"I'm Barry Sandler, I wrote the screenplay for "Crimes of Passion".." "and uh.." "I wanted to discuss some of these uh.. scenes that we.." "left out of the film and uh.." "and why we did." "This is a scene uh.. that uh.." "I particularly liked and.. and Ken did as well but.." "we had to lose it basically for uh.." "uh.. it interrupted the momentum of o.." "where we're going dramatically." "These are uh.." "two guys who are both going through their own.. uh.." "confusion and conflict about.." "you know, where they are in their lives and in terms of their relationships with women." "Uh.." "Hopper has uh.." "divorced Sheila and.. and Grady is going through his own.." "his own confusion and they're um.." "kind of musing about an incident that uh.." "took place in the past." "where uh.. you know, kind of uh.. you know.." "yeah, kind of uh.. uh.." "an incident from um.." "their.. their youth.." "and um.." "they're basically um.." "It.. it's a scene that I wrote uh.." "that's really.." "not about exactly what they're talking about but.." "what they're.. they're doing is kind of letting out their own.." "concern for what's going on in their present lives by musing about the past." "And uh.." "it's uh.." "it's a.. it's a scene that reveals.." "Grady's attitude about sex and about um.." "um.. being faithful to one woman.." "and um.." "it uh.." "it.. it.. it basically is a scene where we use it as for the past.." "to.. to really reveal.." "what he's going through in.." "in the present." "uh..his own guilt about breaking up with Amy, his own uh.." "his own need to uh.." "to explore uh.. uh.. his sexuality.." "with uh.." "Joanna and um.." "and um.. his own sense of regret about uh.." "what he and Amy had, but they no longer have." "And uh.. it's a.. it's a.." "it's a bittersweet scene and.." "and I miss the fact that it's not in the movie, however I understand why it's not in the movie, because.." "uh.. it would've interrupted the.." "flow that Ken was trying to build, the momentum.." "of going from the HP scene, to the scene with Amy.." "and uh.." "Grady in a bedroom." "And.. um.." "we needed that.. direct reaction to that HP scene." "To uh.. create the.." "tension and the ultimate explosion uh.. in the bedroom.." "between Grady and Amy that then gives uh.." "Grady the uh.." "the.. the antagonism, the incentive to uh.." "to go to Joanna." "This scene uh.." "i.. i.. is a.." "I miss the scene not being in the film um.." "for one reason only, I mean uh.. uh.." "I think it's.. it's a very talky scene and uh.. the scene itself.." "um.." "I.." "I.." "I don't particularly miss but I miss the fact that we're not seeing this other side of Amy." "What the scene showed was.." "um.." "Amy's own uh.. guilt, Amy's own.." "sense of regret, her own awareness.." "that the marriage isn't working.." "and that she's partly to blame and I think she blames herself for.." "for um.. uh.." "for not being a better wife or for not being a little more understanding.." "for maybe taking out her frustrations on Bobby." "And um.." "unfortunately, the reason why is not in the film is um.." "basically, uh.. uh.. a matter of time." "I.. we had to.." "cut somewhere, we had uh.." "uh.." "lengthy first cut.." "and um.." "Ken didn't want to cut from uh.." "uh.. either Kathleen or Tony.." "and um.. unfortunately as good as.." "as Annie Potts in the scene.." "uh.. it's uh.. she's.." "uh.. she's not one of the uh.." "three leads and uh.." "fell victim to uh.." "the fact that.. you know, it's.. it's not a movie about Amy." "And um.." "you know, you have to uh.. make these.." "creative decisions that sometime hurt the film or sometimes hurt a character in the film." "It's uh.. it probably did in this case, because it does show.." "another side to Amy, it does show um.." "uh.. of the fact that she's not just a whiny wife, that she.." "has her own uh.. frustrations and her own confusions.." "and her own uh.." "realization that uh.." "she's taking a.. uh.." "a lot of that out on Bobby." "and uh.. here she's uh.. she's expressing her own regret, her own pain." "She does love him but she know it's.." "it's not working out, she knows that the.." "uh.. the.. there's a.." "a growing distance between them." "She's aware of it, she's aware that she's probably responsible to some degree for uh.." "for the marriage falling apart.." "and uh... that she really feels a sadness about it." "This is the scene where Bobby uh.. comes to Joanna after breaking up with Amy." "and.. they try to uh.. have sex on.." "uh.. in terms of reality, in terms of Joanna and Grady, rather than China Blue and Grady." "And uh.." "Joanna can't go through with it.." "uh.. she's still is dealing with her own problems of intimacy.." "and her own inability to uh.. relate to a.. man." "as herself.." "and um.." "she's making all kinds of excuses and.." "and he can't quite accept it." "This poor guy has just come from uh.." "his own breakup and uh.. he's uh.." "wildly attracted and.. and in love this woman.." "and uh.." "he can't make it work with her either, so it's.." "it's own conflict, his own uh.." "frustration.." "as well as hers, that she can't deal with uh.. someone who's at least reaching out to her, attempting to reach out.." "to her as Joanna rather than as China Blue and um.." "we lost the scene.." "unfortunately because uh.." "Ken wanted to.." "re.. reconstruct the um.." "the relationship.. uh.. so that.." "we lost this middle beat." "Uh.. he felt we didn't need the middle beat that we.." "that um.." "it uh.." "it.. that was expendable and when he went to.." "to edit the film.." "he felt that they went for a better flow.." "without this particular scene." "That uh.." "we knew that they were going to get together at some point anyway, that this particular scene.." "uh.. just uh.. delayed.. that." "That she was not able to relinquish the control at that particular moment, ah.. that she grows into that control.." "ah.. eventually." "I felt was important and I thought, you know, we lost that particular moment." "This is the scene where uh.." "after her.. her catharsis with the scene with uh.." "Ben." "Where she's now able to try to reach out.." "to uh.." "Grady and.. and.." "at least attempt to um.." "uh.. um.. make a.." "at least attempts at intimacy." "And uh.. we lost the scene.." "Yeah, I.." "I believe because of the reconstruct in terms of um.." "uh.. the Joanna and Bobby relationship." "When uh.." "Ken edited it.. uh.." "we found that.. uh.. he found that if.." "it flowed better without this particular moment in.. in the film." "This is a uh.. a scene that um.." "it's a curiosity moment uh.." "more than a moment that really belongs in the film, but um.." "remember, I wrote at that last minute, I just felt.." "you know it might be interesting to see these two women meet." "Um.. but um.." "it's uh.. it.. it.. it's probably not uh.." "it's not really a scene that ultimately belongs in the film as we.. we shot it.." "and then we looked at it and we said you know, it's um.." "it.. it reduces the film somewhat to the level of conventionality that we uh.." "we.. we're trying to avoid." "And it's the scene.." "you know, it's kind of a standard scene between the wife and the other woman." "and um.." "i.. it.. it's a scene.." "we almost expect to see and that's probably the reason why we.. we left it out of the film." "It.. it's um.." "it almost reduced Joanna's.." "level of mystery to making her more of a kind of uh.." "conventional, domesticated.." "a woman." "And um.." "you know, it's a scene where she really wanted to explore.." "his world to see where he lived and how he lived.." "and um.." "when you look at the scene, you also.." "lose a certain uh.. um... empathy for Joanna, because you're really.." "really siding with Amy in this scene, because she is uh.." "she is the uh.. the wife who lost the husband to this.. to this other woman." "And uh.." "It's uh.. it's not a scene that's particularly um.." "uh.. uh.. dramatically strong for uh.." "for the character of Joanna." "I'm not sure I ever believed that moment where she says," ""I imagined I have a house like that"." "I'm not sure that character.." "really ever did." "She may have imagined it, because her whole life was imagination." "But uh.." "I'm not sure she ever really wanted it." "But um.." "if you just believed that she did, then.." "there's a sense of.." "of poignancy and uh.." "sadness when she looks at the house and sees Amy go into the house and uh.." "she wonders.." "if she uh.. she's even.." "capable of living that life." "Or whether she even really wants to at that moment." "This is a scene we lost because it um.." "it uh.. really interrupted the flow of the film." "It became uh.. a father son scene again." "Uh.. something a little too conventional perhaps for this film." "And uh.." "I know Ken.." "really resisted anything that tended toward the.. the um.." "middle-class, uh middlebrow domesticated drama." "And I think he felt the uh.. the idea of a scene between Grady and his son.." "at this point of the movie, um.." "might be a little too um.." "I don't want to say corny, but it might be a little uh.. uh.. too um.." "um.. saccharine, let's say." "And um.." "I think he really wanted to avoid that." "I think it's a scene that does, you know, uh.. give some humanity to Grady.." "and I think um.." "we understand his.. his conflict, his.." "uh.. his pain, uh.. his sense of loss, he.. he is clearly is torn.." "uh.. about uh.." "leaving his family, he knows he has to." "But um.." "I.. he.. he's certainly uh.." "uh.. tortured about it." "This is a scene.. um.." "which.." "I.." "I miss the scene, because I think it's a good scene, but I understand why we di.. don't have it in the film." "Uh.. the timing of the scene is wrong, of where it uh.. where it appears.." "in.. in the film." "It does break up the momentum of the.." "of.. of the uh.." "the drama." "It really cuts the intensity." "Because, it.. uh.. we're going from uh.." "Joanna and Shayne.." "to a scene of uh.." "Hopper and his domain and uh.." "Grady.." "simply visiting that particular domain at the moment." "And uh.. the scene is really Hopper's scene." "And uh.." "Here we're focusing so intensely on Joanna and Shayne.." "and Grady." "And when is Grady going to get there." "And uh.." "if he's going to get there." "And um.." "it just seemed way off the line dramatically to.." "then cut to this particular scene, where Hopper is uh.." "extolling the virtues of um.." "his singlehood, being single." "And uh.." "sexual conquest." "It's also.. it's a misogynistic scene." "I don't think it's very uh.." "appealing for uh.. the Hopper character." "Bruce is terrific in the scene and inhabits that character.." "uh.. quite effectively." "But um.." "it's uh.. it.. it's not a.. uh.." "particularly um.." "uh.. positive uh.. um.." "view or attitude toward women and I don't think it was necessary to include in the film." "Um.." "other than the fact that it does reveal uh.." "this particular world." "And what I was going for was showing this particular world uh.. and how.." "in it.. it's way.. in it's way of sexual conquest and gamesmanship.." "that it's really not all that different from.." "the fantasy world of China Blue and Shayne." "And uh.." "Their uh..rule of games and.. and conquest and.. and al.." "alter egos and identities and uh.." "it's uh.." "it's a scene in which the.." "psychological dynamics are valid but the.." "uh.. and.. and in terms of the overall.." "drama of the film in terms of the um.." "the themes of the film, because it does uh.. and I think effectively uh.." "compare and contrast the two worlds." "It just doesn't.." "uh.. occur at the right timing of the film for it to have any uh.." "you know, justification of being in the film."