Tetragrammaton

Tetragrammaton

The interesting thing about the conversation is, you know, I've written in every medium possible I've typed, I've written a longhand, but I met a woman just once I met him who was a court reporter.

And I asked her if I sent her a dictation if she would transcribe it into a screenplay,

you know, which I showed her in what the form looked like.

I never saw again, but I basically dictated the script of the conversation and would

send and send my dictation to her.

And then she would transcribe it into a screenplay.

And that's how the screenplay came.

That first draft was amazingly all just talked into a microphone.

It's interesting the form and content idea that it's so much about listening and so much about

words, and it's not about writing. It's about listening and speaking, really.

Well, in truth, I didn't write it. I dictated it. And I knew that dictation was a skill

that, I mean, everyone can talk, but I knew it was something

you could learn how to do, you know, so that it came out what you were hoping.

And on the disc of the conversation, there is the actual screenplay, but that screenplay was dictated.

It was the first screenplay, in other words, it wasn't made, you know, corrected by the film.

It was actually the film was really like that.

How much effort went into that overheard conversation, which really plays throughout the movie. It gets revealed

to us bit by bit over the movie. We hear most of it in the beginning, but then as the film goes

on, we hear a few more phrases. Yes. It's a very simple conversation. Yes. Yet it says a lot. Well, you know, it was my intention that the

key phrase in it, which is he'd kill us if they had the chance, that it really be the same. But

...