That particular angle was shot from
two different angles with two cameras.
Perhaps a third camera, a real
low shot on a highhat, on a board.
But Dennis was in the booth.
That was all Dennis.
Did it himself. And Dennis was very
insistent on driving the car...
except for certain things
where all of us ran and said...
"Dennis, you're not doing
this next shot. "
But even at one point,
Dennis goes up half a hill.
You can see out the front window,
like in a jet plane, the horizon line...
just goes like this radically,
and then recorrects.
That's Dennis driving up the shoulder
of a highway and back down again.
Dennis did a lot of his own driving.
Dennis was proud he was in that phone
booth when the truck was coming.
He had plenty of time to get out. It
was practiced and rehearsed repeatedly.
There was all sorts of fail-safe points.
There were these stakes in the ground.
And Cary Loftin had his eye on
little flags, which were off-camera...
that meant
"the point of no return. "
That meant if Cary did not
see Dennis leave the phone booth...
by the time the grill of his truck
got to that red flag...
Cary simply was going to
abort to the left.
There still would have been
a lot of clearance between the booth...
and Cary's aborted driving.
Dennis did it just at the right time.
We only did it once.
I didn't want to tempt fates
and do it a second time.
Dennis got out of the phone booth,
so the truck didn't have to abort.
It just went ahead
and plowed into the phone booth.
Why did he break my cages?
Lucille Benson,
I asked her to come back...
and do the same scene with John Belushi
from Duel in 1941.
Fill 'er up- Ethyl.
Where?
- What's the matter? Car trouble?
- Well, in a way, yes.
- I wonder if you'd do me a favor.
- What's that?
In Close Encounters
of the Third Kind...
I used the two older people
in the car from Duel.
I used those same two actors
in the helicopter in Close Encounters.
I'm a sap for nostalgia.
You know what I'm saying?
I like that. I like never forgetting,
you know, the old ties.
They had a dead man's clutch on the
truck so it would continue to roll...
with nobody in the truck
and hit the car and go off the cliff.
I'm not sure how they accomplished that.
I was busy on the cliff side...
setting seven different positions
in the best spots to put the cameras.
That was the only truck we had.
We didn't have a "take two" on that.
That was the end of the movie. There
was no reshooting after that scene.
I was very obsessed
with getting all that right...
while Cary and the physical effects
people were up topside...
getting the truck rigged to plow
into the car and go off the cliff.
I know when I saw dailies from that
scene, I used one of seven cameras...
all the way down because
the shot was so extraordinary.
There was one shot- I'm not sure
who the operator was on that...
but the operator deserves a medal-
who followed the truck and the car...
all the way down,
including into a large plume of dust.
You would assume the shot would
be over, but then the massive tanker...
part of the truck,
reemerges from that cloud...
and continues its journey
down the cliff.
It was an extraordinary shot,
and that had to be the only shot used.
I don't think I saw any dailies, 'cause
I was living out in Pearblossom...
the entire time I was shooting Duel
with the company.
There was no time to see dailies there.
We couldn't go back to see dailies.
I was just relying on lab reports
to say there was no hair in the gate...
and no negative scratches
and the film was exposed properly.
I was relying on Jack Marta to tell me
if he thought it was going to be okay.
I really relied on his expertise and his
years of wisdom of being a good DP.
But when the movie was over,
I was faced with something uglier...
than having not being able
to being able see my own rushes.
I was faced with the fact that I had
three and a half weeks to an airdate...
from the day I wrapped
the principal photography on Duel.
There was three weeks
and a couple of days...
to the time that story
was going on ABC Movie of the Week.
I couldn't just do it with one editor.
As a result,
five editors worked on Duel.
I was bicycling from editing room to
editing room for three and a half weeks.
It was an amazing time.
Each of these editors was really
talented and did great work on the show.
I remember a sequence that
one of the editors created...
that wasn't even in the script
or in the way I shot the film.
But he created a kind of tempo...
when the truck is finally bearing down
on Dennis Weaver's character.
The truck is forcing Dennis
to hit speeds of like 100 miles an hour.
There was never enough coverage. He
began stealing from other sequences...
to have enough footage
to create a faster cutting rhythm...
to culminate in this crash,
where the car goes into the wall.
You know, sort of totals itself
or totals the front end of the wall...
before the climatic
climb up the hill...
before the climatic fall
into the canyon.
He had created that scene, unbeknownst
to me he was working this way.
I came into the room, and he said,
"You wanna see something?"
I said, "Sure. "He showed me
the sequence that just blew me away.
Sound design is just a glove
that goes over the hand...
of where the camera
is positioned.
Sound fits like a glove. It has to.
It has to be a partner...
to everything you see
and everything you sense.
Sound is going to make
everything scarier.
Something wrong?
Sound's gonna make
everything more suspenseful.
A silent movie
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