A Constant Forge Page #9

but, uh, only because...

uh, he's stronger or something.

He would tell you,you know,

"This is a game.

"It's, you know -

It's the ninth inning, you're up at bat,

it's the last strike. Surprise me. "

- About our wives and kids.

- And you can usually find something...

that might knock

the person off-balance.

Yeah.

We never used marks...

and the actors didn't have to hit

a specific spot.

So, if sometimes when you see our films,

and it goes soft, out-of-focus...

it's because we're trying to catch up.

So there's the focus puller just going -

madly trying to keep you -

sometimes -

in focus as you're dancing and twirling.

I dream ofJeannie

with the light brown hair

You know, our films are not

necessarily photography.

It's feeling. And if we can capture

a feeling of a people...

of a way of life,

then we've made a good picture.

That's all we want to do.

We want to capture a feeling.

Our film, per se,

the way they make films, is a terrible film.

They say it's European photography,

you know.

Which is a dirty word.

And "art" is a very bad word here in this country.

"Art" is a very bad word.

OfJeannie with the light brown hair

John was always a believer

that if the take was good...

and there was part of it

that went soft, he'd still use it...

because he wanted that continuity

of character, the emotions...

to keep that thread going

without interrupting it.

I think the focus pullers

are the heroes on our picture.

It's true. It's true.

BecauseJohn didn't give them

any room at all.

He said, 'Just do it.

I don't care how you do it. Just do it. "

As far as a technical director,

I'm a very difficult director...

'cause I have no truck

with anyone that doesn't watch the scene.

Uh, I have no regard for anyone

that isn't with it...

and isn't trying to make it

the best that they can.

Now, as far as their eye is concerned,

I want them to be as creative...

with their own eye-

not with my eye-

as the actors are being on the floor.

To tell you the truth,

it's getting to be murder in here.

I'm gonna kick everybody out

that isn't working.

Now,just -

Anybody that isn't working, don't talk.

- Why don't we do it now? Kick everybody out that isn't working.

- No, no.

- I - I like an audience.

- Without a warning.

John was a great cameraman.

There's nobody could handle

a handheld camera likeJohn.

He somehow had an instinct to anticipate.

There was no blocking.

So, if I'm on the bed

with the Chinese girl...

and she suddenly sinks down-

How did he know?

Something told him...

so that the camera wasn't late.

It got down there.

And something just told him...

"I'll bet you Peter's doing something now.

I'll come up and get him. "

You know.

He had a great instinct for that...

and he was strong as a bull...

holding that thing.

Didn't shake.

He was wonderful.

John said that he almost fainted...

when Peter Falk is so engrossed...

in the emotional moment...

and is so irritated that his mother

is, at this very moment-

She's about to reveal, "My son tells me things,

that you've had a man in the house"-

that he starts mocking her

and trying to shush her.

The insecurity.

- Mabel.

- Go ahead. Go ahead.

Tell me what your son says.

John said that wasn't in the script.

What happened is that Peter

had found some moment ofhumor...

at this moment ofhigh tragedy.

But that's precisely where an actor

bends the scene emotionally...

in a direction thatJohn

could have never imagined.

Last night you brought a man in the house!

Ifhe had told the doctor,

"Get out ofhere"-

"Mom, good-bye. Out. "

"Doc, out. "

He didn't do that.

He waited too long.

And she was looking for a sign.

She wanted some sign.

And I couldn't give it to her...

because I still had something

inside of me that said that...

what she did was wrong.

Here is a man who has an incredible wife...

whom he doesn't really want

to share with anyone...

because she stirs his imagination.

He says he's not comin' in.

Tell 'em I'm not Superman!

What the hell

do they think I am? Superman?

He says he's not Superman.

What the heck

do you think he is? Superman?

She's everything that he wants...

physically, spiritually, mentally...

but he's ashamed

because she doesn't conform.

You gonna be all right?

Why do you keep asking me that?

Think there's something

wrong with me or something?

Think I'm wacko or something?

She couldn't entice him if she conformed.

It is only by interacting with others

that Mabel feels alive.

Hey, that's it. Come on.

Let's have a little fun.

So he double-crosses her...

when it becomes

a pain in the ass to him.

Boy. Phew.

Mabel. You look fine.

Rested.

I'm so happy to see you, darling.

He says that when Mabel comes back...

from being in the institution-

And again,John told this in the vein of

being astonished by what he saw happening.

He said that Gena

hardly looked at Peter in this scene.

She glances at Peter

a couple times...

but she mainly is

incredibly vulnerable...

and shy...

and she seems incredibly withdrawn

into her own need to see her kids.

- Could I see the children?

- They go about eating like birds.

Why don't you wait a minute?

You go in there, they're gonna start to cry...

and you're gonna start to cry,

and everybody's gonna get so emotional.

- I think it's better. Sweetie.

- I've gotta see the children now.

Yes. You can see them.

John said

when Gena did not look at Peter...

and in fact seemed distracted,

as if she was thinking about other things...

he at first wanted to call "cut"

and stop the scene...

because he had no idea

what that could mean.

Hi, Mom.

- Hi, Mom.

- Hi, Mom.

I love you, Mom.

But of course he let it run...

because he said he suddenly realized

that Gena was bringing this maternal need...

and also this wounded quality...

to the moment

of reentering the house...

thatJohn himselfhad never

associated with that moment.

He, in fact, said that he thought...

maybe when Mabel came back from this

institution she'd be a little hostile...

she'd be a little upset

that her husband had sent her away...

and maybe she'd kind of bristle

as she came in.

But Gena saw it in an entirely

more vulnerable way...

that, in fact, is probably

a deeper reading of the character.

Maria, come on over here

and see me.

You want me to come over to you?

- If you want to.

- You want me?

If you want to.

All right.

I'll just stay here then.

Mabel's just been

sent away for six months.

She knows it's stacked against her.

She's got enough sawy to know

that she hasn't changed...

and that she's never gonna change.

She wants to be able

to see her children.

She wants to hold it together...

and look as if she's just

normal with everybody...

so nobody can possibly attack her...

and send her back...

for the children's good.

Okay.

No emotions now.

I really want to be calm.

I really did miss-

That's enough now.

It's not that it doesn't cost her

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