ADR & looping

And this scene was originally written at night, and Bryan called me up and said, we have to shoot this in a day, because the whole damn movie takes place here. Yeah. It's fun in a day, too. You get more perspective, and you get the notion that there might be people in the neighborhood, like, around watching, but since the action is so boxed in by these vans, maybe they don't see it. And now see the palm tree? Oh, you can't. Little ADR there.

32:35 · jump to transcript →

This is interesting. The dialogue in this scene was actually... Verbal's voice is from another take, and I put it over this take. I remember that. I did that a few times in the picture with a few people. Not because it just works for me better in certain ways. That was one that I don't remember. I hate ADR.

1:03:01 · jump to transcript →

But we had such a good time writing all the ADR for... For the television and airline version, yeah.

1:03:24 · jump to transcript →

Now, Stallone's got a missing daughter. We can talk about this more, but the missing daughter element never really... I mean, we ended up shooting something where he actually finds his daughter, but we cut it out because it was dragging the movie and with great actress Elizabeth Ruscio. But when you come to the sex scene, everyone in the test audience thought Sandra Bullock was going to be Stallone's daughter. So they're all like pulling their hair out and groaning. So we had to do some ADR to...

35:47 · jump to transcript →

People expect them to be one way, and it's like, no, that's acting. He came in. It was right before he did the Cop Killer song. Oh, yeah. And he came into the mix and did Cop Killer for us. Wow. One of the great moments. Just, like, me and the mixers. No, it was not the mixers. It was the ADR. Me and the ADR guys. And he raps the whole song. And you're like, okay, this is why my life is so awesome. I can't believe it. Wow.

1:07:07 · jump to transcript →

Yeah, this is good, though, because Dao, that shot, it gets the green screen again on stage. So in reality, on the stage, it's all green. And then later on, you know, boss film or Cinecide, in this case, put the background in the clouds. And we had wind machines going here. So you have to dub all the dialogue later on one more time because you couldn't understand a word because of all the wind machines making all that noise to create that wind. Do you direct your own ADR?

1:38:10 · jump to transcript →

You can't even tell. No. Beautiful looping. Yeah. I don't know what you are. Some kind of highly trained G-man or part of some super secret elite force of international super cops. Wow, super cop. I just thought it would be up to me to get a job to support us. Once we get to Mexico, I'm going to ransom you. If I have to, I'll shoot you.

1:16:50 · jump to transcript →