Sequels & franchise

Tape 49 is a prequel, correct? That's correct. But we saw footage from the first film, but this is still a prequel. So it's not really a prequel. It takes place in the middle of the first movie. Well, it takes place at the very beginning of the first movie. The idea is Tape 56 takes place over several months. So you see them attack the people in the parking garage, and you see them watching that, and then they go to the house. Whereas Tape 49 is just a couple nights. So it actually takes place after...

5:52 · jump to transcript →

You know, and Simon went along with it. He was like, oh, okay, that sounds interesting. Yeah, it'll be like, maybe it picks up ghosts or something. I was like, yeah, it's something like that. Which plays into the kind of electromagnetic mythology of the franchise as a whole. But then, yeah, then I Googled it and realized that, like, that was, that concept isn't quite there yet. So maybe I had a prophetic dream. Well, yeah, now, the funny thing is now we're talking in June 2013 and people are actually starting to get retinal implants and stuff.

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At home, you're probably aware that it came out. Actually, this is less than a year from when we shot this stuff. It was in June or July last year. It was in July, I think. And it's less than a year since the first film came out. So it is the sequel that nobody even had the opportunity to want. Had they even wanted it, which they probably did not, we didn't give them a chance.

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but without compromising what Mission: Impossible is, the team, the action, the suspense. And also, I love that you chose this, the Odyssey, as the book at the beginning, because we also talked about this being an epic. Yes. That we felt that the franchise had earned it, that it's where it needed to go. And also visually, you're talking about, you know, this is your second mission that you directed, and you approached it right from the beginning. You said, I'm going to approach it as...

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as another director to honor the franchise, but also evaluating and looking at your lens choices, looking at how the locations that you chose throughout the picture, I thought were absolutely perfect. But when you talk about length and design of even the rooms, look at the width of these rooms, the length of them, and the lenses that you chose to shoot this.

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If this works, they're going to be in that hospital room going, Mommy? What is happening? Kids going, is this Mission: Impossible? The last one was really funny. And there's fans in the franchise going, oh, this is where they blow it. This is the one where they totally blow it. Oh, those poor guys. They took themselves a little too seriously. They forgot what Mission was. They blew it.

4:02 · jump to transcript →

Richard Wright, producer. Mans, director. Bjorn Stein, director. Gary Lucchesi, producer. James McQuaide, executive producer and visual effects supervisor. What, you get two titles? - Well, you know. Big shot. So here we are... ...at the beginning of the fourth Underworld movie. That's right. Been a lot of them. The first appearance of Len Wiseman's... ...new logo. - New logo. The world premiere. - In 3D, no less. Oh, my God. It's like our life flashing before our eyes. Yeah. We've lived through these. Exactly. I think it's fun to say that... ...I think we cut the... Edited the whole film for eight weeks... ...and then we spent three weeks editing the first three minutes. That's exactly right. - It was crazy how to get it... And it was, "Shall we do a recap or shall we not? Does it feel cheesy with a recap or is it good?" But I think that everybody agreed in the end... ... that we have this wonderful library or cupboard of wonderful images... ...SO let's use it. And it's a wonderful way to get into the mood... ...and this is the world. lt has been a while too, since Underworld 2... ...where this one picks up from. We're reminding ourselves of all the characters. It's not cool, but in the end it... Wow, it really works. Yeah, I had a friend-- We had a premiere yesterday, actually... ...and I had a friend who hasn't seen the prior ones... ...and she said it was helpful... ...to just get into the soul of what this is, so.... And it's so nice to see Michael Sheen... ...and Scott Speedman and Bill Nighy. Yeah. - Losing their heads. killed the elders.... Yeah. One of the things we really liked when we got the script... ...was that number four... That it was the beginning of something new. That it was not just number 17 or something. It was.... The trilogy was done... ...and now we got into something new... ...which is exactly what we're watching right now. And this was a big thing how... That we wanted it to be brutal... ...and hand-held and gritty, using a camera language... ... that hasn't been used in Underworld before. Yeah. To turn everything upside down. This is another part of the film where we did... ...a tremendous amount of work trying to figure out... ... how to frame the fact that we're 15 years in the future... ...and the world has changed... ...and how you do that economically... ...In a different camera style than the rest of the film. Because this is in 2D, not in 3D as the rest of the film is. One of the biggest inspirations for this intro... ...Was actually the Gavras video, the M.I.A. video. What's the name of that? "Born Free." - "Born Free." Oh, that guy. - He's great. This guy, he's just at casting... ...and we realized that we need something... ...and we cut this rollout and then suddenly we needed him... ...SO this is his casting tape. - His audition tape, yeah. Yeah. - Yep. Used it in the film. I love that head shot. James really enhanced this with the visual effects he put into it. These creatures, yeah. The creature shots. Because they weren't shot that way. Yes. They're hard to come by, these creatures. That one was a real one. That's a real one. - Yeah. A real Werewolf. Yeah, we had a few. - Yeah. We can cast them in the forests of Vancouver. What we just saw... That girl on the wall... ...IS Kate's stunt double. - Yeah. She did... - Alicia. Alicia Vela-Bailey, yeah. She took iPhotos of her body for each bruise she got. She was black and blue, this girl... ...and she's the toughest girl I've ever met. Went to the hospital more than once too. Yeah. - Yeah. But as he said, the toughest girl I ever met. Yeah, always with a smile. Always with a smile. And you will see her getting thrown around a lot in this one. All of those flying-into-the-wall sort of things... . It's actually a person, Alicia, getting thrown in. Or Kate sometimes, as well. - Yeah. So we wanted to start off in 2D, gritty... ...and then since this is 3D movie... ...we wanted it to... Really make it big... ...when we see Kate for the first time, and that's when we switch to 3D. This shot was actually planned to start inside the fire... .In the beginning, inside a skull... ...and then going through the flames... ...a Vampire skull, but it became too tedious. That was the four-hour version. Yeah, this... We're very European. European version. Very... It was also a shot that we fought to keep in... ...and there was some obstacle to that... ...but we succeeded in keeping it in. Obstacle being money. - I love the way you say that. We ran out of money. And you see the surroundings here is-- We tried to create... Since this is the first time we introduce a man really... ...In the Underworld franchise... ...we wanted to find architecture... ... for the city that wasn't, you know, just another city. And after a lot of thinking and looking.... You know, we were thinking the first film was shot in Budapest... ...and it had that gothic feel to it and... By the way, great blood splatter there. - I love it. That was beautiful. And then we found something-- If you haven't been to Eastern Europe... ... you see all these beautiful houses... ...but next to them you have these concrete, hard, depressing buildings. And there's something called brutalism. You mean brutalism? - Brutalism, yes. A word we've heard 700,000 times during the making of this film. You were insanely annoying by just trying to put brutalism in... ...brutalism in, put brutalism in... ...to find what we call neo-Goth. Which is a new Goth. - Neo-Goth, yeah. This plate's actually from Underworld 2. This was.... We were doing tests for that boat that exploded... ...and we went back and found the footage... ...and stole that plate and revamped it here for what you see. Yeah. The secret of every great artist is knowing where to steal. Where stuff is hidden, in this case. - Yeah. It was one of the biggest challenges that we didn't have Scott Speedman. So that was a face replacement of a stuntman... ...and I think that was the trickiest part to pull off, I think, in the movie... ...because we're setting up this love story. She's running for her love and we don't have the real guy. Yeah. - But I think because of the recap... ...we do get that.... Do you see that city in--? That city is all CG behind her that's burning. And I remember James had said, "What do you think?" And I remember we asked about that, like, months ago... ...or half a year ago, and I forgot about it... ...and then you just come up with this. It was like a birthday present. I was so happy. All these backgrounds in it... ...makes It so much richer. And remember this next shot coming up too of Kate swimming... ...was really the last footage that we shot on the movie. Yeah. In the tank. We all had this great concern that, you know... ...can Kate swim or not? She ended up being a fantastic swimmer. She was great. She was.... This is more than swimming. It's performing underwater. She held her breath so well. lt was unbelievable. We were.... - Yeah. Well, that's typical Kate, you know. Everything she does, when she does it is, like, perfect. Yeah. - Yeah. But filmmaking's about being afraid... ...things aren't gonna work. - Right. We had anticipated the worst and we were wrong. And this is-- Originally the Underworld title was here. This is our homage to Tree of Life. - Yes. We had the title here at one point... ...and this is a transition... ...which is very abstract and weird, actually. But I'm happy with it. These were the things... ...that I remember it was hard to describe. We were very sure exactly how we wanted it... ...but we couldn't really say "this is how to do it"... ...because we'd never seen it before. But now when I see it... James, who did this? - Celluloid. Fucking great. - It's great. Yeah. It's great too, because we added the spin... ... sort of late in the equation. This may be an intellectual idea. Hopefully it works. To sort of make the audience... ...particularly when you see it in 3D, disoriented. Kind of like Kate was as a result of being underwater... ...being Knocked out and waking up 12 years later. There's something about spinning... ... that sort of makes you visually confused. Also, not only the spinning, but also the kind of... ...stop and motion feel to it, that it's... - Time passing? lt has a time-lapse feel to it... ...which, you know, was a subtle way of saying time has passed... ...actually, 12 years. - It's one of my favorite shots. Yes. - This is beautiful. Another very disorienting shot, though. So this is actually Alicia hanging here... ...and it's Kate's face replacement on her. Yeah. And the ice is CG. - Yeah. Smoke is CG. I am glad that we put the name on the glass there, "Subject 1." Yeah. So nobody would get into the wrong tank. No, but the thing is, I don't think it's just for like: "Oh, it's for the idiots." But I think it looks good. Subject 1 sounds brutal, I think, in a very good way. There's that word again. - Yeah. And remember that set initially... ...when we first saw it, had all these shower curtains in front of it... ...and we asked Claude to remove them. Yeah. - Oh, right, yeah. One thing that we really wanted to do in this movie was that... And we told Brad, who was the excellent second-unit director... ...and stunt coordinator, we said that we very.... We want to hurt Selene a lot. "Could you find somebody we can do that to?" Yeah. Because she wasn't that hurt in the other movies. We said, "We really want to--" Do you think anybody's listening to you right now? The naked girl, I'm watching that instead. Everybody's so nervous when you shoot something like this... ...but Kate was so cool. She was. Yeah. - Yeah. It was nothing. - Here we have Stephen Rea. Yep, there he is. Our Irish. - Yeah. I think, yeah... I really liked working with him. He was... Stephen is a handful, but he's also.... He gives you what you need. Is there anybody in this film that ended up doing their native accent? The North Americans were doing English... Kate. - Yeah, Kate, that's true. Everybody else was doing a different accent. Sandrine Holt there. - Sandrine Holt. Hurry. Releasing... ...maximum dose of fentanyl.

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

25:58 · jump to transcript →

Joss Whedon

But I think the most important thing about the movie is that it's mine. That it's all me, and that really because I'm the director and the writer, I really created it all myself. I think that's important to bear in mind. Especially because, while I've been talking, you've already seen the work of two other directors, not to mention the insanely large village, possibly a metropolitan area, full of people who are working in every frame to fulfil whatever vision it was I thought I had. One thing about this movie that you're gonna hear a lot is how extraordinary the crew, the post, the pre, uh, the production people, how they not just carried or fulfilled, but inspired this movie, which begins with this rather iconic image. Um... A very deliberate decision on my part was to start off with the hardest thing in the movie from the first one, what we refer to as the "tie-in shot." Rather than getting the Avengers back together, I wanted to say right up front, "No, they're in it. "And here's the very climax of the first film. "Here's the very thing you always showed up for, "all of these guys in one enormous shot "with a big slow-mo, kind of, uh, comic book panel moment." And my original concept had been that the very first frame would be the slow-motion part. Kevin Feige very rightly argued that without some context, people just wouldn't know what they were seeing, um, and wouldn't appreciate it as much as they would at the end of the shot. Which, um, turned out to be very true. When I talk about the other directors... There was a short shot of people running up the stairs that my producer, Jeremy Latcham, went ahead and got with our "C" cameraman, Sam, while we were in Dover Castle, which is right here and played as the interior of the fortress. Um... We were mostly stuck in big, beautiful rooms filled with equipment, and there are so many lovely little spaces. He said, "Shouldn't we go and get soldiers running about, "and show some of the stairwells and the halls, "and all the things that make this space more than just big rooms?" And we ended up using a lot of that footage. It was just grand. And, of course, the other director I'm referring to is John Mahaffie, who is an actual director, um, the second-unit director, who shot so much great footage for this movie. I shot about 100 days, he shot over 50. And some of them are elaborate. That's another, what I was referring to before. Some of the more elaborate stuff inevitably gets shot by second unit because the characters in it are CG, and requires camera setups that take hours and hours. And so on the one hand, I, being the most important director, the director of the first unit, I'm busy getting really the heart of the piece, and he's getting these secondary shots. Except that the "secondary shots" he was getting, I just used air quotes, you cant tell, but I did, were very much some of the most beautiful footage that was shot in the film. And I started to feel like Reaction-Shot Joe. I would just see these glorious things he'd stitch together, and then I'd... There'd be a close-up of somebody reacting to it. I was like, "That's me! I did that. I'm also a part of the team." Um... Because the team is how this gets done. You're gonna find that's also part of what we have to say in the movie. But in the making of the movie, it's very much the same thing. Both of these guys, Thomas Kretschmann and Henry Goodman, extraordinary thespians, who would come in to do smaller roles. I actually said, "If we made a movie with only the day players..." They worked more than that, but just literally people who were there for just a day. "we'd have the most star-studded cast you could work with." It's wonderful. It's probably a terrible thing about the industry that you can get amazing actors to play these smaller roles in franchise films, but it works for me.

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Joss Whedon

This was exactly what I pitched, again, before the movie. Loki failed, Red Skull failed. Ronan failed. So, it's time. Third movie, it's time, which is somebody else's problem. There is one more thing I have to say. I'm not going to speak through 48 minutes of credits, though you should watch them all because every person listed in them did extraordinary work, and I'm enormously grateful. And I apologise to all the people I didn't mention because I should've. But I did promise that I would say something about an Easter egg. I dont... Usually, I try not to be self-indulgent. I just had a feeling there was a connection between the evils of this world and the evils of all worlds. And there is that one shot in Thor's dream of three guys in an archway, wearing three masks, and the masks are very expressionistic, so it might be hard to see exactly what they are, and we only held on them for a moment. And they were originally seen over a line of Thor's that was taken out, where he says, "It's been a long journey, and dark forces followed me." And the idea that there is something bigger at stake, which we hit in his revelation of the jewels, but "dark forces" was when you cut to those guys. Basically, though expressionistic, they are based on three animals, a wolf, a ram, and a hart. And some of you might know what that means to me. Thank you for listening. We're done.

2:13:24 · jump to transcript →

Francis Lawrence

This moment here was also another piece that we kind of debated, this phone call. This is something that's quite easily lifted, and she could just go home after having seen the blood on her hands. But this idea that she could do something so violent in the steam room, but then have this moment of conscience and call the action in was very important. And then we have this moment here of finding her mother, which was the moment where she knows that the ballet company that's been supporting her has kind of pulled the plug on any money and any help for her mother, and she is gonna have to go and find help from her uncle. I'm going to take care of us. So one of the fun things about this job and in terms of the world-building, was finding all the various kinds of architecture that exist in this world. And this place here was actually in Bratislava. So we went on a search. We shot primarily in Budapest, but we also shot in Bratislava, which is in Slovakia, and Vienna, and London. And we went on a big search for buildings and sites that could feel like Moscow or places near Moscow. And Maria, the production designer, had found these great Brutalist buildings in Bratislava, including this one, which we decided would be perfect for Matthias's character's office building. Just a big monolithic, very Stark, stark building. The problem here was actually... We shot this scene very, very quickly, even though there's a lot of dialogue, because it gets front-lit quite quickly after about 7:00, 7:30 in the morning. This is near the end of our schedule on the movie. And so we Set this up at sunrise and dawn, with multiple cameras, and shot the whole scene within about 45 minutes, I think, 'cause otherwise, if the sun came up, it was gonna be really unflattering, and it wasn't gonna feel as bitingly cold as we wanted it to. Do this for your mother, Dominika. He has dinner at the Hotel Andarja every Friday at 9:00. A car will arrive at your apartment to bring you to the hotel. Now, you carry nothing with you. We will arrange a room and something for you to wear. This is back in Budapest, shooting in a hotel in downtown Budapest. We were originally modeling the idea of this hotel in Moscow, with the Metropole. Which is a classic, really upscale hotel that's been around fora really long time in Moscow. And then we, kind of, ended up going in our own direction. We searched, you know, in London for hotels, searched all over Budapest for hotels, and we pieced together various things, and we used the exterior of a hotel in Budapest, and we ended up using a room... This room is part of an abandoned building in Budapest. And Maria built that bathroom attached to the room in that abandoned building, and just did a great job. She brought in these great Italian scenics to create all that fake marble. It's actually just wood that's been painted, but just looks unbelievable.

16:11 · jump to transcript →

Francis Lawrence

One of the things that I wanted to do... There used to be a little more footage of Joel, kind of back home when he got suspended, and you can see compared to the, kind of, the color and the textures and things in the environments we have here, it's actually quite bland. We shot everything in pretty much white environments, made it as bland as possible, so that you get this feeling that it's just not the kind of life that he wants. That he likes living internationally, and he likes working, and he likes the mystery, and he likes the intrigue, and he likes the work. The last thing he wants to do is be at home and be in an office. And so we made it as drab, and as lonely as possible. He wants a daughter... someone to take care of, and he'll pay for it. So here you see some of the work I was talking about in terms of the development of Sparrow School. This idea of figuring out what people need. But you can see in a moment here, it's actually gonna lead into a bit of a harsh lesson from Matron about having to get over what disgusts you. To make people believe that you're attracted to them, or that you're willing to do specific things for them. Yes. - Correct. Though, we mustn't be so judgmental. We all have our passions. His happen to be rather young. Anya, come here for a moment. This is Sasha Frolova. She was actually one of the first people other than Jen that we cast in the movie. It was something. Denise Chamian, my casting director, instantly sent her over for the role of Anya, which was actually expanded a little bit originally in the script. Give him what he wants. And I liked the idea of seeing what a school like this could do to somebody that's fragile. And so, she slowly falls apart. You used to see in some of the scenes that I think we have in deleted scenes, you used to see Dominika helping her out, and seeing some of Dominika's humanity in helping Anya out. Part of what I really like about this sequence here is that Matron knows that Anya's never going to be able to do this. Really, what the whole point of this is for her to crumble so she can make a point to the class about how part of the training here at Sparrow School is to get over the things that might disgust you, and that you're gonna have to learn the tricks of the trade to be able to do the horrible things you're gonna have to do in this job. And that also thematically was important for me because it needed to be horrible. This is not a glamorous world. I didn't want it to be a glamorous world, and I didn't want Dominika to think it was a glamorous world. I wanted Dominika to hate it and to hate her uncle for dragging her into this world, so that she would want nothing more than to get out of the world. ...brings blood to the groin. Manipulation of the nipple... I remember on the day watching this sequence and I still do, and I just think it's a real original. I've just never seen anything like it. With Charlotte and weeping Sasha. Yeah, I'm really proud of the sequences that we did here, at Sparrow School. You must learn to love on command.

34:19 · jump to transcript →

Matthew Vaughn

Obvious moment to roll credits, but of course I got told no. We just need that last little sting in the tail. Because some cynical people out there thought we should set up a chance of having a sequel.

1:49:43 · jump to transcript →

Len Wiseman

I want you there before he is. Do you copy? Copy that, 905. All vehicle and air support proceed to Wellington. Establish a barricade in zone 217. There's so many of set pieces within this science fiction film that I had written that worked so well within this world. When I found out this world of Total Recall was multilayered as part of the plot. You know, they're having to expand out and space is one of the fading resources. It kind of developed and formed why this

51:14 · jump to transcript →

Jeff Goldblum

Larry Kasdan called me recently and said: "Hey, I have an idea, or there's an idea going around. Maybe we should do a catch-up sequel-- Is that what it would be called? --to The Big Chill. Get everybody together." And then I think it's kind of faded away.

1:03:32 · jump to transcript →

Two weeks before the film came out. Yeah. And this was our skirting the edge. Sean Harris. Yes, and Sean Harris is... Very talented. Very talented actor who was very reluctant to be in a franchise movie. Really didn't feel like it was his sort of thing. And...

9:09 · jump to transcript →

the possibility of the sequel. Yeah, but I love this moment. It's so eerie. Even though it looks like a happy ending story-wise, it definitely doesn't look like a happy ending. We thought that she... She's living with the money and with her sister and everything seems to go well, but you know she's never going to sleep well anymore. Yeah, she knows she's a criminal from now on. Remember when we shot the...

1:22:51 · jump to transcript →