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[MUSIC PLAYING]

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I feel that a set should
be like a happy family

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almost like
Thanksgiving every day,

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happily going down the road
together, getting along

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and congratulating people all
the time of their good work.

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And you know, getting
a really great feeling,

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And you know, getting
a really great feeling,

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a safe feeling too,
for the actors,

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so they can, like I say, let
go and go to a new character

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with as little fear as possible
and really get in there deep.

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People who run a set on fear,
or a business on fear, I say

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are really stupid.

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If you run your
business on fear,

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you're going to
stress the people.

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You're going to cause all kinds
of conflicts and jealousies

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You're going to cause all kinds
of conflicts and jealousies

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and backstabbing to get
ahead in the business.

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When the father or mother
come home from work,

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they're going to be coming
home tired and stressed.

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And the little
kids can feel this.

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And there can be arguments in
the home based on this stress

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and anxieties and tension.

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and anxieties and tension.

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And the little kids
are just like wondering

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what is this kind of world?

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And when you have a base--

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a fear-based thing,
people don't want

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to go the extra mile if
necessary to help the company.

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They want to say fuck you, man.

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And they don't-- are
not happy campers.

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And it doesn't serve the work.

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Ideas don't flow.

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Creativity doesn't flow so much.

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Like I say, negativity cramps
that tube through which

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Like I say, negativity cramps
that tube through which

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these ideas flow.

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It squeezes it down.

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And you don't-- you're
not happy, you know,

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to help the company.

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You're almost hate.

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A hate grows for the company.

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And that is really bad, and it
doesn't serve anybody any good

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at all.

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So the happier the company, the
more creative it's going to be.

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The more the people will happily
want to help if it's necessary

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one day to stay late.

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one day to stay late.

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Are you kidding?

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I wouldn't have
a problem at all.

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The next day, you have a
special lunches for them.

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And you know, it's beautiful.

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You're all together on this
planet trying to live a life,

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you know, a good life.

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Why would you torture people?

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It's crazy.

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We're in this thing together.

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We've got to start
enjoying this trip.

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I arrive on a set wanting
to get today's work done

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I arrive on a set wanting
to get today's work done

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and have it be absolutely true,
every element to the idea.

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So it's a precarious,
uneasy thing in the mornings

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or the beginning
of the shoot time.

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And a lot of times, things
are like molasses in January

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in early starting of a day.

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in early starting of a day.

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And sometimes, it
looks like maybe we

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might not make our day.

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So it's very important that
you get everything going

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and get into it so
you can make the day.

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And what's even better
is to make the day

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and maybe even get some extra
things if they come along.

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And I always say that in the
morning, or the beginning

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of the shooting day, to me,
it's like there's this deepest

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of the shooting day, to me,
it's like there's this deepest

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canyon.

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And you're building
a glass bridge.

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It's so delicate, it could
go wrong at any moment.

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This glass bridge is
going to carry you across.

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And you don't know if it's
going to hold together.

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You're just trying to
get everything right.

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And then at the end of the
day, the glass turns to steel.

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And you've got everything.

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And you feel good that you
got it true to the idea.

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The day has come where
that you're on the set

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or on the location.

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They're all kind of like sets.

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And they've been
dressed a certain way.

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And the actors come in
wearing a certain things,

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and now you're going
to have a rehearsal.

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So I clear everybody away
and start rehearsing.

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And before we start
rehearsing even,

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And before we start
rehearsing even,

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you say, you're going to be
here, you're going to be here,

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you're going to be here.

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And then, OK, then
we start the thing.

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And we have a rehearsal.

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And we talk a little bit
about something if it's--

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something's needs
to be talked about.

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And then get it so it's pretty
much really ready to go.

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Then bring in the crew
and show it to them.

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So they know what to do, you
know, to get ready to shoot it.

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And it mainly involves lighting.

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So then, you know, some time
later, you know, it's lit.

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So then, you know, some time
later, you know, it's lit.

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Everybody has done their job.

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And in the actors come.

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And we start shooting.

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And in the rehearsal, you
know, you're going around.

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And you see where,
you know, you want

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to be where the
camera wants to be.

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If making the day puts so much
stress on you that you weren't

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open to things, happy
accidents or seeing something,

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it's never that bad.

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It's just in the
beginning, you want

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It's just in the
beginning, you want

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to get as good a
start as you can

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so that you will finish the day
on time and get those things.

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So I say it's important
at the beginning

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to get the train rolling as
soon as possible, in a nice way,

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but as soon as possible.

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Because it could slip away.

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And then if something
else comes along,

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you know, there's many ways
to skin a cat, they say.

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You'll get that thing.

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That just will be added in.

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That just will be added in.

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And people will boogie
and make it happen.

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It just is that way.

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People who have
worked with me kind of

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know wherever I'm sitting,
that's the main camera angle.

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And I-- so it's
mostly common sense.

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And a lot of times, it's
just like, you know,

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a wide shot, medium
shot, close up.

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There's some kind of
trick things sometimes.

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But it's what happens
in those shots

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But it's what happens
in those shots

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and the size of those shots
and the mood in the light.

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It doesn't need a lot
of trick camera things,

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at least for what I
want to do mostly.

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Getting the coverage
that is true to the idea,

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if 47% happened
perfect in this take,

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if 47% happened
perfect in this take,

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then you try to get the
53% in the next takes.

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Maybe 27 of the next
53 happens in take two.

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Then the rest, you got.

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And that fact, the third was
good all the way through.

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Then you, you know, you got
plenty of things to pick from.

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Always a good feeling when
you've finished a scene.

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And a lot of times, that
means you've finished the day.

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Now, if you have
more time, which

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Now, if you have
more time, which

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would be really
nice to have, you

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might get in and get
some different kind

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of coverage of that scene.

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Or you might shoot a clock
on the wall or a painting

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on the wall or dust
bunnies under a chair

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and-- or drift across
the floor if it plays

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into the scene
some way and maybe

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some extreme close-ups with
a, you know, certain looks.

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some extreme close-ups with
a, you know, certain looks.

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And just give yourself some
more things to work with.

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I came into filmmaking
through painting.

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And painting, well,
nowadays, people

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have assistance
even in painting.

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It's crazy.

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But in a painter, you
know, you do everything.

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But in a painter, you
know, you do everything.

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You don't have
somebody paint the blue

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and then another
person paint the red.

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You do everything.

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It was common sense to me that
if you're going to build a set,

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you want to-- you got to
build it yourself or be

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involved with it yourself.

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Then you make it the
way that you want it.

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You become one with it.

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And all these things
are now almost

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like they were in your head.

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And then once you're
in that, on Eraserhead,

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And then once you're
in that, on Eraserhead,

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I'd say I was in the set.

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I could almost hear
distant factories.

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And I would imagine it
raining and the little diners

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and all these row factory
houses, row houses,

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little narrow streets, stoops,
and factory people, you know,

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and smoke, and fire, and
all this world around.

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and smoke, and fire, and
all this world around.

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And all those
things outside, that

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could all be said with sound.

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And it's just a
beautiful thing to get

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into it deeper by, you know,
getting your hands in there.

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You're feeling and knowing
the world by being in it.

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You're feeling and knowing
the world by being in it.

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If you're not with the crew,
then that won't happen.

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We're all in the trenches.

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And that's where it happens.

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I was on-- in Laura Palmer's
house at the top of the stairs

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in between the parents' bedroom,
Leland and Sarah's room,

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in between the parents' bedroom,
Leland and Sarah's room,

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and Laura Palmer's room.

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I was on my hands
and my knees working

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on something on the rug.

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And I don't know what it was.

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And I was pointed toward
Sarah and Leland's room.

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And behind me, the set
dresser, Frank Silva,

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was arranging Laura Palmer's
room putting in the furniture

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and arranging things.

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and arranging things.

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And I heard a girl say,
Frank, don't lock yourself

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in that room, because he had
just moved a dresser apparently

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in front of the doorway in
his process of arranging.

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But when I heard that, I
pictured Frank in the room,

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and something happened.

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And I went running in.

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And I said, Frank,
are you an actor?

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And he said, why,
yes, I am actually.

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And he said, why,
yes, I am actually.

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I said, OK, you're going
to be in this scene.

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He said, what am I going to do?

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I said, I don't know.

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But you're going to be in here.

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And so the next thing
up was a slow panning

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across Laura Palmer's
room, just a slow pan.

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I forget what for.

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And we did two very
beautiful slow pans.

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And then I said,
OK, now Frank, you

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go down to the foot of the bed
and grab onto these railings

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go down to the foot of the bed
and grab onto these railings

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and look right at the camera.

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Freeze and look
right at the camera.

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So he got down there.

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And then we panned down.

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And we stop.

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And there's Frank.

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[SCREAMING]

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I didn't have a clue
what that meant.

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So then that evening, we were
downstairs in the living room.

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And Sarah Palmer,
totally distraught,

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And Sarah Palmer,
totally distraught,

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she's lost her daughter.

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She's laying down on the
couch totally distraught.

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And she's tormented.

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And in her mind's eye, she sees
something, which causes her

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to bolt upright and scream.

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And Sean, the camera
operator on the wheels, goes.

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And I say, perfect.

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We got it.

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00:13:28,750 --> 00:13:30,000
Sean said, no.

248
00:13:30,000 --> 00:13:30,130
Sean said, no.

249
00:13:30,130 --> 00:13:31,210
I said, what's wrong?

250
00:13:31,210 --> 00:13:34,840
He said, there was someone
reflected in the mirror.

251
00:13:34,840 --> 00:13:37,300
And I said, who was
reflected in the mirror?

252
00:13:37,300 --> 00:13:41,530
He said Frank was
reflected in the mirror.

253
00:13:41,530 --> 00:13:44,620
So something started growing.

254
00:13:44,620 --> 00:13:46,840
And then there it was.

255
00:13:46,840 --> 00:13:49,420
BOB was born then.

256
00:13:49,420 --> 00:13:52,480
BOB was born then.

257
00:13:52,480 --> 00:13:53,620
He was born.

258
00:13:53,620 --> 00:13:59,620
Just like when someone's
born, there they are.

259
00:13:59,620 --> 00:14:00,000
Like the thing exists
somewhere already,

260
00:14:00,000 --> 00:14:03,140
Like the thing exists
somewhere already,

261
00:14:03,140 --> 00:14:05,380
and then we get it
little by little.

262
00:14:05,380 --> 00:14:08,400
They come in, what's necessary.

263
00:14:16,630 --> 00:14:19,450
It's many times tough
to get the day in.

264
00:14:19,450 --> 00:14:22,600
There's a lot of things
that just take time to do.

265
00:14:22,600 --> 00:14:25,100
And it's the reality.

266
00:14:25,100 --> 00:14:30,000
So your time with the actors
in the scene, the part that

267
00:14:30,000 --> 00:14:31,470
So your time with the actors
in the scene, the part that

268
00:14:31,470 --> 00:14:39,290
goes on the frames,
you really focus

269
00:14:39,290 --> 00:14:43,400
on getting those things that
go on the frame to be correct.

270
00:14:45,930 --> 00:14:50,010
And the rest is unimportant.

271
00:14:50,010 --> 00:14:52,680
Just make sure you
get what you need

272
00:14:52,680 --> 00:14:58,410
on those frames
captured on that card

273
00:14:58,410 --> 00:15:00,000
and captured on the sound card.

274
00:15:00,000 --> 00:15:01,570
and captured on the sound card.

275
00:15:01,570 --> 00:15:03,940
That's what you need.

276
00:15:03,940 --> 00:15:08,180
You never compromise
those things.

277
00:15:08,180 --> 00:15:13,490
It would be pretty
crazy to say, oh,

278
00:15:13,490 --> 00:15:16,400
I made it on time, on budget.

279
00:15:16,400 --> 00:15:18,140
I compromised like crazy.

280
00:15:18,140 --> 00:15:20,630
And this film sucks.

281
00:15:20,630 --> 00:15:25,310
So you want to get the
gold no matter what.

282
00:15:25,310 --> 00:15:28,600
Don't ever take no
for an answer on that.