That's the last thing you hear is, "Married," but you see them still talking, and this camera is moving back and back. So for example, the scene that I was trying to discuss with you earlier, I was showing that there was this problem that she had, where she got married, and she says, "I wanted to tell you this." She said, "Tom, I got married." That was in the middle of the park.Īnd you see me throw up my arms, I say, "Married?" Right? And as I throw up my arms, I start pulling the camera back. And I wanted them to be thinking, not necessarily what they were talking about, but what we discussed. Do you know what I mean? With tears in their eyes or music in the background or whatever it was. It turned out really nice.Īlso, I didn't want the actors leading our emotions. That's the second thing I had, I only wanted to see someone's face when they were thinking of something, when it was important that I see their face, not just to show their face. So, I decided I pretty much wanted to shoot it all in pretty much masters and only have a closeup. What I did was I took 149 scenes and thought, if you shot it conventionally, where you shoot a master and then a four shot, then a two shot, then singles, it would look like a ping pong match with 149 scenes, and within those 149 scenes another 400 cuts, it would look like a ping pong match. And I made a few conditions, and they were met. Then they asked me to direct, that's how that happened. I've always wondered, did you think about directing more after that?ĬAAN: When I decided to direct Hide in Plain Sight, the reason I told them that I wanted to have a special guy, a special director, with a style to direct it first, like Hal Ashby, but he wasn't available. You directed Hide in Plain Sight in 1980, and it was your only time behind the camera. Thankfully that the film turned out great. #Like a thief in the night movie movie#In addition, as a big fan of Michael Mann’s Thief, he shared what it was like working with him on the movie and how he ended up directing Hide in Plain Sight. Thankfully, he couldn’t have been nicer and shared some stories that I’d never heard including why he loved working with Marlon Brando, how he convinced Lenny Montana, who played Luca Brasi, to do a gag while filming, and what it means to be part of a film that people want to talk about fifty years later. One of the reasons is because I’ve been watching his work my entire life, and I was getting the rare opportunity to talk with him about The Godfather, one of the greatest and most influential movies ever made. While I’ve done countless interviews since starting Collider, I’ll admit to being a little nervous before getting on the phone with Caan. With Francis Ford Coppola’s The Godfather celebrating its 50th Anniversary this year and Paramount releasing an incredible new 4K box set, I recently got to do something I never thought would happen, I spoke with James Caan about making the movie.
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