:12:01
but not very much.
:12:03
Bill, traditionally...
:12:08
is quite close to his money...
:12:11
and it's quite a challenge to pry
anything loose from him, money-wise.
:12:17
And, Mark, on the other hand...
:12:20
has, if anybody,
the ability to pry it loose.
:12:25
Let me show you something, William.
:12:33
- Talk to me. That's right.
- How about that?
:12:39
- She wants to be in your film.
- Oh, my gosh.
:12:46
Okay, we can start then.
:12:49
Tom, why don't you show us
what you got in the way of breakdown.
:12:54
My duties on Northwestern are those
of the production manager.
:12:58
I've gone over the script
on a scene-by-scene basis...
:13:00
and we've got it all
color-coded broken down...
:13:03
so everything from cast to props
to atmosphere, stunts--
:13:09
I think that Mark's idea of a film,
of this film...
:13:13
and Tom Beach's idea of a film
are just so different.
:13:17
Both of them are
knowledgeable filmmakers...
:13:20
but it's a different kind
of knowledge.
:13:22
One's more primeval
and one's more textbook.
:13:26
The location type, which would be
interior day/night, exterior night/day.
:13:32
At that point,
you gotta get a cameraman.
:13:34
You gotta get a sound recorder,
a boom operator...
:13:36
an assistant cameraman
to do the clap, like that.
:13:40
Then you want a couple others
on the sideline.
:13:42
As far as where Mark's film
stands now...
:13:47
I'm not really too sure.
:13:49
I know that
we kind of have--
:13:53
We sort of have had a breakdown
in communication lately.
:13:58
Thanks a lot though.