Rewrites & drafts

Shane wrote the first draft, and he wrote the last draft. Usually multiple writers come and work on it, and Shane was able to stay in this process from beginning to end. And it was great continuity, and it was great having him around when he needed little fixes and all. Now, this scene has some interesting history to it. We were supposed to be in this other location. We had this whole thing choreographed and blocked out and storyboarded and pre-vis. And then literally, what was it, like three days before the shoot?

1:01:05 · jump to transcript →

throw everything out and rewrite it and think, what could make a person to do something like this, killing young people? And it would have to be some sort of obsession or love. And that he would be a pedophile. And it would be because of this that his being with Eli. Some people say that this is an old lover to Eli. That a long time ago when he was young, he was like Oscar.

45:42 · jump to transcript →

Patrick Tatopoulos

SO.... You know, putting the film in context of the time too. There was an ensuing writer's strike that was approaching... ...while we were writing the script, and we had to turn the script around... ... from a first draft to a shooting script in, like, 30 days. Really quick. And it was really a wonderful experience. We would have lunch in our offices every day. And we'd go through the script, and then the two writers... Dirk Blackman and Howard McCain. would work on the script. Len would work on the script, Patrick would work on the script. Bob McMahan would collate everything. Yeah, we all had our different colours. Different jobs, and in the evenings at 3, 4 in the morning... ...We get pages from Len. lt was just a wild experience, but we got the script done. lt worked, yeah.

43:02 · jump to transcript →

Wes Anderson

Exactly. The thing I love working with digital effects and things is compositing things. It's the ability we now have to take something and replace it, or reposition it, or change text, or modify things in the frame that are absolutely indistinguishable from if we had filmed it that way. All the time we rewrite text and it disappears. But that's a different kind of effects work, I guess. You know, it's often the signage. Probably, I would say, 80% of the shots in the movie have some kind of visual effect. And that all happened in postproduction.

6:42 · jump to transcript →

Everything was all in one case. And Robert Ells would ask, what was supposed to happen? And it caused us to blow the scene up and rewrite it all on the morning we shot it. Which became a theme. Yep, with her, yes, it became a theme. But it's important to always challenge the material. And that's something that we are tireless about. This set was specifically designed for this very reason, is to create...

17:00 · jump to transcript →

Boom. Yeah. Oh, that dog. The dog... The dog gets an award. Oh, yeah. Yeah. Particularly for the one that we were on set and we know that he wasn't hitting his marks all the time. But in the movie, really, you know, he does what he has to do. He's very menacing. It's that extension of the will of the bloke, right? Yeah, I think the first draft that we wrote didn't have the dog. Mm-mm.

13:16 · jump to transcript →

Nick wrote that It Will line. I remember we were, like, you know, trying to write and rewrite the climax of the scene. The night before we recorded it. The night before we recorded it. It all just felt, like, way too much. I think we probably had, like, a long monologue at one point. And It Will just delivered happily as... That's it, man. You're Sherry. You're Sherry. Yeah. Is that okay? Can I film while you guys are shooting? Whoa, those gentlemen were not wearing feodorants. Ha, ha, ha.

56:06 · jump to transcript →

And I was rewriting this scene, particularly her lines, like every time we did another take of it. And this is very demanding, like, you know, long take and great on her for being able to remember all the rewrites as we were going. And Clace also...

1:37:16 · jump to transcript →