: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.
:35:00
This shot, as you can imagine,
:35:03
was done many times
:35:05
to try to get each one of these
animals to act on cue.
:35:10
To get the wolf to come out
when you're passing,
:35:14
to get the chimp to go,
:35:16
to get the cheetah to look at you.
:35:20
The human here was relatively easy.
:35:31
This is on location in New Orleans.
:35:35
This was not a gift shop,
:35:37
we commandeered a building
and made it into a gift shop.
:35:42
This is a tricky shot
because you're inside,
:35:45
you go outside, you come back inside,
:35:48
and right there, on his back,
:35:52
you'll see what cinematographers
will recognise - an iris shift -
:35:58
because of the change from light to dark.