Research

wore it as something that happened to you. It was always a little beyond belief, so it didn't impact me as if I had done five pictures and this happened. It was just weird, but I felt... So doing broadcast news was sort of, not that you don't go crazy and not that you don't always have the pressure and not that you don't go to bed sometimes hating the pages you've written, but the research was great. I was fascinated by the subject.

2:47 · jump to transcript →

And three times in the research for this, I heard from women who sort of took crying breaks. Not this literally, but who in the course of a day cried. That's what this came from.

7:09 · jump to transcript →

You know what I'm saying? Another thing I can't stand is this doll. No, no, no, no, no. The research for this picture went on forever, and I loved the research because it was an area I loved. It was an area I briefly worked in. I spent easily a year on research. Great year, I mean, and probably a year writing it, I guess. My room is right down here. Do you want to keep talking? Yeah, sure.

13:32 · jump to transcript →

That's good. I remember doing the research for the book. I was really struck at how everybody had jobs in the three years that I had been out of high school, or I think it was longer, four years or something. I noticed that everybody had jobs now, and there was this quest to get the money for records, clothes, and all that stuff, and it changed all their lives. Thank you.

1:06:04 · jump to transcript →

And they were getting pregnant, and they were, like, getting fired, and they were having grown-up problems, but they were babies. Stacy, he's not a guy. He's a little prick. It, you know, it really comes across, looking at it now, for sure. One of the lines that I remember from doing the research that I heard someone say was, I don't want to use sex as a weapon. And that was such a...

1:07:57 · jump to transcript →

in the movie somewhere because the research is based on a year where Led Zeppelin were coming to town. And so much of the whole school year was getting ready for Led Zeppelin and then Bonham died. And it just took the wind out of the entire school. And I always thought how great to have that be the year that you're studying these guys. That they never got the holy grail of Led Zeppelin coming to town.

1:14:22 · jump to transcript →

My thinking, based on the research, I'm not alone in this, is that Vikings who had ships burnt, you know, were followers of Odin. You know, the smoke goes straight up to Valhalla, or Valhall in Old Norse, as we're calling it in this movie. But if you were a follower of Freyr, you would be buried. So he has a boar.

1:00:12 · jump to transcript →

When we return to the farm, certain privileges will be granted you. Your work will be less burdensome. You will command others' burden. And... Gustav Lind as Thor is pretty excellent in this scene, I gotta say. He was just the nicest guy and great to work with. Really threw himself into the research, and I also just love his face.

1:13:17 · jump to transcript →

Anchor up! Sail down! And there's a tattoo on a Rus Viking that is seeable in the film. I also like the leather. It's kind of proto-oil skins on his sailors. I think there could have been a little bit more of that on the other merchant ship in the land of the Rus, maybe, even though Linda very carefully researched the color and design of those other guys' tunics. And to the...

1:51:29 · jump to transcript →

from his days in Sicily through him coming to America and becoming the character who we remember as Marlon Brando in the first Godfather film. And that was all taken from the book, and I did research looking for photographs of real so-called mafia incidents in Sicily and thought it would be wonderful to go back to those same towns that we had seen in the first Godfather.

2:26 · jump to transcript →

Again, in the style of the earlier Godfather films, we're trying to wrap up a number of murders and settle certain scores set against history. In this case, the final falling apart of the Batista regime that happened that New Year. So I believe I researched it carefully, and everything happening is quite as it was when President Batista announced that they were going to leave.

1:41:01 · jump to transcript →

Gerhard

And you have also researched the topic that we will discuss in detail here.

0:50 · jump to transcript →

Robert

Exactly, I have researched the topic.

0:56 · jump to transcript →

chimps, gorillas, whatever. He fell into it on Greystoke. He was auditioning as an actor and he was kind of into martial arts, things like that. And he ended up getting put in charge of like all the research into the gorillas and whether they could use real gorillas in the movie Greystoke. And he decided, no, you cannot use real gorillas. But he had like, he said, he calls it like method chimping.

16:13 · jump to transcript →

I don't know. Like, didn't he bring her on? I don't, you know, I actually don't know if that was her first. I should have researched that. It's early, though. It is early, for sure. And, you know, it's quite a compliment to her. David Lean began as an editor. So him bringing her on, again, to edit an enormous film. And, you know, so she cut, you know, it's like one of the most famous cuts in film history is him blowing out the match and you go to the desert. You know, that's Anne V. Coates for you. So Anne V. Coates edited Lawrence of Arabia, but...

1:30:39 · jump to transcript →

Francis Lawrence and Akiva Goldsman

thoroughly researched, chosen, written. If you freeze frame and close in, each one of those articles and quarantine bulletins are actually precise. We wanted the world to be true and rich in texture. We spent a lot of time doing that.

23:05 · jump to transcript →

Francis Lawrence and Akiva Goldsman

in terms of a person's response to having strangers in their house after three years, the disappointment of it not being his wife and daughter, somebody in his space touching his stuff, you know, the research we did and how people deal with interacting socially once again, you know, after they've been by themselves for so long. But, you know, you bring up this idea, which I think I'm now referring to in my mind, is the ham hock theory, which is, I think, very, very important in movie making, which is,

1:07:47 · jump to transcript →

making it possible for this film to happen. He was the first one to trust us. He shot all of this material, as you can see. He really, he was key. I think without him, I was really nervous whether we had a film at all to go with. And so he became a massive part of the process of making a film. He also introduced me to Juliet and Lauren, her two friends. Yeah, and I certainly remember in the early stages when I first came in, you guys had already been working for a while, getting the research done and getting a lot of this material in.

3:00 · jump to transcript →

So it was another moment where we were able to kind of marry several bits and things that had come completely independently to us and turn it into a sequence. All came out of an interview that Nick gave originally, isn't it? We didn't know about this period in Hook. And that's how the picture and the interviews and the edit and the research all kind of cross over. When one person mentions something, we then send the researchers away and they find the footage and then it becomes a sequence in the film because this is not really something that we were at all aware of. Do something so she can't go on tour. She needs help.

1:13:31 · jump to transcript →

and the groundwork. Basically, a science fiction writer has researched and thought about the world. Another good late friend of ours, John Brosnan, who wrote a history of science fiction cinema, Future Tense, also known as The Primal Screen, has a two- or three-page rant about the science of silent writing, which is one of those things that just gets you, and you look at it and you think...

12:40 · jump to transcript →

My name is Laurens Straub. I'm sitting here with Werner Herzog, writer, director and producer of the movie "Nosferatu" that you are currently watching. And we now want to talk about that movie. Werner Herzog and I have known each other for about 20 years and have worked together on many different projects. What do we see here? These are actual mummies in the Mexican city of Guanajuato. You have to realize that Guanajuato is located in a gorge. Because of that the cemetery was very narrow and there was no space. So they dug up the bodies every eight years or so, and because of different climatic conditions and the soil, they mummified without human preparation. They leaned them against the walls on both sides in a long underground hall and a hallway. I saw them there many, many years ago in the early 1960s. The story behind this is that I was in the U.S. on a scholarship but I resigned from it a few days in and gave up my legal status in the US because I had to earn some money. Out of desperation I went to Mexico because otherwise they would have returned me to Germany. I went to Central Mexico and Guanajuato and lived there for a while. I did all kinds of crazy things. For example, at rodeos, the so-called charreadas, I rode on wild bulls. Like a complete idiot because I don't even know how to ride a horse, but with the money I could live one week at a time. And there I saw these mummies. Are they similar to the ones at the volcano Vesuvius and formed from lava? No, those are real dried human beings. They barely weigh anything. They were in display cases so we had to take them out and carry them somewhere else. They weigh very little... 10, 12 pounds maybe. Is this something like a culture of death? No, it's completely normal. Isabelle Adjani. She is great at acting scared. That was a real and very large bat we brought in for this. The bat you saw earlier I could not shoot myself. The footage came out of a science documentary because bat's flapping motions are extremely fast, and this was shot with 500 or 800 frames per second. The bats had to be trained with food for that because it took very strong lighting, and normally they would not move under those conditions and not leave their hideout. Here we see Delft. In the Netherlands. That's my city. And I know when Jörg Schmidt-Reitwein teaches students cinematography he first introduces them to Flemish and Dutch painters. Why was Delft chosen as an alternative to Wismar where Murnau shot? Yes, but Wismar was not Murnau's location. I believe that was Lübeck. There is one single shot later in the movie where you see a few buildings that Murnau actually used and that are still standing. I used those as well. We chose Delft because the continuity of the architecture was uninterrupted and we only had to make very few changes in order to shoot there. We took down some antennas and moved a few cars. Other than that it was very easy to shoot there. The concept of "Nosferatu" was definitely to do a variation on Murnau's movie, not a remake in the classical sense. A Biedermeier image like this, for example, is unthinkable in a Murnau film. Moreover, this is in color and the movie's character is completely different. We had to show a very secure bourgeois world. We deliberately planned this, especially the furniture. That was done very thoughtfully by Henning von Gierke who is a painter by trade. With the furniture and the lighting, you can tell that a painter was involved. It reminds me of "Kaspar Hauser" which was done by Henning as well. What era are we in here? That is the Biedermeier era as you can see clearly by the costumes. We researched how to best do the building arrangement and the urban landscapes. Schmidt-Reitwein and I wracked our brains over that. I didn't simply want to recreate paintings. That was never planned. With one exception because we knew we had to work a lot in darkness with nothing but candlelight. Therefore, we studied the painter de La Tour and thought about how to do it if we only had one or a few candles. How do we light that? And Schmidt-Reitwein is exceptionally good at working with light and darkness. This is Roland Topor. - Yes. The famous illustrator, poet, and crazy man. Unfortunately he is already dead, I believe. Yes. - How did you find Roland? I coincidentally saw him in debate on French television. And he laughs in such a mad way. He laughs after every sentence he says. But in such a desperate and strange way that it impressed me deeply. Afterwards I contacted him I told him I was going to shoot a vampire movie and asked if he would play Renfield. Roland Topor immediately agreed. Unfortunately his voice is dubbed in some versions. And it is impossible to fully recreate his laughter. It was his strangest characteristic. What I love about this... I recently saw an exhibition with English surrealistic works from the 19th century. It reminds me of an old office, the cloth, and this blue. It was very carefully lit, and the costumes had to match. Bruno Ganz. And also the faces we chose. Those are not faces that fit into the 20th century. You have to carefully select actors who match. So Bruno Ganz is a great fit for this. The beautiful paper. - Yes. That was so much work, and it was prepared very, very thoughtfully. A beautiful country. Here I see a recurring theme of yours... maps. I already know that from "Aguirre" and other movies. In "Fitzcarraldo" geography is a crucial dramaturgic element. I'm a map fanatic. Oddly, I'm pretty good at determining locations ahead of time, too, because I understand maps. I know which formations you should find in a certain area. I was rarely wrong. It is always about uncharted territory, the Dorado, or doom. Yes, at home I don't have pictures on the wall. A few photographs every now and then, but generally, I can't stand my walls being covered in pictures. If there is anything on my walls of my home it's maps. Oh no. - You will be in danger. This was your first film in English, the first with big stars and a big budget, correct? Well, not really. "Aguirre" is also a big movie with a big star and great effort. But I have to say, we shot "Aguirre" for about 700,000 deutschmark... $360,000. What matters is what you manage to get on screen with the resources you have. To come back to paintings, I like this vase. Yes. Okay. This reminds me of a painting by Seurat. I think the still life-like and emotional atmosphere is phenomenal. But be careful, I always want to show inner landscapes. This was done very quickly, by the way. On that day we happened to have some time and drove to the beach. It was freezing cold, windy. There was foam. We set up the camera in three minutes and sent the two actors, Bruno Ganz and Isabelle Adjani, into the image. We only told them that the music would most likely be slow and solemn. We already had received ideas for the music from Florian Fricke from Popol Vuh. These two, three shots here we did in 15 minutes. We never thought about paintings. It was born out of the situation... - Spontaneously. ...that we found there. Bruno Ganz has tears on his cheek because it was freezing cold. Lotte Eisner came to visit for a few days. We had to wrap her in 20 blankets because it was so cold. I was so proud that she could be there. She was very important for me and maybe for the new German film in general because she bridged the gap to the expressionistic movies back then that she knew very well. She also knew all the representatives of that time. She was friends with Fritz Lang, Murnau, Pabst. She knew them all. For us she was like a bridge to the generation of our grandfathers. We were a generation of orphans who did not have the generation of our fathers. Here I see your wife. Yes, Martje. Martje Herzog on the left. Essentially everyone who was there is in the movie at some point. Later you see the executive producer, the costume designer, the sound technician, and the gaffer. It was also a matter of how quickly can you get something done with very little money. This is the farewell. Bruno Ganz was actually pretty good at riding horses, which was great for me. Now he travels to Transylvania. The choice of the production company... Was this a Century Fox production? No, I produced it myself. Many people believe that 20th Century Fox produced it. But 20th Century Fox only bought an advance guarantee to the U.S. rights for very cheap. They only bought the rights for the U.S. A distribution guarantee. I believe this was... - German Romanticism. Well, you have to be careful. There is a hint of that, but I always try not to be connected with Romanticism because I myself have no real connection with that cultural epoch. Usually I refer to eras before that. The Late Middle Ages speak to me much more. They inspire me. This was shot in Eastern Slovakia. I was not allowed to shoot in Romania where I had scouted locations for months in the Carpathian Mountains. But you also have to see the context. That was when Ceausescu had just been awarded the honorary title of the new Vlad Dracula by the parliament. So he was named the new Count Dracula. That was an honorary title because the historic Count Dracul had been an important figure in the defense against the Turks. This is in the High Tatras, just 1,000 feet to the left was the Polish border. Bohemia? No, Slovakia. - Slovakia? Eastern Slovakia. This is a real group of gypsies that I had brought in from the very East of Slovakia. Among them are a few Czech actors. The gypsies actually speak their own language. Unfortunately I don't remember what it was called. ...my food. I still have to get to Count Dracula's castle today. This is a scene that in a very typical way fulfills all the criteria and conditions of a genre movie. This is one of those traditional scenes. He has to go see Count Dracula, and everyone immediately freezes in fear and the maid drops the dishes. Do you really have to go there? 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.

0:04 · jump to transcript →

Uh, including interruptions, very careful. Yeah, this lighter just, this happened. Stuff like this happened. That was so, so great. And the story. This is the real, this was the one of the stories that I told you about that Michael had researched and gotten from this guy. This is really a true story. I got into this problem with these two guys. They tried to turn me out. So I picked up, uh, nine more on, on manslaughter beef, some other things.

38:13 · jump to transcript →

And one of the reasons why they're so good is because of the costumes. They're so meticulously researched and done by Jim Acheson, who's won three Oscars for costumes. But just look at Eric's shirt there. It's so correctly tailored for the period. And Graham's costume and makeup, it makes him into a period character. It's meticulous costuming, brilliant stuff. Any other problems I can reassure you about?

54:38 · jump to transcript →

And I always like this theme of descending, descending, and descending, and then you find yourself in heaven, you know. Originally, weren't we going to have a scene where I was flying around in the space? Yeah, we were just talking about that to the fellow who was doing all the research of materials, because they found shots of you against blue screen, like flying. And remember, at the end of the sequence, when you fall out of the boiler room, you fall back onto the front lawn. Right.

1:15:57 · jump to transcript →

I know you said you did research watching vampire movies. Did you watch any teen comedies as well to research for this at all, like any of the John Hughes movies or things like that? Well, I watched them all. I don't know if they were researched, but they're certainly background.

1:24:49 · jump to transcript →

Serious, serious injury list, Charlie Babbitt? Serious injury list? Are you fucking kidding me? Number 18 in 1988. Squeezed and pulled and hurt my neck in 1988. Squeezed and pulled and hurt your neck in 1988? All these various lists that Raymond refers to comes from a lot of the research that Dustin originally did. What matters is who I'm with. You have to bring him back, Mr. Babbitt.

40:27 · jump to transcript →

which I remember reading about years ago and obviously doing the research, gone back into that and the feud he had with the studio over that. And I just can't, I can't see Richard E. Grant in that role. Can you? I love Richard E. Grant, but... Well, if we had him and Paul McGann, it would be with Dale and I too. And Ralph Brown. Yeah, yeah, exactly, yeah. This is it. I mean, this is... When Ollie and I record these commentaries, we generally put a little poster behind us on Zoom

29:07 · jump to transcript →

English Commentary

that the Dutch used that the English wouldn't have used on farms in the 18th century. The whole idea of the apple press, the crop, everything about the world of being a wealthy Dutch farmer in 1757 was researched and collected by Wolff.

1:20:59 · jump to transcript →

Marco Brambilla Daniel Waters

taken advantage of this idea a little bit more overall. But in this scene, we used the jingles. Yeah, because nostalgia is so crazy now. There's nothing new happening. It's all great shot. There's nothing new. And the jingles of the 70s, the jingles of my childhood were much better than the jingles now. Well, they weren't market researched at the time. Exactly.

43:51 · jump to transcript →

Taylor Hackford

And this scene in the elevator is one of my favorites. You know, you have to shoot a scene in very close quarters... ...with six people facing each other. And there's a lot of innuendo in this scene, both in terms of... ...what Milton is saying to his mother and what she's saying back to Milton. And, at the same time, there are these silent things that are going on. You know, here's Kevin standing next to his wife, being inches away from... ...the woman that he's lusted after and fantasized over. That woman, he's like raping her with his eyes. His wife sees him looking at them. And meanwhile there's a conversation going on between Milton... ...and his mother that he's not listening to. You know, it's one of those uncomfortable moments that... ...seems to last for an eternity, and they're only going up three floors. Then, as the wife and mother are going in the house... ...Milton turns to him... ...and asks him to come up and discuss the case. Now that's ostensibly what it's about. But what it's really about is these two beautiful women sitting in the back here... ...and obviously hot to trot. There's a sexual innuendo that's not just subtle here. It gets more and less and less subtle as it goes on. There is a ménage à trois about to happen, and Milton is inviting Kevin to join. He looks back, and what has he got on the other side? He wants to join, but what has he got? He's got his wife. And his wife is no dummy. She knows exactly what was happening. So now the cat is out of the bag. She's seen her enemy. She's sniffed her enemy. She knows who she is... ...and she's pissed at Kevin because Kevin, in fact, is denying everything. But, of course, she knows it. Alice Lomax notices this and we have a transition from night to day. And in the next morning Kevin gets up and, again... ...on the headlines of the paper is the opposition's next move. He realizes that the prenup that Cullen had with his wife who was murdered... ...is now on public record. You know, there was a motive for him to kill her, and in this instance he really... ...has to get to work and deal with it, and what does he find? He finds that his mother's leaving. She's going home. She came for a two-week stay. He was hoping she'd stay longer. Maybe she'd take care of Mary Ann. He has a real problem with Mary Ann right now. The case is heating up. His mother is here. Maybe she can... In a totally pragmatic way, he's hoping that she will baby-sit. And in reality, he starts to get short with her. She has seen how Mary Ann is reacting. She understands it's not right. She's trying to say it to him and he doesn't want to hear it. So when she says, "I'll take her home," now he has to confront his mother... ...in not a very nice way. "This is home and I'm not going back to Gainesville. "And get it through your thick skull," is what he's basically saying. Now, she comes up with scripture, and at this point the last thing he wants to hear... if you feel it, he's getting deeper and deeper and deeper into narcissism. He's getting deeper and deeper and deeper into his work. And he slams the door and says, "Do what you want." What we cut to is what his work is. These are horrible photographs. Basically, they are photographs that I recreated from real murder scenes. All those photographs were scenes that I researched from Manhattan homicides. And you see, in fact, the brutality of those murders. That's his work. That's what he's doing. And, you know, he's at it. He's now interviewing Melissa Black, who's played by Laura Harrington. Melissa is the assistant to Alex Cullen. She is a professional woman. She's a divorcee with a child. And she's basically saying, "Listen, I know Alex Cullen. "He couldn't kill those people. I see him every day. He's not an easy man. "But I'm telling you, he can do some tough things, but he's not a murderer." All these little elements are there to kind of convince you that Alex Cullen... ...has the possibility of innocence. Meanwhile, while he's there working late with her... ...he notices that other people are working late. And he comes into this conference room and finds all the young associates... ...all the Nazi Youth, as it were, working for Eddie Barzoon... ...in some kind of very unorthodox and rather unethical procedure. In a law firm, you never destroy documents. You never shred documents. And there's a wholesale shredding going on here. So Kevin is, you know, he sees it. He keeps his cool and responds. He talks about the case, but he clearly saw what was going on. And Barzoon is a little nervous, but he's going to finesse it over. "You didn't see this. There's nothing going on." And Kevin, who's been so caught up in his own case... ...is completely unaware of what has been going on in this firm. There is an investigation going on, a Justice Department investigation. There is something unsavory, perhaps, about this law firm... ...and this has to do with what was just going on. Barzoon is saying, "You don't even know about it? My God." And out of nowhere appears John Milton. He actually appears over Barzoon's shoulder. But you want to have the sense that at the right moment, he's there. And what he wants to do is take the kid out on the town, go to the fights. And I put things in films that I like, and I love the fights. In New York City there's nothing like seeing a fight in Madison Square Garden. How do they go? They go by subway. Milton travels by subway. You want to be able to say, you know, that we're going to the fights... ...we're with the people. We're gonna go experience the noise... ...and the power and the brutality of fighting, which Milton loves. And in the process, when Kevin asks a hard question... ...Milton basically demurs... ...by staring at somebody else. "Has a lot of fingers in a lot of pies"... ...like he's looking at somebody else. Milton speaks various languages, and he was listening to that conversation... ...and he defuses and deflects Kevin by starting this thing... ...by staring at a guy that shouldn't be stared at, and this guy is a tough guy... ...he's an intimidator, and you expect, immediately, a guy like Milton to run... ...or Kevin grabs him, "I'm gonna protect you." Milton doesn't need any protecting. He speaks in fluent Puerto Rican Spanish. And what he's saying, Kevin can't understand... ...but the other guys understand, and what he's saying is... ...I think from an audience point of view, we, as an audience, immediately start... ...to recognize here, in this scene, that Milton is not exactly... if we have a question up to this point, we no longer have a question. He's not a normal guy. How would he know about Maricella. How would he know about the guy upstairs? How would he know what was going on right now? And somehow you feel it, and he totally talks these two guys down. He turns the situation. He's not even nervous for a second. You know, Kevin looks at it, he doesn't know what he said... ...but it's all impressive to him. Cut to Roy Jones, Jr., I think, pound for pound... ...one of the great fighters of this generation. Milton is showing Kevin what a night out on the town is... ...and Kevin is loving it. And I was fortunate enough to convince Roy and HBO, of course... ...HBO is owned by Warner Bros., to let us shoot this fight. I mean, right up there in the ring. That's the real stuff. And coming into the scene is one of America's most famous personages... ...Don King. Of course Don King would know John Milton... ...probably been represented by John Milton. I know Don from when I did When We Were Kings. I did that film documentary on Muhammad Ali... ...and it was Don King's first promotion. We cut and we are in a club in Downtown Manhattan... ...and one of my favorite music is flamenco. As I said, if I love boxing, I put it in my movie. If I love a particular type of music, I put it in. But I also felt if Milton's going to show Kevin life outside and... ...Milton's choice of music in terms of all its passion and sex and everything else... ...flamenco is just fabulous. It's noise. The devil loves noise. And Milton, this is a chance to really see him cut loose. He's showing Kevin, "I'm not just a corporate lawyer. "I can go out and have the best time you've ever seen." And meanwhile, Kevin's in the kitchen, calling home, talking to Mary Ann... ...who's basically saying, "Where are you? What are you doing?" And he's, you know, bull-shitting. He's saying, "I've got to be here with the boss." Baloney. He's out here having a great time. He's making a choice to go be a single... ...guy on the town instead of being home with his mother, and watching Milton... ...every step of the way say, "You want to see what a good time is? "I'll take you to the fights. Let's go here. You want to see some beautiful women? "You want to see some alluring things? Listen to this music." The whole essence of flamenco music is just saying "let loose." And in this table that Kevin comes back to, it's filled with those kind of late night... ...vampires that are around Manhattan, the party people, beautiful women. He's surrounded on one side by a woman. On the other side, Milton has orchestrated that he's got two women on either side... ...who are surrounding him. And Milton's got a beautiful woman on his arm. And it's called, "Hey, Kevin, domestic life is one thing, but this is real life." And then to take it a step forward, I mean, 'cause I wanted this scene to be really... ...outrageous, you see Milton whisper something in her ear. She goes under the table, and Kevin goes, "Oh my God, what's going on here?" Milton's laughing like, "Hey, you don't know what life is like. "It can be everything your fantasy desires." Back home, Mary Ann's been left. She's sleeping and she wakes up. She hears something. Now in this sequence I'm trying to establish her state of mind. She's been abandoned. Kevin is gone. She hears someone come home. The whole essence of being alone in an apartment late at night... ...and you hope it's your husband that's come home, but you don't know. The idea of double cutting it was to basically utilize a moment of unreality. She is clearly dreaming. I shot this sequence, cut it straight... ...and then at the end I realized maybe we should go back and re-cut it... ...so that you see her see herself wake up, see herself walking away. It's clearly a dream. Or is it? And this is kind of your classic, "girl with a knife walking down... "...trying to protect herself, and what's at the end of the hallway?" It's building up the horror-suspense element here, but with a little surprise. Instead of a monster waiting down the hall to jump out and go "boo." Alien is basically a film where people jump out and go "boo." There's no monster here. It's a baby. It's absolutely her fantasy. What does she want most in the world? What is she trying to do? She's trying to get pregnant. And in this dream she's dreaming about what she wants most... ...and here is a beautiful little girl in the room... ...without any parent around. It's a strange image and she doesn't know whether she's dreaming or not... ...but it's awfully real. Now, anytime you shoot a scene with children... ...it's incredibly difficult. But in this instance, she's looking, everything seems nice. She starts to play, and then this baby lifts up this horrendous thing... ...these innards, and it is one of the more horrific moments in the film. It has a very, very strong effect on women, as you can imagine... ...and I cut to our time lapse, again, across men... ...across the reservoir. The next morning... ...Kevin is home after a night on the town, totally guilty... ...listening to what was clearly a nightmare. There's no blood on her nightgown. It was an apparition. It didn't happen. And at the same time, when you realize where he's been and what he's done... ...he's got to be feeling a certain amount of guilt. She is totally hysterical. She has been upset. She has been kind of crazed before, and now she's really going out on the deep end. And he's starting to realize, "I'm in the middle of a case. I went out on the town." Of course, he's not admitting that he went out on the town. He's not admitting his own guilt. He's now completely burying that, because it's easy. She's so freaked out. She's so psychotic at this point, he just like deals with it. "I'm gonna call a doctor. I'm gonna get you some help. "I'm gonna get you sedated. I'm gonna do something." In other words...

1:07:28 · jump to transcript →

into being a coward. Because we know all the Oklahoma State Police are cowards. I don't know if I'd go that far, Jay. I thought that's what our research showed. Jay Kogan. I don't know if I'd say that. I think they're all brave, great young men. I'm not sure. No, you're not. And this is actually where your foot really was hurting when we shot this. It might have been the first thing we shot. I bought more condoms. Hey, thanks for the condoms. See ya. Nelson?

1:14:06 · jump to transcript →

The guy that had to do the research was Tom Harris and then Steve Zellian. Here we have an Italian which I think is rather elegant. I think the pronunciation is slightly more ancient. Beautiful.

1:12:27 · jump to transcript →

Commentary With Kathryn Bigelow And Jeff Cronenweth

before we were going to shoot, like the research we did in Russia, and then learning about nuclear physics and spending time with a gentleman from Massachusetts Institute of Technology who basically educated us on nuclear physics and working with that. There's a particular lighting effect from...

29:41 · jump to transcript →

James Mangold

Byron Axe Pius, a few years ago, when he was under contract with Central, I seen him and a bunch of other pinks mow down 32 Apache women and children. Renegades gunning down railroad men and their families, picking them off the road one by one. Similarities in this dialogue to our current circumstances are not coincidental. As I did research and did some writing myself on the dialogue and structure of the script, one of the things that

1:02:49 · jump to transcript →

It's tough when you're, you know, as a second unit director, you're trying to interpret what the first director wants, and sometimes you make different choices, and, you know, so it's, oh, and there's a little technical mistake, the name of the nuke on the thing there was, we researched it, and then the one designer guy who was doing that shot researched the wrong number on the nuke, and then we found out after the shots were all finished that that number actually is, Mark 83 is not a nuke that could fit in that. Oh.

1:24:54 · jump to transcript →

Wes Anderson

But I would say Moonrise Kingdom is a little more... The research for me and Roman, I think, was, "What was it like when we were 12?" Yeah, no, it was recalling those sensations and, you know, those memories of being a kid. And so, yeah, it was just kind of reaching back into your experience well, and not so much what happened, but also what we kind of wished would happen. You know, if you had met a girl and you could run off and have this adventure, you know. But there was a girl who I had the biggest crush on in fourth grade, and she passed me a note once after school. And when I opened the note, it says, "I think you're cute. Call me." And itjust-- Thinking of it, I get goose pimples now. But that's kind of-- And I did call her and I kind of choked. I didn't have anything interesting to ask her or to say. But anyway, I kind of wish that we would have run off together in this way. So we get to do it in the movie.

23:39 · jump to transcript →

Francis Lawrence

So, are you Satisfied? This was an interesting day. So we were actually shooting in the Gellert Hotel, which is a famous old hotel in Budapest. It also has some of the most famous baths and pools in Budapest. Budapest is very famous for its thermal baths and things. It was a relatively straightforward scene. Always kind of fun to do the research on the polygraph tests and see what kind of guinea pig is actually gonna sit and get polygraphed in front of a bunch of people. As we all learn how to operate the machine and how to do it. But it was a night that Jen had not slept for whatever reason. This really rarely happened, but she had not slept at all, and was, you know, had a fair amount of dialogue, even more so than is in the scene now. And it was just driving her crazy, because her mind just wasn't working. I mean, she's usually really, really, really good with dialogue, and doesn't forget anything. but she was getting really frustrated. And surprisingly, that day, for being so tired, the accent really stuck. and that was something that we worked on with everybody. I mean, it was interesting with Jen... My idea for the accent in general was to do a very, very light Russian accent for everybody. So what I did was I first started with my casting director, and we went out and cast some young women who were Russians, but had lived in America for a long time, so who had light accents, and we recorded them speaking. And we got Tim Monich, a dialect coach, involved, and he had some recordings. And we combined all those things and handed them off to Jen, and also hired some men to hand off to the men, and so they had voices that they could listen to. And then Joan Washington was the dialect coach that we used on set. But there was a fair amount of training and reference that we had for everybody in terms of the accents.

1:28:04 · jump to transcript →

We researched the regiment where you see on the shoulder flaps is the number 78. This is the regiment that is from Osnabrück, from the area where Mark grew up. So we researched the area where this regiment fought. And everyone has a different uniform. Like Kat has a uniform that is from the beginning of the war because he's older. He's been there for four years. And the kids, the other kids have a different uniform.

56:37 · jump to transcript →