:38:01
and a lot of what John Bailey did
came through the production designer.
:38:08
That's the European system
:38:12
and if you have
a very strong visual talent,
:38:15
you can work that way.
:38:17
Usually, it doesn't work that way
:38:19
because everybody has
their own little fiefdom.
:38:23
Wardrobe wants to be directly
responsible to the director,
:38:27
they don't want to have to go
through a production designer.
:38:36
This is a bar in the Quarter.
:38:41
I love this shot,
:38:43
both these girls are so beautiful,
:38:45
and their beauties are
of a completely different type.
:38:49
Different colouring, different clothes,
:38:52
different facial histories.
:39:01
There's a little homage coming up.
:39:05
In the Jacques Tourneur film
:39:09
there's a scene
where a woman speaks to Irena,
:39:19
so I decided to drop a little shot in here
:39:21
that reflected back
to the earlier Cat People.
:39:27
But also, it's in keeping with
a number of shots in this film,
:39:31
which are there simply to be mysterious,
which really don't make sense.
:39:35
Like that weird kid sitting on the bus
or like Marilyn Monroe.
:39:42
Here you go into the mirror
for this homage shot.
:39:48
And play a little sax.
:39:55
What's nice about these little...
:39:58
This is what I call a blindside POV.