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it's really good if you have people around you
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that you trust
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which is a basic element in the film making process
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or any anything really and
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and goes for any film you making
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the trust is important between your director
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photography you
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your assistant director
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co producers
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that sort of thing um
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what I mean is that if it's a passion project
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and everyone's invested in it the way you are um
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that's really rewarding
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that's something very special
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you feel you've gone through some sort of
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experience together
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it's happened
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lucky over the years that had a few of those
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just recently with silence
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for example
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Mean Streets to a certain extent
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although a lot of that were a lot of the crew
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I mean streets
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I Learned how to
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put a film together through Roger Corman's crew
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but they felt the energy of the whole thing
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and they knew somehow
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because my enthusiasm and and
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just passion for making the picture
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they kind of were infected by it in a way
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but I think primarily it's a
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it's great when um
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the crew is tight enough and like a real working unit
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that feels at the creating something special
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you know um
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with you there's an alternative of course
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and that is that it becomes something impersonal
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to bigger bigger set
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bigger situation
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but still even there
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people are hard doing very
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very hard work
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whether it's making sure the
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the rain machine works perfectly or that sort of thing
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um but as long as you have your inner core of
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of key people sharing that desire to make this film
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sharing and ideally um
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not necessarily overdoing
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their role so to speak um
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but pulling it all together
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to help you get what you want
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or what you think you want
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you know because very often as I say
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when you get it to the set
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or when you get it to a location
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and you've designed something
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and you're working with the actress
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and things start changing
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sometimes you you
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you lose your um uh
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sense of exactly what the shot should be
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if the people around you keep people
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understand what you want
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based on conversations before you started shooting
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reading the script designs
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all kinds of
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especially if you're on location
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where people are working together
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eating together and that sort of thing
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you begin to get a sense of who you could depend on and
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they would be able to tell you
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and help you through the hard times really
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uh so this is something um
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that's really
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um key factor
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it's core unit
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now when I say a passion project
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that core unit could be the whole crew
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because it's a smaller crew usually
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it's a lower budget
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it's a different thing
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but when you're on a bigger picture
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that small core is really your
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your life core
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your lifeline
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um I come from a time too
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when there was a lot of experimenting with the
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movie making
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where we actually thought at times
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oh I don't know
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I didn't try it
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but that in the 60s
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they were experiments in making um
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I've got collective decisions
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collective film making
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as the director
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you can't score points with false modesty
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you have to assume the responsibility
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of being the one who makes those guiding decisions
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but you also have to remember
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that every single person on your set
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plays a role in making your film
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you need it
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you need them you know
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and you need their dedication
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you need their expertise
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don't forget it's what Stanley Kubrick said
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they said what is the um
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what's the hardest part of directing
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he says getting out of the car in the morning
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cause once you get out of the car
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you besiege with questions
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and usually you get out of the car their problems
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and like I used to tell my ADSA
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I get out of the car and look at them and say
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aren't you smiling no
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I said what is it
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I said well
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what can't we do today
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you know and you just get used to that
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you get used to it
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what it is is that it's true
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getting out of the car begins a process
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I'd always said I wanted to do a
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an article for
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and these days I guess would be online or something um
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but just have a little recorder on me
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taping all the questions that you're asked including
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have you got your right shoes
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what would you want
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do you want coffee now
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an actor coming up to you talking about
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I really disagree in this line at this point
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changes the entire character
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maybe I shouldn't have done this
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and I don't
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goes on and on
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to the biggest problems
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to the smallest
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my negotiate and tiniest my negotiate
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and I always wanted to do it but
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that's why it's always advisable to have less questions
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the less questions the better
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during the day
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unnecessary ones should be eliminated
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um and you have to cut through all of that
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cut through all of them
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all of the equipment and everything
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to get back to the idea you had in your head
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when you thought it was a good idea
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it was possibly a a
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a good suggestion to take up
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to make this particular film
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you know um
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and so you gotta focus
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and you have to eliminate everything else around it
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and I don't think you should be um
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uh there's no
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there's no way to say
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don't be intimidated by the normity of um
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be the machine
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so to speak
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cause very often
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certain kinds of films
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it is that way but uh
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particularly because technology of today
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I don't think you should let that stop you
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in other words um
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if you feel you wanna say something
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you feel you wanna express it through visual
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of visual means
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you have the technology to do it yourself no now
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that could build exponentially to a bigger production
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and there's always a way of
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there's always
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because of that um
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it'll always be a learning process
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how to deal with the machine you know
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but don't let the machine get in the way and also
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don't let the machine tell you what you can't do
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that's I mean
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you might not be able to do pretty much anything
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but don't let them tell you you can't
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there's a lot of very knowledgeable people
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really good people
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especially if they like working with you etcetera
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they're gonna try to find a way to get what you want
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or what you think you want
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until you have to get what you need
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as they say
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this of course
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takes us back to the um
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to the point where
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there's a core
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a group of three or four people that deal with trust
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and excitement about what you're doing
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and trying to help you
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trying to help you achieve
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it doesn't matter I mean
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yes it did be good to have
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it works it works in a
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in a way with the core of people together with you
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working for the same goal
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and then it branches out
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then they have a core people
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this one has a core
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this one has a core
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they're all working together
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that's the ideal you know
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particularly when you're in a location
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somewhere you get there
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and there's a typhoon seriously
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I was surprised
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we were shooting uh
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silence in Taiwan
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and one day
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towards the end of the shoot
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there was a uh
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a scene that we were doing by a stream with these rocks
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was very quite dangerous to walk on
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cause it was slippery uh
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but it turned out to be the hottest day of the year
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and I started to pass out
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people were
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it was really very
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very difficult
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and it's towards the end of the shoot
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because the weather there
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sometimes too hot to shoot in the summer
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so the next day
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we had a scene on a beach
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which people were being martyred
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thrown on funeral pyres and that sort of thing
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and I got through
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they drove me out to the location
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and mind you
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this is after a day of intense heat and humidity
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we're going further out of location for that
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notices beginning to rain
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and you know
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don't think anything of it
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and I get there
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finally get into this little trailer they had for me
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a bus actually
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was little bus
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and suddenly the door opens
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and I feel the place is rocking you know
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and suddenly
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door opens and these two figures come in
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and they're covered in slickers
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and they're wet
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completely soaked
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and they look up
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and it was my assistant director
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my director
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photography
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I didn't recognize them and I
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what are they doing
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making everything wet
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what's happened
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and they said
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and they pointed out to me said
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looked up and said
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we could do it
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we could shoot today um
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first of all
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I didn't never in my head that we weren't gonna shoot
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secondly I did
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they said there was gonna be the head
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tail under the typhoon
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but not like this
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this was but thirdly
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they were so beaten that I didn't even recognize them
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and yet they were out there
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ready to pull it together and shoot
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and which is what we did
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we did it we did it rapidly because
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the weather dictated these things
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the movement of the crew and the camera moves
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the crane etc
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but also would help because the
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we were able to do the same
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because these different elements that come together
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the dialogue was a
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pretty much a scene without dialogue
286
00:09:48,866 --> 00:09:49,966
that sort of thing
287
00:09:49,966 --> 00:09:54,099
and also because the people playing the parts Japanese
288
00:09:57,566 --> 00:10:00,833
were so committed to playing these parts
289
00:10:00,900 --> 00:10:03,166
that soon as you said action
290
00:10:03,166 --> 00:10:04,799
as soon as you started rolling that camera
291
00:10:04,933 --> 00:10:07,766
they're tied to a stake and being set on fire
292
00:10:07,766 --> 00:10:08,333
I mean they were
293
00:10:08,333 --> 00:10:10,199
they were already there in the scene
294
00:10:10,200 --> 00:10:11,466
there was no way
295
00:10:11,566 --> 00:10:15,099
and there was no trying to coax these actors
296
00:10:15,100 --> 00:10:16,233
they were on
297
00:10:16,566 --> 00:10:18,799
you see the crew was set
298
00:10:18,866 --> 00:10:20,099
you know they were gonna shoot
299
00:10:20,100 --> 00:10:21,033
and that was it
300
00:10:21,133 --> 00:10:22,999
you know whether I like being in the rain
301
00:10:23,000 --> 00:10:24,266
or in the typhoon or not
302
00:10:24,266 --> 00:10:25,166
we were doing it
20642
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