and sculpt a mauvy by first knowing what's in them. and before i know how to do it, i was going to begin by dissecting what was in the thing. and what i did was i thought i would ask myself four or five questions about what i was going to encounter. what do you want to say in the briefest few words as to why you're doing it. as a director i knew if i got that, maybe i didn't get great imagery and tone, maybe i didn't get this. but if you got that, you got it. >> that horse's head scene, in the book the horse's head is not in the bed, is it? >> here's the book. it's not in the -- >> it's sort of out there. what made you put it on the bed? >> i just thought it would be more interesting if he felt something in his bed and he opened the sheet and there was blood. always you get more shock if you can get the audience to think