:20:03
. . .is the question
of the troops' morale.
:20:05
-The troops' morale?
-Certainly.
:20:07
These executions will be a perfect
tonic for the division.
:20:10
There are few things more encouraging
than seeing someone else die.
:20:14
Many artists, when they put
a canvas up which is blank. . .
:20:18
. . .they start with very detailed,
small, delicate pencil strokes. . .
:20:23
. . .on a canvas.
:20:26
Stanley started conceptually
on all of his movies. . .
:20:30
. . .from my point of view. . .
:20:31
. . .with large primary-colored
brush strokes. . .
:20:36
. . .and he would just beat
out these concepts that were. . .
:20:40
. . .that were pretty obvious.
:20:42
In Paths of Glory...
:20:44
. . .every sequence hammers
its points home. . .
:20:47
. . .but in every sequence the filmmaking
is subtle and gentle almost.
:20:52
What really hit us was the end.
:20:55
There's a tendency when you want to
get to that emotion or sentiment. . .
:20:58
. . .not sentimental, not
sentimentality, but sentiment. . .
:21:01
. . .and just portray this aspect
of humanity. . .
:21:05
. . .often you fall into sentimentality.
You really do.
:21:08
It's very, very hard to pull off.
:21:11
This one works like...
You cannot see it without weeping.
:21:55
He was sitting behind his desk
for this interview. . .
:21:59
. . .I was to have because he was
looking for an actress. . .