Sequels & franchise

I often find that if you take the train, you see sort of the backsides of towns and you'll often see the pieces that are still left of this world. Look at James's face. I mean, he is living that character. Yes. And he's feeling a lot for, you know, the girl. Mm-hmm.

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That was the sequel to her first Assisi film.

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I see it. I see it all now. This is funny. What we gotta do is we gotta snag that tall dude. Reggie sort of goes off. Stomp the shit out of him, and we'll find out what the hell is going on up there. Yeah, we'll lay that sucker out flat. This sequence is really what, you know, iced the possibility of using Reggie in some, you know, furthering his character in the future sequels. You know, he had something there. He showed it in that scene. Reg?

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John Mackenzie

the very best way to end the film. But then he thought of a sequel. It wasn't very possible, because in my head, I'd killed him.

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Again, we're back in L.A. Back in L.A. on the roof. Anyway, so the idea of the colors was to have this world that he's in be like a three-dimensional place, like a rat in a maze, so it's not a street so much as it is a tunnel that Frank's moving through. And also to have metallic colors mostly, so consequently there's very few primaries. And that's also why the music is electronic as opposed to what actually would have

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Terry's always just such an old tart. I am not of this world. In order for him to be able to walk into the middle of the table, it was very simple. He just had the table cut away so he could walk into the middle of it. I'm not sure that Mike's character is just such a wonderful baby. Well, isn't that extraordinary? We were just talking about death only five minutes ago. It's the only time I got to play a sort of, like a halfway...

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Its cover art by H.R. Giger may have influenced some of this film's ideas. This was practically Lali Kado's first feature film, but she became a major Canadian television star in such shows as Hangin' In, Road to Avonlea, which won her the Genie Award for Best Actress in a Continuing Leading Dramatic Role, and Five Years of X-Men, episodes before the feature franchise was launched. Her character of Rena King is said to have been inspired by Dini Petty,

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Now she comes home and finds her mother has put the bars on all the windows. That house is great. And a beautiful blue door, which you point out, Jacques, they changed to red in all the other sequels. Why did they do that? I don't know. Well, we changed it because it was a new, you know, a new idea. The mother's also cut down the trellis here, which obviously removed access to the boyfriend.

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My ideal air host. She just loved doing these fantasy sequels, one after the other. And she did them so well. Yeah, she did. Extraordinary. I don't know anyone who could have done it better. Do you? No, no. I think she did a remarkable job. I mean, not many would do that anyway, Hollywood stars, would they?

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sort of a franchise because that character was then on like commercials for the yellow pages yes endlessly would appear on tv and some variation on that yeah on that character and there's a lot of like really catchy catchphrases in there too this is a good scene for catchphrases too what's going on between when bud's explaining the code of the repo man the repo code yeah

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Gary Goddard

Here we were using real-time rear projection, and I actually had wanted to have a little more active rear screen material, but time was short, and we needed to go with what we had. This must happen before moonrise. Now, you are to go through to this world where they are hiding. Find the key, do as you wish with the others, but bring He-Man back alive. You do understand? Yes, sir. Good.

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How could you not be? I interrupted to make my comment about the moonwalk, Katie, but I want to address what you just said because I have a firm belief that the Garbage Pail Kids movie, The Tangerine Cut, will sell like hotcakes. You know, and this may be a bad time to say this or to just throw it out there at you, but I'm going to go ahead and do it. I think we need a sequel.

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complimenting Priscilla there, but. No, but you know how to film. I had enough of sucking on Leslie's fingers. And finally she got the hang of it. Back in a coma. Oh, that's terrible. This world is such a violent place. If it wasn't, I'd be out of a job. Be back on the circuit riding motocross. But I'd give it all up tomorrow to live in a world without crime. That's beautiful.

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Stephen Prince

all that pulls him back to this world with such force and desire that he can't understand how it can be that he is dead. This melancholy is intensified by the muted color design, everything in earth tones, browns and greens. That spotlight jumps out at us because of its bright orange coloring. The ghostly faces of the dead are also exceptions to this muted design. The eye character feels empathy for Noguchi and his sad plight.

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You notice in these sequences, the camera is near the ground so the ceiling becomes more important than the floor and one is shooting up people's nostrils. This was an approach David Fincher wanted, which I think is terribly effective indeed and makes it more distinctive than the other three, rather, in my opinion. I tried to keep it fairly shadowy, so that it looks moody. Where I could, I brought the light from the top because it's unusual for the light to come from the floor, but one had to be careful about it obviously. The difficulty was getting light into the eyes SO we could see what the actors were thinking but not at the expense of the mood. I remember at Pinewood Studios when the sets were going up, Fincher would have us walk through the sets just looking at the scope of them. It was truly amazing to see these things go up. Norman Reynolds is a great production designer. He builds the world. It's very difficult to control him cos George would tell him on Star Wars "Don't build that. We're gonna paint it", and the next day - "It's too late. It's built." When they sent us over, we said "Why are we going to London?" They said "It's the sets, the set design, the artistry and the craftsmanship." And it really was very true. British actors is another good reason to go there. Somehow the British accent does a lot for these movies, I think. Vincent has had a deep, abiding interest in Luddite monks, and had done a great movie called The Navigator, where these monks dig their way through the earth, coming out into the 20th Century. It was a great movie. But, anyway, the original idea was that this was a wooden planet built by the Luddites and in the bottom of the planet, symbolically, the reactor was kind of hell. The technology that kept this thing going was emanating from the bowels of Lucifer. What drew me to the project first was that it wasn't a retread kind of sequel. It was a completely new idea, and some of it survived in the final script. David was entirely in control from the beginning. He put his stamp on it. He was the director and nobody ever questioned it. He was completely in control of the set and everybody hung on his words. He was definitely doing it. There was no weakness in it at alll. He was very, very confident in what he was doing and wouldn't be swayed. He had this vision and that was what he was going to do. He came under quite a lot of pressure from 20th Century Fox to hurry up or do it the quickest way or the most expedient way, but he wouldn't listen. He would do what he wanted to do, quite rightly, in my opinion. As I say, his compositions are marvelous and the use of the frame, and so on. David had been a cinematographer before he became a director, so he knew lighting. He knew what was good and what was bad. That's not to take away from David Worley, the operator. His contribution was enormous as well.

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...put my film career on hold and become a sleazy club owner... ...and just set up a whole franchise of clubs called Exotica. Well, and fascinatingly, as you might recall... ...and a great theme of this film is not being able to touch in a club. I believe the year this came out...

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The good news is if we ever do the sequel to Forrest Gump, Haley's turned into this big star actor now. When he was that little and that young, he was a great actor. He just always had the fire, so it was fun to see him go. And Hannah too, little Hannah. She just showed up in Virgin Suicides. I love to see these young actors mature and become good adult actors.

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Can you imagine? This is almost 20 years later. She's still playing Ripley. Yeah, and you have to understand, this is take after take, after day after day with this emotional commitment. Very, very heavy. All the permutations from where that character started in the Ridley movie to where she sort of journeys, leading... This is, like, the culmination of it all. The future and the present and the past all sort of melding together. And you're right, she really... You see sequels, you see people kind of walk through them. She's... you know... She has a notebook filled with... She keeps herself up to the moment, connected with her character, for every take, every scene, every day of shooting. It's an amazing thing, especially in a genre like this, in sci-fi. It's not like Terms of Endearment here. But just as an acting exercise to play the same character for almost 20 years, as you grow as an individual and you see that character in so many different situations and grappling with technologies and the relationship of where she finds herself with regard to her humanity. It's fascinating and she is in this film. Her commitment to it is off the chart. These were the victims of the chestbursters. We had to come up with a very simple way to do this because of the numbers of them. We sort of took our cue from those T-shirts that came out after Alien and Aliens that just had these rubber bones applied to them and we made these slip-on appliances that had the broken-out ribcage and all the guts. We made a male and a female version and I think there were a couple of guys that ended up getting women's torsos on them. They were lucky. There he is, ladies and gentlemen. The beautiful and talented Mr Leland Orser. My friend and, if you knew him, yours. This is Leland Orser. I love this actor. I saw him in a very small character in Se7en of David Fincher. For this scene I used maybe four cameras because I had just one day to shoot this. I remember. I hate that because I prefer to shoot with a short lens very close to the character but I had no choice for this scene. I had quite a lot of material for this one. This is pretty rare I use many cameras, because I prefer to make a storyboard to be very precise, and usually for all my films I put maybe at the end one minute and a half in the garbage, especially with Amélie, the last. But I remember at the editing room you didn't have a lot of material. I prefer to shoot exactly what I need and it's better for everybody. You save money. You save time. You save energy. I don't understand a director - they make some film with three hours and you have to cut one hour at the end. It's so silly. I prefer to think before. That's the reason I like to make a storyboard, because it's a pretext to find ideas when you have the time to think. Because when you are on the set it's too late. You have to run. The master is the clock. It's too late to find ideas.

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the way he's behaved, and I did watch those two movies. What I found so interesting about Jack Vincent was that he, you know, was living in this world where he was almost the big guy himself. Everybody knew him, certainly they knew him in the film business and the television business and this god-awful TV show that he was the consultant on. You know, he was an amusing guy, but I think that in a sense his character represents the

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Kat Ellinger

I'm talking about growing up in a very deprived, working-class neighbourhood in Glasgow amidst drug addiction and abuse. How violence in this world is cultural capital. It just is. It's part of life. And so the notion that rape is the worst thing that can ever happen to you, again without minimising it at all, is a very bourgeois notion. And I think the way that we treat... If somebody is considered a quote-unquote good girl...

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In some ways, she is the real hero character in the movie. Yeah, absolutely, really. And of course, the other important thing about this final shot was that it kept it open for a sequel. That's what everybody asked. It's like, yeah, I can see that. And you went for the old end credits. Yes.

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It's clumsy. Is this Clarice? So here they are together for the first time talking to each other. I'm afraid I have bad news for you. Is he dead? Did you get my note? I hope you like the skin cream I had especially made for you. Is he dead, Dr. Lecter? Clarice, there is nothing in this world that I would love more than to be able to chat with you. Unfortunately, you've got me at an awkward moment. Please forgive me. See you around.

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With the third in the trilogy, the first nod was towards the second of his dead trilogy. This is in the third with Bubba, the chained-up, infected in the underground compound of Day of the Dead. Always a character, an idea that seemed very strong. I never know with that kind of thing if it's theft or what, but it's there anyway. It's not if you acknowledge it, I don't think. Right there. You get away with it.

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Ted Tally

And I'm Ted Tally, the screenwriter of this motion picture. Thanks for watching our DVD. I got a call from my agent who said Stacey Snider wanted to send me a script. Stacey called me directly. Stacey is the chairman of Universal for those of you who don't know. It said Red Dragon, and I said, "Red Dragon. Is this "the prequel to Silence of the Lambs?" I was familiar with the book but hadn't read it. At first, I was very insecure and said, "Am I like the 'Go-to' guy on sequels? "Why is she sending this to me? 'Cause no one can mess this one up?" And then, I saw Ted's name on it and said, "This is the guy who wrote Silence of the Lambs, "but didn't write Hannibal. "So, this must be special. "Why are they sending this to me? I'm not a dark guy. "I don't make dark movies. I do comedy." -/ think they sent it because you're cheap. - Exactly. So I read it, and I was completely blown away. Not to blow any smoke up anybody's butt in my presence, but the truth is the script was amazing. I called up Stacey and I said, "I want to do this." She said, "Now you get to meet Dino De Laurentiis." And I said, "Dino De Laurentiis "of Fellini fame?" - Scary thought! So I went to his house and first thing he says to me is, "Why do they like you? Who are you? "I never heard of you. What is Family Man, Rush Hour? I don't know these movies." I said, "Dino, I'm a talented guy. Trust me." And thank God, Ted had seen Family Man and Rush Hour, and his kids or someone in his family was a fan. Brett might not have been an obvious choice but Brett is an incredibly talented director and clearly ready to try something new that he'd never done before. He is a great fan of Hitchcock and of thrillers, and brings a tremendous energy and confidence to his work. I was such a big fan of Silence of the Lambs. You know what I was excited about? Most people asked, "Weren't you scared "of following in those footsteps?" First of all, I had three brilliant directors Michael Mann, Jonathan Demme, and Ridley Scott, who made three movies in the exact genre, but completely different. I was excited about it because, by watching those films, I knew what not to do or what I didn't want to do. I was able to decide on the type of movie that I wanted to make. And it helped me choose the tone of the movie. I realized I wanted to make a movie more like Silence of the Lambs. More Hitchcock-inspired. A movie that scared you by what you didn't see more than what you did see. I've read that the most important single decision you make in directing a movie is tone. - Absolutely. Because it's the direction of the film. It helps you with every choice that you make as far as the wardrobe, the production design, the music. The tone, to me, is really everything. Dante calls it, "The language of the film." We have to integrate what we're seeing now, Kristi Zea's set design with its dark, rich color in Dante's cinematography. The choice is even of the props. The integration of all of that, the wardrobe. It's sort of overlooked by people and it should be something that doesn't call attention to itself. But when all of those elements are integrated... Look at this moment here. You get a much more powerful movie if nothing sticks out. If everything is consistent in tone. Special Agent Graham. What an unexpected pleasure. I'm sorry to bother you again... If you see on the left-hand side over there, a little detail, I found this book of Sigmund Freud's office in, was it Vienna? That's where I kind of modeled Hannibal's office. I modeled the tchotchkes, the details.

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