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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

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