1:23:01
. . .and these settings and give you
a way of seeing them. . .
1:23:05
. . .as they would've been seen
at the time the book was written.
1:23:08
Yet he used the most extraordinarily
modern and daring instruments.
1:23:13
The fact that he used these candles.
That's part of it. . .
1:23:17
. . .but also the interiors, the
way sunlight came into rooms.
1:23:21
It was to achieve
the presence in a period. . .
1:23:25
. . .in a way that I don't think anybody
had ever done it before.
1:23:28
I knew it was a costume piece, but I
hoped he'd take it somewhere else.
1:23:33
He took it back in time. The use
of the zoom lens is interesting. . .
1:23:37
. . .because you'd never think
to use a zoom lens in the past.
1:23:40
No, the zoom lens flattens it
out like the 1 8th-century painting.
1:23:45
The movement, body language. . .
1:23:47
. . .and the use of music and editing. . .
1:23:50
. . .how transporting that moment is
when Ryan O'Neal, who's wonderful. . .
1:23:54
. . .and Marisa Berenson as he meets her,
kissing her on the balcony. . .
1:23:59
. . .with the music and movement.
1:24:53
Stanley did not want the film to look
like a traditional movie. . .
1:24:57
. . .where period clothes
look like wardrobes.