Color & grading

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

24:41 · jump to transcript →

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.

1:26:05 · jump to transcript →

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.

1:26:36 · jump to transcript →

striking look, and very coherent, yet different. I think a lot of the value or success of this film, if we will, as a product, really comes down a lot to the Di Venanzo's work. And this scene here is one of the two sequences that I was sort of alluding to earlier when I said that you could say, in a way, this film is a bit of a signpost pointing the way to what would come with Black Angel, but there's a big sort of Nazi debauched party scene

42:26 · jump to transcript →

Wes Anderson

The whole movie, the color timing is extremely warm and kind of yellow, and a little extra red. And here we go cold as it can be, and it's blue. The way we shot this was just one angle with jump cuts, and which is, you know-- I don't think there's anything else in this movie that's done that way. To me, it's sort of just interesting to see him doing this. I don't know. I have heard it described as incredibly boring, but I don't think that. To me, it's not. I feel like I kind of connect with Luke in this scene. Right here, especially.

1:09:58 · jump to transcript →

In other words, it just makes the... It's something where they don't extract as much out of the negative as they normally do. They skip the bleach process. But essentially what happens is you get a richer black in your film and you get a slightly more desaturated image. And so we went into production with that in mind. And the end result...

1:20:55 · jump to transcript →

And then in the extended cut, we've got exactly the same scene. It hasn't changed, but it's now nighttime, which is what you can do with film. You can fiddle with little buttons, turn the knobs, and either make it day or night now. With computer-controlled color timing, it's a bit less important to know what time of the day it is when you're actually shooting it originally.

2:56:40 · jump to transcript →

Noah Baumbach

One thing that was always appealing to us was the idea of having Bill Murray, who'd never-- I don't know if he'd fired a gun in a movie before. In Ghostbusters it was kind of a gun. And he'd fired some guns in Razor's Edge, he's at war. I know he shoots out some headlights in Razor's Edge. Right. - But here he was for an action hero. The first one time as action hero, but he plays the giant action scene-- I say "giant," but-- For us, giant. The action scene in a striped Speedo, a bathrobe, and flip-flops. Well, we'd also talked about sort of the choice of the music, you know, the-- You know, the-- Like you were saying about the color timing and the, you know, the sort of score you use... here, sort of breaks into sort of the Iggy Pop song, which I think sort of brings us back into the sort of playful Zissou world, you know, that sort of-- - The Iggy Pop. The Iggy Pop does. You'd talked about at one point maybe doing it all silent. At one point, we had a version that didn't have any gunshots or anything like that, and all the sound was gone. It was totally silent, we had some music playing, and the effect was much more grave. When we put this music on-- I liked the other way too, but this seemed maybe to be more right for the way the whole movie needed to work. I don't know if I-- I feel like I could've shot more coverage on this. We were struggling. It's got an energy though. I'm not a professional action-sequence director, but I can do better. I guess Bill Murray also fired a gun at the end of Stripes. I think they go to Argentina to rescue some people. One thing with Bill, put a gun in his hand and he can't wait to empty the magazine. This is interesting. We had to throw this gun into the-- Well, you can't throw a gun into the ocean. So actually, he switches hands with the prop guy who's out below the frame and gives him a rubber gun to throw. But we did, when he knocks that guy out and throws him overboard in the earlier part of that scene, we lost a gun. Bill actually accidentally hit the guy, and the guy went in the water, was knocked out by Bill hitting him, and his gun fell, and Bill's gun fell into-- The gun Bill was grabbing out of his hand fell in the water. And then they said we couldn't shoot anymore, and they called the police, who came out and flew over helicopters while our Marines searched for it. I was like, "Can't we keep shooting while we look?" "No." And we were worried our stunt guy was going to get arrested. But then the Marine guys found it in the bottom of the ocean there, which is only like 20 feet deep or something there. But they found the gun, brought it back up, and we were allowed to continue when the helicopters went away. That's why you went a few days over. Things like that. - Variety of things, yeah. How you holding up there, intern? Doing okay?

1:03:18 · jump to transcript →

You know, because what could be worse than seeing a creature that makes trophies out of predators? So that was kind of the idea with it. Didn't end up making it in the film. Didn't end up making it in the extended cut either. But, you know, we didn't have the time or money to paint them out of the back of that shot, so we just took all the green out. Hopefully no one will notice. Yeah, in the digital intermediate process.

24:29 · jump to transcript →

then Akiva, you wrote the speech, which was great, and then we decided to name Willow's character Marley, and we started to use the songs, and I'm just so excited that we got to use, nobody uses Bob Marley songs in movies. And it's unbelievable, and especially Redemption Song, we get Redemption Song in there as... There's a little costume gap there, that's actually the, he's wearing the shirt from the first day, but we decided to... Tweaked it in the DI. Yeah, a little bit.

1:17:22 · jump to transcript →

I remember that was in, that was out. I wanted it out. - Do we add CG to it? I Know, and it was just... It made more sense story-wise to keep it in. And that shot basically was given to us. You know, we had shot practical werewolves there. It didn't come out exactly the way we wanted. And those guys at Duboi said: "We've done the rest of the sequence. We want to make this one great." And basically-- Is that right, James? They wanted to do it. - That's so cool. They weren't happy with the elements as well. What did she put? What is that she's putting in there? Incense? - Or something like it. She's making a little soup. - She looks beautiful. I love how Viktor just pops up in the background there. I love that shot. And we had to darken on the wide one because he appeared... Yeah, we were just kind of like, with the DI, make him a little darker... We actually removed him from the first shot when she walks in. That's right. Yeah. He was there. So deep have I been in my own anguish at Lucian's betrayal... ...I gave no thought... One of those famous green window that protects you from the sun. The first time we got that shot, he was green like Hulk. And it was so insane. We had to tone it down quite a bit, then. I do like Bill when he's slightly, you know... Kind of riding the camp. Yeah. I just love that. But it's him. Perhaps. And then he becomes really real at moments like...

52:03 · jump to transcript →