Production design

I don't know how many thousands of dollars to digitally remove the bald spot from your head. It was amazing. What? It was there? No. I think most of the budget went into the bald spot removal. And whenever I came to the set, Dave Higgins would say, out of his way, out of his way. Like I'm sensitive to being touched. Do not look at him. Yeah, don't look at him. No eye contact. The audience won't know and maybe probably doesn't care about, but during the filming of this movie,

15:53 · 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 →

Darren Aronofsky

rediscovered the balance perfect me shot that shot right there was grabbed last minute maddie just wouldn't let the set go we were just about ready to destroy uglies like no we got to grab some more shots we got to grab some more shots let's get some silhouettes and so we grabbed some final last quick shots which made the film pythagoras loved this shape for he found it everywhere in nature the nautilus shell ram's horns whirlpools tornadoes originally i wanted here to have sort of a montage of all the different uh

45:02 · jump to transcript →

Darren Aronofsky

along the Brooklyn Bridge to get the set and he's like, you can't do that. And I was like, why? And he's like, because if you could have, I would have done it last week. So I just got back on set and started working again. You just got to get through it. If you look closely, you could see the shadow of the camera rig. But don't tell anyone.

53:15 · jump to transcript →

Alexander Payne

I used many, many, many of the same people between Citizen Ruth and Election. The production designer, Jane Stewart, and the DP, Jim Glennon, and the editor, Kevin Tent, and the composer, Rolf Kent, and even the same assistant cameraman, and the same prop master, and a lot of the same grips and electricians, and Omaha crew people, a lot of the same actors. In a way, Citizen Ruth was something of a dry run for Election.

13:48 · jump to transcript →