Symbiopsychotaxiplasm: Take 2 ½

One other thing. And that is the problem of matching.

We should all wear the same shirt.

I veto that absolutely.

Everybody is gonna be sweating like pigs out there.

How do we put on these shirts? They're gonna be like armor.

Okay. All right.

This is Clive Davidson over here. He's an assistant cameraman.

Phil Parker is our production assistant.

Uh, Jeff Norwalk is an - uh, assistant director.

Uh, Roland Mitchell is not a soundman actually.

He is a soundman, but he's also an assistant cameraman.

This is Steve Larner

and this is Maria Zaheri.

And this is the magnificent Terence Macartney-Filgate.

You may not have got your sync, so I'm gonna give you a - a handclap.

- I feel you may not have got it. - And who are you?

I'm, uh, Sonny Tufts.

Uh, this is, uh, Bill Henderson. He's an assistant director.

-This is the illustrious - -Hello.

Uh, Robert - Is it Rossen or Rosen?

- Rosen. - Rosen.

And this is the - -I'm Jewish.

The lovely, charming Barbara Linden.

This is Mr. "Kenvin" Fenton from Canada.

Who is an assistant director.

- That's the wrong name, by the way, Phil. - Kevin Fenton?

- No. You said "Kenvin." - I - Oh.

- "Kenvin." - Kevin. Kevin. Kevin. Forgive me.

Forgive me, Doctor.

Uh, Barbara Linden is our script girl and, uh,

also our makeup and costume lady.

And this is Scott Brody, who is a production assistant.

All right. So, now, we're clear on the slating.

The first sequence to hit the cutting room floor.

Right? You understand that?

That the sound - the sound person's gonna do the timing -

- the actual timing, uh, slate. - What good will that do, Bill?

It - What it will do is that it will tie

all of the various cameras, no matter what they're -

If I start running at the same time, you could do that by measuring.

No. But, you see, they'll begin to go out of sync.

The various cameras will go out of sync with each other -

out of sync in the sense that the roll numbers

will be going out of sync with each other.

You see? And the time

is the thing that locks in all these disparate roll numbers

into one sequence that has been shot.

Well, then this information has somehow gotta get onto the film.

No. It doesn't have to get on the film because the sound recordist says, um,

"Roll 14, 2:30."

The system of the soundman announcing what the time is -

No. He's made - No. He's raised a very important point.

No. But that is - But that is much more meaningful in terms of editing

than taking this, you know - this thing here and going... tap.

- "Tail one," you know. "Tail two." - All right.

But here's the point he's making, and this is a valid point.

And that is - See, what we'll do is the -

the first part of each roll will be so slated.

- Will be time slated on the sound. - Yeah. Right.

All right. But also,

uh, within the - within the, uh, intermittent running of the camera -

That is to say, we stop and start, we stop and start,

we'll just do this kind of slating.

Yeah. What we're gonna do is, uh, do a line reading first.

And then we'll, uh -

- What is the line reading? - Well, we just -

I just want to hear you, you know, go back and forth,

with the lines, make sure that, uh,

you know, we've got that under control.

- Yeah. - And then after we've done that,

we'll, uh - we'll try to work out

some kind of action for you to, uh -

to go through physically.

And, uh - And then we'll see what the problems -

You'll play the scene. Then we'll see what the problems are.

Then we'll get into it increasingly more on a, uh -

what, an emotional and, you know -

Personal level. You know,

more the dramatics of the situation.

Okay. Um, Terry, I guess you can - you can start rolling.

I'm gonna do a line reading with them.

Yeah. Who do you want me to work with on the -

Who you gonna work with?

- I'm gonna work with my own recorder? - Yeah.

No. You'll - You'll work, uh -

You'll work against another recorder actually.

You don't need to do any recording of this,

because, uh, I'm just gonna do a line reading of them.

And there's - there's no need to-

Which recorder am I going to work against?

The recorder - I mean, uh, John here has got -

- All right. - Hey. I'm picking up the cops.

- You're picking up the cops? - Yeah.

Are you - Are you shooting my makeup?

- Yeah. - Want me to hold it for you, Audrey?

Okay. Fine. All right.

- All right. Okay. Let's go. - I'm having no luck here.

Is there any way you can hold it steady for a while?

We're rolling when you get it. When you finish -

Okay. Let's - Let's run 'em.

- Alice. - No.

Alice, wait a minute.

- Hey, come on. Come on, sport. - No, no, no.

What's the matter with you?

Just how stupid do you think I am?

For Christ's sake, tell me what the matter is.

You know perfectly well what the problem is.

Now come on. Quit beating around the bush.

Oh, God. Oh.

- What's so funny? - Oh, Freddie, you're a very funny man.

You know, you've really got me foxed. Really.

Why don't you just go away.

Just get out of my life permanently, Freddie.

Hey. Quit it. Stop acting.

- Ow. - Don't you try and touch me, Freddie.

You're really behaving quite impossibly. I'm not a mind reader.

I wish I were.

I wish I knew what goes on in that screwy little brain of yours

which makes you think that everyone else is stupid except you.

Now look. For the last time, will you tell me what's going on?

Come on. Tell me what's bugging you.

No.

Ah, you tell me, Freddie, what -

who - or rather, what's bothering you, what's bugging you.

Alice, you're talking in circles.

Am I really, Freddie?

Just how much of a phony can you be?

I don't have to listen to this. Have the courtesy to tell me what's happening.

I'm a woman.

- And? - I'm a woman, Freddie. I'm not a fool.

I will not stand around and watch while you play your little games.

- What games? - Do you think I'm a fool, Freddie?

I saw him, and I saw you.

- Him? - Him. Yes.

That crazy faggot which everybody knows about.

Oh, come on. What are you? Some kind of nut or something?

Don't play naive with me, Freddie.

I've put up with all your little escapades and, you know, I've just about had it.

You've completely strained my patience on that score.

I saw you eyeing him, and I saw him eyeing you. God.

- You saw me eyeing him? - Yes.

The kid smiled at me and I smiled back. You want to nail me to the cross?

A cross is too good for you, Freddie.

Oh, wow. Now look.

You didn't see what you thought you saw.

- Did you hear me? - Get your hands off me, Freddie.

All right. If you want to be paranoidal about the whole thing.

Sure, I want to be paranoidal about the whole thing.

And about all those other things that you've been involved with.

You know, like Jack and Timmy.

- And Mr. Handsome. - I told you the truth about this morning.

But if you're gonna flog me with the past the rest of our lives, then where are we?

I don't know where you're at, mister.

I just know that I want you to get out of my life.

When we get back to the apartment, one of us has to leave.

Hey, baby. I can't let you do that.

Now I know why we haven't had any children,

despite the talk about "wait until we're ready."

Freddie, you really had me fooled.

Very fooled into thinking you could change.

That you could actually change.

- Bill. - Yeah.

- I need to call for a slate. - Okay.

This is, uh, tail slate for camera...

"B" and camera "C."

If I was born a - If was born a thousand years from now, and just me - me -

I could be the same person, though I would not be an American,

I might not be a Jew, I might not be, you know... whatever I am.

But I would still be me, and I would have to be able to define those qualities.

I'm me, what I am to other people and how I relate to them and how I am.

And the karma that comes out of me. That's who I am.

- That really is who I am. - You have so many skins

you never know whether you're into your real self or into one of your skins.

Oh, you don't know who she is. Here is this -

You know who you are now because you're on Ektachrome - What are you shooting?

- Ektachrome commercial. - Ektachrome commercial.

And your voice is being recorded on tape. Say you know -

Wait a minute. What's going on here? What are you doing?

You will never, ever - Put the microphone up here.

What's happening?

You will never, ever have any more doubt who you are.

You will always know.

Jonathan, you're copping out. You're copping out.

All right. We're gonna do - No. Wait a minute. Wait a minute.

Just a moment. Please. We're gonna do this scene of, uh - Susan.

And, John, could you go down there down by the statue?

- Four? - Four. She's got it on there. Four.

- Bing. That was a slate. - You did it.

I like doing it, 'cause it'll let me look at your face again.

- You head slated it. - Which is why I'm tail slating it.

Whoo! Whoo!

Uh, Steve. Steve. Wait a minute. Wait a minute, Steve.

Steve, wait a minute. Let's - Let -

I don't care about getting in the cloister.

- Let's get the bloody cloister. - I can't hold the sky.

- The sky. Not the cloister. - So I have to be wide open -

I have to be so open for them that - You know, that's f/11 up there.

- 'Cause we can't - The tripod legs. - The damn tripod leg is busted.

- They won't extend? - Yes. That's why. That's why.

Well, then I'm afraid the -