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[MUSIC PLAYING]
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DIRECTOR: OK, [INAUDIBLE]
place with that sky right now.
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I like that sun trying
to get through there.
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Shoot straight out at
the boardwalk there.
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Just suffice to say, it's
going to be the boardwalk
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or these two dunes here.
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Right there.
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What do you have, a 50?
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What do you have, a 50?
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PHOTOGRAPHER: That's a 50, yeah.
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DIRECTOR: And you
have a 35, too?
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PHOTOGRAPHER: Yeah.
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DIRECTOR: Let me take a look
at both of those for the wing
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shot, and then we might do
them in a little longer shot,
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like the--
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PHOTOGRAPHER: [INAUDIBLE]
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DIRECTOR: 35's maybe
going to be too
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short for what I need to do.
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I have to make the
wings really feel big.
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You got 20--
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I'll feel you a bit.
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Let's try the 20.
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Have the Nikon ready,
because I'm just
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going to-- to begin with I'm
going to try a bunch of things.
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Hi.
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[INAUDIBLE] from
the National Theatre.
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DIRECTOR: So we're going to go
into a heightened wing position
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first.
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OK, not-- come back a
little bit, come back.
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Oh, yeah, turn back a little--
turn back a little bit
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this way.
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Great.
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That's number one.
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And number two is the same
one, because the wind's
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pushing it back.
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And number three,
they come in tighter.
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They fold in.
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That's great.
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That's great.
40
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OK, now Amanda, go
off the boardwalk.
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OK, keep your feet like that.
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Stay there, Amanda.
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It's great.
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Hold on, I was going to have
you go on action and walk off.
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Let me just see.
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[FANS]
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And step off, step off.
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OK.
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Hold on.
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Hold on.
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I love that.
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You are so good.
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That was so good.
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Go, go, go, go, go.
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Yuri, Yuri!
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[FANS]
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OK, stop.
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Yeah, let me get 35.
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I mean, Yuri, everyone
else is pretty passive.
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I mean, Yuri, everyone
else is pretty passive.
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So really, everything--
all their anger is in you.
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Amanda, can you turn
more to the side for us?
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I mean-- yeah, to your right.
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Yes.
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OK, and then bring
your upper body back.
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No, OK, try something
with your feet.
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Let's see.
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Bring your foot-- bring your
left foot forward, your left--
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yes, OK.
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yes, OK.
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Let me just see.
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Yes, yes, exactly there.
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OK.
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[FANS]
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OK, hold on.
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Jason, you got to
be higher, higher.
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Higher, Jason.
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[FANS]
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OK, relax.
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Just so you see your
performance, anyway.
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Just so you see your
performance, anyway.
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WOMAN: Oh, that's glorious.
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DIRECTOR: OK, we're trying
on the hill, very same thing
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up there, OK.
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OK, now take a little
out of that strobe.
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Up higher.
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Wings up higher.
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Amanda, that feeling
of being on edge again,
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that you're just about
ready-- teeter the other way,
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though, strangely enough.
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The same-- yeah, yes.
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The same-- yeah, yes.
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Here we go.
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[FANS]
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OK, and let's go in.
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Great.
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Let's just go as dark as we can
with just some sculpting style
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light, OK?
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Nathan, Nathan turn around as
if you're coming down the hill.
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That's cool.
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And Andrew, go back
to where you were.
102
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OK, Mary, I need to move
Nathan down one apple box.
103
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It doesn't look like
what it looks like,
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because everything
is a lot darkened,
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and you become these shapes.
106
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it looks kind of
amazing, actually,
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if I must say so myself.
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[LAUGHTER]
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It does, it looks cool.
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Lee, if you want to look out
to sea there, that's great.
111
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Lee, if you want to look out
to sea there, that's great.
112
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And Denise, what you're
doing is perfect and Andrew,
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if you want to go
straight out, OK.
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OK, Lee, I need you just off
camera a little bit more.
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Yeah, that's good.
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But head down a little bit.
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But head down a little bit.
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Yeah.
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That's great, Denise.
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Wow, nice.
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That was great.
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So you're right where Marco is.
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Got [INAUDIBLE].
124
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Got [INAUDIBLE].
125
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[LAUGHTER]
126
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Before you had it a little bit
more puffed up here, was it?
127
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Or is that how you--
128
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[INAUDIBLE]
129
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Oh, I don't know.
130
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Let me step you in
a little bit, Lee.
131
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Hold on.
132
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Because what we will do
at a certain point is we
133
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will take a step, but not yet.
134
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will take a step, but not yet.
135
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And Denise, let me
bring you over here.
136
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Come here.
137
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Take the coat and hold
it like this, yeah.
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As soon as I get you
just where you are,
139
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I may actually have you take a
step, as if you're actually--
140
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Denise, you might
stay put, though.
141
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You'll stay put.
142
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So Nathan-- come
up to where he is.
143
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Sir, your Roy Cohn, would
he fold his arms like that?
144
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Sure.
145
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DIRECTOR: So look back to me
towards the camera, take--
146
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actually, one step back,
as if you just came
147
00:07:45,830 --> 00:07:47,480
from somewhere a little bit.
148
00:07:47,480 --> 00:07:49,000
Yes, OK, that's good.
149
00:07:49,000 --> 00:07:49,710
Now come back.
150
00:07:49,710 --> 00:07:50,630
Yeah, that's great.
151
00:07:50,630 --> 00:07:51,590
That's great.
152
00:07:51,590 --> 00:07:54,505
That's great.
153
00:07:54,505 --> 00:07:57,984
[FANS]
154
00:08:04,460 --> 00:08:07,130
I need more power on you.
155
00:08:07,130 --> 00:08:09,230
Hold on, guys.
156
00:08:09,230 --> 00:08:10,500
It's not uninteresting.
157
00:08:10,500 --> 00:08:13,760
It's backlit, so
it's pretty good.
158
00:08:13,760 --> 00:08:16,430
We're still going to
work with this light.
159
00:08:16,430 --> 00:08:18,210
OK, hold on.
160
00:08:24,894 --> 00:08:26,310
Go ahead and roll
up your sleeves.
161
00:08:29,160 --> 00:08:30,000
I don't know, it's just one
of those Bobby Kennedy things.
162
00:08:30,000 --> 00:08:32,059
I don't know, it's just one
of those Bobby Kennedy things.
163
00:08:32,059 --> 00:08:33,055
[LAUGHTER]
164
00:08:33,055 --> 00:08:35,154
NATHAN LANE: Oh, Bobby Kennedy.
165
00:08:35,154 --> 00:08:35,880
Yeah.
166
00:08:35,880 --> 00:08:37,659
DIRECTOR: Yeah, I know, right.
167
00:08:37,659 --> 00:08:43,169
No, but I mean-- it was it
was the way [INAUDIBLE] took
168
00:08:43,169 --> 00:08:45,726
pictures of politicians
and lawyers,
169
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you know, that
they were working.
170
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NATHAN LANE: Right.
171
00:08:48,090 --> 00:08:48,960
DIRECTOR: OK, that's good.
172
00:08:48,960 --> 00:08:50,251
NATHAN LANE: Yeah, that's good.
173
00:08:55,927 --> 00:08:56,760
DIRECTOR: So Nathan.
174
00:08:56,760 --> 00:08:57,509
NATHAN LANE: Yeah.
175
00:08:57,509 --> 00:08:59,460
DIRECTOR: Turn a
little more this way.
176
00:08:59,460 --> 00:09:00,000
Oh no, no, come back.
177
00:09:00,000 --> 00:09:01,140
Oh no, no, come back.
178
00:09:01,140 --> 00:09:02,430
Come back to me.
179
00:09:02,430 --> 00:09:03,420
Go straight into me.
180
00:09:03,420 --> 00:09:05,380
There we go.
181
00:09:05,380 --> 00:09:06,445
Yeah, like a straight in.
182
00:09:06,445 --> 00:09:06,945
Yes.
183
00:09:10,420 --> 00:09:11,320
How would that look?
184
00:09:11,320 --> 00:09:12,695
You got the angels,
right-- there
185
00:09:12,695 --> 00:09:14,130
are angels right on your back.
186
00:09:21,002 --> 00:09:22,460
Go ahead and take
the step forward.
187
00:09:25,970 --> 00:09:28,234
OK.
188
00:09:28,234 --> 00:09:30,000
[FANS]
189
00:09:30,000 --> 00:09:31,290
[FANS]
190
00:09:31,290 --> 00:09:34,357
Nathan, try looking
to your right.
191
00:09:34,357 --> 00:09:37,231
[FANS]
192
00:09:40,110 --> 00:09:41,340
That's great.
193
00:09:41,340 --> 00:09:43,130
That's fucking great.
194
00:09:43,130 --> 00:09:43,860
Thank you.
195
00:09:43,860 --> 00:09:44,850
Thank you very much.
196
00:09:44,850 --> 00:09:45,510
Thanks for having us.
197
00:09:45,510 --> 00:09:45,800
Thank you.
198
00:09:45,800 --> 00:09:46,633
No, no, thank you.
199
00:09:46,633 --> 00:09:47,830
Your ears are cold, ooh.
200
00:09:47,830 --> 00:09:48,740
It's so good.
201
00:09:48,740 --> 00:09:49,857
OK, stay warm.
202
00:09:49,857 --> 00:09:50,940
Thank you very, very much.
203
00:09:50,940 --> 00:09:51,648
You're welcome.
204
00:09:51,648 --> 00:09:53,430
And you were just
great, just great.
205
00:09:53,430 --> 00:09:55,380
It's so important you're here.
206
00:09:55,380 --> 00:09:56,250
OK, thank you.
207
00:09:56,250 --> 00:09:57,450
Thank you so much.
208
00:09:57,450 --> 00:09:58,535
And your ears are cold.
209
00:09:58,535 --> 00:09:59,629
Ooh.
210
00:09:59,629 --> 00:10:00,000
Lee, good luck with everything.
211
00:10:00,000 --> 00:10:00,920
Lee, good luck with everything.
212
00:10:00,920 --> 00:10:03,560
[INAUDIBLE] see the show.
13089
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