INT: How do you handle the Crew when they come back from lunch?

RK: Ah, have a setup ready to go because it's hard to get people motivated after lunch. They're kind of like lethargic and to try to energize people after lunch is a nightmare. But you just have to push through it. [INT: And what do you do when you get tired on the set?] Coffee, lots of coffee, yeah. Creates jitters, but it's needed, you know. Sleep is very hard during a shoot I always find. Trying to get to sleep, 'cause you're always thinking, thinking, thinking about the next day, very hard.

INT: And will you do homework the night before [a shoot]? [RK: Yes.] And what's that?

RK: The next day's work, trying to storyboard it and figure it out. Yeah. Just, and that's what keeps me up late at night. [INT: And those notes that you take for the Actors, the Nina Foch methodology will you do, when do you do that?] Way ahead, way ahead. Yeah. Weeks before the shoot because it, you're too tied up with logistics of a shoot as you get closer then to do that kind of work. It's really hard.

INT: Acting styles, let's talk a little bit, working and acting styles. You're, when you look at something for LOVEWRECKED versus SUMMER LOVE, even if you've got love in there, SUMMER LOVERS, versus GREASE, these are, I mean using those three, also the, FLIGHT OF THE NAVIGATOR, in a way, and HONEY, I BLEW UP THE KIDS [HONEY, I BLEW UP THE KID], in a way these are very, a couple of them are similar but different acting styles. [RK: Right.] I mean I would say that, you know, the, and I, IT’S MY PARTY. I would say, IT’S MY PARTY and SUMMER LOVERS is a more naturalistic, for me. [RK: True.] I would say—[RK: That's true. Yes.] Whereas... [RK: Yeah.] HONEY, I BLEW UP THE KIDS and LOVEWRECKED, those are... [RK: Sort of bigger than life.] Yeah. And how do you work that and what do you do with your Actors to…?

RK: I think it comes from the text and just sort of falls together. I mean when you're saying certain types of comedic lines or bigger than life situations, you can't play it real straight. It sort of, I mean when Rick Moranis is talking about a 100-foot baby, you can't really play that for drama, you know? It sort of happens from the text I think. [INT: Do you talk about that to your Actors in rehearsal? And how do you say it?] I don't think so. I think it just evolves. I mean I've never really thought about trying to adjust it. It just feels like it happens. I don't have much to do with it, I don't think. [INT: So in a way the story or script has already determined the style?] I think so, yeah. [INT: Got it.]

INT: When you were, and it's interesting too because I'm thinking about when you're dealing with like in, excessive characters, exaggerated characters like in SUMMER LOVERS when they get on the boat, and they're sort of a queen... [RK: Campy queen guy, yes.]--versus what's more natural there. How are you, you know, when you're dealing with that, how do you tell your Actors where to go and what to do?

RK: Well in the case of SUMMER LOVERS, the guy that we used there was a, sort of a drag entertainer and what you see is what you get. I didn't tell him to do anything other than what he normally would do, you know? It's all in the casting there. And I think stylistically when you hire people who are like that; they just do their thing. In the case of IT’S MY PARTY where we had Bronson Pinchot playing a very exaggerated, campy kind of guy, it was based on a certain Manager that I knew who was, always had flip, funny, witty banter that he would do all the time. And that was in the script. And then Bronson went and sat in his office, the guy it was written... and just sat there and listened to him on the phone for a day. And so he picked up on all of that. [INT: He was terrific, by the way.] Yes. [INT: I loved it. Did you recommend that or did he do that on his own?] He did that on his own. He asked, "Who'd you write this about?" And I told him the name of the guy and, named Michael Black, and he's a Manager. And so he called Michael, said, "Can I come and sit in your office?" and he did.

INT: Staging a scene, blocking a scene, I was thinking about some of the blocking in IT’S MY PARTY where people are moving from one room to another room and yo--[RK: Yeah.]--haven't, you don't do it as a cut. Your camera is moving there. What's your process, particularly if you're setting up a shot that's going to have that kind of movement? Do you, and I guess the question is how do you work with it when the Actor does that and, 'cause if you give them freedom to move they may move, or how do you do it when you've designed it and you want the Actors to do it? What's the process?

RK: Well I knew you'd pick up on something like that 'cause that's one of my most favorite shots, is that one long, long Steadicam shot that goes from several sets. And I really worked on that specifically. And when I told the Actors about it, they were excited about trying to make that happen because it really did kind of like go from one... it was a very complicated staging. But, I think it covered like maybe five pages in one shot, which is always good for the schedule and also good for the feel of the movie. On, the problem with that is if anybody screws up you have to go back to one, right? So it has to be a gamble, if you think your Actors can handle it and not screw it up. They usually jump to try to help you make that happen. [INT: And in this case, this was where you were preconceiving a shot as distinguished from they did something and you said, "Okay."] Right. Right. [INT: Got it.]

INT: When working with your Actors where you have a crowd, like in this particular movie where you have a number of, I mean you have that also in THE GATHERING for certain times when--[RK: Same thing I did on THE GATHERING.] How do you work with a larger group in a scene? What do you do?

RK: Well in THE GATHERING, before we started shooting I sat down and I talked to each person about how, what they knew about the other person, how they were related, who they hated, who they liked, and just told them about the different characters and what their relationships were and then just ran the cameras with radio mics. And they all improvised. [INT: Improvised?] Yeah. [INT: From, but the, this was a written script though.] Yeah, but for the sequences where you're showing a party scene or you're moving through the party and stuff like that was all improvised. [INT: Got it. And similar in IT’S MY PARTY?] Yeah. That's, well I mentioned, I got Lou Liberatore to tell each of the Actors how they related and then we just ran the cameras and they all just played with the relationships that they had been told they had. And being good Actors and good improv artists they made it look real.

INT: When you have a deeply emotional scene, that last scene... not the last scene, but in IT’S MY PARTY, there are a couple of the scenes in SUMMER LOVERS that have this, and certainly there are a couple of moments in BLUE LAGOON where they're really, really intense stuff. What's the process for you…?

RK: Well first of all trying to schedule it late in the shoot so that the Actors were really comfortable with each other. And in the case of IT’S MY PARTY, the end scene where he actually... the pills take over and he starts to pass out and his mother starts to wail, that was done the last day of shooting on purpose because we all knew we were gonna be splitting up. The Crew was gonna go their way. This was a, sort of a goodbye. The wrap party was afterwards. And so, and it was also the story, you know, everyone had been inundated by the whole story, so the feeling on the set was almost like, you know, palpable tension when we filmed that. And when Gregory Harrison carried Eric [Eric Roberts] through the group and Lee Grant started to wail, that was... it was in the script but we'd never rehearsed it. And her, it was so real what she did and it was so exact for what really happened that it was bone chilling, and so you know, it's just when you do it and how you set it up I think.

INT: Now here you got that take. Where are you on takes? Are you…

RK: I usually do two takes. Yeah. Unless there's a problem. But I think if you've rehearsed it and gotten it right, two, at the most three…because, you know, if you've rehearsed it and you know what you're getting then why not just shoot? Are you, do you do many takes? [INT: It depends on the scene.] Really? Yeah. I guess so. [INT: But I'm not consistent. I love the idea of it. You know, but that's why I stopped 'cause I thought, okay. There you go.

INT: This is a specific about that movie [IT’S MY PARTY] and her accent. Was this in your script?

RK: Yes. It was written that she was Greek and Lee [Lee Grant] just developed that thing. And the amazing thing was that she, both she and Eric [Eric Roberts] embodied exactly the characters I had written without knowing them or ever seeing a photo. Well they saw photos, but it was uncanny to me that they just came alive like the characters I wrote and the people that it was written about.

INT: Now that night before the next day in your, in terms of your homework and your process, as you said it's difficult to sleep, are you, do you dream about scenes? Does your, I mean do you wake up in the middle of the night and say, "Aha" or in the morning and saying, "I didn't," you know?

RK: I wish. No. I just try to get through the night. It's so hard. I always find it very hard to sleep when you're shooting because there's so many things logistically and creatively that you have to deal with, as you know, as a Director. The things you have to set up for a week later and things that have gone wrong and personality conflicts that you have to deal with or logistical problems, they're all hounding you at night. At least me.

INT: Let's talk about a couple of other relationships, the relationship with costume person [Costume Designer]. What's that about? When do you get involved? How do you make your choices?

RK: Well on, for instance on GREASE luckily I had Albert Wolsky. And he did it all himself. He came up with everything. I didn't, I mean I didn't have to do a thing. He just showed up and said, "Would you like this?" "Yes." I think most of my films haven't had a high degree of costumes. They've mostly been just contemporary films, so it's not like there's any big design going on. [INT: Well you've got an interesting, and in LOVEWRECKED you've got them in one outfit for an, most of the movie.] Yes. [INT: And also in BLUE LAGOON you've got a limited number too. So what was the process in either of those in choosing what you chose?] Well we had Jean-Pierre Dorléac was on BLUE LAGOON and he designed the look of Brooke Shields' wedding dress that was supposed to be I guess in a trunk that she found. And then the stuff made out of natural material. So yeah, he came to me with sketches, and I approved the ones that looked the best. And LOVEWRECKED, I guess we just, again, had a bunch of choices and I picked one. I mean this-- [INT: There's issues that I was talking about where the Director may have an image for what the character should be wearing and then the Actor has to wear it. And I don't know if you've ever had to deal with what that is and how you deal with it, if you've had?] Well on WHITE FANG there's a story about costumes that also is a story about how Actors will challenge the Director on the first day of shooting. And that was Seymour Cassel was playing a character and the first day of shooting he showed up with a cowboy hat and this is supposed to be Yukon in the winter. And I told him, "Look, you need to have something that, you know, like a Yukon hat or a, like, you know, something." He said, "No. I want to wear a cowboy hat." Well I knew from Nina Foch's class that Actors will, the first day of shooting, try to challenge the Director to see where they stand. So I knew this was the challenge, but plus it was not right to have a cowboy hat. So I explained to him, "You don't want your character to look stupid do you? Because if you were wearing a cowboy hat your ears would fall off because it's so cold." And so I coerced him into wearing the right hat. And so it was right to have one that went down on your ears and the cowboy hat would not have worked. [INT: Now he was willing to listen to your logic?] Yes. I think he was just trying to see if I would come up with a reason. And I did.

INT: What about working with props and that process for you?

RK: I don't really... I mean I'm not conscious about props. I'm sure that I've dealt with them a lot. I just, I don't think about them too much. Oh well, certainly if you have to design them, like in FLIGHT OF THE NAVIGATOR we had, or in... [INT: I was thinking about even in FLIGHT OF THE NAVIGATOR the...] Yeah. [INT: ...and in, also in, actually, back to wardrobe, I want to do that and then I'm gonna go to, I want to go to… The wardrobe one I'm thinking about is the kid in HONEY I BLEW UP [HONEY, I BLEW UP THE KID]. That outfit.] Yes. [INT: The choice of colors and all the rest. Yours, process, what?] Well, in that we wanted to have a pouch for--because we were gonna have the kids inside the pouch and just the colors of red and yellow seemed kid like and yeah, the absurdity of having a 100 foot baby with these colors walking through Vegas sounded kind of cool. So a funny story, you know, I'm so into tech stuff that there was one scene in HONEY, I BLEW UP THE KID where the boy was walking through the streets of Vegas and all the people were running from him. And we shot it without the baby and then they had to be rotoscoped. And so I wanted to see what it was like to rotoscope, so on an animation stand during the ADR session I rotoscoped one of the scenes. It was really fun, just drawing with a pencil around all the people and going to the next one. So I was back to animation just out of the blue, crazy story. [INT: It doesn't stop.] Anyhow... [INT: Actually that's an interesting subject matter to deal with as well. I'm gonna, but I'm gonna hold off there.] Yeah. Yeah. [INT: The truck that he drives in the...] Oh yeah. Yeah. [INT: What was that?] Sure. [INT: How did that evolve?] That? I'm trying to remember the Production Designer on that show, Les Dilley [Leslie Dilley]. Les Dilley. I think he came up with that whole thing. It was a very elaborate drawing and we just made it come... the prop department came in and made his drawing come to life, I think. And all the, you know, that it'd been set up that that character had all kinds of weird things. Oh yeah, there's a mailbox that did things and there's... [INT: That thing he wears on his head.] Yeah. All that stuff was drawings first. And the whole... [INT: When somebody, you know, hands you this drawing, do you, will you comment on it? I mean if you like it...] Sure. [INT: ...that's that or what process will you go through? Like, for example, that headgear?] Well maybe add to it something that might work for the story. I seem to recall there was something in the plot that I'd had to add something to it. I don't recall what it was, but I remember dealing with that. Saying, "Let's add this for this scene," but I can't remember.

INT: And when you've got Actors like Travolta [John Travolta] or Olivia Newton-John, particularly in that last scene [in GREASE] which you were already, I mean since everything seemed to have been the last minute in that moment as you just described it, any, was she okay in this outfit? Was she excited with her hair being done? Did she, did you have to go through a process like you just said with Seymour [Seymour Cassel] where you had to, you know, coach her through it or was it, you know, 'cause it's such a big change for that character. And it doesn't look like her ever; at least I don't think it does.

RK: Right. The look of Olivia in the end sequence was something that came, was come up by our makeup guy [Makeup Artist] Dan Striepeke, Albert Wolsky, and our hair people. I forget their names. But they went and did it when I was shooting the drive-in scene and they brought Olivia out onto the set in that new look. And she was backlit, coming toward me and I, and everyone was sort of talking about her as she walked through the crowd. I said, "Who's this visitor?" You know, I, and as she got closer I went, "Whoa, who is this?" And then I saw it was her and I went "Wow." So that was my... [INT: Did she get to see your wow?] Oh yeah. Everybody. Everyone on the set was like that. And so she said, "I wish I had known this before. I would have dressed like this before." You know, she was, it was quite a stir on the set whenever she was wearing that. And as talked about a lot, she was sewn into the pants. I think they were hers. So she found them and then she had to be sewn into them every day. [INT: Wow.]

INT: In the, in, on set… your relationship with the Producer types. There are some Producers who are very encouraging. [RK: Yes.] Some Producers who've got clocks in their brains. Some Producers who want to be the boss. [RK: Right.] What's been your experience? [RK: Well...] You don't have to name negative guys if there're, but... [RK: Right.] ...or gals, but I'm interested in knowing what you've gone through.

RK: Well, Jonathan Sanger was the best Producer I worked with. He was totally supportive and always there and gave interesting suggestions but not in a demonstrative way. I mean he would just suggest. Other ones have sat behind me whispering in my ear--I want to punch them, you know, smoking cigars sometimes. And I hate to have anybody between me and the video monitor because it's annoying. Or, I hate to have 'em behind me too. No, it's, the best Producers are ones that will let you do your job, I think. And, but they always have suggestions. And sometimes they're good and sometimes they're against what I believe in or want to do. And then I have to find the psychological way to convince them that they're wrong or compromise a little bit so they feel they got what they wanted.

INT: This is sort of an Actor related question, but it's similarly a question when something, when an Actor... and I don't know if you've even had this experience. I mean you've had a couple of these where these people, you know, like Klaus [Klaus Maria Brandauer] and these moments, when an Actor argues with you on set... [RK: Oh, yeah.] ...not in rehearsal. How have you been, and I'm sure it's a rarity, if it's even occurred, but how have you dealt with it? You, I mean we did have that one Klaus story, but I mean...

RK: Well… I was doing BOY IN THE PLASTIC BUBBLE, and I had a very complicated shot where the camera is way, way up and there was a couple, three levels, there was some students chatting in the foreground then there was, in the mid-ground was Robert Reed playing the father, and then down further was the operation place, where they were doing an operation on the wife. So it's one, two, three levels. And I was up on a crane up there. And I wanted the Actors, the people in the foreground to be whispering to each other, but they were SAG so they couldn't whisper. So I told Robert, "Okay. I'm gonna tell you when to say your line,” which was, will you guys shut up, you know, something like that because I wanted to cue the AD [Assistant Director] to, you know, something like that. He says, "I can't work this way." He's yelling at me, up, and I'm up in the crane. I said, "Well, you know, I have to do it this way." "No. I got to hear them." "No, I can't do that." "I can't work." And so I said, I came down, I took him behind the thing, I said, "Look, we're over budget. I can't give these, turn these guys into SAG. Now please, please cooperate." And he said, and he was very belligerent, and then finally he did it, but he was trying to make a big deal out of it. I don't know why. But that was, I took him aside. That's how I did it. [INT: That's great that you did that 'cause...] Otherwise I don't know what we'd do.

INT: And speaking of working with the Background Artists, what do you, how do you work with that?

RK: I used to be one. I used to be an extra in movies. So when I was a, at USC Film School, I paid for my student films by working about three days a week as an extra, and two days, I put all my classes into two days. So I know what it's like to be an Extra, and I actually am furious at Extras who go and hide and sleep, you know. They, or they go off for lunch and come back and collect their check 'cause, you know, it just, my work ethic is so against that. So I became... I pay close attention to if they have a work ethic or if they try get away with stuff--I don't let them do that. [INT: And do you speak, when you have a lot of them in a scene, like you had lots of them in HONEY [HONEY, I BLEW UP THE KID] at the end of the Vegas stuff? How do you...] I don't. I mean the ADs [Assistant Directors], usually I choose ADs who are loudmouths and have type A personalities and they deal with the crowds 'cause I, I mean I don't have much to say to people screaming and running from something. I mean just scream and run, you know.

INT: When you hire that Assistant Director with the idea that you just said about a type A personality, that at the end of a day might cause some tension between... and your needs. How do you deal with that?

RK: I've always found that the ADs I've worked with have been on my side and the Production Managers are the ones who watch the clock even more than the ADs. And, but I've found that most Production Managers are trying to take the side of the Director. They're being pressured by the Producer to keep on time and on budget, but I do that myself. I'm aware of that myself, so they don't have to fight me too much on that. I sort of work as a team and I haven't had much friction.

INT: Let's talk a little bit about… or maybe a lot about, editing. What did you learn first of all in film school about editing? And you did tell us a GUNSMOKE example, particularly in terms of Actors' focus and eye movement. [RK: Sure.] But what principles operate for you having obviously studied this as, in film school and then become, you know, actually directing. What's your feeling, thought, and process about editing?

RK: Well one of the teachers that we had at USC was Slavko Vorkapich. And I don't remember his background. He was Russian and I don't think he worked with Eisenstein [Sergei Eisenstein] or... [INT: He's the next generation.] Next generation, right, yeah. But he had these philosophies of the, that he taught us about the phi effect and the reverse phi effect. The, have you heard of that? [INT: I teach the phi effect, but I've never heard the reverse so tell us.] Okay. Well... [INT: Share both of them.] Okay. [INT: Share both of them.] What he explained was the phi effect is if you have movement in one shot, and then in the next shot is here, it jumps forward, the phi effect. And if it goes back, it's the reverse phi effect. So if you went it goes like that. And so I've always tried to keep things moving forward, the forward phi. So in designing shots, Jerry Lewis, who I studied with too, said, "When you look through the lens always think of three shots, the one you're shooting, the one that's gonna be before and the one that's gonna be after." So combining that with the phi effect, you know, you, if you get a movement in the frame you think about where it's going to go in the next frame. Even though it's maybe a week later. [INT: I love it.]

INT: This piece of recommendation that Jerry Lewis just gave you--[RK: Yes.]--do you, is that operant for you?

RK: Yes, yes. It really does help because you want your film to fall together smoothly in the editing room, and if you haven't been thinking about that while you're shooting, especially if the script's right there and you know this scene's coming next, you need to know what the shot is so that, you know, even if, you, normally you do a lot coverage and sometimes you want to go from a wide shot to a close-up on the next scene to let you know you're somewhere else or the opposite. But it's always nice to have that on your script so you know, okay, the next shot is, we need an establishing shot 'cause we're coming out of whatever we just came out of.

INT: Do you edit while you're shooting? [RK: Yes.] And how is that?

RK: Well today, of course, it's possible to edit your dailies at the end of the day. In the past it would take a while and in some ways that's good because you had time to think. And now it falls together very quickly and maybe you don't try as many choices or you don't think about it so much 'cause it just falls together. But I like to edit certain sequences myself, you know, certain beats that I think need very specific, just in my head how I see it. So I take little small sections and edit them myself. [INT: Because you've storyboarded a scene beforehand, there is a sense of the rhythm and the relationship between those cuts, so you already have an editorial process there.]

INT: How do you choose your Editor and what do you ask your Editor to do?

RK: Well I work with certain Editors over and over again. I remember when I was looking for an Editor for BLUE LAGOON, I knew that I needed a lot of montage work. And I was watching a TV show and saw this montage in some kind of a teen movie about basketball and I just thought the montages were really good. And so I tracked him down and interviewed him and used him, Bob Gordon [Robert Gordon]. I used him on a couple of things. And then Jeff Gourson I worked with quite a bit and he was good at comedy. I remember I was shooting in London. I was shooting the movie GETTING IT RIGHT over there and we had some comedy scenes around the table and they weren't working with the Editor there, and I didn't know what to do because it was very funny on the set but in the editing it was just lying there. And so, much to the shock of the British Crew, I flew this American Editor in to recut an English scene to get the comedy right. And he did fix it but it was strange. [INT: It's very...]

INT: In terms of editing comedy, in your mind are there things that you can articulate about the difference?

RK: It's all about the timing. How long a joke will hold or how fast you cut away from it or how long you hold on a reaction shot. It's a matter of frames. And if you get them slightly off it just doesn't work. [INT: And you spoke about montage here and I was wondering about those transition scenes in BLUE LAGOON, of which there are a number of these. And what you did in terms of preconceiving it and what you did editorially once you got 'em.] It was pretty much in the editorial area that we did the montages. I mean I knew that I needed to open the film up and or, not open... yeah, I guess open it up and slow it down so it felt like you were on this island for a long time. When I look at it today, it seems like it moves slow, especially because most movies today go like this. And there's a languid pace to it. But it's sort of something that flows over you and sedates you, I guess. [INT: Did you have all of that material? Did, I mean 'cause I know you did some Second Unit shooting on BLUE LAGOON.] We did go back to add a few beats that were missing in terms of montages. But a lot of it--we had three units on BLUE LAGOON. We had the First Unit, Second Unit, and the underwater unit. So all of them were shooting every day, so we had a lot of material to deal with. [INT: The Second Unit's responsibility was what? 'Cause I...] Oh, the close-ups of the animals and the nature shots that we used to sort of show that these kids were part of nature. You know, that we put all the way through, going around the island filming, you know, storm clouds, things like that.

INT: If you were…in the opening sequences of SUMMER LOVERS, which feels very much like a documentary on people, kids, and…some of the party sequences that they go to, a couple of, you know, the dancing sequences, multiple cameras? Not multiple cameras? Where...

RK: I think, yeah, I sent the Crew out, I think Peter Collister might have been one of the Crew people [Director of Photography] that went out to shoot all that documentary stuff [Second Unit]. I just told him, "Capture what's going on, the feel of what it's like to be here," and they came back with all that footage. Dance sequence, I think there was one camera because…there might have been two. I... [INT: There's some comedy stuff there with the naked bodies of the young people and the older Greeks.] Oh yeah. [INT: Now did, was that stuff you went and...] Yes. I was aware that when these kids descend on the island it's very intrusive to the locals. And so I wanted to just capture that visually. [INT: Because, and did you stage some of it?] Yeah. I think we did. Yeah. [INT: Some of it feels like that.]

INT: So are you looking at edited material the next day? Are you…

RK: Well in the, most of the time in those days when we were shooting with film, it would take, you know, a couple of days to get the dailies back and they'd be edited for a few days and then see it. [INT: And what are you asking your Editor to do?] Well first put together the Editor's cut and then I would work to polish it and make it more like what I... [INT: And when you rework, are you there all the time? Do you go in and out? Where, how does your, what's your process?] Well yeah, I try to stay right with him and supervise it and try cuts and see if it works. And if it doesn't we switch it. [INT: And with an editorial… when are you comfortable with a scene? When do you say, "This is it"?] Just instinctively when it plays, you know, when it feels like wow, that's it, you know. [INT: Do you sometimes show to other people before you make your final...] Not usually. I usually have an instinct for it.

RK: And then, of course, you have that horrible preview process where they bring in all the people from the malls who criticize. [INT: And what's that been like for you?] That's been pretty horrible because one person who had a bad day sitting in the front row can say something stupid and then the Executives all go, "Oh my god. We have to cut that scene" or something like that. That's crazy. [INT: Did you run into that on any of these?] I have, but I've always been able to talk them out of it. It's just, you know, it's annoying. It's annoying to have to deal with the opinion of somebody that's not really part of this process. [INT: And have you previewed all of them? For example, did you preview IT’S MY PARTY or did you preview GETTING IT RIGHT? Or did you preview...] I, you know what, I cannot recall if we did that. I do know that with LOVEWRECKED we previewed with infrared cameras in the theater on the audience. [INT: And how'd that work?] It was great because some of the Executives could say, "This joke didn't work." And I'd go and go down to the shot and show the whole audience laughing and say, "Well..." and they let me keep it in. [INT: Is that a new process or has it even been, it was superseded by another process?] I don't know. I mean that was the one time I did it. I don't know if other people have tried it. [INT: Where are the cameras?] On the sides shooting towards the audience with infrared. And I'm up in a booth saying, "Get this person" you know, if there's somebody who's laughing a lot you'd go on to them. [INT: And the camera's moveable?] Yes. [INT: So you can direct the... Oh that's...] Just to make my point for the... But it's crazy to have to go through all that just for the politics of... Everybody who's involved with the movie wants to feel that they're contributing, and some Executives need to prove that they are contributing to keep their jobs, right? So they have to pee on your movie in some way. [INT: And what do you do about that?] Well you find the most painless way to allow a few drops of urine on your movie. [INT: Can you give me some specifics?] Ah, probably not. I probably blocked all that, you know. It's a horrible process, horrible.

INT: The, when does music start to play in your head in the movie?

RK: Well sometimes from the beginning, but mostly, like working with Basil [Basil Poledouris], hearing that, sitting with him and hearing the themes, you know, later. [INT: After the cut? When?] After the cut. But sometimes I use temp music. That's always a danger because you get hooked into it, you know. For the titles of BLUE LAGOON I used John Milius' soundtrack from BIG WEDNESDAY and we cut to that the whole opening sequence, and then I just said, "Basil, write something like this," and he did, ‘cause he's written them both. [INT: Exactly. You've got lots of the source music in something like, you know, in SUMMER LOVERS. I mean it's...] Oh yeah, yeah. [INT: ...filled with it. When did that music enter?] That I ordered the top 10, when I was there researching Santorini and the scene with all the international kids, I noticed that there were songs from all over the world playing wherever you walked. There was a French song, a German song, and everything. So I ordered the top 10 hits from each country when we were in the post process and listened to them all and figured places to put them all so you had that same feeling of international songs all the way through. And then I got Tina Turner, I wanted to originally have her do most of the songs as a, sort of like a voice of the thing. And I got to do two songs with her. We'd go in the recording studio and then we used other songs from Elton [Elton John] and Prince. And we had quite a soundtrack, you know. [INT: Really. It, was it difficult getting The Beach Boys' permission to do in THE NAVIGATOR [FLIGHT OF THE NAVIGATOR]?] That would be a question for the Disney sound people, the Disney music clearance people. I guess there was no problem. We got it. I don't, I wasn't involved with that. I just said, "Can we use this?" And they said, "Yeah."