The long take

Tried to desaturate the grass because I feel like that green grass really makes the film seem less miserable. There you go. There's that water on the lens. Boy, I hate it. But this was the best take and there was water on the lens in every single take. We keep this one. The rest can go.

45:11 · jump to transcript →

Claes nailed this scene every single take, I gotta say. He's also a very handsome man. He has that kind of Christopher Lee menacing stoicism. But I also think that Claes plays Fjölnir with a little bit of insecurity.

1:23:12 · jump to transcript →

And I was rewriting this scene, particularly her lines, like every time we did another take of it. And this is very demanding, like, you know, long take and great on her for being able to remember all the rewrites as we were going. And Claes also...

1:37:16 · jump to transcript →

Edward Berger

the sun, the rising sun or the setting sun. Obviously this day here, there was no sun, even though we created the rain. It was the most miserable shooting day. These five, six actors here, they gave everything. And can you believe it? We shot 12 hours, I think, in this rain, in this manufactured rain. And in the last take, I said, all right, we need one take, one more take. They just started singing to...

20:16 · jump to transcript →

Edward Berger

and to create a graph that would help him through the movie. And it's an incredible technique, and I have to share it with you. But first I have to point out the shot when Paul puts cut, like tries to get help for him, and it's all in one take again. Because, again, we didn't want to manipulate time. We wanted to experience every moment of this momentous...

2:00:51 · jump to transcript →

This is awesome. There's a cut right there. There's a tiny dissolve to get from one take to another there. That's brilliant Eddie Hamilton editing. We loved her delivery in one scene, in one shot. The impact. The impact in another. And it actually looks like a one-er, and there's actually a dissolve in there. It's quite spectacular. I remember watching all these dailies, and it was such fun to put all this together. This was. And the chaotic nature. What's she doing? The streets of Venice.

57:18 · jump to transcript →

And then, of course, this was a 70-ton train. And tossed it off a cliff. And you couldn't get that. Those things where we attached the cameras to the train and discovered the physics of it only when it went off the track. And we only had one take together.

2:24:09 · jump to transcript →