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there's so much to know that you don't know
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um and I always found this to be
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something about film making
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no matter what the technology is
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you shouldn't be cowed by the technology
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you shouldn't be cowed by the
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the process in a sense
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you should have
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the kind of passion and bravery and ignorance
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I think to a certain extent
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of wanting to get something done
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you know it
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because if you really thought about making a picture
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if you really thought about it step by step you never
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you never do it
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it's always a situation where you wind up like
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three days into shooting or so
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two days and you say
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what have I done
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what was I thinking
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but you have to do it
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when it came to light
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I never really understood light
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I still really don't um
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I don't really need to
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I don't think
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I never really became something that was
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uh prominent um uh
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in designing scenes I uh
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I think a lot of that had to do
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took me years to
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to understand
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a lot of that had to do where I grew up
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I grew up in the
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actually the tenements
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and on Elizabeth Street in the 19
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late 40s or to the 50s and to the 60s
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and basically all I needed to know
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there was daylight at night
40
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yeah I didn't really
41
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it was dark
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it was dark
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there was maybe a light bulb in the hallway yeah um
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it wasn't complaining about
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any deprivation of nature's beauty
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it was where you were
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and it had its own beauty
48
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you know yes
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there's a nuance that I did learn on a daylight
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and a daylight situation
51
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that could be clouds
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and that could be sun
53
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I got that but aside from that
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where the sun is
55
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and where things to be shot at a certain time of day
56
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I really don't
57
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I still don't know
58
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I still don't know
59
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maybe that's why
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I like a lot of British cinematographers too
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because the overcast in the
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in that country
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but many of that
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I Learned to work very closely with
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directors of photography over the years
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and in designing the shots
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they would add the element of light
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I would change
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I would work it
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I began to understand something about it
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and so this is something that I think can be
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if not Learned
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um can be uh
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coexist with the uh
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necessity of making the film
76
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you deal with it
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you if you don't know something ask
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try it you know
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learn as much as you may forget afterwards
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but you learn a little bit each time
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a little more
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but it's something that shouldn't stop you
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if there are certain elements of actual production
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or how to get an image on screen or how to tell a story
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um you'll find your way through
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Freddy's work
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I had seen as a cinematographer
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but also he was camera operator on tales of Hoffman
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and a couple of other films of Paul Pressburger
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so he came out of that group and got to know him a bit
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um I was there
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the night he won the Academy Award for glory
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and said he was looking for a job
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and so I thought of possibly
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working with them on this film Cape Fear
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which was a
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film I hadn't planned to make
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and was an attempt at trying to make a
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extend or enrich a genre
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so to speak or
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or revise a genre possibly
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I don't know
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but in any event
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Freddy agreed to do it
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and Freddy had
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he had a set of five lenses that he used um
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on the innocence
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for example
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like I think
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I think I'm sons and lovers
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I'm not quite sure
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but must have been
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but in any event
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certainly the innocents
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um which is a beautiful film um
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that Jack Clayton directed
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based on turn of the
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The Turn of the Screw
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Henry James
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Deborah Carr
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extraordinary focus in the film
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in black and white scope
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black and white anamorphic
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but extraordinary deep focal length in this picture
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and there's Deborah Carr
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walking to the halls of this Victorian house
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um dark she's wearing a black
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a black dress
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which is very full
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but everything's in crisp
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crisp focus
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and I asked him
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how did he achieve that
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and he said he shot at F11
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which meant that it was the smallest opening
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and that means he had to pump in more light
137
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and I didn't fully understand this until later
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on Cape Fear
139
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when I would ask for certain scenes
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to be even more focused in terms of the characters
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this character in focus with that one and this one
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he said I he would always tell me why
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I think I can give you what you want
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if you give me a few moments
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which we did
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that's when I fully understood um
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the impact of
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the intensity of light
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to focus of the screen and focus of the image
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imagine Greg Tolen or best years of our lives
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a citizen gained
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all that deep
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vocal length work must have incorporated extraordinary
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uh lighting
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um the heat of the lighting
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the intensity and uh
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I mean naturally
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you're talking to
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you know somebody here who uh
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I'm I'm speaking from a different experience I I
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the impulse for me to make movies was
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the New York independent cinema
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Cassa Eddie
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Shirley Clarke
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very often um
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a number of people who did those
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from something Bear Bryant shot
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Cool World very often we using available light
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this is inspired from the French New Wave
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that sort of thing
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available light is always
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isn't always available light by the way
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there's always some fill or something like that
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but many of that
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it was lighter equipment
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I didn't understand the necessity of arc lights
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and the power of the heat
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for focus and so on
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Cape Fear that
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that was a revelation
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he had a sense of
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transforming the image
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there was a moment in another words a shot of an eye
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I would say a shot of two eyes person looking
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there's a shot of two eyes unless you interpret it
186
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yeah one point I remember very clearly
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I designed this action sequence at the end of the film
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in a storm at Cape Fear
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the actual Cape Fear
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boats are flying around
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house boats and that sort of thing
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prior to the
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the boat breaking
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there's Nick Nolty staring through the window
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through Venetian blinds
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a storm tossed houseboat of his wife
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played by Jessica Lyon
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being terrorized by Robert De Niros
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Max Katie um
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and I said he's
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he's out there
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he's looking through the window
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there's Venetian blinds were on the eyes
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and there's um
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rain hitting the window
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so it's streaking and that sort of thing
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and we lined up the shot in
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in anamorphic and two eyes
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and I told Freddy
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it doesn't feel right it doesn't
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it's just a shot of two eyes looking through window
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and so he said
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one eye I said
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what do you mean he said
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just show one eye
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when he did that
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it took on some other aspect
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and that is that
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it was like something from the ocean depths
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when you didn't quite know what it was at first
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and you realize it's an eye covered
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with the raindrops covered with the shadow light
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all kinds of things
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so that it it
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it created a mystery um
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understanding of how to tell a story with pictures
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that was extraordinary for that
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for that mood and tone
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and from the one I
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we tracked out I believe
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but this is the kind of thing
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it was really
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kind of a learning experience for me and I
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I also kind of bothered him a lot
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because I would ask him
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about how he shot certain things in his films
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and then say
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well we have to get going
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cause will you give me a few minutes
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and stop asking me questions
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I could work so um
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but he was extremely um um
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gentlemanly about it um
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and the it reminds me of the story
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and I've just been
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telling some people about this for a while now
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but he was the camera operator on this
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valiant effort to do a version of Moby Dick
249
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that John Euston did 1956
250
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but on that film
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Freddy was camera operator
252
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and he was told at one point by Euston to
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go and get a few shots of whales
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in the North Sea
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and obviously
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sending to the spot where the whales are in
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the fins come up
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and that sort of thing
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and you know
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three script
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Technicolor
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big camera and he brought it back
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he went there
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shot it brought it back to London
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they screened it
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and he looked at Houston
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Houston said well
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it's a shot of a whale
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right it had very little interpretation
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and so um this is the lesson I Learned
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it is still
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it's simply saying okay
273
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we're gonna get a shot at the door
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we're gonna get a shot at the car
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well what's the angle
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what's the light
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is it moving
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is not moving
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I've seen that sometimes
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where I start to work on an image
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of a telephone
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for example
283
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infinite amount of ways to do that
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I'm talking about a landline
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infinite amount of ways
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and it needs a lot of thought yeah
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which leads to the use of inserts
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which leads to press on
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and Hitchcock and a number of others but
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with Freddy
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it was a very
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very interesting experience because it took me to the
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um the old prose in a way
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as opposed to other directors of photography
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I've been working with up to that time
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um not to to not saying
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not to to say that one was superior to the other
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it's a different thing
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