Hello and welcome back to the Synophiles where this week we conclude our exploration of Patty Chayevsky's network with special guest Warren only.

At the end of part one, we were still reeling from the power, poetry, and prescience of Howard Beale shouting into that TV camera,

telling us we've got to get mad.

I don't want you to protest, I don't want you to ride, I don't want you to write to your congressman because I wouldn't know what to write I don't know what to do about the depression and the inflation and the Russians and the crime in the street all I know is that first you've got to get mad

You've got to say I'm a human being

God damn it my life has value it it's a remarkable sequence one of the great

in film and we're still using that line. Oh yeah.

A lot of people who never saw the movie don't know where it came from.

I'm mad as hell and I'm not going to take this anymore.

And a little thing about how it was shot.

So they sit down to do it. Take one was excellent.

Finch did the whole thing and he built to such an intensity by the end of the

scene that Lomet did a really unusual thing as a director.

So frequently if you're directing let's say you're doing an insert let's say I'm

gonna pick up this bottle you might say to the actor okay let's let's roll

camera action the actor picks at the bottle,

and the director will say, don't cut, go back to one, which means put the bottle back down, and let's do it

again, okay, okay, don't cut, and you do it like three times.

Because it takes every time you cut cut then you have to start over

and you have to say roll camera and you get a slate and all this stuff takes a long time and you're

like this is really easy let's do it but you don't normally do that with performance

because you don't just start over a whole scene but that's

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