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THIS FALL...
BURTON IS ‘BLUEBEARD’
ALEXANDER SALKIND presents [RICHARD BURTON] as “BLUEBEARD’ [Also starnng RAQUEL WELCH]
with [VIRNA LISI] and JOEY HEATHERTON EASTMANCOLOR snow Coiscrans REEASNG
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INTERNATIONAL FILM DISTRIBUTORS |
Needless to say, the cooperation of New York City officials was incredible. We were given permission literally to control the traffic signals on those streets where we ran our chase car. We rehearsed a shot in slow motion five or six times before | was satisfied that all safety conditions were met and that the coordination was there.
Then we prayed a lot, and kept our fingers crossed.
For one particular shot, we used no controls whatever. This was a shot with two cameras mounted, one inside and one outside the car. The inside camera was on a 50mm lens, shooting through the front window; the outside camera was On a 25mm mounted to the front bumper. | was in the car. Bill Hickman drove the entire distance of the chase run, approximately 26 blocks, at speeds between 70 and 90 miles an hour. With no control at all and only a siren on top of his car, we went through red lights and drove in the wrong lane!
This was, of course, the wrap shot of the film. | made two takes and from these we got most of the point-of-view shots for the entire sequence.
COMPLETION
The question |'m most asked in interviews about The French Connection, is how the chase was filmed. As is obvious from the above notes, it was filmed one shot ata time, with a great deal of rehearsal, an enormous amount of advance planning, and a good deal of luck.
But at least 50 per cent of the effectiveness of the sequence comes from the sound and editing. The sound
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HEMDALE presents A JOSEF SHAFTEL PRODUCTION, “WHERE DOES IT HURT?”, starring PETER SELLERS © 10 ANN PFLUG ® RICK LENZ ® HAROLD GOULD. © pues 's Rot aati ay & Buo0 ROKINSUN music byKEITH ALLISON, executive producer JOSEF SHAFTEL,
produced by BILL SCHWARTZ & ROD AMATEAU, directed by ROD AMATEAU
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executive producers SIDNEY L CAPLAN & ROBERT J STONE produced, directed & written by BERT |. GORDON COLOR
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was done entirely after the fact. Several months after the completion of shooting and what looked like a good cut, | went back to New York City. With sound man Chris Newman, we made all the sounds for the elevated train. Then | returned to California and with Don Hall, the sound supervisor at 20th, made all the sound for the car on the Fox back lot.
We treated the recording of the individual effects with the same care and attention to detail as we did the photographing of the picture. The use of effective sound effects is, | feel, as important as the picture.
Individual frames or shots or still photographs from the chase are unimpressive. The manner in which all the elements are combined, and how sound effects orchestrate the scene — that makes it effective.
| can’t say too much about the importance of editing. When | looked at the first rough cut of the chase, it was terrible. It didn’t play. It was formless, in spite of the fact that | had a very careful shooting plan which | followed in detail. It became a matter of removing a shot here or adding a shot there, or changing the sequence of shots, or dropping one frame, or adding one or two frames. And here’s where | had enormous help from Jerry Greenberg, the editor.
As | look back on it, the shooting was easy. The cutting
and the mixing were enormously difficult. It was all enormously rewarding.
William Friedkin, who is currently completing The Exorcist in New York for Warner Brothers, recently signed to produce and direct two features for Universal.