Deleted scenes

Man, Bill, you are a handsome young fellow in that, I must say. We shot this up in Oakland. It was a real major distant location. It took place at this... It's called the Dunsmuir Mansion outside of Oakland. And they gave us the run of the property for a couple... Actually, two days we went up there and shot all of these sequences in order. Now we cut back to Los Angeles. Actually, Chatsworth, where we...

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And they built this edifice here. And this thing was built like a house. You could climb on the walls. It was really solid. It was really quite a job getting rid of. This scene coming up here was our first little fake jump in the film. And I thought I could get away with it. We cut to that motorcycle with a really loud crash. Because I knew that we were going to have some payoffs in this movie. And I thought, well, one cheap scare up early would be OK.

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And then the very next cut, we cut back to the brother still getting it on, and it's hilariously funny. I mean, it's something about, like, you know, people just love, and audiences love to have the relaxation, I guess it is, of a good laugh after a good scare. Well, by the way, those weren't my buns. Do you remember? That's right, Bill. We brought in a key grip. Stunt buns. Stunt buns. What the fuck?

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I think she's more detached in her life. Like you say, it's a very... It's really a free thing that she has. Mm-hmm. All right, let's try it again. Now, she actually could not drive at this time. Well, I just love that he's gone to all this to go find her, and then we cut to...

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in from the other side, going up the stairs, going into a room. I mean, now we're so impatient that we cut from the car to the bedroom without seeing all that connective tissue. And I find that's the most interesting part. Yeah. That's where you start to see... I mean, there's so much for actors to do with that. To set you up. I just loved him...

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Well, I mean, maybe it's in the part of the script that didn't get on the screen that we shot, but was left on the cutting room floor. But again, I think, you know, Laurie was a kind of prototype for the character, never thinking that I would actually cast her in the movie. And she was...

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Francis Ford Coppola

As I look at the film now, I realize how audacious it was for me to try to do all this. I mean, normally you'd say, well, that story's enough. Why do you have to have the whole world story? And yet somehow I've seen this film once for television. We cut it in straight chronology. And these stories are nowhere near as good alone as when they are told in parallel at the same time.

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Francis Ford Coppola

how horrible it was that we cut it. But I think we had to show it in the era when the mother was alive and it was very small. And so they shot this first.

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Now this song here was supposed to be cut-- intercut... not song, this action, this dialogue was supposed to be intercut with Brad's song. Oh, yes. "Once in a While." - Which is wonderful. Okay, so that cut from there to there... That cut from there to there... - Yeah. They work. I think they work cinematically very well, but Brad's song was supposed to go between those cuts. We were supposed to cut in between the song and that. And we cut the song out of the piece. Why, I'm not quite sure. I love Brad on the bed having a cigarette. I think it's brilliant. Oh/ One of the things about the show afterwards was that it needed cuts, but I think that was possibly because of the fact they didn't understand... Fox, you know, green-lighted this movie. They gave us the green light, the go-ahead. And then they changed the head of Fox, and Alan Ladd Jr. came in to be the head of Fox. And he didn't want to do this movie. However, it was just too late. That's when he was with Gareth Wigan, Georgia Brown's husband. It was just too late for them to say no. - Sorry. Oh, good lord. And they turned up on the set. Alan Ladd Jr. turned up and came down when we were working out of Bray Studios. He didn't want this to happen but, you know, it was too late. And by the time we'd finished the movie, of course, he was no longer the head of Fox anyway. So it didn't make any difference because it was another person there then. God, what a game of chance. And then this was released and they didn't know who to release it to, what the target audience was, who was gonna go and see this movie. 7e/ us about it, Janet.

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And this was cut from a lot of the original versions. This song was cult. 2 Toftind the truth ? And we cut straight to the narrator's verse. He says to tell the truth and never lied. We cut Brad and Janet's verses in this song and went straight to the narrator's verse on the original movie. And it made no sense whatsoever. - I see. 'Cause we needed this. There was a very long intro that Richard Hartley had devised for this song. And I suggested they cut straight to Brad's verse. And they cut straight to the narrator's verse, which was cutting both Brad and Janet's verse, which was rather stupid because it's kind of nice to have these two verses. Make the whole thing tie up, the whole song tie up.

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Roger Moore

This is the falls of Iguacu now. The magic of motion pictures. You know, we've dropped the quarter... ...In Moscow, and it's landed in London on the floor. We cut away, I'd been in Florida and turning around in a boat... ...and all of a sudden, I'm at Iguacu Falls. Brilliant. But shooting there was so uncomfortable.

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Roger Moore

What they use in the credits given as a "Blonde Beauty"... ...Was played by a girl called Irka Bochenko. And here we are shooting the scene in Brazil. And we cut to the exterior of Drax's headquarters... ...and we're actually in a studio in Paris.

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if you were a celebrity, and we were making the film, and everyone was staying at the Riviera Hotel, but if we went to see Elvis Presley, or we went to see Diana Ross, or we went to see whatever great entertainer was playing, they would just hand me the check and ask for me to sign, and I'd be with all my friends, and Tom, obviously, was one of them, and he said, you ought to have that hand insured by Lloyds of London. Shady Tree's demise at the hands of Wint and Kidd was filmed, but left on the cutting room floor.

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