:09:00
Now, this again is a Scarfiotti set.
:09:06
He was the only production designer
who did this,
:09:10
or the only one who got away with it.
:09:12
He would make a set
:09:14
and no one was allowed to see it
until it was finished.
:09:18
You saw the drawings
and the models, of course.
:09:23
When it was ready he'd take you over
:09:25
and he'd show you all the angles
:09:28
that the set had been designed
to be seen from
:09:31
and the priority of the angles
from which to see the set.
:09:35
So that first shot
:09:38
from the living area into the dining area,
:09:41
it was the first thing
that Nando showed me.
:09:45
He said, "This is the primary angle
for the establishing."
:10:15
Nastassia
:10:18
was quite extraordinary at this time.
:10:20
John Bailey, the cinematographer, and I
would talk from time to time.
:10:27
He said to me, "It's impossible
to make this girl look bad."
:10:33
The kind of actress that you could
turn off the lights
:10:37
and she would light the scene herself.
:10:40
Her skin just glowed.
:10:47
You're often asked which you like best,
writing or directing.
:10:52
They're very different talents
and very different pleasures.
:10:57
One is very lonely
but you have control as a writer.