:01:06
The most important name
on the credits, for me,
:01:09
is a man named Nando Scarfiotti
who was a very dear friend,
:01:17
who I had brought over from Italy
to do American Gigolo.
:01:22
He wasn't yet in the union,
:01:24
that's why he's called
a visual consultant.
:01:28
He had worked for Bertolucci
:01:30
on The Conformist
and Last Tango In Paris
:01:33
and went on to get an Oscar
for The Last Emperor.
:01:37
He was
:01:39
very, very influential
:01:43
on this film.
:01:45
He had the power to walk on the set
:01:49
and stop shooting and consult
:01:53
if he didn't think it was going right.
:01:56
This whole credit sequence was his idea.
:02:03
I suppose the next most important name
would be John Bailey.
:02:08
I've done five films with John.
:02:13
This is one of the films
that I call a beauty film,
:02:20
as opposed to some films I've done
that are a little more
:02:24
harder edged.
:02:29
This is before digital
:02:31
so you're looking at matte paintings
:02:34
and the magic of Albert Whitlock.
:02:39
This was one of Whitlock's last big jobs
:02:44
before he retired and the world changed
:02:49
and you no longer used paintings.
:02:59
This idea here of the cat myth