Underworld Evolution (2006)

This is Len Wiseman, director of Underworld Evolution. And sitting in here with me today, far too close for my liking, I've got to say, if I can scoot over a bit, is Patrick Tatopoulos, our production designer. Say hello. Hey, how's it going, man? Remember that voice. And Brad Martin, our second unit director and stunt coordinator. Hello. And Nick Tatoth, our editor. Hello. Are you going to do that the whole time? Is that going to be your... Hello.

So who's going to start out here? These are great titles. Yeah, thank you. Love the titles. So I was going to say, we're going to try to be a bit more about the making of the movie itself rather than just telling you exactly the story that you're watching. I grew up on watching DVD commentaries and would always get a little bit frustrated if all you heard was exactly the story that you're watching and always like to know the experience of the hellish days, the good days, the technical aspects behind it and what have you. So we'll start out that way. It won't end up that way. There's already here with a bottle of wine, so we'll do our best. So here was our first visual effect shot coming out of the eye, which was, I believe, Nick, was this a combination of two shots? Yes. It was a combination of two shots, and it was also a digital creation, too. The... the fire in the eye. All right, we put in that scene of the fire and such in his eyes and then tracked that as we pulled back out. This was, we shot this, talk about this, Patrick, where we, I forgot what hill this was. I mean, actually this place. Seymour, Mount Seymour. Mount Seymour, it's actually a ski resort. And the funny thing about the village is It had to be built, and we stroked the set just a day before the station opened, and people were starting to ski again. So it's hard to believe it's a ski station, but that's what it is. But when we went there for prep, which was on a Friday, just to go look at the whole set and everything, there was no snow. And we were shooting on Monday, and we had to have snow there. Well, the thing is, we didn't seem to be able to get enough cash to get fake snow. No, we didn't. It's funny, because we didn't have the money to bring in fake snow. But then the thing is, once you're actually shooting in snow, That takes its own money to just be equipped to shoot in snow, which is a bit of a beast. But in fact, we're very blessed that day because, you know, I mean, the day before, the thing was dry. And the day before, a couple of days before we shot. Yeah, and I was really depressed about it. The night after that meeting, it just started dumping. Yeah, literally, what was it, the day before we started shooting, the snow came in. I was very depressed because of the whole reason we went on this mountain. and went up here and built this was in hopes to have snow there. I feel sorry for Zita. Yeah, the voice. Her voice got dubbed over. I did, too. It was very hard for a lot of the audience to understand. Yeah, and there were technical problems, too. She was not available at the time of ADR, right? How long were we shooting this, do you remember? This was my portion of the first unit, I think, We were up here... 12 days, I think. I think it was 12 days. How long were you there, Brad? Additional five, I think. And this whole sequence is a combination of, you know, first and second unit put together, and I was there with the actors, and we're doing the... establishing the sequence, and Brad went in, and there's a lot of the... a lot of the battle sequence stuff and such. Now, I was very... impressed with the cg worlds that we have in here i'm not a huge fan of of cg as i've kind of mentioned before and and so i'm like this this right here i think uh it's it's about as real as you can you can get i am very impressed with these i think i'm more impressed with the ones in the uh in the monastery i think are amazing running down the little corridors which we'll see So you notice, too, there's a lot of all the blades, the axe heads, a lot of that stuff is digitally put in. We just have the guys. That was a real head, though, that fell down. That was tragic. It's one of the stuntmen, right? A lot of the blades and axes were added in digitally, so the guys can just basically have these sticks with markers on the end, with the handles, and just swinging around so that you can actually go through and follow through with your strikes rather than having to cut it short. Or cut somebody's head off. That's a great concept. That needs to be used a lot more. That's really cool. You see a lot of sword fights and you can tell they're not giving it everything to actually go through somebody. They're having to... Or you can tell that they're too far away to actually get through them. In this, we had them sitting on ladders pretending to be on horses, which was... It's just an odd thing for the actors to get into it and they're... pretending as if they're moving and shuffling back on a horse. And you can't tell in the end, but doing it is quite funny. All that werewolf stuff is done by Rich Citrone. He's in the suit all the time. Oh, is it Rich doing all that stuff? Yeah, yeah. It's important to say that there's a combination of CG and practical all over the place. You show a lot of practical stuff as well. That was that extra fall right there on that horse. That's right. That was an accident. These horses, it's funny because we got a horse that it does its one gag. It's been doing it for 14 years. And on action, just on the call of action, it does this stunt. And one of our ADs, I forgot who actually called it. called action instead of background, and the thing just reared up and actually did the stunt in the wrong place, and everybody was okay, and everybody ran out there, but we ended up using it in the film. And we ate horse meat for, like, what, weeks at craft services. It was really bad. Remember, Patrick, this scene right here, I was actually stressing out quite a bit because we weren't prepared to shoot this wolf yet. Exactly. The wolf was in the radio at the time, and... And we had to rush, actually, to get you something on set, and clearly this wolf is a lot... Harrier. Harrier and whiter, which actually, at least a good thing, you shot it outside in the snow, so it wasn't as striking. It's a completely, it's a fairly different wolf from the one you'll see at the end of the movie. Those shots right there, that CG chain is amazing. Yeah. Yeah, I thought that was... This one, too. ...Nate and Entropic doing that work.

And I think it works out fine that he's, you know, because he is out in the snow. Yeah, and also... If he was that white and had that much hair and everything in the dungeon at the end. I was going to say, the story as well helps because this is like an old thing. The wolf, you know, after coming out, we'll see later, reappears. It's many, many generations. Now, there's a gag reel that I cannot get past now when Tony... Right here, he kept... Balls. Balls. He gets this line wrong and just yells out, balls. And I cannot. All I can think of when I see that is balls now. That's all you think about anyway. I was going to say, I was very surprised no one jumped on that. Of course, Brad. My lord. Balls. Imprisonment for all time. Far from you.

This next thing here, this was something that Nick and I were slaving away at for quite a bit of time, just the wrap-up of Underworld 1, which is not as easy as it would seem to take a whole movie and wrap it up in a little segment. In one minute. Craven, our second-in-command, had formed a secret alliance with Lucian. I saw more of Nate's work affecting all of this. Originally, it wasn't the concept of how the movie was supposed to start. The blood from... What's the other werewolf's name in the dungeon? From Singe. Or Singe. It goes down into Marcus, and then you go into his eye, and you come back out, and it's... um tony in the medieval village right yeah that was the original beginning right and the problem is there there's you know screened it and with uh there's you know a lot of people not knowing who singe was if singe was a lichen and just the a little bit more of the background of of underworld one needed to be stated first the human descendant of corvinus yes all of this was created way after the fact because we shot it i mean you shot it with that original transition in mind. Yeah, what the original plan was, there was a sequence where we just held off on this. It was going to be the Underworld wrap-up, where Marcus, when he awakens, he bites Kraven's neck. Through those genetic memories of biting Kraven, he ends up getting what is basically the Underworld 1 wrap-up, and kind of last time on Underworld so that everybody gets to speed. And it just, it was a bit too long to wait for that to happen at that point. Well, there's the original original one, which was Selene as a child running into the barn, and then the medieval sequence, and then the eye. Yeah, the script went through many revisions. And Kate and Scott. I wish Kate and Scott were with us. Yeah. That's a big bummer. We had a really good time with them, and they're both... Kate's in Nova Scotia shooting a movie right now, and Scott, I believe, is... a bar on Lancashire, Mississippi. No, he's in New York working on a movie as well. Who are Kate and Scott? Kate and Scott, yes. This was our first... I think this was their first scene that we shot with them. It's also, I think, the only set that's remotely similar to the first movie. Everything else is quite different, although you kept the same tone at the end, and you made sure that those things fit together well, that the style was a little bit different, but this one was very much an attempt to recreate the first one. Because it was a safe house, and we go to safe houses in the other one. This was a location we shot at. It was underneath. It was some basement of a power plant, I think it was. But we had to bring the werewolf, though. He wasn't there when we got there. No, that was unfortunate. That was actually a mutant safe house that you guys used for this, right? That's right. Not a werewolf. And that's where the genius of Patrick came in, is turning a mutant. And didn't you guys, you had to bring everything down. It had a really narrow staircase. It was very narrow, very narrow. So, yes, it's a location, but it was dressed quite a bit, and there was some big piece of dressing elements. Then we had to close the entrance. Still, you know, it was great to find a place that sort of gave you what you wanted as a star, rather than having to build that, as you say. I mean, at the end of the day, we could have probably built this set. It wasn't that big of a set, right? I mean, that's a hard thing to decide. Once you're in production, you say, okay, let's save money by going to a location instead of building the set. And then once you dress it and build it out on location, sometimes it could have just been a full build. It's more trouble, but very often you throw the number of the set ahead, and there's reactions saying, you know, you need to save some money there, and then you sort of shove it into a location, and the set... budget looks better, but somehow you're probably going to end up spending more money on location, like you're saying. Yeah, this next shot coming up here, we built the floor. The background of this is actually from Underworld 1, and we just reused the shot. And so these guys coming in are on green screen just to save a bit of cash. There's a lot of great shots like that. Yeah, and the shot, actually, those guys that came in, originally was a shot with Kate coming in through in the first Underworld. That's right. And we removed her and hit her, and we hit her in the group of people. Yeah, we did. She's actually there, but you can't see it. I don't think they noticed either. No. No, they didn't, because he was behind them. So just the wall behind them is a real wall. This is only like a three-wall set that we built. The big entrance was not done, that's the thing. And this shot coming up too, the overhead shot. I'm interested in what French reverses are. This shot right here used to be Kate as well in Underworld 1. That's right, we replaced Kate here with Shane. Do you keep the shadow on the floor? No, if you actually look, there's shadow continuity issues. This was... This is a lot from Underworld 1 as well, just taking pieces. And when the coffin rises, that's all from the first one. I forgot about all that. Yeah. So that's new, huh? That's new. That's old. But what we did is we just... We didn't... This was a scene that we were possibly... I think we didn't have the money to do it. And so I was trying to set up how we could do it with a lot of the footage from Underworld 1 and not have to build so much. And... So like I said, we had a three wall set and because the walls are similar, you don't really know exactly where you're at. So I think you get away with it. And here's Marcus. So Marcus, so with Tony Curran, how long was his makeup process? Well, it took about four hours. I mean, you know, the beginning, then he sort of went down a bit. But I want to tell one thing here. The first time you're going to see his face, remember then? Same situation in William. When this ended up being scheduled, we didn't have the final design to get out of the space. And I've always been, between your eyes, a little bit bummed because we reused something just so you had something on set. So that face you're seeing here is not really the design that you're going to see later. It's a different thing. We felt we could get away with it because... it's the first time he comes out of the coffin. And in that sense, he's not completely finished. Yeah, that's right. It wasn't ready yet. Because we shot this part before the Christmas break. Yeah. Sounds so far, sounds like a very, very well-organized movie. Oh, yeah. It was stunning. I think it's all because of Len, what you guys think. Oh, yeah. The way he drove this whole machine. Yes. Absolutely. And the sets, too. The sets are amazing. Like a captain or a truck driver. I mean, a captain. Like a captain. Pretty much. I was starting to miss this nice... Like Captain Kirk. Yeah, exactly. Captain Kirk. Here we have sequences, little bits and pieces of the barn sequence with Selene as a human. How do you do that, the frame thing? That's Nate, actually. All this stuff here, the effecting. Nate at Entropic has a really great vision. He's actually very, very talented. And he... He affected all the flashbacks. It actually takes a very long time to do all that. It does. It goes by really fast, but it's a lot of tweaking in the edit. Right, yeah. Actually, that chopping off of the head right there, and then also the chopping off of the head at the village right there, I know that you and Gary, the visual effects on-set supervisor, were at odds for a while saying that, well, he was thinking that it's not going to look good in 2D, and you're saying, well, no, it's going to look fine. And it ends up looking great in both shots where it takes his head right off. Yeah, it was always, you know, we were wondering how that was going to look and does it explode in just a spray and a splat? Do we see chunks? Actually, a lot of thought goes into just how somebody's head gets cut off. This was a reshoot for lighting-wise. We did Kate's close-ups. We shot actually, I think, the last day of shooting. We did some of those over. Put a couple of walls back together. Yep. I'm grateful. You saved my life. I wasn't ready to die. We shot this sequence, everything in the safe house, we did in two days. It was actually quite a few pages and everything to do in two days. you just make sure you come back. And then this next sequence, the exterior or the tunnel section was, this was actually on location. Yeah. It was a mine shaft. A mine shaft in Vancouver. We just built the door. Yeah, you built the door, the tread. Did you guys get the picture from the mine shaft with the ghosts? The location scale? Oh, yes, we did. This is a miniature, a full miniature with miniature helicopter, miniature ship in a tank. There's no CG going on here. Do you know the scale of the ship? The scale of the ship was, I think the technical term was huge. Yeah. So I think it was like... This is a miniature as well, the helicopter. We just comped in the guys. Was it huge or ginormous? I'm saying ginormous. It was, I believe it was like 34 feet long. So it was a massive, you know, it's funny because you say miniature and like my, you know, I'll show pictures to my brothers or family or whatever. And I think when you say miniature, you think of a very small sort of train set. The biggest deal with that is the water. If you go any smaller than 1.6 or 1.8 scale of the size of a real boat, then the water looks awesome. Yeah, I think the water is always a problem. I don't think we completely get away with it in this one either. I think water is always a problem. And if you go back and look at it, there's... The ripples sometimes. I think you can tell, yeah. The water is just... It's the speed of the water, right? Then the size of the waves. Size of the waves, size of the ripple, the splash and everything. Yeah, it moves too fast. That's a nice set. That's very nice. Who had the idea to put that statue behind him? That was Patrick. No, that was you, Len, remember? I won't take that from you. That was me, man. And by the way, Len, the way you cut the scene, I just love that. It works.

Now, I really did like the way the set looks. That's cool. That's footage from the first movie. Like the names on the monitors, they're all names of people who worked on the crew. Len picked them. Notice that Nate Robinson, who did those shots, gave himself the absolute longest shot with his name on it. You'll see there's the one that's like... Well, I used to do that. I was a prop guy for quite a while, and so it was my job to... to fill out a lot of the stuff you'd see on screen and there's nate robinson look one one thousand two three one and like in godzilla's there's a uh there's a a guy runs into a cab um he gets he gets a some some book and looks up a cab number and and of course i put my name 40 feet across the screen the one that he he fingers oh i can't beat you on stargate The head at the beginning of the movie, the big pharaoh head. One of my guys wrote his name in the middle of it. And we didn't know it would be the title sequence. Really? You can't really tell unless you're aware of it. But the thing became the title sequence. It was crazy. My name's in Stargate, too. Remember the... Stop it. Yes. Because the chalkboard that James... that James Spader was riding on in the military facility. Yeah, in that I had my name there. So I'm sorry to, this is like makeup. What we just saw is, can't you tell? Yeah, different. This is actually the final design for him, for Marcus. Makeup. So the one first time you saw him was not quite there. That's the thing. I wonder if that caused any confusion. I was a bit worried about because the makeup is quite different. You know, if people... I think it ties in. We never had any comments on it. This, again, miniature. See what I'm talking about with the water? Exactly. Just point out the flaws. That's what's good about this. Nice thing to do. Give me a moment. That set was really... really small you make it look really big though this is a 14 mil lens yeah and whenever you whenever you put on a wide lens on that but it was really really i i loved how the satellite it was it was kind of for us it was sort of a nothing yeah it was the last we didn't we didn't really give it that much um and he comes he comes out i think the lighting looks great in there yeah i agree yeah another compliment Not a lot of patting themselves on the back. Can't stop it. The sets look really good. They do. Stop it. They look like a real movie set. Uh-huh. This set was attached to the rest of the ship, the big room you saw before. It was one big, long set, actually. Big. I always wish it's twice as big, and so do you, man, I think, sometimes. Yeah. Never get squared. You always have to work out the budget thing. This way, a lot of conversation about how gory to go with this. I like the idea of the whole design behind this and having it inside the rib cage. You got to just show it to see it. Who made that piece? This? I don't remember. The prop guys were doing the middle piece. Because that looks great. It really does. It looks real. Well, the guys did the chest. Found his ashtray. I like the design, but it became called, I refer to it as the ashtray. It was a very ornate ashtray that is now in my office. I don't smoke, but it looks like a very nice little ashtray. It's the way you shot it, Len. It didn't look like an ashtray. It was. Where did you guys get it from? What hotel did you get the ashtray from? It was from the... It was somewhere in Vancouver. Because it even has the sides on it, the four sides where the cigarette would be held. Actually, if you look carefully in it, you can see the name of the hotel inscribed. Again, this is another... That's dexterity right there. This is another reuse of some of the footage in Outer World 1. Again, we built literally one wall for the safe house, and everything else was Compton from the first one. even the screens he's looking at were taken from the first. Somebody's passing the wine over. This was on, in Vancouver, which we, it was actually a cabbage farm. So it smelled nice to start. And then we, Of course, it had no look inside whatsoever for us, so Patrick completely built out this interior, which I'll say it again, I think it's fabulous. Thank you, Len. It's interesting, the exterior that we went to scout, this thing really felt like Romania as a start. Did you think the whole place, and if you can fill the location, scout? Yeah, I think so. And we were desperate to find something because it was the last location we actually found to find some kind of... European tavern in Vancouver. It was very difficult. I had a lot of Eastern European strippers, though, but not too many. Less taverns. I wasn't aware of that. Patrick was telling me about that. This was all shot in a day. A lot of the forest sequence, the fight that's coming up, all that was shot in a day just to be able to move faster, save money. And then we... tweaked it and did the color grade, and brought it to look like night. Now this is, everybody's aware, but when you shoot a movie, obviously you do many takes, and so that applies to everything. Eating, your actors have to eat. They do 12, 13, 14 takes, and so a lot of times what they do is they just keep a bucket for the actors so that after the take they can spit out the food, so they don't just keep keep eating through the whole thing and get sick. He will get sick for that marriage. Yeah. He's a real method actor because he ate so much that he actually really made himself sick. It really worked. Which was... Scotty did really a good job. Yeah, Scott, I gotta say, Scott is great with all of the... We talked about this before on the first one, just the pain, the transformation, the shakiness of it. I think he's... He's quite good at that. That was a camera, that was a shot of Scotty's inside, actually. You guys, he allowed you to shoot the inside of his... He's a very nice man. Yeah. He's very cooperative. Does that disgust anybody else to throw up? I notice a lot of people kind of cringe and look away at that. No, it's good, though. When you're making a movie, you realize what it is and... It's never real blood. It's never real vomit. It doesn't really have as much of an effect. If I see it in another movie, I would. I know. My wife was certainly grossed out by it. Was she? Yeah. Really? I think it works. I mean, it's real. That's Sam Harris, who was our first AD. He starts off that shot. He's at one of the consoles right there. You're kidding. I've never noticed that. Yeah. Wow. You know, it's because he's the only guy that doesn't Completely look like they know what they're doing. Right. No. Oh, so he can say the F word, but we can't. Yeah, I was going to say that. Yeah, apparently. It's not fair. Was that Scott doing that jump? No. That was Mike. Oh, I just missed it. Yeah, Mike Gunther did that. What would we do? Just a trampoline thing? It was an air rim, which is a hydraulic lever. That was Scott going through the door. Yeah. He did that. And then this will all be Mike here running away. And then I think on this jump over the car here we had Mike do it a few times and then Speedman gave it some goes and I think we ended up using the Speedman. Yeah, we did. It's Scott's jump in the final. This right here is Scotty. And then that's Gunther right there. And that was a whip pan. cut it was just two shots and we just put them together in one with the completely different locations yeah and kate much man what people another thing they don't realize that you know she's in high heels yeah with these boots and in on a slope you know muddy ground rocky roots a little bit and it's just uh it's it's not easy to end up confident with her athletic skills anyway yeah and she did awesome yeah she pulls it off She looks like she runs through the... No, she's really good with all that, and it looks very precise, very brutal. Spearman looks gnarly here, too. So the two cheats here, are we talking about this one right here? Oh, yeah. Right here, she jumps down, and she's right in front of the cop, but that was totally moved around, right? We cheated all of this. Yeah. And then we're going to see another face repeated twice. That I love. I think that's got great form to it. What do you guys think? Does that work for you guys? Yeah. Yeah. I mean, because at one time you were thinking that looked way too fast, that jump out of frame lens. I did. At a time I did. This guy right here? I felt like she got yanked out at times. But no, I've come to really like it. A lot of people, it gets a bit of a response and a clap and everything from the audience. Oh, totally. Do you notice the cop twice then? Yeah, I just realized that. I didn't realize it until you said that. Because I knew we always needed that shot, and we planned it for second unit, and we never had a chance to shoot it. But no one ever notices. Yeah, that's great. I mean, now that I've opened my big... Man, these guys, if anybody heard the other commentary on the first film with Kate and Scott, that when you have the two of them together, like in a scene like this, it's very dramatic and very serious. It is so brutal to get them to stop laughing. They, uh, it's, uh... We actually have a lot of fun, but, man, they just, uh... Something happened with Kate just gets riled up around Speedman, and it makes her just go a bit batty, and she just loses it. Now this next scene coming up here, Marcus is swooping in. Jim Churchman, my rigger, my main rigger and assistant coordinator, has this great rig right here. It's a computerized winch, which allows us to repeat these moves. And this was the stunt double Adrian Hine. But we landed him, I think that was maybe a 14 lens that we shot it on. He landed a foot from camera consistently every time. CG for the folding back there. Actually, CG for the wing, period, on this shot. That's right, yeah. The wings are CG and the rest is makeup and the guy, stunt guy in a suit. And it's a good trick to have the texture and the lighting and everything on Marcus' suit, which I think really lends itself well to then the CG being applied on top of it, so every frame that you go through and every step of the way, you have a lighting reference, so the CG guys will know exactly what that texture should look like, rather than, say, the whole creature being CG throughout. It's hard to match the lighting of the environment. I think more and more people are aware of that. You always try to bring lighting dummies, if anything. I mean, in this case, it was the actor in the suit, but I think it's a good thing to have the real reference for CG to play with.

A lot of these blood hits are CG that are put in just so you don't tear up the suit and go through numerous different costumes just by putting a squib blood hit in them. So that was Scott. Yeah. And through a lot of the sets on the location, you'll notice there's a lot of rocks that we actually brought in. I wanted a bit more of a claustrophobic, narrow, dangerous-looking... and this road only had one rock face. And so we brought in these, what were they, like 10 feet, 12 feet tall? They weren't very big. And I would just bring them in the foreground of the camera to create a little bit more of a... That reminds me of the location in Romania that we found. Remember? Yes. That's what inspired it. That's what inspired me about it or frustrated me about this one. Once we got there, it didn't have that same claustrophobic look.

This is a huge collaboration of myself and Brad to get this sequence done. I think this is you right here, Brad, yeah? Yeah, yeah. How long did it take to shoot all this? I think it was 10 days. Yeah, a long, long time. This is mostly practical. It's all practical. It's all practical. It's just CG wings, I think. Right, only for the wings, yeah. Yeah, we have a bit of green screen for the actors right there. Like this shot coming up right here is on stage. That's a comp. This is too. this is and this is practical this is practical yeah this is actually with with a stunt player um being suspended by a crane that's actually attached to the back of this of the stake bed of the truck props out to my boy joel wist yeah the man yeah that was i was we we actually we use that rig quite a bit and it makes the sequence it really does joel did a fantastic job with that because the guy could just right right here flying right alongside the truck And we had a lot of mobility with him. Yeah, I got worried. I didn't want people to lose the fact that all this was done practically and the only thing CG in this is the wire removal and the wings. That's it. So the actual crane has been removed. And the crane removed. We haven't even mentioned Pyme and the guys at Luma who did the bulk of all the visual effects on this film and all the CG wings and the CG werewolves and everything. And I gotta say, just, I mean, did a tremendous job. The shot right here kills me every time, because if you look really closely, you see his white harness right there. And I wanted to make a production note of it. As he rolls off, I know. I wanted to make a production note of it, to erase it. I know. Who does? Marcus does. Marcus rolls in the street. The pant, where the skirt flies up. You can see his white harness. Yeah. Or his underwear, or whatever it is. This is probably my favorite shot of CG wings. The broken wing, I think, is fantastic. And I think that the... The blood and the coloring and everything, again, having Marcus there and matching that. It looks very real. There are CG werewolves, but there's never one shot in the movie where Marcus is completely CG. It's just his wings. I don't believe so. I think only at the end, Luma did the decapitation. Or the exploding into the blades. It's only one. This was all a process trailer, so this was all on location. There's a great shot in here in the bloopers where they keep rolling into base camp. They keep doing their dialogue. They keep doing their dialogue and we see the catering tents and everything behind. There's our fake walls again. You'll see just on the edges, the fake rock always just keeping you closed in a bit more. That's the location we built this thing. It's all practical. Yeah, this was a second unit. How many goes did you guys have on that? You just do one take of that? We did a couple, but just different run-ups. Yeah, of the fence breaking, we did one, and then a couple different run-ups, POVs, towards the warehouse and all that. This was fun to shoot, this truck coming through the warehouse. It's always fun to do something like that. Everybody gets amped up, and everybody hiding behind boxes in Video Village, and, you know, how far is this truck going to come, and are we going to get wiped out? That's always fun. Speedman had some, like, whitey-tidey business going on here. We had to erase, yeah. I'll horrify. No, I don't know what it was. We saw like his boxers or something sticking out. I think we erased. Speedy's always showing off his boxers. I like his jacket. What do you find? It's cool. I was actually, I had to be sold on that jacket. Oh, really? Yeah, because it was damp. No, I liked it in here because, you know, it's a truck driver. Some truck driver. I thought it looked like a... He's wasting a lot of paint right there, it looks like. He could just get up there with a roller and just do it probably twice as fast. Yeah, but he couldn't because his claws, he couldn't grab the handle. Oh, right, right. Well, that doesn't keep Marcus from typing on the typewriter or on the computer. It's easier to point. Hey, you know what? Take it to the internet. So what is this lock made of? What is that made of? It's just a plastic and it's cold. It's ready to explode. It's steel. Speedman is a stud, dude. He just ripped that thing apart. He worked out for months to do that one take. Dude, there's nothing fake. It's all real. Isn't it a really soft lead? Yeah. Soft plastic, right? For the piece. For the rings that break. The ring that breaks, it's a lead. So it bends and it opens up. Yeah. This is cool right here. I like this. This bathroom is a set, I need to say. that was another tiny little goofy one there that's one of my favorite shots right there when kate lifts up that light yeah it's really really pretty shot also just a cool image that's right this was talked about this this love sequence was talked about so much in the press and you know you know how do you how do you shoot a love scene with your wife and how you know isn't that incredibly uncomfortable and and the thing is if you know if you're all professional and everybody's doing their job and everything it's it's uh it makes no difference in the world it's completely uncomfortable the whole time through it. There's no way around it. I mean, it is an uncomfortable thing. We actually tried to push the scene till just as far down the schedule as possible to the fact of like, can we please do this when we're doing reshoots? You think that's bad. Try cutting it for the husband of the wife. and then having come in and you have to show it. I didn't even realize that. I didn't even think about that. You didn't even make the scene easier by playing the love music, the Top Gun music. Well, it's funny because... I did that on the first take. I did to just break the ice. The end of that first kissing take, too, at the end of the take, which you don't see in the movie, obviously, is after he says, Okay, cut. That was great. Okay, Scott, you're fired. Yeah, I fired Scott three times this day. Well, I gotta say, you know, you can keep it all kind of under control and everything, and then I gotta tell you, though, when a director calls cut and they don't stop kissing, it's amazing how fast your blood just boils instantly. And, you know, I go, okay, I'm going to shout so that, you know, I know you guys didn't hear me, but... it's amazing and i think from this this point on this is uh this was second unit so brad you want to talk about this oh yeah um i had the uh penis digitally erased right there yes i um first time i ran that scene for len i ran it with a lady in red playing in the background that's right now this was that we this was uh um i think it was right in the middle of the the schedule that and that's that's actually Kate's stomach there. I've noticed a few things on the internet and seen that. That's a body double and she actually doesn't... I think when you were saying that there's a lot of press on this scene, Kate's best response to this was when she was so appalled that Speedman had a problem with it. It's like, come on, I'm not that ugly. Speedman was just like raving about how difficult it was. It's like, come on, it's Kate. No, it wasn't. And it's... Actually, there's... Really quickly, this is a scene that was added after the fact. Actually, Kate and her friend were watching this, the rough cut, and we go right from the climax of the love scene, cutting straight to this. which is water cascading down this trunk. A long shoot. Right out of Naked Gun. Yeah, and Nick and myself, of course, didn't even realize the implication of that. Wait, trickles, that doesn't work. The music swells and just like, you know. Drip, drip, drip. You said swells. If it was maybe like a waterfall or something, Niagara Falls, that would have worked a little bit better. I think, you know what, and we didn't notice it, but I think it's just women. I think their minds are, you know, one track mind. That's true. They're thinking. I don't know. See if we notice that. This is the second unit, correct? Yeah. Yes. That's the guy we knocked out earlier. This is a model shot, and it's just dropped into a plate of the trees there. And there obviously was no helicopter with those guys rappelling down. That's a CG? No, that's a model, right? It's a model with just like a CG robo-robo. I got to give props here. Todd Schneider's going to love this one. We did the bomb when he throws it sliding into camera here. And we did probably 15, 16 takes of it trying to slide into camera. And Schneider's like, hey, why don't you just use 77 spray on the ground? Just the sticky substance, like a glue. It's like a spray glue, yeah. And we did one take and slid right into camera right there. Boom, sticks. Sticks. And Schneider said he saved the movie. I didn't know that was Todd's idea. I'm calling it Todd Schneider's underworld evolution. That's nice. Just for him. I got to say, because when I'm on first unit, I'm watching the takes, and that thing is just, it was bouncing everywhere. It's hitting camera, it's going over to craft service, my unit, everywhere. It's going everywhere. So that was like take 17? It was somewhere around there, yeah. Wow. could have been in the 20s maybe i thought joel did a really great job with that as well that we couldn't couldn't do the kind of explosion that we really wanted because of that they couldn't damage the trees and damage the trees so we needed to get as much shrapnel and everything ripping up the looking like it's ripping up the ground without actually touching you know a piece of bark a pine cone

That's one of my favorite shots. It's one of mine, too. I've got to say, this shot actually coming up right here, this close-up, is about my favorite shot. I think she's insanely gorgeous, and I think it's a great image. She happens to not like it at all. Really? Why? I have no idea. You know, it's funny. When you see pictures of yourself, there's certain things that everybody says, oh, it's really great, and you don't like it. She likes it. A lot of the other shots, that just doesn't happen to be one of her favorites. That is Lil, Lily's first shot, her first movie, actually. The first movie. Where's the shot? Is this the shot right here? No, the girl, the little girl. No, and Lily, she has the pendant. Not Lily, your favorite shot of Kate. Oh, earlier. It just passed. Yeah, the shot at the door before she walks in. Remain airborne for the moment. I'm sure they'll reappear. Yes, sir.

That's a miniature over a... Just a miniature on green screen. I've held it when it was open like this. It was funny shooting that with that scene with Lily because she hasn't done a film before. And again, same thing about you do a certain amount of takes. And so you go through and she does the whole sequence and tell her, okay, look over here, do this, turn with the pendant, do that. And then we do one take and everybody claps and we go, oh, that's so good. It's so great. And I go, okay, let's say, you know, let's go again and getting ready to do it again. And she kind of taps me and goes, um, daddy, um, I already did that. What makes you think we're going to find him now? I was the one who exiled him. I know that does need a swell right there, doesn't it? And again, this, I think this shot coming up after. No, after this. You guys had... This was... We actually did have Tony hanging upside down, which was incredibly grueling for him. And you didn't even know that he was upside down. No, I had no idea. I was... Again, what happens when you're shooting second unit is that on first unit, you have monitors that show you what's going on in second unit. And... So I thought they were just doing the camera trick, because I thought the last time we had talked about it before we were shooting that we were playing on, I don't know, I don't know how, there's just a lot going on. I thought it was actually just the camera was flipped upside down to make it appear. But we didn't have a choice because the set wasn't built upside down. Right, exactly. And so I'm just, you know, just completely giving it my own time and, you know, yeah, yeah, I'll get to them when I can. anything upside down and what's going to send his eyes you can see out of left i'm not because it's like a whole he slurs a little bit you know that is nice and it's a nice second up uh... i'd i thought the set was really was beautiful and we set up the shot patrick comes over he's looking at the monitoring and uh... and for the for the white shot here and patrick memories now no one is looking at my set and uh... apparently speaking with a german accent for some reason that day but but it went and uh... and it's amazing how many is like this we you know how many of the Producers coming from out of town to show up for this day this day. Yeah, right. I remember Steven Macintosh This was his first scene of when he when he came out and it was funny during that whole thing I would come over to him and he was you just closing his eyes saying just think of the money It's just just to get through now. That's coming up is a real set and the outside. Yeah, the outside. The reason we built the cross is because we couldn't get the money to build a real monastery. So in some ways, sometime, sometime, it's a good thing because we have to think a little further. So this right here. Yeah, it's a real location and a set piece. That's real. Yeah, I thought that was really cool. It ended up being a much cooler look, I think, than what we were originally going for. And then it lends itself to different things. Once we decide, okay, it's going to be in the side of a rock face, then you say, okay, well, we could also... It would have these underground catacombs that would exist at this kind of location, and it builds upon that. So it really worked out. That was my hand. I used to do... My hand's been in a lot of different movies. I got it my own. That was Nicole Randall. Yeah, Nicole Randall did that drop. And I got to say... I didn't say anything, and maybe I should have, but when she falls down there and we use the shot, at first we're going to use the shot where she falls to the ground and profile, but you carried it all the way to the ground from the top shot. I mean, every time I know it's a pad she lands on, I can see that pad fold. Can you really? I can't at all. Nobody does. I don't think anybody does. You can watch it, dude. You see it fold in. And nobody can. My favorite shot right there. Yes. And we stuck it in the trailer. That looks killer. I love that. Yeah, those guys... That's rich citrone right there that first bit was that I was on See you got a luma CG and the clothes of the real actually is that hurt Carly or is that rich that who is that? That's rich. That's rich to the town. There's another CG guy right here Then we go into practical right there CG knife practical here. Yeah a little wire drag Practical that's an air am right there. This is all practical as well this chain and him swinging him around we actually put a put the werewolf on a wire, so the werewolf is on green screen right here, and then we just interact, we just have the car shake and put him together. That's a real guy right there. That's a real practical job. He'll never talk again. Nope. He was supposed to do the commentary, but we realized he can't. We did a lot of doubling sets and things. This set doubled for William's... No. Yes, it did. No. Are you kidding? That's what you told me when you said, here's how I'm saving money. No. We use actually the ceiling piece. Only the ceiling piece of that thing. You're right. But that's a different set. And I was just going to say, this is another small one that I kind of like. I end up always liking the small, tiny little thing. Here's some props for Speedman right here. He was in his makeup and in this little small catacomb for... four or five hours shooting this fight and was this rich in the suit and uh no this was kurt that's kurt did all this that's speedman like again right here this is that was speedman all that was this hallway is is actually tannis's lair that we just brought in um you know different statues and things to make it look a bit different same same deal so you were kind of just a lot of it just using different hallways or trying to make it look like different hallways with using the same set. This is killer. I love how the brick breaks away. Bam, that punch is vicious. This is the best right here. The brick break. What is that made of? I think foam. Foam? Foam. I would play that shot of her smashing into that brick, and it was my Monday shot. I'd have the video guys just loop that and say, can you please play my Monday? That's just how I felt whenever I got a migraine or whatever, and that would just be looping. playing on our video. Mike Gunther. We had this prosthetic piece that went over Gunther that was a shirt, and he didn't have as much rubber on it as the Marcus stunt double, so it really looked like a shirt, and unfortunately right there it did, and then at the end of the movie when we do the fight in the dungeon, He actually wears the prosthetic piece without the shirt and just sticks it straight to his body. You couldn't tell the difference between him and Speedman. Speaking of shirts, Speedman is showing his torso there. And the thing about Speedman is he's like, I mean, every actor has their thing. He likes to, you know, he comes up to me and says, hey, can I show my torso? You know, is it okay if I, like, take my, I mean, he'll come up and, you know. I was like, can I take off my shirt in this scene? I'm like, Scott, you're not even in this scene. He's like, no, no, I know. The thing is, because he has a thing about it, he's actually tortured over any time he has to do a torso shot. He kind of begs me if there's a way to get around not doing it. You know, it's really weird because he'd always show up in the cutting room with his shirt off. Which was a very strange thing. Oh, in life, he's fine. Yeah. He's just like, show up, walk around the set, and I'm sure at the bar in Lancashire right now, he's still up. Isn't it interesting how the truth is even harder to absorb than light? You know, I tried to stop him, of course. Travesty, committing such a horrible crime. And then turning you. That was too much to take. My protests are why he put me here. Careful with that, dear. Makes a terrible bang. Remember, we had quite a bit of an eyeline problem. Huge discussion going on here about the... Because when you use these contacts, the vampire contacts, they don't rest exactly where the pupils are, so they can shift a little bit, like my own contacts. They can shift, and the pupil looks like it's actually looking in a different direction, which becomes really difficult when you get so close up, like I tend to do. How did the glass explode? The dart, I mean, the... He squeezed his arrow hard. The arrow was actually in the wall. The arrow was in the wall. So what happens is they have a little charge, a little squib on the glass itself. It's time. Yeah, it's time. The glass will pop. And then the arrow is actually in the wall already, and it just shoots out and sticks out of the wall. Here's another Jim Churchman winch game right here. Beautiful. He was spending, I had my interview, my behind-the-scenes interview, and I was saying, okay, I'm going to go interview and tell me what you want to call these winches. And he was trying to think of an acronym, just something really cool for these winches. And he just went through like 20 names, never found anything cool. So they're called the computerized winches. Computerized winches. That's cool. Very catchy. Great name. That could be like a band, a rock band. These are CG birds right here. And this, we found that beautiful location. Yeah. Really nice. I think it was actually, it was a set, right? It was built as a set, yeah, and they kept it for years. It's an old set, and people go visit there. It's where they go to kill horses. That's right. I love the idea of this. I've never seen a vampire, somebody actually biting a horse in the neck. I just like the image of it. I thought it was pretty brutal. The problem with this is his teeth got bigger after that. He had a bad... raspy cough. You know, actually, the problem was getting the horse not to get the breath, the steam. Yes. We had to digitally take that out. It was really cold. It was cold that day, too. It was cold there, and the horse is doing what it's doing. It's freezing. And poor Tony, like, he did that a few times. Oh, God, the outtakes on that. I mean, imagine you take down a horse, and the minute that the horse flinches or isn't comfortable, it jumps up and starts kicking around and... You know, Tony's, I mean, it'd be quite scary to do that. Yeah, what was Danny, what was his last name, the horse guy? Virtue? Danny Virtue, yeah, of course. Yeah, he did a great job with all those horses. Those books were all made too, right? Mm-hmm, they're all prized, built from scratch. But most of them, you know, the ones she doesn't touch are usually... Yeah, those are my office now. Yeah, that's right. I basically just have you build stuff for my office. Yeah. Do you realize that? Do you have the armor still? Did you get the armor? I do, yeah. The armor looks great. The coffin. Oh, no, the coffin. Oh, we haven't seen that yet. We can talk about that. Damn. The armor was like a hybrid, right? It was a blend of Greek and many other ancient... Everything I touch is a blend of Greek and Roman. That's right. I wonder why. With a name like Teutopolis. That's right. So in Victor's mind, William's death would mean the end for all Lycans, his slaves. Yes. This was a lot of information to get out. We had a few different cuts of this. And there's actually, and if an extended version ever does come out, there are some bits and pieces of the history that were left out. There's so, so much to actually tell. I can't resist to mention two names right now because of this set. I mean, Chris Argus helped me build those things all the way through. I could not, you know. The second movie I do with the guy is amazing. He's a great art director. And Lynn McDonald for the dressing as well. I know it's not, you know, I just couldn't. They've done such an amazing job on this one. No, they really did. Yeah, no kidding. So what is the writing there? It's Greek. You know, it's funny. On pages, people don't always think. You have to draw every page, basically. So you have graphic artists that really step in. And you can come up with a little concept, but those guys know how to write. That's what they do. We had people that just do handwriting, especially. Do they actually write a story? And this was in a whole... Wow, she looks so young there. There's Lily. It was only a year ago. She looks... She's changed already a lot. Man. Oh, yeah. It was fun. And then, you know, it's like... Actually, when we were doing that sequence as well, you know, I'm saying, okay, Lily, when you... You know, when we call action, I want you to turn around. And she kind of... Again, she kind of taps me. She kind of calls me over. And I go, yeah. She goes, can you call me Celine? Yeah, yeah, sure. Got the key to William's cell. And I'm the map. Yes. What was that? That's not me. I don't know. I guess I'm hungry. Perfect timing. I saw Speedman and I got a little appetite. There's a map. William's prison. is hidden away in your blood. Why is Marcus looking for him now? After all this time? That I cannot answer. Well, these mics are really sensitive. Yeah, they are. Do you remember the little mouth thing? That's really disturbing. That is. There was a bit more of a sequence that happened here as well. There's a whole section that we took out. No way. It's a cut, Len, do you think? It's a cut, maybe I think.

I think we should feed Brad. I think I got to leave for a second. Oh, my God, I can't believe what's happening. Or drink more wine, maybe. That's it. And as we brought in the... We actually brought in the snow for this. I mean, there was snow there, but we shoveled it around and tried to... This is all we could afford in a movie. Now, the city itself, obviously, was all comped and CG'd and everything else, too. Last shot of the film, as well.

And this coming up here as well, you'll see just the use of, this is Tannis' lair redressed so that he's actually running away and once again entering Tannis' lair. And just put different set dressing and such to make it look different. Tannis. Why do you flee the very sight of me?

Please, sit. There's no need for this to be unpleasant. I've always rather enjoyed... And Tannis, like I said, the reason we actually named him Tannis is because Vassilios Tannis, Kate's makeup artist, a good friend of mine, and that was kind of a tribute to him.

This is a great little moment when his wings start to come out. Do you want to talk about the wing? Yeah, this is a good example of just the CG and the practical working together. The minute that they're unfolding and any time that they're in action, we would use the CG, and then once he's pulled into position, then we have the practical wings for their dialogue. CG, practical. Now, that said, remember the concept? We sort of discussed together about the fact that the wing would not have membrane from the beginning. They become more like weapons. Yeah, I like the idea of it being this kind of two-stage thing where he can use his wings as these weapons, as these talons, as well as just wings themselves. So here it's like the membrane is wrapped up around the wing, the finger, if you may, and then when he needs to fly, the membrane sort of comes down. I hadn't seen that before, so I did think it was a... Just a nice little touch, too. And very sexy, of course. And very sexy, of course, yes. In a Greek kind of way. Yes. Digital blood right there on his shoulder, just to add little touches.

I really do like that effect. I love it, yeah. You know, it's really tough to get something that looks like, I kept saying I want it to look like an organic glitching. It's supposed to be memory, so I don't want it to look technical. And it has a very watery, very organic style to it. Similar, but a little bit more watery, I guess, to, what's that Ashton Kutcher movie? The butterfly? The butterfly effect, which I thought was kind of cool, too. That's cool. Yeah, they did as well. But you used the same stuff on the first Underworld, didn't you? Yes, we did. That was the same.

brave enough to set me up. So Macintosh did a really good job. It really did. You got too much to drink over there. I was very happy with Stephen's performance because I wanted him to, I wanted Tannis to have this combination of, you know, this confidence that... that he was exuding, but it was actually false and he was terrified underneath and was just waiting to escape at any moment. And I thought he pulled it off very well. I was very happy about it. I have something to say about this. I was supposed to play this guy, then you forgot. That's right, I did. How is she doing on that French, anyway? Oh, she's doing great. He sucks. No, I'm just kidding. He actually has a bit of a, he has a bit of a, like a Canadian, French-Canadian accent. Kate's a bit of a, I tease her all the time about, I call her C-3PO because she does have a, she speaks many different languages. No, but she's actually really, I'm not trying to be cool here, she's really good. She really is. She's fantastic. Actually, C-3PO was versed in over six million forms of communication. Yes, thanks, Brad. Okay, Brad. I'm going to go now. Bye-bye. I love that Han Solo T-shirt, by the way. How's your stomach? You better? That's better. Okay, Brad has unsheathed his light sword right now. May the force be with you all. And I thought, Derek also, I definitely wanted somebody that brought a weight to the history for the film and... because he was the father of it all, and it all started from he and his sons, and you want somebody that the minute that you see him, that it just, it creates this kind of powerful image and tone and everything, and I thought he really brought that to the film. Very, very, almost an Obi-Wan kind of quality to him, I thought. You, a death dealer? How many innocents did you kill in the sixth century quest to... Kind of like a gladiator field. Isn't there? Mm-hmm. That's odd, isn't it? It's strange. I think he has the same hairstyle as he had in Gladiator. He does. Anything I've done can be laid at your feet. This is your favorite cut right here, isn't it? Coming up, Nick? Coming up, yep. Which one is it? It's coming up when we cut from her. No matter where we... I hear we're in the... Right here. Where? No. Oh, no, actually, did we already pass it? I passed it. I blacked out on it. Why do you not like that cut? I still don't understand that. To this day, we'll be in the premiere or whatever, and I'll just, when this cut happens, I hear just Nick go in the background. Is it just the positioning and how she is? It's just the positioning. It was an unmotivated cut. We just cut from her to her for no reason. See? You spilled wine all over my Han Solo shirt. Okay, okay. I'm sorry. I get a little carried away with that cut thing. Wave my hands. This Millennium Falcon's not going to look the same. This was Brad on second unit right here. Who was doing that stunt? That was Adrian Hine, the Marcus stunt double. That was great. I really wanted that to be a... And that shot of that other guy getting taken off the boat was actually the same shot but reversed. Yes. And isolated. Yeah, again, that was a computer system. Listen, again, this was another nice set that was, you know, one of our small sets that we kind of tossed around how we were going to, how it was going to look. Yeah, we built this on stage with like, it was like five feet of wall, something like that, four or five feet of wall in there. These guys did a good job with the fighting as well. Scott's, he's really game to do all that stuff and wants to do it himself. Yeah, actually both the actors did this whole fight themselves. And this is a great shot. That was Scott on wires, he squibbed his chest. That was a great shot. And that's, because his head's very close to hitting the edge of that pier. It's not a completely straightforward stunt. There's Nicole. And this is the firing. This was a... I mean, she just happens to be really good at weapons and such, and who knew? And it surprised her as well. But just the one-handed machine gun, the staying focused with it and all that is... They're powerful weapons, and she just looks really solid and precise with them. Yeah, she does a great job. We trained her quite a bit on the first Underworld, and we obviously didn't have, or we unfortunately didn't have much time to train her on the second one, but she did an amazing job of at least keeping that skill from the first one, and we didn't have to spend too much time with her. The scene right here is the barn scene that was originally going to be in the opening. Mm-hmm. Of the movie. There was a whole sequence, actually. We played it all as a flashback now, but the whole sequence itself was about five minutes long. Involving... Yeah, it was a little bit too long to get going in the beginning. It played very well as a flashback. This was a difficult... day, all this rigging with her up in a wire and stuck onto a post and him. I think we were, it was probably like 15 hours that day and she was hanging out there just miserable. And she was sick too that day, wasn't she? Did she have like a flu or something? Getting my ashtray. She had a bit of a cold that day too, remember, right? Yep. The wire day. So not only did she have a bit of a flu, she had... Here as well. Yeah. Trudging around in the water, hanging on wires. I was so happy with this. sequence here. Honestly, I think this is where people really get connected and just emotionally invested. And we had a lot of response from just screens and such. And a lot of people saying that they're crying at his death. And so I was extremely happy with it. So why does she pull the... the metal bar out of his chest when she can just lift him up? You would have to probably ask her. Yeah, I don't know. Because now he has more of an infection with all that rust and everything. Well, she has this thing about busting bolts. Well, she's not a paramedic, Brad. She's a death dealer, Brad. That's true. I mean, you know, if you were faced with somebody with a post through their chest, You know, you might not do the appropriate thing. You're right. You're right. Brad. I apologize. I retract what I said. I'm sorry. It's time for you to leave now. Oh, sorry. Better? Okay. In this sequence, you might ask, why is Marcus putting on a jacket? And... comes just to the fact that we didn't want him to be naked through the rest of the movie. That's a great transformation. I was very specific on the blood on this. I actually drew pictures for makeup about wanting to be this sort of line across the bottom half of his chin and just dripping down his neck instead of just... And you see a lot of movies where it's just the trickle from... you know, from one side of the lip or the other. It looks very much vampire-like, and I just want it to look, you know, a bit more... Graphic? A bit more graphic, a bit more just gritty than that. It's a really good sequence between them, I think. Mm-hmm. Very strong. Big father and son face-off.

This coming up is a combination of, again, the CG talon with the practical talon. And once it's done with its motion, it's a practical piece. I think we had the rod action and everything. Right. We actually, what we call rod puppets. I mean, the arm is activated by a rod that's removed in post-production. Well, we call them puppets. Puppets, yeah. Puppets. Puppets. Do you get pissed off when we're making, do you? I'm very sorry. No, I love it. From you land, I'm taking anything. Let's go. He says that as opposed to knife. I actually love your accent. It makes me very happy. Put the knife away, Patrick. Put the puppet away. I always call you the happy Frenchman, which is quite a rare thing. What, that he's French? That he's a happy Frenchman. You pretty much alienated all the French people. I'm joking. I represent the French people, and I hate you now, Len Wiseman. Oh, how's that? You gotta watch it, too. Kate made one comment about something about our football. It's just a complete joke, and they just have reamed her for it, for just making a joke. She would say such a thing? Yeah. I think you were one of the guys that I read on the chat boards. There's a great bit right here. This whole bit of him being searched, looking at his son. I like that line, a god has no father. That's a good line. It's all miniature right here. That helicopter is about, I think it's a 1-6 scale. It's about, what, five feet long. It's a fairly big miniature and actually a very dangerous miniature because it's got a real prop. And it's really flying. It's really flying and a guy's got a remote control and he's flying it around the set and actually it doesn't look that dangerous on here of course, but when you're actually shooting it's like flying around a lawnmower in the sky and it can get out of control and it can just go to video village and it'll absolutely chop your head off. Or mow the lawn, which is quite a task when you see those guys do that. Yeah. Hats off to them. You got to do it upside down. It's very tricky. Don't leave him here. I could have a big trench where the guy tried to do it in my yard and it just does not work. I have a comment also on his performance. John, I thought he was a good casting choice for for the leader of this group, because you usually picture somebody that's a bit more just kind of tough and just overly macho to run a team of guys like this. And I liked the fact that he had a bit more of a, just an emotional side to him that kind of came across. A little more gentle. A little more gentle and a little more ninja-like, as opposed to being like the brute. Yeah. Like Len is. Yes. A little more sensitive. Is there something wrong with being sensitive? I take offense to that comment. Better sensitive than paranoid. I'm both. I'm not paranoid. So what's that? I don't come off paranoid, do I? You're not paranoid? I'm not paranoid. Are you guys talking about me? Please. You know, and I still think I wish I gave you a bit more set on this one. You know, I think I wish I had more little side rooms and stuff to give you a chance to open them. Yeah, we tried, you know, but... It looks great, though. I never felt like I was cramped. And also, because it's a ship, you know, you're limited anyway. You know, someone I haven't talked about is Simon Dugan. our director of photography, who just... We meshed very early on, and, you know, I'm very involved in just where the shadows fall, the whole look and design of the photography, and he just gave me exactly what I was looking for, and I would love to work with him in a heartbeat again. I thought he did an amazing job on creating such a look for this. So if you hear that, Simon, call Lenny. Yes, the number is 555. Yeah, Simon was a great guy. I enjoyed him a lot. He had really soft hands, I noticed. Oh, my God. This is all miniature stuff as well. The prop is miniature. We never actually flew a helicopter at any point. We had an actual helicopter that was on a gimbal, like right now, and this is all miniature here. That's a lawnmower. That's the lawnmower upside down, miniature, which I thought that was a fantasy, too, that was doing all that work, Gene Warren and his guys. The helicopter we found, we basically worked on it to dress it to look like what we wanted, but we didn't build it from scratch. It wasn't even the same type of helicopter, was it? No. But it's black. It's close enough. Kind of like a blade on top. That's it. And it goes... Actually, I didn't do that. We added that in post. So this is just, of course, the shaky cam and all that on the gimbal. This is all miniature, which looks quite impressive. The water in that one actually worked pretty well. This is a great sequence, this whole bit. The end of an era. And a great miniature explosion coming up. Good set, Patrick. Yeah. Beautiful set. I wish it was a bit bigger. Well, you know what? We all have our personal problems. It's not the size of the set, Patrick. It's what you do with it that counts. And you did very well with that little tiny set of yours. This is miniature here. And again, I thought Fantasy did a great job. I wanted a lot of shrapnel and everything coming up, not just big balls of fire. Now, hasn't that ship been around for a long time, and then you finally destroyed it? I did. Actually, Cameron used it quite a few times. I think it was on The Abyss. There was another show. Another show. It was Virus. Virus, exactly. Virus used it as well. I think Cameron took it out on the sea itself for The Abyss to try and shoot some stuff out there. No more. No more. It is gone. The dungeon. Yes. Do you wish this was a bit bigger, Patrick? I wish that torch was a little longer. I love the idea of the... We fought to really try to keep that water. Not you and I. No, we really wanted the water to stay in there. It's an expensive thing. It's a hard thing to... to work around and you have to waterproof and, you know. But I think it gives it a really great vibe to it because it's a very small set. But once you have the water in there, it reflects it all. And this is the same set where we did shoot the medieval stuff with Lily. and just emptied the tank. That was Tanis's quarters, right? No, I'm kidding. You just redressed it. It's that safe house from Underworld 1. Every set in the movie was Tanis. No, Nick, no. It's a bit more involved than that. All right, I'm sorry. There was a hose and things that had fallen off. Water. This here is all CG. This was a... That helicopter CG? The helicopter CG as well. Wasn't your first approach to try to do this as a model? I was. I wanted to do the castle in model, and it was getting too expensive. Not that CG is any cheaper. I don't understand really why we get to a point where I think cost-wise it kind of bounced out. But what it does, once you have this CG model built, you have so many more options of angles. This is all CG, right? And the birds add such a depth to the shot. Yeah. This was a reshoot. Not a reshoot, sorry. A pickup shot. We did all this stuff with Lily right here. I put her... That's actually a shot of her that I stole from the other sequence and then comped it onto a boat. Made it look like she was traveling to the entrance. She actually saw that and, you know, a bit outraged. I wasn't on a boat. How did you put me on a boat? You didn't use me for that shoot?

CG mountains. It's my least favorite shot. I will just have to kind of create... I'm in love with so many other shots, so I don't... There's some that are put together at the very last minute. And just the elements and things. Just kind of shaky and... It's all modeled. It's funny, one thing I think people don't realize is that the chronology of the shots is that the shots we're going to get later in this movie the ones that we see later didn't necessarily come in later. So like there's some shots that are, that precede these shots coming up that are last minute shots. This one in particular, no, this one isn't one of them. This one was done earlier, but. So this is all against green screen here. And then this jump was out of a practical helicopter on stage right here. And she's, Nicole is jumping onto green screen. And who did that dive in the water? I wasn't there for that. I don't remember. That was a fantasy, right? That was a fantasy. It was in the water. This is actually, they're diving into the water tank where we were shooting the miniatures, where we were shooting the boat. Like you ran out of money for the budget, so you just called people off the street to come in and do it? Yeah. Well, the taxi driver used to... Right, right. That's a... God, you know, I don't know if that's a practical or CG at the point. This was an afterthought. This was put together. I felt like we needed to see them swimming towards the entrance. So we shot that underwater against green. And this here, this CG work here is entropic, doing these gears and such. And this is all Patrick's guys and team doing, people hiding behind the set there, doing all these controls. This is real. So it's again a mix of practical and CG. That used to be my job. I saw that, hiding behind and pulling wires and... That's practical, this whole thing opening, though? No, that's CG. Oh, okay. That's right. I think you were on to a different movie at that point. Yeah, yeah, you're right. This is a reuse of... Ironic you'd say another movie just right then. There's a... Were they coming up and they're surfacing? That is the same hallway where Marcus entered, the same hallway where Lily was in. We just filled it up. We filled it up more, right? Or were they just on their knees? That's Brian. Creature guy. wearing the William suit. Yeah, so right here, they're just all on their knees. The water's not deep enough. And then Kate right here just does a fake walk-up when it's actually all level. She's really good at that. She also does that elevator thing. Well, she practices it at home all the time. She goes behind the sofa. Just walking to the kitchen, I'm like, honey, what are you doing? I'm going down to the basement. Yeah. And that's not CG, I want to say. Oh, yes, it is. No, that's not. That's all a miniature, just the bats are CG. This whole set plays so much bigger than it was, too. Yes. It looks very big. I imagine your comments. Oh, come on. No, I know. It plays a lot bigger. Oh, it plays much bigger. It wasn't that big at all. And the thing is, a lot of the shots, the wide shots, were all on a 12 or a 10 or a 14 mil, which... which help that out but I gotta say I do think that it comes you know it does come across much larger than it was yes yes Patrick your set looks very very large he was very tall though it was Tom so 14 mil is a very very wide lens yes 14 I kind of just if I could if I could have surgery and have my eyes turned to a 14 it's about what I would probably travel around and I start with the 14 first I just really like how it looks and But we used quite a few 12s and 10s on this, which 10 is pretty rare sometimes. It's quite wide. It starts distorting a little bit. Yeah, a little bit. And I shoot close-ups as well. I shoot a lot of close-ups in a 21, which I don't think is common, just because it is fairly a wide lens for a close-up. I just think it... It keeps the background in focus a little bit more than a traditional close-up, like on a 40 or a 50 or something that'll put the background out of focus, and I like to see the depth in the close-ups.

So this was a, it's always difficult when you got the, you're in such a confined space and everybody's shooting machine guns in the water and shotguns and the whole bit. It's actually become quite dangerous with people, all the, because all the casings and everything go flying out at a pretty rapid speed and they're hot and they bounce off other people's faces. That was Nicole on a wire. Yeah, and Tony. Tony. Tony did pretty much the majority of his fights when he was available. He wanted to do a lot more. And all this, this is all Tony and Kate, and Kate going up against the wall, taking the hit. I think it's really aggressive. I was very happy with just the level that she gets into the punches. Remember on the first one we were talking, that there's, the second film, she has so much more just of the kind of emotion behind the fight, and there's just so much more uh aggression with the punches and yeah i think she forgets she doesn't worry about the technique of it now and just gets her emotion into it and just adds so much more much more used to it wow yeah it's got to hurt that's uh of course full cg there yeah that's the only time we ever see cg marcus marcus right Just for the transformation. So that's what I was saying. That was against a backdrop, just a painted sky backdrop. There's never been a hybrid before. Your powers could be limitless. So I'm not in love with that, but that works for us, just a bit pale. Got a last minute. Yeah. That was a good fall stunt, guys. I remember the first time that Kate goes up this stairs, the guys were throwing stuff down, and this big boulder comes rolling down as she's going up, and it made her kind of fumble and doing a bit of a Donkey Kong thing going on there. That's a miniature. We used the miniature. When we were cutting, Nick and I, we realized that we needed some other POVs and such, and it was great that we had the miniatures. there in post so we could pick up some POV shots. This is my favorite shot of the dungeon right here. I thought Simon did an amazing job on just, you know, you need to see it, you need to light it. Same time you want to keep it very dark and creepy and it's not an easy thing to do. So I thought he did a really fantastic job at it. Another thing too is that Simon was really good in the digital intermediate. which is the whole color timing process. Yeah, and Ziggy did the coloring over at Company 3. And again, he absolutely knows what I'm after and really helped us out with the style as well. That's my favorite shot of the werewolf. I think that's on your website now, right? Yes. I love that one, just the stance. It's such a cool image of him. That was Nicole doing backflip there and then picked up by Kate right here. Yeah, Kate did a few of these in the movie. It's good, like 15, 20-foot drops into the water. So it goes from CG, then back to practical right here when he turns around.

It's all practical and then CG right there. This move I love in CG. The jump across. The jump, I think that was the best move of the movie. He looks better coming over than he does going, when he goes away. Completely. CG and then the real practical, we just moved the bridge. There's a combination CG and then practical when he lands. All of our miniature there. Miniature and CG. It's miniature. This here is, it's actually much harder to run in water than, you want a really fast run but you're knee deep in water. Actually helps to shoot in slow motion to take away that you can't really tell that people can't run that fast in water.

I do think the miniature stuff blends quite well, the dungeon stuff. Everything looking up, we didn't have a ceiling piece on the practical set. So every time you see above the second level, it's all a miniature.

After the destruction and everything and the snow started coming in, that was my favorite look that the set had. This shot coming up. This one. That's a great shot. Early on in the writing phase, I wanted to find a way to bring the elements of having this snowfall in that setting. And I thought, why not bring it after the explosion? Let's just... you know, have it still falling off of the sides and such. That fake snow, whatever they were using, was so slick. Yeah, that was. That's right. It made the ground really slippery. It was like, it was just kind of like foam. Yeah, it was like... Soap. Yeah, it was like soap. It was. It was that slick. And then these guys, Cade and Speedman and the werewolves, had to walk around all on the surface. It was difficult. And in high heels. Yeah. Yeah. And that was... Speedy was walking in high heels all the time, though. He's kind of used to that. But he had to get out of those. High heels and a, you know, can I take my shirt off? Can I show my torso? That's an awkward look. No shirt and high heels. It looks good on you, but... That's because you work out a lot. Just so you'll appreciate it. And you have soft hands.

This bit coming up is great. I like this. I love this punch she does there. I like this shot. This is a great shot. This transformation here. This whole bit works really well. Can we pat each other on the back? I can't actually reach around to you. Can you pat him on the back for me? There we go. That's a miniature helicopter with a digital fortress in the background. I think there's a couple beats in here of Celine fighting, but everything else is all Kate and all Speedman. Yeah. Oh, you mean Nicole. I mean, sorry, there's Nicole. Like Nicole does the flip there. And that's Nicole, this little beat. And then there's a little bit on the bridge, but other than that, it's the actors. Yeah, they really, Kate and Scott. That's Speedman right there. That's Speedman as well. And that's Speedman, there's Speedman. Who's that guy? Who's the chest guy? Must have been Kurt, right? Oh, Inside the Wall? Yeah, I think it's Kurt. Yeah, he only did it once. Yeah, that was the last time he ever did it, right? Same guy, he's now sitting with the guy without the jaw. I love that this is a very tough stance. I love just kind of the positioning and the stance of just taking out the guy and watching him drop. There needs to be some different music right here. Yes, it is. I need to put in back my Bryan Adams. I keep my iPod set up to a speaker system while we're shooting, so just whatever is appropriate for the moment. I think I played a bit of Bryan Adams for their reunion. I won't sing it. Look into my eyes. Don't sing it. I'm not going to sing it.

Now you really make me want to sing that song. Don't sing it. This is really a blend of everything here with the miniature and CG and practical effects.

And this coming up, the pulling down of the helicopter, it starts off with a miniature right here. Gimbal miniature, green screen miniature. The practical side of me is wondering, is he really heavy, or is he, like, grabbing the ground with his feet to pull the helicopter down? Exactly. And this right here is a real helicopter. That's Kate doing her flip, which I love the positioning and all that, just like we drew it. I was very happy that day. That's a life-size helicopter. And then the blade... We never shot a blade, so that's a real helicopter there. The blade is put in by the guys at Entropic. One of my favorite shots in this whole movie is when she slides up to the rotors and her hair goes... Yeah, it's so cool. Do you remember we tried to do a blade, though, for a while? Yes, we did. On the PlexiDisc. We tried a PlexiDisc like a record player. Yeah, right here. Right there. That's a good jump. And some of the... Like, this is all... Everything behind Kate right now is all a digital blade. I do think it looks incredibly real. Yeah. This is... A lot of this fight is Kate, that jump I love. The jump punch. This is all Scotty. Can you pat that guy on the back? That jump? Yeah. Can you get me there? Get me on the other side. Brad. Hey, guys, I'm watching. Can you stop Ed for a minute? Yeah, that's gotta hurt.

This William Demise gets quite a big roar. Is that a practical thing? That's all practical. His reaction to what has happened is such a great look. Yeah, it's great. I really like building up to a point and dropping out to silence for a moment like that. Creating a bit more of a surreal moment for them. I think we put this in here because I knew people were kind of going to expect the blade thing to happen, going in the blades at some point, if you see the blades going. So this jab to the head was kind of an extra surprise. CG. Look at him going away. There he goes. That was the guys at Luma, and that was a full CG. Marcus right there. I love the head. Yeah, the head bit at the end was a really nice touch, and I got to give it to them for they presented that to me. And I think it's a great little piece at the end. Big fan of that shot, too. Kind of reaching around to try and pat myself on the back. It's getting a little bit sore. Yeah, that's my back. Don't touch me. Len, can I take off my shirt? I mean, do you mind if I, like... Like, Speedman, man. Look. At some point. Len, if I wear high heels, nobody will see me because you shoot me from the waist up. Why does Kate get to wear them and I don't get to wear them? What's up with that? We, at one point, did have that line over the close-up of the hands. Yes, there was a voiceover of Alexander saying... She said, what will I become? He says, the future. The future. Can we make Underworld 3 in the Bahamas or something now that she can be in the sun? Yeah. Like in bathing suits and sharks? Absolutely. Just even talking about the future and that, that was Tom Rosenberg, our producer. That was actually a line of his about Derek saying, what will I become in becoming the future? I just want to say... thanks to Tom Rosenberg and to Gary Lucchese, they were very much behind me on this picture, as well as Clint Culpepper at Screen Gems. I couldn't have had a better environment for people just allowing a creative environment to unfold, and I really felt like we were making this as a team. A lot of times you feel a bit of a struggle going on, and it really did feel like from all the departments and producers and such that we were all really battling to make the best movie possible. It's cool. Especially with that landscape at the end. It's beautiful. This is a full CG shot from Luma here. This is real water. Is this real water? Yeah, this is real water. Is it? Real water. We shot this in Vancouver. This is actually a... We were kind of actually, honestly scraping by to find something for the voiceover. Originally, the voiceover was just in black. And we didn't have anything to put behind Kate's voiceover. And so we pulled some of the Vancouver aerial footage that we shot to put in behind it just because the voiceover ended up being a bit longer than... It was too long in black. So water. Water was great. I think we have to go now. Yeah, yeah. It's finished. We're finished. We've got credits. I just want to make sure we thank those two guys. Thank those two guys. And David Coates as well. And Richard, right. David was the producer in the trenches with me and could not have had a better guy. And really just trying to get me everything. you know, that I possibly needed, and just a great guy as well. There's Simon, Soft-Hand Simon. Soft-Hand Simon, very good. And who's that guy? Craig Patrick. I'm worried that we can't distinguish my voice from your voice. Who's that guy? I'm worried about that. Wendy, the costume designer. Yes, very good. So we're just going to do this for every single time. Oh, Margo. Oh, Margo. Fantastico. Yes. Margo. Patrick. Hey. Patrick, I don't know if you had a falling out with Guy, but Guy deserves a lot of props on this, too. Well, you haven't mentioned his name the whole movie. Guy, Guy. That's right. Guy. I'm sorry, Mini. You got so caught up. And all the cast. I've got to say, I was very fortunate to get such a great group of people together, and I was very happy with the performances, and it was great to have that. that that kind of um collection of people together it was a lot of fun it actually had a really good time on this film yep well and uh i think all of you guys sitting here who've been um like we've had ourselves in the back way too much wait we're not finished there's a few more names And just a little bit of wrap-up on the... There's a lot of questions that I find out there with just internet and such. This was all shot in Vancouver, and we had about a 71-day schedule, I believe, which was the same schedule that we shot Underworld 1 on, difference being that on this time, on this film, we had the second unit running from the beginning. And first film, second unit was kind of scattered about and a bit more of a... afterthought you know and uh so uh brad and his team were working alongside of us on this one so i think that um we should head out and uh again just uh thank you to everybody and i hope you enjoyed the film thank you

Making me feel like I am guilty Making it easy to murder your sweet memory Before I go

So I thank you for making me feel like I'm your date Making it easier to murder your sweet heart