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Intendo, game boy, television and fast food: we love them all, especially us kids. this is the life sitting by the television eating two big macs and large fries, but do we realize what's happening to us? some of us might not realize the way society has changed over the past twenty years. with all the new electronics, more and more children aren't getting the right amount of exercise they need to stay physically fit. it has been proven that kids need to spend more time outside and leave all the video games behind for while. yes, we do get phys-ed two to four times a week, but for some kids that is not enough if that is the only exercise they get. for some, fast food is a treat that they may get every two weeks, but for others it's a way of life something they crave that they may not be able to control. childhood obesity can start at a very young age and stay with them throughout their life. for some children food is like a friend, a comforter, a love and a passion, but we can't blame that on the fast food companies that make the food because they're not the ones who eat it. yes, everyone loves fast food, but moderation and a healthy lifestyle need to go hand in hand. children are becoming more and more addicted to the latest video game and gaming devices nintendo, playstation 1 and 2, x-box, game cube to name just a few. if it's not nintendo, then it's television or the computer. the internet is a whole other world for kids these days. some kids can spend four or more hours on the computer a night when they could be outside in the fresh air playing and staying in shape. That matters and, maybe even more important, what you learn in the course of getting to the finished product. i started shooting, and what interested me, as always, was the opportunity to educate myself at the same time as i was making the movie. i always did that, and still do. you can never stop learning. there isn't a day passes in my life that i don't learn something. i try to learn one fact a day, or think about one new idea. one of the things that particularly interested me in the outlaw was the background music, which was done by victor young. i got terribly involved in it. in those days we didn't have the kind of magnetic sound track that they have now. we had what was called an optical track. you could literally see the sound track, and you could fool around with it -- by putting masking tape on certain positions of the track you could block it off, raise and lower the volume, do what else you pleased. the technicians on this picture were not everything that i'd wanted them to be, so i took over and did the sound track myself. it took me, i would say, three or four weeks, working ten or twelve hours a day on it, and, mind you, not only was i half-deaf but i was doing other things at the time. by then it was wartime and i was building the hercules and the d-2. as everyone knows, we had a great deal of trouble getting a release for the outlaw, and it wasn't until 1946 that the picture was released. it premiered in san francisco at the geary theatre. i went up there, stayed at the st. francis hotel, and i wasn't feeling well. i had a bout of pneumonia, and i decided i couldn't make the premiere. besides, i didn't want to go out into the crowds and deal with all that horseshit. i stayed in my room that night, and i could hear that sound track in my head the whole time, and i suddenly realized something was wrong. so i got on the pipe to my film editor, walter reynolds, who was also up there in san francisco. i can't give you the exact hour and minute, but the point i'm trying to make is that the picture had already started, the audience was in their seats, jane's tits were on the screen, and i said to walter, "get the hell over here in a hurry and bring reel three to my hotel room." he arrived in a terrible state. he had the jitters, because the reels ran about twenty minutes. at the geary they were halfway through the first reel, and without the third, the premiere couldn't go on. but i said, "something's wrong, walter, and i want to make a cut." "howard, you can't make a cut up here. you have no equipment, and i've got to bring that reel back to the theatre within fifteen minutes." i've learned in my life not to let other people's panics panic me. i said calmly, "take it out of the can, walter, and give it to me." "you don't have any film rods, " he said. "you have no cutting equipment -- and how are you going to hear the sound track?" all my life i've improvised, right up to now, when i put my own leaded glass screen in front of the tv set to cut out the gamma rays. so i ran the film over a fountain pen -- you have to have something to run it over in order to count the frames -- and while i was doing it i had the musical score in my head. i've told you that as a child i played the saxophone and the ukulele. i hummed the music, and i moved the film, and i found the exact spot where i wanted to make a cut and where i didn't want any music in the background. i wanted that silence to create a certain effect, a mood which you can get 68 and let it ride poker.

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