let s watch this very tricky business about gay guy not quite coming out but being exposed. he was drunk. and he cornered me in the editing room. cornered you? yes. and i backed him off. i told him i was married and he was embarrassed and he left. you must have been really shocked. i was. believe me. but nothing happened. because nothing could have happened because you re married. tom, i swear on my mother s life. you sure you want to do that? isn t that something? you thought for a while on the show that he would be sympathetic to the guy s orientation but there he seems to be rock solid suspicion. he assumes the guy is promiscuous. he is tolerant of a lot of
after a long night, rich returns to the arena, dropping off photos to his editor. he s half way out the door when someone stops him. another photographer in the editing room came back and said nice picture of the couple kissing, and i m thinking, well, i never shot anyone kissing. i shot someone helping another person who i thought was hurt. so she s like, well, they re right in it kissing. and i looked up at it, and they were kissing, and at that point i didn t know what to make of it. the following morning, rich s photo spreads like wildfire, and the image of the vancouver riot kiss takes on a life of its own. the two love birds in the midst of the mayhem are compared to the famous scene in from here to eternity and other iconic kissing photos. you have mayhem all around
know, if you re lucky enough to have one. i think, you know, in the most stark sort of portrait theater requires about 400 to 700 good takes every single night. film and television you really need one take per scene to tell your story well. because once you get into the editing room if you know you have that one good take and any great director/writer will say we ve got it don t panic. the other four were lousy but i ve got what i need. theater, which is i guess what separates the women from the girls is what it requires every single night. there s no net. no. i think that s why they say it s an actor s medium because it s really up to you. it s incumbent upon you. as human being, it s often not possible to reach that despair every single night. that s what s so engaging is you know what it should be and you know where you ariverrived perhaps
by extension civilians as well. tim, of course was your partner and scinematographer an tragically killed in 2012 in libya. the loss is enormous and for you i m sure it s intense grief. how have you put together now with him obviously looking over your shoulder all the way? it was very hard. i mean, he shot some of the footage and he and i shared two cameras. a lot of it is mine and his. every time i would see his footage, i would give a little lurch in the editing room. it was sort of the family was together again and he was a bit of a ghost in that room. but before he died, we talked about how would we continue this project and what could we do that would extend the nation, the nation s experience of war. i mean civilians send soldiers
death spiral? insurance death spiral. scary. obamacare is going toward a death spiral. death spiral. death spiral. what s called an insurance death spiral. you get into what they call that death spiral. this could be the beginning of a death spiral. it could potentially be the begin of a death spiral. the architect of obamacare being interviewed by megyn kelly, she asked him, is this the beginning of the so-called death spiral? is that the beginning of the so-called death spiral? and he said, that could be the beginning of a death spiral. that could be the beginning of a death spiral. that s the death spiral. spiral. now, the idea back then, i m sorry, i m laughing. that was really brilliantly done. editing room. the idea back then was a broken website would mean the only only the old and sick would bother to enroll and without younger enrollees to balance out the risk, the obamacare exchanges would enter into an actuarial death spiral, the whole thing