:10:01
I thought for a second or a minute. . .
:10:05
. . .that I am back in
the Warsaw Ghetto.
:10:08
It was something unbelievable.
Really, it was shocking.
:10:14
And action!
:10:17
To create these bodies, these actors,
these characters. . .
:10:22
. . .was an enormous challenge
as a filmmaker.
:10:25
Much of the cast wasn't Jewish.
It didn't even begin whatever it is. . .
:10:30
. . .that being a Jew is, just as
being black is or being Spanish is.
:10:35
I believe actors can play
anything, PC or not. . .
:10:38
. . .that's what I felt.
:10:40
Jon Avnet was very persistent.
I said, ''I'm not Jewish. ''
:10:45
When I was in university,
I wished I was Irish or Jewish.
:10:49
I so regretted my wretched blue eyes.
:10:53
He convinced me that I could play
that character and that I was Jewish.
:10:59
I'd say, ''Let's do this scene. ''
And they had to be ready.
:11:03
They had to be prepared.
They had to have their ideas.
:11:07
If they wanted to say something,
I'd say ''Let's try that, or do this. ''
:11:12
It was a loose feeling.
:11:14
All I had to do was start them and
say go, because we did the improvs.
:11:19
They got that movement
that just feels real.
:11:23
That was so important to me
because I knew from early on. . .
:11:27
. . .I would shoot this in
a quasi-documentary style.
:11:31
It was a little frustrating to my
ADs because I wouldn't rehearse.
:11:35
I wouldn't rehearse
for the camera department.
:11:39
I'd say, ''You have to hit this.
Get in focus. ''
:11:42
Denis Lenoir, my French
cinematographer, did a fantastic job.
:11:52
This story hadn't been told, partly
because it was physically difficult.
:11:57
Raffaella De Laurentiis is the genius
that put all the people together.