![]() ![]() Did you see “The Good, The Bad And the Ugly”? The Eli Wallach character is a goofy character, but at the same time he’s very dangerous and he’s very funny and he’s … We can have that kind of thing. S - It’s just like you don’t put Lee Van Cleef as an accomplice to… (garbled) If we keep it that mode of believability… In a way he was the buffoon of the piece, but at the same time he was very dangerous and he was very… They were strong characters. G – Elijah Cook might not have been the brightest person in the world. Even in the Maltese Falcon there were some pretty goofy characters, but they were all pretty real in their own bizarre way. A thirties movie in the, even in the Sam Spade genre. The one thing we’re going to do is make a very good period piece, that is realistic and believable. If there are occasions where he comes up against, not the arch- villain, but the people around him shouldn’t be the smartest… S - And one of the things that really helped Mifune in all the Kurosawa movies is that he was always surrounded by really inept characters, real silly buffoons, which made him so much more majestic. That’s something you don’t see that much anymore. They were very, fast with a gun, they were very slick, they were very professional. James Bond and the man with no name were very good at what they did. We want him to be extremely good at what he does, as is the Clint Eastwood character or the James Bond character. The thing with this is, we want to make a veryīelievable character. We’re going to take the unrealistic side of it off, and make it more like the Clint Eastwood westerns. Except James Bond tends to get a little outrageous at times. ![]() Or it’s James Bond and it takes place in the thirties. It’s a spaghetti western, only it takes place in the thirties. That’s another important concept of the movie - that it be totally believable. The trouble with cliff hangers is, you get somebody into something, you sort have to get them out in a plausible way. G - That is the progression we have to do. S - And each cliffhanger is better than the one before. If it’s every ten minutes we do it twelve times. One of the main ideas was to have, depending on whether it would be every ten minutes or every twenty minutes, a sort of a cliffhanger situation that we get our hero into. Which is where a lot of stuff comes from anyway. As I build this up, you’ll see it’s done vaguely by the numbers. We want to keep things interspaced and at the same time build it. ![]() It’s also basically an action piece, for the most part. Meaning that there are certain things that have to continue to happen. The basic premise is that it’s sort of a serialesque kind of movie. I found it easier and it does lay things out. I have a tendency to work rather mathematically about all this stuff. Then we figure out vaguely what the pace of, how fast it’s going to move and how we’re going to do it. You can move things around, but it generally gives you an idea, assuming that what we really want at the end of all this is a hundred and twenty page script, or less. (?) It depends on, part of it is the… (short gap in the tape) knock some of these out, and this doesn’t work out the way we thought it would. ![]() A sixty one means that every scene is going to run twenty pages long. A thirty scene thing means that each scene is going to be around four pages long. I can either come up with thirty scenes or sixty scenes depending on which scale you want to work on. And the way I work generally is I figure a code, a general measuring stick parameter. Then we will actually get to where we can start talking down scenes, in the end I want to end up with a list of scenes. Then I’ll get down to going specifically through the story. G - We’ll just talk general ideas, what the concept of it was. George Lucas, Steven Spielberg, Larry Kasdan ![]()
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