True story / real events

when they kill his girlfriend and he gets revenge is actually something that really happened. The sheriff, Lanark, actually did do away with his spouse. And when he went back in, he didn't just ride in slow and whack people on the head. He just burnt the place at night while they were asleep. He just did it right, you know? And he was very funny. The stories of him was that he always smelled of smoke.

2:20:46 · jump to transcript →

These are all the real Klan guys, the real Wallace Klan guys. They look real, except Brendan there. He's one of our guys. His head was set on London Bridge. His arms and legs sent to the four corners of Britain as a warning. It did not have the effect that Longshanks planned. And I, Robert the Bruce,

2:47:10 · jump to transcript →

The thing you're afraid of the most is when you talk to actors about crying scenes and they start to cry. In the real shoot, there's no tears. Right, yeah, exactly. Because they're drained out already. Right, sure. So I was very careful and timing the timing, the shooting timing. And I saved the whole crying sequence after lunch. I did a speaking in the morning. Right. Make sure her energy is well preserved.

1:49:21 · jump to transcript →

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

1:54:30 · jump to transcript →

Jonathan Lynn

As well as keeping obscene language out of the film, we also, although there's some violence in the film, we kept blood out of the film. Most films nowadays, when people are shot, gallons of blood burst out of their chests or out of their backs in a way that doesn't usually happen in real life.

1:11:55 · jump to transcript →

Jonathan Lynn

Forensic people and police and... All of those people you saw walking around in that scene... Where is he, Mrs. Azaransky? ...were the real thing. They weren't extras. I think they don't have a terribly high crime rate in Montreal. You can ask me questions until you're blue in the face, but until I speak to my attorney. You spoke to your attorney. He doesn't want to have anything to do with you. Special Agent Hanson, Mrs. Azaransky, what did you do to him? Was it me? We have your voice on tape.

1:22:08 · jump to transcript →

Wes Anderson

But eventually, the Margot character, I decided to have her be adopted because of other things that it would do for her character. And because of, you know, it was sort of inspired-- That detail was inspired by someone in real life. And it seemed like it just filled out the character in a better way. And then maybe it makes this relationship a little more plausible somehow.

1:21:03 · jump to transcript →

Wes Anderson

This is sort of the real backyard of the house. The house is... Like, when you look at the people-- When we have a shot of all the people standing there, the house is on the right, the real Tenenbaum house is on the right. The house behind them, which is the house that really lets on to this backyard, is next door to the Tenenbaum house, and that's where we film the kitchen and Etheline's study and the stairs that the priest gets knocked down. So you can knock a hole in the wall and connect the two houses together, so I consider it all one thing. And then they go over the fence and next door seems to be some kind of Zen garden. Which is a part of this-- I think of it as being behind this embassy, or the residence of the ambassador from something or another.

1:33:54 · jump to transcript →

Tom Tykwer

Also the ambience comes back and the noises of the real world come back. But this moment was meant to be something like the decisive situation that for him already sets off this kind of sparkle that makes him so determined to do something about it, to change the situation in a direction that will not leave things the way they are.

21:06 · jump to transcript →

Tom Tykwer

Well, six days a week, ten hours a day, ten months. Not a real holiday in between. And Mathilde Bonfoy, the editor who I've been working with since Run, Lola, Run, who for me is one of the real geniuses behind this work, she really made me...

49:56 · jump to transcript →

And potatoes, they seem bizarre, but it's actually based on the real precedent. South Africa, but it's supposed to be in Colombia, of course.

22:59 · jump to transcript →

So here it is, New York. And now we're a month later in South Africa. Thank you. Thank you all. This is probably the most elaborate set we built for the film. The apartment's actually far grander than the real apartments in the New York building where we shot the exterior.

33:05 · jump to transcript →

James McTeigue

That speech, because it's such a muscular piece of writing... ... It needs to be attacked with great kind of gusto and flair. And passion and belief. And so, if that's all there, it's a wonderful introduction to the classic masked man. He just appears and you get that persona very, very clearly and very, very quickly. I would say there's not enough talking in films, nowadays. And, you know, there's not enough use of language. I think that introduction, you know, when he first turns up in the Fingerman Alley... ... throws the Shakespeare out to you, then you get the big alliteration speech. I think it's, like, it's nice to use words. And, you know, he uses them beautifully. I thought it was a cool way, also, to preserve from the graphic novel... ... how each chapter has a V word, which I love that. And I was like, I wish we could've kept that in the movie. But that sort of structure... ... 1S sort of condensed into that crazy use of V's in that speech. The important thing about that speech Is you're never gonna understand it. I mean, you know. But you're gonna understand the intent of it. The performance gives you the intent of what that speech Is. And then Natalie's reply is sort of, you know... ... you're the audience, you know, "Yes, what are you, a crazy person?" V does say that he's a humble vaudevillian veteran. He's an actor. I mean, he is an actor. The character is an actor. He's an actor activist. Or something. Who has been picked up and chucked inside... ...and then experimented on and tortured. Hugo's ability to use his physicality and his voice so expressively.... You're so intrigued by what's going on behind that mask... ...as an actor, as a character, as an audience member... ... that you're always going, okay, is he crying now? Is he happy? Is he angry? And because you're so, sort of, entwined in his emotions... ... you become V. And at the end, everyone is V. Because they've been trying to figure out his emotions... ... you know, everyone's trying to play him at the time... ...because they're trying to figure out what's going on under that mask... ...SO it's an amazing, sort of, engagement tool. And afterwards, you'll return home safely. All right. When you go up on the rooftop and you start hearing the music... ...I wanted you to be able to look out over London... ...and have some recognizable landmarks... ...even though it wasn't true to the direction that we were looking. We went up onto a rooftop nearby. We shot stills at night that we bracketed to get the full range of lighting information. Then we removed a few obvious buildings. The St. Paul's Cathedral stands out, there. It's very obvious. And just added a few extra skyscrapers and so on. Painted all the lights out for much lower levels... ...to sort of fit in with a late-night curfew. The Old Bailey Justice Courts itself is always a miniature... ... whenever we see it in this picture. And that's partly because the real building, if you go there at night is not properly lit... in any way that you'd, you know, really want to do it... ... If you were focusing on it like we were. We also made some slight design changes to the Old Bailey miniature. We changed the, flattened the, sort of dome roof, slightly... ...and enlarged the statue that's at the top... ...because she's quite an important part of the story, there. I still went with building miniatures for all of the intricacy and detail that you get... ... IN a very complex pyrotechnic explosion. To do that with a computer, although aspects of that are feasible now... ... the simulations are hugely complicated. And there are always these little happy accidents... ...and things that you get from doing something for real... ... that you're not... Not totally in your control. Which is a big reason why we do it. How beautiful, is it not?

6:41 · jump to transcript →

She was real. - Yes. She's beautiful. Did you know her? - No. She wrote the letter just before she died. And I delivered it to you as it had been delivered to me. Then it really happened, didn't it? Yes. - You were in the cell next to her. And that's what this is all about. You're getting back at them for what they did to her. And to you. - What was done to me created me. It's a basic principle of the universe... ... that every action will create an equal and opposing reaction. Is that how you see it? Like an equation? - What was done to me was monstrous. And they created a monster.

1:27:19 · jump to transcript →

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

0:10 · jump to transcript →

At a certain point, you really can do the entire dialogue. It's not so hard in this one because they don't talk. There's 12 lines in the movie. But we loved shooting this one. When me and Bjérn... We do it, like, every second day. But there's one exception is that if one day goes on until the next day... ...we don't change. And I think this one took two days to shoot this whole thing. And I loved this because If you think about what she's talking about... ... you know, it's hard to do this for real. She's talking about Werewolves and so on. But she does it for real. - She sells it. Yeah. She sells it. Yeah. - She really does. Yeah. And, I mean, every good actor finds truth in anything. They can find truth in anything. And then they get... And it was also-- I remember when... - Hang on. This scene here. This scene is one of the trippiest scenes in any of the Underworld films. And it is real. - Yes. No CG. That's so fun. Because it's an entire thing... ...we built up. - That's CG. That's CG. Other than that. - That's CG. No, but the shot is actually done... It's actually set up so that we could do it live in-camera. Todd Masters and the guys did a great job with his stomach. This is your revenge on Theo. - Bollocks. That's a real stomach. The blood pouring? - Yeah. Well, yeah. But the stomach is real. - Now, now, boys. Boys. The old hand squeezing. The heart-squeezing shot. Well, remember she has the blood of Alexander Corvinus. That's right. That's the old Corvinus injection... ... that he's gotten there. I always call this the Videodrome shot. Yes. - Yep. That of course Is... - "Long live the new flesh." ...a prosthetic chest that's put on top of him. His body is underneath. - No, it was me cutting Theo. We knew you wanted to. The audience was applauding when they saw this scene. They thought it was great. - Yeah. Here is Richard's shot coming up. Thank you. I like that shot. - It's a great shot. You said we needed it so we got it, and I'm happy we got it. It's in every trailer. - Slow-motion too. Yeah. This worked out well too. - Yeah. This, I thought was a waste of money, these two shots. And it's really, really cool in the end result. This was one... My biggest fear actually... ...because Goth people don't look good at daytime. They are born... They are made for the night. They're plain silly in daylight. Exactly. So I was concerned that will she look silly in daylight. Yeah. This is the darkest-looking daytime... ...and maybe that's the Swedish influence. Don't you have half the year where it's dark? This is sun everywhere. It is, but it's inside a dark... - It's not a beach. Scott lit it... - I agree. What else did we shoot this day? That was cool. The old cowboy switch there. Yeah. - Love it. Then we think-- I think we shot the exterior of her coming out... ...of the tunnel or something and the Lycans following her? That's it. Yeah. - There's something called ADR... ...which means additional dialogue recording. It's when you get bad sounds so you re-record the sound. Right. - This scene was ADR"d... ...and you usually hate ADR because you always lose performance. It's not the same when the actor's standing there with... ...a cup Of latte in their hand and everything. Or mocha latte. - Mocha latte. Whatever. In Burbank rather than in the real world. But that scene was so good in ADR. Because she was able to whisper... ...which she couldn't do on the real set. Right. And get the... - Yeah. So she-- It's so much better. It was so noisy, so they wouldn't have heard each other... ...If she whispered. - Yeah. This is one we call the All the President's Men scene. Yep. Our homage to... I loved this ceiling. - ...Investigative reporting movies. Yeah. - And this is the-- What was this? It was the legal library of the university. That was being rebuilt. It was gorgeous. It's not there anymore? It's gone? This is the last thing that happened... ...and then they tore it down and rebuilt it. That's just brutal. - Yeah. That was brutal. To destroy something brutal as that. But you see the squares and the concrete. Yeah. Wow, what a place. We talked for hours what kind of concrete should be used. Some concrete was wrong. And this concrete is right. Michael. Cool guy. - Yep. Loved him. - Yep. First thing that-- The scene we just saw. He walks up to the set. He never worked with Kate. Kate says, "So, Michael, sexiest black guy on the planet." That rocked him on his heels. He should have said: "SO, Kate, sexiest woman on the planet." He could have. And if he was British, probably he would have said that. Who are the two ugly gimps next to them? That's not fair.

50:54 · jump to transcript →

And that was the least of our concerns. The real concerns were debris on the runway. Well, it was a bit of a concern. I didn't say it wasn't a concern. That was just the least of our concerns. There were greater concerns, like a pigeon hitting you in the head. The pigeon, the fumes. Yes, the fumes were not just... From the jet engine. That was horrible. When I came out on the runway to talk to you, and of course he had earplugs in and contact lenses, he couldn't see me, he couldn't hear me, but the...

4:33 · jump to transcript →

She was absolutely fabulous, had a great presence. She had a whole beautiful scene with Simon, and unfortunately it didn't make it into the film. Just a story, unfortunately, when you're working on something, story's king. Yes, and Sean Harris lost a big scene, Alec Baldwin lost a big scene. That is not my hand, that's the real Simon Pegg. And again, just a beautiful surprise that the music editors put into the movie, and you just feel so great when you...

25:09 · jump to transcript →

Yes. They're too close. Yes. You know? And the trick of this scene is that while the audience, as you, somebody watching the movie for the first time, you're looking at where is this all headed? You might be figuring it out. You might know that there's a trap. You might know that something is afoot. And we're hiding from you what our real intention is, which is we want you for the first 30 seconds to think that something terrible really happened so that you feel...

14:09 · jump to transcript →

And by following Ethan's emotion in these scenes and letting Ethan's emotion dictate the cuts. It pulls you in. Lighting in this is extraordinary. Yeah, lighting is exceptional. It's really great. It's all great cinematography. I loved filming this. We built this roof on a back lot. And this was real. And everybody was saying, you don't need to go on the real thing. We have the back lot shot. I was like, really? Really? Wait till we get there. And you wouldn't have this. And this shot.

1:38:18 · jump to transcript →

Look at this guy. He's not even gonna eat his frigging eggs, he's so frustrated and blue. One of the additions that we wanted in the script is that Hutch doesn't eat until the morning after the fight, when he becomes himself again, the real Hutch. Yeah. Whereas Yulian eats before and doesn' eat after. And we kind of re-cut some of the Yulian stuff, so that doesn't land. But I've always enjoyed the juxtaposition of you chucking the eggs out in the bin here compared to the second act which starts with you biting into a pancake with bacon. That's right. He's got his mojo back. - Which was my everyday breakfast on set. Gotta go. I'm sorry for your loss. Now, who is this neighbor? Paul Essiembre. - Paul Essiembre. Isn't he great? He's a real dick. He's not a dick, but his character is a dick to me. Single guy, no doubt. Maybe divorced. Having a great time in his dad's old speedy car and laughing at the married guy next door who... What was he supposed to do? Take out a gun and shoot the bad guys? Come on. Meanwhile, Hutch has taken the bus to his blasé job.

10:52 · jump to transcript →

What is happening is very complex, you know. But this tells you where her head is at, what happens next. This is beautifully done, Ilya. That she just removes that wall of pillows between them and reaches out to him, sort of saying, I think, you know, "Let's try to make this work, you know. "Whatever it is, whatever happened to you, whatever you got involved in." Now, in the mythos of this movie, Now, in the mythos of this movie, the grand mythos from Derek Kolstad's head, there's a bigger bunch of bad guys like Yulian out there in the world who Hutch has interacted with many years before. Some version of these guys, some group of guys, and she knows that, the wife knows that, and she also maybe suspects that he's back in the game, as they Say. And we find out that inadvertently he is back in the game of big, high stakes bad guys, because he went after the wrong Russian on that bus. So here comes Yulian. Tell us about this actor, would you? Because he's great. This is Alexey Serebryakov. - Say that name again. I'm just pronouncing it the Russian way. I think in English it'd be Alexey Serebryakov. Alexey Serebryakov, a great, great actor. Yep. Before we decided we're gonna do the authentic Russian way, there were all these considerations of who can go against Hutch, who can we have that's right. And ultimately, I'm incredibly glad that we have Alexey. He's the real deal. He's a great actor. He's a presence, physically capable. And when I hear my American friends say, "Well, yeah, Russians are scary," that's what I imagine they imagine to be the scary Russian, the guy who you can't really reason with too much and who will do stupid, kind of, unexpected and violent things.

35:07 · jump to transcript →

in this case, and felt like an opening image that was a transition from the nature shots and slowly getting us into battle feeling. But also you realize that you don't hear the real sounds yet. We really only set in with the real sound, with the reality of the sound here. And this was a shot we probably rehearsed. You notice how it's uncut. You know, we run through the,

2:37 · jump to transcript →

And that couldn't be the real trench. First of all, it's too dangerous with people underneath. And secondly, our trench would have collapsed. So we needed to build a small section of 15 feet of a fortified trench wall.

1:21:30 · jump to transcript →

And we talked about doing these practically. And I was very pleased with the work that they did. I mean, we did shoot real elements of the bodies floating. Yeah, all the bodies, the real bubbles, the real things like that. And all the ice is taken from elements and things like that. It's an extraordinary job of compositing all of those elements together to create this very real environment of the Arctic. And here's our key.

6:55 · jump to transcript →

This person has sacrificed their life for her, and the feeling that it creates, that's gonna resonate all the way into chapter two. But here, we now start playing with, there's gotta be a tonal shift. It's a real challenge. Yeah, we've allowed the audience to have a moment of grief. Yeah, and the story can't stop. That's the real challenge.

1:42:20 · jump to transcript →

It's odd because this scene has no narrative purpose at all. It is just atlas. As you say, there's nobody watching it at all. They don't need to do this if they really were actors. Maybe they're method actors. It's like rehearsal, yeah. In fact, in the recent Shadow of the Vampire, they explain the director tries to pass off the real vampire he's hired by saying, oh, he's worked with Stanislavski, he always is in character. Of course, there's a little bit too much of this already in the film. Yes, the comedy made. Not, I think, anybody's particular thing.

15:20 · jump to transcript →

counts as Brexit. Well, one of the real paradoxes was Houseman was the one who was basically largely responsible for spreading the rumor that Wells didn't write any part of Citizen Kane, when in fact, one of the main things that's used by Carringer, proving that he did write a lot of it, was a cable that was sent by Houseman.

1:05:33 · jump to transcript →

had just been stolen from the Tate Gallery. And it was decided at around about 3 o'clock one afternoon for a shooting the following morning that they would like a copy of the famous Goya, Duke of Wellington. Well, it didn't exist, and obviously the real one was for that time, for that moment, gone. So I went up to the National Portrait Gallery, actually,

1:28:56 · jump to transcript →

Yeah, yeah, giant, right, yeah, yeah. Giant, and he's the werewolf. Yeah, yeah. The mummy has all the dialogue. Yeah, but anyway, getting back to beautiful Pat. John Andrews said to me, you know, I didn't take it very seriously. This wasn't really the real thing, but, you know. Well. But he did provide the cape to Dracula. Oh, well, you know. Oh, that's pretty good. He said, you know, him and Ed, the reason he...

31:06 · jump to transcript →

In fact, he initially told the production company, which was offering him tens of thousands of dollars, that he couldn't join them on their projected start date because he had already accepted a couple of hundred dollars for a painting he hadn't yet completed. So the man behind so many villainous roles was in real life a very good and moral person who took his commitments very seriously.

1:29:04 · jump to transcript →

So we discussed this with Ken Adam. We made the elevator smaller than it really was in real life. And Cubby was agreed, but Harry was saying, but it's too small, they can't fight in there. And I said, but that's the whole point of the thing, to watch two large, very tough gentlemen...

23:17 · jump to transcript →

So the disenchantment with John Wayne, with the American ethos, with the idea of the cowboy or the soldier, and therefore by association with the astronaut. And there is a sense that, no, the real...

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Even the New York Times wrote a true story at the time, which is not true at all.

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So they're the real performers there.

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The way light and shadows are used here. Those trees you see here were the little bushes in Murnau's film. Those are the historical... - Those are the real ones. Yes. Is that true? - Yes. Yes. He shot the movie in 1922 or 1924. I'm not sure anymore. This is one of the really weird shots. The shot is only so strong because of the location. This was a road through a dam near Gouda in Holland. Do I pronounce that correctly? Gouda. - Gouda. You are Dutch, so you'll correct me. Somehow this is a very strange and a beautiful shot. To this day I have no idea how I did this. But I think it has something magical. Movies have to have that, too. If you don't see the magic of images, movies can't work. In that case, you don't even have to take up this line of work. Considering this movie in the context of the previous two and the movies after this, I do have the impression that there is a conclusiveness to the storyline and a courage to show lushness and things like that. In the earlier movies, you were still more cautious in that regard. Not really, because a movie like... With the exception of "Aguirre", of course. Stuff like "Kaspar Hauser" is full of life, as I always say. That might be an exaggeration, but they have something that goes beyond intellectuality. Those are movies that are made for their emotional value. Lucy! Bruno, again, very good. Jonathan! Now a moment of his that I like very much. He says, "

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Actually, the score that we play over this, the cue, is the main title theme. And originally, there was some other music scored by the composers Fred Meyer and Malcolm Seagrave. And in listening to the whole, the score as a whole, I realized that the real guts of the music is that main title theme. And so we just took it and put it over the scene because I really felt that this is where the movie gets going and where the real

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