Yes, Avid came out with Xpress DV 3 to go head-to-head with Final Cut Pro. Is that something you would like to get your hands on, too? I like to try everything, absolutely.
I've seen you on the exhibit floor at tradeshows, like the NAB, in the past. I didn't go this year, I've been working on many things, so I didn't get a chance, but I like all the gadgets. Getting in there and finding out what makes them tick. I love that everybody is so free about it. I hope that continues.
Despite having hands-on knowledge of this kind of technology, most of your films have been dialogue- and story-driven. Do you ever imagine doing a full-out effects film?
It's not out of the question. We always talk about it at Jersey. We just concentrate on, like you said, story-driven projects that are about real characters. I think the great thing is to try to figure out ways to apply it to that, to see if we could blend the two and give ourselves the freedom to create.
So are you interested in shooting a completely digital film?
Absolutely. I'm really interested in that. Kerry and I are always talking about it. We just have to figure out the right story and put it together. But we have the tools and the freedom to do it. We just have to come up with the right story.
Did you see the digital version of Star Wars? What did you think?
Yes, there's a guy [George Lucas] that is using every ounce of digital information. I thought he did a good job. I enjoy George's experimentations, always.
Where are you are in the production cycle with Duplex?
We are smack in the middle of editing. I'm really excited about it. The performances are really, really good... Drew and Ben. I would imagine that in a few weeks I'll have a cut to show. So I'm getting very close. Just putting temp music in and playing around with stuff now. And I'll wrap up the editing end of summer and have it ready for February.
You said you might play around with the title sequence?
Yeah, I'm doing it all the time. Shooting stuff in New York, putting it together and trying to figure out things like that. That's the great thing about being able to go out and shoot with a digital camera and put it right on your laptop. It doesn't have to be earmarked for a title sequence. We could throw a montage inside or something.
I was playing around with [Pinnacle] Commotion for a while, but you really have to get in there and use it every day. You really have to rely on the experts. I would love to be able to just get on it and move things around like you do in Photoshop.
This technical knowledge must help you during shooting if you are having difficulty getting a shot, saying, "I know I could do this."
Yes! It is a psychological leg up. I guess you can do anything; anything you can dream of or anything you could think of - you just want to get it to look good. I've spoken to people at the Orphanage [in San Francisco] and places like that, and I've done work with people at ILM, and everybody is working toward that goal - to try to make things look as real and natural as possible, and still give you the freedom to put things in, take them out, move them around, flip them over... Let's get all the material, stick it in the machine and make a great movie. Freedom. That's what it's all about.