She raised her eyes back to met his, her mouth turning up in a mischievous grin.To her disappointment, Tom said nothing, but picked up his drinks and walked back to his date. No follow-through, Phoebe thought, resigning herself to the fact that fantasy Ranger Tom and her vibrator would have to get her off again tonight.She slowly finished up her beer and went to use the ladies’ before heading back home. When she came out from the bathroom into the corridor, she was surprised to see Tom propped against the opposite wall. The other stalls had been empty, so Phoebe knew he wasn’t waiting for his date.“Hey,” she said, “unusual for there to be a queue for the men’s room.”Tom didn’t reply, but pushed off the wall and took the two steps toward her. His hands came up to rest either side of her face, pushing her long, dark blonde hair behind her left ear.“I’m not here for the men’s room,” he said, in a low voice. “You’ve been teasing me all night, and I think you want me to help relieve that. A new approach was needed.ET: How did that happen?WS: Like most things, it was a team effort. Ira and Nathan were working through a scene frame by frame. They sent it off to our digital arts consultant in New Jersey. She sent back some frames with highlights and enlargements. From there it wasn't a big step to include that technique in the action.ET: When did you decide to drop the slow motion entirely.WS: The first time I saw what Ira and Nathan were doing. As a director, I was glad to dump the artificiality of slow motion.ET: Your original release date was in June. That was pushed back to Thanksgiving weekend. Why was that?WS: When we decided to rework the action sequences, the June release went out the window. We have some incredible tech people, but this was new and it took time. Fortunately, we acquired some new backing, which allowed us more flexibility. For a while, we considered releasing at Labor Day, but we liked the results enough to shoot a major roll out at the.
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