Another example of knowing immediately was Dog Day Afternoon. Because of the then shocking material, I felt that my first obligation was to let the audience know this really had happened. That accounts for the whole opening section of the movie. We went out with a hidden camera and photographed every ordinary incident we could shoot on a hot August day. When we finally cut to Pacino, John Cazale, and Gary Springer sitting in a car in front of a bank, they seemed like just one more shot of a group of people on that oppressive summer day in New York. You weren’t even aware that the story had begun.