: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.
:40:02
It's a retreating shot,
the POV of someone who is exiting
:40:07
but not looking at the subject.
:40:09
So it's what they would see
if they had eyes in the back of their head.
:40:14
I started using blindside POVs
in American Gigolo
:40:18
and I've been using them
in every film since.
:40:25
Going back to these
mysterious little shots.
:40:28
They're kind of nice,
you put them in here and there,
:40:31
people think that they
mean something but they don't.
:40:35
All they do is increase
the exotic environment.
:40:43
This is a Whitlock matte painting.
:40:45
The bottom is the set,
the top is a painting.
:40:53
Again, here, you know,
:40:58
you're always thinking of
how to make it feel more exotic