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Yeah yeah, okay. You know Lauren not too many lobbies that have a friendly pool table right here. That's true. We hope that at three in the morning that will be that will be a comfort in an age when we're working on a film in the other

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room. This is the main entryway to the building which is on three floors on the top floor where the directors are and where all of the actual editing and post production happens over here is a display of the from stills of the film. We just finished

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in san Francisco which was the science fiction film THX 11 38 Which George Lucas directed. There's our Café Expresso machine at 4:00 AM. It really works. Yes, it works indeed. This is a collection by the way of antique objects of motion picture history as it were.

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And that is the zoetrope which is our spiritual symbol there, which was one of the early forms of motion picture. It was called the Wheel of Life. And we took that as our little symbol. And where americans are true. What was in this building before? Friends?

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Just a big warehouse, an old warehouse. And so from here you can go into any of the officers or editing. We'll go into the main screening room. Alright, good. Didn't cut. You know it one. Yeah. All right sir, you were here in the night. A column.

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We're going okay, this is the main screening room and which we use as a rehearsal room. Projectors are up there and we also uh we see film here and this is our mixing console. This is the last phase of film and all the tracks are put

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together and it's done right at this board where a man works and blends the music with the sound effects. This is all attached to rolls of film on a machine in there which I'll show you now. Okay. And on each of these plates are different. Track

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is quote, this one might have music, this one might just have the sound effects that might have the dialogue. And these are all operated together in synchronous synchronized with the picture and so that we're having the picture come across over here on a on a monitor,

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we can flop it, we can make it negative or positive and generally have total control. We can run it at normal speed twice normal speed, three times normal speed and four times normal speed. And all of this can be also accomplished from the console which I

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showed you by remote control. So this is sort of the heart of the post production, did you say this new ghost are unique in the area. The only one in America period flown in from europe. Okay, this our one of a kind machine. This is an

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editing table which can cut three picture. You can see three images at once and thereby choose the shot you want. Now someone who hasn't worked with the kind of equipment that they normally use in the United States doesn't realize the how exotic this is. Most american

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films are cut on a little teeny machine that makes a lot of noise with a little screen on it. This is one of the examples of some of the more modern equipment that we've put in this plan with one of these machines available to the directors

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who work here. We go into my office. Fine. Yeah, it's wearing the building Francis. We have seven or eight editing rooms. We have areas where our equipment truck comes in where all the cameras and sound and lights that you need can go and go to location

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to shoot, then come back and we have many production offices. We have big art rooms where the art director can work in areas where the props and costumes can be. We have everything really except a big sound stage because we Shoot in real places and 90%

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of the time And there's nothing like it in the bay area. No, it's fantastic. There's more different locations in a 50 mile radius in this city. I think anywhere else in the world. You can shoot in New York, you can shoot sea and desert. It's really,

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really nice. So those are not familiar. Part of your plan of course is just to operate out of here, sort of a base headquarters, not actually be she HX 1138 done at least photography wise. And from where do you go from then? When? Well that's the

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first of six films for this year. It was directed by a very young director boy named George Lucas and it was his personal film. He always wanted to make a film with chrome robots and jet cars and all that stuff. And that's what THX is full

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of. I'm making my own film in april and I want to make a very sort of well constructed strange piece about privacy and eavesdropping. And that will be my film. And I think the films will be as different and as varied as the people who make

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them because each film is a real, you know, we're object or work of love, which is how about your personal inclinations now you say you are doing a film. Are you gonna be directing, writing, producing the whole thing or what's this next effort? Well, I'm writing

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and directing a film called the conversation which I hope to shoot in san Francisco in the spring. And I will I will be my film just as th X 11 38 was George Lucas film. Although I was the executive producer. That only meant that I'm the

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executive producer of all the films and so far as I make the original arrangement to make the film from that point on it belongs to the filmmaker and not anyone else after that you take whatever comes as you see fit or you want to get more

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into writing alone or well, you know, I hope to be able, I'm gonna try to do what, I don't know, maybe it's impossible, which is to, to balance and reconcile Being involved in a company and helping other filmmakers and sponsoring other films, getting them going and

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still doing my personal work. I think there's a fabulous future in the 70s for this kind of film for this kind of personal, intelligently budgeted film. And I think a really interesting company can grow grow out of it. Is it not true that although you are

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in a new firm in a new area that there still is a financial liaison with the old Los Angeles type of outfit namely Warner Brothers, Warner Brothers has been really good to us. And I think we have a marriage of good, uh, we each get what

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we want. I think we are independent totally. Uh, and all of this that you've seen all of his equipment was paid for by totally independent money wonders has no stake in this whatsoever we want us. And uh, and this company does become a partner in a

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specific film. And in that partnership, Warner Brothers puts up the capital to make the film. We put up the talent And the physical plant to make the film. And as such, we then split the film 5050 as the cases. So this layout was not underwritten by

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Warner Brothers in. No, in no way, I don't think we'll ever shoot film in this building. This is a base from which to go. And that's a big difference in the way films were made in the past. They brought people and things and they built sets

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in a place and shot it in a big room. Well now in the age of air travel we just fly wherever or go or drive or take a motor boat or helicopter, shoot it there and come back and have a nice place to work with good

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equipment. It would seem to me that you're a forerunner of a lot of other companies. The longer old stayed movie making outfits, don't you think that they're going to have to do this to pull out of their big studios in Hollywood and be on the road

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as it were much more. Yeah, I think there's no question that the Hollywood locked the studio as it existed and existed very well for 30, 40, 50 years Doesn't quite make sense. But you know, a propeller driven by plane doesn't make sense in 1970 either. One

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of the biggest differences between us and the system as it has existed in the past is that we don't buy books and scripts and then give them to directors and pay them lots of money to do them. Rather we try to associate ourselves with the most

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talented filmmakers that we can meet and then say, well, what film do you want to make and he makes whatever he wants and in some nation, the whole thing is sort of a culmination of a great dream I guess for you. Oh yeah. I think for

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me and for a lot of other people who really are excited about film, want to work in it and want to work in it with other people who like it. And I think we're gonna make a lot of films that will make money and I think

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we'll make a lot of films that will not make money. But hopefully all the films will make films that someone wanted to make desperately and enjoyed and loved making. And that's the big thing. The Los Angeles seen as far as you're concerned is a thing of

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the past, personally speaking for me, I live here, my family lives here and I work here but I have lots of friends who live there who are making films and I I feel that all this talk about Hollywood being on its last legs. It's silly. That's

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going to rejuvenate and some other people are going to get involved in. Some old people are going to get some new ideas. And I think That the film business all over the world is going to be a healthy prosperous thing. That's very important to a lot

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of people. I'm very, very optimistic about the 70s on lots and lots of friends. Yeah