Night shoots & day-for-night

And so those shots with Michael and Kay and not the one looking towards Johnny, but those shots were shot at night. It doesn't look like it, but the shot across Al onto Kay is in fact shot at night with lights just blasting in that small area. Gordon Willis was furious at having to do it. And I had to get it, so I had no choice. And I always remark how when you look at it, you really don't know the difference.

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Obviously, Johnny Fontaine was inspired by a kind of Frank Sinatra characters. And my impressions of the young Frank Sinatra was of, you know, girls screaming when he crooned. And so I had the teenagers jumping up and down and screaming while the scene was going on. But again, I remind you that the shot of Al and the shot of Kay were shot at night and just lit to match with the party. Gordon did a very

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So the story of why I got in trouble on the fifth night outside the hospital was we were pretty much on schedule that week. Those first four days had gotten everything we needed. But in the night scene, not only did it take a long time to light it because it was night in this hospital exterior, but in the course of the evening, Al twisted his ankle.

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This is one of the, to me, is one of the more... It's an amazing sequence in terms of the light, because we shot this sequence in daylight. And Enrique Chediak used this technique, day-for-night, to... Especially because we needed to see the city absolutely switched off, which is completely impossible when you're dealing with a big city like London. So the only way that we can shoot this... - We also had a problem. A major problem was... you can't work with kids at night-time. That's true. So... But at the end, Enrique made an amazing job with the sequence using this technique, and... And we can do it, we can do this, especially, you know, because we needed, as I told before, to see this city absolutely with the lights off.

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And the atmosphere that this day-for-night has given to the movie is quite... scary. That was the main reason we hired Quique Chediak, one of the reasons. We also wanted, Juan Carlos and I, to do a film with day-for-night style. I don't know why, but DPs hate these things about day-for-night. Because in that case, it brings something very ghostly to the city, no? It's very weird, very strange, it's never the same thing as a real night, but in this film you're going to assist to something, that the city, the iconic city, is going to... to come alive, in a way, in a sense. It's like you have a big, big moon over you. There's some kind of fantasy about... A kind of twilight feeling, which is the perfect time to... And Quique said, "Yes, I can do it." He is really daring. He's a very daring person. And until the very, very last moment, we thought that we were wrong, Juan Carlos and I.

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Jane Petrie was the designer... and that was really difficult for her to work in day-for-night. You have to think about the colours, about the luminosity, the brightness of these... of these shots, no? When you shoot in day-for- night, you need to pay attention to costumes, because the technique implies that you need to reduce the light later on, so that's why you can't use, you know, specific colours, and you need to... you need to control these things. And makeup is very important. - Makeup is very important. Here, for example, we don't see Robert Carlyle's eyes, which is really nice. This first appearance of Carlyle, I think is really cool. It... This movie, in this sense, is a kind of chase. These kids are chased by their father now. And, you know, the run away, in terms of the structure, is clear now, because apart from the fact that the soldiers, the militaries, are trying to kill everybody, the infection and the infected are chasing them. Clearly, with the figure of this father infected, now the moment's more difficult in terms of emotion as well.

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Novelist Tim Lucas

This is day-for-night photography, of course, but it could pass for an evening with a bright full moon. And what better time for Indio to be on the loose? I'm letting you live, hero. That's so you can tell everybody you've seen what takes place here. Clearly, Indio is a man who lives to become legendary. His spur-of-the-moment reasoning, his maniacal laugh,

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Novelist Tim Lucas

exterior night is actual night, not day for night. Mako seems to be traversing a moonscape on the sly. He's got an idea to break into that storage area through its roof to get at the loot. And there's something about this presentation that recalls the Thief of Baghdad and other tales of the Arabian Nights.

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I love this scene. This is day for night, parked out in Malibu. Now we're on a stage. Remember that one, you had that one screening to see how the audience response? And you had in one take so much fake sweat that the audience was like, thought that your character was dying. Remember that? Yeah, that's right. It was like, but wait, I thought we were going to find out the conflict was that...

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He said, oh, he totally got it. Everything gelled, I think, after this night. When we finished it, I remember we started a night shoot. By the time we started shooting, we were done by 12.30. That's right. We finished really early. We had shot everything we could. We would just take one, take two, this way, and we were done by 1 o'clock in the morning. Look, as to you, I'm not going to be somebody like Diane Corda to kegger. This girl was different, man. When we go out, we wouldn't even have to go out, you know? We'd just hang out.

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This is all photographed with a technique that's an old-time technique called Day for Night, in which it's actually photographed in the daytime with a particular filter pack and then printed in a certain way so that it, well, kind of looks like night. This shot, however, was shot day for day.

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This shot was also photographed day for night, or actually day for eclipse, I guess is what we really call this. This shot was originally not intended to be an effect shot. It is now an effect shot at the end when the mummy is revealed behind Jonathan. That's now digital makeup that was there originally. We were just gonna go with the makeup that was there and we decided that it needed to be enhanced. This was a fun scene.

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Eng Commentary

Then we'd organize them into files with the reviews that we'd clip from the newspapers. After a while, we'd assemble some pretty considerable dossiers, eventually donated them to the Cinémathèque. Stealing those pictures was one of our major occupations. In Truffaut's 1973 film Day for Night, the film director Ferrand, played by Truffaut, has a dream in which he remembers stealing a lobby card from Orson Welles' Citizen Kane.

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John McTiernan

This stuff is day for night and the shots of the people in the helicopter are blue screen

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Commentary With Author CG Paul M. Sammon

And the big fight between Robo 1 and Robo 2 at the end, it was an all-night shoot. And it was called the Wertham Center, which is a complex of different theaters, including the Alvin Alley Dance Company, one of the most famous in the world, who were having performances while we were blowing up armored personnel carriers and thousands of people. And we had to work out an arrangement with Alvin Alley that when they had a performance, we couldn't blow anything up. We could shoot.

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At the end of the movie, one of her really tough emotional scenes... ...where I wanted her to, you know, denounce her love for Christian. And, you know, she was tired and she'd had a long day... ...and then she went into a 24-hour day by doing the night shoot. And emotionally, she wasn't getting where I wanted to get her. And actually, this scene was not shot in continuity. This was shot towards the end of the movie.

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So Jeffrey Kimball, he using a big club, a block of everything, and then use a special lighting, make it feel like it's daylight. So actually the shot was shot at night. We wasn't quite sure in the future we will keep the scene or not. We just shot it. But I got a feeling, I got a feeling we should have this scene. No matter what, no matter how much over, you know, we got to have this moment. It's very important for both of them. So I was insist to get this shot done.

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Jonathan Lynn

You know, I got this same car. Really? No. There you see the two houses together and see how perfect they are. And this night shoot was done at a horrifying speed.

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Len Wiseman

That's a set, right? - Yeah, it is. That's a location. - It's actually our house. It's the guest bedroom. It was cool. I thought that was really great there. That was a cool set... - That was the basketball place, right? The basketball court, yeah. - I had so much fun on that set. It had good karma, that set. - Didn't it? Wasn't it great? It was really fun. I was just pissed we couldn't actually play basketball, though. You did. - You played basketball everywhere... They had that stupid Huffy. That's not a basketball court. I wanted a basketball court. I went outside of town. Outside of town. Outside, like an hour and a half. Yeah, the bellhop in my hotel... I Kept walking out with a basketball. lt wasn't the basketball. Know why the bellhop liked you? lt was the short shorts. Those were not short. Those were basketball length. They were like... - They were not! He comes out in these, like, Richard Simmons shorts. Those were real basketball shorts. They look the cover of a Wheaties box. Maybe I wash them too much. Those are my favourite pair. They were good, stretched-out. Those were MJ basketball shorts, Michael Jordan's. He doesn't wear short shorts. - Well, you do. Well, okay. I'll have to get a new par. He took me outside of town to go play in this league. He kept driving me out into the country. Did he say there'd be puppies... I got scared. It was an hour and a half away. It was pretty amazing, though, that I got to play. I had a similar experience looking for a bikini wax. An hour out of town, there's a woman with this rusted bucket... ...and no teeth, wax in it. Who's that? - Who is that? That's Kevin. - Oh, greased. And he was just terrified. - Of what? Of having his shirt off. - Really? Yeah, he was-- He was.... You'd get cranky when people had their shirts off. One day, I had my top off. That was the day you were mean to me. Me? - Yeah. Wasn't that in the bathroom? - I was excited. What are you talking about? - You were cranky and punishing. That was for something else. That had nothing to do with your shirt off. Had to do with you taking a break when I was... ...three shots behind. - Please. lt was because you'd had me around for 17 hours. And my child was feeling like an orphan. Did we go over a lot? Like, did we... I can't remember. Did we have 15-hour days and stuff or not? We had-- It felt like it. I mean, we had a few of them. But it's not as bad when it's a night shoot. I don't know why. It doesn't feel... You're not waiting to get home to do anything. You know that when you're off... . It's dead. It's not like you're trying to go to the store. Speedy in the hood. - Yeah. I like it. You did like that hood. You wanted to keep it on. He's like me. If he could possibly be in a movie underneath a bag.... Yeah, I'd rather it. Desperate to get my hair in my face so no one can see me. The fact that you're showing both eyes is a miracle. A miracle, I know. I was glad I didn't have to wear this dress that was on the hanger. He's attractive, for a human. How can you tell I'm attractive? - It's that strong jaw. It is, I guess. It's the hood. You can tell.

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drug-induced nightmare in Khayelitsha, which is the biggest and poorest township in South Africa. A lot of the white South African crew had never been there. We shot it using an old-fashioned day-for-night technique for cost, but also for creative reasons.

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James Mangold

of Russell and Christian and the train ticket master all below the level of the windows so that we can get a lot of the work done without having to see the world outside. Obviously, this is done in the day. This is the stuff I'm talking about that's shot at night with lights pouring in the windows. It ain't stubborn.

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Patrick Tatopoulos

There's nobody else that could deliver a line like that. Right. You think about it, you don't see him often with blood around the mouth. It's so great to have those moments. There's one moment where Bill is sipping blood on a cup. And that was really kind of like almost a request. "Wouldn't it be great if we see actually us--?" You know, sometimes you just out this aside... ...and work on the rest of the story, but it's so important. This was all day for night. Day for night, yeah. All the night stuff in the forest. One of those things that you're really nervous is not gonna work. But it did. Actually, I do like that look here. It's actually more natural. We all grew up watching these heavily lit night outdoor scenes. So you think that's what's normal. But this is actually what your eye would actually see in the dark. This is more close to the way it actually Is.

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Wes Anderson

No, it could change, yeah. It could change. And, you know, it can change, like on this last movie we did, all our night work we did as day for night. And we did a kind of DI version of how we changed that stuff.

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So It Meant We Had Bloody Marys At 5

By the way, check out those horses. Another big training stunt. We had to ship horses in from the mainland to get the properly-trained horses. 'Cause, again, there's a whole horse sequence of stunts that didn't make it into the movie, but that should be in the cut features here. We did so much work with those horses. And now it just seems like, "They have one scene where they let horses out." We spent, like, a whole week of nights filming horses. And there's so much more footage on the DVD. But that's how it goes. Got to learn to not be precious when you get in that edit room. And just follow... Make the story work. Follow the jokes, follow the story. Clean it up. This is a fun scene to shoot where these two actually connect and get serious here. We shot this over two different nights, I think. Which I was worried about breaking up the flow of the scene, how we had to shoot it. But I think we shot all the wide shots one night. And then we went in for these close-ups another night. And we shot this towards the end of our schedule and towards the end of our stay at Turtle Bay. And I remember the actors, there was a little bit of how, "We've been so goofy and crazy for so many weeks shooting this, "how are we supposed to get a little serious and shoot this scene now?" It was like we all had to take a moment and reset and Say, "Okay, how are we gonna shoot this "like a real connection and still get some jokes in there, "but make sure we don't undersell the connection here?" Can I assuage you a few questions? That's always a little tricky, to switch modes when you're kind of used to doing one thing. Pop into another. You got to make sure everyone's on the same page. ...8O people listen to me. And it's fucked up. Me, too. I'm a natural born leader. Like George Washington. Yeah. Or another leader. Oh, she's back, she's back. - Jake. Oh, yeah, hey. - Hi. Hey, Margie. All right, here's one. I had to go to the bathroom. Okay. You don't have to tell me that. - I had to pee. You don't have to Say... I don't know, why would you tell anybody that? A stranger, me, but definitely at work. Why would you... You don't have to tell me that. I just want you to know. I had to pee, okay. I was not overwhelmed, emotionally. Sure, okay. I'm not gonna press you on that. I'm just gonna let you say that and I'm gonna give that to you. I peed in there if you want fo... - You don't have to keep saying it. The more you Say it, the more it's pretty obvious that you're lying, in fact. So I would just... - Okay, why would I lie about pee? That doesn't make any sense. You were gone a long time. lll say that. I will say that. If you really want to get into it, no, I don't think you left to pee, 'cause you were gone way too Iong. And I heard very heavy breathing and heaving outside the doors. These doors are supposed to be soundproof and I heard you. Okay? So there. I don't... That must have been in your movie or something. It wasn't in the movie. Ooh! My little cameo in the movie. Margie... - Who was that guy? Not important. Listen... Dave! Hi. Now I have to pee. 'Cause you have... All this talk about pee. What's going on? Are you okay? - Me? Um, I should have done this before we started. There's no way to stop the recording? - No. We cantt. Once we start, we can't stop. It's just like a Snickers bar. Okay, I'm just gonna run really... "Just like a..." I'm gonna just run really quick. Will you, um... I know this is crazy and probably something you haven't done before, but would you just mind filling in commentary for me for the next minute here? - OA, uh... Okay. Sure. - Okay, I'm gonna run. Okay? - I've never done the... Okay. Okay, just keep it... I just don't want there to be a blank spot in this. So I'm gonna run to the bathroom. Go for it. Okay. This a really good time. Uh, Jesus. This is a naked woman. There are horses. Um... I'm a woman, Dave. Deal with it. I done... It's vagina, vagina hair. I didn't come from that bush. There's, um... He's in a Suit. This is an attractive woman. Hi, Becky! - God, your bush is huge. And then... Margie, I'm sorry, I actually don't know where... Where's the bathroom? I'm so sorry. I ran down the hall. I went to the... Where... Oh, sure. It's down the hall and it's to the right. Down the hall, to the right. Okay, is it going okay? It's going really, really good. -/ think I'm doing well. - Okay, awesome. I will be right back. Just keep going. Okay. Why the fuck would you do that? I don't think you're supposed to go into the mystery bag... the night before the wedding. This is excruciating. Um... But Mike was right about you two. Uh, different gestures. Dave, I'll be honest with you. This is a scene that was shot at nighttime. There's fire in the background. The wind feels so nice. They... You have to be careful when you shoot with fire 'cause you might get burned. I'm so thirsty! Dave, we should get in the ocean. Um, and there's a bridge. Just be quiet. Oh, my God. What is the point of any of this? /, um, can't swim. That's a fun fact about me. I never learned. Okay, okay, okay. Thank you. - Oh, God. Hey, thank you very much. Did that go okay? Yeah, my pleasure. It went really well. -/ think I got some really good info in there. - Good, good. I'm trying to think of where we're at. Where did I leave? I left in the horses scene. So, I know you didn't know a lot of the same details I know. But, uh, just fun facts about that scene. Got... What... If was shot at night. Jeanie had to be naked. There's a vagina. There was fire. You got to be careful when you shoot with fire. People got to be worried about that. And there's a thing on a bridge. And here... - I covered all of these points. You know, I'm gonna listen to this at some point. I'm amazing. What? Really? You covered all that? Yeah, I got all... I got about how fire is dangerous. Fire is dangerous. You got to have a special fire guy on set when you have any fire. Talked about naked. - They were naked. Really? Did you really talk about that? Yeah, I... Yeah. Wow. But you didn't... I mean, they're real naked... You probably didn't go into the detail of we had to cover the vagina with a merkin and all that. You probably didn't say that word. - No... Yeah, I did. Yeah, I did. It's not important. I don't even know why I'm saying that word. But mostly just sad. Listen, this is a really emotional moment of the movie here. Dad! - Don't! And, gosh, Zac doing that Rastafarian accent will always get me. And you can see behind the parents in that shot a little hint of our deleted scenes. There was an exploded pig in the background of that shot right there that is part of an entire story line about a roasted pig that did not make it into the movie. And, again, is on the deleted scenes. And it's still left over, you can see that. That scene was initially horses running through and destroying the place and digging up a roasted pig that Eric was so excited about doing a traditional pig for his Hawaiian wedding. And it's all gone now. A little 'round-the-horn here of everyone depressed the next morning. This is a real hotel room that we're shooting in here. We changed the walls, changed the furniture a little bit. By the way, have I taken the time to just stop and say how wonderful of a person Zac Efron is, and how fun it was to make an entire movie with him? Zac is one of those guys, just one of the sweetest dudes you'll ever meet. And you're not... You know what I mean? And I think it's good for people to know that he is one of the nicest, nicest guys I've ever worked with. And so good at what he does. And takes it so seriously. And always has thoughts to bring to the scene. And it was a pleasure. When I first... I actually first met Zac years and years ago for a very guerilla-style Funny Or Die video back in the day. I think, around when the 17 Again movie came out. We made a little Funny Or Die video that Zac was in. And when I first met him for this, to talk about doing this movie, which is, you know, six years after that thing. He was like, "Wait, do we know each other?" And I was like, "Yeah, back in the day we did this little Funny Or Die video "for an hour one day. It was real quick," and da, da, da. And he goes, "Yeah, yeah, I remember. We shot that that Funny Or Die video." He goes, "Man, people really thought that video was cool. "I got some, like, good props for doing that video. "Thank you so much for doing it." I was like... That was the first kind of thing after being a Disney star that people are like, "Hey, man, that's really cool that you did that." He was like, "I always loved doing that video." And I was like, "I got him." I was really, really excited and hopeful that we would actually be able to get him in the movie after that. And we did. He was in after our conversation that day. And it was really fun to spend time working on the character and working on the movie with him. It was fun to spend time with all these guys. Aubrey Plaza, I mean, come on. Who else can play the crazy Tatiana? 'Cause Aubrey is so funny and so good. And also a legit weirdo who can be a very weird person in the... And I mean that in the best way. I love Aubrey. And she's Tatiana in a way that, I think, other people, you would have known they were acting to be the crazy girl, a little bit. And I believe Aubrey somehow, a little bit more. Um... But I think occasionally... we should think about how we make... Here we go. We did a lot of work on this scene. This scene is kind of cobbled together from another scene that's not even supposed to go here that we put at the end, put at the end here. I love these girls here, kind of, learning empathy for the first time. Learning to feel for other people. Deciding they have to run off and save the wedding. Poor Mike. He's less special, but I played him so hard. They must be so mad at us! They must hate us. Fuck! I would hate us. I would fucking hate us! I hate us, man. I hate us! Believe it or not, that cut was not planned. Originally, the guy scene and the girl scene was very separate here. And then we decided to put the girl scene in the middle. 'Cause our guy scene was getting a little long. And we found that footage where they both said the same stuff and it seems very planned, and it was not. It was a very happy accident. Don't let your loser older brother... This was actually, this entire ending here was exactly what I mean about how great Zac is and how much thought he puts into it. And when we were about to film this scene, Zac called me into his room before we shot and he said, "You know, I really feel like these are brothers "and this is about them loving each other and trying to build each other up "and they should be talking about stuff from childhood." And Zac was a big part of writing a lot of the options we shot here and that it made it in the movie. Like, the whole Ninja Turtles run to do here was Zac's idea about doing a run about the Ninja Turtles. We had a couple other ones that we cut out. But it's like I can't imagine the movie without it now. And that was all, that was all Zacky. We're not going anywhere... until our little sister, Jeanie Beanie Weanie... The best compliment we got about this movie when people started seeing it is like, "I actually believe these two guys are brothers." I actually, it's not one of those movies where people feel forced together. And I think that speaks to, um, how good they both are and how well they both got along. I love them high-fiving over breaking a TV. We are so stupid. This scene right here actually, end of the movie here, one of my favorite scenes to shoot, and one of the first scenes we shot right after the meet and greet, after we had already made the mistake of starting with everyone in the meet and greet, we went to this location, this is week one of shooting, and shot six characters in a small room together. So it was a real fun first week for me as a director. Just dealing with, figuring out all our characters right away. We want you guys to love each other. Love each other. This is a fun one to shoot. I think, actually, I love this scene. I think the Fox execs saw the dailies from this scene, and they said, "Jake needs to move the camera more. "We're nervous. It's week one. "He's never done a movie before. "Is this going... Is this going okay?" And, I think, in fairness to them, I did a lot of long takes where we did many runs of different takes and it seemed very Static. But I think it turned out okay. I think the scene works. Pacing's in the editing. I hope it does. Maybe I should have moved the camera more. I don't know. ... read this same paragraph for 20 minutes. Another early talk that was fun to have of notes that came in were about the outfits. And I think there were some people who were worried that Mike and Dave were wearing too many crazy floral prints or that seemed too crazy. And I was a big, big believer that that is exactly who those guys should be. And they should be excited about their Hawaiian vacation and wearing big prints. There's something kind of dumb and loveable about the costumes in this movie that our main four wear. That I'm very, very glad we kept in. And that I fought to keep in on these guys. I'm hoping when Halloween comes around I will see two dummies in Hawaiian suits, walking around, pretending to be Mike and Dave. We'll see. If that happens, that is all 1 need. That is my measure of success on making a film. Will anyone, the following Halloween, be dressed as anyone from the movie? We shall see. I was drinking puddle water and I had to go to the hospital... 'cause puddles are really dirty. One time I was on peyote... and I signed up for a T-Mobile plan. One time I got high. Listen, I don't want to be too rough on T-Mobile here. I got a T-Mobile plan on my iPad. And it was just a, maybe it was an easy joke to go for. We went for it, guys. I'm sorry. Damn it! Sixty percent of my investments are in some pretty... It's so satisfying to see Eric here just get mad and blow up. You can hear the whole, when we did our test screenings, you just hear the whole audience kind of open up and love it, and just love to see him get mad after this whole movie of being kind of timid and polite to everyone. And, God, Sam does it so well. This was one of the audition scenes for sure. Bam! Two hot air balloon tickets for our honeymoon. Saving the day. Saving the day with that hot air balloon. Surprise. Aww! Now another thing about shooting this, one of our first days, again, and we were doing really long takes. It was week one on the shoot and I was, again, wanted to make sure we got everything, got all the options we could get to make sure we could cut it together any way we wanted. And we spent the first half of the day shooting Zac and Adam and Anna and Aubrey. And Sug and Sam, Jeanie and Eric were just kind of waiting off-screen, feeding their lines to everyone. Being great, great actors and great partners. And then all this coverage on them we kind of shot in the last 45 minutes of the day. And I felt bad we had to rush through it. But while they were waiting off camera the entire day, they came up with this wonderful hand-clapping to do and pitched it to me to do it. And I think it was literally because they were bored all day just waiting to be on camera, that they started doing this. And, of course, immediately put it in and wanted it in the movie. And it's such a wonderful little accidental by-product of making them wait all day to shoot. Do you have Zac Efron's number? This way! What was that, Margie? Do you have Zac Efron's number? I'm good. So what part you like, brah? We need the whole pig. Mmm. No. But we need to feed 100 people. Could we please, please have the wedding here? Just wondering if he might be interested in going in on freezing my eggs with me. You can't ask Zac to help you freeze your eggs, Margie. You just can't do it. You don't know him. Please? You asked me but you don't really know me. You can't just go asking people to help pay to freeze your eggs. That's not how it works. Start a GoFundMe page or a Kickstarter if you're gonna be asking strangers, but don't just ask for people's numbers in my phone so that you can call them and ask for money. Come on. Okay, /'m sorry. And don't... You got a little nest egg built up, I'm sure, a little savings account. You've been working... How long have you worked here? I have a gambling problem. Oh, Margie, you can't bring a kid into that world. You got to get that straightened up before you're even thinking about the kid thing. I can't swim. What?

1:10:07 · jump to transcript →

Nia DaCosta

And we can only shoot with Alfie for, like, three hours at night, and this is a night shoot. So for everything where his face is covered, more or less, it's Jess. That's Jess. ...blackens even sunlight.

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