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LAURENT BOUZEREAU: THE ART OF THE DOCUMENTARY by Peter M. Bracke
- November 11, 1999
About The Interview: If you are at all familiar with the laserdisc
and DVD "special edition" as we know it, and even if you've
never heard of the name Laurent Bouzereau, you have most certainly
seen his work. In just a few short years, the independent documentarian
has amassed an impressive body of work, and gone behind-the-scenes with
some the world's leading filmmakers, including Alfred Hitchcock, Steven
Spielberg, George Lucas, Martin Scorcese, Brian De Palma and many others.
The list is as long as it is impressive: Jaws, Close Encounters Of
The Third Kind, Rear Window, American Graffiti, Cape Fear, Scarface,
The Big Chill, Taxi Driver, Carrie, The Last Picture Show and Silverado
are just a few of the the highly-regarded laserdisc and DVD special
editions Mr. Bouzereau has helped create.
In addition, he is also a successful author, including what is widely
considered to be the best analysis of the work of Brian De Palma yet
written, The De Palma Cut, as well as The Cutting Room Floor,
which examines the often-controversial process of the reediting of motion
pictures. Other recent books include The Alfred Hitchcock Quote Book
and Star Wars: The Annotated Screenplays. By drawing upon his
experience within the industry of film production and distribution,
as well as his work as a journalist and author, Mr. Bouzereau has successfully
added his considerable perspective to the art of the documentary with
tremendous success.
So when we here at DVDFILE.COM began to plan the next part of our Production
A To Z series on the DVD creative process, one of the topics we
wanted to explore was the process of crafting a documentary. Just how
are these projects planned, prepared and executed? What extensive research
is required? What of the logistics and the editing of interviews and
production footage? In short, just how are these documentaries
put together?
Of course, after deciding to explore this topic, one name kept popping
up on our wish list for an interview: Laurent Bouzereau. It was then
a great pleasure (and surprise) that he accepted our invite, soon after
which we sat down to talk about his art and craft, as well as discussing
the DVD format in general. So, here is our complete interview with Laurent
Bouzereau.
DVDFILE: Let's start at the beginning of your career in the
documentary field. Though you now reside here in the United States,
you were born and raised in France before emigrating. Did your work
in the film industry coincide with your arrival in America?
Laurent Bouzereau: Not really. It was 17 or 18 years ago. It
was kinda weird. My dad met a producer on a plane and she was an independent
producer and was doing low-budget horror films at the time. She's not
doing that anymore, now she's was just a rich lady! My dad told her
"my kid wants to be in the film industry" and I was like 19
or 20, and she said, "send him over."
So I went to New York and I worked there and I just would go back and
forth for like two or three years. Just go to New York, then back to
France, then back again, and eventually I just moved there. And it was
a great time.
DF: Being nosy, I must ask, who was the "rich lady"?
(laughs)
LB: She had a horror movie called "The Returning"
with Susan Strasberg. It's absolutely horrible! I really don't remember
her name at the moment, but it was a great experience. I went to the
Montreal Film Festival with it and I set it up with a distributor that
took it on and sold it to a lot of foreign countries. Video was really
big then so they sold it that way. That was really great experience.
Eventually I became a journalist for French film magazines. One was
called L'Ecran Fantastique, it's like Cinefantastique (a U.S. genre
magazine), only it's been around for a long time in France. In fact,
they used to have their own film festival. The guy who created the magazine
was responsible for launching a lot of stuff like Evil Dead in France
and Brian De Palma's Sisters and stuff like that. I worked for another
magazine called Globe, which is like Vanity Fair, well, at least trying
to be! (laughter) So this whole experience was kinda cool and sorta
opened my eyes to meeting new people, being on movie sets and all that
stuff.
DF: As a kid were you always into movies? Is that always what
you wanted to do?
LB: Oh yeah, I was a major film geek. Collecting movie posters
and the whole bit. I'd say that my favorite stuff were mainly things
like Jaws, Close Encounters, Raiders Of The Lost Ark, and I had a major
Brian De Palma fixation. I mean, like, major.
DF: And you ended up writing your first book about him, The
De Palma Cut. I'm not trying to kiss ass here, but that was actually
the first book I read when I got to film school, so it truly has a special
place in my heart! Anyway, it was after you wrote your book, The De
Palma Cut, that you connected with Criterion to do the commentary for
the Carrie laserdisc. So, is it far to say that that was your introduction
into the documentary field?
LB: Yeah. The Carrie laserdisc is what really got me started
in that whole field. At the time, I had just moved to L.A. and was working
in feature development for Bette Midler at Disney. And I read in the
trades that Criterion was doing Carrie, so I called them up and said,
"I have a bunch of pictures if you guys want to use them."
They said, "Oh my god, we just bought your book and we were going
to try and find you!" So that was really cool.
DF: It is interesting as well that this was back in the early
90's, before the studios were really doing "special editions"
as we know them...
LB: Yes, definitely. It was really a small market, and actually
I had just bought a laserdisc player. That was a great experience, though
I don't think it's very good in retrospect, the commentary. It would
have been better to have Brian De Palma talk...
DF: I thought it was very good, and many fans wished MGM would
have used it for the disappointing DVD edition they put out last year...
LB: I have a hard time looking back at that stuff when you know
what you could do today. But it was fun, a great experience. It was
all scripted so I had to read it to the picture basically. I had rehearsed
it and timed it, so a lot of work went into it. I know Lawrence D. Cohen
is also talking, but the core of the commentary is my speech. And there
was a solid hour and a half of it, so that was a big challenge. I really
took it very seriously.
DF: Then after the experience with Carrie you got more involved
with laserdiscs. You then went on to do Jaws and others for Universal...
LB: Actually, that was much later. What happened was, I did
a laserdisc called Blackmail, the Hitchcock movie, for Criterion. I
knew the screenwriter of Blackmail, Charles Bennett (who has since passed
away). A friend of mine was going to do a remake of Blackmail for Fox,
and they had a really big friendship and stuff, so I did that with the
two of them and that was really fun. And it was then then that Universal
contacted me to do 1941.
DF: So, they came to you? Is that usually how a project originates,
or do you usually go to the studio with an idea?
LB: Well, sort of a mix, really. I met Colleen Benn (Universal's
head of Laserdisc production, now DVD) at one of those Dave's Studio
Day things and I spoke to her and said, "I really like 1941."
Somebody from Criterion recommended me to Marty Cohen, the head of postproduction
at Amblin. And then Colleen said "I met Laurent" And that's
how it sorta worked out. A couple good connections and then...
DF: Voila! In the laserdisc departments, it seems they weren't
as big as they are today for DVD?
LB: Pretty much. Actually, it is interesting, I was contacted
to do 1941 before Jaws, though they came out in a different order. Things
had to get put on hold (for 1941) because there were some technical
issues with the reediting of the longer cut, so I had to get another
job (laughter). Actually, with an EPK (Electronic Press Kit, or featurette)
company. And I did the behind-the-scenes stuff for the movie "Alive."
I only cut the material, did a couple featurettes. So that was really
a kind of cool diversion.
DF: And good preparation for the more extensive documentaries
to come?
LB: Yes, sure. So while waiting to do 1941, I ended up doing
feature development for ZM Productions, the company that had done "Encino
Man" and had a feature deal at Disney.
DF: Did you have any input into the recutting of 1941?
LB: The cut was being established before my involvement, it
was something they had been doing already. I didn't have much say in
that though I was kind of a consultant on the cut. Only by virtue that
I had done so much research on the film.
DF: When you talk about research, where do you generally start,
are there set steps you follow?
LB: Well, I would say that the different steps...there are several
areas to check. I do a lot of research, that's my favorite part of what
I do. Digging things up, retracing the history of a movie. Then consulting
with the director, what does he want to do? And you have to look at
your budget...
DF: That is a very oft-asked questions among consumers. There
are often misconceptions that the budgets are often higher than they
really are...
LB: I think you can do (pause)...I don't know how to phrase
this. It's not about the money for me. Sometimes I'll take a pay cut
so I can do what I really want, so it's like...if you really want to
do something, you'll get it done. You'll make special deals with post
houses. There are ways to make it work.
DF: So, you often use your own resources or wherewithal, like
you mentioned with making deals with post houses, for example, and not
just let the studio handle it all?
LB: Sometimes, but in general, I would say that the studios
are really very supportive. Even back with Laserdisc. Look at Universal.
They're very supportive, they really let me be creative. They always
give me good feedback, and there's really never been a case when they
got in the way or tried to stop me. It was very different from what
I had experienced in feature development, where it was a lot more difficult
and I was extremely disenchanted with the business.
DF: Getting back to the research phase, what do you do, conceptually
and in pure physical terms, to prepare a project?
LB: In terms of research, I think that I look at the movie over
and over. I break it down by scenes, I try to break into sequences.
For Jaws, I created a bible of literally everything there is to know
about that movie. It's thick, it's huge! I go back and read all the
articles written on the movie. I reread the novel, read all the drafts
of the screenplay. Compare the novel to the screenplay. Then I had to
research with Universal Editorial where you find the trims, trailers.
They give you access to that. There are boxes that are coded with deleted
scenes.
DF: Though I'm sure every project is different, generally how
long do you allow for the research phase of a project?
LB: I used to have 6 months to do a project from beginning to
end. Now that's a lot shorter actually. Sometimes it's 4 months. The
Taxi Driver DVD was 4 months. And these shortened production schedules
can be very stressful. It is often even more difficult with older films
and short preproduction times, because the directors or whomever often
haven't thought about the movie in 20 years or more. So, you have to
sort of be their memory for them. So many times I interview people and
they're like, "I don't remember the movie at all." So, you'll
say something and trigger a memory.
I can relate, because not to compare myself to those great people,
but I forget everything I've done, too! But if you say something like
you said earlier, I'm like "oh yeah, I remember Carrie." But
you don't think of it at the time often. It's a very important aspect,
to know the subject inside and out and be prepared. If you're in front
of the talent and they say, "Shit, what was the name of the Director
Of Photography on that movie?" If you don't know that, you're gonna
miss out. You really really have to be prepared and educate yourself
on those movies. Which is a pleasure when it's a movie you really love.
There's no limit to what you want to find out. Anyway, as that's going
on, I also have to start tracking down talent.
DF: It must be a daunting task contacting casts and crews and
scheduling it all.
LB: You can go through SAG (the Screen Actors Guild) and things
like that. Also, I usually have all the call sheets (cast lists used
in film production) from the time they made the movie. So, I track down
people through family members and things like that. For example, The
Last Picture Show was a tough one but we got nearly everyone. Or, on
something like Jaws, it was very easy with big actors like Richard Dreyfuss
and Roy Scheider, but it's hard when you get to the first victim...
DF: Susan Backlinie, who also had a cameo in 1941.
LB: Yes, that's her! Actors are all usually working so you have
to coordinate production tightly. I can't even tell you - sometimes
it takes weeks to find people., But, I get a lot of support from the
studio, but still I have do everything on my own.
DF: So once you have all the principals you want, or can get,
do you actually direct the interviews?
LB: Yeah, I'll design the shots and do the interviews, which
actually is not very complicated. I usually just put a movie poster
behind them. (laughs)
DF: You know, that brings up an interesting question. I noticed
that some recent documentaries are getting more and more elaborate in
terms of the backgrounds they use. I keep hoping someone will put George
Lucas in front of one of those cheesy Sears backgrounds with Jar Jar
on it! (laughs) Anyway, have you seen The Exorcist documentary on the
Warner disc? They used some pretty elaborate projections of stills from
the movie behind the actors.
LB: Those backgrounds were a little weird to me. The BBC did
that, right?
DF: Yeah.
LB: They have a very interesting style, though I can't say is
my style. I find it a little forced you know. I'm always baffled with
the kind of ideas they come up with. It's just a little distracting.
I've got to say that the 1941 and Jaws discs were designed in a very
different way from the way I do things now.
DF: How have they changed?
LB: They weren't as edited. More thematically classified memories,
if you will. You give the impression of sitting down with Steven Spielberg.
It's not so manipulated or constructed...
DF: The idea back then was to be as long as you could be, in
a way...to just do more "talking heads" and like you say,
simply present memories...
LB: I think with all the supplemental material on Jaws, you
could easily spend two hours and a half going through it, easy. But
it's important - it's probably the last time it is going to be done
like that.
DF: Yeah, and I know we're all looking forward to that on DVD
whenever it finally shows up. Anyway, speaking of Steven Spielberg,
does he say "we're only going to talk within my defined parameters,"
or does he just let you ask away?
LB: I can't say I've had any bad experiences with anybody. With
Steven, there's never been a case when he didn't remember anything but
there's been times when I heard something about a movie and he said
it's not true or didn't really happen. You know there's a lot of legends
built around those movies. You grow up thinking things that aren't true,
so you set the record straight. But he especially has a great memory
for his career.
DF: Are there ever any problems with hesitancy on part of actors/directors
to get involved?
LB: No. Sometimes people say "I didn't do a lot on this
movie, what do you want me for?," so it's my job to then convince
them to do it. It's always out of modesty or shyness that they don't
want to do it. There are some movies where I knew people didn't get
along, but I don't go there. I don't take that approach or open up that
can of worms. I service the director and the studio and my goal is to
offer to them first a document on their picture. I'm not out to do something
controversial and rip open doors that have been sealed for years. I'm
only interested in the learning experience, the filmmaking experience.
I'm not interested in scandalous stories, and I think I'm different
from a lot of people in that respect. A lot of people are always looking
for scandal. Even in real life.
DF: Perhaps that's why you've been trusted by people like Spielberg
to do, what, three or four documentaries of his films now? But getting
back to wrangling talent, is it ever daunting pulling it all together?
For example, American Graffiti must have been...
LB: Making Graffiti was fun, it was really great. Real support
from George Lucas. I gotta tell you, it's nothing to do with my talent
as a person to get those people, it has to do with the fact that I'm
working on a film that's a legend, a movie that changed cinema history
and the life of those people. And they're still all friends. If you
say "I'm calling on behalf of George" or whatever, they're
not going to say no! They're going to do it because they love him and
they want to make a contribution to the history of their career and
their career with him.
DF: Once you are done collecting all the interviews, is it tough
deciding what should stay and what must go out?
LB: I get transcriptions of all my interviews and then I read
through them and do a "papercut," and then I give that to
my editor and he does a first assembly on video. Once he's had a chance
to do it, we watch it together and decide where we have structural problems,
need changes, make things shorter, etc. So after that there's a whole
period for the editor by himself, I let him do his job on his own where
he'll take my notes and do a new cut. Then I'll come in again, and this
is the most crucial part, so I'll spend more time in the editing room
as it comes to its completion.
DF: One of the most interesting aspects to me is the editing
of the piece, how you organize it and put it all together. Since you
usually have production footage, behind-the-scenes clips and such, how
do you integrate this with the interviews? In other words, do you arrange
the interviews around the footage, or the other way around?
LB: No, no, I always use the interviews as your guide. The speech
is what guides the material. I've always decided not to have narration.
It brings in a third-party party, or extra information. I feel I should
just be a go-between for the third party watching it, you know. So I
feel that the interviews are the guide. Luckily I know what footage
I have in advance and I get them to comment on it. All I have to do
is illustrate their comments.
DF: One nice things I've noticed about your work is that you
don't try to apologize, so to speak, for the "talking heads"
by needlessly cutting to scenes from the movie for no reason other than
you feel the audience will be bored by watching someone share something
interesting.
LB: Everything has to do with the style of how you want to do
things. I tend to force my editors not to cut just because they feel
it's too long - only cut or illustrate if it needs it. I try to shoot
subjects well, have them look good. Especially since some of them aren't
going to be around much longer. Like the old movie stars talking about
Hitchcock. These are precious moments.
DF: How do you approach a project where most of the principals
are deceased, as opposed to something where everything is still alive?
Like, for example, the upcoming documentary you did for Hitchcock's
The Birds?
LB: It's a real problem! (laughter) You try to find crew members,
those connected with the production or who will have an interesting
viewpoint. With The Birds, luckily everyone is still around except for
Hitchcock. The set designer, Tippi Hedren, Veronica Cartwright, Rod
Taylor, Susan Pleshette. With Rear Window, on the other hand, everyone's
dead. So, I often try to interview filmmakers, critics and others who
were influenced by the movie. Obviously, you're not going to get as
many stories when people aren't around.
On Rear Window, we talked about the restoration that Robert Harris
and Jim Katz did. I got some behind the stories stories, we also interviewed
Robin Wood (a noted author and film historian), as well as Peter Bogdanovich
and Curtis Hanson. They have new stories to tell - and if they don't,
I'll give them the stories. (laughter)
DF: Conversely, there is the other end of the spectrum, the
kinds of documentaries or featurettes that are done during or near the
time of production. Is it more of challenge to dissect a film so close
to its inception? Does it help to have more of a historical perspective
for your kind of work?
LB: I've done a couple of those, and I've just done one now
for Snow Falling On Cedars, which is actually worse because the movie
isn't even out yet! I don't know...you don't get the same perspective,
which is true. But, you have easier access to the people since they're
right in the middle of it.
DF: Do you have a preference?
LB: It depends. With Snow Falling Cedars I followed the producers
Frank Marshall and Kathy Kennedy, with whom I've worked on the E.T.
And The Lost World special editions (both of which remain unreleased
on DVD). So I got to go on the set and follow the production. But my
preference is to do it after the fact and get a little more of a perspective.
DF: Since you began in laserdisc, have you noticed any big changes
that have taken place as a result of the changeover to DVD?
LB: I haven't seen changes in terms of me, really. I approach
it, well, I'm not involved or interested in all the menus and crap.
I just do the documentary. I don't care about the packaging. I'm not
very creative that way so I wouldn't know where to begin anyway.
DF: That is a valid point, in that some recent releases seem
more interested in cool menus than making a good documentary that works
as a cohesive whole. As a fan and a historian, do you fear that already
there is too much focus being placed on the bells and whistles?
LB: That is one concern I definitely have. It's about how many
features you can put on but when the smoke clears, it's about nothing.
That's a little dangerous. The thing that's really...I have to remember
it's a very new technology and is catered to people into a new thing.
It's very legitimate to try new things, and I want as many people to
convert to DVD, so I'm not against any that. It's just not my
thing. It's the old "don't judge a book by its cover." But
it doesn't really affect me personally or creatively, just as a consumer.
The other thing that has changed I think, aside from the fact that
I have a lot more work now that there's DVD, is that a lot more people
see my work. Doing the laserdiscs, I didn't really know if people were
seeing it. You want to share your passion and not think it's only being
done for just a few people. It's fun to know that stuff's really getting
out there. It's getting huge.
DF: One topic I wanted to briefly touch upon in regards to the
success of DVD is that it seems, to me anyway, that studios are becoming
more and more interested in adding features to all sorts of older titles.
You mentioned to me before this interview an interesting situation with
the upcoming releases of both versions of Cape Fear. I thought it was
interesting that one release seemed to "bleed over" the other.
I thought it would be interesting to talk about that and...
LB: Well, I'll tell you what happened. I was not going to do
a documentary on the old Cape Fear then I interviewed J. Lee Thompson,
the director, and I was like "Oh, this guy is amazing!." The
interview was so great that I just said (to Universal) that I'll just
do a little half hour thing on it. Then I got the go-ahead to talk to
Gregory Peck as well. It's only half-hour, it's not a huge thing.
DF: But it is great that a studio would be willing to add features
to something that didn't originally have any planned. Anyway, going
back to the topic of bells and whistles and the interactive capabilities
of the format, I reread your book The Cutting Room Floor again recently,
and you talk a lot about the impact the MPAA has had on filmmaking.
Censorship in America is a big concern for you, do you think DVD may
help or hinder the situation? For example, DVD has the capability, though
it is rarely exploited, to offer different cuts of a film or an R-rated
or Unrated version of a film...
LB: I think it's really important to have a rating system as
a guide to parents. The rating system in France, for example, is a lot
more strict. But I'm also for freedom of speech. Brian De Palma and
directors like him that push the envelope can be really suggestive,
so it's great if filmmakers can have this alternate venue to present
their original vision. They can show what they intended before economical
factors came in. But I'm completely pro MPAA and ratings.
DF: I've noticed in your work that you tend to focus on documentaries
and not really audio commentaries. Do you have something against commentaries?
(laughter)
LB: Not really! (laughs) I think that I'm just personally more
comfortable with doing visual interviews. The documentaries were so
thorough that it would be redundant to have a commentary.
DF: Many have hoped that someday Spielberg would do a commentary.
Did you every approach him on any of your projects to do a commentary?
LB: Really, it just never came up. I think they're (commentaries)
are great when you don't have a documentary. But if at one point a filmmaker
said to me "I don't want to do a documentary," I would definitely
do a commentary. In some cases, I've done both, like on The Mask of
Zorro.
DF: Also the upcoming new version of Conan The Barbarian, which
features a documentary and a new commentary with Arnold Schwarznegger
and John Milius. It is Mr. Schwarznegger's first one, I think...
LB: You guys will love the documentary and the commentary, is
so funny. It's amazing. He's a great guy.
DF: Was it hard getting him to talk, or should I say understanding
him? (laughs)
LB: No, no! He was so excited to do it. He's great. Also, for
Eyes of Laura Mars I did a commentary with (director) Irvin Kershner.
That's something I really wanted to do because of Kershner, he's a great
guy.
DF: He's also responsible for directing the only good Star
Wars movie, The Empire Strikes Back. It would be great to have a commentary
on that!
LB: I did one...but just for me.
DF: Really!?
LB: I recorded him watching the movie with me. He came to my
house and I have it on MiniDisc. We just talked about the movie. I did
it for my book (Star Wars: The Annotated Screenplays) - I went
to his house and interviewed him. He was just so great. And I
asked him to come over and watch the movie with me. I had bagels and
stuff.
DF: Ewok-shaped bagels, I hope? (laughs) Which version of the
film?
LB: It was the old version. Definitely. So I have a commentary...sort
of. It was really fun, really great!
DF: I think you should sell it on eBay and retire! (laughs)
You just mentioned The Mask Of Zorro a bit ago, which is funny because
that special edition disc has come out in Europe but not here in the
US Actually, a lot of the stuff you've done for laserdisc is starting
to come out on DVD. Do you ever get asked to redo it or update it?
LB: If they ask me to sort of refresh it for DVD, I would be
thrilled to redo it, but it hasn't happened yet. It's so much fun to
revisit the projects, especially on those movies. I'm pleased that 1941
came out the way it did. I didn't even some of my other stuff was was
coming out till you said it earlier in the interview. I would be thrilled
to revisit it if they wanted me too.
DF: If you had an unlimited budget to do any project for DVD,
what would it be?
LB: Well, I've realized a lot of dream projects: Jaws, 1941,
Close Encounters, E.T., Taxi Driver, Carrie. The Godfather. All those
movies were a dream come true for me. And now Hitchcock's Psycho, The
Birds, Rear Window and soon Marnie. Another is Play Misty for Me, which
I'm doing now for Universal. I haven't met Clint yet, but I just can't
wait!
As for movies that I wish I worked on that other people did? I would
say the James Bond movies. I'm really sad that I've never connected
with anybody, because, well, as I was a kid, I was on the set of Moonraker
and I'm still friends with some of the James Bond girls and am a huge
James Bond fan. I wish I had a chance to work on those. Sometimes stuff
is released that makes me sad. Coma, I'm a huge fan of those 70s movies,
or things like The Omega Man, those didn't have any added features.
They are projects I wish could have reinvented.
DF: Well, to wind this down and before we must go, I must mention
De Palma. Congratulations are in order since you are such a scholar
on De Palma, and you are getting to do another De Palma documentary,
for Columbia's Obsession.
LB: I'm doing the DVD for Obsession, yes. Very fitting, I guess,
given my De Palma "obsession"!
DF: Did you get to interview De Palma for the DVD?
LB: Oh yeah. I wouldn't have done it without him. There are
movies where if you don't get the director, you might as well not do
it.
DF: Was it nerve-racking the first time you interviewed him
(for the Laserdisc and DVD of Scarface)?
LB: Well, I've known him for sometime. The first time I met
him was when I first moved to New York and I was hanging out with an
actress who worked with him in the early days. She was in Hi Mom and
Greetings (two early De Palma films) and she was the voice of
the answering service in Dressed to Kill. Her name was Rutanya Alda,
and she knew Brian, and her husband was an actor also, Richard Bright,
who was in the Godfather, Marathon Man.
They introduced me to Brian one night at a screening in New York. And
I was completely ga-ga! It took me sometime to get a project going that
I wanted to do with him. On the book, he didn't really help me, though
I interviewed him for an article at the time, which I eventually used
for the book.
DF: Well, gotta get my own little plug in here at the end. I'd
love to see you do Blow Out, which I believe is MGM?
LB: I did call them, but not for those specific projects. I
don't know necessarily what's coming out, they have their own team,
so it's difficult. I would love to do Dressed to Kill which is my all-time
favorite, or Blow Out. It's a good thing I'm doing Obsession with George
Litto, who produced those movies as well. That would be really cool.
But I don't know, we'll see.
DF: Well, I certainly hope you get to realize all of your dream
projects. Guess that about wraps it up. Thanks for taking the time to
sit down with me. I had a very good time.
LB: You're welcome, it was fun!
For a look at Mr. Bouzereau's work on DVD, check out discs such
as The Last
Picture Show, American
Graffiti, The Big Chill, Psycho, Silverado, Scarface, 1941, Taxi
Driver, 1941 and plenty more! Check 'em out!
Laurent Bouzereau photo courtesy of Citadel Press. Carrie image
Copyright®1976 MGM. Close Encounters Of The Third Kind image Copyright
®1978 Columbia Pictures. Special thanks to Irene Dean and Jane Ayre
Public Relations, as well as, of course, Mr. Laurent Bouzereau.
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