Ratings (MPAA / BBFC)

Fred Dekker

to sort of change the direction of the franchise at this point? Well, a funny thing happened was that this original film and then the second one were extremely violent and dark and edgy and full of drug-dealing children and just mayhem and mutilation. I mean, as R-rated as you can get, despite the fact that they're comic book movies. But somehow or other, kids were watching the first one on video or cable or whatnot.

4:34 · jump to transcript →

Fred Dekker

And Orion had it in their heads that maybe there was a younger audience for this character. And there was a, I don't know if the animated series had happened yet, but there were toys and there were comic books and it was starting to become one of those things. So their idea was, what if we did this as a PG-13 film where we sort of straddle that line so that not a family audience per se, but the younger kids could come in with their parents.

5:04 · jump to transcript →

Fred Dekker

and their guardians. And that was the edict from the get-go. We want a PG-13 RoboCop. And I think one of the reasons they hired me was that the Monster Squad had sort of straddled that line fairly well as far as being edgy enough and scary enough that it wasn't wimpy, but it also didn't go too far. Right, right.

5:34 · jump to transcript →

Yeah, a little bit of Oriental eroticism. Yes, and the ratings board. Oh, yeah, didn't they cut that out? Yeah, they didn't want that in there. I don't know why. But anyone, any bookshop has those. In fact, I got them from a local bookshop on Oriental art. So Kit can wander in a bookshop and see them, but he's not allowed to see them on a screen, even for a few seconds, whereas in the bookshop, he can pore over them for hours on end if he wants.

13:48 · jump to transcript →

there on the script. And then back in this country, it was touch and go for a while because there was a new regime at New World and they were, you know, they weren't sure whether they were going to move forward on it because it was such a controversial subject. Yes. They must have changed their mind because they did. Because we did. Then we had a lot of trouble at the end, didn't we? Well, with the ratings, you mean.

19:27 · jump to transcript →

Some of my films, not all, are ahead of their time. And I think if The Devils was generally released again in its original form, that would become a cult movie. You had a similar problem with the ratings on The Devils too. Didn't it get an X rating in this country? Yeah, yeah, yes. Yes, religion often gets an X rating. Yeah, yeah. This is a religious film. In my book, you see, I'm a lapsed Catholic and...

30:59 · jump to transcript →

They thought it was fine the way it was. It was an unpopular decision, I have to say. No, they thought it was fine the way it was, but, you know, it was a PG-13 rated movie, and, you know, I don't think Rachel has nudity in her claws, so. This was out in the desert in Air Food, about four hours past where they filmed some Lawrence of Arabia. I love this, the camel merchant there. I mean, if you watch him, he's such an expressive actor. He does such a great job, and just off to the periphery there.

33:38 · jump to transcript →

A longer sequence. As scripted, it was... He was supposed to moon us. As he went around the corner, the warden was doing one little shot. It's where his pants were halfway down around his butt. But second unit, for some reason, decided that they should show his entire ass. And it was clearly a disgusting R-rated shot, and we could not use it. And then what... I bet you're all sorry you missed that. Yeah, I'm sure you did not want to see that shot in the movie.

44:12 · jump to transcript →

The first shot of the CG mummy. Although Arnold Vosloo, who plays the mummy, plays Imhotep, he was a little disappointed because he was hoping it would be like, you know, gooier or scarier. But being PG-13, we had to, you know, there was a certain limit as to how gooey and scary and disgusting a mummy could be. These next special effects shots, we shot them at dusk, right as the sun was setting.

1:00:32 · jump to transcript →

Actually, Coscarelli kicked me off the set that night because I wouldn't do it. But he got over it and we went to the Dodger game the next week. Yeah, we're still buddies. It wasn't in my job description. I just want to point out, you have those PAs in your mouth, Bill. That was in my job description. If we got this film rated today, you would not be able to get that past the rating board, which I thought is ridiculous.

22:22 · jump to transcript →

just scored the stuff up as he was. Now here for the first time, you can see the urine that comes out of the guy's leg, which most of the other video transfers, you can never see any of that. But in fact, that's how we got the R rating. So I think if the ratings board had ever really seen what that was, they never would have asked us. This is a nice shot. Well, it's beautiful, beautiful acting.

37:20 · jump to transcript →

was one of the films that, if I'm not mistaken, started a wave of modern horror films in the late 70s and early 80s. It was really a golden age. And it may have come to an end with the ratings. Because worldwide, they're just cracking down. It's become to a temporary low. It will never be stamped out. It goes through ages and ages of history.

1:27:03 · jump to transcript →

This film dates from the earliest days of the AIDS epidemic, and it's unlikely that the shot of Max licking the blood from the needle would have been permitted by a major studio picture even one year later. Jimmy and Debbie are both outstanding in this scene, which is genuinely erotic, as so little in mainstream North American cinema is. In America, the MPAA objected to how long James Woods was shown with a leg physically between Deborah Harry's legs in terms of seconds.

17:27 · jump to transcript →

To abbreviate the shot to a length the MPAA considered acceptable, Cronenberg and editor Ron Sanders inserted a dissolve that allowed the shot to get to the point prematurely.

17:55 · jump to transcript →

basically finger-painting the room with secretions from each other's slits, with the camera slowly zooming past them to an agonized handprint on the clay wall at the back of the set. I don't think that ending was much welcomed by Universal, who insisted on an R rating, so Cronenberg's wild imagination was becoming increasingly curbed and redirected by the corporations that employed him, and which were essential to his continued forward movement.

1:01:00 · jump to transcript →

Marco Brambilla Daniel Waters

Do you know why McDonald's turned us down? Just R rating. Yeah, R rating. Yeah, but Taco Bell, they're made for R rating people. In some regions, there was an alternate. I had to shoot an alternate with a different franchise. Pizza Hut is in the British version. Pizza Hut also works. Pizza Hut's better than McDonald's and Burger King. But Taco Bell's the best. And Taco Bell has really...

53:25 · jump to transcript →

Marco Brambilla Daniel Waters

for the NASA rockets and for all the test pilots and the various airplanes, and it was all done practically. So I went up to San Francisco to work with them on this. You don't have an NC-17 cut of this scene in a vault somewhere. We do, absolutely. There was a lot of material. It was a body double, obviously, for Sandra. Oh, my God. Fluid transfer? And...

1:10:31 · jump to transcript →

Marco Brambilla Daniel Waters

It's a complete steal from Logan's Run. Yeah. You saw it the other night? Yeah, I watched it the other night. Love that film. Logan's Run is a key movie of my childhood because it had rated PG nudity, which changed my life. Mine as well. Jenny Aguilar, still remember.

1:14:32 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

that I can also have in a PG-13 movie. Yeah, right. You know what I mean? It's like, yes, it's a little gruesome, but there's no blood, really. And, you know, it's just very disturbing. Right. You know, and, you know, ineffective in that regard. And, of course, it's also serving a character purpose to really shock him into what he then later does, which is, you know, he's thinking about the static, and, of course, that leads him to having this moment with...

1:02:42 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

And we felt like it would help the audience kind of understand in keeping this idea of we're going to get totally in the realm of the psychological here. It's what JK is explaining earlier in the movie, that they get inside your head. They prey upon your fears. They take anxiety and they amplify it. That was our big MPAA cut.

1:26:57 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

Yes. Yes, we had to make some trims there. We cut that way back. Yeah, we had to trim that there. Get the PG-13. To get the PG-13. He used to put the barrel into his mouth. They did not like that. They were not feeling that. Not for a PG-13. Yeah. They sort of just said, you know, if it were a comedy, it'd be fine. Yeah, yeah. You know, but dramatic, you know, parental murder-suicide is, you know. And here we go, you know, back to...

1:27:23 · jump to transcript →

Doll Squad and from Astro Zombies, which I remember seeing Astro Zombies in the drive-in back when it was rated R. You know, it was reissued as a PG that was out on video for years, but it's actually an R-rated film. And then the one that he did that I am most happy about is The Corpse Grinders. And I wish some company would get on that one. Hint, hint, hint. Anyway, and then...

56:06 · jump to transcript →

Paslav couldn't find the negative. He said he lost the negative to it. Now, also, by the way, I have no doubt it was lost. A lot of times it's lost and then it's found again. I mean, you know, in the clutter or cans or something. I don't assume anything is really ever gone. You know, it just misplaced. So we had to put out the R-rated version. And, you know, we had the X-rated trims we had to put on as an extra. And, you know, it plays better with it all. I mean, you know.

1:18:15 · jump to transcript →

Filmmaker Paul Davis

guaranteeing you the the money for the movie once it's delivered with specific requirements so for this it was that it had to be an r rating um and polygram pictures it was john john peters and peter guber who who were big fans of john after the the blues brothers and an animal house uh

25:22 · jump to transcript →

Filmmaker Paul Davis

think it was one or the other. But they were very distressed, very angry, felt that John had betrayed them on the requirements for the film, but the film hadn't been rated yet, so there was no telling that it wouldn't get an R rating as opposed to an NC-17, which was Polygram's proviso. And John said to them, give us 10 days to address the notes, come back, watch the movie.

42:01 · jump to transcript →

I also like, I'm just... There's Luis. I just love the way he looks. He's a security guard. That's like a typical... Uh-oh. Great. This is where you need security against the security guards. The sea starts it. That's great. Yeah, yeah. I remember they were worried about the rating or it being too bloody, so you had to use it where it hit the ketchup bottle so that there were red... Oh, that's right. To justify all the blood, we had to show the ketchup being broken first. Right. Yeah.

1:13:29 · jump to transcript →

Sounds like a conversation I might have been having. Yes, probably. That was very realistic. I wanted to get it past the MPAA. We needed to get it to the theaters. Not that we did. Not that we did. Not that we ever got it. But it was a good idea to hit the ketchup, though. It was. It was a good idea to hit that ketchup and get that red everywhere. That's a great line. She's a great character. She really is.

1:13:59 · jump to transcript →

in a trial and error basis to do it the way I just described, even if you miss, even if it doesn't work right away, all they have to do is clean up the actor and then do it again until it does work. I don't know what's acceptable. The film got an R rating and there were no cuts.

1:45:45 · jump to transcript →

requested. Same is true of The Exorcist when it came out in 1973. That got an R rating with no cuts. Today, of course, the envelope has been pushed a lot farther than anything we did. But I think if a film is depicting violence and a violent world, that it's up to the individual filmmaker to decide where to draw back.

1:46:15 · jump to transcript →

I was very cranky about the character Faye Dunaway played because I thought it was farcical. So much of that picture appeared to be like farce. And I was a little snotty about farce. And there she was sitting on this guy, having sex with him and talking about ratings. And then a minute and a half later, that woman was everywhere you went. I mean, it was just extraordinary. And I think the Jane Craig's of the world proliferated after that. You know, the very brilliant type A

26:33 · jump to transcript →

Pardon the pun. But trim that shot in order to keep our R rating and not get an X rating.

1:01:09 · jump to transcript →

What's fascinating to me about the two versions, if you are lucky enough to see them both, is that in one version, the MPAA unapproved version, there's a huge laugh when Johnson says, someone call a paramedic. But because they cut out the overhead shot where the guy is just made into a hamburger, that you don't get a laugh anymore.

12:25 · jump to transcript →

Now, there's a really cool little lucky bit here with the hubcap. Watch this. Yeah, it flies off. Boink! Right over camera. Right. It was a mistake, isn't it? I think you should say you planned that. Ah, yes. Life is so kind. When they previewed this picture, the audience's most favorite thing was... Was coming up here. ...was getting hit by the... The melding man getting hit by the car. Right here. And the MPAA wanted us to cut it out of the picture.

1:30:23 · jump to transcript →

We didn't tell her that was going to happen, did we? No. We wanted to do a real surprise. It was also David's cousin. This took two weeks to shoot. I'll tell you, if we did this movie today, we'd never get the PG-13. No. The thought police that are watching movies today. We'd get an R for erection. I remember having discussions with the design guys about what the exact shape of that appendage should be and what was best for hanging and lifting. Yeah.

47:27 · jump to transcript →

Oh, this scene was taken from Clint Eastwood, from the first Dirty Harry. When taken, you mean an homage? Not the joke. Not like a joke jacking. I think Clint Eastwood was saying, when I see a guy running after people in full view with a knife... We know how to fix that knife. We made it into a nice PG-13 joke.

49:12 · jump to transcript →

Fox would generally have something that's kind of, okay, a PG-13 movie would be their big hit of 1992, not an 18 rated or hard R rated film. Without big names, frankly, apart from Sigourney Weaver, who, you know, as a woman is never going to be the, you know, no one would normally hang their summer blockbuster on a female character who isn't even in it really in an action movie anymore.

4:21 · jump to transcript →

the best thing in it, really. But Brian Glover there is just so frickin' good in everything he's ever done. And weirdly, I know him best from Porridge, where he's also a prisoner. Although technically he's the warden here, but... Well, to many kids, you know, watching TV a lot, he was the voice of PG Tips, wasn't he? Yeah. And a Tetley. Was it Tetley? Was it Tetley? Yeah. Tetley makes tea bags make tea or something. Yeah, yeah.

27:45 · jump to transcript →

which actually, and I don't know if I mentioned early on, I mentioned it somewhere, that we had to actually, we got a PG-13 by the ratings board when we, the final cut, or one of the cuts, and we had to go in and add two more fucks for Jennifer actually said, leave us the fuck alone or something, and that gave us the R because the picture was really, you know, wasn't, you know,

44:58 · jump to transcript →

edgy enough or violent enough to get the R, so they had to add that and a couple of F words to get that R rating, because the kids, they like R-rated movies, they don't want to go to a PG-13 movie because they think it's too soft. I think, oh, we almost got a glimpse of Samantha.

45:26 · jump to transcript →

Under the circumstances, I think we'd recommend resetting the sensors to respond to a lighter load. How do you feel about 40 kilos, Miss Hall? Perfect. We want the movie to have the sexy feeling, but it's not necessary to see the real sex. Not because of the rating, because we all want this movie to look a little more elegant in every way. No matter the action, the sex, the love, or the good and evil, the thing.

16:31 · jump to transcript →

to make a PG-13 film. I must tell you, this is my first PG-13 movie ever made. We are very careful about everything. So no matter the action or the drama or anything, we got to so much careful about it. And I also need to tune down about the violent thing. And I also need to tune down the bullet head and the body counts. The whole movie is all about love. It's not about violence.

45:03 · jump to transcript →

Simon West

This upcoming shot where she throws the towel off was very difficult as well because I knew I was working in a PG-13 area type of film and so the idea was to show a little but not too much and so that took quite a few takes to get right. Originally I was going to shoot quite a bit in Venice but it proved to be too expensive because of the cost of everything else in the film.

7:07 · jump to transcript →

Simon West

very strategically, so you don't see anything you're not supposed to see in a PG film. We may not be able to remain friends. Always a pleasure. Now for a cold shower. I think we're in big trouble. All this way. Thank you. Everyone thought that I'd specially installed these enormous red drapes in this scene.

1:08:52 · jump to transcript →

What was your favorite aspect of the original Predator movies that you wanted to bring forward? Well, the Predator, I think one of the things for an element we wanted for this movie was actually the realistic gore and all the tribal qualities of the Predator. I mean, like one of the cool things was, you know, which was, you know, because obviously they couldn't do in the last movie because of the rating, was that, you know, when the Predator shoots someone, they get big giant holes blown in people. People's heads get blown off. There's...

33:45 · jump to transcript →

When you, you know, the skin bodies. And it was like, those are the type of things that really, you know, missed from the last film that, you know, when we had the opportunity with the rating on this to actually, you know, and also just from the story, having these elements in it was such an important thing. Exactly. And how about from the Alien movies? What was particularly important to you? Trying to get a grounded cast. You know, like one of the things we really liked in the first Alien in that was that those were just regular people.

34:12 · jump to transcript →

I just saw a new one this morning, so you should be very proud. And depending on which version of the film you're watching, I guess there would be an R-rated DVD, but this is one of the moments that got us an NC-17. Most of them are from Safe Haven, but notably they did not want us to cut out Simon's penis, which is featured at least three times in the film, if you count the end credits. Simon's penis was not offensive enough.

1:28:00 · jump to transcript →

Nope. To get an NC-17. They said, oh, no, if that was the movie's thing, it could get a PG. Yeah. And we were like, oh, okay. That was it. I mean, like, Simon's penis, yeah, non-offensive. So, anyways. So, yeah. So what's going on here again? She's a zombie. Yeah, watching the tapes and the sequences. Is it still a prequel? Is it still a prequel? It's still a prequel. It's still a prequel to Take 56 right now. Okay.

1:28:26 · jump to transcript →

particularly unusual for a European film of 1967. But if The Good, the Bad, and the Ugly had been released in America when it was made, in 1966, rather than on Christmas Day, 1967, the brief shot of Eli Wallach's bum might have been a problem for the MPAA. However, by the time of the film's release, newspaper ads for the picture carried the boxed information suggested for mature audiences.

1:49:22 · jump to transcript →

Let's make it 50. Make it three yards, motherfucker, and we'll have an automobile race. That's one of my favorite lines in the movie. Well, that nearly got us an X rating. We had to fight, you know, the ratings board to get an R because that one line was enough to qualify as an X at the time. Wow. And now it's like, you know, every other line in a movie is...

16:59 · jump to transcript →

Robert

I think the rating of this trans scene, which we will see in a moment.

24:40 · jump to transcript →

Now, here is the shot where we had full frontal nudity, and they said that will make this an X movie. And I said, how come you can see naked girls and you can never see naked guys? And the rating board said because the male organ is aggressive. Are you kidding me? Yeah. Now, look at that shot where his foot's shaking. My God, that's fantastic. But there was so much more, and they cut it all out. And then they said, look, we fixed it for you because we made it better.

58:32 · jump to transcript →

I did appreciate that you kept the idea of a vampire being able to crawl upside down or just hanging upside down in the window. That's always one of my favorite vampire images, you know, when vampires do that. And it's a cheap special effect. It's easy, yeah. Some rope. Yeah, and it's a pretty sweet-natured film. I mean, I think this was rated by PG, I think. Oh, I'm sure it was. PG-13. I mean, was there any talk about...

59:18 · jump to transcript →

John McTiernan

In terms of the rating, I think we had the normal sort of negotiating from the MPAA about, take a few frames off this and a few frames off that.

1:11:42 · jump to transcript →

you may or may not have noticed uh this movie has been rated pg-13 for jungle adventure terror it opened on 2649 screens on june 9th 1995 and seems to have had um that weekend to itself i believe um although tons of things were opening that whole summer big you know movies we still remember like apollo 13 braveheart uh batman forever

0:44 · jump to transcript →

Now it's like a joke. Oh, yeah. This is PG now. This is PG, not even PG-13. Such a joke. Yeah, I should have just been butt naked the whole time. You know who this soldier is? I don't know if we're at the same place. Richard Schiff from... He just won an Emmy for... God, I'm having a moment. You're having a senior moment?

14:43 · jump to transcript →

Let them know they meant business. This shot was an issue, which we thought might get us a ratings problem, but was very sweet. We actually sent the film to the MPA to rate it, and they sent it back saying, we give you the R that you've asked for, and we also want to tell you you have a hell of a film. Congratulations. Very cool. That was a neat moment for us. This location was actually a Turkish mosque that was taken from the World's Fair.

1:00:23 · jump to transcript →

Peter Hyams

We actually had to trim that sequence for the MPAA. It was a little more graphic and a little more grisly. Not a date tonight? Not just the inflatable kind, a real live girl? Did you break up with the inflatable one? Yeah. She was just too needy. Everything was about her. It's just that this is starting to feel a lot like work. Normally I wouldn't mind. Yeah, when Kevin comes up, when he says it's OK, when Arnold leaves the vent, that's the kind of stuff I love that he makes up. It just seems odd, doesn't it?

54:49 · jump to transcript →

We were shooting these sequences and I asked him if it was difficult to perform against nothing. And he said, Steven, many times in my career I've performed against nothing. He wasn't talking about special effects shots. We'll have to go through his filmography and see what he's talking about. We had such a nightmare with the sequence with the MPAA. Because we were really...

40:18 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

We actually have a few more seconds of strangling in the extended cut because remember the MPAA asked us to reduce the intensity and we shortened one of the strangling shots and then we put it back at its original length here. So this is a complete full strangulation, never seen before, here exclusively on DVD. In this shot here, old Tom, who's trying his hardest to be dead, actually blinked right in the middle of the shot, but Andy's performance was so great on this particular take

4:09 · jump to transcript →

James McTeigue

What are they gonna do, fine us? Big deal. We've got the most-watched show on air. Well, you're my agent, that's what I pay you for. Protect me. I should've hired him to be my mother. You're mad. - Either that or I wasn't breast-fed. ls everything a joke to you? - Only the things that matter. What if they come after you? - I tell you what's gonna happen. I'll have to make some kind of apology, do some boring fundraiser. In the meantime, our ratings will go through the roof. It'll be fine. Trust me.

1:07:43 · jump to transcript →

And in the rules of this game that have been clearly set up, this is the only way he can get it, or it could be dealt a death blow. And I made it as gruesome a death as I could get away with in PG-13 with him being cooked from the inside and being gone for good. And the causality with the army, that the army is gone

1:38:44 · jump to transcript →

but why wouldn't they, I don't know. But I think we got away with it. I just suddenly watched the scene thinking, I made a mistake here, but that's life. Suddenly I understood why superheroes only existed in comic books. Okay, I could tell you a really funny sequence here, right? This is R-rated, so I'm gonna go really on it now. So Aaron said, look, I think the way we should do this, I should really fuck her over the bins.

1:14:29 · jump to transcript →

Now you got it, right? - This is what I love. Once the gre... That's it going off. Okay. - Yeah. Well, I didn't know. Last night was the first time I had seen this shot finished. The MPAA, remember, was really worried... ...we were gonna put a giant set of genitalia on him. Oh, they did. - Oh, they did. Yeah, that's the director's cut version. This was hard, I think. Because we had just been in this violent extravaganza. And now for emotions. But I think it works. - It works great. Because Kate is good and India is good. "You came back for me." - Yeah. And I remem-- This-- All... The tears and so on on Kate is completely real. Yeah. - But this is why she is, you know... This is why Kate is a movie star. She times it so the tear comes exactly where you want it. And I remember.... You only get that from professional actors. They know their body like, you know, true musicians. Go. I'll send them... ...on a different path, buy you some time. This is a part of the movie where we struggled... ...tried to figure out what to do now. How do we end the movie? - Yeah. We went through so many different permutations. We did film Michael watching them. - Yep. From the roof. - Yep. This scene was always in the film. - Yeah. That she comes back and finds the.... There was a period where we weren't. No. This was actually decided... It was not in the script. This was halfway through the shoot, we realized we needed this scene. We didn't wanna end on a rooftop... ...because it's kind of cliché a little bit. We did it in our Swedish film, Storm, actually... So then we ended it on a rooftop. - So-- But, you Know.... Sometimes cliches work. - Yeah. I think it's better than a forest. lt worked for the voiceover. Yeah, it was in a forest. Yeah. That was-- Yeah. But you want a nice wide shot. - Right. You see the city, see the world. And.... - The close-ups. I remember waiting for Len to write this voiceover, it took forever. But then he got it, and it was great. - Then he delivers. Because you get this "fuck, yeah" feeling. I've always thought that it's Kate that writes them... ...but Len actually does write them. Well, we'll never know, will we? I like those guys. That's those Swedish guys, isn't it? Yeah, yeah. Wonderful writers, John Hlavin... ...Michael Straczynski, Allison Burnett. Yep. There's Len again. - Len and John Hlavin. Kevin Grevioux, shout-out to Kevin. - That's right. Anyone fancy a pint? - We have to trash everyone. We have to trash those guys for sure. - Producers. David Kern, there he is. - And David Coatsworth. Good on you, mate. Yeah, that's it. - That's it. Scott Kevan, DP. Excellent. Yep. - In the house. Claude Pare. - Yes. Award-winning production designer. Jeff McEvoy, the gentleman. - Yes. He was there the whole time. - Monique Prudhomme, costumes. Paul Haslinger, Underworld veteran. Are you gonna go through all of these? I'm just reading. It's not that hard. Tricia and Deb did all of the Underworlds too. Couple of small words here. - Needs no introduction. India, she was the third girl or second girl in the room. Remember that? - Yes, absolutely. And we just looked at each other. "This is the girl." "This is the girl." In, like, five seconds. Me and Bjérn never did big Hollywood movies. But you sure as hell had before. - Yes. "Does it work like this? Can we say yes?" You were like, "Yeah, yeah. I think we should go." That was amazing. That'll be the last time that ever happens in your career. When we saw Theo, we all liked him... ...from the very beginning too. - Yeah. But India was... She was the first day of casting. But Theo we cast in London, though. Yeah, but the moment we saw the tape, it was done. But that was after going through a lot of people in L.A. Yeah. A lot. - Yeah. Richard Wright. - Yeah, how about that? Yeah. Love that guy. Yeah. - Yeah. Paul Barry. I Know it sounds funny but... We forgot to shout-out to Paul Barry. Paul and Nee Nee. - Best first AD ever. And here it says.... - Brad Martin. Gets his own card, damn it. - Yes. As he should. You should work with him if you wanna do good action. Oh, you know-- I actually am right now. How about that? Good for you. I thought this Evanescence song worked too, quite frankly. Yep. America's biggest Goth band. They're Americans? Yeah. - Yeah. Dude. - Yeah. "Dude." - What? But there's-- It's... When you sit here... ...and look at the names of all the people that worked on the movie... ... you realize what a collaborative effort these things always are. The fact that the five of us can sit in a room... ...and talk about it is one thing... ...but the filmmakers are really everybody on this list. Well, but the other.... I agree, but at the same time l.... After we finished shooting the film, which was a very difficult shoot... ...we came back to Los Angeles and we cut at the Lakeshore offices... ...and Mans and Bjérn were there religiously every day... ...putting their heart and soul into the movie. And I think they were... They put their heart and soul into the movie... ...from the moment we met them to the moment the movie was finished. So as producers, I think we have to really thank them. Thank you very much. - Yeah. That was very nice words, Gary. Thank you. - You're welcome. We are as tall as we are... ...because we stand on the shoulders of giants. Yeah. - And I kept saying to myself... And this is the part where everybody turns this stuff off. Nobody's listening right now. - We worked our asses off. But James McQuaide delivered on those visual effects. I Know. I gotta tell you, man.... It only took five years off the end of his life. Oh, jeez. The best he's ever done. lt was fantastic. It is very therapeutic to watch this. It is, isn't it? Yeah. - Now it is done. We can move on. - It's done. Yep. And it's Friday night at 6:20 p.m. And.... Film's opening tonight. - Yeah. Have we got numbers back? Have we got numbers about how it's doing? Yeah, very good so far. The advance New York early-screening report... Excellent. Didn't you say that it did great in Thailand? Taiwan. - Taiwan. Thank you, people of Taiwan. - Yeah, thank you, Taiwan. Shout-out to Taiwan. All right, so this is pretty much it. Thanks, everybody, for listening to our babbling. And have a good night or a good day or whatever. Are you gonna say something in Swedish?

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