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Another was the use of slow motion for shootouts because, in the years since Kurosawa, Penn and Peckinpah explored the technique, slow motion has become its own sort of cliché. Our shooting schedule was so tight that we had no allowances for errors, mistakes, or problems of any sort. We all knew that this was unrealistic, and we hit our first problem on the third day of shooting. I mention it as an example of the sort of trivial thing that can create an unexpected mess. We were shooting the arrival of Benjamin and Brolin in the underground corridor.
Camera begins to move in on Martin. MARTIN (very low): You talk too much. The Gunslinger turns his head slowly, indolently, like a lazy lion. GUNSLINGER: You say something, boy? MARTIN (louder): I said, you talk too much. Around the saloon, people are beginning to sense the tension; they are losing interest in their drinks and card games. The Gunslinger is still lazy. A slow smile spreads across his face. He steps away from the bar. GUNSLINGER: Why don’t you make me shut up? Martin steps away from the bar, nodding.
Experiences the sensual, relaxed morality that existed at the peak of the Imperial Roman Empire. The man blinks; he’s not so sure he likes his wife going there. CUT TO: Blane and Martin. RECORDED VOICE: All together, these resorts comprise Delos, the most exciting vacation spot . . CUT TO: The screen showing the three original quadrants. RECORDED VOICE: . . in the history of man. Located five hundred miles into the Sahara Desert, Delos is a triumph of man’s mastery over the environment . .