Deleted scenes

which we basically thought were terribly important and then ignored them whenever we wanted, i.e. you don't travel at night, only travel during the day. Yeah, I mean, I don't know. I never saw that as a rule, that night one, in a way. But yeah, we took lots of liberties with the things that we set up for ourselves, really. There's a big sequence here which is missing, which is in the deleted scenes, which is they go through a railway train that has been turned into a temporary hospital.

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And we cut it eventually because it poured down that day, absolutely poured down, and we couldn't film it in any way that disguised the fact that it wasn't raining. It's important to the plot that it doesn't rain in London for quite a long time, as you'll see later. But we got permission from Docklands Light Railway to let us walk on the railway, which is very unusual in Britain to get that kind of permission. Very grateful to them for that. And this is his parents' home with a nice Volvo, which is a...

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the realities of Life Without Water. We did have a long sequence in here, which I don't think has made it into the deleted scenes, because it's just bits, really, where he actually cut all his hair off and shaved his beard, which were real at the time. And, of course, it being a film, we had to go back later and make a wig for him, because we had to pick up some stuff that was shot before we cut his hair. And Sally, our makeup designer, did a great job to coordinate all that.

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

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

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

33:13 · jump to transcript →

We wanted to break the audience's hymen here, let them know what we were about, what language we were using, but also with jokes. I mean, look, a yoga ball. Isn't that funny? The sound there, you can hear her cheeks separating. That was Ben Chia, our sound guy, came up with that sound. It's actually a natural sound. The yoga ball is an iconic, iconic accoutrement of our... Which we'll talk about in the deleted scenes a little bit more. Should we talk about the yoga ball there? Yeah.

5:39 · jump to transcript →

And we have a deleted scene that's going to be on the DVD with the two of them. You wonder what happened to them when they go off after this. Jay's not here right now, but he would tell you how much he hates looking at his hair. I love his hair in the film. Now he has very, very short hair. And that little joke he just did with the camera is something that he used to do in real life, and I said that is going in the movie. It's a great moment.

22:40 · jump to transcript →

This is Ray Rivas, who is the most awesome performer playing Shabbos Goy. He's amazing. He's funny as hell. Remember the rehearsal where he got shot the week before? Yeah, he got shot. We're going to talk about that in the deleted scene. But he is a performance artist. He told me that he did a performance in that exact space in Dumba where he was, like, hanging from hooks and...

23:52 · jump to transcript →

Come on and let it snow." All the people in the world I most admire are people who are honest, like this. I could never be. But it's the sort of John McEnroe type of John Lennon person who alarmingly manages to tell the truth in public situations. in public situations. I've never been able to pull it off. Yes, yes. I fear this is going to be a difficult one to play. Alex. This is when people start to be chilled by the authority of your performance, Hugh. It's when I'm chilled by the fact that you cut out the first half of the scene. Yeah. There used to be a bit where they discuss which record was gonna be number one at Christmas. Hugh said, "I've got a very, very important thing to discuss." But we cut it because it looked like the prime minister was just a joke. But we wanted to make you more serious. - A joke? This is an exact replica of the cabinet, I think. Yes, with some of the real cabinet members in there. See if you can spot them. See if you can spot the actual minister for transport.

22:16 · jump to transcript →

I just don't know. Now this bit's very traumatic for you, Thomas, because this is the point where we cut 11 minutes of your part. We've all had that done, Thomas. - Don't worry, Tommy. "Butchered" is the word. - We one day tried this cut where we went from him really worrying about you to the two of you talking about your problems and it worked so well and so told the story, coming straight to here. So thank God we're on the DVD, where they can watch, basically, the rest of your part in the deleted scenes. - Yeah. That's a beautiful shot. ... something else? Maybe school? Would it be hurtful to you two older guys if I said that I think Thomas is a better actor than both of you? Well, yes. Do you remember us doing this? - Yeah, I liked doing this. Was it cold or hot? -/t was cold. It was really cold and you had to drink that... Was that a fruit juice, just getting colder, with ice circulating around your veins? How did you find Liam? - I liked him a lot. He was very nice. I'm in love. We had toothpicks hidden in our pockets. Actually, it took hours of editing time to remove the toothpicks out of scenes that you two remorselessly introduced into them. No. Well, okay, well... But if you go elsewhere on the DVD, you'll now see what follows is another whole chunk of the movie that was taken out. ... thought it would be something worse. When we watched the movie, when we were first testing it this was sort of the point at which the audience started to start to believe that the film was going to be okay. What, not till now? No, your scenes had gone by completely. No, your scenes had gone by completely. Yeah, you just sort of felt they'd been emotionally... This was about the point it took to really, emotionally... I find myself getting restless in these scenes.

27:54 · jump to transcript →

Yushio Mahoto. Look. There used to be so many more of these photos, but we cut two of the scenes with all the photos in them. They were so brilliant, some of them, these sort of slightly obscene Christmas puns. That was meant to be the Four Tops. - That was the Four Tops. Can I patch you through? She wants to ask you a favor. That's brilliant. Thanks and be nice. I'm always nice. - You know what I mean, Marky, be friendly. I'm always... - Mark? This plot with Andrew and Keira and Chiwe is in some ways the kind of model for what the film was meant to be. I always said that I wanted it to have, you know, 10 good beginnings, 10 good middles and 10 good ends. And in fact, they've really only got three scenes. They've got the wedding, which is the beginning, and then they've got the scene where she goes around to his house and looks at the video, which is the middle, and they've got the scene with the cards, which is the end, and that was sort of the idea, that you'd fillet out all the unnecessary Stuff in films. And this is the one remaining little extra scenelet. I think it could go. Hugh, you appear to have misunderstood what we're doing here, Hugh, you appear to have misunderstood what we're doing here, which is that the film's finished and that's why we're commenting on it. Well, you say that. It's not out yet. Do you think this will be one example where the director's cut is actually shorter? We should have Hugh's cut. I always think that the director's cut in films actually should be called the director's half-cut, which is one day when he's drunk, he says, "That was a very good scene. "I wish to see that back in again." Now, this next shot was suggested by Mickey Coulter. He said that I'd wasted what was actually on offer. ...doing dark deeds. And I think he was right. - What do you mean? That high shot. - I think we know what you mean. I'd only done a little shot of Heike's face. - Can we see that again? And he said that's... - He wanted to lower the camera. Move the gib around. He wanted it up above the head. I was just going to have it all just done on a reaction shot. Here we go. - Beautiful. I so love this tune. I like the performance as well, although I think Colin's cardie is controversial. It's his own, isn't it?

35:29 · jump to transcript →

for a franchise pattern, as it were. When we realised that we had available to us this Schmeagle Deagle scene, it seemed like a counter to how the two towers opened. I know that Andy was really disappointed that it was cut out of the two towers, because he was aware it was his moment to have his real face seen on the screen. And then we cut him out, and I think he was never quite believing that we were actually going to use the scene at all. No, probably not.

3:15 · jump to transcript →

I didn't shoot any of this scene. I was busy on another set and we had no other directors. And so we said to Andy, listen, do you mind if you direct yourself today? Because there's no one else that we can find to do it. Yeah, I love the sound design in this scene. We opted to drop out the music and just let the kind of intensity of the moment really take over. And at one point we cut the effects back and it wasn't half as scary.

3:43 · jump to transcript →

Pete came up with the idea of a drinking game. Yeah, drinking competitions are a national sport in New Zealand. I mean, if New Zealand was running the Olympic Games, it would be one of the main events. It's primarily an excuse for putting Howard and Michael Somanik in the back of shot, isn't it? If you look behind Orlando, that is Howard Shaw, and then Mike Somanik, one of our sound mixers, is next to Howard Shaw, and we put wigs on them. We put them in there, we made them sit around for hours, we shot them, and then we cut them out of the film.

19:30 · jump to transcript →

We cut Billy from the scene because it was a giveaway. Many people believed, after they saw that scene, that he was up to what he was up to, and it was premature. I'm proud to say that you are the first that I've recommended for active field. You were going to talk about the glasses. Oh, yeah. Now, there was a lot of conversation where I think you see the camera in my lens here. JJ says, no, I...

30:45 · jump to transcript →

What I love is that, you know, Ethan's grabbed him, but somehow this guy is still not, he's not like, you know. This just isn't right. Yeah, he's not giving up at all. Now he knows my name. That's right, yeah, it's like, what is this guy, like, what's this guy about? His confidence is obviously due to the fact that he has someone on the inside and believes he's gonna be protected. There used to be some dialogue here, which we cut, but it ended up working out fine.

1:01:39 · jump to transcript →

Making it look like that was the same truck downtown L.A. Here. And this moment... I like this scene. Yeah, they're great in this scene. It's one of those moments that... It actually used to go on longer. We cut it shorter. What is that? He used to actually... He says, teach me. Teach it to me. And she actually started to. But it kind of went on a little bit longer than we needed it to. But this was your idea.

1:27:52 · jump to transcript →

You see, people often talk about actors coming back for reshoots, but it's never really reshooting. It's always what you call pick-ups. And this is a great example that we cut the film together and we felt that we somehow needed to... We needed to return to the ring, that Frodo was carrying this ring, and yet our Rivendell sequence that we originally cut hadn't really got any reference to Frodo and the ring. But more importantly, that he wanted to go home. Yeah. That was the critical part of it. Yeah, and that this scene with Elrond and Gandalf is...

1:29:22 · jump to transcript →

Welcome back to disc number two, and we're going straight into a scene that we had to delete from the theatrical version of the film, again, just for momentum reasons. When we cut the film theatrically, we decided that once the fellowship were formed, we had to obviously give Frodo the mithril vest and sting, but we wanted to leave Rivendell as quickly as possible, and that was purely a momentum decision of just wanting to punch the film forward to its next act, essentially. But we had shot this very lovely sequence where...

1:45:39 · jump to transcript →

had we had no ability to build a set this big of course because it's basically endless and what we did is we built two bases of columns so if you look at all those columns and just imagine the bases of them we had two of those in the studio against black so when we cut to the live action stuff that we're looking at here you're just seeing we're filming our two big column bases um is all that we have and we're just looking at the two same two columns over and over again and the various angles

2:20:32 · jump to transcript →

This shot always drove me nuts. If you notice the previous shot, they go running off and then we cut to this shot and they stop. And I'm thinking, well, aren't they in a real hurry? Why do they stop? Well, they stop because Ardeth Bay has to give us a lot of exposition right here. It's just one of those filmmaking things. You have to stop the movie every once in a while a little bit and tell the audience some things. But he was totally game, so...

32:56 · jump to transcript →

uh... that we cut from the movie uh... we felt that the bus chase was over and we decided to live with the uh... continuity uh... continuity error uh... a fourth mummy grabs jonathan through the uh... through the side of the bus there and strangles him and brendan shows up and and shoots him and he goes flying off of tower bridge and into the water it was actually pretty cool uh... but it seemed better without it this whole sequence everything here on this is all on tower bridge

47:14 · jump to transcript →

When he looks at Lock-Nah, he says, that was for Horace. We cut that. Horace was the bird. That's why we cut it, because a lot of people were saying, who's Horace? That always got a great cheer. I just love that. Ade, don't blink. It's really hard falling with your eyes open and not blinking. It took a couple takes, but he did it.

1:31:22 · jump to transcript →

Barry Sonnenfeld

I know what I saw. Tell me what I'm supposed to believe. This is a theme we'll hear throughout the movie as their love theme. I'm a member of a Secret organisation that monitors alien activity on Earth. Ben was an alien. So were his killers. I don't Know why they did it, but I promise I'm gonna find out. Okay. We're back in that diner on West 23rd. Okay. This is actually a reshoot. This is the first two days of shooting. We gave Rosario really long hair and a different outfit. We looked at the dailies and said she didn't look cute. We had made her look unsympathetic and cute... ...SO we Cut her hair and reshot the scene.

22:17 · jump to transcript →

Barry Sonnenfeld

When we cut to his close-ups, we're still in New York, Central Park. But now we're in Pasadena on these shots. Got kids? - No. We just ran out of time in New York. In fact, this whole direction is Pasadena. And this stuff in the tent was shot on a stage in Los Angeles. We added that in postproduction, that little thing from Rip.

24:43 · jump to transcript →

Barry Sonnenfeld

Tony Shalhoub, who was in our first movie. This is the same place we shot the first one, down on the Bowery. Although once we cut inside, this was in Los Angeles on a set. We're back in L.A. now, on a set. I decided to give Tony a beard, which is, I think, a mistake... ...because people don't recognise him as Jeebs. If I had it to do over again, I would have lost the beard. But I felt that every time Jeebs got his head blown up... ...he probably grew it back with a few genetically-missing pieces. And Will's probably blown his head up six times over the last five years. So he looks a little different. His ears and nose are bigger. His eyes look even more extremely in the wrong directions. Don't got it. So again, this is a set... ...and that exterior is not New York City. It's just a stage. Even if I did, if it doesn't work, he dies, you blow my head off.

37:32 · jump to transcript →

before his arrival, all of this stuff was, you know, things that we just did without when we cut the theatrical version, really just to try to get the time down to three hours. And we just felt, you know, we won't have spent so long, you know, prefiguring Gollum.

8:15 · jump to transcript →

after darkness had fallen, because it took us so long to shoot this scene. We did all this in one day, the whole thing, and it was a real rush to get everything shot. Sean actually flew out from England to New Zealand just to shoot this sequence, and he was very gracious to do that, and I felt absolutely terrible when we cut it out of the movie. But, of course, again, you know, with a DVD extended cut, it can live to be seen and enjoyed by people.

2:20:59 · jump to transcript →

We wrote ourselves to a standstill when Frodo says, what are we holding on to, Sam? We didn't know, did we? Remember we wrote that line and then we just were like, okay, what are they holding on to? It took us a while. But the other thing... One of Fran's great ideas when we cut it together was to actually show Gollum's reaction to those lines. And that was never planned. And in fact, we didn't have any Gollum animation. And so what we did is we looked back on the Dead Marshes where...

3:23:30 · jump to transcript →

This is the most absurd dialogue I've ever heard in a movie. Thanks. We cut a line out and it's even more fun. He just says thank you and he goes. Right. Well, they asked if he could buy him a cigarette, right? Yeah, yeah.

17:17 · jump to transcript →

See, we ought to say something now, Charlie. This is a hard scene. We cut and recut. Oh, yeah. Because it's when it catches up and we end up to be in the present time. But so far, we are only in his head. And as well, we want to understand the procedure. And he's understanding that he's in his head now. During the scene. Yeah. For the first time.

31:46 · jump to transcript →

It was even longer in reality, wasn't it? Yeah, we cut some of it. He changed his costume more times. Yeah, from here, this is one cut, but from here, it's all done in one shot. So... Here, Jim would go behind the camera, change his clothes and sit there. And it's amazing, it's there already. And then he would come back behind the camera, put his clothes on and be here.

55:53 · jump to transcript →

Oh, yeah. Who is that? That's Kona. You can tell by the run, right? Yeah, the run is funky. It's like a little hippity-hop run. But we wanted to provide the exposition required, and then we mixed it so no one could hear it, just so we knew we had done it. This is an interesting beat, because this scene was actually filmed... With Elise. With Elise. And that's the dog. That's Abby laying down there. That was actually Abby laying down on the wing of the aircraft when he's golfing, and we cut her out of that and stuck her there. And we created...

45:22 · jump to transcript →

And it sort of reminds me a little bit of the kinds of sequences you would find in old Hitchcock movies. The waiting for something bad and awful to happen and knowing it's going to happen and watching that sliver of light slowly disappear. What Will always used to say, which I always thought was very clever, he's like, the longer it takes before we cut away, the more the audience knows something bad is going to happen in this sequence. Because fundamentally, you could have cut him down, right? And then you could cut to the lab.

50:14 · jump to transcript →

office assistants, you know, as the different characters. And we sort of did a little moving storyboard, which is kind of fun to watch that we cut. So we knew specifically what we were going to need to shoot to get the new ending and to make it match. And Will had about 10 days, because he had just shot Hancock and had gained, I don't know, 35 pounds or something for Hancock. And we had 10 days, he had 10 days to drop. Butterfly. There's the butterfly in the cracks.

1:27:03 · jump to transcript →

This is the stuff that I love because to me it was all the stuff that those movies are about. An audience really respond to this next beat where you're doing some hand mucking. Yeah, that's coming up. After we cut away. D-Rod, D-Rod, this is Pudding Face. How are we coming on that hot plate? Something's up. I think we better drag ass back there. Make sure Damien ain't forgot how to use the talk box again.

33:48 · jump to transcript →

of going through withdrawals is that you want to eat big animals. Well, really, that came out of the scene where, and it's cut out in Platoon, the let's do the village scene. Oh, yeah. Have you wanted to do the yak? Let's do the yak, which we ended up cutting out. It's not even a yak. What's it like directing a scene where you're tied to something?

54:34 · jump to transcript →

This is just one of those scenes I could watch over and over again just because the moves that he's got going on. And then what we sort of wanted to do was work in a bunch of the stuff that we cut out of the movie into the end credits. When we start seeing the highlights of things that blew up in the movie. Damn. Yep. Yeah. This is good, dude.

1:38:34 · jump to transcript →

But somehow Tom didn't feel that exciting. I said, how about after the plane crash, straight cut to the smash cuts to the rock climbing? And I thought that was a good idea. And then put the main title after the rock climbing scene. So because the main title is for Ethan Hunt, not for the bad guy, you know, so that's why we had to move it around. So after we cut to the rock climbing scene...

6:38 · jump to transcript →

Also, slow motion also will give me a lot of a strong impact, you know, like the horse racing. I want to see the energy. I want to see the beauty of the horse running. I want to see the muscle. I want to see the hair floating in the air, you know. So I shot the whole horse race shot with 120 frames. But in the meantime, when we cut into the scene, I need a very strong sound effect.

47:29 · jump to transcript →

We hear them coming and as soon as they show up, we cut away. Was that by design? Because originally you did have a little cameo. Yeah, it was originally shot in the street. You could see the street behind them and the cops came skidding up behind them. So you see the cops coming through this entire shot. But we couldn't get the permits to shoot on the street. And we do have a cop car right around the corner. I had another angle shot.

22:04 · jump to transcript →

they used to come in one at a time, much more, and it was cool because I was able to score each one coming in and build up a nice little chord, and we kind of had to lose that when we cut the film down. Yeah, it's kind of a, well, whatever. Editing helps you from sucking. And Nicky Katt, by the way, did not speak any Spanish, and Benicio, this is one of the few nights Benicio was on the set.

1:21:56 · jump to transcript →

Jonathan Lynn

Yanni Gogo? Wow! Wow! Feel my arm. Goosebumps. We tried that phone ringing in a number of ways. And in the end, the biggest and broadest way, splashing the drink, was the funniest. And then after Matthew said, there's the phone, and then we cut to Bruce, he did that.

52:07 · jump to transcript →

Jonathan Lynn

shuts it in a very funny, petulant way and runs off. But we discovered that gave us a problem at our first screening because when he crashed into the door later, it wasn't funny because the audience had seen him shut the door and so they thought he was kind of an idiot. Now, because we cut away before that, they laugh tremendously when he crashes into the door. Thanks for that.

53:33 · jump to transcript →

Yeah. Do I confess or not? Go ahead, because it was quite a bit of a problem for me. This actor here. Well, first... - This actor is such a nice actor. This is one of our deleted scenes... ...where Scott goes in to check on the gunshot girl. What's the story? - The story is, this lovely actor... He was such a nice guy. He was there for a short time. - Couple of days. Wentworth Miller. - Wentworth Miller. I happened to have gone to school with a boy called Forrest Wentworth. So I constantly called him Forrest Wentworth when I was referring to him. And it just messed everybody up. She would refer to.... She would talk to me about Forrest... .all the time, to where I would go up to Wentworth, and I swear to God... I may have just, like: "Forrest, can you take two steps?" "What are you talking about?" I don't think he knew that pretty much everyone on the set... ...Was constantly trying not to call him Forrest. Yeah, all your fault. Kevin with his G-string. Where? - He has a G-string... ... Just to hide the package.

20:39 · jump to transcript →

Is this different? - Look at those eyebrows. No, this isn't... I don't think anything's really been all that different. A lot of... Hold on. - Well, then why are we here? A lot of it's in the third act. There was a lot of stuff that we cut out. Third act. - Like your whole back-story. That thing. I don't want... We don't gotta watch that. Yeah, we are going to watch that. You say that now. You cried. - I did not cry. You cried. - I told you I was fine with it. ridiculous theory.

36:21 · jump to transcript →

And then these were the shots that really pissed off all the locals. The .50 caliber firing. Yeah, firing a .50 caliber with full loads. You can hear for like three miles in the valley where we were shooting. Yeah, that .50 cal footage is actually stolen from a different scene. It was intended, there was another part of the movie where there was a bit of another storyline that we ended up cutting out. And we had someone, Kelly actually jumped up on the gun and fired the .50 cal. And parts of those...

1:03:12 · jump to transcript →

Yes, now this was part of a bigger sequence at one time, and the editing process of the movie, there was a whole storyline that we didn't need that we cut out. It involved two young children, brother and sister. Yeah, it was one of those things where it was like, you know, we didn't need any more kids in the film. Plus, it was just a pacing thing. We wanted to keep the movie flowing, you know, and get back to our core group. So this time, instead of Chet impregnating the nurse, he just punches a hole in her head.

1:05:58 · jump to transcript →

That's the thing. If this scene in the toilets would have been included, I think it's the right thing to leave it out. But then the balance would have shifted too much in Oskar's favor. That you would just only feel, yeah, yeah, yeah, go Oskar. Here it's still problematic. That he's lashing out like this. But it's included in the deleted scenes. Yeah. Then you can start working on your hatred. Yeah.

1:03:10 · jump to transcript →

So here comes the deleted scene. If you have the possibility to see that after that scene, the deleted scene where the fight comes in this position in the film. It's also one scene I remember being quite proud of in the book. This thing where they're just rolling around each other and fighting very hard, but really trying hard not to hurt each other.

1:22:16 · jump to transcript →

So they eventually had to throw them away. Yeah, and then it goes into Chinese, and then it goes back into the English subtitles, back into the cheesy stuff. That was really... I'm glad it's there. I think it helped the later parts of the movie. Well, we really sliced through the scene a lot, too. I mean, I must say, I'm glad the scene is still there, but I'm also glad we cut out a lot of... And we reorganized the whole scene, by the way. A lot of what he says, and then she responds to, and he responds to what she's saying,

1:18:55 · jump to transcript →

E. Elias Merhige

This scene, I love the music that Dan Jones composed. I love the whole sort of melancholy of it. This is an original shot from the original Nosferatu. This, of course, is as well. And, you know, it's from here when he raises the axe that we cut to Willem as the sort of sideshow freak, as the sort of relic from the carnival that is brought out to perform

57:50 · jump to transcript →

Ridley Scott

It's one of those funny little side details. And funnily enough, she's drawing the Italian, wondering what he looks like. And what's interesting is it almost looks like Rinaldo Pazzi with the mustache. I like this part of the mix here where we cut out all the extraneous sound and all you've got is the chinking of change, money, Judas in his hand.

47:17 · jump to transcript →

Andrew Niccol

but I buy it and I know it's fake. One of the few scenes we cut out of the film was Yuri and Ava's wedding. It was supposed to follow this scene. It was shot at the same synagogue where Yuri meets his first gun-running contact. But the wedding scene sort of slowed the pace of the film, even though it has a funny moment.

31:36 · jump to transcript →

Tell me... Determining the scale of models Is always tricky. You wanna try and build them as big as you can. Because the closer you can get it to life-size, the more realistic it will behave. But there are trade-offs in terms of physical stage space... ...and the size of models that we can build or afford to build. At this point in the movie, which is when the V's actually encroach on Westminster... ...on Parliament, and they've been summoned by a message... ... that V puts out earlier in the film, they show up... ...and we have a big sequence that was filmed down at Whitehall... ...and once they've arrived is basically the moment when the clock strikes 12... ...and Parliament explodes. And we cut to various shots that are a combination of plates... ...that are photographed around the Houses of Parliament... ...Into which we insert some miniature elements. And then there are other cameras that we're placing... ... you know, nice and close so you get big, full-screen... ...miniature, pyrotechnic events. Should look pretty cool. Without being, you know, too portentous about the film... ...I think there's a lot of things around us... ...we don't feel there's any hope of changing things. And I think the film ends on a measure of hope, you know? Because you always do go forward, you know? And no matter how bad things get, human beings always rally... ...and they always go forth. But I think we live in such a time... ...Of, unfortunately, like, everyday violence... ... that it was interesting to make a film... ... that discussed that and discussed why people think... ... they're driven into acts of violence... ...or the only way out of their situation is through acts of violence. I think you, to have those discussions... ...or to get people to go and see films... ... you can't just be very didactic... ...and, you know, express political opinion all the time. And so if you can get them into the cinema... ...to watch an action political thriller with elements of sci-fi... ... then I think that's good. And if they go out of the film and they think about it... ... then I think that's good too. And so hopefully I've made... ...a Saturday night film that you can go home and think about. I was so excited when I saw this movie. I just think it's an amazing story on its own... ...characters that you go with and are interested by... ...and you move with them... ...and yet, you also feel and think... In very, sort of, mixed ways, which I think is... ... throughout the movie it's constantly testing you... ...and testing, once you get to a certain, sort of feeling... .or idea, it tests that idea and turns it the other way. And so you're going on this, it challenges you. And I think that is so rare in an entertainment-based movie, you know... ... that the primary objective is to entertain... ... that you're also really being challenged. And that was really exciting for me. I think it's a really great ride. It's a really great roller coaster ride. Not a roller coaster ride. It's a really great ride. It propels you from beginning to end. And yet you do go down all these other rabbit holes. And yet those rabbit holes tie back into essential parts of people's characters. As I was talking earlier about when I read the film... ...what was it that I was worried about... ...and what was it that I was excited about. In the end is what I'm excited about the film... . 1S this-- It is this, the content and the form of the piece. And how in many ways, they're extremely radical. I don't Know of another film that sits in this, um... ...in the same marriage.

2:02:21 · jump to transcript →