Lens choice

at figuring that the height of the ceilings and the tunnels and stuff like that was the way to go. But Roisman had an idea. So what he did is he took two movie cameras to a train station, put them next to one another, and one had a non-anamorphic lens, which is a widescreen lens. And then he had another camera with an anamorphic widescreen lens, and he shot...

27:33 · jump to transcript →

Just footage of people going about their day in the New York City subway and then screen them the next day for everybody and everybody saw them and they all agreed that the widescreen anamorphic look was much, much more impressive and they all went with it without any discussion at all. And, you know, I...

28:00 · jump to transcript →

That is so prototypically New York. Everybody's pissed because they've been inconvenienced. Now, I should also mention, Broisman wasn't really known for shooting anamorphic at the time, so this is kind of a new thing for him, but he actually returned to it with another film that I think would actually lump in with these, which is Three Days of the Condor, right after this.

29:19 · jump to transcript →

I want you to stop all this nonsense. It's deep focus, but I think what people don't realize about this style, they talk about deep focus a lot. Toland was also using a wide-angle lens at Wells' instruction. And we don't notice it so much today, but at the time this was very unusual in Hollywood. It gives the movie a slightly haunted, hallucinatory effect. The slight fisheye.

20:16 · jump to transcript →

Here's a good example of that wide-angle lens I was speaking of. You see how you can almost see every pore of the face nearest. But it's not just the depth. It's the strangeness of the exaggeration of that lens. I think going back to the doubleness issue, part of the thing about our attitude toward Kane is that Wells, and this dates back to the time when he was doing the Mercury Theater in New York,

27:52 · jump to transcript →

That is a great example of the optical printer there, that exit, that little slight zoom. And this, I think, is an important scene. She is the person who has most directly suffered from Kane. And yet he says, I feel a little sorry for him. She says, don't you think I do? And I think that's the, in a way, the attitude of the film. It wants you to feel a little sorry for this guy, even though you don't like him. Well, I think you feel...

1:46:26 · jump to transcript →

Film Stephen Prince

Actually, this first episode, Sunshine Through the Rain, is based not so much on a dream as on a tale that his mother used to tell him about fox weddings held in the rain. We see the familiar Kurosawa telephoto perspective here, which creates a foreshortened, flattened perspective. This rain is the sort that Kurosawa liked, heavy and steady.

2:19 · jump to transcript →

Film Stephen Prince

As we'll see, many scenes are shot with a camera in a lockdown position, filming from a distance, using long focus lenses, and watching while events pass by. This is very masterful widescreen composition. This is not the anamorphic 2.35 to 1 aspect ratio that Kurosawa used from the late 50s into the middle 60s.

7:54 · jump to transcript →

Film Stephen Prince

a change that was accelerated when he moved to anamorphic widescreen with The Hidden Fortress in 1958. The expansion in widescreen of a horizontal axis for composition pushed Kurosawa toward an intensified, two-dimensional presentation of action. And as the films after Redbeard in 1965 became more contemplative and their scenes more static, with fixed frames filmed by stationary cameras,

1:32:25 · jump to transcript →

He's looking at his life. Amazing. This geography here is just beautiful. Anywhere you could throw the camera on the ground, it would look fantastic. And if you got someone like John Tull throwing the camera on the ground, it looks more fantastic because it lends itself to that anamorphic frame.

15:55 · jump to transcript →

She can't go with you? No. Oh. Not now, anyway. Not now. Not now. We'll see you later. Oh, the weather's just fine. It's hardly raining. Did you not hear what I said? Warren! Warren! It's you she takes after. See, it's just built for that anamorphic frame. The whole landscape. Got lucky with some birds.

29:22 · jump to transcript →

horse floating on top of the water there. That tower was only about 30 feet high. And it was only a facade. We just made it look a lot higher up with cutting slow motion and wide angle lenses, you know, above and below. So it looked like he's falling about 200 feet almost, or at least 100. But at least we sort of tripled the height.

2:16:18 · jump to transcript →

Commentary With Kathryn Bigelow And Jeff Cronenweth

We had to go another way because of some technical problems, but one of which arrived out of the original format we decided to shoot on. Going into the movie, we had always planned on doing it anamorphic, and although we weren't going to be the first submarine movie to be shot anamorphically, certainly I think Crimson Tide was shot anamorphically, which is a format.

1:21:25 · jump to transcript →

Commentary With Kathryn Bigelow And Jeff Cronenweth

We realized that with the size of our submarine and the minimum amount of focus, the amount of distance that someone can come close to the lens in an anamorphic format is much farther away than a normal spherical format that it would have been impossible for us to shoot in these small sets. Also, going into the picture, we were going to do a good part of it handheld.

1:21:51 · jump to transcript →

Commentary With Kathryn Bigelow And Jeff Cronenweth

And the anamorphic glass is much heavier. And lastly, you find when you're shooting in these small compartments, you know, inherently you're forced to use a lot of practical lamps or lamps that are built into the set. And you take the risk shooting in an anamorphic lens of a flare, an unseen flare coming across an actor's face or in an inappropriate area. So we chose at the last minute not to go anamorphic and we shot Super 35, which is a

1:22:19 · jump to transcript →

Ted Tally

I have a screenwriter friend who said, "What has become of this prop?" I think the editor has it. I'm sure Dino has one. This book? - Yeah, there are two of them. Universal maybe has one. I should have one. - Yeah, and I should have one. You and I should have one. Why don't we have one? We could auction it in 20 years. Anyway, talk a little bit about how you got Ralph Fiennes into this cast. Like I said, I went after the actors that everyone told me I couldn't get. "Ralph's never going to do a movie like this, he's a Shakespearean actor." Basically, I sent him the script. And he loved it so much he agreed to fly in and meet with me. I gave him my vision of it. I told him he was not going to live in a haunted house. He told me he was very attracted to the idea of playing a monster who had a soul. That he had some kind of inner life and was not just a bogeyman. He loved the relationship between him and Reba, Emily Watson's character. He loved that there was humanity in this horrible person doing horrible things, but there was humanity in him. Here's a great sequence. We should talk about the way you staged it. This was originally written, if you remember, as an outdoor exercise scene. I said to Ted, "I can't see Hannibal Lecter "even if there were guards all around and they cleared the whole yard, "I can't see him in an exterior location, out of prison." The scene was originally through a fence. A sort of dog run or something, or a big mesh fence. And the dialogue between Will Graham and Hannibal was through a fence. It was an electrified fence. But I said, "Then there's no threat." There's no real threat. And I said, "Why don't we put him on a dog leash?" And I found this location, which is in an actual location for the mentally disturbed. There are mental patients all over this building. This was another case where Kristi would talk to Brett, and then she would send me drawings for the design for this knowing that it might help me as I thought about the scene and wrote it. Kristi had a lot of fun with the look of this scene and so did Dante. Dante did an amazing job because his interpretation put a lot of smoke in here so that the white lights would... Dante liked the way Lecter goes in and out of the brightness so that he almost seems to be a ghost. Which is like evil light as well. He said, "Evil light doesn't only have to be dark. It can be white as well." This leash thing, I love. He meant to use the bolt cutter to enter the house, but he didn't. That shot I did earlier, where you see the line saying, "Do not cross." It was the last shot of the night, and I almost forgot it, but I said, "In this whole scene, when I shot it, I don't remember seeing the floor. "I have to establish it so that the audience knows there's a do-not-cross line." Why is he standing there? The original idea for the scene was that you'd think it was a dream sequence. If you look, it's shot very close. The way you shot Edward's entrance into the room, we don't know at first where he is or whether it's a dream. And here comes Lecter walking towards him with no bars between them. Then we pop out and reveal that he's on a leash. It's a great moment in the film. When I was working on the first draft, I just thought, "This is a scene that's not in the book." Most of these Lecter scenes are not. I thought, "If I were directing this movie, I'd like to get away from that cell for once. "And give the actor a chance to use his whole body. "And have nothing between the two actors." To me, it was really the parallel of the scene with Jodie and Tony at the museum in Memphis, in that big cell that Kristi designed, which was amazing. I needed a set piece as magnificent as that, 'cause that really opened up the movie. I thought you'd be very grateful not to have the Plexiglass between them for once. And to have them be able to move together, walk together. Sometimes just the technical challenges you face force more creativity. It was only his first time. Already in Atlanta he did much better. Rest assured, my dear Will, this one will give you plenty of exercise. I love Will's reaction to that line. Edward's great when he's not saying lines, actually. You know, the mark of great acting is: How interesting is an actor when he's only listening? He's a very good listener. - Jodie Foster is a great listener. She listens with such intelligence and such engagement, and Edward can do the same thing, and so can Tony. It really is a hallmark of great acting. You see that a lot with Ralph Fiennes here. He doesnt have a lot of dialogue. He's listening, thinking and reacting. It's a very poignant performance by Ralph. It's easy to play the monster. It's hard to be the guy who's a horrible monster... It's hard to make the audience care about the character instead of just dismissing them. This is Azura Skye who is one of my favorite young actresses, who was in 28 Days. She had a small part in Bandits and she was awesome. Again, the importance that Brett gives to casting every part, even if it's an actor who only has a one-page scene. You want somebody who looks like they could star in their own movie. If this movie suddenly became about this bookstore, it would be interesting for the next 90 minutes. Even the voice of the girl on the phone, I cast the voice very specifically. Did you drive the studio crazy by waiting to cast some of these parts for so long? Till the last minute, yeah. ...darn it, she never did. I'm just a temp. Linda will be in on Monday. I have to catch FedEx in about five minutes. I hate to bother Dr. Bloom about it because he told Linda to send it and I don't want to get her into trouble. This was hard for timing because it's one shot and it's a lot of dialogue, and I wanted the camera to land at the right place. The camera and the lens that you pick help with the emotion, intensity, and realness of the scene. Is it hard to move in like this without changing lenses and keep the focus? Yeah. Especially anamorphic. The focus on this move is impossible. Mike Weldon was the AC on this movie. He's a genius. Anamorphic is the wide screen? Anamorphic is wide screen, but there's not a lot of depth of field at all. So it's impossible to focus when you're moving into a subject. It's just the hardest thing ever.

43:19 · jump to transcript →

Ted Tally

This is an example of great operating. You go from his face down to that anamorphic... Camera operation? - Camera operation, yeah. We were back and forth about this, remember? My editor fought me on this. I thought, "Let the glove be hanging out of his pocket." When Lecter sees it, then perhaps Lecter starts to think, "Something's up." It doesn't really pay off. It doesn't pay off, but I just thought it would be intriguing. It does in a subtle way. He says, "Nice..." "Nice work with that blackout." So that's what you think tips it off. I think that's what Mark wanted. I'll have to say this. This next cut is my favorite cut in the movie. Not my favorite shot, but my favorite cut. - Going from this scene? Going from this shot, once the camera lands to when he hands him the paper. It's just my favorite edit. It's the most seamless edit in the film. Watch this. It's very subtle, but you might catch it. "_...Luke 1:7." - Code. Watch this. I love that. Only a director could get excited about that. I have to tell you... It's exciting. - lt is a great passing of a piece of paper. It's just cut beautifully. I'm thinking it's a book code. - Code? I like the pace of this. It reminds me of old films with Sterling Hayden in it. Lot of quick talking here. You need to go quickly through this. People do normally talk over each other, like we're doing now... But in a movie it's confusing, unless it's an Altman movie. But in the movies in the '40s, they would have... His Girl Friday. That movie, the script was probably 300 pages long. They got it all in in an hour-and-a-half because they were talking so quickly. Shakespeare, this is a lot like Shakespeare, you have to race through it. If we sweat him, we lose the connection. If the Tooth Fairy picked the book, he knew Lecter would have it in his cell. Can we get a list of his books? - From Chilton, maybe. No! Wait! Rankin and Willingham, when they tossed his cell took Polaroids so they could put everything back in place. Ask them to meet me with pictures of his bookshelves! Where? - The Library!

1:01:58 · jump to transcript →

Ted Tally

My dear Will: You must be healed by now. The movie could've ended here, which would've been bold. You didn't know if he was dead or alive. It could've ended here, but then... The movie could've ended in two or three places. In the end, we decided it would end three times. The audience loves this stuff, and they love Chilton. That ending you came up with was amazing. You couldn't go out of this movie without letting Hannibal Lecter have the last word. He always gets the last word in these movies. The problem we faced was, we couldn't have him get away as he did at the end of Silence of the Lambs. We couldn't have him running all over the world like in Hannibal. By the way, what Danny did was, he gave it a Silence of the Lambs ending, where this music here Is saying, Hannibal won. It's not like they'll live happily ever after. This is the natural ending of the movie. This is the sort of poetic or clichéd final shot of the movie, The boat sailing into the sunset. But the music is saying Hannibal's won. But I always wanted there to be one more little beat, so it wasn't quite such a tidy ending, so that it linked up with Silence. A young woman. Says she's from the FBI. This, for me, is such an audience pleaser. It makes me smile every time it comes on, because it's such a great call-back. The only mistake is the wardrobe isn't the same for him. that it is in Silence. I wish I would've got that same wardrobe. It's the only mistake I made. And this music is just like... This family is going to need a lot of therapy. What you don't see after this movie, is the years and years of therapy that the whole family goes through. Danny Elfman is just an amazing composer. I love how the music really becomes more and more assertive. And by two-thirds of the way through the movie, it feels like it's driving the movie to its conclusion. I just want to give some special thanks to Andy Davis... Who was there from the beginning and through every moment through all the shooting, through all the editing. And James Freitag, my associate producer and assistant director. Without these two guys, I don't think I would have been able to make this film, because Andy is not only a great producer but is a creative thinker when it comes to line producing a movie and shooting things, and organizing and hiring the best people that money can buy as far as crews. My special thanks to Dino and Martha who set the tone for the entire production and took a little bit of a gamble on Brett, which paid off brilliantly. And also Mark Helfrich, the editor, because the last draft of any screenplay is written in the editing room. I've not very often been as lucky as I was this time to have an editor who is so sensitive to the script as well as to the performances. And Landaker and Maslow, my sound mixers, who I thought did an amazing job. Hearing this movie and seeing the movie in New York City for the premiere at the Ziegfeld Theater with that sound mix was just a great experience. That's why I dreamed about making movies. Seeing it in a theater like that, in a wide-screen format, anamorphic, it's like a dream come true for me. That, for me, is a defining moment. Seeing my work. That's the best I'll ever see my work. Yeah, with a giant screen. - A giant, giant screen. With a big audience. - 1,500, 1,600 people. I don't know how many seats, but a huge theater with the score and the mix, and the quality and the energy, especially with a New York crowd, you know. - Right. When they're laughing in the right places, they're scared in the right places, screaming in the right places. It was a very exciting project. It was a good experience. Somehow the darkest subjects sometimes turn out to be the most fun to work on. If you have the right kind of atmosphere on the set. I know you, Ted. You and I worked together for about a year. You are not a dark person. You do some decadent stuff occasionally. I don't think either one of us are, but somehow, maybe that's the only way you can get through making a movie like this. A dark director or a dark writer would've gone too far with this movie and made something that was maybe hard for an audience to bear. 'Cause the scary thing about this is that, there really are people out there like this, and there's a lot of... I wanted to tell a story. I wanted to make a film about a guy who... The films I want to make really are about that I enjoy making... Because my favorite director is Hal Ashby... His movies had great relationships. Harold and Maude, Being There, and those movies... This movie has fantastic relationships. And a tremendous amount of heart and emotion. Even though it is a psychological thriller, the relationships in this film are why I'm so attracted to it, why I felt like I had to make it. I think it is unexpectedly moving for a thriller. It's really not just a scare machine. It actually is a movie about characters and relationships and it's moving in a surprising way to me.

1:58:44 · jump to transcript →

really small you make it look really big though this is a 14 mil lens yeah and whenever you whenever you put on a wide lens on that but it was really really i i loved how the satellite it was it was kind of for us it was sort of a nothing yeah it was the last we didn't we didn't really give it that much um and he comes he comes out i think the lighting looks great in there yeah i agree yeah another compliment

20:56 · jump to transcript →

which help that out but I gotta say I do think that it comes you know it does come across much larger than it was yes yes Patrick your set looks very very large he was very tall though it was Tom so 14 mil is a very very wide lens yes 14 I kind of just if I could if I could have surgery and have my eyes turned to a 14 it's about what I would probably travel around and I start with the 14 first I just really like how it looks and

1:22:17 · jump to transcript →

But we used quite a few 12s and 10s on this, which 10 is pretty rare sometimes. It's quite wide. It starts distorting a little bit. Yeah, a little bit. And I shoot close-ups as well. I shoot a lot of close-ups in a 21, which I don't think is common, just because it is fairly a wide lens for a close-up. I just think it...

1:22:47 · jump to transcript →

Oh, dude, okay. And we started playing with lenses. And that's where we put this big, long lens on it and designed that shot. An intimate shot between the two of you, separate from everything else. That was a shot that you, me, and Rob all worked together from lenses to lines to camera. To figure that out. Now, I love this where the audience is like, you think she is a maiden in distress. Do you know what I mean? The first close-up, here she is. You're just thinking like, okay. Oh, he's holding her and keeping her away. He's holding her and keeping her. Now you go...

39:27 · jump to transcript →

I love your performance in this, and Alec, too. Rob Hardy, who loves to shoot in wide lenses. For people who don't understand focal length, a wide lens is like the human eye, and a long lens has a much softer background. And Rob...

1:21:37 · jump to transcript →

had started to get more comfortable with long lenses. And he shot this entire scene on one long lens, even the wide shots. It's what gives it this unique look. And when I came to the location, I said, we're going to have all these pages of dialogue here. When the gunfight starts, the environment needs to change because we've had this motif of evolving, but we can't leave the space. So let's turn off all the lights. And Rob and Martin Smith, the gaffer, were absolutely horrified because they said, well,

1:22:01 · jump to transcript →

Again, coming from a character who's- Totally unafraid to play as well and just- All the, from broad comedy to dark and sinister. Exactly. She did it all and was really never, never had an issue. Very, very fearless. Just gave us lots and lots of options. Did you direct this on Zoom? I was directing this on Zoom. Oh my word. I had my contact traced. Yeah. And had to direct all, everything in this car had to be directed on Zoom. Very, very frustrating.

2:00:41 · jump to transcript →

another scene I directed over Zoom. Yeah, another scene, though, which even in its earliest iterations was just absolutely firing. One of my favorite shots. I love this shot. And the connection between these two characters. Another thing I really like about working with this cast is just momentary connections between characters who don't otherwise really interact with one another. They all have a feeling to them. And this...

2:29:17 · jump to transcript →

because I was directing over Zoom and in low resolution, I didn't see Palm's tears. And I was really taken with her performance, not seeing so much of the subtlety of it. Yeah, look at it, that tear. It's months later. It's amazing. It's sensational. It's really, and that, of course, came later when I realized I should...

2:29:47 · jump to transcript →

Working with models, we'd done some of that on Brazil, and I was gonna be doing a lot more on Munchausen later, and so it was a chance to try out lots of ideas. The extraordinary thing about building this great glass city was, again, we were on a very small stage, and we had to shoot with wide-angle lenses.

7:18 · jump to transcript →

to get it far enough away. The problem with that is that wide angle lenses distort things and you don't get true verticals. So every one of those buildings is carefully placed at a slightly different angle to end up with proper verticals. That was a dangerous moment. Sliding down the pole was our first and only injury on the thing. The landing wasn't good and I think he broke his ankle or certainly strained it.

7:36 · jump to transcript →

which I remember reading about years ago and obviously doing the research, gone back into that and the feud he had with the studio over that. And I just can't, I can't see Richard E. Grant in that role. Can you? I love Richard E. Grant, but... Well, if we had him and Paul McGann, it would be with Dale and I too. And Ralph Brown. Yeah, yeah, exactly, yeah. This is it. I mean, this is... When Ollie and I record these commentaries, we generally put a little poster behind us on Zoom

29:07 · jump to transcript →

Every time it leaves the ground to bound, it's going to fall down. It's going to need constant bits to grip onto, which you frequently see there aren't. And then when the camera switches back to the right way up, it's clearly exactly how you would rotate a camera and nothing like what an alien would do as it leapt from the ceiling down to the ground and flipped around. It would be much faster. It would zoom down and then...

1:57:10 · jump to transcript →

And then, of course, the scene with the ox bursting... I think that for the burst through, I believe we did 70 takes where we had a section of ox ribcage that was rigged to burst open in a very specific way, and I think that was the most takes that we did, our unit did - it was second unit - on Alien 3 to get it right. And it's a very quick cut. You're trying to tell a story in the briefest possible time and six frames becomes very important. You can't just put anything on-screen. I think that was one of the lessons from Ridley Scott on the first Alien is that those quick cuts are almost subliminal, but they're so important. We used anamorphic lenses and the Cinemascope proportion 2.35:1, which is a constant decision on the part of 20th Century Fox. I like it because one can compose very well with the wide screen. I love the actual format. I think the images are quite nice. Also, when the curtain goes back in the theater and you see a wide screen, it means an event picture. It's not an ordinary picture. But it's tricky with the alien cos you can't show too much of it, otherwise if you see exactly what it is, it loses its shock value really. Although towards the end of the film we see the shape more, but they did a marvelous job with all that mucus and stuff.

27:48 · jump to transcript →

Will I Be A

This stuff is pretty effective. Fincher just puts the anamorphic lens on sideways on the camera and you get that strange wide-angle look.

2:02:43 · jump to transcript →

Marco Brambilla Daniel Waters

Now, this is a matte painting. Craig Pangrazio made a series of matte paintings for the White Shots in Futuristic LA. Is it the LA Convention Center? That was the LA Convention Center, but with all these extensions. Oh, great. And I'm very proud of this scene because this kind of predates Zoom and teleconferencing. So I designed this so that...

28:38 · jump to transcript →

Marco Brambilla Daniel Waters

people in boardroom would actually be virtually, only virtually present. And all the stands and TV screens were on motion control motors, which you usually use for special effects to track the motion of Cocteau here. It's amazing. It's definitely outzooms a Zoom conference. Absolutely. And it makes it very theatrical. I was going after a very theatrical look for all the technology. If we have another play, I'm sure these things will be built.

29:04 · jump to transcript →

I'm not a big fan of Steadicam, and I use it very, very rarely, especially in place of a dolly, but sometimes it's to weave in certain areas in certain locations and to create certain effects you need to, but I usually have a zoom on all the time because I'm always switching lenses. That was a little... There's another scene where Stephen leapt across the room, beamed from one side of the room to the other. Now, if you look, the building...

1:09:26 · jump to transcript →

And the music takes an odd turn. I like these. Sean did these. These sort of whale song. This is what I did by sticking a light underneath Gabriel, sort of. And then I had my left hand on the fader of the light and my right hand on the zoom. And poor Tom Siegel trying to zoom in on a window and focus on an object that he couldn't see until the end of the shot. Actually, he has a focus puller and a big piece of tape. Sorry.

1:12:37 · jump to transcript →

Jonathan Lynn

and desperately seeking Susan. I've normally seen her in much more sympathetic roles. She really wanted to play this and I was just thrilled. 9 a.m., you better stop pecking. Zoom. Okay, well, when are you coming back? Because I have to reschedule all your appointments. It should be more than a couple of days.

17:11 · jump to transcript →

Jonathan Lynn

A sports utility vehicle is going very close to the exploding car when it explodes, but it wasn't all that close. It's the effect of a long lens which foreshortens the distance. It's one of the ways you can make actions look closer to each other than they really are. Doctor, these men need to see you.

1:18:28 · jump to transcript →

Noah Baumbach

I had another thought, which I lost. Then somebody else might just say, "Well, they built the set. Of course they had to use it twice." For that set, you basically had to move the camera outside Cinecittà to film it? We had to move the camera outside of the stage because we couldn't get far enough back earlier, to see the whole ship. We had to open up the wall and get it very-- I found this 28 mm anamorphic lens. I'd never seen one that wide, the angle of the lens. But then once we had that lens, we used it for the entire Ping Island raid, which comes later. It's a very wide-angle lens. You can't get very close to the people, even. I mean, you can't get a close-up with it, but... Anjelica has such amazing style, the way she even just lifts her hand there. She knows how to move. - She really does. I feel Anjelica's absolutely perfect in the way she-- I mean, anything that's not there for her character is not there because we didn't put it there. Everything we did, she realized. And she also always has good ideas on how to get her character better. And in the case of this, I think we were inspired by her to bring her back, to have her come back in in this way and sort of motivate everybody, and get everybody and rescue them, sort of. This is an odd thing, this shot where they're all lined up. In the earlier part-- Now they have to move. We've zoomed in, they have to move to line up in this row. They had to move while we were on Anjelica. Yeah, exactly. That's a very weird shot. This is too. Here, maybe you can see Anjelica's green contact lenses. You can't really. They're painted by hand. I like the set of the hold, or whatever it is, the engine room. And one thing Mark Friedberg, and especially Stefano Ortolani, our art director, and the whole gang of art department people at Cinecittà, they have a great knack for bringing age, and the details of age, and the Belafonte is such a beat-up kind of rust bucket. They really brought it to it in a very real way where it never felt fake, and it just feels like-- Right, which is a big deal. And again, it's nice, because, like, everyone's outfits look so clean and colorful and saturated, and then they're sort of operating in this, you know, beaten-down jalopy. Right, beat-up jalopy. Yeah, beat-up jalopy.

1:20:46 · jump to transcript →

Noah Baumbach

Reminding you that they're tracking a shark. Something you can probably lose sight of. We didn't exactly keep it front and center. No. But it's also, you know, some metaphor for whatever it is, it's also not what the movie's about for us in a way. I mean, it represents things that the movie becomes about because of what's happening between the people, among the people. Which is what any good metaphor does. I will say one thing. People always say, "Well, is he the father? Doesn't he shoot blanks?" One thing I would just say, we never felt like we knew. I mean, even after this scene where she says Zissou shoots blanks, that's now. And, you know, she didn't... Ned predates Eleanor. And who knows whether he's his father or not? And I think it just-- There's doubt that he's his father. We certainly don't feel like we know the answer to that within the story. And it's kind of, either way it's good, and there's a connection between them no matter what, and a need for each other. It's something we've talked about also, about sort of surrogates, and that in some ways it's about-- It sounds funny to say, "Well, it's about father figures and not fathers," but I think, in a way, that's true. We all have our relationships with our actual father, but then we also, you know, at least you and I do, tend to recreate these things with other, you know, people in our lives. I mean, yes, it's about fathers and sons, but it is also about, you know, how they both sort of... Both deliberately and unconsciously seek each other out and recreate something that they need at this point in their lives. Or create something they never had. Right. - Yeah. Yeah, fathers and father figures. That's definitely... It seems to always come up. That'll be... You'll find yourself titling a movie that in about 25 years. And somebody will say, "Wes Anderson..." "Losing all subtlety." "In 2004, Anderson never would have called a movie this." That's how people begin to slip. And here's that very wide lens. The music here, we had this electronic piece of music that he plays in his helmet earlier and that plays from time to time. Mark Mothersbaugh I had worked that up a couple of years before the movie, and Mark is, I think, the perfect person to be making electronic music like that, having been one of the founders of Devo. But then when this scene comes up, we decided to do a symphonic version of that electronic, you know, beatbox Casio thing.

1:23:23 · jump to transcript →

No, it's the burial. It's the frame around the grave. I know, but I think it's... There's a dolly right there. No. No, there was no dolly near you. Remember, this was a long lens. Look, there's a... I know. There's no way that you would have seen the camera. I sent you a piece of mail from Berlin and asked us to call you when it arrived. It came this morning.

31:10 · jump to transcript →

That's the Mission Impossible theme. Michael Giacchino, I was watching the sequence played fast, and played fast, you can hear the Mission Impossible theme. He's playing it really slowly. Giacchino's a genius. I love this. You kind of realize, oh, my God, he's given me a tool to help me. I love the wide lens.

1:15:31 · jump to transcript →

Eng Commentary

allowing him to catch up to it and pass, and then circle back. After you have reached the sea, what then? Where will he go next? What will he do? With a stunning optical zoom and freeze frame, Truffaut will capture Antoine's features in the instant that these questions suddenly dawn on him. After 30 years of subsequent borrowings of this device, moviegoers are quite familiar with the final punctuating freeze frame.

1:37:47 · jump to transcript →

You've changed partners, but you've still got the same deal. I'm not greedy. I'm only taking half. There's two of us. Should make it easier than just one. Yeah. The zoom into the reholstered gun is intriguing because the zoom seems to brand the moment as a kind of metaphor.

1:35:16 · jump to transcript →

beginning with words that I thought were very apt for the film that I was about to make, which was, I believe in America. And the idea being starting very close on this man's face. In those days when we made the film, this was high technology to be able to do a pullback so slow. I remember they brought this computerized zoom lens and they programmed it to pull back for, you know, whatever it was, three minutes.

2:57 · jump to transcript →

Frank Morriss

Let's see what's on HBO tonight. Now, this movie is filmed in widescreen. Sometimes that's called Cinemascope, or anamorphic. And 35 mm film is not wide enough to contain this frame. It wouldn't fit. So Panavision and some other people... ...invented lenses that actually take this image that you're looking at... ...and squeeze it to the width of a 35 mm frame... ...which is almost half as wide as what you're looking at. If you hold up a piece of anamorphic film to the light and look at it... ...all of these guys would be tall... ...and skinny and mushed together. The whole image would suddenly get all squinched. When you project the image, then you have to have a similar lens... ...that unsqueezes the image. But this was an effort to make big, widescreen movies that-- Not necessarily in Cinerama or techniques like that... ...but that you could make on ordinary film, and have an experience that was... ...different from what you're seeing on television. It had a different aspect ratio, real wide screen. And the challenges of shooting it are quite interesting... ...because those lenses require a lot more light... ...and give you a lot less depth of focus. So you're always kind of struggling with it. It's a very special kind of look that I actually prefer. And it gives you some real challenges in composition and so on. But you don't see too many pictures shot in anamorphic nowadays. They have another process called Super 35... ...that isn't quite so difficult to shoot. I think, Frank, we did Bird on a Wire in Super 35. Right. Well, from the standpoint of coverage in this movie... ...it was an editor's tour de force almost. It was covered so well. You mean, in terms of you having the footage that you needed. Yeah. We had very, very, very few problems. Well, thank goodness we had enough time to shoot this movie... ...so that we could get the coverage that we needed... ...because it was so tricky to tell this story along the way.

51:44 · jump to transcript →

I told Heather, now hold up the cord so they can see that you pulled it out of the wall. Okay, wrap it up around the phone. He's so neat. I remember that. Well, we had to establish that it was pulled out of the wall. Right, that was an issue, I remember. I think we did some earlier takes where she just put it down. And then you, like, zoom in, super close up on the... There you go.

1:06:41 · jump to transcript →

Well, apparently simple, I should have said, because here in a minute... Well, let's first just have a look at the props, all present and accounted for. Silly to have them in the purse if we're not going to take them out and display them every now and again. Quite a wide lens they're using there, isn't it? Not so flattering on the ladies. Well, this is a little bit better. Just off centre there. Oh, and here we...

22:29 · jump to transcript →

I mean, look at this. I mean, is this the new Lewis or what? Are you kidding? Zoom in. I could never get tired of Betty. How could you ever get tired of that ass, Takashi? That line seems a little out of character for Lewis. I think he would have said derriere. I mean, were you thinking about that at the time, about what a shift it was for you?

53:14 · jump to transcript →

Bill Paxton

This is just a regular Handycam, a regular 8 Handycam, whatever the standard was at that time. This landing of the dropship was complicated in terms of trying to hit a mark while shooting at high speed. The dropship was shot overcranked, so the model had to be really moving fast and those landing legs were fairly frail. We would do take after take and the landing legs would get crushed. This film is not a wide-screen film. If I did it again, I'd shoot it wide-screen to be consistent with the first picture. But I didn't like anamorphic for the visual effects problems it created. I'd had a bad experience on Escape From New York trying to do anamorphic visual effects, so we decided to shoot 1.85. I almost shot the film in Super 35, but I got talked out of it by somebody that didn't understand that format, and then I wound up shooting all my subsequent films in Super 35. I still don't care for anamorphic. You have problems with lenses shooting miniatures, with depth of field, there are problems in composite. On Escape From New York we didn't have much money and we were inexperienced in anamorphic, so I didn't really have an alternative that I considered viable at the time. But now when I see the two pictures back-to-back screened - it doesn't make too much difference on video - I actually like the look of A/en better because I just like the aspect ratio. And I've come to know and love the 2.35:1 aspect ratio. The interesting thing is that the first film was anamorphic so it used more of the negative area. This is a 1.85 picture. In this exact year Kodak was in transition. They were changing their emulsions. This was a higher-speed negative than had been used previously. They hadn't worked out their T-grain emulsion. So it turned out grainier than I wanted. But this was actually the standard, just what that stock was that year. Because we weren't using the full negative, like with an anamorphic film, we weren't getting quite as much image quality. If I had shot Super 35, it would have looked terrible because of the graininess. By the time I got ready to do 7he Abyss a couple of years later, they had improved the emulsions enough that Super 35 looked pretty great. I was surprised recently at how grainy it was. Nobody noticed the grain at the time cos most films frankly looked like that.

45:14 · jump to transcript →

I knew it. And Ball House was great. I mean, you know, just there's nothing he hated more than a Zoom, you know, never tearing down a wall, never being in an unnatural place, always having a certain, you know, not putting the camera where it couldn't really be put. Come back here. Come on. Don't go. If he has a set, he doesn't want to move the walls because the newsroom was a set. So these practical locations were so perfect for him because it just killed the argument of let's move a wall.

1:32:22 · jump to transcript →

John McTiernan

You notice the Fox logo is stretched, they wouldn't let me use anamorphic on this, 'cause of the opticals. So I put the... Fox anamorphic logo and then...

0:03 · jump to transcript →

We had more dialogue than we kept in the movie. See, wives spitting. Now it's Jay Johnstone. You said men like the throwing up scene, but not women. Did women like the spitting scene? The little spitting was okay. It was so quick. Everyone likes spitting. That's a Paramount shot. That's made elsewhere. And then you can see, we would shoot with a long lens and just fill up those bleachers behind there.

1:07:15 · jump to transcript →

He's dead another way, you know. And if you look at the two-camera setup, it was very important that the film was not widescreen, was not 2-3-5 aspect ratio, was not Panavision or anamorphic, I should say. I was still shooting 1-8-5, normal widescreen. But I packed the frame with everybody around Joe and packed the frame with everybody around Ray because there were no close-ups. Because a close-up would isolate them. What's happening in the scene is something that is essential to that way of life.

21:56 · jump to transcript →

Fred Dekker

But I do it way too much in this movie. What would you say the ultimate push is? Would it be the one on the beach in Jaws? Well, that's actually, you're appealing to the nerd side of me. That was actually a push-in and a zoom at the same time. Right, so you get that weird effect. But that doesn't count. The zoom in, the push-ins in Spielberg would be at the end of Close Encounters. There's about 100 in a row as they marvel at the alien ship.

45:59 · jump to transcript →

But it's funny, it was location that, for me, I was trying to find locations that have got depth. You've got hallways and corridors. So when you're shooting on this format, you know, my format being anamorphic, being letterboxed, being widescreen, I love to get this wide frame, this wide format. And I use that format because I think it just creatively...

1:30:01 · jump to transcript →

But those are all that, you know, it's the same technology that used to do creatures. So, you know, the trick is to take all this digital imagery and make it as invisible of a tool as, you know, the long lens is. Now me, I was scared, but Lieutenant Dan,

1:34:52 · jump to transcript →

And Gale was to be allowed to shoot in widescreen, not just regular. Yeah, it's kind of like in A League of Their Own on the DVD. You just see my shoulder in most of it. Because they shot it anamorphic. Yeah, no, anamorphic when it's taken down. So I have the widescreen version. It's great to see it the way we really framed it.

28:43 · jump to transcript →

Darren Aronofsky

He knows it's going to come. It hasn't hit him yet, and his nausea is growing in the back of his throat, and it doesn't kick in until there. We call that the vibrator cam, which was just basically shooting with a long lens and shaking the camera viciously. And now the paint is here, and we sort of accompanied it with not only the sound design, but the score as well. All the different elements working together, all the different departments.

8:54 · jump to transcript →

rather an unfortunate choice. I had two monitors in front of me. I was watching the scene on two monitors. We had a closeup shot and a wide angle shot. And I was watching the closeup camera, you know, for performance reasons. And first time when he rips off his shirt and he starts screaming and yelling, I loved it. And I called cut and I was all excited. And my script supervisor, Sylvie Chanel,

46:25 · jump to transcript →

This is the last shot on that day. It's totally drained. Well, she really pulls it off, I have to say. This is the yellow mountain. And this is always a shot that gets people, when you cut from this telephoto shot to where she's actually climbing up. It's impressive. You climbed that during scouting, right?

1:51:56 · jump to transcript →

So every day he kept repeating, doing the same thing, saying the same things, until we got the perfect shot. Because the lighting is pretty critical, because we started with the anamorphic format. So the lighting, it's got to be very detailed and also more of a contrast. So you need a lot more time to do the perfect light. And he had a lot of great patients. He had never complained. Suppose it was planned for two days' work.

27:16 · jump to transcript →

Simon West

And this is Angkor Wat, and the authorities there let us build this village right in front of the temple itself. I've tried to make it look like there's a river and a large lake or whatever. There's actually a very small ornamental pond in front of the temple. But by using a wide-angle lens and not showing the edge of the water, which is literally where the camera is, it looks like she's paddled up the river and made it to this Cambodian village in front of the temple.

59:50 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Yep, this was pretty much one of the first times that the boys were ever together saying dialogue together in the movie. I think we should get off the road. Did you always have in mind that tracking Zoom shot for that moment? Yeah, it's an Alfred Hitchcock shot that he designed it, and then I think Spielberg's used it a few times. It's become a little bit of a cliche, but I thought we could get away with it there.

53:13 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

This is one of my favorite shots, the creeping down one, which was an idea that we had on the set. We were playing around with the wide-angle lens and the camera on a crane, and we were just looking for interesting angles. And we came up with this angle, and then we decided to make it to really feature it as a shot. This is an image that's off one of Alan Lee's paintings, isn't it, on the Two Towers cover, looking up the staircase. I like the fact that the spider's being really creepy and sneaky.

2:23:14 · jump to transcript →

John Cameron Mitchell

It's like a gay rumble. Oh. We should get back to short bus. Okay. This is a great moment. That short bus was totally random. It just happened by accident. And we did that shot three times. It just went by. Oh, and the yoga ball. Hilarious. We did that shot three times that zoom in on the character of Caleb the stalker. It happened three times.

9:29 · jump to transcript →

And here we're in Oxfordshire. The exterior's in a different place, and Eve had this idea of putting all these multiple crucifixes, which are all added, to allow me to shoot through layers of crosses on the long lens. We have your silver. We caught this man red-handed. I get the nerve to say you gave him this. And this scene is so utterly central both to Victor Hugo's novel

9:03 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

There was a wide range of options, which is very refreshing. It's one of those things. I mean, we shot with the Alexa, and David has just got, he's all about momentum and energy, David Boyd. And that's one of his great strengths. And he always sets you up for speed. So he was, let's have two cameras at all times. Let's have a short zoom and a long zoom.

29:33 · jump to transcript →

This scene was, again, really tough. This movie was probably the biggest challenge we've ever had, because you're locked into this one wide-angle perspective, and right here there's all these lighting cues, and we would have to communicate back and forth with our grips and gaffers, and also try to get all this timing right. And not see us, because, you know, we basically have to hang beside Jason, get the cues right, and...

1:23:28 · jump to transcript →

Wes Anderson

Yes, we changed the aspect ratio from the-- We used the anamorphic lenses with-- Some old Cooke anamorphic lenses, and then we switched to a-- Now we're in a... I guess we say Academy ratio.

9:28 · jump to transcript →

What we achieved quite quickly in the cutting room to get certain effects, to pause, to elongate moments, to zoom in on moments, ended up taking a lot of time in post. And I think that Jamie, who is a brilliant online editor and who's worked on some very big-budget kind of Hollywood effects-heavy movies, said that it was the most technically complicated film he'd ever done. And I kind of hold that, and I also feel that. Every shot has got something technically going on.

1:39:42 · jump to transcript →

Joss Whedon

This, again, is a frame you would never have seen in the first movie. This very tight close-up, long-lens thing is a different vernacular, but I never felt it was more effective than it was there. Natasha! Natasha! Now, this is an interesting piece of footage because I wrote this scene... We had a very different scene with the Hulk and Ultron, and it did not play. It was good, but you just... It didn't fit. And I kept saying, "Well, we've got to do something else." So I wrote this scene, and the scene in between the two of them that comes after, and we did it in reshoots. And what's interesting about it is we never actually got them on the same day. And I'll explain more when we see them again.

1:38:21 · jump to transcript →

Jake Szymanski

I'm Jake Szymanski. I had the pleasure of directing this film. And I think I may have just ruined my mic, hold on. Is this... Did I ruin it? - Hey, hi. Is the mic okay? - Yeah, the mic's great. Just don't touch it like that. Okay, /'m sorry. - Yeah, that's okay. I was worried I might have turned it off accidentally. No, no, no, you're fine. Do you need water or coffee or anything like that? No, I'm so good. I've got water right here. - Do you... Okay. - What's your name again? I'm Margie. - Margie, thank you so much. Of course. All right. - Appreciate it. Let me know if you need anything. Okay. Will do. Thank you. Okay, oh, and please don't press any of those buttons. Okay, yeah, yeah, yeah, no, I'm sorry about that. Okay, that's okay. - Okay. Um... As you can hear, we are here on the Fox lot in the ADR room. This is where the magic of DVD commentary happens. So, into the movie. Mike and Dave. They need wedding dates. Here we go. Well, this is a fun little scene. We actually... The whole beginning of the movie takes place in New York City. But we shot all of this in Hawai. Fun fact. Downtown Honolulu. We doubled for New York. Which, I literally didn't think could be done. But, um, there were four angles. There are four angles and two locations that you can shoot in Honolulu and it looks like New York. Um, there's Zac, there's those beautiful, blue eyes just shining through. Um, this is a fun little scene. We got Marc Maron to come out to the island and shoot with us, kind of our intro to the boys here. Adam Devine, Zac Efron, playing Mike and Dave Stangle. And we almost cut this scene. We almost lost this. At some point there was a worry if we needed it, but I think it's really a fun way to set up that these guys, right what Marc says right there, they're funny, they're weird. We give them a win early on. We let them know they think they're awesome. And before their family kind of puts them in their place. Was it the hat? - I just found this over there. And here we go. At the opening credits. This was a fun journey, finding the song for this. We ended up finding this great song that we kind of remixed a little bit and redid some of the lyrics even before this opening montage here. This montage was great. Doing our Fourth of July, a family wedding and a 50th anniversary party here, shooting this. We shot all this, uh... The anniversary party and the outside wedding are the same location, actually. We shot all this down in Hawaii. Got all of our stunt guys in. A little secret about Zac Efron, very good at the trampoline. He did not need a stuntman or wires. He got on that trampoline and started doing flips immediately for camera. And Adam Devine was like, uh, "You need to strap me up "and swing me around with some wires here. "I can't do this." Um... Very uncomfortable, I remember, also, the straps on that trampoline. Um, we shot this right across from the hotel we were shooting at. This is, uh, the fireworks stuff there. Our wonderful crew here. Let's just talk about, uh, the Chernin company real quick. You see our producers here. Produced by Chernin, Peter Chernin. Jenno Topping, David Ready. Our excellent team of producers, who were with us on the whole movie. It was fantastic. Here's downtown Honolulu. We're trying to hide the palm trees. You put some stickers up on light poles, looks like New York. If you wear two, they break. It's an urban legend... - No, it's not. And here we go. Let's meet the family. Putting this together, it... First of all this is actually based on a true story, which is fun. The Stangle brothers are real and they really did get told they had to bring dates to a family wedding. God, look at this, look at this family we got here. Just the best cast we could have asked for. We got Mom and Dad here. We got Stephen Root and Steph Faracy. Stephen Root, man. How lucky are we to get these guys as Mom and Dad here. Stephen Root was, uh... We were already down in Hawaii and we were about to shoot and we still hadn't cast Dad. And we talked with a bunch of great people. And, um, I had to do a little Skype session to meet Stephen Root who I had never met. And, uh, we were just like, "You know what? If you can ever cast someone "who you think is, one day, gonna win an Oscar, cast that guy." And we were lucky enough that Stephen Root said yes to doing it. Here we go. Um, hey, Jake... - Mmm-hmm. I just want to interject here. Um... - Oh, yeah? Be careful of the heavy breathing. - Oh, Yeah, yeah, yeah. Yeah, I just want to make sure. I mean, it's not an issue yet, but... I was gonna Say, is it coming through or... Not really. - Okay. But I can sense that it might. - Okay. So just be careful. - Okay. No, fair... Yeah, okay. No worries. - You're doing great. Should we... So did we cut or how does this... No, we're not cutting, no, no, no. 'Cause we're still... - Oh, okay. Keep going. I can't cut. - Should we go... Oh, so this is a one... Continuous, got it. - This is a one, yeah. Yeah. Okay. Thank you. I'll watch the, uh... Watch the breathing. Um... Where are we here? Oh, well, we're doing our little reveal. Kind of the big idea here of our grandiose opening montage where the guys are kings of the world. We see the reality of those situations. Oh, this poor guy. Our grandpa. When we were shooting this, we were dancing... And I kept thinking that he was acting out the death scene too early. And I kept yelling from behind the camera, "No, no, no, don't stop yet. "You're still having fun, you're still having fun. "You're not dying yet." But he wasn't acting. He was, for real, getting too tired and almost having a heart attack. And I was yelling at this poor man. "No, no, no! Smile, smile! Be happy! Dance, dance!" And everyone was like, "Jake, this is real. He's actually having trouble." And I felt so horrible about that. But he made it. You know what? He made it and I can't wait for him to see the film. You can each talk to one girl. Um, uh-oh, guys. Here's the idea for the movie. Two dates. Um... By the way, we also have not talked about... Look at these two handsome gentlemen who you believe are brothers somehow. Are you insane? - Oh, you're kidding. I love these guys together. Adam and Zac had a really, really fun time. Um, I mean, when we went to Hawaii to film this, we filmed in Hawaii, and they were just... We were trapped on that island together. So even when we shot all day together we just had each other to hang out with at night. And, um, I think Zac and Adam got really, really close. Which helped the chemistry and the brother relationship stuff. Everyone got along really, really well. It was a lot of fun. By the way, let's talk about the wonderful Sugar Lyn Beard playing our sister Jeanie here. And also the equally excellent Sam Richardson playing Eric here. Um, God, she's so great in this. Sugar... First of all, her name's Sugar. And we shouldn't overlook that. That's an important factor when you're casting someone. Look for the most interesting name to be written somewhere. Um, she was one of the last people we saw in auditions. And, um, we weren't sure who we were gonna cast yet for the sister. And we didn't feel like we quite had it yet. And then she, literally, was maybe the last person that came in. And she came in to the casting office and just nailed it. Just... We were all laughing so hard. She completely became the sister. I think we did the audition with the Ecstasy scene and the horses scene. And, uh, she was just so, so funny. She walked out of that room and we immediately went, "Wow, well, that's Jeanie right there." Same thing happened with Sam for Eric, by the way. He was just so, so funny in that role. That's the kind of guy Mike is. So, think on that... This is one of my favorite Zac jokes of the whole movie here. "Think on that, Dad." Having us laugh. You can see Dave's little... Dave's at his little art station there in the apartment. And that's a little thing that comes back Iater that, uh, isn't... We're not really showing you very clearly there. And then here we have the ladies. Tatiana and Alice. Aubrey Plaza and Anna Kendrick. These two, who are actually very good friends in real life and had taken random trips together to islands and to beaches in Mexico, it was really fun to put these two together. And, uh... And have that kind of built-in chemistry going in here. He's already paid. God damn it! But a lot of green screen taxi shoot that we did. You should kick us out! - You should kick us out of this cab. Little bit of a hustle on the cab driver here. Three more blocks up on the right... and then kick us out! The Apple Pay bit I really, really liked. We came up with that on set. I think that was a pitch from Andrew Cohen, one of our writers. Andrew Cohen and Brendan O'Brien... I got a good idea. ...gave us a wonderful script to start with here. The writers of Neighbors, Neighbors 2 and upcoming, The House. Um, very lucky and happy to meet and work with those guys on this. Really funny stuff. And, uh, they would also just send in new jokes every day. That's kind of the way we did things, is we had the script and then me and the writers and other on-set writers would just bring a bunch of new jokes every day to pitch and to try. And so we would always play around a little bit on-set. Jake Johnson. Your little buddy is shit-faced. Jake Johnson, who we said, "Why don't you just come to Hawaii for a couple days? "And to do that you have to be in a scene in the movie." And he said, "That sounds pretty good, man. "That's... All right, yeah. I could do Hawaii." Um, and that's literally how we got him out here. We said, "I know Jake a little bit." I said, "Hey, if I could bring you out to Hawaii for a week "would you shoot for one night?" Boom. Done. Because it's my right. Playing Ronnie the boss here. Look at these, look at these, just New York rat women here that they're playing. The hair, that's a wig we have on Anna, which was really fun. Hey, Jake. - Yeah? Um, I just want to say if you don't have anything to Say... Mmm-hmm. - ...then you don't have to say anything. You... - Does it sound like I'm... Oh, just calling this "rat women" is a little... Oh, I wasn't... Okay. - Just... I didn't think I was stretching... - Yeah, no, it's fine. -/ just want to... I just want... - Are we still recording? You're doing great. What's that? - Are we recording right now? Yeah, yeah, all this is... Yeah. - Okay. Yeah, that's what we're doing. All right. I just... - Right? Yeah, I just didn't... Okay, yeah, I just... Yeah, I'm just... It's very clearly your first time and it's... It is. - /'m just trying to help you out. Okay. No, I appreciate... I definitely want... - Okay. If you have any tips or... - Great. I just feel like I'm not doing the comments here... Okay. Okay, sure. So I should get back to this. - Of course. Yeah, yeah. Just keep breathing, and move through it. Okay, I think... Okay. - Okay. I didn't... 1... Thank you. I appreciate it. Okay. - Thank you. Okay. Um, we're in the apartment. I'm tired of living like this. I don't know if I have anything to say about this. We've got a great little package we're selling here, man. A week in a tropical paradise... with two fun-loving, yet surprisingly well-read bros? I'm just gonna talk. Um... We got the boys here. So the ladies in the apartment, first of all. These were both sets that were built in real locations, downtown Honolulu. Um... We found spaces for the boys' apartment, girls' apartment right around the corner from each other. And then we built these kind of walls up against the real windows and built out our little apartments here. We met this couch on Craigslist. This was actually the scene, this scene right here, was one of the earliest scenes that we had worked with and that we shot for the chemistry read. We did a little chemistry read early on before we ever got into production with Adam Devine and Zac Efron. I think Zac was shooting a movie in Atlanta. We all flew out there and did a chemistry read and this was one of the scenes we did to see the brothers together. And, uh, obviously it was great. And we loved seeing Adam and Zac together. And, uh, so this is one that had kind of... We actually shot this... One of the last things we shot in the movie. Um, but they had had it in their mind for six, seven months by that point. I love the... We got these girls together, really, really fun. This was a last-second shoot we did just to get a little sense of the ad going viral and going around the world. And we got all these great performers, all these great actresses to just come in and do little cameos for that little thing here. You guys want to go to a wedding? Got a little classic date montage here. All the dates here we cast out of Hawai. This was all local casting and we found some great, great people. Those twins are actual professional gymnasts in training. And they're twin gymnasts who are very good. And luckily they were also great at acting. We got them in there. We found all these... Met all these great people. This is my buddy Bob Turton. Um, who, uh... We go way back. And, actually, we did not... Again, we did local Hawaii casting and I said, "Man, I got this bit I really want you to do. "But we're casting locally." And he just hopped on a plane and came on out. And said, "Let's do it." And Bob is one of the funniest, funniest guys. Uh, I went to college with him back in the day. And we've done some videos and shorts together. And I was so glad he could come out and be Lauralie, as I believed, what we named his persona of this guy who's in such a bad period of time in his life. He decides to try to pretend he's a girl to get this date from these boys. What did you say? - Nothing. Sounded like you said... None of this... Do you wanna fuck? None of this was scripted. None of the entire date sequence was scripted. I think the script just said they go on a bunch of dates. So we really had a lot of fun playing with this entire sequence with everyone who came in. I think, in real life the Stangle brothers ended up on... What was it, Ricki Lake? I know they ended up on, uh, the Today show. And maybe also Ricki Lake. And we got... The ad went viral. We wanted to make it a little more current. We got Wendy Williams. We got her to come out to Hawaii. We actually filmed... Even her set, we faked in Hawai. So we really did everything out there. Got to thank the Hawaii Film Board. Getting to shoot out there. It was fun. ...fo go with us to Hawaii for our sister's wedding. And I just want to reiterate... we're footing the bill for this because we're gentlemen. Free trip to Hawaii? I'm awake! Come on. Craigslist. - What's up? That's where you go to buy old patio furniture. Is there any, um... Excuse me. Is there any... ls there any water? - What's that? Is there water in here? -/s there water? - Yeah, there's... Yeah, we have water. - Is there any... Can I get a water? ls there any way to get a water? - OA, sure. /'Il... I asked you at the beginning. You didn't... You said... I know. I didn't realize. I'm sorry. I'm just... Now I'm thinking about whether I'm talking too much, based on what you said earlier, and I'm getting nervous. I think it's just drying my throat out a little bit. Okay, yeah. No, that's fine. I'll go get you water. I don't need you to get it if you can't... /'m the one working here. So... Okay. I... You can tell me where it is, I can get it. No, you have to... You're the director. And you have to do the commentary. Um, okay, I'll be right back. All right. Sorry about that. - It's fine. Thank you. You need to get over that, once and for all. Oh, man, I feel really bad asking for that water now. Oh, there is a water here. Hold on. There's a water on the floor here next to my desk. Okay, here's your... I actually found one. There was a water... There was a water down here by the desk. -/ found... - Yeah. I think I brought this... - Did you not look around you when you... We gonna go to Hawaii! Um, sorry, I just found... I think I brought it in at the... When I first walked in earlier and I forgot. Right. Okay, well, here's another one. We don't look like nice girls. Thank you. Yeah, I guess I haven't showered in a while. Oh, man. Thank you very much. I really do appreciate it. Yeah, of course. - Okay. We're gonna look respectable as fuck. Like nice girls. "Like nice girls. Like nice girls." This was actually, um... It's like that Jesus rag! "Jesus rag," one of my favorite bits. Nice girls was actually, um, an early studio note. I remember the studio coming in and saying like, "We feel like we just need to say, like, 'Let's push the nice girls angle.' "We should have the boys get told they need to bring nice girls. "And the girls need to look like nice girls." And it really worked. We ended up taking that and hitting that. And it's one of those great notes that really helps simplify and clarify a thing and everyone gets exactly what we're doing. So that's why you hear "nice girls" a couple of times. That was actually one of the earlier studio notes that I thought was a great note. That worked out a Iot. Ultimatum. - Well, we gotta figure something out... The old tomato joke is a joke that early on I was told, "You know, you can cut this joke. You don't need that joke." And I said, "No. This joke is what the movie's about." Not really what it's about. But the vibe of the movie. I fell way too in love with the old tomato joke. And I think our first cut of this movie, the editor assembly of this, was about five hours long. Because we had done so many alts and so much improv. And they just put everything in. And, I think, when I showed my producers one of the three-and-a-half-hour cuts that I was like, "You know, this isn't a real cut. "This is just kind of everything we're working with." They were like, "I mean, you can lose so much. "You can lose this. You can lose that. You can lose the old tomato joke." And I was like, "No, no, no, not... All those other things, sure, "but the old tomato joke we keep." So you can imagine that joke in a three-hour thing that's way too long. And, uh, well, it ended up in the movie. As I predicted. Anna had a really fun, uh... We had a lot of fun with this. There's a lot of stuff on the DVD, deleted scenes and bit runs about other lies she does here. This is a really fun reveal. See these girls in these nice dresses here. And coming up, we've got one of our first big stunts of the movie. This was always really fun. We had a great, great stunt coordinator, Gary Hymes, who did all of our stunts on this movie. He did the stunts for Terminator and Terminator 2 and Jurassic Park. And he was great. So any time we had something like this, with getting hit by a car... That's a big stunt, but it's always really fun watching the audience watch this. And this is like one of those moments early on where I think it clicks in like, "We're doing this kind of movie. We're doing, like, a giant car hit. "And she's perfectly okay." It just sucks you right in. This was really fun to shoot. This is, again, downtown Honolulu. Outside of the one bar we could fake as New York. And if you look very closely, I shouldn't even say it, people will hate that I say this, the effects guys, there's a split second shot when Tatiana hits the car from inside the car looking out the windshield at her body. And in that shot, it only lasts a couple frames, and it's a blur, but there is a palm tree. That is the one palm tree that's in our New York footage. Um, but obviously it's so fast no one sees it. Are you okay? I am now. I saved her life! - She's okay! She's okay? - I saved her life! Thank you! I think, I'm pretty sure a lot of this, the just yelling, "I saved her life," and a lot of the yells, that was... Adam can go very hot. And Adam just added a lot of that in and it was so perfect. It's really fun to just tell Adam like, "Hey, go nuts on this one. Get excited." And he will. He can just go at 100% all day long. And it is the most fun thing to watch. So hard! This is always a really fun scene for me. This is like, when we did the editing, it was kind of always like, "Let's get to here faster. How do we get to here faster?" 'Cause it's really just seeing our four leads all together for the first time. And see it play out. See the con of the girls play out. See the boys falling right into it. So this was always kind of like, especially in editing we realized, "This is where it starts to feel so fun. "Let's just get here as fast as we can. "Let's get through all that other stuff." Got two waters now. It's actually quite nice. We can hear all of that. - Hmm? You drinking. Oh, I'm sorry. SO sip quieter? "How's the hedging coming? You been hedging? You hedged much?" Yeah, we're picking that up. - Picking that up still. Corporate greed, bailouts. Should I, should I cover... Does this help? On the floor of the NASDAQ and the U.N. Um... If I cover the microphone with my hand, does this help? That makes it worse. - Okay. Sorry. Um, just try not to drink anything. "But what I do have..." Just my mouth gets a little dry, so... It's not important. Uh, anyway. Um... "Skills that make me a nightmare..." Zac nailing the Liam Neeson impression in this. You may notice Zac Efron throws out a couple great accents in this movie. He's got the Australian at the bar at the top. He's got Liam Neeson here. He's about to have all of this different liquor bottle drawings which all have a different accent. And he added a lot of that in in a great way. He does a little research for each one. And he nails each one of those accents. That's a little post joke we put in. Little post image. Little ADR joke from Zac right there. A lot of dick jokes in this movie. Not gonna say I'm proud of it. Not gonna say I'm ashamed of it. Just gonna say there's a lot of dick jokes in this movie. And it is what it is. Done. Some of them are kind of smart. Maybe a couple smart dick jokes, maybe not. Maybe I just tell myself that to make myself fee! better. I don't know. What's the hardest thing about being a teacher? I don't know. Oh, um... The hardest thing... I think this was the whole... We did a whole run here with Adam and Aubrey that was just kind of, none of that, was not in the script, either. We're just like, "Let's check in with these two." And we Set up two cameras. We did a lot of cross-shooting on this movie. And we just let people go through 10 different ideas. And try a bunch of jokes. God, Anna's so, so funny here. Matt Clark, our wonderful DP on this, who... I know! I said, "I got to warn you, I want to cross-shoot a lot of this movie." And cross-shooting's where you have two cameras pointing opposite directions, so you can capture both people talking to each other at once. And some DPs won't do it 'cause some DPs, they just want to perfect the light facing one direction, 'cause it's the lighting that, really, you have to tweak. And you start worrying about compromises if you cross-shoot. But Matthew Clark took that challenge and ran with it. And we cross-shot so much on this movie. Um, probably even more than I needed to, I had him do. And he just did a great job with it. I love the look of it, that it doesn't look too Photoshop, airbrushed, perfectly shiny and bright on everything. I like that it kind of feels a little real world-y. I think Matt did a great job on that. ... like we're talking it over... like we're not sure if we wanna go or not. Oh, like... So fun to see Anna do these big jokes. I feel like... This was the fun part for me. I feel like I've never got to see Anna Kendrick do this kind of stuff before in a movie, ina hard R movie. Yes! And, God, I just think she really nailed it and knocked it out of the park. I think, Aubrey, who's so great, and you kind of expect that she can do it. And I think it was a little more like, I think, for the audience it's a little more of seeing her in a new kind of movie. Which I think is really, really fun. Here we are, shooting at the wonderful Turtle Bay Resorts. Um, on the north shore of Oahu, Hawaii. We turned into our little fake resort. A funny story about this hotel, this is the exact hotel that they shot Forgetting Sarah Marshall at. And that movie takes place almost, the whole thing in that hotel as well. So, first of all, we did a lot, me and my DP, we did a lot of like, "Let's make sure things look different. "We're not copying the same locations and shots of Forgetting Sarah Marshall." The other funny thing is, in the movie Forgetting Sarah Marshall, I'm pretty sure they call the resort Turtle Bay. Say, "Welcome to Turtle Bay." And it was an advertisement for Turtle Bay in a way. Turtle Bay was like, "Yeah, we'll give you a better rate on the room if you mention our name." So, when we started scouting and decided to shoot the movie in Hawaii, we were like, "We can do it at Turtle Bay. "We'll get a little discount on the locations." And the management for Turtle Bay read our rated R script and they were like, "Absolutely you cannot say this takes place at Turtle Bay. "Please, please don't show any of our Turtle Bay signage. "We don't want any of our guests to think our masseuses would do this at Turtle Bay. "We don't want to think we condone..." And we were like, "Oh, my God, can we shoot it?" They were like, "Yeah, please shoot here. You just have no discount." And, no, I mean, they were a lot of help. But we had to cover every sign that said "Turtle Bay" and make our own. And make our own logos and hotel names. And I always thought that was pretty great. And, you know, there's some stuff in Sarah Marshall, I think that's rated R. I mean, there's a penis flopping around in that movie. Hey, Jake. - Yeah. I just want to say you're doing great. Okay. Just calm down. - Okay. You've said "penis" and "dick..." - And, again, I'm just... About 10 or 15 times... - Yeah, yeah, yeah. In the Iast, like, five minutes, so. I don't think... I think it was just, kind of, the once. Oh, no. It was many, many times. Okay. And just, Margie, I'm sorry, but... And, again, is there any way to go back now to where you cut in and rerecord from there on out? Um, oh, you know, that's a great idea. Why don't I just forget that this is my job and that I know what's going on. And why don't you come in here and you take care of all of that. No, obviously I'm not... I just presumed that if you... Can only I hear you? 'Cause I'm... We're recording right now, right? Yeah, we're recording. But, you know, what you do when you presume, you make a... I think that's the wrong word for that phrase. So anyway, I just want to let you know that you're doing great. And this is really good stuff. Just remember to breathe and relax, and just enjoy it. Okay. I just want to do the commentary. Just kind of run it through and... Sure. - I just feel like I've heard a lot of... I've listened to a lot of commentaries. Have you? - Yeah. I think... Yeah, what do you mean, have I? That surprises me. Why does that surprise you? I mean, it's just, you know, you're doing great. ...With Alice. Well, I just don't think I've ever heard the sound engineers coming in during a DVD commentary. So I'll say that, as well. Well, you know, normally we don't. But if it's someone who's just kind of aimless, we'll try to help out a little bit. Um... So, my commentary has been aimless? It's been... No, it's great. It's so exciting. I mean, I don't even see how... Even if it was aimless, I don't see how telling someone that helps them. 'Cause now all I'm doing is thinking about if this commentary's aimless or not. Okay, so we're in a new scene, so if you want to... I am a teacher, yeah. Uh... The key to teaching children is repetition. Uh, okay. Uh... The meet and greet. Uh... I think I missed talking about the whisper scene. Another good dick joke in there. And, uh, this meet and greet, very colorful, very poppy. This, uh... sorry, I'm just really in my head now about this aimless thing. And I feel like it makes me sound more aimless. No, no, no. You're doing great. That was just constructive criticism, you know. Aimless rambling is what you're doing. And that's constructive, honestly. It doesn't. I'm trying to find the constructive part of that criticism. Um, the part where I said, "Aimless rambling is..." Right. So, okay. Like, build off that. You know, I'm good. I'll take, I'll do... I'm okay if it's aimless. -/'m good from here on out. - Are you sure? Yeah, I'll just be good from here on out, okay? All right. I'll just keep him on a leash. And there's no way we can Start over or go back? Unfortunately there is no way. This is set in stone. Okay, Sure, sure, sure. Uh, all right. So, listen. This was our first day of filming. And, uh, filming this meet and greet here. And, uh, there was a lot of very specific things that happened in this scene. And, uh, uh... God, this is so fucking aimless now. Jesus. Talk about the lady in yellow. If this is bad news, I'm gonna eat your ass. Sorry. - Okay. The bridesmaid, Becky. That was our horrible bridesmaid, Becky, played by the wonderful Mary Holland. Um, yeah, I should talk about everyone in the scene. Mary was great as a bridesmaid. Mary actually... I know Mary from the UCB world out in Los Angeles. And I think I had her come out and audition for, like, five different roles in the movie. I think it was kind of like, "I don't know how, where you're gonna be in this movie. "I just know I want you in the movie." And, um, we were lucky enough to get her. This whole scene, this whole sequence, by the way, of the meet and greet was our first day filming. And if there's any tip I can give to a first-time filmmaker, it is this. This was one of the biggest mistakes I made on the movie. Don't have your first day of shooting on your first studio movie be a giant meet and greet scene with 100 extras and seven main characters all in the same scene. And all of the actors on their first day. And everyone feeling each other out. And also, outdoors in Hawaii, where the weather changes every five minutes. lt was sunny. It was cloudy. The wind's going crazy all day. It was a real trial by fire at the top of this shoot. We spent our first two or three days out in this location with so many people. So, if you're out there making something and you want any tips, ask for the schedule, first day, first day you're shooting, to be indoors, two guys eating pizza. That's really the best you can hope for. Just two people sitting at a table talking back and forth. Maybe one person. If you have any scenes with just one of your actors in there, get going that way. Everyone's getting to know each other. You're feeling each other out. You're figuring out how to work with the crew. The actors are warming up to the characters. You don't need 100... You don't need to figure out where to put 100 people and how to get seven of your leads in there. That's crazy. You can do that week two. You can do that week two on a movie. That was the one crazy thing. But I will say, after we did that day one and two, we were kind of ready for anything for the rest of the shoot. Where are you going? Hi! So you know what? I guess, do it. I guess, do do it. I guess, do shoot with as many people as you can. 'Cause it kind of all felt downhill from here. Um... I'm fine. Yeah! Let's just forget about the past... God, yeah, we were out here for a couple days. This is, again, at the wonderful Turtle Bay, which I highly recommend to go out and stay there with you, your loved ones, your family. Um... I mean, we're drinking 'em like they're shots... but I don't think... But the wind, I mean, I hate to even bring it up, but if you just watch these scenes and watch people's hair or the backgrounds, you will see that the wind was just going crazy. So many takes where just the wind went in front of people's faces that we're trying to cut around here. So many shots, some shots are in the sun, some shots are cloudy, that we've spent days in our color correction, trying to even out. It was great. This is the wonderful Alice Wetterlund who plays cousin Terry here. You may recognize Alice from Girl Code and Silicon Valley. I swear I was watching Season 1 of Silicon Valley right when we were casting this, and saw Alice. And then she came in and read for us for this. And, oh, my God, she's so funny. Her and Adam in the scene, we have... There was just a ton of footage on the floor of these guys playing back and forth here. And she really became cousin Terry a little bit. Anytime the camera was on, she would end up being a very method actress, which I really liked. She really scarily became this crazy, rich asshole of cousin Terry. Very aggressive here. I like this little offensive sex song here. By the way, the real Mike and Dave Stangle right here. This is their cameo. They came in, they came down to visit the set. We wanted to try to work them in. And got one of the better jokes in the movie there. The old chlamydia joke comes out of those guys. And why do you think you're such a hotshot? Um, the real Mike and Dave came to set and you think maybe the antics that these guys are known for in their book or the story of this movie is a little overdone. They, pretty sure, showed up drunk to the set. They had already been drinking that whole morning. And then after we shot a couple takes, I was like, "Hey, you guys, if you could try to stand here more "and look this way more... "Try this." And they were like, "Hey, yeah, sorry if we're screwing this up. "We are just gone right now. "We've been drinking a lot of the wine, too, "In these cups that are being passed around." And that's not real wine. Like, the trays that the waitresses have in the background of that scene are filled with either rancid wine or just dark liquids to look like wine. And the Stangle brothers immediately got on set and started grabbing everything that they thought was a real alcoholic drink and downing it. So, they're the real deal. That is a true story. From the meet and greet. Well, from before that. One second. Um, Tatiana and Alice here kind of letting loose, letting their guard down a little bit after a long day of pretending to be nice girls. And then poor Mike just still trying to push it way too hard here. ...do whatever you wanna do. Being a little bit inappropriate. 'Cause that's what we were doing before. They've got Cockbusters. We had a fun run there of different porn names for Anna to try while we were shooting that scene. Which was very fun. She says the craziest stuff in her sleep. It looks like his dick is gonna pop. It's So veiny and hard. This is also... My student. I'm doing a Skype class session... This is one of the scenes, I think we have an extended version of this scene on the DVD. There's a lot of... He walks, if you notice, Adam walks up to the door with a bucket of ice and we used to have a lot of dialogue about that ice that is no longer in the movie. It's fun when you're shooting, and especially for me, I think, first studio feature, ... you are getting an A plus. I just wanted to make sure I got all the possibilities. Try a bunch of different lines. Try a bunch of jokes. And then you get into that edit room, and you are just lifting as much as you Can away as possible. Just trying to make it go like, find the joke, find the one that works best. Boom, move on. Boom, move on. Keep the story moving. This actually, this whole sequence of the girls here is from a cut scene in the movie. It's from the bocce ball sequence, which they even used in our trailer a little bit. And it's a great sequence that's on the DVD. And this is actually from them walking up to the bocce game. And that sequence is cut. But we still had to somehow capture the vibe that these girls were in their own element. And being themselves a little more and deciding to have fun. And so we ended up using that shot of them walking up the beach and stealing drinks by themselves before they join the group to kind of get that idea across a little bit. But it's part of this whole other sequence that's now just a DVD special feature. Much like this commentary. Jake, this is the DVD. "Welcome..." What? "...to Jurassic Park." Um, you just keep saying "on the DVD." This is a DVD special feature. But you could just say "on here." - Right. On here. Well, yeah, but it's not on here, the commentary track, it's... Do you currently know what this is for? Why do you need to tell me that, though? Why are you even telling me that? l'm sorry, Margie. - You're fine. I just want to make sure you know what's going on. I mean, does it really matter if I say "on the DVD" or "on here"? If people are watching it, the worst that happens is it's a little redundant to say "the DVD." Okay, if you don't care about maintaining any reality or like... What are you talking about, "maintaining reality"? Why are we having this discussion right now? Look, you know what? You're right. I'm just, I'm... What am I talking about? I've just done a million of these and... No, that's not... I know you've done this a lot. That's not what I'm trying to say. Okay. Look. I forgive you. Okay? I forgive you. This is great. I'm having a lot of fun. You're doing so well. This is where the dinos ran in the prairie! Really? Yeah. I'm a T-Rex. I'm coming to get you! Okay, thank you. Are you crying? - No. I'm not crying. What? Just, thank you. Wasn't this where Jurassic Park was filmed? This scene right here? Yeah, this is actually where they shot Jurassic... Yeah, how did you know that? Yeah, this is where they shot Jurassic Park. Yeah, I can tell. This was the real location where... And I think they shot some of Jurassic World here, too. And by the way, so fun to get to go shoot where they shot Jurassic Park. That's like a little kid dream, to go shoot in that location for the joke of ATV-ing where they shot Jurassic Park. This is also, this ranch, by the way, Kualoa, is where they not only shot Jurassic Park and Jurassic World, it's where they shot... They have signs up all over for movie tours. It's where they shot Godzilla. It's where they shot 50 First Dates, part of it. The most excited I was by a sign was there's an area that's apparently where they shot part of the movie You, Me and Dupree. So, we join a pretty special lineage of movies, all the way from Jurassic Park to You, Me and Dupree that have shot in this beautiful location, when shooting in Hawai. I still think we should go around. She just got some serious air, bro! Um, this sequence was a blast to shoot. And, again, the stunts and stunt drivers that we brought in on this were great. And we had to find the smallest, the best smallest ATV stunt riders in the country. Yeah, baby! To match, to body-double match the girls who are the ones who are obviously good at this and doing the tricks. So, that is a male ATV stunt driver. And one of the smallest male stunt drivers we could find to double for Aubrey Plaza. And same goes with Anna Kendrick. Um... And I think there was, we initially had a female ATV stunt rider coming in and I feel like something happened with her schedule. She had a show to do, she had an X-Games-type event to go do. And then, so she dropped out, and so we had to find, um, small men. Small men with... Your turn, Mike! Don't be a pussy! ... with, uh, adrenaline junkies, basically. I'm not gonna do it. Um... Mike, it'll turn me on... I think the only disappointing part of this scene was for Zac. He just wanted to ride that ATV so bad. Zac is a guy who already knows how to ride ATVs. And was so into being on that ATV. Like, every time I said, "Cut," he'd be off zipping around, driving around, going up the mountains on ATVs. And, literally, it's like Aubrey and Anna get to drive this ATV, and look like they're jumping it and have little shots like this. Where they're all actually on it and driving it. Adam and then Aubrey did this. And poor Zac is the only guy, because Dave is the character with enough common sense to not do this jump, that couldn't go zipping around on this while we filmed. And that was, I think, the only, only bummer of shooting this scene, was for him. Oh, boy. Oh, no, God! God, this sequence was originally... A lot of people comment on how long this jump is, how long he's in the air, how long I stretch this sequence out for. And I just want you to know, originally, it was another 25 seconds longer, that Adam was just screaming, floating down on her. We originally had it so long. But this is actually one of the scenes that changed the least from our rough cut of the movie that was three hours long to the final version. That ATV sequence was kind of always in that form. Our little transition here inside, off the blackness, onto Mary's wonderful, horrified face. Your face is making me think it's gonna be bad. This is one of those scenes that where if I'm really analyzing the movie, it doesn't make sense if you think about it. But you're having so much fun after that surprising ATV hit and watching her face and seeing everyone make jokes, that no one thinks about it. But if I actually looked critically at it, I'm going, "So she got hit in the face. She should be dead." Right? She's not dead. She should be dead. And then we cut to the next room and she's just standing up in the middle of a room with an ice bag on her face. She's not sitting down. And I was looking at her. And everyone's standing staring at her to wait to see what the face looks like. I have little rationalities I can tell myself to get around this and how it can work. "Maybe it swelled up. "The bruising got worse under the ice bag." Blah, blah, blah. But if you really think about it, it probably wouldn't go like this. That's what they call suspension of disbelief, guys. Welcome to movie making 107. Enough dancing! You and you... outside, now! God, this was So fun. Just telling, letting Stephen Root get mad at these guys. Calm down. Do you understand they've deformed our little girl... We were really worried this joke wouldn't work. She looks like Seal, for Christ's sake! "Looks like Seal." And we were kind of like, "Is that too dated? Do kids today..." And it kills. Everyone always loved that joke. I always thought... I had like three alts for that joke. I always thought we'd change it. Never had to. This was great, coming up with this on the day. Which actually is based on my own life. If I'm ever too tired and run into one of those doors, I can never figure out how to close them. And I asked Stephen Root if he could try trying to close it with the door that won't go all the way 'cause the other one's open. And, God, he's so funny. He's so great at just boiling over at these guys. There was another door, though. He can just close the other door. What? Well, he didn't see the other door. He just closed the one. But he was trying to close one but it was the other door that was open. Yeah, Margie, that's the joke. That he kept trying to close the door but there was another one to close. But he kept trying to close the other one. Did he not see the other door? I can't, I can't get into this with you right now, Margie. Okay. Everyone gets the joke. And this is not, I don't think this is... I mean, you said you've been doing this for a while. But I cannot believe that you think this is the right time to get into this. When there's a room, and there's usually one door, but sometimes there are two. And if there's two, I don't know why you wouldn't be aware of that. Well, to each his own, I guess. Agree to disagree. - Um... It's all fucked now. It's all fucked. Yeah. Yeah, okay. So, yeah, you agree to disagree. Great. Okay, well, yeah, I agree to disagree. Sounded like you wanted to say no. Sounded like you wanted to say you don't agree to disagree. I don't want to make this any harder than it already is. Do all the booths in the building have the mic inside your room like that? The mic to... - No, it's just this one. Yeah, sure. That's what I thought. Perfect. Um, let's get back to the old movie here. Thanks again for letting me join your spa day, ladies. I'm getting a little feedback in my mic here. Um... This is a fun little run here. Spa day. This is, so Alice now is trying to... Feels really bad about ruining the bride's day here, since she was a bride herself. And understands how big of a deal that would be. She's really trying to make it up to Jeanie. But poor Alice. She just, her heart's in the right place, the right intentions but she's gonna go a little crazy here. I didn't actually end up having one, So... Why? Every bride needs a bachelorette party. I'm sorry... By the way, Anna did great with that run, that giant run about dressing up like a prostitute. I'm pretty sure I threw that on her. She had never seen that written down. lt was maybe the third or fourth take where we tried something new. And I said, "Hey, try this really long run about your..." And just instantly, the next take, had it memorized. Had it better than I told it to her with perfect timing, perfect jokes. She just nailed it. She's awesome. Anna Kendrick might be the most professional person I've ever worked with. Little facts about working with her that you might want to know. She is always, always has her lines ready. Always on set ready to go. When you're filming a movie, you kind of have your actors, they take a break, they sit down between takes. You have, what's called, a second team of stand-ins to come in and adjust the lighting on... And then, when you Say, "Second team out, first team in," that's when your actors come back to set to start filming. Anna was always, you'd Say, "Second team out, first team..." Anna would be there. Waiting for everyone, Anna was always the first person back on set. Another fun thing about Anna, she's a woman of the world. She's a very knowledgeable person. She was always reading when she was in between takes, off set. Which is great. She's always got a book of new subject that she's into. And there was about three weeks on this movie where she was reading a book on the rise of Nazism in 1930s and '40s, Germany. The Rise and Fall of the Third Reich. The Rise and Fall of the Third Reich. How did you know that? It's one of my favorite books. Physically, no penetration. Why? /'m a history buff. All right. All right. Well, I hope so. Anyway, that's what Anna was reading as well on set. But the funny image would be, every now and then between takes, you'd look over at her sitting in her chair and she was just... You just saw her eyes popping over this giant book with a swastika on it. And we were like, "Anna, you got to... Let's put a different cover on that thing. "It just does not look right, that you're reading that book." Poor, sweet little Anna Kendrick with a giant swastika in front of her face. Oh, my God. How have I not Started talking about Kumail yet? When we had to cast this scene for the masseuse, whose name is Keanu, I don't think that's in the movie anymore, but in the script his name is Keanu, I wanted Kumail to do this and he... I think we went out to him and we asked him to do this scene. Said, "Would you come in and do a cameo and be this crazy masseuse?" And immediately he said yes. We got the word, he said, yes, he's in. And then he read the scene. And three hours later it was, "He needs to talk to the director before he'll agree to do this." And we actually... That was our problem with this scene is how do we explain that the scene of two naked people rubbing butts on each other for a happy ending massage, that this will be funny and not crazy and weird and something you'll regret doing. So, I think Kumail was actually in Greece with his wife on a vacation. Like, the first vacation they had had in a couple years. And he took a break from it to Skype-call me. I was in Hawaii, prepping. And he was just like, "Listen, man, I just got to know. "What are we gonna be showing here? And what kind of scene?" Like, "I'd love to do it, but are you gonna screw me on this?" Basically, he was saying, "Are you gonna screw me on this?" And I showed him some storyboards I had made up for this scene that had some of the crazy positions they were in. And I just sent him a picture of one or two of those. Said, "This is what I'm thinking." And he instantly was like, "Oh, I get it. It's a full comedy scene. "It's full weird-position comedy scene. I'm in." And then, also, three weeks later he shows up buff as hell. I did not know he was packing muscles like that. And he said he was worried about doing the nude scene. So he started hitting the weights even more. I mean, we're alone. How's Mike? Um, this scene we shot in an actual sauna. We did almost no set work on this entire movie. Everything was real, which is great for the production value of the background of Hawaii. But, God, this was a tight, this was maybe an 8'x6' sauna that we just actually shot in. So it was real tight to get in here and try to get these shots. And obviously, this scene, even from the early stage of the script, this was kind of the question of like, "And, uh, are we keeping the sauna scene in the movie? "What do you think of the sauna scene?" That was always the biggest question about this movie, is that, "Do you think this is the kind of movie "that keeps the sauna scene or loses it?" And I always thought you kept it. Originally in the script, cousin Terry was a man. It was a man. And we came upon the idea, someone had suggested during the prep of this movie, of, "What if you make it a woman?" And it's kind of a woman who's really forward and kind of almost a predator-ish, just a bisexual. It's not that she's straight, it's not that she's gay. It's just that she is down for anything, is her vibe. And so we decided to... We changed the role maybe a week or two out from production. Changed that role to a woman. Which I think adds a fun layer that you haven't really seen before in a movie. I love these little cut-ins here on Mike's face here and the sound she's making. Mike, I'm coming. - No! Oh, my God! I think that was, we were on set. And besides Adam screaming, we just said, "What's the worst thing that could happen "If you've already walked in and see your sister in the middle of a happy ending? "What's the worst possible thing that the sister could say to you?" And the answer was, just looking you dead in the eyes and saying, "Mike, I'm coming." And that's where that came from on the day, I believe. Terry! Poor Mike, just falling apart here. Shut the fuck up, Mike. Ugh. From one to the next. Cannot handle it. I'm gonna kick your ass. Adam Devine at 100% again, wonderfully. Poor, poor Mike. Mike's... This is where, I think, actually, you go from Mike being like an overly sex-crazed, like, "Who is this guy," to like, "I actually start to feel a little bad for him here." Here and in the next scene in the lobby with Tatiana. Um... God, so funny. And here we go. Back to Kumail again. Kumail is great. Kumail and Sugar were great together here. Just playful. And it was so fun having Kumail in to shoot because we would do the scene and then he would just come over to me and Say, "Hey, what other jokes do you want to try? "What should we... Should we try this, should we try that?" And he was so fun and great about just, "Let's keep thinking. "What else could be fun here? "What other jokes should we try?" And we would just sit on the side of the set for five, 10 minutes before each setup and just come up with more stuff for them to play with. And this is a perfect example of Kumail. You could develop cancer. Going off on his own, "Develop cancer." It's great. Um... Wait, you did that? These two. It's so funny. And that was another thing in the script is that we had to try to balance, and it's interesting. You'll see in the deleted scenes, there's a lot of scenes that got cut. But it was making this a true four-hander and balancing Alice and Tatiana and Mike and Dave throughout this movie, and having four leads is like... We shot a lot of stuff to make sure we could put it together in different ways. 'Cause when you're trying to balance that many people, I just wanted to make sure we didn't get back to the edit room and go like, "Oh, we wish we had this." Or, "We need this moment." And in truth, we had so much. We had too much stuff that we couldn't fit it all. The movie would have been two-and-a-half hours long. And I kind of think you don't want it to go that long if you're doing a comedy. You want to get people in the theater. Make them laugh. Make the story work. Feel for the characters a little bit. Send them on their way. But I think there's a lot of deleted scenes and extra jokes and bits on this that we put on the disc here. God, this, the banyan trees, by the way, so pretty to shoot in. And this is one of those scenes, these emotional connection scenes that I remember shooting and going, "You know what? We'll probably cut this way down in post "because we've got so much crazy, funny stuff going on. "We'll probably want to get back fo it." And the opposite is true. We got into the edit room, and you put this together and it's like, "Yeah." What a great reminder to check back in with the characters and where they are and what they want out of things. And we just were like, "What else do we have? What other lines did we try? "Let's put everything in this scene." Um, and it's so nice to take a break for a second with these two. And just re-establish the stakes and where we are. And I think it helps. I think those scenes with Anna and Zac in the movie help drive the whole movie and help reset for the comedy in the next scenes after that. And that was... Yeah, that was fun to see working as we put it together. Yeah, I'm totally overreacting. God, this is another, one of the ones from the first time I read the script. Tatiana's little run here about what she did and what it's like. lt was one of those things in the script where it was like, "Yeah, we got to do this in the movie. I haven't seen this scene before." It's just like Tinder. We did, we probably tried about 50 different things that we made poor Aubrey do and describe here before we got it down to three things for the movie. ...contracting them. Are you deliberately trying to hurt me? Is that what you're doing? What? No! I was just trying to get RiRi tickets... to make my best friend feel better, okay? We're on vacay. By the way, Adam Devine. Have we talked about him yet? What a great dude. We were lucky on this movie. Literally, everyone we... I'm so happy with our cast. Not only our main cast, our main four, but our secondary cast. I mean, just literally couldn't have asked for a better group of people. Not only with how funny and talented they are, but just great dudes. I didn't really know Adam very much before this movie. We had met a couple times about various things that we never really worked together. And then, I mean, when we first met about this movie, he was like, "I feel like I am Mike. "Like I know how to do this role more than any other role I've read." And I think he was right. He just really put everything into it. And always, he was always the best about, "Do we need another take? "Do you want me to try this?" He'll do it. No complaints. Always full of energy. And so funny, man. God, I just want fo... Hey, Jake. You coughed a second ago. ls there a bug in the room? Not that I know of. Did I cough? So you didn't choke on a bug? Made it up. All of it. No. What do you mean? I don't think I did. Why? Has that happened? You just coughed and it sounded like... I just assumed you choked on a bug. Well, I don't think that's a reasonable assumption, Margie. I mean, unless you know something I don't about the bugs in this room. I don't think I choked on a bug. That's the thing about a sound booth. It's always bugged. Oh, come on, man. Is that a pun? ls that what you're doing? Did you just try to put a joke on the DVD commentary? I don't... That was just a fact. I don't joke. I don't understand humor. Mmm-hmm. - So, I don't... Is that what you do when you work in the booth for this long? Do you just sit on something like that for, like, 10 years and just Say, "One of these days I'm gonna put the bug joke in. "I'm just gonna hit the mic button and pop on in"? Um, I will be telling my family and friends about this commentary and the fact that I'm a part of it, if that's okay. - Oh, my God. Yeah, I guess. I mean, I think that's clearly what's going on here. You lied? By the way, I think there is a way to stop and go back and rerecord sections. I know earlier you told... I mean, it's too late now. We're an hour into the movie. But I think... Yeah, there's no way we can go back now. There was a couple points at the beginning where we could've. We could've, right? I knew it. We're too deep, we're in too deep, as they Say. Well, for the first time, I agree with you. This is just what it is by this point. And I've got way too busy of a day to redo this. So it is what it is. You got any thoughts on this scene here? "Love hurts." How did they get up in that tree? "Love wounds..." We just had... We just stepped them. We had a ladder. They just crawled up in the tree. Climbing trees is dangerous. I don't have children, but if I did, I would say, "Please, avoid climbing trees because when you fall you could hurt yourself." I mean, I guess in a way that's reasonable. But, also, kids love climbing. I mean, you got to climb a tree. Kids love climbing trees. You got to let your kids climb trees. Well, I'll never have children anyway, so it doesn't matter. That's not... I don't want to open that door with you, Margie. I'd actually love to talk about it if you are... Yeah, no, I had a feeling you might. And I don't, let's not make that... Let's do that... That's another disc, okay? I just, I'm not sure if I'm firm on that decision to not have kids, or if I should consider... Should I freeze my eggs? A clear line in the sand. Well, all 1 can say is I would support you if you did. l'm gonna support anyone who wants to take that route. And it's a decision you got to make for you. All right, but let's really not go farther than that into this discussion. If/ freeze my eggs, will you go in on it with me? They're liars! No, I won't go in on it with you. It costs a lot of money to do that. /'m sure it does. But that's not my problem, Margie. I mean, you can decide to freeze those eggs or not, that's up... You said you'd support me, though. You got... I know you work, Margie. I know you work. I'm looking at you do your job right now. If you want to save up... Well, no... I mean, how much do you need? Uh... Tatiana was jerking off our cousin Terry. Are you crying? Cousin Terry has a dick? No. It's hard to see you through the glass. /'m fine. Let's just... - Oh, my God, I'm so sorry. We can talk about it later. Listen, if you need help, let's talk. No, no, no. I'm fine, I'm fine, I'm fine. I can't do that, David. Oh, boy. What? I mean, just... I just had a kid. And I love having a kid. And I get it if you need... I mean... I would love to know what that feels like. She really had to pee? Anyway it's... Let's talk... Let's seriously... Let's, you and me, let's talk afterwards. /... Okay. - Okay. That'd be great. I can't believe what's happening here. I do want to remind you, though, about the heavy breathing. Thank you, thank you. Appreciate that. I'm gonna walk in on Mom... I ama heavy breather. I'm kind of worried about breathing heavily in this thing. Careful, when you scratch your face it brushes the mic and then it fucks me up. But have you seen this Push Pop scene? I forgot to talk about this Push Pop scene. Um, love the... Zac went full Brad Pitt in Se7en here. He did a full what's-in-the-box on what's-the-Push-Pop. Also, a little thank you to my good friend, Lauryn Kahn. A hilarious writer who I know from back when I started at Funny Or Die, and she started at Gary Sanchez Productions, who we're out of the same office. And we've been friends ever since that website launched. And she was one of our on-set writers. She came out for two or three weeks pitching jokes. And, um, she pitched that phrase Push Pop. I think, initially, we had a different phrase in there and she's like, "Let's try 'Push Pop." It was great. You're out of control! By the way, we cut right out of this shot before Tatiana's about to throw a drink in Becky's lap. Which you can see all about it on the deleted scenes. There's a really funny runner of Tatiana continues to throw her champagne glass into Becky's lap and make it seem like she peed her pants. And that was one of the things I hated losing in this movie as we got it down to time. It was a really funny runner throughout the movie. Talk about the centipedes. Oh, there were centipedes that... Yes, I forgot. We shot... We're back at the banyan trees here, shooting at night. We shot for three nights out here. Like The Truman Show. And centipedes were falling from the tree on all the crew and actors. And they were the biggest centipedes you've ever seen. They were six, seven inches long, a centimeter thick. They were nightmare centipedes. And apparently what had happened was, people were so worried about how many bugs there were gonna be in the forest at night that they had sprayed for mosquitos the day before we shooted. And it... "Before we shooted," before we shot. And it got rid of a lot of all the mosquitoes and small bugs. But apparently it just kind of slowly stunned the centipedes 'cause they were so much bigger than the other bugs that it didn't kill them. And so, six hours later after they sprayed as it was shooting, the centipedes finally started dropping from the trees in a daze 'cause they couldn't hold on to the branches anymore. And it was raining centipedes as we shot. That is terrifying and the stuff of nightmares. And it is true. That is absolutely what happened. And then one of the crew guys took one of the centipedes and put it into a cup. And started walking around showing it to everyone while it would crawl in and out of the cup on his hand. Ugh! Did you guys eat them? No, no one ate them. That would be... You could, though. If you were trapped, that's exactly what you would eat for the protein. I would eat them without being trapped. What, why? What? Why on Earth would you do that? Well, if you want... Can we have that conversation about freezing my eggs again? I'd like to... I think we should wait. And honestly, not even for me or the commentary's sake at this point. I think for you we should wait till after this. Well, you're the director. I deserve to have a little fun. What is that? Is that... Are you mad at me? Do you agree with me? I have no idea now, Margie. This is gonna be so much fun! I just... Yeah, this is... It's gotten out of control. I apologize. I feel like I'm... I'm sorry. I feel like this is too much. It's... No, no, no. - It's... You're... You're fine. Please, don't. This is how we do it, baby. Come on. Let's just try to get through this commentary. Absolutely. Let's both do our jobs here. Right? - Absolutely, let's do that. We'll just get this thing done. - Please, Iet's do that. Um, You love that movie. We were shooting on... How's it a bad idea if you love the movie? We were shooting on a prime lens here. Probably about 40 millimeters. Oh, my God, commentaries are So... -... boring. - And we were... It's, like, what is this? - Margie. /'m just... You're talking about... -... hearing him and sitting in here. I'm listening to this guy... - Can she hear me? ...ramble on about things he thinks about. Oh, my... Do you know you put the mic on? - It's just, when... What the fuck are... What... What am I even... What is my life? She doesn't even know she put the mic on. - What is my life? I just can't believe it. I can't believe... It's just a waste of his time and my time and everybody's time. Jesus. This makes me feel really shitty about the commentary. Oh, shit. Yeah, you got the... Your elbow"s on the button! What's that? Your elbow"s on the mic button. - Did you... Hello, everyone. Oh, no, I know, I wanted that. Um, I'm just gonna adjust a couple of levels. And I'll be right back. They're two of the sweetest... Where'd she go? She's running out of the booth. All right. Our first soeaker tonight... Where... Oh, my God. Well, God, I don't know what she's doing or where she went. Fricking Margie. My eyes are dry. Just give it to me. Uh, all right, listen, let's... I'm sorry. Uh, let's get back into this. "...my speech." Doing a little Chris Rock here. God, I'm sorry. I'm just thinking about, I don't know what's going on with her right now. She's talking about these eggs. She's talking about how boring commentaries are. I don't think she's happy. I don't know where she went. I'm starting to get a little scared. I feel like I should try to lock the door to this room. I don't know what's going on. Um... Why aren't you on my side, Dave? All right. Let's talk about, let's talk about this movie again right here. Fucking Zac Efron bringing it strong and hard right here. Boom. We thought this was so funny of Zac being such a good actor and just straight up yelling as seriously as he could, "I'm gonna draw. Like an artist." We even used that phrase. By the way, Lavell, our Keith. I haven't had a chance to talk about Lavell yet. So funny. Such a funny guy. Loved him on Breaking Bad. And we were able to steal him out. And, God, there's another... There's a great whole runner with him that got cut that's on the DVD that in every scene he just talks about how he's on vacation and he still hasn't been in the pool yet. That he's living in paradise and he just wants to get in that pool. But he's been so busy getting the wedding ready. That couldn't make it on. But, man, he was so funny. Um... The mics are on! - You're just fucking pissed off... Here we go, guys. ... because Tatiana finger diddled Terry. There it is! By the way, great pitch coming up here from Mary Holland who a little later here, where I was like, "If you have any ideas for this scene let me know." I told all the actors on this movie, "Anything you want to try or any ideas you have, "or jokes you want to pitch, let me know." I'm always down to try stuff 'cause that's how I run it and I want them to try things I say, so if they got things, let's try it. And that's why Mary's holding that champagne glass there. When she snaps it and breaks it in her hand, that was her pitch. That just, she said, "Can I please, please, have a glass "that I just shatter in shock and ruin my hand with?" And I said, "Absolutely. Call props." Said, "Please get breakable champagne glasses for her." And we did it. There we go. Love it, love it. And we actually had to remove it from her hand, digitally, in the next shot 'cause we're using a take where she hadn't broken it yet behind Eric there. And so, then, uh, we digitally removed it from the shot after she breaks it. They got so... This was one of those nights where it was raining. Kind of every 25 minutes we'd have to break while it rained for five minutes. And it was very hot and very humid. And Zac and Adam doing that fight was really hard on them, actually. And they got so sweaty by the end of it when they were lifting each other up. I think Adam literally almost hyperventilated at one point. When we finally cut for lunch there, um... Adam just stripped off every piece, Stripped all the way down to his underwear. Took the suit off, took the shoes off, took the socks off. He was just so hot and the air was so thick and humid that he was having trouble breathing after that. It's 'cause these guys give it their all. They're pros. By the way, you will notice that we are doing night scenes here. And we shot so many nights. It's actually rare for a comedy. I think we shot three or four weeks of nights on this movie. And it's tough. You do one week in the day then you got to switch your clock and get up where you're shooting from 8:00 p.m. to 8:00 a.m. all day. And we were also shooting in Hawaii in the summer. Which meant the days were really long and the nights were short. And it can really mess with your schedule and the actors' schedule getting used to shooting all through the night for weeks at a time. They usually don't do it that much on a comedy. I think we shot a lot of nights for a comedy. Drama you might see it. People just change their schedules. They're up all night for a month while they're shooting. And I think we started doing, or at least once we did, we had nightcap drinks after shooting.

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Hutch here. Last night, that was you, huh? And then here, we got a great phone call with RZA calling his brother from who knows where and... I think, originally, he was supposed to be on an island. That's what we had in one of the lines. But then we kind of thought, "Well, how does he get there from an island so quick?" So it was changed to a nondescript location. I always like how you step into the shadow when you take this call. Yeah. - Hopetully it's not too on the nose, but I kind of like that the family's light in the back, and then here you are in a little bit of darkness. And he mentions The Barber. - The Barber. And that was not what he said in the original script. No. This is where... So this is act two and act two was very, very different. And I don't know how much in detail we should go, 'cause there's a lot of them. But the idea is that now Hutch gets the call, gets the message to go see The Barber, gets the message to go see The Barber, he gets the phone message, a text message, he goes, and basically what we used to have Is... What we have now is a compact montage of a much bigger act two than we originally had shot and envisioned, which makes the film much, much better. And that was something that David Leitch set down with Evan Schiff, our second editor. I finished... This is right as Corona was hitting the US, and we all had to go home, and I flew home. And David spent time working with Evan over Zoom to put the sequence together. By the way, if you pay close attention to the clothes on Hutch's character, you'll see that it's very lucky that he's always wearing blue. And may I say the reason why you're wearing blue, Bob? Yeah. So, early in preproduction Bob said that, "Guys, I think we should get some blue stuff on me." I'm like, "Why?" He's like, "Well..." I think you said your mother saw you wearing blue... - In the Spielberg film The Post. She saw The Post, she liked it. And she goes, "Your eyes aren't that blue." And I go, "Actually, yes, they are. They pop blue more if I wear blue." You see the blue in my eyes if I wear blue. They're kind of a blue-green, I think. SO anyway... So your mother... We have to thank your mother for putting us in this direction because it saved us in the cut. She will not be seeing this movie. Really? - No. Can we do a cut-down version without... She's 84 and does not watch violent films at all. ...to the tune of eight and nine figures. Anything good? - Fuck if I know. But what I do know is, if he doesn't know who you are yet, he will soon. Now, Colin is amazing. Colin Salmon. Oh, my God, what a great actor. And there's your wife. That's not much. There's my wife. Ten-year anniversary today. Dasha. - That's right. She's a filmmaker herself. - She is now. I have competition in my own household. Good luck with that. - Yeah. I have the same situation. My wife is a manager, but also a producer and a creative, and it's great. You gotta figure it out. It might take you awhile. Now, you guys have 10 years, so you're probably doing pretty good. We're all right. - But it can be hard. Yep. What the fuck? This guy's like, "Wait. Some of these pictures are me. "Who's got them?" - This is J.P. Manoux. He was actually... Bob, he was the second person cast in this film. Obviously, you were first and J.P. was the second. Well, he's great. He's freaked out, working at the Pentagon, and Colin's telling me who Yulian is, and who I've just gotten myself involved with, and about the Obshak. And how Yulian's men are overseeing the Obshak, which is obviously something that's causing him a great deal of stress, but also, he takes a certain amount of pride in protecting it. Goddamn Obshak. He's kind of like, I think, the... Not kind of... For me, the goal was to have Hutch be the quiet guy that's hiding a storm inside himself. Whereas Yulian is living the storm but doesn't really want to. Yeah. - So their trajectories are clashing. There's not a goddamn thing about Hutch in all the documents he can find. It's all blacked out, except for some awesome pictures of the people he's killed. And Dasha decides, "Fuck this. I'm not part of this." And now he realizes what he already knew because that character's smart. My brother tangled with a bad guy. I

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and for the tank to drive over. So it helped us with the HOD to discuss what we needed for each shot. And everyone was able to weigh in. And we had Zoom meeting over Zoom meeting of HOD meetings to talk about each of these shots. How much mud? Is this a real knife? Is this not a real knife? And to define it. And that helped, first of all, everyone to know what was coming. And for me, at the same time,

1:21:49 · jump to transcript →

Tim Burton

Zoom to find all these. So the whole thing is full of things, but nothing that comes up to mind. The shrinkers escaping the afterlife. Again, these are the things that nobody really knows or cares about. But the interesting challenge, and this is the things that maybe slow things down, is, like, they can't see out, you know? It's literally like the old Halloween costume, like, here, put a head on your shoulders and run around.

1:08:49 · jump to transcript →