Voiceover & narration

Dean Cameron did a wonderful job in this. Yes, you tell me now he does a lot of voiceovers. He does a lot of voiceovers. And he lost that beautiful black hair. He's a little thinner on top these days. Larry, how's my ass? Where's Larry? He's nocturnal. Oh, okay. This is really the introduction of all the characters. I know, and very well done by Jeff Franklin, the writer.

10:24 · jump to transcript →

My last note on the music, I think, more than anything, perfectly captures Patricia's character, Alabama, because she's got this childish innocence. And really, the movie is the movie seen from her point of view as we open with her voiceover. It is Patricia's movie. You know, what was unique for this script with me was that I went out to...

5:50 · jump to transcript →

Alexander Payne

This scene of Tracy pogoing in the hall had been accompanied by voiceover, and quite good voiceover, voiceover taken largely from the novel. And it was in the film right up to the final mix, but Tracy's jumping is so adorable, and Rolf's music was so good that I decided to drop it at the last minute. It's just unnecessary.

1:17:26 · jump to transcript →

a voiceover from Mason Verger from his bedroom. He calls in Cordell, says, get me the Justice Department. It's oblique, it must be oblique, because you can't be that much on the nose. In fact, to me, that was almost too on the nose, but I needed it. I needed to suggest something, and if you heard it great and got it, that's perfect. If you didn't really understand what it was later,

12:31 · jump to transcript →

Simon West

And some small parts of that scene are still in this version, but as you can see, it was curtailed down to this voiceover and montage sequence of the letter, which is much shorter and quicker. The previous alignment of the nine planets. The people of the light built a great city in this crater where they worshipped the triangle for its ability to control time. It gave its possessor a power that could be used for good or great evil.

38:06 · jump to transcript →

then this sequence started to feel like there was just too much narration. To some degree, that's probably true, but it is such a delightful sequence that I just felt that it deserved to be seen. And so, you know, for good or bad, here it is on this extended cut. Obviously, it establishes the book that Bilbo is writing, which we now see later in Rivendell.

9:01 · jump to transcript →

because we got a friend of ours, Jukka, to do the voiceover at the end of the finished pilot. But sadly, we couldn't change the markings on the plane either. So that's a moment of hope, really, at the end of the film, and it's interesting

1:47:45 · jump to transcript →

Tom Tykwer

So thank you for joining me on this trip through the film. I hope you got some fresh information and enjoyed it. And of course I hope you will see the film without my nerve-wracking voice over it all the time again and enjoy it much more without me. Okay, bye-bye.

1:34:22 · jump to transcript →

The line that he was saying to Sam was the very last shot. In fact, the bit at the end when he says, there's room for a little more, was the very last moment. Bilbo once told me. We had Elijah recording a lot more voiceover, but it just felt too much talking. I can't even remember now what we ended up using. Not a great deal, because a lot of this just played better with music. No, we used there some. Yeah, we used like a fraction of what we ended up writing, what we actually originally wrote and recorded. Yeah. Where are we going?

3:52:06 · jump to transcript →

It's definitely one of the first things that grabs you when you watch the animated series. It's very unusual, very well done. This was always very interesting to me, to create a world that wasn't a futuristic world that felt like this kind of dreamt-up world, but something that had some kind of reality based on the issues that we're dealing with today. So I always liked that little write-up and that this world of Bragna with this voiceover that

1:07 · jump to transcript →

Dogs. People. Sort of our nod to Sam. Sam. And Pippies, apparently. Dedicated his life to the discovery of a cure and the restoration of humanity. This ending, we felt, actually, interestingly enough, with this voiceover, is consistent with the idea of telling somebody's story. Right, of legend. He gave his life to defend it.

1:31:06 · 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 →

Now you got it, right? - This is what I love. Once the gre... That's it going off. Okay. - Yeah. Well, I didn't know. Last night was the first time I had seen this shot finished. The MPAA, remember, was really worried... ...we were gonna put a giant set of genitalia on him. Oh, they did. - Oh, they did. Yeah, that's the director's cut version. This was hard, I think. Because we had just been in this violent extravaganza. And now for emotions. But I think it works. - It works great. Because Kate is good and India is good. "You came back for me." - Yeah. And I remem-- This-- All... The tears and so on on Kate is completely real. Yeah. - But this is why she is, you know... This is why Kate is a movie star. She times it so the tear comes exactly where you want it. And I remember.... You only get that from professional actors. They know their body like, you know, true musicians. Go. I'll send them... ...on a different path, buy you some time. This is a part of the movie where we struggled... ...tried to figure out what to do now. How do we end the movie? - Yeah. We went through so many different permutations. We did film Michael watching them. - Yep. From the roof. - Yep. This scene was always in the film. - Yeah. That she comes back and finds the.... There was a period where we weren't. No. This was actually decided... It was not in the script. This was halfway through the shoot, we realized we needed this scene. We didn't wanna end on a rooftop... ...because it's kind of cliché a little bit. We did it in our Swedish film, Storm, actually... So then we ended it on a rooftop. - So-- But, you Know.... Sometimes cliches work. - Yeah. I think it's better than a forest. lt worked for the voiceover. Yeah, it was in a forest. Yeah. That was-- Yeah. But you want a nice wide shot. - Right. You see the city, see the world. And.... - The close-ups. I remember waiting for Len to write this voiceover, it took forever. But then he got it, and it was great. - Then he delivers. Because you get this "fuck, yeah" feeling. I've always thought that it's Kate that writes them... ...but Len actually does write them. Well, we'll never know, will we? I like those guys. That's those Swedish guys, isn't it? Yeah, yeah. Wonderful writers, John Hlavin... ...Michael Straczynski, Allison Burnett. Yep. There's Len again. - Len and John Hlavin. Kevin Grevioux, shout-out to Kevin. - That's right. Anyone fancy a pint? - We have to trash everyone. We have to trash those guys for sure. - Producers. David Kern, there he is. - And David Coatsworth. Good on you, mate. Yeah, that's it. - That's it. Scott Kevan, DP. Excellent. Yep. - In the house. Claude Pare. - Yes. Award-winning production designer. Jeff McEvoy, the gentleman. - Yes. He was there the whole time. - Monique Prudhomme, costumes. Paul Haslinger, Underworld veteran. Are you gonna go through all of these? I'm just reading. It's not that hard. Tricia and Deb did all of the Underworlds too. Couple of small words here. - Needs no introduction. India, she was the third girl or second girl in the room. Remember that? - Yes, absolutely. And we just looked at each other. "This is the girl." "This is the girl." In, like, five seconds. Me and Bjérn never did big Hollywood movies. But you sure as hell had before. - Yes. "Does it work like this? Can we say yes?" You were like, "Yeah, yeah. I think we should go." That was amazing. That'll be the last time that ever happens in your career. When we saw Theo, we all liked him... ...from the very beginning too. - Yeah. But India was... She was the first day of casting. But Theo we cast in London, though. Yeah, but the moment we saw the tape, it was done. But that was after going through a lot of people in L.A. Yeah. A lot. - Yeah. Richard Wright. - Yeah, how about that? Yeah. Love that guy. Yeah. - Yeah. Paul Barry. I Know it sounds funny but... We forgot to shout-out to Paul Barry. Paul and Nee Nee. - Best first AD ever. And here it says.... - Brad Martin. Gets his own card, damn it. - Yes. As he should. You should work with him if you wanna do good action. Oh, you know-- I actually am right now. How about that? Good for you. I thought this Evanescence song worked too, quite frankly. Yep. America's biggest Goth band. They're Americans? Yeah. - Yeah. Dude. - Yeah. "Dude." - What? But there's-- It's... When you sit here... ...and look at the names of all the people that worked on the movie... ... you realize what a collaborative effort these things always are. The fact that the five of us can sit in a room... ...and talk about it is one thing... ...but the filmmakers are really everybody on this list. Well, but the other.... I agree, but at the same time l.... After we finished shooting the film, which was a very difficult shoot... ...we came back to Los Angeles and we cut at the Lakeshore offices... ...and Mans and Bjérn were there religiously every day... ...putting their heart and soul into the movie. And I think they were... They put their heart and soul into the movie... ...from the moment we met them to the moment the movie was finished. So as producers, I think we have to really thank them. Thank you very much. - Yeah. That was very nice words, Gary. Thank you. - You're welcome. We are as tall as we are... ...because we stand on the shoulders of giants. Yeah. - And I kept saying to myself... And this is the part where everybody turns this stuff off. Nobody's listening right now. - We worked our asses off. But James McQuaide delivered on those visual effects. I Know. I gotta tell you, man.... It only took five years off the end of his life. Oh, jeez. The best he's ever done. lt was fantastic. It is very therapeutic to watch this. It is, isn't it? Yeah. - Now it is done. We can move on. - It's done. Yep. And it's Friday night at 6:20 p.m. And.... Film's opening tonight. - Yeah. Have we got numbers back? Have we got numbers about how it's doing? Yeah, very good so far. The advance New York early-screening report... Excellent. Didn't you say that it did great in Thailand? Taiwan. - Taiwan. Thank you, people of Taiwan. - Yeah, thank you, Taiwan. Shout-out to Taiwan. All right, so this is pretty much it. Thanks, everybody, for listening to our babbling. And have a good night or a good day or whatever. Are you gonna say something in Swedish?

1:16:16 · jump to transcript →

There we see Josh. He gets into it. In terms of casting, as we talked about Carrie and all the qualities she brings, she's beautiful and she's warm and she's empathetic and she feels reliable. She feels like a reliable narrator and I felt like that was an important quality for Lacey because she's the first adult character to believe in the movie as to what's happening.

23:06 · jump to transcript →

Jake Szymanski

What did you say? I said, "/ can't swim." What does that have to do with anything? This is a beautiful wedding. Uh, thank you. Uh, yeah, it is. They really... Shooting in Hawaii has got its benefits. Am I right? By the power vested in me... I really want to know what in your brain makes swimming have anything to do with the gambling and the kid, but I don't want to get into it here. I just want you to know I'll be thinking about it for at least a month. That's great to hear. Where are you from, Margie? Ohio. That's a fake accent. Why did you just put on that accent that you haven't had the whole time? That... - Go, Cavs! All right, let's... All right. I don't trust anything you said anymore. "Go... Go, Cavs!" Is that how they even talk in Ohio? In fact, it's definitely not. I'm from Wisconsin. That's definitely not how they talk in Ohio. Can I come live with you? - No! Where? Why? No. I'm drawing the line. I got to go to the bathroom again! There she goes. What do you know about liquor? Man, I'm starting to hear it again through the door. Just a very... Great. When do I start? I mean, I mean, I mean... I mean... I can see you through the glass, now that you're back, Margie. You're just making pee sounds into the microphone. No, that was pee. I peed. Okay. - Okay. Well, it was a very short time to be gone peeing. I will say that. I think it was too short. What'd you say? - What? And, you know, to be honest, making this DVD commentary with Margie in away, you know, if I really think about it, is a lot like making a movie. There's adversity. There's things you don't expect that come up that you have to deal with. And you just have to get through it. And as we approach, you know, the end of our film here, it makes me realize maybe... 'Cause I'll be honest. You know, Margie, I was cursing you in my head a lot. And I was planning to immediately get out of here and call the producer and call the studio execs and ask for another voice-over session without you. And to do this over and... But, you know, I get to the end now and Igo, "You know what?" This is as, the most authentic commentary we probably could have done is showing the crazy shit you end up running against when you try to make a movie. We made a movie? No, we didn't... Yes, Margie, we made a movie. So you're part of that now. I just want to say, like, you know, guys, life is messy. Uh, it's never... Things don't go perfectly in life. And, uh, it's really how you get through the non-perfect things that make you who you are. I guess that's a good thing to get out of this. Just like Mike and Dave. And Alice and Tatiana. Just like Mike and Dave and Alice and Tatiana. Exactly. It didn't go perfectly. They didn't do all the right things. But at the end of the day, they pulled it together and got through it. And I think the family, the fictional Stangle family, is probably closer because of how much things went wrong and what they got through. But we just wanted everybody here to know... Wouldn't you say? Uh, yeah. Okay, suddenly not on board. Whatever. Um... We had some fun songs coming up here at the end of the movie. This, actually, also was added in halfway through production. I don't think these songs were in the script. We started wanting to do a fun little musical number at the end of the movie that also, hopefully, didn't feel too much just like tagging a musical number on the end of the movie, that we could get a couple jokes out of here. 7o me... Um, shooting at the barn here. We had to record these guys, we recorded these guys singing in the ballroom of the hotel we were Staying at. About two days, maybe the week before, we actually shot this scene. And, again, Zac's pitch to sing super-high like that, which was so funny. And it's like, the guys, they put the wedding together, all is forgiven. They're actually doing it here. They actually get a sweet little song out to their sister. Singing a very romantic song to their sister, which we'll overlook. They make it about the fact that she's their sister, so that's fine. And to you. To all of us. And then they just, they could taste it and they just had to go too far. They just have to go too far after this. Love you! So sweet. Thought they were gonna blow it. They did not. That's good. This is how we do itt... Also using one of my favorite middle school, high school dance songs to officially end the movie now, which makes me very happy. It's Friday night Oh, you don't throw... Throw it right in her face.

1:26:50 · jump to transcript →

People kept saying, well, just get rid of the plutonium in the beginning. I'm like, no, you have to have Mecca, the Vatican and the Temple Mount. And we came up with the idea of the core as a down payment days before we shot the scene. And that took us to this was when I when I wrote the breakout scene. You were the one that said, remember, in mission, it's always about showing what was supposed to happen. And these scenes, what we call a what if they always happen with narration over them.

43:55 · jump to transcript →

Francis Lawrence

This is what I want you to do. One of the things that I like here, too, that we did, that I tried to do a fair amount, and we did a fair amount... I mean, when you sort of look at the kind of intercutting of the opening sequence, and you look at a sequence like this, and some Stuff later on, was this idea for a bit of pace and momentum to do these intercuts, where you might have a little bit of voiceover that sort of takes us over a series of relatively quick images that allow for a faster passage of time. Then just wait for my signal. This is originally where that scene was, where she was smoking a cigarette. We've repurposed it earlier, and then used a different angle here to hear the music. And that music, interestingly enough, we knew that we were going to be playing music in that apartment, for that scene where she's talking about painting colors. But that was actually Joel Edgerton's idea, to use it as the signal, which I thought was just fantastic, so that you would know it sort of helps link them romantically, because of the scene, the previous scene, it's a very Clear signal that she could hear. But you can see that that obviously comes back at the end, and is very meaningful and very specific. And so for a sound and a piece of music to have so much meaning was really great. And very thankful for Joel coming up with that idea. In one of our initial meetings, when I hired him, he came onto the project, and we had a few conversations, and I think we facetimed a little bit, and went back and forth on some emails about the character. And then we had a little time to sit down before I went off to Budapest, and we Sat in an office for a couple of hours and went through the script, and it was in that that we came up with the idea for the music. Please answer the question. We'd need to know if you're emotionally involved. The answer is no.

1:26:15 · jump to transcript →

Well, we tried to get the real Arthur to be in the movie, but... He's bad at acting? No, it's actually his voice. But he's more of a voiceover actor. Yeah, the dog trainer was like, he's not going to cut it. There's another wonderful joke that we just passed by that I want to flag that sometimes is so low in the mix that some people don't hear it, but he's got hair and all the teeth. I know. That is so funny. That was all you, Jenny. It was so funny. I'm glad. You know, I...

10:49 · jump to transcript →