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“The direction of the play is embedded in the words, the way they rhyme, the emotion of each line is so explicit.” And speaking of explicit, I ask her about sex.“Well,” she says, “I’ve had more loves on camera than off.” Every day in the late afternoon a group of people gather in the dark cool interior of the screening room to watch the rushes.Leonardo is wearing tight black pants and shiny black shoes and no shirt. They swim around, gulping, the only living things in the whole sprawling place who are oblivious to the presence of Leonadro di Caprio.

Clowns with baggy pants and big red noses roam the streets, performing skits at stop lights and then frantically running among the cars trying to collect some loose change before the light turns green. This city is swarming with mint green Volkswagen Beetles. The scene being filmed is the moment when Romeo and Juliet first lay eyes on one another.The rushes are snippets of film that were usually shot the day before.In watching the rushes, the grand scale of movie making shrinks down to closely resemble the weird giggly atmosphere of home movies.Their glance in Leonardo’s direction is, I think, somewhat loving. His blond hair is tousled in a just rolled out of bed way.The teeming set is like a village, and he has entered it like a prince surveying his subjects. He walks over to look at the fish tank which will be the center of the next shot, and around which several fish managers are gathered, sprinkling bits of food into the tank and trying to keep their little stars happy. and experienced: they appeared in Golden Eye, the last James Bond film.

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