All language subtitles for War and Remembrance s01ex4 On Location.eng

One of the big reasons
we chose to go to Yugoslavia

and do a lot of our work there

was they had made a number
of pictures over there...

...had a good number of people
that could crew for us...

...and were willing to make
great money deals with us.

lt was very inexpensive
to shoot in Yugoslavia.

And it also offered us
many opportunities to shoot.

We could shoot ltaly in Yugoslavia.

We could shoot Berlin.
We could shoot Moscow.

Any number of places that we
were able to shoot in Yugoslavia.

We got cheap help.
They had a great lab in Zagreb.

The food was terrific.

And it was a wonderful country.

So we shot as much as we could
possibly shoot there.

We shot there in winter,
we shot there in summer.

Roll it!

Three-one-three-zed.
Take two.

Action.

Cut.

Next.

Very good.
Break for lunch, one hour, please!

Our base of operations
was Zagreb,

which, as a former capital
of the Austro-Hungarian Empire,

even though it is remote
in today's Europe, or was then,

it had all the grand interiors
and exteriors that we needed,

and could stand in for a lot
of the capitals of the period.

Zagreb, at that time,
was relatively untouched.

The reign of Marshal Tito
was just ending.

lt was a communist country.

lt had not been transformed
by commercialism,

so there was
very little tourist activity.

Things were pretty much
as they had been.

Also, it was relatively
untouched by the war,

so a lot of things remained.

A lot of atmosphere remained
that didn't exist in the rest of...

ln the advanced
western side of Europe.

Let's do it.

- Go with it.
- Action!

l was the unit publicist on The Winds
of War for all of the European shoot,

which was most of the year.

The publicist is there
to write about the actors,

to work with the photographer,

and to bring guests in,
visiting press,

to do their interviews with the actors,
although, in the case of Mitchum,

it made it easy, because Mitchum
had it in his contract

that he would do no interviews
while he was shooting.

Mitchum hated being interviewed.

You have a complaint?

We are a party of Americans.
Military attach�s.

We didn't rise for your anthem.
We are neutrals.

This waiter chose to take offense.
He's been clumsy, rude and dirty.

He's jostled the ladies.
His conduct has been swinish.

You tell him to behave himself, and
we need a clean cloth for our dessert.

You will be served properly.
My apologies.

Well done. Beautifully done.

Oh, Pug does have a way about him.

OK, Dad.

We hadn't had our dessert.

Nobody had ever written
a book, at that time,

about the making
of a miniseries like this.

And the people who were
the head of my department said:

''Do that.
Go and stay with them,

''and just write
about what you see.''

They just said, ''Do it.''

And l wound up
writing it as a journal,

simply because
that seemed to work.

- OK. Cin cin.
- Cin cin.

This is not gonna be slugged
down immediately,

and you'll see why.

lt's great.

Take nine!

This is strong stuff.

lt's very good.

l learned more about what
moviemaking life is like

on Winds of War
than l had in the 20 years

of working on film sets
before that.

That happens when you work...
When you're on location,

it becomes a different world.

Action!

All four special action groups
will jump off today.

They will begin actions immediately
in the border towns.

Himmler will be sending in
daily figures.

OK, cut.

All right.

You can't...
lf you're gonna say your line...

Now you're playing it much faster,
which is good, l like that. All right.

You're doing it right, but you're
gonna have to start much later.

- Right.
- OK?

You're playing it fine. l want you to play
it that way. Before, it was too slow.

All right, now hold on for a second.

You can't kneel down until...

You kneel down
and you rub the dog's head,

then you say, ''So begins
the fulfillment of a dream.''

- All right.
- Go again.

When you find yourself working
this hard and these killer hours,

which they are,
you become a family.

And it's a clich�
you've heard a lot,

but it becomes a family
and an adventure.

lt's the best part of making a movie,
as far as l'm concerned,

is what goes on
with the 1 6 or 20 people

that are really
making it happen.

And so here we all are
and we all have one language,

which is ''make this movie''.

And everybody
on this crew is the best.

So it's wonderful.
l just love it.

Whenever she had a day off,
we would take Ali into town,

into the middle of town,
just with a photographer,

just to shoot.

Ali even had managed
to learn enough

simple courtesies in Croatian

so that she could sort of talk
to people in the open markets,

or at least attempt to.

Yeah, it's gonna come up.

Magic.

And the people of Zagreb

were so delighted that this
incredibly beautiful American star

was at least trying to learn
a little of their language,

that they would swarm
around her.

She was great with kids.

There was one moment there
with pigeons and bread crumbs,

and a little girl
who just attached herself to Ali

and wouldn't go away.

All the actors really enjoyed
themselves in Yugoslavia.

We used to eat in the restaurant
up on top of the hotel,

up on the 1 7th floor.

A big gang of us would sit
around a table up there.

l remember the night
that l met Topol there,

Topol, who was playing
Berel Jastrow.

lt was a great experience.

We were all sitting at a table,
and l had never met him before.

He was cast on the telephone.

l cast him after seeing him
in FiddIer on the Roof.

Somebody taps me
on the shoulder,

l turn around and l look and there's
this young guy smiling at me.

l have no idea who it is.

And he says, ''Don't get scared.''
He says, ''Chaim Topol.''

And l look at him
and l can't believe it.

He says, ''l know,
l look very young, but don't worry,

''tomorrow l'll look very old.''

He was a young guy,
a young, vibrant guy

and he made up great,
so he was beautiful.

Everybody loved it in Yugoslavia,
they toured all over the country.

Ali used to love
the flower markets

and the food markets.

lt was just...
They had a great time.

- Who am l?
- Who are you anyway?

- You forgot.
- You forgot?

Are you really Mr. Right?

Or might you be Mr. Wrong?

l'm ready anytime you are.

- l am right.
- l am always right.

- Excuse me in the background.
- You are not wrong.

OK, as soon as it's
serious, l can do it.

All right, it's really tragic now,
pay attention.

Everybody's great.

Every little part, all the way
through has been unbelievable,

how they've blend and fit.

l love it.
lt's a great, great, fun group.

And it's so interesting the way
everybody approaches it.

And then, of course,
as we've worked...

l mean, l started in January
and we're in May now.

We all sort of know each other
and speak languages

and it's been a great,
great time.

Being on location, l think
most filmmakers would agree,

that while there are
physical discomforts

and lonelinesses,

loneliness and that sort of
aura of unreality

that you have to deal with
when you go back to your real life,

there is a much closer feeling

amongst the people
working on the film.

And there is a much greater
concentration if you are on location,

because you don't have
the distractions of your everyday life.

You do tend to think about
what you're doing 24 hours a day.

Everyone becomes mono-minded.

And the project benefits.

lf l'm asked, ''What do you
remember about Winds of War?''

l remember my life.

l remember...
l don't mean my life in America,

l remember days, breakfasts,

odd tableaus that l saw for the first
time when l arrived on the set.

Pictures like that plane crashed in the
square in Yugoslavia, just smoldering.

And the miracle of Dan Curtis'
art department,

which l think was the most
astonishing work l've ever seen.

We did maybe 60 setups
a day, sometimes.

Let's get a lot of it up
in the air, let's go.

Can we shoot it?

You guys ready here?

- Somebody at least talk to me!
- We are ready.

Clearly we are not
behind the German lines.

Look, we are perfectly go...

Cut, do a pickup.

One more try, let's try it again.

Roll it.

He's like a ringmaster
of a circus,

and the more chaos and the more
difficult and the more demanding...

And he's a frustrated general,
actually, Dan.

He really, you know...
He really should have been Patton,

because he needs
these troops around him

and he feeds off this energy,

and his intelligence
feeds off this energy.

lt's the perfect material
for him because it's so...

lt's so operatic,

it's so powerful,
it's so profound.

lt's World War ll, it's what turned
the world around on its axis.

l mean, it doesn't
get better than that.

l read the call sheet,
l think it's hilarious.

l've got to read you
what's on call besides us.

Where is it?
lt's here somewhere.

lt's just,
it makes me laugh.

This is just one day, wherein,
''60 Polish guns for soldiers,

''four cows, four pigs,
eight horses for cannons,

''one cannon in the car
vicinity, one dog,

''a Swedish ambassador, four army
trucks, six horse-drawn cannons.''

l've never been
in a movie like this,

where the call sheet
had a page and a half

of what's gonna go
on in back of you.

And it's fun.
l mean, logistically,

it's a nightmare for them.

We shot in rain and snow

and sleet and hail, and we went
through all the seasons.

And we just worked,
we didn't care what it was.

l can remember one time
we were rigging the lights on a car

for doing a running shot,

and it started raining.
And l'm out there working

and pretty soon l notice all the extras
are kind of walking away.

And l look around
and l'm standing out there by myself.

Everybody found out
that the Yugoslav extras,

the farmers, wouldn't allow
their animals to work in the weather.

They didn't care if we did,
but they wouldn't let the animals work.

And so they took all
the animals home and left.

So we wrapped for the day.

The thing l liked most about
Yugoslavia was the innocence.

The people were wonderful
in Yugoslavia.

lt was still a communist country,

and it was very impoverished,

but it had this
tremendous innocence.

And wherever you went,
people were very happy to see you.

lt had a tremendous
amount of charm,

these quaint villages, that
wonderful little village that we shot in,

and did the Jewish wedding,

where Berel Jastrow's
son was getting married.

Oh, what a beautiful little place.
And we actually used the rabbi.

The real rabbi and a real cantor.

lt was amazing to go out into the
country in Yugoslavia at that time.

l mean, you were literally going back
in time, the people were very simple.

They lived the same way

that the previous
ten generations had lived.

l'm afraid that a lot of that is gone
now, and it's a great tragedy.

l loved every single solitary minute
of making Winds of War.

l can't say that about
everything l've ever done.

l felt l was part of something
really important,

really honorable,
really larger than life,

that would touch
millions of people,

and that had an authenticity
and a quality to it

that very few actors ever get
to sign on for the 1 2 months of work

that it represented for me.

So l have no bad memories.

l have only huge pride
that l was asked to be part of it.

l went to...
With my mother to Auschwitz.

And l spent there two years, two and
a half years, and then l came back.

Actually, before
l went to Bergen-Belsen,

where l met my mother again
after two and a half years.

And we came back to Yugoslavia

and my father was killed
during this time...in Yugoslavia.

And then, in '66,
l started making movies.

And from then until today,

l'm always dedicated to movies
talking about the Holocaust.

Gentlemen, we are finished here.

Move everything out from here.

We will put the car
now on the trailer.

And we'll make first from there
to that side the trailer. Thank you.

Branko, let's get a rehearsal with
the car while we're waiting for that.

Branko, where do we prepare it?

- Down there?
- Yes, on the crossing.

l think that the importance
for me of Winds of War...

Actually, it's very much to do with what
l mentioned, that an old Yugoslavian

said to me about
why they make war movies.

''So that our children will know

''that the life we have
wasn't just given to us.''

l just got goose bumps going
through some of this stuff,

walking on these locations.

And l never got tired of it.

lt was the toughest thing
l ever had to do,

yet l never got tired.

l could have kept shooting forever.

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