SS: We used this other theatre for the scene of us going in, though. The Orpheum was doing talent scouting for So You Think You Can Dance and they had someone running the door.
AH: We were Downtown shooting pickups and one of the things in the back of our heads was that we needed that shot of them walking into the theatre. I’d actually written a scene for a security guard that we were going to play out and Richard Linklater was going to play that part. But we were Downtown outside the Orpheum and it ended up sort of happening on us.
SS: The scene was basically going to involve Scoot talking to the security guard and trying to find out if he’d let us in.
SM: So I go up to this security guard and say, “Is it OK if my girlfriend and I come into the theatre?” And she says, “Yeah, are you here for this dance thing?” I said, “Erm, yeah, OK…”
SS: All I see is Scoot wave to me saying, “Come on in, come on in!” I don’t know what the conversation was with the security guard, but I headed in with Scoot. When I got to the door they were like, “OK, get a number and fill out this form,” and I thought, “What the fuck!!” They hurry us into the theatre and my heart was pumping.
AH: They were both mic’ed up so I was listening to this whole thing and Scoot just started totally fucking with her. She was like, “I don’t have the right shoes,” and Scoot would say, “Nah, she’s fine, she’s just nervous!”
SS: Scoot said, “Hey babe, I’m going back to the car to get your shoes, I’ll be right back.” He leaves me there! They have one of those white numbers they’re about to tape on my fucking chest and I was freaking out! I had to fill out release forms, they handed me this clipboard.
AH: That shot is in the movie. It’s jump cut and set to music, but it’s in the movie. I had to photoshop out the So You Think You Can Dance sign from the billboard…
SS: When you see it in the movie it’s so funny because you can see the reaction on my face. It’s a real security guard and I have no idea what she’s saying to me!
AH: That was one of the last shots we had to get and we got it while we were editing. I’d put together a 45 minute assembly and I sent it to Frank Reynolds and he was like, “Great, I’ll come.” He literally sat on my futon couch doing the first assembly cut of the film and then Jacob Vaughan, who’s a filmmaker I really admire, came in for a good few months while we fine-tuned and fine-tuned. We premiered the following April at Tribeca, less than eighteen months after we started.
SM: But you were cutting right up until Tribeca, right?
AH: Right up to the moment we had to deliver the film.
SM: But even after we premiered we went away and reshot two scenes.
SS: We had to reshoot the scene at the end where I cried in the bathroom. That was so difficult because it’s such an emotional scene. I remember Alex saying, “I have some bad news, we have to reshoot that scene…”
AH: It wasn’t in the original script. I wanted to watch her make the decision but we weren’t sure. We went and shot it on video to see if it would work and she acted it brilliantly. It worked out great and it was essential for the movie but I had to ask her to do it again.
But even after all of that we weren’t done. US distribution demanded a colour version of the film. We shot the movie, for the most part in colour, but we always drained it – we didn’t even watch it in colour once. I was going to colourised a few objects, which was an idea we dropped at some point, but as a result
most of the movie is shot in colour, but some are in true black and white. The US distributors weren’t sure if they were going to distribute in colour or black and white but they at least wanted the opportunity to release in colour. So we had to reshoot the theatre scene, reshoot the mother on the phone, and reshoot a couple of insert shots.