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well soon I'll be a memory. That's right, european council. I'll be in Canada having lots of laughs with Jason, Jason robards to a cemetery or something. What can I say that I haven't said before. The city is a giant fruitcake. It's beautiful. It looks like it

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was built as a set. It's full of fruits and nuts. Look, These people keep shooting movies around here, this place is gonna get to well home and as more people riding the cable cars and the more people ride the cable car, some more work. I have

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to do. You get 70 80 100 people on a cable car. It's just too many people wear out the grips which are build faster. That means I got to do more work. You know, if I wanted to work, I wouldn't come to work in the city.

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I do want to say one thing about san Francisco and about especially about the police cooperation, we've had, we have two officers named Tony piazza and frank Bonacci and they are the greatest cops I've ever worked with anywhere in my life. And I've worked with cops

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all over the world on picture company. Each director comes to a location with a different eye. I'll shoot it differently than Lester did and Peter Yates did. Our picture is a different story. It's a more go ahead, more pastoral kind of love story. Except that we

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want the tensions of the city scene from an old Matthew South film. Matthew South is name of the character, the chasing robots, plays and he's a Hollywood actor who's made horror films and they go to the theater, the Times theater down on North Beach to see

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his flick and we're shooting the flick that they see. Well I'd like to have her with their arms over head. Jack. Mhm. Yeah. Did you? Mhm. Yeah, it's really funny. I don't ever look at myself in the dailies and

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I don't wear makeup you see. So I never look in the mirror except the shape and get out quick. What do you know when I got this thing on it's like being in the theater. I don't like being on some incredible trip because I don't make

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the money except yeah mascara or something and when I saw this and that was apparently ugly. You really get myself moved to suit the makeup. The boys in front of the apartment a

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a thing here before this thing. Yeah I'm gonna be crying all day. Yeah. What? What? Because everybody will split and we'll never see each other again. I think the cash amount that were spent on And left here in San Francisco for

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the benefit of the city will be maybe about $400. Most of the things that we have done after outside of the exterior could have been shot more freely and in less time by shooting it on our sound stages are universal. We were to cut down a

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week of our budget, a week of our time and a $10,000 a day. That's a sizable amount of money. I don't think that the people when they see it on the screen will actually realize that we've done that. I think what's most interesting as far as

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shooting in san Francisco is the amount of the amount of cable cars that you got here. They get in on our something our shots. My father used to work here about 40 years ago many a time I brought his lunch over to him with a wooden

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building at that time and he had an office in here which I see us there anymore. Yes, to show me all about it how it works and everything kind of brings back memories. Now I'm driving for this movie company. Mm. Mhm.

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I had a lot different. Oh hard. She's that tall. The judges that refund we'll get okay aren't you? Mhm. Here I don't know. Yeah. I mean man Nichols on her ankles. You want change from about about on camera. Should have put a strip waist down. You

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can't use any of this. Mhm. Yeah we're done bullets do commercials all the time. These teachers come up for a day or two. We get on those a little. Mhm. Yeah. Mhm. Mhm. Yeah. Okay then there's the part for you in Canada with a job in

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the coffee, the one. What's that? Yeah. Okay. Yeah. Wait.