Deleted scenes

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 →

How many innocents did you kill in the sixth century quest to... Kind of like a gladiator field. Isn't there? Mm-hmm. That's odd, isn't it? It's strange. I think he has the same hairstyle as he had in Gladiator. He does. Anything I've done can be laid at your feet. This is your favorite cut right here, isn't it? Coming up, Nick? Coming up, yep. Which one is it? It's coming up when we cut from her. No matter where we... I hear we're in the... Right here. Where? No. Oh, no, actually, did we already pass it?

1:02:27 · jump to transcript →

Patrick Tatopoulos

I remember there was a whole other piece of sequence... ...before he actually landed that we cut out. Just didn't... I think it plays great without it, though. This is practical and CGI mixed together for the wolf again. With Luma not doing the effects. And it's... This was the one we struggled with the most. When the creature starts crawling up right here. You need to tell the story of him climbing to the top. Some angles just looks like a man in a suit. Completely. We just kind of cut around. I do love the breathing Mike Babcock did for this as well. I mean, this little breathing of... Before he.... The howl. - That's right. Call to the-- Call to arms. So that's a mix of, like, a bunch of different sounds together. Gorilla, tiger, lions and things. That's what he did, I think. Yeah, that right there you're talking about, right? With the nose. And the snarl. Yeah, that's cool. I love that. That little sound that he makes. This is unfortunately one of the places... ...Where you had to cut a bunch of effects shots out. Like the wolves arriving. No matter how much money they give us, you always need more. When it's your peak you have to kind of be selective... ...and just sometimes it's a better trim. Still, I would have loved to see them coming from the back there. Yeah.

1:12:18 · jump to transcript →

Joss Whedon

This is actually in Seoul, Korea. One of the great things about doing this one and shooting from London meant we could go everywhere. Where, in the first one, we had to create places, in this one we could really go to them, and you find architecture like that, which you would not find, even perhaps in your own imagination. So it's very exciting. ...iS the next me. Most of the stuff in these labs was rewritten many times after the fact, and Claudia came in to re-shoot a bunch of it as it sort of got moved around. There was so much exposition that she and James had to give us, yet keep it dynamic, which they did a good job with. That shot of the house and barn is probably my last opportunity to explain that those places dont exist. They were built for the movie, and we shot them for one day. We shot one day outside there, and then they were gone. They built the interior of the house. The barn was an actual barn in England. And the design is not completely dissimilar to the farm that I spent a lot of my childhood on in Upstate New York. And it's a very comforting space. If that were real, I would want to live there. But actually what really exists on that field usually is not a house, but very angry cows. Angry, angry, bitter cows. I don't know what it is. They were just... They weren't pleasant. That I was an Avenger. That I was anything more... This scene, you only get the first two-thirds of the scene in the movie. We cut out the end. People thought it would be, and I agree in part, I do, that it would be better to leave the question of whether they were together without answering It. But if you watch the scene in the DVD extras, you see the whole scene, and you see just more of why I'm in love with these two people. And I'm in love with their love, and I'm in love with their pain. And they were so good on this day. And Mark and Scarlett only ever bring goofy, happy energy to the set. But then you Start the cameras, and they go to a place of pain that is just so human and so excruciating. This scene caused my first-ever completely un-ironic group hug because I was so proud of them and what they did. I insisted we have an extra day of shooting for this scene. We didn't need it. They just came out and nailed it. This moment from her... They sterilise you.

1:04:38 · jump to transcript →

And so beautifully executed. That's so well lit. To see the dark trails under his feet. So beautiful. This is the best shot of her shoes, I think, in the movie. I love those little stripes on the side. For her, it's special. She's not from here. She's from the garage. I'm sad we cut out. When we had that line where... I'm like, that's my wallet. Oh, okay. She sits on it. Oh, right. Yeah.

41:58 · jump to transcript →

This is where we enter the operatic, fun, non-serious part of the film. And that's why this shot is there. This is the only fancy shot we have in the entire film. 'Cause Pawel and I came up with a lot of cool shit to film. But at a certain point, we're like, "You know what? "Let's keep it super basic." And then we're like, "We should keep one just so people know we can if we want to," but we decided to restrain ourselves. But here we cut loose and we wanted to have this almost... Certainly these shots circling the guys are very Michael Bay-ish, which is not the tone of the film, but I thought we can get away with it and I think it works. These guys are having a good time, boy. They're in their element. - The bright light is just very... And here comes Yulian. He's so great. My brother gets shot. You out? - Yeah. Dad? This was so hard to do. - Why, Bob? 'Cause I got the sickness. We had a flu that went around. Norovirus. - Nurovirus? No, no, I think it's Noro. - Norovirus. Nuro would be scarier. - Yeah, Noro, and it hits you fast. And I had avoided it for what, a week-and-a-half? Yeah. There was a day when 35 people had to leave this shoot because they were just that sick. 35 people, all in one day. So it was that bad. I'm getting sick as you're watching me here, and I got sick very bad and very fast. And it was not good. I'd like to say that the sweat on your face, that's not makeup. - Yeah. That is real sweat. But holy cow, this impact is huge.

1:20:13 · jump to transcript →

So we cut to this battlefield. It was a really hard shot to get here. We rehearsed it a couple of times in a parking lot at ARRI in Prague because we wanted to get the exact height and the lens right. And then on this day, we just shot it just before sunset and probably took about four or five takes only.

2:08 · jump to transcript →