Once George C Scott was the lead, none of the rest of that was ever going to happen; it was going to shot like a traditional movie and it was... shot like a... and I do remember a couple of things that I did that I enjoyed. At one point Scott is looking at a porn film that may have his daughter in it, as I remember, and what I did was take a camera and project it on to a shiny board, and let the shiny board light come back onto to his face, and I threw it out of focus so that it was a series of images but you couldn't see what it was, but you could see that it was flickering on his face, and then I turned my camera and looked at Scott and filmed him. And that was great fun, and I'm not sure that someone had done... if anyone... I... I had never done it before; it just occurred to me because I wanted to have some image cheating in a way because in fact light from a screen doesn't really come back that much at you, but it does in a small room where you're close to it; it does more. And then when I had him watch... then he watches an actual snuff film where someone is killed, and he then... there's some question that that might be his daughter. I mean... I can't remember the details of the plot, but I know that he did that, so then I did the same thing, but, instead of doing it on a shiny board, I did it onto a big old-fashioned mirror – mirrors they used to use to take the... on Westerns if the sun was coming this way, and they wanted it to come that way; they hit the mirror and they'd bring the mirror and use it to reflect, and the... there's a technical word for it, but I can't remember what they are, and they found one somewhere in the... back at the studio somewhere. It hadn't been used in years, and we cleaned it up, and I projected it onto a mirror so that it came back, and I made it be in focus so that it was in focus on his face, and you could see the images, and that's really a cheat because that would never happen, but that was... we got away with it because it was fun; we did it so you could see the images of what was happening reflected onto his face, and you could see... actually see a person pretend to stab and everything, and that was, as I say, completely a cheat because that would never, never happen, but we thought, what the hell, and we did it, and it worked out fine.

Other than that, I don't remember much about it being, you know, one way or another. It was a movie that we shot: we went to Grand Rapids; it was freezing cold and made you understand Paul [Shrader]. And I remember that somewhere in the course of it we were shooting in Los Angeles, and an old friend of George C Scott's – another actor who's also dead – who played... his name... anyway came to him, took him away and they disappeared for three days, drunk as skunks, and we had to shut down. They're both dead so I can say that without any fear of libel since it's certainly true. We missed... we only missed one day because I think it was the weekend and they disappeared. God knows where they went, but they came back by the next Monday, but it just... it was nice, actually; we shut down and went home – it was nice, we got paid, it was lovely. Other than that, I don't remember that much about it except those little bits and pieces and that I was disappointed in the way we got to do it but it was inevitable; it became a movie, you know. I mean, you can't.... you can't... what's the word? You can't dismiss the... the amount to which the movies are... all these other things we've been talking about... it's also a job, you know: you show up and you... and you work so many hours, whatever it is, and you go home, and you... and you want to do a job as... as best you can, and... and a lot of it is not art or aesthetics or whatever, but really a lot of it is just plain a job, you know, when you've got to get so many scenes done in a day, and that's a good thing too.