1:27:00
If he was working with any detail
on a role with an actor. . .
1:27:03
. . .the others were there,
but it was just you and him.
1:27:07
What is your call, Lord Bullingdon?
1:27:11
Heads.
1:27:20
It is heads.
1:27:23
Lord Bullingdon will have
the first fire.
1:27:30
Lord Bullingdon. . .
1:27:32
. . .will you take your ground?
1:27:34
And it was the fact that Stanley
was so open. . .
1:27:37
. . .and so engaging.
When I asked him a question. . .
1:27:41
. . .it might be about the lighting
or the camera, the lenses. . .
1:27:44
. . .he would take the trouble
to talk about it in a really. . .
1:27:50
. . .well-detailed way so that
I understood what was happening. . .
1:27:53
. . .and that really stimulated me.
1:27:56
If he came onto the floor,
he didn't know how to shoot a scene.
1:28:00
He wasn't sure how he
was gonna do it. . .
1:28:03
. . .as an actor, I found it stimulating
because he was saying:
1:28:06
"Do whatever it is you think
you're gonna do, but do it for real.
1:28:10
That may change how
I'm thinking about the scene. "
1:28:19
Sir Richard, this pistol
must be faulty.
1:28:22
I must have another one.
1:28:25
I'm sorry, Lord Bullingdon, but you
must first stand your ground. . .
1:28:28
. . .and allow Mr. Lyndon
his chance to fire.
1:28:33
I always felt Stanley was. . .
1:28:36
. . .a filmmaker most appreciated
by his fellow filmmakers.
1:28:40
Critics were always looking for
something that wasn't in the movie. . .
1:28:44
. . .and then they were disappointed.
1:28:47
That's a little bit
Stanley's fault. . .
1:28:50
. . .for example, Barry Lyndon.
1:28:52
I think everybody was expecting
a kind of raucous Tom Jones movie.
1:28:57
You realize as you look at the movie
that it's about. . .