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wood.
He was made of balsa wood.
- Just one of those things.
- Animatronic... mannequin.
That's...
That's not worth waiting for.
You guys came up with this.
Dave and Jerry came up with this.
I remember getting to work
when they said spinning around.
- In that contraption?
- Yeah, the contraption.
Wait for your laugh.
There was a screening process.
- They rehearsed this for weeks.
- Yeah.
For an hour!
- The song is speeded up, too.
- Yeah, 10%.
We had to get permission.
And now you have to watch here
when Bob gets flipped.
That's the "Texas Switch".
You can see him waiting because it's
a double that lands in the audience.
- This was the contraption.
- Right.
Now, that's a double... There's Bob
in the background on the right.
And then comes out.
Seamless filmmaking.
How do they do that?
One take, no waiting.
This is before special effects
could get rid of that.
There was no painting out
of wires then.
This was also on the day we said...
Bob said, "Do you juggle?"
We looked on his rйsumй -
any special skills?
Horseback riding and juggling.
So we couldn't get a horse,
so we threw in these balls.
This is not something
we sat down and thought of.
Bob at the same time was filming a
TV series, so he'd go back and forth.
That's right, he was doing "Angie".
Good guy.
Do you think there's enough time here
to get back down?
The audience likes to see
this kind of slow camera movement.
- It's very artsy.
- Nobody ever appreciated that.
Directorial... It's pretty good.
This is what Katzenberg talked about,
the hills and valleys.
- This was the valley?
- Yeah.
Always good
to see two people hugging.
There, before the dummy comes in.
Recap a joke.
She insisted on doing this.
We could've had a stunt double...
She insisted
on actually hanging from her neck.
Was that guy a mannequin back there?
I think he is.
Yeah, that's a mannequin.
Yeah, he doesn't even blink.
We couldn't afford
a mannequin that good.
It's good though.
He hasn't blinked yet.
It's an extra, what do you want?
You know, "Shaft" is out again.
- It's been remade.
- With Al White?
No!
These guys came to audition for this
and they made up that stuff.
In the script we just wrote
"mo fo shi' mo'fuh".
Three white guys from Milwaukee
writing black jive.
We apologised to these guys
when they came in,
but Al and Norm just made it work.
This is straight from "Zero Hour".
- Actually, it's "Crash Landing".
- Was it?
Another movie where two adults
did the same dialogue.
- Without the punchline?
- Without the punchline.
They had a tape of "Zero Hour".
When they were shooting scenes,
they'd check it in "Zero Hour"
so they knew where to put the camera.
We knew this was
the only movie we could direct.
It's a great first movie, it's got
training reels for directors.
Basically, you had people sitting in
fixed rows of seats facing forward.
Wasn't a lot of movement.
And it had been shot before
so you just needed the videotape.
An amazing thing about this scene
is people saw this and said,
"You did a great send-up
of 'From Here To Eternity',"
and none of us had seen it.
Sometimes you get credit
for things you didn't intend.
We probably saw still pictures.
Send-ups of "From Here To Eternity".
- That was cold.
- We waited for a wave.
Julie took the brunt.
You can see her face - oh, not there.
But the one before
you can see she's freezing.
He's on a stand for his shots.
We had to shoot this
and then get back
to shoot all the hospital scenes
in the same day.
- Is that true?
- That's right.
It was badly scheduled.
Who's in charge of that?
- She's very pretty. And very nice.
- Yeah.
She was one of those people
that had read, you know,
hundreds of people for that role,
and she came in
and she made us laugh.
- She made it work.
- She is that character.
It was one of the first days
of auditions
and I met her on the elevator, she
was wearing a full-length fur coat.
It
Аэроплан! Аэроплан!

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