:40:02
It's a retreating shot,
the POV of someone who is exiting
:40:07
but not looking at the subject.
:40:09
So it's what they would see
if they had eyes in the back of their head.
:40:14
I started using blindside POVs
in American Gigolo
:40:18
and I've been using them
in every film since.
:40:25
Going back to these
mysterious little shots.
:40:28
They're kind of nice,
you put them in here and there,
:40:31
people think that they
mean something but they don't.
:40:35
All they do is increase
the exotic environment.
:40:43
This is a Whitlock matte painting.
:40:45
The bottom is the set,
the top is a painting.
:40:53
Again, here, you know,
:40:58
you're always thinking of
how to make it feel more exotic
:41:03
and how can I use the colours
:41:05
so you start using the fan and so forth.
:41:14
We ended up with In The Jungle,
:41:16
we started out with What's New,
Pussycat? But couldn't get the rights.
:41:27
That's a real leopard.
:41:33
Not the crazy Chinese leopard,
it's a different one.
:41:44
You can see the slant of its head,
leopards are different to mountain lions,
:41:48
their heads are fuller, more slanted.
:41:51
And, of course, they're scarier.