anley's Mom: And why is the script in multi-coloured pages? Anything? anley Kubrick: Each time we make a new version, at first you get very methodical - each time you make a new version, you put a different colour in. After a while, you're lucky if people get copies of the changes. ck Nicholson: It’s so that you start with white, then you go to blue, then pink, then green, then yellow. anley's Mom: But I just wondered... anley Kubrick: But what happens is ck Nicholson: It’s so that when everybody's got their script out, you can look right over and know if they've got the latest version. But of course anley Kubrick: …that never happens. ck Nicholson: They never have the latest version. anley's Mom: So, a blue or a yellow... isn't significant? anley Kubrick: No. anley's Mom: It’s just colours. ck Nicholson: I quit using my script. I just take the ones they type up each day. anley's Mom: Aren't you exaggerating a little bit? ck Nicholson, Stanley Kubrick: Nope.

ck Nicholson: Anything you do as many times as a successful actor, you can't have one set of theories, you know. You can go for years saying “I'm gonna get this thing real”, because they really haven't seen it real, do you know? They just keep seeing one fashion of unreal after the other that passes as real and you, you know, you go mad with realism and then you come up against someone like Stanley who says, “Yeah, it’s real but it’s not interesting.”