:10:01
Scare the hell out of him,
then give him your ideas.
:10:04
- Ideas? It's a piece of shit.
- Absolutely.
:10:08
That's one thing I'm proud of.
I'm a damn good cutter.
:10:11
- You sure are.
- The best.
:10:12
I ran the film twice last night.
:10:16
The cutter agrees
with most of your suggestions.
:10:18
- But will he say so to Felix?
- I think so.
:10:21
- He's been with Felix for 15 years.
- He wants to direct.
:10:25
- That's all I need. Another director.
- Speaking of directors...
:10:29
What about Culley?
:10:31
What about Culley, for Christ's sake?
:10:33
He's shacked up with some 16-year-old girl
and a case of Jack Daniels.
:10:36
He has a six-picture deal, pay or play.
What does he care?
:10:39
I had a lengthy conversation
with him last night.
:10:41
I told him that J.G. was so worried
he was considering selling the studio.
:10:45
Knowing J.G., that's not so far-fetched.
:10:47
Evidently, Culley didn't think so either.
:10:50
- Obviously.
- What do you mean? Where is he?
:10:52
Right outside.
:10:55
All right, check on Sandler.
:10:57
Send Culley in.
:11:01
- Harry Sandler, this is Dick Benson.
- Gentlemen.
:11:04
I want to recut Night Wind,
but Felix has an ironclad contract.
:11:10
That's never stopped you before.
:11:12
All right, no smart-ass stuff, Culley.
J.G. called six times last night.
:11:16
If we don't do something quick,
all hell's going to break loose.
:11:19
Harry!
:11:21
It's 10:00 in the morning.
Where could he be having lunch?
:11:24
I don't think you grasp
the seriousness of this situation.
:11:27
- All right, hang up.
- He's not home, he's having lunch.
:11:30
I want you to get Felix to agree
to recut the film.
:11:32
Tell him you've got some good ideas.
:11:35
Put out a story
that we're recalling all the prints...
:11:38
...and Culley is going to make
some drastic changes to the picture.
:11:41
- I've got to call in to J.G. at 6:00.
- Give him my regards.
:11:48
Unless you have something that can't wait
till the 3:00 meeting, thank you.