The first day of shooting

Really? No, it was fun. Oh, here I come, though. Everybody shut up. There you go. We shot this the first week. Very first shot you guys did. Look at Jeff. Here it comes.

6:05 · jump to transcript →

This is like the show within the show inside another show. There you go. It's crazy. Clever, right? Real clever. Fuck, man. So, yeah, that was... So you thought of the head coming off and licking the blood from the head? Like... We did a writer's room. But just like a week before we started shooting? It was like the last thing? Not a week before. Like a week before we went off to location. So, you know, we just do a punch-up. You go through the script. So you had been writing this thing for 20 years, right?

31:57 · jump to transcript →

or you've thought about it at any rate. Tell me, Hugh. You don't exactly hang on Naya's every word and gesture, do you? That's a fairly ratty nail, that. Sean. Sean, please. Before we started shooting, me and Tom, we all agreed

44:33 · jump to transcript →

started shooting. And he said, listen, my only advice to you, and this was the only advice I took from any director on the movie, because I wanted, basically I wanted the mistakes to be my own. And I knew there would be many. And Neil said, look, my only advice to you is never stop shooting. Never, ever, ever stop shooting. And unfortunately, in many scenes I did. And this is one scene where Scott Wilson came to me and just said, you can't, you don't have it. And I'm

52:25 · jump to transcript →

Ridley Scott

So here we have the first... ...shot... ...at getting Hannibal's... ...a really serious shot at getting his fingerprints. I always feel that Hannibal, even on that very first shot, sensed... ...sensed the presence of threat. He knew. I think he knew.

56:14 · jump to transcript →

There's an American band on the 7-track, Grandaddy. Fantastic band from America. And I love that ending to the scene, the plastic. Redundant plastic. Yeah, again. More shopping trollers. This was the first shot we ever shot, actually. Andrew and I did this on our own in Cambridgeshire.

48:56 · jump to transcript →

Barry Sonnenfeld

This was a set we built outside the worms' apartment. And we're about to go to Grand Central Terminal. What's interesting is, it was the first day Will and Tommy shot together. The first two weeks, we were only shooting Will. Coming up is the first night of work with Tommy and Will... ... surrounded by thousands of people at night in Times Square. This move, the track across C-18 and then revealing them... ... 1S a shot that I stole exactly from my movie, Get Shorty. There's a shot that tracks in on Locker C-18... ...pans around and reveals John Travolta looking at the locker. So I chose the same locker number and the same shot. So all of these guys were shot live on-stage from different angles... ...and then were shrunk and placed into the locker in postproduction. But all these guys are tiny, little shoots that we did... ...and then shrunk the characters down. Yes. The timekeeper.

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horribly rude to me. Oh, that's my drawing on the right. I wanted to make a connection with the next scene. That was the first day of shooting. I had done so much footage. I think I had done 20,000 feet.

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James Mangold

One of the wonderful qualities for making this film for me was that I had final cut on this film and that it was a unique experience and that it was Completely independent of any studio. We made it including the studio that distributes at Lionsgate They came on right before we started shooting the film but this film was put together with completely independent financing separate from any studio at all and

56:00 · jump to transcript →

And they did this very first scene where he's stabbing into the tree and they meet. Well, it was the same sentiment as I've got all the time through this movie. It's perfect. They're perfect. Because I would suppose you have your own very clear images of how the people look in the film because this is...

1:38:04 · jump to transcript →

Rob Cohen

As Napoleon said, the plan rarely outlives the first shot of a battle. Here, John Hannah improvising like mad. You know, I would give him situations, I'd give him the essence... ...but I wouldn't let him have a script, so...

1:05:36 · jump to transcript →