Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:11,920 --> 00:00:13,920
HE SCREAMS
2
00:00:13,920 --> 00:00:18,200
LAUGHTER AND DRUMMING
3
00:00:22,160 --> 00:00:25,280
THEY SHOUT
4
00:00:32,520 --> 00:00:35,240
HE SHOUTS
5
00:00:46,200 --> 00:00:49,840
As long as I can remember,
I think he was talking about
6
00:00:49,840 --> 00:00:53,160
doing Quixote.
He believes in Quixote.
7
00:00:54,440 --> 00:00:56,600
It's Terry's sort of film.
8
00:00:56,600 --> 00:01:00,320
It mixes all his humour, his fun,
his joy and his darkness.
9
00:01:00,320 --> 00:01:02,240
It's the best sort of
Terry Gilliam.
10
00:01:03,360 --> 00:01:05,080
Every film Terry makes,
11
00:01:05,080 --> 00:01:08,520
Terry somehow manifests himself as
the characters.
12
00:01:09,800 --> 00:01:13,600
And yeah, Quixote, there he is,
a man charging against windmills.
13
00:01:13,600 --> 00:01:15,880
DRUMMING AND CHEERING
14
00:01:21,680 --> 00:01:23,560
This has been bugging me
for a long time
15
00:01:23,560 --> 00:01:25,920
and Quixote has been dogging me.
16
00:01:25,920 --> 00:01:27,520
The first time we started this,
17
00:01:27,520 --> 00:01:30,200
trying to get Quixote on
the page was around '91.
18
00:01:32,280 --> 00:01:33,360
I had been, you know,
19
00:01:33,360 --> 00:01:35,440
fantasizing this
for a very long time.
20
00:01:35,440 --> 00:01:38,480
I made the film in my head.
The pictures were there.
21
00:01:38,480 --> 00:01:41,440
It's been played out many,
many times.
22
00:01:43,000 --> 00:01:45,840
Quixote, I think,
has obsesses me for years,
23
00:01:45,840 --> 00:01:48,560
because all my stuff
has been about reality,
24
00:01:48,560 --> 00:01:52,560
fantasy, madness, sanity.
Quixote encompasses all of those.
25
00:02:04,760 --> 00:02:07,320
Exterior. Spanish hilltop. Day.
26
00:02:07,320 --> 00:02:10,160
In black and white,
an ancient stone windmill.
27
00:02:11,720 --> 00:02:13,440
OK, cut.
See what I mean?
28
00:02:13,440 --> 00:02:15,440
Sorry.
Back to the top.
29
00:02:15,440 --> 00:02:17,760
It's always difficult on
the first scene. Back to the top.
30
00:02:17,760 --> 00:02:20,280
Terry, Tony? OK, you guys ready?
31
00:02:20,280 --> 00:02:22,880
We're going back?
From the top.
32
00:02:22,880 --> 00:02:27,120
I'm gonna go ahead and roll now.
Scene one, take two.
33
00:02:28,640 --> 00:02:30,480
Exterior. Spanish hilltop. Day.
34
00:02:30,480 --> 00:02:33,840
An ancient stone windmill
spins slowly in the breeze.
35
00:02:33,840 --> 00:02:38,120
Don Quixote appears, gaunt, aged,
a madly fierce gleam in his eyes.
36
00:02:38,120 --> 00:02:41,000
Stand your ground,
foul and fearsome giant!
37
00:02:41,000 --> 00:02:44,640
I am Don Quixote de la Mancha!
38
00:02:48,240 --> 00:02:50,920
Next to him is his fat partner,
Sancho Panza.
39
00:02:50,920 --> 00:02:53,520
It's just a windmill!
Stand aside, Sancho!
40
00:02:53,520 --> 00:02:56,920
Don Quixote lowers his lance
and charges the windmill.
41
00:02:56,920 --> 00:02:58,760
The lance impales the sail
42
00:02:58,760 --> 00:03:00,680
and Don Quixote is wrenched
from Rocinante
43
00:03:00,680 --> 00:03:03,080
and spins high in the air,
hooked on the revolving sail.
44
00:03:29,640 --> 00:03:32,720
It's starting to look...
See, it's like out that way.
45
00:03:32,720 --> 00:03:35,320
Terry Gilliam,
the maverick director
46
00:03:35,320 --> 00:03:39,280
behind such films as Brazil,
The Fischer King and 12 Monkeys,
47
00:03:39,280 --> 00:03:42,080
has been trying to mount
a film production of Don Quixote
48
00:03:42,080 --> 00:03:43,360
for more than a decade.
49
00:03:43,360 --> 00:03:45,120
It's interesting down there.
50
00:03:45,120 --> 00:03:47,520
So the military map has
loads of old windmills back there.
51
00:03:47,520 --> 00:03:51,040
That's good. If we can get in there,
that'll be interesting to see.
52
00:03:51,040 --> 00:03:52,640
After several false starts
53
00:03:52,640 --> 00:03:55,280
and financial mishaps with
the project,
54
00:03:55,280 --> 00:03:58,560
Gilliam has finally arrived in Spain
to begin production.
55
00:04:00,760 --> 00:04:02,520
Don Quixote seems to be at
56
00:04:02,520 --> 00:04:05,320
the back of Terry's work
for a long time.
57
00:04:05,320 --> 00:04:06,920
In the broadest sense,
58
00:04:06,920 --> 00:04:10,320
he's a hero
that would appeal to Terry,
59
00:04:10,320 --> 00:04:16,080
because the notion of
someone gleefully battling in
60
00:04:16,080 --> 00:04:18,880
the face of all odds,
and logic and reality,
61
00:04:18,880 --> 00:04:21,200
is one that appeals to him.
62
00:04:24,960 --> 00:04:27,760
What happens
in Cervantes' Don Quixote
63
00:04:27,760 --> 00:04:31,360
is that you meet a man, an old man,
64
00:04:31,360 --> 00:04:35,080
a man who surrounds himself
with romantic novels,
65
00:04:35,080 --> 00:04:38,520
tales of
the deeds of great knights.
66
00:04:38,520 --> 00:04:42,120
He then decides
that he will go forth
67
00:04:42,120 --> 00:04:45,440
and actually live out
these romantic tales himself.
68
00:04:45,440 --> 00:04:47,520
And so he puts together
a suit of armour
69
00:04:47,520 --> 00:04:49,920
out of bits and pieces
he finds around the house.
70
00:04:49,920 --> 00:04:53,280
The famous helmet
is a shaving basin
71
00:04:53,280 --> 00:04:55,360
with the piece cut out for the neck.
72
00:04:55,360 --> 00:04:57,240
He saddles his horse, Rocinante,
73
00:04:57,240 --> 00:04:59,520
who is an old nag,
is falling to pieces.
74
00:04:59,520 --> 00:05:01,640
All he's missing is
his faithful squire.
75
00:05:01,640 --> 00:05:06,160
And Sancho Panza is a short,
fat guy with a donkey, a peasant.
76
00:05:08,080 --> 00:05:13,600
So they set off and they start to
look for daring deeds to do.
77
00:05:13,600 --> 00:05:16,960
Quixote is so deluded that where
other people see a windmill,
78
00:05:16,960 --> 00:05:18,080
he sees a giant.
79
00:05:18,080 --> 00:05:20,040
where other people see
a windmill's sails,
80
00:05:20,040 --> 00:05:23,080
he sees the flailing arms
of this giant.
81
00:05:23,080 --> 00:05:24,480
LAUGHTER
82
00:05:24,480 --> 00:05:26,600
HORSE WHINNIES
83
00:05:26,600 --> 00:05:31,040
Quixote's delusions are
a major part of his appeal for us.
84
00:05:31,040 --> 00:05:33,960
We want to see the world
through Quixote's eyes.
85
00:05:33,960 --> 00:05:37,040
Because the way he sees
the world, I think,
86
00:05:37,040 --> 00:05:40,280
connects with the way
that we saw the world as children.
87
00:05:40,280 --> 00:05:43,480
A world where objects
did have a magical significance.
88
00:05:54,280 --> 00:05:56,520
DRILLS WHIR
89
00:06:02,400 --> 00:06:06,520
DRILLS WHIR
90
00:06:06,520 --> 00:06:09,800
Gilliam has fought many battles
to bring his vision
91
00:06:09,800 --> 00:06:11,480
of Quixote to the screen.
92
00:06:11,480 --> 00:06:15,080
After several unsuccessful attempts
to develop the project in Hollywood
93
00:06:15,080 --> 00:06:17,840
he decided to produce
the film in Europe.
94
00:06:17,840 --> 00:06:20,200
Quixote will be among
the most expensive films
95
00:06:20,200 --> 00:06:22,960
ever produced solely
with European funds.
96
00:06:22,960 --> 00:06:25,000
Bonjour, Terry.
Bonjour, bonjour.
97
00:06:27,720 --> 00:06:30,240
Ladies and gentlemen.
98
00:06:30,240 --> 00:06:35,800
Ladies and gentlemen, we just,
basically just called this meeting,
99
00:06:35,800 --> 00:06:38,040
because we haven't had
a sort of open forum.
100
00:06:38,040 --> 00:06:39,440
At any stage up till now.
101
00:06:39,440 --> 00:06:42,320
We're missing a few people,
of course, but this is...
102
00:06:42,320 --> 00:06:44,560
You represent the main bodies of
the film
103
00:06:44,560 --> 00:06:45,920
that are under work at the moment.
104
00:06:45,920 --> 00:06:51,560
This is the first time that we have
Senor Gilliam in Spain
105
00:06:51,560 --> 00:06:53,080
and he's here to stay.
106
00:06:53,080 --> 00:06:55,120
So there's no excuses
for any of us now.
107
00:06:55,120 --> 00:06:57,960
If we have any questions,
if we have any doubts,
108
00:06:57,960 --> 00:07:00,200
or there's something that
we want to know,
109
00:07:00,200 --> 00:07:01,720
this is the place to come to.
110
00:07:01,720 --> 00:07:03,360
I've said this to
a few different people,
111
00:07:03,360 --> 00:07:06,040
I dunno if I said it to everybody,
but I think it's going to be great.
112
00:07:06,040 --> 00:07:07,600
Everyone's got a good sense
of humour.
113
00:07:07,600 --> 00:07:09,640
Everybody's smart,
everybody's good at their job
114
00:07:09,640 --> 00:07:11,840
And you, with any luck,
will protect me from making
115
00:07:11,840 --> 00:07:14,440
an utter fool of myself.
LAUGHTER
116
00:07:16,080 --> 00:07:19,280
One thing to say is, you know I'll
keep demanding all sorts of things.
117
00:07:19,280 --> 00:07:21,160
And you've got to scream,
earlier than later.
118
00:07:21,160 --> 00:07:23,640
Say, "No, can't, can't do it."
119
00:07:23,640 --> 00:07:27,960
Cos, I mean, we all know,
working on a budget that's way below
120
00:07:27,960 --> 00:07:30,800
what we normally need
to make a film like this,
121
00:07:30,800 --> 00:07:35,240
we gotta do it for what we've got
and find ways of doing it.
122
00:07:35,240 --> 00:07:36,680
Basically, let's get on with it.
123
00:07:36,680 --> 00:07:39,320
He's here now, he's a resource,
let's use him, let's drain him.
124
00:07:39,320 --> 00:07:42,720
He knows the film.
He's been with it for... two years?
125
00:07:42,720 --> 00:07:44,920
Let's give it ten.
Let's do the whole decade.
126
00:07:44,920 --> 00:07:47,360
Let's go with ten years.
Been at it for ten years.
127
00:07:47,360 --> 00:07:48,960
So he should know what he's doing.
128
00:07:48,960 --> 00:07:52,240
WINDMILL CREAKS
129
00:07:52,240 --> 00:07:54,360
Gilliam is not the first film-maker
130
00:07:54,360 --> 00:07:57,240
to have struggled to bring
Quixote to the screen.
131
00:07:57,240 --> 00:08:00,520
In 1957,
Orson Welles began production
132
00:08:00,520 --> 00:08:03,120
on his own adaptation
of Don Quixote.
133
00:08:03,120 --> 00:08:06,120
The project would become Welles's
creative obsession for
134
00:08:06,120 --> 00:08:07,280
the next two decades.
135
00:08:07,280 --> 00:08:11,880
In a village in La Mancha,
whose name I prefer not to recall...
136
00:08:11,880 --> 00:08:14,880
Welles took on various acting
and directing projects
137
00:08:14,880 --> 00:08:16,320
to help finance the film.
138
00:08:16,320 --> 00:08:19,400
He would gather bits and pieces
of footage whenever he could,
139
00:08:19,400 --> 00:08:22,440
even after the project outlived
Francisco Reiguera,
140
00:08:22,440 --> 00:08:24,320
Welles's Quixote.
141
00:08:24,320 --> 00:08:27,480
But by the time of Welles's death
in 1985,
142
00:08:27,480 --> 00:08:29,840
Quixote remained incomplete.
143
00:08:40,120 --> 00:08:42,280
THEY CHATTER
144
00:08:51,520 --> 00:08:55,240
The struggle to launch Quixote
began just a year ago,
145
00:08:55,240 --> 00:08:58,160
when Gilliam actually started
pre-production on the film,
146
00:08:58,160 --> 00:09:01,960
only to have a major financier
back out at the last minute.
147
00:09:01,960 --> 00:09:04,040
In order to get
the film going this time,
148
00:09:04,040 --> 00:09:07,200
Gilliam and his producer
have had to scale back the budget,
149
00:09:07,200 --> 00:09:09,800
from 40 to $32 million.
150
00:09:33,160 --> 00:09:38,080
The budget of this thing
is $32.1 million.
151
00:09:38,080 --> 00:09:40,920
Which, by European standards,
without American investment
152
00:09:40,920 --> 00:09:43,520
is a big chunk of change.
153
00:09:43,520 --> 00:09:46,320
For what we're trying to do,
it's half the money we need.
154
00:09:47,960 --> 00:09:49,560
In Gilliam's adaptation,
155
00:09:49,560 --> 00:09:52,680
he has taken
the fantastic story of Don Quixote
156
00:09:52,680 --> 00:09:56,080
and embellished it
with another layer of fantasy.
157
00:09:56,080 --> 00:09:58,840
He's created the story of
Toby Grosini,
158
00:09:58,840 --> 00:10:02,480
a modern-day advertising executive
who travels back into
159
00:10:02,480 --> 00:10:06,520
the 17th century, where Quixote
mistakes him for Sancho Panza.
160
00:10:07,680 --> 00:10:10,160
Johnny Depp stars as Toby,
161
00:10:10,160 --> 00:10:13,840
Vanessa Paradis plays Toby's
love interest, Altisidora,
162
00:10:13,840 --> 00:10:18,880
and the veteran French actor,
Jean Rochefort, plays Don Quixote.
163
00:10:18,880 --> 00:10:23,640
The script is as ambitious as
anything Gilliam has ever attempted.
164
00:10:23,640 --> 00:10:25,800
Stand your ground,
foul and fearsome giant,
165
00:10:25,800 --> 00:10:28,440
I am Don Quixote de la Mancha!
166
00:10:28,440 --> 00:10:30,800
It's not a giant, it is a windmill!
167
00:10:30,800 --> 00:10:33,720
I am Don Quixote de la Mancha!
168
00:10:33,720 --> 00:10:36,640
It's not a giant, it is a windmill!
169
00:10:36,640 --> 00:10:40,360
More intense. "It's not a giant..."
170
00:10:40,360 --> 00:10:42,800
It's not a giant, it is a windmill!
171
00:11:04,240 --> 00:11:07,520
I must say, there are very few
scenes that are simple.
172
00:11:07,520 --> 00:11:11,520
Terry as we all well know,
has the tendency of
173
00:11:11,520 --> 00:11:13,280
overloading everything.
174
00:11:13,280 --> 00:11:16,360
I mean, there is nothing ever
simple and plain.
175
00:11:19,680 --> 00:11:23,080
They'll be on things,
so they can walk down.
176
00:11:23,080 --> 00:11:24,400
Oh ho!
177
00:11:24,400 --> 00:11:26,040
Ah!
178
00:11:26,040 --> 00:11:28,800
I mean, that's what you're saying.
Yeah, yeah, I know.
179
00:11:28,800 --> 00:11:30,800
So he ends up like a kid
holding on to it.
180
00:11:30,800 --> 00:11:33,520
We rig this thing so
the camera can get like that.
181
00:11:33,520 --> 00:11:36,080
Because looking down will be
amazing.
182
00:11:36,080 --> 00:11:39,000
Basically, Terry came to make
a Hollywood movie without Hollywood,
183
00:11:39,000 --> 00:11:41,720
it's almost impossible.
The difficulty is making a film
184
00:11:41,720 --> 00:11:45,000
the best possible way
with the money we have.
185
00:11:45,960 --> 00:11:47,680
I think that's the better face.
186
00:11:57,600 --> 00:11:59,880
Now, the sheep can
go here very nicely.
187
00:11:59,880 --> 00:12:01,760
They come around that curve,
tons of sheep.
188
00:12:07,280 --> 00:12:11,240
This will be very tumultuous.
This film will not be easy.
189
00:12:11,240 --> 00:12:14,920
Making a film with Terry,
is like riding a bareback pony.
190
00:12:16,480 --> 00:12:18,880
Just grab on to the mane,
191
00:12:18,880 --> 00:12:22,480
dig in the heels
and the knees and hang on.
192
00:12:22,480 --> 00:12:24,760
Because you're in for
the ride of your life.
193
00:12:26,840 --> 00:12:29,560
THUNDER RUMBLES
Distant thunder.
194
00:12:32,320 --> 00:12:35,200
What's that? Don't look. Toby goes
to twist around in his saddle.
195
00:12:35,200 --> 00:12:36,240
Something's coming.
196
00:12:36,240 --> 00:12:38,240
There's nothing there.
Please, don't look.
197
00:12:40,800 --> 00:12:43,440
Giant shadows rise across Toby.
198
00:12:43,440 --> 00:12:45,840
He turns, he looks back.
199
00:12:45,840 --> 00:12:48,040
Three giants loom up over
the brow of the hill.
200
00:12:48,040 --> 00:12:49,920
In their hands are great cudgels.
201
00:12:49,920 --> 00:12:52,680
One plays castanets.
202
00:12:52,680 --> 00:12:54,840
Me llamo Raul.
203
00:13:01,960 --> 00:13:03,840
Me llamo Fernando.
204
00:13:17,360 --> 00:13:19,760
HE LAUGHS
205
00:13:27,560 --> 00:13:29,120
Let's see, let's see!
206
00:13:29,120 --> 00:13:32,840
The third is fantastic.
207
00:13:34,560 --> 00:13:35,720
Raul...
208
00:13:46,520 --> 00:13:50,080
MAN SPEAKS SPANISH
209
00:13:50,080 --> 00:13:51,720
Come to me.
210
00:13:54,520 --> 00:13:57,040
TERRY GROANS
211
00:13:57,040 --> 00:13:58,760
OK. Gracias.
212
00:14:03,280 --> 00:14:05,120
You've got to see the giants.
213
00:14:05,120 --> 00:14:07,120
TERRY LAUGHS
Ah!
214
00:14:07,120 --> 00:14:09,880
What is terrifying and what is
extraordinary about it,
215
00:14:09,880 --> 00:14:12,760
it's suddenly you're seeing
what Quixote sees.
216
00:14:12,760 --> 00:14:14,840
And it's like nothing
you've seen in film.
217
00:14:14,840 --> 00:14:16,760
It's like, "Whoa!"
218
00:14:16,760 --> 00:14:19,600
HORSE NEIGHS
219
00:14:19,600 --> 00:14:21,920
Altisidora and Toby
charge down a corridor.
220
00:14:21,920 --> 00:14:24,360
She wheels her horse.
They set off down a dark tunnel.
221
00:14:24,360 --> 00:14:26,600
Sounds echo behind them,
their pursuers.
222
00:14:27,680 --> 00:14:29,640
They emerge into
an utterly dark space.
223
00:14:29,640 --> 00:14:31,280
Altisidora reigns in her horse.
224
00:14:31,280 --> 00:14:34,160
What's wrong?
I thought this was the way, but...
225
00:14:34,160 --> 00:14:36,720
Halt! They turn and
are confronted by... Don Quixote.
226
00:14:36,720 --> 00:14:38,360
Traitor! Judas!
227
00:14:38,360 --> 00:14:42,080
As Don Quixote moves forward,
we see he is a giant puppet.
228
00:14:42,080 --> 00:14:44,080
Toby and Altisidora
are suddenly surrounded
229
00:14:44,080 --> 00:14:46,760
by a dozen armoured guards.
The guards are puppets, too.
230
00:14:46,760 --> 00:14:51,120
Uno y dos y tres y cuatro
231
00:14:51,120 --> 00:14:54,600
y cinco y sies y siete...
232
00:14:59,600 --> 00:15:00,880
When this thing splits apart,
233
00:15:00,880 --> 00:15:03,080
Toby, he's got to have
his arm getting caught in there.
234
00:15:03,080 --> 00:15:05,880
There is no way that'll get his arm
caught when it comes back together.
235
00:15:05,880 --> 00:15:07,920
Absolutely.
Have his arm caught?
236
00:15:07,920 --> 00:15:11,040
Yes, this is like whole a key bit.
237
00:15:11,040 --> 00:15:12,360
Could the whole thing become...
238
00:15:12,360 --> 00:15:14,680
just chop and pull it, push it,
make it thinner
239
00:15:14,680 --> 00:15:16,280
so that he can get his arm in there.
240
00:15:16,280 --> 00:15:19,560
So really that his...
No, no...
241
00:15:19,560 --> 00:15:21,880
We have to touch the molds, then.
242
00:15:21,880 --> 00:15:25,080
I know you're going to have to
touch the molds. To make it thinner.
243
00:15:25,080 --> 00:15:28,680
That's what I'm assuming, yeah.
Unless...
244
00:15:28,680 --> 00:15:31,480
No, I'm just thinking about
the time again.
245
00:15:31,480 --> 00:15:33,440
I understand, I know, I know, yes.
246
00:15:33,440 --> 00:15:36,440
I like taking on very complex
and difficult challenges.
247
00:15:36,440 --> 00:15:38,000
If it's easy, I don't do it.
248
00:15:38,000 --> 00:15:41,960
If it's almost impossible to do,
I have a go at it.
249
00:15:41,960 --> 00:15:44,600
It seems that's what gets
my adrenaline going.
250
00:15:44,600 --> 00:15:48,760
Maybe it's what fires
what creativity I have.
251
00:15:48,760 --> 00:15:52,880
Without a battle, maybe I don't know
exactly how to approach it.
252
00:15:52,880 --> 00:15:54,480
The action is very simple,
253
00:15:54,480 --> 00:15:57,480
the action is simple
except that there's horses.
254
00:15:57,480 --> 00:15:59,360
So the action of the horses
is complicated,
255
00:15:59,360 --> 00:16:00,960
but with the puppets,
it's very simple.
256
00:16:00,960 --> 00:16:02,760
Toby has got to lash out at
the puppet.
257
00:16:02,760 --> 00:16:04,960
It's gotta go "fft" in the air.
He gets tangled
258
00:16:04,960 --> 00:16:08,440
and "whoof" off his horse.
I can do all that.
259
00:16:08,440 --> 00:16:09,880
All that rigging.
Yeah.
260
00:16:09,880 --> 00:16:13,600
In the studio,
I paint black the floor.
261
00:16:13,600 --> 00:16:16,040
No, but you still have to do
the wooden floor like that.
262
00:16:16,040 --> 00:16:19,840
I have to cut part of the...
No, no.
263
00:16:19,840 --> 00:16:24,600
Why is it so difficult to have each
of the structures on a plate?
264
00:17:09,880 --> 00:17:13,560
Terry Gilliam has a history
of hugely ambitious projects,
265
00:17:13,560 --> 00:17:15,280
visually rich films that explore
266
00:17:15,280 --> 00:17:17,440
the fantasy worlds
of his protagonists,
267
00:17:17,440 --> 00:17:20,800
all of them dreamers like himself.
268
00:17:20,800 --> 00:17:23,880
But turning his dreams into reality
has not been an easy thing
269
00:17:23,880 --> 00:17:26,520
for Gilliam in
the Hollywood studio system.
270
00:17:27,800 --> 00:17:31,000
Beset with visions too elaborate
for low-budget financing,
271
00:17:31,000 --> 00:17:33,720
but often too eccentric
for Hollywood taste,
272
00:17:33,720 --> 00:17:36,840
all his productions
have been a battle.
273
00:17:36,840 --> 00:17:40,080
His wild visions are always
accomplished on limited budgets
274
00:17:40,080 --> 00:17:42,840
and have consistently met
with both critical
275
00:17:42,840 --> 00:17:44,320
and box office success.
276
00:17:45,360 --> 00:17:48,640
The Adventures of Baron Munchausen
was a painful exception.
277
00:17:53,800 --> 00:17:55,120
Teamed with a producer
278
00:17:55,120 --> 00:17:58,600
who spun tales of extravagant
resources that didn't exist,
279
00:17:58,600 --> 00:18:01,760
Gilliam found himself at
the reigns of a production
280
00:18:01,760 --> 00:18:04,920
that was already $10 million
over budget by
281
00:18:04,920 --> 00:18:06,240
the end of its sixth week.
282
00:18:06,240 --> 00:18:10,320
Despite Gilliam's repeated efforts
to scale back complex scenes,
283
00:18:10,320 --> 00:18:13,960
the budget more than doubled by
the completion of filming.
284
00:18:13,960 --> 00:18:18,360
Munchausen became one of
the textbook cases of a film fiasco
285
00:18:18,360 --> 00:18:22,120
and Gilliam acquired a reputation
as a director out of control.
286
00:18:23,920 --> 00:18:26,520
That reputation has often made it
287
00:18:26,520 --> 00:18:29,400
extremely difficult for Gilliam
to launch his own projects.
288
00:18:33,600 --> 00:18:36,760
There is a mismatch I think between
the industry's perception of Terry
289
00:18:36,760 --> 00:18:38,600
and how Terry has actually
worked in the past.
290
00:18:38,600 --> 00:18:40,600
And I know it used to
drive Terry crazy.
291
00:18:40,600 --> 00:18:43,080
He kept saying if someone mentioned
Baron Munchausen again,
292
00:18:43,080 --> 00:18:44,960
he wouldn't be
answerable for his actions.
293
00:18:44,960 --> 00:18:46,000
Because he felt,
294
00:18:46,000 --> 00:18:48,240
that was a film that happened
I think ten years before,
295
00:18:48,240 --> 00:18:49,680
and people just thought about that
296
00:18:49,680 --> 00:18:52,440
and didn't think of the actual work
he had done in the film since then.
297
00:18:52,440 --> 00:18:53,920
He's a responsible film-maker.
298
00:18:53,920 --> 00:18:56,800
He understands the responsibility
of film-making.
299
00:18:56,800 --> 00:19:01,040
I mean he's, I think, enjoyed the...
300
00:19:01,040 --> 00:19:05,720
Sometimes fencing under
the cloak of enfant terrible.
301
00:19:05,720 --> 00:19:08,320
But he's...
a responsible enfant terrible,
302
00:19:08,320 --> 00:19:09,760
if there is such a thing.
303
00:19:14,680 --> 00:19:16,160
Just reaching that point now,
304
00:19:16,160 --> 00:19:18,600
the actors are going to have to
start turning up soon.
305
00:19:18,600 --> 00:19:21,040
And we've only got what...
What have we got now, seven weeks?
306
00:19:23,080 --> 00:19:25,520
It's got lot of potential
for chaos here.
307
00:19:30,480 --> 00:19:32,520
Due to the production's
tight budget,
308
00:19:32,520 --> 00:19:35,560
many of the actors are taking
less than their usual fees
309
00:19:35,560 --> 00:19:39,040
and squeezing the film into their
already busy schedules.
310
00:19:39,040 --> 00:19:41,800
The situation has made it
more difficult for Gilliam
311
00:19:41,800 --> 00:19:45,080
to assemble the principal actors
for script readings and rehearsals.
312
00:19:45,080 --> 00:19:48,640
Well, I mean, I'm still trying
to reach Johnny directly.
313
00:19:49,800 --> 00:19:51,120
Erm...
314
00:19:51,120 --> 00:19:55,000
But I think we just plan to go
over there and we wait him out.
315
00:19:55,000 --> 00:19:58,640
A flight from London for Tony,
a flight from Paris for Jean,
316
00:19:58,640 --> 00:20:00,400
and we'll surround him.
317
00:20:00,400 --> 00:20:04,000
Yeah, well... But just find out all
the possibilities.
318
00:20:04,000 --> 00:20:06,080
We have to march forward.
319
00:20:06,080 --> 00:20:08,240
But I still want to try to
reach him.
320
00:20:09,320 --> 00:20:13,360
So when do you see Vanessa again?
I mean, here.
321
00:20:13,360 --> 00:20:15,680
Vanessa, maybe...
322
00:20:15,680 --> 00:20:19,400
Jean-Yves tell me,
maybe four, five, six...
323
00:20:19,400 --> 00:20:23,520
No. The 7th. From Johnny, yeah.
When Johnny come here.
324
00:20:23,520 --> 00:20:26,080
Well, this is what they're
trying to organise.
325
00:20:26,080 --> 00:20:28,080
It would be better to see Johnny,
326
00:20:28,080 --> 00:20:31,480
I mean, you know,
just also for one day. I know.
327
00:20:31,480 --> 00:20:33,240
Or two days. Just so...
328
00:20:33,240 --> 00:20:35,680
Everything is separated.
The costumes are in Rome,
329
00:20:35,680 --> 00:20:39,000
the cast is in England
or in France, or in Prague.
330
00:20:39,000 --> 00:20:41,800
Special effects...
everything is everywhere.
331
00:20:41,800 --> 00:20:43,440
And until we all get together,
332
00:20:43,440 --> 00:20:45,960
that's when it's going to get to
the hard work.
333
00:20:45,960 --> 00:20:47,800
Yeah.
334
00:20:47,800 --> 00:20:50,280
What we have to achieve on this,
335
00:20:50,280 --> 00:20:52,640
is putting all these people
that have been working
336
00:20:52,640 --> 00:20:54,320
in separate places together.
337
00:20:54,320 --> 00:20:58,960
The sets are being made in Spain,
make-up is working from England.
338
00:20:58,960 --> 00:21:00,400
Actors are here, there.
339
00:21:00,400 --> 00:21:02,680
But they haven't been together
at all.
340
00:21:02,680 --> 00:21:05,040
I mean, it's just,
we gotta put everybody together.
341
00:21:05,040 --> 00:21:07,880
Everything has to be centralized
in Madrid.
342
00:21:07,880 --> 00:21:12,160
It's one more reason to have mess,
to have one person in London.
343
00:21:12,160 --> 00:21:14,560
But all the pick-ups
are not in the same place.
344
00:21:14,560 --> 00:21:15,920
The driver, we don't know where
345
00:21:15,920 --> 00:21:18,760
the driver is coming from,
because we are using this company...
346
00:21:18,760 --> 00:21:20,080
I tell you what, with an actor,
347
00:21:20,080 --> 00:21:22,800
we know that suddenly
the actor is... we don't know where.
348
00:21:22,800 --> 00:21:24,720
If we have to deliver
a script change...
349
00:21:24,720 --> 00:21:26,800
I mean, I don't know.
So many things can happen.
350
00:21:26,800 --> 00:21:29,720
So many things.
For me, maybe...
351
00:21:29,720 --> 00:21:30,840
Camera left.
352
00:21:30,840 --> 00:21:34,040
Mas. Mas. Poco mas. Ah, si.
353
00:21:34,040 --> 00:21:36,520
OK.
Now, bring this foot to here.
354
00:21:36,520 --> 00:21:39,480
And then that good. Like, Raul,
look into the camera.
355
00:21:39,480 --> 00:21:43,760
Lean over. Ah, si, si! Es perfecta.
356
00:21:50,160 --> 00:21:51,480
Get violent.
357
00:21:55,240 --> 00:21:57,320
Boom, boom, boom!
358
00:21:57,320 --> 00:21:59,520
Ra-pa-pa-pa-pa-papum.
359
00:22:02,480 --> 00:22:04,240
TERRY CHUCKLES
360
00:22:16,320 --> 00:22:21,480
TERRY HUMS
361
00:22:21,480 --> 00:22:23,400
Woo! Good!
362
00:22:23,400 --> 00:22:27,120
Bravo, bravo!
HE CHUCKLES
363
00:22:27,120 --> 00:22:29,600
Filmed has turned.
364
00:22:29,600 --> 00:22:32,160
Film has finally turned
on this film.
365
00:22:40,040 --> 00:22:42,560
Ah!
HE CHUCKLES
366
00:22:42,560 --> 00:22:45,200
That thing is great.
Yeah, I know, the...
367
00:22:45,200 --> 00:22:46,600
HE LAUGHS
368
00:22:48,920 --> 00:22:51,920
That's the trailer
for the film right there. Exactly.
369
00:22:51,920 --> 00:22:54,720
"Coming Soon."
HE LAUGHS
370
00:23:09,840 --> 00:23:12,600
HOOVES CLACK
371
00:23:12,600 --> 00:23:14,880
THEY SPEAK SPANISH
372
00:23:42,080 --> 00:23:43,760
So do I. So do I.
373
00:23:43,760 --> 00:23:45,880
We're on the same page there.
374
00:23:45,880 --> 00:23:48,680
My goal, by September 25th,
is to try and find
375
00:23:48,680 --> 00:23:52,280
some actor who will come to Spain
and do pre-production.
376
00:23:52,280 --> 00:23:54,560
Because I'm a great believer
in rehearsal.
377
00:23:54,560 --> 00:23:56,520
And being prepared before you shoot.
378
00:24:00,240 --> 00:24:02,440
My problem
still isn't with training.
379
00:24:02,440 --> 00:24:04,720
Cos I know all of these guys
know horses.
380
00:24:04,720 --> 00:24:06,720
My problem is
the fucking organization,
381
00:24:06,720 --> 00:24:08,160
because it's a locking nightmare.
382
00:24:09,840 --> 00:24:11,920
Traditionally on film productions,
383
00:24:11,920 --> 00:24:14,720
it's the responsibility of
the first assistant director
384
00:24:14,720 --> 00:24:17,480
to set a schedule which complements
the film's budget.
385
00:24:18,600 --> 00:24:19,880
In this particular case,
386
00:24:19,880 --> 00:24:22,360
Phil Patterson has inherited
a budget and schedule
387
00:24:22,360 --> 00:24:26,320
which leave no margin for error,
no safety net.
388
00:24:26,320 --> 00:24:27,960
Every film is different.
389
00:24:27,960 --> 00:24:31,080
So it's very hard to compare
a Terry Gilliam film
390
00:24:31,080 --> 00:24:32,840
to anybody else's films.
391
00:24:32,840 --> 00:24:36,080
It's very hard to say
what's right or wrong,
392
00:24:36,080 --> 00:24:39,240
but this film is in, erm...
393
00:24:39,240 --> 00:24:44,680
I'd like to say, complete disarray.
Absolute and faffing total disarray.
394
00:24:44,680 --> 00:24:49,240
But it is absolutely the correct way
it should be, given that it's Terry,
395
00:24:49,240 --> 00:24:53,320
given that it's a Gilliam film.
Because Captain Chaos, erm...
396
00:24:53,320 --> 00:24:55,520
is completely in his element
at the moment.
397
00:24:55,520 --> 00:24:58,920
Now, you walk this way.
Come to me, lead on.
398
00:25:00,000 --> 00:25:02,760
Down this way. Now, turn a bit.
Turn a bit. Little bit.
399
00:25:02,760 --> 00:25:05,000
It isn't a disaster.
400
00:25:05,000 --> 00:25:08,840
It just has a lot of elements
that seem to be a little different.
401
00:25:10,320 --> 00:25:11,920
Rocinante.
402
00:25:15,640 --> 00:25:17,440
Rocinante.
HE WHISTLES
403
00:25:17,440 --> 00:25:21,520
No, you can't eat.
You're not allowed to eat.
404
00:25:21,520 --> 00:25:22,720
Look at those ribs.
405
00:25:22,720 --> 00:25:24,840
I thought we were going to
need make-up look.
406
00:25:24,840 --> 00:25:27,720
The pelvic bones are fantastic.
Look at them.
407
00:25:27,720 --> 00:25:29,040
We have a horse.
You are here.
408
00:25:29,040 --> 00:25:31,560
I am here, you are here,
we are all here!
409
00:25:31,560 --> 00:25:34,200
Jean Rochefort is the first
of the principal actors
410
00:25:34,200 --> 00:25:36,360
to be able to schedule
a short trip to Madrid
411
00:25:36,360 --> 00:25:38,960
for the necessary costume
and make-up tests.
412
00:25:38,960 --> 00:25:41,520
This is the ride
for the theme park.
413
00:25:41,520 --> 00:25:44,920
Rochefort has been learning English
for the last seven months
414
00:25:44,920 --> 00:25:47,400
in order to play
the part of Don Quixote.
415
00:25:47,400 --> 00:25:51,240
This is Toby Grosini.
This is the Duchess.
416
00:25:51,240 --> 00:25:54,600
Little, little it comes together.
Spanish actors?
417
00:25:54,600 --> 00:25:57,240
Yeah. Oh, yeah,
the majority are Spanish.
418
00:25:57,240 --> 00:25:59,080
Yes, yes.
419
00:25:59,080 --> 00:26:00,520
They don't speak English.
No.
420
00:26:00,520 --> 00:26:02,000
Nobody speaks English on this film.
421
00:26:02,000 --> 00:26:03,680
Language!
Yeah, yeah.
422
00:26:06,120 --> 00:26:09,200
Jean Rochefort
is just so beyond perfect.
423
00:26:09,200 --> 00:26:10,920
The spirit of the man
is absolutely right,
424
00:26:10,920 --> 00:26:15,320
and his comic timing is perfect,
his dignity, is...
425
00:26:15,320 --> 00:26:16,960
All of those things are all there.
426
00:26:18,200 --> 00:26:20,960
What I'd like to try is,
an experiment to make your nose
427
00:26:20,960 --> 00:26:24,040
a little bit more Spanish.
Something very small.
428
00:26:24,040 --> 00:26:25,680
Cos Jean has a great nose,
429
00:26:25,680 --> 00:26:28,000
but, I mean, I look at
these Spanish noses...
430
00:26:28,000 --> 00:26:29,640
Cos yours is... It goes...
431
00:26:32,480 --> 00:26:35,640
And it's whether just needs
a tiny bit more to make it
432
00:26:35,640 --> 00:26:37,120
a little bit more Spanish.
433
00:26:37,120 --> 00:26:39,400
It's something,
if you think about it, "It's bad."
434
00:26:39,400 --> 00:26:43,680
Yes, thank you.
Because, perhaps if I have this,
435
00:26:43,680 --> 00:26:47,720
I feel that I play Don Quixote.
Oh, really?
436
00:26:47,720 --> 00:26:49,960
I want to be Quixote.
437
00:26:49,960 --> 00:26:54,120
I understand.
I want to think I am Quixote.
438
00:26:55,680 --> 00:26:58,280
Totally, yeah.
Oh, thank you.
439
00:26:58,280 --> 00:27:01,200
This is a marvellous day for me.
THEY LAUGH
440
00:27:01,200 --> 00:27:04,720
Not only is he perfect for the part,
he's a great horseman.
441
00:27:04,720 --> 00:27:06,800
That was always my biggest problem,
442
00:27:06,800 --> 00:27:09,960
finding a guy old enough,
70 years old,
443
00:27:09,960 --> 00:27:13,400
who looks right, can act well,
and can ride a horse.
444
00:27:17,120 --> 00:27:19,880
So the question is,
the three of us, where...
445
00:27:19,880 --> 00:27:21,880
I just want to know
I want to get it down,
446
00:27:21,880 --> 00:27:23,440
so I understand everything.
447
00:27:23,440 --> 00:27:26,920
Where we are with Vanessa
at the moment?
448
00:27:26,920 --> 00:27:28,480
Vanessa is now where?
449
00:27:28,480 --> 00:27:31,640
So where are we contractually?
The contract is not signed.
450
00:27:31,640 --> 00:27:35,400
The agent says, "No!"
Each time we are asking something,
451
00:27:35,400 --> 00:27:39,720
availability for your meeting,
availability for the test,
452
00:27:39,720 --> 00:27:42,160
the agent says,
"No, she is not available".
453
00:27:42,160 --> 00:27:43,920
"We need Vanessa on the 11th."
454
00:27:43,920 --> 00:27:45,480
"No, she is not available."
455
00:27:45,480 --> 00:27:50,040
So we are, more or less,
a little bit... trapped.
456
00:27:50,040 --> 00:27:52,800
If we have weather
condition problems,
457
00:27:52,800 --> 00:27:57,200
we have to have her agreement
to change any dates. That's crazy.
458
00:27:57,200 --> 00:28:00,560
We have very set pieces for
the second-string actors.
459
00:28:00,560 --> 00:28:03,720
Miranda, Bill Patterson,
Peter Vaughan, etc.
460
00:28:03,720 --> 00:28:07,200
The only thing we have in our favour
is the notion of some flexibility
461
00:28:07,200 --> 00:28:09,600
to move around
the rest of the work we're doing
462
00:28:09,600 --> 00:28:12,040
by having Vanessa on a picture deal,
463
00:28:12,040 --> 00:28:13,440
Johnny Depp on a picture deal
464
00:28:13,440 --> 00:28:15,640
and having Jean Rochefort on
a picture deal.
465
00:28:15,640 --> 00:28:17,400
If we take Vanessa as,
466
00:28:17,400 --> 00:28:21,240
"It can only be this, this, this,"
we're in deep shit.
467
00:28:21,240 --> 00:28:23,440
Yeah. It's not possible.
We did the deal.
468
00:28:23,440 --> 00:28:25,280
I don't understand how it slides.
469
00:28:25,280 --> 00:28:27,800
Because, and this is what
kind of makes me crazy,
470
00:28:27,800 --> 00:28:30,080
the fact that contracts
are allowed to run this long.
471
00:28:30,080 --> 00:28:33,200
To be this close to shooting
and not have a contract...
472
00:28:33,200 --> 00:28:37,280
is crazy. We are so fragile.
473
00:28:37,280 --> 00:28:39,960
This thing's so hanging on strings.
No, no, yes.
474
00:28:39,960 --> 00:28:43,200
And if we don't have any flexibility
with her, we're dead.
475
00:29:01,880 --> 00:29:05,680
Quixote struck me more powerfully
when I reached middle age,
476
00:29:05,680 --> 00:29:08,400
because that's what I though
Quixote was very much about.
477
00:29:08,400 --> 00:29:10,400
He's an older man,
he's been through life,
478
00:29:10,400 --> 00:29:13,800
it's kind of like a last "Hurrah"
He has one last chance to make
479
00:29:13,800 --> 00:29:17,960
the world as interesting
as he dreams it to be.
480
00:29:17,960 --> 00:29:20,880
Yeah, and I'll be 61 years
in another couple months.
481
00:29:20,880 --> 00:29:23,720
Just an old man!
I've only done X number of films.
482
00:29:23,720 --> 00:29:25,040
Wish I would have done more,
483
00:29:25,040 --> 00:29:27,600
the amount of ideas
that are floating in my head.
484
00:29:32,200 --> 00:29:36,240
All of the film's interior scenes
must be shot on a sound stage.
485
00:29:36,240 --> 00:29:38,280
Gilliam's producers
have been able to secure
486
00:29:38,280 --> 00:29:41,200
the last available
sound stage in Madrid.
487
00:29:41,200 --> 00:29:44,160
And it's important for Gilliam
and his team to inspect the site
488
00:29:44,160 --> 00:29:46,400
before sets construction can begin.
489
00:29:46,400 --> 00:29:49,000
So we're supposed to put
all our sets in this... In here?
490
00:29:50,880 --> 00:29:52,720
HE WHISTLES,
WHISTLE ECHOES
491
00:29:52,720 --> 00:29:54,960
HE CLICKS,
CLICK ECHOES
492
00:29:54,960 --> 00:29:57,120
The acoustics are appalling.
Si.
493
00:29:57,120 --> 00:29:58,160
Yeah.
494
00:30:00,560 --> 00:30:01,960
We've got air-conditioning.
495
00:30:01,960 --> 00:30:04,640
Is that air conditioning,
do you think?
496
00:30:04,640 --> 00:30:08,720
Or just stuff to make noise,
so we get bad sound.
497
00:30:08,720 --> 00:30:10,280
The sound is terrible here.
498
00:30:10,280 --> 00:30:13,320
Yeah, I mean, we are enclosed
and it still echoes. Yeah.
499
00:30:14,600 --> 00:30:17,560
I mean, that was the first thing
we said when we got here.
500
00:30:17,560 --> 00:30:20,000
Said, "This is... It's a warehouse."
501
00:30:20,000 --> 00:30:22,760
So I don't know how we do this.
Because the sets have got to be...
502
00:30:22,760 --> 00:30:24,360
HE CLICKS,
CLICK ECHOES
503
00:30:24,360 --> 00:30:25,720
..not that.
504
00:30:25,720 --> 00:30:27,640
There's no other studios?
505
00:30:27,640 --> 00:30:31,480
Properly done, proper,
proper with everything...
506
00:30:31,480 --> 00:30:34,760
I mean, sound is...
I mean, it's critical.
507
00:30:34,760 --> 00:30:37,880
I mean, I thought
we were coming to a studio.
508
00:30:37,880 --> 00:30:39,160
A studio.
Yeah.
509
00:30:39,160 --> 00:30:40,760
This isn't a studio.
510
00:30:42,120 --> 00:30:44,440
I don't want to be doing
a film like this.
511
00:30:44,440 --> 00:30:47,320
I'm really getting... Very...
Getting very nervous.
512
00:30:51,080 --> 00:30:55,200
RUMBLING SOUNDS ECHO
513
00:30:55,200 --> 00:31:00,240
SOUNDS CONTINUE
514
00:31:12,600 --> 00:31:16,200
I think all versions of Quixote
have always been plagued
515
00:31:16,200 --> 00:31:21,360
by bad things. It's kind of like
the Scottish play, I think.
516
00:31:21,360 --> 00:31:23,920
It is a jinxed project.
517
00:31:23,920 --> 00:31:26,000
The biggest threat
of this whole thing is that,
518
00:31:26,000 --> 00:31:27,560
I fear, it could be Munchausen II.
519
00:31:27,560 --> 00:31:31,120
There's so many echoes of Munchausen
that just keep happening.
520
00:31:31,120 --> 00:31:33,840
And that's what scares me.
521
00:31:33,840 --> 00:31:37,160
Luckily, those who weren't
on Munchausen aren't scared.
522
00:31:37,160 --> 00:31:40,840
And actually interesting, Jose Luis,
who was on Munchausen, isn't scared.
523
00:31:40,840 --> 00:31:44,160
We are on the edge, yes,
We are on the edge, that's for sure.
524
00:31:44,160 --> 00:31:46,960
We are not well covered,
that's for sure.
525
00:31:46,960 --> 00:31:51,360
But I don't think that means
that we are repeating Munchausen.
526
00:31:51,360 --> 00:31:54,400
Everyone knew on Munchausen,
from the beginning,
527
00:31:54,400 --> 00:31:57,560
from the beginning,
that nothing was realistic.
528
00:31:57,560 --> 00:31:59,440
So...
529
00:31:59,440 --> 00:32:01,840
no, I don't think we
are in the same...
530
00:32:01,840 --> 00:32:04,920
The same things
are happening at all, no.
531
00:32:08,040 --> 00:32:10,440
Ah, shit!
532
00:32:10,440 --> 00:32:12,360
Wah!
533
00:32:12,360 --> 00:32:15,720
Than, we fill that in so it's solid.
534
00:32:15,720 --> 00:32:17,480
You can't go wrong.
It goes in there,
535
00:32:17,480 --> 00:32:20,120
another arm starts flailing
and that arm's caught.
536
00:32:20,120 --> 00:32:21,640
Thanks.
537
00:32:29,320 --> 00:32:31,520
OK, Giant test.
538
00:32:33,400 --> 00:32:35,600
CACKLING
539
00:32:38,240 --> 00:32:40,200
HE LAUGHS
540
00:32:44,160 --> 00:32:46,080
Now, it's time to die.
541
00:32:46,080 --> 00:32:47,800
SCREAMING
542
00:32:48,880 --> 00:32:50,480
No!
543
00:32:50,480 --> 00:32:52,360
What more do you want?
544
00:32:59,880 --> 00:33:02,280
TERRY GROWLS
545
00:33:04,120 --> 00:33:05,960
Hola!
546
00:33:07,040 --> 00:33:08,360
It's OK.
547
00:33:15,640 --> 00:33:18,160
He was asking if you knew...
who he was going to...
548
00:33:18,160 --> 00:33:21,000
He was just telling you,
he's going to take Johnny Depp. Si.
549
00:33:27,960 --> 00:33:29,600
Carnivore.
Si.
550
00:33:29,600 --> 00:33:32,040
Si, si, exactly, carnivore.
Si.
551
00:33:45,200 --> 00:33:47,240
Yargh!
552
00:33:54,040 --> 00:33:56,720
Jean Rochefort was getting
on a plane yesterday,
553
00:33:56,720 --> 00:34:00,800
so I get a call yesterday afternoon
from Rene Cleitman saying,
554
00:34:00,800 --> 00:34:02,280
"Guess what.
555
00:34:02,280 --> 00:34:07,400
"Jean, as he was about to board
the plane, started feeling pain,
556
00:34:07,400 --> 00:34:11,120
"and decided he might
have a prostate problem.
557
00:34:11,120 --> 00:34:14,360
"And cancelled the flight,
didn't get on the flight,
558
00:34:14,360 --> 00:34:19,240
"and is now seeing
a doctor this morning."
559
00:34:19,240 --> 00:34:21,600
If he hesitates about
getting on a plane, I'll call him.
560
00:34:21,600 --> 00:34:25,400
As soon as he sees the doctor,
I will tell you.
561
00:34:25,400 --> 00:34:27,440
You have to say, "I need you."
562
00:34:27,440 --> 00:34:29,680
We've got to at least get
a few hours with him today,
563
00:34:29,680 --> 00:34:32,000
or we're in big trouble, so...
But he...
564
00:34:33,280 --> 00:34:36,680
But what's interesting
is how powerful his mind is.
565
00:34:36,680 --> 00:34:38,920
It's destroying his body right now.
566
00:34:38,920 --> 00:34:41,400
It's a metamorphosis.
567
00:34:41,400 --> 00:34:43,640
He suffers, like Don Quixote.
Yeah.
568
00:34:43,640 --> 00:34:45,880
I'm going to kill him.
HE LAUGHS
569
00:34:47,000 --> 00:34:49,720
It's ridiculous. Ridiculous.
Ridiculous.
570
00:34:49,720 --> 00:34:52,600
I mean, Jean has become
totally psychosomatic.
571
00:34:52,600 --> 00:34:54,560
Everything is like...
HE GASPS
572
00:34:54,560 --> 00:34:57,000
WOMAN GROANS
Yeah.
573
00:34:57,000 --> 00:34:59,080
SHE CONTINUES GROANING
574
00:35:03,600 --> 00:35:07,560
On Munchausen,
we didn't have costumes or sets
575
00:35:07,560 --> 00:35:09,080
at the beginning.
576
00:35:09,080 --> 00:35:10,840
And now this one,
we don't have actors.
577
00:35:10,840 --> 00:35:12,720
We've got costumes and sets,
but no actors.
578
00:35:12,720 --> 00:35:16,600
Jean Rochefort panicked on Sunday.
579
00:35:19,880 --> 00:35:21,200
I am very calm.
580
00:35:26,120 --> 00:35:28,040
Nothing like
a false sense of security.
581
00:35:28,040 --> 00:35:30,320
There's none of that around here,
is there?
582
00:35:30,320 --> 00:35:32,560
I don't think
there's any sense of security,
583
00:35:32,560 --> 00:35:34,520
false or real.
HE LAUGHS
584
00:35:36,920 --> 00:35:40,560
How would you describe
the state of things?
585
00:35:40,560 --> 00:35:41,720
Sheer panic.
586
00:35:41,720 --> 00:35:43,680
HE LAUGHS
587
00:35:43,680 --> 00:35:44,800
Like, total panic.
588
00:35:44,800 --> 00:35:47,280
You know, chickens with
no heads running around.
589
00:35:47,280 --> 00:35:49,240
I mean, it is real panic now.
590
00:35:49,240 --> 00:35:53,440
It's one week before production,
what's worrying you the most?
591
00:35:53,440 --> 00:35:56,480
Pre-production.
Tell the truth.
592
00:35:56,480 --> 00:35:58,960
The first location that we shoot in
593
00:35:58,960 --> 00:36:01,880
is adjacent to
a NATO bombing range,
594
00:36:01,880 --> 00:36:06,200
that I was told it only operated
a maximum of one hour per day.
595
00:36:06,200 --> 00:36:09,720
We don't really have any horses.
PHONE RINGS
596
00:36:09,720 --> 00:36:13,920
We don't really have any actors.
PHONE CONTINUES RINGING
597
00:36:13,920 --> 00:36:15,400
I have a phone.
598
00:36:15,400 --> 00:36:18,600
Hello? How are you?
599
00:36:18,600 --> 00:36:22,560
I got an actor.
I have an actor. He's sitting here.
600
00:36:22,560 --> 00:36:25,160
Yeah, last time, I know,
he didn't have an actor last time,
601
00:36:25,160 --> 00:36:27,000
now we got an actor.
602
00:36:27,000 --> 00:36:28,840
You're the new boy in town.
603
00:36:28,840 --> 00:36:31,560
This is called our film.
What's the name of it?
604
00:36:33,240 --> 00:36:35,840
It's not Chocolat.
605
00:36:35,840 --> 00:36:37,960
Oh, did I finished that one?
606
00:36:37,960 --> 00:36:42,080
This is the inn. But there's gonna
be a herd of sheep in the inn.
607
00:36:42,080 --> 00:36:44,160
For the lonely people.
608
00:36:44,160 --> 00:36:47,640
This is Antonio Gil.
You know him, he was on Chocolat.
609
00:36:47,640 --> 00:36:49,520
Yeah, he was on Chocolat.
Yeah, he's a good guy.
610
00:36:49,520 --> 00:36:53,080
That's Bob Hoskins and...
Danny DeVito.
611
00:36:53,080 --> 00:36:55,480
Ian Holm...
Ian Holm, all put together.
612
00:36:55,480 --> 00:36:57,400
Bastard child.
And he's a dwarf.
613
00:36:57,400 --> 00:36:59,400
Oh, good.
And he sings opera.
614
00:36:59,400 --> 00:37:00,440
Makes sense.
615
00:37:02,920 --> 00:37:05,640
You spin around and Quixote
is already charging you.
616
00:37:05,640 --> 00:37:07,960
It's not that he's standing there
saying, "Stand aside".
617
00:37:07,960 --> 00:37:10,360
He's in full charge right at you.
618
00:37:10,360 --> 00:37:13,040
I don't know what else
Toby should be doing.
619
00:37:13,040 --> 00:37:14,600
The only thing I was thinking
620
00:37:14,600 --> 00:37:17,280
is that would Toby's
initial thing be, like,
621
00:37:17,280 --> 00:37:19,400
maybe he's on a set of commercial.
622
00:37:19,400 --> 00:37:21,920
What I was thinking maybe
the first thing he would do
623
00:37:21,920 --> 00:37:23,880
is want Bob to yell, "Cut".
624
00:37:23,880 --> 00:37:25,600
THEY LAUGH
625
00:37:28,400 --> 00:37:30,160
"Bob!"
"Cut, Bob! Bob!"
626
00:37:30,160 --> 00:37:32,320
That's great. That's really...
No, that's great.
627
00:37:32,320 --> 00:37:35,480
Just to bring it back to that.
Yeah, that's really good.
628
00:37:35,480 --> 00:37:38,360
There's got to be
an explanation for it.
629
00:37:38,360 --> 00:37:39,840
And obviously here's Don Quixote
630
00:37:39,840 --> 00:37:41,920
and there's the windmills
and all that shit...
631
00:37:41,920 --> 00:37:43,800
"Cut this."
Yeah.
632
00:37:43,800 --> 00:37:47,880
And then it's clear that...
No, it's great. It's really nice.
633
00:37:56,160 --> 00:37:58,720
While Gilliam and Depp
discuss the script,
634
00:37:58,720 --> 00:38:01,160
Vanessa Paradis arrives
for screen tests
635
00:38:01,160 --> 00:38:03,440
of her many make-up
and costume changes.
636
00:38:05,640 --> 00:38:09,880
The production, however, is still
missing it's his Don Quixote.
637
00:38:11,640 --> 00:38:13,880
Have you heard any more about...
from him?
638
00:38:13,880 --> 00:38:17,320
Yes, because my assistant,
Corinne... Yeah.
639
00:38:17,320 --> 00:38:21,560
..went with him at the airport,
yes, to be sure this time.
640
00:38:21,560 --> 00:38:24,120
Oh, good. Good, good, good.
And he was in very good shape.
641
00:38:24,120 --> 00:38:28,760
But it's not...
Is it really a prostate infection?
642
00:38:28,760 --> 00:38:31,520
Infection. So it's nothing more than
a small infection?
643
00:38:31,520 --> 00:38:34,960
He can sit...? The problem is,
can he sit on a horse? Yeah, no, no.
644
00:38:34,960 --> 00:38:37,560
It was panic. He was...
There's always panic.
645
00:38:37,560 --> 00:38:39,520
Panic, yes.
646
00:38:42,800 --> 00:38:44,240
Uh-huh.
647
00:38:55,200 --> 00:38:56,760
No, no, no, no.
648
00:38:56,760 --> 00:38:59,960
I like the uneven, more irregular.
649
00:38:59,960 --> 00:39:02,800
He made it.
Don Quixote made the armour.
650
00:39:02,800 --> 00:39:05,000
There was one piece here,
one piece there, one with...
651
00:39:05,000 --> 00:39:06,680
HE SQUEAKS AND CLICKS
652
00:39:06,680 --> 00:39:09,480
..sewing and, "Ah, a knight!"
653
00:39:11,240 --> 00:39:13,960
Even if you take,
just for the moment, just to look,
654
00:39:13,960 --> 00:39:16,120
that piece on there.
655
00:39:16,120 --> 00:39:19,560
It's suddenly, immediately...
Bom! It's good.
656
00:39:20,520 --> 00:39:22,080
Yeah, we need...
657
00:39:27,000 --> 00:39:29,360
So he's just got a piece
tied on there.
658
00:39:31,880 --> 00:39:34,680
That isn't much elegant.
659
00:39:34,680 --> 00:39:36,480
Oh, yes.
660
00:39:39,640 --> 00:39:42,560
He's got to be sad, pathetic.
Yes.
661
00:39:42,560 --> 00:39:45,400
And he's wonderful.
Cos it's all in his mind.
662
00:39:50,120 --> 00:39:52,520
We'll design this for you,
Gabriella.
663
00:39:52,520 --> 00:39:56,120
You'll get another Oscar.
Another Oscar for this.
664
00:39:57,120 --> 00:39:58,400
It's getting there.
665
00:39:58,400 --> 00:40:02,680
I think Don Quixote...
slowly becomes real.
666
00:40:31,720 --> 00:40:34,400
I'm here to save you, Sancho.
Stand aside!
667
00:40:37,080 --> 00:40:40,480
Suddenly,
we are in the fields of Montiel.
668
00:40:40,480 --> 00:40:43,080
Destiny guides our fortunes
669
00:40:43,080 --> 00:40:45,800
more favourably than we
could have wished ourselves.
670
00:40:45,800 --> 00:40:48,680
Look, Sancho, my friend!
671
00:40:48,680 --> 00:40:50,960
A beautiful princess!
672
00:40:50,960 --> 00:40:52,480
She's in gave danger!
673
00:40:52,480 --> 00:40:56,440
We must save her.
Those giants are almost upon her.
674
00:40:56,440 --> 00:40:57,680
Don't you see them?
675
00:40:57,680 --> 00:41:02,160
Giants!
Giants with arms six-miles long!
676
00:41:02,160 --> 00:41:03,880
HE LAUGHS
677
00:41:03,880 --> 00:41:07,240
Just face it,
Dulcinea del Toboso does not exist.
678
00:41:07,240 --> 00:41:11,360
Now, I understand.
You have a plan, Sancho.
679
00:41:11,360 --> 00:41:14,200
You are very clever for a peasant.
Erm...
680
00:41:14,200 --> 00:41:16,600
HE LAUGHS
681
00:41:18,120 --> 00:41:21,080
Fantastic! It's going to be
an extraordinary film.
682
00:41:21,080 --> 00:41:22,720
Yes, yes, yes.
683
00:41:22,720 --> 00:41:25,560
I think that your face
is so wondrous,
684
00:41:25,560 --> 00:41:26,880
your eyes, the words.
685
00:41:26,880 --> 00:41:29,640
All this stuff
and the costumes,
686
00:41:29,640 --> 00:41:30,840
the sets and the location.
687
00:41:30,840 --> 00:41:34,000
I mean, it's going to be
an extraordinary film.
688
00:41:34,000 --> 00:41:38,080
It's going to be beautiful
and terrible at the same time.
689
00:41:38,080 --> 00:41:39,840
Yes.
Yep.
690
00:41:51,440 --> 00:41:53,600
The shoot begins in Las Bardenas,
691
00:41:53,600 --> 00:41:56,800
a natural preserve
four hours north of Madrid.
692
00:41:56,800 --> 00:41:58,200
Due to the distance,
693
00:41:58,200 --> 00:42:01,160
all the cast and crew
must be lodged nearby.
694
00:42:01,160 --> 00:42:03,960
The extra expense makes it all
the more critical that
695
00:42:03,960 --> 00:42:05,960
the production remains on schedule.
696
00:42:20,640 --> 00:42:21,840
The first scene to be shot,
697
00:42:21,840 --> 00:42:24,080
is one in which Quixote
rescues Toby
698
00:42:24,080 --> 00:42:25,920
from an inquisition chain gang.
699
00:42:38,120 --> 00:42:41,560
DOS, DOS. Director On Set.
700
00:42:47,720 --> 00:42:48,840
Let's clear please.
701
00:42:48,840 --> 00:42:51,080
Everyone behind there.
HE SPEAKS SPANISH
702
00:42:51,080 --> 00:42:53,000
Everybody hidden behind, please.
703
00:42:53,000 --> 00:42:55,800
FAN BUZZES
704
00:42:55,800 --> 00:42:58,080
Load it up, everywhere.
We're shooting now.
705
00:42:59,440 --> 00:43:01,520
You good, Carlos?
706
00:43:01,520 --> 00:43:04,360
All right, here we go. Roll camera!
707
00:43:04,360 --> 00:43:05,880
Here.
708
00:43:06,920 --> 00:43:08,840
And action, Richard.
709
00:43:13,120 --> 00:43:14,400
Action crane!
710
00:43:17,360 --> 00:43:19,320
SHOUTING AND JEERING
711
00:43:31,360 --> 00:43:32,840
OK, and cut it.
712
00:43:32,840 --> 00:43:34,560
And cut!
713
00:43:34,560 --> 00:43:37,360
Excellent. Excelente.
714
00:43:37,360 --> 00:43:39,880
With the first shot of
the day in the can,
715
00:43:39,880 --> 00:43:41,320
the crew prepares for
716
00:43:41,320 --> 00:43:43,280
a choreographed portion
of the scene.
717
00:43:43,280 --> 00:43:44,360
Go, go, go, go, go, go, go.
718
00:43:44,360 --> 00:43:46,000
In this part of the scene,
719
00:43:46,000 --> 00:43:48,320
one of the guards drops
the key to the chain
720
00:43:48,320 --> 00:43:51,760
and the 12 prisoners
must scramble to retrieve it.
721
00:43:51,760 --> 00:43:53,480
Cos he's the only one with
the free hand,
722
00:43:53,480 --> 00:43:55,920
everybody else has got two hands.
The guy in the front
723
00:43:55,920 --> 00:43:58,120
has got a free hand.
Cos he's in front of them.
724
00:43:58,120 --> 00:43:59,280
So it's a domino thing.
725
00:44:03,840 --> 00:44:07,880
OK, now, while that's going on,
OK, what's happening here?
726
00:44:07,880 --> 00:44:09,520
We got the key somewhere?
727
00:44:09,520 --> 00:44:11,320
Who's got the key?
728
00:44:11,320 --> 00:44:14,760
Did we manage to get
the key to the lock?
729
00:44:14,760 --> 00:44:17,080
Accion.
730
00:44:17,080 --> 00:44:18,800
How are we doing for time?
731
00:44:18,800 --> 00:44:20,680
Badly.
Good.
732
00:44:20,680 --> 00:44:24,040
Come on, on your feet. What happened
to you guys? Nobody's getting up?
733
00:44:24,040 --> 00:44:26,600
You gotta make a start!
Wakey, wakey, folks!
734
00:44:26,600 --> 00:44:28,200
People have to start getting up!
735
00:44:28,200 --> 00:44:30,120
I thought this was rehearsed.
736
00:44:30,120 --> 00:44:31,560
This is not rehearsed!
737
00:44:31,560 --> 00:44:33,080
Fuck!
738
00:44:33,080 --> 00:44:34,320
We didn't have the extras.
739
00:44:34,320 --> 00:44:36,280
So we need to tell
the extras what we do.
740
00:44:36,280 --> 00:44:37,320
You see what I mean?
741
00:44:37,320 --> 00:44:39,560
On Saturday, we didn't
have the extras to rehearse? No.
742
00:44:39,560 --> 00:44:41,640
No, we didn't have the extras.
743
00:44:41,640 --> 00:44:44,320
Since when? What was the point of
having a rehearsal without them?
744
00:44:44,320 --> 00:44:45,880
We couldn't get the extras.
745
00:44:45,880 --> 00:44:47,400
You need extras to do
the rehearsals.
746
00:44:47,400 --> 00:44:49,160
If you don't get them,
you'd better tell us,
747
00:44:49,160 --> 00:44:52,240
so we know in advance that
we're fucked! We are fucked!
748
00:44:52,240 --> 00:44:53,520
And we didn't know it.
749
00:44:53,520 --> 00:44:55,640
I want to know when we're fucked
in advance,
750
00:44:55,640 --> 00:44:57,040
not in the middle of a shoot.
751
00:44:57,040 --> 00:45:00,160
HE GROANS
752
00:45:00,160 --> 00:45:02,120
To try to get the most
out of the day,
753
00:45:02,120 --> 00:45:04,640
Gilliam and Phil Patterson
decide to move on
754
00:45:04,640 --> 00:45:06,320
to another part of the scene.
755
00:45:06,320 --> 00:45:09,480
It's Jean Rochefort, not a double.
Walking in.
756
00:45:09,480 --> 00:45:12,840
Walking in, basically doing
the dialogue, doing the scene.
757
00:45:12,840 --> 00:45:16,480
I mean, this is a wide shot.
So we go through all the action.
758
00:45:16,480 --> 00:45:18,160
And then we will...
Yes, and the master.
759
00:45:18,160 --> 00:45:21,080
Yeah, but this is a master.
760
00:45:21,080 --> 00:45:22,880
So whatever we can get is good.
761
00:45:23,880 --> 00:45:26,040
Lock it up, everyone.
We're shooting now.
762
00:45:26,040 --> 00:45:27,560
Background action!
763
00:45:29,520 --> 00:45:31,360
And action, Jean!
764
00:45:35,200 --> 00:45:41,080
PLANE ENGINE ROARS
765
00:45:42,360 --> 00:45:44,520
Cut, cut, cut! What's going on?
766
00:45:44,520 --> 00:45:46,720
PLANE NOISE CONTINUES
767
00:45:50,080 --> 00:45:54,360
PLANE NOISE CONTINUES
768
00:45:56,200 --> 00:45:58,920
We're fucked. We have now spent
all this time and we got fighters.
769
00:45:58,920 --> 00:46:02,400
But we're doing the scene anyway.
I don't give a fuck about sound.
770
00:46:02,400 --> 00:46:05,920
We will use the close-up sound.
We shoot through everything.
771
00:46:05,920 --> 00:46:08,120
And we need people
who can work horses.
772
00:46:08,120 --> 00:46:10,640
And I feel nobody can
work horses here.
773
00:46:17,440 --> 00:46:18,480
Action, Jean!
774
00:46:18,480 --> 00:46:21,720
PLANE NOISE CONTINUES
775
00:46:21,720 --> 00:46:24,080
Move the horse.
776
00:46:24,080 --> 00:46:25,960
Move the fucking horse!
777
00:46:25,960 --> 00:46:28,760
Somebody push his horse.
Fuck, push his horse.
778
00:46:30,360 --> 00:46:34,920
Tell me sir, why do you lead
these poor wretches in chains?
779
00:46:34,920 --> 00:46:36,600
They are convicted criminals,
780
00:46:36,600 --> 00:46:38,920
condemned to serve
the king in his galleys.
781
00:46:38,920 --> 00:46:41,040
I am Don Quixote de la Mancha,
782
00:46:41,040 --> 00:46:45,040
dedicated to chivalry and
the protection of the weak!
783
00:46:45,040 --> 00:46:47,120
Whoa!
784
00:46:47,120 --> 00:46:49,600
No-one make any sudden moves.
785
00:46:49,600 --> 00:46:51,280
You have nothing to fear from me,
786
00:46:51,280 --> 00:46:53,480
provided your intentions
are honourable.
787
00:46:53,480 --> 00:46:55,320
Thank God for that.
788
00:46:55,320 --> 00:46:58,920
Cut! There's good, good, good bits
in there.
789
00:46:58,920 --> 00:47:01,240
The F-16 gets the award!
790
00:47:01,240 --> 00:47:03,240
Well done for putting up your voice.
791
00:47:03,240 --> 00:47:05,000
That was good.
There was lots of good...
792
00:47:05,000 --> 00:47:07,160
I want to do one more
and then I think we have this.
793
00:47:23,080 --> 00:47:24,360
All right, let's stand by,
794
00:47:24,360 --> 00:47:26,360
let's just check
this opening position.
795
00:47:26,360 --> 00:47:28,120
Everybody lean down.
796
00:47:31,000 --> 00:47:33,240
Stand by.
797
00:47:33,240 --> 00:47:34,280
Juan.
798
00:47:35,520 --> 00:47:37,960
Ow! Fucker, that hurt!
799
00:47:37,960 --> 00:47:42,120
Why am I being punished with
this god-awful nightmare?
800
00:47:42,120 --> 00:47:44,280
Fine. This isn't real.
801
00:47:44,280 --> 00:47:46,400
It's just a dream. Doesn't hurt.
802
00:47:46,400 --> 00:47:47,480
Doesn't hurt.
803
00:47:47,480 --> 00:47:49,840
Ow, Jesus Christ!
804
00:47:49,840 --> 00:47:51,320
Don't blaspheme!
805
00:47:53,440 --> 00:47:55,120
Cut! Let's go to lunch.
806
00:47:59,720 --> 00:48:03,200
Very strange weather today.
807
00:48:03,200 --> 00:48:05,800
Strange weather, strange horses.
808
00:48:05,800 --> 00:48:08,120
This is going flat.
809
00:48:08,120 --> 00:48:09,680
Slowly coming in?
810
00:48:09,680 --> 00:48:14,080
Very hard to understand what
the boundaries are.
811
00:48:15,440 --> 00:48:19,000
So what we're going to do is,
we start with you and Rocinante.
812
00:48:19,000 --> 00:48:21,680
Yes. Two sizes.
One like this, and one like that.
813
00:48:21,680 --> 00:48:24,840
Yes. So, Joe,
you'll just be off-camera.
814
00:48:24,840 --> 00:48:28,280
So we won't have to worry about
the other horse. Yes.
815
00:48:32,200 --> 00:48:34,680
Got the same weather report
816
00:48:34,680 --> 00:48:38,640
at lunchtime that I got yesterday...
817
00:48:40,000 --> 00:48:41,040
..and the day before.
818
00:48:41,040 --> 00:48:43,000
Oh, it's always the same, is it,
each day?
819
00:48:43,000 --> 00:48:45,720
Well, that's good. It's consistent.
We know what we're doing here.
820
00:48:45,720 --> 00:48:47,160
THUNDER RUMBLES
821
00:48:47,160 --> 00:48:49,120
That's a nice sound
822
00:48:49,120 --> 00:48:51,720
If it isn't the F-16s,
it's thunder.
823
00:48:55,880 --> 00:48:56,920
You're right, Phil.
824
00:48:56,920 --> 00:48:59,440
In another half hour,
it'll be clear,
825
00:48:59,440 --> 00:49:01,320
once this cloud comes over.
826
00:49:01,320 --> 00:49:04,360
Lock it up everyone!
We're shooting now!
827
00:49:04,360 --> 00:49:07,320
You good, Carlos?
828
00:49:07,320 --> 00:49:09,000
All right, here we go.
829
00:49:09,000 --> 00:49:10,160
Rehearsal.
830
00:49:11,960 --> 00:49:14,000
You have nothing to fear from me,
831
00:49:14,000 --> 00:49:16,640
provided your intentions
are honourable.
832
00:49:16,640 --> 00:49:19,760
Thank God for that.
We wouldn't stand a chance...
833
00:49:19,760 --> 00:49:22,040
would we, boys?
HE CHUCKLES
834
00:49:22,040 --> 00:49:26,160
It doesn't seem right that
honourable men like yourselves
835
00:49:26,160 --> 00:49:29,200
should be the executioners
of your fellow men
836
00:49:29,200 --> 00:49:30,920
when they have not wronged you.
837
00:49:30,920 --> 00:49:32,800
WIND HOWLS
838
00:49:32,800 --> 00:49:34,720
It's a sad, sad world.
839
00:49:34,720 --> 00:49:37,560
According to
the duty of my profession,
840
00:49:37,560 --> 00:49:41,440
I have no choice, but to take
these men under my protection.
841
00:49:41,440 --> 00:49:43,280
THUNDER RUMBLES,
HORSE WHINNIES
842
00:49:43,280 --> 00:49:45,920
Yield to Heaven's command!
843
00:49:45,920 --> 00:49:48,040
Ladies and gentlemen,
just listen up for a second.
844
00:49:48,040 --> 00:49:51,080
I suspect there's
a large bunch of lightning
845
00:49:51,080 --> 00:49:52,960
and a storm about to hit us.
846
00:49:52,960 --> 00:49:54,720
What I would like
everybody to do right now
847
00:49:54,720 --> 00:49:57,160
is to make all
the gear completely safe.
848
00:49:57,160 --> 00:50:00,480
Cover up. We're going to wait
for this lightning to pass,
849
00:50:00,480 --> 00:50:02,600
see what the weather on
the other side of the front is,
850
00:50:02,600 --> 00:50:04,080
whether or not we can reconstitute,
851
00:50:04,080 --> 00:50:06,120
but, at the moment,
what I need everybody to do
852
00:50:06,120 --> 00:50:08,960
is to make safe and get under cover.
853
00:50:16,680 --> 00:50:19,240
THUNDER RUMBLES
854
00:50:19,240 --> 00:50:22,200
Yes! Whoa!
855
00:50:24,320 --> 00:50:26,960
Which is it,
King Lear or Wizard of Oz?
856
00:50:31,800 --> 00:50:35,200
WIND HOWLS
857
00:51:21,720 --> 00:51:24,680
THEY SHOUT
858
00:51:56,400 --> 00:51:58,800
I don't know
what we got out of this.
859
00:51:58,800 --> 00:52:01,480
How much money
we get insurance-wise?
860
00:52:01,480 --> 00:52:03,200
We got to clear...
861
00:52:03,200 --> 00:52:06,520
I mean, all that gear is going to
take... a day? I have no idea.
862
00:52:06,520 --> 00:52:10,240
We have to clean up everything
and it has to dry OFF.
863
00:52:10,240 --> 00:52:12,840
Yeah. Are we covered with insurance
for things like that?
864
00:52:24,560 --> 00:52:26,920
Now, look, we have to come here
in the morning,
865
00:52:26,920 --> 00:52:29,560
see if we're all right
and see what we can do.
866
00:52:29,560 --> 00:52:32,360
This could be dry. It may not.
Weather might be shitty.
867
00:52:32,360 --> 00:52:35,560
It's going to be a mud hole.
868
00:52:35,560 --> 00:52:38,000
It's not going to dry overnight.
869
00:52:38,000 --> 00:52:40,520
No. It's... No.
870
00:52:41,920 --> 00:52:43,880
Urgh.
871
00:52:43,880 --> 00:52:46,240
Interesting situation.
872
00:52:46,240 --> 00:52:49,840
Almost checkmate, but not quite.
Mm.
873
00:52:51,440 --> 00:52:53,440
We'll wriggle out of this somehow.
874
00:53:06,120 --> 00:53:09,200
A call to the insurance company
has revealed that although
875
00:53:09,200 --> 00:53:12,000
the production is covered
for any damage to equipment,
876
00:53:12,000 --> 00:53:13,880
they won't necessarily be covered
877
00:53:13,880 --> 00:53:17,160
for the shooting time lost
due to acts of God.
878
00:53:17,160 --> 00:53:19,880
In an attempt to salvage something
from the day,
879
00:53:19,880 --> 00:53:22,400
the producers have suggested
that they try to resume
880
00:53:22,400 --> 00:53:25,160
shooting parts of
the chain gang scene.
881
00:53:25,160 --> 00:53:26,840
If we go ahead
and try to shoot today,
882
00:53:26,840 --> 00:53:27,920
we won't get that done.
883
00:53:27,920 --> 00:53:30,520
We'll shoot half a day today,
we'll shoot half a day tomorrow.
884
00:53:30,520 --> 00:53:32,440
And we'll probably not get Friday.
885
00:53:32,440 --> 00:53:35,520
Now, the correct way,
the correct way to ensure
886
00:53:35,520 --> 00:53:40,000
that you continue on in a fully and
the most operational way you can,
887
00:53:40,000 --> 00:53:44,280
is to take this day to put
the unit back together.
888
00:53:44,280 --> 00:53:45,360
But don't you see,
889
00:53:45,360 --> 00:53:48,080
would it not have been possible
to go with a small unit?
890
00:53:48,080 --> 00:53:50,560
No. That's my answer, no.
891
00:53:50,560 --> 00:53:54,040
And you can say that,
that you talked to me and I said no.
892
00:53:54,040 --> 00:53:56,000
I agree that most of the crew
893
00:53:56,000 --> 00:54:01,400
will have to reconcile everything,
but why didn't you whisk ten people
894
00:54:01,400 --> 00:54:04,760
to shoot inside the taxi...
It's not, you know...
895
00:54:04,760 --> 00:54:08,160
We need 10 people or 15 people.
It doesn't work like that.
896
00:54:08,160 --> 00:54:13,080
This film unit is not able to
function today, in any capacity,
897
00:54:13,080 --> 00:54:16,640
except for maintenance and putting
ourselves back together.
898
00:54:16,640 --> 00:54:20,760
PLANE ENGINE ROARS
899
00:54:31,040 --> 00:54:33,560
Although the sets
have finally dried out,
900
00:54:33,560 --> 00:54:36,880
the heavy rains have entirely
changed the colour of the desert.
901
00:54:36,880 --> 00:54:40,200
The landscape that Gilliam chose
for its starkness,
902
00:54:40,200 --> 00:54:42,440
is now tinged with brown and green
903
00:54:42,440 --> 00:54:44,600
and won't match
what's already been shot.
904
00:54:46,880 --> 00:54:48,440
To make matters worse,
905
00:54:48,440 --> 00:54:50,560
the first part of
the chain gang scene
906
00:54:50,560 --> 00:54:54,160
was shot in bright sunlight
and now there's no sun at all.
907
00:54:54,160 --> 00:54:56,640
HE MIMES GUN FIRING
908
00:54:56,640 --> 00:54:59,240
It's pointless.
It's wasted time to be honest,
909
00:54:59,240 --> 00:55:02,280
because we don't have the light.
And I don't know if there ever will.
910
00:55:02,280 --> 00:55:05,760
Do you think it would be possible,
just to anticipate,
911
00:55:05,760 --> 00:55:08,560
to come back to the base camp,
912
00:55:08,560 --> 00:55:12,960
and if the weather
is keeping like that,
913
00:55:12,960 --> 00:55:16,560
to try to re-shoot the sequence?
914
00:55:16,560 --> 00:55:21,640
I know that the sequence
is written with big, sunny weather,
915
00:55:21,640 --> 00:55:24,040
but I don't think
we have other options.
916
00:55:24,040 --> 00:55:25,560
If we want to do something...
917
00:55:25,560 --> 00:55:28,480
Yeah, yeah, I know, I know.
I know, I know.
918
00:55:29,600 --> 00:55:30,880
Nicola.
919
00:55:31,880 --> 00:55:33,560
Here's a thought.
920
00:55:35,600 --> 00:55:37,880
Taxi is bullshit.
We don't want to do taxi.
921
00:55:37,880 --> 00:55:42,320
But we could do Johnny,
tighter shots, and light him,
922
00:55:42,320 --> 00:55:43,560
even in this light.
923
00:55:43,560 --> 00:55:46,120
For which scene?
Continuing the scene back there.
924
00:55:51,440 --> 00:55:54,840
The crew decides to move camp
in order to shoot a different scene
925
00:55:54,840 --> 00:55:57,000
which doesn't require
bright sunlight.
926
00:55:57,000 --> 00:56:00,400
The move will take several hours
out of the day.
927
00:56:17,160 --> 00:56:20,840
PLANE ENGINE ROARS
928
00:56:28,760 --> 00:56:30,640
INAUDIBLE
929
00:56:32,120 --> 00:56:35,560
We wait them out.
I don't want to waste time,
930
00:56:35,560 --> 00:56:38,520
shooting dialogue
while that's going on.
931
00:56:38,520 --> 00:56:40,240
No, we can't.
Yeah.
932
00:56:40,240 --> 00:56:42,560
By the time...
No, no, no, no.
933
00:56:42,560 --> 00:56:44,640
There's going to be
something else soon.
934
00:56:44,640 --> 00:56:47,560
There'll be something else,
I don't know what it is, but...
935
00:56:47,560 --> 00:56:50,840
I mean, set there, ready to go.
These guys arrive.
936
00:56:50,840 --> 00:56:53,080
And then we just stir in
a little bit of Munchausen.
937
00:56:59,720 --> 00:57:02,280
Why don't we try to shoot this?
938
00:57:02,280 --> 00:57:04,880
This, the first...
939
00:57:04,880 --> 00:57:07,280
No, we were setting up
for that shot. Yes.
940
00:57:07,280 --> 00:57:08,320
There's a plan,
941
00:57:08,320 --> 00:57:10,440
there's a very clear plan
what we're doing
942
00:57:10,440 --> 00:57:12,880
and we're the victims of that.
943
00:57:12,880 --> 00:57:15,680
And if we keep running
for each thing,
944
00:57:15,680 --> 00:57:17,320
all we do is run in circles.
945
00:57:17,320 --> 00:57:19,440
I mean, this is...
I don't know what else to do.
946
00:57:19,440 --> 00:57:20,960
All of us have done a lot of stuff,
947
00:57:20,960 --> 00:57:22,840
but none of us know
the answer right now.
948
00:57:22,840 --> 00:57:25,200
Everybody is just, like...
949
00:57:48,800 --> 00:57:51,040
HE MOANS
950
00:58:00,520 --> 00:58:02,960
All right, ladies and gentlemen,
we're a minute away.
951
00:58:02,960 --> 00:58:05,160
Let's do final checks.
Yes, it says!
952
00:58:13,440 --> 00:58:15,680
Be steady, Sancho. Trust me...
953
00:58:15,680 --> 00:58:19,320
It may happen that before
we pass six days together,
954
00:58:19,320 --> 00:58:22,200
I shall conquer
a number of kingdoms.
955
00:58:22,200 --> 00:58:23,520
Fuck you! We had a deal!
956
00:58:23,520 --> 00:58:27,200
And your loyalty shall be rewarded.
957
00:58:27,200 --> 00:58:28,760
Cut!
958
00:58:28,760 --> 00:58:31,800
We're fucked!
Did you see him sit on the horse?
959
00:58:31,800 --> 00:58:34,120
Fucking crazy!
The pain when he sat down...
960
00:58:34,120 --> 00:58:35,160
He can't fucking act.
961
00:58:35,160 --> 00:58:37,000
He can't do it.
It ain't gonna happen.
962
00:58:37,000 --> 00:58:39,400
I was watching his face
very carefully as
963
00:58:39,400 --> 00:58:42,920
he got on that horse
and it was just, "Oh, fuck."
964
00:58:42,920 --> 00:58:44,360
He can't ride like that,
965
00:58:44,360 --> 00:58:45,880
he certainly can't act like that
966
00:58:45,880 --> 00:58:48,160
and he certainly can't jiggle
hand props with that.
967
00:58:48,160 --> 00:58:50,600
Honestly, I want to go to
the French and say,
968
00:58:50,600 --> 00:58:54,000
"I'm going to refuse to shoot
with Jean Rochefort on a horse
969
00:58:54,000 --> 00:58:55,560
"until he is medically fit."
970
00:58:57,240 --> 00:58:59,160
The producers want to put him on
the horse.
971
00:58:59,160 --> 00:59:00,840
Terry wanted to put him on
the horse.
972
00:59:00,840 --> 00:59:03,040
Rochefort himself came
out of the trailer
973
00:59:03,040 --> 00:59:05,600
and they put it to him
and he wanted to get on the horse.
974
00:59:05,600 --> 00:59:08,960
And I just overruled Phil and said
"OK, he's got to do it.
975
00:59:08,960 --> 00:59:12,840
"He's got to put somebody on film.
He's been working seven months.
976
00:59:12,840 --> 00:59:15,080
"He hasn't a chance to do anything.
Let's do it."
977
00:59:19,680 --> 00:59:22,960
Lock it up everywhere, shooting now.
978
00:59:22,960 --> 00:59:24,840
Action.
979
00:59:24,840 --> 00:59:28,840
It may happen that before
we spend six days together,
980
00:59:28,840 --> 00:59:31,320
I shall conquer
a number of kingdoms.
981
00:59:31,320 --> 00:59:35,000
Cut. I will crown you king
of one of them.
982
00:59:36,560 --> 00:59:38,000
King!
983
00:59:38,000 --> 00:59:39,160
OK, and cut.
984
00:59:39,160 --> 00:59:41,160
That was nice.
HE SIGHS
985
00:59:41,160 --> 00:59:44,560
One more, OK?
Yes, one more.
986
00:59:44,560 --> 00:59:46,800
When it was time for him to get off,
987
00:59:46,800 --> 00:59:50,320
it took two men to carry him off
the horse and put him in a chair.
988
00:59:50,320 --> 00:59:53,400
Took him 40 minutes from there
to be able to walk to his car.
989
01:00:20,920 --> 01:00:22,880
We're checking the gate,
ladies and gentlemen.
990
01:00:22,880 --> 01:00:25,000
Thank you very much.
991
01:00:25,000 --> 01:00:27,280
I know it hasn't been
the best week for everybody.
992
01:00:27,280 --> 01:00:29,320
I know it's been really,
really difficult.
993
01:00:29,320 --> 01:00:31,120
And I know we've had
a lot of calamity,
994
01:00:31,120 --> 01:00:34,520
but I'd like to thank you all
very much for hanging in
995
01:00:34,520 --> 01:00:38,360
and doing your bit.
And all I can tell you is
996
01:00:38,360 --> 01:00:41,040
I'll endeavour to make it better
next week.
997
01:00:41,040 --> 01:00:44,400
And I hope you'll join me
at Monasterio de Piedra
998
01:00:44,400 --> 01:00:47,080
and we'll start making the film.
THEY LAUGH
999
01:00:47,080 --> 01:00:50,600
Thank you very much, one and all.
That's a warp. Let's pack it up.
1000
01:00:50,600 --> 01:00:53,600
Do we get snow next week?
LAUGHTER
1001
01:00:55,800 --> 01:00:59,680
Because the greater problem wasn't
just within the unit...
1002
01:00:59,680 --> 01:01:01,320
Never, never, never,
1003
01:01:01,320 --> 01:01:04,280
in 22 years
I've been in this business,
1004
01:01:04,280 --> 01:01:10,200
I've never seen such a sum
of sfiga, we say in Italian...
1005
01:01:10,200 --> 01:01:14,320
bad luck. I mean, sfiga is actually
a better word than bad luck.
1006
01:01:14,320 --> 01:01:17,360
Because sfiga is the negation
of the pussy.
1007
01:01:17,360 --> 01:01:22,520
La figa is the pussy,
la sfiga is the negation of it.
1008
01:01:22,520 --> 01:01:25,680
Everything that can go wrong,
goes wrong.
1009
01:01:25,680 --> 01:01:29,520
I mean everything.
Everything, everything, everything.
1010
01:01:29,520 --> 01:01:31,360
If you write a script
1011
01:01:31,360 --> 01:01:34,080
and you think of
the worst possible situation,
1012
01:01:34,080 --> 01:01:37,000
you can't make it up.
I mean, it's...
1013
01:01:37,000 --> 01:01:38,400
I don't know.
1014
01:01:38,400 --> 01:01:42,360
I think storyboards is the only way
I'm gonna get my brain together.
1015
01:01:42,360 --> 01:01:45,560
The producers are looking for
a solution to the film's problems.
1016
01:01:45,560 --> 01:01:47,640
And it's often the case
on film productions,
1017
01:01:47,640 --> 01:01:49,600
that the first solution
is to replace
1018
01:01:49,600 --> 01:01:50,960
the assistant director.
1019
01:01:50,960 --> 01:01:53,600
In this case,
Gilliam's right-hand man,
1020
01:01:53,600 --> 01:01:54,920
Phil Patterson.
1021
01:01:56,160 --> 01:01:58,560
I think that actually
if you fire him,
1022
01:01:58,560 --> 01:02:01,280
he would be very happy,
the first reaction,
1023
01:02:01,280 --> 01:02:03,840
then he probably would,
because he...
1024
01:02:05,400 --> 01:02:09,640
It's basically he's taking all
the responsibility on his shoulders.
1025
01:02:09,640 --> 01:02:12,360
And he's feeling it's just
a complete failure
1026
01:02:12,360 --> 01:02:14,760
and it's his fault.
And that's ridiculous.
1027
01:02:14,760 --> 01:02:16,840
That's where that's coming from.
1028
01:02:16,840 --> 01:02:19,360
So that kind of sense
of responsibility
1029
01:02:19,360 --> 01:02:21,400
and dedication is really rare.
1030
01:02:28,600 --> 01:02:30,680
Because Phil has been
one of the few people
1031
01:02:30,680 --> 01:02:32,360
holding this thing together.
1032
01:02:32,360 --> 01:02:35,200
His strength is that he
just won't let go, he'll keep going.
1033
01:02:35,200 --> 01:02:37,480
And if he can regain
1034
01:02:37,480 --> 01:02:40,720
some sense of being able
to control, you know, the mess...
1035
01:02:42,360 --> 01:02:43,760
I don't know.
1036
01:02:47,040 --> 01:02:49,840
PLANE ENGINE ROARS
1037
01:02:49,840 --> 01:02:54,600
Later that day, Jean Rochefort
flies back Paris, to see his doctor.
1038
01:02:54,600 --> 01:02:57,360
Although Rochefort will be
returning in a few days,
1039
01:02:57,360 --> 01:02:59,680
his departure leaves
the production in a quandary,
1040
01:02:59,680 --> 01:03:02,360
about what to do with
the next week's shoot.
1041
01:03:02,360 --> 01:03:05,320
I stated my opinion quite strongly
that we should pack up,
1042
01:03:05,320 --> 01:03:08,520
and we should take
the unit back to Madrid
1043
01:03:08,520 --> 01:03:10,360
and reconstitute ourselves
1044
01:03:10,360 --> 01:03:13,440
and make a decision
about where we were going.
1045
01:03:13,440 --> 01:03:16,440
Any form of shooting was wasteful.
1046
01:03:16,440 --> 01:03:20,240
There's a lot of argument to say,
"Cut and run now. Stop."
1047
01:03:20,240 --> 01:03:21,760
But I would rather keep shooting,
1048
01:03:21,760 --> 01:03:23,840
because at least
we're putting stuff on film,
1049
01:03:23,840 --> 01:03:26,840
and we got people who just gave us
$16 million,
1050
01:03:26,840 --> 01:03:28,480
coming down, 60 of them.
1051
01:03:28,480 --> 01:03:31,000
Yeah, we gotta shoot on Monday.
We have to shoot no matter what.
1052
01:03:43,120 --> 01:03:44,560
Here we go.
1053
01:03:55,160 --> 01:03:59,120
THEY CHATTER
1054
01:03:59,120 --> 01:04:02,960
Welcome to Spain, to the set,
to the movie.
1055
01:04:04,400 --> 01:04:07,440
With Rochefort scheduled
to return in two days,
1056
01:04:07,440 --> 01:04:10,440
Gilliam and the producers
have decided to forge ahead
1057
01:04:10,440 --> 01:04:12,960
and shoot the scenes
that don't require him.
1058
01:04:12,960 --> 01:04:14,960
They're especially concerned
that the location
1059
01:04:14,960 --> 01:04:16,640
will be unusable in a few weeks
1060
01:04:16,640 --> 01:04:18,960
when leaves begin to fall from
the trees.
1061
01:04:18,960 --> 01:04:23,120
They also have their principal
investors visiting the set.
1062
01:04:23,120 --> 01:04:25,040
You fiddle with the fish.
Beat his brains out
1063
01:04:25,040 --> 01:04:27,680
and the horse comes up
and nudges you over that way.
1064
01:04:27,680 --> 01:04:30,320
So is that me?
1065
01:04:30,320 --> 01:04:34,440
I hope so. Or the horse.
He's very good. He's a professional.
1066
01:04:34,440 --> 01:04:37,040
Lock it up everyone.
We're shooting now.
1067
01:04:37,040 --> 01:04:38,440
HORSE WHINNIES
1068
01:04:40,480 --> 01:04:43,520
We've loaded the fish.
The fish is loaded.
1069
01:04:43,520 --> 01:04:45,560
Here we go.
1070
01:04:45,560 --> 01:04:47,880
Roll camera!
1071
01:04:47,880 --> 01:04:49,240
Action.
1072
01:04:51,760 --> 01:04:55,080
DEPP GRUNTS
1073
01:04:55,080 --> 01:04:58,760
Horse come on.
Come on, horse, come on, horsey.
1074
01:04:58,760 --> 01:05:00,720
Huh? Fucker?
1075
01:05:00,720 --> 01:05:03,560
Cut it, cut it.
Let's do it again, straight away.
1076
01:05:03,560 --> 01:05:05,800
Fast. Action.
1077
01:05:05,800 --> 01:05:08,040
Horse come on. Horse.
1078
01:05:08,040 --> 01:05:11,440
We're moving in.
Is the horse about to move? OK.
1079
01:05:13,640 --> 01:05:15,480
Good, good, good, good. Good idea.
1080
01:05:15,480 --> 01:05:17,520
Cut, cut, cut, cut, cut, cut, cut.
1081
01:05:17,520 --> 01:05:20,400
Turn the camera on this.
Turn the camera on Johnny, looks in.
1082
01:05:20,400 --> 01:05:22,760
Let's just get on with it.
Johnny, we go into a close-up.
1083
01:05:22,760 --> 01:05:25,400
We don't have to be anywhere.
Johnny can do it from here.
1084
01:05:25,400 --> 01:05:26,600
Leave the camera there,
1085
01:05:26,600 --> 01:05:28,400
he turns in the camera
and walks out.
1086
01:05:28,400 --> 01:05:31,280
Get some shots.
This is fucking stupid. Jesus!
1087
01:05:33,040 --> 01:05:34,800
As Gilliam troubleshoots the scene,
1088
01:05:34,800 --> 01:05:38,440
news arrives from Paris
that it will be at least a week
1089
01:05:38,440 --> 01:05:41,400
before Jean Rochefort
is well enough to return.
1090
01:05:41,400 --> 01:05:43,720
You now what they're
going to ask us to do?
1091
01:05:48,680 --> 01:05:51,480
They're going to say,
let's start him off without...
1092
01:06:09,720 --> 01:06:12,000
It's a funnier look from there.
OK.
1093
01:06:12,000 --> 01:06:15,080
But that was really good though.
Everything sort of clicked.
1094
01:06:15,080 --> 01:06:17,560
Lock it up everywhere. Shooting now.
1095
01:06:17,560 --> 01:06:21,320
HE MOANS
1096
01:06:25,480 --> 01:06:28,360
You want to fuck with me, huh?
Fucker!
1097
01:06:28,360 --> 01:06:31,520
What were you thinking?
What were you thinking?
1098
01:06:31,520 --> 01:06:34,200
HE LAUGHS
1099
01:06:34,200 --> 01:06:36,040
And cut it!
1100
01:06:36,040 --> 01:06:37,480
Cut it. Just cut it out.
1101
01:06:37,480 --> 01:06:39,400
Ladies and gentlemen,
that's a wrap.
1102
01:06:39,400 --> 01:06:42,480
You're supposed to be at the front.
I'm the football.
1103
01:06:42,480 --> 01:06:44,000
LAUGHTER
1104
01:06:46,080 --> 01:06:48,080
The team! Excellent.
1105
01:06:48,080 --> 01:06:50,920
THEY LAUGH
1106
01:06:50,920 --> 01:06:53,880
I'll be down here, like this.
1107
01:06:53,880 --> 01:06:55,960
OK, we give you one, two, three.
1108
01:06:55,960 --> 01:06:58,560
At three, I will be shooting,
all right?
1109
01:06:58,560 --> 01:07:01,360
Hi!
Hi.
1110
01:07:01,360 --> 01:07:05,120
LAUGHTER
Thank you.
1111
01:07:05,120 --> 01:07:07,040
Thank you.
1112
01:07:07,040 --> 01:07:11,200
As the investors leave the set,
the insurance adjusters arrive.
1113
01:07:11,200 --> 01:07:14,120
They've come to investigate
last week's claims
1114
01:07:14,120 --> 01:07:16,720
and to decide how to proceed
in Rochefort's absence.
1115
01:07:20,640 --> 01:07:24,360
Just so you know,
we're not going to shoot tomorrow.
1116
01:07:24,360 --> 01:07:27,040
OK? So we're going to
travel back to Madrid.
1117
01:07:30,000 --> 01:07:32,360
Just check in with production
before you go.
1118
01:07:32,360 --> 01:07:35,440
Eight o'clock,
we meet at the base camp,
1119
01:07:35,440 --> 01:07:38,760
have breakfast together
and decide what to do.
1120
01:07:38,760 --> 01:07:40,920
All right?
1121
01:07:40,920 --> 01:07:43,200
Meeting at eight o'clock at
the base camp,
1122
01:07:43,200 --> 01:07:44,840
have breakfast together.
1123
01:07:45,880 --> 01:07:48,720
We'll see.
We're not shooting, but we'll see.
1124
01:07:52,480 --> 01:07:55,440
We don't known the state of
Jean Rochefort's health.
1125
01:07:55,440 --> 01:07:59,960
We don't know whether he's going to
come back whole, or come back.
1126
01:07:59,960 --> 01:08:01,520
Or what. We don't know.
1127
01:08:01,520 --> 01:08:04,960
I mean, he's been tested,
prodded, probed, poked.
1128
01:08:06,400 --> 01:08:09,520
And I suppose we'll know in a couple
more days what his state is.
1129
01:08:27,920 --> 01:08:28,960
In the book,
1130
01:08:28,960 --> 01:08:31,720
Cervantes does something
very strange and very cruel.
1131
01:08:31,720 --> 01:08:35,040
At every turn,
Cervantes mocks Quixote.
1132
01:08:35,040 --> 01:08:37,720
At every turn,
Cervantes goes out of his way
1133
01:08:37,720 --> 01:08:40,440
to show how foolish the old man is.
1134
01:08:40,440 --> 01:08:44,000
And the crueller he is,
the more we love Quixote.
1135
01:08:44,000 --> 01:08:46,600
So that when this man
becomes sane at the end,
1136
01:08:46,600 --> 01:08:48,640
as a reader, we can't stand this.
1137
01:08:48,640 --> 01:08:51,160
We don't want him to be sane,
we want him to remain mad.
1138
01:08:51,160 --> 01:08:54,280
Because we know full well,
that when he's sane, he will die.
1139
01:08:54,280 --> 01:08:58,080
We're waiting to hear
what the doctor says.
1140
01:08:58,080 --> 01:08:59,760
What test he wants to do.
1141
01:08:59,760 --> 01:09:02,760
Or does he just say,
"Jean, you need to rest"?
1142
01:09:02,760 --> 01:09:05,720
We're just waiting to hear.
Literally, just waiting to hear.
1143
01:09:05,720 --> 01:09:08,640
On film productions,
a completion guarantor
1144
01:09:08,640 --> 01:09:11,320
assumes financial responsibility
for ensuring
1145
01:09:11,320 --> 01:09:14,080
that a film will be completed
and delivered on schedule.
1146
01:09:14,080 --> 01:09:17,960
Fred Millstein has come to Madrid
to protect his assets
1147
01:09:17,960 --> 01:09:22,440
and to help the production team
cope with the recent setbacks.
1148
01:09:22,440 --> 01:09:26,040
I think there is no worse situation
1149
01:09:26,040 --> 01:09:28,240
than not knowing anything.
1150
01:09:28,240 --> 01:09:30,840
So everyone is keeping asking
every day,
1151
01:09:30,840 --> 01:09:33,200
"What do we have to do?"
"When are we going to restart?"
1152
01:09:33,200 --> 01:09:37,120
And nobody is able to give
an answer.
1153
01:09:37,120 --> 01:09:39,240
We don't know. We don't know.
1154
01:09:40,240 --> 01:09:41,920
No, that's all the news we have.
1155
01:09:44,320 --> 01:09:46,480
Yeah, yeah, yeah, yeah, yeah. Yeah.
1156
01:09:46,480 --> 01:09:50,880
OK, the castle? No, we moved that
from Wednesday.
1157
01:09:50,880 --> 01:09:53,800
Fantastic. Brilliant.
1158
01:09:53,800 --> 01:09:55,600
Absolutely fantastic.
1159
01:09:57,160 --> 01:09:58,560
They're wonderful.
1160
01:09:59,680 --> 01:10:02,080
I mean, I keep working.
I keep marching ahead.
1161
01:10:02,080 --> 01:10:04,440
It's the one thing I've always been
pretty good at,
1162
01:10:04,440 --> 01:10:06,720
is just to keep marching ahead
and doing it and saying,
1163
01:10:06,720 --> 01:10:09,280
"Yeah, we can do it,
let's keep going, let's keep going."
1164
01:10:09,280 --> 01:10:13,920
We're not shooting Monday, Tuesday.
So you can have a holiday til then.
1165
01:10:24,320 --> 01:10:27,280
The production team has been working
to arrange a new schedule
1166
01:10:27,280 --> 01:10:28,760
based on Rochefort's return,
1167
01:10:28,760 --> 01:10:31,520
but the news comes in
from Rochefort's doctors
1168
01:10:31,520 --> 01:10:34,640
that he will not be returning
for at least ten more days.
1169
01:10:34,640 --> 01:10:36,920
And while the production
continues to spend money
1170
01:10:36,920 --> 01:10:38,080
to keep the crew working,
1171
01:10:38,080 --> 01:10:41,840
the insurance company seems to be
claiming that Rochefort's illness
1172
01:10:41,840 --> 01:10:44,040
may be a "force majeure" event,
1173
01:10:44,040 --> 01:10:46,800
an act of God,
not covered by the policy.
1174
01:10:46,800 --> 01:10:50,480
His opinions is more that
if there's an insured event,
1175
01:10:50,480 --> 01:10:54,400
it's not "force majeure".
It needs to be defined.
1176
01:10:54,400 --> 01:10:56,160
It needs to be defined.
1177
01:10:56,160 --> 01:10:59,360
But, clearly, it's for acts of God.
1178
01:10:59,360 --> 01:11:01,720
And he doesn't think
the illness of another actor
1179
01:11:01,720 --> 01:11:04,080
is a force majeure event.
1180
01:11:04,080 --> 01:11:07,800
The "force majeure",
it's necessary to have a definition
1181
01:11:07,800 --> 01:11:11,680
of the force majeure
to be applicable.
1182
01:11:11,680 --> 01:11:16,160
He was looking at the contract
and he said there is no definition,
1183
01:11:16,160 --> 01:11:19,720
no real definition of
the force majeure. In that case,
1184
01:11:19,720 --> 01:11:22,720
for him, I don't know,
it's not applicable at all.
1185
01:11:22,720 --> 01:11:25,680
My feeling, or my wish
more than my feeling,
1186
01:11:25,680 --> 01:11:30,280
is that we should at least stop
for a few weeks or months
1187
01:11:30,280 --> 01:11:32,080
and reorganise everything, because,
1188
01:11:32,080 --> 01:11:34,360
of course the location now
is a big mess,
1189
01:11:34,360 --> 01:11:36,440
cast is a big mess,
crew is a big mess.
1190
01:11:36,440 --> 01:11:39,200
So the best thing for everybody,
and for the film,
1191
01:11:39,200 --> 01:11:40,280
would to be able to stop,
1192
01:11:40,280 --> 01:11:42,640
but I know that, financially,
that's a lot of money.
1193
01:11:42,640 --> 01:11:44,560
The insurance company was saying,
1194
01:11:44,560 --> 01:11:46,640
"Hold on, you have to
be very careful.
1195
01:11:46,640 --> 01:11:48,600
"So keep everybody on track,
1196
01:11:48,600 --> 01:11:51,560
"but on the other hand,
don't spend money."
1197
01:11:51,560 --> 01:11:57,760
The question is
whether they would re-insure Jean.
1198
01:11:57,760 --> 01:11:59,480
That's the problem.
1199
01:11:59,480 --> 01:12:02,640
And then
the pressure would be to re-cast
1200
01:12:02,640 --> 01:12:05,240
and that's what
I don't want to do.
1201
01:12:05,240 --> 01:12:07,080
And I don't even know
who can do the job.
1202
01:12:07,080 --> 01:12:10,880
Cos, I mean, We spent a long time
coming to Jean Rochefort.
1203
01:12:10,880 --> 01:12:13,400
And then he spent a year and a half
thinking about it,
1204
01:12:13,400 --> 01:12:17,640
seven months learning English
and he's magnificent.
1205
01:12:17,640 --> 01:12:20,120
Another problem with recasting
the film,
1206
01:12:20,120 --> 01:12:22,280
is that Gilliam, Depp and Rochefort
1207
01:12:22,280 --> 01:12:25,680
are what are contractually known as
essential elements.
1208
01:12:25,680 --> 01:12:27,760
If any one of them leaves
the project,
1209
01:12:27,760 --> 01:12:29,960
the film must be
entirely refinanced.
1210
01:12:29,960 --> 01:12:33,800
THEY CHATTER
1211
01:13:23,480 --> 01:13:27,280
The idea is to reschedule
the film as soon as possible.
1212
01:13:27,280 --> 01:13:30,520
Check with everybody, actors, erm,
1213
01:13:30,520 --> 01:13:33,720
all the departments and locations
about their availability of
1214
01:13:33,720 --> 01:13:37,360
the new schedule,
based on starting on the 16th.
1215
01:13:37,360 --> 01:13:39,760
What's happening if Jean
is not back on the 16th?
1216
01:13:39,760 --> 01:13:41,560
There are many possibilities.
1217
01:13:41,560 --> 01:13:43,600
The film is going to be done.
It doesn't matter how.
1218
01:13:43,600 --> 01:13:44,840
The film is going to be done.
1219
01:13:59,040 --> 01:14:01,320
APPLAUSE AND CHATTER
1220
01:14:13,160 --> 01:14:15,640
I'd just like to know,
for the record,
1221
01:14:15,640 --> 01:14:17,600
where is the director of this film?
1222
01:14:23,160 --> 01:14:26,800
This is no way to make a film,
even a small film.
1223
01:14:26,800 --> 01:14:28,160
This is just crap.
No.
1224
01:14:28,160 --> 01:14:31,480
I mean, to make one like this,
it's impossible.
1225
01:14:31,480 --> 01:14:34,800
The fact is,
nothing is pushing us right now.
1226
01:14:34,800 --> 01:14:36,520
There's no motor any more in this.
1227
01:14:36,520 --> 01:14:39,720
We're just waiting for the insurance
to tell us what to do.
1228
01:14:39,720 --> 01:14:42,840
Nobody seems to be in control,
of anything.
1229
01:14:44,160 --> 01:14:45,240
I like shooting things,
1230
01:14:45,240 --> 01:14:47,680
even if it's completely fucked up
and totally useless.
1231
01:14:47,680 --> 01:14:50,920
At least, there's some images.
Something to pay...
1232
01:14:50,920 --> 01:14:54,320
To justify
the several years of work.
1233
01:14:56,360 --> 01:14:58,040
So much denial going on.
1234
01:14:58,040 --> 01:15:00,000
You know, the fact,
the 27th of November,
1235
01:15:00,000 --> 01:15:03,680
Jean Rochefort is going to be back,
dancing, jumping on the horse.
1236
01:15:03,680 --> 01:15:05,080
Forget about it!
1237
01:15:05,080 --> 01:15:09,680
I mean, accept the idea this man
won't be fit to make the movie.
1238
01:15:32,520 --> 01:15:36,880
No, but see, the problem is,
we had force majeure last weekend
1239
01:15:36,880 --> 01:15:40,080
and we should have used that
in order to straighten house.
1240
01:15:40,080 --> 01:15:43,400
And when I say to Bernard,
like I did today, "Bernard,
1241
01:15:43,400 --> 01:15:45,480
"tell me now,
tell me straight to my face
1242
01:15:45,480 --> 01:15:47,120
"that if Rochefort comes back,
1243
01:15:47,120 --> 01:15:50,120
"and we have him on the set,
and I turn to you
1244
01:15:50,120 --> 01:15:52,360
"as the first AD, on the set,
1245
01:15:52,360 --> 01:15:55,720
"and say 'this man is
incapable of working,'
1246
01:15:55,720 --> 01:15:57,600
"are you going to sail me
down the tube again?
1247
01:15:57,600 --> 01:15:59,880
"Are you going to vote against
my decision?"
1248
01:15:59,880 --> 01:16:01,240
And I'm trying to remain...
1249
01:16:01,240 --> 01:16:03,800
You're not... succeeding,
particularly, but go on.
1250
01:16:03,800 --> 01:16:07,200
Somewhat rational...
Somewhat is good enough.
1251
01:16:07,200 --> 01:16:09,320
Here's what's making me crazy.
1252
01:16:09,320 --> 01:16:12,240
OK, we've stopped shooting and
now we're reorganizing ourselves.
1253
01:16:12,240 --> 01:16:15,360
Well, are we reorganizing ourselves?
No.
1254
01:16:15,360 --> 01:16:18,280
No. That's what pisses me off,
this is the whole point of the time,
1255
01:16:18,280 --> 01:16:20,520
is to go through and get ourselves
1256
01:16:20,520 --> 01:16:23,480
in fighting-fit shape
to actually do the film.
1257
01:16:23,480 --> 01:16:25,640
And nothing is happening.
Nothing is happening.
1258
01:16:25,640 --> 01:16:28,160
We're running around in circles.
1259
01:16:28,160 --> 01:16:30,320
And the days are just floating past.
1260
01:16:30,320 --> 01:16:32,640
We're getting in worse shape
than we were when we stopped.
1261
01:16:32,640 --> 01:16:34,040
I don't know how one gets out.
1262
01:16:34,040 --> 01:16:36,800
Not being... Having been
in this stuff before,
1263
01:16:36,800 --> 01:16:40,880
I ploughed on. And I don't have any
energy to plough on at the moment.
1264
01:16:40,880 --> 01:16:44,080
This isn't a ploghable...
Yeah, I know. I know that.
1265
01:16:44,080 --> 01:16:47,080
So I don't know how a plug
gets pulled on a thing like this.
1266
01:16:49,800 --> 01:16:53,600
Look, I'm going to go back to Algete
1267
01:16:53,600 --> 01:16:55,960
and I'm going to tell
the French producers
1268
01:16:55,960 --> 01:17:00,360
that I'm not going to continue in
the project the way it is.
1269
01:17:00,360 --> 01:17:03,080
And explain to them the reason
that I'm leaving the film
1270
01:17:03,080 --> 01:17:05,160
is that I don't have confidence
in the producers
1271
01:17:05,160 --> 01:17:07,520
to support me in the decisions
that need to be made
1272
01:17:07,520 --> 01:17:09,520
in terms of making the film.
1273
01:17:09,520 --> 01:17:11,440
HE GROANS
1274
01:17:13,160 --> 01:17:17,840
We can't make the film.
Not the film you want to make.
1275
01:17:17,840 --> 01:17:19,280
HE SIGHS
1276
01:17:19,280 --> 01:17:22,600
You know, I'm sorry to be,
1277
01:17:22,600 --> 01:17:26,680
as always, the bearer
of fucking bad tidings and...
1278
01:17:26,680 --> 01:17:27,920
whatever, but...
1279
01:18:00,640 --> 01:18:02,320
Yeah. Mm.
1280
01:18:04,240 --> 01:18:07,440
I don't know any more.
I've lost it completely.
1281
01:18:07,440 --> 01:18:10,560
I can't imagine the film any more.
That's my problem.
1282
01:18:10,560 --> 01:18:13,600
Yeah, yeah, yeah. Exactly.
1283
01:18:13,600 --> 01:18:16,440
And now everyone's limping off
to other jobs, even already.
1284
01:18:19,840 --> 01:18:21,200
Have you heard any more since
1285
01:18:21,200 --> 01:18:23,720
the fact that doctors are just doing
more tests today?
1286
01:18:24,840 --> 01:18:27,000
Yeah, for the insurers
all going to Paris tomorrow.
1287
01:18:29,760 --> 01:18:33,400
It's almost like
I've forgotten about this film.
1288
01:18:33,400 --> 01:18:35,400
It's like it doesn't exist,
it can't exist.
1289
01:18:35,400 --> 01:18:38,160
Cos if it does exist,
it's too painful.
1290
01:18:38,160 --> 01:18:40,240
I'll just hang around here.
1291
01:18:40,240 --> 01:18:42,680
Yeah, yeah, a shell. Yeah.
1292
01:18:42,680 --> 01:18:45,720
OK. All right, thanks. Bye.
1293
01:18:53,400 --> 01:18:57,720
Well, the insurers are
all meeting in Paris tomorrow.
1294
01:18:59,080 --> 01:19:03,560
Rene's going up there
to decide what to do.
1295
01:19:03,560 --> 01:19:05,720
But there's been
a little complication.
1296
01:19:05,720 --> 01:19:07,480
Fred Millstein,
the completion bond...
1297
01:19:08,880 --> 01:19:11,880
..guy has been down here
the last few days, trying to...
1298
01:19:13,400 --> 01:19:14,640
..sort things out.
1299
01:19:15,920 --> 01:19:17,400
And he was saying something to Jose
1300
01:19:17,400 --> 01:19:20,160
about the fact that
the paperwork isn't quite correct
1301
01:19:20,160 --> 01:19:22,440
between him and
the insurance company.
1302
01:19:22,440 --> 01:19:26,040
And it could mean that he's
going to get stuck with the bill.
1303
01:19:26,040 --> 01:19:27,960
Which would be disastrous for him,
1304
01:19:27,960 --> 01:19:32,720
cos he's not protected in
the way insurance companies are.
1305
01:19:33,920 --> 01:19:36,800
And Jose is saying, you know,
of course he'll fight it
1306
01:19:36,800 --> 01:19:38,240
and it'll probably end up in court,
1307
01:19:38,240 --> 01:19:40,760
with them fighting over
who picks up the pieces,
1308
01:19:40,760 --> 01:19:45,200
or picks up the pieces of paper
that need paying.
1309
01:19:46,760 --> 01:19:50,640
It's like what it is
is the curse of Quixote.
1310
01:19:50,640 --> 01:19:52,520
Going on around us. Interesting.
1311
01:19:52,520 --> 01:19:55,920
WIND HOWLS
1312
01:19:55,920 --> 01:19:58,080
Listen to that wind.
1313
01:19:58,080 --> 01:20:00,200
It started with the deluge,
1314
01:20:00,200 --> 01:20:02,880
and now the great wind
is sweeping it clean,
1315
01:20:02,880 --> 01:20:06,200
blowing Quixote away,
out of Spain, forever.
1316
01:20:06,200 --> 01:20:08,560
It's howling out there, "It's over."
1317
01:20:16,160 --> 01:20:20,640
By the end of October, it's clear
that Rochefort will not return.
1318
01:20:20,640 --> 01:20:24,080
He's been diagnosed with
a double herniated disc.
1319
01:20:24,080 --> 01:20:26,840
And he requires at least
another month of recovery.
1320
01:20:29,760 --> 01:20:32,080
What is the state of
the film now?
1321
01:20:53,440 --> 01:20:57,280
Often, when you have
problems in prep,
1322
01:20:57,280 --> 01:20:59,920
when you have
a shaky film production
1323
01:20:59,920 --> 01:21:03,040
the usual catchcry of the film is,
1324
01:21:03,040 --> 01:21:05,320
"Let's start shooting
and straighten it out."
1325
01:21:05,320 --> 01:21:08,800
Always in the belief that
to begin filming will
1326
01:21:08,800 --> 01:21:12,360
help you get on track
and send you down one path.
1327
01:21:12,360 --> 01:21:14,440
The old train theory.
1328
01:21:15,520 --> 01:21:16,760
It didn't work this time.
1329
01:21:16,760 --> 01:21:20,200
Jean Rochefort was
the sort of tragic end to it.
1330
01:21:20,200 --> 01:21:23,560
A series of problems
that beset the film quite early on.
1331
01:21:25,920 --> 01:21:30,520
Maybe the only real responsibility
of Terry is, about all this mess,
1332
01:21:30,520 --> 01:21:33,600
that is in order to make it happen,
1333
01:21:33,600 --> 01:21:37,520
I believe he lowered too much
his targets.
1334
01:21:37,520 --> 01:21:41,680
And he gave an impression of
being about to do
1335
01:21:41,680 --> 01:21:44,160
a more simple movie than it is.
1336
01:21:44,160 --> 01:21:47,440
Because again, it's been going on
for so long for him.
1337
01:21:47,440 --> 01:21:49,400
I mean,
that's what we don't consider,
1338
01:21:49,400 --> 01:21:51,920
for him, this is not the first time.
1339
01:21:54,680 --> 01:21:56,440
Terry is very good
at being proud
1340
01:21:56,440 --> 01:21:58,600
of how impossible
something might be,
1341
01:21:58,600 --> 01:22:01,120
but no director is going to start
a picture thinking,
1342
01:22:01,120 --> 01:22:02,840
"We may not ever get through this".
1343
01:22:02,840 --> 01:22:05,880
It was very painful
to see it all coming horribly true.
1344
01:22:05,880 --> 01:22:06,920
Like I say, it was...
1345
01:22:06,920 --> 01:22:09,240
the most painful thing
was seeing reality win
1346
01:22:09,240 --> 01:22:11,920
over Don Quixote in the end.
Because it did.
1347
01:22:35,440 --> 01:22:37,800
I honestly don't know
what I'd like to see happen
1348
01:22:37,800 --> 01:22:40,600
I suppose on one hand,
I'd like Jean to get better
1349
01:22:40,600 --> 01:22:42,440
and us to be able to make the film.
1350
01:22:43,800 --> 01:22:46,680
And that would be...
On the other hand, I don't know.
1351
01:22:46,680 --> 01:22:48,680
I mean, I just, like...
1352
01:22:48,680 --> 01:22:51,960
I've done the film too often
in my head, too many times.
1353
01:22:51,960 --> 01:22:54,520
I've seen it, I've been through it,
I know how it goes.
1354
01:22:56,880 --> 01:22:59,640
Is it better, you know,
to just leave it there?
1355
01:22:59,640 --> 01:23:01,160
I really don't know.
1356
01:25:24,440 --> 01:25:26,400
TERRY CHUCKLES
102573
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.