Composition & framing

and a friend who was visiting from England. That's his ponytail in the background. That's right. And actually, the girl who brought the food as the camera followed her was my assistant, Mary Bannon, I believe, who I found her in a restaurant, and she wanted to get into the business, and she wanted to be my assistant. So we put everybody in because I think it was free at the time, but maybe we shouldn't say that if SAG is going to listen to this. There we go. Oh, wow. I forgot about this. Yep. Yep.

38:56 · jump to transcript →

It's like from a war film. Yeah, the leprechauns attacking. Now, okay, now here is some interest. There's David Price in the back of the background on the left. Far left, yeah. And that's a PA walking by. Here's David coming up. And, boy, he looks younger, about 20 years younger. No, David still looks good.

53:07 · jump to transcript →

And, but MGM, UA, they didn't care that the plot didn't make sense. All they wanted was, they were just embarrassed by the dildos in the background of the scene. Oh, they should grow up. I know, and I'd just been in England where there was like dildos on network television. Right. So, so we're in the shower scene. I love this. I'm watching the shower scene and this song, this Portishead song, one of my absolute favorites.

23:57 · jump to transcript →

First person to admit to failure. And the regular camera operator wasn't with us that day. And we just didn't get in sync. Right. And so it just didn't quite work out. And I feel it, too. I mean, I look at it and, you know... Well, and like you said about the depth, how it usually looks, you know... Yeah. The foreground and background. But... You just...

44:49 · jump to transcript →

Quite often. Oh, yes. Jay always liked to do this. I like to exit a place where there's a big picture window and then be seen running through the big picture window in the background. There. Yes. That's how you would leave the set every day. Yes. Well, when I first met Jay, I think he did that, where it was that gag. And he would continue. Again, we have another really good, fine actor here, Enrique... Enrico Colantoni. Yes.

43:19 · jump to transcript →