So maybe I should have two cameras and two assistants, one soundman with an assistant. No,...

Shirley Clarke:
So maybe I should have two cameras and two assistants, one soundman with an assistant. No, wait I could have two soundmen, one for each camera. Then, two electricians. No, you only need one. One good lighting person's enough. One person to push things around. One person for the set. That makes, let's see, eight. Oh, I know, I'm supposed to have a crew of 22 people. My God, that's too many. They never understand that you can do things cheaper. I have To have a flexible crew. There has to be as few people - three or four at the most, I mean, maybe seven is possible. But, if there's more, you know, it just doesn't make it possible to work. And I want the cameras to be able to move all the time. If we shoot - let's see - it's an hour-and-a-half film - probably for something like this, it's got to be at least a 10-1 ratio. Color 35. 70,000 feet of negative. If they start fo ask me, how much I think it will cost, I've got to find a way to sort of feel what it is they want to spend. And, then, I just can tell them that's what it's going to be. I mean, if they give me $200,000, I'll do it for 200. Three hundred, 300. Four, five, six, whatever. I don't care. So, what I have to do is just, kind of, keep quiet. And if they talk about money, I'll just smile or nod, "yes", whatever they say, "fine." And, then, I'll see if we can't get so that I can get the people that I want. I mean, if I don't have the right cameraman, there's no point in trying to shoot at all. I can tell that they're afraid of me; because, we're not talking about the same thing