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one of the key things
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no matter how great a screenplay is
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or matter what form it takes really
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one has to remember that um
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it's not the final project
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the final product is the film
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so the screenplay is a step to get to the film
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and a lot of things could happen
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between the two stages of development so to speak
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terrific director
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filmmaker named Alexander Mckendrick
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said that scripts aren't written
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they're rewritten
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I remember once
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I was trying to work with a really great writer
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and it was a friend
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a friend of mine warned me listen
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this guy's great
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he said but you only get one draft out of him um
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for this writer
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one draft in his job was done
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uh but for me
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it wasn't done
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I mean working that way
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I had to find uh
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I have to find that for me
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it's somewhat
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it's really just the beginning
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I have to go further with it
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I mean I read the draft
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and then you know
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I read the draft
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and I react to it
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in terms of what I'm seeing in my mind
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or it sparks something new for me
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and we build on that
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and we alter it
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and then the next rep sparks something else
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and so on and so on and we
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it really is a process of discovery
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but primarily
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in the case of coming up with an idea
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or having a theme that I want to explore
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or working on an adaptation of a novel or um
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a adaptation or should say non fiction material
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in a sense particularly non fiction material
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is just the beginning in terms of the script
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especially if you don't have a structural concept
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you know visual structural concept
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and it's not on the page yet
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it's almost a matter of of
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taking it down and in a sense
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and distilling the non fictional source material
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until you get it to the size of a film in a way
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I think it was the story of Sartre writing
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Freud for John Euston
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when he came in
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the screenplay was 200 pages
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and Houston
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and this is paraphrasing
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Houston supposedly said
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what's really good
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but it's too long
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could you go back and see
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yeah I can't
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you said I think I can make it even clearer
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and said good
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go ahead and do that
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it came back with the screenplay of 300 pages
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and it was clearer
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it's just that it still wasn't
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it wasn't a picture that used to make at that time
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under low circumstances
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I love the richness of
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elements that we put into the film based on research
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um the rules of the world
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of the picture reveal themselves as it
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as you develop it
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so your research into the way of life
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or the period
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or the yeah
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particular customs and habits
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of a particular part of the world are gonna
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are gonna be something that
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you must feel comfortable with something
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that you couldn't
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you couldn't rely on
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something that gives you the bedrock of the picture
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but again um
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it's really important not to let the research
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lead you away from
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what sparked you making the film in the first place
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when we were researching
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oh The Age of Innocence
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Gangs of New York
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and silence um
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the research LED us into
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in a many fascinating directions
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and at times
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these directions
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could have threatened to overwhelm the entire picture
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but again you have to keep remembering okay
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this is fascinating and rich
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but it's leading me away from what drew me
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and excited me to take certain things to
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uh let's say
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in the case of age of innocence which was um
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fascinating
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because we were able to go into the story
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discover the actual families
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that the families in the book were based upon
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and then do some research to get a sense
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of the type of paintings they had in their houses
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um and then base our paintings on that
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actual paintings
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um but again
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we didn't lock ourselves into anything
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this was an enjoyment of the process
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in a way um
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accuracy is good
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but it's it's a
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well there's a
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there's a famous quote there's a
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there's nothing more boring than accuracy on a film
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so one has to have a sense of how to use it and how to
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transform it
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you know and in the case of silence
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for example
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the research
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was something that had done over period of years
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cause I have to feel comfortable with
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as much as possible with 17 century Japan
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by the end of the
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the film um
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character Rodriguez is laid to rest
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played by Andrew Garfield
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and we had it worked out so that he's laid out
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in his in his wooden coffin
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and his wife is allowed to
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see him for the last time etc
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and during the
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during the progress of the pre production
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we Learned that the
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it's a Buddhist ceremony
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and he's not laid out
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he's buried in a barrel they say
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which changed the look of the shot of course
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and also changed the
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the staging of the film
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and the same
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because the way the wife had to move in
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and place the memento Mori in his hands
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the guards watching her
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all of this changed
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the whole tone changed
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and I must say
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what I mean by the tone
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is that even the tone on set changed
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so then we see the barrel
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and we see all the paraphernalia of the Buddhist ritual
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for the dead
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this created
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kind of dictated the framing dictated
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sound and the movement of the actors
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so was a major change was like making a different film
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this is really important in the scripting
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which usually comes by way of lots of discussion
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days and days
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and then weeks and weeks
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but also in rehearsals
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but the rehearsals
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become almost writing sessions in a way
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Wolf of Wall Street was very much that way
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at point times in the rehearsal sec
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rehearsals of Wolf of Wall Street
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I'd have to tell the actors to
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take it to a certain point
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stop and save it for the cameras
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because I knew I'd be going there
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and I knew that I would shape it in the cutting
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in certain ways
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between Leo and Jonah Hill and all the others
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Margo and that sort of thing so um
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getting the actors involved with saying
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in the characters
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casino you know
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Daenerys character
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and Sharon Stone and
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and Joe Pesci
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I mean the conception of who the character is
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sometimes changes subtly and sometimes changes greatly
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but we're really trying to find
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in that particular instance
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truth for the characters
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so that if something
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develops a different way in the scene
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they know how to move
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so that it's within character
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they know how to respond
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so that's within character
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cause you got to explain something constantly
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to see the actor
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about the world that they're in
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um and that
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this person wouldn't say that to that kind of person
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or she wouldn't move here she would
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then it's a matter of
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then it's just a matter of recasting at that point
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Taxi Driver was so strongly scripted
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that it allowed us to open up two or three scenes
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not much but two or three scenes
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a couple of
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one scene I think
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one or two scenes with Harvey Chi
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telling and Robert De Niro
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where we improvise
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we improvise
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improvise dialogue from a rehearsal
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from rehearsal and to the street
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when we shot the scene
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some stuff was kind of reconstructed
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with the civil chapernale
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the Brooks but
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but primarily the
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the most exciting
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and call improvisation
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or happening
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use an old term on camera
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was Robert De Niro in front of the mirror
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and that was in the last week of shooting
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and that's when we were over schedule
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and I knew that it's written in the script
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that he's practicing
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with these guns and this sort of thing and devices
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in front of the mirror um
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and he's acting out this fantasy
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but I want him to
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I want him to say something
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I really didn't have much I could offer
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we find ourselves sneaking the scene into the schedule
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and um him what you see on screen
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is really him revving up and finding that moment
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finding that character fully
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but that really took I'd say
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about eight weeks of shooting before getting to that
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and we shot up within two hours
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you know um
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already pushing against the end of the day
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so was not a relaxed easy
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what I mean by easy
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nothing's easy
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but what I mean is a relaxed atmosphere
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so to speak
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in fact we had to lock the doors
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and keep the assistant director out
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because they kept pushing us to finish
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and I guess I'm
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give me five minutes
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two minutes here
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so you know
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but this this allowed itself
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I think allowed itself to
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the combination of the actors myself
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cameraman all of us
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and the script
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we were allowed
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or the script allowed us
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to open it up in places that we don't think it might be
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those disagree of course
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but we don't think that it
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disturbed the structure of the story
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of course Goodfellas and casino was something entirely
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different they were very clearly written
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but then we went from the page and open those scenes
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same thing particularly in Goodfellas you know
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and then of course
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what you really hope for
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particularly in films
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Casino Goodfellas let's say
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or Wolf of Wall Street
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what happens on the set
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and it's always rewritten on the set right there
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meaning that you will
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you need to allow the life to come through you know
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because you depicting worlds have a lot of life in them
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you know in a very overt way um
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and so that gets us up to a point
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where you get into the editing room
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and that's rewritten there too
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sometimes dramatically altering the structure
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or in some cases
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you do add narration
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or you try not to add narration to explain
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to explain the progression of the story
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like exposition
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but kind of another element of
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of commentary
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or you do something small but significant
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that changes the whole tone of the picture
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so it is to a certain extent you really
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you rewrite it
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and you rewrite it again and you rewrite it again
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and then you rewrite it sometimes in the final mix
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you know uh
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and some people well
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we always find
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we take it even to the color correction at this point
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I found that at times
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in terms of shooting a film
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some films that have a pretty strong plot point
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plot line I was able to go in with the actors
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with the writer
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and rework each scene consistently
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to the point of
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staying on track with the plot
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but changing characters
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changing motivations
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all sorts of things all the way through
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and experimenting and trying different things
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all the way to the point where
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I think keeping one character
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in this case
323
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it was Vera Farmiga in the departed
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keeping her to the end
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because I wanted to see how we could incorporate
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as best we could in that world
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that film The Departed
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how you couldn't cooperate
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her character um
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since she is non active that way
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they're all very active
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you know and so um
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the same thing with Leo
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we'd worked on with the Bill Monaghan and ourselves
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and the script Matt Damon
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Alec Baldwin
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Mark Wahlberg
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everybody basically
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and Jack Nicholson of course
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and so all of this changed radically
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while we were shooting the film
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you see and so uh
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it was constantly
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constantly going off into new territory
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and sometimes it made out of work
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I don't know
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in terms of my own head
348
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while I was shooting it and thinking well
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maybe I'll try it
350
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I don't know
351
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and then finding we had to come back to the plot
352
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so to speak
353
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I was joke about that
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but it's not funny
355
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it's not a um
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it's not meant to be funny
357
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it's it's uh
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ironic uh uh
359
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I like the plot very much
360
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but I found I was um um
361
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feeling straight laced about it
362
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and so I wanted to open up character
363
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in the world of the fatalistic Irish
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Catholicism and the underworld
365
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you know in Boston
366
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and so we just pushed him
367
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push him push him
368
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finally was redone completely
369
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in the editing
370
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we figured out new scenes to shoot
371
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shot them for four days
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put them in the picture
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and that's the final picture
374
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but it was a work in progress
375
00:13:51,400 --> 00:13:54,966
more than a number of other films I made over the years
376
00:13:54,966 --> 00:13:57,433
so talking about
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new elements
378
00:14:00,566 --> 00:14:03,599
for example um oh
379
00:14:04,100 --> 00:14:06,266
there's a scene with Jack Nicholson and Matt Damon
380
00:14:07,133 --> 00:14:09,299
in which he taunts Matt
381
00:14:10,000 --> 00:14:11,800
but his manhood you know
382
00:14:11,900 --> 00:14:13,566
and there was a lot of friction
383
00:14:13,566 --> 00:14:15,999
a lot of tension in the scene that on set
384
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and during it
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I realized well
386
00:14:19,500 --> 00:14:20,600
Matt you know
387
00:14:20,600 --> 00:14:22,000
one thing is interesting
388
00:14:22,000 --> 00:14:23,700
since this element came up
389
00:14:23,766 --> 00:14:26,399
and the scene was in the movie theater I said
390
00:14:26,400 --> 00:14:30,266
what if part of the problem he's having with Madeline
391
00:14:30,266 --> 00:14:32,133
the fear farmingus character
392
00:14:32,133 --> 00:14:36,699
is his inability to perform as sexually
393
00:14:37,866 --> 00:14:40,266
and so this is something that
394
00:14:40,400 --> 00:14:42,733
Matt and I hit on at the same time
395
00:14:42,733 --> 00:14:44,433
and so later we shot another scene
396
00:14:46,466 --> 00:14:47,399
underlining that
397
00:14:47,400 --> 00:14:49,466
which also opened it up a little bit for
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00:14:49,466 --> 00:14:51,466
at least her attraction to Billy
399
00:14:51,566 --> 00:14:54,599
you see but this came out of something that happened
400
00:14:54,600 --> 00:14:55,900
with Jack and Matt
401
00:14:56,366 --> 00:14:57,733
and it started to go skew
402
00:14:57,733 --> 00:15:00,699
and we pulled it back and found another value
403
00:15:01,400 --> 00:15:03,833
and in a sense of
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00:15:04,066 --> 00:15:06,466
we thought enriched the character Matt
405
00:15:06,466 --> 00:15:08,299
Matt Damon's character in the picture
406
00:15:08,300 --> 00:15:09,800
there are many different instances
407
00:15:09,800 --> 00:15:10,966
of that sort of thing
408
00:15:11,200 --> 00:15:11,966
some succeed
409
00:15:11,966 --> 00:15:12,599
some don't some
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I don't know
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00:15:13,666 --> 00:15:14,333
some I don't know
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00:15:14,333 --> 00:15:15,533
people tell me if they're
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00:15:15,533 --> 00:15:16,999
if they think they succeed later on
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00:15:17,000 --> 00:15:17,666
people are watching
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00:15:17,666 --> 00:15:18,933
and that means anything to them
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00:15:18,933 --> 00:15:20,033
I have no idea
28417
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