Weather problems

David Kalat

Now, it came out in 1953 and worked some interesting variations on the Kong formula. This time, the giant critter was a dinosaur, revived and irradiated by nuclear bomb tests. It comes to New York, wreaks havoc, and is ultimately vanquished by a genius scientist. Here were the key elements of the genre, as it would develop throughout the decade. Nuclear radiation and nature's revenge, monsters as Cold War parable.

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David Kalat

It's the calm before the storm, a moment of preternatural quiet in which for a full 90 seconds the soundtrack goes dead. There's a lot weighing on these people's minds, too much really to say. Emiko has failed to tell her fiance that she loves someone else because he distracted her with a demonstration of a doomsday device. Ogata is fretting from the sidelines about their illicit love affair. Shinkichi is an orphaned survivor of Godzilla who knows he hasn't escaped the monster at all.

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David Kalat

Ifukube had gotten as far as he ever had by never paying attention to other people's advice. Ifukube's first film composition was for Snow Trail, which happened to be Toshiro Mifune's first film as well. Ifukube later scored The Quiet Duel for Kurosawa and argued with the temperamental director, which was a no-no, so that was his last job, scoring for Kurosawa.

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I remember Lawton sent a memo to Agee during the script writing stage saying, I know that Mitchum's uneasy about talking to God there in the car, but frankly, I don't know how else to really introduce the character cinematically. Because there never had been a character quite like this in movies. Yeah. And Mitchum's low-key delivery is so perfect because you could read the words as very overheated on the page and he just delivers them cold.

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that in the in the uh... early draft the a g script the heat

46:17 · jump to transcript →

See, contrast. Christmas music. Exactly. It's a beautiful transition. And this is nice where they're walking with the Christmas music. Merry Christmas. Perfect shot. Mother Goose. Now, in the actual outtakes, this snow machine is making such a racket. Such a racket. It's like D-Day. You can't hear a word that she's saying. So anything you hear her say was post-dubbed, you can rest assured. Yeah, absolutely.

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Okay. You know what? I mean, the feeling was like... Are you really 19? We didn't want to make this romantic and glamorized sex. It was supposed to be like bare light bulb, harsh shadows. It's cold. It's, you know, muted colors. Sorry we put the triumphant reprise of somebody's baby over it. Well, we had to put that song in again.

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Right. Sweet. It's wrong. It's like it should be sexy and he should wind up awkwardly twisted up with her and so I was sick and Art did a reshoot and do you remember this? Yes. Where they like, I don't even remember what happened. They were making out and some sort of physical comedy but it just was really awkward and

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in the movie somewhere because the research is based on a year where Led Zeppelin were coming to town. And so much of the whole school year was getting ready for Led Zeppelin and then Bonham died. And it just took the wind out of the entire school. And I always thought how great to have that be the year that you're studying these guys. That they never got the holy grail of Led Zeppelin coming to town.

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And I know a call girl in England who dresses up as all sorts of things, including Blanche, no, not Blanche, in Scarlett O'Hara in Gone With The Wind. And her customers like to be beaten by Scarlett as they scrub her bathroom floor. I mean, it's a weird scenario, but...

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But the movie is basically an exploration of the psychology of sexuality. And I love how you just framed these two characters in terms of their beds, with her lying in this big bed, totally isolated. And it's cold. It's a blue light. It's lonely. Having just come from Grady, who has been spurned by his wife. Exactly. Why didn't you come to me, Phil? I would have loaned you the money.

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Hell, I would have given you the money. Goddamn pride. What about jail? No pride in there. Oh, thanks. Cooper offered me a fortune for the patterns. I lost control. Please, Lou, I'll work for nothing. Anything you want. This is very harsh, all this stuff, because it's a cold, light day.

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whose name is Waxman in the film, Max Waxman, and a church right across the street from Waxman's office. I chose those locations because I wanted an office that had a church across the street. And so that location is out in Pasadena. And we made the rain for that scene. We manufactured the rain because I just felt the location was pretty dull otherwise. But I wanted...

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Mr. Masters? How you doing? Ben Jessup. My associate, Dr. George Victor. Pleasure. How do you do? Cut yourself shaving, Mr. Jessup? No. As a matter of fact, I got hit by a tennis ball. You're in from Palm Springs, huh? Yeah. What's the weather like there? It's really nice. I've been up here the last few days. I've got a friend in Palm Springs. Lenny Green. He owns the Oasis. You know him?

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The character Masters is certainly inspired by the character in Jerry Petovich's novel. I think I went a lot farther in making him kinkier than Petovich intended. Petovich had written him as kind of a, just a cold criminal. But I was looking for the feminine inside that. To me, once I had cast Willem Dafoe...

1:38:58 · jump to transcript →

Paul M. Sammon

Kirsch was a wonderful guy and a wonderful director. Not only the director who directed Empire Strikes Back, of course, on which he worked with Phil Tippett on the Snow Walkers, the giant mechanical elephants. I love this where Robo pauses to shoot a kid. Bad decision. And finally, one of them thinks, oh, shoot him in the face. And that's what you're seeing here.

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Paul M. Sammon

And sort of like the Informer, four cane. And everything you see here with this decay, this is the way the school was. And interestingly enough, Robo 2 was shot mostly in the fall and early winter of 89 and 90, from say September to January. And we had a lot of weird weather. It got cold, it snowed once, it was raining. And it was raining during the shot, and you can't hear it on the roof. But they didn't take it out.

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Paul M. Sammon

and Frank Miller for all stepping up and John Davison to do an impossible task and make it possible. Here, of course, we get an idea of how cruel and cold Fax is. She is like the ultimate careerist. And Tommy Newton gets a chance to do something other than just, you know, be scary. Interesting man. Interesting man. There is more to him than meets the eye.

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I feel like the wind might have been blowing. I'm not sure. You had that hair. You were dressed like Todd Rundgren. But I honestly, I do remember that moment of playing the voice with one hand and then the piano with the other. Oh, look, another parrot. Another parrot. But I think this is the closest we get to the pirate theme, right? It's sort of...

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come to an end you know we're seeing the last sort of this very uh romantic moment between the two men uh against this storm uh and i think the design here visually in terms of how the uh storm is connecting you know this rainstorm between the exotica and and what we're seeing outside of thomas's apartment with this moment of uh uh uh sexual contact

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and recording at Grant Avenue in Hamilton and shoveling snow and getting completely trapped. In fact, I had to stay in a hotel right after getting off the plane from India. Story over. That's it, Michael. You can't tell that story. It's actually finished now. No more stories. So anyway, how my life was incredibly changed was that...

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He was mad. Come on! You call this a storm? Oh, you son of a bitch! It's going to take a force of God to strike Lieutenant Dan down. That's right. This is all or nothing. This is all or nothing.

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Now here's a good example of saving a lot of money because that's stock footage. And now this is back into what we created. And in fact, there was a hurricane that blew through there and there were still minor remnants of that hurricane that we used as a backdrop to shoot that scene. That's right. Only one shrimping boat actually survived the storm. And this digital thing is going to happen once it becomes cheaper and once you can move faster because, you know, time is money. So it's all about the money.

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What, do you have a cough due to cold? I have some kind of virus. And the doctors don't, they don't know what it is. And there isn't anything they can do about it. You could come home with me. Jenny, you and little Forrest could come stay.

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I guess right here maybe you should mention Peter Jason. Oh, yeah, before we go on, since he's only here for a second, this guy with the beard is Peter Jason. I bet this got cut down. Yeah, maybe. He was in Arachnophobia also. Yes, Peter Jason was a favorite. He was an old crony of Frank Marshall's. Frank Marshall had previously directed him in Arachnophobia, where he played the coach, and they went all the way back to the 70s. They both worked on Orson Welles' film The Other Side of the Wind. Peter Jason was in that. Frank Marshall was in it, and also kind of an all-around...

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tell you about Sam Mercer, the other producer. Because this is like a producer's movie. Right. And they're not just producers usually, but producer's executives, you know, studio heads. So Sam Mercer's best known as having produced M. Night Shyamalan's films and being UPM on those. And he's also done things like Snow White and the Huntsman. But this was his first produced credit, produced by credit.

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Before I go on and talk about Frank Marshall anymore, do you want to talk a little bit about... I should talk about these snakes. Yeah. Yeah. So once they... After they skydive, essentially, that stuff is mostly taking place in Costa Rica. And so they had shot... By the time they got to Costa Rica, it was almost like the last three weeks of the shoot. And so they were pretty comfy, you know, the whole rest of the time. I mean, they complained a little bit about it being cold when they were shooting outside. Yeah.

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that's my only really now here we're in the cold room and this is a scene that makes me really sad because uh here's where the studio just cut the scene to shreds and the first time we the first time we tested this scene it was one of the most liked scenes and they just came in and and they said you look too ugly because of course you're shot full of cholera and and you know that was the point they go oh she looks too terrible i can't look at her

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That they cut out. Which ended up with you burping at the very end. With it raining and you burping. I like that. I like the rain scene. Yeah, that finally it creates rain. Oh, and I had an umbrella hat. You had an umbrella hat, exactly. I love that. I love that, too. I love this animation, too, but we could easily have had both. Because it was a funny... They had that...

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You know that's on YouTube, the original ending's on YouTube. Well, good. I'm glad people have found stuff from the original cuts. I'm sure there's an hour of footage that's missing. Really? Wow. And I love the animation, but it was great to have that. It was great to have that umbrella hat and rain and the burp.

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we want to do this gag, Martin gives it. Is it worth it? Yes. Is this gag really worth it? Yes. Is this joke worth it? Oh, yeah. Over and over again. Yes. The train had kind of a big wind to it. It was difficult. Yeah, yeah. If you watch the film, he's Dave Foley there. He's not Nelson Hibbard. It's Dave with this giant train driving by him. Trying not to fall off that box.

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You were in that same movie, Cold Blooded. Yes, I was in that. That was a Wally Wolodarski movie, yeah. Mark Wallace, Wally Wolodarski. You said a manicurist had no useful role in a police investigation. Let's move out. I like that, too. He's really, he seems to be scamming the system. I don't know if that was intentional. That was intentional, yes. Was that something with the script that we wrote? We had intended him to use this as an opportunity. Right. No, they don't. Yes.

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because they didn't want it to be too cold for me. And then we found the worst miniature golf course of all time. Yes, we did. But the best one in Canada. Yeah, but we couldn't... All unique holes. They had no unique holes. It was just like... No, so we had to then make these unique holes. It was just greens and a hole. There was no, like, art direction. This was one of my... I love this gag. It was the idea, but it was supposed to be like...

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Brendan actually knocked himself out cold in this scene. He kept asking that once we hang him, he kept asking the stuntman to, you know, as he was hanging there and we were going in on a close-up, he kept saying, tighter, tighter, I want to really look like I'm choking. And next thing you know, he collapsed on the ground out cold. We all looked at him, kind of laughed, thought it was Brendan just screwing around. And then he didn't get up. And suddenly there was a big panic and everybody's like... Brendan tells that story a lot. Yeah.

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This scene we did a lot of work on. You'll notice when you watch that there's a lot of lines on Odette's back. Stuff that was added in post-production because the audience didn't accept the fact that these guys would stop fighting just because Brendan pulled out dynamite. And so we did our best to move that along and to give them a reason to... Because the idea is that there's honor between these two warriors and they wouldn't just cold-bloodedly kill each other.

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I believe you need a key to open that book. A lot of people ask me if I hated shooting in the desert because of the heat and the bugs and the scorpions and the snakes and sandstorms. But actually, I loved it as a director. It's the perfect place to shoot a movie because cell phones don't work. No one's worried about getting back to their, you know, boyfriends or girlfriends or getting home for dinner, taking the kids to the ballgame. Everybody's focused on making the movie and working as hard as they can, as fast as they can to get the hell out of the desert. So as a director, it's...

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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.

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Noah Baumbach

Which in some ways, again, because we've seen Wolodarsky working on the piece, you can kind of imagine it's what Zissou would do also. You know, would want it to be more symphonic when the action kicked in. Right, yes. And in fact, this whole sequence... Basically, what happens is they do a raid on this island, go all the way in there, and end up with nothing. On their way out, it turns out their guy they wanna rescue is there after all. But first, it's just a lot of running. Yeah, it's almost like indicating an action scene. Yes, exactly. Yeah, there's a lot of meta-something in all this. I referred to the movie to somebody at a party, I think after a few drinks, as Godardian, and was laughed at, and I probably shouldn't be saying that again, but I actually think it's true. That's part of what set us back at the box office. Godard never did 25 million domestic. An interesting thing right here. This is filmed in Ostia, the coast of Italy near Rome, like the Santa Monica of Rome. But the day we were filming this-- - Putting it in my speak. The day we filmed this, it snowed for the first time in 17 years. It snowed in Rome. So you can sense the rain, but there's actually a little bit of snow. And then Bill Murray had to fly from this set. From this set, he went to a helicopter, to an airport, to the Golden Globes, where he went to win one for Sofia Coppola's movie, Lost in Translation. Did he come back before--? He had to for the Oscars. He was gone for just a couple days, and then he was back to work. Back to the back-breaking-- - What did you shoot while he was away? You had to find... - Not much. Some Ned-Jane stuff. - This shot right here. We shot this while he was away, later that afternoon. And this we shot the following Monday, or maybe it was Tuesday. This whole idea of Zissou getting down on himself and speaking to himself in the third person. "I'm disappointed in myself." "Damn it, Steve." Damn it, Steve. This sucks. I'm disappointed in myself. We have so many animals in this shot. There's a sloth, two monkeys, a snake. All kinds of stuff crawling around in that lobby.

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Noah Baumbach

One of the main things we were kind of wanting to write about was about a guy whose family is really his collaborators. So I feel like for Zissou and for all these guys, they were people who were looking for something to plug into in their lives, and they found this. They found somebody who wanted to lead them and who was excited to do that. And I think Zissou, he just needs that in his life. And I think anybody who makes movies is kind of familiar with that because you end up becoming very intimate and close with a group of people for this short period of time that you're working with them, and then you go away. But it sort of heightens the awareness of how connected you get with them. Yeah. Is this actual rain or fake rain? That's fake rain that's made by Renato and Daniel, the effects guys at Cinecittà. Two great guys who did all our explosions and guns and fire and rain and snow, and everything else. And Renato is Italian, and his brother-in-law, Tonino, took us on a lot of scouts, when we went out in boats and scouted on ships and things, and he would make what I called spaghetti al Tonino, which is spaghetti with a can of tuna fish and tomato sauce. We'd make it on the boat and we'd eat that. And Daniel is American. He's an Italian-American from Brooklyn, and they work together. Daniel translates for Renato, and Renato's kind of a great sort of... prince at Cinecittà. They're going together in the revolving door. The "I'm a Pepper" T-shirt, whose idea was that? That was, when we made our Bottle Rocket short, a 16 mm thing we'd made years and years ago, there was a man who was a security guard that we had gotten to know, that really Owen somehow managed to entangle us with. And then we put him in the movie, and Temple had taken us out to shoot pistols. None of us were real hunters. But Temple, the security guard we met, took us out to shoot these guns. And Temple had this shirt, "I'm a Pepper" shirt, that he would wear. And when we made our short, we put him in the movie in his "I'm a Pepper" shirt, and they talked to him, and he takes them shooting. In fact, when we filmed the scene, Bob Musgrave shot-- One of the actors, his gun went off pointed at his foot, and the bullet grazed his shoe. He almost shot off his foot. Because, of course, in most movies, we use blanks. When we were making our short, we used live rounds because we didn't have any blanks. - It's just easier to get real. We would've had to buy blanks, and we really had no budget. But Temple had a lot of bullets in his trunk. But so then we then worked that into the script for the feature film. When they do this big robbery, Bob's character kind of almost shoots himself in the foot in the middle of the robbery, which actually... It seems to cause another one of the characters to have a heart attack and the whole thing begins to go wrong. But back to The Life Aquatic. And so the "I'm a Pepper" shirt, you hadn't used since Temple. We didn't get to use it in the real movie of Bottle Rocket because we couldn't get it cleared. We managed to get it cleared. - Now you had the muscle. Yes, now we can get an "I'm a Pepper" shirt at will.

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This was the way that the studio actually originally thought and wanted us to do this, was to sit in L.A. and be on sound stages and create it all later. But we refused. Yeah, and Will and Akiva and I really fought, fought, fought to just be out on the real streets. It just informs everybody in such a different way when you feel the real wind and air, you know, on your back, and you're standing in the middle of an empty street and where there should be cars and should be people, and it's just such a different experience.

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identical floors. And we were very lucky with the weather because we basically jogged in and out of sets. You have to remember that the storytelling of this movie takes place over the course of a few days. So your weather had to be very consistent. So when we had weather that matched, we were outside. And when we had weather that didn't, we were inside. And we were lucky in the universe's desire or willingness to accommodate our shooting schedule. Number six. Next candidate for human trials. Hang in there, number six.

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and we thought we'd be insured, and we weren't insured, or the insurance doesn't cover those kinds of things, and it was a disaster. It turns out that you're not insured for when your orange helicopter breaks down as a hydraulic fuel leak because of the cold. Who knew? Get your hands off my wife! Get your hands off my wife! Stand down! Stand down, soldier! Stand down!

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You can be brave. I think films are better if they start slow and speed up compared to other movies that you start at 10 out of 10 and there's only one way to go from there. So this is a set. We shot this in Pinewood. And about three days before we shot it, it was still pouring with rain and the set was sort of flooded.

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Now there was no dialogue, and I thought, this isn't strong enough. So we were feverishly writing. It's five in the morning, freezing cold, and these three guys are stuntmen, so I think he was thrilled suddenly he got dialogue. You're fucking crazy, kid. Thank you. What? Thank you. That guy's called Hugo, I think.

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I think it's very important, pacing-wise, just to have a little bit of a calm before the storm, and a huge storm is now coming over the hill. It's pretty obvious what's going on here, why the framing is. And we cut an earlier scene where you see he used to go to the graveyard to read comics at his mother's grave, but Mark Millar was in the shot as well. Trying to do a Stan Lee.

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Jake Ryan

Oh, where are you, Edward? I'm in Los Angeles. - [Ryan] Oh, cool. How's the weather? It's actually very gray and chilly. - [Ryan] Oh. Same here.

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Wes Anderson

Oh, wow. - [Ryan] Cool. How's the weather there? Well, it's about 85, humid. It's warm. It's pretty. - Yeah, out here, it's kind of chilly. The sky is gray. Yeah. Where are you, Norway? - [chuckles] No, we're at New York City. Well, it's great down here. I was just doing some recording for a live-action animated movie called The Jungle Book. - Cool.

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Wes Anderson

Knows it's not magic. ...is with him in their love of miniatures, and only Wes is concerning himself with whether the miniatures look real. If it's true, that works for me too. - Okay, good. - [wind gusting]

1:18:16 · 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 →

Jake Szymanski

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 →

Jake Szymanski

And I think I like that we did this a lot. And I'm thinking a lot of other movies we may have... They may have celebrated this a little more. And I kind of love that the audience is not into this song. And they are going way too far. Didn't Aubrey have an ear infection during this? Yeah, that's weird that you know that, Margie. But she did. She actually showed up very sick. It was very hard for her to physically hold that pose. And she was miserable between takes. And then just putting on that smile. Ooh, here we go. Real fireworks, by the way. We got to go out there and shoot and film, which was great. You know, there's also a great deleted scene I recommend looking at before the fireworks go wrong here of our masseuse Keanu and our bridesmaid Becky having a little moment in the crowd there. That's very funny, that didn't make it in the movie. And then, of course... And this whole, this entire ending was not the original ending. We actually... This was like an alt that, halfway through filming the scene, I was like, "Wait a minute. What if the fireworks go wrong?" And it's kind of crazy 'cause it feels like such the end of the movie to me, and it was something we just tried on the day, and so then we had to do all the fireworks in post. We didn't have any of it ready to go wrong. I didn't know you could do it this way. And then, of course, the reversal here, which I really wanted to see. Felt like I had never seen this joke in a movie before. I'm sure, immediately, now that I've said that, people will tell me it's been done a thousand times. But I really was excited about trying it here. And, guys, that's it. That's Mike and Dave Need Wedding Dates. We got some bloops. We got some fun bloops here at the end. And I really don't know where the time went on this. Um... Okay. Well he's dead, and so is Jon Snow. I think Margie ate up a lot of it, frankly. Um, and I'm just gonna Say it, Margie. Yeah. I take back the nice things I said at the... A moment ago. You kind of ruined my first DVD commentary. Oh, Interesting. - So, thanks for that. Um, but you know what? This is... By the time you are done making a movie and going through the editing process, you've probably seen the movie about 200 times. So when I watch this now, I'm so used to everything in the movie. It's... It can be... It just flies right by. It's hard to remember what to talk about. I hope there was one shred of something that was interesting to someone in this. And I want to thank my editors very quick. Jon and Lee, and Jon who did great work dealing with all the footage I gave them. I think they counted it, they said... We shot digitally on this movie, but they said we had shot the equivalent of 1.4 million feet of film on this movie. Which they said was more than Apocalypse Now. And I don't know how we did that for a 90-minute comedy. But thank you, guys, for going through that. I think you're forgetting to thank someone. What are we doing? Oh, yeah, well, our costume designer, Deb McGuire, who's great with all that. I mean, there's so many people to thank. I mean, really everyone on the crew was fantastic. Nan, my first AD, Lisa. I mean, we really had a really, really good strong crew. Someone in the... Someone who is here right now, talking right now. Well, Zac and Adam are on there right now and I... Maybe I didn't thank them immediately. But, obviously, our whole cast's... No, I mean, Margie. Oh, yeah. Well, first of all, again, I feel like you're faking an accent, randomly, Margie. And you don't need to. You've got enough going on with you. I'm Margie from Ohio. I can't swim and I need my eggs frozen. Zac Efron, call me. Margie, what is going on? You know what? I will thank you, Margie. By the way, got this little gem in here. Which I do want everyone to know, Zac Efron freestyled this rap. This was after we recorded, this was after we recorded them doing tracks for the songs at the end of the movie, at the wedding. Doing This Is How We Do It and You Are So Beautiful. And Zac was just in the booth and he was like, "Yeah, you know, I'd kind of like to try to freestyle." And we were like, "Let's hear it." And we just gave him a beat and this is what he did. And it's amazing. He did a little freestyling and I said, "Let's try it as Dave. "Let's freestyle in character." And then he started doing this. And we mixed it into a song and put it at the end of the movie. I can do that, too. - I done... Hey, ya'll, ['m Margie I'm real tall I like monkeys and I like the... And I like books It's not even hard to rhyme "tall," Margie. All, mall, fall. But it's... You went with "books"? My name is Margie and I am a mall Oh, my God. It's like, if I weren't in this situation, if I were watching from the outside, I'd be fascinated. I'd love what's happening here. But because I'm one of the people involved, it just, it's too much. My name is Margie and I play basketball I like it a lot because it's fun The worst, maybe the worst freestyle rapping I've ever heard. And you've had, you've given yourself three... I see you writing on paper. So it's not even freestyle, first of all. I know you're trying to come up with rhymes. And then they're not rhymes! But you know what? We came back from that... Anyway, Zac is very good at it and I was very happy he let us put this at the end of the movie ina... I like to say, it's, this is the Wild Wild West of our movie. This, the Wild Wild West song of our movie. Which I'm very happy to have. By the way, Snappers Bar & Grill in the special thanks. It was right across from our, where we stayed in the hotel. And they were a Packers bar that I found in Honolulu and they served cheese curds. And I was in. We had a lot of meetings there. Thanks, guys. All right, thanks, and, Margie, thank you. My pleasure, thank you.

1:32:15 · jump to transcript →

Hutch here. Last night, that was you, huh? And then here, we got a great phone call with RZA calling his brother from who knows where and... I think, originally, he was supposed to be on an island. That's what we had in one of the lines. But then we kind of thought, "Well, how does he get there from an island so quick?" So it was changed to a nondescript location. I always like how you step into the shadow when you take this call. Yeah. - Hopetully it's not too on the nose, but I kind of like that the family's light in the back, and then here you are in a little bit of darkness. And he mentions The Barber. - The Barber. And that was not what he said in the original script. No. This is where... So this is act two and act two was very, very different. And I don't know how much in detail we should go, 'cause there's a lot of them. But the idea is that now Hutch gets the call, gets the message to go see The Barber, gets the message to go see The Barber, he gets the phone message, a text message, he goes, and basically what we used to have Is... What we have now is a compact montage of a much bigger act two than we originally had shot and envisioned, which makes the film much, much better. And that was something that David Leitch set down with Evan Schiff, our second editor. I finished... This is right as Corona was hitting the US, and we all had to go home, and I flew home. And David spent time working with Evan over Zoom to put the sequence together. By the way, if you pay close attention to the clothes on Hutch's character, you'll see that it's very lucky that he's always wearing blue. And may I say the reason why you're wearing blue, Bob? Yeah. So, early in preproduction Bob said that, "Guys, I think we should get some blue stuff on me." I'm like, "Why?" He's like, "Well..." I think you said your mother saw you wearing blue... - In the Spielberg film The Post. She saw The Post, she liked it. And she goes, "Your eyes aren't that blue." And I go, "Actually, yes, they are. They pop blue more if I wear blue." You see the blue in my eyes if I wear blue. They're kind of a blue-green, I think. SO anyway... So your mother... We have to thank your mother for putting us in this direction because it saved us in the cut. She will not be seeing this movie. Really? - No. Can we do a cut-down version without... She's 84 and does not watch violent films at all. ...to the tune of eight and nine figures. Anything good? - Fuck if I know. But what I do know is, if he doesn't know who you are yet, he will soon. 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. I

42:46 · jump to transcript →

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... lt 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... -/'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... lt matters to him. Jesus. That car is a wreck now. His neighbor's not gonna like that. Here they come.

1:14:20 · jump to transcript →

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... lt 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. With this luggage? This was not filmed on the actual PCH. This is all green screen in Winnipeg. Oh, yeah. We were lucky that these plates exist, and the light matched. Congratulations, Ilya. I love this little movie. It's not so little. It's big. I love this movie. -/ love it. I love it. - I enjoyed working on it very, very much. I never would have imagined I could feel such affection. I knew this would be a challenge. I knew I'd be out of my wheelhouse. I'd be pushing myself. I knew I wanted it to be non-ironic. I've done a lot of comedy in my career. I've made fun of action movies a million times. I've made fun of the swagger and the surety that action stars put forth. But I think I've now had this experience of years of playing someone without that safety net of comedy and making fun, and I find it to be the greatest magic to try to conjure up the non-ironic and intense big feelings that TV shows like Better Call Saul and Breaking Bad, and movies like Nobody work to present and to explore. And so I was thankful to have you. I mean, you just did a great job here, and we all understood what we were making. And Derek did such a great job, and we were so lucky to have these producers. Kelly McCormick was the first one to... Well, Marc Provissiero, my manager, understood immediately. Braden Aftergood also seemed to immediately connect with it. Kelly McCormick was the linchpin, because Kelly has great experience with action movies. And David Leitch then joining and leading, I think, tonally, this whole project. David has been a part of the biggest action movies of the past 15 years. And so that's what brought us all to where we are. I just gotta thank you and, you know, you were with this movie through two different regimes, two different companies. Yep. - And you hung in there with it. And, of course, your experience... We didn't once mention Hardcore Henry, your first film. And I'm sure that's worthy of hours of talk too. Anyway, thank you. - Thank you very much for listening, guys. This was Ilya and Bob, talking about something we spent a couple years of our life on. Thanks for watching. Thanks for listening. And have a nice day. Thank you so much. I'll see you next time. Bye.

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Christien Tinsley

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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Christien Tinsley

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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Christien Tinsley

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.

1:43:02 · jump to transcript →

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."

1:25:53 · jump to transcript →

Tim Lucas

This is a remarkable, half-lurching, half-meowing crime cue by Morricone. I imagine that it had some influence on Quincy Jones' later score for In Cold Blood. Speaking of In Cold Blood, Indio has a parting comment for the warden of this jailhouse.

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Tim Lucas

But as I mentioned earlier, Sergio Leone was a raconteur and he loved to inflate the stories he told and retold and retold again until they were at their breaking point. And so it happened as he went about telling people what it was like to work with Clint Eastwood. In the retellings, he began to take more and more credit for his performances for the effect that he had on audiences. Eastwood got wind of this and he was understandably a bit resentful and a little of Sergio Leone began to go a long way.

1:18:59 · jump to transcript →

But movies are strange things dependent on the curious alchemy of the personnel who happen to be on hand. Not much chemistry here. Things taking a very bad turn for our heroes. Red is cold-cocked Thunderbolt and is now giving Lightfoot that long-threatened beating, which, if you were to watch Sans context, would look mighty like a hate crime.

1:35:24 · jump to transcript →

And this is how you keep a career going for as long as Eastwood has, by rolling with the punches, adapting to exigencies, keeping to a schedule. This is also how you wind up occasionally accidentally dropping your cinematographer off of a cliff. There's a paradox in that Eastwood-Chamino comparison that I find troubling but fascinating, because on the evidence of Thunderbolt, on some levels I think Chamino may have...

1:41:28 · jump to transcript →

Do you know that we wanted to use this logo? This is against Richard Hartley's piano playing, I think. Of the 20th Century Fox theme. - Yes, maybe I will... We wanted to use that for the denouement. Ah. - Instead of the RKO sign. So that was interesting. Michael White and Lou Adler's names there, our producers. Yes, that's correct. - Erstwhile people. I'm rather... And now whose mouth do you think this might be? Ooh. M-m-m-mine. Yeah, it is. Now, interesting... - There we go. Course, when we did the stage play, it was you that sang this song. That's right. - And then they offered you the part of Magenta in the movie, and what did you say to them? I said-- well, they told me that I wasn't going to be able to sing the song 'cause they couldn't have an usherette open the film, so I'd lost my song "Science Fiction." And, um, I said, "Well, you can take your movie and shove it up your..." Where the sun don't shine. Yes. - Mm-hmm. And they were very amazed 'cause they'd taken me to a restaurant Yeah, yeah. - Jim Sharman. Always do it after lunch. Always tell them no after lunch. Yeah, after lunch. And I said I'm not interested. Don't want to do it. Then they took me round to John Goldstone, one of the other producers, round to his house to see the sets. They said, "No, please, Pat, come and see. Come and just have a look." And then they showed me the pink room, the laboratory. And then they showed me all the drawings of the costumes and whatever, whatever, whatever, and, um, I said, "I can't wait." "I'll begin tomorrow." I didn't mind about the song. Yeah, well, I didn't know anything about that until this moment in time and, uh... Well, I have blamed you for it ever since. Well, you see, I got along to the studio, and they'd done the backing tracks... Richard Hartley and the crew had done the backing tracks at Olympic Studios. I love my name dripping like that. Oh, yes. And... Sorry. It was a bit of a drip. And... - I said-- They said "We want you to sing the opening title song because you're the author of the show," and I said, "What do you mean, as a backing, guide vocal for Pat?" They went, "No, we want you to sing it." And, um, so I did, but until that moment in time, I had no idea that I was... Well, ladies and gentlemen, or whoever's listening, today is the first time this has been revealed in how many years? Oh, um, 25? So in all these years, I have begrudged you taking my song. And in all these years, I've begrudged you for being you and having that delightful mouth. Thank you. I mean, look, it's a wonderful mouth. One wonders, you know, oh, well, wonders, just wonders, really. Has your dentist seen this movie? Yes, I really wanted to give her a plug today. Veronica Morris. Because, really, she's been keeping my teeth in great order. This is marvelous. And Veronica'll be so pleased. This mouth, of course, is Brian Thomson's idea. It was the Man Ray photograph of the mouth and the sky is where he got that from. Yes, it... Is ita photograph or was it a painting? It's a photograph. - It's a photo. Lios Over Hollywood. Yeah. - Is that what it is? That's what it's called. It's over the Hollywood sign-- a mouth. Man Ray picture. - And this was the first mouth. I mean, I'd never seen a mouth this symbolic before. The Rolling Stones got a mouth after that, didn't they? Yeah, they got a mouth after. Not a mouth before. Bit mouthy. - A bit mouthy. No, no, and it was wonderful when they asked me to do this 'cause they asked me to do this mouth on the very last day of the film. Mm-hmm. Jim Sharman came up to me, it was a wrap, finished. We'd done it, and he came up and said, "We've got an idea about this mouth." Yeah. - "And will you do it?" And they painted all your skin black. Yes, they did, And I went out to Elstree Studios... - But your timing was perfect. I mean, your lip-sync is fantastic. Yes, well, I'm good at that. And I sort of know how you do things. So, uh, so we... We, uh... Ramon Gow. Look, the hairdresser, Ramon Gow. We'll talk about Ramon a little bit later on. Yes, he was wonderful. - Yeah. He kept us happy. Did he keep you happy? And Pierre. Pierre did the makeup, didn't he? Pierre La Roche. Oh, God. He did Bowie's makeup. You know, for what was that Bowie thing? You know, when he had the makeup. - When did Bowie never have makeup? All right, with Bowie. Ziggy Stardust. Yes, and it was fantastic. And I thought Guy La Roche will give me the most fantastic face in the world. And he looked at me, and he said, he gave me no bones... No, Pierre La Roche. - Pierre. Pierre La Roche. Guy de la Roche is... - I beg your pardon. Pierre La Roche. And I was so shocked that he just said, "We're going to totally whiten the face." And what-- here we are. And what-- here we are. And what-- here we are. The fade into the cross there. - Fade into the cross, yeah. And down the old... And now this is interesting 'cause this was just a facade, wasn't it? That little room-- There's a little room on stilts behind that door. Just tiny little room. There's darling Henry Woolf. He's just such a darling friend. A great, um, Pinter. Pierre Bedenes in the front here. Now, Perry was the boyfriend of Brian Thomson at the time. Uh, we should say... that little girl there, where is she? She's gone now, but that was... what's her name? She was the photographer that went out with Prince Andrew for a while. What was the name? - Koo Stark. Koo Stark there, yeah. She's in the back there. She's there. Uh, I was gonna point at the screen as if that made any difference. Yes, -Gaye Brown. There's Pierre. And Henry. - And Henry. Henry was in my house the other evening. He now teaches in Saskatchewan. Yeah. He's been over here doing the Harold Pinter plays, hasn't he? That's right. He was in the first play that Pinter wrote. He made him write it, actually. Well, there they are. - There's our Brad. The two lads-- so very butch. Ouch, that hurt. And there she is, Susan Sarandon. We didn't know either of these people when they arrived, did we? No, we didn't, but they... - Weren't familiar with their background. Although he'd been doing Grease on Broadway. Great dancer, great legs. But it was wonderful. - Wonderful. There's my wife there jumping up and down. My ex-wife. My first wife. Is it Kimi? - Yes, in that little plaid dress there. Yes, and that lovely handbag. - With the bangs. Yes. Gorgeous. And this is Rufus Thomas, I think, driving the car. Rufus was with the-- there he is. He was with The Living Theatre for some years. He choreographed Jesus Christ Superstar in its first British incarnation. Gosh. Such class we had in this. Oh, yeah, we were all, yes, very groovy. - I remember those two. Now there's us in the background being American Gothic. Yes, which was such a surprise to me, and it was freezing cold that day. And I swore I'd never talk about the cold again on this film... We were walking to that set the first day we ever walked to that set, and we'd smoked something rather exotic. And I'd never smoked before. - No, no. Richard really led me into really bad ways. It was a bit difficult clinging on to reality, wasn't it? It was wonderful. I loved it. Ah, there we go. - There's our signs. In the graveyard. - "Denton." "The Home of Happiness." "Dammit Janet." "Dammit Janet." "Dammit Janet." She looked very pretty. Sue Blane did some wonderful costumes, and they've really hung on, even though we do the stage show 20... well, it's longer than 25 years from the movie, the stage show. But we still use Sue's designs. She reinvents them, and it's still the same kind of look. Well, I must say, the thing... she's stunning-- is at the time... I demand that Sue Blane invented punk, and this film invented punk. And down the road was Vivienne Westwood with a shop called Sex, and she thought she'd started it, but no, sorry. She'd copied us from up the road. We were on the stage at the time. I think there's a certain amount of truth in what you say. I think we were a precursor of Malcolm McLaren and Vivienne. That's correct. - But then again, you say, as Coco Chanel said, "Anyone who thinks they're original has got no sense of history." 2 If there's one fool for you Then lamit > Janet 2 I've one thing to say And that's damn it, Janet > Now look at that heart there. I want you to see that heart there, 'cause when we go back and rub it out, I think this is... Maybe it's the same heart. I thought it was a different one. Maybe they got it... There's a boom microphone shadow we'll see, I think, soon. Somewhere out there. - Why do you point out the faults? Well, why not? You know... I mean, that's what the fans do. - Do they? Yes. Oh, look, she dropped it. What a shame. Wasn't she meant to? I have no idea. - Or was she not? Now, this is interesting. This room, we could only afford this end and the other end. The altar end, and we didn't have any sides to the room, so we could only shoot it looking this way or looking the other way. We couldn't pan around 'cause there were no sides to this room. 'Cause we didn't have enough money. So there we go, you see, walking towards camera without background. Good heavens. And walking away from camera to there, but there were no sides. > Oh, Janet 2 For you? 2 I love you too } They were very good, these two, weren't they? When you consider we'd been doing this for the show... We were like a family, and they came in, and they joined in, like, so easily, so quickly. I find them astonishing. This must be... I don't want to go into detail, but it's a very small coffin, isn't it? Oh. - One does wonder. About what? Could have been a rabbit in there probably. Well, every day was a great surprise to me on Rocky Horror. I never knew what was going to happen next. Yeah, me neither. I mean, I didn't know what even American Gothic was. Till I saw the painting in the hall a few days later. I thought, "Why am I dressed like this?" Were you not familiar with that picture? - No. There we are... three good-looking people. And those opticals were rather good I thought. And those opticals were rather good I thought. And those opticals were rather good I thought. They really were mechanically derived by... But, you know, today, of course, you'd have optical wipes and all sorts of things with video. There's dear Charles Gray who's departed from us recently. Yes, Charlie has parted from us. And I loved it when you said to me it'd be wonderful if you and I were Charles Gray and Ava Gardner. We could visit each other often. Yes. - 'Cause they were great friends. They lived next door to each other. And I thought they've both gone. So we've got to now move into the same street. I think they're probably on a similar street in the sky somewhere doing the same things.

0:05 · jump to transcript →

I love Nellie painting my toes. I never thought who thought that up. Maybe Jim Sharman directed that. I've forgotten. You and Nellie, probably. And Nellie and I... Because we Sat in a very cold caravan and sort of talked about what we were going to do in this room of ours. And this idea, I think this is very sexy and very naughty. I think it's lovely. It's very intimate, two kids playing together, isn't it? Do you think that's what it's like? - Yeah. Yeah. Her pj's are always so sweet. Her pajamas. She's blowing. Look, she's blowing my toes dry. It's not sexual. It's like, two little chums. Yes. You're the same person almost. In fact, you were the same person because you weren't supposed to be two different people when I first wrote this show. - Oh. You were the same person. - I see. And then Jim Sharman said, "I've got..." What was the name-- "Marianne Faithfull." I know. "And she's really interested in being in this show, and could we write a part for her?" And I said, "I don't think so because I'm not that clever. Writing another part into the show. What I might do is split the girl's part into two pieces." And so Magenta and Columbia were split into two different people. I don't understand. Who was Marianne going to play? Why couldn't she play... - She was gonna play Magenta. I don't know why. Don't ask me why. Because I think we'd already said yes to Little Nell. I see. - And then Marianne... I said, "So, I've done it. I've kind of worked it out that the two parts are split up into... the one part's split into two parts." And he wert... ..."Oh, yeah. Well, Marianne's gone to India." I know. Was I ever so pleased. And... - She went on her trip. And then it was you. > Ithad to be you > ? Wonderful you >

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Peter Greenaway

But the weather was perhaps unusually continuously fine in England. And for about three weeks of amazing weather, I drew this particular country house, but was made very much aware if I was going to draw what I see and not what I knew, that as the sun moved around this house, then the shadows changed dramatically. So I set myself up a series of permanent vantage points by moving chairs out of the house and situating them in the garden.

26:04 · jump to transcript →

Peter Greenaway

for example, here, the weather. We were up early at 6 o'clock in the morning filming in this extraordinary idyllic place, but the mists were low. It was suggested we should all wait until the mists cleared, but I insisted we should use these characteristics of the English landscape with a view to some extraordinary, beautiful filmmaking, which, of course, was entirely out of our control, but just a question of the meteorological conditions

31:15 · jump to transcript →