All language subtitles for War and Remembrance s01ex3 Making The Winds of War.eng

For me, the making
of The Winds of War

was one of the great
experiences of my life.

lt was everything that l could
ever imagine all rolled into one.

lt was like making...
lt was 1 8 hours.

lt's like making nine movies.

But nine movies...

...of the kind
of material that l love.

Re-creating history
where it actually happened.

lt was the most exciting experience.

Action.

Your parties' passports,
may l have them, please?

l am reluctant to surrender
them for obvious reasons.

l assure you it's quite routine.

There isn't anyone
insane enough

to think that they could do
this project on their own,

both as producer and director.

Totally suits Dan,
with all his staggering energy

and his operatic sense of life.

And so l think it was just
absolutely wonderful and brilliant

that Dan and this project merged.

l don't think many people
besides Dan Curtis

could have choreographed what the
making of Winds of War was about.

Who could possibly say,
''For budgetary reasons,

''we're gonna have to stay
in this country.''

And the former Yugoslavia
was one of the main ones.

''We're gonna stay in this country
and we're going to make a facsimile

''of nine different countries in Europe
over a period of five years.

''And sometimes we're gonna have
to split the scene up into...

''lt's, they entered the building, walked
up the stairs, they went into the room.

''And then on the reverse shot,
we'd like that on the wall.''

And those four bits would
take place months apart.

All out of order,

without missing a beat.
And then you'd be over with it,

change your clothes,

grab a coffee and be into
a whole other part of the world.

And yet you'd still go
home to the same hotel.

lt was a sort of odd adrenaline rush,
to be honest with you.

lt was very crazy.

And l don't recall that anything
ever really got screwed up.

That's quite remarkable.

Get rid of that.
''Let's go with your people.''

Yeah, that throws me,
to tell you the truth.

Well, it's gone now.
How about this:

''We don't even know
if they're going.

''lf they go, he can come
and fetch me.''

Change that.

''But we don't even
know if they're going.

''lf they do go,
he can come and fetch me.''

That's better. lt'll work.

lt's a little new line.

- One of 30 or 40 this morning.
- ''lf they do go...''

The adaptation of the book took...

...and preproduction
took about a year.

Year and a half, maybe.

While Herman was
writing the screenplay

and sending the material to me,

l was traveling around the world,
trying to nail down locations.

First thing l did was to read
the script and the book.

Which was an amazing experience
to know that, you know,

and somewhat
daunting to know,

that we were going
to put all this material on film.

lt was an extraordinary
difficult project on all levels

because you'd try
to lock in locations

that you will be using two
or three years down the road.

And maybe you'll just
be there for three days.

And, you know, meantime,
this is Europe.

Wars happen, you know,
things collapse.

The same with casting actors.

There's particularly actors
in smaller roles,

we would try and say:

''Well, we have this fabulous
little role for ten days.

''But actually you'll be shooting
in two years and three days.''

So we had to give all actors...
We used to have backups

on all the cast.
And we had a speaking cast of 300.

- Der Fuehrer.
- Der Fuehrer!

l also had to have
three sets of locations

for the same location.

And the reason
l needed that was

that if the schedule required
that l shoot scene 69 7...

...in ltaly, because of the actors
and something else going on,

the scene maybe
took place in England.

lf l had a set for it in ltaly,

l could shoot it in ltaly.

l also carried in my back pocket
a number of small scenes

that could be shot anywhere
by improvising the set

if l had the right actors.

And if sometimes,
l would finish early on a day,

which was rare,
but sometimes it would happen,

l would be able to pull one of these
scenes out if l had the right actors.

And if l found something l could
improvise, l'd shoot the scene.

l think that our task
was to reproduce the spirit

of the times and places.

There was no way that we were
going to be able to reproduce,

with historical accuracy,
the places in the story.

But there was a way
that we could send the message...

A kind of aesthetic message
to the audience

that, you know...
What they represented.

The other thing that was
very important for me

in shooting Winds of War
and War and Remembrance

was to re-create

the physicality of that time.

And there was an enormous
difference, physically,

in what women wore

in the late '30s, early '40s.

l insisted on wearing girdles.

The really old-fashioned girdles
that women wore in the '30s and '40s.

And stockings,

with the garter belt rather than,
you know, pantyhose.

Because it changed...

lt changes the way
a woman walks,

and the way a woman sits.

lt changes her physical freedom.

Oh, dear heaven, Pug, l'll die!
l can't possibly.

l've practically nothing on
underneath.

Why can't they warn a girl?!

When in Rome...

l loved Dan.
l really...

l really loved working with Dan.

He was enormously
supportive of me.

l always felt that he
was very straight,

and a very attentive director.

You know, there are so many
directors out there today

who say, you know, ''Action'',

and ''Cut''. And that's about...
That's the end of the process.

That's the beginning
and end of the process.

So that you never really feel

that there's someone there who's
trying to protect you and guard you

so that you can climb out
to the farthest part of a limb.

l had an enormous
amount of trust in Dan.

And he could be very, very difficult.
He really could be.

But he never was with me.

Dan is an old-school
producer and director.

He's very much influenced
by the kind of moodiness

you find in black-and-white films.

And he's also a very disciplined
producer and director.

This was an enormous project
with what were limited resources.

We had a lot of ground to cover

and what we tried to do was
to find the essential shots

that would put you

in the place and time of the episode
that was beginning.

ln other words, to establish
immediately where you were.

When l got to Yugoslavia,

that's where l met Branko Lustig,

who ended up, basically,
as my first A.D.

He was a Yugoslav. He was
assigned to us by Jadran Studios

to help us find locations.

l immediately fell in love
with the guy.

Without him, l never could
have completed this film.

The most important person on
the picture, to me, is my first A.D.,

particularly when you're working
on a very difficult film.

l just have to worry about
how l'm gonna shoot this picture,

how l'm gonna direct it.

And if l've got somebody
who's in front of me,

thinking in front of me,
always having the set ready for me,

always doing everything
as if he were reading my mind,

then l can really do
what l have to do.

Plus, he was a survivor.

Concentration camp. He was
in Auschwitz when he was 1 3.

And he had a real understanding
of the German mentality.

So when it came to staging
all of those sequences,

he was absolutely invaluable.

l was with him seven years, actually.

We made almost
68 hours together.

And spent so much
time together.

And we became like...
Almost like brothers.

Everybody's saying
Dan is very difficult

when we were moviemaking.

That he's screaming,
that he's a screamer.

l don't think so,
l think he's a great man and...

He was a...
He had this vision of the book.

Of the complete book
of Herman Wouk in front of him.

- lt's back there.
- OK.

On the other side,
see where the ashcan is?

- We have one back there also.
- Well, like two guys, three guys.

At that moment they're coming.

We see people also
crossing over there,

that way, and they may
come around this way.

Dolly after them that way.

His directing style was
his marvelous imagination.

Because he knew exactly what
he wanted to see on the screen.

And how he achieved it,
or how you achieved in helping him,

depended a lot on you.

He wanted a scene played
and two people to stand up

and tell the truth
to one another,

or to lie to one another,
as they might do.

Then he knew exactly,
photographically, in his head,

what he wanted
to see on the screen.

And he got it, and if he got it nicely
and quietly, that was wonderful.

But if he didn't, he got it noisily.

He had kind of a short fuse,

but it was wonderful
because if he blew,

he blew for a very good purpose.

And the whole picture
and the actors

all came out better
for that happening.

''Pathetic''!
That's one of his favorite words.

''Pathetic! l never
heard anything like that.

''For heaven's sake,
roll the camera. Do it again.''

ln my collaboration with Dan
on The Winds of War,

l found him to be very definite

about exactly how he wanted
the pictures to look.

When you work with Dan,

he loves to do very low angles.

So right away this would
dictate a certain lighting style

because when you see
all the ceilings and stuff,

it gave the pictures
a much bolder composition.

We had a lot of smoke,
a lot of ambient smoke all the time,

just to lower
the contrast a little bit.

And, again, complemented
with the fog filters,

this would create
kind of a nostalgic look.

When we started production,
obviously l looked at the dailies

every day, pretty much.

And l was really thrilled.

lt was hard to believe
how good they were.

The acting was wonderful.
The cast was sensational.

The writing was coming through.
The production was breathtaking.

Dan was getting
so much on the screen.

There is no director alive,

now or then,

who gets more on a screen
than Dan Curtis did.

lt blew my breath away.
l would watch it and go:

''My God, where'd those hundred
extras come from? l don't believe that.''

And Dan had this thing,
endlessly, of shooting

orchestras. There were always
orchestras playing in the background.

And we'd be somewhere in Germany
and people would be at a tea dance.

And there'd be
an orchestra of 26 people.

And there was just this lush,
gorgeous, beautiful production.

So l never really worried
about it very much.

lt wasn't like doing a regular film.

lt wasn't working for three months,
it was working for a year.

And l cannot watch it

without thinking about
all the things that went on.

You know, what went on outside
what you see on the camera.

lt's like seeing a year
of your life go by.

lt brings it all back. All those
memories, all those moments,

all those days, all those jokes,
all those disasters,

all the time you froze to death
on a mountain in Yugoslavia.

l can't watch it without those
memories coming back.

But they were good memories.

l had one of the best times
of my life making Winds of War.

ln terms of how demented
this production was

and its demands is that,
in one day, we actually shot

in three different countries.

l mean, we woke up in the morning
and l think, if l'm not mistaken,

we started shooting in Austria.

l know we drove across the Alps,

and we ended up
at 4 in the morning in ltaly.

We shot in three places,

in January,
in the middle of a snowstorm,

driving through the Alps
with our passports, all our trucks.

And then, again,
when we were casting,

we actually cast in three
countries in one day.

And l remember we started
the morning in Vienna.

We were casting in Vienna in the
morning, we took a plane to London.

Then we were casting in London.
We took a Concorde to New York.

And we ended out the day in New York
seeing, like, another 7,000 people.

And that just gives you
some idea of the pace.

l learned one trick early on,

never to take
the shooting schedule

and look beyond
the next day or two.

Because l did it once
and l thought l was gonna vomit.

l just didn't think...
There's no way.

lf you had to think about it,
you couldn't shoot it.

l had no idea how l was gonna
do the big battle sequences.

The Naval battles.
The submarine warfare.

All of that stuff.

So l took that and put it
at the very end of the schedule.

Knowing that l would have had all
of this time to constantly work on

figuring out how to do it.

Almost everything we shot, especially
battle sequences and everything

were done all live-action.

The state of optical effects in 1 980
was certainly not what it is today.

And we didn't have CGl,
for example.

You weren't able
to put in 600 more people.

What you see on the screen,
if you think you're looking

at 600 people,
is actually what we had to use.

The most complicated things,

l suppose, were the battle scenes.

The attacks on Cavite Bay
and Pearl Harbor,

which were staged in Oxnard,

at a Navy base.

They involved period aircraft,

lots of explosions,
lots of people being flung about.

That was a large-scale,
kind of, big-film type sequence.

We decided we'd shoot it out
at Port Hueneme.

And l got all of these destroyers that
the Navy was using for target ships.

And l figured l'd put
them out in the bay,

at a distance, you don't
know what they are.

And we shot this on one...

We shot this in one go-around.

l had eight cameras.

And we shot it on December 7th.

That is the thing that was so amazing.

We could have
shot it on the 6th,

but l organized the schedule
that we would end up

shooting it on December 7th.

And l'll never forget that day.

We were with
all these Naval officers

in one of the offices.

And we had big maps laid out

of Port Hueneme Harbor
and the inlets.

And l felt like l was getting
ready to fight a war.

Dan wanted to see
a flyby rehearsal

and they had been setting
charges for weeks.

lt was just a massive, huge shot.

And there was a still photographer
named Roland Bell.

And evidently, somebody got
on the radio and called ''Roland''.

And the effects guy
thought he said, ''Roll them.''

So no cameras were going
and all the charges went off.

And this was during
the flyby rehearsal.

And l'm watching,
and l'm watching,

and all of a sudden,
the explosions start.

l cannot believe my eyes.

So l yell to everybody,
''Just keep shooting.

''Whatever we get,
we're gonna get.''

Planes keep going
back and forth, back...

We shoot the hell out of this thing
until there's nothing left to shoot.

We call a cut.

And that was Pearl Harbor.

And we cut it all together and the
sequence was absolutely fantastic.

lt was perfect.

Yesterday, December 7th, 1 94 1,

a date which wiII Iive in infamy,

the United States of America was
suddenIy and deIiberateIy attacked

by navaI and air forces
of the Empire of Japan.

l have to say that we were so lucky
to have Bob Cobert, the composer

of both Winds of War
and War and Remembrance,

to work on these projects
with his beautiful, sweeping score,

which is just so haunting
and emotional and appropriate.

And which carried both shows,
really, all the way through.

l wrote for about a month and a half

and came up with what l...

lt came down to about
40 different pieces of music

that would be
appropriate for this show.

Like, about seven themes
for Pug and Pamela.

About ten themes
for Rhoda and Kirby.

About...
Like that.

And then about four or five pieces
that l thought would do as a main title

if they did not pick one
of the character's themes.

We go into a screening
room with Dan.

And you spot the film,
which means that you say:

''Right here, we're gonna
start with music.

''lt should go through here,
and the mood's gonna change here.

''And then it'll end here.

''And we'll have silence
here and then more music.''

Well, you go through
the entire movie that way.

ln this case, you know, a three-hour
section, a three-hour section.

And Dan, there,
is pretty much calling the shots.

And then he doesn't hear it again

until we're on the scoring stage.

Until l've got 60 people sitting there,

and l give the downbeats
and off we go.

And he's back there
in the control room

with his eagle ear
and his eagle eye.

And Dan must OK

every single note.

There is not one note in that score
that he doesn't stand behind.

The most moving scene
in the entire picture, for me,

was when we re-staged
Churchill meeting Roosevelt

in Newfoundland
on the Prince of WaIes.

l'll never forget
shooting that scene.

We shot it up in Bremerton
and we used the Missouri.

Brought sailors in from everywhere.

We had many of them dressed up
as British sailors.

We staged it exactly
the way it happened.

And it was so emotional with
the destroyer pulling alongside

and Roosevelt declining
to be carried across,

walked across the gangway,

with his braces on his feet
and his son holding his arm.

Everybody sitting, standing there,
riveted, watching him.

And when he hit the deck,
the British marine band strikes up

the ''Star-Spangled Banner''.

There wasn't a dry eye
in the house.

l mean, just thinking about it, l cry.

And then all of them under
the big number one gun turrets,

singing ''Onward Christian Soldiers''.

Onward, Christian soIdiers

Marching as to war...

And Churchill and Roosevelt
sitting side by side.

lt was as if you
went back in time.

The most moving spectacle
l've ever seen.

l was next to a cameraman...

One of the operators that we had
up on one of the bridges.

And we're bringing
the destroyer in,

and all the sailors are lined up
on the deck, they're all saluting.

And he said to me,
''l can't see out of the lens.'' He said:

''l'm crying so hard.
So many tears in my eyes,

''l can't see out of the lens,
out of the eyepiece.''

l was crying. There wasn't
anybody who wasn't crying.

l think it's the most moving
sequence in the entire picture.

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