DVDFILE: How did you first become involved with THE SOUND OF MUSIC laserdisc special edition?

Michael Mattesino: THE SOUND OF MUSIC was something I suggested to Fox as far back as when I was working on ALIEN and ALIENS around 1991. when we were working on ALIEN. I mentioned it, and once ALIEN and ALIENS wrapped it materialized as a project really because of another Bob Wise film, STAR! He directed it after the THE SOUND OF MUSIC as another big, three-hour roadshow musical where Julie Andrews played the British stage star Gertrude Lawrence. It was a notoriously unsuccessful film. Nevertheless, he really wanted it on video and wanted to do it on laserdisc with supplemental material and Fox's response was that they would go for that if he would also do THE SOUND OF MUSIC at the same time. So that's how it became a project. They remembered that I kept mentioning it over the years, so I came in to do THE SOUND OF MUSIC. And I did some peripheral assisting on STAR! at the same time.

DF: When you you finally got THE SOUND OF MUSIC project, how did you decide the focus of what the documentary was going to be about? The real-life story of the Von Trapps is pretty incredible, and seems to suggest a number of avenues upon which you could go in covering the making of the film.

MM: Initially, the documentary was going to be quite humble because there wasn't much of a budget; it was just going to be limited to filmmakers, meaning not actors, and to those who were in Los Angeles. So, it was constructed initially to have about seven people in it, mostly technical people...

DF: Was Robert Wise involved at that point?

MM: Oh yeah. It was going to be Bob Wise, Saul Chaplin and a few other people who were in town, in LA: Ernest Lehman, the screenwriter and a few other people who were in LA. And just to do kind of behind-the-scenes/retrospective in general about how it was made. It grew from there in a remarkable way...I'd be happy to give it to you, but it's a little long...

DF: Great! (laughs)

MM: There's a bunch of sort of independent things that happened. One of the first people I met on a project after Bob Wise was Charmian Carr, who plays Liesl, the oldest daughter. During the making of the film, she was the star of a featurette that was done called "Salzburg Sight and Sound," which we're going to put on the disc. I wanted her to videotape a new introduction to it. It also turned out that, at that same time, Nicholas Hammond was in town, who plays Friedrich. She called me and asked if she would take the two of them to lunch, and I did. And at that point they explained to me that all seven of the movie kids had agreed in 1990 that they would not do any more publicity for THE SOUND OF MUSIC, because they had spent 25 years at that point flying here and flying there, doing all this publicity, and they've never been paid for it, yet they'd always been too drawn by the idea of seeing each other. So when Fox called them [in the past], they said, "Where do I go?" And that was that. So, she explained that to me, but she did agree that she would do a short interview -–just a little bit. And even provide her house for some of the shooting, which she did.

DF: Is that unusual for someone to welcome you into their home like that?

MM: No, we've ... We do these interviews anywhere we can and as she's an interior decorator by profession now, she has a lovely home and I've done a number of projects there. I shot some interviews on THE THING there ... and THE KING AND I. So I've been back a few times and she's a good friend.

On the day that I was doing a lot of interviews with L.A. people here, I was close to the house at our location, so I ran home while some interviews on STAR! were going on, which were conducted by somebody else. And while I was home, the phone rang and it was an agent in New York representing Christopher Plummer and I really thought ... the first thing that came to my mind was the stories that you hear about his dislike of the film.

DF: "The Sound Of Mucus," I believe he's referred to it as in the past (laughter)

MM: Yeah, uh huh. But it turns out that he insists that everybody was calling it that as a joke, really, in good nature. What I first thought was that this guy's gonna to tell me, "We've heard about this project, you can't use any shots of him, you can't use any photos, you can't use anything..." But instead what he said was, "We'd like to know if Chris can provide some audio for the project?" And I said, "Really? Would he do on camera?" And he says, "I don't know... . If you can come to New York, then I guess sure he would." So I said, "Okay, let me talk to Fox." So ... I talked to Fox and told them Chris Plummer is interested and will do an interview. And it was a big coup. So I built that up into getting more involved with the Rodgers and Hammerstein people, who are in New York; contacting other New York-based people to do with the film; and arrange for five or six interviews in New York, actually done at the Rodgers and Hammerstein organization. So that cause the project to grow. And at the same time, Rodgers and Hammerstein put me in touch with the Trapp family lodge and I was interested in getting some photos from them for the project, but their director of marketing said, "Well, the family would really like to be involved in this. Could you do on camera interviews with them if we put you and your crew up at the lodge for a couple of nights?" (laughter)

So I said, "I don't think it would be a problem. Let me call Fox." So I had to call Fox back and revise the schedule and budget to include doing New York and then driving to Vermont [?] and spending two-and-a-half days there and then coming back. SO it turned into this huge trip and I came back with 12 interviews.

DF: Wow.

MM: I have to backtrack just a bit. After all that was set up, but before it actually took place, Nicholas Hammond was in Robert Wise's office in Beverly Hills and Bob was telling him about all of this. Suddenly Nick calls me up from Bob's office and says. "I've just heard how great this project has gotten and I've decided that I don't want it to happen without me. However, I am flying to Australia tomorrow morning [... or tomorrow afternoon]." SO we quickly scrounged and scheduled an interview at a studio in Glendale; he came over and did it and went right to the airport, to Sydney. So we got Nick. When I came back from the East Coast trip, another interview day materialized. Again, word had gotten around, I think Rob had talked to Dick Zanuck and that materialized and he wanted to be involved. So I was able to get Dick Zanuck and Bill Reynolds on another interview day, the film editor. And then finally, Julie Andrews--who had turned it down and who had asked for $50,000 in 1990 when they asked her–heard about all this, and specifically I am assuming heard that Plummer was involved in it, and thought that if everybody else thought that highly of it, she would do it, too, with the proviso that she would do it on the day that we had this big 25th anniversary of STAR! at the Directors Guild, so that she could sort of be in one sort of mindset for that day. And she did it and gave a great interview and I was able to attach Dee Dee Wood, the choreographer, on it the same day, so we ended up with 25 interviews all together. So it just sort of grew from something very humble into being this large scale collection of interviews which enabled us to tell the whole story from beginning to end, and with a lot of people and a lot of voices ... and give it a nice, well-rounded ... shape that we didn't expect when it started.

DF: Another thing that really impressed me when I watched it--I watched it again last night-- ...how well-researched it was. The text, the photos ... everything you amassed. How hard was it to ...

MM: Doing that project was like going to film school again, or perhaps even better. I think I learned more about movie-making doing that project than I did going to film school because Bob Wise, who is a meticulous archivist, has all of his material at USC, in the Cinema-Television Library.

DF: They didn't tell me that when I was there ...

MM: Huh?

DF: They didn't tell me that when I went there. I went to USC.

MM: Oh really?

DF: [unintelligible]

MM: It's all there. His STAR TREK boxes are right here.

DF: Oh!

MM: But there was about ... was it ... maybe ... 15 or 20 boxes on THE SOUND OF MUSIC. And everything was there: every draft of the script, all of the memos, all of the telegrams, all of the daily production reports, the camera reports, the [?] sheets, the call sheets, everything was there and I read through every single one through every single day of the production.

DF: How long did that take?

MM: It took ... probably six weeks or so. In addition to that, all of the photos taken during the production were at UCLA. So I had all those and they allowed me to actually bring all that material out and go it through all and really just get a sense of the beginning and every single nuance of what they had to do to put this picture together. It was a fascinating learning experience. So I simply made the documentary as specific as I possibly could without being too heady and kept the really detailed information in the still section, which even tells you what flight people took to Salzburg and what day. So I mean, it was really detailed and because the information was available, it was an opportunity to really present an accurate, day-by-day diary of that production. So, we had no shortage of getting precise information on it and I incorporated it into the documentary as much as I possibly could. Plus, going through all the Rodgers & Hammerstein archives in New York, and the Von Trapp's gave me access to all their photos ... material and of course they were there to talk to ... Read all the books ... listened to all the case albums and the various recordings and touched base with collectors ... I just got as much information as I possibly could.

DF: The whole time frame for this, from when you started the documentary to when ... the archive ...

MM: The project actually started in the fall of '93; the transfer was going a little bit before that; I think I started interviews in September; went to New York and Vermont at the end of October; did more interviews in November and then it was Christmas and I had already scheduled a long trip to England for the Holidays. While I was over there, I happened to do the interview the interview with Daniel Massey for STAR! at his flat. When I came back,. I started sorting through all of this stuff. A week or two after I was back was when we had the big earthquake; so sort of everything stopped ... You'd call Fox to ask for something and they'd say, "Huh? Well what about that earthquake?"

DF and MM: [laughs]

MM: So it was a little bit slow and then was . . Doing all the research and all that reading and going through the photos through all this. And then I was pulled off of it, actually, in March this to go and work on the music restoration, and that's how I really got in to soundtracks. Because ... Nick Redman, who has worked with me on several soundtrack projects, was hired as a consultant for Fox's musical archiving... . There was a schedule of restorations going on an THE SOUND OF MUSIC was coming up and they determined that ... it was basically toxic–it had to be destroyed. So, they transferred it all to safety stock, but decided to do a remix and he had deals going to see about doing albums and whatever and catching wind of the laserdisc project, they decided to put a 24-karat CD in the box set, which could happen if I could stop working on the laserdisc to go down there and spend three weeks restoring the music. So I did that. It was probably actually a lot longer; it seems like it was the entire month of April.

But anyway, by the time all that was done, I basically had to spend the summer of '94 cutting the documentary down and I had over 20 hours of interviews.

DF: Yeah, I was going to ask ... you amass all this footage, how do you decide what stays in and what, you know ... [laughs]

MM: Um, through a lot of painful cutting. My first cut of just interview assembly was three hours, which is the length of the movie. And I actually thought it was great, and it would be terrific and well-rounded and had a lot of material.

DF: Now, did they give you a time limit on how long the documentary is has to be? It has to be "X" amount of time?

MM: No, they didn't but as I knew the movie would be four sides and the fourth side--including the featurette and ... all the trailers and the break points having already been determined by me--I knew that fourth side was taken up by that; and that we needed at least one CAV side for the still section, that left about 85 to 88 minutes for the documentary. And so that's what I targeted. As I cut interviews out, I re-wrote pieces with narration that would be ... shorter than the person's interview would be. So I kept bringing it down, bringing it down and I brought that three hours down to 67 minutes of interviews and then wrote about 20 minutes of narration. And the same agent, the special projects agent for ICM in New York that represented Chris Plummer called me, or I touched base with him about who we might get for ... a narrator and I somehow strongly felt that it would be nice to have it be female, ‘cuz you don't hear too many. And ... but it had to be somebody authoritative, and he came up with Clare Bloom, who was a client of his. She had done THE HAUNTING with Bob Wise and she said, "Oh, for Bob I'll do anything," as most people say. So she did it and we ended up with an 87 minute show.

DF: You also recorded a commentary with Robert Wise, correct?

MM: Yeah. By the way, the Claire Bloom commentary, her narration, was recorded in New York, with me listening over the phone ...

DF: [laughs]

MM: ... to see how it was going. And she also recorded some extra narration to accompany Ernest Lehman's monologue that's on the disc, which has been carried over to DVD. And what I basically did there was, he was such a great storyteller that you couldn't include it all in the documentary, so I just took the audio of it, let him tell all of his stories and have Clare record some little bridges to carry you through... . It's like 34 or 36 minutes long. And then you have Bob's commentary, actually had been recorded pretty early, probably even before we did interviews.

DF: Does that help you, ‘cuz then you don't have to ... repeat the same questions, or the same information ‘cuz you already have that in commentary?

MM: In that case, it didn't help because it was information I didn't have yet ...

DF: Oh!

MM: ... ‘cuz it hadn't gone through all the research archives yet. So one example is that I didn't yet know the names of the properties that they were shooting on in Austria and he couldn't remember a certain one of them, so what we did is later on, I went back and did a pick-up session with him and we re-did a couple scenes.

DF: One thing I wanted to ask, that I'd always been curious about is, when you're setting up an interview and you have these amazing people to ... how do you create environments to get them to open up and feel natural? Is that a hard thing or is it pretty ...

MM: Hmm.

DF: ‘Cuz it seems to me that that is a key skill of a documentarian, ya' know, you don't just prop the camera up and they give you ...

MM: I don't feel like I'm particularly good at it, but people tell me that they like ... really like the interviews. I don't quite know. I think you have to assess each situation separately; a lot of it depends on where you are. It of course helps if you've talked to the person already on the telephone. But I try to make it as conversational as possible and I try to actually have a conversation about something else while we're seated in the position that we're going to be in with the lights going and with the camera staring at them, you know, this sort of cold unfeeling lens just pointed at you. So I try to do that so I get used to the idea of talking in that physical space and, you know, you have a bright light on you usually, so it's a strange situation, so to try to get that ... And it also depends on where it falls in the shoot, ‘cuz if you've already interviewed five other people, you already know certain stories and you can sense how to wrap this new one around things that other people have said already. It seems like in those days that I was much more formal about it, in terms of preparing notes and stuff and in terms of trying to do a real oral history of everybody: I think Bob Wise's interview musty have been two hours–I don't have the patience for that anymore. When Dave and I did THE LAST STARFIGHTER, we got 14 done in one day. And um ...

DF: Jesus ...

MM: And we just lined ‘em up ...

DF: [laughs]

MM: ... like a junket. When we did ALIEN, I did every single interview on ALIEN with the exception of the two that Dave did in Switzerland with Giger and Mia and I did every single one without notes. I just sat down and talked.

DF: I suppose if you know the film well enough ...

MM: If you know ... Having done the laserdisc, ya' know, nine years before, I already knew the research. I felt ... I treated that as if I was making a movie version of a book that I'd written. So that was easy and I tried it on a few and it worked, and so I just said, "The heck with the notes." But ... yeah, I mean, it's a strange relationship and then you have some hurdles to get over: ‘cuz you have to explain to them that you won't be seen or heard and you'd like to try to get them to start and stop their sentences in some kind of full, comprehensive way rather than give you fragments. And oftentimes when it's people that are usually behind the camera, they're not used to being in front of this. It's a lot ... it's somewhat easier with actors, ya' know . . When I did both Julie Andrews and Christopher Plummer, one you see them react in an interview, you suddenly get ... clarity about why stars are stars: they just do that well. And each of them totally did; I made it very, very easy for them. And it just helps to be ... to do your homework and be knowledgeable about the film, and if you can come up with some humorous thing that they might have forgotten about, that helps. That happened with Julie: there was one time when they had a weekend break from shooting--it was a holiday weekend–and she rented a bus and took a lot of people into Munich to go to the ballet. And she circulated this invitation letter on SOUND OF MUSIC letterhead which had a lot humor in it. And I told her about it and she got all excited and that just added ... extra spark to the interview, that somebody actually, A) cared enough to find something and B) it sparked her memory.

DF: Exactly.

MM: And that brought a lot of things back ...

DF: I would assume like, especially with such a long period of time passing, you kind of have to help them along, remember things, ‘cuz you might know the film far better than they do, ‘cuz you've researched it ...

MM: Um hmm. And then ... there's been some very difficult interviews on some of these, too. There's always usually one, at least one, on a project that's very difficult.

{Would have been nice to hear more on this, Pete. —Paul}

DF: ... You ever think about, um ... most every interview I've seen, everyone is always separated, and like [unintelligible; name of movie with group interview??] all in the room at once, and do like a group interview?

MM: It's so unwieldy to do group interviews. I get a different sense of it and I'll give you one example where I would have preferred them separately: E.T. Henry Thomas and Drew Barrymore sitting together. It has a certain charm about it when you first see it, but I feel like they are talking more to each other instead of to the interviewer. And what I ... wanna really do is get ... put myself in the place of the person that's actually going to be watching it when they're done and feel like they're being spoken to, but not right into the lens so it's almost an assault, but to get a sense that you went out and did the interviews so that you have a sense that you kind of went around the room and heard them all kind of throwing reminiscences out, but not to each other. So I generally haven't been happy with how that's worked. I would probably be okay with it if you could also do a little session with each one-on-one. But, to continue with that E.T example, I mean I would have ... I think Henry Thomas might have been more eloquent or emotional talking about his screen tests if he was just talking to one person rather than to Drew. ‘Cuz it was just too ... second-hand, almost. They did it on STAR! also, with the two choreographers, Michael and Sheila Kidd, put them side-by-side and again they spoke to each other. It's a different feel and not as personal to me. When it's than two, we did the commentary with the effects guys on BRIDE OF RE-ANIMATOR with five people–it's unwieldy, and it's very unwieldy to edit as well, when you have different audio levels and so forth but ... If it works, it probably works better with a commentary, if the people are playing off each other, ‘cuz you're watching the movie. It's more of a live, as-the-movie-goes-on thing, rather than trying to shape a documentary. I don't like having a lot of one-on-one interviews and then suddenly [having] two people talking to each other.

DF: Yeah.

MM: It doesn't really work.

DF: May be a nice segue to the DVD. I was wondering, when you are putting all this ... everything together, how do you decide what material is better suited for a certain kind of supplement. Like, what's better as print, as a still gallery, as ... what's better as footage, what's better putting in an interview. For example, you did the [unintelligible] of the Ernest Lehman screenplay.

MM: Right.

DF: Very interesting idea.

MM: Right. And unfortunately that won't be included in the DVD.

DF: Oh it will not?

MM: The reason why that book ended up existing in the laserdisc is simply because it was part of a still section in the first place. And it was put into a book form to cut the still section down. So ...

DF: So ...

MM: ... the final still section was 2,509 frames; that probably would have been another 1,500. So, quite long. SO I came up with the idea and presented it to Ernie himself and he loved it. But, it did have an effect of separating some of the linear quality of looking at it because there are a lot of things tied to it: his stories, which were, you could hear an audio on his featurette, the location scouting photographs and all that stuff which was in the still section and the screenplay book. And I did my best to kind of tell you where to go as you go through each bit of information to kind of get the whole story; so much so that when I did the international release of THE SOUND OF MUSIC on tape in '95, I went in and did a second version of the screenplay book which took a lot of information from the still section and put it back into that book, so that it was a self-contained piece, which actually ended up being a lot better. I'd love to re-do that differently, as a more commercial book. Maybe there'd be the chance--since it has been eliminated from the DVD–that I can go and do that. But, that again came out of the fact that the stuff was archived so well. Now, Ernest Lehman's collection is at The University of Texas in (sic) Austin and he spent $7,000 on Xeroxing to have the whole collection ...

DF: Wow.

MM: ... duplicated for USC, so it's down there, too. And, with regard to the films that he made, his memory is amazing. He can tell you who he met with, what restaurant they went to, what they ordered ... you know, who was at the next table. So he was a great resource; so that, plus looking at all the scripts and all of his handwriting; he writes so much in long hand and then hands it over to a typist. You've got the next best thing to being there. So again, it was a chance to put that all together and I was very, very impressed with what he did with it considering the stage play. It was very, very unusual to take so much liberties with a stage play, making it into a movie. He did a few little things with THE KING AND I but basically kept it straight as it had been. On THE SOUND OF MUSIC, he really changed things around considerably and made it much better.

DF: They dropped songs, too, didn't they ... or didn't ...

MM: Mm hmm.

DF: . . write a new song ...

MM: Yeah, yeah. Two songs that were done in the show were sung by Elsa and Max who it was decided shouldn't sing in the movie–keep them sort of outside the music, make music something that Maria brings to the children and then the Captain gets drawn into and that that becomes the thing that bonds them and helps them escape and those other characters have to kind of stay outside that circle. Just added a lot to it. And he came up with the idea of a new song to take Maria from the Abbey to the Villa, which was a combination of _____ _____ and Richard Rodgers working together to come up with it. And more cleverly, re-arrange songs: in the play, "My Favorite Things" is sung at the beginning of the show in the Mother ____ office with Maria.

DF: [unintelligible] ... characters ...

MM: During the thunderstorm scene, it's the "Lonely Goat Herd [Turd?]."..

DF: [laughs]

MM: ... that Maria sings to the kids. And also at that point in the story in the play, she's already taught them to sing ‘cuz "Do Re Me" is taught to them the minute she comes in the door. So he just re-arranged all if this to make a more natural flow and really make the music work in a way that I don't think any other musical does. That sort of ... twinge of awkwardness that you sometimes get when a song starts in a movie–he cleverly averted it almost every time, usually by having a line of dialogue that announces that there's about to be a song coming up. Before the Captain sings "Edelweiss," they spend about four or five lines of dialogue talking about, ‘why don't you sing for us ... you used to be quite good.' So your mind ... you're getting ready to hear somebody sit down and sing. He did all these wonderful things to get over that. It's contributed partly to what makes it still stand up as being so flawlessly constructed.

DF: Now that it's being ported over to the DVD, are there any changes being made to the documentary or any of the ...

MM: Well, when we got word of it, Bob Wise contacted Fox and asked if I would supervise the transition as well the new transfer. I kept ...

DF: Is it a new sound mix as well as a ... ?

MM: Yes, it's a wonderful new sound mix. I kept my distance ‘cuz people have to do their jobs, but I mean I was happy to help him. I looked at the transfer, which was done in high definition; looks absolutely gorgeous. They listened ... they took some notes I gave them. I also gave them an interview with the cinematographer that talked about a lot of very tricky scenes, so they can make sure to get it right. We got as much horse's mouth material as we possibly could. They did a beautiful job: I don't think it's ever looked better on video. Done from the original 65MM, a very, very tricky and unwieldy element. Nevertheless, it turned out wonderfully. The audio was done from 6-track and had to go through the process of being transferred into 5.1. I don't know if a lot of people realize that 6-track from an old movie is not the same as 5.1 in terms of where the channels are. The 6-track on THE SOUND OF MUSIC was five channels across the front, across the screen and one mono surround track.

DF: You essentially have to go back ...

MM: So you have to turn those five front channels into three front channels, generate a .1 for scenes that might need it–and on SOUND OF MUSIC there weren't too many–and basically the surround track is two tracks of surround but they are both the same, so it's essentially 4.1. But we felt that that was the way to remain truer to what you would get if you went to see this picture in 70mm. Wonderful sound. It amazes me how far things have come since the last transfer in what's possible. We were able to fix a lot of things and just really make it sound good without making it sound different.

DF: Um hmm. Yes.

MM: It just really sounds true and you can hear everything and it's ve3ry clear and it's very full of range, for it's time. I was very, very pleased that I was involved on that end of it to make sure that it was presented as properly as it could be. In terms of the supplement, I ran ... I just evaluated everything that had been on the laserdisc and worked with Fox on determining what we had time to address.

DF: Was it very quick?

MM: It was very, very quick. We don't have the gold CD or the screenplay book. As I said, I would love to revisit the screenplay book in a commercial form and will down the road suggest that.

DF: With some of the interactive capabilities of DVD, did you ever think about putting stuff on the Website with the DVD-ROM for people to access?

MM: Well, there are going to be some ROM features on this. I'm not quite sure what they consist of; I didn't work on that end of things. But I guess there really wasn't time to address it. The ... the gold CD is dropped but there is an expanded set coming out from RCA/Victor, times with the release of the DVD. And we also preserved the music and commentary tracks so we still have the underscore available as a Second Audio Program.

DF: Will it be an isolated score?

MM: Yeah. So ... let's see ... But in terms of the stuff that is on there, I was able to revisit the documentary in a small way. I really would have liked to have completely reconstructed it from scratch and maybe even explored some of the pieces that we didn't get in there. There was some footage we were gonna license, and there just wasn't time ...

DF: Is there anything in terms of technique that you feel like the last ... what is it six, eight years now since the laserdisc came out?

MM: Seven.

DF: ... in terms of technically ... DVD can improve it ... so techniques have improved in terms of editing ... I know like back then, I think, you really computer editing the way you do now.

MM: Oh yeah. It was archaic back then compared to how we would do it now. I mean, I would love to just load in all the interviews and really smooth out ... it would even bring it down a little bit more. Make ... the photos look better, the moves of the photos look better ... re-arrange some clips. I was able to tweak a couple of things here and there: I added some dissolves to some photos, I re-did the credits. So I was able ... and fixed a few little sound edits, but there really wasn't time. The thing that was completely re-done from scratch was the second audio track. Went back to Bob's original tapes from his recording, re-assembled it and went back to the original music source to build that around it. And all of the audio featurettes were re-done: the radio interviews, the radio ... commercials and the monologues by Ernest Lehman and Daniel ____ who plays Rolf, again back and done digitally, editing them together and making them a lot better quality.

DF: Will the Salzburg ...

MM: And the featurettes on there, yes with ... And I had to re-configure Charmian's (sp.?) introduction to it ...

DF: ... menu creation ...

MM: And the trailers are all on there as well again. Like, five trailers and two commercials, I believe it is.

DF: Have you noticed ...

MM: ... and the stills then had to be divided up by submenus and ... but they're basically on ... and a few frames had to be fixed and a couple dropped ‘cuz they make references to laserdisc chapters or things like that?

DF: Yeah.

MM: So, just went through all them and made sure that the menu tree was correct. And just looked at that, and they're very, very nice. The menu's very nice.

»» Back To SPECIAL REPORT ARCHIVE