All language subtitles for Lost In La Mancha

As long as I can remember,
I think he was talking about

doing Quixote.
He believes in Quixote.

It's Terry's sort of film.

It mixes all his humor, his fun,
his joy and his darkness.

It's the best sort of
Terry Gilliam.

Every film Terry makes, Terry somehow
manifests himself as the characters.

And yeah, Quixote, there he is,
a man charging against windmills.

This has been bugging me
for a long time,

Quixote has been dogging me.

The first time we started this, trying
to get Quixote on the page was around 91.

I had been fantasizing this
for a very long time.

I made the film in my head.

The pictures were there.
It's been played out many, many times.

Quixote has
obsesses me for years,

because all my stuff has
has been about reality,

fantasy, madness, sanity.
Quixote encompasses all of those.

Exterior. Spanish hilltop. Day.

In black and white.
An ancient stone windmill.

Okay, cut.
You know what I mean?

- Sorry.
- Back to the top.

- It's always hard...
- Back to the top.

- Terry, Tony?
- ...the first scene. This tension.

OK, you guys ready?

- We're going back?
- From the top.

I'm gonna go and roll now.
Scene 1, take 2.

Exterior. Spanish hilltop. Day.

An ancient stone windmill
spins slowly in the breeze.

Don Quixote appears, gaunt, aged,
a madly fierce gleam in his eyes.

Stand your ground,
foul and fearsome giant!

I am Don Quixote de la Mancha!

Next to him is his fat partner,
Sancho Panza.

- It's just a windmill!
- Stand aside, Sancho!

Don Quixote lowers his lance
and charges the windmill.

The lance impales the sail and
Don Quixote is wrenched from Rocinante

and spins high in the air
hooked on the revolving sail.

It's starting to look...
See it's like out that way.

Terry Gilliam the maverick director
behind such films as

Brazil, The Fischer King
and 12 Monkeys,

has been trying to mount a film production
of Don Quixote for more than a decade.

It's interesting down there.

So the military map has
loads of old windmills back there.

That's good. If we can get in there,
that'll be interesting to see.

After several false starts
and financial mishaps with the project,

Gilliam has finally arrived in Spain
to begin production.

Don Quixote seems to be at the
back of Terry's work for a long time.

In the broadest sense, he's a hero
that would appeal to Terry,

because the notion of
someone gleefully

battling in the face of all odds,
and logic and reality,

is one that appeals to him.

What happens in
Cervantes' Don Quixote

is that you meet a man,
an old man,

a man who surrounds himself
with romantic novels,

tales of the deeds of
great knights.

He then decides that
he will go forth

and actually live out
these romantic tales himself.

And so he puts together
a suit of armor

out of bits and pieces
he finds around the house.

The famous helmet is
a shaving basin

with the piece cut out
for the neck.

He saddles his horse Rocinante,
who is an old nag, is falling to pieces.

All he's missing is
his faithful squire.

And Sancho Panza is a short,
fat guy with a donkey, a peasant.

So they set off and they start
to look for daring deeds to do.

Quixote is so deluded that where
other people see a windmill,

he sees a giant.

where other people see a windmill's sails,
he sees the flailing arms of those giants.

Quixote's delusions are
a major part of his appeal for us.

We want to see the world
through Quixote's eyes.

Because the way he sees
the world, I think,

connects with the way
that we saw the world as children.

A world where objects
did have a magical significance.

Gilliam has fought many battles to
bring his vision of Quixote to the screen.

After several unsuccessful attempts
to develop the project in Hollywood

he decided to produce
the film in Europe.

Quixote will be among
the most expensive films

ever produced solely
with European funds.

Ladies and gentlemen, we just,

basically just called this meeting

because we haven't had
a sort of open forum.

At least, that is, until now.

We're missing a few people of course,

but this is, you represent

the main bodies of the film

that are under work
at the moment.

This is the first time that we have
Senor Gilliam in Spain

and he's here to stay. So there's
no excuses for any of us now.

If we have any questions,
if we have any doubts

or there's something we want to
know, this is the place to come to.

I've said this to a few different people,
I don't know if I said it to everybody,

but I think it's going to be great.

I think everyone's
got a good sense of humor,

Everybody's smart,
everybody's good at their job

And you, with any luck, will protect me
from making an utter fool of myself.

One thing to say is, you know I'll
keep demanding all sorts of things.

And you've got to scream, earlier than
later. Say "no, can't, can't do it."

Because we all know that we are working
on a budget that is way below

what we normally need
to make a film like this.

We gotta do it for what we've got
and find ways of doing it.

Basically, let's get on with it.

He's here now, he's a resource,
let's use him, let's drain him.

He knows the film.
He's been with it for... 2 years?

Let's give it 10.
Let's give it the whole decade.

Let's go with 10 years.
He knows it for 10 years.

So he should know what he's doing.

Gilliam is not the first filmmaker

to have struggled to bring
Quixote to the screen.

In 1957, Orson Welles
began production

on his own adaptation
of Don Quixote.

The project would become Welles's
creative obsession for the next two decades.

In a village in La Mancha,
whose name I prefer not to recall...

Welles took on various acting and
directing projects to help finance the film.

He would gather bits and pieces of footage
whenever he could,

even after the project outlived
Francisco Reiguera...

Welles's Quixote.

But by the time of Welles's death
in 1985

Quixote remained incomplete.

The struggle to launch Quixote
began just a year ago

when Gilliam actually started
pre-production on the film

only to have a major financier
back out at the last minute.

In order to get
the film going this time,

Gilliam and his producer
have had to scale back the budget,

from 40 to 32 million dollars.

The budget of this thing is
about $32.1 million.

Which by European standards

without American investment

is a big chunk of change.

For what we're trying to do,
it's half the money we need.

In Gilliam's adaptation,

he has taken the
fantastic story of Don Quixote

and embellished it
with another layer of fantasy.

He's created the story of
Toby Grosini,

a modern day advertising executive
who travels back into the 17th century

where Quixote
mistakes him for Sancho Panza.

Johnny Depp stars as Toby,

Vanessa Paradis plays Toby's
"love interest" Altisidora,

and the veteran French actor
Jean Rochefort plays Don Quixote.

The script is as ambitious as
anything Gilliam has ever attempted.

Stand your ground,
foul and fearsome giant,

I am Don Quixote de la Mancha!

It's not a giant, it is a windmill!

I am Don Quixote de la Mancha!

It's not a giant, it is a windmill!

More intense.
"It's not a giant..."

It's not a giant, it is a windmill!

I must say, there are very few scenes
that are simple.

Terry as we all well know,

has the tendency of

overloading everything.

I mean there is nothing ever

simple and plain.

They'll be on things
so they can walk down.

Yes, that's what you're saying.
I know.

So he ends up like a kid
holding on to it.

We rig this thing so
the camera can get like that.

Because looking down will be amazing.

Terry came to make a Hollywood movie
without Hollywood, it's almost impossible.

The difficulty is making a film

the best possible way

with the money we have.

I think that's the better face.

Now, the sheep can
go here very nicely.

They come around that curve,
tons of sheep.

This will be very tumultuous.
This film will not be easy.

Making a film with Terry,
is like riding a bareback pony.

Just grab on to the mane,

dig in the heels

and the knees and hang on.
Because you're in for the ride of your life.

Distant thunder.

- What's that?
- Don't look.

Toby goes to twist around
in his saddle.

- Something's coming.
- There's nothing there.

Please don't look.

Giant shadows rise across Toby.

He turns, he looks back.

Three giants loom
up over the brow of the hill.

In their hands are great cudgels.

One plays castanets.

The third is fantastic.

Come to me.

You've got to see the giants.

What is terrifying and what is
extraordinary about it,

it's suddenly you're seeing
what Quixote sees.

And it's like nothing
you've seen in film.

Altisidora and Toby
charge down a corridor.

She wheels her horse.
They set off down a dark tunnel.

Sounds echo behind them -
their pursuers.

They emerge into an utterly dark space.
Altisidora reigns in her horse.

- What's wrong?
- I thought this was the way, but...

- Halt!
- They turn and are confronted by...

- ...Don Quixote.
- Traitor! Judas!

As Don Quixote moves forward,
we see he is a giant puppet.

Toby and Altisidora are suddenly surrounded
by a dozen armored guards.

The guards are puppets too.

When this thing splits apart, Toby has
got to have his arm getting caught in it.

There is no way to get his arm caught
when it comes back together.

- Absolutely.
- Have his arm caught?

Yes, this is like whole a key bit.

Could the whole thing become... just
chop and pull it, push it, make it thinner

so that when get gets his arm in there.

- So really that his...
- No, no...

We have to touch the molds again.

I know you're going to

have to touch the molds.

That's what I'm assuming, yeah. Unless...

No, I'm just thinking about
the time again.

I understand, I know,
I know, yes.

I like taking on very complex
and difficult challenges.

If it's easy, I don't do it. If it is almost
impossible to do, I have a go at it.

It seems that's
what gets my adrenaline going.

Maybe it's what fires
what creativity I have.

Without battle, maybe I don't know
exactly how to approach it.

The action is very simple,
except that there's horses.

So the action of the horses is complicated,
but with the puppets it's very simple.

Toby has got to lash out at the puppet.
It's gotta go "poof" in the air.

He gets tangled and "whoof" off his horse.

I can do all that.

All that. In the studio,

I paint black the floor.

No, but you still have to do
the wooden floor like that.

I have to cut part of the...

No, no.

Why is it so difficult to have each
of the structures on a plate?

Terry Gilliam has a history
of hugely ambitious projects

visually rich films that explore
the fantasy worlds of his protagonists,

all of them dreamers like himself.

But turning his dreams into reality

has not been an easy thing for Gilliam
in the Hollywood studio system.

Beset with visions too elaborate
for low budget financing

but often too eccentric
for Hollywood taste,

all his productions
have been a battle.

His wild visions are always accomplished
on limited budgets

and have consistently met with
both critical and box office success.

The Adventures of Baron Munchausen
was a painful exception.

Teamed with a producer who spun tales of
extravagant resources that didn't exist,

Gilliam found himself at the reigns
of a production

that was already $10 million over budget
by the end of its 6th week.

Despite Gilliam's repeated efforts
to scale back complex scenes,

the budget more than doubled
by the completion of filming.

Munchausen became one of the
textbook cases of a film fiasco

and Gilliam acquired a reputation
as a director out of control.

That reputation has often made it

extremely difficult for Gilliam
to launch his own projects.

There is a mismatch I think between
the industry's perception of Terry

and how Terry has actually
worked in the past.

And I know it used to drive Terry crazy.

He kept saying if someone mentioned

Baron Munchausen again, he wouldn't be

answerable for his actions.

Because he felt, that was a film
that happened I think ten years before,

and people just thought about that

and didn't think of the actual work
he had done in the film since then.

He's a responsible filmmaker.

He understands the responsibility

of filmmaking.

I mean he's, I think, enjoyed

sometimes fencing under
the cloak of enfant terrible.

But he's... a responsible enfant terrible.
If there is such a thing.

Just reaching that point now, the actors
are going to have to start turning up soon.

And we've only got what,
seven weeks?

It's got lot of potential
for chaos here.

Due to the production's tight budget,

many of the actors are taking less
than their usual fees

and squeezing the film into their
already busy schedules.

The situation has made it
more difficult for Gilliam

to assemble the principal actors for
script readings and rehearsals.

I'm still trying
joining Johnny directly.

But I think we just plan to go over there
and we wait him out.

A flight from London for Tony,
a flight from Paris for Jean,

and we'll surround him.

But find out all the possibilities.

We have to march forward.

But I still want to try to reach him.

So when do you see Vanessa again?
I mean here.

Vanessa, maybe...

Jean-Yves tell me,

maybe 4, 5, 6...

No. The 7th.

- When Johnny get...
- When Johnny come here.

Well this is what they're
trying to organize.

It would be better to see Johnny,

I mean, you know just also for one day.

- I know.
- Or two days. Just so...

Everything is separated.
The costumes are in Rome

the cast is in England
or in France, or in Prague.

Special effects...
everything is everywhere.

Until we all get together,
that's when it's going to be the hard work.

What we have to achieve on this,

is putting all these people that have been
working in separate places together.

The sets are being made in Spain,
make-up is working from England.

Actors are here, there.
But they haven't been together at all.

We gotta put everybody together.

Everything has to be centralized in Madrid.

It's one more reason to have mess,

to have one person in London.

But all the pickups
are not in the same place.

The driver, we don't know where
the driver is coming from,

because we are using this company...

I tell you what, with an actor,
we know that suddenly the actor is...

we don't know where.
If we have to deliver a script change...

I mean I don't know.
So many things can happen. So many things.

Because maybe...

Camera left.

More, more, more. Yes.

That's good, right.

Raul, look into the camera.

Lean over. It's perfect.

Get violent.

Filmed has turned.
Film has finally turned on this film.

That's the trailer
for the film right there.

"Coming Soon."

So do I. So do I.

We're on the same page here.

My goal, by September 25th,
is to try and find

some actor who will come to Spain
and do pre-production.

Because I'm a great believer in rehearsal.
And being prepared before you shoot.

My problem still isn't with training.
I know all of these guys know horses.

My problem is this fucking organization
because it's a fucking nightmare.

Traditionally on film productions,

it's the responsibility of the first
assistant director to set a schedule

which complements the film's budget.

In this particular case, Phil Patterson has
inherited a budget and schedule

which leave no margin for error,
no safety net.

Every film is different.

It's very hard to compare a Terry Gilliam
film to anybody else's films.

It's very hard to say
what's right or wrong,

but this film is in,

I like to say, complete disarray.
Absolute and emphatic disarray.

But it is absolutely the correct way it
should be, given that it's Terry,

given that it's a Gilliam film.
Because Captain Chaos...

is completely in his element
at the moment.

Now, you walk this way.
Come to me, lead on.

Down this way. Turn a bit.

It isn't a disaster.

It just has a lot of elements
that seem to be a little different.

Rocinante.

You can't eat.

You're not allowed to eat.

Look at those ribs. I thought
we were going to need make-up - look.

The pelvic bones are fantastic.

- You are there.
- I'm here, you're here, we're here!

Jean Rochefort is the first
of the principal actors

to be able to schedule
a short trip to Madrid

for the necessary costume and
make-up tests.

This is the ride
for the theme park.

Rochefort has been learning English
for the last 7 months

in order to play the part
of Don Quixote.

This is Toby Grosini.
This is the Duchess.

- Little, little it comes together.
- Spanish actors?

Yes, the majority are Spanish.

They do not speak English.

Nobody speaks English
on this film.

Jean Rochefort
is just so beyond perfect.

The spirit of the man
is absolutely right,

and his comic timing is perfect,
his dignity,

All of those things are all there.

What I'd like to try is,
an experiment to make your nose

a little bit more Spanish.
Something very small.

Because Jean has a great nose,
but when I look at these Spanish noses...

It's just a tiny bit more
to make it

a little bit more Spanish.

It's something,
if you think about it, it's bad.

Thank you. Because,
perhaps if I have this,

I feel that I play Don Quixote.

I want to be Quixote.

- I understand.
- I want to think I am Quixote.

Perfectly.

This is a marvelous day for me.

Not only is he perfect for the part,
he's a great horseman.

That is always my biggest problem,
finding a guy old enough, 70 years old,

who looks right, can act well,
and can ride a horse.

So the question is...
the three of us, where...

I just want to know

I want to get down so

I understand everything.

Where we are with Vanessa
at the moment?

- So where are we contractually?
- The contract is not signed.

The agent says no! Each time
we are asking something,

availability for your meeting,
availability for the test,

the agent says "no, she is not available".
"We need Vanessa on the 11th."

"No, she is not available."
So we are more or less a little bit...

trapped. If we have
weather condition problems,

we have to have her agreement
to change any dates.

That's crazy.

We have very set pieces for
the second-string actors.

Miranda, Bill Patterson,
Peter Vaughan, etc...

The only thing we have in our favor
is the notion of some flexibility

to move around
the rest of the work we're doing

by having Vanessa on a picture deal,

Johnny Depp on a picture deal,
Jean Rochefort on a picture deal.

If we take Vanessa: "It can only be this,
this, this", we're in deep shit.

It's not possible. We did the deal.
I don't understand how it slides.

Because, and this is what
kind of makes me crazy,

the fact that contracts are
allowed to run this long.

To be this close to shooting
and not have a contract...

is crazy. We are so fragile.

Hanging on strings.

And if we don't have any flexibility
with her, we're dead.

Quixote struck me more powerfully
when I reached middle age

because that's what I though
Quixote was very much about.

He's an older man, he's been through life,
it's kind of like a last "Hurrah"

He has one last chance to

make the world as interesting
as he dreams it to be.

I'll be 61 years in another couple months.
Just an old man!

I've only done X number of films.

Wish I would have done more, the amount
of ideas floating around in my head.

All of the film's interior scenes
must be shot on a sound stage.

Gilliam's producers have been
able to secure

the last available
sound stage in Madrid.

And it's important for Gilliam and his team
to inspect the site

before sets construction can begin.

So we're supposed to put
all our sets in here?

- The acoustics are appalling.
- Si.

We've got air-conditioning.
Is that air conditioning?

Or just stuff to make noise
so we get bad sound.

The sound is terrible here.

It's closed
and it still echoes.

That was the first thing we said
when we got here.

This is a warehouse.

So I don't know how we do this.
Because the sets have got to be...

not that.

There's no other studios?

Properly done, properly, everything...

I mean sound is critical.

I mean I thought
we were coming to a studio.

A studio.
This isn't a studio.

I don't want to be doing
a film like this.

I'm really getting a bit,
getting very nervous.

I think all versions of Quixote
have always been plagued

by bad things. It's kind of like
the Scottish play, I think.

It is a jinxed project.

The biggest threat of this whole thing is
that, I fear, it could be Munchausen II.

There's so many echoes of Munchausen
that just keep happening.

And that's what scares me.

Luckily, those who weren't on
Munchausen, aren't scared.

And actually interesting, Jose Luis,
who was on Munchausen, isn't scared.

We are on the edge, yes,

We are on the edge, that's for sure.

We are not well covered,
that's for sure.

But I don't think that means

that we are repeating Munchausen.

Everyone knew on Munchausen,
from the beginning,

from the beginning that
nothing was realistic.

No, I don't think we
are in the same...

the same things
are happening at all, no.

We fill that in so it's solid.

You can't go wrong.

It goes in there, another arm
starts flailing and that arm's caught.

OK, Giant test.

What more do you want?

It's OK.

He was asking if you knew...

Who he was going to... He was just
telling you, he's going to take Johnny Depp.

- Carnivorous.
- Si.

Jean Rochefort was getting
on a plane yesterday,

so I get a call yesterday afternoon
from Rene Cleitman...

saying "Guess what...

Jean, as he was about to board the plane,
started feeling pain,

and decided he might
have a prostate problem.

And canceled the flight,
didn't get on the flight,

and is now seeing
a doctor this morning."

If he hesitates about
getting on a plane, I'll call him.

As soon as he sees the doctor,
I will tell you.

You have to say "I need you."

We've got to at least get
a few hours with him today,

or we're in big trouble.

But what's interesting is how
powerful his mind is.

It's destroying his body right now.

It's a metamorphosis.

He suffers, like Don Quixote.

I'm going to kill him.

It's ridiculous.

Jean has become totally
psychosomatic. Everything is like...

On Munchausen,
we didn't have costumes or sets

in the beginning.

And now this one, we don't have actors.
We've got costumes and sets, but no actors.

Jean Rochefort panicked on Sunday.

I am very calm.

Nothing like
a false sense of security.

There's none of that around here,
is there?

I don't think there's any sense of security,
false or real.

How would you describe
the state of things?

Sheer panic.

Like total panic. Chickens with
no heads running around.

I mean it is real panic now.

It's one week before production,
what's worrying you the most?

- Pre-production.
- Tell the truth.

The first location that we shoot in

is adjacent to a
NATO bombing ground,

so I was told it only operated
a maximum of one hour per day.

We don't really have any horses.

We don't really have any actors.

I have a phone.

Hello?

How are you?

I got an actor.
I have an actor. He's sitting here.

Yeah, last time, I know, he didn't have
an actor last time, now we got an actor.

You're the new boy in town.

- This is called our film.
- What's the name of it?

It's not Chocolat.

Oh, did I finished that one?

This is the inn. But there's gonna be
a herd of sheep in the inn.

For the lonely people.

This is Antonio Gil.
You know him, he was on Chocolat.

Yeah, that's a good guy.

- That's Bob Hoskins and...
- Danny DeVito.

- Ian Holm's...
- All put together.

- bastard child.
- And he's a dwarf.

- And he sings opera.
- Makes sense.

You spin around and Quixote
is already charging you.

It's not that he's standing there
saying "stand aside".

He's in full charge right at you.

I do not know what else
Toby should be doing.

You know what, I was thinking...

Toby's initial thing would be like...

maybe he's on a set of commercial.

What I was thinking maybe the first thing
he would do is want Bob to yell "Cut".

- "Bob! Cut, Bob!"
- That's great.

That's really great.

- Just to bring it back to that.
- That's really good.

There's got to be
an explanation for it.

And obviously here's Don Quixote and
there's the windmills and all that shit...

"Cut this."

Then it's clear that...
No, it's great. It's really nice.

While Gilliam and Depp
discuss the script,

Vanessa Paradis arrives
for screen tests

of her many make-up
and costume changes.

The production however is still missing
it's his Don Quixote.

Have you heard any more
about Jean?

Yes, because my assistant, Corinne,
went with him at the airport,

to be sure this time.

And he was in very good shape.

Is it really
a prostate infection?

So it's nothing more than
a small infection?

Ha can sit? The problem is,
can he sit on a horse?

It was panic.
There's always panic.

I like it uneven,
more irregular.

He made it. Don Quixote
made the armor.

One piece here,
one piece there,

sewing and...
"Ah, a knight!"

Even if you take this for the moment,
just to look... that piece on there...

Suddenly, immediately...
it's good.

We need...

So he just got a piece
tied on there.

That isn't much elegant.

He's got to be sad, pathetic.

And he's wonderful.
Because it's all in his mind.

We'll design this for you, Gabriella.

You'll get another Oscar.
Another Oscar for this.

It's getting there.
I think Don Quixote

slowly becomes real.

I'm here to save you, Sancho.
Stand aside!

Suddenly,
we are in the fields of Montiel.

Destiny guides our fortunes

more favorably than we could have
wished ourselves.

Look, Sancho, my friend!

A beautiful princess!

She's in great danger!

We must save her.
Those giants are almost upon her.

Don't you see them?

Giants! Giants with arms
six miles long!

Just face it,
Dulcinea del Toboso does not exist.

Now I understand.
You have a plan, Sancho.

You are very clever
for a peasant.

Fantastic!
It's going to be an extraordinary film.

Your face is so wondrous,

your eyes...

There's all this stuff and the costumes,
the sets, the location.

It's going to be an extraordinary film.

It's going to be beautiful
and terrible at the same time.

The shoot begins in Las Bardenas,

a natural preserve
4 hours north of Madrid.

Due to the distance, all the cast and crew
must be lodged nearby.

The extra expense makes it
all the more critical

that the production remains
on schedule.

The first scene to be shot,

is one in which Quixote rescues Toby,
from an inquisition chain gang.

D.O.S., D.O.S.,
Director On Set.

Let's clear please.

Everyone behind there.
Everybody hidden behind please.

We're shooting now.

You good, Carlos?

Alright, here we go.

Roll camera!

And action, Richard.

Action crane!

OK, cut it.

Excellent.

With the first shot of the day
in the can,

the crew prepares for a
choreographed portion of the scene.

In this part of the scene, one of the
guards drops the key to the chain

and the twelve prisoners must
scramble to retrieve it.

Cause he's the only one with the free hand,
everyone else has got two hands...

The guy in the front front
has got a free hand.

So it's a domino effect.

OK now, while that's going on,
what's happening here?

We got the key somewhere?

Who's got the key?

Did we manage to get
the key to the lock?

How are we doing for time?

- Badly.
- Good.

On your feet. What happened to
you guys? No one's getting up?!

Don't make me start!
Wakey, wakey, folks!

People have to start getting up!
I thought this was rehearsed.

This is not rehearsed!

Fuck!

We didn't have the extras.

So we need to tell the extras
what we do. You see what I mean?

On Saturday we didn't
have the extras to rehearse?

No we didn't have the extras.

Since when? What was the point of
having a rehearsal without them?

We couldn't get the extras.

You need extras to do the rehearsals.
If you don't get them,

you'd better tell us so that
we know in advance that we're fucked!

We are fucked!
And we didn't know it.

I want to know when we're fucked in advance
not in the middle of a shoot.

To try to get the most
out of the day,

Gilliam and Phil Patterson decide
to move on to another part of the scene.

- It's Jean Rochefort, not a double.
- Walking in.

Walking in, basically doing the dialogue,
doing the scene.

I mean it's a wide shot.
We go through all the action.

- And it is a master?
- This is a master.

Whatever we can get is good.

Lock it up everyone.
We're shooting now.

Background action!

Action, Jean!

Cut! What's going on?

We're fucked. We have now spent
all this time and we got fighters.

But we're doing the scene anyway.
I don't give a fuck about sound.

We will use the glazed-up sound.
We shoot through everything.

And we need people
who can work horses.

I got a feeling
nobody can work horses here.

Action, Jean!

Move the horse.

Move the fucking horse!

Somebody push his horse.
Fuck, push his horse.

Tell me sir, why do you lead
these poor wretches in chains?

They are convicted criminals,
condemned to serve the king in his galleys.

I am Don Quixote de la Mancha,

dedicated to chivalry
and the protection of the weak!

No one make any sudden moves.

You have nothing to fear from me,
provided your intentions are honorable.

Thank God for that.

Cut! That's good. That's in there.

The F-16 gets the Academy Award!

Well done for putting up your voice.

That was good. I want to do one more
and then I think we have this.

Alright let's stand by,
let's just check this opening position.

Everybody lean down.

Ow! Fucker, that hurt!

Why am I being put
through this god-awful...?

Hi.
This isn't real.

It's just a dream.
Doesn't hurt.

Doesn't hurt.

Ow, Jesus Christ!

Don't blaspheme!

Cut! Let's go to lunch.

Very strange weather today.

Strange weather, strange horses.

This is going flat.

Slowly coming in?

Very hard to understand what
the boundaries are.

So what we're going to do is,
we start with you and Rocinante.

Two sizes.
One like this, and one like that.

Joe, you'll just be off-camera. We won't
have to worry about the other horse.

Got the same weather report

at lunchtime that I got yesterday...

- And the day before.
- Oh, it's always the same. Each day?

Well that's good. It's consistent.
We know what we're doing here.

Nice sound.

If it isn't the F-16s,
it's thunder.

You're right, Phil.

In another half hour, it'll be clear,
once this cloud comes over.

Lock it up everyone!
We're shooting now!

You good, Carlos?

Alright, here we go.

Rehearsal.

You have nothing to fear from me
provided your intentions are honorable.

Thank God for that.

We wouldn't stand a chance...

would we, boys?

It doesn't seem right that
honorable men like yourselves

should be the executioners of your
fellow men when they have not wronged you.

According to the duty of my profession,

I have no choice but to take
these men under my protection.

Yield to Heaven's command!

Ladies and gentlemen,
just listen up for a second.

I suspect there's a large bunch of lightning
and a storm about to hit us.

What I would like
everybody to do right now

is to make all the gear
completely safe.

Cover up. We're going to wait
for this lightning to pass,

see what the weather on
the other side of the front is,

whether or not we can reconstitute,

but at the moment,
what I need everybody to do

is to make safe
and get under cover.

Which is it,
King Lear or The Wizard of Oz?

I don't know what we got out of this.
How much money we get insurance-wise?

We got to clear...

I mean all that gear is going to take...
a day? I have no idea.

We have to clean up everything
and it has to dry up.

Are we covered with insurance
for things like that?

Now look, we have to
come here in the morning

and see what we can do.
This could be dry. It may not.

Weather might be shitty.

It's going to be a mud hole.

It's not going to dry overnight.

No. It's... no.

Interesting situation.

Almost checkmate,
but not quite.

We'll wriggle out of this somehow.

A call to the insurance company
has revealed,

that although the production is covered
for any damage to equipment,

they won't necessarily be covered

for the shooting time lost
due to acts of God.

In an attempt to salvage something
from the day

the producers have suggested
that they try to resume

shooting parts of
the chain gang scene.

If we go ahead and try to shoot today,
we won't get that done.

We'll shoot half a day today,
we'll shoot half a day tomorrow.

and we'll probably not get Friday.

The correct way

to ensure that you continue on in a fully
and the most operational way you can,

is to take this day
to put the unit back together.

But don't you see, would it not have been
possible to go with a small unit?

No.
That's my answer: no.

And you can say that,
that you talked to me and I said no.

I agree that most of the crew

will have to reconcile everything,
but why didn't you risk 10 people

to shoot inside the taxi...

We need 10 people or 15 people.

This film unit is not able
to function today,

in any capacity except for maintenance
and putting ourselves back together.

Although the sets have finally
dried out,

the heavy rains have entirely
changed the color of the desert.

The landscape that Gilliam chose
for its starkness,

is now tinged with brown and green
and won't match what's already been shot.

To make matters worse,

the first part of the chain gang scene
was shot in bright sunlight

and now there's no sun at all.

It's wasted time to be honest,
because there is no light.

And I don't know if there ever will.

Do you think it would be possible,
just to anticipate,

to come back to the base camp,

and if the weather is keeping like that,

to try to re-shoot the sequence?

I know that the sequence is
with sunny weather,

but I don't think
we have other options.

If we want to do something...

I know, I know.

Here's a thought.

Taxi is bullshit.
We don't want to do taxi.

But we could do Johnny,
tighter shots, and light him,

even in this light.

- For which scene?
- Continuing the scene back there.

The crew decides to move camp
in order to shoot a different scene

which doesn't require bright sunlight.

The move will take several hours
out of their day.

We wait them out.
I don't want to waste time,

shooting dialogue
while that's going on.

No, we can't.

There's going to be
something else soon.

There'll be something else,
I do not know what it is, but...

Set there, ready to go.
These guys arrive.

And then we just started to
move into Munchausen.

Why don't we try to shoot this?

No, we were setting up
for that shot.

There's a plan, there's a very clear plan
what we're doing

and we're the victims of that.

If we keep running for each thing,
all we do is run in circles.

I don't know what else to do.

All of us have done a lot of stuff,
but none of us know the answer right now.

Everybody is just like...

Alright, ladies and gentlemen, we're
a minute away. Let's do final checks.

16!

Be steady, Sancho.
Trust me...

It may happen that before
we pass six days together,

I shall conquer a number of kingdoms.

Fuck you! We had a deal!

And your loyalty shall be rewarded.

Cut!

We're fucked!
Did you see him sit on the horse?

- Fucking crazy!
- The pain when he sat down...

He can't do it.
It ain't gonna happen.

I was watching his face very carefully
as he got on that horse and it was just...

Oh, fuck.

He can't ride like that,

he certainly can't act like that and he
certainly can't jiggle hand props with that.

Honestly I want to go
to the French and say,

"I'm going to refuse to shoot
with Jean Rochefort on a horse

until he is medically fit. "

The producers want to put him on the horse.
Terry wanted to put him on the horse.

Rochefort himself came
out of the trailer

and they put it to him
and he wanted to get on the horse.

And I just overruled Phil, I said
"OK, he's got to do it.

He's got to put somebody on film.
He's been working 7 months.

He hasn't a chance to do anything.
Let's do it."

Lock it up everyone!
We're shooting now!

Action.

It may happen that before
we spend six days together,

I shall conquer a number of kingdoms.

I will crown you king of one of them.

King!

Cut.

That was nice.

- One more, okay?
- Yes, one more.

When it was time for him to get off,

it took two men to carry him off the horse
and put him in a chair.

Took him 40 minutes from there
to be able to walk to his car.

We're checking the gate, ladies and
gentlemen. Thank you very much.

I know it hasn't been
the best week for everybody.

I know it's been really, really difficult.
And I know we've had a lot of calamity.

but I'd like to thank you all
very much for hanging in

and doing your bit.
And all I can tell you is

I'll endeavor to make it
better next week.

And I hope you'll join me
at Monasterio de Piedra

and we'll start making the film.

Thank you very much.
That's a warp. Let's pack it up.

Do we get snow next week?

Never, never, never,
in 22 years I've been in this business,

I've never seen such
a sum of "sfiga",

we say in Italian...
bad luck.

Sfiga is actually the better word
than bad luck.

Because sfiga is the negation
of the pussy.

La figa is the pussy,
la sfiga is the negation of it.

Everything that can go wrong,
goes wrong.

I mean everything.
Everything, everything, everything.

If you write a script

and you think of
the worst possible situation,

you can't make it up.

I think storyboards is the only way
to get my brain together.

The producers are looking for
a solution to the film's problems.

And it's often the case on film productions,
that the first solution

is to replace
the assistant director.

In this case, Gilliam's right-hand man,
Phil Patterson.

I think that actually

if you fire him, he would be
very happy, the first reaction

then he probably would,
because he...

It's basically he's taking
all the responsibility on his shoulders.

And he's feeling it's a complete failure
and it's his fault.

And that's ridiculous.

That's where that's coming from.

That kind of sense of responsibility
and dedication is really rare.

Because Phil has been

one of the few people

holding this thing together.

His strength is that he
just won't let go, he'll keep going.

And if he can regain

some sense of being able
to control the mess...

I don't know...

Later that day, Jean Rochefort
flies back Paris, to see his doctor.

Although Rochefort will be
returning in a few days,

his departure leave the production
in a quandary,

about what to do with
the next week's shoot.

I stated my opinion quite strongly
that we should pack up,

and we should take the unit
back to Madrid

and reconstitute ourselves and
make a decision about where we were going.

Any form of shooting was wasteful.

There's a lot of argument to say
"Cut and run now. Stop."

But I would rather keep shooting because
at least we're putting stuff on film,

and we got people who just gave us
$16 million, coming down, 60 of them.

Yeah, we gotta shoot on Monday.
We have to shoot no matter what.

Welcome to Spain,
to the set of the movie.

With Rochefort scheduled to return
in two days,

Gilliam and the producers have decided

to forge ahead and shoot the scenes
that don't require him.

They're especially concerned
that the location

will be unusable
in a few weeks

when leaves begin to fall
from the trees.

They also have their principal investors
visiting the set.

You fiddle with the fish.

He springs up and the horse comes up
and nudges you over that way.

So is that me?

I hope so. Or the horse.
He's very good. He's a professional.

Lock it up everyone.
We're shooting now.

I've loaded the fish.
The fish is loaded.

Here we go.

Roll camera!

Action.

Horse come on.
Come on horse, come on horse.

Cut it, cut it.

Let's do it again,
straight away.

Action.

Horse come on.

We're moving in.
Is the horse about to move?

Good, good, good idea.

Cut.

Turn the camera on this.
Turn the camera on Johnny...

...looks in.
Let's just get on with it.

Johnny gets in a close-up. We don't have to
be anywhere. Johnny can do it from here.

Leave the camera,
he turns in the camera and walks out.

Get some shots.
This is fucking stupid. Jesus!

As Gilliam troubleshoots the scene,

news arrives from Paris

that it will be at least a week before
Jean Rochefort is well enough to return.

You now what they're
going to ask us to do?

Then we got to cancel the film.

They're going to say,
let's start him off without...

It's a funnier look from there.

But that was really good though.
Everything sort of fit.

Lock it up everyone.
We're shooting now.

You want to fuck with me, huh?
Fucker!

What were you thinking?

What were you thinking?

And cut it!

- Cut it. Just cut it out.
- Ladies and gentlemen, that's a wrap.

I'm the football.

The team! Excellent.

I'll be down here, like this.

OK, we give you one, two, three.
At three, I will be shooting, alright?

As the investors leave the set,
the insurance adjusters arrive.

They've come to investigate
last week's claims

and to decide how to proceed
in Rochefort's absence.

Just so you know,
we're not going to shoot tomorrow.

So we're going to travel
back to Madrid.

Just check in with production
before you go.

8 o'clock, we meet at the base camp,

have breakfast together and
decide what to do.

Alright?

Meeting at 8 o'clock at the base camp,
have breakfast together.

We'll see.
We're not shooting, but we'll see.

We don't known the state of
Jean Rochefort's health.

We don't know whether he's going to
come back whole, or come back.

Or what. We don't know.

I mean, he's been tested,
prodded, probed, poked.

And I suppose we'll know
in a couple more days what his state is.

In the book, Cervantes does something
very strange and very cruel.

At every turn
Cervantes mocks Quixote.

At every turn, Cervantes goes out of his way
to show how foolish the old man is.

And the crueler he is,
the more we love Quixote.

So that when this man becomes
sane at the end,

as the reader, we can't stand it.

We don't want him to be sane,
we want him to remain mad.

because we know full well,
that when he is sane, he can die.

We're waiting to hear
what the doctor says.

What test he wants to do.

Or does he just say

"Jean, you need to rest"?

We're just waiting to hear.

Literally there's nothing to do.

On film productions,
a completion guarantor

assumes financial responsibility
for ensuring

that a film will be completed
and delivered on schedule.

Fred Millstein has come to Madrid
to protect his assets

and to help the production team
cope with the recent setbacks.

I think there is no worse situation

than not knowing anything.

So everyone is keeping asking every day

"What do we have to do?"

"When are we going to restart?"

And nobody is able to give an answer.

We don't know. We don't know.

No, that's all the news we have.

Fantastic. Brilliant.

Absolutely fantastic.

They're wonderful.

I mean, I keep working.
I keep marching ahead.

It's the one thing I've always been
pretty good at,

is just to keep marching ahead
and doing it

and saying "Yeah, we can do it,
let's keep going, let's keep going."

We're not shooting Monday, Tuesday.
So you can have a holiday til then.

The production team has been working
to arrange a new schedule

based on Rochefort's return, but the news
comes in from Rochefort's doctors

that he will not be returning
for at least 10 more days.

And while the production continues to
spend money to keep the crew working,

the insurance company seems to be claiming
that Rochefort's illness

may be a "force majeure" event,

an act of God,
not covered by the policy.

His opinions is more that,
there's an insured event.

It's not "force majeure".

It needs to be defined.

But clearly, it's for acts of God.

And he doesn't think the illness
of another actor is a force majeure event.

The "force majeure",
it's necessary to have a definition

for the force majeure
to be applicable.

He was looking at the contract
and he said there is no definition,

no real definition of the
force majeure. In that case,

for him,
it's not applicable at all.

My feeling, or my wish
more than my feeling,

is that we should at least
stop for a few weeks or months

and reorganize everything, because,

of course the location now is a big mess
cast is a big mess, crew is a big mess,

The best thing for everybody,
and for the film,

would to be able to stop, but I know
that financially, that's a lot of money.

The insurance company was saying
"Hold on, you have to be very careful.

Keep everybody on track,
but on the other hand, don't spend money."

The question is
whether they would re-insure Jean.

That's the problem.

Then the pressure
would be to re-cast

and that's what
I don't want to do.

And I don't even know
who can do the job.

We spent a long time
coming to Jean Rochefort.

He spent a year and a half
thinking about it

and 7 months learning English
and he's magnificent.

Another problem with recasting the film,
is that Gilliam, Depp and Rochefort

are what are contractually known
as essential elements.

If any one of them leaves the project,
the film must be entirely refinanced.

The idea is to reschedule
the film as soon as possible.

Check with everybody,
actors,

all the departments and locations
about their availability of the new schedule

based on starting on the 16th.

What's happening if Jean
is not back on the 16th?

There are many possibilities.

The film is going to be done.
It doesn't matter how.

The film is going to be done.

I'd just like to know, for the record,
where is the director of this film?

This is no way to make a film,
even a small film.

To make one like this, it's impossible.

The fact is, nothing is pushing us right
now. There's no motor anymore in this.

We're just waiting for the insurance
to tell us what to do.

Nobody seems to be in control,
of anything.

I like shooting things, even if it's
completely fucked up and totally useless.

At least, there's images.
Something to pay...

to justify the several years of work.

So much denial going on.

You know, the fact, the 27th of November,
Jean Rochefort is going to be back,

dancing, jumping on the horse.

Forget about it!

I mean, accept the idea this man
won't be fit to make the movie.

No, but see, the problem is,
we had force majeure last weekend and

we should have used that
in order to straighten house.

And when I say to Bernard,
like I did today, "Bernard,

"tell me now, tell me straight to
my face that if Rochefort comes back,

"and we have him on the set,
and I turn to you

"as the first AD,
on the set,

"and say 'this man is
incapable of working',

"are you going to sail me
down the tube again?

"Are you going to vote
against my decision?"

- And I'm trying to remain...
- You're not fully succeeding.

- somewhat rational...
- Somewhat is good enough.

Here's what's making me crazy.

Okay, we've stopped shooting and
now we're reorganizing ourselves.

Well, are we
reorganizing ourselves?

- No.
- No.

That's what pisses me off,
this is the whole point of the time,

is to go through and get ourselves in
fighting, fit shape to actually do the film.

and nothing is happening.

We're running around in circles.

And the days are just
floating past.

And we're getting in worse shape
than we were when we stopped.

I don't know how one gets out.
Not having been in this stuff before.

I plowed on. And I don't have any energy
to plow on at the moment.

- This isn't a plowable...
- Yeah, I know. I know that.

So I don't know how a plug
gets pulled on a thing like this.

Look, I'm going to go back to Algete
and I'm going to tell the French producers

that I'm not going to
continue in the project the way it is.

And explain to them the reason
that I'm leaving the film

is that I don't have confidence
in the producers

to support me in the decisions that need
to be made in terms of making the film.

We can't make the film.
Not the film you want to make.

You know, I'm sorry to be,

as always,
the bearer of bad tidings.

Whatever, but...

I don't know anymore.
I've lost it completely.

I can't imagine the film anymore.
That's my problem.

Yeah. Exactly.

And now everyone's limping off
to other jobs already.

Have you heard any more since the fact that
doctors are just doing more tests today?

Yeah, for the insurers
all going to Paris tomorrow.

It's almost like
I've forgotten about this film.

It's like it doesn't exist, it can't exist.
Because if it does exist, it's too painful.

I'll just hang around here.

Okay. Alright, thanks. Bye.

Well, the insurers are all
meeting in Paris tomorrow.

Rene's going up there to
decide what to do.

But there's been a little complication -
Fred Millstein, the completion bond...

guy has been down here
the last few days, trying to...

sort things out.

He was saying something to Jose

about the fact that
the paperwork isn't quite correct

between him and
the insurance company.

And it could mean that he's
going to get stuck with the bill.

Which would be
disastrous for him, because

he's not protected in the way
insurance companies are.

And Jose is saying of course he will
fight it and it may end up in court,

with them fighting over
who picks up the pieces,

or picks up the pieces of paper
that need paying.

It's like there's
this curse of Quixote.

Going on around us.
Interesting.

Listen to that wind.

It started with the deluge,

and now the great wind
is sweeping it clean,

blowing Quixote
out of Spain, forever.

It's howling out there "It's over."

By the end of October, it's clear
that Rochefort will not return.

He's been diagnosed with
a double herniated disc.

And it requires at least
another month of recovery.

What is the state
of the film now?

Often, when you have
problems in prep

and when you have
a shaky film production

the usual catch cry
of the film is

"Let's start shooting
and straighten it out."

Always in the belief that
to begin filming will

help you get on track and
send you down one path.

The old "train theory".

It didn't work this time.

Jean Rochefort was
the sort of tragic end to it.

A series of problems
that beset the film quite early on.

Maybe the only real responsibility of Terry
is about all this mess,

that is in order
to make it happen,

I believe he lowered too much
his targets.

And he gave an impression of
being about to do

a more simple movie
than it is.

Because again, it's been going on
for so long for him.

I mean that's what we don't consider,
for him, this is not the first time.

Terry is very good at being proud
of how impossible something might be,

but no director is going to start a picture
thinking "we may not ever get through this".

It was very painful
to see it all coming horribly true.

Like I say, it was...

the most painful thing was seeing
reality win over Don Quixote in the end.

Because it did.

I honestly don't know
what I'd like to see happen

I suppose on one hand,

I'd like Jean to get better
and us to be able to make the film

And that would be... on the other hand,
I don't know. I mean I just like...

I've done the film too often
in my head, too many times.

I've seen it, I've been through it,
I know how it goes.

Is it better, you know, to just
leave it there? I really don't know.

.