EuroTrip (2004)

I guess we should introduce ourselves, right? Sure. - That seems like a way to start. l'm Jeff Schaffer. - David Mandel. Hi. I'm Alec Berg and this is our commentary. This is actually... If you have the unrated DVD, this is the first of two commentaries. This is a sober commentary. And the second commentary is what we're calling the "Party Along" commentary, which I'm assuming will prove to be considerably sloppier. Which will be more informative is up to you. Here we go. By the way, this excellent title sequence was done by Kyle Cooper and his company Prologue. They did a really great job on this. I think they did the credits to Se7en. That was his, sort of, big... And Panic Room. - Panic Room. He did the Oscars this year. Yeah, really good. So, should we talk about the title? - I suppose we should. First, for all the people who saw the movie in the theaters, thank you. I guess that's our parents. But the original title of this movie was always Ug/y Americans. Yeah, we sold the movie as a spec script, and that was the title, Ug/y Americans, which I guess we... and I guess everyone we know... thought was a great title. Well, it was like the phrase, you know, the phrase "the ugly American," which is what every American tourist who goes to Europe is called by every European who suffers through every American tourist. But I guess there was some concern that people would think that the movie was either about ugly people or that it was a bad time to be ironic about patriotism and the title wouldn't go over so well. So ultimately it was decided that the movie would be called Euro/7rip. And Euro/Trip is a fine title, but I guess we always... We always kind of liked Ugly Americans better and... Yeah, I guess we still think of it as Ugly Americans.

That was the vomit sequence. That always went over big. So I guess this commentary, it's really a chance for us to speak very knowledgeably about a subject that we are intimately familiar with, which is screwing up making a movie. So if any of you out there want to know how to just flail and make a thousand mistakes while you're trying to shoot your first movie, listen up. How to stink. That's really what we're going to go into here. Or, specifically, how we stunk, I guess. - Right. Not all stinking... - I can't go into stinking theory and really how to do it on your own, but I can talk at endless length about how specifically we screwed this one up.

Hey, there's our writing credit. Look at that. I'm first. And here we've got a little extra bit of nudity, courtesy of Kyle Cooper and Prologue. That was not in the theatrical release. I guess we should talk about the directing credit. Sure. Why don't we talk about the directing credit? It says that Jeff Schaffer is the director, and I guess there's a little history behind this. The three of us wrote the movie and we wanted to have a three-person directing credit. So we went to the Directors Guild of America and we asked if we could have a three-man directing credit, and they have a lot of reasons why they said no. So ultimately we had to pick one of us who would receive that directing credit. And actually, on this DVD, there's a special feature called "How to Pick a Director" that shows exactly how we decided to choose who... A historical video document, if you will. No one should be listening right now because everyone is looking at the wonderful and talented Kristin Kreuk who did us an enormous favor and flew out for a part in the movie, and she was excellent and just the sweetest woman. She flew out to Prague where this was filmed, and actually, as we go through the movie, only two days of the entire filming schedule... we shot 54 days... only two days were shot outside of Prague and its surrounding areas. This was shot at the international school, which is, I guess, a bunch of foreign diplomats' kids going to school outside of Prague. And that's our friend Jeffrey Tambor, who we worked with on 7he Grinch who, lucky enough, was in town shooting He//boy and we were able to steal him for a day to be Scotty's dad. Yeah, we were actually... we were location-scouting at a hotel and he was staying there. - That's right. He was staying at the hotel and just came out of the elevator. Sort of, "What are you doing here?" "What are you doing here?" "Will you be in our movie?" "Yes." And so that's how we... A lot of the familiar faces that you see were either in Prague or on their way from somewhere that they could sort of be taken out of the sky and put in Prague. It was not easy. Kristin did us a giant favor, Kristin Kreuk, by flying... I think she was shooting Sma//ville in Vancouver and we flew her from Vancouver to Prague. It was hard to get people to fly because SARS was sort of at its peak. It was an amazing time. The Iraqi war had started and then SARS was going on. So it was very tough to convince people, "Hey, come to Europe where they're protesting and fly on a 14-hour flight with people coughing." On a plane that just turned around in Hong Kong.

A lot of the other people you're going to see in this movie who you don't recognize are also from Prague. This kid, Nial Iskhakov, who plays Scott's brother, was just an unbelievable find. He's just a local Prague kid. I guess he's Uzbeki? He's Uzbeki. They've lived everywhere. But he grew up in Las Vegas, apparently.

Well, actually, the kick in the nuts that was just on Scott's screen was something that we licensed. It's a piece of real videotape, but we couldn't find out who owned the rights to it in... I believe it was England, Japan and Germany. So if you're watching in England or Japan or Germany, you will probably be seeing something different. Very different. - We had to actually matte that out and replace it with something else for those regions. This scene. - This was-- Was this day two or day three? Yeah. - This was due to a schedule change. We had to shoot that scene... I guess we'll talk more. This is the first of many commentaries, so we'll hopefully get to different bits and pieces. This house, again, is in Prague. Next door to a farm and something that looks like Lenin's tomb. But this one little plot of land seemed like a backyard in America in Ohio and it worked for us. We shot this-- We were wise enough to shoot these night scenes during the shortest nights of the year, June 21st. Literally the three, whatever it is... the summer solstice or the equinox or whatever the hell it is... Literally the three shortest nights of the year. I think we had about five and a half hours of usable darkness each day. And it was cold. - It was freezing. Freezing cold. Kids in the pool and all those people, you can almost occasionally see them, sort of, shivering a little bit. And at one point, I remember, late in the evening... I think the second night was probably the coldest night and I was wearing my Himalayan explorer outfit because it was so cold and these kids in the pool and all these girls in tank tops... - And that guy. In between takes, they had to wrap him in blankets. These kids would all dive into their coats. And I remember late one of the nights, we said, "We have to shoot, everybody take your coats off," and girls were honestly crying because they were so cold.

One other interesting note about this scene, that is a real keg with real beer, and Jacob Pitts, our delightful Cooper, really liked these scenes a lot. It's what we like to call method acting. That's one of the things we learned. Or simply drinking. - Aren't they the same? I guess we should introduce our cast, now that you've been watching for ten minutes. Scotty Mechlowicz as Scott Thomas. - Which is why we cast him. Make it very easy on ourselves. The beautiful and talented Michelle Trachtenberg as Jenny. And Travis Wester is her twin, Jamie. And that's Jacob Pitts going off to take a leak. And this was another one of our delightful cameos that we got because we were in Prague. Yep, that's Matt Damon, which... Everyone in the theater sort of goes, "It can't be. Is it? Is it really?" Why is his head shaved? He was actually in Prague shooting Brothers Grimm for Terry Gilliam at the time. And we actually went to college with Matt years ago. So we've been sort of friendly ever since. And he was in Prague and we asked him to do a day of work for us, and he agreed. The biggest favor ever. - Thank you, thank you, thank you, Matt. Yeah, Matt's just hilarious here. Matt's not watching this DVD. We're going to make him watch it. That'll be another commentary. That would be the biggest favor he's ever done. But the band was actually started by some other friends of ours from college. I guess this is as good a time as any... A couple of them were of Matt Damon's roommates in college. The band Lustra... - One of them. The band Lustra, good guys. And they wrote the song, which is really fun. We've known each other since college. I'm going to just talk now 'cause no one's listening to what I'm saying, because there's a naked girl on the screen. I wasn't listening. What were you talking about? Now this, in the unrated version that we're watching, she started off topless. In the theatrical release, if you saw it, we actually cut a different version where she started off with her top on and Cooper talks her out of her top. - He convinced her to take it off. And it was very strange, sort of, when you get into this whole nudity thing. Obviously, it's a hot tub scene, but somehow when her top was on and he talked her out of it, while it was a very exciting moment that he talked her out of it, it oddly made her dumber, even though she is sort of a stereotypical dumb blonde. - Right. And we always liked it this way, the way you're seeing it. We liked the scene to answer the question, "What is beyond gratuitous?" That's the answer. - There it is. And there they are. The answers. The other stuff we added back into the scene is just more of him screwing around with her. Because, to us, once you're at the nudity, it's how far he goes. This scene... - It's not about nudity. No, this scene was always about the crazy extent to which he got her to play with herself, as opposed to just getting her to take her top off. By the way, the banner in the background originally... This is what happens when you work in Prague. It's a big congratulations banner. The first day when we got there, it just said "congratulation," like one singular congratulation, which is a word we didn't know existed. Sort of a funny story about this scene, which, hopefully, we can tell. We were actually rewriting another movie, which I guess we'll leave nameless, that had a hot tub scene in it and we came up with this idea, which was the fact that a guy saying, "You have a smudge. You've got something on you." And we were really enjoying what we were doing so much that we didn't put it in that script. And we're like, "We'll use it one day." And here it is. Screw it. The movie was called Out Co/d, I think. Yeah, exactly.

That lovely blonde who's just entered was from England and the girl behind her is Czech. And we didn't say Molly. Molly Schade is Candy. - Is our Candy.

And it was very fun and it all, sort of, interconnected, which was... Matt knowing the guys from the band made, sort of, I think, his performance more fun for him. The fact that the band that wrote the song was actually playing... Playing the song. It makes the scene look real. I hate these movies where you see four extras who were put there on the day, who can't play their instruments, pretending to play along. These guys were actually playing the real notes. There's Alec's least favorite thing in the movie. That purple toilet paper. The purple toilet paper which only exists in Europe kills me every time I see it. Also, watch this European toilet with the top flush. No toilet in America... - Like they have in Ohio. No toilet in Ohio flushes on top. But on the wall, by the way, were some comic books by some friends of mine, I'll shout out to them. One of the weirdest things about making a movie is everything has to be legally cleared. So if you see a book or a poster ina movie, everything has to be legally cleared, and we spent... Including this commentary, which no doubt will be censored. But everything you're seeing on the walls, toys, things on the table, whatnot, had to be cleared, and we spent more time clearing things and trying to call in favors from people we knew who had posters of things. There are actually... - Is this how real movies work? There were actually pieces of this scene that we had to cut because I remember there was a toy that didn't clear... and I'm probably not legally allowed to say what toy it was... sitting on Scotty's desk and we couldn't use... It was a toy from the movie Out Cold. But, yeah, I mean, we spent a tremendous amount of time trying to clear this, trying to clear college names. Also a special thank-you to my parents who went to the Cleveland Indians store when we had nothing to put on the wall. - And spent like drunks. Yeah, spent like drunks and shipped it all to Prague.

This always gets a huge reaction. People are really... That was actually egg whites we used for his spittle. The makeup people made these strands out of egg whites and had to hang one on his lip each time we shot this. Another little extra for the unrated is going to be coming up.

Which is the little kid cursing. - Yeah. One of the golden rules of comedy.

Not that cursing. - Still makes me laugh. This kid... I swear, if Nial lived in Los Angeles... - Comedy gold. ...he would be on every sitcom in the world. He's a Star. - Every week, you'd just see him on different sitcoms, playing this exact part. I think he worked, like, six days for us, and I think we probably paid him about $130. It was $166. His character Bert, because we paid him $166, we began to discuss all expenses in terms of Berts as a method of payment. A very expensive dinner might be a Bert. Yeah, or like, "Oh, God, that's going to cost us two Berts." And it was-- One of the great things about shooting in Prague was cheap labor, cheap construction. Later in the movie, we get to the Vatican. Good labor and good construction. Fantastic. - The artisans are unbelievable. Great infrastructure, just great people that make movies. I mean, we put a crew together out of, you know, just really very few people from out of Prague and they were just fantastic. Especially because we'd never done this before. Our background was originally sitcoms. We all worked together on Senfe/d. Also Conan, Saturday Night Live, and so... I'll never forget it. I'm sorry. Bruce, the drummer of the band, has to sit next to Kristin and Matt and they all have to have their shirts off and Bruce says, "I don't know if I want to, because I have a rash." No, he said, "I'm just getting over the shingles." Shingles. That's what he said. He said it in front of Kristin. Kristin was like, "Oh, God, what have I gotten myself into?" I'm like, "He's joking, he's joking. He's a very funny musician." Without shingles, I promise. Actually, I remember we shot Mieke talking in English and in German, and we decided to use the German with the subtitles. We didn't think German would sound sexy or attractive, but she's Jessie. Somehow, when it comes out of Jessica Boehrs's mouth, she sounds sexy. Yeah, she's so warm and charming that even German sounds great. This is Jeff's favorite thing in the entire movie, that stupid jackalope T-shirt, which is not funny, but he swears is a joke. I don't think it's a joke. I just think it brings pleasure to those who see it. To you. - It's really a terrible T-shirt, especially compared to the many good T-shirts. This is actually-- I would almost... This is my favorite scene in the movie. This is the scene where the movie, to me, works the best, where these two guys were just sort of dialed in and their relationship... It helped very much that we shot this scene way toward the back of the shooting schedule. Yeah, if you look at the first bedroom scene where we already were, which is one of my least favorite scenes in the movie... Day three, we did not know where to put the camera. We did not get... We didn't take a wall out that we should have. It would've saved us time. We should've taken a wall out to get a master shot, a shot that allowed everything to happen and the camera to get it. We did not get that shot and got everything in little pieces and just then edited together the little pieces, and it just created... It took the entire day, which it just shouldn't have taken, and in this scene, which is basically a month and a half later, probably, we shot it... - Yeah. ...we knew which wall... We took the front wall out from when Jacob first walks into the room. Got our master shot, a really nice master. I think they were there performance-wise, in terms of their friendship. And, if I may, the jackalope T-shirt... - And the jackalope T-shirt... Also, it's sort of what we learned doing this movie that... The longest we ever shot in one location on this movie was three days, and this was probably the third day we were shooting on this set and we learned how to shoot this set. We definitely learned how to shoot the set. What wall to move and how to shoot it. The larger issue, I think, would be that I think any other... any person who had ever directed would've known, get a master. And so, an excellent lesson learned. - Yeah. I also think the actors were more comfortable with each other, we were a little bit more comfortable, and also we knew the set and we knew how to shoot it a little bit more. And that was one of the hardest things about this movie is, every day, we were shooting one, sometimes two, sometimes three locations, and you didn't have any time to learn each set and learn how to shoot it and what the easiest way to shoot it was, and as soon as you learned, you were done shooting there. - We had a location fall out, a Vatican location sort of fall out, which is how that other bedroom scene got moved up. And the initial schedule was sort of built to accommodate a little bit easier scenes with guest casts, things that maybe weren't as important and then that bedroom scene kind of got moved up and I do think it suffers.

The shot just before this, the one outside, we actually shot at the Prague airport, which is another advantage to shooting in Prague. I don't think there's any way you could get a camera crew right on the departure gate of an American airport anymore because of security. Of course, one of the downsides of shooting at the real airport in Prague is that we had our day curtailed by a bomb threat. Bomb threat, which I still maintain... - Potato, potato. I maintain may have been because of us, and there was no bomb. There was no bomb. - I'm sure some... A grip left a bag of clamps somewhere and... But that was another scene, too, where, when we look at it, there was sort of a way of shooting it, two different ways of... We started shooting them sort of looking out where we were shooting into those boring offices, and obviously the prettier shot... I Know I'm talking backwards... In hindsight, we should've shot the other direction. We should've shot in the other direction, because when they do turn around, you see that background. And again, these are lessons that were sort of both imparted to us as we were going along by our wonderful DP, who we should mention, David Eggby. - David Eggby, who saved us from ourselves every day. And there's a certain amount he can tell us, which he certainly did, and there's a certain number of times where we have to be wrong before you learn and certainly that was an example again, something we did where... The other thing in the deleted... - He warned us and we didn't. In between the courier counter and this scene, there's some fun stuff in the deleted scenes, which is they realize that they're gonna have to take all these courier packages, so they don't know what to do with all their clothes. They have to wear all of them onto the plane and through the airport. There was about 15 minutes of stuff which... Decide for yourself whether it works or not. It didn't work in the movie, but it's fun to look at. And by the way, Jacob's T-shirt says, "I'm rocking on your dime." Travis owned that T-shirt and we thought it was funny, so we put it on Jacob in the movie. These transitions-- That's my dog. These transitions were... That's my queen of England. - That's your beaded London flag. Yeah, it goes on the back of my cab seat. These transitions were also done by Kyle Cooper at Prologue. There's a few more of them coming up. You'll see. And this is our first big visual effects shot. Yeah, this was an amazing debate. That's not the real Jacob Pitts. That's a robot. This was shot in Prague by... There's a big river in Prague and that's all real. That's real. And we put a little British flag there, and basically the background was replaced. Not in these shots. In that shot. - In that shot, the background is replaced because on that side, I think, was... Is that where our hotel was? I don't remember. No, we were further down. - Further down, okay. And I guess we should mention Kevin Blank, who was our visual effects guru supervisor, who we found from the TV show A/as, where each week they do a lot of really amazing things like this. Right. If you look in the background, you see the buses on the bridge. The bridge is real and the buses are real, but the stuff behind that is not real. But the flag, for example, I don't think that's real. They added that. If you look at the clouds move... - There's cars moving on the side. The clouds are moving. They put those clouds in. And what Kevin allowed us to do, besides being a really good guy, as everyone on this movie was, he let us do a lot of big effects like that on sort of a TV budget which allowed... This was a "smaller budgeted movie," and it let us do some special effects without bringing in these, like, big effects companies where it would cost a lot of money. By the way, this is about the time that we should mention the Feisty Goat. This is the Feisty Goat pub. And we saw the sign out in front, which we misspelled. I think this is the right time to say that Alec, David and I went to Harvard and we didn't know how to spell "feisty." We spelled it wrong in the stage directions. Spelled it "fiesty." - The guys who made the sign just took our spelling. We showed up on the day and the crew was laughing and we couldn't figure out what they were laughing at. We shot an entire day without anyone noticing and on day two, people realized. - No, they knew. Did they know? Okay. - Oh, yeah. They were laughing their asses off at us. And then finally, it was like, "Did you guys know?" And they're like, "Yeah." - And this is the incomparable Vinnie Jones who, when we wrote the part of Mad Maynard, the chief hooligan, we hoped that maybe we could get Vinnie Jones. We wrote it with Vinnie Jones or a Vinnie Jones-type in mind, never thinking that we would get the real Vinnie Jones. The dream being Vinnie Jones or someone that would rip Vinnie off. And the pleasure of getting him was just so great. It was amazing. He scared the living daylights out of these two. They're not... This is, again, method acting. We told Vinnie that they were really... that the kids were really scared of him, and he did nothing to make them feel at home for this scene.

There was a lot of debate over what song Scotty should sing here. And, finally, we just decided that this seemed goofy and funny. It's also a favorite song of ours. We've used it before. - We've used it three times on Seinfe/a. Used it in old episodes of Se/nfe/d. We are big fans of giving Sheena Easton money. I love that reaction.

The hooligan next to Vinnie... - With the "Kill Something" T-shirt. "Kill Something," which you'll see a little bit better later. His name is Paul... - Paul Oldham. Oldham, yeah. Just another good guy who really enjoyed his role as sort of Vinnie's... Vinnie's right hand. - ...assistant hooligan. Exactly. And they fell into that off camera. - Off the set. He's also a real beer-swilling soccer... football-loving man from Manchester. Yeah. I don't think... Was he a Manchester fan? Yeah. I think he was from Manchester. - I didn't remember that. We shot a lot of fun Manchester United songs, which aren't in the movie, but it was fun teaching these hooligans these songs. Many of them did not speak English. Yeah. Try teaching "Morning Train" to 40 Czech people phonetically. And this is Petr Jakl. Who's a local Prague resident who you may recognize from XXX and a few other movies that were shot in Prague. He is about 6'8". - Yeah. We never got the right nerdy glasses on him. No. That was an issue. We thought we had the glasses and then we showed up on the day... They lost them. - ...we said, "Where are the glasses?" They said, "Aren't these them?" We said, "No, we had different ones." We had more of a Clark Kent glass in mind, just the idea that... He'd be a little nerdier. A little nerdier, but clearly not. Clearly a big guy. This is our helicopter shot. This is our big-money-production shot. And this we shot on a highway that was under construction, about an hour outside of Prague. There's a couple of other scenes we shot on the same highway.

And this we shot the same day that we shot Jeffrey... We had Jeffrey Tambor for one day. So we did the high school and then we ran down the street to this... It was about as close as we could find. Looks a little European, but it's okay. We thought that scene was gonna go when Scotty appears at the Vatican. But we ended up moving it... - We moved it up there. And something that makes me laugh for no reason. The mom there is reading this Jackie Collins book, which we cleared. And as the only book we cleared, that book appears a bunch more times. Scott's reading it a little later. It's the one book that's seen in this movie. A couple of these guys are English and a couple of them are Czech. The closer guys are actually English, which helps. And these guys were really good. I mean, the guy on the right there. John Comer. - Wow. That guy, who really makes me laugh. And these guys are really good. They found the camera. This was on this highway... We shot this on a moving bus. We're trailing the bus behind a big camera truck. And when we wrote the movie, we didn't realize how insanely difficult shooting on a moving bus was, so... Don't shoot on a moving bus. - There was a lot more stuff. Originally, the whole hooligan pub scene, when we sold it, was on the bus. They get on the wrong bus and they're trapped on this bus. We realized that that whole hooligan pub scene being shot on this bus would be impossible. It would be 16 days to shoot it. So we moved that to a pub. And shooting on a bus, just dealing with something that's moving, with the lights constantly changing... You'll see there's a lot of hot spots on Jacob there that we... I mean, that's the best that we ever got it. He is pretty overexposed. - Looks like a real bus. That's what makes it kind of look good. That's what is sort of neat about it. But in shooting this... This was one of the real downsides of having three of us doing this job, that one of us fit inside the bus and the other two were clinging to this tow rig. And it had just rained, so there was water all over everything. It was about 18 degrees. - It was like being on a motorboat. Like on a motorboat in the Baltic Sea. - We were under a tarp. In the bus, I was lying on my back on some camera batteries. It wasn't very comfortable. - But you were warm. I was warm. - They were warm batteries. This, again, was the same deserted highway. And Vinnie is just... - We just let Vinnie go. We just said, "Go bananas," and, boy, did he deliver.

The driver is... Now that-- I'm sorry to interrupt. That Eiffel Tower is not actually there. That's Kevin Blank's work again. We're back in Prague. We're still in Prague. But we're on an incredible actual street that looks so much of Prague. That's the Paris... the Hotel Parizska that they're going by. An amazing thing happened when we were putting the movie together, which was we had to interview production designers. And Prague was not bombed during the war, something that they're very proud about. It's a beautiful city and it very much looks like Paris, as do many European cities. We spoke with a French production designer, who when we were talking to him about these scenes was Just like, "There is no way you can shoot Paris in Prague. It's impossible." "You must shoot Paris in Paris. It's the only city that will look like Paris." "The rest of the cities are fine, but not Paris." And, needless to say, I'm not a production designer, but you could've shot Paris on 40 different blocks in Prague. This is all Prague and it looks pretty Parisian. Although, some of... Besides it looking great... This is I guess where we should mention Oscar-winner Allan Starski, who is just... Our production designer. - Our production designer. Just such a great guy. - Who did Schindler's List, The Pianist, and also built the hot tub where we see naked Candy. The career trifecta. So we're hoping-- We have high hopes for another Oscar for him. This, I believe, is where the run of luck with Michelle and the weather started. Every time we tried to do a single on Michelle, it would rain. If I owned a farm, I would get Michelle out there and I would start shooting her close-ups because it would rain all the time. The stuff no one will ever care about, though, is all the little signage in the back and stuff is real Parisian stuff that Allan did up. Attention to detail is amazing. We are not... We never went to the Louvre either. This is... - This is all Kevin Blank. Kevin Blank created this out of nothing. And created the line. Shooting just different sections... This is all cobbled together from 50 different pieces of footage that he shot in different places.

We don't know what that song is, but it's great. I believe that's Charles Aznavour.

The other thing I was gonna mention... We're constantly behind in the mentioning. Part of the reason we ended up in Prague and actually ended up with Allan was because of Neno. - Yeah. Neno Pecur, who was Croatian. We hired him as an art director to scout Prague and to scout the real European locales before we knew we were going to Prague. Basically, he would go to Paris and go, "This is what it really does look like." Then he went to Prague and said, "We could do something like this here." And from his pictures, we used some of his actual locations that he took photos of and made the decision to go to Prague. And then Neno has worked with Allan for many years as his art director, and he helped us get Allan. The two of them, their team... They brought Bill... Cimino. Our set decorator. - Cimino. That's right. Just fantastic and along with the guys from Prague. I think it's now time to mention, though, at the robot scene, which was the first time... We've been writers for a long time and you sort of go, "Look, I think we know what this is gonna be. This is gonna be really funny. It's gonna be a slow-motion kung fu fight scene between two people being robots." You write it and it seems funny. There's the old joke about the writer writes "Rome burns," and the director has to realize that. We were on the spot here because it was easy when we wrote it to just hand it off, but now we handed it off to ourselves. Actually, this is one of the things... - At one point, we cut this, actually. At one point... - We cut it from the script. We talked about cutting it. We were afraid we didn't know how to realize it. We just were like, "What is this? This could be bad." Left it in for a table read. - We left it in for the table read. And it got such huge laughs at the table read that we realized, "We gotta at least try and shoot it." We then initiated a worldwide search for a robot man. This is J.P. Manoux, who's an incredibly talented actor. We found him here in Los Angeles. Yeah. We looked at all these mimes... We looked at real French guys. - ...weird acrobats, and French guys whatever, and, of course, a guy from LA who was actually a friend of a friend and was in the Groundlings, of course, ended up being a really good guy. He is just outstanding. - And he came in with this ability... I mean, a lot of what you're seeing, like him laughing and just his attitude as a French guy, was in his audition. We were also very lucky that Scott... - Scott, exactly. ...knew how to robot. I guess Scott grew up watching Shields and Yarnell... No, no. J.P. - Was that J.P.? Scott had an acting teacher... - Who was in the Barney costume. Yeah. - Okay. And we went there on a Saturday to basically work it out. And we had blocked off an entire Saturday. We choreographed the fight with little bits of Enter the Dragon and some Matrix in about... Twenty minutes. - Yeah, like, 20 minutes. And the first time we did it in Our crazy wide shot... because we knew to get a master... the crew laughed, and we were like, "Oh, okay." It was also-- This was pretty early in the schedule. And I think it was maybe the first time the crew thought, "Okay, these guys actually know what they're doing." Like, "This is something we haven't seen." Wrongly, but they thought that. - But they assumed it.

We're in the French restaurant. You cannot tell by looking at everybody, but it is over 100 degrees in there. They turned off the air conditioning at this restaurant. No one told them to, but they thought they would help us by turning off the air conditioning. And the kids are just sweating. I mean, you can't even... If a take went wrong, we'd have to stop. You couldn't just keep rolling because they're dripping. And we actually had a guy, this poor English actor that we cast, who was actually really funny, who came in and was so hot and sweating so badly that he just couldn't focus. It's in the deleted scenes. You'll see some very funny scenes with a French waiter and some funny French waiter flashbacks. We just had to cut it, 'cause it wasn't... Featuring Jim Morrison and General Patton. The other thing... It'll come up again later, but them putting the food down leads to the food map joke, which will be coming. I'll tell that story later. It's good to-- We'll earmark it. - A little preview. This is the main Prague train station. And our production... - Again Allan and... Allan and Neno dressed it, so that people actually got off the train, a couple of people, and thought they were in Paris 'cause they saw the signs and they were very weirded out 'cause they had gotten on a train in, like, Hungary somewhere and they thought they were in Paris mistakenly. Michelle being a fantastic sport. The first of many indignities that she was forced to suffer. And Coca-Cola being a great sport. This is what shooting in a train station is about. Another one of these, "We are idiots, we don't know, so we'll set a scene in a train station." If you notice in the background... This is a game Alec likes to play: train, no train. Okay. This is my little game in this scene. Behind him, green train. That train is gone in the next shot. - Okay. No train. But who cares about the train, I mean... Train. - Again, the lesson learned... It's my game, I'll play it. - I know, but look at these backgrounds. No train. - These great, deep backgrounds. We are in a train station in Europe. We are not in Vancouver. No train. Train. - Michelle's scream turn is one that... She's just... - She did it fantastically. Different train. - We caught that attitude a little bit from our own little Se/nfe/d experience. It's what we like to call a Julia Louis-Dreyfus, Elaine move. The sort of being sweet, screaming and then going back to sweet. And Buffy was a hilarious show. - Can't say enough about Michelle. And I don't know if Michelle always got a chance... You know, she was sort of a supporting character on that show. And on this, she got to really shine with her comedy. Anyway, here's the maps. What I wanted to say is this is a Raiders of the Lost Ark map parody, which is a joke that is about, I don't know, ten years old. It's something we wanted to do a million years ago and again something we saved. There's the Jackie Collins book again. And the headline, "Merde Alors! L'Hooligan! I actually-- I don't know if I even told you guys this, but I was at an Iron Maiden concert about six months ago and I saw a guy wearing that Deep South Monster Truck 1987 shirt. Was that guy you? - Or whatever it is-- Rally '79. No, it wasn't me, but I envied him. Fred Armisen. - As what we... In the script, he's called the Creepy Italian Guy. Not, as some people wrote down in the test screenings, the Train Homo. We actually call him Creepy Italian Guy. And, again, just production-wise, we're shooting on a moving train here, which is yet another of our naive mistakes. - Do not shoot on a moving train. We thought, "Just put them on a train. It'll be easy." Just the most cramped quarters, limited angles. We actually shot this one scene in three different compartments. We had a compartment where we could look one way, a compartment where we could look another way... We pulled out walls so we could shoot different ways. And then we had one compartment where we were shooting in, one that we were shooting out. It was madness. - Plus... Fred, by the way, is just so funny in this. We, last minute... - We also... I'm sorry. I do wanna say that we also then shot it both moving and then did other shots not moving so that we could do the light effects of the tunnel. Which is a poor man's process, because there's no tunnel. This is obviously on a moving train. - 'Cause you can see the window. And then when we do the shots where it goes from light to dark or from dark to light, we pulled the train inside a barn and blacked it all out and then did the lighting effect by hand. So, the Creepy Italian Guy, Fred Armisen from Saturday Night Live... This was another thing where we originally went into this thinking we will find a genuine Italian guy. And, again, we searched the world for a real Italian guy. A lot of Europeans are not funny. They just didn't get the joke. - It's a language problem. They were simply performing the words of the script, but didn't necessarily have any idea what they actually meant. And Fred is someone who's just fantastic on SNL. That little shrug is awesome. So, that shot, for instance, is inside. I think we hired him... - And that's inside. We hired him on a Sunday and he was out there on Tuesday. Yeah. - So, really amazing. And, again, these are all these little touches that he added. I think Travis, who plays Jamie, is fantastic with him. They were a great pair. This was something we never landed on. - I don't think we ever got this right. We had a bunch of different things we shot for this darkness sequence. We had a lot of flashing lights and weird little things of Fred in various stages of undress. - What was going on in the dark. In the end, it was just undercutting... - This end reveal. Which, again... - And, I think, for the unrated version, we put this back. For the theatrical release, we kind of cut right here somewhere. No, exactly. - And then, for this one, we decided to let it roll. - This is something we just enjoyed. It's just that a guy with no pants sees more people and goes in. Actually, that's where we're sitting. That's the compartment where we are sitting with the monitor. To do it all over again, one thing that might've been enjoyable was had we come running out of the compartment. Just, the idea that the man with no pants... This is the very first thing we shot. - First shot ever. It's actually an interesting way to see our cast. The train revealing our cast and us seeing them for the first time. It was a neat experience. - A horrible-looking little train station. The first time we visited it was in winter and just looked awful. And, again, Allan and his guys just came in there... And I think, actually, the manager of the train station asked them to leave everything. Left it all, those flower boxes and the shutters, and just turning it into this beautiful, little French countryside place. That was always a fun shot, where he lays down and jumps back into it. You know, and again, day one, we must've done 30 takes on everything on day one. One of the things about comedy... - We also shot close-ups of everything. Every angle. Everything. - This is more toward the end. This is one of the two days we shot outside of Prague. This is not a great example, because this is more towards the end, but I also think we screwed up here. That's the thing, you look back... - We did it all in one shot. Which I think is the way to do this. We did do it all in one shot, but... One of the things, I think... When I look back at the movie, a lot of our starts of scenes, I find we... Definitely something we were never thinking enough about. So that you're kind of going, "We're going to this beach." And then they're just sort of walking. And maybe had we come off a sign... - That was one of my favorite things. Definitely a fun joke. - Also, it was freezing. You can see Scott... - It's freezing. The gray sky. Wish we'd gone in and maybe colored the sky blue a little more. 'Cause the sun does come out. But just something that maybe... If the camera had moved or something to kind of say "beach," as opposed to that weird stock shot of nothing and then this. And this scene seems to get a lot of people in an uproar. Everyone sort of sees it-- and people... There we are. - Right. This is one of the two days we shot outside of Prague. This is in Rostock, in former East Germany. This was apparently one of Hitler's favorite beach resorts. It's very close to where Wernher von Braun used to develop the V-2 rocket. Wall of cock. - Speaking of V-2 rockets... Everyone seems to laugh at this scene and also go... It is everyone's favorite and least favorite. In all the test screenings we did, it was the most favorite scene and also the least favorite scene. And I think a lot of it had to do with... There were a lot of, like, 18, 19-year-old guys who felt obliged to put it down because they needed to state that they weren't gay. We originally started off shooting it with sort of an idea towards an Austin Powers kind of a thing. You know, you could even see a couple of guys with ridiculously long cameras and stuff trying to cover penises. - Kind of strategically... And once we were there, it just looked dumb and we realized, to some extent... I mean, to us, the only rule is ever: "What's the funniest thing?" And, ultimately, 50 penises was the funniest thing. Everyone goes, "How did you get those guys to take their clothes off?" It's like, "This is Germany. We showed up with a camera. They were already naked." The most surprised people on the set were those 50 naked German guys when they found out they got paid. It was really weird. Like, we'd take a ten-minute break and usually if there's any nudity on an American set, people dive into their robes. These guys were just letting it hang out. If these guys could've taken more clothing off, they would've. We had this amazing German AD that day. Andreas. - Andreas. Who just yelled at them and yelled at their penises. By the way, Michelle, who was very nervous about the bikini scene, couldn't look more beautiful. She was, you know, "The bikini scene, the bikini scene." And it was sort of this big thing in her mind, which... She was nervous about it for no reason 'cause she... But I think also David went out of his way to make her feel comfortable, and also to light her beautifully. Also, again, this was very near the end of the shoot. And I think there was more of a comfort level with the crew, too, and the main camera team. The comfort level was bothered a lot by the fact that Jacob, once he took his pants off for that first naked shot, wouldn't put them back on 'cause he knew it bothered everybody. I think he really enjoyed how nervous he made everyone. And poor Eggby. Poor Eggby had to go up there with the light meter. That guy-- There was a lot of protest, a lot of discussion about the old man yelling, "Chica, chica." Which... For whatever reason, it's one of our favorite things. You get a shot of him. There he is again. "Chica, chica." Which always gets a nice rise out of the crowd. This is the most beautiful shot in the movie. Not shot by us. Shot by... - Gary Wordham. ...Gary Wordham and his unit, his second unit. And it's just absolutely beautiful. And here we are on another train. But, again, we are... Because it's a night shot, we are faking this. It's a poor man's process. Occasional lights moving on the side. Because we could not do a moving train at night. So, we are inside for all of this. SO, this is, like, our fourth version of a train car. And, originally, there was... You'll see in the original script. There was another train in the deleted scene. There was another train scene of them running onto a train. This had happened earlier. It was just too many train scenes and the movie just not moving. That, again, was another one of the lessons we learned. As a writer and then a director, there are lots of things on the page that are really funny, but sometimes, when you're actually then watching the movie, "Why are they still in Paris? Why is it taking so long? Why have they not gotten to the next place?" There were too many train scenes. That one flew out, this one was in. Even if the individual scenes are funny, sometimes the cumulative effect of all these funny things makes it worse. - That's exactly it. This is a joke we created after we had shot what we did. Thanks to our music supervisors extraordinaire, John and Patrick Houlihan, who found this amazing music that was playing under this fantasy. They found this piece of music and said, "What do you think of this?" We thought it was hilarious. We said, "What is it?" And they said, "Well, it's David Hasselhoff." We thought it was so much funnier if you knew that it was David Hasselhoff. So we were like, "Is there a video?" "Yes, there is." And not only is there a video, but this is the video. And it looks something like this. Which is incredible. - That is a real David Hasselhoff video. We're still not sure whether David Hasselhoff knows that his likeness appears in this movie. I think we licensed this... - David Hasselhoff, if you're watching this with Matt Damon, thank you. Thank you both. If the two of you are just hanging out and watching this, you were fantastic. But, yeah, the German company licensed it to us and he may or may not know. And Fred back again. Which makes everybody very happy. When we were cutting the TV spots and stuff, we tried to use this lick. It's one of the things that people felt we couldn't put in television spots. We had a really hard time cutting spots that... Even though it's an R movie, I guess spots for TV need to meet both... They have to be G. - They have to be G. 'Cause trailers need to be G. You can't have anything in the commercial that isn't in the trailer. Plus, you also have to meet network standards. So, we had a really hard time putting things in the commercial. - Showing people what's in the movie. Yeah, telling people this is a good movie. Now we're in Amsterdam. This is interesting... Except we are in Prague. - We're still in Prague. This is... Yeah, it's the Kampa section of Prague. Again, one of these early locations, they found this little canal from the original scouting photos. "My God, we can even do Amsterdam there." This is also-- In Prague, there's a very famous bridge called the Charles Bridge, which is basically right above the kids. There are just hordes and hordes of tourists lined up watching this. Yeah, it was like shooting with bleachers there. This was spring, when it was packed with tourists. And this is an example where on the deleted scenes, originally when they arrive, they go to a youth hostel for a very funny scene that we ended up cutting out because, basically, there was too much Amsterdam. They had an adventure and then they had these separate adventures. It's another one of these tough things, where the scene itself was funny, but its overall effect on the movie was negative. And then actually, oddly, if you go back, originally, Amsterdam was actually very different. Originally, in the script we sold, there was a scene where, instead of going to this sex club... - With Cooper. Instead of going to the sex club with Cooper, there was this whole nother scene. Actually, everything was completely different. The original spec script we sold is on the DVD, so you have to go back and check that out. Definitely worth checking out. - By the way, we should mention her. Lucy Lawless. - Lucy Lawless. Just funny, just hilarious, obviously, and gorgeous. The entire crew was just in love with her. So we shot long on these two days. By the way, when we were shooting on these days, you've never seen more grips and crew members holding lights that used to be held by stands and holding fans that used to be hung. Everyone needed to be in this room at this time for some reason. And she also-- She, being from New Zealand, knew our A camera operator, who we should also mention. - Peter McCaffrey. Peter McCaffrey, who is absolutely fantastic. The whole A camera team, our main guys, were just incredible. Just never a problem, and just really patient and wonderful with us. The brownies. I remember these brownies... Michal, our Czech prop man, would always come in and say, "I've got more brownies for you." He'd show up with these piles of different kinds of brownies from every bakery in Prague. Which, oddly, social decorum dictated that we eat. We didn't want to be rude. So we'd start these meetings looking at all these props with all these brownies and by the end, you had chosen a brownie and also eaten it. You weren't sure which one you actually liked. You were sick to your stomach because of the meeting and how badly it went and also because we'd eaten 50 pounds of Czech brownies. This is the lovely and talented Jana Pallaske who we found in Germany. We did casting in... - London. Here. We started in LA. We did casting in New York. We did casting in Chicago, Vancouver, Atlanta, I believe, Miami, and then we went to London, Munich, Berlin, Prague. We had people in Paris. We had people in Italy. - Rome, Paris. She came out of this, and again, this was another area where things moved around in the script. Originally, this was in London. - In the original script, this was Cooper... This was Cooper in London before they met the hooligans. When Scott and Cooper first got to London, they went to a pub and they met these girls, and this was a Cooper scene. Cooper went out in the alley and was getting blown and got robbed. Which happened to a friend of ours, by the way. And we just decided that there was... - Named Out Cold. There was too much... There was too much stuff going on in London, so we moved it to... You wanted to get to the hooligans. And originally in our script, Jamie was with Scott and Jenny at the brownie bar. While Jacob was at the Anne Frank House. We just decided that they should all split up and have their own stories here. And also, what if Jamie has all their money and all their stuff and he's the one who gets robbed... - It seemed like a good plot point. I mean, it is sort of traditional, but with Jamie playing... I'm sorry, with Travis playing Jamie as sort of the somewhat traditional, you know, stick-in-the-mud, him having a little bit of a sexual escapade as opposed to Cooper, who's more lascivious, it became a funnier scene. It also helped Cooper out because Cooper wants sex and he keeps getting... He gets a version of it in this scene, but not what he wanted. Not quite the version that he wanted. - Not what he was expecting. As opposed to going to London immediately, hooking up with a girl. It oddly felt a little strange that we were going to get him together with Jenny at the end of the movie after he had gotten blown in an alley. Also, he's looking for crazy European sex and he got it right off the boat. That is a crazy outfit. - Yeah, that's the sex superhero. She is the sex superhero. As are these guys. - One of these guys is a Czech policeman. Vilem. Guy on the left. - I can't remember what the other guy does. The other guy is a large Czech clown. They were just sweaty and having a ball. Their names are Hans and Gruber, which is a small inside joke, the name of Alan Rickman's character in Die Hard. Hans Gruber. And this is a very odd scene. Anytime you're not actually seeing our two main actors, a lot of this was done second unit. - Like the shot of his ass, the shot of him with the clamps was second unit. We had a limited amount of time with Lucy. We had two days. - That's second unit, not Jacob's hand. So everything that we had to get done with her and him, we did, and then what was really helpful was we edited it... Not we, our editor edited it. - Roger. Oh, yeah, mention him. The whole editing staff, actually. We had them over in Prague with us for reasons like this. Roger Bondelli and his assistant. Marty Heselov. - Marty Heselov and Davis. Davis Reynolds. And basically, he edited what we shot and it allowed us to go... "We need this, we need that." This is things we're missing which we could instruct the second unit to get, such as guy wheeling in cart, close-up of guy doing the shocking. And it did help having the editor there, which was something originally... The editor was not going to be with us in Prague. Very helpful to have the editor there to be able to look at scenes to know what we wanted to change. That-- We're a little behind. That was Diedrich Bader from The Drew Carey Show, who was hilarious. Really funny in Office Space and in 7he Drew Carey Show. And flew all the way out to Prague to help us out and did a day of work. He said the last time he was there, he'd actually been here in '89. He'd gotten drunk, climbed up a statue, fallen down and broken his arm, so he was happy to come back. The pot brownie scene-- It's so funny. When you show them in front of an audience, all the sort of younger kids, just the very fact... The mention of Amsterdam got people to go... And then the fact that they're actually doing pot makes them laugh. This, we were writing on the fly. We realized the scene needed something. He needed to say something embarrassing. So he came up with the gay porno stuff. But we tried, like, three or four things. When he was a little kid, he ate dog poo. "They told me it was a candy bar!" - Really high-class stuff. But this guy, who plays the Rasta guy... - Go Go Jean Michel. ...I think we did probably ten takes with him and he got each line right one time and we ended up using it. But he cuts together great. I'm not sure, when we were doing it, I ever actually thought the microphone was picking up a word he said. Yet, oddly, it was there when we got to the edit room. Helder with his walk-off home run right there. "These are not hash branches." Because I think he had been eating hash branches earlier. Yeah, he was not an actor as much as a man who had smoked a lot of pot. And again, ultimately, this was a longer scene. There was more to do about not being able to name the safe word and the monkey was originally brought out and you just start trimming 'cause, again, you're just in Amsterdam too long. We went into this scene... There was another beat where she brought out golf shoes with big spikes and was hitting him in the ass. - We cut that almost immediately. That we cut on the day we never filmed, because we were way over time. And we ended up shooting... - This actually cuts together great. These few moments. It's a huge charge to see this thing. That is a huge charge. - Then to the f#ugelkenhaimler. The flugelkenhaimler. Gotta mention Jeff Jingle real quick. Jeff created that. - Jeff designed and built that and then came over to Prague with it, traveled with it. How he was not arrested and thrown into jail by the customs people, I don't know. - Just did an amazing job on that. There you can see the Charles Bridge. - Yeah, the Charles Bridge is behind him. We lost out. We should be making these Vandersexxx T-shirts. Someone is selling them on eBay, but they're one color. They're wrong. If you're the person who's making them on eBay, just make them the same way. But it's a fun shirt. You can see all the bugs that are flying around there. We did it as a crew shirt, actually. We gave it out to the crew. Well, this is dawn. We shot all night. This is dawn for dawn. No, no. We shot this... This is dusk for dawn? - This is dusk for dawn. This is the first shot. We were shooting nights on the bridge, and that was the first thing we did, because we were shooting that Jamie thing and we ran out of time 'cause It was getting too dark. If you go to your deleted scenes, you will see a scene that sort of happens right about now, which is Jenny... Michelle Trachtenberg-- saying, "Look, boys, I'll take care of it," and she tries to sort of strip to get them to hitchhike on the autobahn, which is impossible. Again, we were out here on this highway way too long. This is the same deserted highway where we shot the bus driving around. Also, it was freezing. - We were here way too long. It was 30 degrees and drizzling. - This was, again, continuing the rule of every time we tried to do a close-up on Michelle, it rained or hailed. She was such a trouper. Cooper's shirt, by the way, says, "I Love Ping-Pong." This phone joke was interesting. We originally had the first one which took place on the bridge in London, and that always got a good laugh. And this one never really gets that good a laugh. But there's a third one later, the comedy rule of threes, that only really works as good as it does because the second one sort of exists. And so we left it in, even though we never loved it. This is Dominic Raacke, who is basically like the Dennis Franz of Germany. He's a big cop show star in Germany. Our casting woman-- What was her name? Risa Kes found him. And actually, there's another... We were talking about the clearance stuff earlier. God, yeah. - We shot about eight takes of this guy and you can see that thing hanging from his rearview mirror. Originally there was a Tweety Bird, a Warner Brothers property, hanging from that thing and we shot about eight takes and we moved on to a different shot and somebody was looking at playback and said, "Is that Tweety?" And we looked at the playback. "We'll never clear that." - And we just decided we'll never clear. So we had to go back and reshoot everything we had done. And the camera guys thought it was so funny that we had screwed up that it became a running joke. They kept the Tweety Bird and they began adding it. Every time we would set up to do a shot, they would roll a little film before we ended up doing the shot and they would put the Tweety Bird in front of the camera, so we have a reel somewhere of that Tweety Bird in every location that we shot. - And it's fantastic. He's wearing a pope hat. He's in the hot tub. We'd love to show it to you, but Tweety doesn't clear, so we can't. So just imagine every shot in the movie with a Tweety in it.

This was an interesting scene in that a lot of times when we were testing it, this was one of these dividing lines where sort of, like, certain audiences who really clearly were reading it, loved it and some audiences just any time they saw subtitles, chose not to read. So it wasn't that they didn't like it. They just chose not to participate. Although we did change... - We cheated a little bit. He does not actually... That is real German, but he does not say the stuff about... - Sexually assaulting a horse. He says something like, "If I ever go back to Germany, I'll be arrested," and we changed that one. We added that to try and help out... give people a reason to read.

This, by the way, we did not build, we did not dress. I mean, we put some clothes in. There's a little bit we did, but when we showed up, we showed up in winter to scout this location and the trees were all barren and there was dirt and stuff everywhere. Basically looked exactly like this and we said, "This is absolutely perfect." I do think Allan added some of the garbage and some of the cool graffiti. - Yeah, garbage, trees and stuff. But what's funny is our location people didn't quite understand what we were going for, and at one point they cleaned the whole place up. It was like, "No, no, no." They told us, "It's clean." We said, "No, put it back." So they had to spend the money to put all the dirt back. Also, the trees were growing leaves and we had to kill the trees. We basically paid some sort of fee to the government to kill the trees. The dog with the hand we should throw in there. Yeah, that's a highfalutin allusion to Akira Kurosawa's Yojimbo. For those of you who have seen Yojimbo and this movie, all six of you. And there was also another shot that showed the desolation of Eastern Europe. As they're walking, they see the dog. They see the guy bathing. - Horrified. And there was a girl, a little girl who they smile at and wave to who then basically cops a squat and starts peeing, which is in the end credits of the movie, as sort of a little joke, and basically people were just sort of... I don't know. It's one of these things where in the movie... You love it or you hate it. - Yeah. We love it. And apparently more powerful people than us hated it. We wanted it to be in the body of the movie, especially in this unrated cut, and it is not. And I guess we'll just leave it there. I guess we should mention, also, Tibor who you just saw. - Yeah, Rade Sherbedgia. All of our casting in this movie is based on the works of Guy Ritchie, so having cast Vinnie and then needing someone to play Tibor... By the way, that money, $1.83, we actually didn't have... We forgot. - ...61.83 in American money on the day. We had to scrounge up... It ended up being $1.46. I think I had a quarter in my backpack. Just what people had. We didn't have the money. We'd been in Prague for so long. - This, I think, was our second day. Yeah. - No, this was our first day. We shot the train station in the morning. - This was day one. Or at least bits and pieces of it. - And this... This was actually the first thing we ever, ever shot, which we've now added back. - Yeah. Originally, when they're on the side of the road and Michelle is trying to get the cars to stop, Scott mentions that you can't... No one's pulling over 'cause she's showing her bra. - He says, "This is Europe. They have orange juice ads with lesbians and dildos. You gotta give them something they haven't seen before." Then later in Eastern Europe... You see the orange juice ad with lesbians and dildos. And in the theatrical version, we actually cut the orange juice ad completely because it just felt like the joke of the opulent hotel was better if it was just shorter. So we got to this stuff quicker. The guy who just ran out, the waiter, is like... Dustin Hoffman. - ...Jim Carrey. Miroslav Taborsky. - He's like the Jim Carrey of Prague, and he's really funny. I'm not sure he ever... He never trusted us. No. We had to explain. He didn't want to slap with the backhand and we had to explain that in America... - We had to lie to him... "In America, it's called a bitch slap, the most degrading thing you can do." - We made up this crazy excuse to get him to do what we wanted to do. He just didn't trust us. Nothing you can do about that. That was something we wanted designed, which was the keyboard in the radioactive box played with gloves. Didn't quite work. - No, I'm not sure anyone cares. But we know it's there. This was a factory... It's a high-voltage testing facility. It's a real, working, high-voltage testing facility. And they have it in the movie XXX, but we shot it very differently. And David really went all out here. I mean, especially those sort of finger lights that you see, he put into the background of every shot and Allan gave a lot of neon. And this is some of the best-looking stuff in the entire film. Michelle does look beautiful. - Michelle looks incredible. Of course, the only problem is this place has a horrible, cavernous echo, and there are things in here we just had to sort of loop. We had no choice. The stuff in that bottle, by the way, is SO toxic... Poisonous chemical. ...that when they were dancing with the bottles later and two bottles met and broke, they literally had to clear the floor, scrub it down, decontaminate before we could go again. Anyway, our actors are hovering over the fumes right now. It's fine. Again, look at the lights in the back of all this. That big piece of equipment, that's really there. Michelle's close-up here... That is such a gorgeous shot. - That's incredible. That stupid VIP sign behind him was awful. That was there for all day and we never saw it until too late. Well, you can't, you know... You look at a tiny monitor on the set and you can't see everything that the camera picks up. And then you get in the editing room, you go, "Oh, my God, you can see all that stuff." But also, I don't know if it was us being first-time directors or what. On any given day, there are two or three things you're really obsessing on because you feel that those are the most important things, and you solve those only to realize later that there was one minor thing, like that stupid VIP sign, and there's one of those in every scene where you just go, "What was I thinking?" - Sometimes you're obsessing on something that ultimately turns out to be insanely unimportant, and the massively important thing is sitting right in front of you and you screw it up. - In that scene, we were obsessing on a line when they were flirting. That we ended up just cutting. Yeah, he said he was the black sheep of the family and then she was trying to be witty and she was sort of saying, "That's okay. I have an uncle who 'blank. And we must have done take after take after take. "You think you're the black sheep of the family. My aunt's a female bodybuilder." Just take after take after take of stuff, nothing that was ever used, and it makes the VIP sign all the more, sort of, laughing at us. By the way, the Green Fairy is played by Steve Hytner... So great. - ...who played Bania on Seinfe/d. We worked with him also. - A real good friend too. He really did us a huge favor. - Yeah. He was going to a wedding in Italy, I think, and he stopped into Prague on his way to... Here's a little added extra. Yeah, this was just a little something we cooked up. Jacob was really funny doing this. In the theatrical version, we cut it. There's no time for this in the theatrical version, but we felt we'd subject you to it. And he just... He got it, you know, that he was... Again, we're into the production at this point, and his Cooper had become a character. - He was dialed in. Exactly. And here we go. - On the day this happened, Travis comes up to me and says, "I have a cold." I say, "You're not going to tell Michelle you have a cold because your tongue is going to be down her throat." Also on that day, Michelle's mother, sister, and sister's boyfriend... Decided to show up. - ...came to visit. And it was just like, "Oh, God." But ultimately, they went for it. They went for it, and it's all about the tongue. Yeah.

They just kept doing more and more tongue. It was this progression where the first one was a little chaste and then the next one was a little looser and then by the end, they were just going for it, as we saw there, and they just did a great job, and I don't believe Michelle got sick. So I think it was... - It all worked out. The other thing, too, is we were always starting off shooting wide, which you do, and we probably had sort of a bad habit of doing too many takes in the wide, which you tend not to use. You end up going in. Luckily, by the time we got in, they were sort of going for it a little more, so it worked out. We needed to do the number of takes we did in the wide to get them ready. - To get them comfortable. Which is our excuse for doing the number of takes we did. This is one of the true great moments I love in the film where he's not speaking and he's just smiling. Gets a huge laugh. - Gets a huge laugh, and again, that's at least when it feels like these guys are real characters. It's also, this is a very kind of talky, frenetic movie, and this is one of the few scenes in the movie where we really get a laugh from silence and space. And also just sort of... We get a real laugh from them as who they are, as opposed to someone doing something to them or them seeing something, which, I guess, the movie definitely falls into that category. Also, the audience is warming up to these people who they've never met before. These are strangers when this movie starts. No one knows who Jacob Pitts is. And it hurts the top of the movie. Whether you love this movie or not, and having been so involved with it, we kind of like it most of the time, the audience just doesn't know who these people are and doesn't know... There's no benefit of the doubt, and there are things that I like to think were maybe funny that just weren't working because you don't know who they are. But by this point in the movie, you're liking Jacob, you're liking them. So you kind of get his smile and you go with it. And it's, you know, one of the prices of not using big stars. It's why the second they see Matt Damon people go crazy, but it takes them a while to warm up to the four. But most people, even people who disliked the movie, I think definitely felt that the four of them were good friends on screen, and I actually think that's great, that the story of the four, the friendship works. Well, we took a lot of time in casting. You're casting at an awkward age and you... Everyone has to look great on their own and also has to look of a unit. They're all from the same class, so... You know, Michelle, who was 17 when we shot this, and Travis, who was probably 25. But they end up looking... - Like brother and sister. They found their rhythm... We had a scene that we never got to, which was in there, which is, as he is driving them to Berlin late at night... he starts talking... Tibor starts talking about this area they're driving through. He used to be a great swimmer when he was a little girl. And, basically, the idea being that he was a... Taken by the government, given a lot of drugs. Given weird steroids and drugs and turned into this bearded man you see before him, but that he still hopes one day to get pregnant and have a little girl of his own. Unfortunately, we never got to it. The Cooper shirt, we ended up lengthening those shots because people could sort of see the Cooper shirt. Yeah. I wish-- This was a big mistake, which is we don't keep him in this shirt long enough. We switch the shirt when they go to Italy. The shirt of him with his own smiling face on it, with the word "Cooper" under it is just a great shirt. This is Walter Sittler, who's... - German. He's a German sitcom star. We're hoping this'll be very big in Germany because Jessica's a very big pop star and was on a soap opera, he's a big sitcom star and also Dominic, the truck driver, who is, aS we said, the Dennis Franz of Germany. So, that's gotta be something. Making this the Love Boat of Germany, I think. And this little old lady extra, where we gave specific instructions for them to find as an extra... We were looking at hundreds of photos of old women. We wanted the walking dead. Yeah, who is nearest to death. Find that person and bring them to the set. The thing of her being deaf really makes us laugh. Also, my guess is it annoys virtually everyone else. This is one of these scenes. That old woman is Czech and speaks no English. The German guy speaks some English. The little boy that we're about to see is Czech, playing German, and speaks no English. Also, luckily, he and his father, who was his guardian, I don't believe had ever heard of Adolf Hitler. So, that worked very well for us. 'Cause I'm not sure he ever knew what he was doing. But also... - And this is a scene that's really interesting in a theater because there's about a page of dialogue that starts here. It actually was originally about half a page. And we lengthened it because we knew we needed more jibber-jabber. None of this dialogue matters. And you can't hear a word. I've still never heard a word that's coming out of this guy's mouth. And that's one of the great things. As writers, we would write scenes that have pipe. We have to explain things, and we'd always try to put jokes in and people said, "You can't do that." "No, you're undermining the scene." - And we did it. And it works. When we had the chance to do it our own way, there's important information, you kind of get it, it's repeated here anyway and you got an amazing scene, as opposed to what would've been in a normal movie, which is just a boring scene of them talking about how she's going to Italy. And, once again, this very strange modern plaza that looks like we're in Germany is Prague. And it just, you know, coming out of our earliest discussions, as you're trying to make each city seem a little bit different... You know, Paris Is very pretty. What is Berlin? Berlin is modern and cold and steel. - Berlin is a new city. And this looks different, and also very un-American. I mean, even those bizarre trees. We're not in America. We're not on a back lot. We're not in Canada. And there was a movie theater there that serves beer, which was very interesting.

We shot this scene the same day that we shot Scott and Cooper seeing Big Ben and Parliament. That was the morning, and then we came here and it was about to rain for about three straight hours. It was just a race. Every day was a sprint. - We were just rushing. When you're shooting London in the morning and Berlin in the afternoon with a camera crew move... And the really pretty shot is that first shot, the crane down, which is a really pretty shot of establishing them in the square. But in this case, we knew things were gonna be really tough in terms of time. And I remember David Eggby really wanted that shot, but we had to get in and get the close-ups. That was the carrot on the stick. We were just like, by not doing that really pretty crane shot till last, boy, he was just moving everybody as quick as he humanly could to get that crane shot, which was very fun to see. Not that he didn't always move people quickly. Here's another... If you look at deleted scenes, here's another spot you should look at because there's a... If you like the Creepy Italian Guy, or as you call him, the Train Homo, you will love this scene. We went from... In an earlier version, we went from Berlin to Scotty saying, "Okay, she's doing this Summer at Sea thing. We have to go to Summer at Sea." And you can see Summer at Sea there. That is Summer at Sea. - Originally, this shot we used to get them into Summer at Sea... Instead, we cut here and their backpacks mysteriously disappear. So, they go to Summer at Sea and who should be the leader of Summer at Sea? The Creepy Italian Guy. They get the information they need, but Jamie has to pay a price in flesh. Check that out if you're interested. But, again, when we actually then went from... It's a really funny scene and yet, just in the body of the movie at this point, you've had such big laughs with Hitler Kid and at that point you set up "We gotta go to Rome," going right to the Vatican and letting people know, "Here comes the end of the movie." Also seeing Mieke, seeing: "Here's the prize." Yes. Here's our ticking clock, here's the end. It just made the back end of the movie work really well. The other thing too, as you're covering stuff... When we were shooting this scene, we're shooting him, we're shooting the guard, we're shooting the three other kids standing there. Every little moment here, like every time Jamie spoke to him, there were nice little reactions. And in our early cuts, you start trying to play all these little moments and, ultimately, you're playing too many moments. 'Cause the big ones are right here. - Yeah. This is what you wanna get to. Jacob doing the retard stuff was awesome. Like that. By the way, if you look at that again, the columns in the background weren't there. That was Kevin Blank adding that. Yeah, we're at the outside of a church. And now we're in a museum in Prague. This is the Natural History Museum in Prague. A gorgeous building. I think it's just called the National Museum. I think there's just one museum. - It's everything. And here's our really cool shot. Peter McCaffrey, our camera operator... This we enjoyed 'cause it's one piece. This was the one time he was able to stretch his muscles and then... But he didn't. He clearly did this blindfolded with one hand. He's working this huge crane, he's spinning two cranks. He could've been eating a sandwich and playing piano at the same time, for all we were challenging him. This was something we talked about, one of the few things where coming in we had an idea of what we wanted, this sort of multiple levels of going in different directions.

Here's where we have to talk about our extra writer on this movie. Our first AD. - Our first AD. Chris Newman. - Chris Newman's so great. That was his joke. "Which way did they go?" "

It was his idea to have Scott go the other way and say, "

We actually wrote it... I guess we wrote it the other way. Right. - And it was so much funnier that way. Chris also wrote, "This is definitely where I parked my car." That was his joke. - Yep. He was always coming up with some great jokes. He came up with the idea of the bus going the wrong way down the highway. But he did it small. We were like, "No, we should do that as a scene." But, again, Chris has just AD'd some of the biggest movies in the world. Did a whole bunch of the George Lucas movies and stuff. And he's just a really good guy and, boy, did he put up with us. And his second, Ben Howarth, just really good guys that just... They'd worked in Prague, they'd worked with a lot of this crew, and they've worked with big directors, and they worked with us, who'd never done anything before. They never lost their temper and they put up with a lot of our crap, and a lot of days that we were just barely making or always going into that extra hour that you weren't supposed to, but we went into every day.

Now, Jacob-- You've never seen a man more animated than Jacob playing Cooper because Jacob realized that he got to give a big middle finger to the Catholic Church. And he was so happy. He did really enjoy this. The other thing, which is very ironic, when we were in preproduction, we had to go to a pope hat burning. Which happened to be on Good Friday. The effects guys were showing us demos of how they were planning on burning a pope hat and we realized that we were burning pope hats on Good Friday. They were throwing these flaming pope hats into this makeshift fireplace, and then we looked at the end and there were these giant canisters of flammable gas about five feet away. Yeah. But that was a... - Prague has no laws. We do have to add, this was all built, I just wanted to say. I mean, we built this Vatican, we built those interior rooms. There's Nial again as Bert. This is... - This is all built. This is not even in a back lot. This is in a factory parking lot. - Yeah. We built two levels. We built this entire Vatican. You'll see it wider later. This is an interior set, all built and designed by Allan and the guys. And it just looks incredible. - Allan used to come... Originally, the Vatican is one of the largest buildings on the planet. Far larger then we realized when you write, "The Vatican." "We need to make this smaller and smaller." And Allan would be, "Guys, guys, I can make it smaller, but any smaller not Vatican. Real Vatican is huge." And, finally, beaten down, he came in and said, "Guys, 67%." - Yeah. I think this facade, you'll see... By the way, Michelle's reaction there is just incredible. This is an effects shot, so this is all fake obviously. That's all Kevin. But you'll see when he jumps down... We built-- This is all built. And it's just amazing. And Scott had a lot of fun here. Sort of doing his papal wave. The pope. The pope seeing this... We added this later. - ...we added later. The back end of this movie, and, again, this is one man's opinion... On paper-- Again, these are things you learn as writer/director. It's funny. Originally, the movie ended on a dock. They were racing to find the boat she was leaving on. Where did we have an ending? It was Monte Carlo. - Monte Carlo or something. And finally, we sat with lvan... Yeah, lvan Reitman, who's the producer, and the Montecito people, they were like, "No, go to another city." And we kind of came up with this. And we loved it, they loved it, everyone loved it. We were really happy with it. And in, sort of, I don't know... This was one of these places where I think the audience's lack of familiarity with the kids sort of hurts it a little bit, where... Everyone loves seeing Vinnie again. Everyone's happy to see Vinnie, everyone's happy to see the pope, but, I don't know, they didn't relish as much as we did the fact that they, sort of... the high jinks in the Vatican. And I honestly believe... - It's also a different style of comedy. It's like we're doing this jokey, kind of edgy, drunken high jinks, and then this is more of a... Although being in the theaters, always big applause, him coming out as the pope. But what we did do... We ended up changing this. In the original script, he came... Not only in the original script. - In the original way we shot it. He's here and he proposes. All these things, he says, "Look, I did this and I did this. What do you think?" This is-- Before we get to that. This and the pope reacting we added to make this funnier 'cause It wasn't working continually. Originally, it was just him saying, "I did all these things. What do you think?" And she says, "I think you made a big mistake." And then there were these slow wrap-ups before she ends up reappearing. The crowd goes, "Ah!" And then they talk on an overlook, which you can see this all in the deleted scenes. And it was a real downer. It just felt... I mean, we thought it was really funny that a guy who takes this entire trip gets there and she was like, "What are you doing?" But there's still some hope. But the truth is, as written, it was sort of funny and ironic because, oh, we wrote an entire movie where he doesn't get the girl but then gets her later. But it ultimately just plays sad and disappointing. And so, what we ended up doing was taking that moment and moving it up to the front, so we get that funny joke with Bert... "What a fucking loser." And then reshooting right here. The audience is ahead of it. The audience still thinks that she is now going to turn him down. Because we overdid it with the music and stuff.

And then, of course, they're hooking up. And this was, you know, very fun and liked this joke and maybe it's a little bit of a pile-on onto the church in that they are-- we will reveal they are in a confessional. I'm not sure this is the answer to what was wrong at the end of the movie, but I also Know that what we shot was not the answer. This is better than we had, 'cause there are jokes and it is fun. Mindy Sterling doing us a huge favor. Yeah. Mindy Sterling, who was Frau Farbissina in the Austin Powers movies. - And there's a lot of her in the outtakes. There's a lot more of this scene. There's a different version where she is enjoying it more and stays in there and starts directing it a little bit. We even tried then bringing back Fred Armisen, Creepy Italian Guy, as the head of the magistrate of the Rome court. This is an excerpt from that scene that we then took Fred out of. And, again, I'm not sure what the answer is or was. It was clearly the end of the movie. You wanted it to happen as soon as possible, but... It was interesting. After he got to Mieke, it felt like, "Okay, the movie's over. Let's end this thing." And it just felt like we had 17 endings. Definitely multiple ending syndrome. And, again, there's still multiple endings, but at least it is shorter than it was and none of these are angering anyone. Also, I think, the nice thing is, people wanted them to get together and now we see they got together. And you get a nice, big laugh out of them getting together. Also, when they didn't get together, people questioned the entire movie. Like, "What was in those emails? What made him come?" And there is no answer to that. The emails are fake. But oddly, when they do get together, where she's as into him as he seems to be into her, you don't question those things. Again, this is where you kind of go, in hindsight, "I don't have the answer." Lots of things have occurred to me, but this is the movie we made. And this scene, again, was a lot longer. This is pieces of two different scenes, a reshot version, and then this is what we did in Prague, which is up near the Prague Castle. We found this wild building that looks like this neat Roman café and just filled it with tables. And then... - Patrick Malahide. Yeah. Patrick Malahide. The audience is always ahead of this, that he turns out to be Frommer. Michelle is sort of falling asleep. - She falls asleep right there. We are calling her on it right there. And he was fun, you Know, a voice of authority, a little bit prickly. Of course, then has his Leica and then has the same exact wallet. And, again, this is Jamie's reward for having sacrificed everything. And people really like Jamie and are happy for him.

This is where we had the bomb threat. We actually had to shoot... - We had to come back for this. The whole airport we shot in one day. Well, actually, two days because... - It could've been done in a day. This part we had-- This was the end. We had an hour to shoot this whole scene. And I remember, there was a woman from the airport standing there and... We're distracting her with bad questions. I was talking to her and I speak a little Czech, and I was telling her that I used to drive a cab. She was talking about cabdrivers from the Czech Republic that are now Americans. And I'm like, "I used to drive a cab." Just anything to stall while we were shooting. The other thing is, 66 and 67, we're controlling. Those are our lines. And I think 77 there we're controlling. The rest is the real airport. - Everything behind is the real airport. And there's an outtake where someone comes and tries to get in our line. And the Czech AD had to, like... - Mirek. Mirek had to grab them and pull them out of line, which was funny to us. I don't know why everyone laughs when they say "flight from Rome to Cleveland." Cleveland is a major destination. - No, it's crazy. If anyone ever flies to Raleigh-Durham, you can go from Rome to Cleveland. That's my only point. This is incredibly inadvertent and we lucked into it, but as they actually hug and are happy as brother and sister, even though they made out, we really lucked into it, the fact that they both ended up in green, sort of dressed together, as they are twins again. I always thought that was really cool. Nothing we had any control over. You always hear about directors talking about color schemes and stuff. We had no control. This scene-- There was a lot of dialogue with Jenny and Cooper talking. We realized we didn't need any of it. It was just... It was an attempt at flirting, and at a certain point it was like, "No, this entire movie has been the flirt. Let's just do the payoff." And, obviously, get him in there. And there's a weird little thing in there, where it took a little too long for the door to shut. There's a little jump cut in there. That's masked by the sound of the door. - And then we tried that line there, which no one ever liked. It was weird. The first time we put it in, the first time we screened it it got a big laugh and subsequently not a... Something about that stock shot. That has appeared in every movie Montecito has ever made. It's Harvard. - It's Harvard. It's a helicopter shot of Harvard. I believe they used it in Road Trio and Old School and we've used it too, now, as Oberlin. So, that will be in every movie we ever make. And then you get into these scenes and you start having these weird discussions, like... This, by the way, the "Eat Me" shirt, awesome. The "Eat Me" shirt is awesome. And this is also a reshoot. Originally, we had Jacob in his dorm room. It felt very claustrophobic. - Very shuttered. This is actually one of the few things that was shot in the United States. That's Caltech. And most of what happens happened in the other scene, but it just opened it up. I mean, Jenny being there... Although, originally, she was reading a Jackie Collins book. So, we miss that. And then we added this American robot and people either like it or don't like it. I think the problem with this is that people don't remember Cooper hating the robot from the other scene. They just remember Scotty fighting the robot. SO, it's not as funny that Cooper fights the robot here. That's Pat Kilbane as the robot, who's a really funny guy. We used him on Seinfe/d as Bizarro Kramer. He was really funny and it just... unfortunately, I'm not sure... Again, it's a writing problem. But he's just very funny, just trying to still be a mime. This, by the way, it was 110 degrees on this day. No air-conditioning on the set in the middle of summer. And the college we eventually got cleared was Oberlin, which to people who've never heard of Oberlin... Who live in Central Europe. ...looks like "O, Berlin," which they think is some sort of a joke. Yeah, and the only reason we used it, it was literally the only college on earth that we could clear. And, again, as director, things you don't worry about... I remember lots of discussions about when he is using that computer. How is he using it? What is it plugged into? I remember arguing about what bag she's carrying into this scene. Again, there are just days where you get bogged down in things that you have no idea you were ever going to get bogged down in. Colors of walls. Things that just don't matter at the end of the day. But the trouble is, every once in a while, something does make a huge difference. Exactly. - So, you have to obsess over this stuff. I always loved just... The Green Fairy coming back, I thought, was a perfect ending to what is a really strange, perverse fairy tale. When we changed the ending and kind of made it happy all the way through, without the original downside and then the surprise happy ending... it started to-- We began to worry, "Is it all just too pat?" And the Green Fairy just going, "Fuck this," sort of, I don't know, it helps us as writers somehow feeling like we didn't just give in. This is something we always wanted to do. There are a lot of funny scenes that you can see in the deleted scenes, but like Joanna Lumley here... Joanna Lumley, which you can see in its entirety. This is the youth hostel in Amsterdam. She's hilarious. - We wanted to put some of these in, mixed in with the bloopers, and just be able to hear the song one more time. I think people end up really loving it. It's weird. Everyone always would almost get up and then sit. And later, in the airing to the movie, people just knew to just sit there and watch. It also, by putting all the major funny guys in... You get to see Vinnie again. You get to see Robot Man. You get to see Creepy Italian Guy. It reminded anybody that wasn't as big a fan of the Vatican and stuff, reminded you of things earlier that you liked. And that sort of made people leave in a good mood. It shows, "Hey, this was a crazy, wild, fun time." Look, when we shot this, it was a hundred-ring circus: three locations a day, new cast every day, strange country, people that didn't soeak English or spoke seven different languages. And it was unbelievably fun. And that's what this actually... I think this reflects that pretty well. There you go. That's the line we were talking about. You can see that scene. That's our day-one porno shoot. Our day-one porno shoot, where literally on the first take, it's running and running... - Hey, there she is. But running and running and running because we have no idea that one of us is supposed to call, "Cut." That was day one. - I remember that. Our first AD Chris was accustomed to saying, "Action," because he had worked with a couple of actors who directed themselves and they didn't wanna yell, "Action." So, Chris was used to yelling, "Action," so he yelled, "Action," and we shot. And I remember we looked at each other kind of going, "You good? Yeah, I'm good. You good?" And then we suddenly realized that somebody had to say, "Cut." While we're wrapping this all up, I guess we should mention Montecito. That's Jeff with the Hitler Kid, teaching him to walk. Greasing the wheels of the train straight to hell. I was just gonna say, the entire time we were there, we had Danny Goldberg and Jackie Marcus with us as on-set producers, helping out with a lot of things. And then we always had Ivan, Tom Pollock and Joe Medjuck. With Ivan, it was an interesting thing of... We didn't always agree, but it was always interesting because we'd talk about stuff and you'd talk about these kinds of movies and you always are referencing Animal House and Stripes and whatnot. And, of course, he made those. And that was always an amazing, sort of... It was a great... "You know how in Ghostbusters..." Yeah, of course you know. A good consigliere, so to speak.

That's a little clip from the Summer at Sea. Trying to look at any other cast people and things we should be mentioning. I guess... - The prop guys, by the way. Just Lukas and Michal. Good guys. Really good guys. Lots of the stuff that you're seeing here you can see in their entirety in the... Including probably a little more of that. We were one of the few movies that have ever gone in and used a lot of key Czech people as heads of big departments. Usually... We did have some guys shadowing guys that we brought in, but we really did try and use a lot of Czech crew. And I think we were rewarded for it. - They were awesome. I think it was a really good set. People seemed to go out of their way to tell us that. Anyway, so that's the movie. It was, hopefully, as fun for you guys to watch and hear about as it was for us to make it. Very odd for us to watch it. - Yeah. Hopefully, it was less odd for you. It was Maurice Chevalier, not Charles Aznavour. Oh, God. Jesus. James Venable. Yes. Our composer. And, by the way, there'll be... If you're watching the unrated DVD, there's another commentary you can enjoy, and also secretly buried on the DVD elsewhere is us doing three separate commentaries where we talk about each other. But James Venable is the composer. He's done stuff for Kevin Smith. I worked with him on the Clerks animated show, and he kicked ass. There was just-- Creepy Italian Guy's theme, a couple of the other pieces were... I love the music. He was a real pleasure. It's like the end of the Oscars. I know, I know. It's like, "Who did we forget?" Everybody was great. Everyone was great, except the guy who did coke and tried to steal that we had to fire. - But he was still good. And here's our favorite thing. That's why we made the movie. A little reward for those of you who sit in your seats. Good night, everybody. - Goodbye. Bye.