12. Questions For Mary
We did everything we could to maximize
every frame of this film, by hook or by crook, whether it was reversing
footage, flipping the negative, slowing it down, speed ramping it, you
name it, we did it. We were sort of like top fuel technicians working
on a car to get every last cubic inch of horsepower out of an already
overtaxed engine. I'm very proud of the job that William and I did here.
Here's an example of, that picture
is an example of the creative bankruptcy at its best. They were bugging
me constantly about, bugging me forever, "Y'know, we need to know what
Partridge is going to be wearing in this picture.". I just couldn't
decide what he would be wearing when he was busy committing his sense
crimes and he wasn't in his uniform. So, I put this decision off in the
face of countless other much larger ones for a long time. So, basically
the day of, I ended up sticking him in that plaid shirt, and it looks
kind of silly I think. That was a composited picture. Anyway, I now
know that it does matter. It seemed like a small decision. You saw, it
was fifteen feet tall on a theater screen. It has every bit as much
resonance and impact as a close up of our heroes.
The old Split Diopter here. It's
interesting how sterile these Split Diopter shots work. I really,
really don't like them as much as I was just dying to do one of my own.
I doubt I will ever do them again.
Those are my hands there. A lot of
the hands, if not most of the hands, or maybe even all the hands in the
movie, are mine. I generally do the hands myself because "a", I don't
want to trouble the star with that, but also because it's very
difficult to convey direction to people about hands because hands are
so incredibly subtle. You can spend all day trying to explain to
somebody what you want to do with your hands. So, at the end of the day
I just end up doing them myself and get it the way I want it.