Stunt doubles

In fact, it is stuntman Bob Simmons doubling for Connery in these pre-credits shots. Now, director Guy Hamilton recalls the next sequence which was filmed at Eden Rock Beach in Cap d'Antibes. That was shot in the south of France. The thing that I enjoy about that is how you can remove a lady's brassiere without getting any sensor problems because that was one of the absolute basic things about Bond that you had to have

1:23 · jump to transcript →

In the upcoming shots, when the patient rises out of the mud, it is Bill Morgan. Director Guy Hamilton recalls shooting the scene. This is all at Pinewood Studios. The stuntman was never very keen on coming out from all that muck, but it's lovely goo. The art department did a lovely job. Tom Mankiewicz recalls the difficulties faced by the stuntman in filming the mud cavern scene.

2:52 · jump to transcript →

Coincidentally, Guy Hamilton also worked on the third man as an assistant director. For the climactic chase through the sewers, Hamilton doubled Orson Welles. When the actor's shadow appears on the walls, it is really Guy Hamilton. Now Tom Mankiewicz recalls this scene which was shot on location in Dover. This fellow here, Mr. Franks, is a stuntman, a British stuntman with whom Sean's going to have a terrific fight. And since we didn't have a scene in M's office,

14:42 · jump to transcript →

and all these pillars and the ruins we built ourselves. And way out there, see all those thousands and thousands of charging horsemen? There was really only about 100 of them at that point. This guy needs some dental work. And we multiplied them. But then we did have, there's 500 guys racing around on horses, firing guns. Every time you see any guy on a horse firing gun, it's a Czechoslovakian stuntman. Because no matter how many times we went over it with the extras on horseback, they didn't understand us for some reason. A little language.

7:22 · jump to transcript →

act behind my back, and every one of them in this movie was just spectacular. They were so sweet. And we put them through a lot. Okay, now check out here. We got a stuntman in drag here. Freeze frame right here, and look at that guy. Oh, it is a hideous sight. Right here, right here. You do not want to see that. It's like Rachel, she saw the dailies, and she just hoped we could cut it together well. That's also the stuntman, of course, there too. Now here, watch this. This shot was take one.

13:01 · jump to transcript →

We only shot one take, that's it. Rachel's now crawling in as the stuntwoman is crawling under the camera and I told her to stand up and perfect. Take one, one take only, that's it. 12,000 bucks. Steve called me from the location saying, okay, so what does it look like? Do we need to shoot it again? And I thought, well, I'm not sure what else you'd do to that shot. I think it's about as good as it could be. Yeah, it was a real pain because we arrived on the set

13:29 · jump to transcript →

Macaulay Culkin

This is a... You know, this is an interesting scene... ... because, again, the comedy... These two really worked well together. You believe them as a couple... ...and the comic timing is really pretty sweet, I have to say. I remember when I watched a lot of the dailies... ... they would always fool around whenever you... You wouldn't yell, "Cut," and they kind of just... They'd keep going a little bit and do some silly stuff. I think they really-- You know, again, it was a kind of... At times, it was tense being on the set... ...because these actors, who are so good, didn't know why they were there. And on the second one, that eased up completely. Because everyone felt that they had a responsibility... ...because they knew a lot of people would see this movie. Now, here's something I always felt pretty horrible about because... ...particularly once you have your own kids, this is the last thing you want them to do. This was a big worry, I remember. - Oh, yeah. Whether or not this was gonna stay or not. See, no one really ever understood when I'm lining up the sled... . that it doesn't exactly line up with the door. There's people who watch it who actually giggle, I remember... ...saying, "That doesn't line up. How is he gonna do that?" Yeah. You would've smashed into the wall. Yeah. But that was Larry. I remember watching the dailies. That was hilarious. Larry, our stuntman. - Yeah. Stuntman, literally. - He was probably 20... No, maybe he was about 30 back then. - Yeah. And he was your size. - Yeah. He was built like me too. Now, he was amazing. He would do anything. There's one moment coming later when we'll talk about Larry. Where he falls? - Where he falls, and he froze that day. He didn't wanna do it, but Larry had... As most of the stuntmen did in this movie... I don't know if these types of stuntmen exist anymore. Yeah, I know. - Willing to kill themselves for... It's amazing. I have a lot of that, yeah.... ...a lot of memories of these guys doing all kinds of crazy stuff. Oh, yeah. - They were my favorite, the stunt guys. The stunt guys were great. - When you're 9... ...they can do all kinds of neat stuff. - That's true. Ha, ha. Oh, yeah. They were always my best friends. We'll talk about-- A little later, we'll talk about Troy Brown and Leon Delaney... ...the two stuntmen for Joe Pesci and Daniel Stern, who were truly... Truly went above and beyond the call of duty. I haven't spoken to them in years... ...but they probably are still in a great deal of pain... ...because of some of this stuff. Daniel Stern is interesting... ...because Dan Stern was my first choice for this role... ...and the studio didn't wanna pay him at the time. We cast another actor, unfortunately-- This is the only time in my career this happened. and we did a screen test with the other actor and Joe Pesci. And the screen test was flat... ...and the other actor just couldn't really improvise with Joe... ...and you didn't believe him in the role. And I had the-- I had the horrible situation of actually telling the actor... ...I couldn't use him. Basically firing him. Oh, boy. And then the studio then understood. They saw the screen test, and they were willing to hire Danny... ...which was really an amazing working situation for me. He's one of the funniest guys I've met. And he truly was up for anything, as we'll see later in this commentary. I still have that sled in my office.... In my office here in San Francisco. I just saw it before I came over here. Signed by everyone. Signed by everyone. That's really cool. - Yeah. And when I get a little older, and things start not working out in the career... ...1 can sell it. - EBay. Yeah, eBay.

25:39 · jump to transcript →

Macaulay Culkin

We shot two different versions of this... ...and you weren't sure which ones you were gonna use. What was that? - We ended up using both. This one and there's the singing one, and you ended up using both. Oh, that's true. Right. I didn't know we shot them as two different versions. We just-- Yeah. - Yeah, yeah. There it is. - There it is. The face that launched a thousand posters. I never expected that to be the... It was Joe Roth at Fox who came up with that image. And realized that that should be the iconic pose. Oh, here we are. - This is Larry's... Larry, our stuntman, who is basically Mac's size... ...maybe a few inches taller, who was 30. Who is completely-- I mean, Larry was just a very brave guy and a tough guy. He was a pro. - He was a pro. But when he got here to do this particular stunt, he froze that day. This was dangerous though, you know? - And it was dangerous and I... You know, you have no protection. So it was-- It took quite some time to film. He was fine afterwards, and it's actually... Looking at it, it's not one of the more violent stunts in the film. But it's dangerous. - Yeah. Because it's not like you got a harness on. No, no, no. It was....

36:07 · jump to transcript →

Macaulay Culkin

And, now, I can't remember if this was you... ...or the stuntman running across the bridge. Or even just-- Or one of the stand-ins. I remember I had like 10 stand-ins. Oh, that's true. That is true. And so then you guys would do a lot of, like, just stuff after I'd go off... ...or at the same time, even. "I'm a criminal." I think this was the first day too. Yeah. - Yeah. This entire concept of the Wet Bandits... ... I'm trying to remember if that was in the original script or not. I don't know or.... I think possibly it was. I thought... For some reason, I had... I have a memory of Dan Stern coming up with it, and I could be wrong. You know, that's why I really wish John Hughes was here because he could... But Dan, for whatever reason... ...was obsessed with the concept of the Wet Bandits. The Wet Bandits and the Sticky Bandits. - Yeah. But this whole look of Dan's is this sort of white-trash, trucker look. It's just something that didn't catch on, unfortunately. And just the contrast in size between the two of them... ...and just height and just build. But the, uh... All of these were little touches by Dan, which, on a movie like this... ...people, you know, don't talk about, don't notice... ...but putting the snow globes from each house with the... You know, attaching them... There's a scene on the deleted sequences... ...where Dan wanted to... He's stolen a cappuccino maker, and they share a cappuccino in the truck. I remember that. - I think it was that scene. This was all shot backwards. - Oh, yeah, that's right. Coming up here. This. So I would scream, and then the car would back out... ...and I would walk backwards. And we did it several times. And it looked pretty awful each time... ...and then finally, that one shot, it worked out perfectly. Well, you had somebody shaking the van, right, you know, at the beginning. And I had to walk, like, backwards, like, heel first or whatever.

40:48 · jump to transcript →

Yes, actually what we did is we did the insert shots in the Saugus Cafe, which is coming up. We did it, we laid the guy in the ground and did his... In the back room or something, right? Yeah, no, I think it was right in the restaurant after we had shot the restaurant scene. Oh, and when he does come out, which is happening with the pogo stick shortly, our stunt double couldn't pogo. So we ended up having to slow it down

35:32 · jump to transcript →

Because I think in Warwick Davis's book, he says that they gave him, he asked Ron Howard if he should do Leprechaun 2, and he said, well, you know, my daughter and her boyfriend love Leprechaun, so go ahead and do it. That's great. Now this is, again, now that's a double, as you can see, probably. There's Warwick. We intercut between Warwick and a stunt double.

51:51 · jump to transcript →

There we go. There you can see the dental acrylic nails that were attached to the gloves. There's a scene here. That was a stunt double who broke his wrist hitting the windshield. I hate to think I'm a jinx, but I had two stunt people break their wrist.

57:19 · jump to transcript →

Commentary With Author CG Paul M. Sammon

had a thing like a telephone pole underneath it that an explosion would hit the ground and flip the car. And that's a real driver inside, a stuntman. This was shot on Halloween. I remember it was Halloween night. We were all down there. And we actually had a robo-pumpkin that the art department spray-painted. And the robo-pumpkin kept moving around. And here's another explosion. And nobody in at that time except the dummy.

6:30 · jump to transcript →

Commentary With Author CG Paul M. Sammon

the stuntman who played Robo's stunt double. If you keep looking, you'll see a lot of stunt guys get killed, the same people over and over again. Again, lots of gunfire, lots of squids. There's a nice shot. You can see the thing is vaguely human-like, but is capable of moving and expanding and contracting and very scary-looking.

1:22:04 · jump to transcript →

Commentary With Author CG Paul M. Sammon

All of the plates, incidentally, were shot in VistaVision, which is a 65-millimeter process. There's Russell Towery again. Yes, the third time he's been killed. That is, again, Robo's stunt double who was in the suit a lot.

1:26:21 · jump to transcript →

That is the special effects coordinator going down there, Gary Combs. I mean, the fall is, of course, is Nancy, but the big fall is Gary Combs because the stuntwoman we had couldn't do it. So Gary took on, let's say, took a female part there. Gary Combs I worked with also in Hello Man and in Showgirls. He was my stunt coordinator on three movies. And he had a broken back, too.

18:47 · jump to transcript →

And there was a sequence here where we had this stuntman guy who's playing this fella here. And Paul said he wanted to have him say, fuck me. And so he said, fuck me. I thought he'd say it once. And Paul said, no, say fuck me over and over again. Fuck me, fuck me. And I love this scene now because this guy is so fucked. And look at what happens here when RoboCop finally comes up to him. Fuck me!

35:18 · jump to transcript →

Nicely done, Mr. Verhoeven. Yeah. I don't know if it was a stuntman. I think it was an actor. No, no, that was one of the stuntmen that... We had a lot of stuntmen who had to have lines in this, and they did really well. Right. Well, we cast 80% of the movie in Dallas, isn't it, John? Yes, because we could not take the entire cast from Los Angeles. Because we had no money, isn't it? Right, of course. And it worked out very well, because we were forced to be extremely creative, and the casting women...

35:49 · jump to transcript →

Marco Brambilla Daniel Waters

This was shot in an elevator shaft, so there's three different locations here. There's a small set that was built for the diner. There's the Eagle Rock Power Station, and then there's an elevator shaft, and then there's a set for the elevator here. Yeah, you don't need more than that. Wow. Even doing that, I couldn't do. I would need a stuntman for that.

1:30:08 · jump to transcript →

Marco Brambilla Daniel Waters

Again, this is all pre-CG, so there's no digital stunt doubles or anything like that. That was really different. Are the cars actually moving when you do that? Yeah, they're moving, and they're moving at speed. I kept wanting them to go faster and faster, so we started the scene with the cars going at about 25 miles an hour, and then by the time...

1:32:43 · jump to transcript →

Marco Brambilla Daniel Waters

And we rehearsed it with a stuntman. And the stuntman was injured because of this rap. This is the conveyor belt scene. So that was actually shot in the studio. Oh, I get it. Yeah, I was wondering. But this shot as well was with a camera car being on a trailer. And I think we did some of it with rear projection, like old school rear projection as well with the two real actors.

1:33:31 · jump to transcript →

Because there was a shot that we needed seeing Tom jumping from the wall to the ridge, did it all in one shot. And that shot, I was set for the stunt double to do it. But Tom insisted to do it by himself. We had a really long argument about it because I tried to stop him, but it didn't work. Tom said he liked the challenges. He liked to do something he had never done before.

7:45 · jump to transcript →

And he had never liked cheating. And he told me, whenever he watched an action movie, he said, it was easy to tell which shot was done by a stunt double, which shot was done by the actor, because the body movement, the timing, the performance would never match. And he didn't want to see it happen. And I let him do it. And then I was very scared. And by the meantime, I was scared of heights. So I would stay away from the cliff 20 feet.

8:06 · jump to transcript →

Please, baby, open up. Open up. Five, four, three, two, one. I'm going down. Ethan, wait. We have four things, put them together. The second unit shot the helicopter fly around the building on the roof, and the stunt double hang outside the helicopter. We saw all Tom's jump on green screen. And then we built a platform about 80 feet high.

1:07:55 · jump to transcript →

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

0:10 · jump to transcript →

Oh, we started watching the movie. - Yeah. This is cool. - Will she make it? Got her clothes on. One of the things that we were very keen on... ... that we wanted, was that we wanted.... We had this ambition... ... that the audience should have their first breath... ...after the first 10 minutes... ...when she gets dropped off the truck... ...which we will see. And when I was watching the premiere yesterday with my wife... ...when she get-- She: At exactly that spot and I felt, "Wow... ... this was exactly what we were aiming for." I think the audience was a little surprised too. We had the premiere last night so we got to watch... ... the movie with a big audience. But they were surprised at the level of violence of the movie. This is a tougher movie than the other movies. Selene is a lot more badass in this movie. She kills a lot of people. - Yeah. Went through a lot more buckets of blood too. A sign of the times, I suppose. Yeah, you'll wish you hadn't done that. This was one of the big scenes in the trailer... ... that we had shown Screen Gems right at the beginning. I love the little splat of blood hitting there. That was sweet. I repeat, full containment... No, there was buckets of blood. I mean, it's.... Violence Is an aesthetic I think that, I mean, goes a hundred years back. Yep. Have we actually done a body count in this? It's a lot. You know what? I did once. Did you? What'd it end up being? - I can't remember. Counting Lycans and humans. Yeah, dead-- Corpses. Now, this moment was an additional shoot moment. It was the first thing we sh... - Wes Bentley, yeah. It's the last and first... - The uncredited Wes Bentley. The first and the last... - This jump was the first thing we shot. First day of shooting. - Look at this boom here. There. That hit in that shot, was Alicia... ...our excellent stunt girl, who just smacked... It sounded like the worst sound I ever heard. It's like, "We killed the stunt double on the first shot." And then you said, "Let's go again." The first day of shooting went so well... ... that I walked away thinking, "God, this is gonna be an easy movie." Oh, my God! - You were wrong. I was wrong. It was so difficult. This was the toughest by far we've done. They're not supposed to be easy. No. - There's a direct correlation... ...between the amount of suffering to do a movie... ...and how well it turns out. We never did a film, like, with this big budget kind of thing... ...but I think you always end up in the same position, you know? You don't have enough money. You always... Imagination can always outrun money. Yeah. - Yeah. The 3D made it more complicated too. Yeah, the 3D really-- You know, nobody had really done it. You know, how to plan it and how to shoot it and.... This is where we want people to breathe. Yeah, here. Here's brutalism again. - Yeah. I was talking with the cinematographer... ...ocott Kevan, last night and... Who did a great job. - He did a great job. And the person... I introduced him to my daughter. My daughter said, "Was this your first 3D movie?" He said, "No, my second. I made all my mistakes on the first one... ...So this one I could get right." Yeah, he was the only guy kind of who had done it. Yes. - And he kept telling us: "It'll take a long time." I remember-- Gary, you said: - It did. "If we go down the Amazonas, it'd be nice... ... to have someone who's been there." Done that trip. That was true. Scott was really there. - Yeah. He was great. But it's also-- It has been very... ...weird. - First shot of Kate. This was the first shot of Kate. Yeah. - First night. That terrible night when it would not stop raining. This was one of those.... - There's a gale right now. When the duck flew into the light? - Yeah. It was a duck who came from the sky... ...and landed in the middle of the set. The camera broke down about four times. Yeah. No, just shooting 3D was a weird experience in that sense... ... that we hadn't done it before and all the rules that you get... ... from various people who has done it... ...Just turn out to be not true or.... - Bullshit. Total bullshit. I don't know if the Red Epic that we used, the camera... ... kind of discarded some of them so it actually works now... ...and it's also.... You have to realize you're telling a story... ... you're not doing a 3D ride. Although this movie is like a ride but... No, but I think what.... True, because... .all these people that we talked about, they were technicians... ...and not filmmakers or storytellers. So they speak about the perfection of everything... ...and that's not really interesting, perfection... ...ecause what you go for is emotion, and emotion is not always perfect. It's also... You know, 3D is in its infancy. People really don't know the rules. When we took those classes... ... there'd been like six movies made and so people didn't know. Half of them were not real 3D, either. - Correct. Where you actually were using binocular cameras... ...to shoot the entire movie, which we did. I don't think any... There wasn't a rule they gave us... ...that we didn't break. - No. I mean, it was... - No. Everything. This is that hybrid POV, as we Call it. It's when Kate starts seeing through.... She thinks she sees through Michael's eyes... ...but it's actually India's. Eve, her daughter. This is so hard, I think, to decide as a filmmaker... ...when you do this. What it should look like? - No. Not technically, but I'm saying the suspension of disbelief... ...of is it Michael or not, and.... We didn't know... All the marketing now you've seen... ... you know, It's all out that she has a daughter in this one... ...which, you know, when we were planning this.... Hopefully that would be the secret. It's gonna be a surprise, yeah. - "Wow, she has a daughter." But.... And I think what helps us Is that we... - Michael Ealy, by the way. Michael Ealy. - Appearance of Michael Ealy. What helps us is the pace that we had to this. You just move so fast that, you know... ... you don't leave time for the mind to think that much. But it's.... Yeah, it's interesting. One of the scenes we shot here is outside in Vancouver. Vancouver-- When we heard we're shooting Underworld... ...and we're shooting it in Vancouver... ...we thought that was pretty strange because it's not gothic. But as Bjorn was talking about... ...when we found the neo-Goth and the brutalism... ...Vancouver Is fantastic. - We'll start counting... ...how many times that word comes. - You do that. It might be even more people than die. Yeah. A couple of words about Kate.... She's a movie star and a really, really good actress. Sometimes that's not the same thing. But she is, and she's very fun to work with. And she... You know, she's British, she always... Theo James. - Theo James. Very witty, yeah. - Young English actor making his... Who's also extremely funny. - Those damn Brits. Yeah. He's so funny. And you're around people who are gorgeous and funny... . It takes its toll on you. Yeah, it doesn't go together usually, yeah. No, and you just stand there in the middle and talking really bad English. I love this shot we did with Stephen. I remember we were shooting it, he was really somewhere else. He was... That was a scene we added after we had started shooting. It was Gary's scene. - That was my idea. We initially had a scene outside of here that l.... I remember seeing this location. I thought it was beautiful... ...but I couldn't wrap my head around a desk being in an exterior atrium... ...so I was struggling with that, but I'm sure glad we did it. I think it looks beautiful. I think you said when you saw it, "It's outside?" It started raining. - "It's outside?" And it was freezing cold. You remember how cold it was? Oh, my God, it was freezing. - God. This is the second... - Then we said: "We have all this concrete and it's freezing cold. Let's get water everywhere. That'll make it really comfortable." This is day one. Day zero, we did the jump we saw before. This is day one where it was full-on, all teams... ...SO this is the first scene that we shot of the whole film. And this shot was actually blown up. We had shot it wider, but we were able to push in on it. We did that with an enormous number.... One of the beauties of using the Red Epic camera... ...was the ability to push in and resize afterwards... ...1N postproduction. That's 175 percent. - Yeah. One of the things I believe that Mans and Bjérn should discuss... ...because we experienced it our first day of shooting... .IS that they are slightly unorthodox in terms of a directorial team. Slightly? They alternate the days they're shooting. So the first day, I believe it was Bjérn, right? You were directing the first day... ...and then Mans would direct the second day. And so, you know, you guys may wanna enlighten the audience... ...as to your procedure. - This was Mans. The prior one in the corridor, I did. I can't remember, but we always have the producer flip a coin... I did. I remember I flipped a coin. Yeah, flipped a coin and whoever gets the tails... ...whatever we decide, begins the day. The thing is, when I'm directing, Bjorn's my best buddy... ...as we Call it, and he doesn't do anything... ...except helping me. Nobody's allowed to talk to him. - Wait. We'll miss Wes getting thrown through the window. This is a totally reshot scene. - Yeah. We had another scene that was... - Just not working. No, it was a bit of a disaster. We got the opportunity to reshoot this, and I love this scene. I love it too. - It's great. This whole spider-webbing window thing.... That was actually Len Wiseman's idea of having him... ...be pushed through the window as it spider-webbed behind him. Yeah, we had.... Yeah. Fantastic idea. - Yeah, great shot. In the background, you see he's got little stuffed animals... ...because we wanted him to be a tinker... ...because he's been tinkering with her... What? I never saw those stuffed animals. I love this shot. I love this. It's too short. - Way too short. Yeah. It's way too short. You know, if you're starting to do movies or anything.... Please listen up, because Bjérn is saying something important. If you get into doing green-screen stuff, stay on it longer... ...because the visual effects will come in and you'll go: "Why the hell didn't we stay longer?" You had 36 frames of tail handle that you didn't use. So it's... So there. - Bollocks. I did not see that. - The famous.... Larz. Thank you, Larz. This is a 300-pound dummy in steel. Oh, God. Nothing.... I mean... Larz is the visual effects... - Special effects. Special effects. We thought, "There's no way. That's not gonna smash the car." Larz was like, "It's gonna smash the car." It did. - It smashed it great. Larz was right. It worked. And I love this shot of the camera pulling up... ...and catching Theo there. - Yeah. SO we are boosting up the mystery here. Theo, who is this guy. - The mystery man. And hopefully you don't know that he's a Vampire yet. He could be anyone, probably a human. Yeah, that was one of the challenges, as well, with the introducing. We introduce Michael Ealy, who plays Sebastian... ...and we have introduced David. We had introductions of a character called Quint, which is... Love this knife. - Yeah. The Uber-- Who was a Lycan, but it was taken out. Because there were too-- Yeah. Kris. - Kris Holden. Brilliant. - Brilliant guy, brilliant actor. It was taken out because there were too many people presented... ...and he gets presented after the car chase... ...and we only see him once. I'm not sure if that was perfect. In hindsight, maybe we should have. - But it's tough. That's... This is a movie where there's only one character... ... left over from other films. Every character has to be introduced. At a certain point, it's a struggle... ...trying to figure out ways to do it without overwhelming the audience. So we just caught a glimpse of the lower Lycans. And one of the things that we really loved in this one... ...was that we could expand the mythology and the universe... ...by inventing new creatures. And we liked the idea that they have been living in the sewers. There's one now. Yeah. And, you know, we thought, you know.... Here we thought Gollum. We thought rabid dog. We thought puss-- Run... Is that what you call it? Puss? Pus. - Pus running. Yeah. Saliva. Fucking crazy in the head. Rabid crazy. That... - Syphilitic. We wanted to because there's... One of the most wonderful lines... .In the history of Underworld is: "You're acting like a pack of rabid dogs! And that, gentlemen, simply won't do." That Michael Sheen says in Underworld 7. And we said, well, let's turn them into those rabid dogs now. They-- You know, they have lived here underground for so long... ... that they actually became these rabid dogs. Yeah, we actually don't see these guys as being human anymore. They're just Lycans. - And they... They turned out beautifully, James. Really beautiful. - These are my favorite Lycans. I think if there is a part five, there should be just these guys. I love them, just those.... The horde. - Yes. Really sick. It was the first time we moved away from suits. We always relied on practical prosthetic suits... ...and this was the first. This and the Uber are the two creatures that are purely CG. The Uber was hard to cast, so we had to go CG. This is an important moment. I loved shooting this. - This is where Selene sees... ...this child for the first moment. Without realizing who it is. - Right. She thinks it's Michael. I remember when shooting it... - She expected to find Michael. Right. Exactly. And she was so beautiful, and she looks so scared. Vulnerable. - Yeah. And the whole thing here we set up, you know.... We're gonna reveal later in the van, when she rips the Lycan's head apart. Hopefully that works, because we set up this girl as weak... ...as we see here, and vulnerable and so on... ...but she is the daughter of Selene, which means the girl's got powers. She's got the kick-ass gene. - Her name is Eve... ...which is never pronounced. - No. It isn't? We never say it? - We never say it. She says, "I'm Subject 2. You're Subject 1." So we might give her another name if we want to for the next one. Eve is perfect, I mean. No, but I think Selene is so beautiful... ...because Selene means moon in Greek. Is that right? - Yeah. Selene means moon in Greek? - Don't you know your Greek? Apparently not. Good Lord. Yeah. So here's the car chase, as we Call it. And it is pretty much... ...on the money on every shot that we storyboarded... ...which is extremely rewarding for a director... ...to see that it pulls off. This is also a triumph of visual effects. Probably half of the scene it was pouring down rain... ...and shooting in 3D, which means you can't really shoot. Shooting in 2D. We shot most of it in 2D. Because you can't shoot in 3D, the rain hits the mirror. The half-silvered mirror that you use in a 3D rig. So this whole thing was pieced together... ... from very, very rudimentary pieces.

10:50 · jump to transcript →

We got so much mileage out of that set too. Yeah. - It just looks like it goes on forever. And most of all, it looks really real. Yeah. The texture-- The scenic painting and the texturing is first-rate. Claude, the production designer, said that he took great pride in detail. He said, "That's my middle name." And also in the wood too. The way they sandblasted the wood... ... to make it look ancient, it's just great. Yeah, I remember I talked to Gary, who was the art director. When they presented to Claude... ...Claude just... Like I said, they were working so hard with the detail... ...and Claude had been doing some other stuff, came back... ...and walked around, and then took Gary's head and kissed it. On the forehead. And he said, "Thank you. It's gorgeous." - Sounds like Claude, yeah. And here we are. - This is a fantastic scene. Yeah. There's a shot coming up that is just... ...beautiful, that Brad Martin, the second-unit director, shot. It's just... This oner. This is one of the things we.... This one. This one here. It's fantastic. There was no way we would have staged this shot as we did... -.../f it wasn't a 3D movie. - Yeah. Yeah. We wanted much more, actually, than we... That's all one shot. - Yeah. All with CG. It's... - That was a blend of CG and suits. Here, it's just CG. In the end of that scene, it was suits as well. Yeah, everything mixed. Like every trick we had In one shot. Here's suits and CG mixed. - That's a suit. Suit, suit. Background guy's CG. - Background guys are CG. That's a real one. Yeah. - If they're moving, they're CG. I remember at a certain point too... I remember at a certain point, for budget reasons, we had to cut... ...a lot of the CG shots of this sequence. You look at the sequence now and you can't imagine.... Well, Clint did give us more money. No. But I remember once we got the rule... James just said, "We can only have--" - There she goes. "We can only have 36 Uber shots in the movie." It's more. - Oh, yeah. There are 275 creature shots in this movie. Is that right? - The other thing is... ... for the audience, we keep using this word Uber because... It's not in the movie. - It's not referred to in the movie... ...but this larger than... This five-times-the-size Lycan. We sort of... - Nine foot tall. We... - We called it the Uber-Lycan. The inner circle called it the Uber-Lycan. He's not 9 foot tall. - Twelve feet tall. Fifteen feet tall or something. Theo, extremely... - Nine hundred pounds. Did all the stunts himself. The Necklace. - Yes, the Necklace. We give all these kind of moves aname. That was the Necklace. You threw that in, the head getting blown off. Had to happen. - Yeah. It's an Underworld movie. I love that when she bites him. - What? Where'd that come from? This one's great too. - Yeah. It's great. Oh, I remember... - The blood spray. We had to fight for that ax in the head, which I don't understand... ...because it's kind of given, I think. Always... - Was that a gibe? That was a gibe. No. And always put people in water. - Oh, this too. Yeah. Because they like it. - Yeah. Actors really like being cold and wet. No. It was freezing cold. Theo was extremely cool. Yeah. Not cold. Cool. - I really hate Theo, actually. I sincerely hate him for being gorgeous... ...and he played me the first two days, and I thought: "Oh, is he slow, this guy?" And he was so much smarter than me. And he was pulling my leg and just, you know, he was.... He's a perfect human being and so kind. So, you know.... I hear he's single. - Yeah. I hope he can't draw. He actually had a very nice... He has a very nice girlfriend. Even the sun has spots, I guess. Anyway, he's just one of those perfect human beings... ... that walk around there which makes you feel not perfect. Yeah. - The weaponry here... ... you saw that little glint there, or what do you call it? The: On her gun. I mean, the weaponry Is real important... ... for the Underworld movies. One of the things that we also love. I don't know how many hours or days we actually talked about what kind of... ...guns shall she have and when and where. It's an enormous amount of research. This was inspired, by the way, to shoot... To have the Uber-Lycan appear... ...and to do his first shots where you didn't see him... ...and then have a second reveal. We actually-- This... That came up because of the set. We didn't plan that. Then we saw the set, and I think... . James, it was your idea that we should have... This is the Uber-Lycan. And this is what we talked about. We really wanted to hurt Selene. We really wanted to, yeah. Although she hurt him, didn't she? Yeah. - That'll teach him. That's a setup for later on. You know, look, the fact of the matter is, when we shot this, we had... ...Kate or her stunt double in the foreground doing all the stunts. That's Kate there. - The Uber-Lycan... ...was placed in afterwards and.... - Yeah. Just brilliant. Just brilliant. - Yeah. Remember the giant to-scale Styrofoam gray Uber head? Which we all laughed at on the set. - No, I remember... Kate doesn't like shooting these kinds of things. She's like-- Because she feels like... You know, she does it perfectly, but it's, you know.... It's not her favorite thing to do. - No. It's hard. Because you look at the Styrofoam thing... ...and it's hard. - Yep. But she does it perfectly. - Yep. There's our dam. The Suede pose. - Yeah. This is beautiful in 3D. Yeah. He looks like Brett Anderson in Suede. Beautiful death. Death position. Yeah. Yeah. He died with style. - Like a dying dandy. One of my favorite Swedish paintings, The Dying Dandy. Yes. Wow, you really snuck that one in, didn't you?

43:18 · jump to transcript →

By the way, also look at, here's another sound cue when Felix blows up. We go into, and the typical thing would be, I think, again, another, we wanted in one shot to have him run and then be thrown into the air. That shot where he explodes is a VFX shot. It's actually a stuntman that gets thrown into the air, but we stitched it together with Paul running.

1:16:44 · jump to transcript →

And the guy who's playing the Frenchman, who's playing Duval, I cast a lot of people. And you know who I took? I took a stuntman in the end. Because I knew, okay, I want to concentrate again. I want to have the time to concentrate on Paul's face. Check out this makeup in this scene. And to be with him and not to worry about the soldier. And if you have an actor, if you have someone, first of all, he needs to fall down that crater hole and lie in the mud.

1:24:05 · jump to transcript →

You know, you can't let an actor lie in the mud for 10 hours. A stuntman, that's his job. And he also needs to fall down this little crater when he gets blown up in the beginning. And so that gave me the ability to concentrate on Felix and just let this guy lie in the mud for 10 hours. We try to take good care of him. But I think he did such a fantastic job of playing this dying. And it's really hard.

1:24:33 · jump to transcript →

Roger Moore

Now, when you look at a set like this... ... you know that the glass is going to get broken. Purely because the stuntman and the stunt arranger... ...don't have to pay for it.

46:16 · jump to transcript →

Roger Moore

The stunt work on this was done by Dickie Graydon... ...and by Martin Grace, my.... Who was then my stunt double, and then became the arranger... ...after this film. Dickie Graydon doubled me. And Martin Grace, who is just a fraction shorter than I am... ... doubled Richard Kiel. And it is attitude... ...that works. And Martin is a very, very good actor. In fact, he doubled in The Spy Who Loved Me. He doubled Richard Kiel on the top to the temple of Karnak.

1:06:56 · jump to transcript →

Roger Moore

Bob Simmons, who is a very, very good... ...fight arranger and stunt director... ...l've worked with him for many years as a stuntman. And I've worked with him.... Oh, I must have known Bob for 20, 30 years.

1:40:53 · jump to transcript →

This sequence was kind of difficult, because I wanted to have the bike actually do an endo, and we got it. Our sound man was an aspiring stuntman, and he did a good job there, because he just turned the wheels and went head over heels. He hit so hard, the wig that he was wearing went flying off. I tell everyone that's me. Oh, doing the stunt? I've been lying about that for years. Well, we'll dispel that one.

13:46 · jump to transcript →

Once again, here's Angus. No stuntman. Does all his own stunts in this film. Really deserves credit. This is very scary stuff. People are screaming. Yeah. We cut a little hole there for Angus's fingers to fit through. Just hear the clatter. I stood with my fingers in that position for two hours. I remember. About between 1 and 3 in the morning. That's the first appearance of yellow blood, which I think surprised everybody.

38:17 · jump to transcript →

That was a really, once again, without a stuntman, Bill's shooting at a loaded blank. And that's Lenny there, too, being pulled back by a rope. Yeah, no, he's in an actual jerk-off harness. We yanked him back in there. Home sweet home. And we're shooting out here back at the Dunsmuir Mansion again. And once again, you know, when I say we didn't have any stuntmen, we didn't have any stunt drivers either. It was usually, you know, one of the more

47:33 · jump to transcript →

John McTiernan

So the movie had been planned with a second unit, to shoot the attack. And this stuff was all shot, sort of, stuntman style,

21:37 · jump to transcript →

John McTiernan

And no one was hurt on the film. One stunt double for Arnold later on... Ah, there is Painless firing.

25:12 · jump to transcript →

John McTiernan

One stunt double for Arnold, he had hurt his knee. I think we were pretty lucky, we didn't...

25:24 · jump to transcript →

And of course, the ubiquitous bear trap, a signature of David's work. In every movie, there'll be a bear trap. Now, did O.J. do that whole thing himself? Absolutely. Or we cut the stuntman. I think the stuntman fell out of the... But everything else was O.J. Everything else was O.J. Amazing work. And the entire cast is on that plane. I think we're coming up on my dad here. Every family member's in this, right? Yes. Always. There he is with the camera there. Third from the left or second from the right.

7:20 · jump to transcript →

No, we took it out. We took it out. He had a comic take and it made us squirm. I bet this is... I forgot about that one. That's a good gag. Oh, Dr. Alfred, I have Mrs. Kepley's chart. Are you ready to go over it? That's Mallory Sandler, who also used to be in Kentucky Fine Theater. Yeah, and the doctor's a stuntman. Oh, the mother of 12. This guy's been a bad guy in a lot of movies, too. He has. Yeah, I think he was also in 33 and a Third. Was this his first picture? I think he came back, even though he...

31:06 · jump to transcript →

Oh, that's Connie Palmisano. Our stuntman, second unit director. Now, this was a surprise for the audiences. Yeah. We'd actually roped John Hausman into doing this. Oh, my god. He became famous for doing everyone's last picture. I think Ethel Merman died shortly after Airplane. Airplane. And John Hausman literally expired after this picture. Yeah.

32:32 · jump to transcript →

...decades and decades ago... ...and brought as an extension from this person's home. Oh, and the stuntman who was the lead Hungarian... ...was the double for the one who cuts the kid's throat... ...was the double for all of the Pink Panther movies for Peter Sellers.

1:00:51 · jump to transcript →

Hoping you've come for these details. Yeah. That is Kevin, and now is Kevin's identical twin. That guy is the father of one of the, that stuntman is the father of one of the kids who gets killed. Oh, that's, well, the family that slays together, I guess. Lays together. And this is Kevin's double, which. This is, yeah, I thought he, I think he looks great. Yeah. Like, he looks, he's exactly like, I actually trimmed his goatee

1:18:52 · jump to transcript →

With the exception of the stunt guy. There was really no preparation for the size of that explosion. Yeah, you don't know these things. Elvis has left the building. Originally a line, scream. Which I like much better. The moon in the background, I'm very thankful for. I think it makes that very cool. And this is Steven the lunatic about to do the jumping. Now this man running who gets shot in the back, boom. He's about 80 years old. He's a stuntman. He falls, clunk, clunk.

1:19:49 · jump to transcript →

Simon West

I thought she should do something beautiful, but also very athletic and daring. And this is a very impressive routine that Lara does every night before she goes to bed, but Angelina actually had to learn to do for real. Now, I never expected her to do all this. When I cast her, I never thought of her as a stunt person, but during her training program before the shoot, she just learned how to do this thing from top to bottom, and I realized I wasn't going to have to use stunt doubles at all.

26:15 · jump to transcript →

Simon West

Five. Four. Three. As I said, I came up with the idea of the swinging log quite late while we were already shooting. And so the set wasn't actually built with the log inside it. And so it was a late addition. And Angelina hadn't had time to rehearse jumping on this log and riding it. And so I had the stunt doubles.

51:10 · jump to transcript →

Simon West

she got on the log and we let it start swinging and literally within three or four minutes she was standing up on it and something that not even the stunt doubles could do and she obviously of course didn't just stand up she did it with style and grace and I was rolling with three or four different cameras and I got the whole thing with Angelina actually surfing the log into the into the urn for the scene but as I said it's one of these things you just think up very quickly and you're not sure whether anyone's going to be able to to do and

52:06 · jump to transcript →

Odette just, you know, there's nothing there. So Odette is throwing himself at windows and over chairs and benches. He and Brendan were rather beaten up in this sequence. It's very hard for... If you're fighting a stuntman or a man in a mummy suit, it's much easier because at least you have some resistance, somebody holding you back from really hurting yourself somehow. But when there's nobody there and you're throwing a punch and there's nothing to connect with, or you're throwing yourself...

44:55 · jump to transcript →

back over a chair and there's no one to catch you. It's much harder on the actors when there's nothing there than when there's a stuntman in a mummy suit. Brendan is particularly good at that in this sequence. He's a terrific physical actor, and he really sells the fight. Obviously, we're cutting all over the place. Again, these are soundstage shots.

45:22 · jump to transcript →

It's a wire gag, and the stunt performer is sort of wrapped in a wire as he's thrown across the room. It unwinds. So imagine being wrapped in piano wire and then being yanked 40 feet through the air. It's not real fun.

1:52:57 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

We wanted the focus of the battle to be Gandalf trying to out-strategize the orcs... ...and to give him a real hands-on feeling. And we wanted him to get his hands dirty, as they say... ...rather than just be shouting out commands... ...to actually be doing some, fighting himself. This is no place for a hobbit! Suffice to say that this is a mixture of Ian plus a stuntman... ...who is also doing some of the fighting.

2:05:37 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

And then as a separate pass, we shot the stuntman being jerked back onto the pyre, and we combined the two elements. And this was just another image that I had in my head way back at the very beginning, as I just wanted the flaming Denethor to jump off the prow of the city and plummet. And now, it could never happen in real life because the distance between where the tomb is and where the prow is is so far. He'd have to be running about a mile to get there. Poetic license. I just like the image of him plummeting.

2:38:17 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Oh, that's a great pile-up, isn't it, that one? Yeah. We literally were just following Miranda or Miranda's stunt double on a horse and we put all the battle action in afterwards. We shot a lot of elements of background horses galloping left and right and we were able to take those and put them into all sorts of different shots and build the battlefield up, add a lot of CG horses, make it seem a lot busier. If you look at these original plates, the documentary on the green screen, they're so much less spectacular than what you're seeing here.

2:41:47 · jump to transcript →

Something happened with Kate just gets riled up around Speedman, and it makes her just go a bit batty, and she just loses it. Now this next scene coming up here, Marcus is swooping in. Jim Churchman, my rigger, my main rigger and assistant coordinator, has this great rig right here. It's a computerized winch, which allows us to repeat these moves. And this was the stunt double Adrian Hine.

29:20 · jump to transcript →

playing on our video. Mike Gunther. We had this prosthetic piece that went over Gunther that was a shirt, and he didn't have as much rubber on it as the Marcus stunt double, so it really looked like a shirt, and unfortunately right there it did, and then at the end of the movie when we do the fight in the dungeon,

48:52 · jump to transcript →

See? You spilled wine all over my Han Solo shirt. Okay, okay. I'm sorry. I get a little carried away with that cut thing. Wave my hands. This Millennium Falcon's not going to look the same. This was Brad on second unit right here. Who was doing that stunt? That was Adrian Hine, the Marcus stunt double. That was great. I really wanted that to be a...

1:03:18 · jump to transcript →

He's so taken aback that he doesn't know to grab for it, you know? Yeah. It's great. Just a little aside here, where Mitchum falls as he's going up the steps, that's a stuntman doing that, a double. Naturally. He didn't actually do that. Yeah. It's coming right up.

52:53 · jump to transcript →

But then when it's Mitchum himself going up the stairs, he looks, yes, that's the stuntman. Now he looks like Frankenstein's monster with the short cuffs. Yeah, yeah, he does. Wow. It was actually James Whale who directed Frankenstein and Bride of Frankenstein who introduced Whale. I mean, Lawton to Gregory. That's a strange shot there of the two kids, which is a freeze. And it actually, Lawton removes some dialogue between Mitchum and the kids at that point that he didn't like. And that's why they had to put that in there to cover that. I always wondered why that was there. There's a gap.

53:10 · jump to transcript →

Terrence said, there's nothing for you in it this time, but don't worry, I'll remember you. Stuntman George Leach has his own memories of Sean Connery as 007. And Sean Connery was one of the very strong types that were really ideal for the Bond, for James Bond.

24:10 · jump to transcript →

I thought he was very right for the part, as they say. Stuntman Richard Graydon also recalls the director. I suppose it would be nice to make a tribute to the originator of the films, which was certainly Terence Young. He set a style which, in fact, has been developed and continued through. Without Terence Young's setting of that style, Sean Connery, who was in those days a very rough

1:30:52 · jump to transcript →

stuntwoman hitting the bed because there was a huge splash of blood, and they were, like, completely offended by that. Right, so you just trimmed frames because she did actually hit the bed, right? I don't know whether you actually see her more than just, you know, make a split second of contact. Father abandoned ten years ago. Mother's in Vegas with a boyfriend. We're trying to reach her now. Now, this is Joseph Whipp, the actor, and John, of course, yourself, but John, before we go to you, Joseph ended up on, I think, Cheers for years, didn't he? Playing, I think, a mad adventurer.

18:22 · jump to transcript →

large stuntman or very very old guys and I just suddenly came to the realization it's not going to be a stuntman that can come up with that kind of evil and probably will be a younger man especially and Robert Englund came in and he had so much enthusiasm for it and was so fearless with the role that he was prepared to play that kind of evil you know it's very difficult for an actor to come up with that kind of portrayal of evil a lot of people try to make it sort of comic or a camp because it's

1:29:37 · jump to transcript →

Gary Goddard

This is good. This is the stunt double for Billy Barty making a little hop through the fire here. I always liked that shot. Now we have the detective, and he's going to take matters in hand. He's going to get out there. This is the shot coming up that blew out the windows on all the local businesses. Another interesting thing is you're going to see a lot of aerial shots later over this street in Whittier.

1:05:13 · jump to transcript →

Gary Goddard

but there were pyros on the guy's actual armor, so as the sword hit the stuntman, pyro actually burst from the chest to, you know, emphasize the power of that particular sword. This was actually Franklin Langella's first night. This was his first...

1:14:30 · jump to transcript →

where they're trying to rescue their friends. This is the first we've heard of them. Right. Oh, here it is. I think here's the wig. I think, and I'm not positive, but it's when he's going to go into the garbage pile. Is that what it is? Or did that already happen? Anyway, Anthony was furious about that wig. He's enraged. Because the stuntman, they put a wig on him that he felt was not. What stuntman?

1:15:06 · jump to transcript →

The stuntman for Tony Newley that went into the garbage dump, remember? That rolled into the garbage dump? No, that was Anthony. No, it wasn't. Oh, my God. No, we're going to talk about another stuntman coming right up here. That double doctor. Man, oh, man. For this sequence. All five of us had to see ourselves in that moment. Like, that's...

1:15:31 · jump to transcript →

because while the car is wrecked, it's not a crash that I believe would incapacitate those two guys for very long. I wanted to hit the car more broadside, but I also didn't want to kill the stuntman. Ryan with his finger off the trigger again, and now his finger on it. One thing that I read in a review which I'd never picked up on is the notion that we never see cops

21:38 · jump to transcript →

urged to please cut away sooner, and I thought, no, you gotta see the actors get out of the car. And the broken mirror on the car, by the way. But these two guys, Andres and Armando, the one on the right, the older guy, is a stuntman, and the younger guy has never acted in his life. This was his first film.

1:20:42 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Doesn't need to be a rocket scientist to guess that not a lot of this was actually Ian McKellen and Christopher Lee. That's the great thing with doing stunt fights with guys with long hair and beards is that you can disguise a stuntman relatively well. I think even the stuntman sustained some injuries from that scene, didn't he? Yeah, one of them cracked their head badly on the side of a trampoline when they were going to land on a trampoline and they fell short and they actually hit the metal part of the trampoline on the back of their head.

50:46 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

and Elijah was just great. He ran another, what's this jump? Because this is a real jump, it's not a stuntman, it's actually Elijah and he does this huge jump, bang. It looks pretty, it's more dangerous than what it actually looks like because the boat was really floating and floating away and he had to make that huge leap. And what was funny about this night too was the Bucklebury Ferry started to sink and our producer Barry Osborne who has some yachting experience sort of stood on there about three o'clock in the morning trying to explain to the crew how bilge pumps work and we had these hand

56:58 · jump to transcript →

Barry Sonnenfeld

That was his stunt double flipping over. Once he landed... ...we tricked that guy out and Tommy Lee Jones into the shot seamlessly... ...SO it looks like Tommy did that flip.

1:06:14 · jump to transcript →

Barry Sonnenfeld

Will actually did that and went all the way up into the ceiling. Then we took him down... ...and his stunt double, Randy, was dropped into those tubes. But Will did almost all of his own stunts in this whole movie. All of this stuff, Will is on wire, holding on to green bags and stuff... ...being pulled around the room.

1:08:11 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

The bodies under the water here, of course, are supposed to be fallen soldiers from the battle that was in the prologue of the Fellowship of the Ring, isn't it? It's that same period of history that they've been lying there for about 2,000 or 3,000 years. They're actually really creepy. Yeah, these were silicon dummies that Richard Taylor's team made at Weta. Was this guy real? Yeah, the guy that we're seeing now was a real person. Everybody else is a rubber dummy, but this guy's a stuntman that looked the most like an elf.

45:59 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Oh, that's a Peter Jackson moment, the old thing going through somebody. Yeah, well, that stuntman actually broke his leg on that. That was one of the few serious accidents that we had on set. In fact, it was just about the only accident we had shooting Helms Deep was the stuntman that got hit with the grappling hook. He had like a jerk wire that pulled him back against the wall and he just landed awkwardly against the wall and broke his leg very badly on that particular shot. Great shot.

3:04:59 · jump to transcript →

okay, now we'll see the stunt person create the character or continue the character as if it's some sort of station break. It is Charlize all the way through, and I think that's why you get this sense of connection to Eon Flex the way that you wouldn't if we had used a stunt double or had to use a stunt double. Not everyone is as flexible, as athletic, and...

18:44 · jump to transcript →

We also worked with a wonderful second unit director, Alexander Witt, who'd worked with Charlize before on The Italian Job. Yeah. And Charlize and Martin and Sophie worked with him in these sequences. So it isn't as if when Alexander was filming the action sequences, there were stunt doubles.

1:01:17 · jump to transcript →

Patrick Tatopoulos

It's nice when you have actors that can ride horses like that. You don't have to get stunt doubles. New Zealanders are like that. They're tough. That's the blood stuff. Bill loved it. He's so enjoying it. Bill is a very sloppy drinker. - Yeah. And fake blood doesn't taste very good.

57:09 · jump to transcript →

Patrick Tatopoulos

Remember, that was gonna be a much bigger scene too. That's not two stunt doubles. We did this again. That's another one we pulled. So you know that set you're looking at, the underworld of the castle? The underground part is actually the same wall... ...we used to make the canyon at the beginning for Sonja. Now, Patrick, explain this. Some people have asked me what Viktor is holding. I was tempted to cut that out. We built a doll as something he give to his daughter. The only time you see it before that is in the memory. It is there. I think it's just a wide shot. It's also there when he gives her the necklace. Yeah. - But you don't... We haven't been able... At one point, I was ready to lose that. I thought... But it is something he gives the daughter. I have a question here. What is in these barrels? I never quite figured that out. It's kind of like some very special oil... ... from mediaeval time. Like mediaeval napalm or something? What's in those barrels is me going that we have... ...No different kind of... You know, we can't do just swordplay after swordplay. It's some kind of explosion element, mediaeval version. Yeah, we need to have that. I think this scene works great. It's very successful. I love him screaming against the door, there's so much energy there. I tried to have him have a little dialogue moment here. Just didn't work. - No, it didn't work. It just felt totally awkward, so. There's something about them looking at each other... ... that they have a poignant... Now the rain. Pain in the ass, but I think it worked well. It worked very well. Everything that's a pain in the ass looks better. And conversely, everything that looks good is a pain in the ass. All the elements of snow and wind and fire and all that. Remember on the first Underworld... ... you were adamant about wanting... ...a lot of these scenes to happen in the rain. "No, dude, we can't do it. It's gonna be such a--" And you stuck to your guns. Thank God you did. It looked great. Do you remember how much I had to fight for that rain? Yes, I do. When you're on the same set for the entire movie... ... you'd better find ways to reinvent it. And the rain was one way for us to give it a different tone. I just think that something horribly... Just tragic happened... ...1n Richard's life with rain. Did you have the same problem on number one? But it does. It makes everything a kind of a nightmare to... The equipment... - But the result is... Hey, two words: Romania, winter. Imagine if we had had to shoot this in Romania in the winter. But the other thing that you get with the rain is you're able to do.... Have your stunt doubles replacing these primary actors... ... 1M a way so that you really don't even know the difference. I can't picture this in a dry... I mean, this gives such a different energy. Yes. And the lighting on top of that. Just flashes and... All right, next movie I won't argue about the rain, I promise. It's about time, Richard.

1:00:19 · jump to transcript →

Shit. This guy thinks he's gonna beat the crap out of these guys. Anyway, Daniel trained me, guys. I do my fighting in this movie, and I always wanted to do that. I won't say the name of the actor, but I told an actor once, who I like, that I'm gonna do an action movie and that I was training, and he laughed at me and he said, "Why are you training? "They have guys who do the fighting for you." And I was like... I didn't say it to him but I wanted to Say, "No, I want to do the action movie. I don't want to just be in one." You want to put in the work. I want to do what Jackie Chan does, my version of it, the best I could do. So I trained for two years with Daniel, and he took me from zero to wherever the hell I am here. But I do this fight that you're about to see, and I had fun doing it. I had so much fun doing the fight sequences. And there are no stunt doubles except for one shot in the entire sequence. Which is... It's one thing coming from me. It's another when... Our fantastic action choreographer, Greg Rementer, he said, "Ilya, enjoy it because you don't get this ever. "You don't get the dedication. "People just come in and they kind of, you know, Stretch a little bit "and then as soon as it gets a little bit uncomfortable "the doubles run in and do the hard work." It was fantastic that every shot, every action beat was done by you. And furthermore, the fact that, you know, we had to cut, and we wanted to make it a little more dynamic than just a steady camera single shot. But we could have done five, six connections in a row, no problem, without cutting away because you memorized the hell out of this whole thing and trained in this very bus. There were moments when you trained, right? Right before the production and prep? - Yeah, we trained in LA. We had a layout of this bus and we trained for this sequence. It changed over time. For different reasons, it changes. There's Daniel and me, head to head. There he is, the guy who trained me. And he's such a great fighter. He's such a great on-screen fighter, and he's such an amazing guy. An amazing, intelligent, upbeat, hardworking, just one of the best people I've ever worked with, known. And he got me here. What else can I say? I love him and I want to make more movies with him and... Then he gets thrown out of the bus. Our hero.

27:13 · jump to transcript →

Can we just talk for one second about our black Russian? Araya. Araya is a great actor, Araya Mengesha. Yep. And he has a great part in here, and he plays it so well. Now, is he a stuntman? - No. He is an actor from Toronto. Yeah. - A great guy. And I give him a lot of credit because he... When I talked to him, I said, "Look, I want him to be... "I want Pavel, the black Russian, to be speaking Russian "and to sound as Russian as possible." Yeah. - 'Cause he's based on... I don't know how to pronounce it. "Amalgamation"? Yeah. - Of a few Russian black guys that I know. 'Cause, obviously, we don't... You know, we're mostly predominantly a white nation. Right. But the story that Pavel, or Araya, the character talks about how he's the son of an Ethiopian Olympian from the Moscow Olympics. That's all... There's a certain group of people in Moscow or in Russia who were the result of the Olympics. Just people came over, had sex and left. And so these hyper-athletic kids from Olympian fathers or mothers, fathers, they grew up with a very different skin color in a country which... People were not used to that in the slightest. So they had a very, sort of, in a way, great experience 'cause they were getting the right kind of attention. But obviously, with the right kind of attention also comes, usually, the wrong kind of attention. So he is based on a real concept. Yeah, yeah, yeah. So I said, "Araya, it'd be great if you can, you know, spend some time "and I'll coach you a little bit and let's get the Russian right." And he did. Like, we spent, before recording, you know... Yeah. Twenty minutes a day just going over... - He's fantastic in this. Such a great guy. A joy to work with too. As were all these guys, but... This is a team of people, mostly Canadian stunt people, but overseen by Greg Rementer and Daniel Bernhardt, who did some of the fight choreography, all the fight choreography. Well... -[t was Daniel and Kirk together. Yep. - Well, together. I mean, Greg Rementer is this... What is his title here? -/ think he's both... He's the stunt choreographer and the second unit director. Yes. Anyway, it was a team effort.

48:18 · jump to transcript →

Nia DaCosta

Help! This, we had a really fun rig on Gordon... Wait! ...In this scene, who plays Jonno. And we have the best stunt performers in this scene. They were just, like, so game to throw themselves around, to get tugged around.

24:58 · jump to transcript →

Nia DaCosta

This was so fun to shoot. This... Our amazing stunt performer, who we lit on fire, I think, three times. And the crazy thing about this, which I didn't know, is basically he gets covered... His body... Like, underneath the costume, he gets covered in something that protects him from fire. And then he gets... puts on the costume, puts on a gel that was supposed to light up. And then he wears a mask over his face so that he doesn't, you know, his face doesn't burn off, obviously, and... But he has to hold his breath for the entire time that he's on fire, which I didn't think about. But obviously, you wouldn't want to be inhaling and burning your lungs to shit. So I was so impressed. And I always am with everyone I work with, but especially him being lit on fire three times, I think, on that night, and then three times on this night, to do the shot that's about to come.

48:04 · jump to transcript →

His stuntman was evidently summoned to provide some genuine contact, but sound effects carry Van Cleef's non-contact lows. Rassimov's performance was dubbed in English by Joyce Gordon, the wife of actor Bernard Grant, who has also dubbed various roles for this film. Joyce was also the voice of Claudia Cardinale in Once Upon a Time in the West. This scene was reduced to a single slap in the UK, and Stayed That Way took the film's 1999 video release.

30:34 · jump to transcript →

The stunt coordinator on the film is Buddy Van Horn, a name that will be familiar to Eastwoodites. Van Horn was Eastwood's longtime stunt double, and the men had one of those semi-symbiotic relationships that sometimes occur between leading men and their doubles, the sort of thing that's very much at the center of Quentin Tarantino's Once Upon a Time in Hollywood. Van Horn was the stunt coordinator on all of Eastwood's films from 1972 to 2011.

7:53 · jump to transcript →

Filmmaker Paul Davis

And Jim O'Rourke was Clint Eastwood's stuntman. And when they finished on the movie, they traveled around Spain together, working as stuntmen and English coaches for various spaghetti westerns around that kind of boom that was going on. They worked on Spanish movies, Italian movies, British movies.

0:53 · jump to transcript →

Guzmanic Cesare Reddy, who's a special photographer, still works with me. He's worked with me since Jericho Mile in 79. Kathy Swans does here. Billy McSimmons, a great prime master. You started Billy on this picture. John Latangio, world famous. H.P.Evitts, a stuntman, world champion rodeo cowboy. Robert Beatty, one of the best music editors around. Paul Huntsman, still work with Paul and Bob.

2:03:01 · jump to transcript →

falling uh patty who just pushed the man off the edge was a stuntman i think he was a retired stuntman he's probably the oldest stuntman in the business and he ended up doing so much work on this thing because it was his last chance i think i think that was partly what we were doing giving people a last chance to do something interesting the entire film was basically shot on this one

5:05 · jump to transcript →

Oh, first use of airbags in a film. That's right. Rick Barker was the stunt guy. Rick Barker, yeah. Yeah. Rick Barker, who then was Gary Oldman's stunt double on Sid and Nancy, who went to Nicaragua with him on Walker. Ed Pansulo driving the passenger in the CIA car. Ed Pansulo, this actor, was the roommate of Mark Lewis, the actual repo man with whom I drove around.

52:10 · jump to transcript →

Lea Thompson

Did Eric really do that or was that a stuntman? No, that was Eric. - That makes sense. We almost had a heart attack. - That makes sense.

2:11 · jump to transcript →

Larry, wake up. You're missing this. Larry's not missing a thing. Oh, no! That's not a real person. It's a stuntman. Okay, now this right here isn't going to bother him because he's insane, okay? Yes, nobody's ever bothered when you're insane when you cut your leg off.

54:04 · jump to transcript →

Poor Eddie. Which, again, was a gag that was spoiled in Fango, because it was that shot coming up. Let me just tell you, the stuntman who did this was a famous, very heroic, very athletic little person. Bobby Porter. Bobby Porter. He was the go-to guy. Unbelievable. He did everything. I think he did Annie climbing the bridge in the Annie movie. Planet of the Apes? The Sun? Right there. He was a fantastic stuntman. And...

1:11:25 · jump to transcript →

believable in both areas, like he was. So now we have to see how we do this now. His first, this first fight, because we know now he had to lure him away, and then we will have the first fight. And we were working with Harrison and our Doug Coleman, our stunt double. Yes, not stunt double. He was a stunt coordinator with the guy who choreographed.

42:50 · jump to transcript →

My Question Initially To Jean-pierre Was

So acting like you can see something when you can't see something. That's great. Was it a practical? - Yeah. We built some wax aliens to blow up for that moment when they blow up. The explosion's practical and the bubbles are real. Everything was really here. Tom was in this underwater - in the suit as well - for a couple of shots. That's a beautiful shot. - How deep was it? 15 feet? In a closed set. You couldn't swim to the surface if you wanted to. The difficult thing about this was that the rehearsals you performed with a mask on and breathing from a breathing apparatus. They were all calm. You were marking what you were going to do in that particular shot. You were gonna swim from here to here. This was your action. When they were satisfied that everybody knew what it was they were supposed to do, there's a countdown from six where you're asked to take six deep pulls of the oxygen. When you get to two the mask comes off. Then you're blind. The mask comes off then so there's no bubbles in the shot. You hold your breath for as long as it takes for them to slate, then start the action. In postproduction we put some noises, some voices, and we recorded the voices in a swimming pool with pipes, like... ...to put the pressure, to feel the pressure. This thing - there was no escape from this. You swam up into that thing. The only way to get out was to swim back down and out. Waiting in the wings would be stunt doubles with hookah masks for us, once the shot was completed, to give you air. In rehearsal you could go longer. It was calm, you were swimming gently. Once you were acting and the energy was up you used more oxygen and there was less time to stay under. Virtually every shot in the sequence you're in jeopardy, so the stakes are high. You're operating on pure adrenaline, which is not the case in a calm rehearsal. And then you got Jean-Pierre on a microphone screaming: "I want to see bubbles because they are making it look like you are afraid." So the bubbles are created by you getting rid of your whole store of oxygen and you're only good for about half of what you were during rehearsal. Made it difficult. I don't know about you, Leland, but I for one ran out of air on five separate occasions. Yes. - And started for the surface. Unfortunately the surface was a ceiling because this is a kitchen set. So there was no escaping it unless you knew where the escape routes were, and since you're blinded and disoriented as to where you are at any given time... I was literally saved five separate times by stunt divers who saw me panic, saw me swim for the surface, saw I wasn't gonna make it, followed me and stuck this thing in my mouth. We each had one assigned to us. I just remember the one time that the guy who was assigned to me that day decided to take a bathroom break during one of the takes. I ran out of air and there was nobody there. Remember? It was your stunt double who gave me... I shared air with you guys. He was so used to saving my life that he was just on guard.

1:11:06 · jump to transcript →

Taylor Hackford

Now he realizes he's got no one. His own wife, who he needs to confide in right now, he finally is ready... ...to come home and talk, she's not there. She's vacant. She's gone. And at this point, the whole idea of this is to take Kevin inexorably towards... ...a decision. In this horrible moment here, of looking at her body... ...completely ripped open, you know, he's thinking she did this to herself... ...she is really crazy. And that was not an easy scene for Charlize to do, obviously... ...but I believed it was an important scene. I don't believe it's exploitative. I think it was important to kind of see that she has been ultimately raped by Milton... ...and finally by her husband. She's got nothing left. And now, in this terrific scene in the hallway at the hospital. She now has a moment of clarity. She's sedated, but somehow there's clarity that comes through. He's putting her into a psychiatric ward, and she's defining why... ...in a moment of lucidity, why this is happening. The fact that, "We both went after it." She's not saying, "You went after it. "We both went after it. Blood money. We drank it on down." That sense of a contract that was made, and a pragmatism, and a sense that... ..."We want success and what we give up for it doesn't matter. We want... "We have no social conscience. We have no moralistic conscience. "We have materialism as our God." I think in this instance, she's admitting it and Kevin still doesn't want to hear it. He doesn't want to hear it to the point where he's putting her in and... ...putting her in the ice box, as it were. You see the psychiatric ward there, he's gonna have her sedated. She is crazy, but ultimately, he doesn't opt to take her home and deal with her. Instead, he goes to Barzoon's funeral, which is filled with all the power players... ...and all the people from his law firm. Diana Barzoon... ...again, Judianna dressed her in this fabulous outfit, short skirt, hat. "Doesn't Diana look wonderful?" Jackie says. And, Alex Cullen comes with Alessandra, and, lo and behold, Alessandra is... ...no longer that little girl, that little, vulnerable thing. She's quite a dish. And Alex Cullen has been able to seduce the social worker... ...who before was very much against him. Now, Alessandra's sitting between them. And Kevin is looking at this shot. I think, Andrzej's lighting on Alessandra's back is fantastic... ...and there is a sense here that Kevin is starting to see for the first time... ...what was right in front of his eyes all along. Mary Ann, is just, she's beyond help, all right? Jackie's sitting there listening, and then... ...he's sandwiched in between these two... ...members of the law firm's female side. And, you know, I think that the words were particularly apropos here. Looking at the cleavage, looking at that look on Christabella's face... ...realizing this is the allure, this is what you get. You can have all the flesh you want. And he's in God's house. He's listening to this man eulogize Eddie Barzoon... ...and I think Tony wrote a fantastic eulogy here. If you listen to the words of the eulogy, it's very funny... ...because obviously this is a man that did not know Eddie Barzoon. And in the process of Kevin kind of being lulled into thinking... ...and looking at her back and seeing this unseemly hand of Cullen... ...on his stepdaughter's back, he comes up and, lo and behold, he sees Gettys. No special effects here. This is just cutting. You know, he has an apparition. Mary Ann's had all the apparitions 'til now. Now Kevin has one and he realizes, "Oh, my God, what's going on?" Again, is it psychological or is it meant to be happening? Milton's standing in the back of the church... ...and looking at all the iconography... ...around him of the angels. Of course, he's a fallen angel. And this scene, again, out in the street, on Park Avenue... ...is a scene that I particularly like, because when you have expository scenes... ...when you have to get a lot of information out... ...you try to shoot them in ways that are interesting and exciting... ...and not just have two people sitting there. In the scene with Milton and Kevin at the beginning of the film on the rooftop... ...it's of an expository scene, but it's done in such a way... ...you can't take your eyes off of the surroundings and the art direction. In this instance we're on the street and we start moving. Kevin wants to get away. He's panicked. He wants to run as fast as he can from that image of Gettys in the church. And meanwhile, you see Milton, he's in complete control. Vyto Ruginis, who's playing the federal attorney here, is a fabulous actor... ...again, from Yale, and, he was saddled with the horrible task of... ...having to give all this exposition in this scene. But the fact is, by intercutting it and intercutting it with Milton... ...you're getting these pieces of information about the law firm... ...and what Milton's really into, and then intercutting it with... ...Milton's delight at being in church with his former brethren, the angels... ...and playing with them, enjoying it. And in the process of Kevin discovering what's really going on... ...what Barzoon was trying to hide, why Barzoon was possibly killed... ...and inevitably not wanting to hear it, he's a lawyer. "What do you want from me?" He's just a lawyer. All this can be explained by the fact that he's just a lawyer. He's a businessman. He's doing his work. And then what happens in this instance is the federal attorney uses... ...a piece of information that he knows will stop Kevin. He's basically going to lower the hammer right now. He talks about Gettys, the fact that he got Gettys off... ...and now Gettys has killed a young girl. And he knows that will get to Kevin. Look at him. There's a little smile on his face. We're all capable of ego, and as he walks across the street... ...ready to lower the boom on Kevin, he doesn't look. Now how's that for a stunt? That's a real stunt. That isn't special effects. That's a real stuntman taking a hit. And it's one of the best I've ever seen, and I included it in the film without a cut. Basically at this point you can explain this death two ways. You can say that Milton stuck his finger in holy water and caused the accident... ...but I have a certain belief that Milton doesn't kill anyone... ...until they ask for it. Barzoon, if he'd given the watch up, maybe those guys wouldn't have killed him. In this instance, when Peter O'Guiness smiles and walks across, he's guilty of ego. We're all guilty of the ego of sin, the sin of vanity and ego. He has Kevin where he wants and he goes to reel him in... ...and he doesn't look left or right. Kevin goes to see his wife. He wants, again, to try to see Mary Ann, to connect... ...with the person that he can really care about, and what he finds is Judy Ivey. Judith Ivey, Alice Lomax, his mother, has come calling, trying to find him... ...finding out that Mary Ann's in the hospital. He's completely... She's thinking, "Why aren't you there? "Why aren't you at the hospital? What are you doing, Kevin? "This isn't the son I raised." And he comes and sees that his wife is so sedated on Prolixin. Prolixin is the kind of thing that they give to mental patients... ...to just completely knock them down. She's just incapable of communicating with him, or doesn't want to. You can see in Mary Ann's eyes that she really hates him for what he's done to her. And he's now gonna come into the hallway. And, again, these are moments that... ...we're trying, at the end of the film, to explain to you. You've watched the film almost for two hours now, and it's been... ...hopefully, intriguing, certainly mysterious. Now we have to come clear with what the film is really about... ...and who these characters really are. And the characters are not complete strangers to each other. They have had a past. Alice Lomax is explaining to her son that she isn't just the woman... ...that she is purported to be, that she has a past, that his father is not dead... ...that she didn't tell the truth about that. And, in fact, when she walked into that lobby of the apartment building... ...at the beginning and saw Al Pacino, she had an apparition. She saw the man that fathered her child, and she was looking right at him. I think Kevin's reaction here, I think Keanu's acting is wonderful. I think it's very real and I think you realize the pressure this guy's under... ...what he's been through, and everything that's now coming down on his head. I think he did a great job.

1:41:31 · jump to transcript →

I love this game. This is also your stunt. That was me. We had a stuntman do a version of that, but we wanted to use your stunt, which actually wasn't... You bounced. He rolled. I remember first production said, I couldn't do it. And then the compromise was, okay, we'll have the stuntman do one, then you do one, then the stuntman will do one, then you'll do... What was the point?

34:51 · jump to transcript →

Peter Hyams

Inconvenient place, frankly, just to try to milk it. This was a fairly dangerous stunt to have a guy dragging his legs like this. It was a wonderful stunt double for Arnold.

1:42:32 · jump to transcript →

E. Elias Merhige

The interesting thing here is that this is a real stunt. This is where off the side of the mountain we had a stuntman just fall about

54:07 · jump to transcript →

Ted Tally

That was not easy, by the way, because that's a real person on fire. That's not true. - No, it is! lt was a stuntman? - Yeah.

1:18:30 · jump to transcript →

And the one coming up was gonna be a very large one since nothing explodes quite like explosives. And this was the first explosion actually that Jared's South African stunt double, Warren, had ever been part of. And we only had one take where the stunt double had to run and fall down in exactly the right place. And you can do this digitally, but I didn't have the money or the time.

1:43:53 · jump to transcript →

Evey

We did concept-design work with an artist called George Hull... ...Who Larry, Andy and James all Know from Matrix. And he drew up the initial sketches that we approved... ...and put into the digital pipeline. When we were shooting it, we didn't actually do a great deal different. We kind of left them to it. We ended up having some rig removal. And the way the blood was done was very crude, if you like. We literally taped plastic bags of stage blood... ...to the costumes of the S.W.A.T. members. And V's stunt double, Dave Leitch... ...used a real knife. And he just had to be very precise to cut the bags... ... Just at the right level so that the blood would splurt out. There are some shots when the knife is in the air... ...where we have got digital knives. CG knives that we put in there. And then, throughout the sequence we had tracked V's motions... ...and rendered in the trails that you see. It's the final confrontation... ... sort of ideological confrontation... ... between Creedy, who represents the administration... ...and V, the independent-minded terrorist. The great line at the end of it is that, you know... ...when Creedy can't shoot him. And he says, "You can't kill me because an idea cannot be killed."

1:55:24 · jump to transcript →

This is our much more intense version of Jesse getting pinned to the wall. We actually redid this in visual effects with her splitting in half and her guts dripping out. But yeah, that was her stunt double for her, and that was real-time, in-camera, actually hit the wall. I thought she snapped her neck when we did that first stunt. We probably did it four takes. I could not believe how hard that stunt woman was great.

1:21:55 · jump to transcript →

We then had a dummy doing the drop into the weir, and then a stuntman actually did a disappearance under the water. Did you see them going off to fight? Children of the barricade who didn't last the night. Did you see them lying where they died?

2:10:00 · jump to transcript →

Brian and Colin didn't have much time to rehearse their fights either, and Brian came into it, and we had a stuntman set up to do it, just in case, and he was just so into it. I was very impressed with him. He did the majority of that. So that right there, you'll see that when that... That's the first time we see the watch.

1:41:37 · jump to transcript →

Yeah, he sees himself for the first time. He realizes what he is to a certain degree. It's starting to sink in a little bit. And now Jay did that one. And then these are all stunt guys with rope pulls. So basically, they have a rope clipped to their back, and there's a stuntman hiding down the hill. And then here's the hole in the chest effect that is very subtle, but I like the way it turned out.

37:40 · jump to transcript →

No, no. I think the side shot is a composition of shots. But yes, there was a stunt double, which was actually the owner of the dog. And it was this woman and some other shots. That's the one. There's a combination of many things. And actually, if you take a close look... Oh, there you go. That's your first moment, yes, in the movie. I think this one here is actually the punch. And the cut to this moment here. And...

1:17:42 · 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 →

Yes. Who was, all you need is kill. He was Emily's stunt double. And incredible Wushu champion. And we kept thinking about who do we want for this? We were going to cast an actor. It was going to be a misdirection. But it was just too much. What we wanted out of this scene was, you know, that this guy basically kicks the living, you know.

29:14 · jump to transcript →

There was an eight-foot-high sculpture of smashed scooters. And here we are. This is the essence of this chase. For all the energy and all the resources that go into it, the cops, the stunt performers, the street closures, none of it would work without the performance of these two actors. And speaking editorially... And always covering them, almost always, in a two-shot. There were very few single shots. And that means that

1:02:02 · jump to transcript →