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I felt that I had to learn how to make a picture faster
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cheaper um and still have um
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still have the energy in the film
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in fact go further with a certain kind of camera move
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and cutting in this sort of thing
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and when I first met Michael Ballhouse in
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Abby had gone through
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having gone through a series of films up about 1981
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came up to king of comedy
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and sort of
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the bottom fell out of everything after that
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but I did meet Michael
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when we were preparing last mutation of Christ in 1983
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and I'd seen his vast Bender films that he
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that he had shot
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and I wanted the
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a sense of um
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freedom with the camera again
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and freedom with light um
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in a sense I was
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I felt that with the bigger productions from uh
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as as as that's not the camera
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that's not the directors of photographies issue
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this had to do with the how a film is made
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the amount of people
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the amount of equipment
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I wanted to get something trimmer and faster you know
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and so I felt I should go back to
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independent style film making
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and I saw the Fastbender pictures
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and then followed up on that
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meeting Michael
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and we're gonna make last Temptation
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um but by the end of the year the film fell through
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and we were out in the diaspora
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so to speak
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out of Hollywood everywhere
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and can get a picture made
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but um finally
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it was time to start all over again I felt
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and we stumbled upon
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I think was Amy Robinson
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and Griffin Dunn gave me the script of after hours
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and so um um
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I thought this was a good opportunity to
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try to learn how to make a picture again
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and also a project
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of course that I really responded to
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because of the nature of the
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of the story
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in the character being out of his element
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and being in a place
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where he couldn't believe anyone or anything
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and he sort of trapped um
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and I thought this was
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that's way I felt myself at the time
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um and so uh
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I called on Michael again there
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and that's the first time we really had
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the ability to work together
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we shot it in 40 nights
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averaging about 25 to 26 set UPS a night
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and so Michael um
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would be on the set
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and it was you know
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downtown somewhere and the old Soho
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which at that time was really isolated at night
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there's nobody there uh
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and I'd get there and I'd be kind of grumpy um
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concerned about getting everything done
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proving to myself
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I can get something shot in a more efficient manner
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that still had everything I wanted
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not quite sure this particular scene
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and he would look at me and says ah
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but tonight
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tonight we do the shot that begins on the chair
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tracks up goes around
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the face comes over to the telephone
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goes to the jukebox as whole
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you're right
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you're right
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yeah yeah that's something
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so we don't do it first
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no no of course not
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we're gonna do it a little later
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because I have certain lighting issues okay okay
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but he gave me something to look forward to
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and brought back the excitement
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and the love of the process
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you know he said look this
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we're gonna have some fun tonight
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I mean and fun
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I use that word fun for many different things
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won't get have fun at say well
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we're gonna have some fun
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and ironic tone of course
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but it really was bringing back to me um
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the energy and the excitement of film making
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that he reinstilled in me
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and I remind you
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I had designed all these shots
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and drawings and diagrams
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smaller storyboards in a way
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on the edge of the script
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rather than in bigger drawings
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but Ballhouse studied them and made his own versions
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um trans transferred them to his script and made as any
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studied the shot
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study the understanding
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tried to understand how the camera would move
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the use of the lens
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which lens size lens
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all sorts of things
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nest then transferred over to Last Temptation of Christ
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when we were shooting in Morocco
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um a very very
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very low budget film
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the whole picture was designed on paper
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mainly because uh
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that's the way I always design a
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a film as much as possible
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but even more so in that case
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because I knew that
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if I had the chance to make the picture
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it was going to be very
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um a very low budget
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and I had to shoot very quickly
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so I can know exactly what I wanted
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in terms of the framing
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camera movements
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editing and that sort of thing
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the first day of shooting we knew it
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we understood that it was going to be an arduous shoot
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and after the second setup
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where just trying to set up a tripod
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and the ground and things falling
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and he looked at us and said well
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this is the way this film is gonna be
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every movement we make
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everything we set up
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is going to be hard to do
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so just accept it now
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which which we did
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which we did
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and we worked as furiously as possible
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and later on
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to one point
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things were so difficult
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and I was so
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in despair about losing time
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and not getting the right amount of extras
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and this sort of thing I
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and I was just sitting there one point
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I think about eight weeks into shooting saying
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well I said I
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maybe I should have waited
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maybe I should have waited
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to have more money in the budget
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maybe I should have waited not knowing
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I waited six years
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seven years you know
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you know to take the opportunity to make the film
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then at a very
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very low budget
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and he said to me
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no no he said
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this film has to be made this way
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um the um arduousness
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um the physicality
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um and the if one could term it
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suffering that had to be done
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that's the nature of this work
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of this particular film
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not that any film is luxurious in that way but um
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this really um
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became more than making a film
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it became a life experience
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and he was the one to point that out to me
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we had one company move from Marrakesh to
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um Marrakesh
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we shot outside Marrakesh
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a little village called umran
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about 25 minutes outside of Marrakesh
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then we had one company moved to a city called Mac Ness
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which gave a flavor of an urban center
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suggesting Jerusalem
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we thought um
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and so that was one big company move in
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that meant it was
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we couldn't afford a third
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we wanted to go to another place once as that
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but we couldn't do it
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and so um the only thing was that we found a quarry uh
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for the crucifixion that um
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was really very
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very good we thought
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and um we wanted to keep the crucifixion
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for the end of the film
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the shooting
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but we had to shoot it in the middle
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and in order to take advantage of this
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this location
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and I had designed
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and I remember very clearly 75 shots
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whether they were notes
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or whether they were drawings didn't matter
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that they would design that figure
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25 shots a day
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right now it's a very hard scene to stage
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um but we were under such uh
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uh pressure
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particularly because we've gone days over schedule
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and running out of money um
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that we had to make that move at that time
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and remember him and my ad and my producer
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sitting in a small room um
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five days before shooting
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or four days before shooting the crucifixion scene
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and going through all the shots
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and saying okay
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instead of three days for these 75 shots
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we have two
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so
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what could we lose
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and it became 50 shots
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25 and 25 and we got them all
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and how he did that was
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referring back to something to do with Fastpend
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in particular
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film called beware the Holy Whore
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where I think
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a few days into shooting
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Fastbender fired the lead actor
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and then took the role himself
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and so they had to reshoot everything
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that they had shot for those three days
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in one day and night
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and how they worked it out was timing it so that
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for example
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in the crucifixion scene
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if the first shot we would give 10 minutes
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the fourth shot was a little more complicated
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15 if it goes to 17 we have to move on
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accept what we have and move on
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um there was one shot uh
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where Willem Dafoe cries out
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you know Father Father
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why be forsaken
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me I think in the camera twists and turns said that's
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that's 45 minutes
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and that's how we did it
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that's how we did it
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when just literally within that 10 minutes
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I used to call it quality time
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we be intent on getting what we need to get
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or if not shooting extra two takes
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squeezing it in to
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to figure out later
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certain elements of the different takes
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which one of go with in the editing
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that was a very
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logical and a very
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also passionate way of going about it
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saying we're going to get it
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but we'll have to combine these 75 shots into fifty
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and we'll have 25 setups a day or 26
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we can do it
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and the thing was like a commando group
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we got there in the dark and the moment light broke
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we started shooting immediately
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and it was like being in
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a battle of some kind very very physical
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he always made it clear to me about the
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the value of what we were doing in that particular shot
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of that particular day you know
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and so what to go for
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what to emphasize
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what I mean is what to go for what to
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when I say go for
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means where to put the energy
282
00:11:08,366 --> 00:11:10,399
um and what to look forward to
283
00:11:10,400 --> 00:11:12,666
he was very clear about um
284
00:11:13,266 --> 00:11:14,599
in a case like that
285
00:11:14,966 --> 00:11:15,799
he didn't really say
286
00:11:15,800 --> 00:11:17,300
this is the way this film has to be made
287
00:11:17,300 --> 00:11:17,933
but he kept saying
288
00:11:17,933 --> 00:11:18,966
we will make it
289
00:11:20,100 --> 00:11:22,266
I kept I kept knowing that
290
00:11:22,266 --> 00:11:23,666
where everything was being taken away
291
00:11:23,666 --> 00:11:25,266
or the script was being changed
292
00:11:25,266 --> 00:11:27,399
and there were lots of production problems
293
00:11:27,400 --> 00:11:28,200
but he looked at me and say
294
00:11:28,200 --> 00:11:29,833
we're going to finish it
295
00:11:29,933 --> 00:11:31,066
we're going to make it
296
00:11:31,666 --> 00:11:33,433
and whether we did or not
297
00:11:35,100 --> 00:11:36,366
ultimately doesn't matter
298
00:11:36,533 --> 00:11:39,499
but it's how we got through each day
299
00:11:39,500 --> 00:11:41,866
of the skirmishes and the battles to make the picture
20610
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