The Perfect Ghost Read Online Free PDF
Author: Linda Barnes
that?
SD: Malcolm and I learned from each other. We learned together. I’m one of those Murch-trained people. I cut on the fly, twenty-four frames a second, marking the moments where I feel the need to cut to a new shot. Murch always said it was like jazz, like a drummer knowing precisely when to hit the snare, hearing the music in the moment.
TB: Were you and Malcolm lovers?
SD: Whoa, whatever gave you that idea?
TB: You did. What you said. You spoke the same language, listened to the same music, finished each other’s sentences—
SD: No, we didn’t. And I’m not going to go there, Teddy. Not about Malcolm, not for a book.
TB: It would all be off the record, Sylvie. I’m just trying to understand the man.
SD: I’m not going there.
TB: Somebody will.
SD: Not me. I’ll talk about film.
TB: Okay. Blue Flame was such a success that there was a lot more money available for Green Gem.
SD: The money wasn’t that significant.
TB: But by the time you did Red Shot …
SD: It still wasn’t big-budget. Mainly the money went to hiring better actors.
TB: Like Claire Gregory? Can you talk about Claire?
SD: God, what can you say about Claire that hasn’t been said? Cancer, and so fast, such a tragic loss. God, she was beautiful clear through, like an angel. My Catholic grandmother would have said God wanted another angel in heaven, that Claire was too good for this world, but I don’t go there, either. Just a damned rotten shame. Pancreatic cancer, and it was before they had all this gene-matching and long-term treatment. It was quick and painful. A wonderful talent, and the sweetest sweet woman, too. Once they married, I’d certainly never—damn. I’m not going there, Teddy.
TB: She was easy to work with?
SD: I only worked with her film, and the only other actress who has that kind of range, that kind of luminosity, where you can see what she’s thinking, like she’s almost transparent, is Meryl Streep. And Claire, when she was young, had the kind of humor Meryl only developed with age. So—I don’t know—do you remember Carole Lombard, or is that too long ago for you? I think of her because of her humor and her command, and because she died young, too. The only problem working with Claire was that every scene, you wanted to use every take.
TB: It’s something to be proud of: the Justice trilogy.
SD: Those films were such a joy. I was disappointed Malcolm didn’t keep the series alive. At the time, it was pure selfishness: I thought I’d never work again. It was such a long time ago, and such a short time, if you know what I mean. After the Bond films, they were the ones, the new ones, the bright-tomorrow pictures. People love them even now, they quote them, they have their own fan sites and blogs devoted to Benjamin Justice. They were the films of our innocence, the one-man-can-save-the-world films. No wonder they’re still popular. They were funny and clever and they didn’t try to be more than they were: entertainment, date-night movies, old-fashioned fun. They weren’t dark like the Bourne franchise. They were free and crazy and funny.
TB: And they moved.
SD: They soared. They rocked. The film scores were addictive. It pains me to hear them in elevators now. Makes me realize what a relic I am.
TB: Claire was already a well-known actress when she signed on for the third film, but who’d ever heard of Brooklyn Pierce?
SD: He was Malcolm’s discovery, the quintessential beach boy. Yeah. Bad screen test, but Malcolm took one look at him and knew. Brooklyn had that special quality: He made all the other actors look better than they were. He had those great eyes, too. His love scenes were electric, even in the first film. By the time he got to partner with Claire, the chemistry sizzled. It was chemistry that grounded the films, made them more than what they were on the page.
TB: Were Malcolm and
SD: Malcolm and I learned from each other. We learned together. I’m one of those Murch-trained people. I cut on the fly, twenty-four frames a second, marking the moments where I feel the need to cut to a new shot. Murch always said it was like jazz, like a drummer knowing precisely when to hit the snare, hearing the music in the moment.
TB: Were you and Malcolm lovers?
SD: Whoa, whatever gave you that idea?
TB: You did. What you said. You spoke the same language, listened to the same music, finished each other’s sentences—
SD: No, we didn’t. And I’m not going to go there, Teddy. Not about Malcolm, not for a book.
TB: It would all be off the record, Sylvie. I’m just trying to understand the man.
SD: I’m not going there.
TB: Somebody will.
SD: Not me. I’ll talk about film.
TB: Okay. Blue Flame was such a success that there was a lot more money available for Green Gem.
SD: The money wasn’t that significant.
TB: But by the time you did Red Shot …
SD: It still wasn’t big-budget. Mainly the money went to hiring better actors.
TB: Like Claire Gregory? Can you talk about Claire?
SD: God, what can you say about Claire that hasn’t been said? Cancer, and so fast, such a tragic loss. God, she was beautiful clear through, like an angel. My Catholic grandmother would have said God wanted another angel in heaven, that Claire was too good for this world, but I don’t go there, either. Just a damned rotten shame. Pancreatic cancer, and it was before they had all this gene-matching and long-term treatment. It was quick and painful. A wonderful talent, and the sweetest sweet woman, too. Once they married, I’d certainly never—damn. I’m not going there, Teddy.
TB: She was easy to work with?
SD: I only worked with her film, and the only other actress who has that kind of range, that kind of luminosity, where you can see what she’s thinking, like she’s almost transparent, is Meryl Streep. And Claire, when she was young, had the kind of humor Meryl only developed with age. So—I don’t know—do you remember Carole Lombard, or is that too long ago for you? I think of her because of her humor and her command, and because she died young, too. The only problem working with Claire was that every scene, you wanted to use every take.
TB: It’s something to be proud of: the Justice trilogy.
SD: Those films were such a joy. I was disappointed Malcolm didn’t keep the series alive. At the time, it was pure selfishness: I thought I’d never work again. It was such a long time ago, and such a short time, if you know what I mean. After the Bond films, they were the ones, the new ones, the bright-tomorrow pictures. People love them even now, they quote them, they have their own fan sites and blogs devoted to Benjamin Justice. They were the films of our innocence, the one-man-can-save-the-world films. No wonder they’re still popular. They were funny and clever and they didn’t try to be more than they were: entertainment, date-night movies, old-fashioned fun. They weren’t dark like the Bourne franchise. They were free and crazy and funny.
TB: And they moved.
SD: They soared. They rocked. The film scores were addictive. It pains me to hear them in elevators now. Makes me realize what a relic I am.
TB: Claire was already a well-known actress when she signed on for the third film, but who’d ever heard of Brooklyn Pierce?
SD: He was Malcolm’s discovery, the quintessential beach boy. Yeah. Bad screen test, but Malcolm took one look at him and knew. Brooklyn had that special quality: He made all the other actors look better than they were. He had those great eyes, too. His love scenes were electric, even in the first film. By the time he got to partner with Claire, the chemistry sizzled. It was chemistry that grounded the films, made them more than what they were on the page.
TB: Were Malcolm and
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