Issue link: http://digital.copcomm.com/i/618780
32 dga quarterly SCREENPULLS: (TOP TO BOTTOM) HOME BOX OFFICE HOME VIDEO; NEW LINE HOME ENT.; PARAMOUNT HOME ENT. Jay Roach | Austin Powers in Goldmember (2002) >I carefully designed and story- boarded this opening sequence shot- for-shot and we threw everything into this last shot: women with Laugh-In body paint, dancers, Col. Sanders on stilts, and Uncle Sam! I went to Mike [Myers] and said, 'What else could we possibly throw in?' He said, 'Well, would it kill you to have someone juggling kittens with sparks coming out of their ass?' He was joking but my visual effects guy filmed me juggling stuffed kittens and used a grinder to create some sparks, so in the bottom left of the final image, I'm juggling kittens with sparks coming out of my ass. David Chase | The Sopranos "Made in America" (2007) >I said to [James] Gandolfini, the bell rings and you look up. That last shot of Tony ends on 'don't stop' [from Journey's 'Don't Stop Believin'], it's mid-song. I'm not going to go into [if that's Tony's POV]. I thought the possi- bility would go through a lot of people's minds or maybe everybody's mind that he was killed. I thought the ending would be somewhat jarring, sure. But not to the extent it was, and not a subject of such discussion. I really had no idea about that. The biggest feeling I was going for, honestly, was don't stop believing. It was much more on the nose than people think. Life is short. Either it ends here for Tony or some other time. But in spite of that, it's re- ally worth it. So don't stop believing. Adrian Lyne | Fatal Attraction (1987) >This moment starts with a nice shot of the water in the bathtub looking absolutely flat—no music, no nothing— before [Glenn Close] rears up, which I think is lovely, sort of extending the agony. It always helps when you dutch [tilt] the camera a little bit, when you angle it, so that it's not just flat-on. Also, it's much more interesting if the camera is below her than at her level. There was incredible adrenaline shoot- ing the scene, and most of the stuff was handheld. Close-ups are incred- ibly important, but you can't do it all tight or people get lost and frustrated. There has to be a beat where you get the geography. Otherwise, it's just a mishmash of shots.