el Patron productions

06/17/2024

Prior to filming "The Treasure of the Sierra Madre" (1948), Humphrey Bogart encountered a critic while leaving a New York nightclub. "Wait till you see me in my next picture," he said, "I play the worst s**t you ever saw." Yet, Bogart's portrayal of Dobbs in this film was cited by Steven Spielberg as the main inspiration for the character of Indiana Jones.

Bogart started losing his hair in 1947, round about the time he was making "Dark Passage" (1947), partly because of hormone shots he was taking to improve his chances of having a child with wife Lauren Bacall (although his excessive drinking and lack of vitamin B were probably also factors in his hair loss). He was completely bald by the time he arrived in Mexico. Once on location, Bogart started taking vitamin B shots, and some of his hair grew back. But he did sport a wig throughout the entire shoot, albeit one that was artfully muddied and matted.

Bogart was quite fond of working with director John Huston and enjoyed his experience working on this film. However, Bogart found Huston to be quite the perfectionist, which led to some grueling and exhausting days on location. Bogart sarcastically recalled that "John wanted everything perfect. If he saw a nearby mountain that could serve for photographic purposes, that mountain was not good; too easy to reach. If we could get to a location site without fording a couple of streams and walking through snake-infested areas in the scorching sun, then it wasn't quite right."

As production dragged on, Bogart, who was an avid yachtsman, was starting to get increasingly anxious about missing the Honolulu Classic, the Catalina-to-Hawaii race in which he usually took part. Despite assurances from the studio that he would be wrapped on the picture by then, he started to constantly dog Huston about whether he would be done in time. Eventually Huston had enough and grabbed Bogart by the nose and twisted hard. Bogart never asked him how long before the shooting was over again.

In the scene where Bogart has to reach under a rock for hidden gold and is told that an extremely venomous Gila monster had crawled there, Huston put a mousetrap where he had to reach. Bogart, acting appropriately as if a Gila monster actually was under the rock, jumped several feet backwards when the mousetrap snapped on his finger.

06/07/2024

https://youtu.be/GS5OoPsRkKs?si=U0rBEqbgryDK4qxL

Boneyard - Watch the trailer now! On Digital and On Demand July 2nd; In Theaters July 5th. Starring Brian Van Holt, Curtis “50 Cent” Jackson, Nora Zehetner, ...

06/01/2024

05/30/2024

https://www.openpr.com/news/3518801/el-patron-productions-unveils-a-divine-new-sitcom-what-was

FOR IMMEDIATE RELEASE EL PATRON PRODUCTIONS UNVEILS A DIVINE NEW SITCOM WHAT WAS HEAVEN THINKING WHAT WAS HEAVEN THINKING LOS ANGELES CALIFORNIA May 30 2024 El Patron Productions is thrilled to announce the launch of their highly anticipated sitcom What ...

05/29/2024

The meaning of the phrase "Mr. Mojo Risin'" was revealed by Jim Morrison to the Doors drummer once the recording of "L.A. Woman" was finished.
In fact, John Densmore stated that during the recording of the song none of the members knew what it meant and how that mantra that Jim kept repeating was born.
At the end of the session, "Jim wrote 'Mr. Mojo Risin' on a piece of paper and said, 'Look John, take a look...' and then he started swapping letters with arrows and 'Jim Morrison' came out. The first thing I thought was 'Oh my god, this guy is a genius'".
The phrase, according to many, can be traced back to a new beginning, a "rebirth".
According to others it could instead have a s*xual connotation.
The interpretation, in any case, still remains one of the many mysteries linked to the enigmatic figure of Jim Morrison.

05/29/2024

Sopranos Series…

Witness the rise of young Tony Soprano in 10 gripping episodes set in the gritty streets of late 1980s Newark. Under the watchful eye of his mentor, Paulie Gualtieri, Tony navigates family obligations and the lure of organized crime. With his childhood friend Silvio Dante by his side, Tony forms a tight-knit crew. David Chase masterfully captures the origins of an iconic mob boss in this compelling prequel to The Sopranos, coming soon to MAX.

05/26/2024

Wisdom From Alfred Hitchcock… 📺

When an actor comes to me and wants to discuss his character, I say, ‘It’s in the script.’ If he says, ‘But what’s my motivation?,’ I say, ‘Your salary.’”

05/22/2024

Francis Ford Coppola has cited Michelangelo Antonioni's "Blowup" (1966) as a key influence on his conceptualization of the themes of his film "The Conversation" (released on this date in 1974), such as surveillance versus participation, and perception versus reality. He has said that he was shocked to learn that the film used the same surveillance and wire-tapping equipment that members of the Nixon Administration used to spy on political opponents prior to the Watergate scandal. Coppola has said this reason is why the film gained part of the recognition it has received, but it is entirely coincidental. Not only was the script for "The Conversation" completed in the mid-1960s (before the Nixon Administration came to power), but the spying equipment used in the film was discovered through research and the use of technical advisers, and not, as many believed, by revelatory newspaper stories about the Watergate break-in. Coppola also noted that filming of The Conversation had been completed several months before the most revelatory Watergate stories broke in the press.

Gene Hackman's character of Harry Caul was inspired by surveillance technology expert Martin Kaiser, who also served as a technical consultant on the film.
According to Kaiser, the final scene of the film—in which Caul is convinced he is being eavesdropped in his apartment, cannot find the listening device, and consoles himself by playing his saxophone—was inspired by the passive covert listening devices created by Léon Theremin, such as the Great Seal bug. Coppola also based Caul on the protagonist of Herman Hesse's 1927 novel "Steppenwolf," Harry Haller, a "total cipher" who lives alone in a boarding house. Coppola also made Caul religious, originally intending the character to have a confession scene; Coppola has said that the practice of confession is "one of the earliest forms of the invasion of privacy—earliest forms of surveillance."

Hackman was a fit, good-looking relatively young man when Coppola cast him as Harry Caul. In order to personify Harry's weary, aging, and unhappy existence, Hackman grew a pathetic-looking mustache, wore ill-fitting glasses, and had a wardrobe picked out that was at least 10 years out of date. Coppola specifically told Hackman he wanted Harry to look like a "nudnik," a Yiddish word referring to a person who is boring and a pest. The director also incorporated some autobiographical details into Caul's background; in high school, Coppola was a science geek and president of the radio club. One time, he even planted hidden microphones around his own home so he could eavesdrop on family conversations.

The blue Mercedes limousine that Cindy Williams is sitting in near the end of the film was won byCoppola on a bet with Paramount Pictures. Coppola had complained about the station wagon he shared with five other passengers during the filming of "The Godfather" (1972). Studio executives told him that if "The Godfather" had grossed a certain amount, they would spring for a new car. After "The Godfather" became the highest grossing film of all time, Coppola and George Lucas went to a dealer and picked out the Mercedes, telling the salesman to bill Paramount Pictures.

05/21/2024

Wisdom From Alfred Hitchcock…

On the Role of Television 📺

“One of television’s great contributions is that it brought murder back into the home, where it belongs.”

05/20/2024

“Fear and Loathing in Las Vegas” - Hunter S. Thompson and his “attorney” Oscar Zeta Acosta in Caesar’s Palace - April 1971

05/20/2024

‘Marlon Brando refused to film any scenes with Dennis Hopper.’

Can you think of any famous actors who have hated each other so much that they refused to share scenes with each other when working on a movie together?

Yes. Marlon Brando refused to film any scenes with Dennis Hopper while Hopper was on-set during the making of Apocalypse Now.

This despite them having a scene together in the film, which still had to be in the finished film.

Brando was notoriously difficult to work with, and this difficult incident and the notoriously hard logistical problem it started is a direct result of that fact.

Hopper told Bob Costas about the incident that caused it years later in an interview.

Brando had showed up on set weeks late, and had refused Francis Ford Coppola’s pleading to read the novel Heart of Darkness on which the film was based.

Hopper, for his part, had only agreed to appear in the film so that he could be allowed one scene with one line with Brando, who he’d always wanted to work with. He had no idea, by the way, that Brando had been refusing to read Heart of Darkness.

(Dennis Hopper, as the unnamed American journalist in Apocalypse Now.)

Hopper, like other actors on set, had been required to go through a lot of strenuous physical preparation while waiting for a very over-weight and out of shape Brando. As Hopper put it, “we were doing karate. We were doing jujitsu. We were climbing trees.”

Hopper had also, like the rest of the actors, been provided with a copy of “the little red book,” used in training US Army Special Forces.

During a story conference over dinner when Brando first showed up, Hopper, a bit irritated at Brando for not getting the venture and for not being physically prepared for the role told Brando, “I bet you haven’t even read the book.”

(Brando was so extremely over-weight during filming, he either had to be filmed in extreme closeup, or mostly in the dark to hide his obesity. This irked Hopper, who had been doing a great deal of training to prepare for the film.)

By this he meant “the little red book.”

But Brando thought he meant Heart of Darkness, and saw red.

Hopper claims Brando stormed out of the house they were in saying, “‘I don’t have to listen to this! I don’t have to take this!’ And he is screaming and yelling ‘Why do I have to hear it from him? I have to hear it from this punk!’”

Things got worse from here.

Hopper took this very personally, and then got good and drunk and went out of his way for the rest of the night, first at a boxing match and then at a screening of The Magnificent Seven, to get under Brando’s skin.

At some point during the film screening that evening, a very drunk Hopper, made some nasty and personal comments aimed at Brando and basically threatened to fight him, before himself staggering out drunk.

Brando and Coppola disappeared subsequently for the next two weeks, with production shut down the whole time.

(This film contains no scene where Brando and Hopper shared a line on-set. So, technically, Coppola broke his promise to Hopper. But that was probably for the best.)

When they finally came back, the deal presented to Hopper was that Hopper would do his takes first, Brando would watch them and do reaction takes to them, but neither would ever be on-set at the same time.

In the end, Hopper decided Brando had probably done him a favor.

The two would likely have come to blows on-set together.

05/12/2024

https://youtu.be/PTFwQP86BRs?si=f9qaAVnplGlUcTMk

Music video by Nine Inch Nails performing Closer. (C) 1989 Interscope Records

05/11/2024

‘They Live’ was a warning to us all. 🫣

05/11/2024

Drugstore Cowboy (1989) starring Matt Dillon and Kelly Lynch. This film was based on the writings of James Fogle, who was a real-life criminal and drug addict who robbed drugstores. Matt Dillon cited this film as his personal favorite, of all the films he has done. The roles of Bob and Dianne were actually first offered to Bob Dylan and Patti Smith. One thing I love about this movie is how it shows the line between drug addiction and criminal world is more blurred than we realize and this world truly isn't so black and white but more shades of grey.

05/11/2024

On this date in 1979, "The Warriors" was released.

Film rights to Sol Yurick's novel "The Warriors" were bought in 1969 by American International Pictures but no film resulted. Rights were then obtained by producer Lawrence Gordon who commissioned David Shaber to write a script. Gordon had made "Hard Times" (1975) and "The Driver" (1978) with Walter Hill; he sent the script to Hill with a copy of Sol Yurick's novel. Hill recalls, "I said 'Larry, I would love to do this, but nobody will let us do it.' It was going to be too extreme and too weird."

Gordon and Hill were originally going to make a western but when the financing on the project failed to materialize, they took "The Warriors" to Paramount Pictures because they were interested in youth films at the time and succeeded in getting the project financed. Hill remembers "it came together very quickly. Larry had a special relationship with Paramount and we promised to make the movie very cheaply, which we did. So it came together within a matter of weeks. I think we got the green light in April or May 1978 and we were in theaters in February 1979. So it was a very accelerated process."

Hill was drawn to the "extreme narrative simplicity and stripped down quality of the script." The script, as written, was a realistic take on street gangs but Hill was a huge fan of comic books and wanted to divide the film into chapters and then have each chapter "come to life starting with a splash panel." However, Hill was working on a low budget and a tight post-production schedule because of a fixed release date as the studio wanted to release "The Warriors" before a rival gang picture called "The Wanderers" (1979). Hill was finally able to include this type of scene transition in the Ultimate Director's Cut released for home video in 2005.

The filmmakers did extensive casting in New York City. Hill had screened an independent film called "Madman" (1978) for Sigourney Weaver to cast her in "Alien" (1979) and it also featured Michael Beck as the male lead. The director was impressed with Beck's performance and cast him in The Warriors. Hill initially wanted a Puerto Rican actress for the role of Mercy, but Deborah Van Valkenburgh's agent convinced the film's casting directors to see her and she was eventually cast. The filmmakers wanted to cast Tony Danza in the role of Vermin but he was cast in the sitcom "Taxi" and Terry Michos was cast instead. While there were white characters in Yurick's book, none of the central characters or protagonists were white: according to Hill, Paramount did not want an all-black cast for "commercial reasons."

Thomas G. Waites was cast as director Walter Hill's James Dean, and the director "invited the young actor to the Gulf and Western to watch movies like 'Rebel Without a Cause' (1955) and 'East of Eden' (1955) for inspiration." During the screening, Hill offered Waites a drink, which Waites refused, resulting in a rift between the two that grew worse during the grueling summer shoot. At one point, Waites threatened to report the working conditions to the Screen Actors Guild, forcing Paramount to provide a second trailer for the eight Warriors to share.

Finally, after eight weeks into principal photography, when the tension on set between Waites and Hill reached the breaking point, Hill demanded that stunt coordinator Craig Baxley improvise a stunt scene in which Waites' character would be killed. Stunned, Baxley demurred. Such a critical scene would take careful planning. But Hill was insistent. 'I don't give a s**t how you kill him,' Baxley recalls the director saying. 'Kill him.'" Baxley found a crew member who resembled Waites and staged a scene in which the character is thrown off a subway platform in front of an approaching train. “It was like someone cut my soul out and left a shell,” Waites remembers. He would later demand that his name be removed from the cast altogether; he remains uncredited to this day.

05/06/2024

https://www.netflix.com/tudum/articles/black-rabbit?fbclid=IwZXh0bgNhZW0CMTEAAR2M3ZvLuoKQXLVUANTprdOazWyKwVWIo4C0SjXoeMOlcGGhG5SUjZyim70_aem_Ae4On3JlHn3nJxsFIuh0uQUJ49Z0cDVWUFJStI92gG3HXbXP1e04MnWMO7XNnrDeofxn5ZB8-rAVgDWGqnbF6-F5

05/05/2024

In a 2006 interview, screenwriter John Milius said that after he had written the now famous line, "I love the smell of na**lm in the morning" for "Apocalypse Now" (1979), he thought to himself, "This is over the top. This will be the first thing they'll take out." The line was voted as the number twelve movie quote by the American Film Institute.

According to an interview given by Robert Duvall for National Public Radio's "Fresh Air" on July 22, 2010, Lt. Col. William “Bill” Kilgore's name was originally going to be Colonel Carnage, but they changed it to make their statement about him less obvious.

The canteen scene with Kilgore and the wounded Viet Cong is based on an actual wounded VC fighter who fought while keeping his entrails strapped to his belly in an enameled cooking pot. The incident was documented by the photojournalist Philip Jones Griffiths. The real-life U.S. soldier was quoted as saying, "Any soldier who can fight for three days with his insides out can drink from my canteen any time!"

Before Duvall was playing epic characters like Kilgore in "Apocalypse Now," he was your average Army private who tried to scheme his way out of boring assignments. "The two worst things were to see your name up on a poster for [kitchen patrol] and guard duty,” Duvall said in an interview. “You would pay somebody to take your place.”

05/04/2024

We are all alone, born alone, die alone, and—in spite of True Romance magazines—we shall all someday look back on our lives and see that, in spite of our company, we were alone the whole way. I do not say lonely—at least, not all the time—but essentially, and finally, alone. This is what makes your self-respect so important, and I don't see how you can respect yourself if you must look in the hearts and minds of others for your happiness. ~Hunter S. Thompson

(Book: The Proud Highway [ad] https://amzn.to/3wpI7np)

(Art: Photograph of Thompson by Al Satterwhite)

05/03/2024

Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir "Kiss of Death," in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. The most famous scene in the film is when a grinning, maniacal Widmark shoves Mildred Dunnock down the stairs to her doom in her wheelchair.

"I'd never seen myself on the screen, and when I did, I wanted to shoot myself. That damn laugh of mine! For two years after that picture, you couldn't get me to smile. I played the part the way I did because the script struck me as funny and the part I played made me laugh, the guy was such a ridiculous beast."

Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark," advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up.

When New York mobster Joe Gallo--a vicious killer known as "Crazy Joe"--was starting out as a small-time hoodlum, he saw this movie and instantly idolized Tommy Udo. Afterwards, Gallo began wearing his suits with black shirts and white ties in emulation of Udo. He also began acting in a more crazed manner, thus giving rise to his "Crazy Joe" persona, which lasted until the gangster's death in 1972, when he was murdered by rival gangsters in Umberto's Clam House in Little Italy.

"Kiss of Death" and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.

05/02/2024

05/02/2024

Behind The Scenes: "Evil Dead 2"

05/02/2024

https://youtu.be/GTNMt84KT0k?si=JFYFYyPp9iURR2Yz

The sci-fi/horror-thriller takes the phenomenally successful “Alien” franchise back to its roots: While scavenging the deep ends of a derelict space station,...

05/02/2024

https://youtu.be/Kdr5oedn7q8?si=dCyxtQPr6IrOYdVN

In 10 days, experience Kingdom of the Planet of the Apes. Watch the brand new trailer and be one of the first to see it at an Early Access Screening on May 8...

05/01/2024

On this date in 1964, "Hush... Hush, Sweet Charlotte" was released.

Following the unexpected box-office success of "What Ever Happened to Baby Jane?" (1962), director Robert Aldrich wanted to make a film with similar themes that reunited stars Joan Crawford and Bette Davis. The actresses, whose feud was infamous and legendary, were not initially eager to repeat themselves. Aldrich had originally suggested Ann Sheridan for Miriam, but the producers felt the success they envisioned would not be achieved without Davis and Crawford at the helm.
In early 1963, prior to shooting, Davis became incensed when Crawford accepted Anne Bancroft's Oscar for "The Miracle Worker" (1962) on the absent winner's behalf at that year's ceremony, an award for which Davis had been nominated, but not Crawford. She believed Crawford had somehow ensured Bancroft would win so that she could upstage her costar and rival. However, Davis agreed to take the role only if she got a producing credit.

Principal photography began in mid-1964, with the on-location shooting commencing in Baton Rouge, Louisiana. However, the shoot was temporarily suspended on several occasions early on. Initially, it was halted after a third-party lawsuit was brought against Davis by Paramount Pictures over a commitment to complete additional filming on "Where Love Has Gone" (1964). When this was resolved and filming recommenced, Davis began asking crew members whether they had allegiance with her or Crawford, and wound up with support from those who had disliked Crawford's imperious behavior on the shoot.

On the last day of filming on location, Crawford, who had gone back to her trailer and fallen asleep in case she was needed for anything extra, awoke to find that everyone had left her behind, having gone back to the hotel after wrapping. Crawford was convinced that Davis had engineered this, and upon returning to Hollywood where production was to continue on set, admitted herself to hospital and announced she was sick—at first a ploy to get changes made to the script, but then she actually convinced herself that she was sick.

The production was postponed to allow Crawford to recover, though Aldrich hired a private investigator to track her and determine whether or not she was actually ill. By August 4, 1964, the production had been suspended indefinitely, and the studio's insurance company insisted that Crawford be fired and replaced, or else the film would have to be cancelled entirely.

Aldrich sought several actresses to replace Crawford, including Barbara Stanwyck, Loretta Young, and Vivien Leigh, but they were each either unable or unwilling to take the role. Aldrich ultimately sought Olivia de Havilland for the part, and flew to her home in Switzerland to attempt to convince her to take the role. De Havilland had long wanted to work with Davis again, and agreed to take the part; she subsequently flew to Los Angeles to begin filming.

When production photos were released of Davis and de Havilland (with co-star Joseph Cotten and director Aldrich) toasting one another with Coca-Cola, a catty observation of the fact that Crawford's husband had been an executive of Pepsi-Cola and that she was now on the board of directors.

In later interviews, de Havilland expressed displeasure with the film: "I wasn't thrilled with the script, and I definitely didn't like my part. I was reverse-typecast, being asked to be an unsympathetic villain. It wasn't what people expected of me. It wasn't really what I wanted to do. Bette wanted it so much, so I did it. I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my resume. Given the choice, I wouldn't have deprived Joan Crawford of the honor."

05/01/2024

Fargo

"In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films -- I wasn't being offered any commercial films, and there wasn't an independent scene. I did a lot of 'so-called' independent films that were really low-budget films trying to be commercial. But you certainly make choices when you have a script written by Jim Jarmusch or the Coen brothers or Alexandre Rockwell; I think any actor would feel lucky to be able to work on projects like that."

The role of Carl Showalter in "Fargo" (1996) was written specifically for Steve Buscemi.

The character of Showalter has over 150 lines of dialogue. By comparison, his associate Gaear Grimsrud (Peter Stormare) has 18 lines of dialogue in the entire movie. Buscemi and Stormare would go on to appear together in "Armageddon" (1998).

"It's weird; I was not a really tough guy in high school, but I end up playing all of these psychopaths and criminals. I don't really care who they are, as long as they are complicated and going through something that I can understand and put across."

When Showalter calls Jerry Lundegaard (William H. Macy) for the deal to be done, he tells him, "Thirty minutes, and we'll wrap this up." From that moment, the film's running time left is exactly 30 minutes.

"My favorite review described me as the cinematic equivalent of junk mail. I don't know what that means, but it sounds like a dig.

04/30/2024

Friend/actor Peter Falk said, "'Every (John) Cassavetes film is always about the same thing. Somebody said 'Man is God in ruins,' and John saw the ruins with a clarity that you and I could not tolerate."

The manner in which Cassavetes employed improvisation is frequently misunderstood. With the exception of the original version of "Shadows" (1959), his films were tightly scripted. However, he allowed actors to interpret characters in their own way, and often rewrote scripts based on the results of rehearsals and performances. He explained that "I believe in improvising on the basis of the written word and not on undisciplined creativity."

"There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk. I don't want to tell them how they're going to get drunk. I don't want to tell them how they're going to get drunk, or what they would do, and I don't want to restrict them in being able to carry out a beat, to fulfill an action. You can't say somebody's drunk, or in love."

"I'm not really a director. I'm a man who believes in the validity of a person's inner desires. And I think those inner desires, whether they're ugly or beautiful, are pertinent to each of us and are probably the only things worth a damn. I want to put those inner dreams on the screen so we can all look and think and feel and marvel at them."

04/29/2024

The scene in "The 40-Year-Old Virgin" (2005) where Steve Carell (as Andy) has his chest hair removed required five cameras set up for the shot. Carell's chest hair was actually ripped out in the scene. Carell had told director Judd Apatow just before shooting the scene, "It has to be real. It won't be as funny if it's mocked up, or if it's special effect. You have to see that this is really happening." For obvious reasons, the scene had to be done in one shot.

During the waxing scene, the actress playing the waxer almost ripped Steve Carell's ni**le off (she didn't realize you're supposed to coat the ni**les in Vaseline prior to waxing). Fortunately for the actor, Apatow realized what was happening and yelled "Cut!" just in time.

To prepare for his role as Andy, Carell lost thirty pounds for the role. Apatow was originally nervous about the transformation, stating that he didn't think that "comedians wanting to look good is ever good for comedy." However, he gradually realized that Carell being "ripped" was a good idea, as it helped establish that Andy was only a virgin because he's shy and nervous, not because of his looks.

In a magazine interview, Apatow revealed a trick behind the film's success: during the first preview of the movie, he had actually recorded the preview audiences vocal reaction with a tape recorder. When it came to re-cutting the film for the general release, he trimmed the film in sync to the recorded reaction. The scenes that did not have audience reaction were either cut or trimmed (but reinserted in the unrated edition).