Make-up & prosthetics

No, because you actually see him leave. Maybe actually when he goes off screen after he shoots himself, he's actually cleaning up the floor. Okay, two things. I did actually consider having Collins quickly wipe up the floor before running out of the room after he blows his jaw off. Yeah, but there would be so much gore all over the floor. Well, that shot, I mean, remember also that shot was like a five-minute shot that had a lot of choreographed elements to it, and we did it again and again and again. By the way, Collins' makeup was actually burning his skin. He had an allergic reaction to it. It was the first thing we filmed. He had these burn marks on his face, and he's such a

5:04 · jump to transcript →

She was younger and she was just such a trooper. I mean, she did not care about like the makeup or any of that stuff. And so we were just like, oh, let's just bring her back for VHS too. That door actually did just break too whenever I was shutting it. Like that was me actually reacting to it and just throwing that little piece away. And then we just ended up keeping it in because it was kind of funny. But actually like every time you see me lock that door, I'm actually just pretending to because that door doesn't actually work that way. There was no actual real lock on it or anything. This digital watch is a watch that I actually obtained as a product sample in a actual private investigation.

15:10 · jump to transcript →

By the way, I don't know. He's a trooper. Yeah. That's vomit on his chest, too, by the way. It's kind of hard to tell, but it's supposed to imply sort of about how he kind of died in this weird state. I would think that maybe he was drugged by Hannah's character. Yeah. You know, like, while he was trying to rape her or something, you know. Yeah, clearly we're hinting at, like, some kind of backstory there. But, yeah, I mean, he sat around in his underwear, actually kind of, we were kind of like, can anyone get John a robe? And they're like, no, it will affect his makeup. And we're like,

20:11 · jump to transcript →

Francis Lawrence

Here, we deal in psychological manipulation. You'll be trained to determine a target's weakness... Sparrow School was always one of the aspects of Jason's book that really intrigued me. It was one of the really, truly unique pieces of the story. And I always thought that it was gonna be a standout segment in the movie. But it was something that Justin and I had to really, kind of, develop out specifically. And it was fun to try and figure out what makes it hard for her, the kinds of horrible things you have to learn to do, but what specifically they would teach you that's not the obvious, right? Not just how do you put makeup on, how do you look sexy, how do you act sexy and, you know, walk in heels or something like that. It was the idea of having to get past what you might find disgusting to try and foo! somebody. But more importantly, to figure out the human puzzle, right? There's a great line that Justin came up with that every human being iS a puzzle of need. Find the missing piece, and they'll give you what you want. So that idea of really learning how to figure out the target, figure out what they need, and become what they need was really interesting, because that actually becomes the sort of, the objective for her later, as She Starts to target Joel. She has to really be smart, because she's not dealing with an amateur when she's dealing with Joel. Simon... I've been with this guy for three years. He is not going to deal with anybody... You can see here Joe! now. He's such a fantastic actor, I mean... He was my first choice for this role. I think he's probably one of the best working actors of his age right now. I've been a fan for a really long time. I mean, all the way back from Animal Kingdom. And he was in my friend Scott Cooper's movie, Black Mass. But what I always really like about him is that he feels really honorable and feels really honest, and I wanted those elements to the character. And I think he brought that in a big way. And it was really fun to work with him, too. He's just a good guy, and kind of gelled in with the group. Worn on the hands, after intimate contact... the subject will be traceable for up to six weeks.

31:56 · jump to transcript →

Francis Lawrence

In the book, this portion of the story took place in Helsinki, but since we ended up shooting in Budapest, we just decided, "Why cheat Budapest for Moscow and Helsinki, "and why not just have the Helsinki part take place in Budapest?" So we decided to use Budapest for Budapest, which was nice and really fun. And this is Thekla, who's a Dutch actress, who read for the part of Marta and is playing Marta, obviously. But I remember seeing her reading for the part of Marta, and she was quite good, but Marta was described as being a little rough. And Thekla, to me... She is a very, very beautiful woman, and there's something very sophisticated about her, in a weird way. I don't even think I ever told her this, but there's something about her. When you see her in person, she feels like she could be part of a royal family or something. There's just something about her. So I actually asked her to read again. And she wasn't wearing a ton of makeup. But I just wanted her to sort of try and tone down whatever she had done in terms of, like, nice lighting and the hair and all this kind of stuff, and to do it again, because she couldn't be quite as beautiful as she really is. And then it was perfect. She sent me a new tape that was not quite as glamorous as the original. Usually two men on a girl. No relationships to speak of. That woman right there that we just tipped up from is Valentina, one of the costumers who has worked with us many, many times on all the Hunger Games movies. Again, another one of the cameos. And this is Douglas Hodge, who my casting director brought in. I think, yeah, Denise brought him in to play this role, and he just, I think, did a fantastic job playing Volontov.

50:44 · jump to transcript →

Francis Lawrence

One of the things that we did a Iot, which is kind of interesting, and this is something that Alan Bell, my editor, is really good at, is he does a lot of tricks often in scenes like this where, you know, to maybe speed things up or pace things up he might do split screens and speed ramp either side, SO you can speed conversations up and things like that. What we ended up doing a lot here that he's also very good at is makeup augmentation. So, Jen's makeup artist did a great job, but we had decided sort of after the fact when you see the cut come together that she should have a little more bruising and a little more damage to her lip than she had on the day. And so we did a lot of digital wound work. And even this, that vomit there, that vomit is actually digital as well. That she kind of dry-heaved. But we decided that because she dry-heaved in the beginning in the movie that maybe she should actually vomit here. But we added that all in later. This now becomes another one of the tent pole moments in terms of Dominika's trajectory and what her objectives are. When the uncle comes in, and she corners the uncle in a way. And it's one of those moments where you really wonder what side she's working on. Jen just did a great job in this scene.

1:45:16 · jump to transcript →

Len Wiseman

something I wanted to do practically. I didn't want to do the CG version of it. I wanted to go old school, prosthetic, build a wire, put it in his hand. And a lot of people thought that this was silly. There were a few things in this movie that, you know, when you're coming up with new ideas, you're like, oh, so he's just going to talk into his hand? Yeah, that's going to be a bit ridiculous. And I thought, but it's not unlike a secret agent, you know, when he's pushing.

36:28 · jump to transcript →

Len Wiseman

This is in the red light district. This is the same set where he's crossing by the club. That's why it's got a lot of lights and things, and we put different doors up and such. That was the nightclub where he just talked to the three-breasted prostitute. This, again, was a prosthetic piece

37:55 · jump to transcript →

Len Wiseman

And then we did Melina's, Jessica's ponytail is the only part that's CG so that her ponytail would float around as if it was in zero gravity. And then Colin's gun is also CG if you go back through there and it's flopping around in CG so that, you know, just have those few elements that are floating that bring it to life. And this one we shot Kate, just a little information here. It was a screw up and they put the prosthetic on the wrong hand. And so this whole shot, this whole sequence is flopped so that

1:36:44 · jump to transcript →

You can see the tattoo on her arm has had the lady's breasts blacked out. It's going to go down well in America, that kind of thing, yes. I think it was make-up, wasn't it? Again, her humour. She's there. She's still there underneath, you know. The way she comments on Justin Timberlake's record title is brilliant. Such a shame she wasn't there. I think, you know, she would have got to meet Tony Bennett that much earlier.

1:26:01 · jump to transcript →

sort of doing selfies and looking at herself. That photo booth on her laptop. Yeah, exactly, photo booth. That's what I was thinking of. But again, she's looking directly. Under the beehive and under the make-up, that's actually what she really looks like. I think that's the thing. It's just the power of a close-up, isn't it? There's so much other footage that we saw, which is much darker, and there's a lot more going on, but there you just see how vulnerable she really is. And we're back to her eyes again, and she's actually looking in the mirror there, really, isn't she, if she's using that photo booth thing? It's just actual Super 8 footage shot by Blake Wood, her friend.

1:35:49 · jump to transcript →

She is, you know, she's a Jewish girl from North London. And I think that idea of there was an image, there was an image, and we really wanted in this film to remove the beehive, move the make-up and get to the heart of who she really was underneath it. And this is what Amy really looks like. I think that was an important thing for all of us to understand and to get across to the audience. And another moment where you don't really see moments like this in too many films, do you, really, where it's just a shot of some sand. But...

1:38:16 · jump to transcript →

Tom Hooper

And brilliant costumes by Paco and makeup by Lisa Westcott and her team.

2:20:40 · jump to transcript →

Tom Hooper

So this is back in Winchester School, in Winchester. It's interesting, I took the decision not to have prosthetics for his aging and do it with makeup. And I think in the way with singing, prosthetics would get in the way. But I think Hugh's portrayal of Valjean as an older man in this weak state is...

2:21:28 · jump to transcript →

Oh, we started watching the movie. - Yeah. This is cool. - Will she make it? Got her clothes on. One of the things that we were very keen on... ... that we wanted, was that we wanted.... We had this ambition... ... that the audience should have their first breath... ...after the first 10 minutes... ...when she gets dropped off the truck... ...which we will see. And when I was watching the premiere yesterday with my wife... ...when she get-- She: At exactly that spot and I felt, "Wow... ... this was exactly what we were aiming for." I think the audience was a little surprised too. We had the premiere last night so we got to watch... ... the movie with a big audience. But they were surprised at the level of violence of the movie. This is a tougher movie than the other movies. Selene is a lot more badass in this movie. She kills a lot of people. - Yeah. Went through a lot more buckets of blood too. A sign of the times, I suppose. Yeah, you'll wish you hadn't done that. This was one of the big scenes in the trailer... ... that we had shown Screen Gems right at the beginning. I love the little splat of blood hitting there. That was sweet. I repeat, full containment... No, there was buckets of blood. I mean, it's.... Violence Is an aesthetic I think that, I mean, goes a hundred years back. Yep. Have we actually done a body count in this? It's a lot. You know what? I did once. Did you? What'd it end up being? - I can't remember. Counting Lycans and humans. Yeah, dead-- Corpses. Now, this moment was an additional shoot moment. It was the first thing we sh... - Wes Bentley, yeah. It's the last and first... - The uncredited Wes Bentley. The first and the last... - This jump was the first thing we shot. First day of shooting. - Look at this boom here. There. That hit in that shot, was Alicia... ...our excellent stunt girl, who just smacked... It sounded like the worst sound I ever heard. It's like, "We killed the stunt double on the first shot." And then you said, "Let's go again." The first day of shooting went so well... ... that I walked away thinking, "God, this is gonna be an easy movie." Oh, my God! - You were wrong. I was wrong. It was so difficult. This was the toughest by far we've done. They're not supposed to be easy. No. - There's a direct correlation... ...between the amount of suffering to do a movie... ...and how well it turns out. We never did a film, like, with this big budget kind of thing... ...but I think you always end up in the same position, you know? You don't have enough money. You always... Imagination can always outrun money. Yeah. - Yeah. The 3D made it more complicated too. Yeah, the 3D really-- You know, nobody had really done it. You know, how to plan it and how to shoot it and.... This is where we want people to breathe. Yeah, here. Here's brutalism again. - Yeah. I was talking with the cinematographer... ...ocott Kevan, last night and... Who did a great job. - He did a great job. And the person... I introduced him to my daughter. My daughter said, "Was this your first 3D movie?" He said, "No, my second. I made all my mistakes on the first one... ...So this one I could get right." Yeah, he was the only guy kind of who had done it. Yes. - And he kept telling us: "It'll take a long time." I remember-- Gary, you said: - It did. "If we go down the Amazonas, it'd be nice... ... to have someone who's been there." Done that trip. That was true. Scott was really there. - Yeah. He was great. But it's also-- It has been very... ...weird. - First shot of Kate. This was the first shot of Kate. Yeah. - First night. That terrible night when it would not stop raining. This was one of those.... - There's a gale right now. When the duck flew into the light? - Yeah. It was a duck who came from the sky... ...and landed in the middle of the set. The camera broke down about four times. Yeah. No, just shooting 3D was a weird experience in that sense... ... that we hadn't done it before and all the rules that you get... ... from various people who has done it... ...Just turn out to be not true or.... - Bullshit. Total bullshit. I don't know if the Red Epic that we used, the camera... ... kind of discarded some of them so it actually works now... ...and it's also.... You have to realize you're telling a story... ... you're not doing a 3D ride. Although this movie is like a ride but... No, but I think what.... True, because... .all these people that we talked about, they were technicians... ...and not filmmakers or storytellers. So they speak about the perfection of everything... ...and that's not really interesting, perfection... ...ecause what you go for is emotion, and emotion is not always perfect. It's also... You know, 3D is in its infancy. People really don't know the rules. When we took those classes... ... there'd been like six movies made and so people didn't know. Half of them were not real 3D, either. - Correct. Where you actually were using binocular cameras... ...to shoot the entire movie, which we did. I don't think any... There wasn't a rule they gave us... ...that we didn't break. - No. I mean, it was... - No. Everything. This is that hybrid POV, as we Call it. It's when Kate starts seeing through.... She thinks she sees through Michael's eyes... ...but it's actually India's. Eve, her daughter. This is so hard, I think, to decide as a filmmaker... ...when you do this. What it should look like? - No. Not technically, but I'm saying the suspension of disbelief... ...of is it Michael or not, and.... We didn't know... All the marketing now you've seen... ... you know, It's all out that she has a daughter in this one... ...which, you know, when we were planning this.... Hopefully that would be the secret. It's gonna be a surprise, yeah. - "Wow, she has a daughter." But.... And I think what helps us Is that we... - Michael Ealy, by the way. Michael Ealy. - Appearance of Michael Ealy. What helps us is the pace that we had to this. You just move so fast that, you know... ... you don't leave time for the mind to think that much. But it's.... Yeah, it's interesting. One of the scenes we shot here is outside in Vancouver. Vancouver-- When we heard we're shooting Underworld... ...and we're shooting it in Vancouver... ...we thought that was pretty strange because it's not gothic. But as Bjorn was talking about... ...when we found the neo-Goth and the brutalism... ...Vancouver Is fantastic. - We'll start counting... ...how many times that word comes. - You do that. It might be even more people than die. Yeah. A couple of words about Kate.... She's a movie star and a really, really good actress. Sometimes that's not the same thing. But she is, and she's very fun to work with. And she... You know, she's British, she always... Theo James. - Theo James. Very witty, yeah. - Young English actor making his... Who's also extremely funny. - Those damn Brits. Yeah. He's so funny. And you're around people who are gorgeous and funny... . It takes its toll on you. Yeah, it doesn't go together usually, yeah. No, and you just stand there in the middle and talking really bad English. I love this shot we did with Stephen. I remember we were shooting it, he was really somewhere else. He was... That was a scene we added after we had started shooting. It was Gary's scene. - That was my idea. We initially had a scene outside of here that l.... I remember seeing this location. I thought it was beautiful... ...but I couldn't wrap my head around a desk being in an exterior atrium... ...so I was struggling with that, but I'm sure glad we did it. I think it looks beautiful. I think you said when you saw it, "It's outside?" It started raining. - "It's outside?" And it was freezing cold. You remember how cold it was? Oh, my God, it was freezing. - God. This is the second... - Then we said: "We have all this concrete and it's freezing cold. Let's get water everywhere. That'll make it really comfortable." This is day one. Day zero, we did the jump we saw before. This is day one where it was full-on, all teams... ...SO this is the first scene that we shot of the whole film. And this shot was actually blown up. We had shot it wider, but we were able to push in on it. We did that with an enormous number.... One of the beauties of using the Red Epic camera... ...was the ability to push in and resize afterwards... ...1N postproduction. That's 175 percent. - Yeah. One of the things I believe that Mans and Bjérn should discuss... ...because we experienced it our first day of shooting... .IS that they are slightly unorthodox in terms of a directorial team. Slightly? They alternate the days they're shooting. So the first day, I believe it was Bjérn, right? You were directing the first day... ...and then Mans would direct the second day. And so, you know, you guys may wanna enlighten the audience... ...as to your procedure. - This was Mans. The prior one in the corridor, I did. I can't remember, but we always have the producer flip a coin... I did. I remember I flipped a coin. Yeah, flipped a coin and whoever gets the tails... ...whatever we decide, begins the day. The thing is, when I'm directing, Bjorn's my best buddy... ...as we Call it, and he doesn't do anything... ...except helping me. Nobody's allowed to talk to him. - Wait. We'll miss Wes getting thrown through the window. This is a totally reshot scene. - Yeah. We had another scene that was... - Just not working. No, it was a bit of a disaster. We got the opportunity to reshoot this, and I love this scene. I love it too. - It's great. This whole spider-webbing window thing.... That was actually Len Wiseman's idea of having him... ...be pushed through the window as it spider-webbed behind him. Yeah, we had.... Yeah. Fantastic idea. - Yeah, great shot. In the background, you see he's got little stuffed animals... ...because we wanted him to be a tinker... ...because he's been tinkering with her... What? I never saw those stuffed animals. I love this shot. I love this. It's too short. - Way too short. Yeah. It's way too short. You know, if you're starting to do movies or anything.... Please listen up, because Bjérn is saying something important. If you get into doing green-screen stuff, stay on it longer... ...because the visual effects will come in and you'll go: "Why the hell didn't we stay longer?" You had 36 frames of tail handle that you didn't use. So it's... So there. - Bollocks. I did not see that. - The famous.... Larz. Thank you, Larz. This is a 300-pound dummy in steel. Oh, God. Nothing.... I mean... Larz is the visual effects... - Special effects. Special effects. We thought, "There's no way. That's not gonna smash the car." Larz was like, "It's gonna smash the car." It did. - It smashed it great. Larz was right. It worked. And I love this shot of the camera pulling up... ...and catching Theo there. - Yeah. SO we are boosting up the mystery here. Theo, who is this guy. - The mystery man. And hopefully you don't know that he's a Vampire yet. He could be anyone, probably a human. Yeah, that was one of the challenges, as well, with the introducing. We introduce Michael Ealy, who plays Sebastian... ...and we have introduced David. We had introductions of a character called Quint, which is... Love this knife. - Yeah. The Uber-- Who was a Lycan, but it was taken out. Because there were too-- Yeah. Kris. - Kris Holden. Brilliant. - Brilliant guy, brilliant actor. It was taken out because there were too many people presented... ...and he gets presented after the car chase... ...and we only see him once. I'm not sure if that was perfect. In hindsight, maybe we should have. - But it's tough. That's... This is a movie where there's only one character... ... left over from other films. Every character has to be introduced. At a certain point, it's a struggle... ...trying to figure out ways to do it without overwhelming the audience. So we just caught a glimpse of the lower Lycans. And one of the things that we really loved in this one... ...was that we could expand the mythology and the universe... ...by inventing new creatures. And we liked the idea that they have been living in the sewers. There's one now. Yeah. And, you know, we thought, you know.... Here we thought Gollum. We thought rabid dog. We thought puss-- Run... Is that what you call it? Puss? Pus. - Pus running. Yeah. Saliva. Fucking crazy in the head. Rabid crazy. That... - Syphilitic. We wanted to because there's... One of the most wonderful lines... .In the history of Underworld is: "You're acting like a pack of rabid dogs! And that, gentlemen, simply won't do." That Michael Sheen says in Underworld 7. And we said, well, let's turn them into those rabid dogs now. They-- You know, they have lived here underground for so long... ... that they actually became these rabid dogs. Yeah, we actually don't see these guys as being human anymore. They're just Lycans. - And they... They turned out beautifully, James. Really beautiful. - These are my favorite Lycans. I think if there is a part five, there should be just these guys. I love them, just those.... The horde. - Yes. Really sick. It was the first time we moved away from suits. We always relied on practical prosthetic suits... ...and this was the first. This and the Uber are the two creatures that are purely CG. The Uber was hard to cast, so we had to go CG. This is an important moment. I loved shooting this. - This is where Selene sees... ...this child for the first moment. Without realizing who it is. - Right. She thinks it's Michael. I remember when shooting it... - She expected to find Michael. Right. Exactly. And she was so beautiful, and she looks so scared. Vulnerable. - Yeah. And the whole thing here we set up, you know.... We're gonna reveal later in the van, when she rips the Lycan's head apart. Hopefully that works, because we set up this girl as weak... ...as we see here, and vulnerable and so on... ...but she is the daughter of Selene, which means the girl's got powers. She's got the kick-ass gene. - Her name is Eve... ...which is never pronounced. - No. It isn't? We never say it? - We never say it. She says, "I'm Subject 2. You're Subject 1." So we might give her another name if we want to for the next one. Eve is perfect, I mean. No, but I think Selene is so beautiful... ...because Selene means moon in Greek. Is that right? - Yeah. Selene means moon in Greek? - Don't you know your Greek? Apparently not. Good Lord. Yeah. So here's the car chase, as we Call it. And it is pretty much... ...on the money on every shot that we storyboarded... ...which is extremely rewarding for a director... ...to see that it pulls off. This is also a triumph of visual effects. Probably half of the scene it was pouring down rain... ...and shooting in 3D, which means you can't really shoot. Shooting in 2D. We shot most of it in 2D. Because you can't shoot in 3D, the rain hits the mirror. The half-silvered mirror that you use in a 3D rig. So this whole thing was pieced together... ... from very, very rudimentary pieces.

10:50 · jump to transcript →

At a certain point, you really can do the entire dialogue. It's not so hard in this one because they don't talk. There's 12 lines in the movie. But we loved shooting this one. When me and Bjérn... We do it, like, every second day. But there's one exception is that if one day goes on until the next day... ...we don't change. And I think this one took two days to shoot this whole thing. And I loved this because If you think about what she's talking about... ... you know, it's hard to do this for real. She's talking about Werewolves and so on. But she does it for real. - She sells it. Yeah. She sells it. Yeah. - She really does. Yeah. And, I mean, every good actor finds truth in anything. They can find truth in anything. And then they get... And it was also-- I remember when... - Hang on. This scene here. This scene is one of the trippiest scenes in any of the Underworld films. And it is real. - Yes. No CG. That's so fun. Because it's an entire thing... ...we built up. - That's CG. That's CG. Other than that. - That's CG. No, but the shot is actually done... It's actually set up so that we could do it live in-camera. Todd Masters and the guys did a great job with his stomach. This is your revenge on Theo. - Bollocks. That's a real stomach. The blood pouring? - Yeah. Well, yeah. But the stomach is real. - Now, now, boys. Boys. The old hand squeezing. The heart-squeezing shot. Well, remember she has the blood of Alexander Corvinus. That's right. That's the old Corvinus injection... ... that he's gotten there. I always call this the Videodrome shot. Yes. - Yep. That of course Is... - "Long live the new flesh." ...a prosthetic chest that's put on top of him. His body is underneath. - No, it was me cutting Theo. We knew you wanted to. The audience was applauding when they saw this scene. They thought it was great. - Yeah. Here is Richard's shot coming up. Thank you. I like that shot. - It's a great shot. You said we needed it so we got it, and I'm happy we got it. It's in every trailer. - Slow-motion too. Yeah. This worked out well too. - Yeah. This, I thought was a waste of money, these two shots. And it's really, really cool in the end result. This was one... My biggest fear actually... ...because Goth people don't look good at daytime. They are born... They are made for the night. They're plain silly in daylight. Exactly. So I was concerned that will she look silly in daylight. Yeah. This is the darkest-looking daytime... ...and maybe that's the Swedish influence. Don't you have half the year where it's dark? This is sun everywhere. It is, but it's inside a dark... - It's not a beach. Scott lit it... - I agree. What else did we shoot this day? That was cool. The old cowboy switch there. Yeah. - Love it. Then we think-- I think we shot the exterior of her coming out... ...of the tunnel or something and the Lycans following her? That's it. Yeah. - There's something called ADR... ...which means additional dialogue recording. It's when you get bad sounds so you re-record the sound. Right. - This scene was ADR"d... ...and you usually hate ADR because you always lose performance. It's not the same when the actor's standing there with... ...a cup Of latte in their hand and everything. Or mocha latte. - Mocha latte. Whatever. In Burbank rather than in the real world. But that scene was so good in ADR. Because she was able to whisper... ...which she couldn't do on the real set. Right. And get the... - Yeah. So she-- It's so much better. It was so noisy, so they wouldn't have heard each other... ...If she whispered. - Yeah. This is one we call the All the President's Men scene. Yep. Our homage to... I loved this ceiling. - ...Investigative reporting movies. Yeah. - And this is the-- What was this? It was the legal library of the university. That was being rebuilt. It was gorgeous. It's not there anymore? It's gone? This is the last thing that happened... ...and then they tore it down and rebuilt it. That's just brutal. - Yeah. That was brutal. To destroy something brutal as that. But you see the squares and the concrete. Yeah. Wow, what a place. We talked for hours what kind of concrete should be used. Some concrete was wrong. And this concrete is right. Michael. Cool guy. - Yep. Loved him. - Yep. First thing that-- The scene we just saw. He walks up to the set. He never worked with Kate. Kate says, "So, Michael, sexiest black guy on the planet." That rocked him on his heels. He should have said: "SO, Kate, sexiest woman on the planet." He could have. And if he was British, probably he would have said that. Who are the two ugly gimps next to them? That's not fair.

50:54 · jump to transcript →

Wes Anderson

I was gonna say, both Jeff and Roman, you-- We-- It had an effect on how we made this movie, Grand Budapest Hotel, because, Jeff, you know, you and Willem both-- I saw that you would stay on the set and you were always watching what's going on. By the time we got to where we're gonna figure out what we're doing next, you already always know everything. You've seen anything that would be happening while other people might be off in a trailer. And on Life Aquatic, there were like 1 1 of them. And starting then, I thought: "I want everybody to stay on the set all the time now as much as we possibly can." And if there's a place to go, it needs to be within range that I can shout to it. If there's some chairs and a thing behind a screen or a greenroom or something, it can't be too far that we can't just shout to it. When we did Darjeeling Limited, as Roman was talking about, Roman in particular had some thoughts such as: "Let's not have... Let's have everyone do their makeup themselves, like a play. Everyone can be responsible for their makeup." In fact, we had then-- We wrote a script where there are different makeups. Owen Wilson's face has been damaged by a motorcycle accident. He's covered with bandages. We needed some makeup. In fact, we have a great makeup artist, Frances Hannon, who was with us. But nevertheless, it was part of our-- Of a new system where we say, "We're gonna keep everything very contained." And especially this thing where we started all living together when we do the movie, and we have-- Someone's gonna cook for us, and when we finish the shooting day, we're all gonna go to the same place. And at the end of the movie, everybody can go off where they would like to go again. But during the movie, let's just stay in this little bubble until we finish the thing. And I have to say, not only has that been wildly more efficient for us in so many different ways, but I find it to be a more fun way to make a movie.

16:30 · jump to transcript →

Wes Anderson

Yeah. Oh, yes. I remember it very well. In fact, that hotel where we filmed it, it's the Hotel Börse in the middle of Görlitz, and it was the center of everything for us. When we first scouted the place, I saw this location where we made the hotel and thought, "Well, that could work. What can we build around here?" And the first thing we did after that was we walked through the town and went to all the hotels, and we found this place, Börse. I said, "You know, this could be a makeup area. And this is big enough for us to have our dinner each night here." And there's this many rooms, but they have some other rooms across the street. And a lot of things like that happened in that hotel. That's where we had our first rehearsal with Deputy Vilmos Kovacs.

30:17 · jump to transcript →

Joss Whedon

The Avengers have so much power at the beginning of this, and one of the things that I knew, and I had this problem in the first one, is nobody roots for the overdog. And so it was very important to me that they be brought down a peg, but not just by circumstance, but because they have... In Tony's case, dramatically, but in every case to an extent, lost some aspect of the mission. Lost some aspect of their humanity, because that's the thing about being a superhero, it's the thing about having power. When your decisions affect more than the people around you, inevitably, you are going to destroy something. You're going to harm someone in a way that removes you from humanity. The more power you have, inevitably, the less a part of the human community you are. And so Ultron himself says that, although he doesnt always realise how much it applies to him. And once again, the Frankenstein. And also the Pinocchio, which was, by the way, an idea I had for the Comic-Con teaser that played so nicely, it got used a whole bunch. And then I ended up saying, "Let's just go ahead and stick it in the film because it is creepy." She's picking glass out of her feet there, by the way. In the longer version of the fight we had just seen, Maria slid down and jumped in after Rhodey in her bare feet. And the jacket she's wearing, by the way, is Steve Rogers' bomber jacket, which I have yet to hear anybody comment on. But I thought it was an interesting little detail. I wanted to, obviously, make them more casual. And we had to sort of "de-mom" her makeup a little bit when she arrived on set, and kind of make sure she felt as cool as everyone else. I

31:53 · jump to transcript →

Joss Whedon

There's a lot of buys in something like this. And to have a purple guy show up in the beginning of the third act, uh, it's a big buy. And so to be able to have these little moments that help explain the story of his rather convenient consciousness, it's both necessary and an exciting piece of texture. I can barely talk about how cool Bettany is, and what great work they did on his face, both in makeup, and then after the fact, because all the rendering of textures on his face made it very easy to give him what we refer to as digital Botox, to take away the expressiveness in his eyes, and so the little wrinkles and things that you wouldn't expect to see on an android, that you need for him to be what Bettany brought, is actually very difficult to render and very beautifully accomplished. This moment when he asks, "

1:34:29 · jump to transcript →

Peter Becker

Yeah. - No, you know, I think that Moonrise-- I think that Moonrise as an experience making a movie was really actually pretty unique in my experience, only in that-- Because it was both a necessity and a choice on Wes's part to try to make the film in a very efficient, very stripped down way, unadorned by a lot of the kind of carrying costs of, you know, Wes really said, like, "Look, we're gonna do this in a very-- In a way that feels-- It felt more like being in a repertory company. You know, it was like we were living in a house together. You got in costume at home, did your own hair and makeup. There weren't any trailers. They had some tents, you know, for people to--

10:12 · jump to transcript →

And we had a third body that was always built for steady cam because we knew we would do a lot. And it takes 15 minutes to do a changeover. If we did that four times a day, that's an hour of shooting time we didn't have. So even though it costs a little bit more in a camera package, we would have all this other stuff. We'd just make up for it in speed. And it was very, very helpful. I'd never worked that way. I'd always been very regimented and always shot with primes. And this was a way of working differently. And I ended up shooting more footage

29:58 · jump to transcript →

You came up with this. So what if we burn him? And then we found out where the oil tanks were in the helicopter. And Sarah Monzani and her team, they built this prosthetic for Henry five days before he was on camera. Incredible. To get him to a point where he is a monster by the end of the movie. And Henry, to his credit, was like, yes. Yes. He loved it. Yes. He was no hesitation. He was like, absolutely. He was like, let's do it. Okay. And we were throwing things like, you know, hey, today your face is going to be...

2:08:33 · jump to transcript →