:33:06
Bertolucci was very influential
:33:09
in that he combined
the Godardian wilfulness of the camera
:33:14
with Antonioni's sense of design.
:33:20
You can track the movement
of American film into high design
:33:27
from that group of filmmakers
who are influenced by Bernardo.
:33:35
Now, in scene after scene,
:33:42
shot after shot,
:33:44
the concern, more than normal,
:33:50
was, just constantly,
colour and texture and composition.
:33:55
Obviously, every filmmaker
thinks about these things
:33:59
but in certain films
:34:03
you feel it is so important
that it starts to drive
:34:08
your shooting,
your lighting, your editing.
:34:12
Now we're back in New Orleans.
This is the real zoo,
:34:15
we didn't bring
any elephants into the backlot.
:34:22
That is out there in the zoo,
:34:25
and this is still New Orleans.
:34:30
Now we're on the backlot again.
:34:33
Ed Begley had been
in two previous films I did,
:34:40
Blue Collar and Hardcore.
:34:44
And he'll get his shortly.