Weather problems

Edward Berger

and this is part of a pre-shoot that we did in January because we wanted some snow on the ground and wanted a foggy landscape and a cold landscape. Anyway, here are the foxes. This is one of my favorite images of the movie. It was really hard to get because obviously we were afraid that this fox, they weren't really a family. The cubs were from a different mother, so we had to separate them, and we actually...

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Edward Berger

the sun, the rising sun or the setting sun. Obviously this day here, there was no sun, even though we created the rain. It was the most miserable shooting day. These five, six actors here, they gave everything. And can you believe it? We shot 12 hours, I think, in this rain, in this manufactured rain. And in the last take, I said, all right, we need one take, one more take. They just started singing to...

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Edward Berger

where it started snowing and we probably stood around for two hours until the snow was gone and we were able to shoot again. This is actually a scene from the book. The first night watch, they arrive and he gets shot in the helmet. I think it's pretty much like that in the book. The book, by the way, meant a whole lot to me. I read it when I was 15.

21:37 · jump to transcript →

There's some wind going, but if you had sand going, her eyes would be filled with sand. So we had her acting that she was getting particulates in her eyes. This is a wonderful shot. I absolutely love the composition and the way the camera moves to introduce that character. To introduce this character we refer to as Braid. Yeah. Who's actually played by, I believe, five different women throughout the sequence because of the places where we shot it. Yeah.

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And then the most important part was to mix in a level of bass so that you actually feel the storm. Yeah, so if you're watching this at home, your subwoofer will be getting a very good workout in this little bit of the movie. Although we now go into much more subjective, dreamy sound design here. And we played with the end of this sequence, how it would end and where the credits would fall in the beginning of the movie many, many times. And finally settled on this. I love the dissolve here as well because...

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very astutely pointed out. It has a cold feel, it's not warm. Yeah, exactly. It's just easier to look at, actually. One of my favorite inserts in the movie. Fantastic insert. Beautiful hand acting, great flair in the background. All these things coming together in a very elegant way. It's a very tricky shot to get. These are all shot practically. This is all inside an Osprey. That's really an Osprey flying behind them. And all of this stuff

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It was raining while we were shooting it. The snow is artificial, but you can't see the rain. But we were pushing the dolly down the hill, and then we had to then, at the very bottom of the hill, push it forward. And it took a whole lot of muscle to make that work. And then this camera move here...

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required a special head an oculus head which just does not perform well outdoors particularly in the rain and was constantly short-circuiting so that was quite tricky it was pretty much raining virtually all the time and because

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believe in this, and it was a very difficult thing to sort out. We worked with Marie-Gabrielle Rotie, a Butoh choreographer, and all these berserkers and úlfhéðnar, and I'm trying to get there. And I mean, Alex is really great and ferocious. We went for it. I got to say, we went for it. Those guys went for it. It was not an easy thing to ask of them, especially in the pouring rain, take after take.

24:49 · jump to transcript →

Tim Burton

about art and make it sound really good. So they all got great ideas. And I noticed the other day, they all got great grades. So it came in very handy, but it was beautiful. The show, the catalog, we could have done more with it, but it was a lot of fun ways to start the film. Rain crash?

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Tim Burton

like sign, like church signs that had screening of Beetlejuice. And it was like, Beetlejuice was shot here or whatever. And it was, and it looked like the about, like one of those old road sign tourist attractions where it's like, you drive up and you see this weird sign. It's like, oh my God, there's Lydia and there's Beetlejuice. So it was very strange to go back. It was dead of winter. In fact, going up to the mountain, we had to struggle to get there. It was like three feet of snow.

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Tim Burton

That was way too forced. Remember, throw it away. Underplay it. You gotta keep it real. Warning. Olga, what the hell is going on? We got a cold 699 violation. You mean to tell me a live one illegally broke into the afterlife? Time to call the ghoul squad.

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when it comes out. He's a little bit rude. Here's this banner. Oh yeah, hang the banner. I felt like a wind. Yeah. Yeah, I can remember someone at one of our screenings, I think it was Isaiah, said like, we've just seen the viral fame montage a thousand times. How can you make it better physical, visual? So we can eat this?

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I love the shelter of the leaf. In the sound mix, I remember it was, I love this moment. In the sound mix, it was hard not to just, like, listen, just, like, relax. I'm like, what? Because the sound of that would be like, I have this rain sound. And it's like, pitter-patter, pitter-patter.

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I mean, these two need their own road trip film. There's something about Jenny and Nathan's energy that is at total odds with one another. It's my favorite, favorite thing. Like how hot and cold air make thunder or whatever.

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Now, Colin is amazing. Colin Salmon. Oh, my God, what a great actor. And there's your wife. That's not much. There's my wife. Ten-year anniversary today. Dasha. - That's right. She's a filmmaker herself. - She is now. I have competition in my own household. Good luck with that. - Yeah. I have the same situation. My wife is a manager, but also a producer and a creative, and it's great. You gotta figure it out. It might take you awhile. Now, you guys have 10 years, so you're probably doing pretty good. We're all right. - But it can be hard. Yep. What the fuck? This guy's like, "Wait. Some of these pictures are me. "Who's got them?" - This is J.P. Manoux. He was actually... Bob, he was the second person cast in this film. Obviously, you were first and J.P. was the second. Well, he's great. He's freaked out, working at the Pentagon, and Colin's telling me who Yulian is, and who I've just gotten myself involved with, and about the Obshak. And how Yulian's men are overseeing the Obshak, which is obviously something that's causing him a great deal of stress, but also, he takes a certain amount of pride in protecting it. Goddamn Obshak. He's kind of like, I think, the... Not kind of... For me, the goal was to have Hutch be the quiet guy that's hiding a storm inside himself. Whereas Yulian is living the storm but doesn't really want to. Yeah. - So their trajectories are clashing. There's not a goddamn thing about Hutch in all the documents he can find. It's all blacked out, except for some awesome pictures of the people he's killed. And Dasha decides, "Fuck this. I'm not part of this." And now he realizes what he already knew because that character's smart. My brother tangled with a bad guy.

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And props to Greg Rementer and Larry who was... I forgot Larry's last name, but Larry who was a DP, who did second unit on films like Top Gun, so he's got quite an experience. And they had to shoot... So we shot all the stuff with you, and then we went off to do more dialogue scenes. And quite a bit of this was done by Greg on the coldest possible Winnipeg night. Brutal. Yeah. The second unit was shooting at night, we were shooting day, so I went over after... I think it was one of the kitchen scenes that we shot. I went over afterwards and it was just... You know, I had two jackets on, three pairs of pants, snowboarding pants... it just... It was so cold that you really felt it in your bones. Not just the saying. It really was that bad. So the fact that they were able to pull all this off and, you know, Stick to the storyboards when needed to, and step away and do slightly their own thing... - I'm super excited by how great they did. - Yeah. Yeah. As a director, you're like, "I don't wanna have second unit," but you have to. There's no other way we can get this filming done in days. Very important that he pulls into the owner's spot 'cause he bought the place. I think it's very important. It's... It matters to him. Jesus. That car is a wreck now. His neighbor's not gonna like that. Here they come.

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Here comes this other extra moment. Whose idea was this? Derek? Well, originally, one of our earlier endings was the whole family together, and then the RV would arrive and you would get on the RV and drive away. But we felt that it's... It makes sense for the character, but it also feels a little cold. Yeah. - So I think we split it. We came up with the idea of the basement, the realtor scene, but we also wanted to have a bit of Lloyd and RZA at the end. 'Cause why the hell not? So this was the first thing we shot with them. And they met each other only once. They got into the RV. "I'm your dad" and "I'm your son." "All right, let's do this." So right into the deep end.

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you know, broad, commercialized, you know, global fan base now that goes beyond just the cold horror movie genre. It's now, you know, people's favorite Instagram memes and everything else with Art the Clown. It's kind of crazy how, you know, you know, a serial killer is...

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You know, things hopefully just get more gross, more grotesque, you know, bigger and better. Because that was basically our M.O. after the first few weeks is you can't go enough. Now, it was freezing out there when they shot this. And Victoria's character is in this bathtub.

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say classic, like we've seen this 100 times in movies. I think it's the old thing from, you know, the story I know is from the war, right? I think it was the Vietnam War, but I could be really wrong on all my facts here. I just remember stories when I was a kid of, you know, they would put a bowl over someone's stomach with rats inside and then start burning the bowl from the outside and the rats to get away from the heat would start to dig into the body.

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Nia DaCosta

This was a fun Ralph addition. He was like, "I want to see him shaving his head. "I want to see him putting on iodine." So, we put it into this scene, which I find hilarious, 'cause then Samson shows up. He's like, "I got a treat for you." And the wave that Ralph just did on the day, which we all fell out laughing, I thought was so funny. But again, we're keeping this, like, visual language of, like, static or measured frames, just, like, beautiful framing of the Bone Temple. It's peaceful, it's steady. Everything's secure and solid because we're in this world with Kelson, and... So that moment where he turns his hand to feel the rain, I just thought it was really important to try to find a place for it. Just thought that would be really interesting, just like that initial sensory experience that someone might have when they're coming into consciousness.

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Nia DaCosta

These poor guys, I mean... Chi as well. Like, it's nighttime. They're shirtless, like, Chi is just naked. I mean, he has, like, sort of prosthetics covering his, like, actual genitals, and then everything you see is fake. He's literally wearing, like, these shorts that are acting as his thighs and, you know, his junk. But it's freezing, like we're shooting at night. Night shoots in the fall in northern England, it's cold. You can see everyone's breath here. None of that's added, that's all... that's all just 'cause it's cold as hell. I love the way he delivers this line. Her.

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Nia DaCosta

It's so ridiculous. But I love it so much. That's also completely real. We have a little bit of VFX to help connecting the fire, but... But yeah, we all read the scene, I read the scene and I was like, "This is gonna ruin my career," or it will be, like, a defining scene in my career, and I love it so much. I just think it's amazing. We also use the Lensbaby in here, which is fun. It's just a lens that is so inconsistent, and you just get that blurriness that you see there. 666 Of course, everyone in the movie now loves this song. I also love Erin's little frog dancing there. And then, is Samson alive? Who knows? Of course he is. This is a film, after all. And then, this was an image from the script of just him covered head to toe in blood. And his little sarong is gone, you know, in the heat of battle. ['m coming back I will return Man, I love Jack dancing in this scene. And Ralph is just so amazing. He was just so down for all of this. Like, he was... He's just, like, such a... amazing performer, amazing actor, but also just so giving. And so when I was coming to develop this part of it, I told Shelley, I was like, "I want this to feel like "kids moshing at a concert," because also, they're all hearing... projected music like this, or amplified music, for the first time, and they think they're communing with their father, the devil. And so I want it to feel like moshing. And I think that she did a great job of helping us get to that space. Okay, so this... So the performer, his name's Otto, he's Italian. Gareth and Carson found him on Instagram, and they were like, "We want to put this at the end of the sequence," and I was like, "I don't know, is it a bit much?" But, actually, I think Alex in particular was like, "No, this is exactly right, "because these kids are gonna look at this and think, 'This is the devil." And then we, like, did a little fun thing where it seems like he just disappears into the ashes and embers. But, God, it was so fun to do this, and so insane. And I'm so, so proud of how it turned out. I'm so proud of every department coming together to make that sequence work. Like Julian, my... I haven't talked about Julian yet. Julian, our amazing stunt coordinator, like, he was a huge part of making this all work, and making sure Ralph was safe when he was on the... on the spire. Fingers... And then I love this 'cause it's, like, this crazy cool thing, and then you just have, like, this panting, middle-aged man being like, "Oh, my God."

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A lot of those guys, they've never even used walkie-talkies before. So to get the brevity in the heat of the moment and to get the thought too, like they need to think about what they need to say. And also the cadence of the radio. It always goes wrong in every single movie. It's always wrong. And they never spent, like, a dialect coach can't do that. And it plays out.

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