"Hi, I'm Harold Becker and I'm the director of Sea of Love." "I thought while these titles are coming up I might mention the music track... which is so distinctive here." "I worked with a wonderfully talented composer..." "Trevor Jones." "The first thing I asked for was that he create a mood... that was film noir-ish." "By that I mean something that reminded us of those films of the '40s and '50s... where they were basically very urban films... in which there was a world out there... that one normally doesn't see." "A world of mystery, a world of something going on underneath those lights." "I also wanted Trevor because he had done other films... other scores which had a drive to them." "I wanted that drive here and you can feel it underneath these opening credits." "I might make a point about the photography." "We filmed this, basically, in New York." "It's a story of New York." "Here we are in the credit sequence already going through the streets of the city." "Some of the interiors, on the other hand, were done on a lot in the studio." "Basically, much of the studio work was done in Toronto." "This was a cost factor, in part, in order to save money... on the cost of shooting." "We set up in Toronto for interiors." "Of course, since Toronto looks nothing like New York..." "I insisted on shooting all exteriors... or anything which we couldn't build, in New York." "We spent literally a third of the time up in Toronto... and the rest of the time in New York." "This, of course, is a set." "The song we're hearing, Sea of Love, by Phil Phillips and the Twilights... is, one might say, the classic rendition of it." "Oh, baby." "Okay?" "I can't..." "Is this okay?" "And so, we start the film with a murder." "Then we go to a very strong contrast, a rather amusing scene... in which the police use a sting operation to bring in, basically... a whole group of bail jumpers and people who... are out on outstanding warrants, etc... by offering them tickets to a ballgame... and then springing it on them." "This actually, as a point of reference, this actually had happened... and it was something that Richard Price had picked up... off of a news story." "We introduce our hero here... in a very different context." " Used to be." " What?" "Sure." "Holy cow!" " I thought so." " You're the Scooter!" "Yo, Efram, this dude is Phil Rizzuto." "Do that again." "Holy cow!" "I point out that this large ballroom..." "Now, wait a minute!" "Here's something I wanted to point out." "That's Sam Jackson, early in his career." "I'm always amused by seeing him in this small part... and remembering how good he was in it." "Who could've predicted that he would be the major star he is now." "I think even in the couple of minutes he's on screen here..." "I think you'll see why his career has taken this wonderful turn." "I got some good news, and I got some bad news." "Which you want to hear first?" "Good news, good news!" "Fuck that." "Give up the bad news, homeboy." "Bad news wins." "The Yanks can't make it here, guys." "You can't make it over to the stadium." "We got 45 outstanding warrants eating our pancakes here." "On behalf of the New York Yankees... and the New York City Career Criminals Investigation Unit... you are all under arrest." "As I said, this was actually based on a real sting." "A very successful one, I might add." " What's the good news?" " Good news is coming around." "Excuse me." "I'd like to propose a toast." "The officer introducing Frank Keller, the Pacino character... is a real police officer playing this part." "His name is Gene Canfield and he had an interest in theatre... came up and auditioned." "I always love to give people parts who can give authenticity... and he certainly had a background to give an authentic portrayal." "I'm going to be 46 years old in some alley... sticking my pencil in some dead skull looking for a bullet?" " Nothing wrong with motels." " I'll come visit you." "I'll make sure you get plenty of towels." "Anyway, congratulations." "Am I too late?" " Got an invitation?" " Yeah." " Who's this?" " That's my son." "Ernest Lee, the invitation's for you only." "I can hardly meet Dave Winfield without taking my boy." " You got ID, Ernest?" " Yeah." "Grand theft auto... two counts." "We're all booked up, Ernest." "I got an invite." "Of course this scene was important to us... even though it seems off the track of a murder mystery." "We've just seen a man killed and we spend all this time with a sting, etc... but there were strong reasons for it." "We wanted to establish the character of Frank Keller." "A man who's seen too much, 20 years on the job... and as we see him coming home now... a man who has, you might say, lost everything." "A very lonely man." "This is a marvellous part for Pacino in that it combines so many of the elements... that work so well for him, great actor that he is." "Playing this Ioner, this quintessential city boy... and a cop who has... let's say a cop who's tormented by so many devils." "Gruber." "Frank Keller." "How you doing?" "Al had been away from the screen for quite awhile before making this film." "It may have been six or seven years since his last film." "He, of course, had been occupied with the theatre, etc... but to some degree Sea of Love was something of a comeback... a glorious comeback for him." "Not that I thought that his audience had ever forgotten him... but he had been out of the business seven years." "In film, to be away from the screen, that's a long time." "As this film proved, it didn't mean anything in terms of his audience." "They were there, waiting to see his next movie." "Especially one in which so much of what Pacino's trademarks were... are a part of the character here." "Here we meet what's referred to in the credits... as the "older woman." This woman next door... who's being driven crazy by the sound of the record player... the record being played over and over again." "It's so important to have the right person playing even these very small parts." "This woman's name is Barbara Baxley... who was a very well-known actress when she was younger." "She's still a wonderful actress but, of course... the parts get harder to get." "But she's just wonderful, even in playing this small part." "In casting, we are always looking for, especially in small parts... we're always looking for someone who in those few moments onscreen... are gonna be memorable." "Playing Pacino's partner is Richard Jenkins, another wonderful actor." "A very New York character actor." "You've probably seen him in other movies, as well." "Somebody we drew from that wonderful pool of New York actors... to, again, give authenticity and richness to the scene." "I could have sworn you were on the job." "Listen, I'll come down." "We'll talk later, okay?" "I'm of weight." "This, of course, is shot in New York." "As I said, those things which... couldn't be done in Toronto because they weren't New York, were shot here." "There simply aren't buildings like this, streets like this, in Toronto." "What's terribly important to us is the veracity." "Once they step into the elevator, they're stepping into a set." "The elevator, the interior, is a set." "I'm having a mid-life crisis." "I don't want you calling at 3:00 a.m. Anymore." "As is, of course..." "I shouldn't say "of course."" "As is the apartment they step into when they get out of the elevator." "Dinnertime?" "8:00 p.m.?" "Again, it's a mixture of things." "When they step out into this hall, this is a real hall." "I can't believe those guys." "And the apartment, of course..." "I shouldn't say "of course." The apartment is a set." "They called him The Brown Bomber." "He was gorgeous." "You want to take the lady outside?" "Even the small details begin to reveal what a good cop Frank is." "Always on the job." "What's this guy's name?" "James..." "Mackey." "Mack the Knife." "I'd like to point out that all of the police work being done... was very carefully researched." "We had as our technical advisors... homicide detectives from the New York Police Force... who really guided us in exactly how all of this would be done." "Everybody says retire... so..." "I feel kind of mortal all of a sudden." "Know what I mean?" "I say this guy's dead 48 hours." "No." "Look at the lividity." "It's more like 36." "Smells like 48." "As we listen to the wonderful dialogue..." "I realise the debt owed to Richard Price for a wonderful script." "Remember we're playing all of this personal relationship... the antagonism between these two guys... as they basically investigate a ghastly murder." "...six years." "We don't so much as have a beer together." "How the hell do you take my wife away?" "I didn't take nobody nowhere." "You understand?" "You didn't treat her right." "She walked." "I didn't treat her right?" "She walked!" "You want to kick somebody's ass about it, you kick your own." "Fuckface." "I'll check everybody out, but truthfully... it boils down to grabbing the strange trim... he got hooked up with." "In this scene we introduce John Spencer, another wonderful actor... who we're seeing a lot of today." "I just saw him... in a film, ironically, or interestingly, I should say... a film in which Sam Jackson has the lead and he's playing... a police lieutenant." "But we used him first, a long time ago when we made Sea of Love." "...except on a first or second date... when you're doing "the wonder of me" thing." "Getting to know you." "So what do you do?" "Take out old records, show the broad you kept them all these years... meaning you're a wonderful, sentimental individual." "Who does that with somebody they know already?" "Going back to the script, this Richard Price script... interestingly enough, had been around for many, many years." "I had seen it in an earlier incarnation, it must have been about... three or four years earlier." "I think it had probably been seen by a lot of people." "It had made the rounds, so to speak." "It's hard to believe such an interesting piece of material... wouldn't have been grabbed up right away, but that happens sometimes." "It was really, I think, when Al... expressed interest in it... and I think that lit the fire under this project." "I very much wanted to work with Al." "Who wouldn't want to work with a great actor of Al's calibre?" "I felt a certain attraction for this kind of material." "So the emcee says to the first husband:" ""Where did your wife say..." ""was the most exotic place you ever made love to her?"" "So this guy's thinking, right?" "He's got a brain like a friggin' pea... but he's thinking." "Finally he says, "In the butt."" "You get it?" "Hey, anybody do any work over at 365 West End Avenue Monday?" "I was over there." "Did you see anybody over there, not looking right?" "You know, freaked out, scared?" "Running, like, lost?" "No, I saw a couple ladies going to the laundry room." "Off here in the corner, is Michael Rooker." "I'm sure you've seen him in other movies by now." "But when we cast Michael... he had only done one movie and it had caught my attention." "The name of it was Henry:" "Portrait of a Serial Killer." "A very powerful, small movie." "When I saw it, I knew Michael Rooker was... the right man for the part." "Of course, this key song... which is refrained for the murders..." "So good." "Please." "... and now we have established that there is a serial killer loose." "Here's John Goodman." "He, too, was a fresh face." "Of course, everyone has seen him now in Roseanne, etc." "When we cast John, he was a relatively unknown actor." "A wonderful actor and... as it turned out, a great sidekick for Pacino in this part." "They make great partners." "Tommy Squibb, detective third grade." "All right, George." "Where the hell did you learn that?" "That's like watching a movie." "It keeps me fit." "I get in a beef with a guy, I hit him fast, a lot, I'm out of there." "I don't like getting hurt." "God gave fat guys guns, so we wouldn't have to do that." "You're Frank Keller?" "I'm Sherman Touhey from the 112." "Here we have the meeting of this great team." "John is this wonderful actor who is full of surprises." "He's a wonderful song and dance man, great comic timing... and a serious actor, up with the best of them." "Let's compare tomorrow." "Dewars, double Dewars on the rocks." "Budweiser." "You know something?" "You talk lipstick." "I think my guy got done by a broad." "How's that?" "We're talking a four-star ladies' man here, okay?" "You play, you pay." "Am I right?" "My wedding night, I wake up..." "I wanted to play the seriousness of a murder investigation... against the party atmosphere... the casualness of... a police party, etc." "Always thinking about it." "One was playing on the turntable when they found him:" "Sea of Love." "Remember that one?" "Sea of Love?" "Jesus." "Come with me, my love to the sea the sea of love" "You notice there's a lot of drinking." "Cops live very stressful lives, as we well know by now." "Alcohol, unfortunately, plays a large part in it." "We meet the Pacino character and he really is an alcoholic." "It's part of what gets him through the day." "Here, again, we see John Goodman giving an electrifying performance." "A wonderful entertainer... and yet never leaving character as a cop from Queens." "He's about to become partners with the Pacino character." "What's really interesting in this film is that on one level... it's a murder investigation." "But what gives it its richness is all the subtext." "It's the story of a cop, the Frank Keller character... who is on the edge... on the verge of slipping through the cracks, so to speak." "A tortured man, a man who has lost his wife... to a job, so to speak, to the alcohol." "It operates on all of these levels at once." "Here in the middle of this party is all of his rage... at the man who he feels has taken his wife away... even though it is he who has lost her." "This is just subtext for the ongoing story of the hunt for a serial killer." "But this is what makes it interesting." "Here we see him exploding in his violent temper." "All of this, from the sting, to calling his wife... to exploding at a party at his wife's new husband... all of this is building the character of Frank Keller." "A man on the edge." "As we walk into this apartment... we are in our night scene... and it is the skill of the cinematographer..." "The skill and the great talent of the cinematographer Ronnie Taylor... who creates this entire mood, the light changes..." "That is actually a backdrop outside that he has lit... to create the New York skyline." "Ronnie Taylor, a major cinematographer who won an Academy Award for Gandhi... created this lighting effect on the shadow... crossing his face, etc." "All of it to create this mood, this ambiance." "It's very typical of film noir, this play of light and shadow." "This combined with Trevor Jones' music." "Fuck it." "The importance of establishing the character... and all of his quirks, all of the things eating at him... so that we understand a bizarre moment like this." "In the sustaining chords... the score, or you might call it the underscoring." "This is a very interesting moment here." "It's almost a shock and bang!" "We're outside with a wonderful character actress." "Again, small parts but played by people who are very special." "We had a wonderful casting lady on this picture." "Her name is Mary Colquhoun." "There were weeks, months, spent casting all of this... auditioning so many people to get the right person for the part." "Again, a very good character actress, I think her name was Christine Estabrook." "Somebody who could give us this pathos." "It should always look as though it all just happened this way... and these are real people in real situations but each of these are... actors who've been specifically chosen for that moment... to, again, build this whole structure." "This mad moment when this woman walks into a murder scene holding balloons... where she had a date with this man who no longer is." "This is an actual police station." "The effort was made to make things as real as possible." "By "an actual police station," I meant the exterior." "The interior was shot in Toronto, in an old police station that we had rebuilt." "It's very difficult to find police stations in New York that will... turn themselves over for the days and days of shooting necessary... or the weeks of shooting necessary... because they're working police stations and obviously, can't come to a halt for filming." "Sometimes one builds a set because it's impossible... to fit yourself and a crew, cameras, etc... into locations because of their size, their inaccessibility, etc." "Other times it's simply a matter of one can't get the facility... because these places are in use." "In the case of a police station, it's in use 24 hours a day." "And yet one has to build them with enormous care... and authenticity." "This is the work of the production designer, John Jay Moore... a New York production designer who gave us... this enormously authentic feel." "Here we have John Goodman, we're introducing him at this point." "What a brilliant performance he gives." "It's just a wonderful combination of these two people." "The chemistry was great." "Again, I thought one of the characteristics of this movie has been... it's so filled with moments that seem... out of keeping, out of place." "And yet they all ultimately feed the story going through... and yet reveal something about the lives of the people." "Here we are at a wedding in Queens for John Goodman's daughter." "It's just another moment that sort of builds the rich texture of New York life." "Again, we're trying to say these are real people... caught up in a real-life drama... which is that there is a serial killer on the loose." "Of course, Frank can never forget it." "I used music here to tell you what Frank is thinking about." "After all, we'd have a close-up of him." "We know something's on his mind and then by joining it... with that theme of Sea of Love, we know exactly what's on his mind." "We put in our own ad." "Say what?" "It's a moment, "Eureka!"" "Something happened." "So here in the middle of a wedding, which is really so out of context... he's thinking about another thing." "The very thing that's driving him and is driving our story:" "Who is killing these men?" "We set up dates with 30, 40, 50 of the ladies who answer." "We take them out, some restaurant, some bar... get their prints on a wineglass." "Now the other thing we see and it's such a New York thing... these two guys, they just met, but they see something in each other... there's like a magic." "Here we have the Frank character, the Pacino character... at John Goodman's family's wedding." "An outsider, yet an insider." "Raymond Brown, 8130 Austin Avenue, Kew Gardens." "I tracked him through his post-box." " What are you, a fucking cop?" " Sometimes." "And we're back in the case." "Part of Richard Price's brilliance was weaving the story... through so many personal stories and keeping it all alive." "Here, in the middle of an investigation, is still his relationship with his wife... or, I should say, his wife's husband." "And we see as he..." "Here we go." "This is New York." "We're going across the 59th Street Bridge." "And this is all on location." ""But my love is from the soul"" "We were on location in Toronto." "We were in Toronto." "We shot in Toronto for eight weeks... and we shot in New York for another 11 weeks." "It was a total of 19 weeks for the shoot." "We needed all of that time, we needed to create this environment." "This, again, was shot..." "I believe this was shot in the New York area." "This was an actual location." "The reason we could get away with it is because... we didn't have to go into that house." "Once the door opened, all we had to do was see the family." "I don't have letters." "Raymond, there's some psycho woman out there killing guys." "Again, another story in the city." "A man cheating on his wife." "These are all just subtext for our story." "You spring $300 to put the ad in the magazine." "You spring another $500 a month for some love nest in the Village... $50 for the post office box..." "What's running through it all is a new form of dating... and that is personal ads, which are at the heart of our story." "It's how these men, lonely or otherwise, meet these women." "We have in this Raymond character a perfect example." "A man with a family living a hidden life." "And watching this whole scene is the wife." "She doesn't know what's going on but as we saw... from that cut to her looking through the window, she knows something's wrong." "And now we're back into our... cop scene... which is, of course, cops have to get the money to mount... an investigation like this." "Remember, personal ads, etc... are rather a new phenomena." "Certainly, a new phenomenon in 1988 when we shot this picture." "A relatively new phenomenon." "Here they are trying to get their boss, the lieutenant, to give them the money... to mount this strange experiment." "Lieu's sister-in-law sounds great." "The moving curtain to play against the inanimate, the dead body... all of that was created to get the effect... and to contrast the dead man to the movement." "And, of course, the body count is rising." "And always the underlying humour... in a situation which is anything but humorous." "But cops have to laugh..." "Let me put it this way, but cops have to... find humour in situations that we might think inappropriate... just to keep going." "What's with the backup and wire?" "What's she going to do?" "Confess?" "Shoot me?" "I might point out that... ever since doing The Onion Field in 1980..." "I had spent a lot of time with cops just to... be able to put them on the screen in an authentic and honest way." "And so I brought a lot to it in that way." "And I understood so much more... what makes cops what they are." "It's such an unusual occupation, in a sense." "Taken for granted, unfortunately, too often." "And here's a scene that we left out of the movie again." "I mean, we cut out of the movie again." "It's a scene which brings Frank home." "And it introduces us to a very important character." "A minor but important character in understanding... in a dimensional way, who Frank is." "And that is, of course, introducing us to his father." "A wonderful actor playing Frank's father." "William Hickey." "The late William Hickey." "A very famous actor from theatre, etc." "And again, putting great actors... in even relatively small parts." "..."to fill my hut with songs"" "Again, the underlying tone:" "He's an alcoholic, his son is an alcoholic." " It's a little corny, but it's good." " Better than what we got." "The father was a cop, the son is a cop." "These are not such unusual situations." "You find it in LAPD or New York PD very much... maybe in New York PD even more... because it's an older police force, father and son." " Good poem." " I really liked that." " You guys are fucking slobs." " And you're GQ." "See you later, Frank." "Again, Frank's apartment is a set." "That's a lit backdrop outside... that tells us we're in New York." "Come on." "I did everything I could... to underline..." "Frank's basic humanity and decency." "Despite him being a cop for 20 years, he hasn't lost his humanity." "That warrant isn't for me." "You got the wrong guy." " I'm telling you, I'm the wrong guy." " Sorry, Frank." "Another thing typical of New York, I don't know how many other cities have it... are mail drops." "Because people live much more nomadic lives... people have to have places to receive their mail." "It's really the equivalent, in a smaller town or city, of a postal box." "But in cities like New York, they're so large... that people have found ways to have a business of mailboxes, mail drops." "It allows for our cops to create a persona." "In other words, to set up a drop... for people to answer these personal ads." "We draw on the reality of the situation... to make our plot points work." "Women, you know?" "How's around..." "They're hunting for a killer and there's a certain juice to... answering personal ads in anticipation of meeting these women." "And we build to that." "Again, I want to remind you that all of these moments... these surveillance vehicles, the miking, etc... all of this is done... under supervision of people who are actually expert at it." "What I call "technical advisors."" "Here we are with the backdrop of Lincoln Center." "I wanted to set it up in a location that was extremely cosmopolitan... right at the heart of the city." "A familiar location, a landmark so to speak." "Lincoln Center, on the West Side, is that type of location." "I say West Side for people who aren't New Yorkers." "This picture takes place, by and large, in a neighbourhood on the West Side." "Its central location, in that neighbourhood is where the first man was murdered... on West End Avenue... where this bar is located, near Lincoln Center." "We wanted to be conscious of the reality, the truth of the situation." "After all, it is a cop who works in this area." "His precinct works this area." "Patricia Barry, who we meet here... a very well-known actress, a very beautiful star in her younger days." "We saw the exterior of this bar and that was shot in New York." "It was actually a very famous bar at one time..." "I don't think it's still there, called O'Neals'." "The interior, we built in Toronto." "We literally matched the interior of O'Neals'... in order to be able to shoot again." "The problem of shooting in a live location is that a scene... that may have taken two or three days to shoot... it would've been very difficult for us to close... a going bar and eatery for that long period of time." "It was just plain good sense to build it... and also allowed us more room to shoot." "And then this nice piece of business where John almost drops the glass." "We see how he handles this glass and the evidence bag." "Again, underlying all the... fun, so to speak... all of the moments which are... sort of serendipitous, like almost dropping the glass, etc... is good solid police work." "These are cops." "We're always saying these are real cops, professionals." "Now, here again, subtext is everything." "Even though we are watching two pros... in pursuit of a killer and trying to sort of track down... who could this be, putting in these personal ads... we also have the poignancy of these lonely women... and how this affects them." "And, of course, in Frank's character, his sensitivity." "All the anticipation and the fun these people thought it would be... is turning sour." "I get this very weird feeling you're not who you say you are." "That is because he's suddenly thrown into... a real-life situation... with these lonely women." "They're all very different." "You look at me, I feel like I did something." "Like you did something?" "Like what?" "My ex-husband was a cop." "What did you say?" "What are you, you're a printer?" "If you're a printer, I got a dick." "I didn't doubt it for a minute, baby." "By the way, some of these lines, like that last one, were ad-libs." "Through it all, there's a certain amount of improv... and when she says:" ""If you're a printer, I got a dick"..." "Al answers, "I didn't doubt it for a minute," that's something he added." "It was great." "It's allowing for these moments that give the spontaneity... and some gold." "Suddenly we have Ellen Barkin sit down, this beautiful girl." "Tough." "...you went from York to New York." "You like the park, and I like the beach." "You like movies, I like plays." "Now, I could talk a little bit about the casting of Ellen..." "Ellen is sort of an offbeat beauty." "She's got a face that's very arresting and yet in some ways..." "I hope she doesn't mind my saying it." "She's beautiful with a boxer's nose." "Yet it all works and it's very real." "I believe in love at first sight." "It's such a New York kind of a look." "Being a wonderful actress, she's able to play the toughness of the character." "Someone who you believe could go out on her own at night... and meet people through a personal ad." "Have a little sip." "Someone who'll give as good as she gets." "Come on, here." "Let's have a happy hunting toast." "It's nothing personal." "Come on." "Where are you going?" "Kiss my tiara, bitch." "Look at that." "I didn't get prints." "I didn't get prints." "You can say the battle is joined here." "And we realise they're surrounded by other cops." "So this is a real surveillance job." "Very much the way it would be in real life." "Oh, no." "Always bringing us back to the human factor." "Mercy, mercy." "Back to Sea of Love." " Anything on the prints?" " Nothing yet." " How's your head?" " It couldn't be worse." " How are you doing?" " Terry." "Cable Tone." "Yeah." "What's up?" "We meet, again, Michael Rooker." "A black kid." "I think he was from the supermarket... 'cause I saw him come in with groceries." "It was really important here..." "In casting Michael there were a couple of things:" "I wanted somebody who had..." "A good actor who had this physicality, this kind of intensity." "I'd seen it in Henry:" "Portrait of a Serial Killer." "But just as important, I wanted an actor who had a fresh face." "By that I mean somebody who hadn't been seen on the screen before." "I didn't want, after all he's playing the villain in the piece..." "I know I'm not revealing anything since you've seen the picture." "But I wanted somebody who didn't look like a villain." "Somebody you hadn't seen play a villain before." "You can say, "What about Henry the serial killer?"" "On the other hand, very few people saw that picture." "It was certainly better than using somebody who played... what we call in Hollywood, a "heavy" before." "We wanted that moment to pass without you seeing him... with arrows saying, "This is him."" "...he doesn't like the tip... so he starts screaming at the customer." "You got his address?" "Maybe." "What did he do, kill somebody?" "Again, this is a real supermarket where we shot it." ""Spooney." Call him that, he goes crazy." "I got nothing here." "He only worked, like, a week or so." "You might ask the question:" ""Why shoot this in a supermarket..." ""and shoot some of those other scenes, scenes I mentioned, on sets?"" "Of course, one thing is, supermarkets are very large places." "It's easier to get into and shoot and then, it's a relatively brief scene." "So it's possible to get in and out." "This whole scene was shot in one day." "We're on Broadway again and anyone familiar with New York... will realize it's Broadway with its Korean grocers that sell... flowers, fruit... vegetables, groceries, and are open all night." "Very typical thing in Manhattan." "We're building... the feel and smell of the city." "This is a scene that can take place in New York... this kind of casual meeting." "These are two people... they live in the same neighbourhood and it's perfectly reasonable... they might bump into each other again." "We've got Frank picking up some fruit... to take home." "It's not very surprising to see her out late at night." "I could point out something else:" "The wardrobe." "We really take pains to have wardrobe that reflects the character, the people... from Frank who wears suits that look like... the last time they'd been cleaned or pressed was God knows when." "They're well worn." "He just lives in them." "And here we have... the Ellen Barkin character wearing this red leather... jacket that I had made for her... because I couldn't find anything in a red leather." "And yet I felt it was really a strong..." "I wanted to identify her and set her apart, in a way... and still have her wear something which would be typical of... or let's put it this way, appropriate... for a New Yorker as striking as she is." "What if she's the doer?" "We won't get the prints back till tomorrow." "Wait till then." "Come on, the doer's down south somewhere." "Again, the use of the street phones, the city in the background... is so typical of the city." "If we were doing it today, everybody would have a cell phone." "But at that time... public phones were the thing." "That'll be some great testimony if she's the one." ""You see, Your Honour..." ""first I whipped it out, then she whipped it out."" "You catch my drift?" "How do you know it's this Quawi kid?" "It's probably a broad." "You know that." "We're contrasting the start of a romance..." "Here he is, he's met this beautiful girl again." "He thinks it's his lucky..." "He's almost abandoning all thought, all caution." "Yet underlying it and that's the Goodman character emphasizing it... underlying it all, is the sense of danger." "She could be the one." "It's something that is important for me as a filmmaker... to keep alive through the entire film:" "Is she or isn't she the killer?" "The choice of somebody like Ellen Barkin..." "I can't think of too many actresses who could have been more appropriate." "There is that sense, that toughness... and she could be the killer." "She's clearly totally independent." "Somebody comfortable meeting a stranger... sitting in a bar with them in the middle of the night." "You see she's her own person." "I'd like to point out something else." "I mentioned the bar being a real bar." "I wanted to point out the motif of this entire picture... is the loneliness of these people." "The loneliness of Frank... through the loneliness of everyone he meets." "These women he has met through the personal columns." "This woman, who he has just met." "These are two lonely people and the bar itself is relatively... uninhabited." "It's late at night, few people in the streets." "So even in the middle of the city filled with people... in Manhattan, there's five, six, seven million people... we have very lonely people." "This is the underlying sense of the story that's being stressed continuously... by the settings, by the people." "They're people who are looking for somebody." "I feel like a big cat... in a small cage." "Yeah?" "He's looking for a killer but more than that, he's looking for somebody... to fill his life." "That takes precedence in this moment with this beautiful girl." "We have two people so drawn to each other that the next cut is a natural one." "They're in Frank's apartment making love." "All of this here seems so natural and so simple." "But, of course, it had to be so carefully choreographed... even though they're both great actors." "They bring the intensity that makes it believable to this moment." "It had to be very carefully planned out." "Who's where, when." "Who's side of which face is to camera, away from camera." "The breaking off, the coming back." "It's a dance and it's choreographed very much the way a dance would be." "The actors feel comfortable because they know the moves." "And then it becomes, or seems, spontaneous." "It's a difficult scene because it's so personal." "The actors have to feel comfortable with it and each other." " Where's your bathroom?" " Over there." "Where's my bag?" "As I say, it's a dance." "And bang, we're into... reality or the other reality which is:" "Is she the killer?" "We've got that shock moment... and there Frank suddenly going from... finding this wonderful woman and ending up in the apartment with her... and facing the thought that he may have met the serial killer." "I can't believe it." "Fuck!" "I always thought it was the contrast between these two... the hot and the cold, which made this scene memorable." "Suddenly he goes from one thing to the other... to this shocking manoeuvre." "I remember working with the actors and rehearsing with them." "And how upset Ellen was when I choreographed this moment... for him to throw her into the closet and slam her in." "What would she do when she got out of that closet?" "We literally did days of improv to plan this... because of the rage she would feel at being treated this way." "You're joining something which people feel deeply, especially a woman... having been treated this way, being suddenly thrown into a closet... and coming out of that closet to a man with a gun in his hand." "All of this came out of an improvisation." "Her rage and his dissipating it... by his apology." "Suddenly, it's all become something else." "It's no longer that first meeting between these two in that apartment... where they're tearing at each other's clothes but much more of a deepening." "Suddenly they see each other in a different way because of it." "I always felt that as a love scene what made it interesting was... all the contrasts in it." "It's not a simple road." "This key line, "The city, you don't know what it does to people"... is such a telling and true moment." "Like an animal." "Did I hurt you?" "No." "What?" "In a strange way, Ellen has become the cop." " What are you doing?" " What are you looking for?" "I go back to the casting again because I needed an actress... who you can believe in her aggressiveness." "Taking charge of the eroticism of the moment." "A woman who gives as good as she gets." "I should say, a woman who gives as good as she takes." "Jesus." "In a scene like this which involves nudity, a level of intimacy... we're asking a great deal of the actors." "It's really important for them to feel comfortable to do their work." "One of the things I do in order to help that is to keep it as private as possible." "As you know, normally on a set there can be 50, 60, sometimes 100 people... many of them doing a very essential job." "In this case, we had what I call the "closed set"... where I literally curtained in the area we were working in... and kept the number of people involved to a bare minimum... necessary to film it." "This produced an environment which was much more comfortable... for the actors to be freer about what they were doing... which is difficult in any case." "I'll be home when I get home." "Bye." "I'd again like to point out how important the lighting is... to create the atmosphere." "This is early morning, we're trying to say." "It's a set, so it's all being done with lighting." "It's just sort of the first break of dawn." "The lighting is so important to basically establish time here." "We realise by the subtle change in lighting... that they are spending the night together and time is passing." "The second part of this love scene which you can call... the addendum to the intensity of the other part of the love scene." "It has a different intensity to it." "Since I pointed out the lighting, here we see... lighting in its next stage, that sun coming in the window." "Something we created artificially because as I said so many times, this is a set." "I thought you were an insomniac." "I am." "I must have fainted." "We see Ellen's hair up for the first time here." "Obviously, we're saying she just pinned it up quickly." "Hairdos and things like that are so important in a film." "They seem to just happen, but they're very consciously thought out." "We want her to be a little different." "It's morning... she's put her hair up." "All of this here, has to be thought out, carefully... right down to the shirt she's wearing which is Frank's shirt." "It's not her apartment." "She doesn't have her clothes here." "All of it to build that reality so we don't even think about it." "Last night?" "Let me tell you about last night." "Let me tell you." "The feeling of two people falling in love, that's what this morning scene is about." "The playfulness." "They're really returning to reality." "Reality being her life and what is it about." "Frank never stops being the cop." "I wanted to keep alive here the thought that she too has her questions:" "Who is he?" "So it keeps that thought going." "They're both..." "While they may have feelings for each other there's something still adversarial here." "But we don't live for our work, do we?" "The banter is covering a lot of questions." "She's still, by asking these questions..." "There's still a sense of mystery about her." "We want to keep that alive." "You're wired like no one I ever met... but you're a good man." "She still might be..." "I always know." "... the killer." "He seizes upon that." "He seizes upon her using words like "creep," etc... because he's trying to get someplace else in this." "The cop has taken over." "You asked." " You got any cigarettes?" " You smoke?" "Sometimes." "Does that bother you?" "The question is loaded." "I think I'm out." "Let's see here." " See any jump out at me?" " I gotta go." "I gotta go." "I like to be home when my daughter wakes up." "No sooner is she out of the room then we see... what's really on Frank's mind here." " Hello." " Keller here." "Guess what?" "She's still out there." "None of the prints match up." "So should we dust your dick?" "You know, cover all bases?" "Again, a piece of police work to bring us back to the storyline which is:" "Who's killing all these men?" "It's continuously a contrast between an all-too-human story of..." "Ionely people meeting in the middle of the night, falling in love, etc... and the murder investigation." "This is a critical moment where he refuses to go ahead with the prints." "For the first time in our story... we see him walking away from being the cop." "With that one sign we know he has really fallen for her." "I always wanted to establish this hallway as something ominous... even though it's just another New York apartment house hallway." "That shot is a very telling one for me... as a filmmaker, in terms of trying to establish... something that will be repeated through the story as we'll see... that is, a certain sense... something creepy about that hallway." "It's the way it's lit to create that feeling to it:" "Darkness going into an emptiness." "We're back into a real shoe store... right out there on 57th Street in New York." "This, of course, is where Ellen works... or to use her character name, Helen." "We understand now, by seeing her in this rather upscale surrounding... some of her wardrobe choices of being fashionable... her hair, etc." "She's a woman working in a very upscale place." "All of these things have to fit together." "It would be a very different woman and a very different wardrobe... if she worked in a very different kind of environment." "We can't help but feel that Frank has more than one purpose here." "Certainly, he's enormously attracted to this woman... and yet he's checking her out." "It's the way he looks around, etc." "Yet, I want to keep alive the erotic tension between these two people... the close-up of his foot on her leg." "The playfulness." "Yet, he's asking her cop's questions." "It's none of your business." " It is, in a way, my business." " Yeah?" "And how's that?" "He skirts the issue... and is setting up for what's about to happen." "Into this environment... into this classy store on 57th, we have these two thugs arrive." "I cast them so that they come off real clear." "Nothing hidden about these two." "Yeah, six months ago, and... you had this real beautiful boot." "It was Vivoli, Vavoli, Ravioli, or something like that." "Vivoli." "We're out of stock." "You can try back in about two weeks, if you like." "They recognise each other, of course." "Look, can I help you with something, or what?" "Come on, man, what's your problem?" "Tommy, let's blow." "The guy's a cop." "Let's blow." "So, if I beat the shit out of you..." "Suddenly, the scene changes." "And we're right there." "A tough cop." "This is a critical turning point in our story." "It comes about as a result of something that just happened accidentally." "These things happen in real life." "So what?" "Pretty bad, huh?" "This moment, this little speech he gives I thought was a real important one... because I do think it's a terribly important thing to say about cops." "Let me tell you something about this." "And that is... we need them." "They get robbed, they get raped, I'm all of a sudden their daddy." "Come the wet-ass hour..." "I thought this was a great speech that Richard Price wrote." "Even though he's saying it to cover who he is, it's still a truth." " What do you think you're doing?" " What do you mean?" "Don't try to turn this around on me." "I know this is a scene which looks like it happened just this way... but all these people in the background are extras." "This was the only way we'd be able to control them." "Remember, I've got a camera and actors out there." "In fact, they're very well-known actors." "If these were real people on the street they'd be stopping, looking, gawking." "So we used extras... in this scene to look like our pedestrians passing by, ignoring two people." "In New York, two people can be arguing and doing lots of other things... and everyone else goes about their business as though it wasn't happening." "So we create this typical street scene." "All of this is played against the background that we create." "Traffic in the street, by and large, is real traffic... even though we put enough of our own through that to help control it." "The name of the game is controlling the situation... so you don't destroy the illusion of reality." " They're very subtle." " Wild, right?" "This girl, you know..." "My girl gave them to me." "The shoes were another thing." "I don't know if those kind of shoes ever existed." "We had them made because we wanted them to be rather unique." "These shoes with the leopard insets in them." "And this we know how?" "I asked her." " Golden Cadillac?" " Screaming Golden Cadillac." "Here they are back in the O'Neals' again." " That's very clever." " Make that two." " Want yours screaming, too?" " You have very tight skin." "You know that?" "That's 'cause I'm fat." "Of course, here's John, given a chance to play the role." "This is the actual location right off Broadway." "Lincoln Center, New York." "In the wee hours of the morning." "I bet I've seen eight women tonight." "I bet every one made more money than me." "That blonde, she was a school principal." "I mean, how come none of these women are married?" "I don't know." "How come I'm not married?" "Gentlemen, anyone here up for the Island of Lost Souls?" " No, not me tonight, kids." " What's the matter, Frank?" " I don't know." "I'm tired." " You're tired?" " I'm going to walk home." " Tired?" " Talk to you tomorrow, kids." " All right, Frank." "Again, the sense of loneliness." "Hey, how you doing?" "Did I wake you?" "Listen... is your daughter asleep?" "You think you can get somebody to watch her for a while?" "The upcoming scene was one which I had many thoughts about." "At first I was reluctant about doing it." "Then I came around and thought of these two in this fantasy moment." "It just gave another dimension to these two night people, playacting... underlining the erotic nature of that relationship." "Early days." "These people's intense attraction for each other... that I wanted to underline here." "The music here..." "I think I used a piece by Sade for this." "It's one of the few times I used some source music... outside, of course, of Sea of Love." "I thought it caught the... essence of the moment... of the bluesy night beat." "Again, the moving shadows playing across them." "Sort of a languid feeling for after the lovemaking... that we tried to create here." "The source of it, of course, the moving curtain." "I wanted to underline here in Frank... always wired, always on the job." "This is the first time he is in her apartment." "It's the first time we are in her apartment in the film." ""Once a cop, always a cop," as somebody once said to me." "It's habits that... don't die easily." "Even if he's getting dressed to leave he's always looking around." "We remember the line she said about him... when she referred to him as being so wired." "The music underlines the ominous nature of the moment." "We have that combination." "He's drawn to those records." "As I said, it's the first time he's in her apartment." "I wanted to build the shock of this moment." "I was just..." "Sea of Love." "What?" "You have Sea of Love." "I don't know." "I haven't looked in those boxes in years." "Why?" "Do you like that record?" "Yeah, I like it." "I'm saving them for my daughter." "I wanted to again say... the story is just a continuous... contrast between a love story and a murder investigation." "Each of these moments keeping both alive." "I should have kept mine." "I had thousands of them." "As the French poster advertising Sea of Love once said:" ""Is she the murderer or is she the love of his life?"" "Who knows?" "Is she both?" "Of course, the cop does win out." "You better go home before it gets light out." "Okay." "I want you to see something." "This was a set." "A lot of work goes into thinking out what would be realistic for a woman... working, even as a store manager in a store on 57th Street." "What kind of an apartment would she have?" "I felt it was important that she'd have an apartment that had... one large room, a small kitchen and maybe a small room for the child." "Not more than that." "This is New York." "It was all designed to fit into a brownstone... because we will see the exterior of that brownstone sooner or later in this movie." "But that it stayed within... what, realistically, she could support." "That's why they're sleeping in the same room... as almost like an alcove of her living room... which is a typical layout in a brownstone... or can be a typical layout in a brownstone." "You mad at me?" "Again, New York on the West Side." "A brownstone on the West Side." "And here we have Frank... sitting, again, late night at a bar, alone." "I mentioned this hallway and here we are in it again." "The combination of this empty hallway and the music set the scene." "We cue with that sound." "That was birds flying up." "Of course, we set that all up." "Finally, all I have to say about it is that it does work." "Remember, this is all a set." "We understand something was askew because the lights had been unscrewed." "We set that ominous tone to that hallway." "Okay." "Is your mother back yet?" "Can you stay with me tonight?" "He desperately wants her to be innocent." "Waiter!" "I'm being paged now." "Can I call you back?" "All right." "Okay." "Take care." "Come with me, my love" "How are you doing, folks?" "A little something from the bar?" "Here's our balloon lady again." " Hold it." "You're a police officer?" " Did you get fired?" " This is Gina." " What do you want with me?" "Just sit down." "It's okay." "This is Gina Gallagher." "Of course, it's perfectly logical." "Remember, the reason we saw her at that other apartment... was because she had answered a personal ad... in relation to the man who was murdered." "It's perfectly reasonable that she would have answered another one." "It would make a nice headline." "I'll call the wife, tell her I'll crash around here." "Paul Calderon, the other actor in the scene, another wonderful New York actor." "I got extra keys for my old man." "I'm two blocks away." " We're going to sleep together?" " Why not?" "I'm going to see this Helen later." "I got this hotel suite." "An ex-partner partner of mine is head of security... so he owes me one." "It'll be a nice surprise." "You see this guy" "This guy's in love with you" "I'm gonna ask her to move in with me." "What, are you nuts?" "You just met her." "I feel like a fucking teenager." "This was shot in a real location... then I tried to set it up with the violin player... as the last place in the world that a cop like Frank would be." "I say, "To what?"" "There's nothing out there after this." "Could you get the waiter, please?" "Is there a waiter in this place?" "That's what I'd like to know." "So, what's this important thing you wanted to ask me?" "What?" "In terms of costume, even here..." "Frank's probably wearing his best jacket... but it's certainly nothing that you'd normally wear in the evening." "It's part of underlining how out of place he is." "I don't know." "I feel like I got the London Philharmonic up my ass." "Let's go." "Come on." " We just got here." " I know." "Let's get out of here." "Bad choice." "Not my favourite place." "Now we're back up on the West Side." "...is I'd trip over an old Perrier bottle." "Could get worse, you know." "All of this is carefully choreographed." "From the people around them to the cars crossing in front of them." "This piece was shot on Steadicam." "That means... a piece of equipment that allows us to have an operator walk with it... and produce a very steady image." "We're able to have someone move along with our actors at a walking pace." "I mean, there are certain things... you know, a cop's eyes, what we see..." "There's you, what you see... which is like nothing..." "All of this, the street, etc." "Had to be lit." "We see the lighting coming mostly from the shops, inside." "All of those shops were basically..." "I'd say, rented, best term for it, for the evening... so we could place lights in them and give us enough lighting... to look realistic because at night... that's where most of your lighting would come from." "The singles magazine." "I don't know, you know?" "I mean, the dates..." "How can you do that shit?" "Then we have again..." "We play the scene with Pacino, the Frank character... who has had already too much to drink..." "We were going to drop somebody." "... to deal with his nervousness." "You want to run that by me again?" " Let me just tell you..." " Fuck you!" "Wait a minute, now." "I was just..." "Listen!" "I was just saying that..." "Another one of the great New York bars." "This one I think is up on 8th Avenue." "These are hard places to duplicate." "They're filled with atmosphere." "They've been there for awhile." "They say you can almost tell a city by the bars in it." "I believe that's true." "Or by the style of the bar." "Oh, hi." "Is..." "It's 1:00 a.m." "I'm Frank." "I know who you are." "This whole scene is played out in this tiny little kitchen." "It just felt, even though it's not the most convenient place to shoot..." "It is a set but it's pretty..." "It's still a difficult set." "Yet, I felt it was important for it to be... the two of them on top of each other, closed in." "So New York." "Of course, they're having this conversation in the kitchen." "It's the only place they can have some privacy." "The whole thing is horseshit." "Know what I mean?" "The wire, the job." "There was no wire, there was no job, no nothing." "I was just saying that to push you away from me... because I was going to ask you to live with me." "I remember Richard Price saying to me before we started the film:" ""You know what this film's about?"" "I don't know if he was being facetious, but he said:" ""This film's about lying."" "There is a hell of a lot of lying in it." "Frank is continuously improvising to cover for himself." "You can say everybody's lying, to some degree." "We have Ellen, or the Helen character, who's covering for her past." "When it's revealed... it will go a long way in solving this mystery." "Helen..." "I can't even sleep in my own bed anymore unless you're in it." "Again, I call attention to the music." "Hopefully it doesn't call attention to itself because it underscores the moment." "I'm just going to walk the streets all night." "It's sort of Frank's love song." "You gotta come lay down with me." "Frank's confession." "I got these shoes here." "See?" "As I said before, we would see how these shoes play." "They're so incongruous on a guy like Frank." "Yet they are shoes that she gave him." "Let me go tell my mother." "Bang." "And there it is." "Frank, I didn't want to wake her up." "I think I need a little time to think all this through." "I think I should be alone tonight." "I might point out about these personal ads..." "We had to create these sheets of personal ads." "It was quite a revelation to realize how many personal ads there are today." "They've become common currency in terms of people meeting each other." "Perhaps, today, the Internet might replace a lot of that." "But at the time this film was made, the late '80s... personal ads were... one of the ways that lonely, single people, not necessarily single, of course... met each other." "Again, keeping alive the ominous moment." "And here we are in that hallway." "Sherman." " Frankie?" " Yeah." " Frank?" " I forgot you were here." " Scared the shit out of me." " I'm gonna stay on the couch." " I thought you went to a hotel." " No, it didn't work out." "What's he doing here?" "Is this his place?" "In the middle of the dark moment, the middle of all the tension..." "I think one of the things I wanted to contrast... was that life is still filled with its humorous moments." "Maybe the light helps accentuate the dark." "Here we see the payoff of using a wonderful comedian for the part." "I'm sorry, Sherman." "I'm sorry." "Take care." "You remember I said I wanted that hall to establish itself as something ominous." "The reason for it is so that when she walked out of that darkness... a chill would go through us." "Hopefully." "Just as a chill goes through him when he sees her come out of that dark." "It sets the tone." "I got something for you." "Oh, yeah?" "What?" "And we know that Frank isn't buying it." "It was by building that moment in the hall... that we set the tone for the scene." "Perfectly normal if you believe that it was a song that he had found." "On the other hand, it's also the song that these men were murdered to." "Want to dance?" "Okay." "Got something for me?" "You got something special for me tonight, huh?" " Real special." " What do you got, Mummy?" "Got something special for me?" "Yeah, special." " What are you going to give me?" " Find it." "The importance of the close-up... using a close-up of his hand moving up and down her legs... was that he's searching her, rather than caressing her." "What?" "Let's see." "What's this?" "Why did you bring the fake one?" "You forgot the real one?" "Want to try mine?" "You're crazy." "Come on." "Let's get it over with." "We see here what the whole film has been about." "A man who, from the first time we met him... or the first time we met him at home drinking... a man who's always been on the verge of maybe eating his gun." "His loneliness and the emptiness of his life... all being about the job, and finally meeting a girl... and having her turn into... the very opposite of what he thought she was." "At least that's how he believes." "You've been following me around?" "Last chance." "How long have you been following me?" "I haven't been following you." "Then how do you know about them?" "It's my job." "It's what I'm paid for." "I didn't sleep with any of them." "They were just dates." " Shut up!" " Okay, I slept with James Mackey!" " Big deal!" "He didn't mean anything!" " I don't care!" "Why'd you do it, Helen?" "Tell me why you did it." "Tell me you did it." "Tell me why you did it." "He's talking about one thing, she's talking about another." "Remember we saw his explosiveness earlier in the film and we see it now." "Talk to me." "Come on." "Talk to me." "Everything building to this moment:" "The music." "See?" "It's a joke." "It won't go to trial even." "You understand?" "Talk to me." "Come on." "Come on!" "This is the pivotal moment in our story..." "Frank feeling totally betrayed... that he's fallen in love with a woman who's a murderer... and in a sense, would rather not live." "Come on." "Go ahead." "It's like he's stopped being a cop... which is the only thing he really had as an identity." "Again the Sea of Love..." "Let's remember that hallway again." "Look." "Helen?" "And the lights are all out." "Trevor Jones, here... gave me a brilliant percussive score to go with this moment." "She throws a court order at me, my family is up for grabs?" "It's not your family!" "I'll talk a bit about how this was shot." "This is all handheld... to basically get the... intensity, the quick cuts." "The wide shot here is way back on a tripod." "On the bed!" "But the fight itself... they're all quick cuts done with handheld camera to get in close." " Who are you talking about?" " Who?" "Are you a fucking owl?" "I don't know who you're talking about." "I'm talking about my wife." "My wife, Helen." "Here's where the casting of Michael Rooker pays off." "His intensity, his brute size." " I didn't do anything." " You know." "No, I didn't do anything." " You show me, and I'll let you go." " I didn't do anything." "Show me what you did to her!" "Show me!" "I tell you, we didn't do anything." "Okay." "Okay." "This?" "You mean this?" " Okay?" " Fucking bastard!" "Get your fucking clothes off!" "Take your fucking..." "I wanted somebody who'd almost have the size and physical power of a bull elephant." "Don't fucking move!" "Put it down!" "On the floor!" "Hands in back of the head!" "Come on." "Get them on there!" "Don't fucking move!" "Okay." "What are you going to do?" "Lock me up and throw away the key?" " Shut the fuck up!" " Fuck you!" "It ain't going to work!" "I wanted to establish a man... who doesn't care whether he lives or dies at this moment... so the gun becomes meaningless." "The sense of somebody who has an almost irresistible force is powerful." "I could talk a little bit about this... of course, coming out the window..." "I wanted to see the fall and see him go through the canopy." "We shot that with a stuntman going down on a descender, meaning, on a cable." "We don't see the cable because we're shooting up towards it... and it's very thin but it unwinds on a clutch... and so it stops the fall before the man would hit the ground." "It's still a very difficult stunt to do." "Then the other part where he drops through... is our man just... falling in a shorter piece from about 30 feet up... through the canopy... falling into boxes which are just out of frame." "When we put it all together, it's Michael Rooker... or Helen's ex-husband, however you'd like to describe him... falling to his death." " Come here." " How you doing, sport?" "Good to see you." "There are a lot of bars in this story but we're dealing with people who drink... and cops do hang out, or a lot of them do hang out, at bars." " You're a cheap date." " It's the new me." "Here's to the new you, and the old me." "Rub it in, rub it in." " How you doing, Frank?" " Hanging in, hanging out." " I'm with the 1-9 now." " Yeah?" "You?" "Same old, same old." "That was a hard job to top." " I hear that." " Wildest ride I was ever on." "You know, I followed up that nutbag." "The husband, Terry?" "Turns out he'd been shadowing her for eight months." " Can you believe it?" " Jesus." "She always had that edge, you know?" "Like she smelled him, like she sensed him, or something." "I must have sensed him, too." " Wonder what she ever saw in him." " I don't know." "What does anybody see in anybody?" "People are work, brother." "A lot of work." " Too much work." " Did you ever see her again after?" "Well, I tried, but... she didn't want to." "Can you blame her?" "I'm in bed with her, making love..." "The whole point of this moment is as a follow-up to what happened... to, in a sense, reprise what happened." "But also, more importantly, for John Goodman, his partner... to urge him to try again." "I ran her through a wringer, man." "You know?" "What am I supposed to do?" "She'd tear my head off." "What are you looking at?" "Here we are in our last scene." "Bang." "She's closing up and he's waiting for her." "Again, we're on 57th Street... all of it... planned out for this hard-won reunion." "How's your daughter?" "She's fine." "The difficulty of this scene is to make it believable that she would actually... open herself up to him again after what he put her through." "To Richard Price's credit as a writer... and to Pacino's credit as an actor... he does prevail." "This was shot on a dolly, what we call a Western dolly... it has big wheels... that are deflated a little to be a little softer... so that you can roll them along in the street and move with the people." "We just hung the camera from the dolly and just moved with them." "We were in the middle of a city... and sometimes if you look carefully you see there are people looking over." "We couldn't control the whole street, there were literally thousands of people." "The people close to them are our extras." "But people keep coming in and out of the shot... and you'll see something happen in a minute that's totally unexpected... and which shocked me... and turned into something very positive." "It happens with the street being so uncontrolled no matter what you do." "You're on 57th Street, one of the world's busiest streets... literally thousands of people and there's only so much you can control... so you're taking your chances to some degree." "Right in the middle of this scene... you're gonna see something happen right now." "Just another minute, or something." "They're in the middle of their intensity but he's got only one thing on his mind... trying to convince her to come back, to give him another chance." "And suddenly... bang!" "This guy walked into the shot!" "That was not planned." "He walked into the shot and I would say with almost any other actor... we would have said, "Cut!" And started all over again... because Al did take quite a shot from this guy." "Just a typical New York thing, somebody just rude and walking into you." "Al being the great actor he is, and I guess you can call it a method actor... he's so into the scene that he literally recovers from it... the way he would in real life and just keeps going." "I thought it was just a wonderful moment so I used this take." "It reminded me of when you're working with an actor of Al's calibre... it's never just acting, it's being." "He has become the character." "So when that fella bumped into him... it's just something that happens in New York." "If you run it again you'll see it... and I'm still shocked when I see it, as I was when I was on the dolly shooting it." "My first thought when I saw it was, "God damn it!" ""Can't we control this?"" "And then, of course, it turned into something else." "And now here's something at the end, the song again." "But I didn't want it to just be..." "We've heard the song over and over again in the film... as done by the original group that performed it." "Here, I asked Tom Waits to do it... because I wanted to give it an abrasiveness, give it a twist and bring it up to date." "Remember the original song Sea of Love, I think it was recorded in the '60s." "I just wanted to give it a currentness... and as I say, the kind of abrasiveness, the kind of edge... that only a singer like Tom Waits would give it." "I sort of wanted to re-energize it with the love story of these two people." "Thank you for listening."