Trascrizione del commento adl DVD di Straightheads

E' stata fatta la trascrizione del commento di Gillian Anderson, Dan Reed e Danny Dyer al dvd di Straightheads.

Straightheads Commentary

Transcribed by S.A.S (AKA) SBF 2008

Dan Reed (DR) - Director
Gillian Anderson (GA)- Alice
Danny Dyer(DD)- Adam

DD- Do you want to introduce yourself Dan?
DR- Yeah, this is Dan, the director of the film
DD- Dan what?
DR- Dan Reed
DD- You a very lovely man
GA- My names’ Danny Boyle
DD- I am (??)
DR- And I’m Stanly Kubrick
DD- You will be one day
(Credits come on screen)
DR- Without further ado, Gillian Anderson
GA- Oh good timing
DD- And Danny Dyer
DR- What do you think of the titles?
GA- Oh right, I don’t know where I am. I’m still in the sex shop down the street
(Scene of Adam checking the equipment)
DD- Dan, you forgot to write this scene in first time around?
DR- I forgot to write this scene first time around, but got done when were pretty much done editing the film. Um, there was a scene missing, so I wrote this scene for the front, of Danny…
GA- Oh, I haven’t seen this
DR- You haven’t?
GA- Most of this commentary I’m going to be saying “Oh my god!”
DD- So basically, Dan, you fucked it. You forgot to write this scene.
DR- We had two days to get this, we filmed it in the East End. Near your manor Danny
DD- Yes, near my manor. Free meals
DR- Someone stole my coat
GA- Is that right?
DR- Yeah, full of thieves
DD- It was only worth 20 (??)…How long after? 5 or 6 months?
DR- It was May. We shot the film is Nov/Dec. And this was May
GA- Was it?
DR- And Gillian, you looked a little bit different…
GA- Yeah, I looked a little bit pregnant
DD- Yeah, but I think you get away with it, you really do.
GA- Yeah but my tits are bigger
DD- Well, yes, but that’s a bonus
DR- Yes, so we had to add this scene, originally the film started
GA- Wait can you rewind that? See, I have not seen any of this
DD- Yes, it looks good. It looks proper
(Scene with Alice getting the invite)
DR- So originally we had the film starting with a whole back-story with young Alice. So partly the reason we had to add new scenes is because we cut out that whole scene
(Scene of Alice walking into her apartment)
DR- This was the first day of filming Straightheads
DD- Good call. You made that decision to start with the 1st scene. All getting to know each other, all that bollocks. But it was quite a tough day if I remember rightly
DR- What is was tough getting these scenes. It was gandy in the morning and bruckside in the evening, is what they say (??)
GA- And it was cold
DD- Yeah it was freezing, me nipples are hard
(Alice finds Adam asleep on the patio)
DR- And you were supposed to have a vodka here
DD- What happened to that? You didn’t want me to be a pisshead
GA- Is that right? I feel like I was on a different film than you guys, I don’t know what you’re talking about
DD- Me little pink top. Love me little pink top there
DR- Gillian, what was it like being Alice on the 1st day
GA- I always feel like crap on the 1st day. I have no idea what I’m doing. I always hate 1st days.
DR- But you really pulled it off, you were terrific
(Adam showing Alice the computers)
DR- This, we had to ADR this
DD- Yeah this was a fucker, ADR’ing this. It was tough. Why did we have to ADR it?
DR- Didn’t Gillian screw up her lines?
GA- No it was Danny I was just going to say
DD- it was a bit performance
DR- no it wasn’t, it was the echo in the room. The footsteps. The performances are good. You both ADR’ed it very well.
DD- Well, we’re genius
DR- Yes Danny you have made it very clear to me that you are a very technical actor
(Adam watching Alice in her bedroom)
DR- And this is a bit of peeping tom.
GA- Oh well yea
DD- And you have to react to nothing on the screen. You have to imagine Sadie Frost.
GA- Meanwhile a few hours later I went into the room with a video camera and myself. I wouldn’t allow anybody anywhere near it! So I went in with the camera and myself and did it over and over again.
DR- And then you presented me with the best take
GA- Oh my god, this is such a long time ago
DD- A good take. I don’t want to come across as too seedy
GA- Oh My God! I’ve had a baby since then.
DD- It was all mental
DR- What were you thinking?
GA- What was I thinking!
(Alice out of shower)
DR- I like the rubbing of the hand creams. It’s great.
DD- It’s very sexy all this flirting. Sexy undertone. I’m not sure about that pink jumper, Dan.
DR- Well, I didn’t want your character to be too hard edge at the beginning
(Alice showing Adam at tuxedo)
GA- Oh you saved this? You kept this scene
DR- Yeah yeah yeah
GA- Well remember we had this whole other shot…with just this stuff. I thought it was just going to be this stuff
(Adam looking at himself in the mirror)
DR- We kept it, we needed one extra shot before we went out on the road, just to try and make it clear how Adam felt about the whole journey.
(Alice driving…sexy leg shot)
DR- And this is second unit driving. And the legs were shot in a studio in London.
GA- What? Is that not me?
DR- No it is you. We shot it on the West Lot and we were running out of light. And the minimar (?) …do you remember the minimar (?)
GA- I do.
GA- A lot of driving
DR- Yes a lot of driving. I love the woods. That’s one of the good things about making this film out in the middle of nowhere
DD- Yeah that was beautiful, but it was fucking cold wasn’t it
DR- And muddy. And I think we all bonded more as a result of freezing
GA- You know it’s really interesting when you’re doing a film with someone for the 1st time and you’re not supposed to know each other bit you’ve actually been working together for a long time. Pretending that you don’t have a friendship already.
(Alice pees)
DD- This is such an odd start to a film anyways
GA- What me pissing on the side of the road?
DR- I love Gillian’s look here. It’s all “And yeah, well what?!”…We shot this as we were running out of light, we were just racing. That was filming is like you think “Oh well, I used to think you had an infinite time to shoot” but you don’t.
DD- Pressure. Bless you for being in that forest with that little fucking dress on
GA- That little piece of square fabric
DR- it was so thin. Like tissue paper.
GA- It was taped to me. I remember not focusing on the scene because I was trying to keep me in it. Looks like perfect actor concentration.
(Driving up to the house)
DR- This was Morley Hall, isn’t it?
DD- Yea
DR- There was supposed to be a whole long line of torches, but we couldn’t in time
(About the valet driver)
GA- The whole audience is thinking What the fuck? He looks like he’s black but…
DD-What was that all about?
DR- In the 1st script it was them wearing this Japanese Bhutto makeup. And all the guests, including you guys, were supposed to wear it and then we decided it was going to be too much
GA- It’s just weird. It adds a weird twisted “Is this how it’s supposed to be” kind of feeling
DD- There was meant to be cocaine every where too but you took that out didn’t ya
DR- It didn’t quite look right
GA- No I think Danny did it all before we started shooting
DD- No, I’m all innocent in all this. I’m all innocent and cute and nice
GA- Ahh, you think you’re fooling people!
DD- I’ve changed now, I’m a different man. I’m a proper actor now
(Into to Mischa)
DR- And this character Mischa was supposed to be a former flame of Alice’. Maybe or maybe not. We’re not supposed to really know. He has a thing for her
DD- And she’s just playing with him as well. He’s good though, I must say. He’s got a mad way about him
DR- In various drafts of the script the Mischa character became more important and the back-story became more important, but we ended up loosing most of it
(Adam goes to the bar)
DR- And this is Danny drinking a lot of Ginger Beer
DD- Warm Ginger Beer, fucking horrible. That is a real fucking grimace there.
DR- The famous swimming pool scene, minus 15!
DD- And these poor girls, it was about 15 quid a day and they just jumped in with their tits out. They had no idea about the film but they just show up and “What do you want us to do? Jump in the water without out tops on, sweet”
(More people jump in)
DR- These guys had to jump in the water again and again and again and it was literally minus 12
DD- But you originally took that scene out and then put it back in
DR- pretty much every scene in the film has been in and out. Editing was fun. We had a lot on input from a lot of different people
DD- I think it works though, just shows how odd the party is.
(Alice finds Adam in the woods)
DD- This is where it starts getting a bit sexy
DR- This was 4 o’clock in the morning and it was a very very cold night and we were looking for ways to stage the sex scene inside because it was so cold
GA- All I remember is walking in 4 inch heels on the dirt and making it look like the Queen of the Hill. Walking down there and I’m about to fucking fall head over heels
DR- But you were wearing Ugg boots.
GA- No it was a wide shot, I had to have heels on!
(Alice and Adam begin kissing)
DR- The famous sex scene in the woods. Minus 12 degrees! Gillian was wearing nothing but a chiffon silk dress. And we had an array of 12 space heaters and we were dress in huge mountain gear
GA- They were blowing at the same time. We kept on the heaters during the scene because we knew there was no dialog.
DR- But you might be able to see a little bit of blowing of Gillian’s hair, and that’s not the forest breeze
DD- I like the way this is done, sexy..you can’t really see what’s happening
DR- What was that like, guys?
GA- I don’t know, but my back in never gonna be in that shape again for the rest of my life
DD- Don’t be ridiculous. These are always an odd thing to do, these scenes. You want to keep it real.
GA- Fucking awkward, and the crew standing around, looking at you, watching the twigs, smoking cigarettes
DD- Thing about this, you can’t go in it half hearted. You have to go in it 110% and go for it. And it was quite technical. You didn’t just say “Go fuck against a tree”, you said “We’re gonna start like that, and pick her up”
GA- And all I could think about was the fucking tape on the side of my dress
DR- And we had to reshoot the end of that take…
GA- Because of the tape?
DR- No, it was because it was so cold and a piece of camera equipment fell and the lens got all fogged up
GA- Oh is that what that was? But on the day, you said it was our fault because we weren’t sexy enough
DR- Me?
GA- Joking
(Driving, coming up on the bad guys truck)
DD- So it’s set up as some mad love story and you think it’s all nice and safe, but then it goes a bit weird a bit mad
GA- Just a little bit. You’re good at this, Danny, you’ve done this before?
DD- Only a couple of times girl. I have not said “cunt” once! Oh Shit!…Just going back tot hat sex scene, we had to ADR the noises for that. That’s even more embarrassing
GA- Yes, even more strange
DR- Standing there in front of a microphone is a studio
GA- And we weren’t on set, and meeting for the 1st time!
DR- You did it so well
DD- And it was a bit formal, and I got a little carried away.
DR- And I got turned on listening to you
DD- I know you did Dan. You sexy man you are.
(Deer hit’s the car)
DD- And that is all CGI.
GA- People gasped in the audience when that happened. They screamed.
DR- And we got that in 4 different plates. We shot you in the studio, and we shot the car wind screen with the screen behind it and the cracked screen, ect ect ect and we put it all together and it looks well.
GA- Very effective
DR- And there is a deer shape that blurs across the screen. It was the real fake deer that was used, the one we had hanging up in the studio and we just took still shots of
GA- Oh really
DR- I love, you can just see a tear going down Gillian’s face.
DD- Remember when this deer showed up we thought “Oh no, it looks like a dog” a bit vile but it looks fantastic in the film. It really made it
DR- It was a well made prosthetic deer
DD- I’m not knocking it
GA- Very diplomatic
DD- No, it was very well made, but it just had that dog look about it
DR- We turned the face away. The key to prosthetic animals is to make as little movements as possible. Because there was quite a lot of leg wagging
GA- Remember when we cracked up because it looked like it was having an epileptic fit
DR- The chest heaving up and down worked really well, and the breath coming out of it- it was a guy with a cigarette and a tube.
DD- Blowing smoke down the pipe, very simple you see.
(Alice gives Adam the tire iron)
DD- At this point in the film, you don’t know where it’s going. What’s going on here? Is it going to be a film about bestiality? Never know.
DR- Will you give the stag the leather bullet?
DD- Just give it the leather bullet, you know what I mean?
DR- I think we should erase that from the record!
DD- Oh fuck it, leave it!
DR- So here you don’t know if you’re gonna put the stag out of it’s misery
DD- Yeah. There is a part of the character, I’m not a hard man at all. I ‘m a nice boy I can’t do it!
DR- In the back-story we had Alice shooting a stag as a young girl
GA- I keep forgetting that it’s not in here anymore. And my whole relationship…
DR- With your father…
GA- And stags and guns and everything.
DR-And that’s why you have that little medallion around your neck, we’ll know later.
(Bad guys come on scene)
DD and DR- Anthony Calf!
DD- The Calfster! This is really tough to shoot really brutal. It’s never nice to do these scenes. I get up really bad in every film I do. I don’t know why that is.
DR- There is a lot of chorography here. It was cold and late at night and we had quite a short time to get all this.
DD- I believe we had to go back and do it all again right? Some of it.
DR- Right, Gillian this was one of the high points of the film for me…
GA- When I got raped?
DR- Yea
GA- That’s a real classy comment, nice.
DR- It was the day I was most looking forward to and dreading in the way that it was the make or break scene. How was it for you?
GA- Thanks for asking. It was, it was a certain point you have to put your boots on and get in and do it. What I do know is the next day I was covered in bruises. But on the night, it was so cold and you’ll see in a couple minutes, I was physically compromised, slightly, over and over again. And you just do it and wake up at the end and you do it again.
(gun in her mouth)
GA- The thing I was most paranoid about here was them smashing my teeth with the gun. I like that click, it’s very effective
DR- you got thrown about on that night and smashed on the bonnet and dragged
GA- And dragged. Some of that is my stunt double, like right there (dragged through the leaves)
DR- This still makes me flinch when I watch it
GA- I think when we did the studio bit of this, it’s funny when you do this at night time instead of daytime it’s a bit different, and this night I was on the hood, just my skin and my bones on the hood over and over again and it was not until the next day when I realized I was in a lot of pain.
(After rape scene)
DR- I remember you saying to me, since you had to be thrown down on the bonnet and you said “Don’t hold back, it has to look right” because we had so much invested in this shot.
GA- Yes but when we came back to film the scene I remember asking “Could you please put a blanket on the hood please because I‘m a bit sore?”
(Deer gets up and walks off, Adam waking up)
DR- That was for the weird CGI stuff, remember the cake stuff?
GA- Oh the cake stuff, that’s a different story
DR- Anyway, here’s Danny and the deer
GA- Oh that looks so fantastic
DR- We discovered that this location was close to a rocket testing range, and you were supposed to be in the middle of nowhere and there were rockets going off! So the deer got woken up prematurely
GA- Because of the rocket?
DD- I just remember this being such an odd scene just being told to lay down next to a deer that’s been knocked out. And you don’t know what’s going to happen once this deer wakes up, I was paranoid about it
DR- It was very humane
DD- Oh no, the geezer turned up with the deer you know he was a real deer lover
DR- From the Royal Deer Park
DD- It’s always an odd thing to do, I don’t think I’ll ever do it again, wake up next to a deer
GA- It’s incredible.
DD- Beautiful beast
DR- We had 3 cameras set up on that. We had a wildlife photographer up on the ladder, camera on tracks down below…
DD- It was just very uncomfortable lying covered in blood lying in leaves and mud
(Alice sitting on tree stump)
GA- Here I am sitting all prim and proper
DD- All ready for work
GA- and my bag, I happened to have In the trunk of my car
DR- And remember there were people hunting nearby and there were all these gunshots going off
(Alice holds out the dress)
GA- This is kinda eerie.
DD- Horrible. It really is
DR- This was a difficult morning wasn’t it, we all enjoyed it though
DD- It was one of those scenes I knew when I read the script it was going to be tough
DR- Whole scenes like this that can make or break a film. This is the scene we discover you were blinded
DD- We still don’t know at this point do we?
DR- I remember asking you to scream a few more times, and you told me to Fuck Off!
DD- I said bollocks!
GA-Oh I see the blood has already started (running down her leg)
DR- We had problems getting the blood to arrive at the right time
GA- I had to go off into the distance and squirt some really high up on my thigh and hope that it won’t hit it’s make until I walked in front of the camera.
DR- Good performing blood. It cost a lot of money.
This is one of my favorite shots (Alice looking into the camera after picking up the necklace) Very strong. The medallion you’re picking up is a hangover from the flashback we never included.
(End scene in woods. Back to Alice’s apartment)
(Alice and Adam awake in her bed)
DR- This is part of the additional scenes we shot later in the studio in London
DD- Yeah, having seen it for the first time yesterday, I really gives it more body. Something very short, very small. But it really works, it shows what our relationship is now.
GA- Great shot, Dan
DR- Thanks Gillian. These stories drop in with back-story where Young Alice used to be…literally filling gaps adding structure to the film
(Adam on the patio, Alice watching him)
DD- Another cold day I remember.
DR- This is day 2 of shooting
DD- This is the 1st time I had the contact in my eye
DR- You didn’t complain at all did you
DD- Again, you just got to get on with it. I used to cry my eyes out every time I got home because I was so depressed. But here it is, when you reveal it because you’re not quite sure what I was screaming about
GA- And you just said this is day 2 of shooting so none of what we’ve just scene has happened and we just have to pretend that it has
DD- Very, Very uncomfortable
DR- Gillian, we had quite a few meetings over the script, we had time to chat about the script. And then Danny and you and I got together a couple times after that and went through, so we didn’t have that much rehearsal but we did get time to talk about things, talk about where the characters ere at different points. But we did rehearse the wonderful table scene at the end
DR- That was a really odd day
GA- it really was
DD- And that was the first time we all met Anthony “Hello mate, my name is Danny” and then all of a sudden he’s strapped to a table and…
GA- Come on come on, you’re giving to much away!
DR- Don’t jump the gun Danny!
DD- Sorry!
(Adam sitting in Alice’s bed working)
DR- This was an additional scene added in. You went for this very enthusiastically Danny.
DD- Well, what else are you supposed to do? It’s very hard with this whole…masturbating…
DR- The ladies in the crew had to cover their eyes
DD- Oh they fucking never. You know what I just…
GA- I have to cover my eyes now
DD- That’s all right, it’s not that bad…I just thought if I had to do it…
GA- oh my god, this is very embarrassing
DD- Well imagine how it feels for me, Sweetheart! Very heavy.
(Adam struggles with…yeah.)
GA- Aww so sad.
DR- We shot this in a little studio
DD- You just got to go…you can’t get tricky. You just get your cock out and get on with it
GA- I love the details on the side with his clothes…listen to me, I’m talking about clothes and…
DD- That’s all right, just get your cock out, lively.
(Alice returning to the office)
DR- Sorry Gillian. Throwing you off your stride.
GA- No, it’s ok. This is just…
(Alice walking alongside Michas wheelchair)
DD- Why is he in a wheelchair?
GA- Wasn’t it originally hinted we were in a car accident together?
(Alice walking alongside Michas wheelchair)
DD- Why is he in a wheelchair?
GA- Wasn’t it originally hinted we were in a car accident together?
DR- No, that was in a later draft where we were working up the character of Micha and it all came to nothing, but there is something about a man who is very powerful who has lost the use of his legs/
DD- Yea, it works. It’s very odd. Just wondering why
(Alice on phone in the bathroom)
DR- This was the very last thing we shot, in (??) General Hospital
GA- Very last thing
DR- And it was just before we all said “Goodbye”
(Alice driving to Dad’s house)
GA- Something about Mischa in the wheelchair. Something very eerie. He does not show up a lot, but the fact that he’s in this raised up chair floating down the hall
DR- it was based on a documentary I did about gangsters in Cape Town and one of them got shot and was running around on crutches, and it was a very powerful man on crutches and it was a very odd image.
(Alice walking into Dads house
GA- This is my dads house. I grew up here.
DD- That was a cute little cottage, wasn’t it.
DR- it was in the middle of the woods. The locations that we found were ..(????), ended up being a great place to do it. Very pleased, except for the airplanes and the helicopters and all that
DD- That’s film making Dan
GA- and the whole crew in this tiny little house
DR- We had to prop up the floors to get the dolly up the stairs
GA- and all the crew members shoved into every nook and cranny. There is probably a sound man right behind me on his little perch
DR- Remember being completely still so the floors wouldn’t creak
(Alice runs back downstairs)
GA- God, I love those shoes...I sound so fucking shallow!
DR- They even sound beautiful, the way the creak
(Alice almost hit’s the horses with her car
DD- And here he is again. The moment with the little snake, Anthony Calf, played it so well. Very well played by Gillian here all this stuff
(Alice sitting in her car realizing who “Heffer” really is)
DD- I love how long you hold this here, it’s good. It’s powerful.
GA- In an actors mind you’re thinking “What am I fucking doing? How much do they want from me?”
(Back to Alice’s apartment, Adam passed out on the couch)
DD- So we’re clearly getting into everything here with my character. Absolutely struggling with what he’s about, sexually…
GA- Do you wank all the time in this movie/
DD- You got this image of my laying around stoned, wanking constantly with the tele on loud. Not a good place to be. Well, I don’t know. Depends on what mood you’re in really. Got a bit of a darby here. A bit of a darby belly kelly about me here. But the scars were great here, it was more about showing the scares wasn’t it.
DR- The white eye patch
DD- We had a debate about this eye patch
GA- Big debate
DR- We thought a black eye patch would look a bit Pirates of the Caribbean
GA- I think white was a good choice
DD- It was (????) cheap one. It works. It’s bit clumsy. It’s weird doing scenes with one eye. Freaks you out.
GA- I don’t think I was sympathetic towards you about that
DR- Danny, you were in a lot of discomfort and pain
DD- Yes, Help me Help me Help me with the role. It got me a bit snappy and feeling sorry for myself, which helped you know.
GA- I thought you were always like that
DD- I am really, that’s my game
(Adam walks into Alice’s’ fathers house)
DR- Ilan and Steve did a great job on the score. I really like the way the score works for with the film.
Ben who did the sound design, actually the clock you can hear ticking there, it speeds up as the scene goes
GA- On purpose, by itself
DR- no, he made it speed up. To crank up the tension, I’m sure it worked.
DD- if they’re listening to the clock at this point, we’re banging trouble
GA- But it’s a nice subconscious detail
(Adam rolling a joint)
DD- I’m proud to say we banged this scene out quite quickly . We didn’t milk this scene at all. We got the time right immediately.
GA- It’s a tricky one, this.
DR- It is tricky. It’s hard in a movie like this with a series of slow scenes that slowly build up to an intense climax
GA- And also this is the 1st time you see Alice as she really is, underneath the façade of the clothes and the hair. There is a lot of information here. About where she’s from.
DR- It’s a transformation that is sort of like a homecoming. She’s going back to where she grew up and there is a sense she is revisiting a state of mind she’s been in before, which is what the flashback stuff did. But I think you pulled it off so persuasively that we actually did not need the backstory. We got all that just from your performance in the room. I don’t praise actors very readily.
GA- I know that
DD- I know that
DR- Its been a source of great dissatisfaction on your part, I’m sure. I’ve learned my lesson.
GA- So now that’s being recorded?! For the record!
DR- Yes
GA- That’s the 1st compliment I’ve gotten from Dan
(Alice showing Adam the guns)
DR- Danny what did you base your performance on?
DD- I just take each day as it comes. That’s the way I work. ..(????) You have to be someone with one eye to be inspired by that.
(Adam sitting on porch. Hears gunshots)
GA- I love the juxtaposition to this scene
DD- We just start getting into this twisted, our roles are reversed a bit. I’ve turned into the tricot (??) and she’s taken over
DR- She’s taken your manhood
DD- Absolutely. I’m just feeling sorry for myself. This is a beautiful part of Kettle Minster (?)
DR- Certainly is. We spent a lot of time in the woods sitting around
GA- We got very lucky with that location with that cottage
DR- We were scouting and I saw this place and said “This is it”
DD- This scene was originally a bit longer
DR- It was, but I think the scene we shot to replace the end of this worked better. Because there was a confrontation at the end of this between Alice and Adam when she walks up to him and says “Look, I’ve got to do something” and we re-staged that inside the house.. Which you have not seen yet, Gillian?
GA- No. A little in voice over though when I was grunting.
(Alice cleaning the gun)
DR- This was shot in the studio
GA- It was hard to come back, when you have a scene like this. When you come back 5 months later to fill it in
DD- And you had to get familiar with a gun again
GA- And I know I’ve said this before, but I was pregnant. You feel like a different person. It was really hard for me to get back into character
DD- It was easy for me. Joking!
GA- I mean, my hair is different
DD- I think you get away with it, you can’t really tell
DR- It’s weird because this film was being re-written as it was being shot and when it was being edited because there were a lot of input into the script during the process from a lot of different people
GA- Can I just interrupt you for a minute and say that I was really annoyed I had to look into his eye that had a patch. Because as an actor, you want to look more toward the camera because it shows more of what’s going on in your eyes and of course I couldn’t and it was really frustrating
DR- Do you think this eye patch will set a trend?
DD- Umm… I doubt it very much Dan, I’ll be honest with you. And also the flipside to that is having to use one eye, getting your emotion with one eye. It makes it a bit tougher/
(Alice has the gun on the dog)
DD- This was mad
DR- it was the worst day. We arrived and found that it had snowed.
DD-It’s beautiful, it looks great
GA- Fantastic, but there was no snow for the rest of the damn movie!
DD- But it was a tough day, I remember
DR- We had an awful time. It was raining. Every shoot has a low point, this was the low day
DD- We’ll I’m not very fit, and I smoke a lot and I like to drink and this whole running where I have to bag the dog was really hard. I remember I had to (puke) when I had to do it, remember? I was really ill.
GA- I remember that.
DD- Because Dan pipes up and says “The dog does not look heavy enough, put some weights in the bottom of it”
DR- Because it looked like a stuffed animal
DD- The dog looked like a deer!
DR- And we could not get the blood to look red enough
GA- No it was pink
DR- So I got the grips to put some weights in the bag
DD- it was really heavy
DR- And you really did throw up
DD- I did spu my ringer. But the whole scene as well really did affect me, blood everywhere, getting clunked as well.
DR- I like the way we shot this. It was shot from way back on a long lens, very very simple but it gives it kind of a reality
(Alice slaps Adam)
GA- And I just slap you, I really got you that time!
DD- No you got me every time, Sweetheart. You’re quite small you have got a good right hand on you
GA- Actually that’s my left, which makes it more impressive
DD- Same thing girl, you’re left hand really shocked me. Really got me.
DR- We had to ADR this , which is a shame because I really like it. It was raining in the background and all sorts of strange noises
GA- When you ADR it it’s never the same
DR- Never the same
(Heffer walks out of his house)
DD- Yet another scene when I was reading the script knew it was gonna be tough to get it right, get the right time on that
GA- Also because we’re actors just on the side of a damp hill, blood in one eyes and a gun and it’s freezing and mud. And we’re not looking at anything
DR- I don’t think Anthony is a smoker. He smoke a lot of cigarettes on that part
(Sophie runs out of the house)
DR- This was another sort of crucial turning point for your character because Alice sets out to take revenge and she sees this young girl coming out of the house. The equation changes slightly for her
GA- It’s tricky, when I was playing this I thought that the original back story was gonna be in it’s just interesting for me whether it’s gonna be obvious…it’s difficult to be talking about this right now while this particular scene is taking place!
(Bad sex scene)
DR- The bad sex scene.
DD- So this is awkward, it’s weird
GA- So awkward. There’s one crew member sitting down at the end of the bed basically watching to make sure that nothing untoward is being exposed
DD- You know what, it’s just an odd thing to do. And I roll of the bed here as well
DR- You were both tremendously committed to it
DD- You’ve got to be. It’s a good thing we got on because if we didn’t it would have been a lot tougher
GA- And it made it easier that it was a bad sex scene as apposed to a good sex scene, being naked, for me there was an element of angst and trauma in it
DR- But actually it was relatively easy to shoot, the sex stuff
DD- We’ll for you it was
DR- Well the two of you went for it and we did not have to do a number of takes
GA- Well for me it had to do with the fact that he had a hard time getting it up. If it were a real sex scene I would have said “I don’t know if I can be naked on a bed” The fact that he was struggling made it more acceptable…in my twisted mind
(Alice sees Sophie in the woods)
DD- Francesca Folwer. Real sweetheart. This is a good scene this. She plays it well.
GA- She’s a good actress
DR- This is her first movie
DR- And she’s like a younger version of Alice in a way
DD- She’s very natural
DR- The dog is called Crisis because a Polish cameraman who shot two of my documentaries had a dog called Crisis in Poland. And I was just sitting there late one night thinking what I should call the dog, and I though of Crisis
DD- Very odd name
GA- Great name for the film. I love Alice’ clothes
DR- I love the hair
GA- You notice when I have nothing else to say I comment on her clothes
DD- I must say you pulled it off, girl
GA- more walking in the woods. I love this scene. This was a hard scene
(Alice returns from her walk)
DD- This was tough actually
DR- The cottage was so small. We should have shot the whole thing in a big studio
DD- We did not have the money though did we
GA- The room has so much character. It has more character in the film than it did in person
DD- In person?
GA- in reality? What is it?
DD- in cottage.
DR- We worked quite hard on this scene didn’t we
GA- Remember trying to find the right pus for your eye. We tried 4 different substances that would be appropriate pus, but of course, you said “Fuck all of them”
DD- This is the 1st real time you flip out on me really
GA- A bit (??) the way I played that
DD- We had to do this a few times I remember because you weren’t happy with my performance Dan
DR- Is that right
DD- Yeah, these bit pieces stick in your mind. I remember the 1st time I went it and you said it was not right
DR- What did I say to you?
DD- I think I went a bit too much with it, a bit too shatty with it. Because we go from one level to the next, being down and little boyish, to just flipping out you know
GA- Back and forth and back and forth
DR- I have to say one ting about you Danny, apart from the fact you are a wonderful actor you are incredible consistent
DD- Thank you sir
DR- Which may sound to people listening not like a big deal, but it’s a huge deal. As with Gillian
DD- She’s a veteran in the game, you know what I mean. I like this end of the scene . Originally there was a bit more dialog though, but just a touch of the hand is just enough to say “Yeah, I’m with ya..I love ya”
DR- We ended up cutting a lot of the dialog in the script partly because…
(Adam getting ready to go to Heffers house)
DD- This was re-shot as well
DR- No Danny it was additional scenes! We did not re-shoot anything because we had never shot them. You make it sound like we got it wrong, for Godsake man!
(Adam outside Heffers house)
DR- Remember the mud here?
DD- Yes
DR- You loved the mud here
DD- Yes, I love it Dan. I wanted to take some home with me.
GA- Remember the sheep in the farm next door?
DR- This farm where this was shot, didn’t it have a strange aurora?
DD- This was the last scene of the day and I was a bit ratty. I just wanted to go home
DR- What do you think of me as a director Danny?
GA- Oh God, what a question!
DR- did you really hate me? Cuz I got the sense you really hated me!
DD- I like you as a director! As a man, I won’t go have a lager with you. No I’m joking! No you’re a joy Dan. You look like a football hooligan but you’re a gentle giant. It was a joy to work with you
DR- Bless you Danny…Can I just say…
GA- Well say something for crying out loud!
DR- I want to say how thrilled I was when Gillian and I had a meeting and had a cup of coffee in west London and that’s kind where this whole thing took off. And I believe, like I have the whole time, that Gillian is Alice. She is the person who could pull this off and you just made the part your own and you just ran with it.
GA- I think I’m about to have a heart attack. I’ve never heard so many lovely things come out of his mouth! You are so sweet!
DD- Yeah, you wrote that
GA- Do you have cheat notes up your sleeve?
DD- When I read it I though that’s great, but who have you got playing that character? And you said Gillian and I though WOW that’s a bright mad call!
GA- All I remember is we had that reading and Danny came in and he slapped you on your ass
DR- Yeah he did, he patted me. But when Danny came in you took that part. I did not give it to you, you took it. We had some great guys come in to audition, but Danny just…
DD- not as good as me, just be honest
GA- Well you got the part
DR- You took it and the chemistry was there
DD- And that’s why we did not need to rehearse that much because from that first meeting we had it was there
DR- I’ve actually still got the tapes from that audition
DD- I remember the audition scene was quite a heavy one . I had to touch your breasts and things like that
GA- Oh yeah. It was a scene that did not end up in the movie. It was when I come up and tie his tie when he had the suit on. I loved that it was really…I didn’t want to let go of that.
DD- But yeah, quite a hard scene as an audition. We just met and I was willing to touch your breast and you didn’t know and you said “You Don’t have to actually do it” and I said “If we got to do it, lets do it”. And I think I tried to put my lips on you as well
DR- Did you?
DD- Yeah I did
DR- Well I got the tapes, we’ll check. We’ll have a private party
GA- I wish I remembered this
DD- Oh, that memorable was it? Cheers.
(Bad guys fighting the living room)
DR- There was a whole scene here that was cut, down in the room there, and we ended up cutting it out because it was too many different points of view. And this had to be Gillian’s and Danny’s point of view. There is a whole scene where the guys in the room with Heffer ended up dancing with him. And it was a beautiful scene with a great song but it’s not in here anymore.
GA- Oh that’s a shame, why is that?
DR- Because it threw the structure of this part of the film, it made it less intense. Because it had to be focused on what Danny was feeling and what you were feeling.
(Adam attacks Sophie)
DD- I did not enjoy doing this
DR- Not at all
GA- It was your first scene wasn’t it
DD- Yea, it was just full on straight away. And bless her she’s a real sweetheart, she’s a really nice character and quite innocent, and there’s me being horrendous
DR- This was a difficult scene for you Danny, because at this point Adam, a lot of a people will change the way they think about him with they see what he does
DD- Of course, and for me I start to not like my character and I start to hate him
GA- I think I was arguing quite hard that that did not stay in. I felt like it would take away the intensity of the tension and the relationship between him and Alice
DD- And how much I cared for ya, yea
GA- And that he would do something so shallow…but actually, I was wrong.
DR- Well, it worked because Adam is in a constant sexual crisis that begins the night you’re blinded in one eye and this is a real turning point for your character isn’t it Danny
DD- It’s a deterioration of me and what I’ve become, from what I am at the beginning of the film
DR- You can’t control your character as with Alice she’s very familiar with the path that she’s taken
DD- She’s more in control of it
(Adam shoves Alice against the tree)
DD- I’m just going with the flow of it, and again here, originally was a longer scene wasn’t it. But you cut it into the re-shoot
DR- The additional scenes!
(Rough sex scene)
GA- so it started out as a longer scene where he pushed me against the tree and starts
DD- Now this was difficult because you was pregnant and you were a bit tender and you said to me “Listen, be a bit careful…my breasts are a bit” but I did it and I was not in thought was I?
GA- No, it was intense because I kept pushing you away because it hurt for you to be close to me because I hurt and also when you’re pregnant you don’t want to be thrown around like that
DD- You Don’t want some old cockney throwing you about
GA- And you’ve got your face (???)…you can’t ask for (???) in this particular situation
DD- And it was tough and I felt really horrible about myself…just not nice. But we didn’t have to do it often. We did it in a couple of takes. You gave us free range
DR- I love the little things that you whispered “I fucking love you”
DD- “Tell me how you want to be fucked” …was that in the script?
DR- No you made that up
DD- See, I’ve got a bit of a seedy mind meself you see
DR- And this was all shot in a big empty studio, months and months after we shot the main
DD- We hadn’t seen each other in a long while. But it so works, we needed to do that I think
DR- Yes, it just focuses on what’s happened in the film up till then
(Adam sitting n the dark woods alone)
DR- This was shot in the car park at 3 Mills
DD- That’s when I said “Dan, we don’t need this. I wanna go home. Me sitting up against a tree smoking! Drop me out! It’s 9 o’clock!”
GA- I remember you had to wait around for this
DD- I went to a bar and had a few…but you kept in it
DR- We kept it in despite the fact we had a focusing problem and we had to have it digitally shot
DD- It was too fucking cold again, wasn’t it!
(Alice wakes up at computer)
DR- This whole idea with the cameras, peeping in on Heffers house, I did worry about whether people would buy into that, accept the fact that this sort of rather implausible technical…
GA- and the fact that he happens to be an expert at…
DR- …he happens to be an expert and all that. I thought that “Is that gonna seem cheesy”? But it seems to sort of fit because the story needs it
DD- Yeah I don’t think it’s that type of film that you pick up things like that because it’s such a random film and odd things are being thrown at you and weird images. You don’t start thinking about things like that I don’t think…unless you’re a prick.
(Alice runs out of the house yelling for Adam)
GA- How’d I get the gun in a my hand?
DR- What do you mean? You grabbed it from inside the house!
GA- No. You better look at that
DR- What?
GA- Because it’s a quick cut with me walking out of the house without it in my hand, to walking out…no, you’re gonna get shit for that! I promise you
DR- Is it a continuity crime? No it’s a jump…
GA- People are gonna make TV shows all about that you know
(Alice drives up to Heffers garage)
DR- I originally wanted this horn sound to be like a novelty horn. Because when I was growing up, there was a guy down the road with a big Ford Caprice …
DD- Was it like (sings a tune)
DR- No it was like (Sings “La Cucaracha”)
DD- Oh God
GA- I remember you saying that
DR- And I wanted to have that in. We tried it, but it sounded too soft.
DD- No, no, no. That’s a horrible noise, that.
(Alice yanks Heffer out of his car)
GA- This is freaky because …
DD- Tough wasn’t it
GA- It was because Anthony had all that fake spit, you’ll see in a minute, and he spit it out
DR- You were supposed to give him the kiss of life
GA- Yes, and I…
DD- Decided not to
GA- Decided not to basically!
DR- He was ill wasn’t he?
GA- That’s right and he saved me because he was not well…no no no, I couldn’t
DR- A peculiar throat infection
GA- Oh that’s right, didn’t he. Peculiar, yes, I was saved by the…
DR- Anthony Calf was an extraordinary choice for this, I think he was the only actor of his caliber who would ever have done this. And I don’t know why he chose to do this part, but…
GA- I don’t know why any of up chose to do it honestly…
DR- We can talk about that later. But Anthony was totally committed to it and what he has to go through at the end of the film is something a few actors would take on. But he was complete committed but he never wavered never doubted. He was solid all the way through and I have great admiration for him because of that. He pulled it off brilliantly
GA- He really did. I saw him in “Rock and Roll” after that and did not know he was even in it when I went to see it in the theatres
DR- He’s such a clean cut family man and for him to play this was a decent in to madness for him. And he was exhausted and ill and uncomfortable. And when you see the guys bum later, it’s not Anthony’s bum. Anthony wanted me to point that out
GA- You’re gonna point that out now? Well, you just complexly gave it away! Not that anyone is gonna see this before they see the film but you did just give something away just now
DR- This is getting…some people are wondering why the hell I wrote this and I’m wondering why the hell I wrote it because it has such a crazy shocking outcome. I think.
GA- Do you?
DR- Yea! I wanted to make a fable, a fairy tail about violence…
GA- I think you need to take that picture of this movie, this fairy tail
DR- You don’t think fairy tail…
GA- Noooo…somehow it just doesn’t
DR- You don’t think it has a fairy tail quality? I don’t mean a children’s fairy tail. I mean a fable, a sort of parable…that sort of morality
GA (to DD)- What’s he on about?
DD- I don’t know!
GA- He’s trying to make it all be OK
DR- It’s a post traumatic fairy tail. That’ what I was trying to describe it to myself as
DD- Post traumatic fairy tail?
Dr- Yeah, well you know I was making documentaries for quite a time and seen a lot of things that shocked me and I came out of it wondering what it would be like if an ordinary confronted the kind of brutality that some people have to face in countries that are not at peace
GA- And they are ordinary couples, but there is something more recognizable to us…on our back doorstep so to speak, goes thought the similar kind of atrocities
DR- Someone we feel we can identify with
GA- And what I think is amazing in this film, and seeing the final cut is that you believe it. You believe these characters. The way that you shot it ,the quality of the film. You actually believe that there are these kinds of people out there going thought this. And I find that quite remarkable because in reading the script, I certainly questioned that from the beginning
DR- I wanted to really make a film, particularly for young men, who wonder about violence a lot and are preoccupied about it and they have violence marketed to them in all sorts of games and films . And I wanted to make a film that was “Who was right and who was wrong and who was good and who was bad?” that was not quite as simple as these films. And I wanted to also make the violence in this film shocking. Because for me the act of rape is a lot more shocking on screen than the act of murder. And that’s because murder and violence between men has been made as almost inoffensive by repeated use by the way it’s presented on screen. It’s almost nothing. People are killed right left and center at 8 o’clock in the afternoon when kids can watch. And yet rape has a big taboo, as an act of violence it has a big taboo. And also the rape of a man by a woman is probably the ultimate reversal of that.
GA- It’s not seen very often. You don’t have video games for kids like that with that particular detail. No.
(Flashback scene on the road)
DR- so I wanted to create these interlocking scenes where something terrible happens to Alice, the heroine of the film, but she discovers through talking to the man who did it to her where he explains there were complex reasons for why he did that. That he was trying to avoid harm coming to someone else, his daughter, and that’s why…
GA- Yes, but it’s still not enough of an excuse to turn around and go
DR- It’s not an excuse
GA- Not it’s not an excuse, but it’s not enough information for her to go back home again. She still decides that she has something in side that she needs to purge
DR- Everyone has their own interest and what they have to do in order to achieve their goals and sometimes that often leads to someone doing violence to someone else. And that’s why these things happen and Alice does what she has to do, in the same way he claims he had to do what he did to her. But he’s wrapping it in reasons. He’s creating a moral trial of excuses, reasons for what he did
GA- What’s interesting in the nature of this scene with the character sitting face to face with ones perpetrator and listen to them tell the story from their perspective, not knowing that they are talking to the person that they…
DR- I really enjoyed writing and shooting this scene. The fact that you said these are two people who face each other at a table who have been incredible close in a disgusting way in an act of violence but are looking into each others eyes and touching each other
(Heffer says “I fucked her”)
DR- I think at this point the knows who she is now. And when he say’s “I fucked her” that’s a challenge to you
DD- See the part there, with this rape scene, where he throws him a condom it adds something just disgusting. Like “You don’t want to catch something when you rape her, you better be safe about it” you know what I mean?
GA- I asked you about that and you said that they’re protecting themselves from leaving evidence of the crime, forensic. But that was my first reaction to it at first, it’s kind of twisted
DD- Very twisted
(Heffer zips himself up, Alice slides of hood)
DR- This was strange. We just ran this shot and left it running and just left it running way after it was supposed to stop.
GA- Leaning up against the, oh my god…
(Adam runs into the house)
DD- Here we go! The darkest scene I’ve ever been involved with in my short career
DR- I wrote Straightheads in quite a short time and I sat in the British library in London and wrote it because it was the quietest place I could find. And once I wrote this scene, I looked back over it and couldn’t believe what I’d written and I thought there was no way I could actually…it just came out! It was just following the logic of what I had just written…
GA- Oh geez, can you just say where in the British Library because I’m sure that there will be a following of people who will…
DR- Seat 62 B. And it seemed to make complete sense to me when I wrote it and then when I looked back it I thought “No, this is disgusting, unacceptable. How on Earth can I…”
GA- Did you go home and tell your wife? Did you say “Did you know what I wrote today?”
DR- No I don’t think I could bring myself to do that. I thought, well maybe in a couple of weeks I’ll change my mind about this and I’ll just have her murder him.
GA- Do you want to repeat right now that that’s not Anthony Calf’s ass that was just shown.
DR- That was not Anthony Calf’s ass. That was an ass double.
(Bum rifling scene)
DR- Gillian I really thought you came into you own in this scene. You’re a mixture of strength and vulnerability and it’s incredibly intense but it’s not shrill. And getting this right was such and achievement
GA- I have to say that shot with him in the foreground is quite extraordinary
DD- Danny hit his spot on his own. He’s demonic and innocent at the same time…
GA- I can’t believe I did this part right here…what made me…what was I thinking?
DR- Gillian what persuaded you to take part in this. When you read the script and you read Gillian, uh, Alice thrusts the rifle into Heffers rectum, what did you think
GA- I thought, “Well, I haven’t done that before!”
DD- And you’ll never do it again.
DR- And this scream- it’s the turning point for Alice. She realizes she should not go any further
GA- I remember shooting that, us all in the room and you wanted to do it a few times, there was some thing you wanted to happen. Some thing you wanted to happen. I don’t know what we were discussing, but that was the last time…there was nothing
(Adam gets read to poke an eyeball)
DR- I think we had one take to get this right
GA- It was the can of beans wasn’t it?
DR- It was and you (Danny) just slashed your hand open
GA- You had to go to the hospital
DR- You did this scene and went straight to the hospital after this
GA- And it was going so well
DR- And there was a question whether it was in focus or not, but it was fine. We were all worried
GA- You were worried you were going to have to re-shoot it. Showing up on a Sunday to reshoot this scene…would have been bad
DR- Danny, you just got it in one and that was extraordinary
(Adam pokes eyeball)
ALL- UGHHHH!!
DR- That is a horrible moment…what was I thinking?
DD- That is absolutely disgusting…this is the moment, I roll off the table…
DR- Taking the Bible all to literally
DD- And you don’t see me smashing the kitchen up do ya
DR- You don’t because when you smash the kitchen up that noise you can hear is the bean tin falling
GA- Ohh the beans where there and now their not!
DR- And that was the bean tin that cut your hand open Danny
DD- Yes, I was such a man about it
DR- You were a butch about it
DD- Butch
(Adam is left alone at the house)
GA- And then this scene. This to me is almost, well you’ll see
DR- You smashed up that rifle pretty good though
GA- Remember I fucked it the first time. It’s a fake rifle and it’s…I messed it up on the 1st take because it hadn’t been right. When I did that second take, it was tied together with fishing line. And I had to hold the bullet in my hand in order to discard it because I couldn’t eject it out of the gun because it was a fake gun, I had to drop it, it was…it sucked. It was raining and it was cold and …listen to me whine.
DR- No, that was a heavy day
(Sophie walking down the road)
DD- So you had a few stewards on ending here, didn’t ya. You chopped and changed this with the whole…
DR- Yeah, I was not sure whether to change …what you have now is a sort of ending with Alice and a sort of coda with Adam. So there is sort of a double climax at the end. And I wrestled with whether the film should end with a slightly saccharine but positive note with this…
(Alice looks at Sophie)
GA- It’s like looking in a mirror with that shot
DR- Yeah, with the rescue of the girl, but then I though that I should be true to the dark part of Straighheads and a stronger ending with Adam’s final departure, with his loss of control
GA- The little bit of guitar in the back is…
DR- Don’t you love the refection in the glass?
GA-…there is a little element of hope in the guitar in the background
Dr- There is! It was very important not to end the film on a bleak note. I remember people laughing when I said to people this film has a happy ending. It does have a very good ending for Alice, a strong and positive ending for your character Gillian, but at the same time, you have condemned Adam to Hell really. I mean he is unable to cope with what he’s done
(Adam looking at what he’s done, Heffer dying)
GA- You know you’ve got some very good shots in the film Dan…you’re a good director
DR- We wanted it to be polished yet with a sense of reality we did not want it to be documentary style.
GA- I mean look at that shot…I’m sorry…that’s a lovely shot…the little bit of tape
DR- I remember asking Anthony to twitch his thumbs a little bit because I wanted to tell people that Heffer’s still alive, he wasn’t dead
(Other bad guys show up at the house)
DR- But Danny’s like the rural recruit that’s given a gun and he’s a good boy and he comes from a nice place but he’s just cannot handle what he’s just done
DD- The moment for me was showing the actual change. Such a change from what I was to what I am now just sitting there. Like a psycho just gone. Just absolutely gone
(Adam shots bald guy through window)
GA- That’s so fantastic
DD- So cold and just so calculating and measured
GA- The way you do this, the end is just about as twisted as the final rape scene
(Adam shoots last guy)
DD- Great shot. It’s always great as an actor to play this stuff as well you know
GA- Makes you feel like a man!
DD- Yeah, I felt like a man at the end of this day don‘t you worry about that!
GA- But the way you made it stick
DD- Yeah it sticks into your skull
GA- Remember Dan was saying “It sticks, you have to yank it out!”
DR- I wasn’t this to be, this is almost like a shot from a documentary because you’re standing way back, you’re witnessing something happening.
DD- Yeah, I love the way that it’s very wide, you can’t see my face. You can’t see him. Use your imagination about where I’m sticking that fucking thing!
DR- I wanted it to be revolting and yet not explicit. I didn’t want the violence in this film to be entertaining, but repulsive. But Danny you’re like a rural recruit that’s gone of the edge and just massacred a village of women and children somewhere and he’s been taken to war and abandoned…
(Blackout)
and he looks up…and that’s it. Straightheads.
(Credits)
GA- That’s a great film Dan! You made yourself a good little film there!
DR- With a little help from my friends
DD- Well done son, and Gillian, just fantastic, pleasure
GA- And you too Mr. Dyer.
DD- Thank you my love
DR- Let’s do another one!
GA- Yes, a sequel! Nobody’s alive!
DR- A RomCom?
GA- What would it be?
DR- At the end of the script we had Danny walk off into the woods, and then you go back to the city with…
GA- Francesca
DR- Sophie. And you have sort of a lesbian affair …no you don’t!
GA- then one day, Adam knocks on the door
DR- And there is sort of a (threesome)
DD- And we freeball!
GA- And it goes on for an hour and 52 minutes
DD- Love it, lets do it, should we crack on immediately
DR- What about the title “Straightheads”?
GA- Love it. I don’t think they should change it
DR- What does it mean to you?
GA- It does not matter. There’s something weird, ambiguous, odd
DD- Explain it Dan
DR- Well I made a docudrama for Channel 4 and with a bunch of guys from Liverpool who grew up having to take their safety into their own hands. They were know characters from the cities underworld scene. I learned a lot from them. One of the things I noticed is this sort of slang that was being thrown around was “straighthead” you know like “Leave the guy alone he’s a straighthead”. And a straighthead is someone who is not involved in drugs or guns or violence
DD- a straight-goer…which is what we are
DR- Yea a straight-goer. That’s what you are. Two straightheads who’ve never really had to deal with violence or consequences or figure out what you should do when you end up in a place with no law. And that’s what the forest is with “Straighheads“, a place with no law. And you need to make your own decisions about what to do to survive. And Alice makes those decisions with a degree of success. And Adam looses it. He crosses to the dark side
DD- on that note Dan
GA- I like the music
DR- It’s good isn’t it. It’s called “Edwards Hands” really good track
GA- Why is it call Edwards Hands? Who is Edward?
DR- I don’t know who it is maybe we should find out. Umm…I love you both! Thank You!
DD- Thank you! I love you, I love you
GA- I love you too Dan
DD- I love you both
GA- *giggle*
(END!!!!)

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