Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:04,040 --> 00:00:06,040
MAN : Two.
2
00:00:07,040 --> 00:00:08,340
Backhand .
3
00:00:10,380 --> 00:00:14,340
Ah , ah , last ball . Last dig . One.
4
00:00:15,260 --> 00:00:16,590
MAN : Forehand .
5
00:00:18,850 --> 00:00:20,510
[RACKET WHACKS BALL]
6
00:00:25,390 --> 00:00:27,400
[PANTI NG]
7
00:00:33,440 --> 00:00:35,200
WOMAN : Why are you doing this?
8
00:00:35,360 --> 00:00:37,780
[PANTI NG]
9
00:00:37,950 --> 00:00:42,490
Trying to keep up with Tom during production .
10
00:00:42,660 --> 00:00:45,660
I'd heard about how hard Tom Cruise works.
11
00:00:45,830 --> 00:00:49,710
And I work pretty hard . I mean , I was raised with a really great work ethic.
12
00:00:50,040 --> 00:00:54,710
My father and mother taught me a really great work ethic, and it's with me every day.
13
00:00:54,880 --> 00:00:58,890
But I hate to say it to my parents, but I learned an even stronger work ethic...
14
00:00:59,050 --> 00:01:01,930
...from Tom Cruise, because he doesn't take it for granted .
15
00:01:02,100 --> 00:01:05,730
I've worked with other movie stars, and there's a slight sense of entitlement.
16
00:01:05,890 --> 00:01:09,940
And Tom understands that people go see his movies because they're good .
17
00:01:10,110 --> 00:01:11,770
They're good because he works hard at them .
18
00:01:11,940 --> 00:01:14,860
He said to me early on , "If you want me to shoot seven days a week...
19
00:01:15,030 --> 00:01:17,110
...I'll shoot seven days a week." And I was like:
20
00:01:17,280 --> 00:01:19,030
"Okay, let's do seven days a week."
21
00:01:19,200 --> 00:01:20,820
[YELLl NG]
22
00:01:22,870 --> 00:01:25,250
- On your feet, maggot! CRU ISE: Aah , ugh !
23
00:01:25,410 --> 00:01:27,160
PAXTON : There's no retreat, only--
24
00:01:27,330 --> 00:01:29,120
[YELLl NG]
25
00:01:31,250 --> 00:01:32,340
Mimic! Mimic!
26
00:01:45,520 --> 00:01:47,020
- And cut! MAN 1 : And bolt.
27
00:01:47,180 --> 00:01:48,480
MAN 2: And bolt.
28
00:01:48,640 --> 00:01:49,730
LI MAN : Yeah , it was great.
29
00:01:49,900 --> 00:01:51,560
[BELL Rl NGS]
30
00:01:58,950 --> 00:02:00,780
LI MAN : So Kimmel happens.
31
00:02:00,950 --> 00:02:05,200
Now he's ru nning and it's. . . . Shit's happening all around him ...
32
00:02:05,370 --> 00:02:08,250
...and , you know, hovercraft crashing .
33
00:02:08,410 --> 00:02:10,250
Thank you so much .
34
00:02:11,170 --> 00:02:16,210
If, for instance, he dove into, uh , a crater like this...
35
00:02:16,380 --> 00:02:19,420
...and the drop ship comes up and over him ...
36
00:02:19,590 --> 00:02:22,930
There's mayhem in the thing , with a mimic wreaking havoc, you know, if I'm Cage...
37
00:02:23,090 --> 00:02:26,640
...I'm getting away from there, and Cage is, like, backing away.
38
00:02:26,970 --> 00:02:28,430
Knocks Cage on his ass.
39
00:02:28,600 --> 00:02:30,890
CRU ISE: Doug is someone I've always wanted to work with .
40
00:02:31,060 --> 00:02:32,900
He has very unique sensibilities.
41
00:02:33,060 --> 00:02:35,400
H is characters always have hu manity.
42
00:02:35,570 --> 00:02:38,190
I like what he does with a genre. He'll take a genre like...
43
00:02:38,360 --> 00:02:40,700
. . .Bourne or Mr. & Mrs. Smith...
44
00:02:40,860 --> 00:02:43,030
...and invest you in the world of those characters.
45
00:02:43,410 --> 00:02:46,620
And each film he's directed has been significantly d ifferent.
46
00:02:46,790 --> 00:02:49,500
LI MAN : My experience making films prior to this...
47
00:02:49,660 --> 00:02:53,920
...had been one very much of shooting on location , in real environments.
48
00:02:54,080 --> 00:02:58,510
And suddenly I get to England , and we would scout real locations--
49
00:02:58,670 --> 00:03:00,380
There's a big battle scene on a beach ...
50
00:03:00,550 --> 00:03:03,300
...and we found this incredible beach called Saunton Sands...
51
00:03:03,470 --> 00:03:07,260
...and sort of sat on it, and then my producers and Kim Winther...
52
00:03:07,430 --> 00:03:10,020
...my first AD, said , "You know, it would be more efficient...
53
00:03:10,180 --> 00:03:12,270
...if we built that beach on the backlot.
54
00:03:12,440 --> 00:03:15,060
And you can get everything you can get on the real location ...
55
00:03:15,230 --> 00:03:18,610
...and you'll save money and you'll make a better movie."
56
00:03:19,110 --> 00:03:22,860
You know, maybe the first time we never got through the mimic coming up out of the sand .
57
00:03:23,360 --> 00:03:27,780
The role of the second unit director is to come up with the action ...
58
00:03:27,950 --> 00:03:32,210
...dream how it's gonna look and then hopefully go and shoot it.
59
00:03:32,370 --> 00:03:34,670
I've worked with Doug three times before.
60
00:03:34,830 --> 00:03:38,630
Once Mr. & Mrs. Smith, then Jumper, and we've done various commercials.
61
00:03:38,800 --> 00:03:40,880
And we do have a shorthand .
62
00:03:41,050 --> 00:03:44,090
I probably find him the most frustrating man I've ever met...
63
00:03:44,260 --> 00:03:46,930
...just because he changes his mind quite easily.
64
00:03:47,100 --> 00:03:49,760
Simon's got the more complicated work on the beach by far.
65
00:03:49,930 --> 00:03:54,310
Like, it's not even close in terms of what Simon needs to accomplish ...
66
00:03:54,480 --> 00:03:59,770
...and what I need to accomplish . So, like, I would design the weeks around Simon ...
67
00:03:59,940 --> 00:04:02,860
...and factor me in ...
68
00:04:03,030 --> 00:04:07,200
- Make sure you got that, heh-heh . - Well , it's obvious.
69
00:04:07,370 --> 00:04:10,740
CRAN E : It's great that we throw ideas at each other and , you know, it gets bigger...
70
00:04:10,910 --> 00:04:14,080
...or it gets smaller, but it gets better. It always gets better.
71
00:04:14,250 --> 00:04:17,580
It's being able to come u p with a plan , shoot the plan ...
72
00:04:17,750 --> 00:04:21,550
...and then we can mess with it and maybe change it slightly.
73
00:04:21,710 --> 00:04:23,170
But it's always to go in with a plan .
74
00:04:23,670 --> 00:04:27,090
LI MAN : The thing about this movie, is I didn't have a script.
75
00:04:27,260 --> 00:04:28,800
What I had were these images...
76
00:04:28,970 --> 00:04:31,350
...that my production designer, Oliver Scholl , had generated .
77
00:04:31,510 --> 00:04:33,520
I had a room you could go into, I could take you ...
78
00:04:33,680 --> 00:04:35,940
...from the beginning to the end pictorially...
79
00:04:36,100 --> 00:04:39,020
...but I d id not have a script that matched that at all .
80
00:04:39,190 --> 00:04:42,400
But it's not my first time not having a finished script.
81
00:04:42,570 --> 00:04:44,610
It's always better if you can have a finished script.
82
00:04:44,780 --> 00:04:47,610
I think it's certainly easier to direct a movie, if you have a chance...
83
00:04:47,780 --> 00:04:50,830
...to have a finished script that you can ponder before you start shooting .
84
00:04:51,240 --> 00:04:54,450
But Bourne identity did n't have a finished script and the movie came out.
85
00:04:54,620 --> 00:04:57,540
Mr. & Mrs. Smith did n't have a finished script and the movie came out.
86
00:04:57,920 --> 00:05:02,750
So I'm no stranger to it, and Tom Cruise is no stranger to it.
87
00:05:02,920 --> 00:05:05,260
He used to say often during prep, you know:
88
00:05:05,420 --> 00:05:10,050
"Nothing like a looming start date to force script development."
89
00:05:13,310 --> 00:05:16,730
MAN : This is gonna change. This is just jerry-rigged at the moment.
90
00:05:17,100 --> 00:05:20,860
Is this joint something I'm supposed to know exists or it gets--? It'll be hidden .
91
00:05:21,020 --> 00:05:26,030
Yeah , this joint is gonna be u nderneath this part of the suit so you won't see any of this.
92
00:05:26,400 --> 00:05:30,490
SCHOLL: Doug has a very unique way of approaching projects.
93
00:05:30,660 --> 00:05:34,700
Part of that way is that everything goes through the Doug filter...
94
00:05:34,870 --> 00:05:38,750
...of what he perceives as real and true and interesting and different.
95
00:05:38,920 --> 00:05:40,920
BLU NT: I think Doug veers...
96
00:05:41,080 --> 00:05:45,460
...pretty strongly away from things ever looking too perfected or glossy.
97
00:05:45,630 --> 00:05:47,170
That's why I love his films...
98
00:05:47,340 --> 00:05:50,390
...there's a sort of messiness and a humanity to them.
99
00:05:50,550 --> 00:05:55,220
HAWLEY: He's got such a quirky sort of sensibility that I really love and responded to.
100
00:05:55,390 --> 00:05:58,480
Doug said , "It's gotta be funny. I want it to be gritty and real ."
101
00:05:58,640 --> 00:06:01,190
- So it was interesting . S I LVER: He has a very particular way...
102
00:06:01,350 --> 00:06:03,770
...of looking at a movie. He's very honest, it's his word .
103
00:06:03,940 --> 00:06:06,230
When you adapt as a producer to every different movie...
104
00:06:06,400 --> 00:06:09,110
...you really wanna find out what makes a director tick...
105
00:06:09,280 --> 00:06:11,410
...and for Doug , it was honesty.
106
00:06:11,570 --> 00:06:14,780
LI MAN : It's ironic, because I don't necessarily have it in the rest of my life...
107
00:06:14,950 --> 00:06:18,830
...but when it comes to my movies, I'm really committed to a hundred percent honesty...
108
00:06:19,000 --> 00:06:25,090
...and I just don't know how to tell a story that is sort of comic book-y, or not real .
109
00:06:25,250 --> 00:06:27,420
STOFF: One of the real challenges that we had ...
110
00:06:27,590 --> 00:06:29,220
...was making a science-fiction movie...
111
00:06:29,380 --> 00:06:33,470
...with a director who had no real interest in science fiction .
112
00:06:33,640 --> 00:06:37,560
Doug really only had interest in science fact.
113
00:06:37,720 --> 00:06:42,270
So anything that we ever did , as far as the suits went, as far as the weaponry went...
114
00:06:42,440 --> 00:06:46,020
...as far as any of the technology that was earthbound ...
115
00:06:46,190 --> 00:06:50,780
...it had to have a real basis in reality...
116
00:06:50,950 --> 00:06:54,370
...and what was technologically possible.
117
00:06:54,530 --> 00:07:00,160
So in most instances of movies that use these kinds of Exosuits...
118
00:07:00,330 --> 00:07:05,500
...you usually just do them through CG , through computer-generated technology.
119
00:07:06,000 --> 00:07:10,920
We were actually foolish enough to say, "No, we're gonna build these suits."
120
00:07:19,180 --> 00:07:22,810
BOHAN NA: There was over 170 cast components to each su it.
121
00:07:22,980 --> 00:07:25,230
CRU ISE: We had an army of people creating these suits.
122
00:07:25,400 --> 00:07:28,360
The suit itself weighed 85, 90 pounds...
123
00:07:28,520 --> 00:07:32,150
...and depending on the armament, anywhere from 120 to 125 pounds.
124
00:07:32,320 --> 00:07:34,360
LI MAN : Three, two, one, action .
125
00:07:34,530 --> 00:07:38,530
I showed up a couple of months early before we started principle photography...
126
00:07:38,700 --> 00:07:41,500
...to R&D the suit, so I could know what the suit is...
127
00:07:41,660 --> 00:07:44,500
...work with teams of people on how to get us in and out.
128
00:07:44,670 --> 00:07:49,000
And then I had to develop, with Doug and the stunt team , what truly is possible...
129
00:07:49,170 --> 00:07:52,260
...and I kind of worked with the stunt guys on what the training program ...
130
00:07:52,420 --> 00:07:53,590
...would be for the actors.
131
00:07:53,760 --> 00:07:58,050
Emily hadn't done action . Now, all of a sudden , she went right into the deep end with this movie.
132
00:07:58,220 --> 00:08:02,560
BLU NT: I mean , you can train all you want and you can run a million miles, heh ...
133
00:08:02,730 --> 00:08:06,810
...and , you know, you can lift some weights, and learn how to do a pull-u p...
134
00:08:06,980 --> 00:08:09,110
...and all of that stuff, which I did all of it...
135
00:08:09,270 --> 00:08:13,030
...but I don't think anything quite prepares you for the sheer weight of the suit.
136
00:08:13,190 --> 00:08:16,780
LI MAN : They were wearing 70-pound suits every day, which I never wore...
137
00:08:16,950 --> 00:08:19,160
...because I didn't really wanna know how much it hurt.
138
00:08:19,330 --> 00:08:21,370
I didn't wanna empathize with them on that level .
139
00:08:21,540 --> 00:08:24,370
We had the work we had to get done and whatever it took to get it done.
140
00:08:24,540 --> 00:08:27,500
And for the most part, they performed tirelessly.
141
00:08:28,500 --> 00:08:31,710
GU RRY: We arrived here I think on September the third ...
142
00:08:31,880 --> 00:08:34,260
...for a month of boot camp.
143
00:08:34,420 --> 00:08:38,010
Our initial sort of reaction when we got here was we were slightly overwhelmed ...
144
00:08:38,180 --> 00:08:42,310
...at the enormity of what we were about to experience, and the training , the suits...
145
00:08:42,470 --> 00:08:47,150
...the physical sort of pressure that was gonna be on us from these suits once we tried them on .
146
00:08:47,310 --> 00:08:50,060
We all got a little bit nervous, but the thing that kept us going ...
147
00:08:50,230 --> 00:08:52,860
...through that first week or two was the thought that...
148
00:08:53,030 --> 00:08:57,030
...if we were this busy and if there was this much pressure on us...
149
00:08:57,200 --> 00:08:59,740
...then imagine what it's like for Doug Liman .
150
00:09:00,200 --> 00:09:04,290
And we didn't see him for the first two weeks and we were wondering there's no rehearsal ...
151
00:09:04,450 --> 00:09:08,000
...he wasn't meeting with us to talk about the characters or the story.
152
00:09:08,170 --> 00:09:11,750
There was no welcoming mat, and we started talking about that as well , saying :
153
00:09:11,920 --> 00:09:13,760
"God , imagine how busy Doug Liman is.
154
00:09:13,920 --> 00:09:16,380
He doesn't have a spare minute to come and talk to us.
155
00:09:16,550 --> 00:09:20,760
He's in meetings, just nonstop. He is just-- I mean , he's probably not even sleeping ."
156
00:09:20,930 --> 00:09:23,430
So then we went to one of the studios they cleared for us.
157
00:09:23,600 --> 00:09:26,350
They said , "Listen , we've cleared a space in one of the studios...
158
00:09:26,520 --> 00:09:29,480
...for you guys to train in the suits, to run around in ." We said , "Great."
159
00:09:29,650 --> 00:09:30,730
So we went over there...
160
00:09:30,900 --> 00:09:33,320
...and as we were coming into the studio, you could hear this:
161
00:09:33,480 --> 00:09:35,490
[TEN N IS BALL REVERBERATl NG]
162
00:09:37,070 --> 00:09:41,490
And when we got in there, there was Doug having a tennis lesson ...
163
00:09:41,660 --> 00:09:45,830
...with his tennis trainer, who evidently had been training Doug ...
164
00:09:46,000 --> 00:09:48,460
...for a good two to three hours every day.
165
00:09:48,620 --> 00:09:52,090
And , uh , when we saw Doug , he was in full ...
166
00:09:52,250 --> 00:09:58,510
...Roger Federer-style, um, tennis regalia and shoes, racket.
167
00:09:58,670 --> 00:10:03,430
My memory is he had , um, a, heh-heh , headband ...
168
00:10:03,600 --> 00:10:09,640
...but that might be just, uh , a sort of embellishment in the imagination .
169
00:10:09,810 --> 00:10:14,020
But it was interesting to see that maybe there wasn't as much pressure on Doug ...
170
00:10:14,190 --> 00:10:19,490
...as we thought. Or maybe there was, but he certainly wasn't, uh , letting it get to him ...
171
00:10:19,650 --> 00:10:21,570
...in the way that we thought he might.
172
00:10:22,700 --> 00:10:23,700
MAN : Good shot.
173
00:10:25,910 --> 00:10:31,250
Tom in his Exosuit doing stunts has been amazing .
174
00:10:31,420 --> 00:10:35,210
You see him do certain things, and you swear you're seeing the visual effects.
175
00:10:35,380 --> 00:10:37,050
You see Tom running in the Exosuit...
176
00:10:37,210 --> 00:10:41,090
WOMAN : Mm-hm . -. . . Is insane.
177
00:10:41,260 --> 00:10:43,470
MAN : Three, two, one, action !
178
00:10:48,390 --> 00:10:49,850
[CRU ISE GRU NTS]
179
00:10:50,020 --> 00:10:53,480
LI MAN : Realize how screwed we'd be to do rehearsals if we had to travel four hours--?
180
00:10:53,650 --> 00:10:54,980
What was I telling you?
181
00:10:55,150 --> 00:10:58,570
I think you were the one who wanted to go to the beach . I can't remember, heh .
182
00:10:58,730 --> 00:11:01,650
- Were you the one that said come here? Heh . - I was the one-- Heh-heh .
183
00:11:02,820 --> 00:11:06,530
- Every time. - There was something . . . . Are you sure?
184
00:11:06,700 --> 00:11:08,160
Maybe you wanted to go to the dunes.
185
00:11:08,330 --> 00:11:11,870
I was the one that persuaded everyone to come here. And I said--
186
00:11:12,040 --> 00:11:14,420
- That was a very good call , heh . - Thank you .
187
00:11:14,580 --> 00:11:16,880
- We really would've been totally screwed . - Yeah .
188
00:11:17,500 --> 00:11:21,470
LI MAN : How would we have done this? And how would we be prepping other stuff?
189
00:11:21,630 --> 00:11:23,010
CRU ISE: Gotta let go of it sooner.
190
00:11:23,180 --> 00:11:24,930
- That's right. That'll work. MAN : Yeah .
191
00:11:26,140 --> 00:11:28,350
MAN : Sound off! GROU P: Three, four!
192
00:11:28,510 --> 00:11:31,270
MAN : Sound off! GROU P: One, two, three, four!
193
00:11:31,430 --> 00:11:33,850
ALL: One, two, three, four!
194
00:11:34,020 --> 00:11:37,690
STOFF: We are one and a half working days away from starting to shoot...
195
00:11:37,860 --> 00:11:43,570
...and I feel as prepared and underprepared as I am on every movie.
196
00:11:43,740 --> 00:11:48,370
On every movie, you look at all of the ways in which you're underprepared ...
197
00:11:48,530 --> 00:11:53,660
...but then if you were to put off two weeks, you'd be underprepared in other ways.
198
00:11:53,830 --> 00:11:58,590
So movies essentially happen by compression and by setting a date...
199
00:11:58,750 --> 00:12:01,630
...and if you're working with a really talented group of people...
200
00:12:01,800 --> 00:12:03,840
...which , fortu nately, we are, you go:
201
00:12:04,010 --> 00:12:08,760
"Okay, that's the date, and that's the date by which we will be ready."
202
00:12:09,430 --> 00:12:14,100
Just come up with some military speak for like, you know, "Get those heels up!"
203
00:12:14,270 --> 00:12:16,440
Drop and give me 50!
204
00:12:18,020 --> 00:12:19,020
Come on , diddy bop!
205
00:12:19,190 --> 00:12:20,730
Soon as the truck comes, go to Kimmel .
206
00:12:20,900 --> 00:12:22,320
- Kimmel ! WAY: Sarge?
207
00:12:22,490 --> 00:12:26,240
- What the **** do you call that? WAY: Push-ups, sarge.
208
00:12:28,660 --> 00:12:32,200
Kiss the tarmac. Go on , kiss it, boy. Kiss it!
209
00:12:32,370 --> 00:12:37,380
So how do I describe the film to people? Well , the movie has aliens attacking Earth ...
210
00:12:37,540 --> 00:12:40,750
...but I try not to describe the movie as an alien-invasion film.
211
00:12:40,920 --> 00:12:44,800
It's not really the way I approached making the film . I always loved going to war movies.
212
00:12:44,970 --> 00:12:47,680
Any time I've ever been sent a script set in World War I I ...
213
00:12:47,840 --> 00:12:50,970
...I pretty much always loved those stories and figured ...
214
00:12:51,140 --> 00:12:54,930
...here was a chance for me to make kind of a World War I I-style war movie...
215
00:12:55,100 --> 00:12:56,890
...but make it for a modern audience.
216
00:13:07,070 --> 00:13:09,120
LI MAN : And action .
217
00:13:09,280 --> 00:13:11,910
BLU NT: You don't talk to anyone about this but me.
218
00:13:12,080 --> 00:13:16,210
LI MAN : One of the results of starting the film without a script meant that...
219
00:13:16,370 --> 00:13:18,210
...I was casting the movie without a script.
220
00:13:18,370 --> 00:13:21,920
And , you know, I had Tom Cruise. I was like, "Okay, we'll create a character for Tom ."
221
00:13:22,090 --> 00:13:25,590
Part of my conversations with him when he was talking about doing the film , were like:
222
00:13:25,760 --> 00:13:28,130
"What kind of character would we create for him?"
223
00:13:28,300 --> 00:13:29,300
Then I cast Emily BIunt...
224
00:13:29,470 --> 00:13:32,970
...and we had to create a character that would fit her because that wasn't in the script.
225
00:13:33,430 --> 00:13:37,770
And then we knew that there was gonna be a drill sergeant, we knew there'd be the squad ...
226
00:13:37,940 --> 00:13:42,150
...but I basically had this open casting process when it came to the squad ...
227
00:13:42,320 --> 00:13:44,360
...where people would come in and aud ition ...
228
00:13:44,530 --> 00:13:46,740
...and I didn't have lines of dialogue for them to read .
229
00:13:46,900 --> 00:13:51,370
I just gave them lots of different things to read , and when I liked somebody as an actor...
230
00:13:51,530 --> 00:13:54,080
...I basically said , "We're gonna create a character for you ...
231
00:13:54,240 --> 00:13:56,500
...and here's what I'm thinking your character would do."
232
00:13:56,660 --> 00:13:59,620
And we would workshop it with them and we'd try lines of dialogue...
233
00:13:59,790 --> 00:14:01,170
...and we'd try d ifferent accents.
234
00:14:01,330 --> 00:14:03,340
HAWLEY: When you meet an actor for the first time--
235
00:14:03,500 --> 00:14:05,670
I mean , I might do drawings, and I have done...
236
00:14:05,840 --> 00:14:09,300
...for all of them before I meet each actor, but then they come in ...
237
00:14:09,470 --> 00:14:13,050
...and just the way they're wearing something , or the way proportions fall on them ...
238
00:14:13,220 --> 00:14:16,680
...that's another step in the journey and that's when you take that journey with them...
239
00:14:16,850 --> 00:14:20,730
...and you use their silhouette to play and work with or work against...
240
00:14:20,900 --> 00:14:25,610
...to accentuate that and pick them out a bit, so you get a sense of characters very quickly.
241
00:14:25,780 --> 00:14:28,150
WAY: There was a point where I came in for a fitting ...
242
00:14:28,320 --> 00:14:30,860
...it was a month before we even started training ...
243
00:14:31,030 --> 00:14:33,490
...where on the wall , there was everyone's pictures up...
244
00:14:33,660 --> 00:14:35,080
...and it was Tom Cruise...
245
00:14:35,240 --> 00:14:38,200
...Emily Blu nt and me up on the wall .
246
00:14:38,370 --> 00:14:41,040
I quite liked that. I should have taken a picture of that picture.
247
00:14:41,210 --> 00:14:43,380
ARMSTRONG : We came up with an idea that my character...
248
00:14:43,540 --> 00:14:45,630
...was a sort of ex-football hooligan .
249
00:14:45,800 --> 00:14:48,050
We're going for that sort of aggressiveness.
250
00:14:48,210 --> 00:14:50,720
PAXTON : What are you? Sound off!
251
00:14:52,180 --> 00:14:53,640
I can't hear you .
252
00:14:53,800 --> 00:14:56,680
- What are you? Sound off! ALL: I'm a soldier!
253
00:14:56,850 --> 00:14:59,310
- Are you a soldier or a warrior? ALL: I'm a warrior!
254
00:14:59,480 --> 00:15:01,440
- What do warriors do? ALL: Kill !
255
00:15:01,600 --> 00:15:04,230
CRU ISE: J Squad , they were chosen for not only their talent...
256
00:15:04,400 --> 00:15:06,690
...but they had to have a physical ability...
257
00:15:06,860 --> 00:15:08,940
...to be able to make it through wearing these suits.
258
00:15:09,110 --> 00:15:12,150
WAY: When we're in those suits, you can get tired and they are heavy...
259
00:15:12,320 --> 00:15:14,370
...and then you look over at Tom and you realize...
260
00:15:14,530 --> 00:15:16,830
...he's been in them longer than we have...
261
00:15:16,990 --> 00:15:20,450
...and he's fine, and he's sort of saying , "Come on , let's get going ."
262
00:15:20,620 --> 00:15:22,670
It sort of makes you , "Yeah , all right, okay."
263
00:15:22,830 --> 00:15:25,420
I don't wanna look bad in front of Tom , heh-heh , for a start.
264
00:15:25,580 --> 00:15:28,380
RI LEY: Keeping the bar high is not even the right word ...
265
00:15:28,550 --> 00:15:31,760
...keeping the bar catastrophic in the...
266
00:15:31,920 --> 00:15:35,550
Somewhere out in the universe, is probably the better way of putting it.
267
00:15:35,720 --> 00:15:37,560
DRAM EH : He's so efficient. He'd make sure...
268
00:15:37,720 --> 00:15:40,640
...everything is running smoothly, on point, on time.
269
00:15:40,810 --> 00:15:42,270
LI MAN : Our first day of shooting ...
270
00:15:42,440 --> 00:15:44,810
...we were shooting on our Heathrow set, which was huge.
271
00:15:44,980 --> 00:15:47,820
It was so insanely large that I did n't need to go to Heathrow and shoot.
272
00:15:47,980 --> 00:15:49,900
We originally planned to bring Tom to Heathrow...
273
00:15:50,070 --> 00:15:51,610
...and Oliver, my production designer...
274
00:15:51,780 --> 00:15:55,530
...built such an enormous set of Heathrow, there's no reason not to do everything here.
275
00:15:55,700 --> 00:15:58,910
And we're doing a jogging scene with Tom and the other actors from J Squad ...
276
00:15:59,080 --> 00:16:01,580
...and about 40 extras had a jog from one end to the other.
277
00:16:01,750 --> 00:16:05,120
And when they got to the far end , they had to reset back to where we were...
278
00:16:05,290 --> 00:16:08,090
...at one end of the set, which was pretty far, a couple hundred yards.
279
00:16:08,250 --> 00:16:11,010
It was far enough that you'd use a golf cart to get around the set.
280
00:16:11,170 --> 00:16:14,090
And Tom turned to all the actors and said :
281
00:16:14,260 --> 00:16:16,510
"I'm 50 years old , see if you can keep up with me"...
282
00:16:16,680 --> 00:16:20,100
...and just took off running , and suddenly got 60 people to follow him ...
283
00:16:20,260 --> 00:16:22,520
...racing him back to the first position .
284
00:16:22,680 --> 00:16:27,060
So that instead of it taking five minutes to reset for the second shot...
285
00:16:27,230 --> 00:16:28,730
...it took 30 seconds.
286
00:16:28,900 --> 00:16:32,110
And that sort of set a tone for the day and for the rest of the shoot...
287
00:16:32,280 --> 00:16:33,740
...where, like, everybody ran .
288
00:16:34,150 --> 00:16:37,950
If I had to go to the bathroom , you ran from the set to the bathroom and back.
289
00:16:38,120 --> 00:16:40,160
CRU ISE: Here's the thing , on a movie time is money...
290
00:16:40,330 --> 00:16:45,250
...and time-- Even more than money, time is opportunity to get another take.
291
00:16:45,410 --> 00:16:47,120
MAN : Just start to reset anyway, guys.
292
00:16:47,290 --> 00:16:52,550
CRU ISE: You can't make this kind of film without a passion , a buoyancy and a sense of fun ...
293
00:16:52,710 --> 00:16:54,170
...in every single department...
294
00:16:54,340 --> 00:16:56,970
...because once you're shooting , you don't get that day again .
295
00:16:57,130 --> 00:16:58,680
WAY: We made it!
296
00:17:02,520 --> 00:17:06,350
LI MAN : She's gonna drive in , stop and the door will blow off.
297
00:17:06,520 --> 00:17:10,520
They really have to add some gravel here and stuff.
298
00:17:12,690 --> 00:17:14,740
You don't have to hit any particular hard mark...
299
00:17:14,900 --> 00:17:18,740
-...other than try to stop somewhere here. - Okay. Yeah .
300
00:17:18,910 --> 00:17:21,780
- The camera's gonna be charging in on you . - Okay.
301
00:17:21,950 --> 00:17:23,870
We'll give you an eyeline back there.
302
00:17:24,040 --> 00:17:26,040
BLU NT: Okay, so the camera's just gonna charge in?
303
00:17:26,210 --> 00:17:28,170
LI MAN : Yeah . BLU NT: Okay.
304
00:17:28,960 --> 00:17:31,840
- As if it's Tom? LI MAN : Not even-- No, no, just...
305
00:17:32,000 --> 00:17:34,630
-...dynamic, cool shot of you . - Okay, awesome.
306
00:17:35,710 --> 00:17:38,130
LI MAN : Is the car seriously stuck?
307
00:17:42,140 --> 00:17:47,810
We can't. . .? Joey. I mean , can't a bunch of us push the car out?
308
00:17:47,980 --> 00:17:50,980
MAN : We tried . We're gonna get a dumper in and tow it.
309
00:17:51,150 --> 00:17:52,980
How many people have been trying to push?
310
00:17:53,770 --> 00:17:56,570
- You're going backwards, right? BLU NT: Yeah , yeah , backwards.
311
00:17:56,740 --> 00:17:58,650
LI MAN : Don't push that.
312
00:17:58,820 --> 00:18:00,200
[CAR ENG I N E REVS]
313
00:18:00,360 --> 00:18:01,990
MAN : There it is!
314
00:18:04,370 --> 00:18:05,830
Okay, let's shoot it.
315
00:18:06,000 --> 00:18:08,330
Doug is exhilarating to work with .
316
00:18:08,500 --> 00:18:12,840
When I first met him, I did not know what to make of him .
317
00:18:13,000 --> 00:18:17,210
I found him so fascinating , and we had a great talk...
318
00:18:17,380 --> 00:18:20,470
...and we talked about the character, we talked about all kinds of stuff...
319
00:18:20,630 --> 00:18:22,090
...and we'd go off on tangents.
320
00:18:22,260 --> 00:18:25,640
But I walked away laughing because he's this fantastic, almost cartoon character...
321
00:18:25,810 --> 00:18:29,020
...with massive curly hair, enormous blue eyes...
322
00:18:29,180 --> 00:18:33,650
...and just runs around on set without a shred of inhibition , and I love that about Doug .
323
00:18:33,810 --> 00:18:38,650
There's a sort of purity in how he approaches making a movie.
324
00:18:38,820 --> 00:18:42,700
He's not one of these directors who's been influenced by watching too many movies.
325
00:18:42,870 --> 00:18:45,580
Nothing he does is completely the same as something else you've seen .
326
00:18:45,740 --> 00:18:51,250
So he's exciting in that way, because he sort of carves out new space for himself all the time.
327
00:18:51,420 --> 00:18:55,460
And he strives every day for it to be the best that it can be.
328
00:18:55,630 --> 00:18:57,920
And he constantly questions things.
329
00:18:58,090 --> 00:19:02,050
And , actually, people could find that frustrating ...
330
00:19:02,220 --> 00:19:05,680
...but I've never found it frustrating , I've always seen that...
331
00:19:05,850 --> 00:19:09,480
...he's just striving to think outside the box at every turn .
332
00:19:09,640 --> 00:19:11,890
BLU NT: Come on , let's go! Move, move, move! LI MAN : Cut.
333
00:19:12,060 --> 00:19:13,190
And cut.
334
00:19:17,730 --> 00:19:19,530
MAN : One more.
335
00:19:20,190 --> 00:19:21,700
PAXTON : Rumor is a terrible thing .
336
00:19:21,860 --> 00:19:24,530
Come nightfall , these men will all reach the same conclusion .
337
00:19:24,700 --> 00:19:26,280
Squad !
338
00:19:27,080 --> 00:19:28,700
This here is Private Cage.
339
00:19:28,870 --> 00:19:32,460
Private Cage, F Squad .
340
00:19:33,540 --> 00:19:35,420
LI MAN : We gotta trim a few lines. MAN : Yeah .
341
00:19:35,580 --> 00:19:39,050
LI MAN : "Squad , this here is Private Cage." Then not "Private Cage, F Squad ," just:
342
00:19:39,210 --> 00:19:41,090
-"Squad , this here is Private Cage." - Okay.
343
00:19:41,260 --> 00:19:44,510
You know, uh ...
344
00:19:44,680 --> 00:19:47,680
"See everyone's having a productive morning ," uh ...
345
00:19:48,470 --> 00:19:49,930
Why, is the scene running too long?
346
00:19:50,100 --> 00:19:53,850
Yeah , and it's also just missing a little bit of, uh-- It's missing energy.
347
00:19:54,020 --> 00:19:57,310
LI MAN : I'm somebody who believes in fixing the movie as you go along .
348
00:19:57,480 --> 00:20:01,190
I really take a blunt look at the work we did and if it's not good enough ...
349
00:20:01,360 --> 00:20:02,530
...I'll say it right away.
350
00:20:02,700 --> 00:20:06,780
PAXTON : These kind of movies, there's so many elements coming together at once...
351
00:20:06,950 --> 00:20:11,200
...and they're still refining the characters and seeing what the actors could bring to them .
352
00:20:11,370 --> 00:20:14,960
And that's what's been one of the great things of working with Doug Liman .
353
00:20:15,120 --> 00:20:20,130
It's been challenging , but it's also been great for someone to be that collaborative.
354
00:20:20,300 --> 00:20:25,510
This is not my first film where the script has been in flux while we're shooting the movie.
355
00:20:25,930 --> 00:20:29,010
It's definitely more challenging . I mean , I'm over in that trench ...
356
00:20:29,180 --> 00:20:32,560
...blocking and rehearsing a scene, but we don't have any dialogue.
357
00:20:32,730 --> 00:20:37,770
And the writer is off working on the third act for us right now.
358
00:20:37,940 --> 00:20:40,650
So it definitely creates a high-stress environment...
359
00:20:40,820 --> 00:20:43,860
...but war is a high-stress environment, and this film is set in war...
360
00:20:44,030 --> 00:20:46,570
...so I'm hoping that some of that energy, you know...
361
00:20:47,030 --> 00:20:49,990
...that's happening behind the scenes will end up on-screen .
362
00:20:50,160 --> 00:20:52,330
RI LEY: Shut your pie-hole! ARMSTRONG : We signed u p for.
363
00:20:52,490 --> 00:20:53,950
Griff, get your shit together.
364
00:20:54,120 --> 00:20:55,790
I say we go over now. Nance?
365
00:20:55,960 --> 00:20:58,000
RI LEY: Hell , yeah ! GU RRY: We'll wait for sarge.
366
00:20:58,170 --> 00:21:00,540
ARMSTRONG : Listen-- MAN : You led us into a slaughterhouse.
367
00:21:00,710 --> 00:21:02,880
RI LEY: We wait for him, we're gonna die.
368
00:21:03,050 --> 00:21:05,510
As sarge is coming back, "I got multiple targets incoming ."
369
00:21:05,670 --> 00:21:06,760
RI LEY: Yeah , okay.
370
00:21:06,930 --> 00:21:08,760
When we've all got together as a group...
371
00:21:08,930 --> 00:21:11,970
...certain dynamics have often influenced the script...
372
00:21:12,140 --> 00:21:13,890
...and where they want the script to move...
373
00:21:14,060 --> 00:21:16,140
...and each actor has brought something different...
374
00:21:16,310 --> 00:21:18,440
...so that what's quite beautiful about the process...
375
00:21:18,600 --> 00:21:21,730
...it's been quite organic, and a lot of films aren't really like that.
376
00:21:21,900 --> 00:21:25,190
S I LVER: Working with Doug , you just know that things are gonna be organic...
377
00:21:25,360 --> 00:21:27,650
...it's not gonna be done from an engineer's blueprint...
378
00:21:27,820 --> 00:21:30,450
...it's gonna be done from the blueprint of what works for him ...
379
00:21:30,620 --> 00:21:34,410
...in terms of what's an honest emotion . It's part of what makes it real for Doug .
380
00:21:34,580 --> 00:21:38,750
CRU ISE: I don't believe that Bill would be in the trench and then go and look for me.
381
00:21:38,920 --> 00:21:41,840
But maybe he's not there, maybe he's not part of this before...
382
00:21:42,000 --> 00:21:45,170
GU RRY: Doug and Tom are sort of like Michael Jordan and Scottie Pippen .
383
00:21:45,340 --> 00:21:49,340
They bring very different things to a team . Tom , he's ready to roll ...
384
00:21:49,510 --> 00:21:52,510
...as soon as he walks on , it's like bam . Doug has to see it.
385
00:21:52,680 --> 00:21:56,350
Doug wants to see everything that's going on , which leads to some really funny things.
386
00:21:56,520 --> 00:21:59,770
I've never done more guerilla theater than working on this movie...
387
00:21:59,940 --> 00:22:02,440
...because when you go to Doug with an idea...
388
00:22:02,610 --> 00:22:06,150
...and you say, "Doug , these mimics are coming , I kind of feel like this would happen ."
389
00:22:06,320 --> 00:22:11,660
And he just looks at you and he says, "Oh , how would that look? Action ."
390
00:22:11,820 --> 00:22:13,490
Eh , and he go-- Heh , and then he's like...
391
00:22:13,660 --> 00:22:15,080
LI MAN : Action . PAXTON : Move your ass.
392
00:22:15,240 --> 00:22:16,870
You're missing your moment.
393
00:22:17,040 --> 00:22:19,460
Squad , get on line. You too, Cage.
394
00:22:19,620 --> 00:22:21,000
Nance, take point!
395
00:22:21,170 --> 00:22:23,840
Griff, Ford , cover the flank!
396
00:22:24,210 --> 00:22:25,300
I'm waiting , Nance!
397
00:22:25,460 --> 00:22:26,550
CRU ISE: Wait, wait.
398
00:22:26,710 --> 00:22:28,970
- There's a mimic. RI LEY: Traces, 500 meters and--
399
00:22:30,260 --> 00:22:31,430
Five hundred meters and--
400
00:22:31,590 --> 00:22:33,600
[ALL YELLI NG]
401
00:22:38,850 --> 00:22:41,230
MAN 1 : Cut it, cut. MAN 2: Cut!
402
00:22:41,400 --> 00:22:44,400
LI MAN : I n the script, you yell , "I ncoming , get down , get down ."
403
00:22:44,820 --> 00:22:48,860
Gonna try one with a. . . . Or just, "Get down ."
404
00:22:50,900 --> 00:22:53,490
- Get down ! But I'm getting her down . LI MAN : Yeah .
405
00:22:53,660 --> 00:22:58,080
- So try "incoming" again . CRU ISE: What do you like? "I ncoming !"
406
00:22:59,450 --> 00:23:01,920
- Give me a "get down ." - Get down !
407
00:23:02,080 --> 00:23:07,550
Sometimes, we would start editing a sequence and two weeks later, I'd look at it and say:
408
00:23:07,710 --> 00:23:10,470
"I think this moment could be better." Whatever scene we were doing ...
409
00:23:10,630 --> 00:23:12,930
...we'd say, " I n the middle of the day, let's break...
410
00:23:13,090 --> 00:23:17,260
...and we'll go over to that other location , and let me redo this one line of dialogue."
411
00:23:18,100 --> 00:23:21,890
MAN : Ready. And action ! - Get down !
412
00:23:26,730 --> 00:23:29,150
You did two things, you did "incoming" and you did "get down ."
413
00:23:29,320 --> 00:23:30,360
Yeah .
414
00:23:30,530 --> 00:23:35,820
So, what's great is you saying "incoming ," but you yourself are staying low.
415
00:23:35,990 --> 00:23:37,080
Yeah .
416
00:23:37,240 --> 00:23:38,330
[CRU ISE LAUG HS]
417
00:23:38,490 --> 00:23:40,910
- And she dies, that's why I wanted to. . . . - Yeah .
418
00:23:41,080 --> 00:23:43,170
CRU ISE: You have an idea or wanna re-write a scene...
419
00:23:43,330 --> 00:23:44,370
...or go pick something up.
420
00:23:44,540 --> 00:23:46,170
All the way through the editing process...
421
00:23:46,340 --> 00:23:51,590
...it's been something that we have had the luxury to be able to do to adjust the tone.
422
00:23:52,010 --> 00:23:54,180
No, we gotta go!
423
00:23:55,050 --> 00:23:59,810
Look, it took me 10 tries to get this far.
424
00:24:00,470 --> 00:24:04,440
It's taken me 50 tries to get this far.
425
00:24:05,310 --> 00:24:06,860
Just come on !
426
00:24:07,020 --> 00:24:10,110
Come on , it's taken me 10 tries to get this far.
427
00:24:10,690 --> 00:24:12,070
What are you doing?
428
00:24:12,240 --> 00:24:15,200
It took me 10 tries to get this far.
429
00:24:15,360 --> 00:24:16,620
What are you doing?
430
00:24:16,780 --> 00:24:17,990
Look, what are you . . .?
431
00:24:18,160 --> 00:24:19,410
What are you doing?
432
00:24:19,580 --> 00:24:21,910
Doug said he just revised a couple of pieces.
433
00:24:22,080 --> 00:24:25,830
- Yeah . Scene 77 and Scene 100. - Scene 77...
434
00:24:26,000 --> 00:24:28,170
Oh , so they're d ifferent scenes that he's revised?
435
00:24:28,340 --> 00:24:30,550
But we're not giving those out in the first green .
436
00:24:30,710 --> 00:24:31,760
I don't think so.
437
00:24:31,920 --> 00:24:34,800
You know, because I sent you the-- What they're planning to give out.
438
00:24:34,970 --> 00:24:36,470
- Right. - Yeah , last night.
439
00:24:36,640 --> 00:24:39,390
- I sent it to you and Will . - Yeah , that was accurate as of last night.
440
00:24:39,550 --> 00:24:40,600
Exactly.
441
00:24:40,760 --> 00:24:43,230
We basically follow what's actually shot...
442
00:24:43,390 --> 00:24:48,060
...um , and then we adapt the script for the editors so that they have an accurate record ...
443
00:24:48,230 --> 00:24:50,230
...of what is actually shot on the day.
444
00:24:50,400 --> 00:24:54,070
U m , so we start with the script, the script is our bible...
445
00:24:54,240 --> 00:24:56,240
...and then we change that bible as we shoot.
446
00:24:56,410 --> 00:24:58,120
S I LVER: We had a script that evolved--
447
00:24:58,280 --> 00:25:01,240
I mean , there must have been 80 drafts of the script by the end .
448
00:25:01,620 --> 00:25:06,330
This is like the movie expla-- You know. The alien explanation .
449
00:25:06,500 --> 00:25:08,500
We need some version of that.
450
00:25:08,670 --> 00:25:11,670
And I . . . . I just think we're gonna end up-- Rather than argue it...
451
00:25:11,840 --> 00:25:15,340
...we'll shoot three or four different versions of it.
452
00:25:15,720 --> 00:25:19,850
B number seven , the squad makes a mad dash for the pyramid .
453
00:25:20,350 --> 00:25:24,770
U h , it should be, you know, let's just say for now in this thing ...
454
00:25:24,930 --> 00:25:28,270
...that they-- Tom drives a vehicle across the plaza.
455
00:25:28,440 --> 00:25:30,810
There's two things, there's all the big structural writing ...
456
00:25:30,980 --> 00:25:33,980
...we've been doing here just to get the third act and the action sequences.
457
00:25:34,150 --> 00:25:36,320
Then there's the scenes we're getting ready to shoot...
458
00:25:36,490 --> 00:25:38,820
...that just require the character moments to work in them .
459
00:25:38,990 --> 00:25:42,120
Actual lines of dialogue said , to be honest.
460
00:25:42,280 --> 00:25:45,040
And Tom and Emily both have really good character instincts.
461
00:25:45,200 --> 00:25:50,080
BLU NT: I will say that when a film is still in development when it starts shooting ...
462
00:25:50,250 --> 00:25:53,210
...can be challenging and frustrating at times.
463
00:25:53,380 --> 00:25:59,930
But I think that I've never been on a set of this scale or film of this enormity.
464
00:26:00,090 --> 00:26:02,890
And I've never been on a movie as collaborative as this.
465
00:26:03,060 --> 00:26:06,480
- He's like, "Oh , I'm hit. I'm hit." BLU NT: "Oh , God , I'm hit."
466
00:26:06,640 --> 00:26:07,890
LI MAN : "I've been hit."
467
00:26:08,060 --> 00:26:09,690
It should be, "Really?" And then : "Oh ."
468
00:26:09,850 --> 00:26:12,770
Yeah . And then he goes-- Yeah , and then he goes, "Oh , God ." Yeah .
469
00:26:12,940 --> 00:26:16,780
I don't believe in just sort of ordering the actors around but I really like saying :
470
00:26:16,940 --> 00:26:18,610
"Together we're gonna create a character."
471
00:26:19,320 --> 00:26:24,410
BLU NT: I feel so valued in the process, and that's down to Doug and Tom ...
472
00:26:24,580 --> 00:26:27,500
...and the producers. And I've been in every script meeting ...
473
00:26:27,660 --> 00:26:30,250
...and have had a big say in how my character develops.
474
00:26:30,420 --> 00:26:33,290
Collaborating with him has been extraordinary, because he's got no ego.
475
00:26:33,460 --> 00:26:36,420
He's got no ego, but he's got little tact. Heh-heh .
476
00:26:36,590 --> 00:26:40,010
And so actually, you lose all of the diplomacy...
477
00:26:40,180 --> 00:26:43,470
...that can get in the way of making a decision and making a film .
478
00:26:43,640 --> 00:26:48,180
LI MAN : My big fear when I first started making bigger movies like Bourne identity...
479
00:26:48,350 --> 00:26:50,190
...was that they would become less personal ...
480
00:26:50,350 --> 00:26:53,360
...decisions would get sort of more institutionalized ...
481
00:26:53,520 --> 00:26:56,020
...or the system would start to sort of take over in some way...
482
00:26:56,190 --> 00:26:58,820
...and they would become a little bit more generic.
483
00:26:58,990 --> 00:27:04,160
And this process, more than any, I really felt like I was back making Swingers.
484
00:27:04,320 --> 00:27:06,990
That ability to sort of workshop the movie while you're making it...
485
00:27:07,160 --> 00:27:11,330
...when you're talking about a movie of this scale, it's pretty unprecedented .
486
00:27:18,130 --> 00:27:19,670
LI MAN : Come on .
487
00:27:21,050 --> 00:27:23,050
[LI MAN G RU NTI NG]
488
00:27:38,150 --> 00:27:44,280
- Monday will be day 50 of 70. WOMAN : How long have you been in London?
489
00:27:45,820 --> 00:27:46,870
Six months.
490
00:27:51,040 --> 00:27:54,040
LI MAN : Although we shot most of the film on the backlot at Warner Bros...
491
00:27:54,210 --> 00:27:58,880
...Leavesden in London there were a few days where we left the stud io to shoot on location ...
492
00:27:59,050 --> 00:28:04,090
...things that we just couldn't do at the studio, and one of them was we had this idea...
493
00:28:04,260 --> 00:28:07,390
...that Tom would arrive in the movie, landing in Trafalgar Square...
494
00:28:07,550 --> 00:28:09,140
...in a huge military helicopter.
495
00:28:09,310 --> 00:28:11,310
CRAN E : One of the highlights of the film for me...
496
00:28:11,480 --> 00:28:15,060
...we landed this huge bloody helicopter in Trafalgar Square.
497
00:28:15,230 --> 00:28:18,980
We brought London to a standstill for three hours just before Christmas.
498
00:28:19,150 --> 00:28:23,320
We had 14 cameras, it was fantastic, one of my best days filming .
499
00:28:23,490 --> 00:28:26,570
CRU ISE: Trafalgar Square, it's one of those extraordinary moments...
500
00:28:26,740 --> 00:28:28,870
...to be able to land that helicopter...
501
00:28:29,030 --> 00:28:31,500
...and stepping off, and we're shooting on film.
502
00:28:31,660 --> 00:28:33,710
LI MAN : We were gonna have one shot to do the scene...
503
00:28:33,870 --> 00:28:35,750
...we had three hours, 8 to 11 in the morning .
504
00:28:35,920 --> 00:28:38,250
And that's it, you don't get five more minutes.
505
00:28:38,420 --> 00:28:41,590
Whatever you get in those three hours, that's it, you're never coming back there.
506
00:28:41,760 --> 00:28:44,800
And Doug got in the helicopter afterwards to shoot me live for the beginning .
507
00:28:44,970 --> 00:28:48,010
It was. . . . Man , movies, great fun .
508
00:28:48,180 --> 00:28:49,720
LI MAN : I ncredible thing about Tom was...
509
00:28:49,890 --> 00:28:51,720
...there was a camera crew in the helicopter...
510
00:28:51,890 --> 00:28:54,770
...and people were throwing up in the helicopter...
511
00:28:54,940 --> 00:28:57,690
...and Tom was totally u nfazed .
512
00:28:57,850 --> 00:29:01,690
He would step off that helicopter with the sunglasses and the hat perfectly poised .
513
00:29:01,860 --> 00:29:05,320
I mean , so poised that we had no-- I had no idea what was happening ...
514
00:29:05,490 --> 00:29:08,410
...meanwhile, he was actually stepping off like a vomitorium .
515
00:29:08,570 --> 00:29:09,950
[I N D ISTI NCT CHATTER]
516
00:29:10,120 --> 00:29:11,200
LI MAN : Morning .
517
00:29:11,370 --> 00:29:14,120
- Good morning . How are you? LI MAN : How are you?
518
00:29:14,290 --> 00:29:16,670
- Was yesterday just amazing? - Yeah , it was epic.
519
00:29:16,830 --> 00:29:18,750
- Was it? - Really epic.
520
00:29:18,920 --> 00:29:20,920
Oh , it sounded like it was just phenomenal .
521
00:29:24,050 --> 00:29:25,090
All right.
522
00:29:26,090 --> 00:29:30,050
Yes, sir. Another day in the Army.
523
00:29:30,220 --> 00:29:33,390
- Tom , how was the helicopter ride? CRU ISE: Good , sir.
524
00:29:33,560 --> 00:29:36,690
- How was Big Ben up close? CRU ISE: Big .
525
00:29:36,850 --> 00:29:39,600
Big , ha-ha! Yes, sir.
526
00:29:39,770 --> 00:29:41,060
[I N D ISTI NCT YELLI NG]
527
00:29:41,230 --> 00:29:43,070
MAN : Come on , Ford !
528
00:29:43,230 --> 00:29:47,490
LI MAN : We had the most incredible special effects supervisor, Dominic Tuohy...
529
00:29:47,650 --> 00:29:51,700
...who actually took Oliver's design for a drop ship and actually built it.
530
00:29:51,870 --> 00:29:55,700
The thing could shake and it could rotate 30 degrees in either direction ...
531
00:29:55,870 --> 00:29:58,790
...and it was 25 feet in the air, the doors could open .
532
00:29:58,960 --> 00:30:00,290
All of these things that...
533
00:30:00,460 --> 00:30:04,840
...you would think would have to become just purely visual-effects shots are real ...
534
00:30:05,010 --> 00:30:10,300
...and help me as a director, it helps the actors, it makes the film look cooler and more honest.
535
00:30:10,470 --> 00:30:12,850
It doesn't-- The film just does not look like a CG movie...
536
00:30:13,010 --> 00:30:14,560
...because these sets were all real ...
537
00:30:14,720 --> 00:30:18,810
...and Dom figured out ways to move giant pieces of sets at very high speed .
538
00:30:18,980 --> 00:30:21,350
CRAN E : I hated that set. I've gotta say, hated it.
539
00:30:21,520 --> 00:30:25,280
The drop ship, it was a very small container...
540
00:30:25,440 --> 00:30:29,700
...and then when you've got 20 or 30 people in it, it becomes even smaller.
541
00:30:29,860 --> 00:30:32,990
You put them in Exosu its, it becomes even smaller.
542
00:30:33,160 --> 00:30:40,120
They're all hanging in harnesses, it's very, very, very uncomfortable for all the actors.
543
00:30:40,290 --> 00:30:43,590
PAXTON : I got a toe touching cotton . H urry it up.
544
00:30:43,750 --> 00:30:45,300
LI MAN : They can only hang for so long ...
545
00:30:45,460 --> 00:30:48,260
...before you have to let people out to go to the bathroom , so...
546
00:30:48,420 --> 00:30:52,090
I mean , just envision , like, your worst experience ever on , like, an airplane...
547
00:30:52,260 --> 00:30:54,390
...you know, in coach or something , with , you know...
548
00:30:54,550 --> 00:30:56,600
With everybody's got way too much baggage.
549
00:30:57,020 --> 00:31:00,690
So he just sort of tackles her in there, he's like, "Come on ," and he keeps moving ...
550
00:31:00,850 --> 00:31:07,070
...and it's-- He comes around the corner and shoots this and then ...
551
00:31:07,570 --> 00:31:11,660
Maybe we should just play with it, vary it at the weekend .
552
00:31:11,820 --> 00:31:17,240
LI MAN : This is my third movie with Simon Crane. Simon's, uh , the second u nit director.
553
00:31:17,410 --> 00:31:20,660
He's exactly what that means, he's a director.
554
00:31:20,830 --> 00:31:24,330
And so he's directing the beach sequence...
555
00:31:24,500 --> 00:31:28,590
...which allows me to act a little bit more like a producer...
556
00:31:28,760 --> 00:31:33,130
...and have a little bit more objective view of it, rather than being in the trenches with him .
557
00:31:33,300 --> 00:31:35,760
It's a very collaborative process between the two guys...
558
00:31:35,930 --> 00:31:39,390
...and they have a trust, they have a bond , they have a kind of a language between them .
559
00:31:39,560 --> 00:31:45,730
I did Saving Private Ryan, so we were trying to make it as gritty and real as that was.
560
00:31:45,900 --> 00:31:50,360
You know, but unfortunately, 50 percent of our characters are not there, in the aliens...
561
00:31:50,530 --> 00:31:52,860
...you know, can't get them from Central Casting .
562
00:31:53,030 --> 00:31:59,790
It was a big challenge to come up with real scenarios and with the limitations of the suits.
563
00:32:00,660 --> 00:32:05,750
LI MAN : Where were you thinking Rita was gonna come from when we look this way?
564
00:32:05,920 --> 00:32:09,250
CRAN E : I was gonna do dog soldier come hurtling out, low.
565
00:32:09,420 --> 00:32:15,300
Simon is certainly one of the, if not the most, accomplished people in his craft...
566
00:32:15,470 --> 00:32:16,640
...period .
567
00:32:16,800 --> 00:32:23,180
And when you look at the originality of action in movies like Saving Private Ryan...
568
00:32:23,350 --> 00:32:25,900
...or Troy or Mr. & Mrs. Smith...
569
00:32:26,060 --> 00:32:29,900
...Simon's work is just heads and shoulders above many, if not most.
570
00:32:30,360 --> 00:32:32,740
I think honestly, part of why I was so frazzled last night...
571
00:32:32,900 --> 00:32:35,280
...was, like, I felt like I'd been in a war zone all day.
572
00:32:35,450 --> 00:32:39,120
Because not only shooting feels like a war zone, but then all those explosions.
573
00:32:39,280 --> 00:32:42,830
- Heh-heh . - Something was really loud in the trench .
574
00:32:43,290 --> 00:32:45,710
- It was the air mortars? - Yeah , they're very loud .
575
00:32:49,540 --> 00:32:52,090
CRAN E : That's a good look. - Yeah , yeah .
576
00:33:02,430 --> 00:33:04,980
- It's great. CRAN E : Okay.
577
00:33:05,140 --> 00:33:06,480
MAN : And cut it.
578
00:33:14,320 --> 00:33:18,360
MAN : Do you wanna steal--? Doug , you wanna see over these gates?
579
00:33:19,820 --> 00:33:22,450
- Go on the gate there. - You got a TV? TV is good .
580
00:33:26,210 --> 00:33:29,710
Just talk about where on the helicopter the alien is, is it on the far side?
581
00:33:29,880 --> 00:33:32,710
So it'll come around-- If the helicopter spins, it'll reveal--
582
00:33:32,880 --> 00:33:35,920
Should I show you on the helicopter where I think it is?
583
00:33:36,090 --> 00:33:38,220
Yeah , but just looking at it here...
584
00:33:38,380 --> 00:33:41,180
- It should be about there. -. . .we'd see it...
585
00:33:41,350 --> 00:33:44,180
As the tail rotor's spinning at Tom and he's diving over the car...
586
00:33:44,350 --> 00:33:46,390
...the mimic's jumping off of it. CRAN E : Yeah .
587
00:33:46,560 --> 00:33:47,810
MAN : Action !
588
00:33:51,900 --> 00:33:54,230
CRAN E : I'm looking to do unique action sequences.
589
00:33:54,400 --> 00:33:57,610
I'm not interested in doing something we've all done before.
590
00:33:57,780 --> 00:33:59,530
So say with this project, with aliens...
591
00:33:59,700 --> 00:34:03,370
...and with the challenge of the suits and making it look real and gritty...
592
00:34:03,540 --> 00:34:06,910
...that's what's exciting . As I'm sort of planning the shots...
593
00:34:07,080 --> 00:34:10,670
...I have a big input on how it's gonna look. So that's rewarding .
594
00:34:10,830 --> 00:34:15,840
LI MAN : This is really where Simon's, you know, genius comes in because it's...
595
00:34:16,670 --> 00:34:19,800
We started with the helicopter...
596
00:34:19,970 --> 00:34:23,560
...and Simon's like, "Well , why don't we fly it into the barn?
597
00:34:23,720 --> 00:34:25,270
You know, we haven't seen that before."
598
00:34:25,430 --> 00:34:28,850
You know, he's really good at thinking of...
599
00:34:29,020 --> 00:34:31,600
...moments we haven't seen before, and then when you look at it...
600
00:34:31,770 --> 00:34:33,940
...just on the video here, you're like, okay, that is...
601
00:34:34,110 --> 00:34:37,110
...a different way to see the aliens and see the power of the aliens.
602
00:34:38,110 --> 00:34:41,780
CRAN E : One of the problems filming these action sequences is that...
603
00:34:41,950 --> 00:34:43,990
...our mimics or aliens don't really exist.
604
00:34:44,160 --> 00:34:47,750
So you're forever saying to the camera operators:
605
00:34:47,910 --> 00:34:50,370
"You gotta imagine that there's a huge alien there."
606
00:34:50,540 --> 00:34:53,210
You use, you know, objects that they can frame u p on ...
607
00:34:53,380 --> 00:34:56,300
...but you gotta have a big imagination so you can say:
608
00:34:56,460 --> 00:35:01,380
"Oh , camera pans up with the tentacles, and then crashes down as it spears someone."
609
00:35:01,550 --> 00:35:04,140
BLU NT: We were usually given a kind of moving eyeline to look at.
610
00:35:04,300 --> 00:35:05,470
Sometimes it was Doug Liman ...
611
00:35:05,640 --> 00:35:08,890
...would just start running around for us to follow him ...
612
00:35:09,060 --> 00:35:11,230
...and screaming "mimic" to get our attention , heh .
613
00:35:11,390 --> 00:35:14,940
It was like. . . . It was like organized chaos a lot of the time.
614
00:35:15,110 --> 00:35:18,030
LI MAN : I need this route clear right here.
615
00:35:19,030 --> 00:35:20,450
Clear this route right here.
616
00:35:20,610 --> 00:35:21,650
Action !
617
00:35:23,570 --> 00:35:26,580
[YELLl NG]
618
00:35:34,540 --> 00:35:35,960
How was that?
619
00:35:38,130 --> 00:35:39,800
MAN : Help there.
620
00:35:41,800 --> 00:35:44,470
LI MAN : Let me see the last one, the very last look.
621
00:35:44,640 --> 00:35:46,050
[ALL LAUG H I NG]
622
00:35:46,220 --> 00:35:47,560
MAN : You really went out with them .
623
00:35:47,720 --> 00:35:52,980
- I was like, "What the **** is coming at me?" MAN : We was looking for a lens, weren't we?
624
00:35:53,850 --> 00:35:58,230
Here's just an artistic version of the three of them together.
625
00:35:58,650 --> 00:36:02,740
- Five feet and then Tom. LI MAN : Okay.
626
00:36:04,110 --> 00:36:05,820
Hard to imagine at the end of the film...
627
00:36:05,990 --> 00:36:07,780
...isn't him against that. DAVIS : Yeah .
628
00:36:07,950 --> 00:36:11,000
LI MAN : There's a connection between this movie and video games...
629
00:36:11,160 --> 00:36:15,040
...because like in video games, you can get killed and you get an additional life...
630
00:36:15,210 --> 00:36:17,710
...but the only sort of relevance I guess video games...
631
00:36:17,880 --> 00:36:20,340
...ultimately played in terms of my making this film ...
632
00:36:20,510 --> 00:36:22,720
...is like, "Hey, that video game is boring ...
633
00:36:22,880 --> 00:36:26,680
...so I'm gonna make sure I don't do something like that with this film ."
634
00:36:26,840 --> 00:36:29,430
I might take cautionary tales from certain video games.
635
00:36:29,600 --> 00:36:33,430
I took just as many cautionary tales from movies that had alien invasions...
636
00:36:33,600 --> 00:36:36,600
...and I was like, I didn't like that movie and I didn't like this alien .
637
00:36:36,770 --> 00:36:41,110
I kind of approach my films, in general , with all the things they're not gonna be.
638
00:36:41,280 --> 00:36:45,240
I mean , it's still a little too feline, like this one at least feels more muscular.
639
00:36:45,410 --> 00:36:46,490
DAVIS : Mm-hm .
640
00:36:46,660 --> 00:36:50,620
The grunts, we've sort of dealt with them as a sort of an omni-directional creature.
641
00:36:50,790 --> 00:36:55,370
Their sort of default pose and position is a sort of quadruped four-legged creature...
642
00:36:55,540 --> 00:36:58,080
...that has these tentacles that spray off it.
643
00:36:58,250 --> 00:37:02,420
But it has the ability to change its body shape at incredible speed ...
644
00:37:02,590 --> 00:37:04,300
...and move with speed and agility.
645
00:37:04,470 --> 00:37:06,010
LI MAN : I've never tackled something ...
646
00:37:06,180 --> 00:37:08,800
...where there were no limitations at all , you know, it's an alien .
647
00:37:08,970 --> 00:37:11,890
It could be 50 feet tall , it could be two feet tall .
648
00:37:12,060 --> 00:37:15,730
It could be covered in scales, it could be jelly-like, it could be rock hard ...
649
00:37:15,890 --> 00:37:17,270
...it could be incredibly smart...
650
00:37:17,440 --> 00:37:19,690
...it could just wanna kill you and not have intelligence.
651
00:37:19,860 --> 00:37:22,190
You take for granted when you work with humans that, like...
652
00:37:22,360 --> 00:37:25,700
...you tell the human to walk from here to there, the actor walks from here to there.
653
00:37:25,860 --> 00:37:29,120
But when you're telling the alien to walk from here to there, how does it walk?
654
00:37:29,870 --> 00:37:35,580
So N ick really has been my partner from day one in terms of designing the creatures.
655
00:37:35,750 --> 00:37:38,880
MAN : And I'd walk away. . . . CRU ISE: Then , no, you stick them on anyway.
656
00:37:39,040 --> 00:37:42,750
LI MAN : I n particular, this story, what I was much more interested in than the aliens...
657
00:37:42,920 --> 00:37:46,510
...was the ability to re-live the day and make different choices and see what happens.
658
00:37:46,670 --> 00:37:49,180
Maybe because that's kind of a fantasy of mine and many people.
659
00:37:49,340 --> 00:37:52,470
What if you can just go back in time and change that decision you made?
660
00:37:52,640 --> 00:37:56,600
Well , here's a character that gets to do that every single day.
661
00:38:01,810 --> 00:38:04,900
MAN 1 : Okay. MAN 2: Jeff's coming up right now.
662
00:38:05,780 --> 00:38:07,570
H I . H I .
663
00:38:09,660 --> 00:38:11,660
[SPEAKI NG I N FRENCH]
664
00:38:11,820 --> 00:38:12,870
MAN 3: Yes.
665
00:38:13,410 --> 00:38:15,660
Should we, u h , jump in?
666
00:38:16,120 --> 00:38:18,120
U h , I think we need Jeff.
667
00:38:18,290 --> 00:38:21,630
LI MAN : I'm in the process of trying to lock down our third act.
668
00:38:22,250 --> 00:38:24,960
So I'm being asked to, you know, make it fit within the budget.
669
00:38:25,130 --> 00:38:28,760
We try to push too hard and go sort of beyond our means...
670
00:38:28,930 --> 00:38:32,510
...we won't do as good a job as doing something within our means.
671
00:38:32,680 --> 00:38:36,640
DAVIS : We're going to Paris for the third act, into a flooded post-nuclear exploded Paris...
672
00:38:36,810 --> 00:38:38,810
...that's completely flooded and full of mimics.
673
00:38:38,980 --> 00:38:40,480
We're gonna end up in a flooded Louvre.
674
00:38:40,650 --> 00:38:42,980
Lots of pressure on visual effects to put it in the world ...
675
00:38:43,150 --> 00:38:44,940
...the filmmakers see it taking place in .
676
00:38:45,440 --> 00:38:49,320
So I'm gonna swim down , grab the grenades...
677
00:38:49,490 --> 00:38:51,950
I don't want it to look like, I swim down , grab the grenades--
678
00:38:52,120 --> 00:38:54,870
No, I mean , you're swimming towards the light anyhow. It's just...
679
00:38:55,030 --> 00:38:57,200
I didn't want it to...
680
00:38:57,370 --> 00:39:00,460
You're continuing swimming down , to me, is like on a trajectory like this.
681
00:39:00,620 --> 00:39:03,960
You dive to the grenades like this, and then you're just like that or something .
682
00:39:04,590 --> 00:39:08,460
CRU ISE: I n reality, what I would do is, is I'd swim down , look for it...
683
00:39:08,630 --> 00:39:14,180
...grab the thing , you know, pull the pin as I'm trying to get as close as I can to it.
684
00:39:14,350 --> 00:39:16,140
Yeah , that's what you should do.
685
00:39:16,310 --> 00:39:19,430
What I've learned about producing movies more than anything ...
686
00:39:19,600 --> 00:39:23,400
...is the most critical choice you ever make is your director...
687
00:39:23,770 --> 00:39:26,820
...and that relationship becomes a very delicate thing .
688
00:39:26,980 --> 00:39:30,440
You can never undermine his basic vision ...
689
00:39:30,610 --> 00:39:34,370
...and what your job as a producer, I think, becomes more than anything ...
690
00:39:34,530 --> 00:39:36,200
...is to keep him true to the vision ...
691
00:39:36,370 --> 00:39:39,120
...that he expressed that made you hire him in the first place.
692
00:39:39,290 --> 00:39:40,710
LI MAN : Action !
693
00:39:40,870 --> 00:39:45,920
This was by far the most challenging movie of my career, so far, on so many levels.
694
00:39:46,090 --> 00:39:49,840
It's time travel , it's got CG characters, it's set in the future...
695
00:39:50,010 --> 00:39:53,180
...aliens had to be created , and I really had the best experience...
696
00:39:53,340 --> 00:39:57,140
...I've ever had making a film , and it's because I've never been better supported .
697
00:39:57,310 --> 00:39:59,430
I really had the most incredible cast.
698
00:39:59,810 --> 00:40:03,520
They were so helpful and imaginative and talented ...
699
00:40:03,690 --> 00:40:06,690
...in helping me create memorable characters for each and every one of them .
700
00:40:06,860 --> 00:40:10,480
And they took such pride and passion in being my partners.
701
00:40:10,650 --> 00:40:13,990
And I've never had better producers, led by Erwin Stoff...
702
00:40:14,160 --> 00:40:15,870
...who developed the original screenplay...
703
00:40:16,030 --> 00:40:18,780
...and who was with me in England every single day.
704
00:40:18,950 --> 00:40:21,250
I mean , he had other movies going in other places...
705
00:40:21,410 --> 00:40:24,250
...and just never left my side. And Greg Jacobs...
706
00:40:24,420 --> 00:40:27,000
...who had worked with Steven Soderbergh on so many movies...
707
00:40:27,170 --> 00:40:31,510
...and understood Steven and my sort of attitude towards making these sort of...
708
00:40:31,670 --> 00:40:33,510
...independent films within the studio system .
709
00:40:33,670 --> 00:40:36,510
And Greg Jacobs was an incredible ally as a producer.
710
00:40:36,680 --> 00:40:39,260
And Jeff Silver, my line producer who--
711
00:40:39,430 --> 00:40:42,230
Somehow miraculously, I got everything I needed .
712
00:40:42,390 --> 00:40:45,440
And if I needed to reshoot something , the money was there for reshooting it...
713
00:40:45,600 --> 00:40:49,440
...and just managed the process better than any line producer I've ever worked with .
714
00:40:49,770 --> 00:40:52,110
And then the English crew was just awesome.
715
00:40:52,280 --> 00:40:56,490
And even if they weren't English , like Dion Beebe, my DP, who's Australian ...
716
00:40:56,660 --> 00:40:58,320
...his whole team was English under him ...
717
00:40:58,490 --> 00:41:00,740
...and so there was so much laughter on the set.
718
00:41:00,910 --> 00:41:04,580
Like, these people were so smart and funny and sharp.
719
00:41:04,750 --> 00:41:05,790
Reset to one!
720
00:41:05,960 --> 00:41:07,290
We were shooting seven days a week.
721
00:41:07,460 --> 00:41:10,590
I mean , I don't think there's ever been an example of a movie like ours.
722
00:41:10,750 --> 00:41:13,550
And the crew never lost their sense of humor.
723
00:41:13,710 --> 00:41:16,590
They never lost their enthusiasm. They never lost their energy.
724
00:41:16,760 --> 00:41:18,050
They never lost their passion .
725
00:41:18,220 --> 00:41:22,310
Even on the last week, when I had them shooting in an outdoor tank in England ...
726
00:41:22,470 --> 00:41:24,810
...in a foot of ice-cold water that had antifreeze in it--
727
00:41:24,980 --> 00:41:27,020
People thought I was insane to be doing this outside.
728
00:41:27,190 --> 00:41:29,690
--They never lost their enthusiasm for the film ...
729
00:41:29,860 --> 00:41:31,520
...and I never lost my energy, not once.
730
00:41:31,690 --> 00:41:33,860
And I've never worked harder in my life...
731
00:41:34,030 --> 00:41:37,780
...and finished the shoot with more energy than I started .
70082
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.