Production design

Tim Lucas

Hello, I'm Tim Lucas, film critic and editor of Video Watchdog magazine. In December 1981 and March 1982, it was my privilege to be the only journalist allowed to visit the set of Videodrome, whose production I covered for Cinefantastique magazine. My research ultimately took the form of a book on the making of David Cronenberg's film, which initiated Centipede Press's studies in the horror film series in 2008. I'm here to share my insights about the film, as well as some memories of the time I spent on set.

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Tim Lucas

Universal probably weren't too happy about getting an un-blonde Blondie, and I believe some test marketing screening cards complained about her hair. Universal ended up soft-peddling Debbie's billing in America, while in the UK, she was pushed as the film's star. Max's apartment was built on an elevated stage in a schoolhouse-type building that stood on the corner of Bathurst and Adelaide streets in Toronto. The elevation of the set was necessary to accommodate the special effects scenes that came later in the production.

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Tim Lucas

But let's take a moment to admire the production design of Carol Spier, who is working here like DP Mark Irwin and editor Ron Sanders on her third Cronenberg picture. The glass blocks suggest television screens and the open slats of the Venetian blinds emitting blue light evoke the resolution lines that were present on all analog TV picture tubes. You may note in this scene that Max's preferred format is Betamax, which video insiders of the day considered a far superior format to VHS.

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dealt with on a daily basis and it was virtually unimaginable the kind of environment in which they lived in and worked in and fought in and so that really helped me shape the work in the script and then finally the work on the set and so when we were leaving the naval base again back in the

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an obvious intention to get, you know, to cross over to the outside of the submarine. So the sets were all built to scale. I think it's good for efficiency. No more passes. All leaves are canceled. We need everyone here to do their jobs. Yes, Captain. Comrade Captain, Lieutenant Vadim Rechenkov reporting for duty. I'm your new reactor officer. Kelly

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on multiple occasions, arriving at the set at call time or before call and meeting Jeff there. And we would look at each other and say, how are we going to not repeat ourselves? And I mean, because in some cases, certainly in the command center, there's probably almost three quarters of the script takes place there.

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playing himself. They did a great job with the sets and the lighting.

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He just walks into the room and they cling to it like mad. If you notice little insert shots like that where people are, a hand comes in and brushes stuff away, you'll notice that Evie's got about four different types of hands. It's like second unit will shoot those inserts and they'll use whatever girl happens to be on the set that day, whatever actress or extras around. So her fingers grow and shorten. This shot right here where the rock comes in on Spivey's butt,

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coming back to the set shooting it every morning trying to get this shot until finally they all went and the great thing was steve didn't mind at all he was happy to go back there day after day after day you know his his whole attitude about it was great i actually did freddy's hair myself there i the last second quickly mustered up

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Pat McClung

We had a big budget cut, or we had to save money, and the budget for this set got cut. Peter Lamont came up with a great idea. There's a mirror at the end of the set and another mirror behind the camera. I think we only had three of those hypersleep capsules. I think we might have had four. We mirrored them out to make them into 12. If you're clever you can see where the mirror is but I can't see it right now.

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Bill Paxton

and the grips shook the set and the set collapsed on us and split open my scalp. So I'll always remember that line. It caught fire and the roof came in all on the same day. And it hit Jim in the head. I saw blood spurting out of his head. It was where Sigourney was supposed to be sitting, so it was good it hit Jim and not her. We'd have gotten a day off. Think they did that on purpose? No. - I'm just asking. At that point, maybe they would've. In the pipe. Five by five." My favorite line. These shots, it's just me shaking the back of the magazine of the camera. The poor camera operator had a bruise around his eye, cos sometimes I'd whack the magazine too, just to give it a sharp jolt. This is all my shake of the camera. The operator can't do it himself. It just gets into this bouncy rhythm if the operator tries to do it. It has to be imposed from the outside and then they fight it, which is the natural reflex. Such a wonderful sound design in this movie. Much of which was generated in our living room in England. At the time, people really weren't using synthesizers in England to create sound effects for films, and we had a Fairlight synthesizer in our living room. A lot of the sound effects were generated by Bob Garret, Randy Frakes and Jim in our living room near Pinewood, including the sound of the alien queen. It really was a home movie.

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Bill Paxton

Bill, isn't there dialogue that you have on this that people have used in video games? Yeah, I think so. "Game over, man" and things like that. You get anything for that? - I don't think so. I'm not even getting anything to sit here and do this commentary. They expect us to do it for no money. You got a beer out of it, though. No, it's just fun. I got a beer out of it, so that's cool. This was an amazing set, this concourse A. And it was long. And later on when all hell's breaking loose, Jim had that little video camera. He had everybody on the crew having coffee while we would run at him and do different things. It was SO amazing to see this gigantic set, one of the biggest sets I'd ever seen, and there's Jim by himself with this little camera. When did the bust-out almost happen? He was gonna move the movie. When did that happen? I remember there were some problems. There were some union problems. The crew weren't used to working the same way. With Jim. They weren't used to working. That's unfair. They were craftsmen, but they had an indentured way of doing everything. Jim needs something, he just grabs it. If he needs a light moved, he'll grab it himself. We punched a hole through somewhere cos he needed to run a line. He didn't wanna wait around. He just said "Give me a hammer." But this was an ambitious schedule. Jim was running from stage to stage. I think we had about three big sound stages with giant sets. And then there were two sound stages with miniatures. And then there was a stage with all those tunnels. I remember them putting you in that damn tunnel. That pipe. We had gone to the power station to shoot the atmosphere-processor scenes and come back to the set after it had been wrecked. So we're into Adrian Biddle's photography here. He was the second DP. I encouraged Adrian, to save time, to use as much built-in lighting as possible. This is lit by the fluorescents in the set, with just a little additional lighting. Adrian liked to work on a raw and edgy look and work with the practical lights a lot more. This is another thing that is important. With a lot of science fiction movies that are all interior, you often lose track geographically of where you are and it becomes incredibly confusing and it's hard to build the tension and the suspense. Jim was aware of this from the script stage and made sure that we established through the helmet cams, through the motion trackers, where they are, and then ultimately, later on, where the aliens are. Even in this version, you're left to fill in what happened. We don't see the baittle. We'll see plenty of battles later and this is promising you that. We have a shot coming up here where there were acid holes - acid... holes... eaten into the floor by these so far unseen aliens. And, of course, these sets were not double-deck sets. Jim wanted a scene where a character looks down through one of these holes. I think Bill spits down into it to give some perspective. So this down-view we shot on our miniature stage. We layered the set and photographed that. This is where you spit and they did it in miniature. They even did a miniature spit. - Is that what that is? To get that spitting effect, it was actually not spit. It didn't work very well, so it was a combination of milk... Milk and water in an eyedropper right underneath the lens. The complaint from the studio was that the film went on too long without anything really happening. I was winding the suspense tighter before you actually saw anything. The studio said we were just jerking around. Too many movies that I see now, it's all upfront. You start seeing stuff right away and there's no sense of a build. So this is the miniature APC that was built by Bob and Denny Skotak. Pretty good size. I remember it being five or six feet long. Most people don't twig that as a miniature. That's the real APC pulling in. They matched the lighting pretty nicely. I think Jim did some of his live-action stuff undercranked. He ran the camera slightly slower on the APC so that it felt slightly more as if it were a miniature but you knew it was real because you could see people interacting with it. So if any of the miniature stuff didn't quite work for whatever reason, it took the curse off that cos it felt that the two were blended together. I think he wound up undercranking because the APC, the full-size one, didn't move as fast as he wanted it. I think it could only go eight or ten miles an hour. One difficult thing about making this movie was 7erminator wasn't out in England and the perception of Jim Cameron, who looked about 20 when he directed this movie, and myself as the directing-producing team was met with a great deal of resistance because back then the system in England was that you had to put in years and years to rise up to the level of being a producer or a director. And we were simply not treated with a great deal of respect and it was very hard every day of the shoot. We were being second-guessed and every decision we made was questioned and the tremendous thing, of course, having Stan on the film was that... I was old. - No. ...was that you were a cheerleader for both of us. By demonstrating the respect and enthusiasm that you did, I think other people gradually relented. I knew it was the best thing for me and for everybody on that set. There are people that you know, no matter how they do it, what they're doing is special. This particular directing-producing team had been a win for me in my career and stayed that way. I never thought our facehuggers looked as good as the one in A/en. We had to make lots of 'em and they had to run around and do things, but, texturally, the one in the first film looked great. It really held up. The bits of oysters and stuff inside it looked great. But I did wanna see the disgusting thing that had been down the inside of Kane's throat in the first film. You never see it in the movie, in A/en, so I figured we'd gross everybody out. All of Giger's designs have a real sexual undercurrent to them. And that's what horrified people about the alien as much as anything, is it worked on a kind of Freudian subconscious level. And Ridley and Giger knew that and they went for that. This film was never intended to be as much of a horror film as the first one. It was working on a different thematic level but I still wanted to be true to some of those ideas, some of those design concepts. It would be natural to assume I'd wanna work with Giger, but it just didn't occur to me at the time. Maybe it was because we really only needed to design one new creature and I had already designed her by the time I wrote the script. The alien queen. I guess maybe it was my own ego as an artist. I just felt like he'd made his stamp and I knew from what I'd read that he had to do everything his way and I had a very specific idea for the alien queen to extrapolate beyond what had been done before. I got the impression from what I read that I wasn't gonna get the dynamic character that I wanted. In a funny way, part of what attracted me to doing this film was the opportunity to do cool design stuff. So maybe I was just a little bit too in love with the idea of designing the creatures and the weapons and doing all that stuff.

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This is Len Wiseman, director of Underworld Evolution. And sitting in here with me today, far too close for my liking, I've got to say, if I can scoot over a bit, is Patrick Tatopoulos, our production designer. Say hello. Hey, how's it going, man? Remember that voice. And Brad Martin, our second unit director and stunt coordinator. Hello. And Nick Tatoth, our editor. Hello. Are you going to do that the whole time? Is that going to be your... Hello.

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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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I mean, at the end of the day, we could have probably built this set. It wasn't that big of a set, right? I mean, that's a hard thing to decide. Once you're in production, you say, okay, let's save money by going to a location instead of building the set. And then once you dress it and build it out on location, sometimes it could have just been a full build. It's more trouble, but very often you throw the number of the set ahead, and there's reactions saying, you know, you need to save some money there, and then you sort of shove it into a location, and the set...

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And we caught the plane back the following morning, had Sunday afternoon off, and were back at the set of Pinewood on Monday morning. In this scene, we are introduced to Jill St. John as Tiffany Case. Four years old when she began her career in show business, St. John appeared in more than 1,000 radio broadcasts. When she was 10, she was featured in the first TV movie ever made, an adaptation of A Christmas Carol.

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Diamonds of Forever's production designer was Ken Adam. His first film for co-producer Cubby Broccoli was 1960s The Trials of Oscar Wilde. Now back to Tom Mankiewicz. I think Ken was the first production designer on Dr. No, and he had been on most of the pictures. He was a tremendously artistic, finicky fellow. Very charming, or still is. A German who had flown for the RAF during the war in England. And he's a brilliant, brilliant production designer.

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Then we can start by saving the cute remarks until after you. Between You Only Live Twice and Diamonds Are Forever, Ken Adam served as production designer on Chitty Chitty Bang Bang, Goodbye Mr. Chips, and The Owl and the Pussycat. Here's Ken Adam. But what I always try to do is to do other films differently.

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It was unbelievably hot in that basement is all I remember. Just incredible. Yeah, it was a heat wave that summer. Everybody was sweating and naked. But now here we are on the top of a building in Dallas. This was an empty space we found and built the set in the empty space in the office building. And these trans lights you guys hung out the window are really great.

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We shot VistaVision plates for the rear projection. And now you're back to the giant prop, isn't it, here? I always loved that piece of art direction that William Sandell, the production designer, I guess, put in there with that kind of crow sculpture behind him. I always thought that was a really neat thing. So, Paul, how did you get involved with this picture?

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Well, there's no track. I don't think there's track. The idea that the sound would stop and the theater would really... This was all basically... The scenes were written more or less like you see them. But there was a lot of improvisation on the set for the staging. Jost built his camera in a chair so that we would always have this looking up look. What do you think, Jon?

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Hello. My name is Jean-Pierre Jeunet. I'm the director of Alien Resurrection. Hi. I'm Dominique Pinon. I played Vriess, the guy on the wheelchair. And I'm Hervé Schneid, the editor. My name is Sylvain. I was a storyboard artist and a concept artist on Alien Resurrection. This was designed, composed, shot almost entirely and never used, because we couldn't complete it for budgetary reasons. But initially, in the first opening of the film, we looked at the mouth. The mouth of an insect. Except we didn't know it was an insect. We mistake it for an alien creature. And the camera backs out and actually reveals a little bug. And in one camera move, as it keeps on backing up, we see a finger crushing that insect and sticking the insect into a straw. And splattering that insect against the glass as we recede... And we go all the way back into outer space and actually reveal a giant spaceship, which is where the story begins. I remember especially about the main credit. When I arrived in LA, I was waiting for an offer from the studio. You can imagine - a poor French guy like me, I was very scared. I was in a hotel, waiting for the answer, and I didn't sleep because of jet lag and because I was scared. I thought "OK. To prove to myself I am able to make this film, I have to find a good idea for the main credit, for the first shot." Immediately, I found the story of the guy alone in a big spaceship, with the milk shake and the pipe. He scratches insects, he puts them in the pipe, he blows the insect on the camera. I was very happy about this idea. I told this idea to the studio and they were happy, too. We began to work on it, but it was very very very expensive. One day, my line producer told me, if you could find another idea, because we have not enough money to finish this idea. This is a secret - I was pretty relieved. In fact, I think it was a little bit too funny for the beginning of Alien. I didn't say anything to the people. I said "You want to cut my idea?!" But, in fact, I was very happy, and I prefer the credit we have now. This is a model, and at this time, we hesitated about to use CGI or models for the spaceships. And Pitof preferred to use models. Maybe it was one of the last films with spaceship in model. That was very impressive. I came once on the set while you shot the models, and it was really big. - Yeah. Not really big. It's never enough big. And Pitof made a lot of parts, and he mixed the different parts.

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We had a larger size for this close-up. They ended up making some oversize pinchers to hold it as well. But it gave us the detail we needed to articulate the face and have the head extrude from that silicone sheath. Nigel Phelps the production designer worked with Darius Khondji the DP. They worked during the preparation. It was very important for Darius to have some sets with the light included in the set, because there's some small corridor - it's very very small, very tight - and it was very important to include the light.

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Darius came to the set as it was being built, and Nigel would explain some of his intentions. Darius made suggestions and they created opportunities for lighting. They were like two siblings, plotting. It works well.

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Simon West

To move the robot around the set, we had a couple of old rusty G-clamps that we just used to attach to its head and then drag it round. Ironically, the toy makers came to visit us one day to take the design of the robot to make the toys for mass production. And unbeknown to me, they'd taken photographs with these rusty old G-clamps on its head. And when I went...

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Simon West

Now, the company wouldn't actually lend us one of their cars for the film, so I had to go to a private owner. But unfortunately, the insurance was so steep and expensive to have that car on the set that I could only afford it for one day. So we had to make a polystyrene double for the car. And so all the wide shots in the action sequence in the background, the McLaren is actually just a very crude styrofoam version of the sports car.

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Simon West

I'd always been a big fan of Jon Voight, and so it was great fun for me working with him. Every day I could come in and ask him about films that he'd worked on as I was growing up. And so one day I would get an anecdote about Deliverance, and the next day I'd get an anecdote about Midnight Cowboy. So as a film buff, it was a great piece of casting for me because it kept me entertained every day that he was there on the set.

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And I'm Ted Tally, the screenwriter of this motion picture. Thanks for watching our DVD. I got a call from my agent who said Stacey Snider wanted to send me a script. Stacey called me directly. Stacey is the chairman of Universal for those of you who don't know. It said Red Dragon, and I said, "Red Dragon. Is this "the prequel to Silence of the Lambs?" I was familiar with the book but hadn't read it. At first, I was very insecure and said, "Am I like the 'Go-to' guy on sequels? "Why is she sending this to me? 'Cause no one can mess this one up?" And then, I saw Ted's name on it and said, "This is the guy who wrote Silence of the Lambs, "but didn't write Hannibal. "So, this must be special. "Why are they sending this to me? I'm not a dark guy. "I don't make dark movies. I do comedy." -/ think they sent it because you're cheap. - Exactly. So I read it, and I was completely blown away. Not to blow any smoke up anybody's butt in my presence, but the truth is the script was amazing. I called up Stacey and I said, "I want to do this." She said, "Now you get to meet Dino De Laurentiis." And I said, "Dino De Laurentiis "of Fellini fame?" - Scary thought! So I went to his house and first thing he says to me is, "Why do they like you? Who are you? "I never heard of you. What is Family Man, Rush Hour? I don't know these movies." I said, "Dino, I'm a talented guy. Trust me." And thank God, Ted had seen Family Man and Rush Hour, and his kids or someone in his family was a fan. Brett might not have been an obvious choice but Brett is an incredibly talented director and clearly ready to try something new that he'd never done before. He is a great fan of Hitchcock and of thrillers, and brings a tremendous energy and confidence to his work. I was such a big fan of Silence of the Lambs. You know what I was excited about? Most people asked, "Weren't you scared "of following in those footsteps?" First of all, I had three brilliant directors Michael Mann, Jonathan Demme, and Ridley Scott, who made three movies in the exact genre, but completely different. I was excited about it because, by watching those films, I knew what not to do or what I didn't want to do. I was able to decide on the type of movie that I wanted to make. And it helped me choose the tone of the movie. I realized I wanted to make a movie more like Silence of the Lambs. More Hitchcock-inspired. A movie that scared you by what you didn't see more than what you did see. I've read that the most important single decision you make in directing a movie is tone. - Absolutely. Because it's the direction of the film. It helps you with every choice that you make as far as the wardrobe, the production design, the music. The tone, to me, is really everything. Dante calls it, "The language of the film." We have to integrate what we're seeing now, Kristi Zea's set design with its dark, rich color in Dante's cinematography. The choice is even of the props. The integration of all of that, the wardrobe. It's sort of overlooked by people and it should be something that doesn't call attention to itself. But when all of those elements are integrated... Look at this moment here. You get a much more powerful movie if nothing sticks out. If everything is consistent in tone. Special Agent Graham. What an unexpected pleasure. I'm sorry to bother you again... If you see on the left-hand side over there, a little detail, I found this book of Sigmund Freud's office in, was it Vienna? That's where I kind of modeled Hannibal's office. I modeled the tchotchkes, the details.

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I went to New York with Dino, and I was very nervous. This was Tony, Anthony Hopkins. The thing I did know and what I was confident about was the type of movie I wanted to make. Like I said, I went in there knowing the tone of the movie, my approach to the movie, how I wanted to not show any of the gore. I didn't want to make a horror film. I wanted to make a film that was psychological, emotional, and smart. That was what was on the page. And the only scene that Tony had a concern with when I sat with him was this scene right here. Tony was concerned that as originally written, his attack on Graham here was too graphic. By the way, it's an interpretation because 10 directors would direct a scene in 10 different ways and show various degrees of violence. It's about showing the details of the guts falling out of his stomach, or the blood, how much blood to show. And I chose to play it mostly on their faces. Once the attack happens... Here's my little homage to Silence. You see the... - I see the bug. You like that. So I chose to play the violence part of this scene on their faces. I love this book. This is an original. My prop guy, Brad, found this original book from France, Larousse... When I read it, I had no idea what the hell it was. It's the bible of cookbooks. - Yes, I learned that quickly. He found this real old French cookbook. There was a lot of dialogue about how do we sell his moment? It's really just a subliminal thing. It wasn't really supposed to be so pointed where it was like, "Oh, sweetbreads." I thought sweetbreads was brains but it's not. It's actually... Thyroid. -... thymus. I learned so much about anatomy on this film. If you work on a Lecter movie, you learn a lot about cooking. I thought Edward was fantastic. There is a tremendous intensity of performances in this movie. And really a dream cast as Brett already said. If you could have anybody in the world for these parts and be lucky enough to get them. It's pretty much what happened to us. Great actors want to play good characters. They want to play great characters and all of these characters, down to Freddy Lounds, and other smaller roles, were just written so well. They were interesting and dynamic. And these actors were interested in playing this. To convince these actors to do a third in the series, all that went out the window when they read the script. Certainly once they started working. There's our cold opening. I'm very proud of this title sequence because it was actually done two days before we had to lock picture. My editor, Mark Helfrich actually was the brainchild behind this because... You re-shot the journal here in a very interesting way. Initially, this was done in a much more straightforward way with the images very flat against the screen. Yes, a lot of times. Mark is kind of... Everybody on my team, from my AD to my production designer, are filmmakers. Mark is a filmmaker in his own right and he just understands the visuals and storytelling. I love how, you know... But this was written. - Yes, it was. But the way that the camera roams over these pages and when we go in very close and it gets grainy, the camera movement left to right, up and down, is all not scripted, of course. This is something I don't really have the patience for. Mark kind of took this book that he was fascinated by. I think he has a copy of it in his closet at home. He just knew every page, every frame and went with Dante and literally just shot. This is a wonderful opportunity. This kind of title sequence is sort of old-fashioned in a way. But it's a wonderful opportunity for a screenwriter to get information in quickly to cover a lot of ground between the arrest of Lecter and where we are when the movie is going to start. Covering a period of several years, you are doing that without any dialogue just by these images. It's a very useful shorthand. Danny did the same thing that Ted did with the script in this sequence that Mark did with the visuals in this sequence. Danny did the same thing with the music. I think the music here is so fantastic. It's very much like a Bernard Hermann score, which I knew was a big inspiration for Danny. Danny is a big fan of Bernard, and this was his chance. He's done darker scores, but they've had a kind of lightness, or comedic darkness to it. Danny did something here that kind of made people's skin crawl in the theater, like, "You're in for it. "If you're gonna sit through this movie, you'll experience some stuff. "Shit's gonna go down."

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So that sequence, those two minutes of the movie, which could have been a very boring, dull sequence. I had a long conversation with Kristi Zea. It was wonderful. She called me up and said, "This book of Dolarhyde's. "What does it look like? What's in it? "How is the handwriting? What kind of photograph?" We had a long conversation which for a screenwriter... You don't often get a call from the production designer to talk about a prop. It was a wonderful opportunity to be part of the design of the movie in that little section. You've got a beautiful setup here, Will. This was actually in the Florida Keys. You know why I'm here? Was it Marathon? Yeah, I can guess. The location is meant to be Marathon, Florida. Dino wanted us to shoot in North Carolina because he had studios there and a house on the beach or Malibu because it's close to his house in Beverly Hills. But the truth is, I wanted to stay true. When I said I chose the tone, I'd really chosen the tone of the book, going back to the book. Everybody here was honoring the book. We really gave a lot of respect to Thomas' book. Tom Harris is a wonderful writer. When you're doing an adaptation like this, it's a great resource to everybody to be able to pick up the book, as you can go into more details than the screenplay. It's a help to both the production design and the actors, who can go back and find out details of motivation. It's helpful to everybody to have that bible to refer to. So when it said Marathon, Florida, I tried to stay true to that and actually go to the location in Marathon, Florida. It just felt like it was the tone and even the location, like Grandma's house in the same description of the rural area where it was, and the type of house it was. It was an old-age home once, which is really back-story, but Kristi incorporated that into the design. I was so happy that she and Ted really stayed true to the tone of the book visually as well when it described the locations. This was so much fun being down here, by the way. It was the end of the shoot, and we were just down there on the beach. This was probably the hardest scene I shot with these two guys. In what way? Because it's exposition? Anything with exposition... -/s tough. It's tough to make it sound like real conversation. But honestly, there's not a line in this movie that I'm not proud of. I mean I can't say there's a line... It was a tight script. We did cut a few lines and a few parts from scenes but Brett and I actually worked quite a bit on the script before the production started, and we had it pretty tight. And the shooting stayed quite faithful to the script. I have to say that every scene was hard for me because I'm used to scenes with not much dialogue. I, unfortunately, am a very talky screenwriter. So it was a clash of cultures. Coming from being a playwright, I guess. There is a lot of dialogue in this movie, I tell you. And it was not a single-spaced script. It's a long script, and I kept saying, "Make them talk faster. "Don't cut the thing, just make them talk faster." Ted's advice to me was, "Brett, when you're happy, "ask the actors for a take where they talk double speed." And I did that. Probably that's all the takes that Mark ended up using in the editor's room. He kept calling me, saying, "This movie will be four hours long "If you do not get them to speak faster." The thing you run into as a screenwriter, even with the best actors, is that you try to pace a scene to fit within an act structure and fit within the entire screenplay. But then actors wanna take very long, dramatic pauses. Actors want to look down and up, across the room, at each other, and finally say the line. - A lot of pausing. And that's what you're up against when trying to time out the length of the scene or act. I wanna say something about these actors. Once I got Edward Norton, I used Edward to get another actor. Once I got Ralph Fiennes, I used him, I got Emily Watson. - You parlayed them into each other. I said, "Philip Seymour Hoffman, I'm getting Mary-Louise Parker." I knew each one, who they were a fan of. I used them against each other to get them in the movie. I literally thought I'd be able to walk onto the set, and it would be the easiest movie I'd ever made because I had these brilliant actors. I could just say, "Action." I read one article or something about this movie that said this was the most distinguished cast that's been assembled in any movie in the last 20 years. But the truth is, it was probably the hardest movie I'd ever made because the smarter the actor, the more experience they have. It's a myth that these great actors don't need direction. They want direction more than any other actor. They want direction, but they have ideas of their own because in the end, it's up to them. They are the ones whose face is filling that whole screen. And they have to absolutely believe what they are doing, or they can't convince an audience of it. What I'm trying to say is, there was a lot of dialogue going on. A lot of intellectual discussions. And each of these actors are not only smart actors, but they're highly intelligent, all smarter than myself and... A lot of them have also directed or even written as well. They all had an opinion. And my job, I felt like it was my job to save the script. This was a script that worked to me. We had a table reading of it. It was fantastic. And Ted was

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radio transmitter, and all the ancillary equipment. He said, come over and see me. So I went over to see him. And they were actually producing all the equipment for the new Delhi airport. So I said, well, what do you think? He said, yes, he said, providing you guaranteed to pay for the retesting of the equipment. Apart from a couple of very nice lunches, I don't think he charged us anything for it. Production designer Ken Adam worked on seven James Bond films.

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the French windows at the back of the set with some drapes and obviously all the gambling tables. I tried to create space. I know to reproduce this rather French Louis XV or XVI type of decor would have been impossible.

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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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We're coming up on Grant Hesloff, and he considered himself the comedian both on the set and in character, and is the guy he thought everyone in the audience, he's the one they'd relate to because he's the guy who's like, why am I here? How did I end up in this situation? He had to learn sign language to deal with Amy because he's supposed to act like he's done this for years.

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I don't even know if you'd call it turnaround, but Frank Yablans still had the rights to it until Jurassic Park. Right. On Jurassic Park, which Kathleen Kennedy produced, she was on the set with Crichton and sort of started out, he started telling her the whole saga and she began to think, oh, well, you know, with technology, like Jurassic Park obviously was a landmark film in terms of special effects technology. And so between the animatronics and the CG dinosaurs and all that, she thought, well, maybe this is the time to do it.

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She doesn't think that it would be a good fit for her. I think that's where Marshall ultimately landed as well. He said the only reason he went back to direct on Eight Below was just he couldn't resist the opportunity of having a bunch of dogs every day looking at him adoringly as he directed them. And so he basically, you know, he made that for the dogs. But he really, I think he's kind of the same way. They were very into their golden retrievers. Like they were on the set, right? Yes, their golden retrievers were on the set. And in fact, at one point got terrified by Amy. They thought Amy was real. So, or sort of barking or something. Well, and some, you know, as much as like Peter Elliot

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He did that, and I thought, yeah, this is great. My only thing with Benicio was that I had wanted a much older character to play opposite McManus. Which I like. I actually like that concept. It's just I couldn't find the right person. And then having seen what Benicio did on the set, I realized he was certainly the guy for the job. Benicio is a true artist. Very conservative with that word. Very special actor as well. Very bold.

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And then this morning, the day we shot this was the next day, and just the principal actors and myself had sort of a bonding lunch to try to see what, you know, was the difficulty. And we got sort of, it became like a love fest, and we got all giddy, and this giddiness carried over into the scene because none of the actors could stop laughing. That shot really plays it there. You could see that there was a lot of laughing on the set that day. It was hard to get anybody to be serious. I was not able to get one take...

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The most effortlessly complex actor. That's probably the most perfect description I've ever heard of Gabriel. Gabriel is also the most popular man on the set whenever Bryan would yell cut, hair, makeup, you name any sort of woman on the set that was working in any capacity would flock around Gabriel with Baldwin standing ten feet away going, when you're done with Mr. Byrne, I'm here.

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That's one of my favourite. Yeah, that's my favourite shot too. It's incredible. When I saw that shot, that was like one of the first times you really felt this guy's going to work. I love the blanket spinning around. Yeah, well that was because Andy spun it around with his feet. We didn't plan on that, we used it. The image of Frodo with the sword at Gollum's throat while Gollum's got Sam is straight out of an Alan Lee painting. We actually had Alan's painting on the set.

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I always felt guilty when we would walk into a Fangorn set because I'd think about the trees that died for the set and how it was so much in conflict with what the story was about. Yeah, most of it was made up of old dead trees, bits and pieces lying on the ground, and the bark was usually rubber. I mean, a lot of the bark on the trees was actually just big sheets of rubber that had been moulded off a real tree. The first time we see Treebeard, Treebeard was a real difficult character.

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building materials off the top of the hill. It's actually quite dangerous. We had to anchor the buildings down deep into concrete, drill into the rock and put huge big concrete piles into the rock. We even just build the set there.

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that we wanted to use the blinking one, so we had Weta, the CG guys at Weta freeze his eyes, so we removed the blink from his eyes. This was a sequence that Freya directed. We built the set very quickly, because it was an idea that you had that wasn't really part of the script to show this deterioration.

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We put a guerrilla crew together so that you could film it with Andy. We were trying to figure out all the different ways we could use the set, which was really a little gully, a rock gully. So we drowned it in rain, we dried it out and drowned it in light, threw some greenery in. We just tried to give it variation and also to show, obviously, passage of time. That was a huge make-up, wasn't it? It was enormous. He was in there for how long? I couldn't tell you. Hours and hours and hours.

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Yeah, a long time ago. For some reason I thought we shot it in Queenstown. I thought you shot it in Medfin. I think we built the set for it down south but we never used it because it was a wet weather set so we only went inside if it was raining and it didn't rain. So we ended up shooting it up in Stone Street Studios I remember the day we shot it actually. Kind of an awkward little scene to shoot because the set's kind of small.

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The fights are really nice in this picture, Patrick. They're really on par with the other two, certainly. Allan Poppleton was our New Zealand stunt coordinator. He did a fantastic job. - He did a great job, yeah. So, what you're seeing here is actually the set... ... you're gonna see later in the movie, an early stage of the castle. We tried to minimalise the dressing so it felt a little different. But it's basically the same space that you'll see later. And this was the first day of shooting. - Yeah, the balcony part. Yup. The big reveal. Wanna tell you a story about the castle. The castle is such a gigantic structure. Of course, there was no way to build this. We ended up building the, what you would call, the courtyard of the castle. How many feet tall, Richard? - About 20 feet. Twenty-five, 30 feet, yeah. Which was a little challenging for the lighting... ...because we were there on top of the set. When we started, it was difficult for CGI guys to kind of extend that. Yeah, it was terrible for Sound too. Every time it rained, we'd stop shooting. The train outside, the train station? - Yeah, the train... Note to self: Do not build set next to railroad tracks next time. We have a few transformation... ...but this one actually is not a transformation. It looks like one, but everything is practical. There's nothing mechanical or anything. I love it. It's a little more American Werewolf in London approach. There is no CG help whatsoever, though. Unlike the others.... This took a while to get right, just this whole prelude... ...and Kate's voiceover, and getting people caught up. There is a lot of history, and to decide, you know, where exactly to start... ...and how much to prep it with. Hopefully, we covered everything we needed to. It looks like we moved really quickly through. I wish we had a little bit more space, a little bit more in the... Yeah. - There's so much story to....

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So Dan was the art director on Lord of the Rings... ...and I met through a friend of mine, Gino Acevedo, the makeup artist. And we met and.... Since we already had a sense of what I wanted to see as a castle... ...came with some drawings at the beginning. Dan was perfect for that. Just took the drawing. As an art director, just became clearly someone that expanded the vision. But he's textured the style, you cannot recognise, I mean... Yeah, we were really lucky to get him. He was actually working on a different show when we got to New Zealand. And we thought maybe we wouldn't get him. But that other show had money problems... ...and shut down the production. And we were very lucky that he was able to step right into Underworld. Now, this was a scene that, at least, my recollection... ...when we originally sort of storyboarded it... ...wWe had a lot of werewolves in it, and then we couldn't afford them. So we went back and we begged Clint Culpepper... ...to give us about a hundred more werewolves. And he did. - Which he did. We also had to build this canyon right here. And I do think it makes a difference of just... Before, we were talking about doing a version... ... Which is just all within the trees. And, you know, Patrick, you and I talked a lot about... I liked the idea of you going from... There's a separation. You got the forest, and then this canyon, that then leads into... Leads into the meadow, yeah. Into the castle. Yup, and this castle, obviously, is a location that doesn't exist. So basically... - Neither do the rocks. What we had, it's basically like a golf course-looking... There was no rocks, nothing. It's very flat, very boring. And there was a lot of work to be done later on post and, you know.... The trees and the grass are basically all that were there. Yeah. The big crossbows. We only had one working crossbow, correct? Yes. - We still have it in storage too. We should take it out and play with it. We had a lot of, like, one thing working out of everything. We had one werewolf head mechanical. And we had to make it, you know, out of that stuff. So this wall behind. This is again basically the outside of the set. That set already, basically. - Yup. The whole courtyard and the little bit of the outside was built. We tried that shot right there, where the werewolf comes in. We tried that practically. And it just looked like.... Just dragging in a muppet. - A piece of rubber. Now, this is Rhona. - She is.

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It was interesting with Rhona because she had to create... ...a new character, you know, somebody... It's a different time. It's a much more rougher time. I mean, I think the warrior that she created... ...IS, In a sense, quite different from the Kate character. I think she did a fantastic job there. And I think she fits the tone of the movie very well. I was very happy. I mean, she looks great. And she has a very special quality of.... What I like best about Rhona is also the looks, how she looks... ...and tell a love story just by the looks on them. You'll see that through the movie, little moments like this, she really.... Beyond being a great... She works great with swords and things. Look at the shape Michael's in. It's incredible. This was-- He started.... He came off of Frost/Nixon I think in the end of October... ...and started shooting this in January... ...and had three months to go through incredibly intense physical training... ...to get into the shape that he's in in this movie. It was a Startling transformation that he was able to do to himself. It's good to be a Lycan. I'd like to be one. Yeah. That helps. Now, this is one of the great Dan Hennah sets. I remember Len and I came from California... ...in, what was it, for the first day of shooting... ...and we walked through the sets. And not only were they beautiful to look at... ...but the flooring was all corrugated. It looked like natural cement. And apparently, Dan had some sort of formula... ...where he could lay down these floors. And they made them look absolutely... They brought in a cement mixer and dumped it on the floor. And then there's this team of guys with forms and moulds... ... sort of going along with the cement mixer. So the entire floor is actually made... ...of two or three inches of actual concrete. It makes a huge difference. On the first film, we would've liked to, in the crypt, do that. Just didn't have the money for it. It was, you know, any way that you can possibly do it... . like a faux paint job. It just doesn't pick up the light. It doesn't work. The texture, yeah. - Here's a transformation. This was late in the game. This is Michael's suggestion or no? Am I wrong about that? - This was a scene, he was really... We actually tried to cut it. And he was so adamant that we had to shoot it. This one here. This turned out really well. Who did this? A company called Intelligent Creatures. From Toronto. - This one came out really good, yeah.

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This was the very last day of shooting on our movie. This was the last scene we shot. This is Alex James Phelps, and for fans of the Mission Impossible franchise, you'll get a kick out of the fact that his last name is James Phelps, a character in Mission Impossible 1 and, of course, in the TV series. He was cast a week before we shot it, and he came to work that day, the day before, actually, to walk the set.

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plant the seed of the oath here and it will it will pay off dramatically well it'll pay off very satisfyingly later on yes and it actually resonates why we do where we don't draw a circle around it it resonates through actions that characters take in this movie into the next movie um the set that they're on right now is a is actually the repurposed and rebuilt venice safe house set we've just taken out certain walls and if you look at some of the

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architectural elements in here. You can see the Venice safe houses in there. That's Gary Freeman. He's a brilliant, brilliant production designer. Great working on a budget. And when we said, hey, we need some sort of a safe house for Ethan, that's where we ended up. And yeah, Alex just got a fantastic face. And he tells you an entire story about some kid who's just beginning his life. Yeah.

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player and Johnny had such a hard time queuing up the spot and we did a lot of takes of this one. How old was he? About 18? No, he was 21. He was actually a little bit older than the rest, I think. But he had a very young look. But he was at this time, I don't think he had acted at all. He was in a rock band or something. Right. He was a musician. He had an actor friend on the set all the time going over his lines with him continuously because he was terrified he would not be able to say them right.

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She was never quite satisfied with her makeup, so she would usually go and fiddle with it after the makeup and hair were done with her, so we never knew quite what she would look like when she got to the set. Did she do anything after this? I know she was in The Driver, which I enjoyed immensely. Yes. It's hard to actually imagine that John and...

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I remember in the last days, we were shooting in about five different places in the set at once. We had cameras everywhere shooting inserts and jail scenes. That became the way all those films were done. The last week and a half. I've done a lot of effects films. In the last two weeks, you start pulling out the units. You kind of realize what you need, too. Here's a shot that I find very interesting. I like to think that there was a tip of a hat to it in Terminator 2 where the killer comes through the jail cell.

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Jim Piddock

garden hose piddling down on the windscreen, and so we think we're driving in the rain. Now, these pass-bys had to be precisely timed to the dialogue, so this shot had to be done in reverse. That is, if you were there observing on the set, you would have seen these passing lights being pushed, in fact, away from us into the background, not coming at us, so that their moment of entrance, that is, their apparent moment of exit, as it were, could be precisely timed.

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Jim Piddock

altogether, though, of course, for the sense of the frame, has been composed to exclude the nether regions. Always a sensitive time on the set, of course, the nudity, sometimes an occasion for embarrassment, although this actor, very manly. In fact, I understand that on the set as he stood up, the makeup girl fainted. And now we're in another place, an envelope. We'll get a look at the characters here in a moment. More people, a new place, the plot thickens.

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Jim Piddock

Now, that's expensive, of course, making the artificial dog, but as compared to the cost of the set time it would have taken to get a real dog to perform all these various tasks precisely where needed, you know, hitting the marks and full crew standing about waiting, well, the cost of fabricating the dog is actually altogether lower. You just create the dog and have done with it. And he's radio-controlled, you see, guided by a technician just out of camera range, so there's no untoward flea scratching or licking the genitals or, well, you know,

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Barry Sonnenfeld

So we're back in Men in Black headquarters. Although Bo Welch, the production designer, and I made some changes... ...we always felt that this side of the room... ... should feel like it was like an airport. That's a real Rick Baker-designed creature. There's no visual effects in this shot at all. And we felt since we were creating an airport... ...we should have a Sprint store, a duty-free shop... ...a Burger King and really make it feel like an airport. There's an "I love New York" store. That's Nick Cannon, a big star of Nickelodeon. Good work in the subway. I remember Jeff when he was yea high. - What you got for me? We didn't change this set from the first movie... ...although I was wondering if we should have removed... ...one of those spaceships behind Zed since at the end of the first movie... ...Edgar flies off in one of those things... ...but we felt they wouldn't change the mural. Here comes Frank the Pug. There was a killing earlier. 177 Spring. Alien-on-alien. If you listen closely, Frank, when he walks into the room... . 1S humming "Hava Nagila." What happened with Tee...

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Barry Sonnenfeld

Almost all of Frank's mouth animation was done by Rhythm & Hues... ...who did the animation for Babe. A little bit of it was done by Industrial Light & Magic. But I would say, what you're seeing in the movie... ...IS about 80% Rhythm & Hues and 20% ILM. Jay, wait up. I appreciate the shot, man. The name of this dog is Mushu. Mushu plays Frank the Pug. Mushu loved being in that suit. He just had the best time. He would prance around. I think he really felt, when he was in the suit, that he was a Men in Black. I felt it was really important that Will have a different car... ...that it didn't feel like exactly the same movie over again. Bo Welch and I wanted to upgrade some of the stuff and make it sexier. We love also the fact that a black Mercedes probably fits in better... ...1N New York than a 40-year-old Ford LTD. before I roll it up in there. Got it. This was a last-minute decision to have him sing that song. It actually was a long monologue... ...and on the set on the day, we thought it would be funny. Frank just said, "For

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Barry Sonnenfeld

I love these guys. Either he has very strong jaws, or this guy looks like Frank the Pug. Zero percent body fat. Funny. - Witness? Girl. Again, we're back on-stage in Los Angeles shooting this scene. There was no pizza shop that looked like this. That's Bo Welch, by the way, who's playing the astronaut right there. We'll show you in a minute. That's Bo Welch, production designer... ...of Men in Black, Men in Black II, Wild Wild West. Everything is all right. What is she supposed to feel all right about? Another guy with a really strong jaw. I'm Agent Jay.

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Noah Baumbach

This is his ship, the Belafonte. We bought this ship in South Africa and sailed it up to the Mediterranean and renovated it and made it into this research vessel. It never ran that well, but we really did fall in love with this ship. The crew of the film was always very sort of loyal to it. Now, we have Michael Gambon, who plays Oseary Drakoulias, the producer, a sort of Carlo Ponti, Dino De Laurentiis-style mogul, although he does produce these documentaries. He has the longest fingers that I think I've ever seen in real life. He understands. Amin needs to make a projection of the world grosses to see if he can get a tax break and run it through his output deal. I think that Zissou sees himself and wants to be the kind of person who gives kids secret messages in the cereal boxes. Right. That's an inspiration for him. And the movie is about this, theoretically, a real person, but he's inspired by a sort of fantasy version of himself. And there's things sort of peppered throughout the movie, but this whole red caps and the uniforms and the whole thing. And Owen, in some ways, is our stand-in, I mean, of the child who looks up to this person. And I think another layer of that that we were always dealing with was how our cinematic idols in some ways were like surrogate fathers for us. Movies we loved that sort of took the role of things we looked up to, things we sort of wanted to live vicariously through. And I think Owen and Ned's character sort of stands in for that. This is a kind of an unusual role for Owen Wilson, I think. Right. He has a sort of recognizable comic persona that he's developed. And this is, I think, very different from that. I think when we were writing it, we often talked about that even though Ned was, as written, very naïve and kind of an innocent, I think there's always a kind of somewhat devilish nature to Owen. You can see the light is on behind his eyes all the time. There's some Zissou in him. Yeah, that's interesting. And I think also it made us feel more comfortable writing such a naïve character because I think if it was played too much that way, it would kind of wash out. Yes, and I think Owen's concern was, he was like, "What am I gonna do?" Because he felt like the character is so innocent and so sincere that he's not used to playing someone who's that sincere. He usually plays somebody who's a little bit wily on some level, or something like that anyway. And I think for him, when he really became comfortable with it was because we were sitting on the roof of this hotel in Rome, and he told me this funny story about Will Patton on the set of Armageddon, and he did Will Patton's voice, this southern accent. And I asked him, "Do you think you could do this whole movie in that voice?" And what he ended up doing-- He liked it. We read through the whole script reading all his lines with that, and it was funny and it gave him a sort of genteel feeling and something a little bit not quite real. And the accent's certainly not real. The accent hasn't existed certainly since the Civil War. Right. - Even if then.

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Noah Baumbach

Let me tell you about my boat. This is something when you first brought the idea of the character and the story to me, this was something you always wanted to include. I remember you said, you know, idea of this character, originally named Steve Cousteau. We later made him Steve Zissou. Oceanographer. He has this show. And then you said, "I want to do this--" Visual. - This visual. So this set, this is sort of inspired by, you know, World Book Encyclopedia, and Time-Life books, and, you know... elementary school books with fold-outs. And so that's kind of where it comes from, but making it in three dimensions. And for me, it was just something that I was inspired by. And it was years and years ago that I was planning to do this. And it was very kind of thrilling to be able to build this set because it was such an unusual one. And so many people-- For us, the movie is about all these characters who we made up, but they relate to people we know and they're characters we really love. We don't really have a lot of bad guys or anything. We just have these people we connect with. And the idea of having them all in there at once in this environment, that sort of encapsulates something about the movie. I think it goes back to what you were saying about your-- That this is also about what you love about making movies, and how you feel, you know, sort of lucky and privileged to be able to do it. And here, you know, in a way, this is like your dream of, "If I could make a movie, I want to do this." I mean, you've had this for so long. - Yes. And we shot it... It was like shooting a play. Explorers Club? - Right. You were on the set. - Yeah. This is-- Yeah, I spilled an entire espresso on my shirt. During the filming of this scene? Yeah. I was so jet-lagged. I was listening with a headset and it somehow disconnected from the headphones, the little mic part, and it knocked the espresso out of my hand and all over my shirt. Yes. You know, I always like paintings. - You do have a lot of paintings in your movies. - Yeah. And those tell about the character of his mentor, Lord Mandrake, and then we have Zissou, and then we have... And this story was actually based on something a friend of ours had been talking loudly in L.A... Chris Eigeman. Chris Eigeman had been talking loudly at an Indian restaurant in L.A. He thought that there was somebody who looked like a famous action hero, and he was talking very loudly about what happened to this guy, and it turned out to actually be the guy, and Chris was humiliated. And we lifted it wholesale and dropped it right into the film. And at one point you were going to have Chris play the guy until then you decided to make him Italian. It seemed nice to be able to put it all in subtitles. The Explorers Club is also-- This place is inspired by a club in New York who actually let us use their flag, which you can see in the background. And it's the Explorers Club on 70th Street, a block away from where I used to live.

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Noah Baumbach

This actually was filmed in Rome. You know, the whole film was shot in Italy. The Explorers Club was at a palazzo in Rome, and Zissou has taken to wearing an earring at the beginning of the film. Here's where he decides he's humiliated out of-- He loses his confidence. Did you place a second earring there that Owen knew where it was? I don't quite remember. - Probably. I think it was more Owen just went over and acted like he was picking something up because he could never quite find it. This is revealing some of the secrets of the trade. The deliberately low-tech effects. Yes, yes. Something I was thinking about this ship, which we didn't say in the cross-section area, but I do think is definitely another thing about the film, is the sort of deliberately artificial and sort of the things that are invented, certainly the fish and the cross section of the boat, sort of living in the same world with stuff that's very real. You know what? Okay, so this is one of the big concerns for me. How-- We want to make, you know... Most of our time is spent in how do we bring our characters to life. That's what we're inspired by, that's what we spend all our time with as writers. And then as a director, I'm working with actors, and those are my actors, and then the cinematographer, the production designer... And how can we have them come to life and have a feel for them in an environment that is so strange and unreal? Well, and I think what's sort of interesting about that too is that Zissou is somebody who, you know, makes his living sort of, you know, in some ways... - Making fake documentaries. Making fake documentaries or documentaries that are highly indulged or embellished upon. And, you know, so, you know... Yeah, so the artifice of it, for me, it doesn't actually-- This is like intellectualizing something, but for me, part of the inspiration of the movie is to create this world that's going to be set, and they're gonna wear these crazy outfits, which comes out of his character, and he's going to fly for Air Kentucky, and, you know, we're going to make these animals. But the hope is that through the fact that we've made so much, and invented so much, and through the artificial feeling, that it would make it interesting enough or have enough excitement in just the fact we're trying to create so many things. That's basically what I feel like. We're just trying to try as hard as we can to put as much life into it as we can and as many ideas into it as we can. And there's even something that you were saying, which was that the fact that the animals being this sort of handmade, stop-motion, old-fashioned style, and how it's not very real, is related to the whole concept of a movie being about people who make things and create their own world. That's what the movie's kind of about, some sort of self-invention, and making their own art and all those things. Which in this instance, there's a bunch of plastic domes with light bulbs blinking inside them on a beach in the south of Italy.

18:16 · jump to transcript →

Francis Ford Coppola

well-known singer of sicilian descent morgana king a well-known jazz singer but when i met her in some audition situation she just made me think of you know the kind of handsome authentically sicilian woman that would be his wife also some of the judges they've all sent gifts there was a lot of tension on the set uh during the sequence this

17:12 · jump to transcript →

Francis Ford Coppola

Take the cannoli. Of course, the cars have that A coupon as the gas rationing from World War II. One of the reasons why I loved so much that it was a period setting in a period is that we could do all of the detail to really try to bring back that period. We did a lot of research, and the film was very authentic from that standpoint. The production designer, Dean Tavoularis, and his team worked very hard.

57:37 · jump to transcript →

Francis Ford Coppola

So I continued talking and arguing, and finally they agreed to let me discuss the idea of Marlon Brando being in the movie if I honored three stipulations. A, he would do a screen test. B, he would do the film for free. And C, he would put up a bond so that if any of his shenanigans or any trouble came from him being on the set, that it would guarantee the losses. So I said, okay. I said, okay, I accept, you know. What could I do?

1:34:23 · jump to transcript →

Gary Goddard

Ann Coates, editor of many films, Lawrence of Arabia among them. Richard Edlund had recently left the Lucas organization. We were able to bring him on to handle the effects. Bill Stout came on board as a production designer and did a fantastic job.

2:12 · jump to transcript →

Gary Goddard

Two sound stages combined with the doors open from one to another with the set being built from the edge of one sound stage all the way through outside into the other one to the other end. That's how we got that depth. There's Meg. Her eyes make her a perfect sorceress. He's ours.

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Gary Goddard

At that time, there were no digital effects like there are now, so it was a whole different set of rules used. Those days will come back. Oh, yes. This is one of my favorite little bits. You know, after he opens the door with the keys, he's going to bring them inside, and he's going to, you know, this super powerful door you'll see here, and when you watch him, this is a little thing we added that I added on the set that day. He'll put all of his locks in place, and then you'll see the last lock that he uses was...

7:56 · jump to transcript →

The way he first came up as a candidate to direct this movie is kind of interesting because it actually... Teague's name came up while Marquand was still technically assigned to the movie. What happened was Brenda Feigen was visiting her brother on the set of Oliver Stone's Wall Street. Now, this was obviously a couple years before Charlie Sheen, one of the stars of that film, was cast in Navy Seals. But Brenda Feigen's brother...

16:02 · jump to transcript →

was friends with Michael Douglas. So he was kind of hanging out on the set with Michael Douglas and Brenda Feigen went to visit the set. And when she was on the set, Oliver Stone saw her and he knew her kind of socially a little bit from being a William Morris agent or whatever. And Oliver Stone asked Brenda Feigen to be an extra in the scene they were shooting. And so she said, sure. And she spent this long day on the set of Wall Street and there were a bunch of breaks.

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So he wanted them all with him. So Emilio and Charlie, they were on the set of Apocalypse Now for eight months as kids. Charlie was like 10 years old. And...

47:14 · jump to transcript →