Release & marketing

Is that the hole down to the wolves? That's another jump. Cool. That wasn't easy, was it? - That was you. That was me. That was me. - There you go. Oh, I remember that day so well. He falls better than anybody. Look. So impressive. - That does look painful. Yeah. He never has any padding, either. It's fantastic. He didn't do it with back-padding. I used a walk up to him, do that thing, shoot him, then caper off like a girl. Yeah. He would just do that at lunch, in the lunch line. That's my least favourite shot of me. Why? - My nose looks like a big snout. I think it looks cool. - We both were not really... Don't like that. - Why? Because of the snout. - The snout looks great. Thanks. - Nice bullets. Thanks. They're all natural. Of course, that made the trailer, I think, too. I know. I was upset. - The shots you don't care for... ...always show up in every press junket, in magazines, and in trailers. Was that in a sequence where you said I look like I was humping a donkey? I believe that's the one. That was a cool one. That isn't me. That isn't me. - That isn't you. That was that disgusting champagne cellar. We got sick from the mould. What? - Were you in there? Where? - The champagne cellar. It was five inches thick with mould. My God, I got so sick. I got off scot-free. You did. - Pardon the pun, but I did. That really bothered me, that place. The toughest thing for me was the transformation stuff. But besides that, it was... I had a pretty easy schedule. Yeah. We made up for it in the water. - You did. Yeah, yeah. That's true. But you were like, "Hit me. Hit me. Harder," by that point. I Know. I did kind of go insane in this movie. I may be a chick in this movie, but I'm going to take... Yeah. - I'm going to prove it. I remember when we were doing the apartment scene... ...and she was throwing you up against the wall. And you kept going on about how you're not going to get hurt. I know, that last take, there was pain. - Which one? When she throws me? When she pins you against the wall in your apartment. Oh, yeah, yeah. No, I don't remember any pain. Yeah. - No pain on that.

8:35 · jump to transcript →

All right, here we go. - That's it, jump out the window. This is my favourite thing, I think. No, it isn't. - This isn't it. It can't be. You are nowhere near it, Soeedman. - There we go. Dogs! Dogs and everything. You're really good with the "Oh, shit" look. Here we go. I was legitimately scared with these dogs. Oh, come on. They were being whipped into a frenzy by these Hungarian people. I love how you fall down. I loved it in the trailer. You gave me a hug after that, because I worked hard. Remember? I did. - You did. I was... You were good. - I was big on the hugs. Weren't you sick that night, Speedman? No, I was... - He wasn't sick. He was a baby. He was sick. - I was the opposite of a baby. No, you were. - He was sick. Sorry, guys. He was totally sick. - Were you sick? I don't remember. - Well, I do. I was keeping a detailed notebook and diary. That's right. Maybe I was sick. But, hey. What you don't see after this shot is you put the gun down... ... flapping your hands around. - Why? Because the impact of the guns. You don't remember that? - No. That didn't happen.

38:02 · jump to transcript →

There was discussion about adding a scene where... ...Kate's in front of a mirror with just a razor blade... -... just shaving her head. - Wow. The hair was becoming a problem. - That'd be cool. I think it'd be good, do the Sigourney Weaver... SO people can say you're ripping off Alien as well Matrix. That'd be great. - Brilliant. Do people say that? - Yeah. Oh, far too many, because it's a black suit. You know, what are we gonna put a vampire in, like, fuchsia? You know what? - Number two.... It'll all be pastels. Look, I warned her. I warned her, but she didn't listen. I should've told you sooner. - Told me what? Her human, Michael... ...he's not a human at all. He's Canadian. - I'm Canadian. What? Canadian? - No, not another Canadian! Jesus! - Get them out of the industry. Stunned. They'll kill you. That was the one I was terrified was gonna be in the preview. Was it ever in the preview? - The, "Who are you people?" Yeah. And it was. We knew it was. There's certain lines, when you're shooting, you know... ... they're gonna be used in the trailer. I Knew that when Kate was saying, "The war between Vampires and Lycans." That's right. And that was. - Yep. This looks complicated. This was a nightmare. - Walking with those things. Walking, there's guys on top that are.... The prop guys are trying to move that thing around on top to mimic him. He was so great. - He was so cool, man. Yeah, he was. - He was such a cool guy. Is. I guess he had the toughest makeup, right? He had six hours every morning. Leave us. But he was great. He was like the visiting rock star. He's so cool, man. We love you, Bill. - Bill, we love you. I wanted him to come to the premiere, but he didn't come. We wanted him to sleep over, and he wasn't interested. I was interested either. Werewolves. There we go, right in the trailer. I'm glad we did those flashes. It's always really difficult to have that scene where it's... "These are aliens," or "These are"-- - It's a tough scene. It's tough for the normal person. So you just kept that bewildered look... ...and I threw in some inserts there and really helped you out. Thanks, man. - You're welcome.

53:17 · jump to transcript →

But it's obviously a play on words and on the poster you can see brackets and it kind of hints to the presence of another word within it, tradire, to cheat. So there we go. Yes, it's one of many brass titles that is impossible to do an accurate translation of into English because he does a lot of this sort of cheeky wordplay, you might say.

0:55 · jump to transcript →

It did have a theatrical release, national release. But what was quite noticeable at the time was that it really didn't stir scandal. There was some issues that arose from the poster itself.

12:27 · jump to transcript →

was his first anthology film but um in a way that almost feels like a spoof of say penthouse letters in a way when he made it and the fact that he's the one who's presenting all of these stories i think is what kind of that's what that's why the film still coheres in a way um whereas Fallo! doesn't quite so much it's just a bunch of random episodes kind of stuck together um as you mentioned that's the uh the shot that he's on the poster there with her skirt flying up with the hat and the umbrella um very famous shot um but nowhere near as scandalous i think as the poster for something like all ladies do it you know which had claudia's you know

30:53 · jump to transcript →

off his horse later on this day and cracked a rib and couldn't get on a horse so we couldn't shoot anything of orlando actually jumping into the saddle which was our original plan then much later on in post-production i realized that we had forgotten to actually shoot anything of orlando jumping up on his horse and so the only way i could figure to get him on his horse was to turn him into a cg guy and actually spring him up on there with this one shot that i had which was you know the only thing i could think of and this was about six months before the release of the film

1:57:21 · jump to transcript →

So what was the point of sort of talking about something that people weren't going to see for a year? But this DVD is coming out, what, about a month or six weeks before the release of The Return of the King. So it's a great opportunity just to set up where they're going and what that actually means. They're going to a very, very bad place. A very bad place for Frodo and Sam. Stay tuned.

3:29:06 · jump to transcript →

that we were able just to jump in. And it was only a year ago. That's what I kept saying to the journalists. Well, it's only a year ago. Surely you haven't forgotten what happened in the movie. Plus you'd just had the extended cut DVD released of Fellowship, which was very clever. The DVD, the video release helped a lot because it was able to put everybody back into a Fellowship of the Ring frame of mind two or three months before the release of Two Towers.

3:36:05 · jump to transcript →

was shot at three separate times of day. Juliette's, all of Juliette's coverage in this scene is shot at 10 o'clock at night on a process trailer in a parking lot, and I am standing to her right, just outside the door. Wow. And I'm watching the monitor and jostling up and down with my fat ass on the trailer to create the motion of the car. That's good. Dick Pope's great. Dick's phenomenal. And who was the lighting guy?

23:26 · jump to transcript →

Dick just did a phenomenal job. Dick the Pope. Well, here, walking into the POV. And look at the sky there. Okay, that I stole from Peckinpah. That is the poster to The Wild Bunch employed in a shot. That was the only time, I think, in the entire movie I ever consciously did anything. In fact, you consciously didn't. You stayed away from slow-mo. Well, a lot of people say, when people talk about this movie and talk about the Peckinpah influence, it's not the style, it's the situation. It's a bunch of guys in a whorehouse in the desert. Yeah.

1:45:50 · jump to transcript →

Right, okay, let's go. Who do you think the costume is tougher on? Which one, mine or... Yours or Gregor's? -/ see. Yours makes you look as though you don't exist and Gregor's looks as though he's a wrestler. Yeah. Love is all... Fuck, wank, bugger, shitting ass head and hole. I'm sorry about that. You're a Shakespearean actor, basically. Yeah, I know. I never... I know. Shakespeare would have written those words if they'd existed in his day. So this is singing... Love Is All Around was... Everyone in England knows, but it was number one here for 15 weeks after the release of Four Weddings and a Funeral. Bloody hell. And I couldn't think of a funnier way to start the film than actually making them listen to the same song again. Very good. Now, that's kind of good. Take a look, Tom. This must be excruciating for you, isn't it, watching middle-aged men doing hip-grinding.

2:30 · jump to transcript →

So here we go, this was Sandown. - That's Sandown just outside London? Yeah. Yeah, sprayed. - For Milwaukee? Sandown? - Yeah, I think so. Have they got an airport? No, they haven't got... That's dress design, that's Jim Clay. I thought we did the races. I think there's always too much snow in your films anyway, Richard. -/ like a bit of snow. - Snow on the poster this time. Now, this was one of the best days of the shoot, 'cause these American girls came in and they just tore the script apart. Really? - Yeah, all the English actors are so respectful, but they just said, "There's not enough funny stuff in here. "Can we try and pep it up a bit with some good lines?"

1:23:47 · jump to transcript →

Noah Baumbach

But I think he came to connect with it with this Air Kentucky pilot. The "Life on Mars" we didn't comment on. I see you tried some other songs there. You tried a New Order song which played in the trailer, actually. Yeah, yeah. But it really-- "Life on Mars" feels like it was almost written for that. Right. Well, you know, maybe we should refer to, you know... We wanted to use a lot of David Bowie songs in the movie. We wanted Seu Jorge to play-- At a certain point we made this character. It was a character who was gonna be playing music on the deck of the ship. And then we decided to make him Brazilian. And we decided to do David Bowie. So it sort of just emerged that it was gonna be Bowie songs in Portuguese. Which Seu Jorge adapted himself. And he made these beautiful versions of this. But David Bowie is woven through the whole movie. I wonder why. Yeah. We did talk about Steve Miller at one point. I remember we-- Somehow, Jane maybe was going to listen to Steve Miller. That's funny. - Which is a funny idea. Yeah. David Bowie seems somehow more appropriate. Save Steve Miller for another one. I've been a member of the Zissou Society since I was 11. Well, I'll be damned. Look at that. Wanna kill this? Frankly, I better not. I don't usually try grass.

13:25 · jump to transcript →

Noah Baumbach

This jellyfish, electric jellyfish scene, I kept Cate separated from all the other people so she hadn't been introduced to any of the actors. And we shot all of it with Cate in the trailer. And we didn't bring her out until we filmed her shots. So for Cate, it was very strange because it was about 5:00 in the morning by the time we got to her angle, and the wind's blowing, and these electric jellyfish are blinking on the beach and there's Bill Murray, Willem Dafoe, Owen Wilson, our friend Waris, Niels, Noah, all in their pajamas on this beach with a crew of people she's never met, and she's brought out, and it was very strange. And I've not really been that big on doing those kind of stunts, but I felt like it might be something, that something might come out of it. And there was, there was a crazy energy on it. And she played this whole scene with them confronting her, and then as soon as we finished it, everybody was introduced to each other and it was... And the sun came up.

22:34 · jump to transcript →

Andrew Niccol

is one of those lines you know the studio's gonna put in the trailer. And they did. In the original script, I was going to cut to Ethan Hawke's character up in this helicopter. But we had to scale back the shoot in New York. The helicopter's actually digital.

1:05:33 · jump to transcript →

Andrew Niccol

That's another line that you know they're gonna put in the trailer.

1:39:29 · jump to transcript →

It's funny because Sonny put that... I wouldn't do that to actors. Only movie stars. It's funny because Sonny put that shot in the trailer, remember? And he kept saying, what's so special about that shot? But it's funny, those little shots, those little presentational shots can sometimes be really great. Now here's one of my big arguments with the art department. Hey, let's have a poster and let's put the exact image of one of our actors right on the poster. Completely giving away the entire plot.

30:37 · jump to transcript →

is significant because Lembas Bread returns to the story in the second and third film and we film sequences in those movies with the Lembas Bread and yet we never introduced it in the theatrical version of The Fellowship of the Ring. So this is another reason why I'm glad that this DVD has an opportunity of being seen by people prior to the release of The Two Towers. Because actually one of the very first scenes in The Two Towers between Frodo and Sam involves

2:48:19 · jump to transcript →

That's why stuntmen are fantastic and you need them quite often, but you've got to get your actors in there. Even if it wrenches their ankle once. This was the last shot finished for the film. And I think that was maybe ten days before the release of the movie.

1:59:46 · jump to transcript →

and there were things happening with Christopher that he's never talked about and he's not allowed to talk about. He knew the sound of the air escaping and the groan, the type of groan that is emitted. And that's what you're actually getting in this film, the authentic recreation. You know, the great thing with DVDs is that Christopher wasn't in the film for a few months and now with the release of this,

16:40 · jump to transcript →

And that was the image we picked for the poster. And it feels they are weightless here because Jim's feet, it seems that the leg is vertical and his feet are not touching. I don't know, something is weird. I know, I always look at his feet in this shot, more than her feet. I don't know why that is. Because they don't feel touching. They don't feel like it's touching.

15:35 · jump to transcript →

We're in the French restaurant. You cannot tell by looking at everybody, but it is over 100 degrees in there. They turned off the air conditioning at this restaurant. No one told them to, but they thought they would help us by turning off the air conditioning. And the kids are just sweating. I mean, you can't even... If a take went wrong, we'd have to stop. You couldn't just keep rolling because they're dripping. And we actually had a guy, this poor English actor that we cast, who was actually really funny, who came in and was so hot and sweating so badly that he just couldn't focus. It's in the deleted scenes. You'll see some very funny scenes with a French waiter and some funny French waiter flashbacks. We just had to cut it, 'cause it wasn't... Featuring Jim Morrison and General Patton. The other thing... It'll come up again later, but them putting the food down leads to the food map joke, which will be coming. I'll tell that story later. It's good to-- We'll earmark it. - A little preview. This is the main Prague train station. And our production... - Again Allan and... Allan and Neno dressed it, so that people actually got off the train, a couple of people, and thought they were in Paris 'cause they saw the signs and they were very weirded out 'cause they had gotten on a train in, like, Hungary somewhere and they thought they were in Paris mistakenly. Michelle being a fantastic sport. The first of many indignities that she was forced to suffer. And Coca-Cola being a great sport. This is what shooting in a train station is about. Another one of these, "We are idiots, we don't know, so we'll set a scene in a train station." If you notice in the background... This is a game Alec likes to play: train, no train. Okay. This is my little game in this scene. Behind him, green train. That train is gone in the next shot. - Okay. No train. But who cares about the train, I mean... Train. - Again, the lesson learned... It's my game, I'll play it. - I know, but look at these backgrounds. No train. - These great, deep backgrounds. We are in a train station in Europe. We are not in Vancouver. No train. Train. - Michelle's scream turn is one that... She's just... - She did it fantastically. Different train. - We caught that attitude a little bit from our own little Seinfeld experience. It's what we like to call a Julia Louis-Dreyfus, Elaine move. The sort of being sweet, screaming and then going back to sweet. And Buffy was a hilarious show. - Can't say enough about Michelle. And I don't know if Michelle always got a chance... You know, she was sort of a supporting character on that show. And on this, she got to really shine with her comedy. Anyway, here's the maps. What I wanted to say is this is a Raiders of the Lost Ark map parody, which is a joke that is about, I don't know, ten years old. It's something we wanted to do a million years ago and again something we saved. There's the Jackie Collins book again. And the headline, "Merde Alors! L'Hooligan! I actually-- I don't know if I even told you guys this, but I was at an Iron Maiden concert about six months ago and I saw a guy wearing that Deep South Monster Truck 1987 shirt. Was that guy you? - Or whatever it is-- Rally '79. No, it wasn't me, but I envied him. Fred Armisen. - As what we... In the script, he's called the Creepy Italian Guy. Not, as some people wrote down in the test screenings, the Train Homo. We actually call him Creepy Italian Guy. And, again, just production-wise, we're shooting on a moving train here, which is yet another of our naive mistakes. - Do not shoot on a moving train. We thought, "Just put them on a train. It'll be easy." Just the most cramped quarters, limited angles. We actually shot this one scene in three different compartments. We had a compartment where we could look one way, a compartment where we could look another way... We pulled out walls so we could shoot different ways. And then we had one compartment where we were shooting in, one that we were shooting out. It was madness. - Plus... Fred, by the way, is just so funny in this. We, last minute... - We also... I'm sorry. I do wanna say that we also then shot it both moving and then did other shots not moving so that we could do the light effects of the tunnel. Which is a poor man's process, because there's no tunnel. This is obviously on a moving train. - 'Cause you can see the window. And then when we do the shots where it goes from light to dark or from dark to light, we pulled the train inside a barn and blacked it all out and then did the lighting effect by hand. So, the Creepy Italian Guy, Fred Armisen from Saturday Night Live... This was another thing where we originally went into this thinking we will find a genuine Italian guy. And, again, we searched the world for a real Italian guy. A lot of Europeans are not funny. They just didn't get the joke. - It's a language problem. They were simply performing the words of the script, but didn't necessarily have any idea what they actually meant. And Fred is someone who's just fantastic on SNL. That little shrug is awesome. So, that shot, for instance, is inside. I think we hired him... - And that's inside. We hired him on a Sunday and he was out there on Tuesday. Yeah. - So, really amazing. And, again, these are all these little touches that he added. I think Travis, who plays Jamie, is fantastic with him. They were a great pair. This was something we never landed on. - I don't think we ever got this right. We had a bunch of different things we shot for this darkness sequence. We had a lot of flashing lights and weird little things of Fred in various stages of undress. - What was going on in the dark. In the end, it was just undercutting... - This end reveal. Which, again... - And, I think, for the unrated version, we put this back. For the theatrical release, we kind of cut right here somewhere. No, exactly. - And then, for this one, we decided to let it roll. - This is something we just enjoyed. It's just that a guy with no pants sees more people and goes in. Actually, that's where we're sitting. That's the compartment where we are sitting with the monitor. To do it all over again, one thing that might've been enjoyable was had we come running out of the compartment. Just, the idea that the man with no pants... This is the very first thing we shot. - First shot ever. It's actually an interesting way to see our cast. The train revealing our cast and us seeing them for the first time. It was a neat experience. - A horrible-looking little train station. The first time we visited it was in winter and just looked awful. And, again, Allan and his guys just came in there... And I think, actually, the manager of the train station asked them to leave everything. Left it all, those flower boxes and the shutters, and just turning it into this beautiful, little French countryside place. That was always a fun shot, where he lays down and jumps back into it. You know, and again, day one, we must've done 30 takes on everything on day one. One of the things about comedy... - We also shot close-ups of everything. Every angle. Everything. - This is more toward the end. This is one of the two days we shot outside of Prague. This is not a great example, because this is more towards the end, but I also think we screwed up here. That's the thing, you look back... - We did it all in one shot. Which I think is the way to do this. We did do it all in one shot, but... One of the things, I think... When I look back at the movie, a lot of our starts of scenes, I find we... Definitely something we were never thinking enough about. So that you're kind of going, "We're going to this beach." And then they're just sort of walking. And maybe had we come off a sign... - That was one of my favorite things. Definitely a fun joke. - Also, it was freezing. You can see Scott... - It's freezing. The gray sky. Wish we'd gone in and maybe colored the sky blue a little more. 'Cause the sun does come out. But just something that maybe... If the camera had moved or something to kind of say "beach," as opposed to that weird stock shot of nothing and then this. And this scene seems to get a lot of people in an uproar. Everyone sort of sees it-- and people... There we are. - Right. This is one of the two days we shot outside of Prague. This is in Rostock, in former East Germany. This was apparently one of Hitler's favorite beach resorts. It's very close to where Wernher von Braun used to develop the V-2 rocket. Wall of cock. - Speaking of V-2 rockets... Everyone seems to laugh at this scene and also go... It is everyone's favorite and least favorite. In all the test screenings we did, it was the most favorite scene and also the least favorite scene. And I think a lot of it had to do with... There were a lot of, like, 18, 19-year-old guys who felt obliged to put it down because they needed to state that they weren't gay. We originally started off shooting it with sort of an idea towards an Austin Powers kind of a thing. You know, you could even see a couple of guys with ridiculously long cameras and stuff trying to cover penises. - Kind of strategically... And once we were there, it just looked dumb and we realized, to some extent... I mean, to us, the only rule is ever: "What's the funniest thing?" And, ultimately, 50 penises was the funniest thing. Everyone goes, "How did you get those guys to take their clothes off?" It's like, "This is Germany. We showed up with a camera. They were already naked." The most surprised people on the set were those 50 naked German guys when they found out they got paid. It was really weird. Like, we'd take a ten-minute break and usually if there's any nudity on an American set, people dive into their robes. These guys were just letting it hang out. If these guys could've taken more clothing off, they would've. We had this amazing German AD that day. Andreas. - Andreas. Who just yelled at them and yelled at their penises. By the way, Michelle, who was very nervous about the bikini scene, couldn't look more beautiful. She was, you know, "The bikini scene, the bikini scene." And it was sort of this big thing in her mind, which... She was nervous about it for no reason 'cause she... But I think also David went out of his way to make her feel comfortable, and also to light her beautifully. Also, again, this was very near the end of the shoot. And I think there was more of a comfort level with the crew, too, and the main camera team. The comfort level was bothered a lot by the fact that Jacob, once he took his pants off for that first naked shot, wouldn't put them back on 'cause he knew it bothered everybody. I think he really enjoyed how nervous he made everyone. And poor Eggby. Poor Eggby had to go up there with the light meter. That guy-- There was a lot of protest, a lot of discussion about the old man yelling, "Chica, chica." Which... For whatever reason, it's one of our favorite things. You get a shot of him. There he is again. "Chica, chica." Which always gets a nice rise out of the crowd. This is the most beautiful shot in the movie. Not shot by us. Shot by... - Gary Wordham. ...Gary Wordham and his unit, his second unit. And it's just absolutely beautiful. And here we are on another train. But, again, we are... Because it's a night shot, we are faking this. It's a poor man's process. Occasional lights moving on the side. Because we could not do a moving train at night. So, we are inside for all of this. SO, this is, like, our fourth version of a train car. And, originally, there was... You'll see in the original script. There was another train in the deleted scene. There was another train scene of them running onto a train. This had happened earlier. It was just too many train scenes and the movie just not moving. That, again, was another one of the lessons we learned. As a writer and then a director, there are lots of things on the page that are really funny, but sometimes, when you're actually then watching the movie, "Why are they still in Paris? Why is it taking so long? Why have they not gotten to the next place?" There were too many train scenes. That one flew out, this one was in. Even if the individual scenes are funny, sometimes the cumulative effect of all these funny things makes it worse. - That's exactly it. This is a joke we created after we had shot what we did. Thanks to our music supervisors extraordinaire, John and Patrick Houlihan, who found this amazing music that was playing under this fantasy. They found this piece of music and said, "What do you think of this?" We thought it was hilarious. We said, "What is it?" And they said, "Well, it's David Hasselhoff." We thought it was so much funnier if you knew that it was David Hasselhoff. So we were like, "Is there a video?" "Yes, there is." And not only is there a video, but this is the video. And it looks something like this. Which is incredible. - That is a real David Hasselhoff video. We're still not sure whether David Hasselhoff knows that his likeness appears in this movie. I think we licensed this... - David Hasselhoff, if you're watching this with Matt Damon, thank you. Thank you both. If the two of you are just hanging out and watching this, you were fantastic. But, yeah, the German company licensed it to us and he may or may not know. And Fred back again. Which makes everybody very happy. When we were cutting the TV spots and stuff, we tried to use this lick. It's one of the things that people felt we couldn't put in television spots. We had a really hard time cutting spots that... Even though it's an R movie, I guess spots for TV need to meet both... They have to be G. - They have to be G. 'Cause trailers need to be G. You can't have anything in the commercial that isn't in the trailer. Plus, you also have to meet network standards. So, we had a really hard time putting things in the commercial. - Showing people what's in the movie. Yeah, telling people this is a good movie. Now we're in Amsterdam. This is interesting... Except we are in Prague. - We're still in Prague. This is... Yeah, it's the Kampa section of Prague. Again, one of these early locations, they found this little canal from the original scouting photos. "My God, we can even do Amsterdam there." This is also-- In Prague, there's a very famous bridge called the Charles Bridge, which is basically right above the kids. There are just hordes and hordes of tourists lined up watching this. Yeah, it was like shooting with bleachers there. This was spring, when it was packed with tourists. And this is an example where on the deleted scenes, originally when they arrive, they go to a youth hostel for a very funny scene that we ended up cutting out because, basically, there was too much Amsterdam. They had an adventure and then they had these separate adventures. It's another one of these tough things, where the scene itself was funny, but its overall effect on the movie was negative. And then actually, oddly, if you go back, originally, Amsterdam was actually very different. Originally, in the script we sold, there was a scene where, instead of going to this sex club... - With Cooper. Instead of going to the sex club with Cooper, there was this whole nother scene. Actually, everything was completely different. The original spec script we sold is on the DVD, so you have to go back and check that out. Definitely worth checking out. - By the way, we should mention her. Lucy Lawless. - Lucy Lawless. Just funny, just hilarious, obviously, and gorgeous. The entire crew was just in love with her. So we shot long on these two days. By the way, when we were shooting on these days, you've never seen more grips and crew members holding lights that used to be held by stands and holding fans that used to be hung. Everyone needed to be in this room at this time for some reason. And she also-- She, being from New Zealand, knew our A camera operator, who we should also mention. - Peter McCaffrey. Peter McCaffrey, who is absolutely fantastic. The whole A camera team, our main guys, were just incredible. Just never a problem, and just really patient and wonderful with us. The brownies. I remember these brownies... Michal, our Czech prop man, would always come in and say, "I've got more brownies for you." He'd show up with these piles of different kinds of brownies from every bakery in Prague. Which, oddly, social decorum dictated that we eat. We didn't want to be rude. So we'd start these meetings looking at all these props with all these brownies and by the end, you had chosen a brownie and also eaten it. You weren't sure which one you actually liked. You were sick to your stomach because of the meeting and how badly it went and also because we'd eaten 50 pounds of Czech brownies. This is the lovely and talented Jana Pallaske who we found in Germany. We did casting in... - London. Here. We started in LA. We did casting in New York. We did casting in Chicago, Vancouver, Atlanta, I believe, Miami, and then we went to London, Munich, Berlin, Prague. We had people in Paris. We had people in Italy. - Rome, Paris. She came out of this, and again, this was another area where things moved around in the script. Originally, this was in London. - In the original script, this was Cooper... This was Cooper in London before they met the hooligans. When Scott and Cooper first got to London, they went to a pub and they met these girls, and this was a Cooper scene. Cooper went out in the alley and was getting blown and got robbed. Which happened to a friend of ours, by the way. And we just decided that there was... - Named Out Cold. There was too much... There was too much stuff going on in London, so we moved it to... You wanted to get to the hooligans. And originally in our script, Jamie was with Scott and Jenny at the brownie bar. While Jacob was at the Anne Frank House. We just decided that they should all split up and have their own stories here. And also, what if Jamie has all their money and all their stuff and he's the one who gets robbed... - It seemed like a good plot point. I mean, it is sort of traditional, but with Jamie playing... I'm sorry, with Travis playing Jamie as sort of the somewhat traditional, you know, stick-in-the-mud, him having a little bit of a sexual escapade as opposed to Cooper, who's more lascivious, it became a funnier scene. It also helped Cooper out because Cooper wants sex and he keeps getting... He gets a version of it in this scene, but not what he wanted. Not quite the version that he wanted. - Not what he was expecting. As opposed to going to London immediately, hooking up with a girl. It oddly felt a little strange that we were going to get him together with Jenny at the end of the movie after he had gotten blown in an alley. Also, he's looking for crazy European sex and he got it right off the boat. That is a crazy outfit. - Yeah, that's the sex superhero. She is the sex superhero. As are these guys. - One of these guys is a Czech policeman. Vilem. Guy on the left. - I can't remember what the other guy does. The other guy is a large Czech clown. They were just sweaty and having a ball. Their names are Hans and Gruber, which is a small inside joke, the name of Alan Rickman's character in Die Hard. Hans Gruber. And this is a very odd scene. Anytime you're not actually seeing our two main actors, a lot of this was done second unit. - Like the shot of his ass, the shot of him with the clamps was second unit. We had a limited amount of time with Lucy. We had two days. - That's second unit, not Jacob's hand. So everything that we had to get done with her and him, we did, and then what was really helpful was we edited it... Not we, our editor edited it. - Roger. Oh, yeah, mention him. The whole editing staff, actually. We had them over in Prague with us for reasons like this. Roger Bondelli and his assistant. Marty Heselov. - Marty Heselov and Davis. Davis Reynolds. And basically, he edited what we shot and it allowed us to go... "We need this, we need that." This is things we're missing which we could instruct the second unit to get, such as guy wheeling in cart, close-up of guy doing the shocking. And it did help having the editor there, which was something originally... The editor was not going to be with us in Prague. Very helpful to have the editor there to be able to look at scenes to know what we wanted to change. That-- We're a little behind. That was Diedrich Bader from The Drew Carey Show, who was hilarious. Really funny in Office Space and in The Drew Carey Show. And flew all the way out to Prague to help us out and did a day of work. He said the last time he was there, he'd actually been here in '89. He'd gotten drunk, climbed up a statue, fallen down and broken his arm, so he was happy to come back. The pot brownie scene-- It's so funny. When you show them in front of an audience, all the sort of younger kids, just the very fact... The mention of Amsterdam got people to go... And then the fact that they're actually doing pot makes them laugh. This, we were writing on the fly. We realized the scene needed something. He needed to say something embarrassing. So he came up with the gay porno stuff. But we tried, like, three or four things. When he was a little kid, he ate dog poo. "They told me it was a candy bar!" - Really high-class stuff. But this guy, who plays the Rasta guy... - Go Go Jean Michel. ...| think we did probably ten takes with him and he got each line right one time and we ended up using it. But he cuts together great. I'm not sure, when we were doing it, I ever actually thought the microphone was picking up a word he said. Yet, oddly, it was there when we got to the edit room. Helder with his walk-off home run right there. "These are not hash branches." Because I think he had been eating hash branches earlier. Yeah, he was not an actor as much as a man who had smoked a lot of pot. And again, ultimately, this was a longer scene. There was more to do about not being able to name the safe word and the monkey was originally brought out and you just start trimming 'cause, again, you're just in Amsterdam too long. We went into this scene... There was another beat where she brought out golf shoes with big spikes and was hitting him in the ass. - We cut that almost immediately. That we cut on the day we never filmed, because we were way over time. And we ended up shooting... - This actually cuts together great. These few moments. It's a huge charge to see this thing. That is a huge charge. - Then to the f#ugelkenhaimler. The flugelkenhaimler. Gotta mention Jeff Jingle real quick. Jeff created that. - Jeff designed and built that and then came over to Prague with it, traveled with it. How he was not arrested and thrown into jail by the customs people, I don't know. - Just did an amazing job on that. There you can see the Charles Bridge. - Yeah, the Charles Bridge is behind him. We lost out. We should be making these Vandersexxx T-shirts. Someone is selling them on eBay, but they're one color. They're wrong. If you're the person who's making them on eBay, just make them the same way. But it's a fun shirt. You can see all the bugs that are flying around there. We did it as a crew shirt, actually. We gave it out to the crew. Well, this is dawn. We shot all night. This is dawn for dawn. No, no. We shot this... This is dusk for dawn? - This is dusk for dawn. This is the first shot. We were shooting nights on the bridge, and that was the first thing we did, because we were shooting that Jamie thing and we ran out of time 'cause It was getting too dark. If you go to your deleted scenes, you will see a scene that sort of happens right about now, which is Jenny... Michelle Trachtenberg-- saying, "Look, boys, I'll take care of it," and she tries to sort of strip to get them to hitchhike on the autobahn, which is impossible. Again, we were out here on this highway way too long. This is the same deserted highway where we shot the bus driving around. Also, it was freezing. - We were here way too long. It was 30 degrees and drizzling. - This was, again, continuing the rule of every time we tried to do a close-up on Michelle, it rained or hailed. She was such a trouper. Cooper's shirt, by the way, says, "I Love Ping-Pong." This phone joke was interesting. We originally had the first one which took place on the bridge in London, and that always got a good laugh. And this one never really gets that good a laugh. But there's a third one later, the comedy rule of threes, that only really works as good as it does because the second one sort of exists. And so we left it in, even though we never loved it. This is Dominic Raacke, who is basically like the Dennis Franz of Germany. He's a big cop show star in Germany. Our casting woman-- What was her name? Risa Kes found him. And actually, there's another... We were talking about the clearance stuff earlier. God, yeah. - We shot about eight takes of this guy and you can see that thing hanging from his rearview mirror. Originally there was a Tweety Bird, a Warner Brothers property, hanging from that thing and we shot about eight takes and we moved on to a different shot and somebody was looking at playback and said, "Is that Tweety?" And we looked at the playback. "We'll never clear that." - And we just decided we'll never clear. So we had to go back and reshoot everything we had done. And the camera guys thought it was so funny that we had screwed up that it became a running joke. They kept the Tweety Bird and they began adding it. Every time we would set up to do a shot, they would roll a little film before we ended up doing the shot and they would put the Tweety Bird in front of the camera, so we have a reel somewhere of that Tweety Bird in every location that we shot. - And it's fantastic. He's wearing a pope hat. He's in the hot tub. We'd love to show it to you, but Tweety doesn't clear, so we can't. So just imagine every shot in the movie with a Tweety in it.

33:13 · jump to transcript →

And so it was pretty interesting to go back to the trailer with all the little other doggy smells. My dogs were just constantly like, what the, what is going on, Mom? Who have you been hanging out with? Exactly. And it's also interesting that Charlize's dogs are also all rescue dogs. Jonny Lee Miller was another terrific addition to the cast. Great guy.

29:47 · jump to transcript →

He says, do you love me? Yeah, and we had to remove a tear because... Oh my God, that gets me every time because I can completely identify with that. My mom watched the trailer online and she saw that part and she goes, I watched it and when you said, do you love me? I'm like, well, do ya? Do ya? Oh, I can totally relate that horrible feeling of having to put your heart out there when you're just not certain. I want to. Yeah. And then that tear. So that you digitally remove the tear.

58:33 · jump to transcript →

I didn't say anything, and maybe I should have, but when she falls down there and we use the shot, at first we're going to use the shot where she falls to the ground and profile, but you carried it all the way to the ground from the top shot. I mean, every time I know it's a pad she lands on, I can see that pad fold. Can you really? I can't at all. Nobody does. I don't think anybody does. You can watch it, dude. You see it fold in. And nobody can. My favorite shot right there. Yes. And we stuck it in the trailer. That looks killer. I love that. Yeah, those guys...

46:09 · jump to transcript →

These kind of sequences are always on the verge of the ridiculous because this is going to be the transformation of Robert Carlyle into something else. Especially because according to the reality that we would like to introduce, we shot in this quarantine cubicle, which was a tiny place. And, you know, the pact with Robert was: "OK, let... you know, let your feelings out with all the power of the rage," which is so difficult in this space. But I think Robert understood that... that this reaction should be in this extreme way. And, in seconds, we see how this man is passing through... through the sad and love... to the... to the violence. The kiss is... this is one of the highlights in the script, was one of the highlights, and I think it's still one of the highlights in the film. When we see this through a normal projection screening in the Chinese Theatre, Juan Carlos and I bought a ticket the first day of the release of the film in the USA, and we assist... We were very happy to see how the audience Is reacting to this sequence. It's a very, very extreme moment of the movie. Especially because in terms of... in an emotional way, the infection is here again for the characters, as I mentioned before. And... and in a way, we see how this family is cursed, and they are bringing the hell to this place again.

42:43 · jump to transcript →

Here they are. - Here they come. Coming out now. He can turn again. - Werewolf time. This is a great moment too. Lycan against vampire. - I love that shot. Him rising up. I think we used that in the trailer. It's such a great moment.

1:11:58 · jump to transcript →