Location & scouting

as another director to honor the franchise, but also evaluating and looking at your lens choices, looking at how the locations that you chose throughout the picture, I thought were absolutely perfect. But when you talk about length and design of even the rooms, look at the width of these rooms, the length of them, and the lenses that you chose to shoot this.

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Which we dreamed of being five minutes, but we just kept putting other ideas in. Yes, exactly. We kept going and going. Yes. Well, believe me, we want to be as abrupt as we can. How long before the credits go? Originally, it was 20 minutes before the credits. And so we were looking for other moves. The Departed was slightly longer than ours, and we felt justified. Oh, that's good. Yes. Die Hard. Die Hard. Yeah, it's fine. They all did it. And this location, this scene, to your credit, this scene, we shot it.

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We went to this location multiple times because of technical issues. And we were able to cut this scene together. You remember? Yes. Because of the ankle break we'll get to. And you were able to watch the scene and you said, I'm not feeling the team. This banter wasn't at the beginning of the scene. We played it all for suspense and all for speed. We were just trying to get into the story as quickly as we could. And we violated our rule. Which was, you cannot assume that the viewer has seen another Mission Impossible.

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The whole process, from start to finish, operates under an airtight security system, is used twice, first when we see the workers drilling in the mine, and again when the first patient leaves the dentist's office. Though they take place in South Africa, these scenes of the dentist's office and the following scene in the desert were among the first filmed on location in Nevada. Finding the proper villains to oppose Bond is always a challenge,

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be a great danger to Bond. It was an effort to get interesting villains because Bond is as good as his villains. Would you mind having a look, Doctor? Co-screenwriter Tom Mankiewicz recalls being on location with Potter Smith.

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Coincidentally, Guy Hamilton also worked on the third man as an assistant director. For the climactic chase through the sewers, Hamilton doubled Orson Welles. When the actor's shadow appears on the walls, it is really Guy Hamilton. Now Tom Mankiewicz recalls this scene which was shot on location in Dover. This fellow here, Mr. Franks, is a stuntman, a British stuntman with whom Sean's going to have a terrific fight. And since we didn't have a scene in M's office,

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The weather was warm, actually. The day we arrived, we did our location scout. The weather was unusually mild for January. And anyhow, we did our location scout, selected locations, and the night before we started shooting, it started to snow. And as we went into dark, it started to snow heavy. I thought, oh, this is going to screw us up. But I woke up the next morning in the dark and looked out and could see the...

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in Santa Monica, and you don't see that much of it, but the little bits that you do, it serves the scene well. You know, in the end, you know, 90% of the scene is about, you know, a two-shot and two singles, yeah? So what you're doing, you're really looking for a situation in which you can light your actors and service their performance rather than, you know, them servicing the look of a location or a set. In the end, this particular scene...

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outside Christian's apartment, and let's play the scene on the catwalk underneath the billboard, and I think it just again gave it just a fresh twist. This scene was a particularly tough scene because it was night shooting in, I think, in February in L.A., and it's not as cold as Detroit, but it's still pretty cold, and night shoots are miserable anyhow, and it was a tough emotional scene for Patricia to get into. You know, she... I wanted her to peek here. This is one of her...

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Francis Lawrence

Red Sparrow was a novel by Jason Matthews, and it was sent to me by Fox as I was finishing working on the Hunger Games movies. I think we were actually in post-production on the final Mockingjay, and had actually started to promote the final Mockingjay film when the book landed on my desk. I took a look at it and immediately fell in love with it. I've always loved spy movies. And this spy story I thought was quite unique. It's by far I think the most genre-specific story that I've ever done. But I just found the character of Dominika, as you can see here, played by Jen Lawrence, to be quite a unique and unlikely hero, and a really unique way in to a spy Story. It becomes a much more personal spy story with her in the lead. I actually, even while reading the book, Started to think of Jen immediately for the part. You know, she and I had done three Hunger Games films together over the course of five years. I thought she was a fantastic actress, and we had a great time working together. So I thought it would be fun to find something new to do together. And specifically, because we had done this... We'd been working together with the same character over the course of five years it would be really fun to do something totally different, use different muscles. And I thought she could also look Russian, but thought it would be fun for her to look different and speak differently and move differently, and push herself into new territory. So when I had read the book, and I was gonna go pitch the studio, I actually called her first, and said, "Hey, hypothetically, would you be into doing a Story like this?" And she said yes, and, you know, I just pitched it very briefly. And then made my pitch to Fox about my approach in the story, which was to make Dominika the kind of heart and soul of the story, and to follow her story, and I had a couple of tweaks that I wanted to do to the last act of the book. And also spoke a lot about the tone, and the kind of hard-R quality that the movie... I thought the movie was gonna need. And everybody agreed. We got cracking, and I went to work with Justin Haythe, who is a writer that I've known for a long time, and we had developed something together before that had never been made. But we had a great time working together. And he also saw eye to eye with me in terms of the tone and the point of view of the story. And so we got working and it came together really quickly. So that by the time we had finished and released the final Mockingjay film in the Hunger Games series, we were pretty ready to go, and we were almost ready to start prepping this. We ended up bringing a bunch of people from the Hunger Games film with us. Jo Willems, the cinematographer that did my three films came with us, and our camera operator, who's worked with me since I Am Legend, and has also done numerous other films with Jen, 'cause he does the David O. Russell movies, came with us, and Trish Summerville, who did costumes. The new big addition for me, in terms of crew here, is Maria Djurkovic, the production designer. She had done Tinker Tailor and many other great films, and I just really enjoyed her work. And we really bonded over the references that we had found, and the kind of color palette that we both thought that the movie should follow. And she joined us, and we shot the film in Budapest. And primarily all practical locations. Some little set builds within locations, but primarily all practical locations.

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Francis Lawrence

One of the fun things for me about this whole sequence is the intercut. I just thought that it could be a great introduction to the two characters and to the two worlds. And one of the things that I played with throughout the sequence is screen direction. So if you notice even from the very beginning, I typically have Jennifer facing left to right, and Joel facing right to left, as you can see here. It was a trick that I learned. I remember watching old Hitchcock movies, and watching Strangers on a Train, and there's... In the opening sequence, you see the two men who are moving toward one another, and eventually gonna meet. And it's something that I've employed a lot, I think, that screen direction is actually a huge benefit in storytelling. But especially in a sequence like this where you feel like these two characters are gonna end up on a collision course with one another, that narratively, you know that at some point, that they're gonna come together. American! Most of this ballet sequence here was shot in the Budapest opera house. And we had support of the Budapest opera, and the Budapest ballet company. And most of the other dancers there are all dancers with the Budapest company, and from a variety of places. There's some Americans, actually, and some Hungarians. Great group of people. And there was our nice leg break, one of the first specific, kind of, tonal hits in the movie. It was something I wanted to do with the movie, was to not hold back too much in terms of some of the shock, and audacity of some of the moments that take place within the story. And so to see the real damage done to her leg there... I just remember seeing, you know, there's been sports injuries over the years. And not too long before we shot this, there was a French athlete in some, I want to say some Olympic games or something, who had done some vaulting, and just kind of landed slightly wrong and bent his leg at this really horrible angle. And it was really difficult to look at, but we basically modeled the bend in her leg based on the images of this French Olympian. Word is they were vice cops, looking for Chechen dealers... or some family guy getting a blow job in the bushes. They weren't there for Marble. They just got lucky. Chances are they would have questioned you, and let you go. You can see here, one of our really cool locations. Maria, my production designer, was just really fantastic at looking for locations and scouting. And I think she had gone out to Budapest a few months before me. And we had also hired Klaus, who was our location manager for the Berlin portion of the Hunger Games films, and we liked him a lot. And he was nearby, and so he came down to Budapest and they worked together, and they found these fantastic places. These old abandoned hospitals, where the surgery Is, and where she's about to wake up, was this old, abandoned maternity hospital. And this fantastic space is part of a library in the seventh district of Budapest. Undercover narcotics agents saw what they thought... was a drug deal in process. You can see outside of Jen, too, that we really put together a fantastic cast for this movie. Jeremy Irons, who's an icon and a fantastic guy, and I think one of the best actors to have ever existed, was my first choice to play Korchnoi. And luckily he said yes. And Matthias, we brought in. I'd been a fan of his since seeing him in Bullhead and Rust and Bone and things like that. And he's so versatile. But he became a choice when we actually decided to skew the age of Dominika's uncle down a little bit. I wanted to add a little bit of creepiness to their relationship. And so the idea that, you know, maybe her father had a much younger brother, so that, as she was growing up, there was this, you know, charming, handsome, much younger uncle, you know, somebody that she might have even been attracted to, and he might have been attracted to her, was something that I wanted to play with in the course of this. And I thought he was just perfect for it. He's such a fantastic actor.

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Francis Lawrence

This moment here was also another piece that we kind of debated, this phone call. This is something that's quite easily lifted, and she could just go home after having seen the blood on her hands. But this idea that she could do something so violent in the steam room, but then have this moment of conscience and call the action in was very important. And then we have this moment here of finding her mother, which was the moment where she knows that the ballet company that's been supporting her has kind of pulled the plug on any money and any help for her mother, and she is gonna have to go and find help from her uncle. I'm going to take care of us. So one of the fun things about this job and in terms of the world-building, was finding all the various kinds of architecture that exist in this world. And this place here was actually in Bratislava. So we went on a search. We shot primarily in Budapest, but we also shot in Bratislava, which is in Slovakia, and Vienna, and London. And we went on a big search for buildings and sites that could feel like Moscow or places near Moscow. And Maria, the production designer, had found these great Brutalist buildings in Bratislava, including this one, which we decided would be perfect for Matthias's character's office building. Just a big monolithic, very Stark, stark building. The problem here was actually... We shot this scene very, very quickly, even though there's a lot of dialogue, because it gets front-lit quite quickly after about 7:00, 7:30 in the morning. This is near the end of our schedule on the movie. And so we Set this up at sunrise and dawn, with multiple cameras, and shot the whole scene within about 45 minutes, I think, 'cause otherwise, if the sun came up, it was gonna be really unflattering, and it wasn't gonna feel as bitingly cold as we wanted it to. Do this for your mother, Dominika. He has dinner at the Hotel Andarja every Friday at 9:00. A car will arrive at your apartment to bring you to the hotel. Now, you carry nothing with you. We will arrange a room and something for you to wear. This is back in Budapest, shooting in a hotel in downtown Budapest. We were originally modeling the idea of this hotel in Moscow, with the Metropole. Which is a classic, really upscale hotel that's been around fora really long time in Moscow. And then we, kind of, ended up going in our own direction. We searched, you know, in London for hotels, searched all over Budapest for hotels, and we pieced together various things, and we used the exterior of a hotel in Budapest, and we ended up using a room... This room is part of an abandoned building in Budapest. And Maria built that bathroom attached to the room in that abandoned building, and just did a great job. She brought in these great Italian scenics to create all that fake marble. It's actually just wood that's been painted, but just looks unbelievable.

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It's sort of the one place we could find with all these jagged rocks and mountain peaks. Because the Emmen Muell scene is something that I love in the book as well, the idea of just walking around this misshrouded mountainous countryside and getting lost, going around in circles. Let's face it, Mr Frodo, we're lost. And the wider shots were shot about two years earlier, weren't they? Well, the wide shots were done in the original shoot, yeah, the wide location shots and the close-ups that we're looking at now

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were again part of the pickups that we did. And this sort of shows you what pickups can be like, where you're inserting a couple of new lines of dialogue into a scene you've already shot before. We just did these in the studio. That's a studio shot. That's a studio shot. And now we're back on location again, just... Two years earlier. Yeah, two years ago. Just coming up about...

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Now we're back on location shot. Two years apart. What food have we got left? Well, let me see. Oh, yes, lovely. Lambus bread. The lambus bread is a funny little thing, too, because the lambus bread was introduced in the Fellowship extended cut, but it was in a theatrical version of The Two Towers, so unless you knew something of Tolkien or had watched the DVD, you wouldn't have a clue what this stuff was, but, you know, too bad.

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a character we don't really know, we have to talk about the fact that he's leaving and there's something strange going on. And just the concept of setting all that stuff up was a little bit tricky. We didn't want to be too dark and too ominous too early because there's so much of that in the film. We wanted to show Frodo, especially this, part of what we're trying to do here is show this young boy who has a very carefree life. We worked quite hard to do that. Hobbiton is a location in Matamata

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All of our Hobbit extras were gathered from the local farming community at Matamata. We just looked for the best Hobbit faces we could. Because we knew kind of what Hobbits should look like. They had to be slightly short and squat and have large eyes and round faces. A couple of those extras got married, did you know that? They met on set and got married. This shot shows the size of the location. It was literally a huge area of land, probably at least a mile wide.

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This is day one. He'd just come off X-Men, flown to New Zealand January 2000, and this was the very first scene that we shot. He really hadn't quite figured out Gandalf, but he was doing a pretty good job for his first day. The Ian Holm shots were actually done inside a studio from the location of Matamata, that's Ian McKellen, and then when you cut to Ian Holm, we're inside a studio. Andrew Lesney, our cinematographer, did a brilliant job of matching the indoors and outdoors. Now, some of the scale things

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And this, actually, this sequence is a great example of sort of my favorite thing about movies, which is just the magic of various locations. You know, this van stuff was shot, you know, at the Paramount lot. The exterior of, you know, the factory, for the most part, was shot in Fontana. This was an insert unit. This was in the back of the Paramount lot. You know, these shots here. That was at, that shot you just saw was in downtown L.A. Here we are back at, you know, the insert unit. Here we are back in Fontana.

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The use of multiple locations, you know, and often weeks and months apart, just I love the way it combines to sort of make one... Separate locations, yeah, and then... It's incredible. It takes a tremendous amount of...

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I did that. It was one of my three visual effects shots. You did three visual effects shots of this movie. I had those. I got an amazing tutorial from the people at ILM. They were so wonderful. So here's... So these are different locations. That's a second unit shot in Fontana. That was stuff downtown. This is... All this stuff here is downtown LA. This we shot... Yeah, this was downtown. Boom.

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it's understandable why there's not somehow 800 Predators there to fight her. Yeah, we actually had an even longer version of this with Predators loading facehugger tanks onto the scout ship in a loading bay, a big hangar bay and everything.

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So you get the interesting look to the optical distortion when he's cloaked. These here were a couple of these are green screenshots actually shot on a stage, and then we put in the matte paintings of the lake location. Right, and by the way, both the aliens and the predators went back to the original house that had done AVP1. Yep, and Alien 3 and Alien Resurrection. Yeah, Amalgamated Dynamics. And those guys were just kick-ass as well. I mean, Tom and Alec are like...

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A bit of trivia there, though, that he's actually hanging in the back of that shot. Here's one of the more tender scenes in the film. Yeah, I think it's the only tender scene in the whole movie. More like a tenderizer scene, getting ready for the slaughter. Exactly. Again, this was a practical location.

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Yeah, and the stunt here is interesting because the stunt coordinator, whose name is Charles Petroni, and this was the first time anyone had used this kind of technology, this repeller technology to come out of a helicopter. And Ken Bates actually won an Academy Award for using this. And the building we scouted in downtown LA was an old school, I believe. And it was the first time

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uh the film kind of chronologically and then we moved into stats so this was all on location and uh yeah i was there on on top of a building nearby watching waiting for the explosion wesley snipes was there his posse was there it was it was a long wait but it was worth it i can still remember have a sense memory of the heat the heat against my face it was a real explosion yeah i was too close i think i had 13

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a film actor at the time. And here, this is Rob Schneider, who I cast from Saturday Night Live. And this is one of the few actual practical locations in the film. So we found a kind of office campus in San Diego where we shot the police headquarters and built in a lot of the technology. I love the use of character actors delivering very silly dialogue, but they make it seem real.

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assemblage of people. This was a very challenging scene to shoot. It was our first day on stage after coming back from working on location. And it's a very challenging set to shoot in. And all the compositions are more or less the same. I love how you're introducing the geography with a big close-up of Carrie in the foreground. I love the way the camera inches around. Well, and that was the beginning of the visual language of our film. We didn't come to this movie with a specific sense of this is how we want to shoot it.

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And that was a challenge because this scene was broken up over so many locations because of... Love the reveal of the handcuffs there. It's beautiful directing. Thank you. Yeah. And then it's so satisfying here in the audience when she takes the paperclip because everyone's like, oh, she's got the paperclip. And I love the fact that it doesn't pay off for another 20 minutes. And that was really interesting. That was... Tom was really, really particular about...

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or of Rome rather, the streets of Rome, the cobblestones, everything's uneven. It creates a really particular energy to the camera. And what you're seeing is Rome is really, is really participating in the camera work here. You wouldn't get the same, quite the same energy. This was all shot in a backlog for the simple reason that if we tried to shoot it in Rome, it would have taken us a day just to install everything. And we only had two days on this location, on Imperiali.

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We were lucky here because this landscape on the slopes of Ruapehu actually had a fire, a forest fire. About six months before we were due to shoot there, it had all been burnt through with a blaze. And so we had this great landscape that was sort of ashy and volcanic looking, but it was actually the result of a fire had swept through and killed all the undergrowth. It's a great location for a World War I film, burnt trees and scorched land and yeah.

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A nice little sequence with Mary, who's Dom's on his knees, and that's Kieran, our scale double, kneeling down there. This was filmed, obviously, on our Everest location down in the South Island that we built and part of the original photography. It was a nod to the lovely relationship Ferdinand has with Mary in the book that we could never really develop properly because we didn't have time.

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This was another little pickup we did. Orlando and John Rhys-Davies were in New Zealand at different times and so we shot the Orlando piece with Brett, John's double on the back of the horse and then we shot the close-ups of John and we just shot them in front of a blue screen and we found an old shot from the South Island location that we'd done about three years earlier that served as a background plate for the shot with Orlando. It was actually filmed in the Wellington parking lot.

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It had to be built, and we stroked the set just a day before the station opened, and people were starting to ski again. So it's hard to believe it's a ski station, but that's what it is. But when we went there for prep, which was on a Friday, just to go look at the whole set and everything, there was no snow. And we were shooting on Monday, and we had to have snow there. Well, the thing is, we didn't seem to be able to get enough cash to get fake snow. No, we didn't. It's funny, because we didn't have the money to bring in fake snow. But then the thing is, once you're actually shooting in snow,

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It's also, I think, the only set that's remotely similar to the first movie. Everything else is quite different, although you kept the same tone at the end, and you made sure that those things fit together well, that the style was a little bit different, but this one was very much an attempt to recreate the first one. Because it was a safe house, and we go to safe houses in the other one. This was a location we shot at. It was underneath. It was some basement of a power plant, I think it was. But we had to bring the werewolf, though. He wasn't there when we got there.

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No, that was unfortunate. That was actually a mutant safe house that you guys used for this, right? That's right. Not a werewolf. And that's where the genius of Patrick came in, is turning a mutant. And didn't you guys, you had to bring everything down. It had a really narrow staircase. It was very narrow, very narrow. So, yes, it's a location, but it was dressed quite a bit, and there was some big piece of dressing elements. Then we had to close the entrance. Still, you know, it was great to find a place that sort of gave you what you wanted as a star, rather than having to build that, as you say.

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I think you would never believe that when this man was on location, away from the set, was a consummate piano player, raconteur, and a person that just took over the room. He was fantastic. Obviously, this side of him never came out in his screen roles. Throwing the gyroscopic controls of a guided missile off balance with a...

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Of course, it meant I couldn't go on location, because obviously I had to be there for eight shows a week. And that's how it came about, in a nutshell. Until the characters arrive in Dr. No's lair, much of what appears on screen was shot on location in Jamaica. Margaret LeWars recalls what Jamaica was like in the early 1960s. Jamaica in 1962 had just gained its independence.

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Location manager Chris Blackwell also remembers. Well, it was very uncluttered at that time. It didn't have any high-rise buildings. Ocho Rios was a fishing village. It was a tiny town. Port Maria at that time was a much, much more important town, and so was Aracabesa, a much more important town than Ocho Rios is today. There were quite a lot of very wealthy people, mainly from England, who had...

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Wes Anderson

I can provide one little bit of information here. We searched for a spa with a swimming pool, this kind of thermal spa. And there was one-- There were old ones in different regions, and we looked at one in Budapest, and we looked at one-- We looked at several in the Czech Republic. But it was almost like: "Oh, do we really wanna have to set aside the travel to this place, to do this, to do the scene? How are we gonna do it?" And then one day, while we were working on the preproduction of the movie, I just happened to see these two high, brick smokestacks about 300 meters from our main location. And I was-- "What is that?" And we went over on golf carts-- We had many golf carts that we used to travel around Görlitz. --and we found an abandoned thermal spa... with swimming pools and even a-- We actually ordered a blue bathtub from-- We borrowed one from Budapest, where we had seen these tubs, but we found an identical one upstairs in Görlitz. So one of them is one we'd gotten and one is from there. It just-- We had it-- - [Jones] An abandoned thermal spa. How much work did you have to do to bring it back to some kind of--?

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Jeff Goldblum

Yeah. Yeah, and especially on your set. You know, it's fun to be, you know, around you and the shooting and see everything that's going on. But, you know, I remember that it was different. We were all-- We were spread out, and we had big trailers. There were a bunch of big trailers when we were shooting, in contrast to Grand Budapest, where we were at that hotel, and it seems in my memory that everything was within walking distance, that we were shooting from the hotel, and we would hang out at the hotel a bit, but then when we, you know, were ready, we'd mostly hang out, you know, in this department store.

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Wes Anderson

There's Léa Seydoux, and this place, Schloss-- Well, we call it Schloss Lutz. This we shot-- I believe it was called Schloss Waldheim. This was not in Görlitz. This was another location where we filmed this.

23:54 · jump to transcript →

We scouted. We had a few days to figure this out. Yes, well, we knew we had this airplane sequence, and we knew we had this runway, and we saw pictures of the runway and thought, there's nothing there. How do we shoot a sequence? And Tom and I looked at each other and thought, well, this is what you have to work with. Let's make it work, and now let's make this about the space and about the vastness and the void.

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But they weren't balanced right, so we brought our own call boxes. And there's not many of them left. No, there's definitely not. I love that about London, these phone boxes. It really is part of a mission movie is celebrating the culture and architecture of each country we're in. And London is so beautiful, especially tonight. Beautiful. This is a scene in which we shot it twice, you remember? We shot it once on location and then went back and saved the booth, shot it again on the stage.

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It was just to get him off the train and to the opera house. And then you and I were, we scouted the location. You were like, it would be so much cooler if somebody just like walked up to Benji and I don't know, gave him an envelope. And you know, there was like an earpiece in it. And I was talking to him, you didn't see me. And I was like.

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Paul M. Sammon

Those are the contribution of one of the special effects guys on this film named Peter Curran. And basically those are hand-drawn acetate plates with India ink that were composited over the footage and then degraded. People always wonder, why is Robocop purple? I asked the same question when I first came down on location. I was in location on this film for at least nine months down in Houston with a wonderful crew.

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Paul M. Sammon

and a fake arm. And here we go into the new facility. This was an actual location. A lot of places in Houston we used real places. There was a studio, Houston Studios, where we built sets. But this was a, if I recall, it was an abandoned chemical plant. And here, of course, you see all of the Asians working there. And this is sort of a...

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Paul M. Sammon

And the robo team were a group of people who were on location the entire time who would suit up Peter Weller. Peter would lean in a leotard up against a slant board, and they would just pull on his pants, his robo pants, put on the center part, put on his shoulders, the back, the head, and you were done. This is my least favorite of the commercials. It is a little techno retro. Look at all these old phones.

19:58 · jump to transcript →

And this is the scene we had shot the day before. That was a very tough scene because we shot the scene actually in the medical ward of a wayside prison. And when you go in and you go out and you're surrounded by this prison environment and the prisoners are really everywhere, especially when I scouted the location. It was very creepy. And I think that whole notion of this... And it's a transitionary prison, so there's no clicks, there's no energy. This is all...

11:58 · jump to transcript →

Actually, that's why the Korean Friendship Bell here and also a lot of the other odd locations were meant to be very real locations, but also a little fantastical, sort of like a fantastical romp through L.A. People ask me, like, what do you compare the movie to, like other movies, and I would say The Wizard of Oz. That's my favorite because New York is like Kansas, and L.A. is sort of like the land of Oz, very colorful, even in this...

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And then Stephen Baldwin picks up, what, a Browning high-five? A Browning high-power. And this whole scene, we shot this entire thing one night, which was a very bad night. I remember we shot this until it was a 19-hour day. Our location manager quit. It was a very rough night.

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Part of the reason we didn't shoot this stuff in Egypt at the real locations is because this is in the 30s when this was supposed to take place. Everything looked different than it does now. Not everything, but now there are skyscrapers and Abu Simbel has been moved completely. They had to brick by brick take it apart and move it across the river. So we wanted it to look authentic. That and the fact that we were banned from Egypt for...

8:55 · jump to transcript →

That may have been another thing that came into play. I did get to go location scouting there several times, and some of the digital work is right out of Egypt, but we didn't get to spend a lot of time shooting there. This sequence used to go on a little bit longer. The trap that Freddy's character built, one of the three goons gets his hand caught in the trap, and it actually got a good laugh, but we wanted to keep the

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These exteriors were shot in a different location, which is typical of many things you do in movies. The interiors and exteriors are often not the same place. Funny thing is, this exterior, the interior of this old house... ...is the British Museum in both movies. And the exterior now is the O'Connell household. Now, by the way, it seems that...

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This is Catherine Bigelow. I'm the director of K-19. Jeff Kronoweth, the cinematographer on K-19. Jeff and I went to Russia about four months before we started shooting in the fall of 2000.

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and it was, even then, extremely cold. Yeah, actually, when I finally joined up with you guys, it was in January, the dead of winter, and one of the interesting things is that we actually had thoughts of shooting in Murmansk, where the Mothballed K-19 is

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Initially, when we started looking at locations in Moscow, I had a lot of reservation about what we'd find there and what the equipment would be like and what situations we'd find ourselves shooting in. And one of the first places we scouted, and it was actually the first shot of the film, the first shot that we shot of the film, was in the real Moscow, an operating subway.

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I want you to rest well, and a month from now, this Hollywood big shot's going to give you what you want. Too late. They start shooting in a week. You'll notice in this scene where he takes Johnny out the door that as they open the door, a lady who was an extra who was supposed to be walking by suddenly was shocked by the fact that now the scene was showing her, and she stands in the doorway and then backs up to get out of the way. I always see that when I see the film because I know she was...

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If you look very carefully here, you'll see that it's neither Bobby Duvall nor Jack Waltz, but two of my friends dressed up and walking around in this. We barely had a crew. We were a camera, and we went to some L.A. location, put a wig on one of my friends and a hat on the other. Now here in this scene, in the stable, this was shot in New York, so really the movie

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The Tattaglia family is behind him here in New York. Now, they have to be in it for something. How about his prison record? Two terms, one in Italy, one here. The scene of the meeting at the olive oil factory was shot on a real location in Little Italy, really right what is now Chinatown. And if you look up on that street, you can still see the painting. It says Genco Olive Oil.

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Roger Moore

I've been back to this location many, many times. So as I think back to... ... this sequence.... To drive across the Piazza San Marco, which was full of tourists... They weren't paid extras... ...and I said, "I have no way of letting them know I'm coming. You've got to put a horn in this car." I think it was a Ford car... ...underneath this construction. Well, a Ford engine. I said, "I must have a horn to let people move out of the way to turn. They've gotta hear some noise of the approach."

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Roger Moore

This was shot for real, on location... ...in a room of the Danieli Excelsior. Beautiful hotel. It was the first hotel I ever stayed when I went to Venice.

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Roger Moore

Bernie was a very multitalented actor. You know, musically as well. He was great fun to be with. He did like to drink. It made him laugh a lot and made him slur a little. But he was a wonderful, wonderful character to work with. And it seemed that it was always Geoffrey Keen's job... ...on location to keep an eye on him.

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But he was along the same lines as John. Kill the actors. We were shooting in a blizzard on top of the Corvash in Samoritz. The helicopter had to come down and my son Jeffrey was in the film. And a girl, I forget her name, we had to get in the helicopter. And he is teetering on the edge of this precipice.

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That was very pleasant. I like shooting in France, in the studios, because the French don't start till midday. And they don't have tea breaks. They just shoot from 12 till 7.30. And then you can go out to dinner. And you don't have to get up at six or five in the morning. And so Louis Gilbert, when we were working in Paris, would say, we'd be called, he'd say, I give Claude, director of photography,

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This is the most beautiful location, the Chateau Chantilly, which belongs, I believe, to Yaga Khan. The beautiful girl in riding clothes is Alison Dooty. She married a friend of mine.

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We want you to sabotage Goodchild's central surveillance facility. This location was at a veterinary university in Berlin and on their National Register of Historic Places, as is this location, which is the Sanssouci Park in Potsdam. Some great locations we got to shoot at. Each mission brings us closer to defeating the Goodchild regime.

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And this was the Mexican embassy in Berlin. She disappeared two months ago. Help me, please, miss. She disappeared two months ago. And this is actually a set. Part of it we did film on an actual location in Berlin. And I think it's seamless, the way that it moves from the actual location to the set. Mm-hmm.

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It was actually, I think, below freezing. It was so cold. And everyone who was on the rooftop had to, because it was so icy, there was a lot of removal of safety wires. Not that it affected the action, but just to make it a safe location.

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Nothing gets the blood pumping quite like that David Shire music. Welcome to The Taking of Pelham 1, 2, 3 from 1974. My name is Nathaniel Thompson from Mondo Digital. Joining me today is my frequent fellow commentator and much more importantly, extreme New York City locations junkie, Steve Mitchell. Hi, Steve. Nathaniel. Yeah, this is one of those movies where my being from New York and having grown up in New York

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But as far as I can tell, I think this plays it pretty realistically location-wise. Would that be correct? Yeah, it's completely correct. Basically, the movie starts on Lexington Avenue at 59th Street when Martin Balsam is going into the station. And the famous department store Bloomingdale's is right across the way. And then as the train progresses downtown, they're dealing with the stations. And the stations themselves, again, are in Brooklyn. But the geography of the picture...

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making it impossible to shoot until it had settled. And you don't have to be in the tunnels to know that there is this sort of crazy, greasy sort of dirt dust that lies across the floor. While I love watching this movie and I love every moment, I love every location, I have to believe that it wasn't terribly easy working in those tunnels. And Walter Matthau, who only had one scene in the tunnel said,

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