NETWORK EXECUTIVE: We at the network want a dog with attitude. He’s edgy, he’s “in your face.” You’ve heard the expression, “let’s get busy”? Well, this is a dog who gets “biz-zay!” Consistently and thoroughly.
KRUSTY: So he’s proactive, huh?
NETWORK EXECUTIVE: Oh, God, yes. We’re talking about a totally outrageous paradigm.
WRITER: Excuse me, but “proactive” and “paradigm”? Aren’t these just buzzwords that dumb people use to sound important? Not that I’m accusing you of anything like that. [pause] I’m fired, aren’t I?
ROGER MYERS JR: Oh, yes.
Somehow, the full recordings of Harrison Fords barely used V.O. in 1982's initial release still exist, as does the material necessary to elongate the film to let it fill scenes between dialogue and action. The opening titles synch to the 'tears in rain' motif, Leon discovers Gaff's first sculpture, and the Vesper sequence is more elaborate and less mysterious. An uncanny lesson for editors.
Anthology builds the first festival of great Franco era horror films, almost all unseen on big screens for 30 years (unless they've been at the Spectacle). Far more brutal than the Italian parallel horror, here fascism breeds fanatical repression that explodes in bizarre alle-gory(s). Miraculously: all in celluloid.