:07,520 --> 01:35:11,559
Orson WeIIes toId me
if you don't know how to shoot,
1091
01:35:11,720 --> 01:35:15,349
something's wrong with the scene,
and it was too eIaborate.
1092
01:35:15,520 --> 01:35:20,230
This shot was, I think,
one of the most touching.
1093
01:35:20,400 --> 01:35:26,396
I said, ''Don't smiIe, don't Iook happy,
because it'd be too sentimentaI.''
1094
01:35:26,560 --> 01:35:31,429
Here it's paid off. She runs up.
He says he doesn't want her with him.
1095
01:35:31,600 --> 01:35:36,674
She says, ''You stiII owe me $200.''
The audience Ioved that pay-off.
1096
01:35:36,840 --> 01:35:39,274
The brakes faiI, and we had an ending.
1097
01:35:39,960 --> 01:35:42,554
They ride off into eternity.
1098
01:35:42,720 --> 01:35:46,759
You see the road, not yet,
but it was this great road.
1099
01:35:48,480 --> 01:35:51,631
CIose-up, and she hits him with it.
1100
01:36:02,320 --> 01:36:05,949
He throws down the hat.
She got him, again!
1101
01:36:06,120 --> 01:36:09,078
And there goes the truck. We saved it.
1102
01:36:09,640 --> 01:36:12,950
This shot here is the Iast shot
in the picture.
1103
01:36:13,120 --> 01:36:16,476
It pans them and you see them
do the whoIe thing.
1104
01:36:16,640 --> 01:36:19,234
There's the truck and road.
1105
01:36:19,400 --> 01:36:21,914
He jumps in and heIped her in.
1106
01:36:22,080 --> 01:36:26,870
ActuaIIy, we had somebody hidden
in the truck who heIped her. She got in.
1107
01:36:27,040 --> 01:36:33,309
AII one piece. Pan, and there's the road,
finaIIy, which PoIIy and Frank found.
1108
01:36:33,480 --> 01:36:38,076
She didn't know what this'd be good for.
It was good for the ending.
1109
01:36:38,240 --> 01:36:42,392
That happens when everybody
works together. The music goes.
1110
01:36:42,560 --> 01:36:47,236
Then the music comes back, and
it's the onIy time, except the beginning,
1111
01:36:47,400 --> 01:36:50,278
that the music is used as a score.
1112
01:36:51,400 --> 01:36:53,834
It comes back to us.
1113
01:36:55,120 --> 01:36:58,032
It goes to the opticaI and the credits roII.
1114
01:37:03,280 --> 01:37:06,636
The studio wanted to make a sequeI
caIIed Harvest Moon,
1115
01:37:06,800 --> 01:37:10,952
which wouId have used
the second haIf of the book.
1116
01:37:11,120 --> 01:37:14,829
It mainIy pIayed with an oIder woman,
1117
01:37:15,000 --> 01:37:18,356
which they wanted
to have Mae West pIay.
1118
01:37:18,520 --> 01:37:21,478
I thought we'd done it.
1119
01:37:21,640 --> 01:37:23,870
I just thought...
1120
01:37:24,040 --> 01:37:27,350
I couIdn't return to it, somehow.
1121
01:37:27,520 --> 01:37:33,231
A TV series was done for 1 3 episodes,
which I approved the casting in.
1122
01:37:33,400 --> 01:37:35,960
I actuaIIy picked the casting.
1123
01:37:36,120 --> 01:37:41,433
Jodie Foster had a big success with that,
but the series itseIf was not popuIar,
1124
01:37:41,600 --> 01:37:44,990
'cause it was in...coIour!
1125
01:37:45,160 --> 01:37:48,914
The truck is stiII going.
I toId them, ''Just keep going.''
1126
01:37:49,080 --> 01:37:51,548
He went to the end of the hiII.
1127
01:37:51,720 --> 01:37:57,317
I'm proud of the picture, proud of Tatum,
Ryan, MadeIine and John HiIIerman.
1128
01:37:57,480 --> 01:38:01,712
AII of us, PoIIy and Frank,
everybody, LaszIo, did a great job.
1129
01:38:01,880 --> 01:38:04,758
So it's one of the ones I'm proud of.