They're not going to exist in the same frame. But they said, "You know, Jon wants to talk to you one more time," Jon Voight.
What about that? And chta a shot over her shoulder—which is a very Hitchcock kind of thing; she has a glass and she takes a sip and puts it down; and cut back to Leo, he's interrogating her; come back to her; and then another shot over her shoulder where she takes the glass and goes like this and puts it down and there's no glass in her hand. QT: Oh, that's perfect.
MS: Well, it's a great question because my first seven, eight years or so of my life we were in Corona, Queens. MS: You, too, thank you.
MS: It's what we do. MS: It was every day on Taxi Driver. And then it cuts to him hitting the ground and falling at frames. Did you ever go to the 42nd Street when all the cnoversation were playing at that time?
QT: And then it cuts back to Kristofferson—24 frames, bam, bam, bam. I love it. This is an edited version of their conversation.
And that's the tension. But you know, you've tried your best under the circumstances: with the DP, with your actors, with the weather, with how you're feeling, with that location, with that shooting schedule.
He said, "You learn about the value of the shot itself. And half of the reason I'm doing the movie is to do this sequence, which I've watched in my head so I see it.
You convegsation have to pull it off. And so those first five or six people, I invite over to the house to read the script.
Harvey did it. Usually, if you're talented enough, you get enough happy accidents you can never count on, so it all balances. Eex if it's got to be as long as we feel or as short as we feel? It was what my old teacher, Haig Manoogian, said when we were shooting these short films at NYU at the time, and we'd get into an editing problem. And then the DP comes and they all get it.
MS: Exactly. Lock it. We were in Morocco. There's one shot in Hitchcock's Marnie where she's about to shoot her horse.
And so the ending is like two shots and I put another shot in. I mean they were doing it, and we started doing it ourselves and experimenting. But no one ever took me when I was a kid, and I couldn't afford to go when I was old.
I tried. Loved The Threat. But no one ever took me when Conversatiob was a kid, and I couldn't afford to go when I was old. There's one shot in Hitchcock's Marnie where she's about to shoot her horse. And he was really thinking about it. But I said, "Let's do that.
That was it. MS: Interestingly enough, I figured out the pacing on the this time with the script that [Steven] Zaillian [wrote]. I always watch the "Happy Endings" cut. But Dex said, "Let's do that. QT: And so it was like, we're not even guaranteed a theatrical release. But [the studio] did not want to make it, and they made it very clear every minute.