Shooting schedule

Patrick Tatopoulos

Now we're getting started on the sex scene, and.... Was it early on in the schedule or no? This is pretty late. - It was toward the end, actually. We felt like it was better for the both of them... ... to, you know. You take a chance some time. To get to know each other a little bit more, you know, to be.... Now, this scene, I gotta say, I have to say. I wanted to do more with it. You know, we had to kind of feel the moment... You got your shot in there at the end. You and I were like: But it was an idea, I mean, to have them... ...carrying on making love on the side of the rock face. On the rock face. I never completely understood where Patrick was going. It's a French thing, though. - Yeah, that's right. That's French lovemaking right there. - That's right.

13:36 · jump to transcript →

Patrick Tatopoulos

He's a consummate actor. He flew all night from Germany... ... from a Valkyrie premiere to come to our premiere. Did he? I didn't realise that. Remember that we had to let him go for two weeks... ...In the middle of the schedule to do... - Valkyrie? Reshoots? - Probably. No, he was going back to do something in England. Oh, yes, he was going-- Yeah. For the Richard Curtis movie. So he went around the world twice in like two weeks. Now this is Bill... This is Viktor biting Sonja. Genetic memories. It's all that visual language we used from Underworld 7 and 2. lt was something we had to kind of keep going. Father, please... I wanted to believe your lies though I knew it could not be true.

53:45 · jump to transcript →

Patrick Tatopoulos

Originally, I remember, it was gonna be raining... ... during that whole sequence, and we couldn't afford it. So it just rained at the end. It does rain. It does start raining, which is part of the gag. But it was supposed to be pouring rain the entire time, and we just realised... Now, budget-wise, are we--? Am I correct when I say 35? lam, right? Yeah, yeah. - So we're 35. Everybody always asking what if when I was... You know, checking out DVDs, I was always curious... ...at what the budget was. So we're 35 and... What was the first one? - The first one was 23. But that was when the dollar was a lot stronger. So in actual purchasing power... ...wWe really didn't have that much more this time. The dollar was I think at like 94 cents to the euro. And when shot this it was 1.50 to the euro. And what was the second one, 45, 48? The second one was 51. Fifty-one, right. - Yeah. But... - We got a lot for the money. We had fewer shoot days. We had fewer shoot days on this one than we did on the first one. First one, I think we had... What did we have on this, 55? We had like 60 on the first one. That's not fair. What's the deal? Just trying to make it interesting. Make it interesting.

58:23 · jump to transcript →

SFX Maestro Christien Tinsley

the whole thing in about three and a half months. And so we had to build everything in a concentrated amount of time leading up to the shoot. And so everything had to be figured out in advance, and he had to make decisions long before the shoot day. And because this was the first time he was sort of letting go of control on the effects and handing it over to myself and the team, he had to make a lot of decisions, like I said, in advance of shooting it.

12:19 · jump to transcript →

SFX Maestro Christien Tinsley

Again, this whole sequence was all within the first couple of weeks of shooting. And I don't think what Damien realized while we were shooting this film, again, in such a concentrated period of time, three and a half months, what it meant to prepare everything for literally like a daily shooting schedule of effects work. And so everything was being built

17:02 · jump to transcript →

SFX Maestro Christien Tinsley

Are you okay? Yeah. It's just this new medication I'm on. It makes me queasy sometimes. Oh. I need to be creative. Just to put it into perspective, there was probably about 10 days in the entire shooting schedule that we didn't

42:20 · jump to transcript →

Gary Goddard

how we had to move the camera to tell the story in very condensed time. Even though this is one of the first shots in the movie, these were some of the last shots that we actually put on film. The schedule was very, very tight. We had to move very quickly. We had to consolidate our storytelling and try and get as much information in as few shots as possible, especially in some of these things here. I particularly like this effect that we're...

4:18 · jump to transcript →

Gary Goddard

the tail end of the schedule, we didn't get everything we wanted, but we did get a lot of use out of it, not as much as I'd wanted, but that's why you see so many levels there. They were designed for what the final battle would be. The eye in the back also, that was a last add in the original script that David O'Dell wrote. There really wasn't a ticking clock. I felt a need to put a ticking clock on this, and we came up with this kind of eye, this door on the universe. The eye opens on the universe. They're coming. Get back there. Keep working.

12:27 · jump to transcript →

Gary Goddard

I forgot all about it now till I'm watching it again. This was the second week of shooting. The first four days, five days were out there in the woods and also at the interiors of Courtney's house, which we'll see later. And this was the second week where we went to Robbie's and shot this. The reason we did these shots first is we were on a very fast pre-production schedule and they were literally building the sets

22:43 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

And we only shot a couple of takes. Scenes like that don't hit the schedule, do they? They don't hit the schedule. Or the call sheet. No, and the studio don't even know. Nobody knows they're there. You've just got to bang them out the day before and then go try and squeeze them in somewhere. Pages are distributed after lunch. Yeah. This was a sequence that we deleted from the theatrical version of the film. And it's actually a sequence in which a couple of stills, a couple of photographic images have appeared in lots of books and magazines. And I'm sure...

44:53 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

One of the very first things we filmed, this was done at the very beginning of our shooting schedule, so we were all a little bit green and naive, and, you know, it's amazing when you start shooting a movie how awkward things are at the beginning, just from the point of view of directing the movie and getting your head into what you're doing, and I always look upon Weathertop as being one of those scenes, in my mind, that...

1:12:31 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

something in which we planned for a long, long time. We knew what we were going into. We had a lot of it planned, but nonetheless, it was a seat of your pants operation, really, that we were revising the script. We were editing the movie as we were going, figuring out ways to improve it all the time. The art department got to the point that they started the movie with lots of sets built and complete, but of course, as the schedule moved on, they had less and less time because sets would have to be torn down

3:27:08 · jump to transcript →

The unifying element is actually Donald Sutherland, who provides the Colonel's voice. Originally, I hoped to get Donald to play a role on screen, but the shooting schedule just didn't work out. However, he liked the script, so he wanted to participate in some way, and he generously agreed to lend his voice.

15:35 · jump to transcript →

Coming up is the next in the long line of Vitaly's girlfriends. I noticed Jared never had any problems on these shoot days. Cape Town's full of beautiful models since that's where Europe and the US do fashion shoots in the Northern Hemisphere winter. That's a good moment, I think,

36:32 · jump to transcript →

I say we had a very limited shooting schedule in New York. And so when Ava enters the container, it's a different container than the one that Yuri entered. It's actually recreated on a parking lot in South Africa.

1:34:36 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

was valuable to her in terms of what she liked about the film. She felt like it was something she could play. And there's a relatability to her that I think is super important. Yeah, and you can't pull these movies off unless the actors are on board with the schedule and stuff like that. And she didn't go back to her trailer between setups, and she was really in it. And you don't succeed on these kind of schedules unless the actors are really up for that, both when they're on screen and off.

15:52 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

And it was, this is like turning into a Carrie Lovefest, but it was a pleasure working with her because a lot of times that doesn't happen and it was great how on board she was with the production schedule as well.

16:22 · jump to transcript →

Scott Stewart Jason Blum Brian Kavanaugh-Jones Peter Gvozdas

But David used the sun and we just ended down the windows and colored them blue and And that was a way for us to shoot days most of the time in the movie. There was almost no night shooting True all night long night shooting should talk about Josh Stamberg who played a police officer in my first movie Legion as well And even though I originally wrote the role of Mike for him Karen's husband that rich Hutchman plays Josh decided

21:18 · jump to transcript →

Francis Lawrence

So this motorcycle sequence is actually one of the few... There's a few little things that we did as second unit. I'm not usually a huge fan of second unit, but this stuff we did, but we mapped it out very specifically. I worked with Chris O'Hara, a stunt coordinator, and Cam, who used to be my assistant, and also is now an associate producer on the movie. You know, both kind of worked really closely with me in storyboarding, and we would go out to locations and do little video-vis things. So we were really specific about the kind of moments we would need. You know, it was just always a bit tricky to schedule all those little pieces of them traveling down the street. And we used Jen's double, Renae Moneymaker, on the back of a motorcycle. Over the course of various nights over the schedule, Chris O'Hara and Cam sometimes would go out with the motorcycle and shoot these various elements that we put together. Ustinov dismissed his security, so I saw an opportunity, and I took it. Why would he do that? She asked him to.

25:45 · jump to transcript →

Francis Lawrence

So now we're in London, which was our last location of the shoot. This is where we finished off, primarily at the Corinthia Hotel. We also shot at Heathrow. I was amazed and very thankful that the people at Heathrow allowed us to shoot there. But we shot here at the Corinthia, which, funny enough, was the hotel that we would always stay at whenever we would go to London for the Hunger Games press junkets, so it was a hotel that we were all very familiar with. And also, funny enough, that the room that we shot in for the meetings, the hotel room we shot in, any time that we would go there to scout it, we had to rent the room out, and it ended up somehow, lining up with a school vacation or something. And so my kids would come out, and my wife would come out, and we would end up Staying in that room since it was rented anyway. So we would stay in that room, and then, you know, my family would leave and the whole crew would pile in, and we would do a tech scout... Of my hotel room. It was very strange. I'll just be leaving. I love this bar, too, and I love the way this bar looks. I will say, too, that Mary-Louise Parker was really fun to work with. I thought she did a great, great job. It's always weird. I mean, we shot for 85 days, and I mean, she had, I think, one evening of shooting with us kind of in the middle, when we did that embassy sequence in Budapest, but really, all of her work was at the very, very end of the schedule. And you can imagine that, you know, a crew who's been in three, four countries already is, you know, quite bonded, and she's done long-running television shows, and plenty of movies and things like that, so I think she quite understood. She kept saying that we were a cult by the time she got there. I think she was right, But she was great, and also brought in a great deal of levity, sort of a nice, little needed tonal shift for this portion of the movie. And it was fun working with Mary-Louise here, just in terms of the sort of drunkenness of it all. You know, we did many layers of it in terms of how paranoid she might be, how sloppy drunk she might be, and it was really fun to just kind of let her go and let her try different things. We ended up cutting a decent amount of dialogue out here, but there was some fun stuff. It went on for too long, but there was some fun stuff about why she's doing it, why she's selling the secrets, and, you know, there's some pretty basic ideas of why people do these things, why people become recruitable. Might be ideology, might be they've become disillusioned, and might be a different kind of patriotism. It could just be plain old greed. And I'm sure that if you are as important as you Say you are... then you don't want to waste any time. So, do you have anything to sell? I have the first set of discs with me. Today. I just want to be clear that I'm not doing this... 'cause I'm an ideologue or pacifist or something, you know. Where are the discs, Stephanie? Where's my money? What we always liked was this idea that she'd really sort of turned on her boss, that she always felt that she was much more deserving of the job, and smarter than her own boss, and had become really cynical about it. But I like that there's this sort of paranoia underneath all of it, too, this kind of nervousness about all of this that leads her to drink so much. And that was all Mary-Louise. Some fun stuff. I just need to authenticate them.

1:30:11 · jump to transcript →

Francis Lawrence

So that violin sequence that I was talking about used to take place right here. She used to come in here while Dominika was in the bathtub and tell her a story while she played the violin to cover up the sound. But we realized that we didn't need it. The president is furious about the loss of Boucher. Ciaran was also another great one to cast in this. I've been a fan of his for so, so long. And we were trying to get him for a long time and I think there was something with availability, and it wasn't looking good for a while. And then, finally, it worked out, and it was great. And he was kind of in and out a couple times. He didn't have too many shoot days with us, but he's such a fantastic guy and such a great actor. Have Matorin shadow her. If she is compromised, he will find out. The Americans will respond. Nothing we can't weather. And what of Dominika? I leave that decision to her uncle. Shall we tell the president you prioritized... the safety of your niece over the mission? So another one of the fun finds in terms of locations is this Vanya apartment. That blue stairwell that you saw earlier was actually the stairwell of that building. And the woman who exits the building as she enters was Maria, our production designer, another one of the small cameos in the movie. We used, I think, an apartment that had been turned into an office or something. and we brought it back into an apartment. But it had this great, really ornate, almost stained-glass lamp that was over a conference table that's up on the ceiling that makes it instantly recognizable, this place. It just seemed right for him. Again when you contrast how he lives versus how she lives with her mother, you can see they lead very different lifestyles.

1:48:26 · jump to transcript →

And your mother decided it might be best for me to let you know the news. The close-ups of Mitchum were done on a different day than the close-ups of Billy Chapin. When we examined the shooting schedule, it was rather weird the way some scenes were shot over two or three different times in the shooting schedule. They'd wait a few days and go back to it.

26:33 · jump to transcript →

restaurant. As the editor, Bob Golden, told me, we ate a lot of food, we drank a lot of booze, but we got the job done that way. I think the whole production of First Unit was just about six weeks, wasn't it? That's right, just about. 35-day shooting schedule, wasn't it? There's a line coming up here. She says, he was looking for love the only way you'd know how.

1:15:53 · jump to transcript →

Alan K. Rode

He would say, unless you're fortunate enough to have the financial wherewithal to replace a bad actor, you're stuck with them for the rest of the schedule. In an interview, Kubrick remarked about hiring the best actors, saying, there's little joy in trying to get a magnificent performance from a student orchestra, unquote. But there are no bad actors in any way, shape, or form in The Killing. The cast is absolutely brilliant.

3:10 · jump to transcript →

Alan K. Rode

Jim Harris knew that they couldn't make a movie of any quality for $200,000, so he scraped up another $130,000 from his own savings and borrowed the rest from his father. So the budget for the killing was $330,000 with a 28-day shooting schedule. What's interesting is Variety ran an August 3, 1955 squib claiming that United Artists agreed to finance the entire picture for $600,000, a story that is false.

44:33 · jump to transcript →

This sequence probably took it. I seem to remember it taking like three weeks. I can tell you. Oh, you have the shooting schedule right here. I can't believe it. I pulled this out of a box. I said I didn't even know I owned it. All right. Carnival. Homecoming Carnival. We shot it fairly early while they were building sets. I remember it wasn't that long into the. Yeah.

58:33 · jump to transcript →

It's just like, oh, God, have we got it yet? Well, you know, how long was the shoot? Days, let's just say, 66 days or something? No. It wasn't that long, 40? No. 36 days? March 10th. 36 days. January 28th to March 10th. The choir singing We Are The Champions.

1:26:00 · jump to transcript →

and give them time, give them air, give them space to be able to develop the script so that it is production ready. I'd spend my mornings, most of the shoot days, looking at Clive's script, looking at James' script and trying to put as much of Clive's lines and character motivations as I could.

42:41 · jump to transcript →

on a small budget and a fast shooting schedule. So you've really sort of set the bar high for what you're trying to achieve in such a short space of time. Well, it was budgeted by Graham Ford, who had just come off Brazil, as the line producer on Brazil. And Graham did a budget, and it was way, way over a million. And the producer said, well, we can't go ahead.

53:47 · jump to transcript →

My Question Initially To Jean-pierre Was

So this water stuff was supposed to take, max, how long? Cos they had it slotted for - what was it? A week? Was it a week and a half? And then it ended up taking twice or three times that long. I think it was two weeks on the schedule. For me this is what the movie was all about - the water. We met before the movie in swimming pools and learned how to underwater... how to use a hookah and how to scuba. It seemed like eternity when we were doing this, like we'd never get out of it. It seemed like we were doing it forever. This was actually the first thing we shot after we shot all of the underwater stuff. So this was the last underwater stuff that we shot. Yeah, this was the last of it, was setting up the sequence that took two and a half, three weeks to shoot.

1:08:18 · jump to transcript →

My Question Initially To Jean-pierre Was

It wasn't easy to find a good ending. The first one from Joss Whedon was very expensive, on Earth. I know the studio wanted to finish on Earth. It was the first idea. I know the studio wanted to finish on Earth. It was the first idea. But I knew from the beginning it won't happen because it's too expensive. I preferred from the beginning to finish on the spaceship. I know it was a little bit too close to the second one and the first one too. I think it was more clean to finish like this, more than to have an ending, very cheap, on Earth. And, at the end, I prefer this ending. But we wrote maybe four or five different endings and... I had a crazy idea with a car crash but with spaceships. It was pretty funny but, one more time, too expensive. Dominique, I remember I didn't tell you "Ron Perlman is going to kiss you." It was a surprise. - Yeah, it was quite a big surprise. My love story with Ron is ending. Very good. It was meant to have another ending. When we really started preproduction, the ending was on Earth. Jean-Pierre was not happy with the ending so there were several options and at the end Jean-Pierre shot a studio version with the two girls on the earth after landing. Initially the Betty was to crashland on Earth. Because the whole idea was to actually move the whole Alien myth down to a new level and leave a door open, which was Earth. Which you sort of get at the end of this one, but it's still very ambiguous. But in that initial script, it wasn't. The whole idea was that you've now landed on Earth by the end, the last page, and you sort of know where the next film is gonna take you. And the green-screen shot was actually the last bit of shooting from, you know, the sort of main production schedule. And it was Ripley and Call crashlanding. And they come out, and they just sit there. And in the distance is a city. And they come out, and they just sit there. And in the distance is a city. And they haven't gone to it yet, and this is all about Call, has never seen the Earth because she's a robot. The studio, Fox, was really keenly amused with the idea that Jean-Pierre was French and that all of his sort of French-ness could be tapped into. And one of the ideas, for instance, they had at Fox was, why not crashland the Betty somewhere near dunes or something where all you see is part of the Eiffel Tower rising out of the sand? I can tell you something to finish. For the French crew it was an amazing adventure, and it was the best year of my life. It was SO... We lived... We were living during one year. It was... a special... a very... It was an incredible challenge? Incredible challenge. And we did it. It was good.

1:47:44 · jump to transcript →

Len Wiseman

This was kind of a last-minute.... Once things got going, the schedule kept getting tighter and tighter... ...and days were getting chopped, and locations changing and all that... ...we had to, almost on the spot, think of a way to get rid of Kahn. There was this elaborate scene that we storyboarded, just no time to shoot it... ...so I did a little bit of a jack-in-the-box little moment here. I like that it goes completely quiet too. Yeah, that was good. The sound guys over... We mixed this thing in Germany... ...and he showed it to me as an option, like: "What if we just take all the sound out?" It's cool, because when you're in the theatre, everything drops out. It almost sounds like the projector stops.

1:48:25 · jump to transcript →

Len Wiseman

I don't think I'm gonna have an experience like this again. I mean, it did feel like, you know, a family... ...and that it was a bit like making a student film... ...where everybody was really passionate. Everybody was. It was like everybody's first... It was my first time playing a part like that... ...and Speedman's, and Brad's first time stunt coordinating. Wasn't it? Yeah, and first time, I think, doing second-unit directing as well. lt was a first time for a lot of people. I think Bruton Jones, my production designer... ...who I had worked with on videos and commercials and things... ...fight there, had not done a feature. And, you know, it was Danny's first... Danny McBride's first screenplay. And it was the first time for a lot of people. It was really special, and it was really, really great. Thank you for being so nice then... ...and such an asshole now that you've gone all Hollywood on me. No, I had, really... Just the support and everything that I had from everybody.... And like I've told you, it's because when you have... ...from the actors and everybody... ...when they're trying to make the best project... ...and they're really as passionate as you... ... you can kind of just put yourself in this bubble with the actors... ...and it helps take away the stress and nightmares you're dealing with... ...with the studio and the schedule and all that stuff. And it was such a great help. Forrest. So everybody, thanks again... ...to all of the 12 of you who are listening to this track... ...and we will see you again. We'll probably see you on Easter... ...because that's probably Mom Wiseman, right? Yes. Thanks, guys. We'll see you again. - Bye.

2:05:41 · jump to transcript →

Not that cursing. - Still makes me laugh. This kid... I swear, if Nial lived in Los Angeles... - Comedy gold. ...he would be on every sitcom in the world. He's a Star. - Every week, you'd just see him on different sitcoms, playing this exact part. I think he worked, like, six days for us, and I think we probably paid him about $130. It was $166. His character Bert, because we paid him $166, we began to discuss all expenses in terms of Berts as a method of payment. A very expensive dinner might be a Bert. Yeah, or like, "Oh, God, that's going to cost us two Berts." And it was-- One of the great things about shooting in Prague was cheap labor, cheap construction. Later in the movie, we get to the Vatican. Good labor and good construction. Fantastic. - The artisans are unbelievable. Great infrastructure, just great people that make movies. I mean, we put a crew together out of, you know, just really very few people from out of Prague and they were just fantastic. Especially because we'd never done this before. Our background was originally sitcoms. We all worked together on Senfe/d. Also Conan, Saturday Night Live, and so... I'll never forget it. I'm sorry. Bruce, the drummer of the band, has to sit next to Kristin and Matt and they all have to have their shirts off and Bruce says, "I don't know if I want to, because I have a rash." No, he said, "I'm just getting over the shingles." Shingles. That's what he said. He said it in front of Kristin. Kristin was like, "Oh, God, what have I gotten myself into?" I'm like, "He's joking, he's joking. He's a very funny musician." Without shingles, I promise. Actually, I remember we shot Mieke talking in English and in German, and we decided to use the German with the subtitles. We didn't think German would sound sexy or attractive, but she's Jessie. Somehow, when it comes out of Jessica Boehrs's mouth, she sounds sexy. Yeah, she's so warm and charming that even German sounds great. This is Jeff's favorite thing in the entire movie, that stupid jackalope T-shirt, which is not funny, but he swears is a joke. I don't think it's a joke. I just think it brings pleasure to those who see it. To you. - It's really a terrible T-shirt, especially compared to the many good T-shirts. This is actually-- I would almost... This is my favorite scene in the movie. This is the scene where the movie, to me, works the best, where these two guys were just sort of dialed in and their relationship... It helped very much that we shot this scene way toward the back of the shooting schedule. Yeah, if you look at the first bedroom scene where we already were, which is one of my least favorite scenes in the movie... Day three, we did not know where to put the camera. We did not get... We didn't take a wall out that we should have. It would've saved us time. We should've taken a wall out to get a master shot, a shot that allowed everything to happen and the camera to get it. We did not get that shot and got everything in little pieces and just then edited together the little pieces, and it just created... It took the entire day, which it just shouldn't have taken, and in this scene, which is basically a month and a half later, probably, we shot it... - Yeah. ...we knew which wall... We took the front wall out from when Jacob first walks into the room. Got our master shot, a really nice master. I think they were there performance-wise, in terms of their friendship. And, if I may, the jackalope T-shirt... - And the jackalope T-shirt... Also, it's sort of what we learned doing this movie that... The longest we ever shot in one location on this movie was three days, and this was probably the third day we were shooting on this set and we learned how to shoot this set. We definitely learned how to shoot the set. What wall to move and how to shoot it. The larger issue, I think, would be that I think any other... any person who had ever directed would've known, get a master. And so, an excellent lesson learned. - Yeah. I also think the actors were more comfortable with each other, we were a little bit more comfortable, and also we knew the set and we knew how to shoot it a little bit more. And that was one of the hardest things about this movie is, every day, we were shooting one, sometimes two, sometimes three locations, and you didn't have any time to learn each set and learn how to shoot it and what the easiest way to shoot it was, and as soon as you learned, you were done shooting there. - We had a location fall out, a Vatican location sort of fall out, which is how that other bedroom scene got moved up. And the initial schedule was sort of built to accommodate a little bit easier scenes with guest casts, things that maybe weren't as important and then that bedroom scene kind of got moved up and I do think it suffers.

14:17 · jump to transcript →

The other thing I was gonna mention... We're constantly behind in the mentioning. Part of the reason we ended up in Prague and actually ended up with Allan was because of Neno. - Yeah. Neno Pecur, who was Croatian. We hired him as an art director to scout Prague and to scout the real European locales before we knew we were going to Prague. Basically, he would go to Paris and go, "This is what it really does look like." Then he went to Prague and said, "We could do something like this here." And from his pictures, we used some of his actual locations that he took photos of and made the decision to go to Prague. And then Neno has worked with Allan for many years as his art director, and he helped us get Allan. The two of them, their team... They brought Bill... Cimino. Our set decorator. - Cimino. That's right. Just fantastic and along with the guys from Prague. I think it's now time to mention, though, at the robot scene, which was the first time... We've been writers for a long time and you sort of go, "Look, I think we know what this is gonna be. This is gonna be really funny. It's gonna be a slow-motion kung fu fight scene between two people being robots." You write it and it seems funny. There's the old joke about the writer writes "Rome burns," and the director has to realize that. We were on the spot here because it was easy when we wrote it to just hand it off, but now we handed it off to ourselves. Actually, this is one of the things... - At one point, we cut this, actually. At one point... - We cut it from the script. We talked about cutting it. We were afraid we didn't know how to realize it. We just were like, "What is this? This could be bad." Left it in for a table read. - We left it in for the table read. And it got such huge laughs at the table read that we realized, "We gotta at least try and shoot it." We then initiated a worldwide search for a robot man. This is J.P. Manoux, who's an incredibly talented actor. We found him here in Los Angeles. Yeah. We looked at all these mimes... We looked at real French guys. - ...weird acrobats, and French guys whatever, and, of course, a guy from LA who was actually a friend of a friend and was in the Groundlings, of course, ended up being a really good guy. He is just outstanding. - And he came in with this ability... I mean, a lot of what you're seeing, like him laughing and just his attitude as a French guy, was in his audition. We were also very lucky that Scott... - Scott, exactly. ...knew how to robot. I guess Scott grew up watching Shields and Yarnell... No, no. J.P. - Was that J.P.? Scott had an acting teacher... - Who was in the Barney costume. Yeah. - Okay. And we went there on a Saturday to basically work it out. And we had blocked off an entire Saturday. We choreographed the fight with little bits of Enter the Dragon and some Matrix in about... Twenty minutes. - Yeah, like, 20 minutes. And the first time we did it in Our crazy wide shot... because we knew to get a master... the crew laughed, and we were like, "Oh, okay." It was also-- This was pretty early in the schedule. And I think it was maybe the first time the crew thought, "Okay, these guys actually know what they're doing." Like, "This is something we haven't seen." Wrongly, but they thought that. - But they assumed it.

29:59 · jump to transcript →

John Cameron Mitchell

And it makes you a little like, ooh. I was furious, because they didn't tell me they were taking it. I could have told them that the schedule was being pushed back. And meanwhile, you guys, do you all have hard-ons right now? What's going on? They're not just rosy-lipped, they're flushed, sweating, and their acting in that is highly...

34:51 · jump to transcript →

John Cameron Mitchell

We had a wonderful mixer too, Laura Hershberg, who works at Skywalker, who did the mix for this, and also mixed Borat. She must have slipped him that wizard sleeve joke. She's seen a lot of asses here. And I love this little transition that John came up with. This is a nice shoot day too, isn't it, Justin? It was.

1:25:44 · jump to transcript →

the whole time through it. There's no way around it. I mean, it is an uncomfortable thing. We actually tried to push the scene till just as far down the schedule as possible to the fact of like, can we please do this when we're doing reshoots? You think that's bad. Try cutting it for the husband of the wife.

37:03 · jump to transcript →

it's amazing and i think from this this point on this is uh this was second unit so brad you want to talk about this oh yeah um i had the uh penis digitally erased right there yes i um first time i ran that scene for len i ran it with a lady in red playing in the background that's right now this was that we this was uh um i think it was right in the middle of the the schedule that and that's that's

38:09 · jump to transcript →

Guys, what's it like shooting for 52 days? What's it like towards the end of the schedule? How rigorous is it? It was pretty nuts because what we would do is we would show up on second unit, talk with the second unit director, go over stuff, go to editorial for a few hours, and then, like, our day would start. And then at the end of the day, when most people would probably want to throw themselves in front of a large bus or something, we would then have to go. We had to do dailies and do visual effects dailies. Yeah, I mean, it was insane. It's quite grueling. I mean, and you don't get the two days off on the weekend.

28:28 · jump to transcript →

working out when the rain starts and trying to cross your fingers and hope that it wasn't going to, you know, Mother Nature wasn't going to ruin a night of shooting because there was nothing else we could shoot. You have these things in the schedule called cover sets that are set up and ready to go as a backup plan. So if you're, you know, if it looks like the weather report says it's going to rain, you go to a cover set. But once you've shot all those scenes out, you don't have those in reserve anymore. So you're...

54:45 · jump to transcript →

These scenes at Los Angeles International Airport were filmed after shooting was completed in Las Vegas. The film unit then shot the climax on an oil rig off the coast of California before returning to Pinewood, where the scene of Bond confronting Blofeld inside Willard White's penthouse was first on the schedule. The attendants who take Bond for a ride are played by Mark Lawrence, about whom we'll hear more later, Sid Haig, and Mike Valenti. The scenes were shot on a single day.

28:07 · jump to transcript →

wedding had to be done according to the schedule. I think it was two and a half days. And the sequence was not shot early in the movie. It was shot midway through. And I was in great danger of being fired. And we had a studio kind of henchman there who was constantly pushing. And it was like a very uncomfortable situation to try to do all this stuff very often.

17:41 · jump to transcript →

Filmmaker Paul Davis

And there was another moment that was supposed to go on to the end of that, that they didn't actually end up shooting, but it was in the script and it was on the schedule and it was tailed on to be at the very end of the transformation sequence. Another demon was actually going to be standing in the corner with the submachine gun and just completely blow David to pieces.

32:56 · jump to transcript →

Computer Simulation Division Richard Taylor

The MCP and its choreography, I think, was really, mostly, the work of Bill Dungan and Larry Malone. Mal McMillan and Art Durinski also contributed a lot to this whole sequence, but the software, the original software that was written by Triple-/ to create these sequences was one of a kind. And at that particular point in time, with the production schedule that Tron had and the massive amounts of CGI that had to be created, it was a major achievement by Triple-I and that group of people to meet the deadline and to make this particular picture come together.

1:26:20 · jump to transcript →

He asked one of the makeup people, it may have been Shauna Jabbour, a very quiet, shy, delicate little woman who drifted around in ballet slippers, to make up his fingers to look like they had severe frostbite and put the flesh gun back on. And then he complained to his director. Cronenberg looked at his discolored fingers with some genuine concern, but I imagine he asked if he felt up to finishing the shot. Anyway, Jimmy didn't let the joke detract unduly from the schedule, and the laugh re-energized everyone on set.

1:11:20 · jump to transcript →

Bill Paxton

Because 7he Terminator hadn't come out yet, there was the perception that Jim was somehow not up to the creative responsibility of directing a sequel to Ridley Scott's masterpiece. There was a lot of resentment, and really no understanding, or very little, of what he was trying to accomplish. We had people who were, I think, completely on our side - John Richardson in practical special effects, Brian Johnson in visual effects. There were people who understood Jim's vision, but there were quite a few people who simply looked at him as the know-nothing, upstart Yank, which drove Jim crazy, considering he's a Canadian. It was his right hand, his AD. The leader of the rebellion, the first assistant director, not only behind Jim's back but to his face would call him "Guv'nor" and roll his eyes, as if Jim hadn't earned the title yet. We were shooting very long hours and people were pretty frazzled, and by our standards in America at the time a 12-hour day is not a long day, it's average, but 12 hours at the time in England was a very long day, and there were times when we'd go into a 14-hour day. At a certain point our assistant director, basically, said: "We're not doing this any more." So we fired him. And he felt that he really should be directing the movie. He was a frustrated director. He had directed second unit before. I think he even had directed a small film. But he really felt that he was better qualified than Jim was to direct the film. He went to all the departments and some cast members and everyone walked off the set. It was the most difficult moment of my entire career, even to this day, trying to rally everyone back. In fact, we were able to turn it around so that the outcome of that mutiny was that we were united, after we resolved the issues, for the first time on the film and going onto the rest of the production schedule. We actually were a unified group. So it was an example of something good coming out of a really difficult situation. I remember talking to people and going "This is a wonderful movie." "Everybody's working as hard as they possibly can." And hoping that no one would lose the energy. Fortunately, because of how you handled it, it all came together. Because it was scary. It was very scary. We were at that point - what are we gonna do, hire a new crew? Not that the thought didn't cross my mind, but England was very busy. We didn't have the option. There weren't other key crew members even available. When you have no options, you make it work, and we did. This is probably my favorite movie of my career, and the only movie where I've experienced anything like what we went through. I will also say, on the positive side, of the English crew... I brought a handful of guys from the States. We started all our designs and our builds in the States and then built a workshop in Pinewood and hired all but a half a dozen of the key coordinators from my studio from England. And everybody worked very hard and did a great job. They were wonderful artists and committed and everybody wanted to do a good job. They just had slightly different work habits than we did. I was shocked when suddenly, at a particular time mid-morning, everybody would be gone. I'd go "Where is everybody?" They'd go "They're at tea." I said "Hello?" Just gone. The other thing is that Pinewood Studios at the time had an entire crew on staff that were assigned to a movie. Right now it's four-wall, which means you hire the crew you want, it's freelance. But you ended up with the crew that was assigned to the stages you were working on and there was no selection process involved. It made it really difficult because some people really were punching a clock. They didn't want overtime, didn't wanna do anything other than work an eight-hour day. Shooting this film in England wasn't just a culture clash. For me, it was also a transition from a non-union guerilla-filmmaking mentality, which started at Roger Corman's New World Pictures and continued on 7he Terminator, which had a non-union crew, to a union picture. And also the particular way that they work in England was very, very different, and so there was an adaptation to that. And, frankly, I thought there were a lot of people on the crew that were, to use a charitable term, comfortable, and that was completely foreign to me. I'd been used to working with young, eager, hard-core, dedicated film folks. They all had something to prove. But a lot of the people especially at the Pinewood Studios at that time were lifers. They had permanent employment. It didn't matter what movie they were working on. And they got pushed on us. If you did Pinewood, you had to use their people. It was a whole different mentality. So I pushed against that as hard as I could. If I hadn't, we wouldn't have got the film done on budget and on schedule, which we did. I know probably a lot of people there at Pinewood at the time didn't care for us, with our guerilla-filmmaking ways and styles - we were not polite. By the end there were a number of them that came to respect the fact at least that we knew what we were doing, which I guess is OK.

1:30:33 · jump to transcript →

Lea Thompson

Is that the refinery back there? Yeah, that's the refinery. And this set is the value of someone like Jan Kiesser, the DP, because we didn't know where to shoot it, and he just created and kind of manufactured this setting. I remember he spotted the car there and we dressed the back with the hubcaps and kind of created it instantaneously that day because we were stuck. We had lost... We didn't lose the location, but we changed the schedule, and we had to shoot this scene, and... Anyway, not that important. But again, I'm remembering stuff as I'm seeing it, and... The light's beautiful.

22:58 · jump to transcript →

You know, I hear it too, and it's very annoying. I wish you'd find the hooligan that's responsible because I am trying to read chapter seven again. I remember we shot this later in the production schedule after all these people had had a chance to be with each other for a while. It's important in a scene like this. It's huge. They were.

1:12:26 · jump to transcript →

you know, the journey that they took in the past week, and that now Charlie's sort of got the schedule down, that on a certain day it's pancakes, et cetera. So therefore he takes them to the pancake house, or a pancake house, I should say, and he knows the ritual.

1:56:25 · jump to transcript →

nice golden time of day. Yeah, I think the shooting schedule allowed for everyone had to be extremely focused, but there was time to get it right. And if a setup meant bringing a crane in, knowing the shot's going to begin static and rise, huge things like that opened the film up. Yes, and that was one of the things, because it does end up getting dark and we stay at night, and I always said I want to open it up and I want to keep it bright in the beginning and not be claustrophobic. But...

30:15 · jump to transcript →

early, early force of like, you know, running up and down the oak alley of the house and that sort of thing. So we were very blessed in how we scheduled the movie for the character to, for Tom to really get immersed in the character. And then when we finally got to the bench in Savannah, which was actually a little more than halfway through the schedule,

2:50 · jump to transcript →

This was the Sherry Lansing era of Paramount. And for a board of directors meeting, she brought Amy in, not saying that it wasn't a real gorilla at first. And so they're very, very proud of Amy. She's a big innovation. We'll get to how they did that a little bit later. This was an 83-day shooting schedule, which...

2:04 · jump to transcript →

Jonathan Lynn

shoot big and difficult scenes a little later on in the schedule when the actors know each other well enough and when the crew will be working together, but we had no choice. Miraculously, we shot this whole scene within a 12-hour period on the first day. And we had rehearsed it first. The actors were just wonderful, remembered everything we'd rehearsed. Whatever. It seems that our dentist friend here knows where Yimmy is. Oh.

25:41 · jump to transcript →

Commentary With Kathryn Bigelow And Jeff Cronenweth

It had all the nuances that he needed. And he would, starting slowly, move through the set with a level of precision. And then this is over a period of weeks and weeks. We didn't do this particular scene until later in the schedule because we knew we needed a lot of preparation for it. And then he would increase his speed

1:46:33 · jump to transcript →

Ted Tally

Of course the score takes off. This is something that Dino said, "You gotta shoot this, Brett." I was gonna leave this out because we didn't need it. Leave out him in his van. - He runs out the next time we see him. This is the only scene I re-shot. I made a mistake when I shot the first scene. Goes to show you the importance of blocking. I shot them all sitting down. There was no urgency. I shot it so soon in the schedule I didn't realize at this time in the movie, at the end of it, you need to have the energy... The only scene that was totally re-shot. - Totally re-shot. You got them overlapping their lines, which they were not doing originally. I got the pace up. I got the energy up. The truth is because this scene is a type of scene that at this point, you want to get to the end. And this is kind of... This scene was originally written in two parts with something else in between. You and Mark ran it together as one scene and made it shorter. He maintains the equipment for tape transfers. Would he have access to people's home videotapes? He has access to every tape that comes through here. Thanks for dinner, and thanks for letting me vent. Look, no problemo. Reba, listen, I Know it's not my place to say this... That's Frank Whaley, who I loved in Pulp Fiction and I'm a fan of. I've seen Swimming with Sharks that he was great in. This is the last character I cast. Yes, he was the last we cast. You had a hard time deciding how much we should like this guy and how much he should be a buffoon. And finally, of course, it was decided he should be a real regular guy. A regular guy trying to sleep with a blind woman. Who just was attracted to her. But not a jerk, not a fool, not somebody that you can just simply, easily dismiss. Again, it's wonderful casting for a very small part. It's a very small part that he made stand out. I don't know if you really felt for him when he got killed. Well, I did. I liked him. I liked the character. I heard some sighs in the audience. He's brash and everything, but he's not without feeling. You see in that scene he's concerned for Reba beyond being attracted to her. I remember calling you and saying, "You think he's sincere here?" I love calling Ted, because Ted, you know... It's very unusual for a screenwriter to be called on his cell phone from the director on set, I don't know if it's happened to me before, maybe once. Ted is my partner. You know, this came from Ted and also Thomas Harris. I went down and saw Thomas because I was worried. I said, "Ralph Fiennes is gonna Say, "What is Dolarhyde thinking here?' I don't know what a killer is thinking." But it was really all in the book. All the answers were there. That's the benefit of having a novel. It's going back and referring to that stuff and staying true to it. It was really helpful. You wandered around in the house while I was asleep, didn't you? What? The other night, did you find something odd? Did you take it and show it to somebody? Did you do that? D? What is it? What's happening? Sit still or he'll hear us! - Who will? He's upstairs.

1:43:35 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

I was trying to show you stuff. I remember it. I literally, I think I managed to wake up Frank. And we had to figure out a way to squeeze into the schedule because we're rushing to finish before Christmas. We have to wrap and suddenly there's a new scene to shoot. And I remember it caused everybody a lot of anxiety. But, you know, we managed to squeeze it. And I shot it very simply. I shot it basically in like two shots really. And the guys just did a few takes for us. And we did it in a couple of hours, you know. We shot it and squeezed it in.

1:21:10 · jump to transcript →

maybe like 15 seconds of the continuation of it on another place. But the incredible thing about Charlize's performance is she's able to maintain that same intensity or the same emotion, regardless of whether we filmed it at the beginning of the schedule, the end of the schedule. Sometimes we started at the end of the scene and picked up the beginning of the scene later on. That's very nice.

9:03 · jump to transcript →

That was one of the most difficult sequences in all the film. Yeah. I think this sequence, we took a lot of work in this sequence because it's a very, very intense action moment. In terms, also, of tone, because we also wanted to keep the realism always, but now we are assisting to a very genre-orientated sequence that is dealing with the helicopter in a very spectacular way, the infected, and it's mainly a chase. In a way, this moment is a kind of explosion in terms of tone and in terms... To deliver that these people are in danger and... and the war between the infection and the human beings is so tough, that's why the sequence that we are about to see, it's a clear... It's a war sequence, but with the introduction of the blood and the... and the, kind of, killing, which is, you know... Obviously, Harold Perrineau is not the real pilot in these scenes. We had a fantastic pilot... Yeah, called Marc Wolff. Marc was one of the pilots in the Vietnam War. And... - He's a legend. As we see here, he managed very well this crazy moment with the helicopter spinning around. This is a real helicopter. This is something that we need to say, because we only used special effects in the moment that the infected are killed by the helicopter, but these shots are real. And it was a very, very intense shooting, because we were shooting with two helicopters at the same time. Well, one other thing we have to say is Juan Carlos and I got sick in the helicopter. We vomited over London... many times. This shocking and very gory scene is one of the most polemic sequences in the film because it's breaking the tone of the movie. Now we are not in the realism, we are in something different. It's more surrealism than realism. Absolutely. I think that, in a way, we discovered that... As I mentioned before, the war, the terrible war between the infection and the people, and it's a moment of craziness which is necessary to understand this war. That was an idea we had on the run during the shooting, the idea of the collision between the infected and the helicopter. So, we had to imply and to experiment a lot. It was really difficult with the tightness of the schedule, so we had to work Saturdays and Sundays on this. Amazing work, from not only the CGs, but also the... special effects department.

1:13:59 · jump to transcript →

Francis Lawrence and Akiva Goldsman

identical floors. And we were very lucky with the weather because we basically jogged in and out of sets. You have to remember that the storytelling of this movie takes place over the course of a few days. So your weather had to be very consistent. So when we had weather that matched, we were outside. And when we had weather that didn't, we were inside. And we were lucky in the universe's desire or willingness to accommodate our shooting schedule. Number six. Next candidate for human trials. Hang in there, number six.

17:49 · jump to transcript →

I think in the very early draft... ...we actually started cutting her up. Yeah. And then we realized, but she's healing instantly... ...SO actually that will just be a problem. It'd be kind of comical. Cut, cut, cut. - "She's healing!" Also here we.... I remember we just had scrubs on them, but Monique... ...who did the costume, she made this Antigen Labs.... The scrubs. Yeah. - Yeah. They were special. Michael Ealy's big moment. The blooper gun. This is the first time that this gun is used on film actually. Is it? - Yeah. We're trendsetters. Yep. Yep. This big black one. - Yep. Parking Level 3. Doesn't sound menacing, though. Blooper gun. No. It sounds like a joke. - Yeah. But the gun guys, who are really cool guys in Vancouver... ...when they were talking about... ... there had been this convention in Las Vegas. A gun convention in Vegas, and I said, "I actually wanna go there." God bless America. Yeah. God bless America. Here's a shot while we're in... While editing... - Great shot. While editing, everybody hated this because it looked so silly. And James, when you came in, "I think it looks pretty bitchen." And it does. - I know. It's funny when you go through all editorial with gray-scale animation... ... approximating what people are gonna look like... ...and then you finally see it done... ... it transforms the movie. It goes from being really bad to go to very exciting. It's... Yeah. - That's a huge step. That's a nice step, though. I like it when that happens. I remember shooting this. Kate was like, "Where's the camera?" "It's right behind here." "Naughty. Naughty." And also, you know, seeing all the gray scale and stuff... That's why we didn't test the film because it's pointless. You can't see what it looks like. It does look silly and just like a bad cartoon... ...So there's no point in testing it. Because, you know, even we, who are supposed to be really good at this... ...when you see it all together... ... you know, the final product, so much happens... -.,.be@Cause... - Let's be honest. And James can speak to this better than anybody... ...but my recollection was that in the last week prior to delivery... ... there were still 200 shots you hadn't received. Easily. - Yeah. I'd walk into his office every morning and it was like... These are things... - "How is it?" What's it like?" "A hundred and forty shots left." It was Wednesday and we had to deliver it Friday. The studio was saying, "You have to deliver the film three weeks earlier... ...than you thought you had." - That was a blow. There are versions of the visual effects that are different in the IMAX version... ...to the theatrical 2D to theatrical 3D, the video master. It was all depending on what the schedule would allow for. We kept working until... ...we couldn't do any more. I'm very happy here. We never shot the reverse of the guy getting shot. And people were angry at me because I was directing this day. But it's because the effect is there. When the effect wasn't there, it didn't work. I Know. But I think that's cool. Because I think it looks very '70Os. - It's like, "Shut up. Just get out of my way." - Yeah. Yeah. Yeah. Shaft kind of cool. Then this is one of my favorite blood splatters. That one. - That's real, actually. That was beautiful. Real? Did we shoot those guys? - Yes. Yeah. I love them. I will now resign. Did we kill people? - They meant they had squibs. Selene has to make the choice, does she go back to her husband or lover? Or does she go after her daughter? - Yep. Or does she try to have both? - The dilemma. One of the things that we were struggling with... ...In this script was that we thought, "Can we have a good third act?" Because the second movie, it's... The setting is so beautiful... ... with its old castle and underwater and so on. And, I mean, we scouted so many parking lots, it was obscene. Yep. Another example of how we wanted to hurt her so much. Yeah, that was Alicia, our stunt double, taking that hit. She landed on it. She's insane. - Yeah, well... Here's a shot that we don't think Is silly. No. No. It works. - Works. At least we think so. I hope you guys watching this think so as well. But it was always like: "Oh, so only his hand will grow very, very large and hairy. This will look so extremely silly." But it actually worked. This is when I think homage is really in a good way. Yeah. - It's not a fucking steal. It's you take something from 7... ...and you do it... - Underworld 7. The drop through the floor, right? - Yeah. And you update it. - Invert it. It's inverted. So I think that that's... That works really good. Len's-- That was Len's idea. The whole-- It's very scripted... ...how he shoots it.

1:04:06 · jump to transcript →

So, I mean, yeah, we kind of, you know, we only got really... We all had, like, a weird window after we did You're Next, and Gareth was prepping The Raid 2 to kind of make this film, but then our production schedule kind of ended up getting accelerated, so we kind of rushed into this, but it all worked out really... I've actually had actual real supernatural experiences before, and they vary in terms of the way that you react to them, but I feel like the way that I'm reacting to all this stuff, especially when I'm like, God damn it, you know,

21:34 · jump to transcript →

Joss Whedon

Which, by the way, was another difference in this film than anything else I'd shot. I would stop and say, "Wait a minute, we're gonna get another setup. "We're gonna do something "just because I think we can and should and it looks cool." Generally, because of my background, I have shot exactly what I needed and nothing else. On this film, I shot everything I needed, and then some things I thought I might want. Which during shooting was very liberating and exciting, and because we moved so quickly, was not a problem for the schedule. During editing, interesting side note, it turned out to be the worst idea in the world, and I'm definitely going back to shooting only what I need because that amount of choice can sometimes, like a giant set, be too much. This is one of those cute little ideas. We're on a memory-head track, so that we can do four different setups in the exact same configuration and tell the story quickly. It's one of those cute ideas that takes half a day at least to give you 20 seconds of footage. So I tried to have fewer cute ideas after that. /'// continue to run variations on the interface.

19:50 · jump to transcript →

this is a shot that's not even at the opera house. We knew we needed the shot. We ran out of time in Vienna and sort of, this was another little bit of business that got put to another day that didn't exist on the schedule. And that list just kept getting bigger and bigger as the movie went on. Yeah, all of this, the amount of geography and story you've got juggling here, every little piece establishing that. Cause and effect. Cause and effect. I just have to say the thing that

28:39 · jump to transcript →

Jake Szymanski

I'm Jake Szymanski. I had the pleasure of directing this film. And I think I may have just ruined my mic, hold on. Is this... Did I ruin it? - Hey, hi. Is the mic okay? - Yeah, the mic's great. Just don't touch it like that. Okay, /'m sorry. - Yeah, that's okay. I was worried I might have turned it off accidentally. No, no, no, you're fine. Do you need water or coffee or anything like that? No, I'm so good. I've got water right here. - Do you... Okay. - What's your name again? I'm Margie. - Margie, thank you so much. Of course. All right. - Appreciate it. Let me know if you need anything. Okay. Will do. Thank you. Okay, oh, and please don't press any of those buttons. Okay, yeah, yeah, yeah, no, I'm sorry about that. Okay, that's okay. - Okay. Um... As you can hear, we are here on the Fox lot in the ADR room. This is where the magic of DVD commentary happens. So, into the movie. Mike and Dave. They need wedding dates. Here we go. Well, this is a fun little scene. We actually... The whole beginning of the movie takes place in New York City. But we shot all of this in Hawai. Fun fact. Downtown Honolulu. We doubled for New York. Which, I literally didn't think could be done. But, um, there were four angles. There are four angles and two locations that you can shoot in Honolulu and it looks like New York. Um, there's Zac, there's those beautiful, blue eyes just shining through. Um, this is a fun little scene. We got Marc Maron to come out to the island and shoot with us, kind of our intro to the boys here. Adam Devine, Zac Efron, playing Mike and Dave Stangle. And we almost cut this scene. We almost lost this. At some point there was a worry if we needed it, but I think it's really a fun way to set up that these guys, right what Marc says right there, they're funny, they're weird. We give them a win early on. We let them know they think they're awesome. And before their family kind of puts them in their place. Was it the hat? - I just found this over there. And here we go. At the opening credits. This was a fun journey, finding the song for this. We ended up finding this great song that we kind of remixed a little bit and redid some of the lyrics even before this opening montage here. This montage was great. Doing our Fourth of July, a family wedding and a 50th anniversary party here, shooting this. We shot all this, uh... The anniversary party and the outside wedding are the same location, actually. We shot all this down in Hawaii. Got all of our stunt guys in. A little secret about Zac Efron, very good at the trampoline. He did not need a stuntman or wires. He got on that trampoline and started doing flips immediately for camera. And Adam Devine was like, uh, "You need to strap me up "and swing me around with some wires here. "I can't do this." Um... Very uncomfortable, I remember, also, the straps on that trampoline. Um, we shot this right across from the hotel we were shooting at. This is, uh, the fireworks stuff there. Our wonderful crew here. Let's just talk about, uh, the Chernin company real quick. You see our producers here. Produced by Chernin, Peter Chernin. Jenno Topping, David Ready. Our excellent team of producers, who were with us on the whole movie. It was fantastic. Here's downtown Honolulu. We're trying to hide the palm trees. You put some stickers up on light poles, looks like New York. If you wear two, they break. It's an urban legend... - No, it's not. And here we go. Let's meet the family. Putting this together, it... First of all this is actually based on a true story, which is fun. The Stangle brothers are real and they really did get told they had to bring dates to a family wedding. God, look at this, look at this family we got here. Just the best cast we could have asked for. We got Mom and Dad here. We got Stephen Root and Steph Faracy. Stephen Root, man. How lucky are we to get these guys as Mom and Dad here. Stephen Root was, uh... We were already down in Hawaii and we were about to shoot and we still hadn't cast Dad. And we talked with a bunch of great people. And, um, I had to do a little Skype session to meet Stephen Root who I had never met. And, uh, we were just like, "You know what? If you can ever cast someone "who you think is, one day, gonna win an Oscar, cast that guy." And we were lucky enough that Stephen Root said yes to doing it. Here we go. Um, hey, Jake... - Mmm-hmm. I just want to interject here. Um... - Oh, yeah? Be careful of the heavy breathing. - Oh, Yeah, yeah, yeah. Yeah, I just want to make sure. I mean, it's not an issue yet, but... I was gonna Say, is it coming through or... Not really. - Okay. But I can sense that it might. - Okay. So just be careful. - Okay. No, fair... Yeah, okay. No worries. - You're doing great. Should we... So did we cut or how does this... No, we're not cutting, no, no, no. 'Cause we're still... - Oh, okay. Keep going. I can't cut. - Should we go... Oh, so this is a one... Continuous, got it. - This is a one, yeah. Yeah. Okay. Thank you. I'll watch the, uh... Watch the breathing. Um... Where are we here? Oh, well, we're doing our little reveal. Kind of the big idea here of our grandiose opening montage where the guys are kings of the world. We see the reality of those situations. Oh, this poor guy. Our grandpa. When we were shooting this, we were dancing... And I kept thinking that he was acting out the death scene too early. And I kept yelling from behind the camera, "No, no, no, don't stop yet. "You're still having fun, you're still having fun. "You're not dying yet." But he wasn't acting. He was, for real, getting too tired and almost having a heart attack. And I was yelling at this poor man. "No, no, no! Smile, smile! Be happy! Dance, dance!" And everyone was like, "Jake, this is real. He's actually having trouble." And I felt so horrible about that. But he made it. You know what? He made it and I can't wait for him to see the film. You can each talk to one girl. Um, uh-oh, guys. Here's the idea for the movie. Two dates. Um... By the way, we also have not talked about... Look at these two handsome gentlemen who you believe are brothers somehow. Are you insane? - Oh, you're kidding. I love these guys together. Adam and Zac had a really, really fun time. Um, I mean, when we went to Hawaii to film this, we filmed in Hawaii, and they were just... We were trapped on that island together. So even when we shot all day together we just had each other to hang out with at night. And, um, I think Zac and Adam got really, really close. Which helped the chemistry and the brother relationship stuff. Everyone got along really, really well. It was a lot of fun. By the way, let's talk about the wonderful Sugar Lyn Beard playing our sister Jeanie here. And also the equally excellent Sam Richardson playing Eric here. Um, God, she's so great in this. Sugar... First of all, her name's Sugar. And we shouldn't overlook that. That's an important factor when you're casting someone. Look for the most interesting name to be written somewhere. Um, she was one of the last people we saw in auditions. And, um, we weren't sure who we were gonna cast yet for the sister. And we didn't feel like we quite had it yet. And then she, literally, was maybe the last person that came in. And she came in to the casting office and just nailed it. Just... We were all laughing so hard. She completely became the sister. I think we did the audition with the Ecstasy scene and the horses scene. And, uh, she was just so, so funny. She walked out of that room and we immediately went, "Wow, well, that's Jeanie right there." Same thing happened with Sam for Eric, by the way. He was just so, so funny in that role. That's the kind of guy Mike is. So, think on that... This is one of my favorite Zac jokes of the whole movie here. "Think on that, Dad." Having us laugh. You can see Dave's little... Dave's at his little art station there in the apartment. And that's a little thing that comes back Iater that, uh, isn't... We're not really showing you very clearly there. And then here we have the ladies. Tatiana and Alice. Aubrey Plaza and Anna Kendrick. These two, who are actually very good friends in real life and had taken random trips together to islands and to beaches in Mexico, it was really fun to put these two together. And, uh... And have that kind of built-in chemistry going in here. He's already paid. God damn it! But a lot of green screen taxi shoot that we did. You should kick us out! - You should kick us out of this cab. Little bit of a hustle on the cab driver here. Three more blocks up on the right... and then kick us out! The Apple Pay bit I really, really liked. We came up with that on set. I think that was a pitch from Andrew Cohen, one of our writers. Andrew Cohen and Brendan O'Brien... I got a good idea. ...gave us a wonderful script to start with here. The writers of Neighbors, Neighbors 2 and upcoming, The House. Um, very lucky and happy to meet and work with those guys on this. Really funny stuff. And, uh, they would also just send in new jokes every day. That's kind of the way we did things, is we had the script and then me and the writers and other on-set writers would just bring a bunch of new jokes every day to pitch and to try. And so we would always play around a little bit on-set. Jake Johnson. Your little buddy is shit-faced. Jake Johnson, who we said, "Why don't you just come to Hawaii for a couple days? "And to do that you have to be in a scene in the movie." And he said, "That sounds pretty good, man. "That's... All right, yeah. I could do Hawaii." Um, and that's literally how we got him out here. We said, "I know Jake a little bit." I said, "Hey, if I could bring you out to Hawaii for a week "would you shoot for one night?" Boom. Done. Because it's my right. Playing Ronnie the boss here. Look at these, look at these, just New York rat women here that they're playing. The hair, that's a wig we have on Anna, which was really fun. Hey, Jake. - Yeah? Um, I just want to say if you don't have anything to Say... Mmm-hmm. - ...then you don't have to say anything. You... - Does it sound like I'm... Oh, just calling this "rat women" is a little... Oh, I wasn't... Okay. - Just... I didn't think I was stretching... - Yeah, no, it's fine. -/ just want to... I just want... - Are we still recording? You're doing great. What's that? - Are we recording right now? Yeah, yeah, all this is... Yeah. - Okay. Yeah, that's what we're doing. All right. I just... - Right? Yeah, I just didn't... Okay, yeah, I just... Yeah, I'm just... It's very clearly your first time and it's... It is. - /'m just trying to help you out. Okay. No, I appreciate... I definitely want... - Okay. If you have any tips or... - Great. I just feel like I'm not doing the comments here... Okay. Okay, sure. So I should get back to this. - Of course. Yeah, yeah. Just keep breathing, and move through it. Okay, I think... Okay. - Okay. I didn't... 1... Thank you. I appreciate it. Okay. - Thank you. Okay. Um, we're in the apartment. I'm tired of living like this. I don't know if I have anything to say about this. We've got a great little package we're selling here, man. A week in a tropical paradise... with two fun-loving, yet surprisingly well-read bros? I'm just gonna talk. Um... We got the boys here. So the ladies in the apartment, first of all. These were both sets that were built in real locations, downtown Honolulu. Um... We found spaces for the boys' apartment, girls' apartment right around the corner from each other. And then we built these kind of walls up against the real windows and built out our little apartments here. We met this couch on Craigslist. This was actually the scene, this scene right here, was one of the earliest scenes that we had worked with and that we shot for the chemistry read. We did a little chemistry read early on before we ever got into production with Adam Devine and Zac Efron. I think Zac was shooting a movie in Atlanta. We all flew out there and did a chemistry read and this was one of the scenes we did to see the brothers together. And, uh, obviously it was great. And we loved seeing Adam and Zac together. And, uh, so this is one that had kind of... We actually shot this... One of the last things we shot in the movie. Um, but they had had it in their mind for six, seven months by that point. I love the... We got these girls together, really, really fun. This was a last-second shoot we did just to get a little sense of the ad going viral and going around the world. And we got all these great performers, all these great actresses to just come in and do little cameos for that little thing here. You guys want to go to a wedding? Got a little classic date montage here. All the dates here we cast out of Hawai. This was all local casting and we found some great, great people. Those twins are actual professional gymnasts in training. And they're twin gymnasts who are very good. And luckily they were also great at acting. We got them in there. We found all these... Met all these great people. This is my buddy Bob Turton. Um, who, uh... We go way back. And, actually, we did not... Again, we did local Hawaii casting and I said, "Man, I got this bit I really want you to do. "But we're casting locally." And he just hopped on a plane and came on out. And said, "Let's do it." And Bob is one of the funniest, funniest guys. Uh, I went to college with him back in the day. And we've done some videos and shorts together. And I was so glad he could come out and be Lauralie, as I believed, what we named his persona of this guy who's in such a bad period of time in his life. He decides to try to pretend he's a girl to get this date from these boys. What did you say? - Nothing. Sounded like you said... None of this... Do you wanna fuck? None of this was scripted. None of the entire date sequence was scripted. I think the script just said they go on a bunch of dates. So we really had a lot of fun playing with this entire sequence with everyone who came in. I think, in real life the Stangle brothers ended up on... What was it, Ricki Lake? I know they ended up on, uh, the Today show. And maybe also Ricki Lake. And we got... The ad went viral. We wanted to make it a little more current. We got Wendy Williams. We got her to come out to Hawaii. We actually filmed... Even her set, we faked in Hawai. So we really did everything out there. Got to thank the Hawaii Film Board. Getting to shoot out there. It was fun. ...fo go with us to Hawaii for our sister's wedding. And I just want to reiterate... we're footing the bill for this because we're gentlemen. Free trip to Hawaii? I'm awake! Come on. Craigslist. - What's up? That's where you go to buy old patio furniture. Is there any, um... Excuse me. Is there any... ls there any water? - What's that? Is there water in here? -/s there water? - Yeah, there's... Yeah, we have water. - Is there any... Can I get a water? ls there any way to get a water? - OA, sure. /'Il... I asked you at the beginning. You didn't... You said... I know. I didn't realize. I'm sorry. I'm just... Now I'm thinking about whether I'm talking too much, based on what you said earlier, and I'm getting nervous. I think it's just drying my throat out a little bit. Okay, yeah. No, that's fine. I'll go get you water. I don't need you to get it if you can't... /'m the one working here. So... Okay. I... You can tell me where it is, I can get it. No, you have to... You're the director. And you have to do the commentary. Um, okay, I'll be right back. All right. Sorry about that. - It's fine. Thank you. You need to get over that, once and for all. Oh, man, I feel really bad asking for that water now. Oh, there is a water here. Hold on. There's a water on the floor here next to my desk. Okay, here's your... I actually found one. There was a water... There was a water down here by the desk. -/ found... - Yeah. I think I brought this... - Did you not look around you when you... We gonna go to Hawaii! Um, sorry, I just found... I think I brought it in at the... When I first walked in earlier and I forgot. Right. Okay, well, here's another one. We don't look like nice girls. Thank you. Yeah, I guess I haven't showered in a while. Oh, man. Thank you very much. I really do appreciate it. Yeah, of course. - Okay. We're gonna look respectable as fuck. Like nice girls. "Like nice girls. Like nice girls." This was actually, um... It's like that Jesus rag! "Jesus rag," one of my favorite bits. Nice girls was actually, um, an early studio note. I remember the studio coming in and saying like, "We feel like we just need to say, like, 'Let's push the nice girls angle.' "We should have the boys get told they need to bring nice girls. "And the girls need to look like nice girls." And it really worked. We ended up taking that and hitting that. And it's one of those great notes that really helps simplify and clarify a thing and everyone gets exactly what we're doing. So that's why you hear "nice girls" a couple of times. That was actually one of the earlier studio notes that I thought was a great note. That worked out a Iot. Ultimatum. - Well, we gotta figure something out... The old tomato joke is a joke that early on I was told, "You know, you can cut this joke. You don't need that joke." And I said, "No. This joke is what the movie's about." Not really what it's about. But the vibe of the movie. I fell way too in love with the old tomato joke. And I think our first cut of this movie, the editor assembly of this, was about five hours long. Because we had done so many alts and so much improv. And they just put everything in. And, I think, when I showed my producers one of the three-and-a-half-hour cuts that I was like, "You know, this isn't a real cut. "This is just kind of everything we're working with." They were like, "I mean, you can lose so much. "You can lose this. You can lose that. You can lose the old tomato joke." And I was like, "No, no, no, not... All those other things, sure, "but the old tomato joke we keep." So you can imagine that joke in a three-hour thing that's way too long. And, uh, well, it ended up in the movie. As I predicted. Anna had a really fun, uh... We had a lot of fun with this. There's a lot of stuff on the DVD, deleted scenes and bit runs about other lies she does here. This is a really fun reveal. See these girls in these nice dresses here. And coming up, we've got one of our first big stunts of the movie. This was always really fun. We had a great, great stunt coordinator, Gary Hymes, who did all of our stunts on this movie. He did the stunts for Terminator and Terminator 2 and Jurassic Park. And he was great. So any time we had something like this, with getting hit by a car... That's a big stunt, but it's always really fun watching the audience watch this. And this is like one of those moments early on where I think it clicks in like, "We're doing this kind of movie. We're doing, like, a giant car hit. "And she's perfectly okay." It just sucks you right in. This was really fun to shoot. This is, again, downtown Honolulu. Outside of the one bar we could fake as New York. And if you look very closely, I shouldn't even say it, people will hate that I say this, the effects guys, there's a split second shot when Tatiana hits the car from inside the car looking out the windshield at her body. And in that shot, it only lasts a couple frames, and it's a blur, but there is a palm tree. That is the one palm tree that's in our New York footage. Um, but obviously it's so fast no one sees it. Are you okay? I am now. I saved her life! - She's okay! She's okay? - I saved her life! Thank you! I think, I'm pretty sure a lot of this, the just yelling, "I saved her life," and a lot of the yells, that was... Adam can go very hot. And Adam just added a lot of that in and it was so perfect. It's really fun to just tell Adam like, "Hey, go nuts on this one. Get excited." And he will. He can just go at 100% all day long. And it is the most fun thing to watch. So hard! This is always a really fun scene for me. This is like, when we did the editing, it was kind of always like, "Let's get to here faster. How do we get to here faster?" 'Cause it's really just seeing our four leads all together for the first time. And see it play out. See the con of the girls play out. See the boys falling right into it. So this was always kind of like, especially in editing we realized, "This is where it starts to feel so fun. "Let's just get here as fast as we can. "Let's get through all that other stuff." Got two waters now. It's actually quite nice. We can hear all of that. - Hmm? You drinking. Oh, I'm sorry. SO sip quieter? "How's the hedging coming? You been hedging? You hedged much?" Yeah, we're picking that up. - Picking that up still. Corporate greed, bailouts. Should I, should I cover... Does this help? On the floor of the NASDAQ and the U.N. Um... If I cover the microphone with my hand, does this help? That makes it worse. - Okay. Sorry. Um, just try not to drink anything. "But what I do have..." Just my mouth gets a little dry, so... It's not important. Uh, anyway. Um... "Skills that make me a nightmare..." Zac nailing the Liam Neeson impression in this. You may notice Zac Efron throws out a couple great accents in this movie. He's got the Australian at the bar at the top. He's got Liam Neeson here. He's about to have all of this different liquor bottle drawings which all have a different accent. And he added a lot of that in in a great way. He does a little research for each one. And he nails each one of those accents. That's a little post joke we put in. Little post image. Little ADR joke from Zac right there. A lot of dick jokes in this movie. Not gonna say I'm proud of it. Not gonna say I'm ashamed of it. Just gonna say there's a lot of dick jokes in this movie. And it is what it is. Done. Some of them are kind of smart. Maybe a couple smart dick jokes, maybe not. Maybe I just tell myself that to make myself fee! better. I don't know. What's the hardest thing about being a teacher? I don't know. Oh, um... The hardest thing... I think this was the whole... We did a whole run here with Adam and Aubrey that was just kind of, none of that, was not in the script, either. We're just like, "Let's check in with these two." And we Set up two cameras. We did a lot of cross-shooting on this movie. And we just let people go through 10 different ideas. And try a bunch of jokes. God, Anna's so, so funny here. Matt Clark, our wonderful DP on this, who... I know! I said, "I got to warn you, I want to cross-shoot a lot of this movie." And cross-shooting's where you have two cameras pointing opposite directions, so you can capture both people talking to each other at once. And some DPs won't do it 'cause some DPs, they just want to perfect the light facing one direction, 'cause it's the lighting that, really, you have to tweak. And you start worrying about compromises if you cross-shoot. But Matthew Clark took that challenge and ran with it. And we cross-shot so much on this movie. Um, probably even more than I needed to, I had him do. And he just did a great job with it. I love the look of it, that it doesn't look too Photoshop, airbrushed, perfectly shiny and bright on everything. I like that it kind of feels a little real world-y. I think Matt did a great job on that. ... like we're talking it over... like we're not sure if we wanna go or not. Oh, like... So fun to see Anna do these big jokes. I feel like... This was the fun part for me. I feel like I've never got to see Anna Kendrick do this kind of stuff before in a movie, ina hard R movie. Yes! And, God, I just think she really nailed it and knocked it out of the park. I think, Aubrey, who's so great, and you kind of expect that she can do it. And I think it was a little more like, I think, for the audience it's a little more of seeing her in a new kind of movie. Which I think is really, really fun. Here we are, shooting at the wonderful Turtle Bay Resorts. Um, on the north shore of Oahu, Hawaii. We turned into our little fake resort. A funny story about this hotel, this is the exact hotel that they shot Forgetting Sarah Marshall at. And that movie takes place almost, the whole thing in that hotel as well. So, first of all, we did a lot, me and my DP, we did a lot of like, "Let's make sure things look different. "We're not copying the same locations and shots of Forgetting Sarah Marshall." The other funny thing is, in the movie Forgetting Sarah Marshall, I'm pretty sure they call the resort Turtle Bay. Say, "Welcome to Turtle Bay." And it was an advertisement for Turtle Bay in a way. Turtle Bay was like, "Yeah, we'll give you a better rate on the room if you mention our name." So, when we started scouting and decided to shoot the movie in Hawaii, we were like, "We can do it at Turtle Bay. "We'll get a little discount on the locations." And the management for Turtle Bay read our rated R script and they were like, "Absolutely you cannot say this takes place at Turtle Bay. "Please, please don't show any of our Turtle Bay signage. "We don't want any of our guests to think our masseuses would do this at Turtle Bay. "We don't want to think we condone..." And we were like, "Oh, my God, can we shoot it?" They were like, "Yeah, please shoot here. You just have no discount." And, no, I mean, they were a lot of help. But we had to cover every sign that said "Turtle Bay" and make our own. And make our own logos and hotel names. And I always thought that was pretty great. And, you know, there's some stuff in Sarah Marshall, I think that's rated R. I mean, there's a penis flopping around in that movie. Hey, Jake. - Yeah. I just want to say you're doing great. Okay. Just calm down. - Okay. You've said "penis" and "dick..." - And, again, I'm just... About 10 or 15 times... - Yeah, yeah, yeah. In the Iast, like, five minutes, so. I don't think... I think it was just, kind of, the once. Oh, no. It was many, many times. Okay. And just, Margie, I'm sorry, but... And, again, is there any way to go back now to where you cut in and rerecord from there on out? Um, oh, you know, that's a great idea. Why don't I just forget that this is my job and that I know what's going on. And why don't you come in here and you take care of all of that. No, obviously I'm not... I just presumed that if you... Can only I hear you? 'Cause I'm... We're recording right now, right? Yeah, we're recording. But, you know, what you do when you presume, you make a... I think that's the wrong word for that phrase. So anyway, I just want to let you know that you're doing great. And this is really good stuff. Just remember to breathe and relax, and just enjoy it. Okay. I just want to do the commentary. Just kind of run it through and... Sure. - I just feel like I've heard a lot of... I've listened to a lot of commentaries. Have you? - Yeah. I think... Yeah, what do you mean, have I? That surprises me. Why does that surprise you? I mean, it's just, you know, you're doing great. ...With Alice. Well, I just don't think I've ever heard the sound engineers coming in during a DVD commentary. So I'll say that, as well. Well, you know, normally we don't. But if it's someone who's just kind of aimless, we'll try to help out a little bit. Um... So, my commentary has been aimless? It's been... No, it's great. It's so exciting. I mean, I don't even see how... Even if it was aimless, I don't see how telling someone that helps them. 'Cause now all I'm doing is thinking about if this commentary's aimless or not. Okay, so we're in a new scene, so if you want to... I am a teacher, yeah. Uh... The key to teaching children is repetition. Uh, okay. Uh... The meet and greet. Uh... I think I missed talking about the whisper scene. Another good dick joke in there. And, uh, this meet and greet, very colorful, very poppy. This, uh... sorry, I'm just really in my head now about this aimless thing. And I feel like it makes me sound more aimless. No, no, no. You're doing great. That was just constructive criticism, you know. Aimless rambling is what you're doing. And that's constructive, honestly. It doesn't. I'm trying to find the constructive part of that criticism. Um, the part where I said, "Aimless rambling is..." Right. So, okay. Like, build off that. You know, I'm good. I'll take, I'll do... I'm okay if it's aimless. -/'m good from here on out. - Are you sure? Yeah, I'll just be good from here on out, okay? All right. I'll just keep him on a leash. And there's no way we can Start over or go back? Unfortunately there is no way. This is set in stone. Okay, Sure, sure, sure. Uh, all right. So, listen. This was our first day of filming. And, uh, filming this meet and greet here. And, uh, there was a lot of very specific things that happened in this scene. And, uh, uh... God, this is so fucking aimless now. Jesus. Talk about the lady in yellow. If this is bad news, I'm gonna eat your ass. Sorry. - Okay. The bridesmaid, Becky. That was our horrible bridesmaid, Becky, played by the wonderful Mary Holland. Um, yeah, I should talk about everyone in the scene. Mary was great as a bridesmaid. Mary actually... I know Mary from the UCB world out in Los Angeles. And I think I had her come out and audition for, like, five different roles in the movie. I think it was kind of like, "I don't know how, where you're gonna be in this movie. "I just know I want you in the movie." And, um, we were lucky enough to get her. This whole scene, this whole sequence, by the way, of the meet and greet was our first day filming. And if there's any tip I can give to a first-time filmmaker, it is this. This was one of the biggest mistakes I made on the movie. Don't have your first day of shooting on your first studio movie be a giant meet and greet scene with 100 extras and seven main characters all in the same scene. And all of the actors on their first day. And everyone feeling each other out. And also, outdoors in Hawaii, where the weather changes every five minutes. lt was sunny. It was cloudy. The wind's going crazy all day. It was a real trial by fire at the top of this shoot. We spent our first two or three days out in this location with so many people. So, if you're out there making something and you want any tips, ask for the schedule, first day, first day you're shooting, to be indoors, two guys eating pizza. That's really the best you can hope for. Just two people sitting at a table talking back and forth. Maybe one person. If you have any scenes with just one of your actors in there, get going that way. Everyone's getting to know each other. You're feeling each other out. You're figuring out how to work with the crew. The actors are warming up to the characters. You don't need 100... You don't need to figure out where to put 100 people and how to get seven of your leads in there. That's crazy. You can do that week two. You can do that week two on a movie. That was the one crazy thing. But I will say, after we did that day one and two, we were kind of ready for anything for the rest of the shoot. Where are you going? Hi! So you know what? I guess, do it. I guess, do do it. I guess, do shoot with as many people as you can. 'Cause it kind of all felt downhill from here. Um... I'm fine. Yeah! Let's just forget about the past... God, yeah, we were out here for a couple days. This is, again, at the wonderful Turtle Bay, which I highly recommend to go out and stay there with you, your loved ones, your family. Um... I mean, we're drinking 'em like they're shots... but I don't think... But the wind, I mean, I hate to even bring it up, but if you just watch these scenes and watch people's hair or the backgrounds, you will see that the wind was just going crazy. So many takes where just the wind went in front of people's faces that we're trying to cut around here. So many shots, some shots are in the sun, some shots are cloudy, that we've spent days in our color correction, trying to even out. It was great. This is the wonderful Alice Wetterlund who plays cousin Terry here. You may recognize Alice from Girl Code and Silicon Valley. I swear I was watching Season 1 of Silicon Valley right when we were casting this, and saw Alice. And then she came in and read for us for this. And, oh, my God, she's so funny. Her and Adam in the scene, we have... There was just a ton of footage on the floor of these guys playing back and forth here. And she really became cousin Terry a little bit. Anytime the camera was on, she would end up being a very method actress, which I really liked. She really scarily became this crazy, rich asshole of cousin Terry. Very aggressive here. I like this little offensive sex song here. By the way, the real Mike and Dave Stangle right here. This is their cameo. They came in, they came down to visit the set. We wanted to try to work them in. And got one of the better jokes in the movie there. The old chlamydia joke comes out of those guys. And why do you think you're such a hotshot? Um, the real Mike and Dave came to set and you think maybe the antics that these guys are known for in their book or the story of this movie is a little overdone. They, pretty sure, showed up drunk to the set. They had already been drinking that whole morning. And then after we shot a couple takes, I was like, "Hey, you guys, if you could try to stand here more "and look this way more... "Try this." And they were like, "Hey, yeah, sorry if we're screwing this up. "We are just gone right now. "We've been drinking a lot of the wine, too, "In these cups that are being passed around." And that's not real wine. Like, the trays that the waitresses have in the background of that scene are filled with either rancid wine or just dark liquids to look like wine. And the Stangle brothers immediately got on set and started grabbing everything that they thought was a real alcoholic drink and downing it. So, they're the real deal. That is a true story. From the meet and greet. Well, from before that. One second. Um, Tatiana and Alice here kind of letting loose, letting their guard down a little bit after a long day of pretending to be nice girls. And then poor Mike just still trying to push it way too hard here. ...do whatever you wanna do. Being a little bit inappropriate. 'Cause that's what we were doing before. They've got Cockbusters. We had a fun run there of different porn names for Anna to try while we were shooting that scene. Which was very fun. She says the craziest stuff in her sleep. It looks like his dick is gonna pop. It's So veiny and hard. This is also... My student. I'm doing a Skype class session... This is one of the scenes, I think we have an extended version of this scene on the DVD. There's a lot of... He walks, if you notice, Adam walks up to the door with a bucket of ice and we used to have a lot of dialogue about that ice that is no longer in the movie. It's fun when you're shooting, and especially for me, I think, first studio feature, ... you are getting an A plus. I just wanted to make sure I got all the possibilities. Try a bunch of different lines. Try a bunch of jokes. And then you get into that edit room, and you are just lifting as much as you Can away as possible. Just trying to make it go like, find the joke, find the one that works best. Boom, move on. Boom, move on. Keep the story moving. This actually, this whole sequence of the girls here is from a cut scene in the movie. It's from the bocce ball sequence, which they even used in our trailer a little bit. And it's a great sequence that's on the DVD. And this is actually from them walking up to the bocce game. And that sequence is cut. But we still had to somehow capture the vibe that these girls were in their own element. And being themselves a little more and deciding to have fun. And so we ended up using that shot of them walking up the beach and stealing drinks by themselves before they join the group to kind of get that idea across a little bit. But it's part of this whole other sequence that's now just a DVD special feature. Much like this commentary. Jake, this is the DVD. "Welcome..." What? "...to Jurassic Park." Um, you just keep saying "on the DVD." This is a DVD special feature. But you could just say "on here." - Right. On here. Well, yeah, but it's not on here, the commentary track, it's... Do you currently know what this is for? Why do you need to tell me that, though? Why are you even telling me that? l'm sorry, Margie. - You're fine. I just want to make sure you know what's going on. I mean, does it really matter if I say "on the DVD" or "on here"? If people are watching it, the worst that happens is it's a little redundant to say "the DVD." Okay, if you don't care about maintaining any reality or like... What are you talking about, "maintaining reality"? Why are we having this discussion right now? Look, you know what? You're right. I'm just, I'm... What am I talking about? I've just done a million of these and... No, that's not... I know you've done this a lot. That's not what I'm trying to say. Okay. Look. I forgive you. Okay? I forgive you. This is great. I'm having a lot of fun. You're doing so well. This is where the dinos ran in the prairie! Really? Yeah. I'm a T-Rex. I'm coming to get you! Okay, thank you. Are you crying? - No. I'm not crying. What? Just, thank you. Wasn't this where Jurassic Park was filmed? This scene right here? Yeah, this is actually where they shot Jurassic... Yeah, how did you know that? Yeah, this is where they shot Jurassic Park. Yeah, I can tell. This was the real location where... And I think they shot some of Jurassic World here, too. And by the way, so fun to get to go shoot where they shot Jurassic Park. That's like a little kid dream, to go shoot in that location for the joke of ATV-ing where they shot Jurassic Park. This is also, this ranch, by the way, Kualoa, is where they not only shot Jurassic Park and Jurassic World, it's where they shot... They have signs up all over for movie tours. It's where they shot Godzilla. It's where they shot 50 First Dates, part of it. The most excited I was by a sign was there's an area that's apparently where they shot part of the movie You, Me and Dupree. So, we join a pretty special lineage of movies, all the way from Jurassic Park to You, Me and Dupree that have shot in this beautiful location, when shooting in Hawai. I still think we should go around. She just got some serious air, bro! Um, this sequence was a blast to shoot. And, again, the stunts and stunt drivers that we brought in on this were great. And we had to find the smallest, the best smallest ATV stunt riders in the country. Yeah, baby! To match, to body-double match the girls who are the ones who are obviously good at this and doing the tricks. So, that is a male ATV stunt driver. And one of the smallest male stunt drivers we could find to double for Aubrey Plaza. And same goes with Anna Kendrick. Um... And I think there was, we initially had a female ATV stunt rider coming in and I feel like something happened with her schedule. She had a show to do, she had an X-Games-type event to go do. And then, so she dropped out, and so we had to find, um, small men. Small men with... Your turn, Mike! Don't be a pussy! ... with, uh, adrenaline junkies, basically. I'm not gonna do it. Um... Mike, it'll turn me on... I think the only disappointing part of this scene was for Zac. He just wanted to ride that ATV so bad. Zac is a guy who already knows how to ride ATVs. And was so into being on that ATV. Like, every time I said, "Cut," he'd be off zipping around, driving around, going up the mountains on ATVs. And, literally, it's like Aubrey and Anna get to drive this ATV, and look like they're jumping it and have little shots like this. Where they're all actually on it and driving it. Adam and then Aubrey did this. And poor Zac is the only guy, because Dave is the character with enough common sense to not do this jump, that couldn't go zipping around on this while we filmed. And that was, I think, the only, only bummer of shooting this scene, was for him. Oh, boy. Oh, no, God! God, this sequence was originally... A lot of people comment on how long this jump is, how long he's in the air, how long I stretch this sequence out for. And I just want you to know, originally, it was another 25 seconds longer, that Adam was just screaming, floating down on her. We originally had it so long. But this is actually one of the scenes that changed the least from our rough cut of the movie that was three hours long to the final version. That ATV sequence was kind of always in that form. Our little transition here inside, off the blackness, onto Mary's wonderful, horrified face. Your face is making me think it's gonna be bad. This is one of those scenes that where if I'm really analyzing the movie, it doesn't make sense if you think about it. But you're having so much fun after that surprising ATV hit and watching her face and seeing everyone make jokes, that no one thinks about it. But if I actually looked critically at it, I'm going, "So she got hit in the face. She should be dead." Right? She's not dead. She should be dead. And then we cut to the next room and she's just standing up in the middle of a room with an ice bag on her face. She's not sitting down. And I was looking at her. And everyone's standing staring at her to wait to see what the face looks like. I have little rationalities I can tell myself to get around this and how it can work. "Maybe it swelled up. "The bruising got worse under the ice bag." Blah, blah, blah. But if you really think about it, it probably wouldn't go like this. That's what they call suspension of disbelief, guys. Welcome to movie making 107. Enough dancing! You and you... outside, now! God, this was So fun. Just telling, letting Stephen Root get mad at these guys. Calm down. Do you understand they've deformed our little girl... We were really worried this joke wouldn't work. She looks like Seal, for Christ's sake! "Looks like Seal." And we were kind of like, "Is that too dated? Do kids today..." And it kills. Everyone always loved that joke. I always thought... I had like three alts for that joke. I always thought we'd change it. Never had to. This was great, coming up with this on the day. Which actually is based on my own life. If I'm ever too tired and run into one of those doors, I can never figure out how to close them. And I asked Stephen Root if he could try trying to close it with the door that won't go all the way 'cause the other one's open. And, God, he's so funny. He's so great at just boiling over at these guys. There was another door, though. He can just close the other door. What? Well, he didn't see the other door. He just closed the one. But he was trying to close one but it was the other door that was open. Yeah, Margie, that's the joke. That he kept trying to close the door but there was another one to close. But he kept trying to close the other one. Did he not see the other door? I can't, I can't get into this with you right now, Margie. Okay. Everyone gets the joke. And this is not, I don't think this is... I mean, you said you've been doing this for a while. But I cannot believe that you think this is the right time to get into this. When there's a room, and there's usually one door, but sometimes there are two. And if there's two, I don't know why you wouldn't be aware of that. Well, to each his own, I guess. Agree to disagree. - Um... It's all fucked now. It's all fucked. Yeah. Yeah, okay. So, yeah, you agree to disagree. Great. Okay, well, yeah, I agree to disagree. Sounded like you wanted to say no. Sounded like you wanted to say you don't agree to disagree. I don't want to make this any harder than it already is. Do all the booths in the building have the mic inside your room like that? The mic to... - No, it's just this one. Yeah, sure. That's what I thought. Perfect. Um, let's get back to the old movie here. Thanks again for letting me join your spa day, ladies. I'm getting a little feedback in my mic here. Um... This is a fun little run here. Spa day. This is, so Alice now is trying to... Feels really bad about ruining the bride's day here, since she was a bride herself. And understands how big of a deal that would be. She's really trying to make it up to Jeanie. But poor Alice. She just, her heart's in the right place, the right intentions but she's gonna go a little crazy here. I didn't actually end up having one, So... Why? Every bride needs a bachelorette party. I'm sorry... By the way, Anna did great with that run, that giant run about dressing up like a prostitute. I'm pretty sure I threw that on her. She had never seen that written down. lt was maybe the third or fourth take where we tried something new. And I said, "Hey, try this really long run about your..." And just instantly, the next take, had it memorized. Had it better than I told it to her with perfect timing, perfect jokes. She just nailed it. She's awesome. Anna Kendrick might be the most professional person I've ever worked with. Little facts about working with her that you might want to know. She is always, always has her lines ready. Always on set ready to go. When you're filming a movie, you kind of have your actors, they take a break, they sit down between takes. You have, what's called, a second team of stand-ins to come in and adjust the lighting on... And then, when you Say, "Second team out, first team in," that's when your actors come back to set to start filming. Anna was always, you'd Say, "Second team out, first team..." Anna would be there. Waiting for everyone, Anna was always the first person back on set. Another fun thing about Anna, she's a woman of the world. She's a very knowledgeable person. She was always reading when she was in between takes, off set. Which is great. She's always got a book of new subject that she's into. And there was about three weeks on this movie where she was reading a book on the rise of Nazism in 1930s and '40s, Germany. The Rise and Fall of the Third Reich. The Rise and Fall of the Third Reich. How did you know that? It's one of my favorite books. Physically, no penetration. Why? /'m a history buff. All right. All right. Well, I hope so. Anyway, that's what Anna was reading as well on set. But the funny image would be, every now and then between takes, you'd look over at her sitting in her chair and she was just... You just saw her eyes popping over this giant book with a swastika on it. And we were like, "Anna, you got to... Let's put a different cover on that thing. "It just does not look right, that you're reading that book." Poor, sweet little Anna Kendrick with a giant swastika in front of her face. Oh, my God. How have I not Started talking about Kumail yet? When we had to cast this scene for the masseuse, whose name is Keanu, I don't think that's in the movie anymore, but in the script his name is Keanu, I wanted Kumail to do this and he... I think we went out to him and we asked him to do this scene. Said, "Would you come in and do a cameo and be this crazy masseuse?" And immediately he said yes. We got the word, he said, yes, he's in. And then he read the scene. And three hours later it was, "He needs to talk to the director before he'll agree to do this." And we actually... That was our problem with this scene is how do we explain that the scene of two naked people rubbing butts on each other for a happy ending massage, that this will be funny and not crazy and weird and something you'll regret doing. So, I think Kumail was actually in Greece with his wife on a vacation. Like, the first vacation they had had in a couple years. And he took a break from it to Skype-call me. I was in Hawaii, prepping. And he was just like, "Listen, man, I just got to know. "What are we gonna be showing here? And what kind of scene?" Like, "I'd love to do it, but are you gonna screw me on this?" Basically, he was saying, "Are you gonna screw me on this?" And I showed him some storyboards I had made up for this scene that had some of the crazy positions they were in. And I just sent him a picture of one or two of those. Said, "This is what I'm thinking." And he instantly was like, "Oh, I get it. It's a full comedy scene. "It's full weird-position comedy scene. I'm in." And then, also, three weeks later he shows up buff as hell. I did not know he was packing muscles like that. And he said he was worried about doing the nude scene. So he started hitting the weights even more. I mean, we're alone. How's Mike? Um, this scene we shot in an actual sauna. We did almost no set work on this entire movie. Everything was real, which is great for the production value of the background of Hawaii. But, God, this was a tight, this was maybe an 8'x6' sauna that we just actually shot in. So it was real tight to get in here and try to get these shots. And obviously, this scene, even from the early stage of the script, this was kind of the question of like, "And, uh, are we keeping the sauna scene in the movie? "What do you think of the sauna scene?" That was always the biggest question about this movie, is that, "Do you think this is the kind of movie "that keeps the sauna scene or loses it?" And I always thought you kept it. Originally in the script, cousin Terry was a man. It was a man. And we came upon the idea, someone had suggested during the prep of this movie, of, "What if you make it a woman?" And it's kind of a woman who's really forward and kind of almost a predator-ish, just a bisexual. It's not that she's straight, it's not that she's gay. It's just that she is down for anything, is her vibe. And so we decided to... We changed the role maybe a week or two out from production. Changed that role to a woman. Which I think adds a fun layer that you haven't really seen before in a movie. I love these little cut-ins here on Mike's face here and the sound she's making. Mike, I'm coming. - No! Oh, my God! I think that was, we were on set. And besides Adam screaming, we just said, "What's the worst thing that could happen "If you've already walked in and see your sister in the middle of a happy ending? "What's the worst possible thing that the sister could say to you?" And the answer was, just looking you dead in the eyes and saying, "Mike, I'm coming." And that's where that came from on the day, I believe. Terry! Poor Mike, just falling apart here. Shut the fuck up, Mike. Ugh. From one to the next. Cannot handle it. I'm gonna kick your ass. Adam Devine at 100% again, wonderfully. Poor, poor Mike. Mike's... This is where, I think, actually, you go from Mike being like an overly sex-crazed, like, "Who is this guy," to like, "I actually start to feel a little bad for him here." Here and in the next scene in the lobby with Tatiana. Um... God, so funny. And here we go. Back to Kumail again. Kumail is great. Kumail and Sugar were great together here. Just playful. And it was so fun having Kumail in to shoot because we would do the scene and then he would just come over to me and Say, "Hey, what other jokes do you want to try? "What should we... Should we try this, should we try that?" And he was so fun and great about just, "Let's keep thinking. "What else could be fun here? "What other jokes should we try?" And we would just sit on the side of the set for five, 10 minutes before each setup and just come up with more stuff for them to play with. And this is a perfect example of Kumail. You could develop cancer. Going off on his own, "Develop cancer." It's great. Um... Wait, you did that? These two. It's so funny. And that was another thing in the script is that we had to try to balance, and it's interesting. You'll see in the deleted scenes, there's a lot of scenes that got cut. But it was making this a true four-hander and balancing Alice and Tatiana and Mike and Dave throughout this movie, and having four leads is like... We shot a lot of stuff to make sure we could put it together in different ways. 'Cause when you're trying to balance that many people, I just wanted to make sure we didn't get back to the edit room and go like, "Oh, we wish we had this." Or, "We need this moment." And in truth, we had so much. We had too much stuff that we couldn't fit it all. The movie would have been two-and-a-half hours long. And I kind of think you don't want it to go that long if you're doing a comedy. You want to get people in the theater. Make them laugh. Make the story work. Feel for the characters a little bit. Send them on their way. But I think there's a lot of deleted scenes and extra jokes and bits on this that we put on the disc here. God, this, the banyan trees, by the way, so pretty to shoot in. And this is one of those scenes, these emotional connection scenes that I remember shooting and going, "You know what? We'll probably cut this way down in post "because we've got so much crazy, funny stuff going on. "We'll probably want to get back fo it." And the opposite is true. We got into the edit room, and you put this together and it's like, "Yeah." What a great reminder to check back in with the characters and where they are and what they want out of things. And we just were like, "What else do we have? What other lines did we try? "Let's put everything in this scene." Um, and it's so nice to take a break for a second with these two. And just re-establish the stakes and where we are. And I think it helps. I think those scenes with Anna and Zac in the movie help drive the whole movie and help reset for the comedy in the next scenes after that. And that was... Yeah, that was fun to see working as we put it together. Yeah, I'm totally overreacting. God, this is another, one of the ones from the first time I read the script. Tatiana's little run here about what she did and what it's like. lt was one of those things in the script where it was like, "Yeah, we got to do this in the movie. I haven't seen this scene before." It's just like Tinder. We did, we probably tried about 50 different things that we made poor Aubrey do and describe here before we got it down to three things for the movie. ...contracting them. Are you deliberately trying to hurt me? Is that what you're doing? What? No! I was just trying to get RiRi tickets... to make my best friend feel better, okay? We're on vacay. By the way, Adam Devine. Have we talked about him yet? What a great dude. We were lucky on this movie. Literally, everyone we... I'm so happy with our cast. Not only our main cast, our main four, but our secondary cast. I mean, just literally couldn't have asked for a better group of people. Not only with how funny and talented they are, but just great dudes. I didn't really know Adam very much before this movie. We had met a couple times about various things that we never really worked together. And then, I mean, when we first met about this movie, he was like, "I feel like I am Mike. "Like I know how to do this role more than any other role I've read." And I think he was right. He just really put everything into it. And always, he was always the best about, "Do we need another take? "Do you want me to try this?" He'll do it. No complaints. Always full of energy. And so funny, man. God, I just want fo... Hey, Jake. You coughed a second ago. ls there a bug in the room? Not that I know of. Did I cough? So you didn't choke on a bug? Made it up. All of it. No. What do you mean? I don't think I did. Why? Has that happened? You just coughed and it sounded like... I just assumed you choked on a bug. Well, I don't think that's a reasonable assumption, Margie. I mean, unless you know something I don't about the bugs in this room. I don't think I choked on a bug. That's the thing about a sound booth. It's always bugged. Oh, come on, man. Is that a pun? ls that what you're doing? Did you just try to put a joke on the DVD commentary? I don't... That was just a fact. I don't joke. I don't understand humor. Mmm-hmm. - So, I don't... Is that what you do when you work in the booth for this long? Do you just sit on something like that for, like, 10 years and just Say, "One of these days I'm gonna put the bug joke in. "I'm just gonna hit the mic button and pop on in"? Um, I will be telling my family and friends about this commentary and the fact that I'm a part of it, if that's okay. - Oh, my God. Yeah, I guess. I mean, I think that's clearly what's going on here. You lied? By the way, I think there is a way to stop and go back and rerecord sections. I know earlier you told... I mean, it's too late now. We're an hour into the movie. But I think... Yeah, there's no way we can go back now. There was a couple points at the beginning where we could've. We could've, right? I knew it. We're too deep, we're in too deep, as they Say. Well, for the first time, I agree with you. This is just what it is by this point. And I've got way too busy of a day to redo this. So it is what it is. You got any thoughts on this scene here? "Love hurts." How did they get up in that tree? "Love wounds..." We just had... We just stepped them. We had a ladder. They just crawled up in the tree. Climbing trees is dangerous. I don't have children, but if I did, I would say, "Please, avoid climbing trees because when you fall you could hurt yourself." I mean, I guess in a way that's reasonable. But, also, kids love climbing. I mean, you got to climb a tree. Kids love climbing trees. You got to let your kids climb trees. Well, I'll never have children anyway, so it doesn't matter. That's not... I don't want to open that door with you, Margie. I'd actually love to talk about it if you are... Yeah, no, I had a feeling you might. And I don't, let's not make that... Let's do that... That's another disc, okay? I just, I'm not sure if I'm firm on that decision to not have kids, or if I should consider... Should I freeze my eggs? A clear line in the sand. Well, all 1 can say is I would support you if you did. l'm gonna support anyone who wants to take that route. And it's a decision you got to make for you. All right, but let's really not go farther than that into this discussion. If/ freeze my eggs, will you go in on it with me? They're liars! No, I won't go in on it with you. It costs a lot of money to do that. /'m sure it does. But that's not my problem, Margie. I mean, you can decide to freeze those eggs or not, that's up... You said you'd support me, though. You got... I know you work, Margie. I know you work. I'm looking at you do your job right now. If you want to save up... Well, no... I mean, how much do you need? Uh... Tatiana was jerking off our cousin Terry. Are you crying? Cousin Terry has a dick? No. It's hard to see you through the glass. /'m fine. Let's just... - Oh, my God, I'm so sorry. We can talk about it later. Listen, if you need help, let's talk. No, no, no. I'm fine, I'm fine, I'm fine. I can't do that, David. Oh, boy. What? I mean, just... I just had a kid. And I love having a kid. And I get it if you need... I mean... I would love to know what that feels like. She really had to pee? Anyway it's... Let's talk... Let's seriously... Let's, you and me, let's talk afterwards. /... Okay. - Okay. That'd be great. I can't believe what's happening here. I do want to remind you, though, about the heavy breathing. Thank you, thank you. Appreciate that. I'm gonna walk in on Mom... I ama heavy breather. I'm kind of worried about breathing heavily in this thing. Careful, when you scratch your face it brushes the mic and then it fucks me up. But have you seen this Push Pop scene? I forgot to talk about this Push Pop scene. Um, love the... Zac went full Brad Pitt in Se7en here. He did a full what's-in-the-box on what's-the-Push-Pop. Also, a little thank you to my good friend, Lauryn Kahn. A hilarious writer who I know from back when I started at Funny Or Die, and she started at Gary Sanchez Productions, who we're out of the same office. And we've been friends ever since that website launched. And she was one of our on-set writers. She came out for two or three weeks pitching jokes. And, um, she pitched that phrase Push Pop. I think, initially, we had a different phrase in there and she's like, "Let's try 'Push Pop." It was great. You're out of control! By the way, we cut right out of this shot before Tatiana's about to throw a drink in Becky's lap. Which you can see all about it on the deleted scenes. There's a really funny runner of Tatiana continues to throw her champagne glass into Becky's lap and make it seem like she peed her pants. And that was one of the things I hated losing in this movie as we got it down to time. It was a really funny runner throughout the movie. Talk about the centipedes. Oh, there were centipedes that... Yes, I forgot. We shot... We're back at the banyan trees here, shooting at night. We shot for three nights out here. Like The Truman Show. And centipedes were falling from the tree on all the crew and actors. And they were the biggest centipedes you've ever seen. They were six, seven inches long, a centimeter thick. They were nightmare centipedes. And apparently what had happened was, people were so worried about how many bugs there were gonna be in the forest at night that they had sprayed for mosquitos the day before we shooted. And it... "Before we shooted," before we shot. And it got rid of a lot of all the mosquitoes and small bugs. But apparently it just kind of slowly stunned the centipedes 'cause they were so much bigger than the other bugs that it didn't kill them. And so, six hours later after they sprayed as it was shooting, the centipedes finally started dropping from the trees in a daze 'cause they couldn't hold on to the branches anymore. And it was raining centipedes as we shot. That is terrifying and the stuff of nightmares. And it is true. That is absolutely what happened. And then one of the crew guys took one of the centipedes and put it into a cup. And started walking around showing it to everyone while it would crawl in and out of the cup on his hand. Ugh! Did you guys eat them? No, no one ate them. That would be... You could, though. If you were trapped, that's exactly what you would eat for the protein. I would eat them without being trapped. What, why? What? Why on Earth would you do that? Well, if you want... Can we have that conversation about freezing my eggs again? I'd like to... I think we should wait. And honestly, not even for me or the commentary's sake at this point. I think for you we should wait till after this. Well, you're the director. I deserve to have a little fun. What is that? Is that... Are you mad at me? Do you agree with me? I have no idea now, Margie. This is gonna be so much fun! I just... Yeah, this is... It's gotten out of control. I apologize. I feel like I'm... I'm sorry. I feel like this is too much. It's... No, no, no. - It's... You're... You're fine. Please, don't. This is how we do it, baby. Come on. Let's just try to get through this commentary. Absolutely. Let's both do our jobs here. Right? - Absolutely, let's do that. We'll just get this thing done. - Please, Iet's do that. Um, You love that movie. We were shooting on... How's it a bad idea if you love the movie? We were shooting on a prime lens here. Probably about 40 millimeters. Oh, my God, commentaries are So... -... boring. - And we were... It's, like, what is this? - Margie. /'m just... You're talking about... -... hearing him and sitting in here. I'm listening to this guy... - Can she hear me? ...ramble on about things he thinks about. Oh, my... Do you know you put the mic on? - It's just, when... What the fuck are... What... What am I even... What is my life? She doesn't even know she put the mic on. - What is my life? I just can't believe it. I can't believe... It's just a waste of his time and my time and everybody's time. Jesus. This makes me feel really shitty about the commentary. Oh, shit. Yeah, you got the... Your elbow"s on the button! What's that? Your elbow"s on the mic button. - Did you... Hello, everyone. Oh, no, I know, I wanted that. Um, I'm just gonna adjust a couple of levels. And I'll be right back. They're two of the sweetest... Where'd she go? She's running out of the booth. All right. Our first soeaker tonight... Where... Oh, my God. Well, God, I don't know what she's doing or where she went. Fricking Margie. My eyes are dry. Just give it to me. Uh, all right, listen, let's... I'm sorry. Uh, let's get back into this. "...my speech." Doing a little Chris Rock here. God, I'm sorry. I'm just thinking about, I don't know what's going on with her right now. She's talking about these eggs. She's talking about how boring commentaries are. I don't think she's happy. I don't know where she went. I'm starting to get a little scared. I feel like I should try to lock the door to this room. I don't know what's going on. Um... Why aren't you on my side, Dave? All right. Let's talk about, let's talk about this movie again right here. Fucking Zac Efron bringing it strong and hard right here. Boom. We thought this was so funny of Zac being such a good actor and just straight up yelling as seriously as he could, "I'm gonna draw. Like an artist." We even used that phrase. By the way, Lavell, our Keith. I haven't had a chance to talk about Lavell yet. So funny. Such a funny guy. Loved him on Breaking Bad. And we were able to steal him out. And, God, there's another... There's a great whole runner with him that got cut that's on the DVD that in every scene he just talks about how he's on vacation and he still hasn't been in the pool yet. That he's living in paradise and he just wants to get in that pool. But he's been so busy getting the wedding ready. That couldn't make it on. But, man, he was so funny. Um... The mics are on! - You're just fucking pissed off... Here we go, guys. ... because Tatiana finger diddled Terry. There it is! By the way, great pitch coming up here from Mary Holland who a little later here, where I was like, "If you have any ideas for this scene let me know." I told all the actors on this movie, "Anything you want to try or any ideas you have, "or jokes you want to pitch, let me know." I'm always down to try stuff 'cause that's how I run it and I want them to try things I say, so if they got things, let's try it. And that's why Mary's holding that champagne glass there. When she snaps it and breaks it in her hand, that was her pitch. That just, she said, "Can I please, please, have a glass "that I just shatter in shock and ruin my hand with?" And I said, "Absolutely. Call props." Said, "Please get breakable champagne glasses for her." And we did it. There we go. Love it, love it. And we actually had to remove it from her hand, digitally, in the next shot 'cause we're using a take where she hadn't broken it yet behind Eric there. And so, then, uh, we digitally removed it from the shot after she breaks it. They got so... This was one of those nights where it was raining. Kind of every 25 minutes we'd have to break while it rained for five minutes. And it was very hot and very humid. And Zac and Adam doing that fight was really hard on them, actually. And they got so sweaty by the end of it when they were lifting each other up. I think Adam literally almost hyperventilated at one point. When we finally cut for lunch there, um... Adam just stripped off every piece, Stripped all the way down to his underwear. Took the suit off, took the shoes off, took the socks off. He was just so hot and the air was so thick and humid that he was having trouble breathing after that. It's 'cause these guys give it their all. They're pros. By the way, you will notice that we are doing night scenes here. And we shot so many nights. It's actually rare for a comedy. I think we shot three or four weeks of nights on this movie. And it's tough. You do one week in the day then you got to switch your clock and get up where you're shooting from 8:00 p.m. to 8:00 a.m. all day. And we were also shooting in Hawaii in the summer. Which meant the days were really long and the nights were short. And it can really mess with your schedule and the actors' schedule getting used to shooting all through the night for weeks at a time. They usually don't do it that much on a comedy. I think we shot a lot of nights for a comedy. Drama you might see it. People just change their schedules. They're up all night for a month while they're shooting. And I think we started doing, or at least once we did, we had nightcap drinks after shooting.

0:13 · jump to transcript →

I had to listen to either my daughter on the left ear or Benedict on the right ear. And I had to shut one of them because both of them are not combinable. If I shoot it in the schedule that we had made, it would have been mediocre. And I just found the performance in the first rehearsal so moving, so powerful. And then my daughter's voice in that left ear. I thought, I can't simplify. We have to film it.

1:25:51 · jump to transcript →

Well, Isai was on the movie. Isai and Hayley were both on the movie well over 100 days each before they had a substantial dialogue. That's true, yeah. And it was always in the schedule, but then there would be some sort of disruption because of COVID and things were constantly moving around. And so a lot of what they were doing on the movie was their action and not their character work. I love the music cue here as well.

51:53 · jump to transcript →

Tim Burton

We still have a segment to finish. The Human Canvas was fun to do because we basically created an art show in about a week. It was a pre-shoot day that we did all of this. And so the shooting was actually we made an art show. So we made all the sculptures. We made all the video.

7:37 · jump to transcript →