2:01:02
I first saw him
that morning in the lobby.
2:01:07
He was checking into the hotel. . .
2:01:10
. . .and he was following the bellboy
with his luggage. . .
2:01:14
. . .to the elevator.
2:01:20
He glanced at me as he walked past.
Just a glance.
2:01:25
Nothing more.
2:01:34
But I could hardly. . .
2:01:39
. . .move.
2:01:43
When we went to rehearse that scene. . .
2:01:45
. . .it was the three of us and we just
kind of got in our underwear. . .
2:01:50
. . .not Stanley,
we got in our underwear.
2:01:54
And we just talked about the scene. . .
2:01:57
. . .and didn't really worry
about the lines.
2:02:00
It just slowly evolved.
2:02:02
We were doing take after take.
I said to Stanley, "What do you want?"
2:02:07
He said, "I want the magic.
I want the magic. "
2:02:10
But then as the scene progressed,
take after take doing it. . .
2:02:15
. . .you'd feel the scene reach a level
everyone felt was interesting. . .
2:02:19
. . .then we'd keep working on it
and it would feel bad.
2:02:24
It was stale. It just didn't...
It wasn't working
2:02:27
And then suddenly we could feel it
break into a place. . .
2:02:32
. . .that none of us
had really thought of before.
2:02:36
The process of the film
was a discovery.
2:02:38
It was never about the result.
It was never about:
2:02:42
"Well, we have a week to shoot
this scene. So quick, let's do it.
2:02:47
We may not fully explore it,
but we'll get something good. "
2:02:51
Stanley wanted
to explore every avenue. . .
2:02:54
. . .and then make his decisions
based on that.
2:02:58
And Stanley was not restricted
by time, he refused to be.