Broaca brought himself back in the room.
“All right,” he said, “ – just an element of danger.”
“Not exactly,” said Stahr. “He doesn’t start to fall off the roof. Break into the next scene with it.”
“Through the window,” suggested Jane Meloney. “He could climb in his sister’s window.”
“That’s a good transition,” said Stahr. “Right into the diary scene.”
Broaca was wide-awake now.
“I’ll shoot up at him[71],” he said. “Let him go away from the camera. Just a fixed shot from quite a distance – let him go away from the camera. Don’t follow him. Pick him up in a close shot and let him go away again. No attention on him except against the whole roof and the sky.” He liked the shot – it was a director’s shot that didn’t come up on every page any more. He might use a crane – it would be cheaper in the end than building the roof on the ground with a process sky. That was one thing about Stahr – the literal sky was the limit. He had worked with Jews too long to believe legends that they were small with money[72].
“In the third sequence have him hit the priest,” Stahr said.
Конец ознакомительного фрагмента.
Текст предоставлен ООО «ЛитРес».
Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.
Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.