Stunts & stunt coordination

a musician who had worked on a couple of our other films. And he just said that, you know, if there's any way he could ever be put in a film where he could get killed. And I gave him the opportunity here. This is kind of interesting because the actress who did this part didn't want to do any of the nudity. So this is our first stunt person that's coming up here in the next cut, I think it is. There she is.

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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.

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a credit in the end credits for the new double. Yeah, so everybody understood that it wasn't her. There's somebody called Double Lavender, played by Laura Mann, I think it is, and that's her. Well, we're back in Chatsworth in the graveyard at night here. And the stunt person's back.

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That's Cole, our stunt supervisor, right? That was. That was Cole McKay, who was our stunt coordinator. Sneaking a cameo in as the limo driver. Yes, yes. He made him buy me a drink for this. Yeah, Shea Duffin. What's going on here is we're rich. Did you have fun during the casting process for all these characters? Yeah, I tell you, I...

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Stunt girl going down the stairs. I think it's always good when you kill a sweet old lady in the first three minutes. Exactly, yes. There's Naomi. And there's our crane. They gave me a crane that day. This is all a set in a soundstage. And they let me go right up. And if you notice, his ears move mechanically, I guess. Right, right. We had a rig that we would bring out sometimes that was attached to a skull cap and two servos.

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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

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This is Len Wiseman, director of Underworld Evolution. And sitting in here with me today, far too close for my liking, I've got to say, if I can scoot over a bit, is Patrick Tatopoulos, our production designer. Say hello. Hey, how's it going, man? Remember that voice. And Brad Martin, our second unit director and stunt coordinator. Hello. And Nick Tatoth, our editor. Hello. Are you going to do that the whole time? Is that going to be your... Hello.

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It's important to say that there's a combination of CG and practical all over the place. You show a lot of practical stuff as well. That was that extra fall right there on that horse. That's right. That was an accident. These horses, it's funny because we got a horse that it does its one gag. It's been doing it for 14 years. And on action, just on the call of action, it does this stunt. And one of our ADs, I forgot who actually called it.

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called action instead of background, and the thing just reared up and actually did the stunt in the wrong place, and everybody was okay, and everybody ran out there, but we ended up using it in the film. And we ate horse meat for, like, what, weeks at craft services. It was really bad. Remember, Patrick, this scene right here, I was actually stressing out quite a bit because we weren't prepared to shoot this wolf yet. Exactly. The wolf was in the radio at the time, and...

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And you'll see in the DVD extras, there's shots in this sequence that we cut out of the movie. There was a whole entrance into the Grand Palais. And a whole swinging how we got there. It was a big stunt. And that was before we had the rest of the movie together. And it was a fantastic stunt. And when the whole movie was put together, we realized, no, we don't need it. And I was like, let's cut that out. This sequence, we were supposed to shoot it in three days.

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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.

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We were cutting around things. Do you remember? Yep. To try and give pace to it. And we said, no, let's go back. We have the bathroom. We're going back there anyway. We're going back. And let's shoot this so we don't have to cut it. And Henry and I, any time, like at the end, when you're doing a fight scene, first of all, you never admit how painful it is. Ever. Like when you're doing stunts, you never say it hurts. Oh, I always hear about it a year later. No, it's a year later. But on the last day when we were in the bathroom, I looked at Henry and he was like, you know, both of us had that moment of admitting.

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I remember the stuntmen had a terrible time with this mud. It really hurt their eyes and gave them skin rashes and probably had more injuries out of this benign little stunt. Well, what we're trying to set up here is that there are going to be two Blofelds. He is going to make a clone of himself.

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One particular stunt in the car chase required special driving talent, so the producers brought in stunt driver Joey Chitwood. Chitwood would later contribute to the car and boat chase in Live and Let Die. Tom Mankiewicz remembers filming this stunt. When Joey Chitwood goes in, he goes in the wrong way. The car goes out the other way, and there is no way for a car to do that.

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I'd never ask him to do anything that I wouldn't do myself. But he would always be very cooperative, because for some actors, what I consider not really a stunt, you might be uncomfortable doing it, but he's got no fear of heights, which is a great thing.

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takes place in Kazakhstan. It doesn't. We shot it in Ohio, in America. But it looks like kind of Russian, don't you think? You will see it a little later when we reveal it. These parachutes are stunt parachutes. I mean, it's so difficult what they did. Of course, this shot here was done on stage, but this was all done really over Cleveland, Ohio, and with incredible group of parachutists and stunt guys.

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And it was so dangerous to land on that roof, what you see a little later. So it had to be stunt guys. Even not military parachuters were really willing to do this. So none of this was special effects? None of this was computerized? No, no, no, no. It's all real. It's all real. Look at this. It's all real. And, well, he doesn't live that much longer. Gone. That stage, these shots, but, you know, on the parachute. Now you see...

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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.

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The cliff was 2,000 feet high, and there was no protection on the ground, and Tom had to do all the stunts by himself. He needed to climb up to the cliff, and he needed to do the jump. He jumped several times and hanging up on the cliff with two hands. It was pretty scary. The scary thing was Tom wanted to do all the stunts by himself. I was very scared and worried and panicked.

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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.

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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.

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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.

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Simon West

My stunt coordinator and second unit director, Simon Crane, and I went to see a dance group called De La Garda, who specialize in bungee work and running around walls. And it was such a great high energy performance that I thought I'd like to do something like that in the film. So between Simon Crane and I, we devised this whole action sequence that is the next two minutes of the film.

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Simon West

Well done, mate. Nice one. Now, the stunt coming up where the Range Rover flips on top of the small Mini Cooper car coincidentally was shot on the day that they stopped making those cars. So on the last day of production ever for these great little mini cars, we actually crushed two of them by sheer coincidence with a flying Range Rover.

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Peter Jackson Fran Walsh Philippa Boyens

Physical description and characteristics are sort of something that we came up with. He was the lieutenant, probably one of the Nazgul, actually, but he was one of the lieutenants who captained the army's palanau. The shot that we're looking at now of the guards was our very last bit of shooting on Lord of the Rings. That's Kirk, our stunt coordinator, who usually just coordinates. He's not on screen. He just usually controls the stunt guys. But I said, why don't you just put the suit on and have the honour of doing the last shot? And so we filmed Kirk rolling down the stairs.

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Peter Jackson Fran Walsh Philippa Boyens

Basil, our stunt rider, did a great job riding Shadowfax up onto the stairs, which he did right up the staircase. I love the shot of the big boulder landing in amongst the orcs. I really wanted people to feel the weight and feel the destructive power of these rocks. This shot here is what I call the Pearl Harbor shot. We actually did a previs on this shot about two years before Pearl Harbor came out. And then I saw the shot in Pearl Harbor with the bomb.

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Peter Jackson Fran Walsh Philippa Boyens

You don't really need the scene at all, but... No, not at all. I think painfuls are good in that description. Now, I gotta say that I took this arrow and I shot about six or seven takes and I had no padding. Look, I did a big fall onto the deck, a big stunt fall, and I refused to have any knee pads or elbow pads and I just hit the deck each time. It hurt like hell. But we didn't even see it. Well, no. No. What's the point in suffering for your art if we don't get to see it? Well, you get to hear a loud clunk. The body fall was quite loud.

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Len Wiseman

That's what my brother calls my bad-gas moment. This one here? Were you harnessed in? Insert sound effect there. - The extended version. You were way up in the tower, right? You were harnessed in? No, because eventually, I didn't. There was some... That's right. That was green screen. - No, it was just somebody else. Oh, okay. You refused. - I didn't. There were some shenanigans going on. Somebody made me feel unstable, and I wouldn't get on it. It is a bit bad-gassy-looking... - It is, isn't it? Now come think of it. We went up there. It ended up being Nicole. That first shot is Nicole. I can't believe she did that, jumped off. She did not. That's a rumour. I totally did it. Oh, I'm sorry. The funny thing is, so many people get fooled by that. That shot that's coming up, they do think it's me. I'm sure it was you. You did it a couple times, she did it once. That's not me. - There's you, in the hoodie. Oh, yeah, I'm brooding in the hoodie. Now, he's a potato farmer, apparently. - Really? He is, from Idaho. - Slash vampire? Yeah, apparently he is. My makeup artist was keen on him for a minute. Lovely strong hands. There he goes. But he didn't speak any English, right? - No. As did, like... Eighty percent of the crew didn't. Right. I mean, you barely spoke English. - I tried. Neither of you speak English. Thank you very much. - Okay. There I go. I really like how she did that. - Good knees on that. They're not my knees. - Those aren't your knees, no. This is where we just drenched you for hours. I was miserable. - The rain machines wouldn't work. I felt like they worked really well. I was soaking wet. All the people running up to you wearing 15 coats... I thought it was still cool that there were rain machines... ...and I was going to get wet. By the end, I was cursing water. I Kept falling there, slipping down. This is like-- Inside the subway was the very first week we did. Yeah, we did that fake set, right? - Yeah. Was that a fake set or a real set? - Wasn't it real? It was real. - No. You were there, weren't you? I was there. It was a subway station, but didn't we build something too? Well, yeah. It was actually... lt was a repair yard for the trains. Then we built that set around the train. - I knew I was on to something. There you go. - Here's love. Immediate love. - Damn it, I have a pimple. Do you? - You don't see that? I see it first. I thought we wiped that out. - No. Oh, my God, it was so tense. lt was so hot in that subway. Yeah, it was brutal. Boiling hot week there was in Budapest before it became arctic. And everybody's in these leather coats. This was the first thing we shot, right? - Yeah. Yeah, this was the second day of filming. The first day of shooting was you in the hospital. Then I came in with those horrible boots and tried to get your approval. Yeah, that's right. I remember I did not want to shoot that scene first. That moment I won't talk about. - No, neither did I. I felt like I'd had absolutely no preparation on firing the guns. They told me, "We're going to do a take." I said, "Oh, my God." Literally almost shook, afterwards. Felt like I'd drunk, like, 20 cups of coffee. I was worried I was gonna get in trouble, because it was a cheap movie. "You have one chance. We don't have money for another pillar." Like, "Oh, great." - You did great, though. No, there was all that stress... ...because we really didn't have a chance to re-squib things. He says, "No pressure, Kate, but we only got pillar with squibs in. The thing's going to be ruined if you mess It up." This sequence is still pretty much the same. Yeah, this stays the same. Here I go, panicking. I remember all this. You did an amazing skid. Did that make it? Yeah, it did. - That was fantastic. But I do grab her crotch, unfortunately. Right. I ass-grab her. - You did that in rehearsal too. She cried afterwards. Is that why? - Probably, it was real claw. She was terrified with this squib. She had never done one before. And she was horrified. - Yeah, she had a real sob after. There she is. I did not mean to. That was unintentional. They're all looking at it now. Remember when we were shooting that scene... ... for you peeking your head out, to get the reaction, I kept firing guns? Yeah. Yeah. I was asking you to do that, yeah. We ended up doing that the entire film. - Here I go. Ass-grab! She was really cute. Everybody was harassing her because of that. Really, everybody was harassing her. - Yeah. But not after my grubby hands got all over her. Oh, my stunt guys. Look. Hank, he's always the one who was, like, pulling. He was my favourite one to pull wires. - Oh, this is where you save me. Thank you for that, by the way. - Kind of a lady-boy.

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Len Wiseman

Oh, yeah. - That camera just kind of disappears. You don't tuck it in your jacket. - What do you mean? She picks up the camera, and then it magically disappears. It movie-disappears. That was great. Thank you so much. Thanks for that. Another great stunt she did.

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Len Wiseman

You see, I just... That voice is incredible. - She thinks the voice is fake. I think he has a voice like Mickey Mouse... Everybody thinks his voice is fake. It is not. I have known the man for a good seven, eight years. I remember... - And if he is putting up an act.... Well, it's not an act. It's not... It's his voice. Lily was four, and I remember we sat there, and he said: "Hello, pleased to meet you," and Lily's eyebrows, like, shot up. It's a shocking voice. - "What the hell is that?" It's an incredible voice. She was more surprised by that than by meeting the werewolf. Oh, did you ever let her see them? Yeah, she hung out with the stunt guys, which we still have to deal with. Yesterday, she said to us: "Can I be shot out of the cannon?" I'm like, "Damn that Brad Martin." - Yeah. But no, she was fine. She went up, and she said, "Why have you got no underpants on?" You hooked her up on the wires, right? - Yeah, she loved that. I liked that. I liked doing all the wire stuff. Yeah, so did I. I think you did the most takes... - Probably. ...on the wire stuff, because you would not let up. No, I like doing it. - I would let up. No, you'd just do it right. - Oh, thanks. Hey!

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Frank Morriss

Yes, we actually threw this guy out of the helicopter. Bill Ryusaki, who is a sensei master... ...was roped on to the helicopter, and harnessed and everything... ...so he could fall out and drop down about 20 feet out of camera. And then we'd have to haul him back up if we needed to do it again. We only had to throw him out three or four times. And even though he's a stunt guy, and skilled and brave as anything... ...it'll upset you. And I think it made him pretty sick. But he did such a good job there... ...that we brought him back on Point of No Return. .. ...to be teaching martial arts. You remember that, Frank? - Yeah. That's where you told me, "That's a sucker punch."

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Frank Morriss

Now, Candy Clark actually was a pretty wild driver. And she didn't do that particular stunt, but she did some that come up later... ...and I'll point them out. And I was foolish enough to get in the car... ...and ride with her while she was driving. Scared me to death. I'll tell you one thing, it's hard to read.

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Hoyt Yeatman

The guy who just went out the door-- This is Terry Leonard... ...one of the great stuntmen of Hollywood. He was our stunt coordinator. And he's a phenomenal guy who's done... ...the most amazing stunts in Westerns where he's being dragged... ...by a stagecoach, right in between the horses. Terry directs a great deal, so we were very lucky to have him. And one reason I bring it up... ...is he's got a lot of broken bones and hips and pelvis and so on... ...he's accumulated over the years... ...and yet he insisted on doing this stunt where he falls down. And the reason he insisted on it was, he felt bad... ...because the guy he hired for the job couldn't show up... ...was stuck on a movie at Universal that went over on the day. And he said, "Well, I'll do it. I'll do it." And I said, "Terry, you can't. Your bones won't stand for it." "Oh, no, it's fine." That's how nuts these stunt guys can be. This car was being driven by great stunt driver, Carey Loftin. Carey Loftin did all the driving in Bullitt. .. ...that Steve McQueen did not do. And he was a phenomenal, phenomenal driver... ...and he was pretty elderly at this time. He was almost 70... ...but he could still whip that car around like nobody's business.

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when you get tonight, especially when you have explosions and fireworks and helicopters going over. It looks like the fucking Dirty Dozen and shit. It's amazing. That stunt, which is obviously coming up, it is...

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The next day we'd see dailies and then drive through rush hour traffic. You know, Kevin was pretty damn good with the bike. That's Kevin right there. It seemed like there was a lot of shots where that's not a stunt guy. You know, he's really rocking that triangle. Gary Heinze was our coordinator. Did an awesome job. And he's been for years the best bike guy in the business. And we just spent time in India with him training one of the Indian stars to ride a bike. Oh, he worked on it too. Wow. He came along too. It was not...

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anything like Kevin. He already knew it or he picked it up. He really looked convincing. He knew what he was doing in a lot of this. And we had a good double for death-defying stuff. Yeah, yeah, of course. All right, here's a stunt. This is a toe gag. No CGI, not even really regular visual effects. We just did this. This was a trifecta. Every element you see in the shot was in the shot. The bike, the truck, and the helicopter. The bike, the truck, and the helicopter. And gunshots. Just a couple different camera angles, shit flying around. It was terrifying. How many cameras did you have on it?

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Marco Brambilla Daniel Waters

Yeah, and the stunt here is interesting because the stunt coordinator, whose name is Charles Petroni, and this was the first time anyone had used this kind of technology, this repeller technology to come out of a helicopter. And Ken Bates actually won an Academy Award for using this. And the building we scouted in downtown LA was an old school, I believe. And it was the first time

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Marco Brambilla Daniel Waters

this film i just want to say i was the first person to do the severed eye uh opening a door trick which now movies yes that's become a staple staple demolition man we were there first we're going to keep saying that and wesley trained he trained for a couple of months with uh martial arts experts and he did a lot of his own stunts which was really

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Marco Brambilla Daniel Waters

And this was the stunt coordinator, actually, he's fighting right now. Oh, wow. Get him! Yeah, for all we know, these are just more villains, but, you know, I like the revelation. This is very cartoony. I love Dennis Leary's line, what a fucking hero.

1:01:28 · jump to transcript →

I will leave here now. They're not very good security guys. No. No, they're very weak. They have very weak wrists. Well, we noticed the Canadians didn't like to do stuff full speed. Right. No. We had a little... Some of the stunts. Remember, I have to ask them to go faster? Yeah. I thought we could speed it up in post. Jump out of a movie? They're all talking to each other. One of my favorite moments is everyone literally laughing at him. That was like... You're crying and they're laughing.

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We're golden. Right. Nobody told me about the profit thing, so I didn't get upset when that didn't happen. Yeah, we were in profit. That was a real stunt. Yeah. And that was Jeff Sessions. No, no, no, no. That wasn't Jeff Sessions. And also, you're dating this whole thing. He'll be long dead by the time people see this. Yeah, this is the gag that I thought was great. And it's really a Warner Brothers cartoon. Yeah, yeah.

13:57 · jump to transcript →

Yes. Steven Page. Made a point of not letting us do masturbation. This is the broke your ankle. Steven Page from Bare Naked Ladies. David broke his ankle doing that stunt that you just saw. Yes. On the second take. Yeah. On the first take. And they were thrilled. Let me do one more. Yeah. And this is the Bare Naked Ladies when they were still all together. Yeah. Yes. And they wrote an original song for the movie that they sing for us. Yeah.

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Again, I know I sound like I'm blowing smoke, but I don't have to work with any of these actors again, so it's not like I have to, please. Although I'd work with all of them again in a hot second. Notice that guy? There's one of those extras there who's got this huge... See that over to the right? See that guy? Doesn't he look ridiculous? It's like I kept saying I didn't want Caucasian Arab stunt guys in London. That's what I kept getting. So we had to cover some guys up with...

29:00 · jump to transcript →

With really great-looking beards, I might add. Oh, God. What you try to do is you try to keep... When you have a little problem like that, you just try to keep things moving. And hopefully you won't... But we had a terrific stunt team. I mean, this whole movie is very multinational. I think the stuntmen came from... I know they came from Morocco, Jordan, Egypt, Czechoslovakia, England, France...

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Odette, several times, I thought at one time he broke his nose, but these actors really had to put up with a lot. No, they don't do all their own stunts, but in a movie like this, you get thrown around and beat and punched and kicked and knocked and thrown off of horses and camels. There's no two ways around it.

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big stunt or action set piece, which is what you might expect. The idea of starting in the most intense, unexpected, intimate, scary way and see Ethan in a way you've never seen him before. And your vulnerability in this scene, especially in this moment when you see just how scared you are at this whole situation.

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That's real. This is all real. No, that's all real. No, that's all real. It's not CGI. No, that's CGI. Now, this is a stunt we came up with that night. Well, we got that place, and Tom was saying, you know, the way we come down, it should be cooler. And you figured out this thing that if the car stops...

21:12 · jump to transcript →

It threw us forward. The thing is that Ving, of course, couldn't be driving doing that. That was a stunt driver driving. And as soon as the camera went away from the car, Ving ran in. He was off camera. God, what is that? You can't hear that? What's wrong with her? Now, Carrie really set the pace for me later when I have that in my head... ...because I basically just did her version.

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Commentary With Author CG Paul M. Sammon

But Peter could also be a method actor. And when he was in the suit, he always wanted to be called Robo, which I thought was kind of silly. But, you know, there you go. Method is method, and each performer has their different way. But, oh, by the way, this man just getting shot, that's Russell Towery. That is Robo stand-in. Any of the stunts.

1:02:21 · jump to transcript →

Commentary With Author CG Paul M. Sammon

This was a Texas stunt guy. The way they stopped that motorcycle is they had a hidden cable on it, and he went over the bars. Now again, we're still in LA, down in the industrial area. This place has been shot so many times for so many films, it does not look like this now.

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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 →

Not because of some big stunt or anything. No, I was just walking down some steps with some heels on. And with Stuart watching. Yes, and with Stuart watching. This was an interesting scene because when it was scripted, we never knew we were talking about shooting it or going in with special effects to kind of see the tongue taking the pill. And then we never did anything digital because I was lucky enough to get my real boy there.

4:02 · jump to transcript →

It's a little difficult talking about you when you're sitting right next to me, but I think that it's important to mention that Charlie Crowell, who is our stunt coordinator, put together an amazing team to both train and to stunt rig for these very complicated action sequences. And one of the first things that Charlie said to me was that he had never worked with an actor

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male or female, who got it as quickly and made the process so easy and made the stunt team look so good as Charlize, that she has a natural facility. And it seemed so important to the character as well that because Charlize is in 99% of the action sequences, that that becomes so much part of the character. It's not...

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that information. And... I remember seeing these dailies and just thinking this was totally dope. It's just like, oh my word, the scale of this, I love all the cast there, all the extras, the characters behind them, it's so good. Yeah, most of them, most of them are actually stunts, loved working with these two and their first day on the movie. Yeah. When they showed up, I handed them a couple of pages of dialogue and said, don't worry,

31:47 · jump to transcript →

the steering in the car, and now the stunt driver is trying to control the car. And it just had a mind of its own. And we added the bus later and just used the shot. You'll see this was a little bit longer. They used to spin around in front of the wedding cake monument. Well, that was it. We were getting a lot of notes about length in the car chase and in the train, and we just kept pulling out shots one at a time. And in the end... There was also, there was a sense that the...

1:01:04 · 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 →

Well, and I love when it rains and they play that as a sound blip on the radio. God, I've been giving Sean credit for that. Well, believe me, Sean gets credit for a lot. He's just amazing. Now, Amy, how do you feel about these big stunts here? You've got a stunt going. I know, and I'm a girl, and I fail the driver's test five times, so cars totally scare me.

44:27 · jump to transcript →

You know, this is the kind of thing where, like, everything's planned out. The stunt guys come with their little matchbox cars, and it's all storyboarded, and then you just... It's when you really have nothing to do. It's like you sit back, and then it gets accomplished, or not. But they pulled this off. They made this look great. That's good. Now, was the full set of tools yours? I love that. He's got the full set of tools. Don't remember.

44:56 · jump to transcript →

And then we went and we shot the actual, you know, our actors, our cheerleaders and Sean and all of that. And we had to shoot the game. And I didn't have any of this, like, heavy-duty, you know, body-crunching stunts and the close-ups of Forrest, you know, making animal noises. That's not me. And the studio...

47:23 · jump to transcript →

Oh, the to fuck your wife line? Yes. He asks me where I'm going in Spanish, and I tell him to fuck your wife. That's very good. That's a great shot. That's a shot by Tom Richmond. Tom Richmond is up on the bridge covering that from another angle. That's great. Great shot. Very good stunt driving by Bobby Ellis. Very good. Bobby Ellis, an outstanding, outstanding player. Outstanding teamster and outstanding... Here it comes. Here comes the...

22:47 · jump to transcript →

exactly what it is. We laid Venetta's lines in on the post also about the hot, the car being hot, et cetera. That's where I put it in the Roswell, New Mexico town. He's still doing much right of the Valkyries. Dick Rude's stunt. Oh, you know that hurt. Planned or non-planned? This right here, Del. He sort of planned it, I think. So good, so good, so good right there. You look...

47:54 · jump to transcript →

into the pocket. Alex always insists that his actors do all their own stunts. Remember Eddie was mad because there was garbage on the ground? Oh, he didn't think there should be garbage. Yeah, he says, garbage, I don't like this garbage when I come out.

48:24 · jump to transcript →

There it is. That's the money right there. Back left pocket, which is where I still keep all my folded signals. I remember this. It's so sad, but you love doing this. You love doing this. Are you kidding? I thought I was Harrison Ford. You did. You were all over this. I thought I was one of the Duke boys. He was doing stunts. Mac was doing stunts. He was very into this. That's the thing that's funny.

6:06 · jump to transcript →

You know, that's the thing. I'm still waiting for my barge. But, you know, absolutely. Wait, so seriously, though, and this is, I hope viewers aren't frustrated that we're not commenting on these spectacular stunts. Believe me, they're going to be much more into this. But wait, so we were about halfway through filming when...

13:57 · jump to transcript →

Yeah, well, that was kind of them to actually have you wait 10 more minutes instead of having to do it again. I think he was being kind to all of us. I would concur with that. Yeah, absolutely. Sustained. So, yeah, I remember that Rod, our director, was freaking out at that point because you had a stunt woman, actually. Your stunt person was a woman, I think, in her 30s or 40s? Probably, yeah.

16:27 · 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

There's a Barry Bonds baseball card. - Yep. For those who wanted to see Barry in his younger, thinner days. Um.... Now, this was actually the real house here, which was in Winnetka, Illinois... ...and, um.... It was interesting because we were... We were able to shoot a great deal of the film at this house. None of the interiors that you see in the film were shot here... . UM... ...but this house worked out very well for us. Strangely enough, you know, with today's budgets... ...we would've built the back of that house completely... ...because the fact that we did all of those stunts later in the film... ...on the actual location was just ridiculous. And they were very friendly. - They were great. They had T-shirts made up. - They loved it. They used to have hot chocolate and stuff for us... ...and invite us in. They were great. They were a great family. It's incredible because I see... ...the things people do to people's apartments and houses... ...when they rent them out, like, you Know, for production. I'm like, "I'd never do that." - No, I know. Once you learn... Once you've seen it done, you know... Not to discourage any of you guys out there listening... ...to renting out your houses to future productions. But make sure you're paid very well. - Yes. That voice on the answering machine was Raja Gosnell... ...who was the editor of this picture... ...who's gone on to become a director in his own right. I

37:15 · jump to transcript →

The stunt guys were fantastic on this. There was a fella called Mick Rogers and Simon Crane. I had to have two of them because it was such a huge job. Overall, I had a good team of guys.

51:00 · jump to transcript →

to display exactly what was going on, almost like sports coverage, so that there wasn't a dull moment where you lose interest because you don't know what's going on, where it just turns murky. So that was very, you know, we got a table and little plastic soldiers and myself and the stunt coordinator and the first AD and the camera guy and all the heads of department got together and we planned this battle. And we made it up as we went along. I mean, of course, we borrowed from medieval battles.

1:21:27 · jump to transcript →

And the style of the editing in the battle is just what I wanted. It's just very fast and staccato, and it just moves from piece to piece, and it's mostly just kills. And it's really quite brutal in your face. Of course, this is where the stunt guys and the camera guys and the makeup guys and everybody just came into their own. The editing, spectacular.

1:29:16 · jump to transcript →

I don't remember that, so I... No, you were probably busy doing stuff. It was one of those longer shots, and I was sitting... I'll show it to you. But you guys were far away. And so by the time I got there, you guys were moving on to something else. Right, we were like, oh, whatever, that worked. That's good, you didn't die. Okay, keep going. You know, you did a lot of your own stunts, so... Oh, yeah. I mean, a lot. Because I remember you saying, you know, it's a bit like being on Glee.

21:36 · jump to transcript →

And the stunt coordinator goes, good fall, Laurie. Good roll. Because I hit the ground and I did a roll. And he's like, nice job. Okay. I want to back up and talk about some of the stuff that they cut out at the beginning of the film. Because they cut out the whole pre-credit sequence where they explain about the comet. They cut out... One of my favorite things that they cut out was the bedroom set. Because I recently talked...

23:00 · jump to transcript →

It's a comic book. That was awesome. I mean, she actually did that surfing on the... That's a stunt girl surfing on the tank. She actually did that without safety. I know. I'm just... That was... And then the leap, and that was incredible. Yeah, that leap just scared the Jesus out of me. And even the stunt guy's like... And the stunt coordinator was like, wow, that was really incredible.

1:12:46 · jump to transcript →

But in one take, he flicks the cigarette right into Baldwin's eye while it's flaming. And he freaked out and jumped at him and sort of shut the scene off. But I had a B camera on Benicio, so I was able to use the take where Baldwin gets hit in the eye. Right there. So that's real. There's no stunt involved in that cigarette hitting him in the eye. Yeah.

49:38 · jump to transcript →

Baldwin's a real trooper. Baldwin keeps saying, keep going, keep going, don't stop. Stephen did all his own stunts, and some of which, especially the one where he, at the end of the picture, where he falls face first onto the metal deck of the boat. Oh, five times? Five times, and... Smashing his face every time. Yeah. He's nearly fully recovered from the reconstructive surgery.

50:01 · jump to transcript →

It's really funny because all the Hungarian, of course, is done with our loop group. And so all the actors and the stunt people and all the people involved in the sequence spoke English. And then, you know, we laid the Hungarian over their voice. That quote, you see, belonged to Gary Jensen, our stunt coordinator. He gave it to us with his sole expressive purpose of blowing up. A whole lot has to be done. I've made one of them.

1:14:58 · jump to transcript →

You'd see that a lot on Entertainment Tonight. Yeah, yeah, yeah. It was fun. Actually, that shot's coming up. I think it's the next shot. Yeah, this shot right here. Great hanging rig there that Simon Crane, our stunt coordinator, he'd just come off of Titanic and Saving Private Ryan, and it really looks like someone got hung. Brendan was just about to pass out there. Interesting, geeky, technical note here. Most of the scene is looped,

22:21 · jump to transcript →

Okay, here's where the stunt guy gets hurt coming up here. Oh, yeah, this guy got... And he... Now, in a different take, he wanted to... Actually, he was on a rig where he was going to fly, you know, 30 feet back and hit that pillar in the background, and he instead flew 60 feet back and over the top of the pillar and broke his collarbone and cracked his elbow. But like I said, he was more embarrassed than hurt. It's one of those things where you go, I guess we need another stunt guy. The stunt...

49:41 · jump to transcript →

Never want to be a fruit cart in the midst of a car chase. I always liked that eye poke. I always thought that worked out well. Here's another good little stunt right here. Just did a little wire removal and it looks like he hits the whole thing. If you notice carefully in some of the background shots right there you saw a light go by, one of our lights. It happened so fast we just kept it in the movie.

1:26:21 · jump to transcript →

the first stunts we did in the movie. The movie was choreographed by Vic Armstrong, my amazing, well, everybody's amazing stunt coordinator and action unit director. He was my partner in all of this madness and a greater guy you'll never find. His name is synonymous with

39:40 · jump to transcript →

went there and began to lay out how something that was on the move at 30, 40 miles an hour, whatever horses can do, was on screen for some six minutes and how to do all these stunts. And this was one of the best and most fun technical challenges I ever had because I had this one idea.

44:32 · jump to transcript →

the actors should do it all. And if you watch the chase, you will see that there are very few times when there are stunt actors in the chase. And Vic and I had to work really hard to figure out how to make Brendan and Maria and John Hanna, all of them, safe.

45:01 · jump to transcript →

I think the stunt team, they did a great job, and we figured out that I'm wearing lenses. I wanted to wear a suit, kind of our homage to North by Northwest. But it was freezing cold. We did it eight times. We were worried about bird strikes. We were worried about... Yes, that's the thing that's fascinating about these things, is you're looking at a perceived danger of Tom falling off the plane...

4:10 · jump to transcript →

And that what Ethan is doing within this sequence is reading a dynamic in the room and trying to find a toehold where he can start to create a division. Trying to find those chinks. Yeah. That's Wade. That's Wade Eastwood on the right, who is our stunt coordinator. Stunt coordinator. And the rabbit's foot. Yes. Another suggestion of Tom Cruise's and another reference to... MI3. MI3.

14:48 · jump to transcript →

And the fabulous, by the way, credit where it's due, Lucy Cork doing that stunt, being thrown out of that car, which was an amazing stunt. Less than 24 hours after we interviewed Benji Dunn about Ethan Hunt, he was on a plane to Vienna with tickets to the opera, and within six hours... And a really nice use, you remember when we put that pre-lap in later, picking specific shots so that when he's saying Benji Dunn, you're looking at Benji Dunn,

44:07 · jump to transcript →

Thank you. Bob, one of the things you said that I want to bring up... I think one of the earliest phone calls, maybe even the first phone call, you said, "You could end the film "right with him riding the bus, defeated, deflated, "and that could be a great short film about a day where nothing went right." Yeah. And that's the attitude that stayed with me throughout. The idea that this is a godsend. This moment of these guys... I think the original plan was to have Ave Maria playing in the background for this moment 'cause it was literally a godsend. It was amazing. That person yelling "bus," the character's Teddy Kuznetsov, played by... Sasha Pal. - Sasha Pal. And that man right there is Daniel Bernhardt. Daniel Bernhardt is the man who trained me to fight for two years. That guy right there. He's one of the... He's the greatest. He's maybe the best stunt actor working for the last 10 years. Man, he's great. And you might know him from the TV show Barry. And you might know him from the big fight in Atomic Blonde. And you would know him from John Wick movies and Hobbs & Shaw and every other great action movie of the last 20 years, 'cause he's the best, and he's a great actor too. Bringing a lot of character to this whole sequence. But from the moment things got real with the possibility of me doing an action movie, I started to train, 'cause I was a comedy writer for 25 years, and I did a normal workout of any suburban dad. I hope these assholes like hospital food. "That girl's gonna get home safe."

25:14 · 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 →

And we shot this very close to the end, didn't we, Jacques? This was a little tabletop thing. Seems to me it was the last week. Yeah. I'm trying to remember if Robert did any of this stuff. It wasn't him, was it? No, no. I think it was his double. Yeah, it was all a little tabletop. Yeah, I think Tony did some of this. Tony Caesar, maybe. Could well be. Tony Caesar, the stunt coordinator. Yeah. And my racquetball partner for the last ten years. And there's Amanda. Yeah, it's Amanda Weiss.

0:44 · jump to transcript →

Jim Doyle's really tour de force here, where this entire set is rotating, and all of the light fixtures outside attached to it for the moonlight through the window are also attached to it, so the shadows don't shift. And the actress is simply told to go with the room. So now she is on the floor, really, and the camera's upside down, along with you, Jacques, and myself. Yeah, Mandy is so good at this scene. Wow. That was a stunt lady.

17:33 · jump to transcript →

so that the stunt lady could take over for the glass breaking shot. Right, because she was going to be seen. I don't think I did it that successfully. No, no, it worked very well. That's a great shot. Oh, we did this. It was the first time I think anybody's ever come out from a mirror, you know. Really? If anybody's ever used a breakaway mirror before, that's what they told me it was. That's a great shot. This, I remember we shot this at the end of an 18-hour day. Yeah. And all those feathers everywhere.

41:33 · jump to transcript →

Gary Goddard

It's a textbook in everything. Virtually every scene has either pyrotechnics, explosions, optical lasers you have to put in later, just stunts. It's one thing after another. This was to establish those doors, because later you'll see the doors play into the action sequence.

30:19 · jump to transcript →

Gary Goddard

The father there in that picture, her father was the actual stunt coordinator on the project. Deliberate choice. Fantasy is the theme of the high school prom. Maybe a foreshadowing of the

30:55 · 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 →

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 →

But we had all these other gags, like the gas spraying out and hitting the window, as you'll see, and this stuff. But the special effects guys had only read, the station blows up. And boy, the station blew up, but none of this stuff was ready. And so on the night of, we just had a terrible time trying to get the other gags going. And I remember that night, the stunt guy, because I went over to say, hey, we're going to be able to do this tomorrow. And I think he was going to hit me with an axe handle. He was so mad at me. What do you say we find out, huh?

50:47 · jump to transcript →

See here, this little spraying gas thing, this nearly cost me my life. Why was that? Because the stunt guy was so mad at me, he was going to hit me with an axe handle. Not the stunt guy, the special effects guy. He married the production controller and later was killed in an automobile accident, which I'm sorry about.

51:45 · jump to transcript →

Luckily, your emergency trip to Iran saved the day. Now, David, you directed this movie? Yes, the whole thing. David showed up every day. That's amazing. Part of every day. Now, this was a big surprise, wasn't it? Yeah. Now, is this the one where Leslie pulled out his back? I think he did. Well, you can see he already has a hump there. Yeah. How many of these stunts? He came up whining, as I remember. How many of these stunts did Leslie do himself? There were no stuntmen.

1:51 · jump to transcript →

The police station, you see. Time was spent on these names. You'll see, that's coming up, I think. The hospital. Is that one of the Everly brothers? Wait a second. Did you ever get negative mail on any of this stuff? Any of the stunts? Just from the studio. And to this day, you still get the negative. Oh, we love the police scientists.

25:53 · jump to transcript →

That's a stunt dancer. Great situation because he was wearing a mask. Couldn't ask for one. Yeah. So Leslie's on vacation during the shooting of this. Yeah. Didn't even know where he was. Most people don't know this song was written for this movie. We wanted him to write an original song. Didn't we meet with Randy Newman?

1:09:12 · jump to transcript →

Will I Be A

And also, of course, the continuity of sequence... You show it through each shot separately, but you have to maintain the feel and continuity of light in each different shot. So this scene has some great overlapping imagery of effects. The first thing we'll see is the alien creature as it makes its way into the hospital room. It's done by seeing reflections and distorted angles of it through the different medical instruments. And it was a... This was a stunt man coming down on wires for part of it. Then he would invert, and then I was in the suit doing the actual attack through the plastic curtain.

1:03:37 · jump to transcript →

Will I Be A

This attack was actually the first thing we shot - wasn't it, Tom? - with the alien, and as I recall the paint didn't quite match the arms. I'm always feeling like I'm seeing paler hands than arms on this shot. I think this was a stunt man, on wires, reaching down... Hanging down, upside down. So, you can freeze-frame it on DVD, and I think you'll see a clear demarcation between glove and suit.

1:09:55 · jump to transcript →

Will I Be A

Here we have the beginning of the fire sequence, which was quite an operation, really. It was actually quite dangerous because one time we had a backdraft, I think they call it. And a couple of the guys got burnt, including one of the firemen. So these stunts were all shot by the second unit, in the capable hands of my dear friend Tony Spratling, who did a beautiful job here. Obviously, we shot the stuff with the main artists, but Tony matched my images beautifully, I thought. Tony Spratling, of course, had done two or three second units for me on other pictures, so we know exactly what each other's thinking. So our collaboration is always quite successful. We don't have to speak too much about what we're going to do. He's a very good man. Yeah, we were there for the set-up of it, and we thought maybe it would be better to watch this from behind the video monitors. But there were some huge explosions. They're also really seamlessly embellished by Richard Edlund and his guys at Boss Films, where they were shooting some miniature explosions and comping them in over the existing explosions. Really beautiful work. It was quite a sequence, this. And obviously, you know, as I say, difficult to shoot. Well, I mean, you can't underexpose flame. Flame is always going to be very bright. But the thing is to get the surrounding colors to match the firelight, so to speak, to suggest that the light is coming from the fire. Cos you do have to augment it. You can't just let firelight do the job. You have to also... Cos it's so bright that it just flares out everything. So you have to color the lamps, make them warmer, more orange to match the firelight. And the thing is to go for a deep exposure, if you can, to bring the light levels up, so that the flame is more orange. Because if you shoot it wide open, the flame is so bright that it just flares out, becomes so white it doesn't look like firelight, you know. So you have to color the lamps and get a good exposure so that you bring the level of the flame down to make it look natural.

1:20:27 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Jed played a character called Void, who was a punk rocker who ultimately gets chopped in half and walks around like this walking torso kind of guy. He also plays the soldier of Rohan who finds Thadred in the water in the very beginning of this extended cut. He's also played numerous elves. And stunt riders too, actually. Jed's a great rider and he did a lot of the horse kind of stunt work for us as well. And numerous orcs. Well, that's right. He's at the beginning of the movie with Miriam Pippin, isn't he? He's the orc that kind of...

2:00:22 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

women and children. It sort of gives the battle a purpose really beyond just defending a stone castle you know you're obviously now defending the women and children and in a sense the future of your own race really. The stunt guys were amazing they just you know got drenching soaking wet because all this rain was coming from rain towers

2:49:16 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

Another mixture of completely digital Uruk-hai with close-ups for real. We never actually had more than 100 Uruk-hai in any shots. We never built more than 100 costumes for Uruk-hai. And so we were limited in a sense of what we could actually shoot with the extras and the stunt guys. So any time that you're looking at more than 100 in a shot, you are looking at a lot of CG guys.

2:50:17 · jump to transcript →

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

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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.

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

25:58 · jump to transcript →

Yeah, we tried a couple different ones, and it didn't really work as well as this one. Yeah, and it doesn't really, I forget the stunt rider's name. So, oh, there's Bette. So, yeah, that was obviously a stunt rider. Yeah, a stunt rider. Up to this point, and then... It didn't translate as hardcore as that trail was. That thing was pretty badass. On the big screen, it's pretty good. Yeah.

28:00 · jump to transcript →

Now this is Jay here. Yeah, we cut those stunt guys. But then we had a stunt guy going down the hill. Yeah, and then this is Jay here. And again, like, you know, directorially, it always kind of bugs me that we could never, you know, you're shooting this whole thing in four days, so we never really had time to, you know, reset stuff the way we wanted. So the grass is all stomped on. That's just like, you can't do anything with the grass. It's just...

30:46 · jump to transcript →

And then here, to elevate the camera, we actually strapped a box to the side of Jay's head. You've got to keep it a foot off the ground. Jay has a cardboard box taped to his head. Yeah, it's pretty ridiculous. I mean, very unrewarding job, man, for very little screen time, at least with his face, you know? Yeah, and so the stunt riding Jay didn't do, the roll down the hill he didn't do, and then there's a stunt coming up that he...

31:15 · jump to transcript →

Roger Moore

This sort of stunt had not been seen on the screen before this as well. This was entirely new. We've had space shuttles and free fall.

4:48 · 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 →

The stunt here, I remember being there when you guys shot this. This was really fun to watch. Yeah. I mean, you got water in the dead. There'd be a puddle on that campus. This is that cool kind of geekazoid techno music that was just becoming very popular then, and Tom Newman did a great job creating our own version of it.

6:33 · jump to transcript →

You might think that that was all set up, and it was. You know, Gilbert, I feel different already. And here comes this big bicycle stunt. Again, I mean, I'm not Michael Bay, put it that way. How many times do you have to carry that thing? A lot. And didn't you have the whole thing was filled with stuff? You had really, I mean...

7:06 · jump to transcript →

Boy, talk about your great introduction to an evil character. Yeah. And he's not even the evilest of the evil characters. He's the sidekick. It's just... And he's 50. I know. Well, he got held back, you know? He was actually a stunt person who came in to audition as Ogre. He was way too old. He had a beard. I told him, you look too old and you have a beard.

8:06 · jump to transcript →

Bill Paxton

I encouraged the actors to customize their own costumes and armor, to give the impression they had been out a lot, that they were seasoned, that they had been away from command authority on their own a lot and were good enough at their jobs that they were allowed these kind of latitudes. This is a continuation of the motif from the first film, where they're wearing Hawaiian shirts and all kinds of strange stuff, all of which was a new idea in science fiction. People always wore uniforms on spaceships. That's how it worked from Star Trek on. Every science fiction film ever made, there was the general-issue uniform. Alen broke that mold and it just seemed so right to people. They recognized the archetype instantly. "Oh, these guys are truck drivers." "They dress however they want. There's nobody to tell them not to." And so the idea here was extrapolated to a military unit that's worked at the extreme fringes of human civilization. The power loader was not designed by anybody in drawings per se. I had done some preliminary drawings, but it evolved basically from trying to figure out how to make it work. We built full-size mock-ups of the arms and legs in foam core. There's a guy inside that thing, a big, strong English stunt man moving it. It's supported by cables. It's completely an on-set gag. The English visual effects guys thought we were crazy the way we wanted to do it. I said "It's the gag where the dad lets the daughter walk on his feet, his three-year-old." So standing behind Sigourney right now is this big 270-pound body-building English stunt man. He's raising the arms himself and he has in his hands a control that allows him to raise the forearm of the power loader. And then when they walk, they have to walk together. The weight of the machine is held by a crane which is off-camera, or some kind of overhead track rig - we had two versions of it. If we didn't need the machine to turn, we mounted it on a pylon, a boom-arm thing, and if we needed it to pivot we hung it on wires.

35:31 · jump to transcript →

Bill Paxton

James Horner came up with this music sting here and I always thought it was totally over the top. When I saw the whole film put together with the score, I thought "No, that's what we need." I thought "How can you sting somebody opening their eyes?" But it works. Oh! Mm-hm. She shouldn't have had the bangers and mash. Kill it. Fry it. Come on. What are you doing, Hicks? Bad-ass nasty shot. That's a nasty shot of that thing. That's a good shot of it there getting fried. Gosh. Here they come. I think our chestburster looks a little cooler than the one in the first film. Stan Winston's guys really did a good job on it. John Rosengrant and Shane Mahan. Look who's back. Another one of our problems to solve for this movie was creating the whole army of warrior aliens and being legitimate to the original movie but having to improve on it for movement and for the look of being able to study them. In the original A/ien they were rubber suits and very difficult for the actor to move around in. And yet he was very tall and very skinny. And Jim wanted to do a lot of very interesting moves with the warrior aliens, so we came up with a technique to create the suit that really involved a lot of spandex and pieces on it. And then we designed the set pieces for the aliens to fit into the walls, like the one that is behind him there, so that the camouflage would work. An enormous amount of wirework for all of these stunt alien performers, which required that the alien costumes be extremely user-friendly. This was inspired by the scene in the first film where Dallas is in the air vents and they see the signal moving and get a little freaked, and Veronica Cartwright says "Get outta there" and he makes the wrong move and gets killed. That's one of the most suspenseful scenes in the first film. I took that idea that they're getting these readings that are getting them spooked and then they make some bad moves. Form follows function. This is a perfect example of it. You start with what it is you wanna achieve, and once you have that, you can design it, so the actions and the performance is consistent with what you want in the finished film. Believe it or not, very few people work that way. They just wanna come up with something that's cool, and then you spend hours and hours trying to get it to work for the ultimate film. I happen to agree with Gale. My background is as an actor. I really come from a place where the creatures and the characters are wonderful to look at, but it's always about their performance. We have to figure out how they're gonna be able to act, and create a good performance, or it's a waste. And so that's really always at the top of the priority list when we're creating any creature - what is it gonna do and how is it gonna do it? What he does is create a character, and that's why I think his work is So unique. When you look at a film, you can always tell who's done the creatures, if they actually have a character. Because he creates a character that can act and perform. The whole film builds to this moment, where the power transfers from the authoritarian structure to the individual who takes action. Ripley's not supposed to do anything. She's just there as an observer. We're coming up to a sequence where Sigourney takes control of the APC and this sequence is comprised of live-action shots, but as it comes down this hallway and is banging into pipes and walls and sparking, that's all done in miniature. In some cases, the cameraman - cos the set was mounted at an angle - was on a cart, a wheeled cart, and was rolling backwards as the radio-controlled APC was coming at camera. There was a point when he was just put into free fall, rolling backwards downhill, photographing what was in front of him as he went backwards. Here we go. - This is the shot. This is also miniatures. There was a shot with the full-size when the brakes didn't work, and took out the camera, and luckily it was a remote-operated camera. It was the shot where we were actually crushing an alien warrior, when it broke through. This is the shot, actually, when it took the camera out. Then there's another shot where it takes down an alien.

1:12:00 · jump to transcript →

Bill Paxton

I think editorially it's a fun moment. I like the build. I didn't do any editing directly on this film. Because it's film-based editing, with rapid cutting, I thought it had really good energy. You see that cutting now with the Avid cos you don't have to make each splice manually. This is the Alamo told with six people. So the sentry guns are the equivalent of the first couple of attacks. I think it's great foreboding. It's just coming at them like a wave. If these guns don't stop them, they're screwed. I think it works pretty well, but the studio talked me into taking it out. So I'm happy to see it restored in this extended version. Ray Lovejoy was our editor and it was a tremendous responsibility. And this is before you had all of the Avid and Lightworks and any kind of digital editing. There was so much film and we had a pretty short postproduction schedule and he did just a tremendous job. I hired Ray for one simple reason - cos he had worked with Stanley Kubrick. It took him a while to really get what I was trying to do with this movie. A lot of his early cuts I didn't really care for. It's not that there was ever any tension between us. I just didn't feel I was getting what I wanted. Ray was getting really frustrated. I remember toward the end he cut the alien queen battle, the power loader queen battle at the end of the film. He was really nervous, cos he hadn't given me the action cutting that I wanted and I'd had to mess with it a lot and there was another editor who was cutting some stuff, and I was liking his action cutting better than Ray's. Ray is just a dear guy and a really good editor, but he was struggling with it. SO, finally, he just grabbed all the film, locked himself in his room, said "Don't bother me." Not mean or anything, but "I just gotta do this." And he went in and he cut the entire last eight minutes of the picture. He showed it to me very nervously. He cut in a day or two. He showed it to me very nervously and I watched the whole thing and I said "It's perfect. It's absolutely perfect. Don't change anything." And that was that. He felt like it was such a huge victory because he had actually got it. He had mastered the style for the film. Sigourney, she's very liberal politically and despised the idea of any kind of guns or anything, and tried to talk me out of them having weapons. I said "They're marines. They'd have weapons." She said "Do I have to carry a weapon?" I said "Yes." She said "Why?" I said "Because it's not Sigourney Weaver in the film. It's Ripley. And Ripley wants to survive." So I took her out shooting a Thompson machine gun, out behind the studio, and she fired off a 50-round magazine from the hip. And then she looked up at me with this sly grin and said "That's really fun." Another liberal bites the dust. There were a few things she asked if she could do when we had our first meeting. She wanted to die in the film, she wanted to not use guns and she wanted to make love to the alien. And between the third and fourth film she got to do all of those things. But fortunately for this film, I said no to all of them, even though I was petrified. I thought she'd bolt from the project, but she didn't. She had a lot of good ideas. But she did have certain specific things she thought should be done in the Aven mythos. When she got to a position of power on the later films, she made that happen. This scene coming up with Ripley and Newt, which is the attack of the facehuggers, was a really tough scene to orchestrate, prepare for, as far as we think we're now back 16 or 17 years. So we don't have any kind of digital animation and there's not gonna be any stop-motion animation, and these facehuggers have gotta come to life, so we created I think a half dozen different facehuggers that would do different things to create the performance coming up, including our hero, which had completely articulated hands, multiple cables that had to be controlled by six puppeteers for one facehugger. We had one that would run across the floor. We called him our pull toy. We had stunt facehuggers that we could throw to hit the wall. We had actually two different heroes. There's the one that crawls up over the counter coming at Newt. And then a completely articulated one with tongue and fingers that Ripley would fight off with all of the cables down her arms through the whole sequence. And there's so much that happens in that. You think of the facehugger that's coming after them, and multiple to create that one scene.

1:41:44 · jump to transcript →

Fred Dekker

Beautiful backing there, by the way. That's fake. Yeah, that looks as real as anything. Okay, he jumps. Now, we were actually going to do a stunt and put him on a rappel line with a camera and follow him all the way down. Oh. And the night before, I could see Dick just had little beads of sweat on his brow like, okay, this will be great. Yeah, Fred, I'm looking forward to it. And then we just decided, you know what, it's really funnier if we just see him in the background splat to the ground.

46:57 · jump to transcript →

Fred Dekker

But, no, I wasn't kidding about the Jackie Chan stunt school approach and Chewie Hark. And, you know, I wish that when the shit hits the fan in this movie during the action scenes that you saw stuff you had never seen before. But, again, some of that are story choices. Now, we'll get to the ninja fight coming up. And I'm really, really unhappy with the ninja fight. I think it basically kills the movie. But in truth –

59:09 · jump to transcript →

Fred Dekker

We would have digitally put in the sparks at the bottom of the gun so you knew that the bullets were keeping it aloft. But we did that practically. Everything in this movie is analog. It's all practical. So you weren't utilizing any CGI really at this point? Except for the stuff that... The morph stuff. Yeah. And Delta City at the beginning. This is a terrific stunt coming up. Watch this.

1:09:46 · jump to transcript →

My Question Initially To Jean-pierre Was

I think this is one of my favorite scenes, this thing in the med lab, where Ripley goes in and finally discovers what her true origin is, and where the audience discovers it, too. I think the reason I like it is because it's such a... Because we had a lot of creative freedom in coming up with the look of these alien clones. That was a big deal, to be able to go in and design all seven of these things, and have each one be so different. There was a lot of research into birth defects, as well as all the physical alien attributes that we would combine in various ways. We really wanted to get a feeling of pathos out of each one of these sculptures, so that you would see the pain and the torture that the evil corporate scientists had put these poor ghastly creations through. We had some great artists working on these, too. Jordu Schell was really key to the designs. Chris Cunningham did conceptual work on it as well. Steve Wang sculpted. Steve Koch. Mike Smithson did a great job sculpting as well. Mike Larrabee was painting. Didn't he paint all these? Him and Jim Hogue? Beautiful. These are all made out of translucent silicone. So many layers of skin to give them the right levels. The set design is just beautiful in this scene, too. Also having these things in these tanks of this badly-colored liquid is... It's made it very cool. Then the number seven clone, which was great, because Sigourney is so willing to stick her neck out and go through the grueling rigors of makeup, and she's OK making herself look bad. This was a mechanical body, with a silicone skin, that was grafted onto Sigourney. She was coming up through a slant board, through a hole in the table. Tom and I applied the neck makeup, along with Linda DeVetta, Sigourney's makeup artist. I really love the breathing mechanism on this in particular. The tube of liquids coming out of her body, there was some discussion as to whether or not we could get away with that. But look at her. And she sells it so well on both sides of this scene. Then we had to torch the actual one, didn't we? We built a stunt one for the fire gag, but, because it was so close in frame, we looked at it with Jean-Pierre and he said: "I know you want this for your display room, but it's gotta be in the foreground." So we said "Yep, you're right." And there it went. - That's it. We did get it back. It kinda turned into like an overcooked marshmallow. Luckily, for the rest of this scene, we got to make blow-up dummy copies of all of these clones. Look at her go. What impresses me about Sigourney is that she's... Look at the emotion there, while she's firing a big-ass flame-thrower. You know? It's really... She really makes this series, I think.

57:43 · 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 →

My Question Initially To Jean-pierre Was

So out of the water and up onto the tower, up onto the ladder. From underwater to sparks and steam. After three weeks of being underwater we ended up... For another two, three weeks on this set. Climbing the ladder. High, too. Perilously high. Like, three stories high. The stunt people on this film really earned their keep. Big stunt. Big, big stunt. For real. We showed just Winona falling in the water, and I just remember staying up there with the stunt girl doing that thing. I was very impressed by what she did because I was at the same height. Oh, God. And I saw this little hole there and I thought she would never... Every day we received some sparks from the top and it was hot, if I remember.

1:14:52 · jump to transcript →

He's actually right-handed. Oh, yeah. And my brother was explaining to him, if you're gonna come down with a wall on your right side, you're gonna want to hold the shotgun left-handed. That's a good catch. And Tay spent all day practicing lefty. And then later in the scene, I said, you know, at this moment, you really don't need to be lefty. In the alley with the kitchen? Yeah, in the later alley. Nicky Cat driving all of his own stunts throughout the movie. And the seatbelt shot, by the way, is at the request of Dick Pope, who loves the scene in Bullet. Oh, right. When they all put on their belts. That's funny.

20:13 · jump to transcript →

Every time I see you coming around the corner, I see the barrel of your gun or I see your foot, I know you're coming. You've got to just come around the corner. And then as we were choreographing the scene, I looked down and saw the stunt guy's foot. And I just said, shoot him in the foot. And it got us out. It would have taken forever. There were squibs and all this other. It was this long choreographed scene and shooting him in the foot worked so much better. It's funny. Of course, sending a prop guy down to the prop truck to rig an exploding shoe unexpectedly.

1:43:47 · jump to transcript →

Jimmy Conn always reminds me of the stunt show at Universal here. Just popping out of the blinds of the shutters. Trying to make sense of all... This was, by the way, meticulously, meticulously storyboarded. We had a map of the location, and my brother and I took plastic cowboys and Indians. Wow. And I said, okay, for a moment, you're Parker and Longbow. Now, where are you going to go to get to the money? And then said, stop, and now be the bag men. And where are you going to go to get Parker and Longbow? And it was like playing chess.

1:47:09 · jump to transcript →

Noah Baumbach

This jellyfish, electric jellyfish scene, I kept Cate separated from all the other people so she hadn't been introduced to any of the actors. And we shot all of it with Cate in the trailer. And we didn't bring her out until we filmed her shots. So for Cate, it was very strange because it was about 5:00 in the morning by the time we got to her angle, and the wind's blowing, and these electric jellyfish are blinking on the beach and there's Bill Murray, Willem Dafoe, Owen Wilson, our friend Waris, Niels, Noah, all in their pajamas on this beach with a crew of people she's never met, and she's brought out, and it was very strange. And I've not really been that big on doing those kind of stunts, but I felt like it might be something, that something might come out of it. And there was, there was a crazy energy on it. And she played this whole scene with them confronting her, and then as soon as we finished it, everybody was introduced to each other and it was... And the sun came up.

22:34 · jump to transcript →

Noah Baumbach

And here's Bud. Bud in his first scene that we shot. And I-- Yeah, Bud is... Bud Cort, who we have admired in Harold and Maude and... Brewster McCloud. Brewster McCloud, the Altman movie, and all the way through to recent films like Pollock, and he had a great small part in Heat. And we had become friends with Bud. I got to know him in California. Noah, you met him in New York, right? - Yeah. And we just wrote this role for him because we wanted... This is where the little tag talks about that you're not supposed to fly these helicopters. And that's Waris Ahluwalia, who was standing on the deck, on the helipads we fly over. I remember the stunt guy saying, "We got a marvelous angle. You see the Indian perfectly as you approach." Waris was standing right next to him. You thought, "They still have a ways to go in Italy." Waris was next to him laughing as he described him as "the Indian." This is "Gut Feeling" by Devo that plays through this scene. You had talked about using this song, I think, pretty early on. I mean, when you were writing it. I think we played it a little while we were writing up the scene, this montage. You like montages. You use a lot of montages in all your movies. Yeah, I like a certain kind of montage where, basically, we can play some music and for a movie like this, anyway, I feel like we want to make as many... We want to get as many jokes into a montage like this. So I feel like each beat of the montage needs something. It's gonna tell the story, and hopefully we can make it into something like a joke. There's one in Rushmore where he has all these different clubs that he does, and we try to kind of make it a gag with each club. And that's sort of the way I always approach these. It's just a musical interlude and jump ahead in the story.

35:31 · jump to transcript →

Noah Baumbach

One thing that was always appealing to us was the idea of having Bill Murray, who'd never-- I don't know if he'd fired a gun in a movie before. In Ghostbusters it was kind of a gun. And he'd fired some guns in Razor's Edge, he's at war. I know he shoots out some headlights in Razor's Edge. Right. - But here he was for an action hero. The first one time as action hero, but he plays the giant action scene-- I say "giant," but-- For us, giant. The action scene in a striped Speedo, a bathrobe, and flip-flops. Well, we'd also talked about sort of the choice of the music, you know, the-- You know, the-- Like you were saying about the color timing and the, you know, the sort of score you use... here, sort of breaks into sort of the Iggy Pop song, which I think sort of brings us back into the sort of playful Zissou world, you know, that sort of-- - The Iggy Pop. The Iggy Pop does. You'd talked about at one point maybe doing it all silent. At one point, we had a version that didn't have any gunshots or anything like that, and all the sound was gone. It was totally silent, we had some music playing, and the effect was much more grave. When we put this music on-- I liked the other way too, but this seemed maybe to be more right for the way the whole movie needed to work. I don't know if I-- I feel like I could've shot more coverage on this. We were struggling. It's got an energy though. I'm not a professional action-sequence director, but I can do better. I guess Bill Murray also fired a gun at the end of Stripes. I think they go to Argentina to rescue some people. One thing with Bill, put a gun in his hand and he can't wait to empty the magazine. This is interesting. We had to throw this gun into the-- Well, you can't throw a gun into the ocean. So actually, he switches hands with the prop guy who's out below the frame and gives him a rubber gun to throw. But we did, when he knocks that guy out and throws him overboard in the earlier part of that scene, we lost a gun. Bill actually accidentally hit the guy, and the guy went in the water, was knocked out by Bill hitting him, and his gun fell, and Bill's gun fell into-- The gun Bill was grabbing out of his hand fell in the water. And then they said we couldn't shoot anymore, and they called the police, who came out and flew over helicopters while our Marines searched for it. I was like, "Can't we keep shooting while we look?" "No." And we were worried our stunt guy was going to get arrested. But then the Marine guys found it in the bottom of the ocean there, which is only like 20 feet deep or something there. But they found the gun, brought it back up, and we were allowed to continue when the helicopters went away. That's why you went a few days over. Things like that. - Variety of things, yeah. How you holding up there, intern? Doing okay?

1:03:18 · jump to transcript →

Patrick Tatopoulos

The fights are really nice in this picture, Patrick. They're really on par with the other two, certainly. Allan Poppleton was our New Zealand stunt coordinator. He did a fantastic job. - He did a great job, yeah. So, what you're seeing here is actually the set... ... you're gonna see later in the movie, an early stage of the castle. We tried to minimalise the dressing so it felt a little different. But it's basically the same space that you'll see later. And this was the first day of shooting. - Yeah, the balcony part. Yup. The big reveal. Wanna tell you a story about the castle. The castle is such a gigantic structure. Of course, there was no way to build this. We ended up building the, what you would call, the courtyard of the castle. How many feet tall, Richard? - About 20 feet. Twenty-five, 30 feet, yeah. Which was a little challenging for the lighting... ...because we were there on top of the set. When we started, it was difficult for CGI guys to kind of extend that. Yeah, it was terrible for Sound too. Every time it rained, we'd stop shooting. The train outside, the train station? - Yeah, the train... Note to self: Do not build set next to railroad tracks next time. We have a few transformation... ...but this one actually is not a transformation. It looks like one, but everything is practical. There's nothing mechanical or anything. I love it. It's a little more American Werewolf in London approach. There is no CG help whatsoever, though. Unlike the others.... This took a while to get right, just this whole prelude... ...and Kate's voiceover, and getting people caught up. There is a lot of history, and to decide, you know, where exactly to start... ...and how much to prep it with. Hopefully, we covered everything we needed to. It looks like we moved really quickly through. I wish we had a little bit more space, a little bit more in the... Yeah. - There's so much story to....

1:59 · jump to transcript →

Patrick Tatopoulos

Bring them in. SO, like, the nobles are coming now. When we just started to play with the movie... ...and the look, the nobles should be the one that... The only touches of colour in the movie. Because we're in the Underworld world... ...Which is very blue and brown. We're trying to bring colour from those guys. They're the only few people that should be looking... ...also like the actual period of time, which is 12th century. And, you know, the vampire world is a little tweaked. It goes, you know, it feels futuristic and past. Those guys should feel like the period. That's more or less, the way the people look at the time. So it was fun to do something, in some ways, truly period-y. This is our biggest set, the great hall set. When you see the wide shot, the entire thing is set. We built the entire thing. There's no set extensions at all. lt was a huge set, but it was one of the first things that we shot in the film. And being in that big cathedral-type space... ...Was great for everybody, because it really got everybody... ...1nto the spirit of the film, and really feeling positive... ...about the production design and how great everything was gonna look. Tim Raby, I mean, when we did the casting... -... Tim Raby is playing the, you know... - Janosh. I just love the way... Yeah, he was fun. He's good actor. He's fantastic actor. I also love the way you did when Viktor actually rushes over... ...I love that you stayed in Coloman. Yeah. - You just see that... It's almost like, watch this look, and it looks like: "Oh, God, here we go." And he just, I guess, supernatural freak of motion... ...and Coloman's look was like, "Oh, shit." It's coming now, and now. Remember this, though? The first time we shot this stunt, they forgot to turn the camera on. The guy had to go back and do it over again. "What do you mean the camera was not on?" It's, like, one of those classic movie moments. So I always felt we went slightly overboard on the impact. But, you know, it's an old castle. You could believe the rock Is bit... - I love that shot. Oh, yeah, this one. It was littlke much, but... Viktor giving benediction to the other nobles.

31:53 · 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 →

Francis Lawrence

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

25:45 · jump to transcript →

Francis Lawrence

Yeah? Boucher is dead. This sequence that we're about to get to ended up being pretty logistically difficult, right? To shoot the sequence of Joel kind of chasing down Dominika's car, headed to Heathrow, and then a Heathrow sequence. There was a lot of planning, and really a lot of figuring out how we're gonna get the kind of control we need on certain streets and motorways going out to Heathrow. And one of the complicating factors was that we weren't gonna be in London until May. And we needed winter in London, and obviously it was gonna be spring in London. And so, Cameron, one of the associate producers who works closely with me, and one of the stunt coordinators, went to London basically with very specific video-vis and storyboards, and, like, really specific on the location scouts, went out and shot all the plates, and so all the driving for Joel and for Jen was all done on a tarmac on the outskirts of Budapest. And then we sort of laid in all the plates of the wintery London streets so that would work. And it was also just kind of a logistical nightmare to move from one spot to the other, 'cause we were, you know, using certain overpasses, driving, here as you can see, through Heathrow airport. And then one of the great bonuses, and I just never would have expected it, and I thought we were gonna have to, you know, shoot in some large convention center or something. But the people at Heathrow let us shoot there. And we got to shoot at one of their great brand-new terminals, the Queen's Terminal, and build our own little security line here. This is actually just outside one of the terminals, but walk our characters through the terminal to shoot the sequence where Joel, you know, narrowly misses Dominika here. She goes through security and waves him off.

1:39:15 · jump to transcript →

Francis Lawrence

What he's hitting her with is actually just, like, it's this very hollowed-out, plastic tube. And I remember showing Jen that it didn't hurt. So, I sat in that chair first, and had the stunt man do it. And when I went to go do this move, the guy actually punched me in the face by accident. So, he totally missed me with the baton and punched me in the face. I guess it's what I get for putting people through these kinds of things.

1:44:00 · jump to transcript →

raises some eyebrows but in general it seems like swords were really just for the wealthy so this raid of the slavic village is one of the sequences that i am proud of and do think is successful it took a lot of hard work cc smith the stunt coordinator

26:28 · jump to transcript →

That's C.C. Smith, the stunt coordinator, as the sword master back there.

43:11 · jump to transcript →

Those extras, stunt guys back there, really look like they're having a conversation, which is nice. Yeah, we don't know where slaves were kept, but, you know, probably some slaves that would be doing household things would likely have slept in the floors of the house, but it's also very likely that some slaves were kept with the animals, and certainly that was a choice that I liked because it seems quite primitive and harsh.

46:18 · 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 →

Nia DaCosta

I love this so much. I think that might have been their actual reaction 'cause I shot them reacting to it the first time they saw it. Put him out! So, Mirren Mack was very proud of herself for doing this stunt, not that one. Please...

49:06 · jump to transcript →

Wow. The car that we usually see in the exterior is an authentic racing car. All the cars were built by the same three people. One was a real racing car, absolutely capable of going out and racing. One was built with roll bars to do stunts, and the third one...

7:24 · jump to transcript →

You know, if not motherfucker, at least fuck is, you know, becomes like... I know what you mean. It's like the French saying allure. Right. Now, how did you keep everyone safe in these situations, Monty, when you have all these cars and... How was the production? How did you manage this? Well, I mean, the actual racing was usually done by stunt drivers. Mm-hmm.

17:29 · jump to transcript →

And if you can't make out the actors, then you can be pretty sure it's stunt drivers. But so much of the picture was shot with the actors actually driving, James or Warren, camera inside the car or just looking in either the driver window or the passenger window. And many times, if the angle allowed it, I was...

17:59 · jump to transcript →

Filmmaker Paul Davis

And they let them use that clip because it specifically spoke about Punch and Judy and violence. This was one of the last things shot on the movie because they had to destroy the set. And this was all the stunt guys like Vic Armstrong and getting to wear these pullover masks that Rick and his crew made pretty early on. Because there was a Screen Actors Guild strike while they were

32:00 · jump to transcript →

Filmmaker Paul Davis

sequence which was in brick lane which is now like luxury flats you know overlooking tower bridge that was um that was just one day that was one day of shooting so john said okay well we've got if we've got time let's do a little bit more with it and right there at the bottom of the call sheet is standby wolf costume and john was telling me about it that he had alf joint who was the stunt rigger on this uh create like a bungee device which is what they use to pull the the

1:07:37 · jump to transcript →

Filmmaker Paul Davis

But that sequence, man, Piccadilly, they shot that over two nights. Well, the main stuff at the location, they shot over two nights. This is all in the documentary, but I'll give you the abridged version. On location, it was two nights. It was a Saturday into Sunday, Sunday into Monday. And they essentially had to do the stunt in two minutes. They would do the stunt, clear the street.

1:30:19 · jump to transcript →

And very live and very capable in all of the physical stunts that he did. And he did almost everything in the film himself, including a lot of the driving. But he assured me he could get up on the rails and make the run. And at one point, we worked it out where he would actually do that for a short stretch. And after we made the shot, of course, I had a severe talking to from the airport managers.

26:34 · jump to transcript →

I came up with this idea of a car that's being chased going the wrong way up a freeway. Which I thought, wow, I've never seen that. And these ideas are just dictated to me by the movie God. And then I'll talk to the great stunt coordinator, Buddy Joe Hooker, and we try to figure out a way how to do it. But, you know, I thought, what have I not seen?

1:26:39 · jump to transcript →

a car on a freeway traveling against traffic. If we can pull this off, this is going to be very hairy. And Hooker came up with any number of ways to do that with a team of fantastic stunt drivers to make it believable. And it is pretty believable, I think, even to this day. And the only guidepost was that it be

1:27:09 · jump to transcript →

John McTiernan

And a kind of traditional stunt style of shooting is just... Static cameras, you know, like this, what you just saw, you watch the guys get thrown out in the background and you rack focus to Dillon in the foreground, here you... Somebody signals Arnold and the rack focus to Arnold. Now, this is second unit.

23:19 · 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 →

Oh, these guys are great, like top of the line. Lin-Manuel Ping, of course, had his guys in the martial arts and doing the wire work and the stunt stuff. And Timmy Yip in the art department. Everybody had these just incredible, they're like gangs. They actually, they're directors. Mr. Lin-Manuel Ping, he directs a lot more movies than I did. That's right. Very successful blockbusters, very, very successful films. Drunken Master. A whole lot.

49:10 · jump to transcript →

Aang is making a veiled reference to the fact that I've always wanted to cut this scene down during press production. It's like, okay, come on, okay, enough is enough. Plus that shot looks so fake. But also the entire crew being completely in love with the Mongolian horsewoman who was the stunt devil for a couple of these shots, who was incredible. We just put them on horse, the actors. Yeah.

55:37 · jump to transcript →

And Jasmine, Chow Yun-Fat's wife, went to the bathroom. Remember this? I don't know. I never asked you if this was on purpose. But usually one would make the request for stunt work through Jasmine. But somehow you went directly to Chow and said, hey, Chow, would you mind going 75 feet high up on these wires? He was like, sure, I'd love to do that. And I'll never forget when she got back from the bathroom and looked and says, where's Chow? And looked at her and went, no!

1:36:53 · 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

a little bit. But it wasn't even that. What we discovered, when we discovered that the proper pronunciation is toque, I did a little bit more reading and realised, of course, the toques, the head of the family is the thane, and then one of their ancestors invented golf. I decided that I think Professor Tolkien was in fact telling us that he was Scottish. So that was brilliant. Out of all the stunts that we did in the movies,

52:21 · jump to transcript →

Peter Jackson Fran Walsh Philippa Boyens

The Amon Hen fight was choreographed by our wonderful sword master, Bob Anderson, who did a great job training all of the stunt guys who, you know, we were using stuntmen who had done movies in New Zealand before, but had never obviously used swords and axes and things, and our actors had to be trained up. Well, Sean Bean has used a sword before, no? Sean was probably the most experienced of our sword-wielding actors.

3:07:44 · jump to transcript →

And obviously Ursula Andress was another factor that we were aware of that we could take advantage of from a publicity point of view because of her beauty and the way she acted and the way she looked was very important from our point of view. Giroux recalls a very Bondian publicity stunt. The main publicity that we did in Europe was to take Sean Connery on his first promotional tour. And we went to Italy.

1:07:32 · jump to transcript →

what no longer exists, but in those days was a real publicity stunt. We went up to a gambling resort just outside of Turin in the Italian side of the Swiss Alps. And the idea was that this actor, this British actor, basically unknown, named Sean Connery, was going to break the bank. And we did it.

1:08:28 · jump to transcript →

Peter J. Hanley's book tells us that this stretch of track was located about 10 kilometers southwest of the La Calahorra station. This is one hell of a stunt, considering all those rocks on the ground. The stuntmen on this picture included Fabio Testi, later the star of Andrzej Zuławski's The Important Thing is to Love,

1:39:48 · jump to transcript →

and future American producer-director John Landis, who said he worked on about 50 Italian westerns in Almeria during the year and a half he spent there, becoming very adept at falling off of horses. Clint Eastwood is said to have performed most of his own stunts. Eli Wallach sometimes inadvertently performed his own, as when his horse once galloped away with him in the saddle with his hands tied behind his back.

1:40:08 · jump to transcript →

I did not go back. With this type of sequence, it was a second unit that went off and a number of units within that second unit of cameras. Because some of these are one-off stunts, you don't want to have to do them twice.

3:45 · jump to transcript →

be the man who would find out these extraordinary mumbo-jumbo, to me, mysterious objects and bring them in, and great stunts find them. Very good at it. I don't know where he went, but he would find out all sorts of things. I remember one of the episodes we...

11:53 · jump to transcript →

In Daley's, she was great. In Daley's, I was worried she was so great that Holly would be in her shadow until the story started to pop. And she had been working out. She has a sort of a small stunt that happens very shortly. We actually had her working out with a hurdle guy in Chicago before we started filming for it. I don't think she's gonna make it.

21:43 · jump to transcript →

This was just a guy being into his character, so... So we... And Joan was the gun. She almost got seriously hurt in the stunt coming up. That one. Whoa! Hey!

23:07 · jump to transcript →

It was really exciting to get to those moments in the movie when we were producing them, when we were making them, to see how Russell was going to do it. Because it wasn't like there were great stunts in the movie. There was a lot of physical stuff. There was fist fighting and jumping and stuff. But Russell did it all himself. And you had no problem believing it, the credibility he brings to that element of the movie. And subsequently in his career, on a lot of the bigger movies he's done physically, it's always been...

1:49:05 · jump to transcript →

There was, what happened that went wrong? That's right, I have to jump up on a, I jump up on a sort of deck by a window to shoot out the window. And I, as I jumped up onto the deck, I sort of gripped with my hand, the wrong hand and fired three shots off in the actual, in the motel. So lucky it was, there were blanks and not real bullets. I don't think I killed anyone. It was really well orchestrated obviously from a stunt point of view and

1:59:00 · jump to transcript →

E. Elias Merhige

Answer me, Herr Doktor. Is this some stunt to evoke fear in us? Henrik, stop being so theatrical. You'll wake the whole house. Go on up, Wolf, and have a brandy. You'll feel better in the morning. What's happened? He's ill, obviously. Take him upstairs and then go outside and help Herr Grau with the camera equipment. Bring the cameras straight to my room, I know. Prepare for tomorrow.

27:56 · 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 →

He actually said fucking students, thinking it was a stunt, until then people go silent and look at it and think, wait a minute, this looks awfully real. So there's a brief hiatus before the panic. And Hannibal works that kind of thing out. He knows if he walks out briskly, he can leave before the hue and cry begins. That's exactly what happens here.

1:19:27 · jump to transcript →

I don't let actors do their own stunts. It's too dodgy. She slips. But she's an excellent double, so... She did all her own shooting in the fish market and all that stuff. All the running and the rough and tumble, she did all that. But that's a bit tricky. And like all stunts, the closer the better. Think about what you swore.

1:39:48 · 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 →

Ted Tally

It's hard to pull off this stunt with rising excitement, meanwhile. I'm amazed by him in this scene. It is a very hard thing to pull off. This is an example of a scene that my editor, Mark, was particular about, collaborating with me and telling me, "Brett, how are you gonna pull this off?" I said, "I don't know, I'll just shoot it." He had me bring Edward to the edit room and took a video camera and shot the scene for me, before showing the way it might intercut since there are devices in here which are the flashes, and you've seen it in hundreds of films and I didn't want it to be false. He said, "I have an idea of how to do this." He shot the scene for me before I shot it. It was a great reference. We adjusted and tweaked things, but this is all protecting the cliché. You can see the power that editing brings to a sequence like this. It startles you and moves the story forward in a way that the story is always a leap or two ahead of the audience. And pulling them along behind it. That's a function of great editing. It is important here because once the audience is ahead of you, you're in trouble, they are sleeping. It's the same thing on The Silence of the Lambs, I used to worry that we were cutting so many tiny beats that the audience would be confused. And Jonathan Demme said, "Better if they're confused "for five minutes than bored for five seconds." And this film is very tightly edited. Gentlemen. Ladies. This is what the subject's teeth look like. The impressions came from bite marks on Mrs. Leeds. This degree of crookedness... Here we... Where was this? - This was shot in LA. This is shot in LA in a government building that the city gave us. Here's Bill Duke. - He's one of my favorite actors. Again, an example of the meticulousness that Brett brings to casting. These wonderful actors who could be the stars of their own movies, who are playing supporting parts in this. I literally called them and begged them to be in the movie. I love actors. I love great actors. I spend as much time on the smaller roles as I do on the bigger roles. It's important because an actor who has one line can take you out of the movie and hurt it in my opinion. It goes back to the whole question of tone. A single wrong note will make an audience self-conscious, and pull them out of the movie. This film is the opposite of any of the films I've ever done. Family Man, that had dramatic moments, was still a comedy. So you can go farther with realism, but this especially, when it's dealing with the FBI, forensics, and scientific... -[t has to be grounded in reality. - Very grounded. In order for the audience to accept the extravagant parts of the movie, the more baroque characters in the movie like Dolarhyde and Lecter, scenes like this have to be very credibly rooted in police reality, in procedural reality. Would you give that up? The other thing also is, when we're talking about the tone, the choice... I was thinking about It, why I really chose not to show, not only because of Silence, because even Silence might've shown more violence than this film. Really, because the only scene we have is the biting of the lips. We certainly tried to hold it down. But I think the reason was because when I went to the FBI at Quantico and started looking at all these visuals of serial killers' work, it was so disturbing to me. It really bothered me. I said, "Why do I want to do this to audiences? "It'll completely turn them off." As with Silence, what you really want to do with this movie is a detective story. You really want to do a psychological thriller, a detective story. You're not trying to make a horror movie at all. Sometimes they're referred to as horror movies. I've never understood that. To me, these are thrillers, detective movies. In this scene, Harvey's Jewishness really comes out. "You're the light of my life." He sounds like my grandmother. I love that line. I can't answer more questions. Here's Philip Seymour Hoffman, a great actor. Who we should not have been lucky enough to get for this small part. Yeah. He actually wanted to play Dolarhyde, and I wanted Ralph to do it. I had dinner with him, and then called them back a week later. He wanted to play Dolarhyde, and his schedule wouldn't let him do a bigger part anyway. And then I called him and said, "I think you should do Freddy Lounds." He said, "Let me read it again." Then he called and said, "I'll do it." He would've been good as Dolarhyde, in a different way. He would've been amazing. - I mean, a great actor is a chameleon. Remember? With the tubes hanging out of me? Forget that prick. This was a very difficult scene, too. This was difficult because... And this was a scene where Edward had a Iot of input as we were revising the script before we shot. Edward said, "This is a difficult transition for this character to make." Here he's out of the loop, he doesn't want to be involved in the investigation. He's sort of done a favor for his friend and mentor, Jack Crawford, but he doesn't want to get deeper into this 'cause of psychological and physical scars. Because of his commitment to his family, he doesn't want to do this. Now he has to do the most difficult thing he could possibly do, which is to confront Lecter again. There was a lot of back-and-forth and a lot of revision, and a lot of talk about how we might credibly motivate this transition in the story. Edward was actually very helpful here with his thoughts. I think it works. Because it's not the cliché of the guy jumping back... Getting back on the horse and showing off. I'm proud of how it turned out. Again, it was really Mark's editing of the scene. It's also Harvey's matter-of-fact performance here. It could, potentially, have been a real glitch in the story. Where the audience says, "He wouldn't go back to see Lecter again. "He's scared to death of Lecter."

21:36 · jump to transcript →

Ted Tally

This whole thing was in the script. The first shot was exactly the way it was in the book, which was, it took place on an open beach. Right. I said, "Ted, I just feel like... "I don't know how to shoot suspense on an open beach. I just don't know." We changed the ending of the book, and everybody had a contribution. Dino and Martha said, "The boy has to be in more jeopardy. "The son has to be in more jeopardy, that's what will make this work." Brett said, "It has to be more claustrophobic. "Interiors are scarier than exteriors. "We have to have hallways with doors where he could appear from anywhere." And then this great, great moment with the mirror which is pure Brett Ratner. It was not in the screenplay originally. It was Brett's idea that the reveal to this character should be the broken mirror. It was wonderful. This sequence is an excellent example of how a screenplay evolves from the producers, from the director, and from the writer. And what I wanted, which was not in the original ending of the book, was for Will Graham to be more heroic. And then we added... In the ending of the book, he's injured by Dolarhyde on the beach. The kid hooks Dolarhyde with a fishing rod. Graham Is injured on the beach and runs away and hides, leaving his family to deal with the bad guy. And I wanted Graham to be more heroic at the end here. So we each had a shopping list for this sequence and got what we wanted. I also wanted Graham to show cleverness here. He can't overwhelm Dolarhyde physically. But he can outthink him. That's what he's good at. And taking all this, because Ted even said to me, "Brett, I don't write action. I don't really do that." And so I said, "Okay." I sat down with my stunt coordinator, Conny Palmisano. We went through beat by beat of what could possibly happen physically. We called Ted and went through it, and he came up with this whole thing... Where he stabs his leg with a... He's got a second knife hidden. But the whole thing about him using what he saw in the book, which is much more heroic than anything else he could do physically. This was where we took quite a leap. And tried to use things that the book suggested but didn't actually dramatize. And it really worked. And Tyler Patrick Jones who's... Wonderful little boy. Who did an amazing job and went through hours and hours of being thrown to the ground and being yelled at, berated. And very smart and... He's the sweetest little boy. We should have put at the end, "No children were harmed during the making of this." It's not his first movie. - Yeah. He actually worked with Spielberg on Minority Report. He had a small part. He said he actually liked me more than he did Spielberg. So I was happy about that. Don't cry at me, you little faggot! He said my beard wasn't as big as Spielberg's. Nor your bank account. "I'm a freak." Say it! No. - Say it! Dad! - Say it, or I will cut it off! "I'm a dirty little beast." Ralph did a great job here, and he was nervous about this. "Is this gonna work, Brett?" That was his question. And I said, "Let's shoot it and find out." - We won't know until we finish. Sound Dogs did a great job on the sound design here. They did Family Man with me, and they work... I love how you drove this whole sequence. This just goes like a freight train, this sequence. It's a classic. It's like the end of Psycho or something. It's just a great, great suspense sequence. Every shot selection and the pauses. Josh? - Mom? Will? Where are you guys? I thought I heard some kind of... Will? Great set. It was great. It was modeled after a real house that we saw in the Keys. It had very narrow hallways. These types of doors. Rattan louvered doors. We needed the doors to be louvered, because Molly has to be able to reach through the door here in order to unlock it.

1:53:32 · 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 →

How helpful is second unit? You know, because you lose some control over second unit, but you need them to finish. Yeah, and we had 52 days, but they had 35, which as a ratio to first unit, it's a pretty big second unit. So, you know, I mean, a lot of... And again, first unit, kind of the rule is we have to deal with the talent, we have to deal with the actors. Anything with dialogue falls on us first, and anything with stunts and anything with creatures...

1:23:59 · jump to transcript →

Roman Coppola

By the way, the driver is a Sikh driver from Mumbai who we brought in to be the stunt driver. But, in fact, this is-- I consider this to be stunt driving except for the fact that all he's doing is driving fast around Jodhpur. There's no blocked streets or any planned stunts of any kind. There's a degree to which driving in India is stunt driving just by virtue of getting in a car.

0:53 · jump to transcript →

Roman Coppola

I remember doing this scene was-- That driver? No, I don't remember the driver. Because he was-- That was a driver with henna hair who we always would see at the place where all the auto-rick drivers wait there. We would always see that same driver. He was our stunt driver for this shot. I remember this sequence, with the dialogue scene with the short story... Yeah. - ...we found a little hill so we could roll the rickshaw down the hill without having the motor on ruining the sound. Yes, that's right. We rumbled down the hill. And what's the name of that--? Of the boy on the bicycle? He was a... - Spot boy? He was a spot boy for us. He brought tea, chai, onto the set, and he was very bright. I'm trying to think of his name. One thing about Brendan's character, I just wanna-- Would just mention just as an homage is his hat-- There's a logo on his hat for Francis Whitman Industries, which is actually my father's business. I mean, he's retired now, but it was-- His business was called Mel Anderson Communications. That symbol was his-- It's his-- It's based on his logo. In this part of the train, we have Brendan's living quarters. I think this is the non-a.c. section. These cars on the Indian trains usually don't have windows. The engine, as you can see there, is-- The paint job on it is based on the Tata trucks that you see on the roads in India, hand-painted by the drivers.

27:32 · jump to transcript →

So we thought that was a good way of linking the two worlds. That's all the gangsters out there. Chloe was, as there's not many 11-year-old stunt girls out there, we had to sort of train Chloe up, and she learned all this in two months. I mean, as you can see, she's literally doing it. It's a Filipino. Ask me another. Excellent, good. The AR-15 was a lighter, smaller caliber. Look at that. No visual effects there. Eugene Stoners Ayrton. Now give me a hard one.

21:42 · jump to transcript →

And I always like the idea of screwing with the audience, because I think we've shown in this movie we're not afraid of the rules, so when he actually gets killed... Now, when we laugh by the stunt guys, we kept filming that again and again, and they're going, oh, it doesn't look realistic enough, so then they just told the stunt guy just to kick him in the head, and that's why it looks real, because he actually got kicked in the head, and I was shocked, but, you know, sometimes...

53:30 · 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 →

So It Meant We Had Bloody Marys At 5

By the way, check out those horses. Another big training stunt. We had to ship horses in from the mainland to get the properly-trained horses. 'Cause, again, there's a whole horse sequence of stunts that didn't make it into the movie, but that should be in the cut features here. We did so much work with those horses. And now it just seems like, "They have one scene where they let horses out." We spent, like, a whole week of nights filming horses. And there's so much more footage on the DVD. But that's how it goes. Got to learn to not be precious when you get in that edit room. And just follow... Make the story work. Follow the jokes, follow the story. Clean it up. This is a fun scene to shoot where these two actually connect and get serious here. We shot this over two different nights, I think. Which I was worried about breaking up the flow of the scene, how we had to shoot it. But I think we shot all the wide shots one night. And then we went in for these close-ups another night. And we shot this towards the end of our schedule and towards the end of our stay at Turtle Bay. And I remember the actors, there was a little bit of how, "We've been so goofy and crazy for so many weeks shooting this, "how are we supposed to get a little serious and shoot this scene now?" It was like we all had to take a moment and reset and Say, "Okay, how are we gonna shoot this "like a real connection and still get some jokes in there, "but make sure we don't undersell the connection here?" Can I assuage you a few questions? That's always a little tricky, to switch modes when you're kind of used to doing one thing. Pop into another. You got to make sure everyone's on the same page. ...8O people listen to me. And it's fucked up. Me, too. I'm a natural born leader. Like George Washington. Yeah. Or another leader. Oh, she's back, she's back. - Jake. Oh, yeah, hey. - Hi. Hey, Margie. All right, here's one. I had to go to the bathroom. Okay. You don't have to tell me that. - I had to pee. You don't have to Say... I don't know, why would you tell anybody that? A stranger, me, but definitely at work. Why would you... You don't have to tell me that. I just want you to know. I had to pee, okay. I was not overwhelmed, emotionally. Sure, okay. I'm not gonna press you on that. I'm just gonna let you say that and I'm gonna give that to you. I peed in there if you want fo... - You don't have to keep saying it. The more you Say it, the more it's pretty obvious that you're lying, in fact. So I would just... - Okay, why would I lie about pee? That doesn't make any sense. You were gone a long time. lll say that. I will say that. If you really want to get into it, no, I don't think you left to pee, 'cause you were gone way too Iong. And I heard very heavy breathing and heaving outside the doors. These doors are supposed to be soundproof and I heard you. Okay? So there. I don't... That must have been in your movie or something. It wasn't in the movie. Ooh! My little cameo in the movie. Margie... - Who was that guy? Not important. Listen... Dave! Hi. Now I have to pee. 'Cause you have... All this talk about pee. What's going on? Are you okay? - Me? Um, I should have done this before we started. There's no way to stop the recording? - No. We cantt. Once we start, we can't stop. It's just like a Snickers bar. Okay, I'm just gonna run really... "Just like a..." I'm gonna just run really quick. Will you, um... I know this is crazy and probably something you haven't done before, but would you just mind filling in commentary for me for the next minute here? - OA, uh... Okay. Sure. - Okay, I'm gonna run. Okay? - I've never done the... Okay. Okay, just keep it... I just don't want there to be a blank spot in this. So I'm gonna run to the bathroom. Go for it. Okay. This a really good time. Uh, Jesus. This is a naked woman. There are horses. Um... I'm a woman, Dave. Deal with it. I done... It's vagina, vagina hair. I didn't come from that bush. There's, um... He's in a Suit. This is an attractive woman. Hi, Becky! - God, your bush is huge. And then... Margie, I'm sorry, I actually don't know where... Where's the bathroom? I'm so sorry. I ran down the hall. I went to the... Where... Oh, sure. It's down the hall and it's to the right. Down the hall, to the right. Okay, is it going okay? It's going really, really good. -/ think I'm doing well. - Okay, awesome. I will be right back. Just keep going. Okay. Why the fuck would you do that? I don't think you're supposed to go into the mystery bag... the night before the wedding. This is excruciating. Um... But Mike was right about you two. Uh, different gestures. Dave, I'll be honest with you. This is a scene that was shot at nighttime. There's fire in the background. The wind feels so nice. They... You have to be careful when you shoot with fire 'cause you might get burned. I'm so thirsty! Dave, we should get in the ocean. Um, and there's a bridge. Just be quiet. Oh, my God. What is the point of any of this? /, um, can't swim. That's a fun fact about me. I never learned. Okay, okay, okay. Thank you. - Oh, God. Hey, thank you very much. Did that go okay? Yeah, my pleasure. It went really well. -/ think I got some really good info in there. - Good, good. I'm trying to think of where we're at. Where did I leave? I left in the horses scene. So, I know you didn't know a lot of the same details I know. But, uh, just fun facts about that scene. Got... What... If was shot at night. Jeanie had to be naked. There's a vagina. There was fire. You got to be careful when you shoot with fire. People got to be worried about that. And there's a thing on a bridge. And here... - I covered all of these points. You know, I'm gonna listen to this at some point. I'm amazing. What? Really? You covered all that? Yeah, I got all... I got about how fire is dangerous. Fire is dangerous. You got to have a special fire guy on set when you have any fire. Talked about naked. - They were naked. Really? Did you really talk about that? Yeah, I... Yeah. Wow. But you didn't... I mean, they're real naked... You probably didn't go into the detail of we had to cover the vagina with a merkin and all that. You probably didn't say that word. - No... Yeah, I did. Yeah, I did. It's not important. I don't even know why I'm saying that word. But mostly just sad. Listen, this is a really emotional moment of the movie here. Dad! - Don't! And, gosh, Zac doing that Rastafarian accent will always get me. And you can see behind the parents in that shot a little hint of our deleted scenes. There was an exploded pig in the background of that shot right there that is part of an entire story line about a roasted pig that did not make it into the movie. And, again, is on the deleted scenes. And it's still left over, you can see that. That scene was initially horses running through and destroying the place and digging up a roasted pig that Eric was so excited about doing a traditional pig for his Hawaiian wedding. And it's all gone now. A little 'round-the-horn here of everyone depressed the next morning. This is a real hotel room that we're shooting in here. We changed the walls, changed the furniture a little bit. By the way, have I taken the time to just stop and say how wonderful of a person Zac Efron is, and how fun it was to make an entire movie with him? Zac is one of those guys, just one of the sweetest dudes you'll ever meet. And you're not... You know what I mean? And I think it's good for people to know that he is one of the nicest, nicest guys I've ever worked with. And so good at what he does. And takes it so seriously. And always has thoughts to bring to the scene. And it was a pleasure. When I first... I actually first met Zac years and years ago for a very guerilla-style Funny Or Die video back in the day. I think, around when the 17 Again movie came out. We made a little Funny Or Die video that Zac was in. And when I first met him for this, to talk about doing this movie, which is, you know, six years after that thing. He was like, "Wait, do we know each other?" And I was like, "Yeah, back in the day we did this little Funny Or Die video "for an hour one day. It was real quick," and da, da, da. And he goes, "Yeah, yeah, I remember. We shot that that Funny Or Die video." He goes, "Man, people really thought that video was cool. "I got some, like, good props for doing that video. "Thank you so much for doing it." I was like... That was the first kind of thing after being a Disney star that people are like, "Hey, man, that's really cool that you did that." He was like, "I always loved doing that video." And I was like, "I got him." I was really, really excited and hopeful that we would actually be able to get him in the movie after that. And we did. He was in after our conversation that day. And it was really fun to spend time working on the character and working on the movie with him. It was fun to spend time with all these guys. Aubrey Plaza, I mean, come on. Who else can play the crazy Tatiana? 'Cause Aubrey is so funny and so good. And also a legit weirdo who can be a very weird person in the... And I mean that in the best way. I love Aubrey. And she's Tatiana in a way that, I think, other people, you would have known they were acting to be the crazy girl, a little bit. And I believe Aubrey somehow, a little bit more. Um... But I think occasionally... we should think about how we make... Here we go. We did a lot of work on this scene. This scene is kind of cobbled together from another scene that's not even supposed to go here that we put at the end, put at the end here. I love these girls here, kind of, learning empathy for the first time. Learning to feel for other people. Deciding they have to run off and save the wedding. Poor Mike. He's less special, but I played him so hard. They must be so mad at us! They must hate us. Fuck! I would hate us. I would fucking hate us! I hate us, man. I hate us! Believe it or not, that cut was not planned. Originally, the guy scene and the girl scene was very separate here. And then we decided to put the girl scene in the middle. 'Cause our guy scene was getting a little long. And we found that footage where they both said the same stuff and it seems very planned, and it was not. It was a very happy accident. Don't let your loser older brother... This was actually, this entire ending here was exactly what I mean about how great Zac is and how much thought he puts into it. And when we were about to film this scene, Zac called me into his room before we shot and he said, "You know, I really feel like these are brothers "and this is about them loving each other and trying to build each other up "and they should be talking about stuff from childhood." And Zac was a big part of writing a lot of the options we shot here and that it made it in the movie. Like, the whole Ninja Turtles run to do here was Zac's idea about doing a run about the Ninja Turtles. We had a couple other ones that we cut out. But it's like I can't imagine the movie without it now. And that was all, that was all Zacky. We're not going anywhere... until our little sister, Jeanie Beanie Weanie... The best compliment we got about this movie when people started seeing it is like, "I actually believe these two guys are brothers." I actually, it's not one of those movies where people feel forced together. And I think that speaks to, um, how good they both are and how well they both got along. I love them high-fiving over breaking a TV. We are so stupid. This scene right here actually, end of the movie here, one of my favorite scenes to shoot, and one of the first scenes we shot right after the meet and greet, after we had already made the mistake of starting with everyone in the meet and greet, we went to this location, this is week one of shooting, and shot six characters in a small room together. So it was a real fun first week for me as a director. Just dealing with, figuring out all our characters right away. We want you guys to love each other. Love each other. This is a fun one to shoot. I think, actually, I love this scene. I think the Fox execs saw the dailies from this scene, and they said, "Jake needs to move the camera more. "We're nervous. It's week one. "He's never done a movie before. "Is this going... Is this going okay?" And, I think, in fairness to them, I did a lot of long takes where we did many runs of different takes and it seemed very Static. But I think it turned out okay. I think the scene works. Pacing's in the editing. I hope it does. Maybe I should have moved the camera more. I don't know. ... read this same paragraph for 20 minutes. Another early talk that was fun to have of notes that came in were about the outfits. And I think there were some people who were worried that Mike and Dave were wearing too many crazy floral prints or that seemed too crazy. And I was a big, big believer that that is exactly who those guys should be. And they should be excited about their Hawaiian vacation and wearing big prints. There's something kind of dumb and loveable about the costumes in this movie that our main four wear. That I'm very, very glad we kept in. And that I fought to keep in on these guys. I'm hoping when Halloween comes around I will see two dummies in Hawaiian suits, walking around, pretending to be Mike and Dave. We'll see. If that happens, that is all 1 need. That is my measure of success on making a film. Will anyone, the following Halloween, be dressed as anyone from the movie? We shall see. I was drinking puddle water and I had to go to the hospital... 'cause puddles are really dirty. One time I was on peyote... and I signed up for a T-Mobile plan. One time I got high. Listen, I don't want to be too rough on T-Mobile here. I got a T-Mobile plan on my iPad. And it was just a, maybe it was an easy joke to go for. We went for it, guys. I'm sorry. Damn it! Sixty percent of my investments are in some pretty... It's so satisfying to see Eric here just get mad and blow up. You can hear the whole, when we did our test screenings, you just hear the whole audience kind of open up and love it, and just love to see him get mad after this whole movie of being kind of timid and polite to everyone. And, God, Sam does it so well. This was one of the audition scenes for sure. Bam! Two hot air balloon tickets for our honeymoon. Saving the day. Saving the day with that hot air balloon. Surprise. Aww! Now another thing about shooting this, one of our first days, again, and we were doing really long takes. It was week one on the shoot and I was, again, wanted to make sure we got everything, got all the options we could get to make sure we could cut it together any way we wanted. And we spent the first half of the day shooting Zac and Adam and Anna and Aubrey. And Sug and Sam, Jeanie and Eric were just kind of waiting off-screen, feeding their lines to everyone. Being great, great actors and great partners. And then all this coverage on them we kind of shot in the last 45 minutes of the day. And I felt bad we had to rush through it. But while they were waiting off camera the entire day, they came up with this wonderful hand-clapping to do and pitched it to me to do it. And I think it was literally because they were bored all day just waiting to be on camera, that they started doing this. And, of course, immediately put it in and wanted it in the movie. And it's such a wonderful little accidental by-product of making them wait all day to shoot. Do you have Zac Efron's number? This way! What was that, Margie? Do you have Zac Efron's number? I'm good. So what part you like, brah? We need the whole pig. Mmm. No. But we need to feed 100 people. Could we please, please have the wedding here? Just wondering if he might be interested in going in on freezing my eggs with me. You can't ask Zac to help you freeze your eggs, Margie. You just can't do it. You don't know him. Please? You asked me but you don't really know me. You can't just go asking people to help pay to freeze your eggs. That's not how it works. Start a GoFundMe page or a Kickstarter if you're gonna be asking strangers, but don't just ask for people's numbers in my phone so that you can call them and ask for money. Come on. Okay, /'m sorry. And don't... You got a little nest egg built up, I'm sure, a little savings account. You've been working... How long have you worked here? I have a gambling problem. Oh, Margie, you can't bring a kid into that world. You got to get that straightened up before you're even thinking about the kid thing. I can't swim. What?

1:10:07 · jump to transcript →

Commentary With David Kalat

Haruo Nakajima had been hired to play Godzilla thanks to his martial arts training, his background in stunt work, and his overall strength. You can imagine how being hired to play a monster in a rubber suit might cause you to maybe not take your job all that seriously. But not Nakajima.

56:42 · jump to transcript →

As I remember it. Well, there was a stunt boy. There's a stunt boy. Who jumps down, but they cut the shot of him jumping. But they cut it out anyway. You're right. You're right. So it's okay. Now, here's the classic moment. Davis Grubbs said, I didn't write it for comedy, but you see it adds to the drama and the comedy. Yeah, this always gets a laugh. That famous scene. You haven't heard the last of Harry Powell yet. The Lord God Jehovah will guide my hand in vengeance. He's about to use a naughty word from the Bible. Battles.

1:19:17 · jump to transcript →

Alan K. Rode

Harris got a call from the Munich police one morning at 6 a.m. that Carey had been found along the highway, bound hand and foot. The police thought Kubrick Harris had staged this for an obvious publicity stunt, but it was Carey who came up with the bizarre idea. Carey had to sign a statement so the police would release him and he could get back to work on the picture, but he kept changing his story.

57:14 · jump to transcript →

Okay, yeah, they staged this. And if you pay attention, you're saying, look at the audience back there. I mean, everybody stopped to watch this stunt. But the guy with that sort of bicycle delivery thing, that could have happened because everybody thinks that they're entitled to their own right of way. So it's a great idea. It's a great bit. And I don't believe that happened in the book. I think it was a very canny,

59:52 · 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 →

the friendship between these two guys. They're good buddies dating back from high school days. Oh, this is an interesting sequence. This is the old HP. This was something that I recall in my college days at the fraternity house. I used to do this as kind of a stunt. And it was something that

1:05:49 · jump to transcript →

That was Don. Are any of the other production team in the film in small roles? No. Well, the stunt coordinator was at the beginning playing one of the underworlders. He's the one that does the kidnapping. So this is Bianca warning Bane that there's something going on between the other gangsters and to be wary.

34:34 · jump to transcript →

written a scene and rhythmed it against that and always imagined it in your heart and soul to that, it just is not going to work when you do something else. And so, as I said, as we took the songs out and tried to replace them with new songs, the scenes just didn't work. Okay, here's this nice scene where Patrick does his own stunts to everyone's terror. But he insisted on doing them and does them quite brilliantly.

41:20 · jump to transcript →

And I went to the rehearsal in a van, laying flat on my back. We shot that in, I guess, June or July. And I had surgery in April. That whole scene at the bar, I was sitting on a little stool when I was in between takes. And all that stuff on the floor, that's Peter Bercosi. You know who Peter Bercosi is? Peter Bercosi is a stunt coordinator for sopranos.

54:28 · jump to transcript →

know actresses gymnasts stunt women um who have gone on to do other things also but it's pretty wild and oh oh sorry well i just want to interrupt you because he's only on for two seconds this is like a blink and you'll miss it cameo that guy playing the pilot was jimmy buffett the musician uh and he was here he was he was good friends with frank marshall and had played a cameo role in the marshall and kennedy produced hook as a pirate later he would also appear in another frank marshall production jurassic world

18:54 · 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 →

Alexander Payne

I want to point out that Reese actually fell and did that little stunt very well in one take. She didn't want to rely on a stunt person, and I didn't want to have to do that either. I like seeing the real thing, and we patted her a little bit, but she did it.

46:48 · 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 →

countering the angles of the set, so there's never anything that looks flush or that's a right angle. Here's Bill Irwin. He worked this bit out with the ladder himself. I sent him off with some of our stunt guys, and he sorted out this routine. Very creative guy.

9:39 · jump to transcript →

Danny Boyle and Alex Garland

In his world, really. Because your instinct would be to think these people are bullshitting. It's some kind of mighty trick that's being played upon me by... Who's that guy who plays that trick on you, you've been framed? Beedle. Beedle, he thinks. That must go through his mind at some point, then. It's some mighty TV reality stunt. But he kind of keeps you rooted in his own dilemma, really. And it's the first moment where he...

20:38 · 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 →

John Cameron Mitchell

This is a ridiculous scene. Yeah, like all that drama and now hijinks. Crazy hijinks. This was so hard to shoot this fight sequence, wasn't it? Yeah. We had a stunt coordinator. Yeah, a stunt coordinator showing us how to throw a punch. And I kept trying to throw myself on Jay and kiss him some more. Manny was our fight coordinator who was infinitely patient with all of us. It's as hard to shoot a fight as it is to shoot sex. It's harder. Harder.

1:08:22 · jump to transcript →

Here, the use of a helicopter... - The flying cam. A mini helicopter. It's a mini helicopter because it wasn't possible to shoot with a normal one, having in mind that the environment doesn't allow that. And we used this mini helicopter to shoot, especially because we wanted to shoot really close to Robert Carlyle and to see how this man is feeling the guilt of abandoning his wife in the cottage. We used this tool previously in Intacto, our first movie, and, uh... I think it's very effective. Even if there is only four or five shots, they are very, very effective. This is another sequence that Danny Boyle helped us to shoot, especially this stuff in the boat when Don is trying to escape and he is surrounded by the infected. And Jacob tries to reach the boat, but it's not possible because the infected are really fast and they attack before he can reach the boat. That was great work from the stunts. This sequence was shot in November in England, so imagine how cold was the water.

9:12 · jump to transcript →

Francis Lawrence and Akiva Goldsman

This is fine. There's a gas tank. That's an actual practical explosion and things being pulled with wires. And that's not a real person. Yeah. I like that bit there. Yeah. And that's surprisingly, like, stunts usually suck the first time you do them, and that was the first time. That was actually kind of nice, that whole explosion and Will in the foreground. You just said splosion. Explosion? Explosion. Boy, he's fast. Yes.

1:23:31 · jump to transcript →

You see... You see that prisoner over there? A volunteer like you. A spy who calls himself Javert. He's going to get it, too. Get in there. Get inside. Don't kill him. I know him. Enemy marksman! On the roof! On the roof! I mean, this battle was a little bit more involved. I mean, there was even a great stunt of a guy falling all the way off one of those high roofs 30 foot down onto...

1:48:54 · jump to transcript →

And it was also just fun to see, like, you know, Kate just comes across so kind of crazy and lethal in this, which was fun to see her do something so different. Like I said, these guys were so great to do. I mean, doing the bulk of their stuff. Alicia doing Kate's stunt work and Gabe, they're both extremely talented and just, you know, were amazing.

32:41 · jump to transcript →

Joss Whedon

But the things about it that I love, I love very much. But I always think, "I could've done better there." He's uploading himself into the body. - Where? And this is Claudia, who is SO impressive, doing the hardest thing in the movie, emotional exposition, where we give her a ton of dialogue to say, then we add to it later, and she's still emotional and cool. No manifest. That could be him. There. It's a truck from the lab. Right above you, Cap. On the loop by the bridge. Coming to Seoul was a real opportunity for us. Not a lot of people had shot there. And we had to sit down with one of their ministers of culture, and explain what it was we were trying to do, and make sure that we were gonna show Seoul in a good light. And, in fact, why we liked the city was because we knew we were gonna have a chase throughout the whole city and... Not the whole city, it's one of the most enormous cities in the world. But through some lovely bits of it. And we wanted a place that was very modern and very exciting, and not gritty in the same sense. We wanted every place to register as itself. Johannesburg, Seoul. And then we wanted to fly under buildings, when clearly he could have flown over them, just because they were there and they were pretty. You know what's in that cradle? I've talked about ILM and the extraordinary work they did, which I can't say enough about. But, as is the case with movies like this, there's hundreds of houses doing various effects and various bits. This whole sequence, the Ultron portion of it, most of the major work in it was done by Dneg. And the houses are really good about helping each other out. Some of these shots were shared by, like, four different houses. Somebody's doing a background, somebody's doing a stunt face replacement, somebody's doing a digital creature. And with the Vision, somebody at one house did body, one did face, one did cape, one did background. It was just... But they're all very cooperative, they're very inventive, and everybody brings that extra quality. A lot of these low-angle shots you see of Cap going over camera, her going through alleys, were shot with a little remote-controlled car, which honestly is my favourite thing. I like the remote-control! car way more than the motorcycle because it's just so cool. This moment here, um, Bryan Andrews, storyboard artist, who has done a lot of great stuff for us, came in after the fact and looked at this. And we had knocked all the cars over. It was Bryan's idea to add Captain America to what we referred to as the "car ballet." And it took something that was pretty, but pointlessly destructive, and turned it into a moment of peril for one of our guys, and made it not just more exciting, but worthy. And that kind of feedback, and having those new eyes iS SO crucial and so exciting, because it just keeps getting better. The thing about a sequence like this is it's always about the connection between the players. The more you can connect them, the more we would add dialogue between them. It wasn't just stunt, stunt, stunt. You felt their humanity. There was an emotional thread going through here for Scarlett when we shot it, that she had been rejected by Banner very brutally. If you see the entire sequence on DVD, it's a rough thing, and it made her have this kind of self-destructive, just brave kind of fatalism. And then some of this stuff was shot after that had been cut, but most of it beforehand, and so you end up with someone who's playing something that is no longer in the film. And it's just a very delicate process to make sure that you don't have some inexplicable emotional malaise from her. But luckily she's the kind of person who hides that sort of stuff, and as a character, she plays on the surface as very in control. And so we were able to cut it together without it seeming strange. But it also means that one of the emotional arcs of this sequence disappeared, and then you end up relying on spectacle, which is the last thing that you want, even though the spectacle is beautifully put together. And you have the kids going from villain to hero, which is a major plot turn. And you have Ultron disappearing with Widow, so you're servicing the story, but emotionally there's not as much going on as there would have been. And that's complicated because once you start a sequence this massive without that particular emotional hook, it's very easy for people to get pummelled. But by bringing the kids in, by cutting it down, and just by the beautiful job Jeff did cutting it, I think it sustains. But I'm always gonna look at what's not. Almost all of that was in Korea, or shot with plates from Korea. This is actually in England, in Longcross, a place we used for a few of the sets and exteriors near Shepperton, where we shot most of it, that they dressed up very specifically and brought the trains. I think we brought them from Korea, the two train cars that we had. Dressed them in. One of the things I love about having all these characters is the way their alliances can shift and change, and Captain America's never expressed anything but sympathy for these guys, even while he was fighting them. So for him to suddenly say one mean thing, and then, boom, they're allies. It's exciting, but it also feels emotionally logical, and then it brings us back to the idea that Tony is the villain. One of the true villainous moments he has is telling Hawkeye, "Why don't you disappear?" and I'm gonna make an evil eyebrow face, because I'm about to do something crazy. And the idea that he's gonna lean into the very thing that is wrong with him is interesting to me, because the idea that the worst thing about us is useful gives this thing texture. Look at the reflection of Jarvis in Bruce's glasses. That's something that... That level of detail is... Because, of course, Jarvis is not there, that was added later. And that level of care and detail is in every frame of this movie. Our VFX head, Chris Townsend, was running 97 different houses. And one of the things I love about Marvel is that good enough is never good enough. And the level of texture and detail and character that they put into VFX doubles, this sort of amorphous character. It's so complicated figuring out, "How do we make him feel like a program that's talking?" Give him personality, but not too much. Make him not cartoony. Make him feel integrated into a universe that is, at its base, very grounded. We're asking that question about every effect, every day. And the stuff they gave me is so human on every level. And ultimately these stories never work. This scene was created in post. There was some amusement at the literal translation of what had been post-viz. On the left the... I don't want to say phallic, uh, implement of... But if you look carefully at it, oh, yeah. And we sort of laughed about it but then I decided I wanted to keep it, since, as he becomes more aggressive, the idea that his iconography becomes more male. When he's just a program, it's very Georgia O'Keeffe in the lab, and then now he's becoming pure aggression. This is also one of my favourite performances from James and ILM. The love and poignancy of his dream deferred, and how insane it makes him. We had another version of the scene that was just too civilised, something I do a lot, where people are just holding a cup of tea instead of ripping their own faces and guts apart. And Scarlett, with no lines, giving me beautiful stuff, and the idea obviously of somebody doing the infamous and, in fact, somewhat clichéd Nietzsche quote, but then putting a genuine spin on it. A very literal one. It was very exciting and fun. And designing his final armour to be different, it was super tough to find something that worked. It covers his face and some of the greatness of his delivery a little bit, and I think we all regretted that a little bit. But it also brings him more towards the Ultron that we know from the comics, and gives us that distance that we need to get into the final act. Shut it down! - Nope, not gonna happen. You don't know what you're doing. And you do? She's not in your head? Once again, internal conflict is the thing that makes these things work. And that's fairly badass of Banner. You don't Know what's in there. - This isn't a game!

1:19:28 · 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 →

It was a scene that we had help, obviously, from a lot of stunt people and VFX. And we wanted to create this sense of hell, utter horror.

1:16:09 · jump to transcript →