Production design

Wes Anderson

We'll fact-check ourselves on this. It was a very nice small, small island with one house on it. Anyway, the set is a combination of all those things and Naushon.

5:19 · jump to transcript →

Wes Anderson

So it was very clear when Roman and I had finished this script that the crucial thing was going to be who plays Sam and who plays Suzy, our two main characters. And that's really-- There's no movie if they aren't great. Well, we got our casting director, Doug Aibel, on very, very early, and we spent, I want to say, six or eight months or something searching for them. And along the way, we picked up all our scouts. There were lots of people auditioning, and we'd say, "Well, this one's still not quite the right one for Sam, but this is a great one. This is a kid at this moment in his life who's gonna be very interesting." And so by the time we did find the two of them, which was quite late in the game, we had all the other kids too. Jared, I remember, in his audition, was just... It wasn't his audition, it was him that really was entertaining. And Kara, in her audition, she played this scene as if she was making it up completely herself and just seemed completely authentic. And they were great to work with. They were very invested in the movie. And sometimes when you work with very young people, they learn the script and they know it better than anybody on the set. And they know everybody's lines. And they brought some special kind of emotion that only they know that has to do with they're really that age. They're really like these people. They understand them in a way we can only try to recall. If the movie works for them, it works because of these guys. Yeah, I remember seeing the tests, and Jared just stood out. I remember thinking, you know, he had such a different energy than I expected in our lead role 'cause we had sort of described him with his corncob pipe and kind of a little bit of a JD, and he had just this other quality, but I couldn't totally see it at first. But then, of course, it just couldn't have been better. It was just so right for it. But it wasn't really written in the way that he portrayed it. At least my mind's eye didn't see someone like Jared, but he's so one of a kind, it's hard to even imagine that till you meet him.

26:35 · jump to transcript →

Wes Anderson

Well, I always feel like, you know, we have a sort of plan, and, you know, Edward is interested to see these little storyboard things we make in advance nowadays. Some actors, like Willem likes to watch these, Edward is interested in these. Some people, I think, they feel like, this is gonna-- I don't need to see that. And I don't make them for the cast, really, it's just if anybody wants to see them. More than anybody, it's for the production designer. So we know what we're gonna build. Adam Stockhausen, Bob Yeoman, those are the people who they're really for, and for me, so I don't mess up something. But the thing I feel is, even if you have a very precise plan of how the thing is gonna be, and even if you're not gonna change the dialogue or anything like that, I never know what the actors are gonna do. I never know what they're gonna take with this and how they're gonna bring it to life, and it's always a complete surprise to me. I actually like Wes's line readings in his animatics. So I find myself not infrequently just turning and saying, "Say that again." You know, like--[chuckles] And probably 'cause Wes just has a great feeling for rhythm of the lines he's written, he obviously hears them. And I just like to hit it. And the easiest thing for me is just to have him say it and then replicate it, in many cases. And I am kind of a compulsive mimic, so I get satisfaction out of that. But I don't usually like line readings from directors, but I like them from Wes. A line reading from Alejandro Iñárritu is a disaster. Whereas from Wes, it's actually usually very effective.

51:24 · jump to transcript →

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

10:50 · jump to transcript →

By the way, there's my daughter, I should say. In the car. Ashley McQuaide, her big cameo. She's great. She's gonna go do good. She's very sought after in Hollywood. The one thing I can say is this. This crash coming up was a bit of a fuckup. The taxi was supposed to fly over the other car. SO we were disappointed... ...but I think that the shot still looks pretty bitchen. It looks fantastic. Your eye is drawn to the Lycan. Which is what it should.... - Could have been better. And here-- You know, Paul Haslinger did the music here. I love this, you know, how we changed into this new... ...Style in the music exactly when we get into close combat here. Paul, being an old hand... ...having done the score for Underworlds 7 and 3. He did an amazing job. - Amazing job. Yeah. - Yeah. Every-- All these Lycans are CG Lycans... ...but they mostly are.... There were guys dressed in blue with funny heads. So they look like really big... - Suits kind of looking like... This was a big moment. - Looks great. And India's face.... We really didn't do anything to it. She was able to scrinch up her face. - Yeah, she's a badass. Well, there's a bit of CG going on. We changed her eye shape and the color of her skin, obviously. But she was good. - This is an old trick, you know. The guy dry his fist across his mouth. I told Theo to do that. But it really always looks good, I think. It's the moment too, where Selene realizes... ...that this creature back there has... ls connected to her. - ls connected to her. She saw a level of power in there she hadn't imagined. Here's the Kris Holden-Ried introduction. Yeah. Here's where he comes in. Might have... And it's not even the last new character. In the script, this is the third time we see Kris... ...or Quint. - Quint. And here, we talked about that scene... In the apartment when she throws the guy out of the window. If you look at the monitor, there's actually a shot from... ...coming out of the club... ...which was Prey. So we used footage for that as well. lt was not a waste of time shooting there. Very expensive stills. - Those two days... ...that we spent shooting there. - That town is all CG, and then we.... Somebody gave us that in the last... There were so many people working so hard... ...for no money for this one. I love it. - Yep. How did you find me? Now we have an actual conversation. An actual dramatic scene. Yeah. - The first of the entire film. There's not a lot of talking. - Yeah. I think Michael Babcock, who did the sound design... Which is so beautiful, I almost cry when I think about it. When we heard about... "What did you do, Michael?" "I did Inception and Dark Knight." We're like, "Okay, good." And I think when he showed us the first reel... ...we had, like, no notes. lt was perfect. Anyway, he said... ... after we'd done this, "I really enjoyed working with this. ll even do a talkie with you guys." That's nice. - Yeah. I remember at the end of this scene, when we did India's side... ... that Kate went up to her and complimented her and said: "You did a really great job." - Yeah. And it was a.... It shows Kate's consideration... ...for other actors, and really the.... The person that Kate is. You know, because here's this young girl... ...who was clearly a little bit nervous acting... ... against a movie star, and an actress of Kate Beckinsale's quality. Yet Kate was very generous with her. The funniest thing-- Not funny, but extraordinary thing about India... .IS that she is like a very old soul in a young body. Oh, my God, yeah. She's 17 when we shot this movie. But she's incredibly mature. - Yeah. Incredibly. And sometimes when I talk to her, I feel very like a kid... ...and she's the old-- Yeah. Yeah. - She's the grownup. But she knew this character. And so many times, "No, let's do it like this." And she always stood her ground, saying, "No, she wouldn't do that." And I love being told that... ...because that means the actor knows. Are your fingers crossed? - No. No. No. Okay. All right. Okay. No, I like it when the actors know their characters, so they... Yeah. This is also our first day shooting. I loved shooting this scene. Oh, God. This scene. "Blight of nature." That's, you know, epic Underworld dialogue. It's one of those scenes that in 2D doesn't look great. In 3D, it looks spectacular. - Yeah. Why is it raining? Because it looks nice. Why is it thunderstorms? - Because it sounds nice. Theo James, stunt driver. - Yes. You can actually see that a bit. Yeah, and if you look at the van, I mean.... All the.... We wanted everything to be low-tech... ...as all the other movies. The low-tech is very important. That combined with the Vampire aesthetics that you see. The Celtic signs of Kate's corset... ... the weaponry and stuff like that. This area here is actually shot in that dam. In the actual hydroelectric dam. What's the name of that dam, Richard? I can't remember. Spencer Dam or something? - I don't know. It's outside... Up above Vancouver. - Up above Vancouver. Nobody shot there. Like, 20 years ago... ...someone shot there. I can't remember what film. It's been closed down, so.... We were the first to... - Part of the water supply. Amazing location. - Yeah. Absolutely beautiful. And brutal. - And remember how it--? Brutal as well? - Brutalism. But it also rained... ...torrentially before we shot. We thought we'd get two streams of water... ...and we got the whole megillah. lt was fantastic. This is one of the things I love about Underworld. These, you know.... The looks. And it feels... It makes me believe that this world exists. Now we're also back in... This is Underworld. We've been in brutalism. - Yeah. Now we're back in-- Oh, yeah. This is a wonderful set that Claude Pare designed. Our production designer. Wonderful production designer. Award-winning production designer, might I point out. And this, actually, was fun... ...ecause I was walking the streets and suddenly: Here in L.A. before we started shooting. I started talking to Kate and Len, and Len... And Kate says-- I don't know how she came up with it... ...but she says, "I know Russian." So I said, "We must get some Russian in, then." So.... Because I think it's so sexy. - Yeah. Of course that means Charles Dance... ...as to Know Russian too. Yes, and Theo James. That's Kate's mother, by the way. The Sony people, when they heard that, were excited. Because internationally, Russia is now a big territory. So.... At a certain point, they said, "Can you have more Russian in the movie?" This, again, being Charles Dance... ...a well-known British actor. Charles Dance is one of those fantastic old-school actors who... ...when you give him direction, he looks at you and he says: "Thank you, sir." Then he does exactly what you asked him to. He does exactly what you ask for... ...and It's such a pleasure to work with him. Listen to me. I start speaking British. And the actress here playing the doctor is... Her character's name is Olivia. Is Catlin Adams... ...who is Kate's.... Acting coach? - Occasionally. Kate recommended her. - Happy family. That's how Underworld is. - Yeah. Or SCars. I've never seen a child... We should have had more Swedish in the film. We have a little. Underworld 5, actually, I've heard that there's a big Swedish subplot. I had Kate say: Which all Swedes will understand, but she said it. It's very cute and.... So she, you know.... Because she's.... The musicality of it here. Her Russian is perfect and it... She speaks, I don't know, how many languages? Five languages. - A lot. Yeah. And she could just start speaking Swedish. That was insanely fun. I love this sequence... ...because it's so many things at the same time. I think it's terrifying, but I also think... ... It's, you know, touching, but also sexy. I think it's one of the most disturbing scenes in the movie though. Where you realize that this girl... ...who you thought was this innocent child... ...now has this voracious taste for blood... ...and has now gone to a different place. She is a creature of the night. - Yep. The blood on her face was great. You added that afterwards, James? - It was all CG, yeah. Good.

25:58 · jump to transcript →

We got so much mileage out of that set too. Yeah. - It just looks like it goes on forever. And most of all, it looks really real. Yeah. The texture-- The scenic painting and the texturing is first-rate. Claude, the production designer, said that he took great pride in detail. He said, "That's my middle name." And also in the wood too. The way they sandblasted the wood... ... to make it look ancient, it's just great. Yeah, I remember I talked to Gary, who was the art director. When they presented to Claude... ...Claude just... Like I said, they were working so hard with the detail... ...and Claude had been doing some other stuff, came back... ...and walked around, and then took Gary's head and kissed it. On the forehead. And he said, "Thank you. It's gorgeous." - Sounds like Claude, yeah. And here we are. - This is a fantastic scene. Yeah. There's a shot coming up that is just... ...beautiful, that Brad Martin, the second-unit director, shot. It's just... This oner. This is one of the things we.... This one. This one here. It's fantastic. There was no way we would have staged this shot as we did... -.../f it wasn't a 3D movie. - Yeah. Yeah. We wanted much more, actually, than we... That's all one shot. - Yeah. All with CG. It's... - That was a blend of CG and suits. Here, it's just CG. In the end of that scene, it was suits as well. Yeah, everything mixed. Like every trick we had In one shot. Here's suits and CG mixed. - That's a suit. Suit, suit. Background guy's CG. - Background guys are CG. That's a real one. Yeah. - If they're moving, they're CG. I remember at a certain point too... I remember at a certain point, for budget reasons, we had to cut... ...a lot of the CG shots of this sequence. You look at the sequence now and you can't imagine.... Well, Clint did give us more money. No. But I remember once we got the rule... James just said, "We can only have--" - There she goes. "We can only have 36 Uber shots in the movie." It's more. - Oh, yeah. There are 275 creature shots in this movie. Is that right? - The other thing is... ... for the audience, we keep using this word Uber because... It's not in the movie. - It's not referred to in the movie... ...but this larger than... This five-times-the-size Lycan. We sort of... - Nine foot tall. We... - We called it the Uber-Lycan. The inner circle called it the Uber-Lycan. He's not 9 foot tall. - Twelve feet tall. Fifteen feet tall or something. Theo, extremely... - Nine hundred pounds. Did all the stunts himself. The Necklace. - Yes, the Necklace. We give all these kind of moves aname. That was the Necklace. You threw that in, the head getting blown off. Had to happen. - Yeah. It's an Underworld movie. I love that when she bites him. - What? Where'd that come from? This one's great too. - Yeah. It's great. Oh, I remember... - The blood spray. We had to fight for that ax in the head, which I don't understand... ...because it's kind of given, I think. Always... - Was that a gibe? That was a gibe. No. And always put people in water. - Oh, this too. Yeah. Because they like it. - Yeah. Actors really like being cold and wet. No. It was freezing cold. Theo was extremely cool. Yeah. Not cold. Cool. - I really hate Theo, actually. I sincerely hate him for being gorgeous... ...and he played me the first two days, and I thought: "Oh, is he slow, this guy?" And he was so much smarter than me. And he was pulling my leg and just, you know, he was.... He's a perfect human being and so kind. So, you know.... I hear he's single. - Yeah. I hope he can't draw. He actually had a very nice... He has a very nice girlfriend. Even the sun has spots, I guess. Anyway, he's just one of those perfect human beings... ... that walk around there which makes you feel not perfect. Yeah. - The weaponry here... ... you saw that little glint there, or what do you call it? The: On her gun. I mean, the weaponry Is real important... ... for the Underworld movies. One of the things that we also love. I don't know how many hours or days we actually talked about what kind of... ...guns shall she have and when and where. It's an enormous amount of research. This was inspired, by the way, to shoot... To have the Uber-Lycan appear... ...and to do his first shots where you didn't see him... ...and then have a second reveal. We actually-- This... That came up because of the set. We didn't plan that. Then we saw the set, and I think... . James, it was your idea that we should have... This is the Uber-Lycan. And this is what we talked about. We really wanted to hurt Selene. We really wanted to, yeah. Although she hurt him, didn't she? Yeah. - That'll teach him. That's a setup for later on. You know, look, the fact of the matter is, when we shot this, we had... ...Kate or her stunt double in the foreground doing all the stunts. That's Kate there. - The Uber-Lycan... ...was placed in afterwards and.... - Yeah. Just brilliant. Just brilliant. - Yeah. Remember the giant to-scale Styrofoam gray Uber head? Which we all laughed at on the set. - No, I remember... Kate doesn't like shooting these kinds of things. She's like-- Because she feels like... You know, she does it perfectly, but it's, you know.... It's not her favorite thing to do. - No. It's hard. Because you look at the Styrofoam thing... ...and it's hard. - Yep. But she does it perfectly. - Yep. There's our dam. The Suede pose. - Yeah. This is beautiful in 3D. Yeah. He looks like Brett Anderson in Suede. Beautiful death. Death position. Yeah. Yeah. He died with style. - Like a dying dandy. One of my favorite Swedish paintings, The Dying Dandy. Yes. Wow, you really snuck that one in, didn't you?

43:18 · jump to transcript →

Kent Jones

On The Life Aquatic. - [Anderson] On The Life Aquatic. And we had-- And it was a very exciting-- I mean, you guys can comment on this, but we all had a lot of fun there. But the way it worked when we did that film was we shot at Cinecittà and we shot at sea, and then everyone went to their apartments and hotels, all sorts of different places all around Rome, and went to dinners and did things... And I found that that was not a... That was fun for a week, but then when it came to: "Are we getting our work done?" or "Are we able to be--?" I would prefer to be doing a movie where we live in it. Like, Jeff, for instance, you don't particularly leave the set. Jeff, I know you like to stay in the moment, in the scene, while it's happening, and--

14:21 · jump to transcript →

Wes Anderson

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

16:30 · jump to transcript →

Jeff Goldblum

Michael Chapman, he gave me a copy of Das Kapital on the set of Invasion of the Body Snatchers. I took it home to Pittsburgh. My dad, who was still alive then, went, "What's this? Why do you have this?!"

53:51 · jump to transcript →

Joss Whedon

And I love the two of them. I did at one point realise that I had sort of turned Maria Hill into a girl Friday in this movie, because there were too many heroes for her to do that much. But it makes it all the better, I think, when she shows up in her old gear, firing a gun like she should ought to. This shot was very difficult. Again, one of the last shots we got. Kevin is very leery of shots that feel artificial, and when you are flying with someone and you do a camera move around them, you're in great danger of feeling artificial. And so we worked hard in the colouring and the way New York was and in the textures, to try and mitigate that and keep it real. And then we went right through that glass, which is a beautifully crafted effect. This shot is something slightly similar to what I did in my first film, Serenity, in that every member of the team is in it. Not all of them speak, but they are all visible at some point. And we get, basically, a tour of the place. Obviously, because they come in through the "A," it has only been referred to as the "A-hole shot," but what it is for me is a very important way to explain the space of Avengers Tower to the audience. There is a bit of showing off. There is a bit of, "Look at all our grandeur." But what I'm really doing is explaining exactly where everything is in relation to everything else, because later on we will need to know. Robots are down here, and party's over here, and Pietro is gonna be standing on that glass later. Charlie Wood designed the set, and it's the biggest and one of the most beautiful things I've ever set foot on. It is glorious. Sometimes it's almost overwhelming. And besides wanting to show the scope of it, to play into the epic nature of the thing, it allowed me to come up with gags like Pietro getting... Like Hawkeye shooting out the glass from under him. And it allowed me to create action, and also to just have an enormous amount of fun. Sometimes the least fun. This particular space is so big and that sort of holo area so empty that it was sometimes difficult to shoot in, to figure out what to do with people. But every frame is such candy because the work these guys put into it, building it and dressing it, and the depth in frame that you can get in these instances is never not exciting. I literally finished shooting on this set, and on that day walked into a corner I had never been in downstairs, and was like, "Wait a minute, "there's 100 cool ideas I have for this area."

15:34 · jump to transcript →

Joss Whedon

This is actually in Seoul, Korea. One of the great things about doing this one and shooting from London meant we could go everywhere. Where, in the first one, we had to create places, in this one we could really go to them, and you find architecture like that, which you would not find, even perhaps in your own imagination. So it's very exciting. ...iS the next me. Most of the stuff in these labs was rewritten many times after the fact, and Claudia came in to re-shoot a bunch of it as it sort of got moved around. There was so much exposition that she and James had to give us, yet keep it dynamic, which they did a good job with. That shot of the house and barn is probably my last opportunity to explain that those places dont exist. They were built for the movie, and we shot them for one day. We shot one day outside there, and then they were gone. They built the interior of the house. The barn was an actual barn in England. And the design is not completely dissimilar to the farm that I spent a lot of my childhood on in Upstate New York. And it's a very comforting space. If that were real, I would want to live there. But actually what really exists on that field usually is not a house, but very angry cows. Angry, angry, bitter cows. I don't know what it is. They were just... They weren't pleasant. That I was an Avenger. That I was anything more... This scene, you only get the first two-thirds of the scene in the movie. We cut out the end. People thought it would be, and I agree in part, I do, that it would be better to leave the question of whether they were together without answering It. But if you watch the scene in the DVD extras, you see the whole scene, and you see just more of why I'm in love with these two people. And I'm in love with their love, and I'm in love with their pain. And they were so good on this day. And Mark and Scarlett only ever bring goofy, happy energy to the set. But then you Start the cameras, and they go to a place of pain that is just so human and so excruciating. This scene caused my first-ever completely un-ironic group hug because I was so proud of them and what they did. I insisted we have an extra day of shooting for this scene. We didn't need it. They just came out and nailed it. This moment from her... They sterilise you.

1:04:38 · jump to transcript →

Joss Whedon

But the things about it that I love, I love very much. But I always think, "I could've done better there." He's uploading himself into the body. - Where? And this is Claudia, who is SO impressive, doing the hardest thing in the movie, emotional exposition, where we give her a ton of dialogue to say, then we add to it later, and she's still emotional and cool. No manifest. That could be him. There. It's a truck from the lab. Right above you, Cap. On the loop by the bridge. Coming to Seoul was a real opportunity for us. Not a lot of people had shot there. And we had to sit down with one of their ministers of culture, and explain what it was we were trying to do, and make sure that we were gonna show Seoul in a good light. And, in fact, why we liked the city was because we knew we were gonna have a chase throughout the whole city and... Not the whole city, it's one of the most enormous cities in the world. But through some lovely bits of it. And we wanted a place that was very modern and very exciting, and not gritty in the same sense. We wanted every place to register as itself. Johannesburg, Seoul. And then we wanted to fly under buildings, when clearly he could have flown over them, just because they were there and they were pretty. You know what's in that cradle? I've talked about ILM and the extraordinary work they did, which I can't say enough about. But, as is the case with movies like this, there's hundreds of houses doing various effects and various bits. This whole sequence, the Ultron portion of it, most of the major work in it was done by DNEG. And the houses are really good about helping each other out. Some of these shots were shared by, like, four different houses. Somebody's doing a background, somebody's doing a stunt face replacement, somebody's doing a digital creature. And with the Vision, somebody at one house did body, one did face, one did cape, one did background. It was just... But they're all very cooperative, they're very inventive, and everybody brings that extra quality. A lot of these low-angle shots you see of Cap going over camera, her going through alleys, were shot with a little remote-controlled car, which honestly is my favourite thing. I like the remote-control car way more than the motorcycle because it's just so cool. This moment here, um, Bryan Andrews, storyboard artist, who has done a lot of great stuff for us, came in after the fact and looked at this. And we had knocked all the cars over. It was Bryan's idea to add Captain America to what we referred to as the "car ballet." And it took something that was pretty, but pointlessly destructive, and turned it into a moment of peril for one of our guys, and made it not just more exciting, but worthy. And that kind of feedback, and having those new eyes iS SO crucial and so exciting, because it just keeps getting better. The thing about a sequence like this is it's always about the connection between the players. The more you can connect them, the more we would add dialogue between them. It wasn't just stunt, stunt, stunt. You felt their humanity. There was an emotional thread going through here for Scarlett when we shot it, that she had been rejected by Banner very brutally. If you see the entire sequence on DVD, it's a rough thing, and it made her have this kind of self-destructive, just brave kind of fatalism. And then some of this stuff was shot after that had been cut, but most of it beforehand, and so you end up with someone who's playing something that is no longer in the film. And it's just a very delicate process to make sure that you don't have some inexplicable emotional malaise from her. But luckily she's the kind of person who hides that sort of stuff, and as a character, she plays on the surface as very in control. And so we were able to cut it together without it seeming strange. But it also means that one of the emotional arcs of this sequence disappeared, and then you end up relying on spectacle, which is the last thing that you want, even though the spectacle is beautifully put together. And you have the kids going from villain to hero, which is a major plot turn. And you have Ultron disappearing with Widow, so you're servicing the story, but emotionally there's not as much going on as there would have been. And that's complicated because once you start a sequence this massive without that particular emotional hook, it's very easy for people to get pummelled. But by bringing the kids in, by cutting it down, and just by the beautiful job Jeff did cutting it, I think it sustains. But I'm always gonna look at what's not. Almost all of that was in Korea, or shot with plates from Korea. This is actually in England, in Longcross, a place we used for a few of the sets and exteriors near Shepperton, where we shot most of it, that they dressed up very specifically and brought the trains. I think we brought them from Korea, the two train cars that we had. Dressed them in. One of the things I love about having all these characters is the way their alliances can shift and change, and Captain America's never expressed anything but sympathy for these guys, even while he was fighting them. So for him to suddenly say one mean thing, and then, boom, they're allies. It's exciting, but it also feels emotionally logical, and then it brings us back to the idea that Tony is the villain. One of the true villainous moments he has is telling Hawkeye, "Why don't you disappear?" and I'm gonna make an evil eyebrow face, because I'm about to do something crazy. And the idea that he's gonna lean into the very thing that is wrong with him is interesting to me, because the idea that the worst thing about us is useful gives this thing texture. Look at the reflection of Jarvis in Bruce's glasses. That's something that... That level of detail is... Because, of course, Jarvis is not there, that was added later. And that level of care and detail is in every frame of this movie. Our VFX head, Chris Townsend, was running 97 different houses. And one of the things I love about Marvel is that good enough is never good enough. And the level of texture and detail and character that they put into VFX doubles, this sort of amorphous character. It's so complicated figuring out, "How do we make him feel like a program that's talking?" Give him personality, but not too much. Make him not cartoony. Make him feel integrated into a universe that is, at its base, very grounded. We're asking that question about every effect, every day. And the stuff they gave me is so human on every level. And ultimately these stories never work. This scene was created in post. There was some amusement at the literal translation of what had been post-viz. On the left the... I don't want to say phallic, uh, implement of... But if you look carefully at it, oh, yeah. And we sort of laughed about it but then I decided I wanted to keep it, since, as he becomes more aggressive, the idea that his iconography becomes more male. When he's just a program, it's very Georgia O'Keeffe in the lab, and then now he's becoming pure aggression. This is also one of my favourite performances from James and ILM. The love and poignancy of his dream deferred, and how insane it makes him. We had another version of the scene that was just too civilised, something I do a lot, where people are just holding a cup of tea instead of ripping their own faces and guts apart. And Scarlett, with no lines, giving me beautiful stuff, and the idea obviously of somebody doing the infamous and, in fact, somewhat clichéd Nietzsche quote, but then putting a genuine spin on it. A very literal one. It was very exciting and fun. And designing his final armour to be different, it was super tough to find something that worked. It covers his face and some of the greatness of his delivery a little bit, and I think we all regretted that a little bit. But it also brings him more towards the Ultron that we know from the comics, and gives us that distance that we need to get into the final act. Shut it down! - Nope, not gonna happen. You don't know what you're doing. And you do? She's not in your head? Once again, internal conflict is the thing that makes these things work. And that's fairly badass of Banner. You don't Know what's in there. - This isn't a game!

1:19:28 · jump to transcript →

and the dynamics of the whole movie. Yeah, the idea that he really can hear anything. He has a good, well-trained ear. And the detail of the cross in the wall, which is an amazing job of Naaman Marshall, the production designer.

24:06 · jump to transcript →

You know what I mean? There's no way to fake that. There's no way to fake that. And me as a director, the last thing I want is to see a lot of that thing be faked too much. And actually, remember that Danny always tells the story that he actually asked you, like, you got to bring it, like, just bring it, like, I'll take it. But then at the end of that day, he was, I remember coming back to me, like, oh, man, he was terrified. But that's a great thing. I think that's something that you really brought to the film and the set that...

30:55 · jump to transcript →

Remember that with the context lenses that you were wearing, how much you could see? You couldn't really see a lot, right? So remember that somebody would bring you to the set and you were really becoming that character in so many levels. It's just the fact that you got to know that house pretty well and you really... I don't remember seeing you bumping against anything during the making of the movie. You could barely see with those. Right, right. I mean, you know, the lenses were extremely helpful because there are...

33:24 · jump to transcript →

We're actually going to jump out of the plane, aren't we? We have to do all of this for real. For real, while you're falling. While I'm falling, we're going to have to get and switch the tanks. Yes. This is the Grand Palais in Paris, France, which was kind enough to let us shoot there. Beautiful. DJ Harvey. Great, great choice. Thank you. Thank you. Look at this lighting. Awesome. Now, Peter Wenham, our production designer, was really amazing. We only had a limited amount of time in the Grand Palais, and so I said to Peter, I want you to build a set.

27:22 · jump to transcript →

You know, and a classic, gorgeous city. You want a classic car. Yes. The green, you know. The green was, you remember Graham, who does our vehicles. He brought a BMW that's slightly older than this one. And it was that color. Oh, it's fantastic. And Peter Wenham, our production designer, he said, but that's, it's retirement green.

1:03:52 · jump to transcript →

The Grand Palais. That was just sitting on the stage. I showed up on the set. I'm like, what the hell are we doing? What are you doing? You guys threw this together in about 20 minutes. Oh, yeah. It was literally 20 minutes. Trust me. It's going to be cool. It's going to be cool. And it is. Oh, it's this whole section. And then to wake up, and it's another rule we've broken in Mission: Impossible. We've jumped ahead to another place before we've established it. And you come out of it going, how much of this has been a dream? It was a really impactful cut.

1:16:32 · jump to transcript →

Tim Lucas

It hasn't any of her former iconography, but it might be her finest screen performance. She was more or less retired from films at this time, her roles in films like Goliath and the Barbarians long behind her, but she was present on the set as the wife of production supervisor Aldo Pomilia, whom she had met on the set of the Steve Reeves film Morgan the Pirate. She told historian Peter J. Hanley that she didn't want to play this part.

8:17 · jump to transcript →

Tim Lucas

Don't you love how this outlaw, commonly known to lawmen as the Rat, prepares his bath with heavy doses of fragrant bath salts? Tuco will probably leave this room smelling sweet enough to stand under that frilly pink parasol of his. The film's production designer, Carlo Simi, assisted by Carlo Leva, created some wonderfully baroque settings for this film, notably this abandoned, bombed-out hotel, the interior of which was filmed at Elios Studios.

1:46:45 · jump to transcript →

Tim Lucas

As was not unusual in Italian cinema, the production designer was also responsible for the film's costumes. In both capacities, Simi specialized in westerns, ranging from that early Franco and Ciccio spoof to Minnesota Clay, Django, the big gun-down face-to-face, Sabata, and Kiyoma, not to mention Once Upon a Time in the West. Was this the first sideways gunshot in film history? You tell me.

1:47:12 · jump to transcript →

even though it has the feel of a governmental kind of office, not deluxe in any way, it's a workspace. This was a set along with the set they are probably just about to enter, if my memory serves. Now we're going back to the train, but when they come into the TA Command Center, which again, until I saw that it was filmed at a studio at the end, I kind of thought it was the real thing.

13:22 · jump to transcript →

You know, he did. But generally, no, not with most of his films. He didn't really shoot scope all that much. Yeah, I know Pollock loves scope because he he I remember reading at some point he said, I want to see what's to the left and to the right of the close up. He always wants to get a sense of the set and the people. Again, all of this stuff of Garber in the command center. This is what's happening here.

30:04 · jump to transcript →

They tend to get worn down from repeat wearing. Everything that Garber is wearing, that raincoat that he's got on, does not look new. It does not look like it's fresh from the rack. One of the things that American television used to do, again, in the 70s, is they used to have their characters wear new clothes every week. And then these new clothes look like they were literally just brought to the set for the first time. Mm-hmm.

1:26:42 · jump to transcript →

It's not meant to have a mind. That's what makes it perfect for this place, right? I remember one day Rip came onto the set in a particularly stompy mood. I loved Rip, I must point out. I thought he was a wonderful guy. Really sort of Hemingway or Mailer or something about him. So thoroughly American, East Coast. And he said, he headed in for Nick that day for some reason. He said,

23:32 · jump to transcript →

You're going to treat me like a dog. I'm going to react like a dog. Nick looked at him and said, we won't be shooting Mr. Torn today. Took the camera off and just left him there on the set, fuming. We were all agape every morning, waiting to hear his last night's exploits. Come through barbed wire fences and be found in ditches. I'll tell you what happened last night. Every day and night was a huge adventure for Rip.

23:59 · jump to transcript →

I remember that I came to the set the first time with between three and four hundred books because I didn't have a permanent place because I was on the road such a lot. I used to take my entire, at that time, entire library with me and I remember sitting in a very stone state in the living room in the hotel and Nick and Candy came in to talk with me and I was rushing from one book to another from the complete works of Francis Bacon.

40:25 · jump to transcript →

Roger Moore

Now, this sequence... ...I was called for 8:30 in the morning and this was the back... This was before the La Fenice theater burnt down... ...and this was shooting just across from the back of the theater. In fact, that's the stage door over behind us. And... ...I was ready at 8:30, and came on the set, and we were all standing there... ...ready to go, and there were adjustments being made... ...and, you know, I have a cup of coffee and this went on. And I finally said, "Lewis, why can't we get on with this? You know, we must do this shot." And he said, "Well, it's a little embarrassing." You see, it was the time of the high tide of the equinox... ...and the boat that had all the props on it... ... had been tied up with the tide very high... ...and then when the tide started to drop, one of those numerous poles... ... that are in the water in Venice was underneath the boat. And as the tide went down... ...the pole came up through the bottom of the boat. Then the boat went up again and the water rushed in... ...and the prop boat sank. And on the prop boat, apart from all my wonderful Ferragamo luggage... ... that I was looking forward to stealing... ...Was a prop that was essential in this scene. ...Was a prop that was essential in this scene. And they had to get somebody to dive down and find it. Now, this shot of the Concorde landing... ... has a bit of a story for me. We had been ready to leave Paris to come to Rio... ...to shoot our sequences there. And Lewis Gilbert and Ken Adam and Letizia... ...and my then wife, Luisa, we were... ...at Charles de Gaulle Airport in Paris, all ready to leave. We got on to the Concorde, and then they said there was a slight problem... ...and we would have to disembark and wait in the lounge. They then said, well, there'd be a little time... ...so we could go into any one of the five restaurants in the terminal... ...and have lunch. So off we went. We had something. I wasn't feeling that good, and I sort of just picked at something. And then before we finished, I said, "Lewis, I really don't feel good at all. Would you come with me to the pharmacy? I think I'm beginning to have a Renal colic." Meaning that-- Something that had happened to me... ...before with kidney stones. And they're extremely painful when they start on the move. And really pethidine or morphine... ... is necessary to stop you falling on the floor... ...with your knees underneath your chin and start screaming. So I went to the pharmacy in the airport, and they said: "No, I'm afraid we can't." And I said... They could tell that I was very ill and in great pain. But they did suggest that there was a doctor in the airport. You know, a surgery. So I went to see him. He took one look at me... ...and pulled a syringe out and started drawing off painkiller. Lewis never liked needles... ...and started shuffling sideways... ...With the "Lewis Gilbert shuffle," I call it. And he said, "Well, I think I'd better tell the others what is going on." And that was the last I saw of Lewis.

54:35 · jump to transcript →

Roger Moore

But lunch went on for a long time. And the brothers have wine... ...from the different areas that they come from. And the first assistant was trying to get me back on the set. I was having a very good time.

1:14:50 · jump to transcript →

Roger Moore

This, again, is the genius of Ken Adam... ...and all the team that worked with him... ...to get all these things that worked in the set... ...working at the same time. All those television screens.

1:25:28 · jump to transcript →

Was this on Hollywood Boulevard? Yeah, it was down east of Hollywood Boulevard. And then we dressed the set, I remember, too. A good pop. That's what she's about to get. Nicely put.

12:29 · jump to transcript →

She's totally unaware. A lot of the shots I notice are almost metaphorical in a way. Yes, they are. The way you've placed these actors in this frame. It's very good dialogue. Forgive me, Lord. I speak not in vain, but this little bitch provokes me so. Oh, Jesus. At least I can stay in character. That's all on the set, isn't it? Yeah. Tell me, what did you...

32:54 · jump to transcript →

Ken was very conscious of the color coordination of her apartment. We had to change the set a couple times because he didn't feel the color coordination really reflected the psychology of that character. He was very specific. Well, in most of his films, he's very conscious of the texture and the color schemes and how they reflect the people in the scenes.

1:14:00 · jump to transcript →

William Friedkin

And that's finished, and it dries, and then, you know, in a sheet of bills. And then you do the other side, the so-called gray side and the so-called green side. And a lot of bills that we made, we only needed one side for. Somebody on the set had taken some of this money, it was lying all over the floor on the set, one side or even two sides, and took it home.

14:11 · jump to transcript →

William Friedkin

Every day on the set, he was always ready, always there with good, fresh ideas. He called himself the Funky Man. And I introduced my young son to Steve as the Funky Man. And my son, who was at the time about six years old, he only knew Steve as the Funky Man. Whenever he'd see him, he'd say, hi, Funky Man, how are you? And Steve had a great, great sense of humor and

51:55 · jump to transcript →

William Friedkin

write down some notes for myself so I don't forget the coverage the next day after I've worked it out the night before or even weeks before. And then I'll come to the set and tell the whole crew what I want to shoot. I'll say we're going to cover the scene this way, this is what's going to happen. I'd like to pick up the following setups and I will encourage the crew and the cast to make suggestions and I'll very often alter my plan

1:28:35 · jump to transcript →

Richard Donner

Look at these sets, folks. Look at these sets. First of all, starting with Santa's workshop and... The office is okay, that's common. But this had great, great, great production designer. I forget his name. No, Michael Riva. This is all a great cast. So, Michael Riva... he was the first son of Bill Riva. Who was married to Maria Riva. Who is the daughter of Marlene Dietrich. And... I don't Know why I'm telling you about this. Except I knew Michael since he was an infant, having worked with his father, Bill. What a great actress too. And then, I was fortunate enough to find out Bill was back designing. He was in designing and... I mean, Mike was. And I grabbed him for this, and we've got a good relationship ever since. He turns me down on everything. But he did a great job on this one.

26:08 · jump to transcript →

Richard Donner

Oh, my golly, I forgot. That little commercial with... one of the great clowns of all time, with Emmett Kelly in it, was filmed by me. And production design by Bill Riva, Mike's father. As I said earlier, Mike is doing this. That was-- Oh, well...

39:38 · jump to transcript →

Richard Donner

Now, an interesting story... And Mike Riva, my production designer, my little buddy who I knew since he was a little boy.

48:41 · jump to transcript →

Stephen Prince

It's really quite a nice set that Kurosawa has achieved with his production designer. It may not be fully convincing as a natural landscape, but that's quite all right. Often in movies where you want to strike a slight tone of fantasy or the unreal, it's best not to emulate photographic realism.

41:58 · jump to transcript →

Stephen Prince

The I character strolls past it to view Vincent's bedchamber, but then the painting of the bridge pulls him back, and indeed it will pull him in. He stands before it and he puts on the white cap, which is Kurosawa's token, a style of hat that he often wore on the set, and the I character steps into the painting dressed as Kurosawa.

1:04:42 · jump to transcript →

Stephen Prince

Sets and landscapes are painted to evoke Van Gogh's images of the fields and buildings of Arles, and this use of painted production design is reminiscent of Kurosawa's work in Dodecadene, his first color film. There, buildings and landscapes were painted in vivid, highly saturated colors to create a very stylized world where dreams and fantasies held sway over reality.

1:06:01 · jump to transcript →

as a father figure talking to her about her romance, which 300 years ago, people just don't say that. Yeah, or even two years ago. Yeah, two years ago. This is kind of for the worldwide audience, also to some degree to Chinese audience, the modern audience. In the past, people don't really have conversations like that. Right. This is the big pain shot here, just to show off the set.

7:30 · jump to transcript →

It's this cameraman's nightmare. He's probably the only cameraman who also works as almost like an AD, assistant director. He's the guy who runs the set. He's so bossy, you know, whatever. He's not going to put up with any gut from anybody. Not Peter. Yeah, but usually they're enemies. It's like contractor and house designer and interior designer. They should be enemies. One wants more time, the other wants to make it on time, but he's doing this...

48:16 · jump to transcript →

scary and our camera equipment just arrived 10 o'clock the previous night so camera crew was checking equipment until like like two o'clock in the morning and leave the set at four leaving the hotel and that was our first day shooting i thought i was gonna die how was the rest of five months and you know the rest of five months it was pretty much the same thing it didn't really change that much

1:11:14 · jump to transcript →

Jonathan Lynn

Initially, the idea came to move to Montreal purely financially. But David Snyder, my production designer, had worked in Montreal before. And he said, it's a really beautiful city. Let's make the movie set in Montreal and show Montreal on screen for the first time in a mainstream American movie. I'm really glad we did that. This film has a different, cool look about it. And it's in a city that...

4:32 · jump to transcript →

Jonathan Lynn

Hey, it's been good. I'm glad we got to know each other. This joke was improvised by Matthew and Bruce on the set. Me too. You can go now. Right. I love it. Oz! Yes, dear? Thank God you're home. Thank God I'm home? I had an idea. I figured out a way we can pay off Daddy's debt. Rosanna's Montreal accent is...

14:44 · jump to transcript →

Jonathan Lynn

That joke was contributed on the set by David Willis. We had a fairly kind of easygoing, relaxed, improvisational atmosphere. Anyone who came up with a good idea was welcomed. Oz, how you doing? I don't know what to do. I've done something terrible. Oh, come on. Oz, what could be so terrible? You've got to get out of town. Get out of Canada. Just get the hell out. Bruce liked to be seen with a martini in nearly every shot. Yeah, I heard about that. Which I thought made him chic and elegant.

29:19 · jump to transcript →

Rob Cohen

And now we're at last going down below into the tomb of the dragon emperor. This is a very large set I had built in Montreal. My wonderful production designer, Nigel Phelps, shining in this set and in all the sets in their scale, their beauty, their period correctness, and the way they gave me a setting to

17:19 · jump to transcript →

Rob Cohen

I'm proud of this scene, the scale of the set, which you see here. And it's a hope that you all get to Xi'an, or at least look it up, Google it, so you can see how much verisimilitude is actually in the film. Joseph Campbell, the great mythologist, a guy I actually personally knew in college when my girlfriend was going to Sarah Lawrence,

24:25 · jump to transcript →

Rob Cohen

And again, we're off to Shanghai. Now it's a few months later. It's Chinese New Year, which takes place in February usually. It's a two-week celebration. Here's a set we built and refurbished on the Shanghai studio lot. The set, most of it existed before, but we gave it quite the facelift. And here is a set also right there in Shanghai.

26:24 · jump to transcript →

Edward Berger

I told him, I want to destroy the images. I don't want to beautify them. I don't want to sentimentalize. I don't want to make them pretty. I want to destroy it. And this is what he came up with. And the third was, find a sound. You know, this should be a sound that, you know, everything is there to, you know, whatever it is, costume, makeup, production design, camera, VFX, music.

13:36 · jump to transcript →

Edward Berger

So we try to, as you see here, we try to not show off the production design, the production value. We try to play a lot on this kid's face, his fear. Sometimes we have wide shots like here, but we try to stay on him as here. We're behind him, walking up a hill. Again, all in one shot here. Camera goes around.

15:53 · jump to transcript →

Edward Berger

And that breaks the period, that doesn't make it like a period movie with beautiful production design. Something that destroys it. And for me, that music was the perfect fit for that. See on Cut's uniform, these little details, he has a...

1:38:07 · jump to transcript →

Now, Terry, were you present for any of the filming of these? I was pretty much back east, and Dennis was the dialogue coach. You know, he would read lines with actors, and so, you know, I heard... Occasionally, when I came back from the second unit, I hung around the set. What kind of stories would Dennis tell you? Were there any that come to mind?

22:32 · jump to transcript →

Now, unusual for the time, and really for any time, Lawton had his art director, his editor, and his composer on the set with him, working as part of the creative unit all the time. Lawton didn't want Bob Golden to do any editing until all of the film was shot. This is the one scene in the picture that Bob Golden did start editing ahead of time because they wanted to be sure to clear it with the Breen office. It's a dicey, very dramatic scene.

29:22 · jump to transcript →

Stanley Cortez remembered that they had to pack a lot of set onto a very small soundstage, so much so that they didn't even have the legal three or four feet between the edge of the set and the wall that you usually had to have. It was hard to light and shoot, he remembered. I read that Stanley Cortez once referred to light as that incredible thing that can't be described, and he said, of the directors I worked with, only two have understood it, Orson Welles and Charles Lawton.

1:10:46 · jump to transcript →

Alan K. Rode

him to shoot the scene with a certain lens and a certain track and Ballard changed it without telling him. When Kubrick called him on it, Ballard downplayed it saying, hey, don't worry about it. No one will know the difference. Now, Stanley Kubrick was not a screamer or temperamental, but he quietly told Ballard that he would either accept his direction or have to leave the set permanently. Ballard acquiesced and as Kubrick became granularly involved in the staging and lighting of every shot in the movie,

8:18 · jump to transcript →

Alan K. Rode

Money to be divided in safety at a later date. After what he had seen and not knowing the cause or the circumstance... Regarding his back injury, Hayden was able to return to the set after a 10-day hiatus that he rested his back for the final scenes that were shot at Burbank Airport. Ten minutes later, he bought the largest suitcase he could find. Hayden buys a suitcase in a pawn shop located at 831 West 3rd Street in downtown L.A.,

1:14:33 · jump to transcript →

Alan K. Rode

Two instances of perfect casting, Robert B. Williams and the hulking Charles Cane as the two plainclothes coppers staking out the airport. Back to Coleen on Ruth Sobotka, said that she would leave and then the set decorator would come and straighten the shade and make it horizontal. Then Sobotka would reappear and make it askew. Coleen laughed. This went on and on. I've seen The Killing many times, but until I watched it for this commentary, I didn't recognize the old woman and the dog as actress Cecil Elliott.

1:18:25 · jump to transcript →

I wanted to integrate certain general rules of the genre into the movie. From there you can go farther and expand. But this right here is a very typical and traditional scene for this genre. The space has this wonderful of depth in the back. And the bed in the background. The set design was by Henning von Gierke who has a spectacular sense for these things. Yes. Spectacular. Parts of this we also built ourselves. The oven and things like that. It was a former hunting lodge of party functionaries. At that point there were only lumberjacks living there. During the day you only found lumberjacks there. ...were already on the other side. Here you have this sense of foreboding and doom. I liked the gypsies so much. They were very good. Watching this reminds me of Degas' "The Execution of Emperor Maximilian" in Mexico. Yes. Careful. Not too many paintings, otherwise... That's just a sign for how interesting and good this is. This is a wonderful face. I also enjoy the way they speak. Yes, definitely. He says you should... They said the dialogue I wanted but in their language, which I believe was not Romani. They translated it themselves and did it very well. You can see this was outdoors and at night which was always a problem for me because I'm not a night person. I had to stay awake until very late, and I've always hated night shoots. I had to force myself to stay up with gallons of coffee. This is also a recurring theme in your films... Native Americans, Mexicans, and Gypsies. Something completely foreign. But also the dignity of these people.

14:47 · jump to transcript →

It is unusual that he has fangs like a viper. You only see that in Murnau's vampire movie, and he developed that. All the others have canine teeth. Here, Bruno Ganz. Isabelle Adjani. The way she does this is also very beautiful. Wonderful. Yes, an exceptional woman. This was a huge animal. It weighed almost four pounds. A really big and unpleasant animal. A so-called megabat because normal bats are much smaller. Feeding it and having it on the set was always a problem. Again, a first rate still life. Henning von Gierke, yes. Some of these foods he even cooked himself. He always liked to cook for the crew. It also represents the wealth. Things like the monkey or the fireplace. Or the chicken. They were done relatively quickly and with very little money.

33:15 · jump to transcript →

Here the ship lands with the dead captain. How was this movie interpreted back then? Or what did the press write? The press reacted well overall. For movies like "Aguirre" and "Kaspar Hauser", they beat me up badly. But those always had elements... Or "Even Dwarfs Started Small". That had to do with the trend at the time. "This is not a movie that postulates world revolution, so he has to be a fascist." That was the perception back then. Meanwhile this has been completely forgotten. The guy on the left who unties him is Uli Bergfelder. He often worked with Henning von Gierke, and he was the set designer in my last movies. Everybody who was part of the crew can be seen in the movie at some point. It was a relatively small crew, too. Don't forget that "Aguirre" was shot with eight people. That was the entire crew. And films like this one we shot with 16 people behind the camera or so. ...

1:04:09 · jump to transcript →

We had to shoot it during the daytime, but we had to shoot the mall overnight, so we had, like, about ten minutes where the mall was still closed, but the kids were allowed to work. You remember this? I do. And the reason I do is because you said, I want the writer on the set, and he should be able to be on the set as much as he wants, so I took you up on that. I was around all the time. You were. We didn't know that writers could sometimes disappear, but...

3:04 · jump to transcript →

now my parents were dying to come to the set and amy you had invited them and all that which was really cool the one day that they could make it was this day oh we were just in a little piece of wood on the stage and sean was not he was not a fan of having people on the stage that weren't part of our world and i snuck him in

1:15:48 · jump to transcript →

Doug, you're the one being childish. She pulled that off really well. She did. Now, on this day, John Landis came down to the set because the studio was feeling like I had screwed up. And they said, she's supposed to be making a comedy. Find out what's going on. And John came and was watching. And I thought, I met him once and I was a big fan, but I didn't know why he was hanging around. I thought, oh, all right.

1:19:40 · jump to transcript →

Judd Nelson

I have a lot of gray now. Giving me everything inside and out and Love's strange So real in the dark Think of the tender things that we were working on Slow change may pull us apart When the light gets into your heart... Now there's a person... This is a woman I have to tip my hat to, Dede Allen. Incredible. - Before I knew what editing was about, this woman was really an interesting presence. And it was cool, too, how she would come to the set. Remember? She would really work closely with John, which was really cool to see. And also, that's the first time I'd ever been looping where she made me feel that the worst I could do would be the production draft. That it's possible, in looping, to improve a performance. Right. - So, from that moment on, it's like, now I don't get all like, "Why didn't we get that on the set?" And also, at the time, I think the studio, as well as John, I mean, I was too young to appreciate it, but I think everybody was thrilled that this woman who had cut all these classic movies, like Reds and Dog Day Afternoon... - Bonnie and Clyde. Yeah, it was a great choice to arm John with. She was a real ally for him. And also, there were a lot of overlaps which they, as a rule, don't like, which is when one character in the close-up is talking... And then somebody talks over like this. Yeah. - And somebody talks over... Sorry. Sorry. Judd and I both need a shave, and here we are. You wanna explain for the people at home that don't know what looping is? Looping is a slang term for post-sync dubbing, which is when, on a movie set, you've shot something, but a plane went overhead. Then, you have to redo that in the studio, and you have to get the picture synched up with the sound. The technical term is ADR, which stands for "Automated Dialogue Replacement," but in the industry we call it "looping." As Judd was telling that story before, it is a cool thing to learn. It's part of our craft that you can often make a performance better, and you can come back in and add some element or dimension to it, which helps. If you can help. And it's hard to take stuff that's off camera that overlaps on camera and keep it in the movie. If you're not on camera, and you talk over the guy on camera, they can't use either piece. She was able to save a lot of it, and that was very important to a lot of those high-octane scenes. Definitely.

1:11 · jump to transcript →

Judd Nelson

See, this is where it was cool where we had John. He was definitely a collaborative director and sought to get the best out of us all, and was looking for behavior, you know. So, I think, the wisdom of he and Dede Allen and their choices in making this all work, 'cause we had so much footage, it was great to see. All these years later, we take it for granted, what we see the final cut to be. But the truth is that, like we were talking about, Dede would come to the set and she would closely work with John. And also, he gave us the freedom to play and just have fun. And certain things, like the stuff you're seeing with Judd spinning around. I'm sticking a pen in my mouth, stupid stuff. We had no idea whether it would arrive in the film or be a part of it. I didn't. We were just having fun. But once we knew what the space was, we had the parameters. Rehearsal was key. - Yeah, it was like shooting a play. That's how I recollect and look back at it. We shot this play for 35 days and we were... Mostly in sequence. - Yeah. Yeah, we were fortunate to be extracted from Hollywood, and all of a sudden in this suburban gym of Illinois, not far from where John had grown up. So, it was a fortunate thing that we felt like we were shooting a play, 'cause we also had a week of rehearsal, which was... No, we had more than a week. - Was it more? We had more than a week. In fact, we weren't done with our rehearsal time when Hughes went, "We're ready. Let's go." All the work we've done keeping our faces in the industry since and maintaining our careers, it's still... To this day, I don't think I've ever had that since. So, it was a real... A real rehearsal. - Yeah, it was a real luxury. It was also a lot of fun, 'cause it really bonded us and gave us a chance to get a sense of where we were all at, and also made the work better, yeah. And we built real history, as opposed to that you believe you've made up a history. We actually had real experiences. Even if it's something as simple as dinner four nights in a row, you at least have some real past and things will reveal themselves to you further along in the work. And Hughes really wanted it to sound authentic. So, he never limited us. If you came up with something, you never felt like, "Oh, wow, "we took it beyond the text." Big deal. And he was always looking for it to get to that point, anyway. The freedom that he gave us, the idea that he would trust us like that, which is the point of the film. Just because they are 17 years old doesn't mean they are 17 years dumb. There's a weird thing, though, about rehearsals and stuff like that, where you think... You even said, "I've never done that before or since." It always seems to work out when actors and stuff get those chances. You hear those stories over and over. But, for the most part, people, they just don't do it. Yeah, in terms of genre, too, this is something that broke a mold, in a way, 'cause it was, in the industry talk, a talking heads film. It's really about a bunch of people sitting around, talking. So again, the play analogy comes into play. We really felt like... I remember rehearsing, and we were in these positions. I remember walking into that space, and John going, "Okay, you sit over here." We would rehearse these scenes. So, by the time we shot them, we all had a good sense of each other. We were a solid group, and we also knew where we were going with it. Now it looks like a luxury, but to this day, I've often looked back and thought about that, that it was great intelligence in just doing that, putting us in together. We sat in a room... - I thought they were all gonna be like that. I really did. I look back on that and that is a high-water mark in terms of the importance of having everyone being on the same page. Right. If you get rehearsal time and if you shoot in sequence, it's not like you are trusting the other actor to know that in the scene before this they actually threatened to kill me. So, it's a little bit heavier. You don't have to do that because before we shot this scene, we shot the scene where he threatened to kill me, so we know that. It's a great collaboration. You don't realize it till you're blessed enough to work in the business. When you're on the set, you see that there's... You know, sometimes the best idea will come from the script supervisor, or sometimes it's the guy at the crafts service table. It's a great collaboration, even though it's a director's medium. I think that sense of support was instilled in us with John, 'cause he gave us these roles and we all knew what we were doing, but he always was collaborative that way. I think that was his intelligence, too, that he allowed his scripts to transcend even the beauty that they had, because he hired people that he believed in. But there's a great collaboration, always. When you're talking about rehearsal, you're talking about the five of you guys. Were Paul and Kapelos kept away a little bit, to let you guys have your thing, a little "us vs. them" a little bit for that? Well, that was happening right away. Also, 'cause Paul wanted to hang with us, so that was perfect, 'cause it gave us the power to say, "No." So, we could. But you guys rehearsed those scenes, right, with you and Paul? But he wouldn't necessarily be sitting there on a day when... Just the five of us. - ...it was the five of us in that rehearsal, if we were gonna get to that stuff. We wouldn't do necessarily whole read-through of it. We would be taking it from the first scene and rehearsing it till it made some sense to us, and John knew, basically, how he wanted to see it and how he wanted to shoot it. It's a business, at the end of the day, like anything else, so there's always such a sense of the clock and rushing, so, as Judd said, a high water mark in our careers to start with this great project, and we had these great roles and a well-developed script. But he was smart enough to sit us all down and get our input and let us work through it. So, once we got on our feet with this and we were shooting the scenes, we had a closeness and a vibe already flowing between us. But it's funny you said that, 'cause I thought the same, too. I thought it would be like this after, and usually the director is the most stressed-out, doesn't know what the next shot is. It's like the world changed after this. But part of it was the good fortune we had to be in Chicago and do this. It was at the beginning of his career, after Sixteen Candles did pretty well, even though it was a small film. I think I remember him telling us that his intent was to do this first. I think the studio was gonna make this film first and they flipped them. So, we were fortunate to be away from everything and... Flipped it and Sixteen Candles, you mean? Yeah, exactly, in terms of the making of the films. So then we did this project second, and then we were, again, just in Chicago, and that sort of remote quality helps it, too. It's a lot of the fun of it. 'Cause then you came back here to do Weird Science, right? Yeah, that was fun. There is something about that, pulling it out of Hollywood. That's clichéd, "Hollywood's bad and you can't get anything done." But there is something to be said about that. Well, the story takes place there, and that's where he lives. Why not put it there? It's easier, it makes the most sense, and for the actors, it's one less thing you have to imagine, and hope everyone else is imagining the same thing. In fact, it is the same room where we're gonna go every day. It's a school. - Right. I remember, I went to some local schools, too, in that area at the time. It was fun just to get a sense of what... 'Cause I hadn't had that kind of upbringing. I grew up in New York City at a liberal arts high school. It was a different experience. It was a boys' reformatory, wasn't it? I was away a lot and... Very religious, wasn't it? - That's part of the fun, actually, just to get out of the mix, to be somewhere else. As an actor, the gift is getting the job, and then the sense of exploration is enhanced, I think, by being somewhere on location. It's fun. Makes it part of joining the circus, I guess. So, what, you guys went to an actual school, went in, mixed with the kids, did that whole... Yeah. Yeah. - I did some of that, yeah. Yeah, Hughes arranged it for us to go. I know that Ally, Emilio and I went to this high school, and the principal knew, but most of the teachers didn't, and it worked out perfectly. It was a school that had two halls, one called Jock Hall and one called Freak Hall. And I was like, "Are you kidding me? That's perfect." I just waved to Emilio, "See you at the end of the day," and then went over to the other side. It's great 'cause I was over 18, so I met some guys and I could buy them beer. I was like, "Yeah, I got an ID that'll work. Come on, let's go get some beer." Just treating it so poorly, it was perfect. You didn't get put in detention at that school, did you? No, but I did get sent to the principal's office, the one guy who knew that it was okay for me to be there, so it was perfect. I hadn't found my classroom yet, out of Freak Hall, and I didn't have a classroom, so I was always going to be found out there. Bender, that's school property there, and it doesn't belong to us. It's something not to be toyed with. That's very funny. Fix it. You should really fix that. - Am I a genius? No, you're an asshole. - What a funny guy. Fix the door, Bender. Everyone, just... I've been here before. I know what I'm doing. No. Fix the door! - Shut up! God damn it!

8:42 · jump to transcript →

Judd Nelson

Hughes was so ahead of the curve on music. Yeah. He would work with it, he would bring in tapes, he would be doing compilation CDs and tapes on the weekend. Yeah, and he would bring them to us on the set. When there were tapes. Those of you younger... Cassette tapes, yeah. - Don't remember tapes. He had cool-looking ones, even, those metal-looking ones and clear. Very cool. - We're old now. We're past CDs, it's MP3s and stuff now, right? Remember when they invented the wheel? That was incredible. People banged rocks together, and we sang. We made this sometime after World War II, I think. The Great War. - Yeah. But he used to take you guys to concerts and stuff, right, Mike? Yeah, he was cool. Like Judd said, he was really ahead of the curve on music. He was into it. He was aware of Art of Noise, which was this Trevor Horn project. People know their stuff now. So, even with that piece of music, I'm sure he was probably trying to go for that kind of thing. How about the fact that in Sixteen Candles, Molly's got a notebook that says "Psychedelic Furs" on it, and I don't think they had an album out yet. Hughes knew. Well, and Pretty in Pink comes out however long after that. But, yeah. And he wrote to music a lot, too, so a lot of times these sequences, I'm sure he knew that there would be a certain piece of music playing through it. Nowadays, it's funny, you watch shows that are network shows, like Grey's Anatomy, it's so much a part of the formula, where they have these musical interludes that tie things up or bring the audience into the third act. It's interesting, there's a psychology to that, just like editing. It's interesting to see it work. It was cool. I like that. I like that the music stops right on that, too. And now we're done. Here's the bit where you're nice to Carl. Group therapy is done. Right, there's that moment, yeah. Tie it all up. It's great. And that pose right there is now a classic janitor pose. There's the guy on Scrubs. That's Hughes right there. That's great. - There is Mr. Hitchcock. There he is, baby! "Mr. Hitchcock." Mr. Hughes. I like that Ally shows inhuman strength pulling this off.

1:30:47 · jump to transcript →

come what may, and he was frantically rewriting on the set whilst they were shooting it. And that was for tax reasons as well, that the film had to be shot within a certain window of opportunity, otherwise the money wasn't going to be there. Yeah, and even James Caplin, you know, he didn't have time to develop the screenplay as it should be either. And, you know, it's a very complex storyline, you know. It's film noir. It's investigative, you know, plot.

41:20 · jump to transcript →

but we didn't show Red Dog himself. We just ran out of time. And we were running out of time constantly. So I think we're extraordinarily lucky with the crew that I had to get the set-ups that we managed to get. Yeah, well, the interesting thing about this film, I think, is that it's narratively ambitious, conceptually ambitious, visually ambitious. So, you know, and all on a...

53:19 · jump to transcript →

So we're down here in the sets that were built by Len Huntingford and designed by Len Huntingford. Can you tell me a little about him? Yeah, Len, he was an art director on other movies. I think he did Chariots of Fire, was one of them. This was his first job as a production designer. It's extraordinary what he managed to achieve on the budget we had. I don't...

1:01:11 · jump to transcript →