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director he'd worked with
It was an in-joke
between Matthew and Alan
It didn't mean anything to me,
but I thought it was a very funny voice
It was a good voice for a kid to use
in playing an adult, -
- for a teacher
It's all right It's Ferris Bueller I'm
gonna set a trap and let him fall into it
Grace flatters him She thinks he's
brilliant, that he's figured it all out
I like that she's participating in it,
I think that's kind of funny
We tried to think of words that he
didn't normally use in his vocabulary
"Dipshit" and "pucker up, buttercup"
were not things he would normally say
He heard them in the halls
We held this close-up for a long time
As long as he could go
without blinking
He plays it all with his eyes
I added these bells on the telephone,
which was stupid, but kind of funny
I had her hold that expression
for a long time
It's nice to see Cameron
asserting himself here
But he can only do it
in the guise of someone else
He looks very boyish here
That little twisting motion was his idea
That really felt good for him,
to call this guy an asshole
But of course
in the guise of someone else
Cameron will go too far
He's getting really confident
I liked James Bond movies,
especially when I was in high school
This was great, running these two
in and out of that room
She's doing Rooney
I don't have all day to bark at you,
so I'll make this short and sweet
I want my daughter in front of
the school in ten minutes, by herself
He's gone too far here
A great face Pagliacci
The "operatic clown" look
A very rubbery face
He would make wonderful expressions
In fixing it, he's made it worse now
These guys have worked together
on Broadway for quite a while
They had some wonderful routines
that they did together
This is an example of two actors who
are really in sync with one another
I really enjoyed working with Matthew,
who had so much stage experience
He wasn't being Ferris,
he was playing Ferris
His performance is a performance
It wasn't supposed to be real
He's playing an ideal I think
his stage experience really helped
The fact that they had worked
on Broadway -
- really made this scene work
It's the first time
Cameron stands up to Ferris
Ferris hit him,
and he's really embarrassed
I gave him
a Detroit Red Wings jersey to wear
It's where I grew up
Gordie Howe, number 9, was my hero
Hockey is not a sport
that Cameron would be interested in
Here's a nice little ad libbed moment
I had him running down the hall
He doesn't want to be seen panicking,
so he stops in front of every door
This is Ferris has hit him
and now he's drawing him back in
and making him pay for his mistake
He gets Cameron to make a mistake,
so that he can get the car
Cameron has to pay for
his getting too confident with Rooney
This is the price he's got to pay
This is a Yello song I'd had it
in mind to use for a couple years, -
- but I didn't find
the right spot for it until here
The insert shots of the Ferrari
were real, of the 250 GT California
The cars we used in the wide shots
were obviously reproductions
There were only 100 of these cars,
so it was way too expensive to destroy
We had a number of replicas made
They were pretty good
But for the tight shots
I needed a real one, -
- so we brought one in to the stage
and shot the inserts with it
That thing with his finger was a squeak
with a woman's voice underneath it
This is Ferris
really working hard on Cameron
He really wants to drive this car
This car was really made for him
Matthew played this
as if it were his first date
The car really had become
a woman to him
He's probably seen it many times at
Cameron's and wanted to take it out
- He knows the mileage
- He doesn't trust you?
- Never has, never will
- Look, this is real simple
Whatever miles we put on,
we'll take off
- We'll drive home backwards
- No
No! Forget it
You'll have to think of something else
I think Cameron

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