I wake a time or two every night, and the first time, I thought, that's a good dream, I'll surely remember that one. Then I was asleep again. And when I awoke, all I remember of the dream is...

The kittens over the minefield. The enemy had cast them out there to clear the mines. I was panicked. The enemy are scum.

But I managed to call them all back to me without tragedy.

In the next sleep segment, I am visiting someone and am reminded, you forgot to do the film. Oh, boy, I sure did. I was supposed to help with the film last visit.

This is a multiple-adult house. I go to the machine. It has a keyboard and a long window viewport into a box about three feet by six, and inside you can see several small wax figures. You prepared them for the scene by the keyboard. For one shot, they are held horoizontal and glue is applied. This is so a material will stick to them.

Then they will be programmed to act the scene, with the special effects, and it will look on your screen exactly like any other movie, yet these actors are all about six inches tall. It's a remarkable studio to have in one room of a private home. A spectacular explosion and auto crash scene costs five dollars, and looks like anything you'd see at the mall.

But it's the end of the shooting day, and I go to tell Mischa, the producer, there'll be no real footage today. I see someone I know, have known before, and she is cold and ignores me. That's best sometimes.

This is Gone In Sixty Seconds III, and it's becoming very expensive. I think I'm responsible for some of that, because of my tardiness on the set. The price is ballooning up above sixty dollars American. But, with European distribution, we expect to gross around two hundred million, so everybody will be friends again when the receipts start rolling in.