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1
00:00:04,088 --> 00:00:06,340
Well, hello, this is Robert Weide,
2
00:00:06,424 --> 00:00:09,051
the director of How to Lose Friends
&
Alienate People.
3
00:00:09,135 --> 00:00:11,137
And if you're listening
to my director's commentary,
4
00:00:11,262 --> 00:00:13,264
you must be a real completist,
5
00:00:13,389 --> 00:00:15,224
because Simon and I,
Simon Pegg and I,
6
00:00:15,307 --> 00:00:18,060
are about to do a commentary together
later today.
7
00:00:18,144 --> 00:00:20,146
I imagine you probably
already played that.
8
00:00:20,271 --> 00:00:24,108
And if you're playing this one as well,
then you've got a lot of spare time.
9
00:00:25,609 --> 00:00:28,404
Today is what? September 26, 2008.
10
00:00:28,487 --> 00:00:30,906
We just had the world premiere
of this film
11
00:00:30,990 --> 00:00:33,993
two nights ago, September 24, 2008.
12
00:00:34,785 --> 00:00:38,622
And the script for
How to
Lose Friends
was brought to me in early 2006,
13
00:00:38,748 --> 00:00:43,627
so that will give you some idea
of how long this process took.
14
00:00:45,963 --> 00:00:49,008
I loved the script when I read it,
and it was the film
15
00:00:49,133 --> 00:00:53,804
that I'd been waiting for
to make my directorial debut.
16
00:00:57,516 --> 00:01:01,520
We have here Janette Scott.
There she is.
17
00:01:01,645 --> 00:01:04,148
This is actually a clip from a movie
called
Now and Forever.
18
00:01:04,273 --> 00:01:09,987
And we will find that
this is actually Sidney Young's mother.
19
00:01:10,154 --> 00:01:12,156
You've already seen the film, right?
So I'm not giving...
20
00:01:12,281 --> 00:01:14,075
I can give away spoilers.
21
00:01:14,158 --> 00:01:17,953
And this is young Kelan Pannell,
22
00:01:18,037 --> 00:01:22,124
who plays a young Sidney,
a young Sidney Young.
23
00:01:22,208 --> 00:01:24,835
And this little push-in to his eyes,
24
00:01:25,336 --> 00:01:28,506
we actually started on his eyes
and pulled back,
25
00:01:28,631 --> 00:01:30,132
and then ran the film in reverse,
26
00:01:30,216 --> 00:01:34,678
because it's very hard to get focus
when you're pushing in at that distance.
27
00:01:34,804 --> 00:01:38,390
See, there's your first piece
of movie magic, your little secret.
28
00:01:38,516 --> 00:01:41,310
There'll be a lot of those kinds of things.
29
00:01:42,853 --> 00:01:45,981
This score is by David Arnold,
who's a wonderful composer,
30
00:01:46,065 --> 00:01:47,525
does all the James Bond movies.
31
00:01:47,650 --> 00:01:51,320
He does big films,
still does little films, if he likes them.
32
00:01:51,403 --> 00:01:53,656
I really like this music because it's...
33
00:01:53,739 --> 00:01:57,952
I wanted a very dream-like feel
for this opening sequence,
34
00:01:58,035 --> 00:02:01,580
like we're just sort of floating
over the scene in Sidney's memory,
35
00:02:01,705 --> 00:02:03,833
'cause it winds up
that this is a flashback.
36
00:02:06,335 --> 00:02:09,463
The woman in that clip is Janette Scott,
we said that.
37
00:02:09,547 --> 00:02:11,882
The movie
was Now and Forever, 1956.
38
00:02:12,007 --> 00:02:15,177
It was actually a colour film,
but we made it black and white,
39
00:02:15,261 --> 00:02:17,096
just to make it look a little more vintage.
40
00:02:17,221 --> 00:02:19,223
She's still alive. She was born in 1938.
41
00:02:19,348 --> 00:02:23,435
Her mother was actress Thora Hird,
who was married to Mel Tormé.
42
00:02:23,561 --> 00:02:26,730
No, actually,
Janette was married to Mel Tormé.
43
00:02:28,399 --> 00:02:30,860
By the way,
that business with all the slow motion
44
00:02:30,943 --> 00:02:33,195
turning into real-time motion
with the applause
45
00:02:33,279 --> 00:02:34,864
in that previous scene,
we were trying to figure out
46
00:02:34,947 --> 00:02:37,825
how to do that,
and finally just told everybody
47
00:02:37,908 --> 00:02:40,619
in the audience, all the extras,
to applaud in slow motion.
48
00:02:40,744 --> 00:02:42,580
That was the easiest way.
49
00:02:43,622 --> 00:02:45,583
We're now flashing back
to the BAFTAs,
50
00:02:45,708 --> 00:02:49,211
and this is a combination
of actual footage
51
00:02:49,753 --> 00:02:52,381
from the BAFTA Awards in 2006,
52
00:02:52,464 --> 00:02:54,758
plus material that we shot,
53
00:02:55,467 --> 00:02:58,971
that we stitched together
pretty seamlessly.
54
00:03:00,264 --> 00:03:03,934
Here is Katherine Parkinson,
55
00:03:04,602 --> 00:03:08,105
known to British IV viewers
from The IT Crowd.
56
00:03:09,315 --> 00:03:13,277
The pig, by the way, we actually had
two pigs, one named Nutmeg.
57
00:03:13,402 --> 00:03:14,945
I think the other one
was named Cinnamon.
58
00:03:18,490 --> 00:03:22,453
So Nutmeg did some things
better than Cinnamon and vice versa.
59
00:03:23,287 --> 00:03:24,788
So we used them both.
60
00:03:24,872 --> 00:03:27,082
Here is Felicity Montagu,
61
00:03:27,166 --> 00:03:33,172
also known to British TV fans
as Alan Partridge's assistant
62
00:03:33,339 --> 00:03:35,799
in the Steve Coogan series
I'm Alan Partridge.
63
00:03:39,887 --> 00:03:42,264
Yeah, the red-rope motif
plays a lot in this film.
64
00:03:42,348 --> 00:03:46,769
And I like that little sort of magical
"cling" when the rope is taken off.
65
00:03:46,852 --> 00:03:48,187
'Cause that's what Sidney lives for,
66
00:03:48,312 --> 00:03:49,813
is to get on the other side
of the red rope.
67
00:03:49,897 --> 00:03:52,066
I don't know if that's Nutmeg
or Cinnamon there.
68
00:03:52,149 --> 00:03:54,652
We'll talk about the lift scenes later,
69
00:03:54,735 --> 00:03:56,654
where the lift actually goes
up and down.
70
00:03:56,737 --> 00:04:00,616
That was a little effect I thought of
when I first read the script,
71
00:04:00,699 --> 00:04:02,660
a little visual I wanted to incorporate.
72
00:04:03,244 --> 00:04:06,664
And my trusty crew figured out
a way to do it.
73
00:04:07,331 --> 00:04:10,334
By the way,
that pig sitting on its haunches,
74
00:04:10,417 --> 00:04:12,253
sitting on its butt,
75
00:04:13,337 --> 00:04:14,630
pigs don't normally sit that way,
76
00:04:14,713 --> 00:04:17,132
so whether that was Nutmeg
or Cinnamon,
77
00:04:17,216 --> 00:04:19,677
they were trained specifically to do that.
78
00:04:19,760 --> 00:04:21,720
It wasn't easy to get the pigs...
79
00:04:21,845 --> 00:04:25,849
What do they say?
"Don't work with animals or children."
80
00:04:25,933 --> 00:04:28,686
And if you work with Simon Pegg,
you've sort of got both in one.
81
00:04:28,769 --> 00:04:30,729
That's a Jack Nicholson lookalike,
by the way.
82
00:04:30,854 --> 00:04:33,482
Nicholson was not up
for doing a cameo.
83
00:04:33,565 --> 00:04:35,609
This, however,
is the actual Thandie Newton.
84
00:04:35,693 --> 00:04:40,114
We needed a celebrity in this scene
to do a cameo.
85
00:04:40,197 --> 00:04:42,157
And Simon was actually in my flat
in London,
86
00:04:42,241 --> 00:04:44,410
where I was staying during production.
87
00:04:44,535 --> 00:04:46,787
Because he was friendly with Thandie
from Run
Fatboy Run,
88
00:04:46,870 --> 00:04:49,039
just called her on the mobile phone
and said,
89
00:04:49,123 --> 00:04:50,916
"Would you like to be in our movie?"
And she said yes.
90
00:04:51,041 --> 00:04:52,584
And she was a delight to work with.
91
00:04:52,710 --> 00:04:54,545
We were so pleased to get her.
92
00:04:54,628 --> 00:04:56,130
Too bad
she's not more beautiful, though.
93
00:04:56,755 --> 00:04:59,049
She's kind of hard to look at.
94
00:04:59,133 --> 00:05:01,719
We actually shot a lot more
with Thandie.
95
00:05:01,802 --> 00:05:03,470
There'll be deleted scenes on this DVD,
96
00:05:03,554 --> 00:05:05,472
and you'll get to see more
of Thandie's scenes
97
00:05:05,556 --> 00:05:10,060
that just got cut for time,
as most of the deleted scenes did.
98
00:05:13,564 --> 00:05:15,107
Yeah, this whole...
99
00:05:15,232 --> 00:05:19,278
You know, there was some urgency
to get Sidney to New York,
100
00:05:19,403 --> 00:05:22,656
so all of this stuff that's in London,
prior to him going,
101
00:05:22,740 --> 00:05:25,326
just got more and more condensed
in the editing room.
102
00:05:25,409 --> 00:05:28,787
And then our editor, David Freeman,
sort of came up with the idea
103
00:05:28,912 --> 00:05:31,123
of just turning this all
into a title sequence,
104
00:05:31,248 --> 00:05:33,500
so that's why credits are running
all over this,
105
00:05:33,584 --> 00:05:36,837
so you don't quite feel
the film has begun yet
106
00:05:37,629 --> 00:05:39,006
until he gets to New York.
107
00:05:39,089 --> 00:05:41,342
I thought that was actually
a smart way to go.
108
00:05:44,303 --> 00:05:46,597
This was all shot
at the Haymarket Hotel in London,
109
00:05:46,680 --> 00:05:48,599
which had only just opened
when we were shooting.
110
00:05:48,682 --> 00:05:51,810
I don't think they were open
for more than three weeks.
111
00:05:51,935 --> 00:05:56,273
And in the past year,
it's really become the hotel to stay at.
112
00:06:07,659 --> 00:06:09,953
The old fake-moustache gag.
113
00:06:11,455 --> 00:06:15,793
This business here,
of the pig taking a piss,
114
00:06:17,169 --> 00:06:19,338
was sort of an afterthought, not my idea.
115
00:06:19,463 --> 00:06:22,508
In fact, it was shot as second unit,
and at first, I really objected to it,
116
00:06:22,633 --> 00:06:24,301
and then I thought, "Well, all right.
117
00:06:24,385 --> 00:06:27,346
"It's not bad to make the pig
a little more disruptive."
118
00:06:28,305 --> 00:06:31,433
But we had to cut it way down,
because the person who actually shot it
119
00:06:31,517 --> 00:06:34,895
just shot rivers and rivers of pee.
It got to be too much.
120
00:06:34,978 --> 00:06:38,816
It's like the blood in the elevator
in The Shining.
121
00:06:40,484 --> 00:06:43,904
Here comes Sidney's jump
and crashing into the table,
122
00:06:43,987 --> 00:06:45,572
which I was never terribly satisfied with.
123
00:06:45,656 --> 00:06:47,491
I only had two shots at it,
and then I had to move on.
124
00:06:47,574 --> 00:06:49,535
And neither was great,
125
00:06:49,660 --> 00:06:52,538
so we got this idea in post-production,
of just freezing frame in mid-air
126
00:06:52,663 --> 00:06:54,081
and turning it
into a newspaper headline,
127
00:06:54,164 --> 00:06:56,208
which I thought
ultimately worked out fine.
128
00:06:56,333 --> 00:06:59,253
It was a great way to introduce the title.
129
00:06:59,503 --> 00:07:03,257
This stuff in London
we graded very cold.
130
00:07:03,382 --> 00:07:06,343
That sort of blue tint to everything
is just to make London
131
00:07:06,844 --> 00:07:08,971
look sort of depressing
next to New York,
132
00:07:09,054 --> 00:07:11,723
which is a warmer grade for contrast.
133
00:07:12,182 --> 00:07:15,269
John Beard, who has the by-line here,
is actually our production designer,
134
00:07:15,352 --> 00:07:18,480
so that's an in-joke.
I love this photo of Clint Eastwood
135
00:07:18,564 --> 00:07:21,024
and Morgan Freeman
in the background.
136
00:07:21,108 --> 00:07:22,985
What you can do with Photoshop.
137
00:07:23,068 --> 00:07:28,615
This scene in the office/flat
was actually shot at The Hobgoblin pub,
138
00:07:28,699 --> 00:07:33,871
upstairs on Effra Road,
for those of you in London.
139
00:07:34,037 --> 00:07:35,956
That fellow with the glasses
is actually a friend of mine,
140
00:07:36,039 --> 00:07:38,333
Hugh Thompson,
who's not in show business,
141
00:07:38,417 --> 00:07:42,212
but I love putting Hugh in things.
142
00:07:42,713 --> 00:07:45,424
And it really made his day
to get to be in this movie.
143
00:07:45,549 --> 00:07:47,134
So there's a shout-out to Hugh.
144
00:07:47,217 --> 00:07:52,431
This is sort of a who's who
of British actors
145
00:07:52,556 --> 00:07:53,891
that a lot of people
would be familiar with,
146
00:07:53,974 --> 00:07:55,726
certainly the Brits watching this.
147
00:07:55,809 --> 00:07:58,645
We've got James Corden.
We've got Chris O'Dowd.
148
00:07:58,729 --> 00:08:00,939
We've got Fenella Woolgar.
149
00:08:04,776 --> 00:08:07,112
All of them way overqualified
for these small parts,
150
00:08:07,237 --> 00:08:09,907
but they were sweet enough
to be willing
151
00:08:09,990 --> 00:08:12,659
to take these small parts in the film.
152
00:08:12,910 --> 00:08:16,955
That was the Preacher graphic novel
that Tim was reading, by the way.
153
00:08:17,080 --> 00:08:18,874
Here's our first shot of Jeff Bridges.
154
00:08:18,957 --> 00:08:22,669
I just had this idea to not see
Clayton Harding's face
155
00:08:22,753 --> 00:08:24,004
until we're actually in the office
156
00:08:24,087 --> 00:08:27,799
and sort of build suspense
by seeing him only from behind.
157
00:08:27,966 --> 00:08:31,261
Sort of the James Bond villain motif.
158
00:08:31,762 --> 00:08:35,265
So there we see him on the magazine
via a photo,
159
00:08:36,600 --> 00:08:39,686
but we never see him
until we're in the office.
160
00:08:41,688 --> 00:08:45,359
I love all this chaos in the...
There's Hugh in the glasses,
161
00:08:45,442 --> 00:08:48,195
getting his face pushed
by James Corden.
162
00:08:50,948 --> 00:08:54,368
So, now we're seeing
a little bit more of Jeff's face.
163
00:08:54,618 --> 00:08:57,412
When he opens the drawer here,
on the DVD, freeze frame...
164
00:08:57,496 --> 00:09:00,123
There you go,
"Posh Spice, Like Fuck She ls!" it says.
165
00:09:00,207 --> 00:09:04,419
We had a bunch of mock-up covers
made of The Modern
Review magazine,
166
00:09:04,503 --> 00:09:08,131
but they're only onscreen for flashes.
167
00:09:08,465 --> 00:09:10,676
Some of the stuff on the wall
is like that, too.
168
00:09:10,801 --> 00:09:13,595
If you could really see the stuff
on the wall,
169
00:09:13,679 --> 00:09:15,514
it's very, very funny.
170
00:09:16,181 --> 00:09:19,351
This business, I had this idea
of pushing into a blue wall,
171
00:09:19,476 --> 00:09:22,813
which turns into sky,
and then the plane comes through,
172
00:09:22,896 --> 00:09:24,898
and the art department forgot to do it,
173
00:09:24,982 --> 00:09:27,609
and that day, just right before we shot,
somebody got a can of blue paint
174
00:09:27,693 --> 00:09:31,488
and painted the wall blue,
and we were in business.
175
00:09:35,158 --> 00:09:38,036
Those shots of New York
are all stock shots.
176
00:09:39,496 --> 00:09:41,373
There was a gag
that I originally shot here
177
00:09:41,498 --> 00:09:44,293
of Sidney not having enough money
to pay the cab driver
178
00:09:44,376 --> 00:09:48,547
and only having sterling in his wallet
instead of American dollars.
179
00:09:49,506 --> 00:09:52,676
You'll see that on the deleted scenes.
And then in post,
180
00:09:52,759 --> 00:09:55,554
people weren't certain
if that gag would really play well.
181
00:09:55,679 --> 00:09:58,473
So then, just from sort of found footage
that we shot of New York
182
00:09:58,557 --> 00:10:01,768
getting sort of darker and uglier,
and that look on Simon's face,
183
00:10:01,852 --> 00:10:05,230
and then we put in a gunshot
and came up with another gag
184
00:10:05,355 --> 00:10:07,983
of just Sidney thinking he was gonna
live in a very glamorous part of town,
185
00:10:08,066 --> 00:10:10,444
and instead, he winds up here.
186
00:10:11,278 --> 00:10:13,572
Once again, over a kebab shop,
187
00:10:14,239 --> 00:10:17,951
which is where he lived in London,
so not much has changed.
188
00:10:20,537 --> 00:10:24,041
And this is the wonderful
Miriam Margolyes,
189
00:10:24,207 --> 00:10:27,628
who I could not have cast more perfectly
190
00:10:27,711 --> 00:10:30,464
for the part of Mrs Kowalski,
the Polish landlady.
191
00:10:30,547 --> 00:10:32,132
People have actually asked me
if she was Polish,
192
00:10:32,215 --> 00:10:33,800
'cause her accent is so spot on.
193
00:10:33,884 --> 00:10:37,554
But, no, she's British,
and she swears like a sailor,
194
00:10:37,638 --> 00:10:40,390
which only endeared her to us
even more.
195
00:10:41,224 --> 00:10:43,602
She's quite ribald.
196
00:10:44,269 --> 00:10:45,729
Would that be the right word?
197
00:10:45,896 --> 00:10:48,231
This apartment was actually shot
in London
198
00:10:48,315 --> 00:10:52,694
on a soundstage in the East End,
3 Mills,
199
00:10:52,778 --> 00:10:55,405
which I kept referring to
as Three Mile Island,
200
00:10:55,489 --> 00:10:56,782
which will make sense to Americans.
201
00:10:56,907 --> 00:10:59,076
It was always very, very hot there.
202
00:10:59,159 --> 00:11:00,452
We were all sweating like crazy,
203
00:11:00,577 --> 00:11:02,913
and of course
Simon was always under the lights.
204
00:11:04,956 --> 00:11:06,375
So a lot of wardrobe changes
205
00:11:06,458 --> 00:11:08,710
when Simon's clothes
would soak through.
206
00:11:08,794 --> 00:11:10,754
That's a translight outside.
207
00:11:10,837 --> 00:11:13,715
We're actually inside a soundstage, but
that was a great New York translight,
208
00:11:13,799 --> 00:11:17,427
which is just kind of soft-focused
through the windows.
209
00:11:17,678 --> 00:11:21,098
This whip-pan coming up here
to change from the flat,
210
00:11:21,181 --> 00:11:24,518
or the apartment, as we say in America,
to the dance floor,
211
00:11:24,601 --> 00:11:26,853
is sort of a device
I stole from Edgar Wright,
212
00:11:28,146 --> 00:11:30,899
the director of Shaun of the Dead,
Hot Fuzz...
213
00:11:30,982 --> 00:11:32,526
You all know who Edgar Wright is.
Spaced.
214
00:11:32,609 --> 00:11:35,946
But of course, Edgar ripped it off
from 100 other people,
215
00:11:36,029 --> 00:11:37,698
so I told him that was
my homage to him,
216
00:11:37,781 --> 00:11:39,282
and he said,
"What are you talking about?
217
00:11:39,366 --> 00:11:41,702
"I didn't come up with the whip-pan."
218
00:11:42,619 --> 00:11:48,583
This dance club is The Cobden club
on Kensal Road in London.
219
00:11:48,667 --> 00:11:49,876
And we did two versions of this.
220
00:11:49,960 --> 00:11:51,545
One actually ended
with Simon break-dancing,
221
00:11:51,628 --> 00:11:54,798
which he actually did pretty well.
222
00:11:54,881 --> 00:11:57,342
It was almost too good for Sidney
to be that good a break-dancer,
223
00:11:57,467 --> 00:11:58,885
so we went with this version.
224
00:11:58,969 --> 00:12:02,305
And the break-dance version
should be on the deleted scenes.
225
00:12:03,181 --> 00:12:04,474
Simon and I knew
from the beginning that
226
00:12:04,558 --> 00:12:06,893
that would be a struggle to decide that.
227
00:12:07,561 --> 00:12:10,981
I love this scene. That's Nathalie Cox,
who you're gonna see in the bar.
228
00:12:11,064 --> 00:12:13,400
This is very Chaplin-esque,
229
00:12:13,483 --> 00:12:15,152
this timing of Sidney
coming back in frame
230
00:12:15,235 --> 00:12:17,612
and the little shoulder shrug, right there.
231
00:12:17,696 --> 00:12:20,073
I love it. That's very Chaplin.
232
00:12:22,451 --> 00:12:24,161
This is actually...
233
00:12:24,536 --> 00:12:26,830
This right here is the very first thing
that we shot in the film,
234
00:12:26,955 --> 00:12:29,374
June 4, 2007, first day of production.
235
00:12:29,499 --> 00:12:31,793
This was our first location.
236
00:12:32,002 --> 00:12:36,506
Charlie Wright's bar in Pitfield,
N1, to be exact,
237
00:12:37,048 --> 00:12:40,969
for you people who want to run out
and find all the locations.
238
00:12:42,220 --> 00:12:45,682
Yeah, this was the first angle
we shot on this scene.
239
00:12:47,726 --> 00:12:49,519
This business...
240
00:12:50,687 --> 00:12:53,273
That line right there,
we always thought was kind of the...
241
00:12:53,356 --> 00:12:54,941
Whenever we screened
the film in advance,
242
00:12:55,025 --> 00:12:56,902
that was the first really big laugh.
243
00:12:57,027 --> 00:13:00,322
So that was our intention
to get to that point as soon as possible,
244
00:13:00,405 --> 00:13:01,782
and that's why the opening of the film
245
00:13:01,865 --> 00:13:03,700
just really kept getting condensed
more and more,
246
00:13:03,825 --> 00:13:08,246
so we could get Sidney to New York
and hear that joke.
247
00:13:13,251 --> 00:13:15,462
Kirsten's reference
to the White Russian,
248
00:13:15,545 --> 00:13:17,464
if you've seen the film,
I assume you have already
249
00:13:17,547 --> 00:13:21,176
before you heard my audio commentary,
is very significant.
250
00:13:21,259 --> 00:13:23,053
Somebody put a bendy straw
in that White Russian,
251
00:13:23,178 --> 00:13:24,930
which I only discovered
after a few takes.
252
00:13:25,055 --> 00:13:27,015
There it is. It was too late to take it out.
253
00:13:27,098 --> 00:13:28,934
I was really annoyed that somebody
put a bendy straw
254
00:13:29,059 --> 00:13:30,310
in the White Russian,
255
00:13:30,393 --> 00:13:31,645
because the drinker
of the White Russian
256
00:13:31,728 --> 00:13:34,064
would never have a bendy straw.
257
00:13:34,439 --> 00:13:37,567
These are the kinds of things
that get me crazy.
258
00:13:41,947 --> 00:13:46,910
Here's a gag on Gloucester,
which she pronounced "Glouchester."
259
00:13:47,577 --> 00:13:49,162
And Simon Pegg's actually
from Gloucester,
260
00:13:49,246 --> 00:13:50,956
and Peter Straughan, the writer,
261
00:13:51,081 --> 00:13:53,542
actually made Sidney's character
from Gloucester,
262
00:13:53,625 --> 00:13:58,797
hoping that would appeal to Simon
and that he would play the part.
263
00:13:58,922 --> 00:14:01,633
I think that's what finally convinced him
is the Gloucester reference.
264
00:14:04,386 --> 00:14:05,762
These two, by the way,
Simon and Kirsten,
265
00:14:05,887 --> 00:14:08,473
got on so well on this film
and became so close that
266
00:14:08,598 --> 00:14:10,600
there were times
when I felt like a school teacher,
267
00:14:10,684 --> 00:14:13,186
having to separate them
because they were having too much fun
268
00:14:13,270 --> 00:14:15,730
and giggling
and acting like little children.
269
00:14:16,565 --> 00:14:20,193
But it's great because the chemistry
really comes through in the film, I think,
270
00:14:20,277 --> 00:14:22,737
that they really did enjoy
each other's company.
271
00:14:25,782 --> 00:14:27,784
Kirsten I worked with
when she was 13 years old.
272
00:14:27,909 --> 00:14:29,703
She had a small part in a film
I wrote and produced
273
00:14:29,786 --> 00:14:32,789
called
Mother Night in 1995-96.
274
00:14:33,707 --> 00:14:36,376
So this was sort of a reunion for us.
275
00:14:36,918 --> 00:14:39,796
And
Stephen Woolley, the producer,
produced Interview with the Vampire,
276
00:14:39,880 --> 00:14:44,968
which put Kirsten on the map,
so this was sort of a two-part reunion.
277
00:14:45,051 --> 00:14:50,807
This is Charlotte Devaney, an actress
we found, who is a hell of a dancer
278
00:14:51,641 --> 00:14:54,978
and was willing to get naked
and wear a prosthetic penis,
279
00:14:55,103 --> 00:14:57,314
so what more could you want?
280
00:15:00,775 --> 00:15:02,068
There was actually some question
281
00:15:02,152 --> 00:15:04,821
as to whether we'd go with
a real tranny for a while.
282
00:15:04,946 --> 00:15:06,406
Again, I can give away these spoilers
283
00:15:06,489 --> 00:15:08,575
because you've already
watched the film.
284
00:15:08,658 --> 00:15:11,828
But we decided instead
to cast an actual woman
285
00:15:13,622 --> 00:15:15,999
and fit her with a prosthetic.
286
00:15:17,167 --> 00:15:19,753
Don't make me say any more about that.
287
00:15:22,172 --> 00:15:25,759
This is Ace of Spades.
288
00:15:36,102 --> 00:15:37,103
People have asked if these
289
00:15:37,187 --> 00:15:39,022
Big
Lebowski references
were intentional.
290
00:15:39,147 --> 00:15:42,275
He calls her "Mrs Lebowski,"
and we've got the White Russian.
291
00:15:42,359 --> 00:15:44,110
And they really weren't.
Peter Straughan wasn't...
292
00:15:44,194 --> 00:15:47,280
We had no idea that Jeff Bridges
would be in the film.
293
00:15:47,447 --> 00:15:49,824
I mean, ultimately, he was cast,
294
00:15:51,534 --> 00:15:55,538
but we weren't thinking of Jeff
with these Lebowski references.
295
00:15:56,498 --> 00:15:58,959
Stephen Woolley, the producer,
wanted me to shoot
296
00:15:59,042 --> 00:16:01,795
a frontal of Bobbie there,
297
00:16:01,878 --> 00:16:05,215
but I said, "No,
let's save that for the striptease later.
298
00:16:05,340 --> 00:16:08,134
"We'll just intimate what's going on."
299
00:16:08,718 --> 00:16:10,804
This business with the blinds
was an idea that I had.
300
00:16:10,887 --> 00:16:13,890
I just wanted to sort of
load up the scene with a bunch of gags
301
00:16:13,974 --> 00:16:16,393
on Sidney's first day at work.
302
00:16:16,559 --> 00:16:19,229
So the prop department rigged up
the blinds to fall.
303
00:16:20,480 --> 00:16:22,315
This business about the brown,
rusty water,
304
00:16:22,399 --> 00:16:24,025
this may not make sense to Londoners,
305
00:16:24,109 --> 00:16:26,569
but anyone who's gone to New York
and stayed in an old building
306
00:16:26,653 --> 00:16:28,488
understands the idea of the rusty water
307
00:16:28,571 --> 00:16:30,949
coming out of the rusty pipes.
308
00:16:31,700 --> 00:16:32,867
And we just...
309
00:16:33,159 --> 00:16:35,662
These were all sort of last-minute gags
that were thought of on the set.
310
00:16:35,745 --> 00:16:37,914
And I think I got some tea.
311
00:16:38,748 --> 00:16:40,500
It's basically tea.
312
00:16:41,334 --> 00:16:43,878
And here we have the... Yeah.
313
00:16:45,171 --> 00:16:47,590
All the guys know what that's about.
314
00:16:47,674 --> 00:16:50,343
Now, here we are, obviously
in New York, in Times Square.
315
00:16:50,427 --> 00:16:51,469
You can't fake this.
316
00:16:51,553 --> 00:16:54,097
We had a few days to shoot New York,
some actual exteriors.
317
00:16:54,180 --> 00:16:57,892
This, right here, is the final shot
of principal photography,
318
00:16:57,976 --> 00:17:01,146
shot from the 30th floor of a hotel.
319
00:17:02,022 --> 00:17:03,940
This was the last shot.
320
00:17:05,567 --> 00:17:07,610
And so we've got New York.
321
00:17:07,694 --> 00:17:11,281
This lobby is actually a lobby
of a building in New York.
322
00:17:11,364 --> 00:17:13,241
The elevator,
or lift as we say in England,
323
00:17:13,324 --> 00:17:15,452
is yet another location.
324
00:17:15,535 --> 00:17:18,955
The basic office is another location,
325
00:17:19,039 --> 00:17:22,584
and then Clayton Harding's office
is yet another location.
326
00:17:22,667 --> 00:17:26,671
So, continuity-wise,
this was difficult stuff to make match.
327
00:17:27,213 --> 00:17:28,840
And here, we're about to see, finally,
328
00:17:28,923 --> 00:17:32,844
the reveal of Jeff Bridges
that we've been waiting for.
329
00:17:32,927 --> 00:17:34,137
Whether we're actually
in New York here,
330
00:17:34,220 --> 00:17:35,597
or whether we're
on a London soundstage
331
00:17:35,680 --> 00:17:37,682
with a green screen, I won't tell you.
332
00:17:41,227 --> 00:17:42,437
Love that line.
333
00:17:42,520 --> 00:17:45,148
Jeff Bridges I've actually known
for about 12 years,
334
00:17:45,982 --> 00:17:47,984
and he just came to mind right away
when I read the script.
335
00:17:48,068 --> 00:17:49,694
I really wanted him
to play Clayton Harding.
336
00:17:49,778 --> 00:17:52,655
We had talked
about doing something together,
337
00:17:52,822 --> 00:17:55,533
and I sent him the script,
and thankfully he said yes.
338
00:17:55,617 --> 00:17:59,204
He had no idea that it was based
on Graydon Carter of Vanity
Fair.
339
00:17:59,287 --> 00:18:02,290
In fact, when I told him that,
he said, "Who's Graydon Carter?"
340
00:18:02,373 --> 00:18:06,419
So, so much for people who think
that Jeff is trying to play Graydon.
341
00:18:06,503 --> 00:18:08,296
I told him not to research
Graydon Carter
342
00:18:08,379 --> 00:18:09,589
or learn anything about him,
343
00:18:09,672 --> 00:18:12,592
because I wanted to think of this
as an original character,
344
00:18:12,675 --> 00:18:15,929
just as, to me,
Sidney Young is Sidney and not Toby.
345
00:18:16,679 --> 00:18:20,141
It's a fictional character based loosely
on someone who really lived.
346
00:18:21,017 --> 00:18:22,977
"Lives," I should say.
347
00:18:23,937 --> 00:18:26,064
Although Toby really did wear
a T-shirt that said,
348
00:18:26,147 --> 00:18:28,983
"Young, dumb and full of come,"
on his first day at Vanity Fair,
349
00:18:29,067 --> 00:18:31,528
and next to it was a picture
of a young actor whom I won't mention,
350
00:18:31,611 --> 00:18:32,987
and he was chastised for that.
351
00:18:33,071 --> 00:18:34,614
He was told that dress was casual,
352
00:18:34,697 --> 00:18:37,992
but he had
a different definition of casual.
353
00:18:43,998 --> 00:18:45,834
Simon was so excited to work with Jeff.
354
00:18:45,917 --> 00:18:47,460
When I called up Simon and I said,
355
00:18:47,544 --> 00:18:49,295
"Guess what,
we got Jeff Bridges to play Clayton,"
356
00:18:49,379 --> 00:18:53,258
he said, "The Dude!
I'm going to be working with The Dude!"
357
00:18:53,883 --> 00:18:55,009
He was very excited.
358
00:18:55,093 --> 00:18:58,388
Simon is still a fan boy, after all.
He's like a geek made good.
359
00:18:58,471 --> 00:19:00,390
He's a movie geek
who gets to be in movies now.
360
00:19:00,473 --> 00:19:05,937
So working with Kirsten,
Jeff and Gillian and Megan,
361
00:19:06,521 --> 00:19:08,481
all these people really excited him.
362
00:19:13,194 --> 00:19:15,530
The business of Clayton
always playing with a matchbook
363
00:19:15,613 --> 00:19:18,533
was something to identify him
with a scene that was shot
364
00:19:18,616 --> 00:19:20,118
and then cut, so...
365
00:19:20,910 --> 00:19:22,412
It's sort of a long story,
366
00:19:22,495 --> 00:19:24,706
but we have him playing
with this matchbook,
367
00:19:24,789 --> 00:19:26,541
and it's not quite clear why,
368
00:19:26,624 --> 00:19:30,211
but it was to identify him
in an earlier scene
369
00:19:30,295 --> 00:19:32,422
when we saw him from behind,
370
00:19:33,590 --> 00:19:37,343
but you never know
what's going to wind up in the final edit.
371
00:19:40,638 --> 00:19:44,434
Here, we have Danny Huston,
also an actor I saw for this part
372
00:19:44,517 --> 00:19:45,977
when I first read the script.
373
00:19:46,102 --> 00:19:49,480
I hadn't met Danny.
I didn't know him but knew his work
374
00:19:49,564 --> 00:19:52,692
and thought he was sort of
the prototypical Lawrence Maddox,
375
00:19:53,610 --> 00:19:56,946
so I was really thrilled
when he agreed to do the film.
376
00:19:57,030 --> 00:19:58,990
When I first met with him, though,
he had read the script
377
00:19:59,073 --> 00:20:02,118
and thought that I was meeting with him
about the part of Sidney,
378
00:20:02,202 --> 00:20:06,206
for him to play Sidney, and he thought,
"That's unusual casting."
379
00:20:06,289 --> 00:20:09,167
And we were talking around in circles
for about 10 minutes
380
00:20:09,250 --> 00:20:11,794
before we realised
we were talking about different parts.
381
00:20:11,878 --> 00:20:13,546
I said, "No, no, no,
I want you for Lawrence Maddox."
382
00:20:13,630 --> 00:20:16,174
And he said,
"I guess that makes more sense."
383
00:20:23,932 --> 00:20:26,517
That picture on the desk
is of Hannah Waddingham,
384
00:20:26,601 --> 00:20:30,146
who plays Danny's wife,
Lawrence's wife.
385
00:20:31,147 --> 00:20:35,318
And they had photoshopped
all these photos of Danny,
386
00:20:35,401 --> 00:20:37,862
and I said, "You know,
we really need a photo of his wife."
387
00:20:37,946 --> 00:20:40,448
There was a lot of wife confusion
between Maddox's wife
388
00:20:40,531 --> 00:20:43,201
and Harding's wife
that we needed to clear up,
389
00:20:43,284 --> 00:20:46,579
and I thought photos on the desk
of the wives would do it.
390
00:20:47,413 --> 00:20:49,707
And there really was
no photo of Hannah,
391
00:20:49,832 --> 00:20:53,086
so I had them get
one of her wardrobe test photos
392
00:20:53,253 --> 00:20:56,005
and quickly put it in the frame
and put it on the desk
393
00:20:56,673 --> 00:21:00,885
and put it on the table, there,
but nobody really sees it.
394
00:21:01,511 --> 00:21:02,720
anyway- --
395
00:21:05,598 --> 00:21:12,021
The girl he pissed off at the bar
is his colleague, Alison Olsen. Oh, no!
396
00:21:13,231 --> 00:21:15,358
And she's eating an apple.
397
00:21:16,025 --> 00:21:17,610
You film buffs all know, of course,
398
00:21:17,694 --> 00:21:20,446
that Danny Huston's father
was John Huston,
399
00:21:20,530 --> 00:21:24,409
one of the great American directors.
400
00:21:24,534 --> 00:21:29,289
His grandfather was Walter Huston,
an actor, whom his father directed.
401
00:21:29,372 --> 00:21:32,583
Danny actually planned
on being a director
402
00:21:34,127 --> 00:21:35,253
and did direct a few things,
403
00:21:35,378 --> 00:21:36,838
and I've seen them,
and he was very good.
404
00:21:36,921 --> 00:21:39,257
He would have had a great career
as a director, but then he'd acted
405
00:21:39,382 --> 00:21:45,054
in a movie called lvansxtc
and was so good that he had...
406
00:21:45,138 --> 00:21:47,515
It's just been one acting gig
after the next.
407
00:21:47,598 --> 00:21:51,269
And I think he's finally resigned himself
to the idea that he's an actor.
408
00:21:51,394 --> 00:21:54,480
He might get back to directing someday.
I would like to see that.
409
00:21:54,564 --> 00:21:58,276
He certainly has it in his DNA.
This is Margo Stilley, right here,
410
00:21:58,401 --> 00:22:00,695
whom many of you will know
from
9 Songs,
411
00:22:00,778 --> 00:22:03,823
probably done a lot of freeze frames
on the DVD.
412
00:22:03,906 --> 00:22:06,242
There was more to this scene
at one point.
413
00:22:06,326 --> 00:22:07,618
Some stuff got around...
We sort of brought back
414
00:22:07,744 --> 00:22:10,747
the "what goes around,
comes around" motif.
415
00:22:13,082 --> 00:22:15,126
But that got dropped.
416
00:22:15,251 --> 00:22:18,046
I like this scene,
this Chris Blick exhibit scene,
417
00:22:18,129 --> 00:22:20,173
because it's all one take.
We did several takes of this,
418
00:22:20,256 --> 00:22:23,760
and Simon was just always great,
so we just chose our favourite.
419
00:22:24,677 --> 00:22:27,597
I was actually on the other end
of the phone with him for this.
420
00:22:27,680 --> 00:22:29,223
That's not my voice on the finished film.
421
00:22:29,307 --> 00:22:30,767
We dubbed in a new voice,
422
00:22:30,850 --> 00:22:34,604
but I did all the telephone stuff
with Simon, which was fun.
423
00:22:51,621 --> 00:22:57,168
These things that are in the foreground,
the bottle and the pole, here, the lamp,
424
00:22:57,293 --> 00:22:59,003
when you make a move
as subtle as this,
425
00:22:59,128 --> 00:23:01,381
you can barely tell
there's movement going on
426
00:23:01,464 --> 00:23:03,716
unless you have something
passing in the foreground,
427
00:23:03,800 --> 00:23:05,176
so we purposely stuck some things in
428
00:23:05,301 --> 00:23:08,596
so that we could get our money's worth
out of the move.
429
00:23:19,816 --> 00:23:23,277
People kept trying to get me
to cut this last line about the wonky eye,
430
00:23:23,361 --> 00:23:24,779
and I insisted on keeping it in.
431
00:23:24,862 --> 00:23:27,657
I thought it needed
sort of a secondary punch line.
432
00:23:29,325 --> 00:23:32,328
It tends to get laughs,
so I think it was the right move.
433
00:23:35,039 --> 00:23:39,043
Here again, we're going from one set
to another location,
434
00:23:40,503 --> 00:23:42,547
and it's all cut together.
435
00:23:43,464 --> 00:23:46,259
This business about the elevator
actually going up and down on-camera
436
00:23:46,342 --> 00:23:48,719
was an idea that I had
when I first read the script,
437
00:23:48,845 --> 00:23:51,889
because there's so many scenes
that take place in the elevators.
438
00:23:52,014 --> 00:23:53,057
And here, we see it go up.
439
00:23:53,182 --> 00:23:55,393
And usually the camera is sort of
in the elevator,
440
00:23:55,518 --> 00:23:58,271
so as it goes up, we go up with it,
and we don't sense any movement.
441
00:23:58,354 --> 00:23:59,730
But we have all these little jokes
442
00:23:59,856 --> 00:24:02,525
that I thought would be
after the punch line,
443
00:24:02,650 --> 00:24:06,779
to sort of have them exit frame,
so to speak, either up or down.
444
00:24:06,863 --> 00:24:12,410
And my crew came up with this device
that we just called the "descender rig."
445
00:24:12,535 --> 00:24:14,620
Actually, the elevator
obviously stood still.
446
00:24:14,704 --> 00:24:15,913
It was the camera
that went up and down,
447
00:24:16,038 --> 00:24:18,082
giving the illusion of movement,
movement in the elevator,
448
00:24:18,207 --> 00:24:20,001
and I really like it.
449
00:24:20,084 --> 00:24:22,086
Thought they pulled it off very well.
450
00:24:23,629 --> 00:24:25,548
That, by the way,
was Isabella Calthorpe...
451
00:24:25,673 --> 00:24:27,341
We'll see her again.
452
00:24:28,134 --> 00:24:29,719
...who was in the elevator.
453
00:24:30,219 --> 00:24:31,971
I never know whether to say
"elevator" or "lift" now.
454
00:24:32,054 --> 00:24:33,139
I've been going back and forth
455
00:24:33,222 --> 00:24:35,892
between the States
and England so much
456
00:24:35,975 --> 00:24:38,227
that I don't know where I am.
457
00:24:39,312 --> 00:24:43,232
See, now, here, the camera is inside
the elevator with them.
458
00:24:43,316 --> 00:24:46,402
And earlier, we actually saw
the camera go inside the elevator,
459
00:24:46,486 --> 00:24:47,653
which was our way of saying,
460
00:24:47,737 --> 00:24:49,739
"Okay, now we are in the elevator
with them.
461
00:24:49,864 --> 00:24:51,866
"The elevator isn't passing us by."
462
00:24:59,540 --> 00:25:02,502
The two-shots of Simon and Kirsten
463
00:25:02,585 --> 00:25:04,754
were shot on a day
at the end of the day.
464
00:25:04,837 --> 00:25:08,424
It was late at night after a long day,
and Simon was really sick.
465
00:25:08,549 --> 00:25:10,092
He really had a fever and felt terrible.
466
00:25:10,176 --> 00:25:13,221
All the stuff
where you see dead-on like this,
467
00:25:13,679 --> 00:25:15,848
Simon was really, really ill.
468
00:25:17,016 --> 00:25:19,769
That's still one of my favourite moments
in the movie, right there.
469
00:25:19,894 --> 00:25:22,021
We had to do so many takes of that.
470
00:25:22,104 --> 00:25:27,193
It was very hard to get it timed right
471
00:25:27,276 --> 00:25:29,862
and get it to land right and get it to stick.
472
00:25:30,446 --> 00:25:32,782
And we never went back
and got the coverage until much later.
473
00:25:32,865 --> 00:25:36,035
I think one of our last days
of shooting in London,
474
00:25:36,118 --> 00:25:41,666
we finally went back and
got some close-ups and overs,
475
00:25:43,376 --> 00:25:44,627
'cause we really needed the coverage,
476
00:25:44,710 --> 00:25:47,296
'cause we just didn't have
the opportunity the first time we shot.
477
00:25:47,380 --> 00:25:49,340
You're always fighting the clock.
478
00:25:51,342 --> 00:25:56,305
That's one thing that television, movies,
low-budget, high-budget,
479
00:25:56,389 --> 00:25:59,058
never have enough time
to get everything you want.
480
00:26:08,609 --> 00:26:10,027
"God gave a mollusc."
481
00:26:10,111 --> 00:26:11,487
"Don't have the brains
God gave a mollusc."
482
00:26:11,571 --> 00:26:13,739
In the script, it was, "You don't
have the brains God gave a cat,"
483
00:26:13,823 --> 00:26:18,035
but I love cats so much I told Peter,
"I don't want to insult cats."
484
00:26:18,119 --> 00:26:21,330
My cats might be watching this movie.
I don't want them to look at me and say,
485
00:26:21,414 --> 00:26:22,873
"Well, why are you putting down cats?"
486
00:26:22,957 --> 00:26:26,502
So I told Peter,
"Let's find something else,"
487
00:26:26,586 --> 00:26:29,964
and he came up with "mollusc,"
which I thought worked pretty well.
488
00:26:30,047 --> 00:26:32,133
I thought you needed to know that.
489
00:26:32,216 --> 00:26:34,260
This whole business, by the way,
about Snipe magazine
490
00:26:34,343 --> 00:26:36,596
is really based on Graydon Carter,
who had a magazine
491
00:26:36,679 --> 00:26:39,015
called Spy magazine.
He was one of the founders,
492
00:26:39,098 --> 00:26:43,853
which was a satirical, humorous,
iconoclastic magazine.
493
00:26:44,604 --> 00:26:47,481
And Graydon Carter, himself,
has said that he has now become
494
00:26:47,565 --> 00:26:49,817
the type of person
that he would have lampooned
495
00:26:49,900 --> 00:26:51,319
in the days when he was running Spy.
496
00:26:51,402 --> 00:26:53,404
He sort of put on a suit
and joined the dark side,
497
00:26:53,487 --> 00:26:57,158
so that part of our story here
is borrowed from real life.
498
00:27:02,622 --> 00:27:04,415
This scene, this little scene
499
00:27:04,498 --> 00:27:05,958
with the answering machine
kept eluding us.
500
00:27:06,042 --> 00:27:07,752
It was always on the schedule,
501
00:27:07,835 --> 00:27:10,087
and we'd always run out of time
and never get to it.
502
00:27:11,422 --> 00:27:13,382
And it was on the schedule for, like,
five different days,
503
00:27:13,466 --> 00:27:14,925
that little shot of the answering machine
504
00:27:15,009 --> 00:27:18,262
and then Simon in the background,
and finally we got to it.
505
00:27:18,346 --> 00:27:21,474
I insisted that we get it.
We came close to dropping it.
506
00:27:25,645 --> 00:27:30,650
This is actually on a soundstage
in a car with projection.
507
00:27:33,694 --> 00:27:35,821
That's actually New York.
508
00:27:39,825 --> 00:27:42,578
I will admit that was a line I gave Simon,
509
00:27:42,662 --> 00:27:45,414
'cause I always say that
when I see two people texting
510
00:27:45,498 --> 00:27:46,582
who are sitting right next to each other.
511
00:27:46,666 --> 00:27:49,251
That's always my stock gag.
All my friends are tired of it.
512
00:27:49,335 --> 00:27:51,462
But I gave it to Simon.
513
00:27:52,004 --> 00:27:54,006
Now I've got it out of my system.
It's been in a movie.
514
00:27:54,090 --> 00:27:56,425
I don't have to say it any more.
515
00:27:56,509 --> 00:28:00,012
People will say, "You got that line
from Simon Pegg, didn't you?"
516
00:28:04,600 --> 00:28:07,895
This is the rooftop of the Soho House
in New York.
517
00:28:08,521 --> 00:28:12,775
A lot of people ask me where I got
this great translight for the background,
518
00:28:12,858 --> 00:28:15,986
and I say, "it's not a translight.
We're actually in New York."
519
00:28:22,368 --> 00:28:23,452
There's Toby Young, right there,
520
00:28:23,536 --> 00:28:26,455
the bald guy standing next
to Danny Huston.
521
00:28:26,706 --> 00:28:29,208
That was Toby's cameo.
522
00:28:29,667 --> 00:28:34,046
Everyone gets 15 minutes of fame.
We gave Toby five seconds of fame.
523
00:28:37,800 --> 00:28:40,344
This little business with the cell phone
ringing in the background
524
00:28:40,428 --> 00:28:43,389
and everybody checking their phones
to see if it's them,
525
00:28:43,472 --> 00:28:45,725
if it's their phone, is something
I insisted on putting in the film.
526
00:28:45,808 --> 00:28:48,144
Everyone tried to get me to cut it,
saying, "it's not that funny,"
527
00:28:48,227 --> 00:28:49,478
and I said,
"it doesn't need to be that funny."
528
00:28:49,562 --> 00:28:51,689
It's just a little background joke.
529
00:28:51,772 --> 00:28:53,107
And if you live in LA or New York,
530
00:28:53,190 --> 00:28:55,025
you see that happen
about 100 times a day.
531
00:28:55,109 --> 00:28:58,404
Somebody's phone rings, and
everybody checks to see if it's them.
532
00:29:00,239 --> 00:29:03,284
This is a wonderful actress named
Diana Kent, who's actually British,
533
00:29:03,367 --> 00:29:06,162
who does, I think,
a very good American accent.
534
00:29:06,245 --> 00:29:09,457
And we'll talk later about
a scene of hers that was cut
535
00:29:09,540 --> 00:29:10,791
that was a follow-up to this.
536
00:29:10,875 --> 00:29:12,543
It's the one thing
that still sticks in my craw,
537
00:29:12,668 --> 00:29:17,757
a scene that I had to cut for time
that I really didn't want to.
538
00:29:17,840 --> 00:29:19,675
I think she's wonderful.
539
00:29:19,967 --> 00:29:21,635
And here comes Max Minghella.
540
00:29:21,719 --> 00:29:25,181
We now have two directors' sons
working together, here.
541
00:29:25,264 --> 00:29:29,435
Max, of course, is the son
of the late great Anthony Minghella.
542
00:29:31,729 --> 00:29:34,356
This really breaks my heart,
Diana walking off like that.
543
00:29:34,440 --> 00:29:36,442
I told the editor, I said,
"Stay with the pain.
544
00:29:36,525 --> 00:29:39,570
"The scene is not about the dialogue
between Danny and Max.
545
00:29:39,653 --> 00:29:41,989
"It's about her being rejected."
546
00:29:42,239 --> 00:29:45,034
And she played that spot on.
547
00:29:47,411 --> 00:29:50,664
Danny is very evil in this scene.
It's funny, Danny is such a nice guy.
548
00:29:50,748 --> 00:29:54,668
He's such a cheerful guy,
but he keeps getting cast as bad guys.
549
00:29:55,252 --> 00:29:57,963
I just saw two films of his recently
550
00:29:58,047 --> 00:30:01,759
that haven't been released yet,
and he'sjust evil, evil, evil.
551
00:30:01,842 --> 00:30:05,513
And he always has a smile on his face.
He's always laughing.
552
00:30:05,596 --> 00:30:12,812
This scene coming up here,
with Sidney and Rachel, is very key,
553
00:30:12,895 --> 00:30:15,856
because it's the first sense we get
that there's something more
554
00:30:15,940 --> 00:30:19,693
to Sidney than just being a sycophant
and being a jerk.
555
00:30:19,777 --> 00:30:22,780
We finally see a human side to him,
556
00:30:22,863 --> 00:30:26,367
and that's one of the things I like
about Peter Straughan's script,
557
00:30:26,450 --> 00:30:29,328
is that Sidney starts off as one thing,
558
00:30:31,789 --> 00:30:33,624
and then more of his personality
is revealed later on,
559
00:30:33,707 --> 00:30:35,960
and he becomes quite humanised.
560
00:30:36,210 --> 00:30:38,546
But the fact that he's paying attention
to this actress
561
00:30:38,629 --> 00:30:41,715
that everyone else is ignoring
because she's already had her day,
562
00:30:41,799 --> 00:30:43,926
and he wants to make her feel good
and ask for an autograph,
563
00:30:44,009 --> 00:30:45,094
I think, is very touching.
564
00:30:45,177 --> 00:30:48,514
This is actually, frankly,
one of my favourite scenes in the movie.
565
00:30:58,440 --> 00:31:01,986
And that line, "I'll remember that,"
actually comes into play later
566
00:31:02,111 --> 00:31:03,821
in a scene that was cut,
567
00:31:03,946 --> 00:31:07,032
which I'm certain will be
on the deleted scenes.
568
00:31:12,037 --> 00:31:13,664
You can see all the wind
in the background
569
00:31:13,789 --> 00:31:14,832
on some of these shots.
570
00:31:14,957 --> 00:31:17,126
Something I should tell you
is that every line of dialogue
571
00:31:17,209 --> 00:31:23,465
in all of this rooftop scene was ADR'd,
or dubbed, in layman's terms,
572
00:31:24,133 --> 00:31:25,384
because there was so much...
573
00:31:25,467 --> 00:31:30,139
See the wind there with the palm trees,
and the little tent, the little marquee?
574
00:31:30,890 --> 00:31:32,975
The wind was awful. There are sirens.
575
00:31:33,058 --> 00:31:36,061
This is the problem when
you're shooting exteriors in New York,
576
00:31:36,145 --> 00:31:39,815
is you can only have so much control
of sort of the ambient noise.
577
00:31:40,983 --> 00:31:43,736
And there were some just
sound-recording problems, too.
578
00:31:43,819 --> 00:31:48,032
So all this dialogue was dubbed
later on in a sound booth,
579
00:31:48,157 --> 00:31:50,701
much like the one I'm in right now.
580
00:31:51,994 --> 00:31:53,078
You can't tell, can you?
581
00:31:53,162 --> 00:31:55,956
Simon and Kirsten are both excellent
at doing ADR.
582
00:31:56,040 --> 00:31:57,458
It's absolutely undetectable.
583
00:31:57,541 --> 00:32:01,545
The other actors are very good, too,
so it worked out all right.
584
00:32:02,212 --> 00:32:04,381
And here's Gillian Anderson.
585
00:32:04,840 --> 00:32:07,176
Very, very pregnant, as we speak.
586
00:32:07,426 --> 00:32:09,720
As I speak.
I don't know if you're speaking.
587
00:32:09,845 --> 00:32:12,598
But I'm sure her baby will have arrived
by the time you hear this.
588
00:32:12,681 --> 00:32:13,849
It better,
589
00:32:13,933 --> 00:32:17,686
or else it'll have been gestating
for about two years.
590
00:32:25,277 --> 00:32:28,197
Gillian is very different than
how I first thought of the character
591
00:32:28,280 --> 00:32:31,784
when I read the script,
but once I heard she was available,
592
00:32:31,867 --> 00:32:33,369
lthought
"Well, that's certainly worth a meeting,"
593
00:32:33,452 --> 00:32:36,246
because who wouldn't want
to work with Gillian Anderson?
594
00:32:36,372 --> 00:32:38,374
She's such a terrific actress,
and then we met and I thought,
595
00:32:38,457 --> 00:32:41,418
"Okay, it's up to me
to sort of rethink the role."
596
00:32:43,295 --> 00:32:45,255
And, boy, shejust nailed it.
597
00:32:45,381 --> 00:32:47,132
There's Brian Austin Green, right there,
598
00:32:47,216 --> 00:32:51,887
who's the real-life boyfriend,
lucky guy, of Megan Fox.
599
00:32:52,596 --> 00:32:54,056
There she is.
600
00:32:55,099 --> 00:32:59,561
That sort of open-mouth look
of Simon's is pretty much
601
00:32:59,645 --> 00:33:02,481
how we all first looked
when we first saw Megan.
602
00:33:04,566 --> 00:33:06,986
Terrific actress, really, really good.
603
00:33:07,069 --> 00:33:10,406
I think her career will go
wherever she wants to take it.
604
00:33:11,240 --> 00:33:13,117
I wish there was more for her
to do in this movie.
605
00:33:13,242 --> 00:33:16,704
This, of course,
for you foreign film buffs,
606
00:33:16,787 --> 00:33:22,001
you all know that this is
Nino Rota on the soundtrack,
607
00:33:22,084 --> 00:33:23,419
music from La Dolce vita.
608
00:33:23,544 --> 00:33:26,922
We sort of have a La
Dolce vita motif
through the film.
609
00:33:28,132 --> 00:33:31,135
And those of you who know
who Anita Ekberg is,
610
00:33:32,261 --> 00:33:34,346
who know the significance
of the Trevi Fountain,
611
00:33:34,430 --> 00:33:36,932
will understand that
there are layers to this scene
612
00:33:39,268 --> 00:33:42,896
that civilians may not fully grasp.
613
00:33:46,775 --> 00:33:48,652
See, we give you everything
in this movie,
614
00:33:48,777 --> 00:33:52,906
pig-piss gags one second
and Fellini references the next.
615
00:33:53,574 --> 00:33:55,075
Something for everybody.
616
00:33:58,120 --> 00:34:02,124
This lobby is actually...
It's funny because the pool,
617
00:34:02,249 --> 00:34:06,170
the rooftop pool sequence was shot
at the Soho House,
618
00:34:06,295 --> 00:34:08,213
and now we're in the lobby
of the Soho Hotel,
619
00:34:08,297 --> 00:34:10,466
which is a completely different building.
620
00:34:11,175 --> 00:34:16,972
Probably hardcore New York-ophiles
will realise right away what we've done.
621
00:34:18,640 --> 00:34:21,977
Until I spilled the beans right now,
no one's noticed so far.
622
00:34:27,649 --> 00:34:30,069
Megan did such a great audition
for this film,
623
00:34:30,152 --> 00:34:33,989
and Transformers hadn't come out yet.
I had no idea who she was.
624
00:34:34,114 --> 00:34:36,325
And she just knocked our socks off.
As soon as she left the room,
625
00:34:36,450 --> 00:34:39,953
I turned to the casting director,
I said, "Well, that's our Sophie."
626
00:34:40,037 --> 00:34:41,663
She just ticked all the boxes.
She was perfect.
627
00:34:41,789 --> 00:34:44,166
I thought I'd get the credit
for discovering her.
628
00:34:44,291 --> 00:34:46,752
Everyone would think I was a genius
for giving Megan Fox
629
00:34:46,835 --> 00:34:48,545
her first big film role.
630
00:34:48,670 --> 00:34:51,632
And then Transformers came out,
and that was the end of that.
631
00:34:51,715 --> 00:34:54,718
I'll get no credit
in the Megan Fox biography.
632
00:34:57,221 --> 00:34:58,514
It's funny, 'cause these are actually...
633
00:34:58,639 --> 00:35:00,140
You see the people
standing back there?
634
00:35:00,224 --> 00:35:02,601
Those are actually real looky-loos
watching us film,
635
00:35:02,684 --> 00:35:04,353
but we decided,
"All right, let them be on camera,"
636
00:35:04,478 --> 00:35:06,271
because it makes sense
that at an event like this,
637
00:35:06,355 --> 00:35:08,107
there would be looky-loos.
638
00:35:08,190 --> 00:35:10,818
And we had our actors
playing paparazzi,
639
00:35:10,901 --> 00:35:13,529
and then actual paparazzi
across the street behind them.
640
00:35:13,654 --> 00:35:15,239
And I thought,
"Well, we could have saved money
641
00:35:15,364 --> 00:35:18,534
"if we'd just let the real paparazzi come
and film."
642
00:35:18,867 --> 00:35:21,870
See, Cuba here... There he goes.
643
00:35:22,204 --> 00:35:25,666
...totally different dog
than you see later in the film.
644
00:35:25,874 --> 00:35:29,086
Actually, I hate to spill the beans
if you haven't noticed,
645
00:35:29,211 --> 00:35:32,589
but this Cuba looks nothing like
the other Cuba in the film.
646
00:35:34,842 --> 00:35:39,263
But people tend to not pay as much
attention to those things as the director.
647
00:35:39,721 --> 00:35:41,890
I get annoyed, but no one else cares.
648
00:35:42,015 --> 00:35:45,686
This walk-and-talk
down West Broadway here,
649
00:35:46,728 --> 00:35:48,564
the sun was coming up.
650
00:35:49,022 --> 00:35:51,733
It became a nightmare,
the sound and all this.
651
00:35:51,817 --> 00:35:55,571
This one little side shot.
Should I point out the camera shadow
652
00:35:55,696 --> 00:35:57,489
on Kirsten there
or should I keep my mouth shut?
653
00:35:57,573 --> 00:35:59,199
I've said it.
654
00:35:59,908 --> 00:36:02,161
I was able to get
two masters of this shot.
655
00:36:02,244 --> 00:36:04,246
I wanted to do all kinds of coverage,
656
00:36:04,371 --> 00:36:07,749
but instead of losing the light,
we were gaining the light,
657
00:36:07,875 --> 00:36:10,419
and that was very, very frustrating.
658
00:36:11,587 --> 00:36:14,506
But the editor managed
to kind of make it work.
659
00:36:14,590 --> 00:36:16,592
And the performances were good,
so we went with it.
660
00:36:16,717 --> 00:36:19,178
I would have loved to have had
another hour to do this scene
661
00:36:19,261 --> 00:36:20,429
and to get, you know...
662
00:36:20,554 --> 00:36:23,182
You notice there's no side shots
of Sidney,
663
00:36:23,265 --> 00:36:26,935
no singles, no overs,
other than that one brief one.
664
00:36:28,103 --> 00:36:29,354
By the way, when this was shot,
665
00:36:29,438 --> 00:36:32,608
that was the night
of the famous penthouse robbery,
666
00:36:32,733 --> 00:36:35,360
where both Simon and Kirsten
were robbed.
667
00:36:37,613 --> 00:36:39,615
Burglars broke into the penthouse
668
00:36:39,740 --> 00:36:41,783
where we were all staying
and took everything.
669
00:36:41,867 --> 00:36:45,120
But me being a good Boy Scout,
I had all my stuff in the vault.
670
00:36:49,291 --> 00:36:51,460
So I didn't have to fill out
a police report.
671
00:36:52,961 --> 00:36:54,630
This scene here is all one shot.
672
00:36:54,755 --> 00:36:58,967
And this, again, talk about necessity
being the mother of invention...
673
00:37:00,135 --> 00:37:04,139
We really ran out of time,
and I asked my DP, Oliver Stapleton,
674
00:37:04,223 --> 00:37:06,141
I said,
"ls there any way to just set this up
675
00:37:06,266 --> 00:37:09,228
"so we can do it all in one shot?"
And he managed to do it.
676
00:37:09,311 --> 00:37:11,480
I should point out
that on Kirsten's board, there,
677
00:37:11,605 --> 00:37:14,566
you see some photos.
We'll come back to that later.
678
00:37:14,650 --> 00:37:18,654
But there's a photo of my cat
and my dog on there.
679
00:37:18,779 --> 00:37:21,990
When you're the director,
you can do these things.
680
00:37:24,910 --> 00:37:26,495
It kind of makes no sense
that we would hear
681
00:37:26,620 --> 00:37:29,081
this sort of echoey clop-clop
of her footsteps,
682
00:37:29,164 --> 00:37:30,832
'cause you'll notice
that the floor is carpeted.
683
00:37:30,916 --> 00:37:35,587
But I liked the effect so much,
it was so intimidating, that I let it ride.
684
00:37:35,671 --> 00:37:38,173
People have asked why she's fallen.
685
00:37:38,298 --> 00:37:40,175
You've got the DVD,
so you can look slowly.
686
00:37:40,300 --> 00:37:42,928
You'll see that
she actually turns her ankle.
687
00:37:43,011 --> 00:37:45,264
Some people thought
it was a heart attack.
688
00:37:47,975 --> 00:37:50,686
I love Simon's little look back, there.
689
00:37:52,521 --> 00:37:54,356
I remember the day we shot this scene.
690
00:37:54,439 --> 00:37:56,942
I have a two-shot coming up
of Danny and Jeff Bridges,
691
00:37:57,025 --> 00:37:59,611
two actors that I wanted
from the very beginning...
692
00:37:59,695 --> 00:38:00,779
There it is.
693
00:38:00,862 --> 00:38:02,948
...and I remember looking at the monitor
that day and saying,
694
00:38:03,031 --> 00:38:07,369
"God, I've got them both, right there."
695
00:38:07,703 --> 00:38:10,872
I was so pleased to have them
both in this film.
696
00:38:13,709 --> 00:38:15,127
Simon's brilliant in this scene.
697
00:38:15,210 --> 00:38:19,089
I love this little add-on, where he says,
"Just changing it."
698
00:38:20,674 --> 00:38:26,388
Stony looks. Angelique Talio,
a friend of mine in London, actress.
699
00:38:27,597 --> 00:38:30,058
A very Ricky Gervais moment.
700
00:38:51,538 --> 00:38:55,375
A lot of this part of the film was sort of
re-cut and the sequence changed.
701
00:38:56,626 --> 00:38:58,420
Jeff's eating the sushi actually came
702
00:38:58,503 --> 00:39:01,131
after a whole montage, which got cut.
703
00:39:02,341 --> 00:39:04,468
This is actor Jefferson Mays.
704
00:39:04,843 --> 00:39:09,389
This scene is actually based on
something that really happened
705
00:39:09,473 --> 00:39:12,017
when Toby interviewed Nathan Lane
706
00:39:12,267 --> 00:39:14,936
and basically asked him
these questions.
707
00:39:15,354 --> 00:39:16,897
We tried to get Nathan Lane
to be in the movie
708
00:39:16,980 --> 00:39:21,526
to play himself,
to recreate this real-life travesty
709
00:39:21,610 --> 00:39:25,280
of an interview,
but Nathan, not surprisingly, passed.
710
00:39:26,198 --> 00:39:30,619
So we got Jefferson Mays, here,
and called him Bill Nathanson,
711
00:39:30,744 --> 00:39:33,789
so that we could keep
the "Nathan" part, anyway.
712
00:39:34,414 --> 00:39:36,416
It was a little in-joke.
713
00:39:38,335 --> 00:39:40,962
This was actually shot in New York,
714
00:39:41,046 --> 00:39:43,632
so the New York scenery
that you see behind the window,
715
00:39:43,715 --> 00:39:45,717
through the window
behind Simon sometimes,
716
00:39:45,801 --> 00:39:48,220
is actually New York.
And the idea was to turn around...
717
00:39:48,303 --> 00:39:50,430
Where you see the blind there,
718
00:39:50,514 --> 00:39:53,100
ideally, we should have been able
to see the scenery,
719
00:39:53,183 --> 00:39:55,811
but we were running late
and the sun was going down,
720
00:39:55,894 --> 00:39:58,188
so we had to pull down the blind
and light it, which was a shame,
721
00:39:58,271 --> 00:40:00,273
because the reason you want
to shoot on location
722
00:40:00,357 --> 00:40:03,235
is so you can actually see the location.
723
00:40:04,611 --> 00:40:08,698
So we got the New York scenery
out of one window, but not the other.
724
00:40:08,782 --> 00:40:10,033
Sadly.
725
00:40:18,375 --> 00:40:20,001
I love that cut.
726
00:40:38,937 --> 00:40:42,732
All the stuff with the Jewish, gay,
Bill Nathanson, this follow-up scene,
727
00:40:42,816 --> 00:40:45,610
had been cut from the film
for some time,
728
00:40:46,111 --> 00:40:48,321
then, at the last minute,
we decided to put it back in.
729
00:40:48,405 --> 00:40:50,157
We always loved it.
730
00:40:50,740 --> 00:40:53,869
But again, a lot of things that you love
just get cut for time,
731
00:40:53,952 --> 00:40:56,079
otherwise you wind up
with a three-and-a-half hour movie,
732
00:40:56,163 --> 00:40:58,957
and then you're, what,
Oliver Stone, I guess.
733
00:41:00,876 --> 00:41:02,627
I always felt that
no comedy has the right
734
00:41:02,711 --> 00:41:04,713
to be more than
an hour and 50 minutes,
735
00:41:04,796 --> 00:41:06,214
which I said out loud at one time,
736
00:41:06,298 --> 00:41:07,674
and those words came back
to haunt me,
737
00:41:07,757 --> 00:41:09,468
because we were running
at close to two hours,
738
00:41:09,551 --> 00:41:11,219
and I was happy with the cut.
Then somebody said,
739
00:41:11,303 --> 00:41:12,721
"You were the one who said,
'No comedy...“
740
00:41:12,804 --> 00:41:15,015
I said, "All right. Yeah, yeah, yeah."
741
00:41:15,098 --> 00:41:16,808
So back into the cutting room.
742
00:41:28,653 --> 00:41:32,949
At one time, this scene, here,
followed that Paris Hilton pitch scene,
743
00:41:33,492 --> 00:41:36,036
and then after this came
what we called the "Failure Montage,"
744
00:41:36,119 --> 00:41:39,748
which got cut, and then it was the scene
with Jeff eating the sushi,
745
00:41:39,831 --> 00:41:41,583
and then Bill Nathanson.
746
00:41:41,666 --> 00:41:43,126
I don't know if any of this
is interesting to you,
747
00:41:43,210 --> 00:41:45,253
if you could care at all,
748
00:41:45,712 --> 00:41:49,466
but some of this stuff you might see
on the deleted scenes reel on this DVD.
749
00:41:55,180 --> 00:41:57,807
"Corporate dick-lick" was an ad-lib.
750
00:41:58,767 --> 00:42:01,061
There are a few moments in the film
where I just told Simon,
751
00:42:01,144 --> 00:42:04,773
"Just say something funny here,"
and he always obliged.
752
00:42:06,608 --> 00:42:10,111
I do regret here,
I wish there was more tape on his face.
753
00:42:10,195 --> 00:42:13,907
This is always very funny,
but it's just a little thing of mine.
754
00:42:13,990 --> 00:42:17,661
I would have liked to have gotten
a few more pieces there, but...
755
00:42:19,621 --> 00:42:21,998
This was another ad-lib,
"The break-dancing posse,"
756
00:42:22,082 --> 00:42:25,126
and, "She's a body-popper
more than anything."
757
00:42:25,252 --> 00:42:28,630
Simon did all kinds of variations
of that line about the Queen.
758
00:42:29,297 --> 00:42:35,470
Maybe we'll talk about it
on our dual audio commentary.
759
00:42:38,682 --> 00:42:40,058
"What's it feel like to be a star?"
760
00:42:40,141 --> 00:42:43,061
Danny sounds very much
like his father there, John Huston.
761
00:42:44,145 --> 00:42:47,941
Danny's actually, as he's getting older,
sounding more and more like his dad.
762
00:42:54,030 --> 00:42:57,909
I love that line of Gillian's,
"Such a cynical age."
763
00:42:57,993 --> 00:42:59,369
She delivered that exactly the way
764
00:42:59,452 --> 00:43:02,539
both the writer, Peter Straughan,
and I had it in our heads.
765
00:43:04,541 --> 00:43:06,084
Megan has a real Marilyn moment here.
766
00:43:06,167 --> 00:43:09,421
Look at her face after Danny says,
"He can stay in my office."
767
00:43:11,590 --> 00:43:14,759
Right there.
That's such a little Marilyn move.
768
00:43:14,843 --> 00:43:15,969
And Megan loves Marilyn.
769
00:43:16,052 --> 00:43:19,389
She actually has a tattoo
of Marilyn Monroe on her forearm.
770
00:43:19,514 --> 00:43:20,640
She has a lot of tattoos,
771
00:43:20,724 --> 00:43:23,351
which take a couple of hours
in make-up to cover
772
00:43:25,353 --> 00:43:27,689
whenever she's being exposed
on camera.
773
00:43:29,566 --> 00:43:32,027
This ring, of course,
comes into play later.
774
00:43:32,277 --> 00:43:35,405
A very talented writer/director
friend of mine named Audrey Wells
775
00:43:35,530 --> 00:43:38,950
had read the script
when I was considering doing it.
776
00:43:39,034 --> 00:43:41,578
Not that I had to consider doing it.
I knew I wanted to do it.
777
00:43:41,703 --> 00:43:44,581
And the ring didn't come into play
until much later in the script,
778
00:43:44,706 --> 00:43:47,042
and she said, "You need to reference
the ring earlier in the film."
779
00:43:47,125 --> 00:43:48,376
And I thought,
"That's a really good note,"
780
00:43:48,460 --> 00:43:50,462
which I passed on to Peter.
781
00:43:50,545 --> 00:43:53,381
So that's why Peter dropped
that reference to the ring in here,
782
00:43:53,465 --> 00:43:55,383
so he could sort of plant the seed.
783
00:44:02,057 --> 00:44:04,976
Gillian can be very hard on herself
as an actress, which is a good thing.
784
00:44:05,060 --> 00:44:06,645
She takes her craft very seriously,
785
00:44:06,728 --> 00:44:09,230
and I remember as we were shooting
this scene...
786
00:44:10,899 --> 00:44:14,110
I just had to be quiet
for the water bubbles, there. I love that.
787
00:44:15,737 --> 00:44:17,822
I remember between takes,
she'd sort of go off
788
00:44:17,906 --> 00:44:19,407
and sit by herself very quietly,
789
00:44:19,491 --> 00:44:20,700
and I could tell
something was bugging her,
790
00:44:20,784 --> 00:44:22,160
it was on her mind,
and I'd come up to her,
791
00:44:22,243 --> 00:44:24,663
I'd say, "Tell me, what are you thinking?
What's going on?"
792
00:44:24,746 --> 00:44:27,207
She says,
"I'm just not certain I've got this right,"
793
00:44:27,290 --> 00:44:30,377
and I said, "You have no idea
how good you are in this."
794
00:44:30,460 --> 00:44:32,629
We talked it through a bit,
and she got more comfortable with it,
795
00:44:32,754 --> 00:44:34,589
but I just think she's brilliant.
796
00:44:39,094 --> 00:44:42,013
But Gillian is one of those actresses,
and Jeff Bridges is like this, too,
797
00:44:42,097 --> 00:44:43,640
who really want to talk about character,
798
00:44:43,765 --> 00:44:46,601
who really want to have
those conversations with the director
799
00:44:46,685 --> 00:44:49,187
about how they see the part
and how to play it.
800
00:44:54,609 --> 00:44:56,986
This was a different kind of role for her.
801
00:44:57,112 --> 00:45:00,573
I had some hesitancy to cast Gillian
802
00:45:00,657 --> 00:45:03,827
only because she was younger
and prettier
803
00:45:03,952 --> 00:45:05,620
than the way I saw the part...
804
00:45:06,287 --> 00:45:07,455
More bubbles.
805
00:45:07,539 --> 00:45:09,582
...and I didn't want people to think
that she might be
806
00:45:09,666 --> 00:45:13,795
a possible romantic interest for Simon,
for Sidney.
807
00:45:16,464 --> 00:45:18,675
So one of the things we talked about
was just making her character
808
00:45:18,800 --> 00:45:22,595
so icy and self-involved
that she wouldn't be warm enough
809
00:45:22,679 --> 00:45:25,640
for anyone to really cosy up to her
that way.
810
00:45:28,643 --> 00:45:31,438
This scene gave me some hesitancy
when I first read the script,
811
00:45:31,521 --> 00:45:32,897
because I'm a huge animal lover.
812
00:45:32,981 --> 00:45:35,859
And I really do not like it when movies
813
00:45:38,027 --> 00:45:43,825
sort of use animals, endanger animals,
814
00:45:45,493 --> 00:45:48,329
for comic relief. It genuinely bugs me.
815
00:45:48,997 --> 00:45:51,833
And I really talked about whether or not
we had to do this scene,
816
00:45:51,958 --> 00:45:54,419
and I thought,
"Well, maybe the dog doesn't die.
817
00:45:54,502 --> 00:45:57,338
"Maybe it just has a little heart attack.
818
00:45:57,464 --> 00:45:59,132
"He gets scared,
and then he wakes up later,"
819
00:45:59,215 --> 00:46:02,343
and of course everybody stared at me,
saying, "What are you talking about?"
820
00:46:02,469 --> 00:46:04,971
And it is important to the scene,
so I went with it.
821
00:46:05,054 --> 00:46:07,891
But my thing was,
822
00:46:09,058 --> 00:46:12,020
"Make the dog's death...
Make Cuba's death off-camera.
823
00:46:12,145 --> 00:46:15,732
"Handle it tastefully. Don't torture him.
Make it quick."
824
00:46:16,691 --> 00:46:19,694
And you gotta love that.
825
00:46:20,361 --> 00:46:23,865
And I have to say this is a huge,
hugelaugh.
826
00:46:25,366 --> 00:46:26,951
But it's like...
What was it?
Something About Mary,
827
00:46:27,035 --> 00:46:29,204
where I think the dog's on fire
and gets thrown out the window.
828
00:46:29,287 --> 00:46:30,580
That stuff really bugs me.
829
00:46:30,663 --> 00:46:32,832
But this is all off-camera,
830
00:46:33,249 --> 00:46:35,835
and we never see the dog
being harmed, so...
831
00:46:35,919 --> 00:46:38,213
And it's just all make-believe.
832
00:46:40,089 --> 00:46:42,050
Aside from the dog that we had
in the car in New York,
833
00:46:42,133 --> 00:46:43,343
which is a completely different dog,
834
00:46:43,426 --> 00:46:46,971
we had two Cubas working,
who were identical,
835
00:46:47,055 --> 00:46:49,098
just like we had two pigs.
836
00:46:49,474 --> 00:46:53,102
Animals and little kids
you have to have two of,
837
00:46:54,979 --> 00:46:58,107
because you don't know what
their individual skill sets will be.
838
00:46:58,191 --> 00:47:02,487
And don't worry, that is a prosthetic.
That is a fake dog paw.
839
00:47:04,864 --> 00:47:08,910
No animals or actors were harmed
in the making of this film.
840
00:47:20,296 --> 00:47:21,714
There's the translight again.
841
00:47:21,798 --> 00:47:24,175
That same translight pops up
in three different places,
842
00:47:24,300 --> 00:47:27,804
but it was a big enough translight
we could use different pieces of it.
843
00:47:29,556 --> 00:47:31,266
I love Gillian's delivery of that line.
844
00:47:31,349 --> 00:47:33,685
"Have you seen Sophie's dog?"
845
00:47:34,644 --> 00:47:37,230
This scene is interesting,
because it's the first indication
846
00:47:37,313 --> 00:47:39,440
that Alison may be warming up
to Sidney,
847
00:47:39,524 --> 00:47:42,652
because she has the opportunity
to sell him out, and she doesn't.
848
00:47:42,735 --> 00:47:44,571
And I think that's a smile
on Sidney's face, here,
849
00:47:44,654 --> 00:47:46,739
the relief that she hasn't sold him out.
850
00:47:46,823 --> 00:47:50,535
He's realising, "Maybe she doesn't
completely hate me."
851
00:47:53,621 --> 00:47:56,416
Jeff's character, Clayton,
is interesting here,
852
00:47:56,499 --> 00:47:58,376
obviously being very contemplative
853
00:47:58,459 --> 00:48:01,337
as he's looking out the window
and thinking about his life.
854
00:48:01,421 --> 00:48:04,382
This sort of speaks to the thing
I was talking about,
855
00:48:04,465 --> 00:48:06,801
that Clayton used to be a rebel.
856
00:48:06,885 --> 00:48:09,512
Then he put on a suit,
and he joined the dark side.
857
00:48:09,596 --> 00:48:12,724
Now he's been drinking a little bit,
and he's reminiscing
858
00:48:14,142 --> 00:48:15,810
and sort of...
859
00:48:16,102 --> 00:48:18,605
We still see the old glint in his eye
of the rebel
860
00:48:18,688 --> 00:48:22,567
who wants to sort of tear down
the system, burn down the building.
861
00:48:28,781 --> 00:48:30,658
And Sidney sort of gets
his chance here,
862
00:48:30,742 --> 00:48:34,037
because he found Clayton
during a loose moment,
863
00:48:34,120 --> 00:48:36,915
and pitches his Vincent Lepak story,
864
00:48:39,834 --> 00:48:42,837
and Clayton is sort of
back in rebel mode.
865
00:48:43,379 --> 00:48:46,257
So he agrees to let him write the piece.
866
00:48:49,719 --> 00:48:52,472
I've always loved that,
Simon backing up in fear.
867
00:48:52,555 --> 00:48:55,725
He doesn't know why Clayton
is approaching him.
868
00:49:12,575 --> 00:49:15,119
This business here where
869
00:49:16,204 --> 00:49:19,874
Jeff is about to put his hand
on Sidney's neck,
870
00:49:19,958 --> 00:49:22,001
that was something I asked Jeff to do
because it reminded me
871
00:49:22,085 --> 00:49:25,129
of Tony Soprano
and Christopher Moltisanti,
872
00:49:25,213 --> 00:49:27,215
for those of you
who know The Sopranos,
873
00:49:27,298 --> 00:49:28,591
a very sort of avuncular move.
874
00:49:28,716 --> 00:49:30,885
Actually, a very father-son
kind of moment.
875
00:49:32,136 --> 00:49:33,596
And he says, "You can be my hit man,"
876
00:49:33,721 --> 00:49:37,600
which is also sort of
a Sopranos reference.
877
00:49:41,104 --> 00:49:42,605
This scene, here, was a pickup scene.
878
00:49:42,730 --> 00:49:46,150
This was actually shot months after
we finished principal photography.
879
00:49:46,234 --> 00:49:47,318
My editor felt we needed
880
00:49:47,402 --> 00:49:50,238
a little connecting link
between the previous scene,
881
00:49:50,321 --> 00:49:52,115
where Clayton says,
"Go ahead and write the story,"
882
00:49:52,240 --> 00:49:58,913
and then the scene that's coming up
with the fish in the hotel lobby,
883
00:49:59,497 --> 00:50:01,958
the dialogue about the fish.
884
00:50:03,793 --> 00:50:05,920
And it's nice to actually see
Sidney writing,
885
00:50:06,004 --> 00:50:08,006
because, other than a montage later on,
886
00:50:08,089 --> 00:50:10,800
which was also a pickup
shot the same day as this,
887
00:50:10,925 --> 00:50:13,344
we never see our writer writing.
888
00:50:13,469 --> 00:50:16,305
And he looks so happy that he's finally
getting to write the kind of piece
889
00:50:16,431 --> 00:50:20,309
that he wanted to write
on the pretentious Vincent Lepak.
890
00:50:20,435 --> 00:50:22,854
The actress coming up here,
her name is Lisa McAllister,
891
00:50:22,937 --> 00:50:24,605
and she does so much
with this small part.
892
00:50:24,689 --> 00:50:26,399
She's actually a Brit,
and she plays American.
893
00:50:26,482 --> 00:50:29,944
Her accent is spot on.
894
00:50:30,486 --> 00:50:32,613
And I did not get
to audition her personally.
895
00:50:32,697 --> 00:50:34,532
I auditioned her on videotape.
896
00:50:34,615 --> 00:50:37,285
There she is.
We'll talk about her more in a second.
897
00:50:37,368 --> 00:50:40,413
This bit with his shirt being hiked up,
his sweater being hiked up,
898
00:50:40,496 --> 00:50:43,374
was actually a gag
we came up with on the day.
899
00:50:43,458 --> 00:50:45,084
I wanted to open this scene
with some gag.
900
00:50:45,168 --> 00:50:47,045
There was nothing in the script.
901
00:50:49,130 --> 00:50:52,550
She's about to do this thing
where she puts her hand out to him,
902
00:50:52,633 --> 00:50:54,802
right there, to sort of shut him up
in mid-sentence.
903
00:50:54,886 --> 00:50:57,096
She did that in the audition, on the tape,
and I said, "That's it.
904
00:50:57,180 --> 00:50:59,307
"That's a brilliant move."
905
00:51:05,188 --> 00:51:07,273
The other thing, too, here,
is when he says, "I sent the fish,"
906
00:51:07,356 --> 00:51:09,317
look at what she does.
907
00:51:09,734 --> 00:51:10,860
She kind of looks around like,
908
00:51:10,985 --> 00:51:12,737
"This is the guy who sent the dead fish."
909
00:51:12,820 --> 00:51:16,657
It's like she's looking for security
just in case he's a maniac.
910
00:51:26,959 --> 00:51:29,587
My wife was watching this scene
with me the other day, and she said,
911
00:51:29,670 --> 00:51:32,590
"This actress is so good."
I said, "I know.
912
00:51:32,673 --> 00:51:35,343
"I only cast good actors in my movies."
913
00:51:35,468 --> 00:51:38,012
"My movies." This is my first one.
914
00:51:40,181 --> 00:51:42,183
Again, no animals were harmed
in the making of this film.
915
00:51:42,308 --> 00:51:45,103
Those were fish
that already happened to be dead.
916
00:51:45,186 --> 00:51:48,731
They were received from the back
of a pet store,
917
00:51:48,856 --> 00:51:53,194
where they keep the dead fish,
so I promise we didn't kill the fish.
918
00:51:53,319 --> 00:51:57,865
And then for the rest of the scene,
we actually have three fake goldfish.
919
00:51:58,533 --> 00:52:01,244
And when we shot... This, by the way,
was the second day of production.
920
00:52:01,369 --> 00:52:02,787
We're back in the same location
921
00:52:02,870 --> 00:52:06,707
that we were in earlier
when Alison and Sidney meet,
922
00:52:07,875 --> 00:52:09,168
and I wanted to shoot the scene
923
00:52:09,252 --> 00:52:11,587
with the three dead goldfish,
the fake ones,
924
00:52:11,712 --> 00:52:13,089
and then I was told
that we only had two,
925
00:52:13,214 --> 00:52:14,882
and I said, "What are you talking about?
I approved three.
926
00:52:15,007 --> 00:52:16,092
"I just saw three two weeks ago,"
927
00:52:16,217 --> 00:52:18,094
and somebody said,
"Somebody stole one of the goldfish."
928
00:52:18,219 --> 00:52:20,012
I said, "Who steals fake goldfish?"
929
00:52:21,222 --> 00:52:22,557
And they found another one
so we could shoot.
930
00:52:22,682 --> 00:52:25,393
'Cause two dead goldfish isn't funny.
You need three.
931
00:52:26,894 --> 00:52:30,565
Three is funny, two isn't. Take a note.
932
00:52:33,568 --> 00:52:36,279
And again, here,
this is just Peter Straughan's writing,
933
00:52:36,404 --> 00:52:38,447
this sort of character arc
934
00:52:38,573 --> 00:52:40,032
with the relationship
between the two of them.
935
00:52:40,116 --> 00:52:43,411
We can see that Alison is starting
to warm up to Sidney a little bit.
936
00:52:43,536 --> 00:52:46,038
He's asking her why
she didn't sell him out.
937
00:52:47,123 --> 00:52:50,918
You know, she's opening up to him,
talking about writing her book.
938
00:52:51,043 --> 00:52:53,754
She's smiling a bit, so...
939
00:52:54,922 --> 00:52:56,966
There's our White Russian.
940
00:52:58,759 --> 00:53:00,553
What does that portend,
the White Russian?
941
00:53:00,636 --> 00:53:03,556
It seems very important. We'll find out.
942
00:53:05,892 --> 00:53:09,270
The first shot of this scene
that I took was sort of a master shot,
943
00:53:09,395 --> 00:53:10,479
a two-shot of the two of them,
944
00:53:10,605 --> 00:53:14,525
and both Simon and Kirsten
were so brilliant
945
00:53:14,609 --> 00:53:16,485
that I thought,
"Maybe I'll just use this scene
946
00:53:16,611 --> 00:53:17,862
"in the two-shot, one continuous shot,"
947
00:53:17,945 --> 00:53:19,488
'cause it was just perfect.
948
00:53:19,614 --> 00:53:21,574
I got some perfect takes
from beginning to end.
949
00:53:21,657 --> 00:53:24,410
And then I realised, "You never know
what you might have to cut
950
00:53:24,493 --> 00:53:26,913
"in the editing room for time,"
so I did get this coverage.
951
00:53:26,996 --> 00:53:29,707
And the performances were great
in the coverage as well,
952
00:53:29,790 --> 00:53:32,793
these overs, so it worked out okay.
953
00:53:32,919 --> 00:53:35,004
And in fact,
this scene did get a little chopped up.
954
00:53:35,129 --> 00:53:38,424
We did have to lose time,
so it was good that I had the coverage,
955
00:53:38,507 --> 00:53:41,135
but I really loved both
of their performances in this scene.
956
00:53:41,260 --> 00:53:43,596
There's some cutting earlier
in this scene that got a little choppy
957
00:53:43,679 --> 00:53:45,181
just because...
958
00:53:47,308 --> 00:53:49,393
Just some things we had to cut.
There's always continuity issues,
959
00:53:49,477 --> 00:53:51,437
where suddenly people are in
slightly different positions.
960
00:53:51,520 --> 00:53:52,688
But again, it's the kind of thing
961
00:53:52,813 --> 00:53:55,650
that a director and an editor notice
more than an audience.
962
00:53:57,276 --> 00:53:59,362
Of course, I love this spot.
963
00:53:59,820 --> 00:54:02,156
"Sophie Maes is Mother Teresa."
964
00:54:02,990 --> 00:54:04,951
We had a placeholder in the script
for the longest time,
965
00:54:05,034 --> 00:54:06,994
where we just knew
there'd be a funny trailer.
966
00:54:07,119 --> 00:54:08,412
And then, in production, I told Peter,
967
00:54:08,496 --> 00:54:11,457
I said, "We better write this trailer,
'cause we're gonna have to shoot it."
968
00:54:11,666 --> 00:54:12,708
So he gave me two options.
969
00:54:12,833 --> 00:54:17,004
He gave me the Madame Curie story
or the Mother Teresa story.
970
00:54:17,129 --> 00:54:18,839
I liked them both,
but we just thought the idea
971
00:54:18,965 --> 00:54:22,468
of Sophie Maes playing Mother Teresa
was so ludicrous
972
00:54:23,177 --> 00:54:24,971
that we had to go for it.
973
00:54:25,054 --> 00:54:29,684
And we actually shot a full-length trailer,
which got cut down to this,
974
00:54:30,893 --> 00:54:33,271
and then we put the full-length trailer
at the end of the movie.
975
00:54:33,354 --> 00:54:36,691
If you stay for the credits,
it's a little treat.
976
00:54:37,566 --> 00:54:41,570
And it hopefully will be on this DVD
on its own.
977
00:54:42,655 --> 00:54:44,115
It's the White Russian again.
What does it mean?
978
00:54:44,198 --> 00:54:45,992
What does it mean?
979
00:54:53,874 --> 00:54:56,377
I like what's going on here with
the faces, because look at Sidney,
980
00:54:56,502 --> 00:54:59,005
obviously realising that
Lawrence is stealing his idea.
981
00:54:59,088 --> 00:55:02,174
But look at Kirsten, as well.
Look at Alison.
982
00:55:02,258 --> 00:55:04,427
She knows what he's doing.
983
00:55:06,095 --> 00:55:09,682
She's not so happy with...
She knows that that was Sidney's idea.
984
00:55:09,765 --> 00:55:12,601
And that was a specific conversation
Kirsten and I had
985
00:55:12,727 --> 00:55:14,812
before we shot the scene,
is, "How much does she know?
986
00:55:14,895 --> 00:55:17,815
"Does she realise
that he's stolen the idea?"
987
00:55:17,898 --> 00:55:20,735
And we both agreed that it would be
interesting to play it that way.
988
00:55:20,860 --> 00:55:24,780
And I think what's going on, on her face,
is very telling and very interesting.
989
00:55:24,905 --> 00:55:27,325
Now, of course,
Clayton has sobered up,
990
00:55:27,408 --> 00:55:29,744
so he's not gonna go for
the Vincent Lepak piece, after all,
991
00:55:29,869 --> 00:55:32,038
because he knows
that's gonna alienate Gillian...
992
00:55:32,121 --> 00:55:34,707
I'm sorry, Eleanor,
who represents Vincent,
993
00:55:34,790 --> 00:55:38,961
and Eleanor has other clients that
Clayton needs for his magazine, so...
994
00:55:40,212 --> 00:55:44,133
I'm sure magazine publishers
and editors deal with this all the time.
995
00:55:44,258 --> 00:55:45,551
"Don't upset the publicists,
996
00:55:45,634 --> 00:55:49,096
"or else you don't get their clients
for your covers that you need."
997
00:55:50,765 --> 00:55:53,476
I like that move where Danny
is shaking hands with everybody,
998
00:55:53,601 --> 00:55:56,479
and Sidney comes up to him
and Danny, or Lawrence I should say,
999
00:55:56,604 --> 00:55:59,648
automatically puts out his hand,
thinking that Sidney's gonna shake it,
1000
00:55:59,774 --> 00:56:03,235
and it sort of hangs there for a while
before it drops.
1001
00:56:07,114 --> 00:56:08,866
I remember us playing around
with different levels
1002
00:56:08,949 --> 00:56:11,744
of intimidation here, with Danny.
How mean should he be?
1003
00:56:11,827 --> 00:56:13,621
And there was one take
where he was really mean,
1004
00:56:13,746 --> 00:56:17,249
and the camera pushed-in to him,
and it was too intense.
1005
00:56:17,333 --> 00:56:21,670
And so it was either push-in
and be a little less intimidating,
1006
00:56:21,796 --> 00:56:25,299
or keep the camera back
and be more intimidating, so...
1007
00:56:27,009 --> 00:56:28,094
That smile, I love.
1008
00:56:28,177 --> 00:56:30,096
I actually had to talk Danny
into doing that.
1009
00:56:30,179 --> 00:56:31,472
Danny didn't get the smile.
1010
00:56:31,597 --> 00:56:35,017
I said, "Just please do it for me
as a favour."
1011
00:56:35,142 --> 00:56:36,852
And then when Danny saw it in the cut,
it was like,
1012
00:56:36,977 --> 00:56:39,647
"Okay, I get it. It works."
1013
00:56:39,772 --> 00:56:41,065
That's another moment
that my wife loves.
1014
00:56:41,148 --> 00:56:44,944
She always laughs when Danny
turns around and gives that smile.
1015
00:56:45,027 --> 00:56:46,779
It's very evil.
1016
00:56:48,197 --> 00:56:50,699
Here comes Charlotte Devaney
as Bobbie again.
1017
00:56:50,825 --> 00:56:52,785
You know, she's actually got
the blonde wig here,
1018
00:56:52,868 --> 00:56:55,704
because we were gonna bring her back
at the end of the film in a blonde wig,
1019
00:56:55,830 --> 00:56:56,914
and I was trying to connect her
1020
00:56:56,997 --> 00:56:59,208
to the way she looked
at the end of the film,
1021
00:56:59,333 --> 00:57:02,503
and then that scene got cut
before it even got shot.
1022
00:57:02,628 --> 00:57:07,133
So there are actually some people here
who don't realise that this is the same...
1023
00:57:07,216 --> 00:57:08,843
Woman?
1024
00:57:09,385 --> 00:57:14,056
That Sidney brought home
at the beginning of the film from the bar.
1025
00:57:15,975 --> 00:57:17,893
This is sort of based on something
that Toby really did,
1026
00:57:18,018 --> 00:57:20,896
where he did hire a stripper
for a colleague
1027
00:57:21,021 --> 00:57:23,858
on a day that happened to be
Take Our Daughters to Work Day.
1028
00:57:25,067 --> 00:57:27,528
Now, this is the wife,
not of Lawrence Maddox,
1029
00:57:27,653 --> 00:57:30,281
but of Clayton Harding,
the Jeff Bridges character.
1030
00:57:30,364 --> 00:57:32,450
But there was a lot of wife confusion
in this film.
1031
00:57:32,533 --> 00:57:33,951
It's, "Who is whose wife?"
1032
00:57:34,034 --> 00:57:37,413
So this line, "Let's go see Mr Maddox,"
was actually dubbed in later
1033
00:57:37,538 --> 00:57:41,208
to make it clear that
this was not their father.
1034
00:57:43,711 --> 00:57:44,837
And there we go.
1035
00:57:44,920 --> 00:57:47,756
There's our money shot.
"What the hell was that?
1036
00:57:53,679 --> 00:57:55,347
"This can't be good."
1037
00:57:56,390 --> 00:57:59,393
There was a lot of talk
about when we had the reveal...
1038
00:57:59,518 --> 00:58:02,771
There it is again.
Let's cover that up, very good.
1039
00:58:03,022 --> 00:58:05,691
...whether it should be
during the dance or after,
1040
00:58:05,774 --> 00:58:08,152
and so I shot it both ways.
We wound up using a bit of both.
1041
00:58:08,235 --> 00:58:10,738
Here comes Simon's great ad-lib...
1042
00:58:13,073 --> 00:58:15,034
...which, in the theatres,
gets such a huge laugh
1043
00:58:15,117 --> 00:58:17,077
that it covers this little piece
of muted dialogue
1044
00:58:17,203 --> 00:58:19,413
between Eleanor and Clayton.
1045
00:58:19,538 --> 00:58:22,041
Basically, Clayton is saying to Eleanor,
you know, "Don't worry.
1046
00:58:22,124 --> 00:58:25,252
"We have plenty of time
to change things before we lock it."
1047
00:58:25,377 --> 00:58:29,924
Presumably that girl on the cover
is a client of Eleanor's.
1048
00:58:30,299 --> 00:58:31,634
And this was an element of the script
1049
00:58:31,759 --> 00:58:34,428
that we sort of continued
to develop and polish
1050
00:58:34,553 --> 00:58:39,225
after I got attached to the project.
We were wondering, you know,
1051
00:58:39,308 --> 00:58:43,395
"What would be the big awakening
that Sidney has,
1052
00:58:43,479 --> 00:58:44,688
"that sort of opens his eyes
1053
00:58:44,772 --> 00:58:49,443
"to how things really work
in this kind of an establishment?"
1054
00:58:49,568 --> 00:58:54,406
And he still thinks of Clayton Harding
as this all-powerful editor
1055
00:58:54,490 --> 00:58:56,992
who's in control
and admires him from his early days.
1056
00:58:57,117 --> 00:59:01,163
But now he realises that Clayton
is really in the hand of the publicist.
1057
00:59:02,122 --> 00:59:05,084
And, you know, if you have...
1058
00:59:05,167 --> 00:59:07,503
If you want to write about a celebrity,
say, in a magazine,
1059
00:59:07,628 --> 00:59:09,004
and you want to really
take them down a notch,
1060
00:59:09,129 --> 00:59:11,924
you gotta think about
who the representatives are
1061
00:59:12,007 --> 00:59:15,970
and how that may harm your access
to other clients of theirs.
1062
00:59:17,263 --> 00:59:20,724
And it's sort of the final verification
that Clayton is no longer
1063
00:59:20,808 --> 00:59:23,894
the iconoclast and the rebel
that he used to be.
1064
00:59:23,978 --> 00:59:26,522
And that's how things work here.
1065
00:59:34,989 --> 00:59:37,992
So Sidney really is
what Clayton used to be,
1066
00:59:39,326 --> 00:59:40,869
but he's at the wrong magazine
1067
00:59:40,995 --> 00:59:42,871
if he wants to write
these kinds of things.
1068
00:59:56,135 --> 00:59:59,305
And this dialogue plays
into that thought.
1069
01:00:00,222 --> 01:00:02,349
Even Clayton admits that.
1070
01:00:05,060 --> 01:00:06,645
There you go.
1071
01:00:07,896 --> 01:00:10,858
"I used to bitch about them,"
says Clayton.
1072
01:00:13,319 --> 01:00:15,487
"You're at the party now."
1073
01:00:17,906 --> 01:00:21,160
All of our audio people
used to repeat that line
1074
01:00:21,368 --> 01:00:25,205
whenever Jeff would say it.
We just liked the rhythm of it.
1075
01:00:28,709 --> 01:00:30,836
And that's sort of the...
1076
01:00:32,171 --> 01:00:34,506
The final making of that point.
1077
01:00:35,007 --> 01:00:36,300
If Clayton wants to fire him,
1078
01:00:36,383 --> 01:00:38,677
wouldn't he have to run a decision
like that past Eleanor?
1079
01:00:38,761 --> 01:00:41,430
So Clayton knows
that Sidney's on to him.
1080
01:00:44,058 --> 01:00:46,477
There was a scene that followed that
that I really liked,
1081
01:00:46,560 --> 01:00:50,898
a little fantasy sequence
of a little applause sequence,
1082
01:00:51,023 --> 01:00:53,734
which hopefully will be
on the deleted scenes.
1083
01:00:53,859 --> 01:00:56,028
This used to be one long shot
that pushed-in.
1084
01:00:56,111 --> 01:00:59,239
If you look closely, you'll see
what looks like Clayton from behind,
1085
01:00:59,365 --> 01:01:02,409
the grey hair, right there.
And we're off of him now,
1086
01:01:02,534 --> 01:01:04,953
but Jeff Bridges wasn't available
when we shot this party,
1087
01:01:05,079 --> 01:01:06,914
which was supposed to be
Clayton's Fourth of July party
1088
01:01:07,039 --> 01:01:08,957
in his Hamptons estate.
1089
01:01:09,124 --> 01:01:12,127
So I always figured, if anybody asked,
I would say it was like a Gatsby thing,
1090
01:01:12,252 --> 01:01:13,545
that he stayed inside the house
1091
01:01:13,629 --> 01:01:15,172
and just looked out the window
at his party.
1092
01:01:15,255 --> 01:01:20,928
But anyway, we got a body double
and put him in a Jeff Bridges wig.
1093
01:01:21,804 --> 01:01:23,472
And then that scene just got truncated.
1094
01:01:23,597 --> 01:01:25,683
It used to be one long sort of crane shot
1095
01:01:25,766 --> 01:01:29,478
that pushed-in to Alison and Sidney
at the buffet
1096
01:01:30,562 --> 01:01:33,065
and followed them to their seats,
1097
01:01:33,440 --> 01:01:37,403
but you're always cutting for time.
1098
01:01:52,292 --> 01:01:55,337
This whole sequence
at the Fourth of July party,
1099
01:01:55,462 --> 01:01:56,964
the scenes really got reshuffled.
1100
01:01:57,089 --> 01:02:01,510
This probably took the most hits
out of any other part of the film,
1101
01:02:01,635 --> 01:02:03,971
just to sort of clarify some information
1102
01:02:04,096 --> 01:02:08,142
and to, again,
get the running time down.
1103
01:02:10,185 --> 01:02:14,606
There were whole little subplots
and scenes that got cut here.
1104
01:02:15,482 --> 01:02:18,110
Hopefully, some of that will be included
on the deleted scenes,
1105
01:02:18,193 --> 01:02:19,528
and you'll see
what we were trying to get at.
1106
01:02:19,653 --> 01:02:23,699
This handsome young actor, right here,
Oscar-worthy performance.
1107
01:02:24,616 --> 01:02:26,994
That is yours truly,
that is Robert Weide the director
1108
01:02:27,077 --> 01:02:30,330
doing a little cameo in his film,
doing a little Alfred Hitchcock.
1109
01:02:30,456 --> 01:02:32,750
And now we learn
that Lawrence used to be a poet.
1110
01:02:32,833 --> 01:02:36,920
And...
He's the drinker of the White Russian!
1111
01:02:37,004 --> 01:02:41,633
Now we know what that means!
He's the secret boyfriend of Alison.
1112
01:02:41,842 --> 01:02:45,345
This scene had a bunch of stuff
going on that's been cut.
1113
01:02:45,471 --> 01:02:47,514
And the stripper line,
which was something
1114
01:02:47,598 --> 01:02:49,600
I gave Danny on the set that day,
sort of saved us.
1115
01:02:49,683 --> 01:02:51,769
It was the motivation
for Simon storming off,
1116
01:02:51,852 --> 01:02:54,772
when, in fact,
the way the scene was originally shot,
1117
01:02:54,855 --> 01:02:57,274
he walked off for a very different reason,
1118
01:02:57,357 --> 01:02:59,777
and hopefully you'll see that
in the deleted scenes.
1119
01:02:59,860 --> 01:03:01,695
This scene here, we sort of learn later,
1120
01:03:01,779 --> 01:03:05,365
what's going on here is Alison
is basically breaking up with Maddox,
1121
01:03:05,491 --> 01:03:10,162
and Maddox is taking it very seriously,
throwing peanuts in his mouth.
1122
01:03:13,040 --> 01:03:14,708
That's the kind of thing
that you may not catch
1123
01:03:14,792 --> 01:03:17,461
until you watch the film a couple times
and realise
1124
01:03:17,544 --> 01:03:18,962
when she says she broke up with him
1125
01:03:19,046 --> 01:03:21,507
that that's probably
when it was taking place.
1126
01:03:23,467 --> 01:03:28,347
This is Andy Lucas, a wonderful actor,
who plays the wizard/dentist.
1127
01:03:29,556 --> 01:03:32,017
And that wig, my understanding,
1128
01:03:33,644 --> 01:03:35,813
was actually the Gandalf wig
from Lord of the Rings,
1129
01:03:35,896 --> 01:03:39,733
because our hair and make-up
supervisor, Peter Swords King,
1130
01:03:39,817 --> 01:03:44,488
won his Oscar for, I think,
the third
LOTR film.
1131
01:03:45,072 --> 01:03:48,158
And I think that really is
Gandalf's actual wig.
1132
01:03:49,076 --> 01:03:51,912
Andy, actually,
has a fairly strong cockney accent,
1133
01:03:51,995 --> 01:03:54,748
so, again, we were lucky to find
a lot of Brit actors
1134
01:03:54,832 --> 01:03:56,583
who could do American accents.
1135
01:03:56,667 --> 01:04:00,045
He sounds a little
sort of New York, there.
1136
01:04:01,588 --> 01:04:04,591
He was also in an episode
of Simon's series Spaced.
1137
01:04:04,716 --> 01:04:06,927
You
Spaced fans will know that.
1138
01:04:07,761 --> 01:04:10,764
The business about the coke,
by the way,
1139
01:04:11,849 --> 01:04:13,934
the original cut of the film,
Simon actually said
1140
01:04:14,017 --> 01:04:15,561
no to the coke,
1141
01:04:15,936 --> 01:04:17,688
and then, for reasons
that are difficult to explain,
1142
01:04:17,771 --> 01:04:19,773
we had to leave it a little ambiguous.
1143
01:04:21,275 --> 01:04:24,361
This "Engerland" bit
tends to play very well in England,
1144
01:04:24,444 --> 01:04:27,030
and people in the United States
often stare at the screen
1145
01:04:27,114 --> 01:04:29,616
and wonder what the hell he's doing.
1146
01:04:36,039 --> 01:04:37,708
That's gotta hurt.
1147
01:04:38,208 --> 01:04:39,543
I like the idea that the band
just goes back...
1148
01:04:39,626 --> 01:04:43,463
Everyone goes back to what
they were doing, like nothing happened.
1149
01:04:46,717 --> 01:04:49,052
I should say also that
it was David Arnold, our composer,
1150
01:04:49,136 --> 01:04:50,554
who was singing Yankee Doodle.
1151
01:04:50,637 --> 01:04:53,223
It was not actually the person
who was singing it on camera,
1152
01:04:53,807 --> 01:04:55,058
but David dubbed that in later.
1153
01:04:55,142 --> 01:04:57,644
I'm sure he's thrilled
that I'm telling you that.
1154
01:04:59,229 --> 01:05:01,732
This was another scene...
There were a few scenes in this film
1155
01:05:01,815 --> 01:05:03,483
that I really wanted
to get more coverage
1156
01:05:03,609 --> 01:05:05,819
where, you know, we ran out of time.
1157
01:05:05,944 --> 01:05:08,572
And here, again, this was sort of dusk,
and we were losing the light,
1158
01:05:10,157 --> 01:05:13,076
and I love this master shot
because it allows me to do this trick
1159
01:05:13,160 --> 01:05:16,246
of people leaving the frame
and then entering.
1160
01:05:16,330 --> 01:05:18,081
And there, I think, that angle,
1161
01:05:18,165 --> 01:05:21,335
this angle here,
I was able to get one take,
1162
01:05:21,460 --> 01:05:23,170
and then one take from this angle.
1163
01:05:23,295 --> 01:05:25,756
And I also wanted to get the camera
closer in both cases,
1164
01:05:25,839 --> 01:05:28,842
and I just couldn't do it
because it was getting too dark.
1165
01:05:29,843 --> 01:05:32,596
And the thinking was, "Well, we'll come
back and get more coverage later,"
1166
01:05:32,679 --> 01:05:35,182
and, of course, you never get to.
1167
01:05:35,849 --> 01:05:37,517
Once you're in the editing room,
you figure out whether
1168
01:05:37,601 --> 01:05:39,269
you can really make the scene work
with what you've got,
1169
01:05:39,353 --> 01:05:41,021
and I actually think
the scene came outjust fine.
1170
01:05:41,104 --> 01:05:45,817
I love, again, here, Alison leaving frame,
coming back into frame.
1171
01:05:47,945 --> 01:05:50,197
That gets screams in the theatre.
1172
01:05:52,032 --> 01:05:56,203
Little kind of Dudley Moore,
Peter Sellers kind of moment, there.
1173
01:05:57,871 --> 01:06:02,542
This is all special effects stuff.
The twinkle lights reflecting in the pool,
1174
01:06:02,626 --> 01:06:08,507
and this magical Megan reflection,
which was all done in post.
1175
01:06:12,803 --> 01:06:15,639
Megan, I think, had
three different scenes for her audition,
1176
01:06:15,722 --> 01:06:17,474
and basically,
this scene that you're watching
1177
01:06:17,557 --> 01:06:19,893
was one of the audition scenes.
1178
01:06:23,021 --> 01:06:26,400
Again, like I said before,
she just nailed it. She was so good.
1179
01:06:26,525 --> 01:06:29,236
When we shot this that night...
By the way, the entire time
1180
01:06:29,319 --> 01:06:31,321
we were shooting in this location,
for the garden party,
1181
01:06:31,405 --> 01:06:33,073
we had terrible weather in London.
1182
01:06:33,198 --> 01:06:35,158
It was supposed to be
the Hamptons in New York,
1183
01:06:35,242 --> 01:06:38,912
Fourth of July, the middle of summer,
and we found this location.
1184
01:06:39,037 --> 01:06:42,249
But, boy, we got the London weather.
1185
01:06:42,332 --> 01:06:45,919
It was, I think, the rainiest summer
that they had in, like, 478 years,
1186
01:06:46,044 --> 01:06:49,089
and it just really screwed
with our schedule.
1187
01:06:49,214 --> 01:06:52,175
'Cause we'd be shooting out in the rain,
and then, you know...
1188
01:06:52,259 --> 01:06:54,094
Or when the rain came,
we'd have to stop shooting,
1189
01:06:54,177 --> 01:06:57,264
and then the sun would come out.
We'd film for another minute,
1190
01:06:57,389 --> 01:07:00,517
and then have to run for cover again
as it rained.
1191
01:07:00,726 --> 01:07:03,437
So it happened all night here
when we were shooting,
1192
01:07:03,562 --> 01:07:06,773
and we have shots in sunlight
and shots in the shade,
1193
01:07:06,857 --> 01:07:10,610
and it made the editor, David Freeman,
a bit crazy, but...
1194
01:07:11,528 --> 01:07:14,031
I remember the night
that we were shooting this,
1195
01:07:14,114 --> 01:07:17,617
this was really Megan's first big scene,
is that the crew,
1196
01:07:17,701 --> 01:07:19,536
everybody was coming up to me
between takes, saying,
1197
01:07:19,619 --> 01:07:21,413
"God, she's good!"
1198
01:07:21,580 --> 01:07:23,790
Mainly the guys with their mouths open.
1199
01:07:23,874 --> 01:07:28,545
And I'd say, "Yeah. I didn't hire her
just because she's beautiful."
1200
01:07:28,879 --> 01:07:33,717
But they were all quite surprised
that she was as good as she was.
1201
01:07:40,432 --> 01:07:44,895
And again, this is sort of a reveal
that Sophie is kind of at a crossroads,
1202
01:07:44,978 --> 01:07:50,484
realising that all the celebrity thing is,
you know, a bunch of crap,
1203
01:07:50,609 --> 01:07:53,236
and she's either gonna go with it
or fight against it,
1204
01:07:53,320 --> 01:07:55,405
and she winds up going with it.
1205
01:07:55,489 --> 01:07:57,741
That shot of the sky was
Stephen Woolley, the producer,
1206
01:07:57,824 --> 01:07:59,826
his idea, 'cause we really needed
a cutaway here,
1207
01:07:59,910 --> 01:08:02,079
because we had to cut
a bunch of material,
1208
01:08:02,162 --> 01:08:04,748
and we had body position,
continuity issues
1209
01:08:04,831 --> 01:08:05,999
and didn't know how
to get around them,
1210
01:08:06,083 --> 01:08:08,001
and Stephen said, "Well,
why don't we get a shot of the stars,
1211
01:08:08,085 --> 01:08:10,420
"and then we can cut back
to whatever we want?"
1212
01:08:10,504 --> 01:08:17,135
And it allowed us to cut
about 30 seconds of the scene.
1213
01:08:22,432 --> 01:08:24,267
This business coming up,
1214
01:08:24,351 --> 01:08:27,854
I don't know if the gag really plays
with Simon's face in the windshield,
1215
01:08:27,938 --> 01:08:30,941
but what I was trying to do here
was implying that this was a time cut,
1216
01:08:31,024 --> 01:08:34,778
and that Sidney saw
the wizard driving away
1217
01:08:34,861 --> 01:08:37,489
and actuallyjumped on top
of his car to stop him.
1218
01:08:37,656 --> 01:08:40,700
It's all off-camera, though.
It's all implied,
1219
01:08:41,785 --> 01:08:44,704
and whether it actually plays,
I don't know.
1220
01:08:53,380 --> 01:08:54,965
This is yet another scene...
1221
01:08:55,048 --> 01:08:59,052
See, we got so screwed by the weather,
it made our days so much shorter,
1222
01:08:59,177 --> 01:09:01,304
because there was so much time
we couldn't shoot
1223
01:09:01,388 --> 01:09:05,475
that a lot of the scenes that take place
at this location were ones
1224
01:09:05,559 --> 01:09:08,145
that I never felt
I got enough coverage of.
1225
01:09:08,228 --> 01:09:12,149
And of course this is all handheld,
and I got, I think, like, two masters,
1226
01:09:12,232 --> 01:09:14,818
and I really wanted to turn
the camera around and get some faces
1227
01:09:14,901 --> 01:09:18,697
and get some different angles,
and we just ran out of time.
1228
01:09:19,573 --> 01:09:22,742
And even though
we did whatever it was,
1229
01:09:22,868 --> 01:09:28,081
the two or three takes and the master,
my editor did find cutting points
1230
01:09:28,165 --> 01:09:32,419
that allowed us to use different takes
instead of just one take straight through,
1231
01:09:32,502 --> 01:09:34,421
so that was helpful.
1232
01:09:43,346 --> 01:09:45,348
Her line earlier
about "I hate rental cars,"
1233
01:09:45,432 --> 01:09:49,352
I realised that we needed a car
for the scene,
1234
01:09:49,436 --> 01:09:51,438
but it was ridiculous to think
that a girl like Alison,
1235
01:09:51,521 --> 01:09:54,399
living in New York City,
would own a car.
1236
01:09:55,275 --> 01:09:58,528
You wouldn't own a car
if you were in your early 20s
1237
01:09:58,612 --> 01:10:00,447
and not making a huge salary
and living in New York.
1238
01:10:00,572 --> 01:10:01,698
Even if you made a huge salary,
1239
01:10:01,781 --> 01:10:03,283
few people have their own cars
in New York,
1240
01:10:03,366 --> 01:10:05,118
unless there's good reason to.
1241
01:10:07,412 --> 01:10:11,374
And so Kirsten ad-libbed that line,
"I hate rental cars,"
1242
01:10:11,458 --> 01:10:13,460
to give the audience that information.
1243
01:10:13,543 --> 01:10:17,214
Simon actually makes a reference
to the rental car here, too.
1244
01:10:18,548 --> 01:10:22,052
But I didn't want people to think,
"Come on, she wouldn't have a car."
1245
01:10:27,265 --> 01:10:28,975
There was more dialogue in this scene
at one time,
1246
01:10:29,100 --> 01:10:33,146
her talking about, you know,
"Lawrence isn't what you think he is.
1247
01:10:33,230 --> 01:10:34,648
"He puts on that front.
1248
01:10:34,731 --> 01:10:38,151
"He's disappointed in himself
because he wanted to be a poet."
1249
01:10:40,237 --> 01:10:42,239
Again, this was a scene
that was really lovely,
1250
01:10:42,322 --> 01:10:45,951
but it just ran too long,
and we had to cut a lot out,
1251
01:10:46,159 --> 01:10:49,996
so we lost that little piece
about Lawrence.
1252
01:10:51,998 --> 01:10:55,502
But that's why God invented DVD,
so I could tell you.
1253
01:11:03,176 --> 01:11:05,929
Nothing better than a good vomit gag.
1254
01:11:06,012 --> 01:11:08,515
That scene from up above,
shooting down on the highway,
1255
01:11:08,598 --> 01:11:12,769
was sort of a stolen shot.
We waited for the traffic to stop,
1256
01:11:12,852 --> 01:11:16,773
and then had our driver
drive a little crazy, filmed it,
1257
01:11:16,856 --> 01:11:18,483
and then we ran away.
1258
01:11:28,118 --> 01:11:30,287
And here's Bill Paterson,
wonderful actor,
1259
01:11:30,370 --> 01:11:32,372
playing Sidney's father.
1260
01:11:37,877 --> 01:11:40,213
Toby Young's actual father
was named Michael Young,
1261
01:11:40,297 --> 01:11:43,383
who was, in fact...
I don't know if he was a lord.
1262
01:11:43,800 --> 01:11:46,553
He had some sort of title.
He was a sociologist
1263
01:11:46,678 --> 01:11:49,472
and an author who wrote
the book The Rise of Meritocracy.
1264
01:11:49,556 --> 01:11:52,392
So all this business
about the relationship between
1265
01:11:52,517 --> 01:11:55,729
Sidney and his father
is not far from real life.
1266
01:11:58,648 --> 01:12:00,233
We didn't know what song
we were gonna put in here
1267
01:12:00,358 --> 01:12:03,069
for Alison to say, "I love this song,"
1268
01:12:04,654 --> 01:12:07,490
and sometime during post, I thought
it should be a really raunchy song,
1269
01:12:07,574 --> 01:12:10,076
because, again, it's the last thing
we'd expect from someone
1270
01:12:10,160 --> 01:12:12,495
as buttoned down as Alison
that she would hear a raunchy song
1271
01:12:12,579 --> 01:12:14,414
and say, "I love this,"
1272
01:12:14,497 --> 01:12:17,417
and so we put in
Me So Horny,
and it got a laugh.
1273
01:12:17,500 --> 01:12:20,879
I don't know if it's exactly
the right choice,
1274
01:12:21,046 --> 01:12:24,090
but if you get a laugh,
it's hard to let it go.
1275
01:12:26,092 --> 01:12:28,762
Again, this is another scene
that ran much longer,
1276
01:12:28,887 --> 01:12:30,680
and we just had to get it
cut down for time.
1277
01:12:30,764 --> 01:12:33,600
I'm not certain that I like, ultimately,
1278
01:12:33,892 --> 01:12:36,603
the way the rhythm
of the scene changed,
1279
01:12:38,104 --> 01:12:40,190
but again, that's just me.
1280
01:12:41,399 --> 01:12:44,444
Before, it had a little more casual pace
1281
01:12:44,569 --> 01:12:47,113
and there were more moments
and looks and pauses.
1282
01:12:50,367 --> 01:12:54,245
Just had to kind of plough through it,
so we sort of lost the rhythm of it,
1283
01:12:55,372 --> 01:12:59,042
but shaved probably a good minute
and a half off of the running time.
1284
01:13:03,755 --> 01:13:06,049
Bill Paterson, here,
we really had to age him up.
1285
01:13:06,132 --> 01:13:09,135
He's much healthier
and younger-looking than he is here.
1286
01:13:09,219 --> 01:13:13,306
We just had to sort of grey him up,
and with some make-up and the glasses
1287
01:13:13,431 --> 01:13:17,143
and the sort of frumpy clothes
make him look a bit older than he is.
1288
01:13:17,977 --> 01:13:20,146
But he's a terrific actor.
1289
01:13:29,906 --> 01:13:32,075
I should disclose that,
since you last heard from me,
1290
01:13:32,158 --> 01:13:36,913
I've actually now done
the dual commentary with Simon Pegg,
1291
01:13:36,996 --> 01:13:39,082
so now I'm very self-conscious
about what we've already said
1292
01:13:39,165 --> 01:13:41,918
in that commentary
that I don't want to repeat myself here.
1293
01:13:42,001 --> 01:13:45,338
'Cause I know if you only listen to one,
it's going to be that one.
1294
01:13:50,260 --> 01:13:51,594
See, now,
what I want to tell you right now
1295
01:13:51,678 --> 01:13:53,263
I think I said in the last one,
which is that
1296
01:13:53,346 --> 01:13:56,599
when I showed this scene
to Simon's mother,
1297
01:13:56,683 --> 01:13:59,269
who came to visit the set one day,
she got very touched
1298
01:13:59,352 --> 01:14:03,606
and actually cried a bit of a tear,
seeing her son in this dramatic scene.
1299
01:14:03,690 --> 01:14:04,858
This is...
1300
01:14:06,151 --> 01:14:11,030
I've always maintained that
if Simon were to try his hand
1301
01:14:11,156 --> 01:14:14,409
at doing dramatic acting,
he'd probably be terrific,
1302
01:14:14,492 --> 01:14:16,744
and, in a few of his films,
you get a taste of that.
1303
01:14:16,828 --> 01:14:18,538
I think this scene bears that out,
1304
01:14:18,621 --> 01:14:21,749
and I will never forget the scene
in
Shaun of the Dead
1305
01:14:21,833 --> 01:14:24,419
where he has to shoot his mother
who's become zombified,
1306
01:14:24,502 --> 01:14:30,717
and it's a horrible scene,
and he's crying, and he's very upset,
1307
01:14:30,800 --> 01:14:34,762
and it's quite real.
If it weren't for the fact that, you know,
1308
01:14:34,846 --> 01:14:38,099
the whole concept of his mother
becoming a zombie,
1309
01:14:40,602 --> 01:14:43,646
it wouldn't be comedic at all, actually.
1310
01:14:49,235 --> 01:14:51,738
I know that Simon really enjoyed
doing this scene with Bill, too.
1311
01:14:51,821 --> 01:14:53,156
It's such a change of pace.
It's one of the things
1312
01:14:53,239 --> 01:14:57,744
I like about our film, is that there's
so many different kinds of things in it
1313
01:14:57,827 --> 01:14:59,370
that it's not all just one thing.
1314
01:14:59,454 --> 01:15:04,959
It's not all just silly or all low-brow
or all sophisticated, or...
1315
01:15:06,920 --> 01:15:10,965
Just sort of a little something
for everybody.
1316
01:15:13,676 --> 01:15:15,762
And I already talked about,
in the other commentary,
1317
01:15:15,845 --> 01:15:18,765
the hand hovering.
See, now I've got nothing left to say.
1318
01:15:19,599 --> 01:15:22,018
Simon needed that hand
on his shoulder to motivate him
1319
01:15:22,101 --> 01:15:25,063
to make his confession to his dad
that things weren't working out so well,
1320
01:15:25,146 --> 01:15:28,733
but I wanted the hand to just hover,
1321
01:15:28,816 --> 01:15:32,070
so he put his hand on Simon's shoulder
and then I cut it out in editing
1322
01:15:32,153 --> 01:15:34,364
and got the best of both worlds.
1323
01:15:38,576 --> 01:15:42,830
I like this bit coming up here.
Simon says that
1324
01:15:43,373 --> 01:15:46,084
Alison says that
New York girls don't go for losers,
1325
01:15:46,167 --> 01:15:48,419
and his father says,
"But Alison's not from New York.
1326
01:15:48,503 --> 01:15:51,548
"She's from Port Huron."
Of course, he never offers the idea
1327
01:15:51,631 --> 01:15:53,049
that perhaps his son isn't a loser.
1328
01:15:53,132 --> 01:15:56,344
He seems to go along with that
quite readily.
1329
01:16:01,599 --> 01:16:04,936
And this is a very idyllic scene,
1330
01:16:08,106 --> 01:16:11,568
and David Arnold's sort of love theme
creeps in here.
1331
01:16:12,485 --> 01:16:15,905
And we sort of take the piss
out of the sentimentality
1332
01:16:15,989 --> 01:16:18,324
by making Alison a snorer.
1333
01:16:22,078 --> 01:16:24,956
This is what we call
an establishing shot.
1334
01:16:34,382 --> 01:16:36,301
There was a lot of discussion
about whether
1335
01:16:36,384 --> 01:16:38,678
Alison would be wearing pyjamas
1336
01:16:38,761 --> 01:16:40,388
or wearing her clothes
from the night before,
1337
01:16:40,471 --> 01:16:42,140
and I realised that
if she's wearing pyjamas
1338
01:16:42,223 --> 01:16:45,560
that must mean that
Mrs Kowalski changed her, which...
1339
01:16:46,853 --> 01:16:48,187
I guess that could happen,
1340
01:16:48,271 --> 01:16:51,733
but it was just too cute to pass up,
the idea of Kirsten wearing,
1341
01:16:51,816 --> 01:16:56,112
or Alison wearing Sidney's pyjamas.
The feel is right.
1342
01:16:56,195 --> 01:16:57,905
This scene actually
always reminded me a bit...
1343
01:16:57,989 --> 01:17:03,202
Not that I have 5% of the talent
as someone as great as Billy Wilder.
1344
01:17:03,286 --> 01:17:06,456
But this scene,
just in structure and tone,
1345
01:17:06,539 --> 01:17:09,125
has always reminded me a bit
of The Apartment,
1346
01:17:09,208 --> 01:17:11,836
with Jack Lemmon
and Shirley MacLaine,
1347
01:17:12,211 --> 01:17:14,964
which is a film I love
because it rides that line
1348
01:17:15,048 --> 01:17:16,758
between comedy and human drama,
1349
01:17:16,841 --> 01:17:20,178
the fact that, in the middle of this
somewhat light-hearted comedy,
1350
01:17:20,261 --> 01:17:23,181
Shirley MacLaine tries to commit
suicide in Jack Lemmon's apartment.
1351
01:17:23,264 --> 01:17:26,601
And then there's the scene
when she's coming around,
1352
01:17:26,684 --> 01:17:30,563
and he's cooking and making spaghetti
on his tennis racket
1353
01:17:31,939 --> 01:17:35,068
and he kind of likes having her
around his apartment.
1354
01:17:35,151 --> 01:17:37,737
This scene has always reminded me
a bit of that.
1355
01:17:43,117 --> 01:17:46,621
That little butterfly stamp was an idea
that I had to make certain
1356
01:17:46,704 --> 01:17:47,914
that when we saw the red book,
1357
01:17:47,997 --> 01:17:50,917
we understood that
it was always Alison's book.
1358
01:17:54,003 --> 01:17:56,589
So it's sort of a last-minute idea.
1359
01:18:01,803 --> 01:18:03,262
I like the lighting in this room.
1360
01:18:03,346 --> 01:18:07,475
This is our wonderful director
of photography, Oliver Stapleton.
1361
01:18:07,558 --> 01:18:09,352
Gives us a great morning light.
1362
01:18:09,435 --> 01:18:10,812
Again, that's a translight outside.
1363
01:18:10,937 --> 01:18:12,105
You can see it a little better now
1364
01:18:12,188 --> 01:18:13,940
than you do
during the night-time scenes,
1365
01:18:14,023 --> 01:18:16,067
the brick building across the way.
1366
01:18:23,199 --> 01:18:25,952
So now Sidney has gone from quoting
1367
01:18:28,079 --> 01:18:30,081
from popular movies
to quoting philosophers,
1368
01:18:30,164 --> 01:18:32,917
now that we know
he was a philosophy major.
1369
01:18:33,000 --> 01:18:35,336
We know there's more to him
than meets the eye.
1370
01:18:36,629 --> 01:18:41,008
This, in Peter Straughan's script,
he had Sidney give Alison,
1371
01:18:42,176 --> 01:18:44,679
I guess, a CD
of La Dolce vita.
1372
01:18:45,596 --> 01:18:47,265
And I thought it was
much more romantic
1373
01:18:47,348 --> 01:18:51,936
to actually get an old-fashioned,
12-inch vinyl record than a CD.
1374
01:18:53,104 --> 01:18:55,690
And then I thought,
"Well, nobody really..."
1375
01:18:57,191 --> 01:18:58,985
Most people don't even have
turntables any more,
1376
01:18:59,068 --> 01:19:01,362
and then I thought, "Well,
let's use that to our advantage,"
1377
01:19:01,446 --> 01:19:04,657
and that informed the whole decision
to have Sidney
1378
01:19:04,741 --> 01:19:07,118
have a turntable in his house,
so that we could have this moment
1379
01:19:07,201 --> 01:19:09,996
where he says, "Well, you can always
come over here and listen to it,"
1380
01:19:10,079 --> 01:19:11,789
which is sort of like, you know,
1381
01:19:11,873 --> 01:19:14,542
"Come to my place
and see how my etchings are hung,"
1382
01:19:14,625 --> 01:19:19,130
but I just think it's sweet
that he puts on the record for her.
1383
01:19:21,632 --> 01:19:24,886
And it's not so romantic
to give somebody a CD,
1384
01:19:25,261 --> 01:19:28,931
but a used record from
a used record store is kind of sweet.
1385
01:19:30,016 --> 01:19:32,435
This I love. This, you know, we...
1386
01:19:33,144 --> 01:19:35,855
This was a very complicated effect
to do here,
1387
01:19:35,938 --> 01:19:39,192
because we're actually
on the soundstage, here.
1388
01:19:39,650 --> 01:19:43,404
What happened originally is we actually
pull out through the window magically,
1389
01:19:43,488 --> 01:19:46,073
and then this is actually
a location in New York,
1390
01:19:46,157 --> 01:19:50,077
and the shot of Kirsten and Simon
dancing through the window
1391
01:19:50,161 --> 01:19:52,705
is sort of a little matte job.
1392
01:19:52,789 --> 01:19:54,457
And this is actually
the skyline of New York.
1393
01:19:54,540 --> 01:19:58,586
This is all on location, and
everything was sort of melded together.
1394
01:19:58,878 --> 01:20:01,839
But again, in that pressure
to keep things moving,
1395
01:20:01,923 --> 01:20:05,176
that shot took a long time to play out,
and people were saying,
1396
01:20:05,259 --> 01:20:08,221
"it's lasting too long,"
so we cut out the magical part
1397
01:20:08,304 --> 01:20:10,723
of the moment where the camera
pulls out through the window.
1398
01:20:10,807 --> 01:20:14,310
And I believe, again, that will be
on the deleted scenes, hopefully,
1399
01:20:14,393 --> 01:20:16,187
and you'll see
what the original shot looked like.
1400
01:20:16,270 --> 01:20:18,022
We spent so much money on it,
I thought, you know,
1401
01:20:18,105 --> 01:20:21,150
"At least let's put it on the DVD
and get our money's worth."
1402
01:20:23,402 --> 01:20:27,782
This scene was originally written...
Peter Straughan wanted some gag
1403
01:20:28,574 --> 01:20:31,661
to end this scene, and he had Simon,
1404
01:20:31,744 --> 01:20:34,288
Sidney, opening up a door
and falling down a flight of stairs,
1405
01:20:34,372 --> 01:20:36,999
which we really couldn't effectively film,
1406
01:20:37,083 --> 01:20:38,459
and I thought,
"it doesn't really make sense,
1407
01:20:38,543 --> 01:20:40,920
"because there'd be a little landing
before he'd get to the stairs.
1408
01:20:41,003 --> 01:20:44,423
"So if he opened up the door,
how could he fall down the stairs?
1409
01:20:44,507 --> 01:20:46,551
"And why would there be stairs
off the office like this?"
1410
01:20:46,634 --> 01:20:49,929
So, in coming up with an alternative,
I thought of this idea
1411
01:20:50,012 --> 01:20:53,808
that it would be an emergency exit
that would set off an alarm,
1412
01:20:55,351 --> 01:20:59,021
and then the rest is kind of
Simon's brilliance in ad-libbing,
1413
01:20:59,105 --> 01:21:02,316
his pointing to the sign and saying,
"it works."
1414
01:21:03,317 --> 01:21:07,238
Right there, and then we just had
a bunch of books on the shelf
1415
01:21:07,321 --> 01:21:10,032
that were sort of clearable
through our clearance department,
1416
01:21:10,116 --> 01:21:11,576
and lo and behold,
there was a book on elephants.
1417
01:21:11,659 --> 01:21:14,787
So Simon used that to comic effect,
as well.
1418
01:21:16,080 --> 01:21:18,416
And that has always been
a very consistent laugh
1419
01:21:18,499 --> 01:21:19,792
in all of our previews,
1420
01:21:19,876 --> 01:21:22,003
and it certainly scored
at the premiere last night.
1421
01:21:22,086 --> 01:21:23,504
Let's hope you enjoy it.
1422
01:21:23,588 --> 01:21:25,089
This scene was always strange to me.
1423
01:21:25,172 --> 01:21:28,092
I shot in the bathroom mirror
and during preview screenings,
1424
01:21:28,175 --> 01:21:31,888
I always wondered why people were
giggling at this and laughing at this,
1425
01:21:31,971 --> 01:21:33,347
because, until he puts
the teeth in his mouth,
1426
01:21:33,431 --> 01:21:35,057
it wasn't a particularly comic scene.
1427
01:21:35,141 --> 01:21:37,184
And then I realised that the line
going down the middle,
1428
01:21:37,268 --> 01:21:39,687
dividing the mirror,
has just distorted his face enough
1429
01:21:39,770 --> 01:21:43,399
that people found that humorous,
so to each their own.
1430
01:21:43,482 --> 01:21:46,444
I'll take a laugh any way I can get it.
1431
01:21:47,695 --> 01:21:49,655
A slight regret, here.
There was more to this scene
1432
01:21:49,739 --> 01:21:52,950
before Simon entered
in his Dracula outfit.
1433
01:21:53,034 --> 01:21:55,828
There were some other extras
who looked great dressed up
1434
01:21:55,912 --> 01:21:57,622
as Marilyn and Groucho Marx
and all that,
1435
01:21:57,705 --> 01:21:59,540
so maybe we'll put that
on the deleted scenes, as well,
1436
01:21:59,624 --> 01:22:06,297
and you can see a little bit more
of our extras before Simon walks on.
1437
01:22:09,342 --> 01:22:11,636
I remember that day
the assistant editor saying,
1438
01:22:11,719 --> 01:22:14,639
"All right,
I want to see Elvis kissing a nun,"
1439
01:22:14,722 --> 01:22:17,266
which is a strange thing to hear
in any context.
1440
01:22:19,060 --> 01:22:24,565
This scene, when I read the script,
I pictured Simon and Kirsten...
1441
01:22:24,690 --> 01:22:26,400
Well, it wasn't Simon and Kirsten
when I read the script,
1442
01:22:26,484 --> 01:22:29,779
but I pictured Sidney and Alison
shoulder to shoulder like this
1443
01:22:29,862 --> 01:22:31,739
and always had that in my script,
1444
01:22:31,822 --> 01:22:34,575
and then when we were setting up
the shot, I completely forgot about it
1445
01:22:34,659 --> 01:22:36,535
and basically told the crew to set it up
1446
01:22:36,619 --> 01:22:38,621
so that they'd be facing each other,
which they did.
1447
01:22:38,704 --> 01:22:42,541
And then, just before we shot,
I said, "Oh, no, I've blown it.
1448
01:22:42,625 --> 01:22:45,836
"I want them shoulder to shoulder,"
which took some rearranging.
1449
01:22:45,920 --> 01:22:47,880
We basically had to reset.
We lost about a half hour.
1450
01:22:47,964 --> 01:22:49,423
Everyone was quite annoyed with me,
1451
01:22:49,507 --> 01:22:51,592
but you can see here
what I was going for,
1452
01:22:51,676 --> 01:22:55,221
was that the two of them could talk
and not make eye contact,
1453
01:22:55,304 --> 01:22:59,100
that Sidney could be devastated
by this news
1454
01:22:59,183 --> 01:23:01,268
and be able to take it
without having to look at her,
1455
01:23:01,352 --> 01:23:04,897
and that Alison could be saying
what she had to say
1456
01:23:04,981 --> 01:23:06,565
without having to make
eye contact with him,
1457
01:23:06,649 --> 01:23:09,068
and the two of them could sort of
stare forward together.
1458
01:23:09,151 --> 01:23:11,529
I love this moment where they both
take the sip simultaneously.
1459
01:23:11,612 --> 01:23:13,823
That was not planned.
That just happened,
1460
01:23:13,906 --> 01:23:15,324
and it was the only take
where it happened,
1461
01:23:15,408 --> 01:23:18,536
and it was so lovely
that I wanted very much
1462
01:23:18,619 --> 01:23:20,538
to make sure that it wound up in the cut.
1463
01:23:20,621 --> 01:23:22,289
But anyway, it was worth the reset
1464
01:23:22,373 --> 01:23:24,917
to get them shoulder to shoulder
like that,
1465
01:23:26,669 --> 01:23:31,465
'cause the blocking of it
really captures the feel of the scene.
1466
01:23:33,175 --> 01:23:35,177
Another regret, a scene cut here.
1467
01:23:35,261 --> 01:23:38,764
Hate to go and on about all my regrets,
but there you have it.
1468
01:23:38,848 --> 01:23:40,641
Again, I'm certain that'll be
on deleted scenes,
1469
01:23:40,725 --> 01:23:43,686
and you'll see a little bit more
of Sidney's motivation
1470
01:23:43,769 --> 01:23:48,107
to literally beg in the street
to write the piece on Vincent.
1471
01:23:49,608 --> 01:23:51,068
That I always loved.
1472
01:23:51,152 --> 01:23:55,072
That was...
I told my crew this wasn't in the script,
1473
01:23:55,156 --> 01:23:58,367
but I had this idea that Gillian,
that Eleanor should actually
1474
01:23:58,451 --> 01:24:01,328
put the window up on Sidney's fingers,
1475
01:24:02,747 --> 01:24:06,584
and so they rigged this gag
1476
01:24:06,667 --> 01:24:08,878
so that we could close the window
on his fingers
1477
01:24:08,961 --> 01:24:11,964
without actually harming Simon,
of course.
1478
01:24:12,048 --> 01:24:14,633
And when he screamed like that,
I thought, you know,
1479
01:24:14,717 --> 01:24:15,801
"What does that remind me of?"
1480
01:24:15,885 --> 01:24:20,347
I realised that it reminded me
of a vampire suddenly meeting daylight.
1481
01:24:21,182 --> 01:24:23,768
And then we added the thunderclap,
1482
01:24:25,186 --> 01:24:28,731
and there's poor little Sidney,
in the rain, on his knees.
1483
01:24:28,814 --> 01:24:32,610
Here he went and begged,
and it didn't pay off.
1484
01:24:34,445 --> 01:24:36,405
This billboard is sort of funny.
1485
01:24:36,489 --> 01:24:39,450
You'll see that
she's dripping in diamonds.
1486
01:24:39,950 --> 01:24:42,661
And we thought we were going to get
1487
01:24:44,872 --> 01:24:49,460
a little bit of a stipend from Chopard,
and that deal fell through.
1488
01:24:50,169 --> 01:24:53,130
It was gonna be a billboard for Chopard.
1489
01:24:54,632 --> 01:24:56,801
And then we tried to do
a deal with Gucci, and they said,
1490
01:24:56,884 --> 01:24:58,552
"Well, we can't do it.
She's wearing a Versace dress,"
1491
01:24:58,636 --> 01:25:02,014
and Versace didn't make a deal,
so we wound up with Woolmark.
1492
01:25:03,015 --> 01:25:04,433
Don't ask.
1493
01:25:23,494 --> 01:25:27,289
So it winds up that Sidney's begging
did pay off, after all.
1494
01:25:28,332 --> 01:25:29,625
Even though Eleanor drove away,
1495
01:25:29,750 --> 01:25:33,462
apparently she placed a phone call
to Clayton and said,
1496
01:25:33,546 --> 01:25:37,633
"Let's let him do the piece on Vincent
if he wants it so much."
1497
01:25:39,468 --> 01:25:41,804
I tend to go quiet
when there's a Jeff Bridges scene,
1498
01:25:41,887 --> 01:25:45,015
because I just want to sit back
and watch him.
1499
01:25:47,351 --> 01:25:49,937
And here we go, our success montage.
1500
01:25:52,898 --> 01:25:56,443
Sidney's dressing a little better.
He was making fun of Sidney's,
1501
01:25:56,527 --> 01:26:01,157
or rather Vincent's sunglasses,
and now he's wearing them himself.
1502
01:26:03,617 --> 01:26:04,994
This copy, here, on this page,
1503
01:26:05,161 --> 01:26:07,288
was actually written by my assistant,
Ross Ferguson.
1504
01:26:07,371 --> 01:26:09,957
I said, "Write up an article
about Vincent Lepak."
1505
01:26:14,503 --> 01:26:19,133
These pictures you see of Max
in the king outfit, we actually...
1506
01:26:19,216 --> 01:26:22,261
The idea was that part of this montage
would be the photo shoot
1507
01:26:22,344 --> 01:26:26,098
of Vincent in that outfit,
and we never got around to it.
1508
01:26:26,182 --> 01:26:27,474
It was one of those things
we ran out of time.
1509
01:26:27,558 --> 01:26:29,560
And he was actually there
and everything was set up,
1510
01:26:29,643 --> 01:26:32,771
but we just couldn't film it,
'cause I couldn't be two places at once,
1511
01:26:32,855 --> 01:26:36,233
and we didn't have
a second-unit crew that day,
1512
01:26:37,234 --> 01:26:39,195
so, in any event,
we got the photos to use for this.
1513
01:26:39,278 --> 01:26:41,822
There it is, again, in the magazine.
1514
01:26:42,990 --> 01:26:46,118
But we couldn't actually film
the photo shoot.
1515
01:26:47,536 --> 01:26:49,580
These shots, here,
were all done on our one pickup day,
1516
01:26:49,663 --> 01:26:52,374
months after we finished
principal photography.
1517
01:26:52,458 --> 01:26:55,878
There was some question
about how much time had gone by
1518
01:26:56,253 --> 01:27:02,885
and how long it took for Sidney
to make this rise
1519
01:27:03,844 --> 01:27:06,305
past the second and third rooms,
1520
01:27:07,056 --> 01:27:10,935
and so this montage sort of helps
give the idea that time is passing,
1521
01:27:11,018 --> 01:27:13,479
that it didn't happen overnight.
1522
01:27:13,562 --> 01:27:14,813
There, he's got the watch now
1523
01:27:14,897 --> 01:27:17,608
that we see him wearing
at the beginning of the film.
1524
01:27:18,317 --> 01:27:19,944
There's the name Oscar Wright,
1525
01:27:20,027 --> 01:27:21,946
who is Edgar Wright's brother,
who actually is
1526
01:27:22,029 --> 01:27:25,115
a wonderful graphic artist
and storyboard artist.
1527
01:27:25,616 --> 01:27:28,118
We didn't do much storyboarding
for this film.
1528
01:27:28,202 --> 01:27:29,954
A couple of the scenes
we storyboarded,
1529
01:27:30,037 --> 01:27:32,206
the Cuba death scene,
1530
01:27:32,957 --> 01:27:37,461
and I think the scene at the screening
in the park at the end of the film.
1531
01:27:37,544 --> 01:27:40,422
Although, whenever I work
with storyboards, which is rare,
1532
01:27:40,506 --> 01:27:44,426
I tend to kind of discard them
partway through the scene,
1533
01:27:45,010 --> 01:27:46,679
because there are always
unforeseen circumstances
1534
01:27:46,762 --> 01:27:49,348
that sort of dictate
how you wind up shooting something
1535
01:27:49,431 --> 01:27:52,101
no matter what you think
you're gonna shoot going in.
1536
01:27:54,019 --> 01:27:56,438
Here, we've given Danny
a little bit of five o'clock shadow
1537
01:27:56,522 --> 01:27:59,942
and some kind of unflattering makeup,
just to sort of give the idea
1538
01:28:01,360 --> 01:28:03,153
that he's not really
on top of his game any more.
1539
01:28:03,237 --> 01:28:04,947
Things are sliding.
1540
01:28:05,030 --> 01:28:08,617
His new home life with Alison seems
not to be working out so well.
1541
01:28:10,411 --> 01:28:13,998
They are not the happy couple
we thought they would be.
1542
01:28:15,249 --> 01:28:17,251
Still drinking White Russians
in the middle of the day.
1543
01:28:17,334 --> 01:28:22,006
And here's the deepest cut of all,
1544
01:28:22,965 --> 01:28:25,509
knocking her book.
1545
01:28:26,010 --> 01:28:28,762
She's not happy.
That was shot at the Automat
1546
01:28:28,846 --> 01:28:35,811
on Dover Street in Mayfair, London,
as was the costume party.
1547
01:28:39,273 --> 01:28:42,609
This scene I love,
1548
01:28:43,152 --> 01:28:46,196
and I will admit
the Ralph Lauren joke is mine.
1549
01:28:47,448 --> 01:28:52,453
I'll just go through here and tick off
every piece of writing that I contributed.
1550
01:28:53,746 --> 01:28:57,374
Simon just plays it so well.
It always makes me giggle.
1551
01:28:59,168 --> 01:29:01,628
I just love Kirsten in this scene.
1552
01:29:05,549 --> 01:29:07,926
This is a very sad scene to me.
1553
01:29:10,554 --> 01:29:12,806
There's this look coming up,
1554
01:29:15,559 --> 01:29:18,395
when Sidney goes off to get her notes,
1555
01:29:18,479 --> 01:29:21,190
and I told Kirsten,
I said, "I have this idea
1556
01:29:21,273 --> 01:29:24,026
"of the sort of reaction you might have
when Sidney ducks behind the door,
1557
01:29:24,109 --> 01:29:26,362
"and you're alone," and she says,
"I've got something I want to do.
1558
01:29:26,445 --> 01:29:28,113
"Let me do mine." There it is.
1559
01:29:28,197 --> 01:29:29,615
She says, "Let me do mine
and then we'll talk about
1560
01:29:29,698 --> 01:29:31,742
"what you want to do,"
and I said, "Fine, that's great."
1561
01:29:31,825 --> 01:29:35,079
And what she did was exactly
what I had in mind.
1562
01:29:35,162 --> 01:29:36,914
It's just how I pictured it.
1563
01:29:36,997 --> 01:29:41,377
It's very exciting when you and
your actor are very much in line with...
1564
01:29:42,669 --> 01:29:45,339
In sync with something that specific.
1565
01:29:48,133 --> 01:29:51,345
I don't know if you've noticed this,
but Margo Stilley's character, Ingrid,
1566
01:29:51,428 --> 01:29:53,555
always calls Alison, "Alice."
1567
01:29:53,639 --> 01:29:58,394
That's on purpose.
I mean, for us, not for her.
1568
01:29:58,477 --> 01:30:00,479
But the implication is
that she doesn't even care enough
1569
01:30:00,562 --> 01:30:03,023
about Alison
to bother memorising her name,
1570
01:30:03,107 --> 01:30:05,192
thinks her name is Alice.
1571
01:30:05,651 --> 01:30:07,945
I think there were
a few other instances of that
1572
01:30:08,028 --> 01:30:11,407
in earlier cuts of the film that got edited.
1573
01:30:22,084 --> 01:30:24,878
This concept is really based
on the Golden Globe Awards.
1574
01:30:24,962 --> 01:30:26,171
I don't know if it still works this way,
1575
01:30:26,255 --> 01:30:27,965
but there was a time
with the Golden Globes,
1576
01:30:28,048 --> 01:30:31,552
because there's such
a small membership,
1577
01:30:31,635 --> 01:30:35,431
that you could sort of
know ahead of time
1578
01:30:35,514 --> 01:30:38,308
whether or not you won an award.
You could kind of work it.
1579
01:30:40,227 --> 01:30:42,813
I had to be quiet for that line.
"I'm gonna have a logo." I love that.
1580
01:30:42,896 --> 01:30:47,276
That and, "You can be my bitch."
My two favourite Megan Fox lines.
1581
01:30:48,444 --> 01:30:51,280
So the whole thing here
about she's gonna be nominated
1582
01:30:51,363 --> 01:30:53,449
but the nominations
aren't announced yet,
1583
01:30:53,532 --> 01:30:56,994
and then Gillian's saying,
"Yes, but when she is nominated..."
1584
01:30:57,077 --> 01:30:59,621
That was at one time sort of how
the Golden Globes worked.
1585
01:30:59,705 --> 01:31:01,874
Consequently, the Golden Globes
would not allow us to call
1586
01:31:01,957 --> 01:31:04,376
our awards show the Golden Globes,
1587
01:31:04,460 --> 01:31:06,753
so we fictionalised it
as the Apollo Awards,
1588
01:31:06,837 --> 01:31:11,508
which actually worked out fine.
It means we weren't beholden.
1589
01:31:11,592 --> 01:31:13,844
Now, again, I'm talking about things
that I talked about
1590
01:31:13,927 --> 01:31:15,554
in the dual commentary with Simon,
1591
01:31:15,637 --> 01:31:17,931
but I have to point out again, here,
the weather this night.
1592
01:31:18,015 --> 01:31:19,641
You'll notice it's snowing
and it's raining,
1593
01:31:19,725 --> 01:31:22,144
which is very bizarre weather.
1594
01:31:22,227 --> 01:31:24,563
What you don't know is that
it was really, really hot that night.
1595
01:31:24,646 --> 01:31:26,315
It was hot and rainy.
The snow was fake.
1596
01:31:26,398 --> 01:31:31,445
The snow was ours,
and I guess there's a lot of salt involved,
1597
01:31:31,528 --> 01:31:33,572
so then the rain was washing away
the fake snow.
1598
01:31:33,655 --> 01:31:36,033
It was kind of a mess.
1599
01:31:36,116 --> 01:31:37,451
This also got very truncated.
1600
01:31:37,534 --> 01:31:40,579
This was going to be
my Martin Scorsese Goodfellas shot.
1601
01:31:40,662 --> 01:31:43,582
The idea was that the camera
would follow them in from outside
1602
01:31:43,665 --> 01:31:45,000
and walk them through the corridor
1603
01:31:45,083 --> 01:31:47,920
and down the stairs
and into the nightclub.
1604
01:31:50,631 --> 01:31:52,424
What can I say?
Everybody looked and said,
1605
01:31:52,508 --> 01:31:55,511
"it's taking too long,"
so it got cut way down.
1606
01:31:56,595 --> 01:31:58,972
You'll see on the deleted scenes,
1607
01:32:00,599 --> 01:32:05,354
this is Alexandra Aitken,
who was basically the dancing girl,
1608
01:32:05,437 --> 01:32:07,439
but she had more to do
in the original film.
1609
01:32:07,523 --> 01:32:10,526
She actually had a wonderful scene
that we shot,
1610
01:32:10,609 --> 01:32:13,820
where she and Sidney are doing
cocaine together
1611
01:32:13,904 --> 01:32:16,532
in a little private booth at this club.
1612
01:32:18,700 --> 01:32:22,162
And in some ways, it's my favourite
scene that's been cut, just visually.
1613
01:32:25,874 --> 01:32:28,710
But we had to lose it for time, sadly.
1614
01:32:32,214 --> 01:32:35,217
That scene of Megan and Simon
on the dance floor
1615
01:32:35,300 --> 01:32:37,386
was actually shot
in an entirely different location
1616
01:32:37,469 --> 01:32:41,640
than the rest of the club stuff,
just the logistics of filming.
1617
01:32:41,723 --> 01:32:42,933
We were shooting in London,
1618
01:32:43,016 --> 01:32:45,727
ran out of time at the Cafe de Paris,
where we shot the other stuff,
1619
01:32:45,811 --> 01:32:48,438
and then we found this club in New York
where we could shoot.
1620
01:32:48,522 --> 01:32:49,815
And I had to shoot in such a way,
1621
01:32:49,898 --> 01:32:51,650
you know, the tight shots
and the bird's-eye view,
1622
01:32:51,733 --> 01:32:54,152
so that no one would notice that the wall
1623
01:32:54,236 --> 01:32:57,823
and the decor was different
than the Cafe de Paris.
1624
01:32:59,449 --> 01:33:00,909
This is all on a soundstage, too.
1625
01:33:00,993 --> 01:33:05,622
This is actually inside a soundstage,
lit to look like it's outside at night.
1626
01:33:05,706 --> 01:33:08,292
I remember when we shot this scene,
the new
Harry Potter book,
1627
01:33:08,375 --> 01:33:10,586
whichever one it was,
I don't read the
Harry Potter books,
1628
01:33:10,669 --> 01:33:13,046
but whatever the last one was,
had just come out,
1629
01:33:13,130 --> 01:33:15,007
and Simon could not put it down,
1630
01:33:15,090 --> 01:33:16,592
so I actually have some very funny shots
1631
01:33:16,675 --> 01:33:19,303
of Simon standing in
what looks like a hotel balcony,
1632
01:33:19,386 --> 01:33:22,973
in his underwear
reading a Harry Potter book.
1633
01:33:23,056 --> 01:33:26,435
This scene is very hard
for the fellas to look at, I know.
1634
01:33:26,518 --> 01:33:30,022
Megan Fox in her underwear.
Who needs to watch this?
1635
01:33:35,611 --> 01:33:39,406
This scene, going back to another
classic film reference,
1636
01:33:40,616 --> 01:33:43,410
reminds me of The Blue Angel,
1637
01:33:43,493 --> 01:33:47,456
with Marlene Dietrich
and Emil Jannings,
1638
01:33:49,333 --> 01:33:52,044
where he just falls in love
with this showgirl,
1639
01:33:52,127 --> 01:33:54,171
and she humiliates him
in front of everybody,
1640
01:33:54,254 --> 01:33:57,549
in front of his students
and everybody in the club,
1641
01:33:57,633 --> 01:33:59,635
and makes him crow like a rooster
on the stage,
1642
01:33:59,718 --> 01:34:03,430
and Sophie making Sidney
do his limpy pig dance
1643
01:34:03,513 --> 01:34:08,518
in front of her friends
sort of makes me sad the same way.
1644
01:34:08,644 --> 01:34:11,229
It's just the final humiliation.
1645
01:34:12,814 --> 01:34:15,942
I love the look on Simon's face, here.
Right there.
1646
01:34:16,151 --> 01:34:19,404
He's getting a little annoyed
at being asked for the ring
1647
01:34:19,488 --> 01:34:22,532
one time too many, but here comes
the offer he can't refuse.
1648
01:34:22,616 --> 01:34:24,242
There you go.
1649
01:34:25,077 --> 01:34:27,037
I decided that I wanted the next scene
1650
01:34:27,120 --> 01:34:31,041
to be a woman screaming
after mention of having sex with Sidney,
1651
01:34:31,124 --> 01:34:34,461
so we found this old Boris Karloff clip.
1652
01:34:34,544 --> 01:34:36,797
I just like the juxtaposition.
1653
01:34:37,255 --> 01:34:39,091
We actually had some...
If you look closely,
1654
01:34:39,174 --> 01:34:41,802
you can see a line of cocaine
on the table, there.
1655
01:34:41,885 --> 01:34:43,637
We cut out him actually snorting
the cocaine.
1656
01:34:43,720 --> 01:34:45,806
We thought it was one drug reference
too many.
1657
01:34:45,889 --> 01:34:48,558
That's our editor, David Freeman,
lending his narrative voice
1658
01:34:48,642 --> 01:34:51,144
to that little meerkat scene of Rocky.
1659
01:34:54,314 --> 01:34:57,150
And here we're back
to
Now and Forever.
1660
01:34:57,943 --> 01:35:00,445
Who is this? It's Sidney's mom.
1661
01:35:03,323 --> 01:35:04,533
This is really amazing
1662
01:35:04,616 --> 01:35:07,828
that this clip about the ring
happened to be in this film,
1663
01:35:08,578 --> 01:35:11,039
and it just fit in so perfectly
with our own storyline.
1664
01:35:11,123 --> 01:35:14,376
This shot, right there, I actually shot.
That's a fake.
1665
01:35:14,459 --> 01:35:17,421
That's a shot that I got
of a ring being put on a finger,
1666
01:35:17,504 --> 01:35:19,506
and we cut it into the clip,
'cause I thought we needed
1667
01:35:19,589 --> 01:35:22,634
that visual of the ring
actually going on the finger.
1668
01:35:22,718 --> 01:35:26,388
Push-in to Sidney's face,
push-in to his mother's face.
1669
01:35:27,681 --> 01:35:30,058
And we actually made
his eyes look very red,
1670
01:35:30,142 --> 01:35:33,019
because of the idea
that he was doing cocaine.
1671
01:35:33,103 --> 01:35:35,480
I don't know if that quite works
with the liquor. I guess it does.
1672
01:35:35,564 --> 01:35:37,983
I was very annoyed at this,
because I wanted a stretch limousine.
1673
01:35:38,066 --> 01:35:41,153
At an awards show like this,
an actress like Sophie
1674
01:35:41,236 --> 01:35:44,114
would be coming out of a stretch,
not a town car.
1675
01:35:44,197 --> 01:35:48,076
And instead,
I wound up with a town car.
1676
01:35:48,160 --> 01:35:50,704
Stretch limousines are much more rare
in London than they are in LA,
1677
01:35:50,787 --> 01:35:53,206
because the streets here are so narrow
1678
01:35:53,290 --> 01:35:55,125
that you can't really get those long cars
through them.
1679
01:35:55,208 --> 01:35:59,463
You wind up driving up on the kerb
and running over pedestrians.
1680
01:36:00,422 --> 01:36:02,924
But anyway,
we wound up with a town car.
1681
01:36:03,008 --> 01:36:05,427
Not quite realistic for LA,
1682
01:36:07,763 --> 01:36:09,139
but no one's gonna know
unless I tell them
1683
01:36:09,222 --> 01:36:11,475
on the DVD audio commentary.
1684
01:36:14,311 --> 01:36:17,439
And here, again,
Danny with very unflattering make-up
1685
01:36:17,522 --> 01:36:20,776
and five o'clock shadow,
1686
01:36:22,068 --> 01:36:25,405
as he sort of drops further and further
down on the food chain.
1687
01:36:37,834 --> 01:36:41,463
Clark, of course,
being Sidney's alias, Clark Baxter.
1688
01:36:43,089 --> 01:36:45,509
Can't have a reveal like that
without a musical sting.
1689
01:36:45,592 --> 01:36:47,636
Thank you, David Arnold.
1690
01:36:49,888 --> 01:36:52,516
And this was always in the script,
this idea of bookending here,
1691
01:36:52,599 --> 01:36:53,683
and I always really liked it.
1692
01:36:53,767 --> 01:36:56,478
There was some talk about cutting out
all of the Apollo Awards stuff
1693
01:36:56,561 --> 01:37:00,148
at the beginning of the film,
and I really put my foot down on that.
1694
01:37:00,982 --> 01:37:04,361
And I really like this notion
of returning here,
1695
01:37:04,444 --> 01:37:06,988
to where we started the film
and repeating these shots.
1696
01:37:07,072 --> 01:37:08,281
There's Sophie Maes.
1697
01:37:08,365 --> 01:37:13,370
There's the memorable mouth
of the presenter, saying her name.
1698
01:37:13,453 --> 01:37:15,705
And so I just like the concept
that we're looking at
1699
01:37:15,789 --> 01:37:18,667
the same scene being repeated,
but now through very different eyes.
1700
01:37:18,750 --> 01:37:21,169
We know it isn't all
what it was cracked up to be,
1701
01:37:21,253 --> 01:37:24,381
and that Shangri-la has
sort of soured now.
1702
01:37:30,220 --> 01:37:33,181
And, as Simon said
on the other audio commentary,
1703
01:37:33,265 --> 01:37:35,976
it's kind of a funny time for Sidney
to suddenly grow a conscience.
1704
01:37:40,564 --> 01:37:41,731
This is one of my...
1705
01:37:41,815 --> 01:37:43,441
There was a few Mel Brooks moments
in this film,
1706
01:37:43,525 --> 01:37:44,734
and this is one of them.
1707
01:37:44,818 --> 01:37:47,779
The sort of collective gasp
and the musical sting after,
1708
01:37:47,863 --> 01:37:53,285
"I killed Cuba," not quite realistic,
but funny, admit it.
1709
01:37:57,873 --> 01:37:59,207
This was fun.
1710
01:37:59,291 --> 01:38:01,501
Again, this was one of those scenes
that I look at as a director.
1711
01:38:01,585 --> 01:38:04,212
You know, people tend to like this,
and I just look at it
1712
01:38:04,296 --> 01:38:06,464
and think of all the additional coverage
I wanted to get
1713
01:38:06,548 --> 01:38:09,009
and all the shots that
I didn't have time for,
1714
01:38:09,092 --> 01:38:11,553
and, as a director,
you tend to see all the compromises
1715
01:38:11,636 --> 01:38:13,513
and all the things that you wish
you could do over again
1716
01:38:13,597 --> 01:38:15,056
or you wish you had more time for
1717
01:38:15,140 --> 01:38:17,267
or you wish you had the money
to do right.
1718
01:38:17,350 --> 01:38:19,769
And if you're smart,
you keep your mouth shut,
1719
01:38:19,853 --> 01:38:22,564
but if you're like me,
you go on and on about it,
1720
01:38:22,647 --> 01:38:24,024
and you tell everybody
about all the faults
1721
01:38:24,107 --> 01:38:25,734
that you see that they wouldn't notice.
1722
01:38:32,032 --> 01:38:35,243
I shot this two ways.
Once, with a few takes
1723
01:38:35,327 --> 01:38:38,163
with Alison looking very pensive
and contemplative,
1724
01:38:38,246 --> 01:38:40,916
and then other takes
where she was giggling,
1725
01:38:40,999 --> 01:38:43,960
and my vote was really
for the more serious kind of looks,
1726
01:38:44,044 --> 01:38:45,462
but everybody talked me out of it
and said,
1727
01:38:45,545 --> 01:38:48,965
"No, no,
it's nice to see her sort of giggle
1728
01:38:49,049 --> 01:38:52,135
"and be happy seeing Sidney
return to form."
1729
01:38:53,261 --> 01:38:54,554
And this was a very conscious choice
1730
01:38:54,638 --> 01:38:58,642
to have Max play Vincent very cool here,
like he...
1731
01:39:00,352 --> 01:39:02,103
Barely paying attention
to all the pandemonium.
1732
01:39:02,187 --> 01:39:04,689
He's kind of too cool for the room.
1733
01:39:06,024 --> 01:39:10,278
And there's our final statement
on Clayton,
1734
01:39:10,570 --> 01:39:12,948
who lets the mask slip just for a second
1735
01:39:13,031 --> 01:39:15,992
before going back
to the serious Clayton.
1736
01:39:18,828 --> 01:39:21,081
And this was an idea that night.
1737
01:39:21,164 --> 01:39:23,166
There was really nothing special
about this in the script.
1738
01:39:23,249 --> 01:39:26,503
It was just Sidney running out
of the theatre,
1739
01:39:26,711 --> 01:39:31,383
and I got this idea of all the geeks
and the fans
1740
01:39:31,466 --> 01:39:32,550
standing out in front...
1741
01:39:32,634 --> 01:39:35,428
I don't use the word "geeks"
pejoratively, by the way.
1742
01:39:35,512 --> 01:39:38,723
Standing out front,
and one of them lifting the rope,
1743
01:39:38,807 --> 01:39:40,558
and Sidney going back to return
1744
01:39:40,642 --> 01:39:42,686
to the side of the rope
where he belongs.
1745
01:39:42,769 --> 01:39:44,521
And I actually auditioned
a number of those people
1746
01:39:44,646 --> 01:39:45,939
to see who would be the rope lifter,
1747
01:39:46,022 --> 01:39:49,359
and that fellow who lifted it
won the audition.
1748
01:39:49,442 --> 01:39:53,530
I lined them up and had everybody do it
and sort of make a face.
1749
01:39:56,074 --> 01:39:57,659
This was all a pickup.
1750
01:39:57,742 --> 01:40:01,830
As I say, we had one day of pickups
after the principal photography,
1751
01:40:01,913 --> 01:40:04,290
and there was always some version
of an airport scene
1752
01:40:04,374 --> 01:40:05,875
in the script here, of him going back,
1753
01:40:05,959 --> 01:40:08,169
and it was one of the things
we actually had to cut in script form,
1754
01:40:08,253 --> 01:40:10,088
because we had to get
our number of shooting days down,
1755
01:40:10,171 --> 01:40:13,383
and I remember announcing,
I said, "We can cut it from the script,
1756
01:40:13,466 --> 01:40:15,385
"but we're gonna need it eventually,"
1757
01:40:15,468 --> 01:40:19,305
and basically what I was told was,
"Fine, if we need it, we'll shoot it."
1758
01:40:19,389 --> 01:40:21,850
And then it finally came to that.
We really needed the information here
1759
01:40:21,933 --> 01:40:24,269
as to when Sidney was going
to New York
1760
01:40:24,352 --> 01:40:26,021
and why he was still in the same clothes
1761
01:40:26,104 --> 01:40:28,440
and what time he got there,
1762
01:40:29,024 --> 01:40:31,651
so this scene, actually,
is jam-packed with information
1763
01:40:31,735 --> 01:40:33,278
that helps clarify all those questions
1764
01:40:33,403 --> 01:40:35,780
that people had
during the early preview cuts.
1765
01:40:38,324 --> 01:40:40,243
And here it is.
Sidney is finally a celebrity.
1766
01:40:40,326 --> 01:40:42,370
He's on TV. They're talking about him.
1767
01:40:43,830 --> 01:40:45,999
There he is, with the stars.
1768
01:40:53,173 --> 01:40:54,841
In the background,
you've got a lot of our crew.
1769
01:40:54,924 --> 01:40:57,677
Again, this was one of those days
where we didn't have enough extras,
1770
01:40:57,761 --> 01:41:01,431
so I see my assistant, Ross.
I see Stephen's assistant, Joanna,
1771
01:41:02,098 --> 01:41:05,727
and there's Peter Straughan,
our writer, the tall guy,
1772
01:41:05,810 --> 01:41:07,562
and that was Stephen Woolley
standing next to him.
1773
01:41:07,645 --> 01:41:10,899
Of course, we discussed all that
on the other commentary.
1774
01:41:11,775 --> 01:41:14,569
When Simon saw this cut of the film,
1775
01:41:14,652 --> 01:41:18,406
he thought that rather than see the ring
in Sidney's hand, here,
1776
01:41:18,490 --> 01:41:21,117
that we should wait and not reveal
that he did get the ring back
1777
01:41:21,201 --> 01:41:24,412
until he's at the screening with Alison,
which I sort of agree.
1778
01:41:24,496 --> 01:41:27,415
But we shot it this way,
and I just love the look on Simon's face,
1779
01:41:27,499 --> 01:41:29,167
the way he looks so pensive,
1780
01:41:29,250 --> 01:41:34,047
and that really comes off of the ring,
so it was a trade-off.
1781
01:41:34,255 --> 01:41:38,051
I wanted to keep the look and the drama
of pushing-in on his face like that,
1782
01:41:38,134 --> 01:41:40,512
which I thought couldn't be justified
without the ring.
1783
01:41:40,595 --> 01:41:43,223
So now we are back in New York.
1784
01:41:43,723 --> 01:41:47,143
And, at one time,
I worried about the geography of this,
1785
01:41:47,227 --> 01:41:48,436
because if you know New York
1786
01:41:48,520 --> 01:41:50,980
it wouldn't make too much sense
if you came in from JFK
1787
01:41:51,064 --> 01:41:54,567
that you would come into Manhattan
via Brooklyn,
1788
01:41:54,651 --> 01:41:56,611
which is where we are now.
1789
01:41:57,153 --> 01:42:00,448
But nobody thinks about that stuff
unless the director is silly enough
1790
01:42:00,532 --> 01:42:03,576
to point it out on the audio commentary.
1791
01:42:03,660 --> 01:42:05,912
And here we have La Dolce vita.
1792
01:42:06,204 --> 01:42:09,040
So perhaps that's what Alison meant
when she said,
1793
01:42:09,124 --> 01:42:10,583
"I've got the tickets for Empire Park."
1794
01:42:10,667 --> 01:42:13,795
We actually shot this little sign here
as a pickup to help people along
1795
01:42:13,878 --> 01:42:16,840
who may not realise that this film
is La Dolce vita
1796
01:42:16,923 --> 01:42:19,843
and understand that's why Sidney knew
that she might be there,
1797
01:42:19,926 --> 01:42:23,555
'cause it is her favourite film.
1798
01:42:24,764 --> 01:42:25,974
So that sign helps.
1799
01:42:26,057 --> 01:42:27,350
Now, I don't know if that's
the Brooklyn Bridge
1800
01:42:27,433 --> 01:42:29,477
or the Manhattan Bridge,
but in any event,
1801
01:42:29,561 --> 01:42:30,645
our New Yorkers will know it,
1802
01:42:30,728 --> 01:42:32,063
and they'll all complain
that I don't know.
1803
01:42:32,147 --> 01:42:34,941
I should, but this is...
1804
01:42:35,358 --> 01:42:38,111
That bridge had to be lit
by Oliver Stapleton.
1805
01:42:38,194 --> 01:42:40,405
Our DP did a fantastic job.
1806
01:42:41,531 --> 01:42:43,575
This scene, here, in the script,
was actually written.
1807
01:42:43,658 --> 01:42:46,744
This is where Bobbie, our transsexual,
was gonna come back,
1808
01:42:46,828 --> 01:42:50,081
because the gag was
that he would see Alison with a guy
1809
01:42:50,165 --> 01:42:52,167
and think that the guy was
her new boyfriend,
1810
01:42:52,250 --> 01:42:53,960
and then Bobbie was gonna run up,
1811
01:42:54,043 --> 01:42:55,795
and the guy was gonna stand up
and give her a kiss,
1812
01:42:55,879 --> 01:42:59,883
and then he'd realise
that they weren't together as a couple.
1813
01:43:00,550 --> 01:43:02,510
But it was a complicated thing
to try to shoot,
1814
01:43:02,594 --> 01:43:07,098
so I came up with the simplified version
of Kirsten talking to the guy.
1815
01:43:08,600 --> 01:43:14,522
Same assumption, that she's with a guy
until the other couple embrace,
1816
01:43:14,606 --> 01:43:19,319
and then we realise that Kirsten
is just the third wheel here.
1817
01:43:22,280 --> 01:43:24,532
I love this scene.
I still get touched by this.
1818
01:43:24,616 --> 01:43:25,950
I have to admit I'm enough of a sap,
1819
01:43:26,034 --> 01:43:29,913
but it helps to have David Arnold's
really lovely score, here.
1820
01:43:32,165 --> 01:43:33,708
And I love this.
This is just happenstance,
1821
01:43:33,791 --> 01:43:37,170
the way Marcello Mastroianni
is lined up behind Simon like that,
1822
01:43:37,253 --> 01:43:39,923
sort of a similar body English.
1823
01:43:41,966 --> 01:43:43,760
And here's the kiss.
1824
01:43:43,927 --> 01:43:48,139
'Cause I am Simon's friend,
I let him do many, many takes of this.
1825
01:43:51,476 --> 01:43:52,518
People have asked me here,
1826
01:43:52,602 --> 01:43:53,978
"Why does he put the ring
in her pocket?
1827
01:43:54,103 --> 01:43:56,022
"Why not just put it on her finger?"
1828
01:43:56,940 --> 01:43:59,817
The answer is we chose to go this way.
1829
01:44:01,819 --> 01:44:05,281
And now we bring back
our Nino Rota music,
1830
01:44:05,865 --> 01:44:08,785
which you all remember
from the record album.
1831
01:44:09,786 --> 01:44:12,038
And here's our call-back to the dance.
1832
01:44:12,121 --> 01:44:15,541
The idea, here, by the way,
was to do this big pull-out
1833
01:44:15,833 --> 01:44:18,211
and have people think, "The film's over,"
1834
01:44:18,336 --> 01:44:21,214
and then have the camera
sort of swoop back down in,
1835
01:44:21,339 --> 01:44:23,716
which we did shoot,
1836
01:44:24,175 --> 01:44:26,678
and it just didn't come out
quite as smoothly.
1837
01:44:26,761 --> 01:44:29,889
You know, again, it was a long night.
There was a lot to do.
1838
01:44:30,014 --> 01:44:32,475
I couldn't get as many takes
as I wanted. Never felt we nailed that,
1839
01:44:32,558 --> 01:44:34,560
but we had to move on.
1840
01:44:35,186 --> 01:44:37,355
There's our final punch line.
1841
01:44:38,398 --> 01:44:42,110
So we made it a direct cut
instead of using the full shot.
1842
01:44:43,903 --> 01:44:46,531
The burning book was not
in the original script,
1843
01:44:46,614 --> 01:44:50,785
but again, every time
this film got too sentimental,
1844
01:44:50,868 --> 01:44:52,370
we thought we should do something
1845
01:44:52,453 --> 01:44:56,207
to sort of pull the rug out from under us.
1846
01:44:58,376 --> 01:45:02,046
Or what do we say in England?
To take the piss out of it.
1847
01:45:02,714 --> 01:45:06,259
So adding that gag was sort of
letting us know that,
1848
01:45:07,260 --> 01:45:11,389
in some ways,
Sidney was still his old self.
1849
01:45:13,891 --> 01:45:15,810
You realise when I say goodbye
to you now, that's it.
1850
01:45:15,893 --> 01:45:18,604
I'm officially finished with this film.
1851
01:45:19,314 --> 01:45:23,192
What is it?
As I said, it's late September of '08,
1852
01:45:23,276 --> 01:45:28,406
and I got the script in, like,
January of '06,
1853
01:45:29,240 --> 01:45:31,617
and here I am doing
the audio commentary on the DVD,
1854
01:45:31,743 --> 01:45:34,245
so when I say goodbye, that's it.
1855
01:45:34,746 --> 01:45:38,082
So why don't I just ramble on a bit?
I'm not quite ready to let go.
1856
01:45:38,166 --> 01:45:39,959
No, actually, I am.
1857
01:45:40,293 --> 01:45:41,461
Hope you enjoyed the film.
1858
01:45:41,586 --> 01:45:43,671
Isn't it funny?
At this point, when I'm doing the DVD,
1859
01:45:43,755 --> 01:45:45,965
I have no idea
if anyone's gonna see this film,
1860
01:45:46,090 --> 01:45:49,761
if it'll be a big hit, if it'll be a big flop,
something in-between.
1861
01:45:49,927 --> 01:45:53,598
You presumably know, but I don't.
1862
01:45:54,432 --> 01:45:57,977
The film actually opens
a week from today, as I speak.
1863
01:45:59,645 --> 01:46:03,316
All right, listen, it's been fun,
and see you next time around.
1864
01:46:03,441 --> 01:46:05,985
Thanks a lot. Bob Weide, signing off.
166221