Location & scouting

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.

16:18 · jump to transcript →

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...

50:03 · jump to transcript →

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.

57:45 · jump to transcript →

You can't photograph drizzle unless it's backlit and it's mostly gloomy. You can't tell that it's raining, but it was pretty much always raining while we were shooting this. And, you know, this location is very dramatic and very windy and a pretty brutal place. King Fjölnir has found himself a queen.

20:32 · jump to transcript →

worked so hard with me and Jarin Blaschke, the DP, on being able to articulate our vision. And with the horse falls and all this stuff, I mean, it was a nightmare. And we spent, I don't know how many times we visited this location with a viewfinder, restaking all these buildings so that they would all be built in such a way that we could achieve this shot and move the dolly through it and have enough room for the horses and see down the different alleyways to get enough depth.

26:53 · jump to transcript →

What? This is also, of course, Ireland. And I think this doubles quite well for the south coast of Iceland. And we always knew that this main location was never going to be in Iceland. And so it was one of the first things was working with location manager Naomi Liston on finding something that would look like Iceland for Fjölnir's farm for the majority of the film. And I do think we succeeded. I think that this hill would be taller in Iceland, but I think you pretty much buy it.

42:40 · jump to transcript →

Tim Burton

They built the house fairly quickly because it was just a facade. It wasn't like the first one where it was maybe a bit more solidly built, but luckily we had a death shroud over the whole thing, which was part of the story to me. I just felt that that was a very Delia thing to do and kind of a Christo kind of Delia interesting way to present the house. We were on location for a few days.

30:20 · jump to transcript →

Tim Burton

Just outside of Boston. That was the only other. We shot in East Corinth, and then we did a little bit outside of Boston for Jeremy's neighborhood and a few things. We couldn't find that location really in East Corinth, so we ended up in Boston. We were sitting in Vermont. It's like waiting for an election result. And the results were in, and it was not good. So it was strange because I think...

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Tim Burton

The exterior of the house, you know, and shooting in the East Corinth, which was the original location for the film, and building the house on the exact spot where we built the last one. You know, that was all kind of special kind of moments that I can relate to the first one. The model, it's like the house, the model. There was a few items like that that we didn't want to redesign the wheel. That's the model, that's the model. That's the house, that's the house. And so, you know, we put our energies into other things.

1:19:12 · jump to transcript →

This location felt like a big win. Definitely. It's pretty much common knowledge that... Early when we were talking about the movie and we were starting to dress that first house that we were going to shoot in, you had mentioned Chris Van Allsburg as an influence for the look of this. And I feel like this living room really has a Chris Van Allsburg look. Yeah. Jumanji vibes. Mm-hmm.

1:53 · jump to transcript →

pops in my mind is that when we found this house which I loved but which was not like it was not a I think an easy house to secure and it wasn't like even in the right location and whatever and I was like I feel like this is it and I was like taking photos and found a a poetry book on the bedside table and it was that Philip Larkin book and the the trees poem was dog-eared and that was already in the script yeah it was already in the movie yeah relax and spread

59:05 · jump to transcript →

Edward Berger

about this because he had said, we got to start shooting in March. And I always said, I want to start shooting in February because my biggest panic was that the summer would come and that I wouldn't have these awful weather conditions because I couldn't bear the thought of having any sun. But in case there was any sun, this airfield is perfectly south facing.

19:17 · jump to transcript →

Edward Berger

And so the entire afternoon, while I was shooting in that barn, you see now Felix, Paul Bäumer, Felix Kammerer, the actor, is running up to the barn. And while I was shooting, I was thinking that this became, by the way, cut standing. No, while he was shooting inside the barn, I was thinking, I'm gonna have to shoot this. But luckily,

1:52:05 · jump to transcript →

I'm sure somebody will say it, and if they don't say it, I'm going to say it right now, and you can edit this out if Damien has final approval or not. But they shot this whole sequence, and we had a joke because all production would tell us was the location is Scott's dad's house. Scott was a gentleman who worked on the set and obviously knew Damien, and they were all friends going way back.

1:46:21 · jump to transcript →

Scott's dad had this house, and they're using it as the location to shoot this whole sequence of the aunt and uncle's home. And so the joke was, it was like, where are we shipping this to? And it's like, Scott's dad's house. And we would try to put on our best Jersey accent, Scott's dad's house. And so everything was Scott's dad's house. And this is Scott's dad's house.

1:46:51 · jump to transcript →

It felt to me like we were on location a lot of the time, because wherever you looked, it was true to itself. And we could then take these strange decisions, like we're very much locked with their experience. This whole section of the film, we never really step outside the house and what is happening inside the house, but if we wanted to, it's there. So then when we pop out,

17:56 · jump to transcript →

or we see through a scope, or when we actually go out into the street, it's a little bit like the radio stuff. It's just another layer of reality that there aren't. The isolation, yeah. Yeah, and also there aren't six locations or sets spread over Pinewood or some place where they shoot films. It's just in one spot. And if you looked out of a window, you would see what you saw out of the window. It was super helpful, and they did a great job.

18:21 · jump to transcript →

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. - Hopefully 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, 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. ...

42:46 · jump to transcript →