Revisiting how Scene 62 is scripted:
...
62 INT - TOWER ROOM - DAY
as they ENTER RUCK IN ON Quentin. As he looks around, Carlotta watches him carefully.
CARLOTTA Well, does it still seem familiar?
QUENTIN - CLOSE-UP
His feeling is still the same, but now he doesn't want to admit it.
QUENTIN (hesitant) No ...
She continues to watch him carefully. He looks very concerned.
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And that's when today's quote -
Page 25/Scene 62 - Carlotta: 'I wouldn't worry about it, Mr. Collins. There is always a logical explanation for feelings like this. Will the room do?'
- comes up.
...
And when it comes to the differences in the descriptions and directions, the camera doesn't actually move in on Quentin when he enters the tower room, though, as can be seen in the following portion of a capture -
- Carlotta certainly watches him intently (and I love how she does so) - and there is no close-up of Quentin as he's taking in his surroundings, though he does move more prominently to the foreground of the frame - but while Carlotta does continue to watch him carefully and at first he does appear concerned, he actually smiles as he moves closer to some things in the room to check them out.
... Let's pick things up in Scene 62 with yesterday's quote -
Page 25/Scene 62 - Quentin: 'Yes ... yes ... it's fine ... has it ever been used as a studio before?'
- coming up, followed in the script by:
And that's where today's quote -
Page 26/Scene 62 - Carlotta: 'Not in my time. If there's anything you want, I'll be downstairs.'
- comes up, followed in the script by:
He puts his paints down, starts to set up his easel.
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End of scene...
...
And when it comes to the differences in the descriptions and directions, as can be seen when comparing the 10th's and the 11th's captures -
- Quentin turns to face Carlotta when he tells her the room is fine - and, as he states that the room has been used as a studio before, Quentin moves toward the middle of the room and out of frame, as can be seen in today's capture -
- which only features Carlotta - and we don't see Quentin put his paints down or start to set up his easel (he actually put his stuff down near the doorway when he first entered the room) - ...
And as for the notations in Grayson's script, with regard to Scene 62, even though in the film Carlotta actually says "Yes, I believe it has", there's a notation in Grayson script adding "Yes, I think so" in answer to the room having been used as a studio, but obviously it was changed when the time came to shoot the scene, and, for me anyway, "Yes, I believe it has" is far more preferable - and in reference to adding the line, there's a notation that Carlotta is trying to tell Quentin something - and there's also a notation that Carlotta believes Quentin has gotten a glimpse of the past - ...
And before we leave this section of the film, observant people might notice in a few of the captures that there might be something in the tower studio that plays a part in the daytime show's 1995 and Summer of 1970 storylines. I'm not sure if it's exactly the same prop (and I'm too lazy to check). But it looks an awful lot like it, and soon the forum's Watching Project will be getting to 1995, so soon enough we'll see if it's the same...
And when it comes to the next scene in the film as it currently stands, things jump all the way up to a slightly reworked version of Scene 84 - though that doesn't mean that all the scenes between Scene 62 and Scene 84 aren't in the currently available version of the film or the 129 minute version. But more on that as those scenes come up in the script...