In Duster, an impossibly cool wheelman (Josh Holloway) and a rookie FBI agent (Rachel Hilson) be part of forces to take down a criminal offense boss (Keith David) in Seventies Phoenix. If any of the artistic forces behind the HBO sequence ever puzzled in the event that they have been correctly capturing the vibe of Seventies pulp, all they needed to do was flip to cinematographer Paul Elliott for affirmation. Although born and raised in London, Elliott arrived within the States on the finish of the Seventies and commenced working at Roger Corman’s New World Footage as a digital camera assistant. He crossed paths with cult B-movie figures like Albert Pyun and Fred Olen Ray, endured the tyranny of Ken Russell, shot second unit for the Coen Brothers and finally graduated to an extended profession as a cinematographer with a various filmography that includes every thing from Star Slammer and Friday the 13^th Half VII to My Lady and Soul Meals.

With Duster’s complete first season now out there on HBO Max, Elliott spoke to Filmmaker about his newest mission and his early days within the trade.

Filmmaker: You’re from London and attended London Movie Faculty. How did you get from there to California?

Elliott: In movie faculty I directed and shot some movies, however whenever you go away it’s a must to go and earn a dwelling by some means. So, I began working as an assistant cameraman on TV tasks and documentaries. One of many cameramen I used to help was [frequent Mike Leigh collaborator] Dick Pope. Then I met a lady and we acquired married. She was from California, finding out [in London] and after a number of years mentioned, “I’ve had sufficient of London and these wet, damp winters. I wish to return to L.A.” I assumed, “Nicely, they make motion pictures in L.A., proper?” Not less than they used to. [laughs] So, I immigrated. I acquired my inexperienced card and moved to Los Angeles. I simply began making telephone calls and joined NABET [National Association of Broadcast Employees and Technicians] and began working as an assistant cameraman on commercials and movies. I labored with a number of English DPs right here on lots of non-union movies. they’d deliver some fairly good English DPs out who may work non-union within the States. Brian Tufano was an excellent cameraman, Dick Bush was one other. I realized so much by working with them. I all the time knew I wished to be a DP. You be taught a lot at movie faculty, however you’ll be able to be taught a hell of much more by really being on the set and watching how they’re doing it.

Filmmaker: How did you find yourself within the Corman orbit?

Elliott: It’s sort of humorous, as a result of individuals had heard of Roger Corman in England and so they’d say, “You go to L.A. and then you definately begin working with Roger Corman.” So, I assumed, “Yeah, you simply go to L.A., choose up the telephone and say, ‘I’m right here’ then they rent you.” [laughs] I began working with him as a result of I acquired attached by some means with a French DP known as Daniel Lacambre, who lived in Paris. He’d executed a movie in Europe for Corman and Corman appreciated him. They might deliver him out [to L.A.] to do their non-union motion pictures. So, I began working with him. The Woman in Purple was one of many motion pictures. One other one was known as Humanoids from the Deep.

Filmmaker: I’ve seen that one.

Elliott: Oh my God, you’re losing your life. [laughs] No, they have been enjoyable to do. If you’re beginning out working within the movie enterprise, they’re all nice adventures. It doesn’t matter in regards to the price range, it doesn’t matter a lot in regards to the story, you simply wish to get expertise. We had some enjoyable occasions, and I realized so much from Daniel about taking pictures. The most important movie Corman ever made was known as Battle Past the Stars. He acquired this studio up in Venice, California and constructed these units and spaceships. James Cameron and Gale Anne Hurd have been engaged on it. Gale was a PA on Humanoids. James Horner, the composer, did Battle Past the Stars. It was a terrific place for individuals to start out. I moved as much as working on that film, which was nice enjoyable to do. Lastly, you get to look by way of the digital camera and actually really feel a part of what’s happening.

Filmmaker: Inform me extra about that Corman studio up in Venice. It was an outdated lumber yard earlier than he took it over.

Elliott: It was a terrific place to shoot however a small studio. I feel we had one thing like $3 million for Battle Past the Stars, which was some huge cash. Jim Cameron got here up with a entrance display projection system for it. I feel he ended up taking up as an artwork director after they fired the [original] artwork director. There have been little spaceship units and international lands and bizarre little creatures. There was this restaurant close by the place we’d go for lunch, and no person would change out of their outfits and make-up. You’d go by there at lunchtime and there have been all these aliens sipping drinks as a result of they couldn’t eat with their make-up. We all the time wished to really feel just like the digital camera was floating in these spaceships. So, we had a jib arm. As an operator it was enjoyable as a result of I used to be all the time floating somewhat bit, shifting the digital camera. It was by no means locked down. I used to be only a younger child. It was on movie, after all, and I feel we have been taking pictures with T1.4 lenses. Daniel would typically string up a bunch of sunshine bulbs within the ceiling [just to get enough light]. I bear in mind he had purple, yellow and clear mild bulbs and would combine them, and we’d shoot vast open on these Zeiss Tremendous Velocity lenses. Corman was well-known for conserving issues on schedule. When you have been not on time he’d come and have a look at the script,  rip out a number of pages and say, “Now you’re again on schedule.”

Filmmaker: You talked about Dick Bush. He shot a number of movies for Ken Russell, together with one you labored on for New World—Crimes of Ardour. You’ve gotten any good Ken Russell tales?

Elliott: That film was fairly raunchy. They wouldn’t launch it as we shot right here [in America], although in Europe they did. It was a clothier by day/hooker by evening, performed by Kathleen Turner. We had this scene, which wasn’t within the American model, shot in a bed room set. Kathleen Turner had picked up this police officer, introduced him again to her room and handcuffed him to this steel headboard. He was bare and she or he was fairly bare, and a truncheon was concerned. I’ll let your thoughts wander for the remainder of it. There wasn’t any sound being executed within the scene and Ken introduced in these huge audio system and performed some very discordant Bartók music, The Miraculous Mandarin, deafeningly loud, and we cleared the set due to the character of the scene. Poor Dick Bush. He was a conservative Christian sort of man and was led to imagine the scene wouldn’t be this raunchy. He refused to shoot it. So, Ken Russell was working the digital camera, I used to be the assistant and we have been the one individuals on the set. Ken’s zooming out and in like loopy, the music is getting louder and louder, she is on prime of this police officer and it’s getting crazier and crazier, and Ken simply retains taking pictures. If I bear in mind proper Kathleen had these excessive heels with steel stiletto factors and so they have been gouging this man up, however Ken wished to maintain going. Kathleen Turner finally mentioned, “That’s it, Ken. You’ve acquired sufficient.” Ken mentioned, “No, no, no. I wish to do some extra.” And she or he stormed off and went to her trailer. She was executed.

Ken may very well be very imply. I bear in mind he fired the manufacturing designer on the street at evening in entrance of everyone. He was waving his cane: “You’re fired! You’re fired!” We did this one scene up within the Hollywood Hills, and Anthony Perkins is enjoying this loopy man within the bushes watching [Turner’s] residence at evening. It’s Friday evening. We’d labored all week. Dick lit the entire avenue for a large shot. [Turner’s] automotive pulls in, parks after which we went and did closeups of the automotive, closeups of her going within the residence, and several other closeups of Anthony Perkins within the bushes. It was getting towards the top of the evening, so that they’d wrapped all of the lights from the large vast shot to the truck. Simply earlier than we completed the closeup, Ken says, “Oh Dick, I wanted to get a large shot of the road with out her automotive in it for one more scene. I feel we’ve to redo that vast shot.” And everybody seems to be at him like, “What!” Then he says to Dick, “You understand what I want, don’t you? I’ll see you Monday morning.” And he walks off. (laughs) So, all the crew is now actually sad as a result of they’ve acquired to get all of the lights out and lightweight the vast shot of the road once more.

We additionally had this fascinating wedding ceremony on that shoot. Ken Russell acquired married. Anthony Perkins acquired some sort of license and was the minister to officiate. We went to the Queen Mary and there was a giant get together, like a wrap get together and a marriage get together, and Ken Russell acquired married. He was unusual to work with as a result of within the morning he’d be actually grumpy. You have been there at eight within the morning able to shoot, and if an actor got here in 5 minutes late, he’d scream bloody homicide at this actor in entrance of everyone. Then at lunchtime he would drink wine in his trailer [and be in a better mood]. He was by no means that near me. We’d discuss in regards to the work, however not a lot. Someday after lunch he got here out of his trailer and we’re on the road about to set one thing up. He sidled over to me, put his arm round my shoulder and mentioned, “Nicely, expensive Paul, what do you assume we must always do that afternoon?” It was the scariest factor since you simply didn’t know what he was going to do. You needed to be cautious about being on Ken’s unsuitable aspect.

Filmmaker: Along with veterans like Dick Bush, you labored with some nice DPs who have been simply beginning out. On Trick or Deal with (1986) [featuring a cameo from the late Ozzy Osborne], you shot second unit for a younger Robert Elswit.

Elliott: I had assisted Rob on a movie known as Waltz Throughout Texas, one among his early options. I used to be all the time searching for good cinematographers and will inform this was an A-class cinematographer. Then, when he did Trick or Deal with, he had me do some second unit. It went very nicely. I haven’t seen him in a very long time, nevertheless it was an excellent relationship.

Filmmaker: Round that point, you’re in all probability getting the bug to maneuver up and begin taking pictures your individual movies. Your first half dozen options as a DP have been all with Fred Olen Ray in a three-year span. How did you get attached with him?

Elliott: You’re proper, I wished to maneuver up. I’d been working and performing some second unit, however I wished to be the principle DP. I had a good friend from London Movie Faculty who was American. He was in an enhancing room in L.A. engaged on one thing and Fred was subsequent door. Fred had shot a part of this film known as Biohazard and needed to end the remaining it. He was asking, “Does anybody know a DP?” And my good friend mentioned, “Yeah, I went to movie faculty with a man who’s a cinematographer.” So, that’s how I met up with Fred. I feel I used to be paid 100 {dollars} a day, however I’d’ve executed it for nothing. It was nice simply to lastly be in cost. I bear in mind on the primary day everybody’s coming to you asking questions. The place are we going to stage? The place’s the rehearsal? The place’s the digital camera going to go? The place are the lights going to go? You’re requested lots of questions and instantly you understand, although you’ve been studying this, instantly you’re the one accountable for it.

I bear in mind Fred took me apart after the second film and mentioned, “You understand, there have been a few pictures that have been gentle. So, we’re considering possibly we pay you $75 as an alternative of $100.” I’d been an assistant incomes $500 a day or one thing. I mentioned, “Nicely, Fred, I’ll inform you this. I’ll agree and knock off some cash if the pictures are gentle, however when the pictures are good I ought to get a bonus.” He went, “Okay, by no means thoughts. We’re tremendous.” [laughs] He would promote the movies primarily based on the poster. It was wonderful. He acquired David Carradine and Lee Van Cleef to be on this movie [1986’s Armed Response] and raised 1,000,000 {dollars} for it. I acquired to shoot some scenes in L.A. in downtown Chinatown at evening. We wetted it down. We had these coloured lights. It was a shootout scene, and it was really good as a result of it had some manufacturing worth. I may really put a few of that scene on my reel. If you’re beginning out by some means you’ve acquired to construct a reel up as a cinematographer and it may’t be tacky stuff.

There was one other film with Fred the place we have been within the yard of a home in Beverly Hills with a machine gun and the way we acquired away with it, I don’t know. It’s an evening shoot and we’re firing off this machine gun and didn’t get one telephone name from the police. Fred’s made a profession out of it. He makes low price range motion pictures, however he retains making them and will get to direct. So, good for him. And it was good for me to get a begin. I may make errors on small motion pictures. You’re studying about lighting but additionally studying the right way to work together with the director,  with actors, and the right way to deal with a crew. I realized nice classes on these motion pictures with Fred.

Filmmaker: You have been already a longtime DP by the point you began taking pictures some second unit for the Coen Brothers and Roger Deakins. How did you get that gig?

Elliott: Roger and I had the identical agent on the time, Sandra March, a stunning English lady. I used to be busy doing HBO motion pictures. I had simply completed taking pictures a movie known as And the Band Performed On (1993), which received an Emmy for one of the best tv movie of that 12 months. I used to be nearly to complete taking pictures that in L.A. and my agent known as and mentioned, “Roger is doing this movie known as The Hudsucker Proxy in North Carolina. They want fairly a little bit of second unit. Are you interested by doing it?” And I mentioned, “Nicely, if it’s for Roger, completely.” We did rather a lot. I feel I used to be there 5 weeks. Generally, I solely labored three days every week, however we had some improbable units to mild. Dennis Gassner was the manufacturing designer. With the Coen brothers, they storyboard all of it. So, it was fairly clear what I wanted to do, however I used to be nonetheless nervous about it in a means as a result of it was like the head of filmmaking. It was Roger and the Coen Brothers, and I simply felt like every thing I did needed to be completely one of the best it may very well be. Generally on motion pictures you assume, “Nicely, if I had more cash and extra time I’d do one thing somewhat totally different.” On The Hudsucker Proxy I couldn’t use that argument. If I wanted it, they’d give it to me. Being second unit, the schedule wasn’t loopy. Generally I’d shoot on units that Roger lit and typically we’d shoot on issues he hadn’t lit in any respect. Sam Raimi directed the second unit. He’s such a artistic and humorous man. Despite the fact that it was storyboarded, he had his interpretations of that.

So, that’s the place I first acquired attached with Roger and since then I’ve labored with him fairly a bit on totally different movies. There was a film known as Anyplace However Right here with Susan Sarandon and Natalie Portman. Roger had completed taking pictures the film and went off to do one other mission. Then in enhancing they realized they wanted some extra scenes, or rewrote scenes, so he requested me if I’d are available and shoot them. There was one other film for HBO known as The Sundown Restricted, a Cormac McCarthy play. Tommy Lee Jones was directing it and appearing in it with Samuel L. Jackson. It’s only a two-hander in a room for 90 minutes, nevertheless it’s Cormac McCarthy so it’s very fascinating phrases that they’ve to talk. I acquired a name once I was at Workplace Depot shopping for some envelopes and it’s Tommy Lee Jones. And I’m considering it’s a joke at first, as a result of I don’t know Tommy Lee Jones. However he says, “I’ve acquired this movie and Roger Deakins instructed me I must name you,” which was very gratifying.

Filmmaker: Let’s get into some Duster. You’ve been working with HBO relationship again 35 years to early Nineties Tales from the Crypt episodes. They’ve all the time had an aversion to letterboxing, even into the streaming period. With Duster, you’re taking pictures Panavision G Sequence anamorphics with some T Sequence in there as nicely, however you’re utilizing a 2.0 side ratio. Was {that a} restriction imposed by HBO?

Elliott: We pushed for [2.39] and I feel [series co-creator] J.J. Abrams was into it too, so far as I bear in mind, however I don’t assume HBO went for it.

Filmmaker: Did you take into account simply pivoting to spherical?

Elliott: I simply thought anamorphic was a sensible choice for the interval look. I really haven’t had lots of expertise with anamorphics. I’m not usually loopy about them. I like good spherical lenses. Truly, we did must get a further set of lenses as a result of they constructed this glorious FBI workplace set, nevertheless it had lots of straight strains and we put these anamorphics on a large shot and it was like, “Oh my god!” The horizontal strains have been so bent and warped. We contacted Panavision and so they despatched us some related trying [spherical] lenses known as VA lenses. At any time when we’d do vast pictures within the FBI workplace, we’d use the VA lenses.

Filmmaker: Josh Holloway’s wheelman will get a memorable character introduction. He speeds towards digital camera on a desert street and slides inches from the lens in order that his automotive’s “Duster” emblem is in close-up.

Elliott: J.J. all the time talked about how the present began off as an concept the place this telephone sales space within the desert is ringing. A automotive drives up, the driving force will get out and solutions the telephone and now he’s on a mission. That picture began the entire sequence. We shot the present in New Mexico, so it’s not too laborious to discover a stark desert street that goes off to infinity. They put the telephone sales space there and we picked a street so the solar was in the precise course, and we may shoot it within the morning. The solar was three-quarter backlit, which is what I wished, and possibly even get some flares from that angle. J.J. is fairly eager on flares with anamorphic lenses.

We had this concept that the automotive rushes up from being a small dot within the distance proper into the lens, and the phrase “Duster” is sort of filling the frameinches from the lens. Nicely, the query is how do you try this? You may’t safely have a automotive drive up and find yourself inches away from the lens. On The Hudsucker Proxy, [main unit] shot one thing in reverse and I used to be round once they have been doing it and I assumed, “That’s such a terrific concept.” So, I advised to the director, “Why don’t we shoot this in reverse? We will put the Duster inches from the lens after which again the automotive up as quick as we will.” It was a crane shot, so we crane up because the automotive backs up. Then it’s nearly the right way to make it look actual. First, the driving force must be excellent. Second, when a automotive comes shut like that and stops, the automotive dips somewhat bit on the finish and there’s some mud. So, what we did was earlier than the automotive reversed we principally bounced the automotive [by having a crew member push down on the front bumper] and created some mud, then backed the automotive up and the shot labored. It was the introduction to the Duster, which is like one other character within the sequence.

Filmmaker: Probably the most spectacular a part of that to me is the stunt driver backing up on the precise trajectory at that velocity.

Elliott: Yeah, he was going very quick however he was excellent. We had 4 Duster automobiles. We had a stunt automotive the place they modified the engine. We had a handbook transmission one and an automated one. Then we had a ravishing inside image automotive for Josh to drive round in. He’s really an excellent driver. That opening shot would’ve been the stunt automobile.

Filmmaker: Inform me about lighting the FBI workplace. It’s on stage, so that you’ve acquired a Translight out the window and one thing within the ballpark of 250 Arri SkyPanels, one above every of those ceiling squares.

Elliott: Sure, each panel has an Arri SkyPanel S60 LED mild by way of some diffusion materials, which is stretched out and stapled. They needed to hold all these lights in place, then construct the set round them. Each mild is run by way of a dimmer board, so we will management each one among them individually when it comes to colour temperature and depth.

Filmmaker: What are you pushing by way of the home windows for daylight?

Elliott: We had Arri T12s, that are tungsten lights. We had a truss on the market with a T12 for every window. It’s speculated to be Phoenix within the summertime, so there’s scorching mild coming by way of. We really began out utilizing somewhat little bit of atmospheric smoke within the set. We appreciated the look, nevertheless it was nearly not possible to maintain a really mild smoke stage on this big stage. It simply didn’t hold. It might be thick after which skinny out throughout an extended take. If it acquired too heavy the Translight acquired too muddy outdoors. There was a brand new filter I examine, a Tiffen Black Fog, which took the sting off it somewhat bit. J.J. was very concerned and regarded on the dailies on a regular basis. He had a sure look he appreciated for this FBI workplace and utilizing that filter with out utilizing the smoke was the way in which to go. It was an excellent set to shoot on. It was very graphic. I feel they spent 1,000,000 {dollars} on that one set, which is sort of some huge cash for a TV present.

Filmmaker: In episode two there’s a diner scene between Bilson and her FBI colleague performed by Asivak Koostachin. You’ve been doing this a very long time. You could have lit dozens of diners. How do you method a well-recognized sort of location at this level in your profession? You went with some fairly heavy shadows from the blinds and a really heat total look.

Elliott: Nicely, a few of that’s the Seventies look. I really lit this present greater than I usually would. I feel Seventies [filmmakers] tended to mild extra. These days, with HD digital cameras, typically you simply stroll in and shoot it as it’s and use the out there mild, which might be an fascinating look too. For the diner we had some massive HMIs out the home windows that have been gelled fairly heat. I didn’t use a lot fill mild in any respect. It’s principally simply the window lights and let the shadows be what they’re. So, it’s fairly contrasty. This was a terrific outdated diner, nevertheless it regarded horrible [before we shot it]. It had actually fallen into disuse, however they fastened it up and put new practicals in there.

Filmmaker: What sort of gel would you employ for that have an effect on after which what would you set your digital camera’s colour temp at?

Elliott: I’m tempted to say it is a half straw on the HMI after which we warmed up the entire thing. Perhaps we put the digital camera to 4000 Kelvin or one thing like that. I’d usually try this simply to heat up the entire thing. There’s additionally an evening scene on this diner. The manufacturing designer actually wished to go along with purple, white and blue when it comes to interval manufacturing design colours. I had this concept once we have been scouting that I’d put purple outdoors the home windows. So, I put a line of Astera tubes on the skin of the constructing. With Asteras you’ll be able to colour them something you need, and I made them purple. There was purple neon on the entrance of the constructing as nicely. I additionally put some Arri S60s on the roof simply on stands that I additionally coloured purple. So, when we’ve this scene of [Holloway] strolling out of the diner and getting in his automotive, there’s this purple wash behind him. I requested the visible results individuals, “Nobody’s crossing the body. Are you able to simply take these lights out later?” And so they went, “Oh, it’s no drawback. Completely.” So, I may put a bunch of lights on the roof and so they eliminated them in submit.

Filmmaker: One other nice location is the parking storage the place Holloway and Hilson meet up. You’ve been working in New Mexico for years. You ever shoot there earlier than?

Elliott: No, I hadn’t. I cherished it. It’s acquired these nice openings within the cement partitions with the cross and the dots. For a few of the vast pictures we simply used out there mild and let the skin blow out. In nearer two-shots it was usually simply out there mild as nicely. Generally one of the best factor to do is to not mess with it. If it seems to be good with the out there mild that’s there, simply shoot it. Once we did the overs and [tighter] protection, I actually wished to push to not mild it in any respect and simply go along with out there mild, however the director felt it was somewhat too extreme. So, I ended up bringing somewhat bit of sunshine round for his or her faces.

Filmmaker: Let’s end up with some automotive rigging. You used a Zephyr, which is principally like a Biscuit Rig nevertheless it’s electrical and never fuel.

Elliott: It’s a really low flatbed trailer with a Tesla engine. It’s silent, it’s electrical and it may go quick. You simply drive your [picture] automotive onto this factor and it has a pod that the (stunt) driver sits in. The pod might be moved. It may be within the entrance, on the precise or left nook, on the aspect.

Filmmaker: It’s a stunt driver controlling the automotive from the pod, however there are nonetheless actors within the automobile performing. So, you’ll be able to’t simply go 80 in that factor. What’s the quickest you’ll go within the Zephyr.

Elliott: On this present, possibly 50.

Filmmaker: My favourite automotive scene is the episode 5 chase, the place Holloway and his passenger are chucking fireworks at their pursuer.

Elliott: It’s one among my favourite scenes within the present. We would have liked this lengthy chase downtown at evening. I didn’t wish to should put up 50 condors lighting all of it. It might’ve regarded horrible. So, I requested the situation supervisor, “Is there an space downtown the place we will do a chase the place there’s sufficient out there mild that I don’t should mild it?” I’d mild the individuals within the automotive, however not [the streets]. She confirmed me a spot downtown, which was nice. It went underneath and on prime of a giant bridge and you would see town within the background. It had lots of totally different textures to it. I shot a check and there was sufficient mild with the cameras we used [Alexa Mini LFs]. So, we shut down that space in Albuquerque for a pair nights and the entire chase was shot there.

This was extensively storyboarded as a result of it was difficult. They’re firing weapons at one another and run out of bullets. They’re going to a Fourth of July get together, so that they’ve acquired fireworks behind the automotive. One tough shot was a shot trying again on the unhealthy guys and fireworks are being thrown from off digital camera to hit the entrance of the automotive and the windshield. We did assessments with fireworks and picked the type that we wished. There’s an insert automotive main the unhealthy guys, and the consequences individuals are on the again of that automotive furiously lighting up fireworks and tossing them. Once we rigged the digital camera on the unhealthy man’s automotive for aspect and entrance pictures, we have been initially going to make use of LED lights and have them flash as in the event that they have been fireworks, which I used to be by no means thrilled about as a result of there’s a selected look to fireworks. It’s so significantly better [to use real ones], the way in which they explode and the sparks fly. As a result of we have been on the Zephyr, the actors don’t should drive. So, for the aspect pictures we’ve acquired somebody within the again within the pod driving this automotive and have the insert automotive main and throwing actual fireworks, so we will really see the fireworks hitting the entrance of the windshield from aspect pictures. It was a difficult scene. As I mentioned, it was extensively storyboarded however what tends to occur is you storyboard the scene you’d like to see, then understand you’ve acquired 27 totally different pictures with automotive mounts and also you’re by no means going to get that [in the amount of time you have]. So, then you definately undergo the storyboards and say, “Nicely, do we’d like this? Can we mix these?”

Filmmaker: Nicely, Paul, that’s all I’ve for you. I recognize you humoring me and speaking in regards to the outdated Nineteen Eighties B-movie days. I grew up on lots of these and nonetheless have an incredible quantity of affection for them.

Elliott: I used to be simply working as a digital camera operator on a pilot that Nicolas Winding Refn was doing in New Mexico that Darius Khondji was taking pictures. We acquired chatting in between setups about what I’d labored on and [Winding Refn] was fascinated. I assumed, “Why would he be taken with these motion pictures?” However he’d seen all of them. He went, “Oh my God, you labored on this! You labored on that!” I’m amazed how a few of these motion pictures nonetheless have an actual life to them.