We shot two scenes of Lea (Claudia) and Mary (Chus). In sec 50, Lea choose clothes to give Mercè. I ask Chus improvise an end in Spanish: ‘Yeah man, I’m going to undress me! I have nothing else to do ‘, to the general laughter after the’ Cut’.
Chus shows the character of Mary conventional maid. At first, I was terrified, she told me he could not do the film because his French is almost nonexistent. I convince and reassure. I tell him all the time Spanish maids in France spoke French fatal, even after 20 years in France. ‘No need to talk like Marguerite Duras’. And we will do all necessary shots. And we do.
In sec 78, Claudia talks about how Cros watched, and I see Léa, it’s there.
The phrase ‘Je prendrai one marteau et je les gros caserai in mille morceaux!’ Makes the whole team again crying with laughter. Chus is fun to read the phone book. After each feeding ask me ‘Have I fired? ‘All equipment imitates, repeats his words. All adore her (we adore her). Eusebio She and her husband, the last surreal, (‘Thank you, Paris Match’), become talismans of filming.
In the afternoon, we shot the sequences 11 t 12 in a single plane sequence. Claudia, Chus and Aida come walking down the street, observed by Jean from the terrace. Chus walks very slowly. Aida walks like Mercè. Are there too many extras? Everyone likes the plane.