ADR & looping

We used to call this the pizza, didn't we? The pizza place. This was funny. We rewrote this voiceover about 50 million times and the last time was when Pete was about to record with Christopher Lee. I was in Malta actually doing ADR with Gimli and I was out shopping in a gift shop and my phone rang and it was Fran saying, we've got to fix this line, Pete's about to record it. Which was the line? It was the fires of industry line. The old ways of burning in the fires of industry. That's right, we couldn't get it right. It is, it's a Stephen line.

19:18 · jump to transcript →

Terrible line off the page. He did. He crowbarred it up. They ran as if the very whips of their masters were behind them. Or with a broken rib too. And yeah, on the move. It was quite a hard piece of ADR. He's a great actor, that young boy. This scene here is actually an assembly of three different scenes really.

27:49 · jump to transcript →

has the attack where the horsemen arrive was yet another scene that was supposed to be a night or two later, but we ended up just incorporating it into this one scene and making it just one particular, one longer section. This is actually Andy Serkis' voice, by the way. He did this hawk, and he actually did the urukai who spoke the other line previously. Was that when you were doing ADR in England with him and you wanted him to do a few extra...

28:58 · jump to transcript →

fitting exposition into conversation and dialogue is a nightmare really and it's an art and I was really struggling here. Danny did a shot from Jim over to Selena which is coming up quite soon that allowed for us to play around a bit in ADR to mess around with what was being said and it never

18:16 · jump to transcript →

ADR line as they're climbing over the shopping trolleys about... What was it? It's not hope we don't have to get out of here. What is it about supermarkets and shopping trolleys or something like that? It was about tower blocks and shopping trolleys. Yeah, there you go. This is a... Here he comes. He's about to come now. I don't know why I chose that one to highlight. You've got lots of lines in here. I just always remember that one.

31:43 · jump to transcript →

The father thing. Yeah. You wouldn't want to mow the lawn, but if they get in, we hear them. More exposition. Secondary to protection, our real job is to rebuild. Feels a bit more natural here, I think. And this was another shot that Danny set up so that we could change dialogue, put more in in ADR and add to what wasn't there in the script when we were shooting it.

1:11:08 · jump to transcript →

Yes, it is. And one of the things that happened very, very early on, and this is going back to 97, 98, when we were writing Return of the King, and this actually didn't change. These are probably grey pages that were shot as they were. The original pages that were never revised. Not really revised. I think, Fran, you did some revision during ADR and stuff, eh, on some of the lines. But the actual concept of Frodo sending Sam away came because we felt

1:24:29 · jump to transcript →

and I have a lot of admiration for Viggo and Miranda's concentration here because what you're listening to is dialogue that's recorded later in ADR. It's added in, you know, after we finish shooting. But the original dialogue was them talking with the sound of this tin shed crashing and rattling in the wind and the rain and it was just, it was a huge storm and it was so loud that it was actually quite hard to concentrate and yet, you know, look at the two actors there, absolutely in the moment and ignoring everything else.

1:43:12 · jump to transcript →

was how it had actually started to pop up on a magazine cover. Those things give you a bit of a morale boost, especially when you're a year into shooting a difficult movie. In the book, Sam puts the ring on, doesn't he, at one stage, just earlier than this, which is something we avoided that, didn't we? Yeah, it was a difficult moment here. Actually, the thought was very late in coming to us and how to shape the scene, wasn't it? And in the end, it was a bit of a salvage in ADR.

3:01:49 · jump to transcript →

It was interesting when we came to do some ADR on this that Sir Ian Holm was absolutely brilliant at ADR and usually only requires one or two takes. ADR is additional dialogue recording. In this particular scene where he played it slightly tipsy on the day, he could not ADR these lines and he just turned and said to us in the ADR session, can you clean this up? I can't redo it. We added a little bit of psychological...

24:53 · jump to transcript →

We had the discussion. We said, oh, you know, supposedly tomatoes. I thought it was Dominic ad-libbing on the day. No, no. No, not ash on my tomatoes. No, one of my tomatoes burst. Oh, yeah, no, that was the ADR ad-lib, yeah. That's right. No, no, no, the tomatoes, the tomatoes. We're getting into the vegetables again. We're talking about vegetables. Weathertop was...

1:12:06 · jump to transcript →

deliberately attempting to ratchet the tension back out into the story again. This was another pickup. And this one was done so close to the bone that we didn't have time to ADR Ian's side of the dialogue, so all of that had to be cleaned. Do you remember?

1:29:52 · jump to transcript →

Chris David and Chuck Michael at the mix for saving a lot of scenes that we thought would never work with the production dialogue. And making scenes where we were forced to ADR in the end fly. Yeah, absolutely. I haven't seen it at home yet, but in the theater, some of these scenes, I wouldn't have known they were looped. They did a good job in the mix. Yeah, well the scene with Benicio and Sarno outside the diner, and then the scene with Abner and Sarno right after that, both are completely looped.

1:13:53 · jump to transcript →

Here's Jose. His ADR is great. I wish there was a way to isolate his ADR. His ADR is so much fun. It's so funny. Jose, by the way, again, another beautifully understated, completely overlooked performance. Watch Jose. In a beautifully understated and completely overlooked movie. Thank you. And by the way, the most understated scene. Talk about subtle. But watch Jose in this scene and what he does with his eyes.

1:29:11 · jump to transcript →

Hi, I'm Steve Sommers, the writer-director of this thing. And to my left is Bob Ducsay, the executive producer and editor. Hello, everybody. Here we go. Didn't we just finish this movie? So, as we sit here in ADR 6 on the Universal lot a couple months after this movie is open, the picture is closing in on about $200 million at the domestic box office, and

0:01 · jump to transcript →

real jungle, and then you cut to a sound stage. And we had to replace all the sound and dialogue here replaced because we have these huge fans that are screaming in the background. In fact, in the movie, there's an enormous amount of ADR. It was a huge job for our ADR supervisor, Patrick Dodd. Additional dialogue replacement. We had to lip sync a lot of the dialogue because of all the noise and

1:26:16 · jump to transcript →

I would like half-pint of... They all came in and did ADR on this, they replaced their dialog with exactly the same. No, it was great. Still saying... - You're kidding. Really?

1:22:42 · jump to transcript →

That is one of the most feeble of all the ADR, the ones for the TV version. I think It's, "Let's have a drink and watch some telly." -/t was absolutely... - The Disney version, yeah. Very good acting here, Hugh. That's a very serious face. Isn't it? Isn't it? That's the one you can use when you're playing George Bush. It was a very odd moment and I feel like a prize idiot. Particularly because, if you can't say it at Christmas when can you, eh, I'm actually yours. With love... Dawning realization. I remember having to talk you through this bit. "Put down the card." "Thinking things." - "Look serious. Pick up the card." "Slightly furrowed brow. Pick it up again." They were nice hands. "Reach for the phone." "Urgent voice." - This is how directing works, isn't it? You just talk them through.

1:41:25 · jump to transcript →

LCD monitor in there, and that's how we shot these close-ups. This, for whatever it's worth, this was all an ADR. Billy re-recorded the audio. But he did such a great job doing this. He gave it a very kind of, that kind of very cool, you know, that great kind of spy clandestine sort of vibe. But he did a great job.

10:12 · jump to transcript →

Lindsay, I'm gonna short out the explosion with your head. You're gonna be okay. And we did a lot of tweaking on this to make it clear that there was 30 seconds. All the way to the end, it was how long and... Right. Even, by the way, when, you know, Maggie falls out of the chopper and, you know, you're saying, you know, hold on, hold on. I mean, just that dialogue, that looping that we put in helped explain that moment in a huge way. This was a great ILM piece. That shot is ILM. This shot's ILM. That, that, that's back on stage.

24:47 · jump to transcript →

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,

2:59 · jump to transcript →

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.

48:22 · jump to transcript →

Again, getting away with just gigantic use. You had us going through something that had been cleared. But you know what's funny? The timing of this line. Jay Baruchel at the time of this improv was kind of predicting that HD was going to win the race. That's right. Couldn't have been wronger. We actually had to go back in ADR and change it because by the time the music was editing. Man, this was crazy that you was up there. Yeah. Man, nobody should have let you do that. That was our last shot we shot in Hawaii there. Death defying.

46:18 · jump to transcript →

What do you guys doing here? He has hands. He killed Damien. Bullshit. Uh-oh, here we are back with the boys. Yeah, so they're in their own world, and he's relieved that he didn't kill the director. So, Robert, you want to talk about your ADR sessions coming in to have to loop this stuff? Because you had to come in a few times. Ben had me going smooth off doing the Mandarin.

1:19:56 · jump to transcript →

Leave? We did-- This... Tried to match in as well as it could. This was all ADR in the end, right? - Yeah. It's just these wind machines and everything, wasn't it? We had to keep them warm enough because there was wind machine. Again, the space we had was great for its size... ...but the sound was not... We had a lot of work to do on post. Tilt-up concrete warehouses that had been built... ...to house sheep feed, those pellets that sheep eat. And they were definitely not sound stages. Also, there's little ADR add-ons in here.... I wish we could've gone in a little bit more detail... ...about the shackles around their neck that... Right, yeah. - The moon shackles. Yeah, that he actually said that if I can remove this shackle... ...and they've got the silver spikes in them that... I wish we had. We wanted to. I mean, we'd talked about it and had a scene for it. That you see, if they tried to transform, those silver spikes... What happens, of course, their neck grows, they get larger... ...and it immediately digs into their skin... ...and stops them from transforming. We never really had a chance to bring that across in the dialogue.

15:12 · jump to transcript →

In the original draft for this thing, the script... ...Kevin wasn't been bitten in this scene. That's right. Yeah. And would turn into werewolf much later. I mean, would be bitten much later in the movie. So this part of the what you do with ADR... ...changing the moment of camera having him saying... ...basically changing his word and saying: "What happened to them?" to, "What happened to us?" And just realise it would help because people had a hard time... ...understanding when... It just didn't quite work, and if that scene just seems a little odd... . It's because it is. It just a little bit of patchwork to mend something... ... that just wasn't working. This one's gonna be pretty clear scene, though.

42:15 · jump to transcript →

I still have a scar from this. I hated this day. - I remember you hurt yourself. Getting you to pull Soeedman out of this elevator. That's when they dragged me along a nail here. Your leg got caught up on some board. But there was a nail sticking up or a corner of a tile. And those crazy contacts too. - You couldn't see out of those ones. Yeah. - Yeah, he was completely blind. I don't think I could have gotten those in my eye. Hats off to the guy. You had big ones. - Yeah. I hear you have big ones. - Yeah. That's a rumour. - Sometimes. Only sometimes. Oh, my God, and all this stuff here, when we were outside. You and me, to be out of breath, just running and running. I remember you started the whole running-around thing. Yeah. - I got a call from your agent... ...before I even met you. He said: "I want to warn you, Scott kind of runs around set before he shoots a scene." But everybody does if they need to be out of breath, don't they? You run around a set after you shoot the scene. I run around not just to be out of breath. I'd run just to kind of get some energy out and kind of get loose. I don't know, it's weird. - You went flying over that car. I was freaked-out that I'd broken you. - Oh, yeah. Yeah. I love this shot. - What song Is this? What's that? What... - Speedman said a bad word. I'm the only one that swears. - I know. I tried to say "asshole"-- Oh, this is so cool. I love this. This is the famous carpet thing, right? There he goes on his carpet. - A magic-carpet ride. It looks great. - And that was half of Todd Schneider. This. - Yeah. That's Todd right there. That's so dangerous. Michael did the jump onto that, right? Michael did the jump, and Todd did the run-by. Oh, this is where we were reacting to nothing. And this where you refused to scream. You said, "I'll do itin ADR. I'm not going to scream on the day." Remember that? - I didn't think... I still didn't think the character was a screamer, But I was wrong. That'd be kind of painful, though. I'd give it a yelp. I think it's healthy for a child to have her parents... ... sort of stabbing each other through the hoods of cars.

27:50 · jump to transcript →

Andrew Niccol

perverted in some way. I don't know why I keep shooting next to the ocean. I had to loop this entire scene. But Bridget and Nick did a great job, you don't notice. And sometimes in looping you can even improve the performance. Also, I was shooting in the winter, which was a mistake. Not just because the water's freezing here.

30:09 · jump to transcript →

Exactly, but you're not always sure that the people you're raping are willing. Coalition of the willing. I remember I had to do a looping sound for Lindsey to say, don't move, don't move. And I did it over the phone with her in LA. She's alone with a sound technician in a room. And I said, I don't believe it. I said, get up on a table.

1:02:19 · jump to transcript →

but then decides that he's hungry now. Yeah, nothing like mouth raping a bunch of pregnant women. That's going to hell for that one. Yeah, I kind of regret how quick this shot is now. I wish we held that one a little bit longer. It's just such a quick flash. By getting the sound effect right here when we were on the dubbing stage. Oh, yeah. Yeah, we're talking to an ADR, talking to the actress there.

1:06:28 · jump to transcript →