First feature

Who is in charge? Who's in charge? Well, for the purposes of this commentary track, we've got two people in charge for Tinto Brass' first film of the current millennium, or at least of the 2000s, whether you consider the year 2000 part of this millennium is still being debated, but it's a new era, it's a new time for Tinto, and we'll be talking about how that is true in very many ways for this film. My name is Nathaniel Thompson from Mondo Digital, and joining me here today is Eugenio Ercolani. Hello. Hello. It's...

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It's been months and months on this. It's totally fascinating. We were so into the shot that you could hear the music swell, just an appreciation of our one big special effects shot here. Halfway, as they're still making that, we had the music, so I told those guys, you hear the music, you have to live up to that music, to that gong. Now, I recognize that guy. Yes, it's my father figure from my first three movies. Mr. Lang Xiong, the good old Lang Xiong.

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to make a PG-13 film. I must tell you, this is my first PG-13 movie ever made. We are very careful about everything. So no matter the action or the drama or anything, we got to so much careful about it. And I also need to tune down about the violent thing. And I also need to tune down the bullet head and the body counts. The whole movie is all about love. It's not about violence.

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E. Elias Merhige

knowing that you're spending the night with him in the castle alone. You watch him. Orlok, drop your paper. When I made my first film, Begotten, that was a feature silent film. And I did the cinematography on that film, and I talked to my actors while I was filming them. And that experience as a silent film director is something that I talked a lot to John about and also

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I thought this was great for Barney, who'd had a relatively small part in the first film, Silence. And to use him in the book as the person, as the way in... ...was, I think, a great stroke by Tom. And Frankie Faison really turned out to be the right man for the job. So it's one of those circumstances where instead of recasting...

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into something that has a little bit more significance. And was doing more than one thing. Yeah, it was introducing Mary and Pippin is what it was, which was great. And it's also magic. I didn't want to have too much magic in the movie because I don't like magic in fantasy films. But having a dragon like this, a firework dragon, is a pretty cool thing. My first introduction to The Lord of the Rings was when I saw the Ralph Bakshi cartoon film in 1978.

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Tom Tykwer

what some people consider his testimony. It was the last screenplay that he had worked on together with Piasewicz. And even though it wasn't completely clear whether he wanted or intended to direct it, it was definitely the last proof of his genius that was left behind. So when Harvey Weinstein had the idea to give it to me and have me have a look at it, my first instinct reaction was,

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Ted Tally

Mr. Metcalf, do you still have the Jacobis' check stubs and credit card statements? We're looking for any kind of service call or purchase that might've required a stranger to enter the house. A repairman or a delivery guy. When you would watch these dailies with Dino and Martha, I was only there once or twice, but again, it seemed to me like they had a very shrewd sense of where the best takes were. Their shrewdness came in length. Dino is very sensitive to pace, I think. - Right. He, like myself, likes to get on with things. Not just within an act or within the whole movie, within a scene. Within a scene, yeah. - A true sense of what you can do without. Yeah, exactly. Sometimes you get lost. When you're making it, you get too close... Where I got the most out of Dino was right before we wrapped the shoot. He started going through the script with me, he started pulling pages out. Remember we... - He would say, "We already know this. "We'll understand this without it being said." I guess if you've made as many movies... - Making 600 movies, you Kind of... ...aS Dino and Martha you really begin to learn something about storytelling. They were a huge help in that way. It's Chromalux. This was a great stock shot. We just got a fax. This is the first thing I shot. First day of shooting. It wasn't in my first cut. I ended up putting it back. Because it helped explain that... - That Dolarhyde is in some transition. Or, maybe, he's trying to stop. - Maybe. Which helps us explain the story of why he's eating that painting. But, unfortunately, which comes later. If it came before or while seeing the scene it would have helped more. But here... - You weren't happy with the way that scene came out in some versions. It seemed like very important information, emotionally. I love this location. This is a real photo lab that we just took over and... This is a long nighttime shoot. - Yeah. This exterior and the interior of this location are two different places. This is why I wish she was hurrying more, so that it would catch his interest more. Why is she running into the office? - That was my fault. That was one of the days we didn't talk on the cell phone. I would usually call Ted and say, "Ted, this is what I'm doing." Pick his brain.

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Len Wiseman

I don't think I'm gonna have an experience like this again. I mean, it did feel like, you know, a family... ...and that it was a bit like making a student film... ...where everybody was really passionate. Everybody was. It was like everybody's first... It was my first time playing a part like that... ...and Speedman's, and Brad's first time stunt coordinating. Wasn't it? Yeah, and first time, I think, doing second-unit directing as well. lt was a first time for a lot of people. I think Bruton Jones, my production designer... ...who I had worked with on videos and commercials and things... ...fight there, had not done a feature. And, you know, it was Danny's first... Danny McBride's first screenplay. And it was the first time for a lot of people. It was really special, and it was really, really great. Thank you for being so nice then... ...and such an asshole now that you've gone all Hollywood on me. No, I had, really... Just the support and everything that I had from everybody.... And like I've told you, it's because when you have... ...from the actors and everybody... ...when they're trying to make the best project... ...and they're really as passionate as you... ... you can kind of just put yourself in this bubble with the actors... ...and it helps take away the stress and nightmares you're dealing with... ...with the studio and the schedule and all that stuff. And it was such a great help. Forrest. So everybody, thanks again... ...to all of the 12 of you who are listening to this track... ...and we will see you again. We'll probably see you on Easter... ...because that's probably Mom Wiseman, right? Yes. Thanks, guys. We'll see you again. - Bye.

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It's funny, watching it, I really remember now reading the script and my first emotion. It's like when you talk to somebody over the phone and then you meet the person and it's a different person than what you imagined.

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James McTeigue

I know there's no way I can convince you... ... this is not one of their tricks, but I don't care. lam me. My name is Valerie. I don't think I'll lve much longer. I wanted to tell someone about my life. This is the only autobiography that I will ever write and, God... .../'m writing it on toilet paper. There is always that great history of the first people... ...picked on or imprisoned are minorities. And it was important to, you know, show the Valerie character... ...and where she starts off with... ...and where, you know, where her life leads her... ...and then, you know, how the government come in... ...and they sweep up all those people... ...and then... ...and then how it affects Evey... ...and how Evey comes to, like, understand what has happened to those people... ...and how it, I guess it really sparks her political consciousness after her parents. Natasha, who plays Valerie is really, really lovely. And she, I mean, incredible actress. And James had her on set so that when I was reading the letter... ... that she would be reading it live for me... ...Which made it so much more human, instead of... I mean, not to disparage script Supervisors in any way... ...but a lot of times when there's voiceovers that you hear... ...the script supervisor will just read it from the script. And obviously they shouldn't be trying to act it out or anything... ...but that can be a very cold feeling. When you have the actual actor there, that's pretty amazing. For me, it's a point in the film where you're both propelled on... ...and also you're propelled backwards. And so you're going down this fantastic rabbit hole... ...at a point in the film where it expands the film... ...and it expands your mind. And you have to stay on the train you're on, but also at the same time... ...get onto another train. And I love it when films do that. So It's a fantastic thing to do at that point in time. It also is a very important back-story for V as well. Because it's to that note... ...1S something that links all three characters. And, you know, I love that all that... The thing that changes them... ... IS written on a piece of toilet paper. I think that is, like, totally fantastic. You would. I'd always known what I wanted to do with my life... ...and in 2015 I starred in my first film, The Salt Flats. lt was the most important role of my life. Not because of my career... ... but because that was how I met Ruth. The first time we kissed... ...I knew I never wanted to kiss any other lips but hers again.

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John Cameron Mitchell

We were in rehearsal and you had something sort of like that. I walked down, I walked into one of our early rehearsals. I had gone to Girl Props in Soho. I bought a big freaking flower and then it started to become part of our improvisation and we ended up incorporating it within Sophia's ensemble. Kurt and Bart are costume designers who were known for their rock and roll stylist's work and videos from Britney Spears, etc. This was their first film.

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James Mangold

And one of my first goals here in this film was to create a sequence that grabbed you and pulled you into the film very quickly, and that we didn't indulge in a kind of extended opening credit sequence, that we just plunged you right into action and into the world of Dan Evans, played by Christian Bale and his family, out here in Bisbee, Arizona. God damn it, William! William! God damn it, put that down! Come here! Let go!

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the pedophilia theme. We took that out from the film because I thought it would really take too much space shadowing the love story. Yeah, I think it was like one of the first things we said when talking about how to do the script. This must go out. But for me it was necessary because my first version of Hawkeye when writing the book was a terrible Patrick Bateman American Psycho type of character doing it for money and power. And I had to...

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at the Shanghai studios of Jonathan's nightclub, which, how could it be more perfect than to be an Egyptian-themed nightclub? And that's my dear friend Marcia Nassiter, my first agent, literally my first friend in California, who's acting with our inimitable John Hanna. She plays a Russian princess, just, you know, after the war, after World War II.

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...a veteran of four or five of the great musicals the last few years. Nina Gold, who first cast my first commercial when I was 21 years old. And Universal, who so beautifully backed... ...the ambition of what everyone was trying to do... ...and gave us such great support. That's a huge thank you to everyone involved.

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Wes Anderson

In this movie, there are two of your costars-- You play an attorney. You're married to Frances McDormand. That was my first casting thought of this movie was, "Boy, I would like to have Bill and Fran together, to have them married in this story." And the other interesting relationship I liked was Bill and Bruce Willis, who plays Captain Sharp. Maybe, Bill, you could talk about these two collaborators. Well, the scenes with Frances were... that was like dancing. That was like dancing at night after a few glasses of champagne. It was really-- We were pleasing each other and moving together and doing things effortlessly and exchanging, matching each other's energy and progressions. I think the scene I did, the bed scene I did with Frances, where we're in separate single beds, was one of my favorite scenes I've ever done in the movies. I really enjoyed it. I could have done it all day long. So we just kept doing it. I don't think anyone wanted it to stop. It was really, really a delight. She's really, really talented. Now, with Bruce, that was my first time working with Bruce, although I have some history with Bruce, knowing him. And the first timers in all of Wes's movies have a difficulty with the sort of precision, the insistence on a very specific script, you know. And it's a hard thing to wrap your head around. And Bruce is a kind of a natural, he doesn't necessarily, in most of his movies, he just sort of lets it go, he feels a certain way and he lets it go. Precision dialogue was never something that was too demanded because it wasn't his natural way, and he was able to do it in his own words most of the time. So it was a little different for Bruce doing that in Wes's because it's sort of-- It's very mathematical. It doesn't bounce the same way. So he needs it to be a certain way, and you have to really get on yourself to get the lines right. And there are tongue twisters. There's lots and lots of tongue twisters that are hard to say. I just remember being in a car and doing some car scenes, and just enjoying the heck out of it and saying, "Let's do some more of this." We did many, many scenes of it. Many, many takes. And it was always interesting. I think we were both enjoying it. I really enjoyed being on the other side, you know, just hearing him go. And he has his own funny timing that's, you know, unique. And it was fun to play. "Okay, let's see." And we did just wonderful stuff. He's really wonderful. But I really had fun with it. I really enjoyed it. And when people are giving, you're just like, "Okay, I like that. Try this one." And we just kept throwing them at each other and really having a good time. I've worked with him again since. We really had a wonderful time working on Moonrise Kingdom. And I think I told him when I saw the film that when I saw the ending shot, the climax shot on the bell tower, I laughed. That was the biggest, hardest laugh I've had in movie history. That's the biggest one I've ever seen. It made me laugh so hard when I saw that. Bruce holding on to the kid. It really killed me.

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This coming up here, too, this was the reason I did the movie, was this chess game, this scene I loved, which is no surprise that my first... Hello, I'm Len Wiseman, director of Total Recall, and we are watching the director's cut, which I'm very excited about. I'm really happy with the theatrical cut. There's just things that, as a filmmaker, that you...

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Richard Wright, producer. Mans, director. Bjorn Stein, director. Gary Lucchesi, producer. James McQuaide, executive producer and visual effects supervisor. What, you get two titles? - Well, you know. Big shot. So here we are... ...at the beginning of the fourth Underworld movie. That's right. Been a lot of them. The first appearance of Len Wiseman's... ...new logo. - New logo. The world premiere. - In 3D, no less. Oh, my God. It's like our life flashing before our eyes. Yeah. We've lived through these. Exactly. I think it's fun to say that... ...I think we cut the... Edited the whole film for eight weeks... ...and then we spent three weeks editing the first three minutes. That's exactly right. - It was crazy how to get it... And it was, "Shall we do a recap or shall we not? Does it feel cheesy with a recap or is it good?" But I think that everybody agreed in the end... ... that we have this wonderful library or cupboard of wonderful images... ...SO let's use it. And it's a wonderful way to get into the mood... ...and this is the world. lt has been a while too, since Underworld 2... ...where this one picks up from. We're reminding ourselves of all the characters. It's not cool, but in the end it... Wow, it really works. Yeah, I had a friend-- We had a premiere yesterday, actually... ...and I had a friend who hasn't seen the prior ones... ...and she said it was helpful... ...to just get into the soul of what this is, so.... And it's so nice to see Michael Sheen... ...and Scott Speedman and Bill Nighy. Yeah. - Losing their heads. killed the elders.... Yeah. One of the things we really liked when we got the script... ...was that number four... That it was the beginning of something new. That it was not just number 17 or something. It was.... The trilogy was done... ...and now we got into something new... ...which is exactly what we're watching right now. And this was a big thing how... That we wanted it to be brutal... ...and hand-held and gritty, using a camera language... ... that hasn't been used in Underworld before. Yeah. To turn everything upside down. This is another part of the film where we did... ...a tremendous amount of work trying to figure out... ... how to frame the fact that we're 15 years in the future... ...and the world has changed... ...and how you do that economically... ...In a different camera style than the rest of the film. Because this is in 2D, not in 3D as the rest of the film is. One of the biggest inspirations for this intro... ...Was actually the Gavras video, the M.I.A. video. What's the name of that? "Born Free." - "Born Free." Oh, that guy. - He's great. This guy, he's just at casting... ...and we realized that we need something... ...and we cut this rollout and then suddenly we needed him... ...SO this is his casting tape. - His audition tape, yeah. Yeah. - Yep. Used it in the film. I love that head shot. James really enhanced this with the visual effects he put into it. These creatures, yeah. The creature shots. Because they weren't shot that way. Yes. They're hard to come by, these creatures. That one was a real one. That's a real one. - Yeah. A real Werewolf. Yeah, we had a few. - Yeah. We can cast them in the forests of Vancouver. What we just saw... That girl on the wall... ...IS Kate's stunt double. - Yeah. She did... - Alicia. Alicia Vela-Bailey, yeah. She took iPhotos of her body for each bruise she got. She was black and blue, this girl... ...and she's the toughest girl I've ever met. Went to the hospital more than once too. Yeah. - Yeah. But as he said, the toughest girl I ever met. Yeah, always with a smile. Always with a smile. And you will see her getting thrown around a lot in this one. All of those flying-into-the-wall sort of things... . It's actually a person, Alicia, getting thrown in. Or Kate sometimes, as well. - Yeah. So we wanted to start off in 2D, gritty... ...and then since this is 3D movie... ...we wanted it to... Really make it big... ...when we see Kate for the first time, and that's when we switch to 3D. This shot was actually planned to start inside the fire... .In the beginning, inside a skull... ...and then going through the flames... ...a Vampire skull, but it became too tedious. That was the four-hour version. Yeah, this... We're very European. European version. Very... It was also a shot that we fought to keep in... ...and there was some obstacle to that... ...but we succeeded in keeping it in. Obstacle being money. - I love the way you say that. We ran out of money. And you see the surroundings here is-- We tried to create... Since this is the first time we introduce a man really... ...In the Underworld franchise... ...we wanted to find architecture... ... for the city that wasn't, you know, just another city. And after a lot of thinking and looking.... You know, we were thinking the first film was shot in Budapest... ...and it had that gothic feel to it and... By the way, great blood splatter there. - I love it. That was beautiful. And then we found something-- If you haven't been to Eastern Europe... ... you see all these beautiful houses... ...but next to them you have these concrete, hard, depressing buildings. And there's something called brutalism. You mean brutalism? - Brutalism, yes. A word we've heard 700,000 times during the making of this film. You were insanely annoying by just trying to put brutalism in... ...brutalism in, put brutalism in... ...to find what we call neo-Goth. Which is a new Goth. - Neo-Goth, yeah. This plate's actually from Underworld 2. This was.... We were doing tests for that boat that exploded... ...and we went back and found the footage... ...and stole that plate and revamped it here for what you see. Yeah. The secret of every great artist is knowing where to steal. Where stuff is hidden, in this case. - Yeah. It was one of the biggest challenges that we didn't have Scott Speedman. So that was a face replacement of a stuntman... ...and I think that was the trickiest part to pull off, I think, in the movie... ...because we're setting up this love story. She's running for her love and we don't have the real guy. Yeah. - But I think because of the recap... ...we do get that.... Do you see that city in--? That city is all CG behind her that's burning. And I remember James had said, "What do you think?" And I remember we asked about that, like, months ago... ...or half a year ago, and I forgot about it... ...and then you just come up with this. It was like a birthday present. I was so happy. All these backgrounds in it... ...makes It so much richer. And remember this next shot coming up too of Kate swimming... ...was really the last footage that we shot on the movie. Yeah. In the tank. We all had this great concern that, you know... ...can Kate swim or not? She ended up being a fantastic swimmer. She was great. She was.... This is more than swimming. It's performing underwater. She held her breath so well. lt was unbelievable. We were.... - Yeah. Well, that's typical Kate, you know. Everything she does, when she does it is, like, perfect. Yeah. - Yeah. But filmmaking's about being afraid... ...things aren't gonna work. - Right. We had anticipated the worst and we were wrong. And this is-- Originally the Underworld title was here. This is our homage to Tree of Life. - Yes. We had the title here at one point... ...and this is a transition... ...which is very abstract and weird, actually. But I'm happy with it. These were the things... ...that I remember it was hard to describe. We were very sure exactly how we wanted it... ...but we couldn't really say "this is how to do it"... ...because we'd never seen it before. But now when I see it... James, who did this? - Celluloid. Fucking great. - It's great. Yeah. It's great too, because we added the spin... ... sort of late in the equation. This may be an intellectual idea. Hopefully it works. To sort of make the audience... ...particularly when you see it in 3D, disoriented. Kind of like Kate was as a result of being underwater... ...being Knocked out and waking up 12 years later. There's something about spinning... ... that sort of makes you visually confused. Also, not only the spinning, but also the kind of... ...stop and motion feel to it, that it's... - Time passing? lt has a time-lapse feel to it... ...which, you know, was a subtle way of saying time has passed... ...actually, 12 years. - It's one of my favorite shots. Yes. - This is beautiful. Another very disorienting shot, though. So this is actually Alicia hanging here... ...and it's Kate's face replacement on her. Yeah. And the ice is CG. - Yeah. Smoke is CG. I am glad that we put the name on the glass there, "Subject 1." Yeah. So nobody would get into the wrong tank. No, but the thing is, I don't think it's just for like: "Oh, it's for the idiots." But I think it looks good. Subject 1 sounds brutal, I think, in a very good way. There's that word again. - Yeah. And remember that set initially... ...when we first saw it, had all these shower curtains in front of it... ...and we asked Claude to remove them. Yeah. - Oh, right, yeah. One thing that we really wanted to do in this movie was that... And we told Brad, who was the excellent second-unit director... ...and stunt coordinator, we said that we very.... We want to hurt Selene a lot. "Could you find somebody we can do that to?" Yeah. Because she wasn't that hurt in the other movies. We said, "We really want to--" Do you think anybody's listening to you right now? The naked girl, I'm watching that instead. Everybody's so nervous when you shoot something like this... ...but Kate was so cool. She was. Yeah. - Yeah. It was nothing. - Here we have Stephen Rea. Yep, there he is. Our Irish. - Yeah. I think, yeah... I really liked working with him. He was... Stephen is a handful, but he's also.... He gives you what you need. Is there anybody in this film that ended up doing their native accent? The North Americans were doing English... Kate. - Yeah, Kate, that's true. Everybody else was doing a different accent. Sandrine Holt there. - Sandrine Holt. Hurry. Releasing... ...maximum dose of fentanyl.

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I know it's completely different, right, on the script? Originally on the script, this wasn't like this. This came out later. I think this might have been my first... Actually, yeah, you're completely right. This is actually the first moment you showed up on set.

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Jake Szymanski

And I think I like that we did this a lot. And I'm thinking a lot of other movies we may have... They may have celebrated this a little more. And I kind of love that the audience is not into this song. And they are going way too far. Didn't Aubrey have an ear infection during this? Yeah, that's weird that you know that, Margie. But she did. She actually showed up very sick. It was very hard for her to physically hold that pose. And she was miserable between takes. And then just putting on that smile. Ooh, here we go. Real fireworks, by the way. We got to go out there and shoot and film, which was great. You know, there's also a great deleted scene I recommend looking at before the fireworks go wrong here of our masseuse Keanu and our bridesmaid Becky having a little moment in the crowd there. That's very funny, that didn't make it in the movie. And then, of course... And this whole, this entire ending was not the original ending. We actually... This was like an alt that, halfway through filming the scene, I was like, "Wait a minute. What if the fireworks go wrong?" And it's kind of crazy 'cause it feels like such the end of the movie to me, and it was something we just tried on the day, and so then we had to do all the fireworks in post. We didn't have any of it ready to go wrong. I didn't know you could do it this way. And then, of course, the reversal here, which I really wanted to see. Felt like I had never seen this joke in a movie before. I'm sure, immediately, now that I've said that, people will tell me it's been done a thousand times. But I really was excited about trying it here. And, guys, that's it. That's Mike and Dave Need Wedding Dates. We got some bloops. We got some fun bloops here at the end. And I really don't know where the time went on this. Um... Okay. Well he's dead, and so is Jon Snow. I think Margie ate up a lot of it, frankly. Um, and I'm just gonna Say it, Margie. Yeah. I take back the nice things I said at the... A moment ago. You kind of ruined my first DVD commentary. Oh, Interesting. - So, thanks for that. Um, but you know what? This is... By the time you are done making a movie and going through the editing process, you've probably seen the movie about 200 times. So when I watch this now, I'm so used to everything in the movie. It's... It can be... It just flies right by. It's hard to remember what to talk about. I hope there was one shred of something that was interesting to someone in this. And I want to thank my editors very quick. Jon and Lee, and Jon who did great work dealing with all the footage I gave them. I think they counted it, they said... We shot digitally on this movie, but they said we had shot the equivalent of 1.4 million feet of film on this movie. Which they said was more than Apocalypse Now. And I don't know how we did that for a 90-minute comedy. But thank you, guys, for going through that. I think you're forgetting to thank someone. What are we doing? Oh, yeah, well, our costume designer, Deb McGuire, who's great with all that. I mean, there's so many people to thank. I mean, really everyone on the crew was fantastic. Nan, my first AD, Lisa. I mean, we really had a really, really good strong crew. Someone in the... Someone who is here right now, talking right now. Well, Zac and Adam are on there right now and I... Maybe I didn't thank them immediately. But, obviously, our whole cast's... No, I mean, Margie. Oh, yeah. Well, first of all, again, I feel like you're faking an accent, randomly, Margie. And you don't need to. You've got enough going on with you. I'm Margie from Ohio. I can't swim and I need my eggs frozen. Zac Efron, call me. Margie, what is going on? You know what? I will thank you, Margie. By the way, got this little gem in here. Which I do want everyone to know, Zac Efron freestyled this rap. This was after we recorded, this was after we recorded them doing tracks for the songs at the end of the movie, at the wedding. Doing This Is How We Do It and You Are So Beautiful. And Zac was just in the booth and he was like, "Yeah, you know, I'd kind of like to try to freestyle." And we were like, "Let's hear it." And we just gave him a beat and this is what he did. And it's amazing. He did a little freestyling and I said, "Let's try it as Dave. "Let's freestyle in character." And then he started doing this. And we mixed it into a song and put it at the end of the movie. I can do that, too. - I done... Hey, ya'll, ['m Margie I'm real tall I like monkeys and I like the... And I like books It's not even hard to rhyme "tall," Margie. All, mall, fall. But it's... You went with "books"? My name is Margie and I am a mall Oh, my God. It's like, if I weren't in this situation, if I were watching from the outside, I'd be fascinated. I'd love what's happening here. But because I'm one of the people involved, it just, it's too much. My name is Margie and I play basketball I like it a lot because it's fun The worst, maybe the worst freestyle rapping I've ever heard. And you've had, you've given yourself three... I see you writing on paper. So it's not even freestyle, first of all. I know you're trying to come up with rhymes. And then they're not rhymes! But you know what? We came back from that... Anyway, Zac is very good at it and I was very happy he let us put this at the end of the movie ina... I like to say, it's, this is the Wild Wild West of our movie. This, the Wild Wild West song of our movie. Which I'm very happy to have. By the way, Snappers Bar & Grill in the special thanks. It was right across from our, where we stayed in the hotel. And they were a Packers bar that I found in Honolulu and they served cheese curds. And I was in. We had a lot of meetings there. Thanks, guys. All right, thanks, and, Margie, thank you. My pleasure, thank you.

1:32:15 · jump to transcript →

What's your short about lessons? Oh, yeah, first lesson. Yeah, that was a wonderful experience of rules. It's all these people taking their very first lesson of different disciplines. Cool. God, a first lesson. You're like, oh, I remember my first violin lesson. Can I ask them how many people would come in? No. What? I'm not.

43:55 · jump to transcript →

Hi, I'm Edward Berger, the writer, director and producer with my friend Malte Grunert on this movie, All Quiet on the Western Front. I'm so happy that you decided to listen to my commentary of this DVD. I've never done it before, so this is my first DVD commentary, so please bear with me if I make some mistakes or I correct myself.

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