Sequels & franchise

Like a serial killer? There you go. They just explained two and a half movies of who Art the Clown is. If a demon enters this world in the flesh, a counterpart must be appointed to stop it from becoming too powerful. It's you, Sienna.

1:07:49 · jump to transcript →

just help sort of organize and produce the Terrifier movies. And so the Terrifier movie franchise exists not just because of Damien, but because of that guy right there. And Phil is a hell of a guy. Not only a character, if you've ever had a chance to meet Phil at a convention or anything like that, he is...

1:59:36 · jump to transcript →

Now, just as a sample of what the original age he had been, there's a moment when he goes to try and wake up Bertie Steptoe. It was coming right up. Yeah, and it says, And now John becomes aware that there is no hope and no help. He stops pummeling the old man and crying at him. In his face, something changes as if a page in his life and soul were being turned. He grows up. He is no longer a dependent little boy, except for Pearl, who can now only be protected. He is alone in this world now. Now, Lawton directed him to cut it down to...

53:47 · jump to transcript →

Tim Lucas

However, Sergio Leone made the second film after an angry parting of the ways with his producers at Jolly Film, who reportedly had refused to pay his salary on that enormously successful picture unless he promised them a sequel. So Leone angrily walked away from his salary and took up with new producer Alberto Grimaldi, who made him an extremely lucrative offer. Jolly Film, in turn, sued Leone when they heard he was making this film with Eastwood.

14:05 · jump to transcript →

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.

1:00:09 · jump to transcript →

Robert Sommer

That was the sequel to her first Assisi film.

20:38 · jump to transcript →

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?

53:49 · jump to transcript →

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.

1:51:40 · jump to transcript →

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

1:21:57 · jump to transcript →

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...

1:35:16 · jump to transcript →

Tim Lucas

Its cover art by H.R. Giger may have influenced some of this film's ideas. This was practically Lally Cadeau'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,

9:17 · jump to transcript →

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.

55:55 · jump to transcript →

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?

45:52 · jump to transcript →

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

19:38 · jump to transcript →

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.

29:24 · jump to transcript →

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.

32:10 · jump to transcript →

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.

38:30 · jump to transcript →

Whitley is, in the book, he describes his trying to navigate through this world. Now, if that's a delusion, he's completely caught by his delusion. He's totally divorced from reality. If that is reality, again, this is the Hobson's choice, he's physically been abducted. He's in an entirely different realm with creatures that don't come from planet Earth.

1:15:57 · jump to transcript →

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.

51:55 · jump to transcript →

as opposed to connected to, or the novel Red Dragon, which of course is the prequel to The Silence of the Lambs. That's the story of Will Graham, who's a retired FBI profiler, who's kind of brought back into the fold to help track down the serial killer. And as part of this, he has to consult Hannibal Lecter, who he put behind bars. And there's this kind of thing going on throughout that of Hannibal Lecter kind of trying to provoke people

22:49 · jump to transcript →

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 all. 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.

10:16 · jump to transcript →

...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...

9:52 · jump to transcript →

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.

2:13:08 · jump to transcript →

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.

1:01:40 · jump to transcript →

the way he's behaved, and I did watch those two movies. What I found so interesting about Jack Vincennes 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

13:53 · jump to transcript →