The only disadvantage of working with Michel is that I find myself rushing through rehearsals, production and editing -- in order to get to sit with him.

Where, I ask myself, was his intelligence when the script was re-written?
Where was his clarity when we were stuck in muddled coverage?
Where was his timing when the wheelchair's wheels ruined the love scene?
Where did he discover that invisible "look"?
How did he know the two themes were related? Why isn't he scoring the entire film, wall to wall?
How soon will we get to do this again?

With affection and admiration,

Lynne Littman
director "Freak City"

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