The Bourne Identity. It's pretty amazing. I had the Bourne script for a good month and a half, and I knew I was going to Prague to shoot my segment of the film. So two weeks before I'm off to Prague, I get a call from the production company, and they say "Look, forget the script. We've got a lot of re-writing to do, and we'll send you a script as soon as we can." So a week goes by, and I'm getting pretty freaked out, because here I am, and I don't know what the heck I'm going to do. And I'm not a quick line-reader. I don't learn lines real quickly. So a week went by, and it's a week before I go to Prague, and I get another script. I no sooner set that script down, than within an hour, production's calling saying "Forget that script. We're still in re-writes. We'll send you something as soon as we can." I flew to Prague without a script. I didn't know what the heck I was going to do. I think it's fair to say-I think it's been out in the atmosphere enough that people know that's just how the shoot went. And I think it's kind of how the second shoot went. We were working 12-14-hour days, and then I would find myself hanging around the set for another hour asking anybody, "Do we have pages for tomorrow?" And it was a great, great example of finding that survival gear. I mean literally, that gear to work in that kind of situation. All those guys, that support team that I had around me while we were tracking down Bourne, we'd get these pages of technical jargon, and we'd have to go off to a quiet corner for a half-hour and just jam and learn these scenes and make them look interesting, and make them look like we knew what we were talking about. So that was quite an experience. Boy, somebody was watching out for me, because at the same time, I'm going through jet-lag, and doing a lot of physical scene work, and I would get maybe four hours of sleep a night. And I'm just so surprised it went as well as it did.
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