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It's Cameron Crowe
and I'm here with Nancy Wilson.
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Downloaded from
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Hello.
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Nancy's going to be providing
live score for the audio commentary.
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Official YIFY movies site:
YTS.MX
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- There's the Paramount logo.
- You know, I associate this
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with stomach pain.
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Because every time I saw this logo
in the test screenings,
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I knew that there were two hours
coming where anything could happen.
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And a lot did happen.
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We'll talk about that and more.
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I'm really proud of these overhead shots
of New York City.
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I think everybody does, kind of,
grand landscape shots of New York
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that are powerful and romantic,
but this...
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John Toll and I both wanted the feeling
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that you were a spirit. You were with
a spirit that was coming down to Earth.
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And within that the story
was going to begin.
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We now see the Dakota,
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which was an important place, I think,
to set David Aames' life and world.
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And the first thing you hear in the movie
is Penélope Cruz saying,
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"Abre los ojos,"
which to me created a bridge
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with the original picture
by Alejandro Amenábar.
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So the two movies
can kind of hold hands a little bit.
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Now this, beginning
with Audrey Hepburn in Sabrina,
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it set such a beautiful tone for me.
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It was kind of a dream of romance
that David Aames,
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Tom Cruise's character, was having.
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And the movie begins with a dream
of romance. I loved that so much.
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You can see The Freewheelin'
Bob Dylan shot in the background
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and you start to see his world.
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And of course the TV, designed by Tom.
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He said, "Let's come up with a TV
that we'd all want to have,
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"that disappears into the floor."
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And he drew a diagram
so that they could build it.
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So I think he should keep
the copyright on that.
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It's a good idea.
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The gray hair is a symbol of,
you know, wanting to live forever.
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And is it ever really possible, you know?
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And that was one of the many touches,
I think,
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that, if only subliminally, existed
in the movie from the very beginning.
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The apartment was created
by Catherine Hardwicke,
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who's a wonderful production designer.
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And here we are behind the Dakota.
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The Dakota doesn't really
let you film there,
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so we filmed around it.
And the place is very powerful.
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Not since Rosemary's Baby.
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Since Rosemary's Baby
they don't let you film.
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But we took over
several areas of New York
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when we were making the movie.
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And this was one.
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We stopped traffic for a brief period
of time and got these shots.
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And John Toll and I both really wanted
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that feeling of a crisp New York fall
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approaching winter.
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And there's no feeling like it.
And I think the movie does capture that.
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Now we're approaching
the Times Square scene,
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which really kind of deserves
its own audio commentary.
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We worked pretty hard on this.
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We did not want to use
computer enhancements.
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We didn't want to do a CGI version,
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so we actually,
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with the help of New York, the mayor's
office and the police department,
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closed down Times Square
early in November for three hours.
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- It was a Sunday morning.
- Sunday morning.
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Very eerie being there
with the electricity on.
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And everything in Times Square...
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There's a Twilight Zone episode
called "Shadow Play"
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that kind of has a statement to make
about what our movie is about.
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And everything that you see
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is selling a solution
to his loneliness to him.
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And if you look at it,
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and DVD is a good place to look at it,
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everything is a quick fix
for what he's longing to have in his life.
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And there's even Jann Wenner,
our good luck charm,
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the publisher of Rolling Stone.
There he is.
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I love that couple
in the skyscrapers, too.
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And that was
the Times Square sequence
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that we always knew needed
to be a part of the movie
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from the very beginning.
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We thought this is the most populated
place in the world in many ways.
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A guy who fears being alone
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would have a nightmare about
being alone in an empty Times Square.
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I always loved the structure
of Alejandro Amenábar's original film.
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The fact that the whole movie was
a discussion
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between two guys in a prison cell.
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One guy trying to work out
a disastrous love affair,
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an aching love affair,
an aching life, really.
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And the whole movie, I think,
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is that conversation
between those two guys.
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And everything we see,
the dream that begins the movie,
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is Tom's character explaining, telling
his life to Kurt Russell's character.
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Here, of course, we have
the appearance of Cameron Diaz,
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who really did an amazing job
in the movie while on a break
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from making Martin Scorsese's picture,
Gangs of New York.
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And immediately you have, like,
a high-octane couple.
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These two together really bring out
greatness in each other.
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And Tom is... This is part of the
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really kind of exquisite thing that Tom
is doing with his performance
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is that he's using
what you know of Tom Cruise
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to put a spin on pop culture
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and the psyche of the American male.
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He uses his smile,
he uses his easy charm.
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And he's gonna lose it,
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and then we're gonna see how he's
gonna deal with not having any of that.
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But I love this early stuff.
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I wanted to direct it kind of like
a modern Howard Hawks movie.
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In a way... Cameron Diaz
is so great there.
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They're both play-acting at love.
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And they're play-acting the kind of love
that you do see in a movie,
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that I think Howard Hawks
always caught,
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the theatrical part of
pairing romantically.
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And they did it great.
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Here we have a wonderful clue,
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the guy in
the Revolution Number 9 shirt.
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Should we explain
some of the clues in the movie?
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- Yeah.
- Okay.
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That was a clue.
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Shots of New York that we stole
basically from a car.
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We drove around and just shot.
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Jason Lee, who's a great music fan,
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and a wonderful collaborator
on Almost Famous and this movie,
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Jason Lee was really in love
with Radiohead and Kid A.
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And that spread through
the whole movie and the crew.
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We played Kid A during
a lot of these scenes.
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We played music all the time.
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And Jason really gives you
a wonderful spirit.
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I love his dramatic acting
and his comic acting.
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And he and Tom really brought out
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a portrait of friendship
that I think was really important.
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Jason and Tom drove around
the streets of Manhattan
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and just did this dialogue
with people driving by going,
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"Wait a minute! Who were the...
That's..." That happened a lot.
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This is my first real, extended,
car near-accident scene.
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Got this on the streets.
Choreographed it pretty well.
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There's John Toll and Herb Ault,
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there in the background
through the windshield.
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Mike Thomas in the back,
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the camera operator
grabbing this handheld.
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I thought that was a cool way to shoot it.
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This is more of
the Howard Hawks-Billy Wilder way
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of showing Tom's life.
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The guy outside with the cart,
I love that.
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Delaina Mitchell,
really in her first part,
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plays Tom's assistant really well.
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This was shot in the Vanity Fair offices
in New York,
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in the Condé Nast building.
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And I love that hat, don't you?
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I love the hat.
I love the R.E.M. song here, too.
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The R.E.M. song really gave us a boost.
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And we never could find the right song
until pretty late in the process.
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Danny Bramson contacted R.E.M.
and they had this song in their archives
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and it just sparked the whole beginning
of the movie.
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Great song.
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Betsy Heimann, our costumer,
had that hat.
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And Tom just took it immediately
and felt very comfortable in it.
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And it became part
of the carefree David Aames life.
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Here we have the Seven Dwarfs.
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It was fun casting the Seven Dwarfs.
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We had about 40 dwarfs at one point
standing around looking ominous.
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That last gentleman was the winner,
the most ominous dwarf.
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- And there he is. Robin is his name.
- Oh, yes.
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- He does not look like a Robin.
- No, he does not.
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He looks like Grumpy.
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"How's it going?"
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Skateboarding.
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We shot many different variations
on a lot of these scenes.
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We shot versions
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of these scenes
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where Tom was actually
a part of his own memory,
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standing there observing himself.
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It didn't quite work.
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But what did work, I think,
was the relationship
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between Kurt Russell and Tom Cruise,
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two guys that had always wanted
to work together.
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And finally they did.
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Kurt has such an easygoing weight.
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You believe that guy, you know that guy.
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- You did grow up with that guy.
- Exactly.
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Robert Towne once said
he's the best-kept secret in Hollywood,
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and I agree.
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Although he's not that much of a secret.
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He just doesn't work all the time.
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But this is a very layered
and depthy performance from him.
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And there's To Kill a Mockingbird
on the monitor,
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which is the first kind of tap at the idea
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that we're within the psyche of a man
and everything matters.
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Everything is a shred
or a memory of something
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that was once part of his life
and that mattered to him.
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I like this set.
Catherine Hardwicke once again
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worked with John Toll and I
to come up with something
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that looked like the inside
of a man's mind.
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And that's where
the central conversation
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of the movie occurs.
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The idea of Kurt Russell
as Curtis McCabe
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was always to provide a tour guide.
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Kurt is helping Tom's character
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through a question.
How did I end up here?
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How did this crime
that doesn't feel real to me happen?
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And Kurt, we're gonna find out
in the course of the movie,
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develops a strong relationship
with this guy,
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who he's attempting to deconstruct.
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And everything spins
from their relationship.
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The fear of heights was a nice touch
that was in Abre los ojos.
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And I always thought it would be good
to turn the screw on that a little bit
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so that you really did feel early on
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that he had disappointed
his adventurous father
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and he, the son, couldn't even
deal with heights.
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So, all that stuff shot
in the Vanity Fair office
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shows a guy that fears
the heights that he's reached.
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Also, I like that moment
that happened earlier
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where Kurt Russell goes, "No can do."
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I saw him do that in a conversation
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and I just said,
"That has to be in the movie."
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"No can do."
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And that's one of the great things,
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when you can take something
that an actor does
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or is part of who he is and just
kind of pull it into the character.
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This was shot on a stage.
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We spent a lot of time there
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and it really was
kind of like a wrestling ring
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between these two characters.
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Kurt takes the longest walk
to a punch line I've ever seen,
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in that section that we just saw.
So great.
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"You've crossed that line."
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Tom really did some of his best work
behind that mask.
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Because he's a guy
who's trying to communicate
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without any of the tools
that he's so used to having.
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The character and Tom.
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The smile, the facial gestures
that let you know,
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the wink behind something
that he might be saying.
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He's denied that behind the mask
and, in a way,
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the mask is eerier than anything
that happens to his face later.
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That's great.
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And it is a love story.
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And it's a story about love and lost love.
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And eternal love, in a way.
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The party scene has a crux issue,
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which is that David Aames is not aware
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of the kind of emotional wreckage
that he's left behind.
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Here are two women
that have spent time with him
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00:15:28,679 --> 00:15:31,890
and he's not aware of the sadness
that he left behind.
242
00:15:31,974 --> 00:15:35,603
It was a nice moment there
with Ivana Milicevic and Oona Hart.
243
00:15:35,686 --> 00:15:39,023
I really liked that shot after he leaves.
244
00:15:39,857 --> 00:15:42,359
The introduction of Penélope Cruz.
245
00:15:45,154 --> 00:15:48,240
- There's Steven Spielberg.
- And there's an interesting party guest.
246
00:15:48,324 --> 00:15:52,036
Steven Spielberg came to visit Tom
and discuss Minority Report.
247
00:15:52,703 --> 00:15:55,039
And he looked like he wanted to get
into that shot.
248
00:15:55,122 --> 00:15:56,373
And I kind of turned to him
249
00:15:56,457 --> 00:15:58,876
while we were filming
and said, "Get in there!"
250
00:15:58,959 --> 00:16:00,544
And he did.
251
00:16:00,628 --> 00:16:03,881
And after he left, everybody looked
at me like, "'Get in there'?
252
00:16:04,548 --> 00:16:07,343
"That's how you talk
to Steven Spielberg? 'Get in there'?"
253
00:16:08,886 --> 00:16:10,512
It's like, yeah, he got in there.
254
00:16:11,096 --> 00:16:16,393
And he was fun. Two takes, smoked it.
It was good.
255
00:16:21,106 --> 00:16:25,444
Tom does some of the Howard Hawks
work that we talked about earlier
256
00:16:25,527 --> 00:16:26,820
with Penélope here,
257
00:16:28,072 --> 00:16:35,037
where they're coasting on
the superficial buzz of just having met.
258
00:16:36,413 --> 00:16:38,832
And everything is gonna get deeper
from here,
259
00:16:40,084 --> 00:16:44,296
but at this point
it all comes easy to them.
260
00:16:44,380 --> 00:16:49,510
They're basically social animals
261
00:16:50,678 --> 00:16:53,055
behaving socially, beautifully
with each other.
262
00:16:53,138 --> 00:16:56,183
And it's the calm before the storm.
263
00:16:57,101 --> 00:16:59,687
Jason's great there in that shot,
as he turns away.
264
00:17:00,479 --> 00:17:04,149
The friend that's immediately
been rendered useless.
265
00:17:16,620 --> 00:17:20,457
I was very proud
of the John Coltrane hologram here,
266
00:17:20,541 --> 00:17:22,459
John Coltrane playing
My Favorite Things.
267
00:17:23,085 --> 00:17:27,631
That was another kind of hint
that the movie was gonna deal
268
00:17:27,715 --> 00:17:31,135
with things that may or may not be real,
269
00:17:31,218 --> 00:17:35,139
and may or may not defy
the laws of humanity.
270
00:17:36,056 --> 00:17:40,978
That John Coltrane felt so real,
almost too real, you know?
271
00:17:48,652 --> 00:17:50,904
Timothy Spall's
one of my favorite actors.
272
00:17:51,572 --> 00:17:53,407
I loved him from the Mike Leigh movies.
273
00:17:53,490 --> 00:17:57,327
And I just was so honored that he said
he'd come in and play this part,
274
00:17:58,495 --> 00:18:02,499
the family counsel
who's been rendered mascot.
275
00:18:03,375 --> 00:18:08,172
And he's just a lovely guy
and a lot of fun.
276
00:18:08,255 --> 00:18:10,299
And I think he was surprised
when we started playing music
277
00:18:10,382 --> 00:18:14,011
during his performance takes,
but he got into it.
278
00:18:15,512 --> 00:18:18,766
Shalom Harlow did a great job, I think,
and she was...
279
00:18:18,849 --> 00:18:22,895
She suffered from us having cut
the party scene down a bit.
280
00:19:35,551 --> 00:19:39,137
Cameron Diaz and Tom once again.
281
00:19:41,098 --> 00:19:43,517
It's a lot of power on a set.
282
00:19:43,600 --> 00:19:48,730
You can feel two people that stand
shoulder to shoulder in many ways.
283
00:19:49,314 --> 00:19:51,275
They're a very strong screen couple.
284
00:19:51,859 --> 00:19:57,447
I first saw them together when
we were auditioning for Jerry Maguire.
285
00:19:57,948 --> 00:20:00,826
And it wasn't quite right
for Jerry Maguire, but I never forgot,
286
00:20:00,909 --> 00:20:02,536
and I don't think Tom ever forgot,
287
00:20:03,704 --> 00:20:06,331
the chemistry that occurred
between them.
288
00:20:06,415 --> 00:20:09,001
So what we did was
289
00:20:09,084 --> 00:20:12,212
we thought of Cameron Diaz
very early on for this movie.
290
00:20:13,130 --> 00:20:16,884
And the idea was in this movie
she was gonna play someone
291
00:20:16,967 --> 00:20:19,553
who didn't quite get to be
Cameron Diaz.
292
00:20:20,137 --> 00:20:24,057
It's the Cameron Diaz that didn't get
The Mask with Jim Carrey,
293
00:20:24,141 --> 00:20:27,227
didn't get those breaks
and was turning 27.
294
00:20:27,311 --> 00:20:31,899
Cameron Diaz was very adamant
about wanting to play 27.
295
00:20:32,482 --> 00:20:36,194
The disappointments,
the learning stages that happen at 27.
296
00:20:36,278 --> 00:20:41,742
And here she is someone
who has not gotten the brass ring
297
00:20:42,409 --> 00:20:48,248
and is now not getting the guy,
who was a brass ring, too.
298
00:20:50,000 --> 00:20:52,794
I love the line that she delivers,
where she says,
299
00:20:52,878 --> 00:20:54,296
"I don't want to meet your fancy friends.
300
00:20:54,379 --> 00:20:56,673
"I knew them all
back when I was fancy, too."
301
00:20:57,841 --> 00:20:59,927
And it was amazing
how well Cameron Diaz
302
00:21:00,928 --> 00:21:04,765
related to the kind of thing
that could have happened to her
303
00:21:04,848 --> 00:21:06,350
and has happened to...
304
00:21:06,433 --> 00:21:09,186
You know, all of us know people
that didn't quite get there.
305
00:21:09,978 --> 00:21:12,856
Holly Golightly a few minutes
past her prime.
306
00:21:13,857 --> 00:21:17,694
And there was
a sadness and beauty to her
307
00:21:18,612 --> 00:21:21,865
that really did make her
the saddest girl to ever hold a martini.
308
00:21:23,492 --> 00:21:27,037
That's not a real smashed guitar
by Pete Townshend.
309
00:21:27,120 --> 00:21:31,291
That's my dream of the smashed guitar
of Pete Townshend that I wish I had.
310
00:21:32,042 --> 00:21:34,544
And it disappeared so fast off the set.
311
00:21:34,628 --> 00:21:37,130
I don't know who has it,
but it looked good.
312
00:21:38,382 --> 00:21:41,802
I love Penélope's look as she turns
away from Tom back there.
313
00:21:43,512 --> 00:21:45,639
They're really great together.
314
00:21:45,722 --> 00:21:51,395
They have sparks
that come from laughter and fun.
315
00:21:51,478 --> 00:21:55,607
And I always thought it's great in a story
to show that love comes from laughter.
316
00:21:56,566 --> 00:21:57,985
And they're suspicious of each other,
317
00:21:58,068 --> 00:22:01,571
but they make each other laugh
early on.
318
00:22:02,406 --> 00:22:04,157
Tom gives her a great look
when she says
319
00:22:04,241 --> 00:22:06,034
"saddest girl to ever hold
a martini" here.
320
00:22:06,118 --> 00:22:11,081
That is one of his wonderful gifts is,
321
00:22:11,665 --> 00:22:17,170
he regards a woman onscreen
and you don't need dialogue.
322
00:22:17,838 --> 00:22:21,008
He gives you
the beginning embers of love
323
00:22:21,717 --> 00:22:23,760
from a guy that appreciates a woman.
324
00:22:25,512 --> 00:22:28,932
And it's a great gift in the editing room,
you build scenes around it.
325
00:22:30,600 --> 00:22:32,436
I love that shot of Cameron Diaz.
326
00:22:34,521 --> 00:22:37,524
But now we have
Tom's regarding shot here.
327
00:22:40,152 --> 00:22:43,488
Just simple, but really drives the story.
328
00:22:45,615 --> 00:22:49,036
- Jason kicks ass, it's just that simple.
- He does.
329
00:22:49,119 --> 00:22:52,748
He can walk around and chat at a party
330
00:22:52,831 --> 00:22:55,876
better than anyone I can even imagine.
331
00:22:57,210 --> 00:23:01,757
This scene began as an homage
to Love in the Afternoon,
332
00:23:01,840 --> 00:23:04,634
the great Wilder movie
starring Audrey Hepburn.
333
00:23:04,718 --> 00:23:06,803
There's a scene with Audrey
and a cello.
334
00:23:07,888 --> 00:23:12,934
And I just like those private moments,
being able to see those on screen.
335
00:23:13,602 --> 00:23:16,730
And although the scene changed
quite a bit from its original intention
336
00:23:16,813 --> 00:23:19,775
there is a whiff of
Love in the Afternoon in that hallway.
337
00:23:21,943 --> 00:23:23,653
Penélope is a big fan
of Audrey Hepburn,
338
00:23:23,737 --> 00:23:27,074
so all you have to do is say
"Hallway, Love in the Afternoon,"
339
00:23:27,157 --> 00:23:30,327
and she says, "The cello scene!"
And you gotta love that.
340
00:23:35,540 --> 00:23:39,878
This moment between
the two spurned friends is key.
341
00:23:39,961 --> 00:23:41,671
And it's funny how few people
342
00:23:42,422 --> 00:23:44,466
remembered, the first time
they saw the movie,
343
00:23:44,549 --> 00:23:48,261
that Diaz and Jason Lee's characters
actually did meet.
344
00:23:49,763 --> 00:23:53,683
They did have a discussion
and a relationship
345
00:23:53,767 --> 00:23:55,102
brought on by the fact that
346
00:23:56,019 --> 00:23:58,605
the two people they were interested in
were not with them.
347
00:24:01,858 --> 00:24:05,195
That snowboard is
a Catherine Hardwicke original.
348
00:24:08,281 --> 00:24:11,034
- This is a...
- And that's a real Monet, right?
349
00:24:11,576 --> 00:24:12,577
I wish.
350
00:24:13,286 --> 00:24:16,206
It's a real Joni Mitchell, though,
behind it, which I'm very proud of.
351
00:24:16,289 --> 00:24:22,629
It's a painting called Edmonton
that Joni herself loaned to us.
352
00:24:24,923 --> 00:24:27,592
This scene we did handheld
to give it some energy.
353
00:24:29,052 --> 00:24:30,637
It was really fun to do this.
354
00:24:32,305 --> 00:24:39,312
We found that Jason and Tom together
can really drive a scene.
355
00:24:39,396 --> 00:24:41,064
And if the camera suits
356
00:24:41,648 --> 00:24:46,194
the kind of easy flow
of what they talk about
357
00:24:46,278 --> 00:24:47,737
and the way they relate to each other,
358
00:24:47,821 --> 00:24:49,990
you have a scene
that feels like real life.
359
00:24:51,491 --> 00:24:54,953
And I was really proud of this.
I love all the stuff about Frank Sinatra.
360
00:24:55,912 --> 00:24:58,540
Jason's got a Frank Sinatra fixation
361
00:24:59,875 --> 00:25:03,753
and Tom is going to indulge him
in the Frank Sinatra fixation.
362
00:25:03,837 --> 00:25:06,173
And that's what ultimately gets to Jason.
363
00:25:07,674 --> 00:25:12,846
Jason is playing a lovable Iago
in the movie.
364
00:25:14,639 --> 00:25:18,393
And here we have our wonderful sons,
365
00:25:18,476 --> 00:25:20,770
Curtis and Billy Crowe.
366
00:25:22,105 --> 00:25:23,523
And here's Curtis.
367
00:25:24,316 --> 00:25:27,694
Curtis, what are you saying?
Bone Daddy in the house?
368
00:25:29,779 --> 00:25:32,282
- What that?
- What that?
369
00:25:33,033 --> 00:25:35,785
That is a scene between Jason Lee
and Tom Cruise.
370
00:25:38,371 --> 00:25:39,831
- Yeah.
- Night...
371
00:25:40,916 --> 00:25:42,542
- Night, night.
- Night, night.
372
00:25:42,626 --> 00:25:44,294
Night, night.
373
00:25:44,377 --> 00:25:45,378
Bye, Billy.
374
00:25:46,880 --> 00:25:50,467
This is a scene
where also we established
375
00:25:50,550 --> 00:25:52,219
the idea of the sweet and sour.
376
00:25:52,302 --> 00:25:58,016
The movie is kind of an exploration
of the sweet and sour in life. And...
377
00:25:59,809 --> 00:26:02,395
That's a scene about
the sweet and sour in life, hon.
378
00:26:04,064 --> 00:26:05,190
And that...
379
00:26:06,066 --> 00:26:07,067
Exactly.
380
00:26:07,567 --> 00:26:10,111
And that's even echoed
in the beginning,
381
00:26:11,321 --> 00:26:13,865
in the Radiohead song,
Everything In Its Right Place,
382
00:26:13,949 --> 00:26:19,704
when Thom Yorke sings, "Yesterday
I woke up sucking on a lemon."
383
00:26:19,788 --> 00:26:21,456
Once again, the sweet and sour,
384
00:26:22,666 --> 00:26:27,170
which was I.A.L. Diamond's description
of why Billy Wilder was great.
385
00:26:27,254 --> 00:26:30,757
Because he said Billy Wilder captured
the sweet and the sour.
386
00:26:31,925 --> 00:26:33,593
And that's a little bit of what,
387
00:26:34,552 --> 00:26:37,347
not even a little bit,
that's a lot of what the movie's about.
388
00:26:37,430 --> 00:26:39,015
Can you say sweet and sour?
389
00:26:40,517 --> 00:26:42,644
There's a wonderful moment here
at the end of this scene
390
00:26:42,727 --> 00:26:47,607
where Tom is confronting
his own conscience.
391
00:26:48,817 --> 00:26:51,361
And he's a good man
who's compromised himself.
392
00:26:52,237 --> 00:26:56,741
And now we go to this pretty iconic shot
with Cameron Diaz and the waiter,
393
00:26:56,825 --> 00:26:59,661
a guy named Marty,
holding the two martinis.
394
00:26:59,744 --> 00:27:01,663
It was the last thing Cameron Diaz shot
395
00:27:02,872 --> 00:27:04,708
and it was powerful
even when we shot it.
396
00:27:05,500 --> 00:27:07,544
We shot this piece
397
00:27:08,378 --> 00:27:11,214
down underneath the
Manhattan Bridge overpass, DUMBO,
398
00:27:11,298 --> 00:27:15,135
which was the world
of Penélope Cruz's character.
399
00:27:15,760 --> 00:27:19,764
She lived in DUMBO. And it really suited
who that character was.
400
00:27:19,848 --> 00:27:21,808
She was an artist and a photographer,
401
00:27:22,851 --> 00:27:26,980
and somebody with about
five different jobs, trying to make it,
402
00:27:27,063 --> 00:27:29,983
trying to finance that apartment
that she loved.
403
00:27:31,276 --> 00:27:35,655
A gloriously messy apartment.
And she "refuses to clean up."
404
00:27:36,906 --> 00:27:40,285
One of the lines that we haunted her
with throughout the entire production.
405
00:27:41,911 --> 00:27:44,164
Penélope has a way
of showing romance
406
00:27:44,914 --> 00:27:51,588
in a carefree but still intoxicating
and memorable way.
407
00:27:52,505 --> 00:27:54,424
And that was always
what the character was.
408
00:27:55,550 --> 00:27:58,386
I always loved her work
in the Spanish films that I'd seen
409
00:27:58,470 --> 00:28:00,430
and in Belle époque.
410
00:28:02,390 --> 00:28:06,102
Here Tom falls in love really
411
00:28:06,186 --> 00:28:10,106
with the image
of a girl living a real life,
412
00:28:10,190 --> 00:28:12,317
a life more real than his life.
413
00:28:13,693 --> 00:28:18,114
And in a way he's been living a dream
and he wants reality.
414
00:28:18,865 --> 00:28:21,618
But he does want to know
Sergio's story.
415
00:28:25,538 --> 00:28:28,583
Kind of a bizarre thing for a girl to have
on her refrigerator,
416
00:28:28,666 --> 00:28:32,212
but then that is Sofia Serrano.
417
00:28:37,175 --> 00:28:39,677
There was a quality in the original film
that I really liked.
418
00:28:39,761 --> 00:28:43,056
I wasn't sure when she said
in the original film, you know,
419
00:28:43,807 --> 00:28:45,642
"You've never met
an arms dealer before."
420
00:28:45,725 --> 00:28:48,895
I remember thinking in the original film,
maybe she is an arms dealer.
421
00:28:48,978 --> 00:28:52,732
And I liked all those levels of intrigue
going on
422
00:28:54,275 --> 00:28:57,195
while we're doing romantic comedy.
423
00:28:59,280 --> 00:29:01,241
Tom is a wonderful romantic comedian.
424
00:29:02,617 --> 00:29:04,911
I loved working with him
on Jerry Maguire
425
00:29:04,994 --> 00:29:06,329
in the scenes with Renée.
426
00:29:07,580 --> 00:29:10,792
And I loved working with him in
the scenes with Penélope in this movie
427
00:29:12,085 --> 00:29:17,382
because he has a light touch
428
00:29:17,465 --> 00:29:20,969
that brings out the best
in all the actors around him,
429
00:29:22,262 --> 00:29:25,932
as well as a deeper touch that's going
to come into play later in the movie.
430
00:29:29,894 --> 00:29:32,188
The one thing about Jerry Maguire
that I always liked
431
00:29:32,272 --> 00:29:35,608
is Jerry Maguire was
sort of a romantic comedy for men.
432
00:29:36,943 --> 00:29:40,196
And Tom plays romantic comedy
from a man's point of view really well.
433
00:29:40,697 --> 00:29:43,616
Here he's falling in love with a girl
who looks great,
434
00:29:44,826 --> 00:29:46,453
but everything that she's saying
435
00:29:46,536 --> 00:29:51,166
is matching up to his image
of what the great dream girl would be.
436
00:29:52,292 --> 00:29:55,336
Right down to the fact that she can like
437
00:29:55,837 --> 00:29:58,047
Vikki Carr and Jeff Buckley.
438
00:29:59,340 --> 00:30:01,885
And, of course, there's
the wonderful Nancy Wilson score
439
00:30:02,969 --> 00:30:04,762
to assist us in this sequence.
440
00:30:06,431 --> 00:30:08,141
Just as she can assist us now.
441
00:30:09,392 --> 00:30:10,685
Cue Nancy!
442
00:30:14,063 --> 00:30:17,525
This was the day Alejandro Amenábar
came to visit us. Nobody told me.
443
00:30:17,609 --> 00:30:22,572
So he was actually watching this scene
on the monitor while I was directing
444
00:30:23,490 --> 00:30:24,491
and I never knew.
445
00:30:25,074 --> 00:30:26,367
But after I left that night,
446
00:30:26,451 --> 00:30:27,452
he went
447
00:30:28,703 --> 00:30:29,829
and he studied the set.
448
00:30:29,913 --> 00:30:35,084
And I remember hearing later that it was
a psychedelic experience for him
449
00:30:35,168 --> 00:30:39,672
to revisit his own movie in a different
way, in a different country,
450
00:30:40,632 --> 00:30:41,674
through a different prism.
451
00:30:42,926 --> 00:30:45,345
So I think of him sometimes
when I see that sequence.
452
00:30:49,682 --> 00:30:54,312
Kurt Russell does some great comedy
in this little scene.
453
00:30:55,772 --> 00:30:59,275
Because I love the fact
that he's been married for 22 years,
454
00:31:00,026 --> 00:31:03,947
but he has a dim memory
of when he was a single guy out there,
455
00:31:04,030 --> 00:31:06,199
a social animal like Tom's character.
456
00:31:08,868 --> 00:31:13,790
So there's a jealousy and a melancholy
that's happening
457
00:31:13,873 --> 00:31:16,626
between these two guys
who've both been racked by love.
458
00:31:18,461 --> 00:31:20,713
And it's one of my favorite things
in the movie.
459
00:31:22,382 --> 00:31:24,759
Kurt's delivery there, "Like, what?"
460
00:31:28,179 --> 00:31:33,309
In a minute here, you're gonna see
Tom doing kind of an odd dance.
461
00:31:33,393 --> 00:31:37,564
He's actually listening to Over the Hills
and Far A way by Led Zeppelin,
462
00:31:38,773 --> 00:31:41,067
one of the songs we used to play
a lot on the set.
463
00:31:41,943 --> 00:31:44,737
And so you can kind of imagine it.
464
00:31:44,821 --> 00:31:48,908
Many times I've cried
Many times I've listened
465
00:31:49,701 --> 00:31:52,579
- Are those the right words?
- Something like that.
466
00:31:53,413 --> 00:31:57,208
The great Michael Shannon
gracing us once again,
467
00:31:57,292 --> 00:31:59,919
with To Kill a Mockingbird
going on in the background.
468
00:32:02,297 --> 00:32:04,757
And this was a scene from the original
469
00:32:04,841 --> 00:32:08,386
that I always thought was at the core
470
00:32:09,053 --> 00:32:13,850
of how Abre los ojos was able
to establish love in one night.
471
00:32:15,268 --> 00:32:21,190
Alejandro had this great tool
that he could use,
472
00:32:21,274 --> 00:32:23,192
which is that they both liked to draw.
473
00:32:23,818 --> 00:32:27,030
And they both were going to draw
an image of each other.
474
00:32:29,532 --> 00:32:31,284
In kind of romantic comedy terms,
475
00:32:31,367 --> 00:32:34,746
it's like one of the brilliant
and hard-to-find ways
476
00:32:34,829 --> 00:32:38,374
where people can learn how they're
viewed by the other person quickly.
477
00:32:39,834 --> 00:32:41,085
And deal with it.
478
00:32:41,753 --> 00:32:45,048
- And there's the big mouth.
- There's the big mouth.
479
00:32:45,131 --> 00:32:46,966
We had a couple different drawings
480
00:32:47,050 --> 00:32:49,177
that we tried out
in the early test screenings.
481
00:32:50,637 --> 00:32:52,722
It was clear that the big grin
482
00:32:55,141 --> 00:32:57,977
was an audience favorite,
so we went with that.
483
00:33:08,404 --> 00:33:11,115
But at the soul of the movie
were a lot of questions
484
00:33:11,199 --> 00:33:13,576
that we asked each other
even while we were making it.
485
00:33:13,660 --> 00:33:16,204
Have we been irresponsible in love?
What is love?
486
00:33:18,081 --> 00:33:20,500
What are we saying about love
with the movie?
487
00:33:21,459 --> 00:33:25,004
Many a morning was spent
while we set up for shots
488
00:33:25,088 --> 00:33:29,676
talking about what is love right now.
489
00:33:29,759 --> 00:33:32,970
What is love in a world
that's just fueled by pop culture
490
00:33:33,054 --> 00:33:35,848
and a lot of visions of...
491
00:33:37,475 --> 00:33:42,146
Of easy sexual conquests,
and love as sex?
492
00:33:43,272 --> 00:33:46,025
And what was love really to us?
493
00:33:46,776 --> 00:33:48,444
And David Aames is
a guy who's learning
494
00:33:48,528 --> 00:33:51,364
what love really is in this scene.
495
00:33:52,490 --> 00:33:54,117
She sees him very clearly.
496
00:33:54,200 --> 00:33:58,371
In one of the lines that was cut,
he says, "Tell me how you see me."
497
00:33:58,454 --> 00:34:02,625
And she says, "Well, you live
in the shadow of your father."
498
00:34:02,709 --> 00:34:06,462
And he seems stunned
by this amazing revelation.
499
00:34:06,546 --> 00:34:10,383
And Penélope had a great look,
like, "Isn't it obvious?
500
00:34:10,466 --> 00:34:12,009
"Everybody knows that about you."
501
00:34:14,053 --> 00:34:15,054
And it didn't make the movie,
502
00:34:15,138 --> 00:34:16,889
but it was one of
those wonderful moments
503
00:34:16,973 --> 00:34:18,224
that was about...
504
00:34:18,307 --> 00:34:20,977
None of us are as mysterious
as we think we are.
505
00:34:21,060 --> 00:34:22,895
And that's what this scene's about.
506
00:34:28,901 --> 00:34:32,405
That's a... I think that's
a powerful moment on Tom,
507
00:34:32,989 --> 00:34:36,659
where he kind of looks down
and confronts who he is.
508
00:34:36,743 --> 00:34:42,248
He's becoming the newer, better,
deeper version of himself.
509
00:34:43,249 --> 00:34:47,670
The character is having
revelation after revelation,
510
00:34:48,254 --> 00:34:50,757
a guy who was snowboarding
through life.
511
00:34:52,925 --> 00:34:55,011
And the big question is gonna be
512
00:34:57,096 --> 00:35:01,267
how and if he's going to be able to
hang on to this new version of himself.
513
00:35:05,605 --> 00:35:08,524
And, once again,
Tom Cruise makes it look easy.
514
00:35:10,318 --> 00:35:12,695
It's the kind of thing that you see
behind the camera
515
00:35:12,779 --> 00:35:14,113
and you know that's...
516
00:35:14,197 --> 00:35:17,200
It's like watching the movie,
you can just see it already cut in.
517
00:35:18,034 --> 00:35:20,745
And soon you cut it in
and you are watching it in the movie.
518
00:35:25,249 --> 00:35:27,710
The cryonics theme,
519
00:35:28,795 --> 00:35:32,465
really we always wanted it
to just creep in
520
00:35:33,466 --> 00:35:37,553
and appear first as the kind of thing
that you laugh over
521
00:35:37,637 --> 00:35:39,639
as a couple just getting
to know each other.
522
00:35:40,223 --> 00:35:43,059
Because, you know, when
you're first getting to know somebody,
523
00:35:44,060 --> 00:35:46,729
you're looking for stuff to laugh about
524
00:35:48,231 --> 00:35:50,399
that isn't about yourself.
525
00:35:51,484 --> 00:35:54,570
And that stuff becomes the iconography
of the relationship, you know?
526
00:35:54,654 --> 00:35:57,740
So they're going to bond
over Benny the dog, for example.
527
00:35:58,616 --> 00:36:01,327
- One of my favorite characters.
- Benny is a good character.
528
00:36:01,953 --> 00:36:04,580
Every test screening, Benny rated high.
529
00:36:04,664 --> 00:36:07,250
That's right. Benny was
one of the most loved characters.
530
00:36:07,333 --> 00:36:09,877
I would come back home
after the test screenings and go,
531
00:36:10,670 --> 00:36:11,963
"How can we add more Benny?"
532
00:36:12,046 --> 00:36:13,047
No.
533
00:36:13,881 --> 00:36:16,092
You know, it's the old thing
about kids and dogs.
534
00:36:16,175 --> 00:36:17,718
There's something about kids and dogs
535
00:36:17,802 --> 00:36:19,846
that provide a high-pitched signal
536
00:36:22,098 --> 00:36:23,099
to people.
537
00:36:25,017 --> 00:36:26,602
The tentative nature of love,
538
00:36:26,686 --> 00:36:31,107
and what people are like when they're
first kind of exploring each other.
539
00:36:31,190 --> 00:36:35,778
I mean, you're never going to have
that first kiss more than once.
540
00:36:35,862 --> 00:36:40,032
And I like here that what these people
are doing is
541
00:36:40,116 --> 00:36:42,535
they are gonna take all the potential
542
00:36:43,160 --> 00:36:45,121
and all the promise of love
543
00:36:47,123 --> 00:36:48,916
and they are gonna put it on a shelf.
544
00:36:49,000 --> 00:36:51,210
Because if they sleep together
on this night,
545
00:36:53,296 --> 00:36:56,299
it won't mean as much
as if they pleasure delay a little bit
546
00:36:56,966 --> 00:36:59,302
and give it more respect
and honor it more.
547
00:37:00,636 --> 00:37:04,056
So this scene is about two people
548
00:37:04,140 --> 00:37:09,562
that really in most other situations
would be sleeping together.
549
00:37:09,645 --> 00:37:11,814
- These are some rare individuals.
- That's right.
550
00:37:11,898 --> 00:37:17,236
They're not going to sleep together.
They're going to save it.
551
00:37:18,112 --> 00:37:21,657
And David Aames is going to use
this as fuel.
552
00:37:22,366 --> 00:37:24,827
The thing that Timothy Spall says
to him in the party scene,
553
00:37:24,911 --> 00:37:26,203
"Claim your life."
554
00:37:26,287 --> 00:37:32,460
So now he's got a vision
of how he can claim his life
555
00:37:32,543 --> 00:37:35,004
and his first test is coming right up.
556
00:37:55,775 --> 00:37:57,193
This is a little moment that we added.
557
00:37:57,276 --> 00:38:00,154
I just kind of yelled to Penélope
from behind the camera,
558
00:38:01,364 --> 00:38:02,657
"Scream and go running off."
559
00:38:02,740 --> 00:38:04,992
- I love that moment. It's so real.
- She did great.
560
00:38:05,076 --> 00:38:08,704
Here, John Toll makes DUMBO look
like Liverpool.
561
00:38:09,789 --> 00:38:11,958
- I love this...
- DUMBO is...
562
00:38:12,041 --> 00:38:13,668
- DUMBO?
- Is?
563
00:38:13,751 --> 00:38:15,670
Down Underneath
the Manhattan Bridge Overpass.
564
00:38:15,753 --> 00:38:16,754
Right.
565
00:38:16,837 --> 00:38:23,427
And that's where we really shot
some of our best exteriors, I think.
566
00:38:23,511 --> 00:38:26,263
Because you don't see that
in New York very much,
567
00:38:27,306 --> 00:38:28,307
as seen in movies.
568
00:38:28,391 --> 00:38:30,977
You haven't seen DUMBO shot a lot.
569
00:38:35,815 --> 00:38:39,986
The amazing thing
about Cameron Diaz in that car
570
00:38:40,820 --> 00:38:44,740
is how her eyes link up
with the color of that Buick Skylark.
571
00:38:46,492 --> 00:38:48,077
And it was intentional,
572
00:38:48,160 --> 00:38:52,915
but it was a surprise when
we finally saw the two of them linked.
573
00:38:52,999 --> 00:38:54,500
Because we kind of put the car together
574
00:38:54,583 --> 00:38:56,836
before Cameron Diaz had come
into the country,
575
00:38:56,919 --> 00:38:58,170
she was working in Italy.
576
00:38:59,338 --> 00:39:02,591
She came in, she sat in that car
and it was haunting.
577
00:39:02,675 --> 00:39:05,386
Because her eyes are
the same color as that car.
578
00:39:06,053 --> 00:39:12,685
And the two of them together became
a very lonely and dangerous image.
579
00:39:13,269 --> 00:39:15,187
And that is Julie Gianni.
580
00:39:19,650 --> 00:39:22,361
David Aames was a hard name
to come up with, by the way.
581
00:39:22,445 --> 00:39:25,823
David Aames. But in the end it came
582
00:39:25,906 --> 00:39:28,784
and it was the kind of name
that you had to say both, David Aames.
583
00:39:28,868 --> 00:39:33,622
Julie Gianni, instantly that felt
like Cameron Diaz's character.
584
00:39:35,291 --> 00:39:39,962
This scene is really
the crux of David Aames' life.
585
00:39:41,380 --> 00:39:46,886
And it is, "How much
are you going to stay
586
00:39:46,969 --> 00:39:50,639
"with that little decision that you make
as you're leaving the house?"
587
00:39:50,723 --> 00:39:54,894
And you say, "You know what,
I'm going to be a different person.
588
00:39:54,977 --> 00:39:56,896
"I'm going to be
the best version of myself."
589
00:39:56,979 --> 00:39:59,648
And then...you're tested immediately.
590
00:39:59,732 --> 00:40:04,111
And this scene is about that little voice
inside that you shouldn't listen to,
591
00:40:05,488 --> 00:40:07,656
that we often do listen to, that says,
592
00:40:07,740 --> 00:40:10,826
"You know, just run
one more emotional red light.
593
00:40:10,910 --> 00:40:12,328
"Nobody's gonna catch you."
594
00:40:15,247 --> 00:40:22,046
And suddenly we have
David Aames in the car.
595
00:40:27,301 --> 00:40:31,222
I Fall Apart,
that's our composition, isn't it?
596
00:40:31,305 --> 00:40:33,099
- We wrote that song.
- We wrote that song.
597
00:40:35,851 --> 00:40:39,772
And you can't beat the way Cameron
Diaz brandishes that CD, you know?
598
00:40:39,855 --> 00:40:42,358
The way she just
flips that around to him.
599
00:40:42,441 --> 00:40:43,526
Love that.
600
00:40:43,609 --> 00:40:48,697
This scene was shot over two days
on Riverside Drive in New York.
601
00:40:49,782 --> 00:40:56,163
And it really was a challenge
to keep the concentration going,
602
00:40:57,623 --> 00:41:02,753
but Tom and Cameron
really did stay in the zone
603
00:41:03,546 --> 00:41:05,965
and did this scene a lot.
604
00:41:06,882 --> 00:41:09,009
A very wrenching scene
605
00:41:09,093 --> 00:41:12,721
that I always said was our mini-tribute
to Carnal Knowledge.
606
00:41:12,805 --> 00:41:16,267
This was going to be a raw glimpse
607
00:41:16,350 --> 00:41:20,396
of the way people can be with
each other in a love affair going bad
608
00:41:21,063 --> 00:41:22,898
if the camera was a fly on the wall.
609
00:41:24,233 --> 00:41:27,069
And she says some rough stuff in this
610
00:41:27,903 --> 00:41:30,614
and he says
some emotionally rough stuff in this.
611
00:41:31,615 --> 00:41:33,993
And I remember, the first time
we showed this at a test screening,
612
00:41:34,076 --> 00:41:36,579
when Cameron Diaz said the line about,
613
00:41:38,581 --> 00:41:41,083
you know, "swallowed your cum."
614
00:41:41,876 --> 00:41:43,627
- Tough one.
- That was a tough one.
615
00:41:45,004 --> 00:41:47,173
And there was a shudder
that went through the audience,
616
00:41:47,256 --> 00:41:50,384
like they couldn't believe they had
actually seen her say those words.
617
00:41:50,467 --> 00:41:56,432
I hail her as an actress
for never questioning that dialogue,
618
00:41:56,515 --> 00:41:59,977
but doing it
in many different circumstances,
619
00:42:00,060 --> 00:42:01,604
always totally committed.
620
00:42:01,687 --> 00:42:05,316
- She's brave.
- I think it is a brave thing.
621
00:42:06,442 --> 00:42:12,323
And the fact is, people involved
in a casual sex relationship often...
622
00:42:12,990 --> 00:42:16,368
Often it's not that casual.
Somebody's keeping score.
623
00:42:17,036 --> 00:42:19,538
And often both of them
are acting casual.
624
00:42:21,123 --> 00:42:23,918
And this scene in many ways
is about her saying,
625
00:42:24,001 --> 00:42:26,420
"Look, I can't keep the act up any more.
626
00:42:27,046 --> 00:42:28,547
"I remember everything.
627
00:42:28,631 --> 00:42:31,550
"All those throwaway moments
that we pretended didn't matter,
628
00:42:31,634 --> 00:42:32,801
- "they mattered."
- That's right.
629
00:42:32,885 --> 00:42:36,013
"In fact, here's what I remember
most of all."
630
00:42:37,056 --> 00:42:41,143
And a guy who's sort of addicted
to the quick-fix relationships,
631
00:42:41,227 --> 00:42:42,519
the things that can happen,
632
00:42:42,603 --> 00:42:45,147
you meet someone,
you sleep with them in a night.
633
00:42:45,231 --> 00:42:49,401
It's amazing when you're hit directly
634
00:42:50,778 --> 00:42:54,907
with somebody
who never really was casual.
635
00:42:56,825 --> 00:42:58,327
Tom was very generous
in these scenes,
636
00:42:58,410 --> 00:43:00,079
he was very caring with Cameron.
637
00:43:00,162 --> 00:43:01,956
They were very caring with each other.
638
00:43:02,539 --> 00:43:04,625
And sometimes you saw it,
and you really did feel like
639
00:43:04,708 --> 00:43:06,627
you were watching something
that you maybe shouldn't be watching,
640
00:43:06,710 --> 00:43:07,920
it was so personal.
641
00:43:09,255 --> 00:43:12,466
The car accident,
John Toll and I really discussed a lot.
642
00:43:12,549 --> 00:43:14,009
We wanted it to be random
643
00:43:16,178 --> 00:43:19,139
and brutally so.
644
00:43:19,932 --> 00:43:21,934
The way a car accident would really be.
645
00:43:24,019 --> 00:43:26,939
You feel the impact,
you feel the silence.
646
00:43:27,022 --> 00:43:32,027
And you know something terribly wrong
is inside that car.
647
00:43:32,611 --> 00:43:34,989
And I wanted those people
to come running from a distance.
648
00:43:37,199 --> 00:43:40,995
In a way, it's a reflection of that car
accident we saw in Seattle that night,
649
00:43:41,078 --> 00:43:44,248
when we came upon that car accident
and the car had just been turned over.
650
00:43:44,331 --> 00:43:47,543
And there was such a darkness
about that silent car
651
00:43:47,626 --> 00:43:49,753
- that had just been in an accident.
- It's tough.
652
00:43:52,715 --> 00:43:54,925
Here's a very key, key, key scene.
653
00:43:56,218 --> 00:43:57,845
This is David Aames' dream
654
00:43:59,638 --> 00:44:01,473
of what he wished had happened.
655
00:44:01,557 --> 00:44:05,394
The toughest scene to maybe put
any piece of music to.
656
00:44:05,477 --> 00:44:09,440
It's true. We tried a lot of different
stuff through the various test screenings.
657
00:44:09,523 --> 00:44:10,983
And this was always...
658
00:44:11,066 --> 00:44:13,944
It's the first scene we shot,
by the way, on the first day.
659
00:44:14,028 --> 00:44:16,905
And the first score piece we ever put in
ended up in the end.
660
00:44:16,989 --> 00:44:20,576
It's true. Just a little sideline thing.
661
00:44:21,452 --> 00:44:24,455
This takes place... This is taking place
about 7:00 or so in the morning.
662
00:44:24,538 --> 00:44:28,834
There is an army of paparazzis
firing off shots
663
00:44:28,917 --> 00:44:30,419
just outside of the frame.
664
00:44:31,545 --> 00:44:32,838
In every one of these shots.
665
00:44:32,921 --> 00:44:35,299
Because in New York City,
if you shoot in public,
666
00:44:35,382 --> 00:44:37,718
the paparazzis,
they have the run of your set.
667
00:44:38,427 --> 00:44:40,179
And they have the legal right to.
668
00:44:40,888 --> 00:44:45,601
So they're firing off stuff, you know,
throughout all these scenes,
669
00:44:45,684 --> 00:44:49,021
running to their cars,
and making sure that the shots
670
00:44:49,104 --> 00:44:53,025
are FedExed to Spain
and London within an hour.
671
00:44:53,942 --> 00:44:55,694
And at one point they all yelled out,
they go,
672
00:44:55,778 --> 00:44:56,862
"Cameron, Cameron,
673
00:44:56,945 --> 00:44:59,281
"if you get Penélope and Tom
and Cameron Diaz
674
00:44:59,365 --> 00:45:01,700
"to all pose together for us,
we'll go away."
675
00:45:01,784 --> 00:45:04,203
And I went up to a cop and said,
"Hey, you know,
676
00:45:04,286 --> 00:45:06,830
"if we get them all together and pose
for them, they say they'll go away."
677
00:45:06,914 --> 00:45:09,375
And the cop's like,
"First, welcome to New York.
678
00:45:10,125 --> 00:45:13,128
"Second, they're lying to you.
They won't go away."
679
00:45:13,712 --> 00:45:14,797
I was like, "Oh, okay."
680
00:45:15,589 --> 00:45:17,007
But this scene was very key.
681
00:45:17,091 --> 00:45:20,469
Because when we played this scene
with a different piece of music,
682
00:45:20,552 --> 00:45:24,056
a piece of music that wasn't personal
and wasn't like your score,
683
00:45:25,474 --> 00:45:32,147
people felt wrenched out of a love affair
that they were just getting settled in
684
00:45:32,231 --> 00:45:33,482
- to watching.
- Yeah.
685
00:45:33,565 --> 00:45:36,568
And it was a very polarizing moment
in the movie.
686
00:45:37,152 --> 00:45:40,572
People walked out in the second test
screening, I know, at that point.
687
00:45:40,656 --> 00:45:42,908
They were disgusted
they weren't going to get the movie
688
00:45:42,991 --> 00:45:45,744
that was about the love affair
between these two characters.
689
00:45:45,828 --> 00:45:52,501
And it was all
about the transition of this scene,
690
00:45:52,584 --> 00:45:55,003
which is his dream of what he wanted
to have happen
691
00:45:56,004 --> 00:45:59,591
into the reality of what did happen,
692
00:46:00,259 --> 00:46:04,054
which is in itself a flashback of a story
that he's telling to Kurt Russell.
693
00:46:05,097 --> 00:46:07,433
We did ask a lot of people
in this movie, didn't we?
694
00:46:08,183 --> 00:46:09,601
- Ask?
- Yeah. To like...
695
00:46:09,685 --> 00:46:13,605
To hang with, like,
a tri-level concept like that.
696
00:46:14,106 --> 00:46:16,191
But still, the people that got it,
697
00:46:16,275 --> 00:46:21,321
even in the screening where we had
walkouts in this sequence, really got it.
698
00:46:21,405 --> 00:46:24,032
And that continued
throughout the whole life of the movie.
699
00:46:24,867 --> 00:46:28,370
When people took the ride
700
00:46:29,455 --> 00:46:33,625
and appreciated the ride,
they got a cinematic buzz.
701
00:46:33,709 --> 00:46:35,627
- Yeah.
- One of those cinema buzzes
702
00:46:35,711 --> 00:46:40,174
that they sought us out
to tell us about, which is great.
703
00:46:40,257 --> 00:46:45,387
There's a dream going on,
but there's also kind of a second reality.
704
00:46:45,471 --> 00:46:49,475
- Or a second reality.
- Yeah, and there's many levels.
705
00:46:49,558 --> 00:46:52,603
This, I remember we watched
the dailies of this after the first day.
706
00:46:52,686 --> 00:46:55,898
And we were on a long lens
and we got, you know...
707
00:46:56,732 --> 00:47:00,986
Tom just looked
into the camera accidentally really
708
00:47:01,069 --> 00:47:04,072
or just was beautifully unaware
of the camera and it happened
709
00:47:04,156 --> 00:47:06,200
that at the point he realizes
he's dreaming,
710
00:47:06,283 --> 00:47:08,660
he's looking right into the lens.
It was very powerful.
711
00:47:08,744 --> 00:47:11,246
Everybody in the screening room
kind of went, "Whoa!"
712
00:47:12,664 --> 00:47:16,251
And that take was what we used
and always stayed with.
713
00:47:20,339 --> 00:47:21,715
Tom's performance...
714
00:47:22,674 --> 00:47:29,348
It's a particularly beautiful thing
as he realizes that he is within a dream.
715
00:47:30,265 --> 00:47:34,019
He can't get out of his dream.
He can't wake up
716
00:47:34,937 --> 00:47:40,526
and he can't face
the nightmare of him losing that girl.
717
00:47:42,945 --> 00:47:46,532
Joe Hutshing and Mark Livolsi,
our editors,
718
00:47:46,615 --> 00:47:50,869
really did a masterful job
in constructing this whole sequence.
719
00:47:52,538 --> 00:47:56,333
Because you want to gently guide
720
00:47:56,959 --> 00:47:59,044
an audience
through the challenging parts,
721
00:47:59,127 --> 00:48:02,047
but you don't want
to ever talk down to them.
722
00:48:02,881 --> 00:48:07,386
I think an audience is really,
always so much smarter
723
00:48:07,886 --> 00:48:09,805
than anybody gives them credit for.
724
00:48:09,888 --> 00:48:16,228
And Joe and Mark kind of lived up
to the best of a belief in the audience
725
00:48:17,062 --> 00:48:20,107
as opposed to simplifying
726
00:48:20,899 --> 00:48:23,986
to the easiest level of what you can
communicate to an audience.
727
00:48:24,069 --> 00:48:26,822
And this whole sequence
is very complex.
728
00:48:28,156 --> 00:48:30,200
- Let's call him up.
- Let's call Joe.
729
00:48:30,909 --> 00:48:32,995
- Actually, Joe's on vacation.
- Oh, too bad.
730
00:48:35,163 --> 00:48:38,125
The other thing about the scene
that we just saw in Central Park,
731
00:48:38,750 --> 00:48:41,003
what we called the "hall of trees" scene
732
00:48:41,086 --> 00:48:44,047
is we wanted to use colors and sounds
733
00:48:44,131 --> 00:48:46,341
that didn't exist anywhere else
in the movie.
734
00:48:48,093 --> 00:48:53,390
So that it did signal a hyper-real level
that was going on.
735
00:48:57,936 --> 00:49:01,982
This is just a sequence
that I felt, as a director,
736
00:49:02,065 --> 00:49:03,859
it was the beginning of a new chapter
737
00:49:05,110 --> 00:49:09,281
of really using visuals to tell the story
even more than I had before.
738
00:49:09,364 --> 00:49:12,284
And that was something
John Toll and I had wanted to do.
739
00:49:13,535 --> 00:49:15,037
From about the middle
of Almost Famous
740
00:49:15,120 --> 00:49:19,124
we talked about the potential
of using visuals even more.
741
00:49:20,542 --> 00:49:22,544
I loved that light below.
742
00:49:22,628 --> 00:49:27,966
It was kind of an eerie
but centering feel,
743
00:49:28,050 --> 00:49:33,555
that light on the table
that shines up at Tom and Kurt.
744
00:49:34,723 --> 00:49:37,476
And once again,
there are clues everywhere.
745
00:49:37,559 --> 00:49:40,270
There's a Martin Luther King poster,
"I have a dream."
746
00:49:41,813 --> 00:49:45,567
"Live the dream."
There are things on that blackboard
747
00:49:47,736 --> 00:49:50,739
that, frankly, aren't too hard
to decipher, so let's protect the mystique
748
00:49:50,822 --> 00:49:52,824
- and not talk about it too much.
- No, no, now's the time.
749
00:49:52,908 --> 00:49:55,327
Okay, all right. There's all kinds
of stuff on the blackboard.
750
00:49:55,410 --> 00:49:57,829
- Yeah, check out the blackboard.
- Easy codes to break.
751
00:50:02,250 --> 00:50:06,755
It's funny. This was an attempt to show
that David Aames had become
752
00:50:06,838 --> 00:50:08,423
a kind of Citizen Kane.
753
00:50:09,424 --> 00:50:12,678
He had become an emperor trapped
in that apartment
754
00:50:12,761 --> 00:50:15,847
that was once a joyful place,
where he met Penélope.
755
00:50:15,931 --> 00:50:19,643
So he's actually sitting in the exact spot
where he met Penélope,
756
00:50:20,352 --> 00:50:23,438
except now he's
an emperor of the indoors.
757
00:50:24,356 --> 00:50:30,779
And the reveal of the makeup
and the disfiguration, I should say,
758
00:50:32,531 --> 00:50:33,782
also shocked people.
759
00:50:34,866 --> 00:50:38,620
It kind of surprised them
760
00:50:38,704 --> 00:50:44,126
and I think that was the right way
to reveal the disfiguration.
761
00:50:44,876 --> 00:50:47,421
"Rumors of my death
have been mildly exaggerated."
762
00:50:47,504 --> 00:50:51,967
Yeah, that was something
we came up with on the spot. And...
763
00:50:52,050 --> 00:50:55,554
- Which quotes Shakespeare.
- Well, isn't it Mark Twain?
764
00:50:55,637 --> 00:51:00,434
- Is it? Mark Twain, okay.
- It's a bastardisation of Mark Twain.
765
00:51:09,901 --> 00:51:12,612
This always felt
like a mini Truffaut movie to me.
766
00:51:12,696 --> 00:51:14,156
It's one of my favorite parts.
767
00:51:14,239 --> 00:51:18,160
And your great score, Garage Beat,
I think is the name of that cue,
768
00:51:18,660 --> 00:51:21,997
gave it that feeling,
a kind of sad, whimsical feeling.
769
00:51:22,080 --> 00:51:26,668
- And we shot this in Greenwich Village.
- Definitely off balance.
770
00:51:26,752 --> 00:51:30,046
Penélope in that shot feels
like she's in a Truffaut movie.
771
00:51:30,130 --> 00:51:35,886
And I love Truffaut. Stolen Kisses,
particularly is the feeling of this scene.
772
00:51:38,430 --> 00:51:41,224
This was originally
the reveal of his disfiguration.
773
00:51:42,934 --> 00:51:45,103
We switched the order of the scenes.
774
00:51:45,937 --> 00:51:50,275
This became more poetic,
whereas the other was more jarring.
775
00:51:50,358 --> 00:51:53,111
And I think it put you
in the frame of mind of David Aames.
776
00:51:53,195 --> 00:51:55,113
Now we have
the wonderful doctor scene.
777
00:51:55,864 --> 00:51:59,034
We searched forever to find
the right actor to play Dr. Pomeranz
778
00:51:59,117 --> 00:52:01,369
and we found Armand Schultz
in New York.
779
00:52:01,453 --> 00:52:06,833
He's a New York theater actor
and he just plain nailed it.
780
00:52:08,293 --> 00:52:12,631
And what he does is give you
the subtle, or not so subtle, arrogance
781
00:52:12,714 --> 00:52:15,842
of an extremely successful doctor,
782
00:52:15,926 --> 00:52:20,055
who holds David Aames' future
and vanity in his hands.
783
00:52:21,139 --> 00:52:22,724
This is a big scene for Tom
784
00:52:22,808 --> 00:52:25,477
because Tom's character
is trying out his persona,
785
00:52:26,311 --> 00:52:30,190
the persona of a guy
that has none of his previous benefits.
786
00:52:30,273 --> 00:52:33,819
And he's straining, you know.
And he also has some new poetry.
787
00:52:33,902 --> 00:52:37,989
You know, he's able to say, "I know
what my place in the world is."
788
00:52:38,073 --> 00:52:41,326
You know, "I'm out there.
I'm a social animal, that's my poetry.
789
00:52:41,409 --> 00:52:44,913
"Give me back my poetry."
And he had a long speech to do
790
00:52:44,996 --> 00:52:50,001
and Tom just couldn't wait
to do this scene.
791
00:52:50,919 --> 00:52:53,505
I think it was something
that he knew was very pivotal
792
00:52:53,588 --> 00:52:55,757
and important for the audience.
793
00:52:55,841 --> 00:52:58,176
Because the audience gets to laugh
in this scene.
794
00:52:58,260 --> 00:53:02,013
And they don't know previous to this
that it's okay to laugh.
795
00:53:02,722 --> 00:53:07,519
And we always wanted humor
to be a part of this whole movie.
796
00:53:10,272 --> 00:53:13,191
There was a great sense of...
797
00:53:14,442 --> 00:53:17,946
I love the "playing jazz," the hand
that passes through the frame.
798
00:53:18,780 --> 00:53:21,074
But Tom had a great sense
799
00:53:24,452 --> 00:53:26,371
of David Aames
reinventing himself here,
800
00:53:28,039 --> 00:53:30,625
trying to use whatever he can to get by.
801
00:53:31,626 --> 00:53:34,754
And in the end it's money
that he offers to try and get there.
802
00:53:34,838 --> 00:53:37,173
He wants to buy poetry,
he wants to buy love.
803
00:53:37,257 --> 00:53:41,636
- And he wants to buy himself back.
- Buy himself back.
804
00:53:46,600 --> 00:53:50,228
That was Carly,
who worked in the prop department.
805
00:53:50,312 --> 00:53:53,773
And we always thought
there was a nice little mini-story there
806
00:53:53,857 --> 00:53:56,902
where Dr. Pomeranz was having
an affair with Carly,
807
00:53:56,985 --> 00:54:00,030
so they have
their own little romantic interlude.
808
00:54:00,113 --> 00:54:02,657
"Thank you, Carly."
"You're welcome, Doctor."
809
00:54:08,788 --> 00:54:09,789
I love that guy.
810
00:54:15,837 --> 00:54:19,716
Pomeranz is just quietly, coldly on fire.
811
00:54:22,093 --> 00:54:25,013
But I had this idea pretty early on.
812
00:54:25,096 --> 00:54:27,390
A scene where nobody wanted
to say the word "mask."
813
00:54:27,974 --> 00:54:31,770
And every other word or term is used,
an aesthetic replacement.
814
00:54:31,853 --> 00:54:34,898
And then Tom just has to cut loose
with the word "mask,"
815
00:54:34,981 --> 00:54:36,942
which always played better
in the wide shot.
816
00:54:37,901 --> 00:54:41,738
I just like the idea
that he becomes a dervish
817
00:54:41,821 --> 00:54:44,115
as he says the word
nobody wants to say.
818
00:54:51,164 --> 00:54:55,377
This was a transition that used
to be done to Steely Dan's song,
819
00:54:55,460 --> 00:54:56,836
Here at the Western World.
820
00:54:57,671 --> 00:55:01,383
And it was always a part of the script.
It was one of the first things
821
00:55:01,466 --> 00:55:04,928
that was written into the script,
this transition
822
00:55:05,512 --> 00:55:08,723
that shows the re-emergence
like the Normandy invasion.
823
00:55:11,726 --> 00:55:15,397
And there's our fabulous Simpsons
gentleman outside the window.
824
00:55:15,897 --> 00:55:16,898
Love that shot.
825
00:55:16,982 --> 00:55:18,233
Thank you, James L. Brooks.
826
00:55:19,567 --> 00:55:23,071
And this shot,
shall I say what inspired this shot?
827
00:55:23,154 --> 00:55:25,907
- Yeah.
- Yeah, I went to visit Mike Myers,
828
00:55:26,908 --> 00:55:33,206
who is nothing less than
a comedic genius and a wonderful guy.
829
00:55:33,289 --> 00:55:37,085
Robin Ruzan, his wife,
and I and Nancy were all there.
830
00:55:37,168 --> 00:55:39,963
And he had a script laid out
that he was reading,
831
00:55:40,046 --> 00:55:44,426
but he wanted to get the flow
and the arc of the script
832
00:55:45,176 --> 00:55:47,178
by kind of standing within it.
833
00:55:49,639 --> 00:55:51,224
And I saw all these pages laid out
834
00:55:51,307 --> 00:55:55,311
and I immediately went and wrote
that scene out and that shot
835
00:55:55,395 --> 00:55:58,523
so we could get, again,
the Citizen Kane aspect
836
00:55:58,606 --> 00:56:01,526
of Kane trying to catch up
on his lost memo reading.
837
00:56:02,360 --> 00:56:03,862
So thanks, you guys.
838
00:56:05,655 --> 00:56:07,282
The dance rehearsal scene
839
00:56:09,659 --> 00:56:13,496
was a very, very key scene, as well.
840
00:56:14,164 --> 00:56:17,292
Penélope herself was a dancer
for 14 years
841
00:56:18,043 --> 00:56:20,712
and I wanted to show
a little bit of her dancing.
842
00:56:22,088 --> 00:56:27,343
But once again this is David Aames
trying out his new persona.
843
00:56:28,386 --> 00:56:32,849
And he's decided that, you know,
he's gonna make her laugh.
844
00:56:35,351 --> 00:56:39,064
And Penélope kind of matches the spirit
845
00:56:39,147 --> 00:56:42,817
of what David Aames is doing so well
when she says,
846
00:56:43,443 --> 00:56:45,987
kind of against her better judgement,
you know,
847
00:56:46,738 --> 00:56:49,991
does she want to get together with him,
she says, "Sure."
848
00:56:50,825 --> 00:56:55,330
And I love that she could just as easily
be saying, "No."
849
00:56:56,081 --> 00:56:57,415
But she's saying, "Sure."
850
00:56:59,042 --> 00:57:02,420
And here is where Tom is just trying
to make her laugh.
851
00:57:02,504 --> 00:57:07,467
David Aames is just trying to find that
dark, ironic humor that's gonna work.
852
00:57:10,178 --> 00:57:14,182
And, of course, and this was true
when we showed this
853
00:57:15,100 --> 00:57:19,354
in the theaters for the first time,
people weren't ready to laugh.
854
00:57:22,524 --> 00:57:25,068
They kind of laughed
at the hair day line,
855
00:57:28,071 --> 00:57:32,867
but they really were just getting used
to the very thing
856
00:57:32,951 --> 00:57:34,661
that David Aames was getting used to.
857
00:57:35,912 --> 00:57:39,791
And that was what Cruise I think,
was doing with the performance,
858
00:57:39,874 --> 00:57:43,586
is taking you there,
into what it is to be that guy
859
00:57:43,670 --> 00:57:46,297
- trying to reach back to love.
- Oh, my God. There's Benny.
860
00:57:47,257 --> 00:57:52,804
Well, this was the first thing shot
in preproduction, really.
861
00:57:52,887 --> 00:57:57,559
- Benny!
- Benny and James Murtaugh, the actor,
862
00:57:57,642 --> 00:58:01,938
and, of course,
the great Conan O'Brien.
863
00:58:02,021 --> 00:58:03,398
Oh, yes.
864
00:58:03,481 --> 00:58:08,695
And Conan I talked to on the phone and
let him know that we were all big fans
865
00:58:08,778 --> 00:58:10,655
and that we wanted to do this thing.
866
00:58:10,738 --> 00:58:13,741
He said, "You know, I have
a very discerning Late Night audience,
867
00:58:13,825 --> 00:58:14,826
"it's mostly college kids,
868
00:58:14,909 --> 00:58:16,703
"can you promise me
it won't be cheesy?"
869
00:58:16,786 --> 00:58:19,956
And I said, "I can promise you,
no dairy products will be involved."
870
00:58:20,039 --> 00:58:21,624
And he said, "Okay, let's do it."
871
00:58:22,167 --> 00:58:27,505
So we shot this scene and he did
that great ad lib about tongs,
872
00:58:27,589 --> 00:58:28,840
which I love that.
873
00:58:29,591 --> 00:58:33,511
And I talked to him later and I said,
"Man, I loved the tongs thing.
874
00:58:33,595 --> 00:58:35,096
"You remember that?" And he said,
875
00:58:35,180 --> 00:58:37,849
"I've ad-libbed so many other things
since I ad-libbed
876
00:58:37,932 --> 00:58:40,310
"whatever you're talking about.
I really don't remember."
877
00:58:40,393 --> 00:58:41,853
I said, "That's okay, thank you."
878
00:58:42,687 --> 00:58:47,942
But Tom here goes back
to a teenager's anxiety
879
00:58:48,026 --> 00:58:50,361
about making one
of his first phone calls to a girl.
880
00:58:50,945 --> 00:58:55,158
And it's one of my...
I'm proudest of this scene
881
00:58:56,284 --> 00:58:59,537
in that it just captures
the anxiety of a guy
882
00:58:59,621 --> 00:59:01,789
who thought he had outgrown
and outlived
883
00:59:02,040 --> 00:59:03,208
this kind of anxiety.
884
00:59:03,291 --> 00:59:06,461
This is a 12-year-old's anxiety.
This is a 13-year-old's anxiety.
885
00:59:07,045 --> 00:59:08,880
And now he's going to fight
his way back.
886
00:59:18,681 --> 00:59:20,225
Yes, the club scene.
887
00:59:21,559 --> 00:59:23,394
The club scene was always meant to be
888
00:59:24,312 --> 00:59:29,108
an adolescent, high school dance
that goes awry.
889
00:59:31,819 --> 00:59:34,322
John Toll really worked on the colors
890
00:59:34,405 --> 00:59:37,575
and we worked together
on the kind of hypnotic opening
891
00:59:38,451 --> 00:59:40,495
that would draw David Aames
892
00:59:40,578 --> 00:59:45,333
into confronting, really, love,
893
00:59:45,416 --> 00:59:49,045
and who he is
as this new version of himself.
894
00:59:49,837 --> 00:59:53,967
Betsy Heimann found the
wonderful T-shirt that Penélope wears,
895
00:59:54,050 --> 00:59:55,635
that is a clue in itself.
896
00:59:56,135 --> 00:59:58,513
The saint that's referenced on her shirt
897
00:59:59,514 --> 01:00:03,559
has resonance in the situation
that's happening here in the club.
898
01:00:04,769 --> 01:00:08,940
And once again
Tom's work in the mask is aching,
899
01:00:09,941 --> 01:00:13,111
more aching than I even imagined.
900
01:00:14,195 --> 01:00:16,281
I loved the club scene in Abre los ojos
901
01:00:16,781 --> 01:00:19,701
and this in many ways is a tribute to it,
902
01:00:21,369 --> 01:00:22,370
and an attempt
903
01:00:24,497 --> 01:00:28,501
to just revel in the ache of a guy
trying to reconnect with love.
904
01:00:29,961 --> 01:00:32,380
Club scene was always meant
to be long.
905
01:00:32,463 --> 01:00:35,800
It's really a tour de force
for Joe Hutshing, our editor.
906
01:00:36,551 --> 01:00:40,805
He was very proud of the cutting,
I was extremely proud of the cutting,
907
01:00:40,888 --> 01:00:45,518
and we very painstakingly took it down
from an even longer length.
908
01:00:52,734 --> 01:00:54,819
All this stuff Tom added on his own,
909
01:00:54,902 --> 01:00:58,406
referencing South Park
in his conversation with Jason.
910
01:00:59,532 --> 01:01:02,577
And it really was a powerful sequence
911
01:01:02,660 --> 01:01:06,873
because we had all those extras,
hundreds of them,
912
01:01:07,582 --> 01:01:11,210
there as these kind of wrenching
emotional scenes were happening.
913
01:01:11,919 --> 01:01:16,090
And the club scene was
a real turning point for the movie
914
01:01:16,174 --> 01:01:18,676
where we realized we were going
into deeper waters.
915
01:01:19,510 --> 01:01:21,429
And gloriously so, I think.
916
01:01:21,929 --> 01:01:24,557
The movie really asks you to take hold
917
01:01:24,640 --> 01:01:29,354
and really be with David Aames
and Tom in this journey.
918
01:02:07,558 --> 01:02:10,061
I love the actor that plays
the bartender in this sequence.
919
01:02:10,144 --> 01:02:11,771
His name is W. Earl Brown.
920
01:02:13,898 --> 01:02:15,983
Well, he missed
the Elton John-Billy Joel show
921
01:02:16,067 --> 01:02:17,735
at the Forum to do this scene.
922
01:02:17,819 --> 01:02:19,529
We got him tickets for a later night.
923
01:02:20,405 --> 01:02:23,032
But W. Earl Brown did a nice job here.
924
01:02:24,492 --> 01:02:29,997
And again, the descent
into the Hades of lost love
925
01:02:30,081 --> 01:02:32,750
and the trying on of this new persona
926
01:02:33,918 --> 01:02:36,421
really kind of powered the movie
to another place.
927
01:02:37,255 --> 01:02:40,007
In fact, I'm going to call Tom right now.
Let's reminisce.
928
01:02:42,677 --> 01:02:45,430
There's Choo Choo Boy.
The extra we called Choo Choo Boy,
929
01:02:45,513 --> 01:02:49,725
because of his fabulous choo choo
mannerism there.
930
01:02:51,227 --> 01:02:55,481
- Hello. Hello.
- Hello. Hey, brother.
931
01:02:55,565 --> 01:02:58,192
- We're in the club scene right now.
- Oh, baby.
932
01:02:58,860 --> 01:03:00,778
And we've just seen Choo Choo Boy.
933
01:03:00,862 --> 01:03:03,114
- Did you see Choo Choo Boy?
- Yes, we did.
934
01:03:05,616 --> 01:03:07,368
- So this club scene.
- Yeah, man.
935
01:03:07,452 --> 01:03:09,036
- Let's talk about it.
- Let's do it.
936
01:03:09,620 --> 01:03:11,539
What are your memories
of the club scene?
937
01:03:12,957 --> 01:03:16,252
I remember the hours that we spent
talking about that club scene.
938
01:03:17,044 --> 01:03:22,467
Actually, do you remember
all those nights, always going down,
939
01:03:23,092 --> 01:03:26,721
remember the long calls from Spain?
And then the nights in the club.
940
01:03:26,804 --> 01:03:31,100
The nights in the hotel talking
about the dynamics of this scene?
941
01:03:33,895 --> 01:03:36,230
Because you were always talking
about the behavior
942
01:03:36,314 --> 01:03:40,234
of Penélope Cruz's character, Sofia,
943
01:03:40,985 --> 01:03:42,737
and Brian and the whole mix.
944
01:03:43,905 --> 01:03:46,073
You know, that it's... Here's a guy
945
01:03:46,991 --> 01:03:51,496
who is madly in love with Sofia
946
01:03:52,580 --> 01:03:56,751
and is reaching, you know?
947
01:03:57,585 --> 01:03:59,337
- They love each other.
- Yeah.
948
01:04:00,004 --> 01:04:02,757
And he's just going
a little too crazy for her.
949
01:04:03,257 --> 01:04:05,635
I love when you...
I'm watching you getting lost
950
01:04:05,718 --> 01:04:07,929
in that crowd of dancers right now.
951
01:04:09,096 --> 01:04:13,184
It's kind of like stage diving,
952
01:04:13,267 --> 01:04:15,061
except you were on your two feet.
953
01:04:15,144 --> 01:04:17,271
Yeah, you talked about that shot.
954
01:04:17,355 --> 01:04:19,982
I remember, that was
one of the first shots that you thought of
955
01:04:20,066 --> 01:04:21,609
when you were thinking of the club.
956
01:04:21,692 --> 01:04:26,906
'Cause you always wanted me
to get lost in the crowd.
957
01:04:27,698 --> 01:04:31,410
You know, how he's trying
to just blend in,
958
01:04:31,494 --> 01:04:34,038
to be part of something, to get lost.
959
01:04:34,997 --> 01:04:37,208
They really enveloped you.
I remember watching it.
960
01:04:37,291 --> 01:04:39,961
It was so emotional
just watching it on the monitor,
961
01:04:40,711 --> 01:04:43,464
because here's this guy
that just could barely deal
962
01:04:43,548 --> 01:04:45,132
with what was going on in his life,
963
01:04:45,216 --> 01:04:50,805
but in the darkness and lost in
that great song Rez by Underworld.
964
01:04:51,305 --> 01:04:54,392
You were almost whole again.
965
01:04:54,475 --> 01:04:56,143
- Yeah.
- So cool.
966
01:04:56,227 --> 01:04:58,646
Yeah, he finds himself again,
finds his footing.
967
01:04:59,480 --> 01:05:02,233
But it's just the drugs
and the alcohol and...
968
01:05:03,234 --> 01:05:06,112
It's just... They just miss.
He misses her.
969
01:05:06,195 --> 01:05:08,990
I'm watching that two-shot now
between you and Penélope
970
01:05:09,073 --> 01:05:14,078
where you're reminiscing and it's
the saddest girl to ever hold a martini.
971
01:05:14,161 --> 01:05:19,000
And there's just that moment where you
both hit a brick wall in your memories.
972
01:05:20,626 --> 01:05:21,794
- It's kind of cool.
- Yeah.
973
01:05:21,877 --> 01:05:24,088
It starts out well for them, doesn't it?
974
01:05:24,171 --> 01:05:26,465
You know, you're always talking
about that moment.
975
01:05:27,174 --> 01:05:28,926
- And there it is.
- And there it is.
976
01:05:29,010 --> 01:05:30,678
I couldn't wait to play that scene.
977
01:05:32,346 --> 01:05:34,015
I could not wait to play that scene.
978
01:05:40,730 --> 01:05:43,357
You know, because you come
from that world of music.
979
01:05:44,692 --> 01:05:46,944
You know, you've written about it,
you've been to these clubs
980
01:05:47,028 --> 01:05:49,488
and to have the opportunity to create
something like that.
981
01:05:49,572 --> 01:05:52,700
I thought it was cool how you shot it.
982
01:05:52,783 --> 01:05:56,203
How you always envisioned
that for the film.
983
01:05:56,704 --> 01:05:57,705
And when I saw it...
984
01:05:58,623 --> 01:06:04,211
You know, rarely do I feel
that kind of feeling.
985
01:06:04,295 --> 01:06:06,130
When you see that scene, it's...
986
01:06:07,006 --> 01:06:10,551
You know, I just... I think it's powerful.
I'm really proud of that scene.
987
01:06:11,052 --> 01:06:13,012
Me, too. I love it when Penélope says,
988
01:06:13,721 --> 01:06:16,140
"I'll tell you in another life
when we are both cats."
989
01:06:16,223 --> 01:06:18,559
- Oh, my God.
- Which she said to me
990
01:06:18,643 --> 01:06:21,312
when I tried to chat with her
991
01:06:21,395 --> 01:06:24,899
in an emotional moment
where she just didn't want to talk.
992
01:06:24,982 --> 01:06:26,859
And she said that to me and I felt like,
993
01:06:27,818 --> 01:06:30,321
"I am so going to put that
in the script right now."
994
01:06:33,366 --> 01:06:34,408
I remember that day.
995
01:06:35,159 --> 01:06:38,412
Just getting this scene there, do you
remember the hours we were working?
996
01:06:38,496 --> 01:06:39,705
Oh, yes.
997
01:06:39,955 --> 01:06:40,998
Everyone was pounding it.
998
01:06:41,082 --> 01:06:44,001
And we... It was just...
It just had to go there,
999
01:06:44,085 --> 01:06:49,632
you had to go those hours to find it
and keep working it.
1000
01:06:50,549 --> 01:06:52,677
And the pressure was on and you came
1001
01:06:52,760 --> 01:06:54,428
and you told me that line,
do you remember that?
1002
01:06:54,512 --> 01:06:56,681
- Yes, I do.
- I went, "Oh, my God!"
1003
01:06:57,598 --> 01:07:00,184
Tried to take credit for it,
but in the end I just figured
1004
01:07:00,267 --> 01:07:03,229
I was never gonna get away with it.
I had to give Penélope credit.
1005
01:07:03,938 --> 01:07:06,482
And I always knew that we had to end
on that close-up.
1006
01:07:06,565 --> 01:07:09,860
Where people just needed to be
that close to you
1007
01:07:09,944 --> 01:07:12,279
and see what you looked like.
1008
01:07:12,363 --> 01:07:15,032
- That's a trippy close-up.
- It is a trippy close-up.
1009
01:07:15,116 --> 01:07:17,284
Every time we get in,
I remember seeing it with an audience
1010
01:07:17,368 --> 01:07:21,372
and they sit there.
I always found it to be quite humorous.
1011
01:07:22,873 --> 01:07:23,874
Is it just me?
1012
01:07:27,461 --> 01:07:30,881
Well, we're now on the street.
Sofia is running away from you.
1013
01:07:30,965 --> 01:07:35,261
- Oh, man. How great is that run?
- I know, I will see...
1014
01:07:35,344 --> 01:07:37,805
How much do I love when you told her,
"Now, run."
1015
01:07:39,223 --> 01:07:42,685
And she starts running away.
I remember seeing that the first time.
1016
01:07:42,768 --> 01:07:44,270
We did a couple of takes
and she walked away,
1017
01:07:44,353 --> 01:07:46,147
and then you said, "No, no, now, run."
1018
01:07:47,064 --> 01:07:52,069
And that run! You know, people always
overlook those moments that...
1019
01:07:52,153 --> 01:07:55,906
It's all these little moments
that make up a performance,
1020
01:07:55,990 --> 01:07:58,325
that add to a scene in the movie.
1021
01:07:58,409 --> 01:08:03,956
And when she turns around and runs,
and the look that she gets, it just...
1022
01:08:04,915 --> 01:08:07,418
I love that. I really...
1023
01:08:07,501 --> 01:08:09,962
I find it moving
and kind of heartbreaking.
1024
01:08:10,045 --> 01:08:13,132
- It's the last time he sees her.
- Yeah, that's it.
1025
01:08:13,215 --> 01:08:14,216
That's it.
1026
01:08:15,259 --> 01:08:18,345
"We'll meet up soon."
I always thought was... Once again,
1027
01:08:18,429 --> 01:08:21,432
it's like the way she said "sure"
in the dance rehearsal scene.
1028
01:08:21,515 --> 01:08:25,352
She says, "We'll meet up soon,"
and she could just as easily be saying,
1029
01:08:25,936 --> 01:08:28,689
- "I never will be able to see you again."
- Yeah.
1030
01:08:29,774 --> 01:08:30,983
It's so cool.
1031
01:08:31,066 --> 01:08:34,862
Yeah, and you understand,
I mean for me, why she can't.
1032
01:08:34,945 --> 01:08:35,988
Yeah.
1033
01:08:36,572 --> 01:08:39,408
- This was a freezing night.
- Yeah, oh, God, it was cold.
1034
01:08:39,492 --> 01:08:42,119
There was ice on the ground.
1035
01:08:43,621 --> 01:08:46,457
It actually was dangerous
to run like that.
1036
01:08:47,249 --> 01:08:49,043
And there we were
with that great breath
1037
01:08:49,126 --> 01:08:52,296
coming out of all your mouths
as you do the lines.
1038
01:08:53,047 --> 01:08:56,717
Man, it was cold.
That makeup froze to my face.
1039
01:08:57,718 --> 01:08:59,470
It took a while to get it off that night.
1040
01:08:59,553 --> 01:09:01,305
And I love that there was one person
1041
01:09:01,889 --> 01:09:03,974
that was in the neighborhood
that needed to cross.
1042
01:09:04,058 --> 01:09:06,894
And we were so happy
to have somebody else in the shot.
1043
01:09:06,977 --> 01:09:10,397
You know, like some semblance of life.
So we're like, "Cross, cross, cross!"
1044
01:09:11,315 --> 01:09:13,275
"Just be in the movie!
Cross, cross, cross!"
1045
01:09:13,901 --> 01:09:17,988
Some people have sort of deciphered it
1046
01:09:18,072 --> 01:09:21,617
that the person that's crossing
is wearing a mask themselves.
1047
01:09:21,700 --> 01:09:23,661
I think we should say that
that was our intent, don't you?
1048
01:09:23,744 --> 01:09:25,955
- Yeah, absolutely.
- Okay, yeah, we planned that.
1049
01:09:26,664 --> 01:09:30,251
- Okay.
- I always loved the dark, the irony,
1050
01:09:30,334 --> 01:09:34,004
the humor, the dark humor
of this portion, you know.
1051
01:09:34,088 --> 01:09:36,173
We were talking about
who is this guy now
1052
01:09:36,257 --> 01:09:38,759
and how you really helped me
discover that and that...
1053
01:09:39,844 --> 01:09:46,016
To me, it's both painful
and just deeply humorous.
1054
01:09:46,559 --> 01:09:49,854
Yeah, and now you have
Sweetness Follows playing
1055
01:09:49,937 --> 01:09:52,857
in that crane shot as you run away.
1056
01:09:53,524 --> 01:09:57,570
It's one of the great marriages,
I think, that we had in the movie,
1057
01:09:57,653 --> 01:10:01,699
between music and the visuals.
That song which was always
1058
01:10:01,782 --> 01:10:04,285
in the script and we rehearsed with it,
Sweetness Follows.
1059
01:10:04,368 --> 01:10:05,744
- R.E.M.
- R.E.M.
1060
01:10:05,828 --> 01:10:07,037
R.E. M., baby.
1061
01:10:07,121 --> 01:10:08,956
- We love R.E.M.
- We shot with R. E.M.
1062
01:10:09,039 --> 01:10:11,041
- We did. Once again...
- We shot it, that was the song.
1063
01:10:11,125 --> 01:10:13,627
That's one of the scenes that we...
1064
01:10:13,711 --> 01:10:16,380
If you just played the sound
that was on the shot,
1065
01:10:16,463 --> 01:10:19,216
you'd hear the same thing
that's in the movie.
1066
01:10:19,300 --> 01:10:22,052
That's the same song that Diaz wanted
1067
01:10:23,345 --> 01:10:28,767
when she hits me to the ground
later on in the picture.
1068
01:10:28,851 --> 01:10:30,644
Yeah. And that's what she's listening to
1069
01:10:30,728 --> 01:10:31,896
- as she's looking at you.
- For her close-up.
1070
01:10:31,979 --> 01:10:33,898
It's true. Very cool.
1071
01:10:34,982 --> 01:10:38,110
Well, I thank you for picking up
the phone tonight and reminiscing.
1072
01:10:38,819 --> 01:10:40,571
You are now crumbling on the sidewalk.
1073
01:10:40,654 --> 01:10:42,948
- Hey, Nance.
- Hey, Thomas.
1074
01:10:51,332 --> 01:10:52,583
Back to reality.
1075
01:10:53,834 --> 01:10:55,878
- I will talk to you soon, my brother.
- Okay, brother.
1076
01:10:55,961 --> 01:10:57,171
- Take care. Bye.
- Bye.
1077
01:10:59,757 --> 01:11:03,218
- Okay, nice. Special guest star, there.
- Thomas.
1078
01:12:03,487 --> 01:12:08,450
And there's the great walk-away shot
that's happening in just a moment,
1079
01:12:09,785 --> 01:12:11,912
where originally,
a scene that was gonna...
1080
01:12:11,996 --> 01:12:14,873
That's a real moment actually,
that we just put in.
1081
01:12:14,957 --> 01:12:16,208
That's the end of a take.
1082
01:12:19,003 --> 01:12:21,046
When she lifts him up.
1083
01:12:21,130 --> 01:12:23,841
But this walk-away was always
really important to me.
1084
01:12:23,924 --> 01:12:26,844
And stuff that we were going to put
into close-ups,
1085
01:12:26,927 --> 01:12:30,180
we ended up using in this long shot
1086
01:12:30,264 --> 01:12:33,475
because it was more poetic
and more powerful.
1087
01:12:33,559 --> 01:12:37,104
And it was that great spirit
that you get shooting in DUMBO.
1088
01:12:39,940 --> 01:12:41,525
And I gotta say it,
1089
01:12:41,608 --> 01:12:45,863
I don't think anybody's
ever thrown an arm around a loved one
1090
01:12:45,946 --> 01:12:48,115
as well as Penélope is about to do it.
1091
01:12:49,450 --> 01:12:50,701
To me, that's love.
1092
01:12:50,784 --> 01:12:54,997
That's the kind of thing
that you remember later, long after sex
1093
01:12:55,080 --> 01:12:58,542
or, you know, the words of love
that are said.
1094
01:12:58,625 --> 01:13:00,461
You remember the little actions.
1095
01:13:00,544 --> 01:13:02,671
You remember the way
she threw that arm around you.
1096
01:13:02,755 --> 01:13:05,382
- That's friendship.
- That's friendship and that's love.
1097
01:13:07,885 --> 01:13:11,513
This was a little bit of an homage
1098
01:13:11,597 --> 01:13:15,059
to the French New Wave heroine,
1099
01:13:16,018 --> 01:13:18,062
which is one of the things
that was rattling around
1100
01:13:18,145 --> 01:13:21,899
in David Aames' brain
throughout the movie.
1101
01:13:21,982 --> 01:13:25,152
He loved those French films,
Jules and Jim, Breathless.
1102
01:13:28,655 --> 01:13:31,325
And these little things spike up
throughout the movie.
1103
01:13:32,076 --> 01:13:34,661
It's all his consciousness.
You could say, in a way,
1104
01:13:34,745 --> 01:13:39,166
the whole movie is rattling
around inside his brain.
1105
01:13:39,958 --> 01:13:43,754
And all the sets were constructed
that way,
1106
01:13:43,837 --> 01:13:47,257
this one, as we discussed earlier,
especially so.
1107
01:13:47,841 --> 01:13:52,012
The stairway that leads... Where?
We never know, you know?
1108
01:13:52,096 --> 01:13:54,890
I liked throwing
these little questions in.
1109
01:13:54,973 --> 01:13:58,894
Because I think the audiences
that love movies
1110
01:13:58,977 --> 01:14:01,355
or just what we love in movies.
1111
01:14:01,980 --> 01:14:03,774
You love those little things
that you think
1112
01:14:03,857 --> 01:14:05,692
you could be the only one that spotted.
1113
01:14:06,610 --> 01:14:10,906
And when you have a movie
that gives you little gifts like that,
1114
01:14:10,989 --> 01:14:14,576
little things that you feel,
"You know, somebody put that in,
1115
01:14:14,660 --> 01:14:18,664
"and I don't think anybody got that
but me." You love that in a movie. I do.
1116
01:14:20,833 --> 01:14:22,960
Kurt really gives it up here.
1117
01:14:24,378 --> 01:14:27,548
He's doing a turn on
a traditional type of character,
1118
01:14:27,631 --> 01:14:30,759
but very slowly but surely
he's showing you
1119
01:14:30,843 --> 01:14:33,178
how much he's becoming
emotionally invested.
1120
01:14:34,847 --> 01:14:39,893
And that's delicate work, and work
that you really appreciate as a director.
1121
01:14:41,061 --> 01:14:42,146
As anybody, really.
1122
01:14:46,984 --> 01:14:47,985
This...
1123
01:14:54,616 --> 01:14:56,034
I love this part.
1124
01:14:56,702 --> 01:15:01,331
Well, because Dr. Pomeranz is
about to return as his best friend.
1125
01:15:02,124 --> 01:15:04,668
And there's just
something about the way
1126
01:15:04,751 --> 01:15:07,296
Armand Schultz is about to say
the words "my brother"...
1127
01:15:08,005 --> 01:15:09,506
- Here he comes.
- ...that gives me
1128
01:15:10,674 --> 01:15:13,677
- odd and constant delight.
- The next thing that happened
1129
01:15:15,721 --> 01:15:16,722
was surreal.
1130
01:15:17,848 --> 01:15:20,017
- I love the way...
- "He's my new best friend."
1131
01:15:20,100 --> 01:15:21,101
Here he is.
1132
01:15:23,520 --> 01:15:26,398
Now something... You've got to know
something is wrong now.
1133
01:15:29,860 --> 01:15:31,987
And if you think about it,
1134
01:15:32,821 --> 01:15:36,033
the amazing thing that's happening
in the relationship
1135
01:15:36,116 --> 01:15:38,160
between Kurt Russell
and Tom's characters.
1136
01:15:40,037 --> 01:15:45,375
It's really a man talking with himself,
trying to figure himself out.
1137
01:15:46,752 --> 01:15:48,754
We used the Joan Osborne song,
One of Us,
1138
01:15:49,379 --> 01:15:52,591
because it was a kind of a nudge
1139
01:15:52,674 --> 01:15:55,510
that we're dealing
with potentially celestial issues.
1140
01:15:57,221 --> 01:16:00,766
Recreating, reclaiming,
reconstructing life.
1141
01:16:13,403 --> 01:16:15,739
And Noah Taylor appearing there.
1142
01:16:17,324 --> 01:16:18,325
Edmund Ventura.
1143
01:16:22,955 --> 01:16:24,122
This was a sequence,
1144
01:16:24,665 --> 01:16:27,209
where the two men are sitting
against the wall talking,
1145
01:16:27,292 --> 01:16:31,630
that was out of the movie for a time,
and I missed it so much.
1146
01:16:31,713 --> 01:16:34,549
It's just... It's kind of indicative.
1147
01:16:34,633 --> 01:16:37,427
In this movie more than anything else
I've ever been a part of,
1148
01:16:37,511 --> 01:16:39,179
every little thing mattered.
1149
01:16:39,263 --> 01:16:42,516
When you took one thing out,
the whole movie was affected.
1150
01:16:42,599 --> 01:16:45,269
Things way down the line
meant something else.
1151
01:16:45,352 --> 01:16:48,480
- House of cards.
- It was a house of cards.
1152
01:16:48,563 --> 01:16:50,732
It was a tent of dominoes.
1153
01:16:50,816 --> 01:16:53,902
It was... It was intricate.
1154
01:16:54,695 --> 01:16:57,864
But when we put
this conversation back in,
1155
01:16:59,866 --> 01:17:01,702
it was so correct.
1156
01:17:02,327 --> 01:17:04,329
You needed that relationship to build
1157
01:17:04,413 --> 01:17:07,040
between Curtis McCabe
and David Aames,
1158
01:17:07,916 --> 01:17:12,129
but you also wanted that conversation
about the Beatles.
1159
01:17:12,212 --> 01:17:16,591
'Cause the movie in many ways
I wanted to have kind of layers,
1160
01:17:16,675 --> 01:17:18,343
like the later Beatles' albums did.
1161
01:17:20,095 --> 01:17:22,472
Every time you listened
you'd hear something else.
1162
01:17:23,015 --> 01:17:26,018
And it's true, your favorite Beatle
changes over the years
1163
01:17:26,101 --> 01:17:27,644
and it defines who you are.
1164
01:17:29,396 --> 01:17:32,482
The original line was something else,
but I just kind of shouted something out
1165
01:17:32,566 --> 01:17:33,942
to Tom while we were filming,
1166
01:17:35,485 --> 01:17:37,446
that his favorite Beatle was George.
1167
01:17:37,529 --> 01:17:41,116
And he just said it and that,
of course, was the take that we used.
1168
01:17:41,199 --> 01:17:42,826
And later, you know,
1169
01:17:42,909 --> 01:17:46,496
George passed away just at the time
the movie was being released
1170
01:17:48,665 --> 01:17:51,918
and that sent another one
of those shudders through the audience.
1171
01:17:52,002 --> 01:17:55,297
It's funny, you make a movie
that in some ways is about pop culture
1172
01:17:55,380 --> 01:17:58,008
and how pop culture invades
our life and our minds,
1173
01:17:58,508 --> 01:18:02,596
and pop culture is going to outrun you
every time.
1174
01:18:03,513 --> 01:18:07,476
Pop culture from 9/11
and the twin towers
1175
01:18:07,559 --> 01:18:10,604
later on in the movie to George passing
1176
01:18:11,229 --> 01:18:13,315
to so many other things.
1177
01:18:13,398 --> 01:18:15,817
And the Dakota,
where John Lennon lived.
1178
01:18:15,901 --> 01:18:17,569
- Yeah.
- At the beginning.
1179
01:18:18,278 --> 01:18:23,700
That was definitely a hint that we were
going to get into Beatley territory.
1180
01:18:25,452 --> 01:18:27,371
This was a great scene
from the original.
1181
01:18:29,956 --> 01:18:35,045
I love the idea of Tom
in a vaguely purple,
1182
01:18:35,670 --> 01:18:39,049
strange plate system.
1183
01:18:42,469 --> 01:18:44,179
- Facial plates.
- A facial plate.
1184
01:18:44,888 --> 01:18:48,016
And it's one of
Penélope's strongest scenes
1185
01:18:48,100 --> 01:18:51,978
in that she does now
what Tom is a master of.
1186
01:18:52,062 --> 01:18:56,108
She volleys back
the regarding of a loved one.
1187
01:18:56,191 --> 01:18:59,319
It's like a woman who knows a man
better than the man.
1188
01:18:59,403 --> 01:19:00,862
Absolutely.
1189
01:19:00,946 --> 01:19:05,867
And she's now going to reveal him
to himself through her eyes.
1190
01:19:05,951 --> 01:19:07,077
Exactly.
1191
01:19:07,160 --> 01:19:13,917
But she's not going to be
too serious about it.
1192
01:20:43,048 --> 01:20:46,092
Here's a love scene
that's a tribute to Jules and Jim,
1193
01:20:47,427 --> 01:20:49,846
- with the jump cuts and...
- Stills...
1194
01:20:49,930 --> 01:20:53,517
Kind of a... The jump cuts
and the freeze frames
1195
01:20:53,600 --> 01:20:55,352
and the still moments.
1196
01:20:57,896 --> 01:21:02,025
It's one of those love scenes
where it feels completely real
1197
01:21:02,108 --> 01:21:04,152
and once again
like you're a fly on the wall.
1198
01:21:04,819 --> 01:21:06,947
I never did find out
what he whispered in her ear.
1199
01:21:07,030 --> 01:21:08,323
No?
1200
01:21:08,406 --> 01:21:09,908
- They won't say.
- They won't say.
1201
01:21:13,078 --> 01:21:17,415
But the thing is, when you shoot
a scene like that
1202
01:21:17,499 --> 01:21:20,544
you really have to create a mood.
1203
01:21:20,627 --> 01:21:24,381
Because there are people everywhere
and it is kind of embarrassing.
1204
01:21:24,464 --> 01:21:28,051
It's embarrassing as a director, really,
to say, you know...
1205
01:21:28,718 --> 01:21:30,637
- "Take your top off."
- "Take your top off."
1206
01:21:30,720 --> 01:21:32,138
No, I never said that!
1207
01:21:33,723 --> 01:21:35,976
Not that way. No.
1208
01:21:36,059 --> 01:21:38,937
But what you do is, you play Madonna,
you play the Stones.
1209
01:21:39,020 --> 01:21:41,940
You play all kinds of stuff.
We played a lot of Prince.
1210
01:21:43,066 --> 01:21:46,278
You don't see
the hysterical, nervous laughter
1211
01:21:46,361 --> 01:21:49,990
that, you know, precedes or follows
some of these moments.
1212
01:21:50,073 --> 01:21:54,035
And that's one of the great magical gifts
of cinema in that,
1213
01:21:54,119 --> 01:21:56,246
you put it together
and it's a stolen moment.
1214
01:21:56,913 --> 01:22:01,793
I love this love scene.
It's so personal and fun.
1215
01:22:01,876 --> 01:22:05,088
Well, it becomes about this kiss,
which is, again,
1216
01:22:05,672 --> 01:22:07,507
it's the kiss that you remember.
1217
01:22:08,800 --> 01:22:09,926
This, of course, is a tribute
1218
01:22:10,010 --> 01:22:12,012
to the Freewheelin' Bob Dylan
album cover,
1219
01:22:12,095 --> 01:22:15,015
which to me as a kid
was a vision of romantic love.
1220
01:22:15,098 --> 01:22:17,767
I wanted a girl to hold my arm like that.
1221
01:22:17,851 --> 01:22:20,437
- And I found one. You!
- All right.
1222
01:22:21,187 --> 01:22:26,026
But that was David Aames' image
of romantic love as a young boy.
1223
01:22:26,526 --> 01:22:29,404
We tried to find the real street.
1224
01:22:29,487 --> 01:22:31,489
We found the real street
in New York City.
1225
01:22:31,573 --> 01:22:34,868
The trees were different,
the apartment house was different.
1226
01:22:37,245 --> 01:22:41,291
It had lost a little bit
of the magic of the day.
1227
01:22:41,791 --> 01:22:44,210
So we recreated it
on the Paramount lot.
1228
01:22:44,294 --> 01:22:48,798
- And it was actually more real...
- With the cars and everything.
1229
01:22:48,882 --> 01:22:50,967
...on the lot than the real place was,
1230
01:22:51,051 --> 01:22:53,887
which would only be the case
in this movie.
1231
01:22:56,056 --> 01:22:57,849
Reality challenged.
1232
01:22:58,600 --> 01:23:01,519
Here Jason...
This is a pure Jason Lee scene,
1233
01:23:02,687 --> 01:23:07,233
talking about proximity infatuation
and this actually happened to me.
1234
01:23:07,317 --> 01:23:09,986
I was having a conversation
with my friend who is also a writer.
1235
01:23:10,570 --> 01:23:13,907
And he was on a rap in a restaurant
and it was a great rap
1236
01:23:13,990 --> 01:23:16,743
and we realized that there was
another writer at the next table
1237
01:23:16,826 --> 01:23:21,331
taking notes about his speech.
And we just felt so violated.
1238
01:23:21,956 --> 01:23:26,920
Because, you know, how dare
someone try and steal from our lives
1239
01:23:27,003 --> 01:23:29,839
what we were stealing
from our own lives, you know?
1240
01:23:32,008 --> 01:23:34,094
Here Noah reappears.
1241
01:23:35,720 --> 01:23:41,142
And we're getting into thriller
and psychological minefield territory,
1242
01:23:41,226 --> 01:23:42,602
which was a first for me
1243
01:23:42,686 --> 01:23:46,272
and it was one of the reasons I wanted
to do a cover of Abre los ojos
1244
01:23:46,356 --> 01:23:50,860
because I thought Alejandro did it
so well from a character point of view.
1245
01:23:50,944 --> 01:23:54,280
Let's raise the stakes of the characters,
1246
01:23:54,364 --> 01:23:59,786
make the characters even more real
and the plot even more vivid,
1247
01:24:00,036 --> 01:24:05,166
and that's what we get to bring
to the table in our cover version.
1248
01:24:07,961 --> 01:24:11,881
So here of course is where
the movie truly starts to take a shift.
1249
01:24:13,508 --> 01:24:17,971
There's a beautiful lull here that I know
from watching the movie in audiences,
1250
01:24:18,054 --> 01:24:21,182
people know that something's coming.
1251
01:24:21,266 --> 01:24:27,522
And it's that great,
kind of gnawing suspicion
1252
01:24:27,605 --> 01:24:29,649
that all is not what it appears to be
1253
01:24:30,984 --> 01:24:33,611
that even David Aames has.
1254
01:24:34,863 --> 01:24:40,827
This was really a sequence
that was cut very quickly.
1255
01:24:40,910 --> 01:24:44,998
Joe Hutshing cut it in a day
and it stayed the same throughout.
1256
01:24:46,708 --> 01:24:49,836
It was always fairly explosive.
It used to be a little longer.
1257
01:24:50,754 --> 01:24:54,549
And it's just those elements
1258
01:24:54,632 --> 01:25:00,847
of dealing with horror and vanity
and nightmarishness.
1259
01:25:00,930 --> 01:25:04,768
And there's such a yearning
in Tom's performance here,
1260
01:25:05,268 --> 01:25:06,895
where he just wants that love.
1261
01:25:06,978 --> 01:25:12,609
And his true nightmare is that
he embarrasses her with his looks.
1262
01:25:13,401 --> 01:25:15,695
Which, for David Aames,
is a true nightmare.
1263
01:25:16,988 --> 01:25:19,449
And I love the way she says,
"Was I snoring?"
1264
01:25:22,285 --> 01:25:24,078
It lets off a little steam, you know?
1265
01:25:26,206 --> 01:25:28,291
- Release valve.
- It is a release valve.
1266
01:25:31,711 --> 01:25:34,798
The whole kind of sequence
that we're involved in now
1267
01:25:35,632 --> 01:25:39,135
was very carefully calibrated visually.
1268
01:25:40,386 --> 01:25:42,889
A little bit had its roots
in Abre los ojos,
1269
01:25:44,516 --> 01:25:48,561
but we certainly wanted to show
that apartment
1270
01:25:49,145 --> 01:25:51,147
and the sanctuary of that apartment,
1271
01:25:51,940 --> 01:25:57,403
that had been invaded
by his questioning of reality
1272
01:25:58,571 --> 01:25:59,906
and his own appearances.
1273
01:26:00,490 --> 01:26:03,368
These are things we talked about
constantly, we still talk about it.
1274
01:26:03,451 --> 01:26:07,497
Even on our press tour that happened
later, we were still talking
1275
01:26:07,580 --> 01:26:11,084
about elements of the movie
and the layers that are there.
1276
01:26:13,127 --> 01:26:16,923
Tom added this moment where
he kind of mocked his own scream,
1277
01:26:18,174 --> 01:26:19,676
that I thought, you know,
1278
01:26:20,593 --> 01:26:23,012
that's another one of those
"Well, this is in the movie" moments
1279
01:26:23,096 --> 01:26:26,766
where you see it happening live
and it's just perfect.
1280
01:26:27,934 --> 01:26:28,935
I know.
1281
01:26:29,602 --> 01:26:32,272
There's a... There's a kind of a...
1282
01:26:34,315 --> 01:26:37,861
There's a true lack of vanity
1283
01:26:37,944 --> 01:26:41,698
in the way David Aames,
through Tom's performance,
1284
01:26:41,781 --> 01:26:47,078
approaches the craving of appearances.
1285
01:26:48,997 --> 01:26:52,792
I think Tom kind of
heroically throws himself
1286
01:26:52,876 --> 01:26:55,587
into what people's images
of him might be.
1287
01:26:57,338 --> 01:27:00,383
The reappearance of Cameron Diaz
I always thought, should be simple
1288
01:27:00,967 --> 01:27:03,887
and random.
1289
01:27:05,430 --> 01:27:07,473
Not a lot of genre techniques,
1290
01:27:07,557 --> 01:27:10,476
but really just, kind of, she appears.
1291
01:27:11,561 --> 01:27:17,233
He slammed himself into that
wooden doorway in one of the takes.
1292
01:27:18,401 --> 01:27:22,739
His whole back was just bruised
and slaughtered.
1293
01:27:24,240 --> 01:27:28,202
- This was really fun to direct.
- It's on the gag reel.
1294
01:27:28,286 --> 01:27:29,495
Yeah, it is on the gag reel
1295
01:27:29,579 --> 01:27:32,582
which should appear
on this DVD or a future package.
1296
01:27:33,875 --> 01:27:38,379
But this was
our very nightmarish session of takes
1297
01:27:39,339 --> 01:27:40,465
between the two of them.
1298
01:27:41,257 --> 01:27:43,009
A blast to direct.
1299
01:27:43,551 --> 01:27:47,138
And the way Cameron Diaz looks
into the camera
1300
01:27:47,221 --> 01:27:51,392
- with that kind of stony terror...
- Oh, my God.
1301
01:27:51,476 --> 01:27:53,353
It's very nightmarish.
1302
01:27:53,436 --> 01:27:54,729
And it's one of the images
that people said
1303
01:27:54,812 --> 01:27:58,858
they couldn't get out of their minds
after they saw the movie.
1304
01:28:01,402 --> 01:28:07,617
This was
a pretty high-octane sequence.
1305
01:28:07,700 --> 01:28:10,119
We did this two different ways.
We did this sequence
1306
01:28:10,203 --> 01:28:13,748
with Penélope Cruz
and with Cameron Diaz.
1307
01:28:13,831 --> 01:28:18,878
And the two of them did
their takes together.
1308
01:28:18,962 --> 01:28:20,797
You know, so one would go in there
and do a take,
1309
01:28:20,880 --> 01:28:23,091
and then the other would go in there
and do a take.
1310
01:28:23,174 --> 01:28:25,677
And it was like tag team wrestling
at a certain point
1311
01:28:25,760 --> 01:28:30,181
between these two
really powerful actors and Tom.
1312
01:28:30,264 --> 01:28:33,643
And you really have to hail Mark Livolsi,
1313
01:28:33,726 --> 01:28:37,146
who is one of our two editors,
1314
01:28:37,230 --> 01:28:41,651
for the subliminal cuts
that he makes in these scenes.
1315
01:28:43,069 --> 01:28:46,239
You don't see some of them,
some of them you do see,
1316
01:28:46,322 --> 01:28:48,408
but you do know that you're unnerved.
1317
01:28:52,495 --> 01:28:56,499
The way Cameron Diaz says,
"Wake up, man" is not only a clue,
1318
01:28:56,749 --> 01:28:58,751
but it's just great character stuff.
1319
01:28:58,835 --> 01:29:03,131
Some of Penélope's voice is coming out
of Cameron Diaz's mouth
1320
01:29:03,214 --> 01:29:05,258
- at certain points.
- It's true.
1321
01:29:05,341 --> 01:29:07,343
And Diaz is doing Penélope Cruz.
1322
01:29:07,427 --> 01:29:09,512
And it's a little different
from the original,
1323
01:29:11,139 --> 01:29:14,517
where I think, in the original,
you really do believe
1324
01:29:14,600 --> 01:29:18,604
that that is Penélope Cruz's
character throughout,
1325
01:29:18,688 --> 01:29:21,649
but he's just envisioning her differently.
1326
01:29:23,526 --> 01:29:25,653
Cameron Diaz's interpretation
of the character
1327
01:29:25,737 --> 01:29:28,948
is more of a hellion from his psyche.
1328
01:29:31,200 --> 01:29:37,707
The jail scene, really, for me it was
a blast to work with Timothy Spall
1329
01:29:37,790 --> 01:29:40,043
for such an extended period of time.
1330
01:29:41,377 --> 01:29:46,007
And have him, though he basically
was doing a cameo in the movie,
1331
01:29:46,090 --> 01:29:50,636
this was a nice piece of acting
to get into with Tim Spall.
1332
01:29:52,805 --> 01:29:54,390
- He's amazing.
- He's amazing.
1333
01:29:56,225 --> 01:29:58,895
It's an interesting thing
that happens when two actors
1334
01:29:58,978 --> 01:30:03,107
that really respect each other
get together, in that they...
1335
01:30:04,484 --> 01:30:06,152
Particularly with Tom and Tim Spall,
1336
01:30:06,235 --> 01:30:09,697
they sort of set little banquets
for each other.
1337
01:30:09,781 --> 01:30:13,117
And all the stuff they did for each other
in the off-camera
1338
01:30:13,201 --> 01:30:16,829
was about serving it up to the other guy.
1339
01:30:16,913 --> 01:30:19,749
It was a very generous thing
that they were doing here.
1340
01:30:22,460 --> 01:30:28,091
We shot this on a location
of an abandoned jail in Brooklyn.
1341
01:30:29,509 --> 01:30:34,430
And the spirits of what had passed
before in those rooms
1342
01:30:34,514 --> 01:30:36,182
were very much present.
1343
01:30:37,141 --> 01:30:40,520
You could feel everything
that had happened before.
1344
01:30:40,603 --> 01:30:43,106
- It was very nightmarish.
- We tried to score that
1345
01:30:43,189 --> 01:30:44,774
on the way out of the prison.
1346
01:30:44,857 --> 01:30:46,943
Yeah, we tried to score this sequence...
1347
01:30:47,902 --> 01:30:48,903
Many times.
1348
01:30:48,986 --> 01:30:52,990
...many times in many different ways
and what ended up working best of all
1349
01:30:53,074 --> 01:30:56,702
was a piece of music done by you
1350
01:30:57,787 --> 01:31:01,040
that was a little bit
Revolution Number 9.
1351
01:31:02,375 --> 01:31:04,669
- And it was the backwards...
- A collage.
1352
01:31:04,752 --> 01:31:06,462
- It was a collage. It was the...
- A very big collage.
1353
01:31:06,546 --> 01:31:10,091
The backwards playing
of your romantic theme.
1354
01:31:10,174 --> 01:31:11,968
- Backwards theme.
- Combined with
1355
01:31:12,051 --> 01:31:14,011
- the voice of Joe Hutshing...
- Joe Hutshing.
1356
01:31:14,971 --> 01:31:17,974
...and some elements
of a thing called the Conet Project,
1357
01:31:18,057 --> 01:31:21,811
which are spy transmissions
that still occur on short-wave radio.
1358
01:31:21,894 --> 01:31:24,856
- From World War II.
- And up till now.
1359
01:31:26,649 --> 01:31:28,651
Jason really brought it in this scene.
1360
01:31:30,444 --> 01:31:33,489
I think he felt as an actor
that this was a chance to be more
1361
01:31:33,573 --> 01:31:35,575
than the comic friend.
1362
01:31:35,658 --> 01:31:38,161
And he is so much more than the guy
1363
01:31:38,244 --> 01:31:40,997
that you've seen
in the early stage of his career.
1364
01:31:41,080 --> 01:31:43,374
There's a lot of drama
and power in Jason
1365
01:31:44,125 --> 01:31:51,007
and it's not easy to go head-to-head
with Tom in a scene like this.
1366
01:31:52,175 --> 01:31:53,593
But they really did bring it.
1367
01:31:54,510 --> 01:31:56,888
And I love this scene for Jason.
1368
01:31:56,971 --> 01:31:58,222
The great thing about Jason is
1369
01:31:58,306 --> 01:32:04,437
that Jason also, you know,
has no problem doing...
1370
01:32:05,813 --> 01:32:09,066
And giving you little character
flourishes that always shake it up.
1371
01:32:09,150 --> 01:32:10,359
You know, you never feel
1372
01:32:10,443 --> 01:32:13,279
like you're just getting
a straight-ahead dramatic performance.
1373
01:32:13,362 --> 01:32:17,450
You get a real guy, and a real guy
in a tense situation like that
1374
01:32:18,326 --> 01:32:21,245
wouldn't just say,
"Hey, man, you stole my girlfriend."
1375
01:32:21,329 --> 01:32:23,623
He knows that guy so well.
1376
01:32:23,706 --> 01:32:26,459
It would be like, you know,
"What's going on, man?"
1377
01:32:27,418 --> 01:32:30,630
You know, and I love the reality
that Jason always brings.
1378
01:32:31,505 --> 01:32:32,632
He's a comic actor.
1379
01:32:33,841 --> 01:32:37,637
He's a dramatic actor that has comedy
1380
01:32:37,720 --> 01:32:40,264
- and a comedy actor that has drama.
- Exactly.
1381
01:32:40,348 --> 01:32:42,433
Which is what Billy Wilder
always said was
1382
01:32:42,516 --> 01:32:46,187
one of the rarest, rarest combinations.
1383
01:32:47,230 --> 01:32:50,608
It started to snow
towards the end of this sequence
1384
01:32:50,691 --> 01:32:53,986
and there's one take, right here
where you start to see the snow,
1385
01:32:54,070 --> 01:32:55,404
and we thought,
"Oh, my God, you know.
1386
01:32:55,488 --> 01:32:57,073
"It's going to be snowing in one take."
1387
01:32:57,156 --> 01:32:59,659
But this is the movie
where that would be okay.
1388
01:33:00,409 --> 01:33:02,912
So you see snow in Jason's last take.
1389
01:33:07,041 --> 01:33:11,337
This is the sequence we always called
the Florentine Bar sequence,
1390
01:33:11,879 --> 01:33:14,006
which was our mini
Twilight Zone moment.
1391
01:33:15,299 --> 01:33:18,135
It's also the full appearance
of Noah Taylor,
1392
01:33:18,219 --> 01:33:19,762
one of my favorite actors ever,
1393
01:33:20,429 --> 01:33:22,848
as Edmund Ventura, future man.
1394
01:33:23,724 --> 01:33:26,769
And he's really
a messenger from the future
1395
01:33:26,852 --> 01:33:30,356
who also is trying to provide
a map for David Aames.
1396
01:33:30,439 --> 01:33:32,733
But he's doing it in a suspicious way,
1397
01:33:32,817 --> 01:33:36,862
which only fuels
Tom's character's paranoia,
1398
01:33:37,655 --> 01:33:40,241
helped, of course,
by the music of Radiohead.
1399
01:33:41,492 --> 01:33:42,493
Once again.
1400
01:33:43,869 --> 01:33:45,788
Always, every time we used Radiohead,
1401
01:33:45,871 --> 01:33:49,083
it really kind of hit
the tone of the movie.
1402
01:33:49,166 --> 01:33:54,005
And in fact, we were listening
to Radiohead most of the time
1403
01:33:54,088 --> 01:33:56,507
when we were doing the movie,
so it was a good fit.
1404
01:34:41,510 --> 01:34:43,721
Noah appears in this movie
1405
01:34:43,804 --> 01:34:46,057
in such a different form
as he did in Almost Famous
1406
01:34:46,140 --> 01:34:47,641
as Dick the road manager.
1407
01:34:47,725 --> 01:34:53,314
I love seeing Noah in this type of a role,
1408
01:34:54,023 --> 01:34:55,441
'cause Noah can do anything.
1409
01:34:56,984 --> 01:34:59,445
Now we have the moment
where David Aames realizes
1410
01:34:59,528 --> 01:35:05,451
he is truly either crazy
or lost in the future or the past.
1411
01:35:06,410 --> 01:35:08,204
And this shot I always had in mind,
1412
01:35:08,287 --> 01:35:10,956
where David Aames
enters in utter horror,
1413
01:35:11,040 --> 01:35:13,334
and the only thing
that really helped make it perfect
1414
01:35:13,417 --> 01:35:15,252
was when we used
Sympathy for the Devil.
1415
01:35:16,253 --> 01:35:19,715
And then Tom entered the frame
in that shot and it was perfect.
1416
01:35:22,927 --> 01:35:25,221
Cut, print, go home.
You know what I mean?
1417
01:35:25,846 --> 01:35:26,847
It was great.
1418
01:35:27,348 --> 01:35:29,475
Now, we've segged
into the part of the movie
1419
01:35:29,558 --> 01:35:32,812
where Kurt Russell
is really turning the screws.
1420
01:35:33,979 --> 01:35:37,817
And Curtis McCabe is going
to get David Aames
1421
01:35:37,900 --> 01:35:42,822
to face this huge area of denial.
1422
01:35:42,905 --> 01:35:45,616
The crime, the murder
that we've discussed the whole movie.
1423
01:35:45,699 --> 01:35:47,576
The deconstruction is almost complete.
1424
01:35:48,702 --> 01:35:51,414
And Kurt Russell really does
this masterfully,
1425
01:35:52,039 --> 01:35:53,374
conversationally,
1426
01:35:54,041 --> 01:35:58,129
with real kind of righteous weight.
1427
01:35:59,004 --> 01:36:01,632
And David Aames surrenders to that.
1428
01:36:01,715 --> 01:36:04,093
He also has a great clue line
where he says,
1429
01:36:04,176 --> 01:36:06,595
"You realize
you own the keys to this prison."
1430
01:36:08,097 --> 01:36:11,475
That line is a real kind of signpost line.
1431
01:36:13,310 --> 01:36:16,397
All these are bits of a sequence we shot
1432
01:36:16,480 --> 01:36:19,024
of David Aames' suicide
in a motel room.
1433
01:36:22,194 --> 01:36:24,280
And now, Alicia Witt starts to appear.
1434
01:36:24,363 --> 01:36:25,906
Alicia Witt is one of the actors
1435
01:36:26,574 --> 01:36:29,410
where we had a dream list of people
we wanted to work with
1436
01:36:29,493 --> 01:36:32,705
and I love her stuff
and I loved her turn on The Sopranos.
1437
01:36:32,788 --> 01:36:37,209
So she became one of the actors
that we asked to do a cameo
1438
01:36:37,793 --> 01:36:40,087
and we'd be quite honored,
and she said yes.
1439
01:36:40,171 --> 01:36:43,841
So now we have
the recreation of the murder.
1440
01:36:44,884 --> 01:36:49,430
And Tom is really an amazing individual
in a scene like this
1441
01:36:49,513 --> 01:36:53,184
because he is a real cop
for the level of anxiety
1442
01:36:53,267 --> 01:36:55,561
and physical exertion
that a character has to have.
1443
01:36:55,644 --> 01:36:57,897
He'll skip rope,
he did this on Jerry Maguire.
1444
01:36:58,397 --> 01:37:03,819
He'll skip rope, he'll do push-ups,
he'll do everything to get the character
1445
01:37:03,903 --> 01:37:07,323
into the physical state
that the character needs to be in
1446
01:37:07,406 --> 01:37:09,575
and that's a real gift,
not just to himself
1447
01:37:09,658 --> 01:37:11,744
for the performance but for the director.
1448
01:37:14,580 --> 01:37:16,332
We really enjoyed watching this.
1449
01:37:19,168 --> 01:37:23,339
Cameron Diaz has a nasty kick,
fresh from Charlie's Angels.
1450
01:37:23,422 --> 01:37:25,382
- Exactly.
- The two of them really...
1451
01:37:26,300 --> 01:37:28,260
You know, you have Ethan Hunt
1452
01:37:28,344 --> 01:37:34,892
and the Charlie's Angel martial arts
queen going at it here on one level.
1453
01:37:35,684 --> 01:37:38,854
And I think the crew had
a good time with that one.
1454
01:37:39,396 --> 01:37:43,776
But what's great is she makes this turn
into an utterly emotional place.
1455
01:37:44,652 --> 01:37:48,239
And she's doing it while listening
to Sweetness Follows by R.E.M.
1456
01:37:48,322 --> 01:37:50,783
And I felt, watching this,
that this was...
1457
01:37:51,325 --> 01:37:56,539
I think it was one of the best kind of
performances she's ever given
1458
01:37:56,622 --> 01:37:59,124
because it's so emotionally centered.
1459
01:37:59,208 --> 01:38:03,462
Even though she's in
a completely ridiculous position,
1460
01:38:03,546 --> 01:38:06,340
she has utter emotion
and love for this guy.
1461
01:38:07,383 --> 01:38:08,801
Even though she's a figment.
1462
01:38:10,928 --> 01:38:12,805
Which is one of the gifts of this movie,
1463
01:38:12,888 --> 01:38:15,641
is that everybody has
true, real emotions,
1464
01:38:15,724 --> 01:38:17,434
whether they're actually real or not,
1465
01:38:17,518 --> 01:38:20,479
because when you imagine reality,
it's real.
1466
01:38:22,690 --> 01:38:25,484
That may not make sense,
but if you think about it, it does.
1467
01:38:25,568 --> 01:38:27,486
She's very much in the moment.
1468
01:38:27,570 --> 01:38:28,904
And Tom's doing stuff like
1469
01:38:28,988 --> 01:38:31,448
his "whatever"
in that scene is very funny,
1470
01:38:31,532 --> 01:38:33,826
but once again
it's one of those things that people
1471
01:38:35,035 --> 01:38:36,370
were too stunned or surprised
1472
01:38:37,371 --> 01:38:39,540
to laugh at the first time they saw it.
1473
01:38:41,041 --> 01:38:43,752
A lot of people saw this twice, at least.
1474
01:38:43,836 --> 01:38:46,130
Which is one of the things,
and we can talk about that later,
1475
01:38:46,213 --> 01:38:48,424
but the dream of the movie was to...
1476
01:38:49,758 --> 01:38:52,720
Whether you saw it,
you know, the next day,
1477
01:38:52,803 --> 01:38:54,513
the next week or two years from now,
1478
01:38:54,597 --> 01:38:57,182
that there would always be
something more for you to see.
1479
01:38:57,266 --> 01:38:59,560
And it's not about selling another ticket,
1480
01:38:59,643 --> 01:39:02,438
it's about providing
another experience, really.
1481
01:39:04,231 --> 01:39:09,111
And that was one of the great goals
that we had.
1482
01:39:09,862 --> 01:39:12,323
We had a version of this scene
where Penélope opened her eyes
1483
01:39:12,406 --> 01:39:14,950
over his shoulder
and we screened with that, I believe,
1484
01:39:15,034 --> 01:39:16,910
and it was just so chilling.
1485
01:39:16,994 --> 01:39:18,537
People did not want to believe
1486
01:39:18,621 --> 01:39:21,874
that Sofia was in on
any kind of trick or stunt.
1487
01:39:23,250 --> 01:39:26,879
And that's one of the by-products
of people being so emotionally invested
1488
01:39:26,962 --> 01:39:30,049
in these characters.
It's more than just a plot.
1489
01:39:30,132 --> 01:39:31,842
They're real people, too.
1490
01:39:33,927 --> 01:39:37,973
This, we did this with no trickery.
The two actresses made a quick switch.
1491
01:39:38,932 --> 01:39:42,811
You can sort of see the shadow of them
moving as Diaz moves into place.
1492
01:39:43,562 --> 01:39:48,651
John Toll, once again a great comrade
to have in a moment like this.
1493
01:39:48,734 --> 01:39:53,739
He really does have
a pure joy of creating stuff,
1494
01:39:54,740 --> 01:39:56,575
new school and old school.
1495
01:39:56,659 --> 01:39:59,662
And this was kind of an old-school
switcheroo that we went for.
1496
01:40:03,791 --> 01:40:08,921
Cameron Diaz as a person
is a really winning soul.
1497
01:40:09,004 --> 01:40:13,926
And it's one of the things
that you're really tested on as a director
1498
01:40:14,009 --> 01:40:18,931
is that you're guiding someone
through their own death.
1499
01:40:20,724 --> 01:40:22,601
And you have to be gentle
1500
01:40:23,769 --> 01:40:26,772
and strong
and know what you want to do but,
1501
01:40:27,898 --> 01:40:30,192
God, you just love
Cameron Diaz as a person.
1502
01:40:30,275 --> 01:40:35,114
It's really tough
to choreograph a murder scene
1503
01:40:35,197 --> 01:40:36,949
with somebody
you care that much about.
1504
01:40:37,032 --> 01:40:39,159
She really came to play on this one.
1505
01:40:39,243 --> 01:40:41,995
She did and once again
the scene was done
1506
01:40:42,079 --> 01:40:43,706
both with Penélope and Cameron Diaz
1507
01:40:43,789 --> 01:40:46,041
and they both brought it.
1508
01:40:46,125 --> 01:40:49,336
Mark Livolsi,
who worked with Joe Hutshing,
1509
01:40:49,420 --> 01:40:50,963
we've talked about him a bunch on this.
1510
01:40:51,046 --> 01:40:53,632
Mark Livolsi really made
this sequence a meal
1511
01:40:54,466 --> 01:40:56,218
and it was his baby.
1512
01:40:56,301 --> 01:40:59,555
We would take little pieces
and move them around,
1513
01:40:59,638 --> 01:41:03,016
but it didn't change too much
from kind of the first...
1514
01:41:03,851 --> 01:41:06,979
Really kind of a visual opera that he cut.
1515
01:41:07,062 --> 01:41:11,942
There's all kinds of stuff flying around,
all kinds of music and sounds and score
1516
01:41:12,025 --> 01:41:14,737
and the return
of the Joan Osborne song.
1517
01:41:14,820 --> 01:41:16,447
- It's a collage.
- Again.
1518
01:41:16,530 --> 01:41:20,075
And once again, we're rattling around
inside a man's brain.
1519
01:41:20,159 --> 01:41:23,036
There's the Monkees song from Head,
1520
01:41:23,704 --> 01:41:25,539
which I always loved,
The Porpoise Song.
1521
01:41:25,622 --> 01:41:29,209
There's phone messages.
1522
01:41:29,793 --> 01:41:32,421
- There's the Conet Project.
- The Conet Project
1523
01:41:32,504 --> 01:41:34,214
which are those spy transmissions
1524
01:41:34,298 --> 01:41:35,591
that were always meant to be
a part of it.
1525
01:41:35,674 --> 01:41:37,050
And then there's Tom,
1526
01:41:37,801 --> 01:41:40,763
who is flying in the face
of his own image
1527
01:41:41,346 --> 01:41:45,434
and doing things that I think
people didn't ever expect to see him do.
1528
01:41:46,393 --> 01:41:49,480
And you can't help...
1529
01:41:49,563 --> 01:41:53,650
And this happened throughout the entire
experience of putting the movie out.
1530
01:41:54,651 --> 01:41:56,195
You can't help but be affected.
1531
01:41:56,820 --> 01:42:00,532
It's definitely not a movie
that people said, "Well, that's cute.
1532
01:42:00,616 --> 01:42:03,869
"Where are we going now?"
They're seeing...
1533
01:42:03,952 --> 01:42:05,704
- "Fun for the whole family!"
- You know,
1534
01:42:05,788 --> 01:42:11,710
they're seeing the real ramifications
1535
01:42:11,794 --> 01:42:13,879
of love, loss and death.
1536
01:42:16,632 --> 01:42:19,760
It's the first time I had tackled
some of these things as a director.
1537
01:42:20,260 --> 01:42:22,054
I did like the mole being
1538
01:42:24,890 --> 01:42:30,521
the real kind of nail in the coffin, and
the reveal that he had killed Penélope.
1539
01:42:32,231 --> 01:42:36,068
But the murder sequence went quickly.
1540
01:42:36,819 --> 01:42:38,821
And we didn't do a lot
1541
01:42:39,071 --> 01:42:40,656
of takes on that.
1542
01:42:41,573 --> 01:42:42,991
The emotional note got hit
1543
01:42:43,826 --> 01:42:47,371
and people were affected
on the set, for sure.
1544
01:42:56,713 --> 01:43:00,425
Kurt Russell really shows you why he is
1545
01:43:02,177 --> 01:43:05,180
one of the great gems
1546
01:43:06,265 --> 01:43:11,353
in the community of actors
in this scene.
1547
01:43:13,522 --> 01:43:15,607
The compassion that he gives you,
1548
01:43:15,691 --> 01:43:20,571
and compassion is a tough thing to feel,
much less see in movies,
1549
01:43:20,654 --> 01:43:25,242
but he gives it to you just in the way
he looks at this guy, who...
1550
01:43:26,952 --> 01:43:29,788
You know, he's become
like family to Kurt
1551
01:43:29,872 --> 01:43:32,791
and Kurt's character doesn't know why.
1552
01:43:34,126 --> 01:43:36,962
It's the most odd
and heartbreaking thing.
1553
01:44:11,413 --> 01:44:15,083
And that moment where his eyebrows
kind of scrunch together a little bit,
1554
01:44:15,167 --> 01:44:16,418
it gets me every time.
1555
01:44:16,919 --> 01:44:18,211
It's those little moments
1556
01:44:21,423 --> 01:44:23,216
that make a movie come together.
1557
01:44:24,092 --> 01:44:27,346
There was another sequence
that followed this,
1558
01:44:29,222 --> 01:44:35,646
which we might talk about, you know,
later or in another commentary.
1559
01:44:36,647 --> 01:44:42,027
But this sequence became
more of Tom Cruise's character
1560
01:44:42,110 --> 01:44:43,862
driving the realization
1561
01:44:45,364 --> 01:44:48,283
that LE was Life Extension
1562
01:44:48,367 --> 01:44:52,788
and that he had to get
to this place, Life Extension,
1563
01:44:52,871 --> 01:44:54,706
that Life Extension held the clue
1564
01:44:55,707 --> 01:44:59,252
for this murder
that didn't feel real to him.
1565
01:45:39,001 --> 01:45:41,169
I love this last look Kurt gives Tom.
1566
01:45:44,464 --> 01:45:47,759
He reminds me of the young actor
1567
01:45:49,386 --> 01:45:52,222
in the Walt Disney movies there.
1568
01:45:54,099 --> 01:45:55,475
Someone's at the door. Okay.
1569
01:45:58,395 --> 01:46:02,524
So now we have
Benny the dog returning.
1570
01:46:05,652 --> 01:46:06,695
Benny!
1571
01:46:08,196 --> 01:46:11,950
And Tom putting the pieces together.
1572
01:46:15,370 --> 01:46:19,958
And the pieces come together courtesy
of the infomercial that he saw
1573
01:46:20,042 --> 01:46:23,712
when he was first falling in love
with Sofia.
1574
01:46:26,339 --> 01:46:27,799
And, of course, Noah Taylor.
1575
01:46:30,010 --> 01:46:36,975
John Toll really did this
in a great manner.
1576
01:46:38,101 --> 01:46:42,230
We loved the idea of the image
of the TV rattling on the glass.
1577
01:46:43,398 --> 01:46:46,401
And that's not CGI,
that's old school, baby.
1578
01:46:47,652 --> 01:46:50,363
This was shot at
a real psychiatric unit in New York.
1579
01:46:56,620 --> 01:47:01,041
And the Stones song Heaven,
once again, is one of those things
1580
01:47:01,124 --> 01:47:03,960
where the sequence
never quite played right
1581
01:47:04,044 --> 01:47:05,921
unless we had that one song.
1582
01:47:09,341 --> 01:47:12,677
And thankfully we have it.
Heaven by the Rolling Stones.
1583
01:47:28,360 --> 01:47:29,778
The movie now is sort of
1584
01:47:32,656 --> 01:47:36,034
really taking you to a different place.
1585
01:47:36,118 --> 01:47:37,911
And I always did think
1586
01:47:37,994 --> 01:47:41,456
that this was a movie
that could be genre-less,
1587
01:47:41,540 --> 01:47:44,626
even though it had
a lot of different genres built into it.
1588
01:47:45,585 --> 01:47:47,546
And the whiff of science fiction
1589
01:47:47,629 --> 01:47:52,843
was something
that I really thought in a love story...
1590
01:47:54,177 --> 01:47:59,516
You'd never expect a movie
to start out about romance
1591
01:47:59,599 --> 01:48:00,600
and end up here.
1592
01:48:01,893 --> 01:48:06,898
But it was one of the great attractions
of doing our cover version
1593
01:48:06,982 --> 01:48:10,026
and it was one of the great surprises
of the original.
1594
01:48:10,110 --> 01:48:13,780
That's my mom, by the way,
on the monitor. Hi, Mom.
1595
01:48:13,864 --> 01:48:14,865
Hi, Mom.
1596
01:48:16,950 --> 01:48:20,245
The great Mel, the majestic, there.
1597
01:48:21,246 --> 01:48:24,291
Ana Maria Quintana,
script supervisor extraordinaire,
1598
01:48:24,374 --> 01:48:25,500
Paul Haggar from Paramount.
1599
01:48:27,002 --> 01:48:32,007
A few of our friends, neighbors,
family there in the monitors.
1600
01:48:34,551 --> 01:48:35,927
Tilda Swinton.
1601
01:48:37,095 --> 01:48:42,184
I was delighted that she was available
1602
01:48:42,267 --> 01:48:45,020
and threw her hat in the ring
to play this part.
1603
01:48:45,812 --> 01:48:51,443
I love Tilda and once again
it gave the kind of global gift
1604
01:48:51,526 --> 01:48:56,323
of getting actors from
different countries and different styles
1605
01:48:56,406 --> 01:48:59,034
to come and do flourishes in our movie.
1606
01:49:04,664 --> 01:49:07,584
To be there directing a scene
with these three actors
1607
01:49:07,667 --> 01:49:13,298
is really where the job is not a job
at all, it's completely a thrill.
1608
01:49:14,633 --> 01:49:18,929
And we'd always talked
about Tilda is having
1609
01:49:19,012 --> 01:49:22,098
her own mini love affair
with David Aames in this scene.
1610
01:49:22,182 --> 01:49:24,309
She's being very seductive
1611
01:49:24,392 --> 01:49:25,894
and Kurt Russell,
1612
01:49:27,229 --> 01:49:31,066
who is feeling these fatherly and
protective feelings for David Aames,
1613
01:49:31,149 --> 01:49:34,653
is realizing that his role is being
diminished by the second
1614
01:49:34,736 --> 01:49:39,032
by this woman who's actually
an incredible saleswoman.
1615
01:49:39,658 --> 01:49:41,034
And she uses everything.
1616
01:49:41,993 --> 01:49:43,453
Future, technology
1617
01:49:44,704 --> 01:49:45,997
and sexual allure.
1618
01:49:49,292 --> 01:49:51,544
This set, I've got to say, is truly great
1619
01:49:51,628 --> 01:49:58,218
because what it is, is a very warmly-lit
and photographed mausoleum.
1620
01:49:58,927 --> 01:50:01,846
And once again
that's Catherine Hardwicke
1621
01:50:02,514 --> 01:50:05,183
who brought a wonderful touch
as the production designer.
1622
01:50:05,809 --> 01:50:08,937
And that's hot sauce there
on the shelf behind Tilda's character.
1623
01:50:09,020 --> 01:50:11,940
I thought, "How great
if she just collected hot sauce."
1624
01:50:17,195 --> 01:50:23,243
The film that you see in the table,
well, it begins with our child, Curtis.
1625
01:50:23,326 --> 01:50:24,953
- One of our two children.
- Yeah.
1626
01:50:26,705 --> 01:50:29,207
And what it is,
1627
01:50:29,291 --> 01:50:34,337
is really the result of some...
A lot of really painstaking work
1628
01:50:34,421 --> 01:50:36,631
done by Casey Cannon
and Scott Martin.
1629
01:50:38,675 --> 01:50:39,676
And Neal Preston.
1630
01:50:39,759 --> 01:50:44,139
And Neal Preston,
who photographed these gentlemen
1631
01:50:44,222 --> 01:50:46,057
who were cast by Gail Levin,
1632
01:50:46,850 --> 01:50:50,228
who did an amazing job
casting this movie,
1633
01:50:50,312 --> 01:50:52,105
and Almost Famous and Jerry Maguire
1634
01:50:52,188 --> 01:50:54,316
and she cast a whole line of guys
1635
01:50:54,399 --> 01:50:56,735
that looked like they could be
the same person.
1636
01:50:56,818 --> 01:51:00,613
So we filmed that and then
we blew most of our budget on that,
1637
01:51:01,489 --> 01:51:06,828
so through found images
and things we got off the Internet,
1638
01:51:06,911 --> 01:51:10,790
and, you know, Björk's video
and a little piece of Dr. No...
1639
01:51:11,833 --> 01:51:14,586
You know, you have to write
Sean Connery and request that.
1640
01:51:15,628 --> 01:51:17,672
He's a cool guy, man. He said, "Yes."
1641
01:51:18,423 --> 01:51:22,761
And, but anyway, we...
And Björk. You have to write Björk.
1642
01:51:22,844 --> 01:51:25,263
- And Björk was very generous.
- She said, "Yes."
1643
01:51:25,347 --> 01:51:29,142
So we assembled this film
that was a very slick
1644
01:51:30,226 --> 01:51:33,938
and subliminal piece of salesmanship
1645
01:51:34,022 --> 01:51:35,607
to get you to freeze yourself.
1646
01:51:45,075 --> 01:51:48,286
Cryonics is so lo-fi.
1647
01:51:48,370 --> 01:51:50,997
I mean, people think
that it's like Thunderball
1648
01:51:52,248 --> 01:51:55,835
or, you know, some great vision
of the future.
1649
01:51:55,919 --> 01:52:00,048
It's one step up
from an ice chest and dry ice.
1650
01:52:00,131 --> 01:52:03,176
- It's really Io-fi.
- It's not Space Odyssey yet.
1651
01:52:03,259 --> 01:52:05,053
It is not Space Odyssey yet.
1652
01:52:09,140 --> 01:52:11,393
I love Kurt Russell's joke
about cryotainment.
1653
01:52:12,310 --> 01:52:15,063
The way he does it, you can't beat it.
1654
01:52:20,235 --> 01:52:25,156
We have this series of scenes
now that you just need to work
1655
01:52:25,990 --> 01:52:28,993
and it's an intricate puzzle and here,
1656
01:52:31,079 --> 01:52:37,210
Tilda Swinton gets truly inside his mind,
1657
01:52:37,961 --> 01:52:39,212
repeating things that...
1658
01:52:41,256 --> 01:52:44,717
Repeating things that there's no way
she would possibly be able to know that,
1659
01:52:44,801 --> 01:52:47,679
things that he's said
in his own life earlier,
1660
01:52:48,430 --> 01:52:51,933
referencing his affair
with Penélope Cruz's character.
1661
01:52:57,856 --> 01:53:01,693
And repeating, "This is
a revolution of the mind" with him.
1662
01:53:02,444 --> 01:53:06,156
There's a great moment
as Tilda turns to the camera.
1663
01:53:06,239 --> 01:53:10,827
I don't think anyone looks into the lens
quite like Tilda Swinton.
1664
01:53:10,910 --> 01:53:13,246
She becomes a Vermeer portrait.
1665
01:53:15,540 --> 01:53:16,958
And it broke the wall.
1666
01:53:17,041 --> 01:53:19,794
It's one of the many things in the movie
that breaks the wall a little bit,
1667
01:53:19,878 --> 01:53:22,714
but this is one
that was particularly chilling.
1668
01:53:25,758 --> 01:53:28,845
And a little bit of stunt work
with Michael Shannon
1669
01:53:30,054 --> 01:53:32,515
and down the hallway we go.
1670
01:53:32,599 --> 01:53:34,809
That's Danny Bramson,
music supervisor,
1671
01:53:34,893 --> 01:53:36,728
executive producer,
there against the wall.
1672
01:53:36,811 --> 01:53:38,855
- If you blinked, you missed him.
- If you blinked, you missed him.
1673
01:53:39,522 --> 01:53:43,234
And again, one of those songs
1674
01:53:44,652 --> 01:53:47,405
that we couldn't live without
was Good Vibrations here.
1675
01:53:52,243 --> 01:53:56,164
It's counterpoint to what's going on.
The terror of what's going on.
1676
01:53:57,540 --> 01:54:00,793
And it's also
a song that's very emotional.
1677
01:54:00,877 --> 01:54:03,004
By the way,
he's yelling, "Tech support" there.
1678
01:54:04,339 --> 01:54:06,007
- Tech support?
- Tech support.
1679
01:54:06,090 --> 01:54:09,886
It's an emotional song
that's been, I thought, corrupted by
1680
01:54:11,763 --> 01:54:14,098
being used in commercials
and things like that.
1681
01:54:15,266 --> 01:54:18,645
And it's been played a lot, but wouldn't
it be great if this great song
1682
01:54:18,728 --> 01:54:22,190
can get kind of buffed and polished
1683
01:54:22,273 --> 01:54:26,027
and viewed
in a completely different context?
1684
01:54:26,110 --> 01:54:27,904
And that's why we went
with Good Vibrations.
1685
01:54:29,030 --> 01:54:32,408
Tom's slow realization
that that elevator door is open
1686
01:54:32,492 --> 01:54:33,868
and reveals the answer
1687
01:54:34,702 --> 01:54:37,372
- is a nice...
- Contrary emotion.
1688
01:54:37,455 --> 01:54:38,873
Yeah, it's contrary emotion.
1689
01:54:44,837 --> 01:54:47,382
This was sort of our mini-tribute
to Ray Bradbury,
1690
01:54:48,049 --> 01:54:51,261
this shot, high-angle shot looking down,
1691
01:54:52,220 --> 01:54:54,722
passing through the layers,
the pools of light,
1692
01:54:55,223 --> 01:54:59,269
and his reintroduction
to Edmund Ventura.
1693
01:54:59,352 --> 01:55:01,062
- Future man.
- Future man.
1694
01:55:03,106 --> 01:55:06,401
This is where the movie truly takes
its final shift.
1695
01:55:07,026 --> 01:55:11,739
And after having started off
in New York, now we're in LA.
1696
01:55:11,823 --> 01:55:14,033
We're in a soundstage
in Manhattan Beach.
1697
01:55:14,117 --> 01:55:15,743
It was the last sequence we filmed.
1698
01:55:17,078 --> 01:55:19,914
These two great actors
in one small cubicle,
1699
01:55:19,998 --> 01:55:21,666
set against a green screen.
1700
01:55:22,333 --> 01:55:25,128
Michèle Burke, who did the makeup
throughout the movie,
1701
01:55:25,211 --> 01:55:30,341
had really honed
the look of Tom's disfiguration.
1702
01:55:30,425 --> 01:55:33,136
It really kind of was
its own little work of art every day.
1703
01:55:33,928 --> 01:55:37,432
It was its own creation daily.
1704
01:55:38,099 --> 01:55:44,355
And it looked great. Tom acted from
way down deep, I think, throughout.
1705
01:55:45,273 --> 01:55:47,358
Never played the makeup as a prop.
1706
01:55:48,276 --> 01:55:50,903
Now as he goes through
his greatest realization
1707
01:55:50,987 --> 01:55:53,573
as to what's really been going on
in his life
1708
01:55:53,656 --> 01:55:57,118
and the choices he's made,
everything kind of came together.
1709
01:55:58,119 --> 01:56:01,623
I think we all felt sort of emotional
going through this last sequence.
1710
01:56:03,249 --> 01:56:06,419
A man really realizing
the mistakes he'd made
1711
01:56:06,502 --> 01:56:10,923
and the crazily personal choices
that he'd made
1712
01:56:11,007 --> 01:56:13,384
to try and sort his life out.
1713
01:56:14,093 --> 01:56:18,389
Leaving a long space of black
there in the sequence
1714
01:56:18,473 --> 01:56:21,184
I thought was kind of jarring
in a good way.
1715
01:56:22,894 --> 01:56:24,562
I read a book on Truffaut once,
1716
01:56:24,646 --> 01:56:30,526
where Truffaut said flashbacks are
best used in a moving compartment,
1717
01:56:31,235 --> 01:56:34,238
a train, and I thought
it would be great to do flashbacks
1718
01:56:34,322 --> 01:56:36,908
coming off of a moving compartment
going upwards.
1719
01:56:37,700 --> 01:56:40,995
And that's why we created
the elevator to the roof.
1720
01:56:42,080 --> 01:56:43,790
Great work done by Digital Domain,
1721
01:56:43,873 --> 01:56:46,000
and a number
of other special effects houses
1722
01:56:46,084 --> 01:56:47,960
under Alison O'Brien's direction,
1723
01:56:49,003 --> 01:56:53,508
created this vision of New York
that exists in his mind, really.
1724
01:56:54,634 --> 01:56:56,094
A lot of iconography,
1725
01:56:56,886 --> 01:57:00,014
not quite in the place
that it should even be.
1726
01:57:00,098 --> 01:57:03,351
But that's David Aames' vision
of New York outside those windows
1727
01:57:03,434 --> 01:57:05,103
and soon to be seen on the roof.
1728
01:57:08,815 --> 01:57:11,442
All these things are
sort of the pop culture signposts
1729
01:57:11,526 --> 01:57:13,361
that we all have in our lives.
1730
01:57:13,444 --> 01:57:15,988
Our favorite movie,
To Kill a Mockingbird,
1731
01:57:16,072 --> 01:57:18,157
an album cover,
as we talked about earlier
1732
01:57:18,241 --> 01:57:19,784
that expressed what love was,
1733
01:57:19,867 --> 01:57:22,286
a vision of fatherhood
that came from Gregory Peck.
1734
01:57:22,370 --> 01:57:26,833
I think all that stuff is lodged
in all of our minds. Jules and Jim.
1735
01:57:26,916 --> 01:57:30,837
A great laugh you try and find
in life and when you see it,
1736
01:57:30,920 --> 01:57:33,464
something touches you
and you don't always know why,
1737
01:57:33,548 --> 01:57:37,468
but sometimes it's because
it's linking up with images
1738
01:57:37,552 --> 01:57:40,430
that became you as you grew up.
1739
01:57:41,264 --> 01:57:44,642
And that was one of the big reasons
to make the movie, I thought.
1740
01:57:45,143 --> 01:57:47,729
Let's celebrate the things that create us
1741
01:57:48,479 --> 01:57:53,401
and as told to us
by a kind of a messenger, Noah,
1742
01:57:53,484 --> 01:57:55,611
who knows us better
than we know ourselves.
1743
01:57:58,281 --> 01:58:02,285
And Tom has some wonderful moments
here of just quiet realization,
1744
01:58:03,411 --> 01:58:05,621
that are very still and moving and...
1745
01:58:09,208 --> 01:58:12,670
It's a powerful sequence
every time I see it.
1746
01:58:14,380 --> 01:58:19,260
The journey that a guy takes
as he sees himself very clearly.
1747
01:58:52,376 --> 01:58:56,130
This was a little bit of a tip of the hat
to the shot we had in Jerry Maguire
1748
01:58:56,214 --> 01:58:58,758
where Jerry writes
the mission statement.
1749
01:59:00,468 --> 01:59:02,720
I guess I can admit that.
1750
01:59:07,767 --> 01:59:11,312
The actual suicide was a sequence
1751
01:59:11,395 --> 01:59:13,898
that we once had cut
to Strawberry Fields
1752
01:59:13,981 --> 01:59:17,944
and never quite could fit it
into the movie in its full length,
1753
01:59:18,027 --> 01:59:21,781
but these are sort of the highlights
of that sequence.
1754
01:59:24,742 --> 01:59:29,789
It really was a moving suicide.
1755
01:59:30,540 --> 01:59:35,962
And you see the little pieces of it
that tell that story now,
1756
01:59:36,045 --> 01:59:38,130
particularly when
the light goes out of his eyes
1757
01:59:38,214 --> 01:59:39,924
and David Aames actually dies.
1758
01:59:43,678 --> 01:59:46,973
But this is us rocketing
towards our conclusion.
1759
01:59:51,644 --> 01:59:54,230
It's good for an audience,
I think, to feel
1760
01:59:55,147 --> 02:00:00,361
that they're being completely taken
into alien territory.
1761
02:00:00,444 --> 02:00:03,865
Territory they never thought
they'd be in when the movie began.
1762
02:00:05,908 --> 02:00:10,872
There's a wistful quality
that Tom has when he realizes the loss
1763
02:00:11,455 --> 02:00:12,456
that I really love.
1764
02:00:13,457 --> 02:00:18,462
This memorial sequence was shot
on a soundstage at Paramount.
1765
02:00:19,547 --> 02:00:21,591
And, really, it was a showcase
1766
02:00:21,674 --> 02:00:25,219
for this moment
we're watching right now,
1767
02:00:26,971 --> 02:00:31,183
where Penélope reappears
at David Aames' memorial
1768
02:00:31,267 --> 02:00:34,312
and she looks around and she sees
all the remnants and souvenirs
1769
02:00:34,395 --> 02:00:36,981
of that one magical night
where they met.
1770
02:00:38,107 --> 02:00:41,986
And the place is now
a museum of memories
1771
02:00:42,069 --> 02:00:43,988
for what could have been.
1772
02:00:44,697 --> 02:00:46,407
And that's the greatest pain of all.
1773
02:00:46,949 --> 02:00:50,036
She had a Spanish song
that she loved that we played.
1774
02:00:50,119 --> 02:00:54,165
And she's listening to that and also
her grandmother had passed away,
1775
02:00:54,999 --> 02:00:57,418
sadly, not too long before she shot this.
1776
02:00:58,461 --> 02:00:59,754
Penélope told me recently
1777
02:00:59,837 --> 02:01:03,007
that all of that was kind of swirling
in her mind.
1778
02:01:04,508 --> 02:01:07,511
That coat was a conscious homage
to Audrey Hepburn,
1779
02:01:07,595 --> 02:01:09,013
I'm not ashamed to admit.
1780
02:01:09,972 --> 02:01:12,099
And that links up with the image
1781
02:01:12,183 --> 02:01:14,352
that we saw on the TV set
at the very beginning,
1782
02:01:14,435 --> 02:01:16,604
where Audrey Hepburn in Sabrina
1783
02:01:16,687 --> 02:01:18,814
was the first inkling
of true romantic love
1784
02:01:18,898 --> 02:01:22,234
that was knocking on the door
for David Aames.
1785
02:01:23,527 --> 02:01:25,613
Of course, all this is fun
for us to talk about
1786
02:01:25,696 --> 02:01:28,616
and we still talk about it,
the people that made the movie.
1787
02:01:28,699 --> 02:01:33,746
And I think it's good to just have
our own little conversation
1788
02:01:34,288 --> 02:01:36,832
here on the audio commentary
about what the movie means.
1789
02:01:37,917 --> 02:01:41,379
And I hope many people had
that experience
1790
02:01:41,462 --> 02:01:43,798
after they saw it,
where they talked about it.
1791
02:01:43,881 --> 02:01:47,176
And talked about the different ways
you can interpret what you see.
1792
02:02:22,837 --> 02:02:26,757
This is a great moment for Kurt Russell
when he comes out of that door.
1793
02:02:28,092 --> 02:02:31,345
I love the slow realization
that he might not be real
1794
02:02:31,429 --> 02:02:34,223
and he does it in about
three or four different stages.
1795
02:02:42,690 --> 02:02:46,402
Noah, of course, the gentle trip master,
1796
02:02:46,485 --> 02:02:50,364
taking him to the edge of his realization.
1797
02:02:52,450 --> 02:02:56,120
Of course bringing Benny the dog back.
1798
02:02:57,038 --> 02:02:59,331
- That's Benny now.
- That's Benny calling.
1799
02:03:00,833 --> 02:03:03,127
- Is that God calling?
- Perhaps.
1800
02:03:03,210 --> 02:03:05,296
That's God calling
with his own interpretation.
1801
02:03:08,340 --> 02:03:09,633
Could be, could be.
1802
02:03:10,259 --> 02:03:12,011
The twin towers in the background,
1803
02:03:12,094 --> 02:03:15,806
a lot of people wondered
what we meant by that.
1804
02:03:16,432 --> 02:03:18,559
What we meant by that is
that's what we filmed.
1805
02:03:19,226 --> 02:03:24,732
And it was filmed
about a year before the tragic incident
1806
02:03:25,691 --> 02:03:26,692
that removed them,
1807
02:03:27,485 --> 02:03:29,320
and I didn't want to remove them again.
1808
02:03:30,905 --> 02:03:34,241
I did love this moment where Tom
could look out into the audience
1809
02:03:35,451 --> 02:03:40,748
and include the audience
as some of the judges of his life.
1810
02:03:41,832 --> 02:03:46,837
So much of the movie is
about the eternal belief in love
1811
02:03:46,921 --> 02:03:49,173
and what love can really be.
1812
02:03:49,256 --> 02:03:52,051
It's stuff we talked about
every day when we were filming it.
1813
02:03:53,260 --> 02:03:55,262
When we tell people
sometimes that the movie
1814
02:03:55,346 --> 02:03:58,849
is a very modern love story,
I think sometimes they're surprised,
1815
02:03:59,683 --> 02:04:01,352
but it is that at its very heart.
1816
02:04:03,145 --> 02:04:05,856
You know, there's
a certain romanticism about memory.
1817
02:04:05,940 --> 02:04:07,483
And that view of New York
1818
02:04:07,566 --> 02:04:09,902
is David Aames' memory
of what New York is.
1819
02:04:09,985 --> 02:04:12,279
And it's not quite perfect.
1820
02:04:12,363 --> 02:04:15,032
You can look at where
the Statue of Liberty is placed
1821
02:04:15,116 --> 02:04:18,119
and it's not in the right place,
but it's how he remembered it.
1822
02:04:19,120 --> 02:04:21,330
And I think one of the things
the movie asks is,
1823
02:04:22,039 --> 02:04:23,165
"How important is memory?"
1824
02:04:23,249 --> 02:04:25,876
Sometimes memory is more important
than what really happened.
1825
02:04:25,960 --> 02:04:27,795
Sometimes it's memory
that lives forever.
1826
02:04:28,629 --> 02:04:31,298
But in this movie
I think it's love that lives forever.
1827
02:04:32,133 --> 02:04:34,051
Kurt Russell has got his own love story.
1828
02:04:34,135 --> 02:04:36,720
He fell in love with the image of a son
1829
02:04:37,805 --> 02:04:40,349
that he oddly felt so connected to.
1830
02:04:41,642 --> 02:04:43,477
And as he realizes here
1831
02:04:44,270 --> 02:04:50,651
that he is born
out of Tom's character's desire
1832
02:04:50,734 --> 02:04:55,030
for a vivid, loving, compassionate father,
1833
02:04:55,114 --> 02:04:58,075
he slowly crumbles in the greatest way.
1834
02:04:58,659 --> 02:05:05,291
And this is one of those moments
that you see an actor find
1835
02:05:06,041 --> 02:05:08,085
and you just want to put it all
in the movie.
1836
02:05:08,961 --> 02:05:11,213
You want to let a take run
as long as it takes.
1837
02:05:11,297 --> 02:05:15,676
And oddly his daughter had a moment
like that in Almost Famous,
1838
02:05:16,427 --> 02:05:19,180
when Kate realizes
she's been sold for beer.
1839
02:05:19,805 --> 02:05:23,392
Here we have what we called
our little Planet of the Apes moment,
1840
02:05:23,475 --> 02:05:26,854
where Kurt addressed
the heavens and said, you know,
1841
02:05:27,396 --> 02:05:30,441
"Mortality as home entertainment?
This cannot be the future!"
1842
02:05:31,150 --> 02:05:33,944
But, of course, it is the future.
1843
02:05:34,528 --> 02:05:38,032
And this is the slow realization
of a man coming to grips
1844
02:05:38,115 --> 02:05:39,700
with the fact that he's not real.
1845
02:05:39,783 --> 02:05:41,744
And I love that shrug Kurt has.
1846
02:05:42,620 --> 02:05:46,290
And then he accepts
that he's not real and says good-bye.
1847
02:05:47,374 --> 02:05:49,168
It killed me when we filmed it.
1848
02:05:49,668 --> 02:05:51,128
And they were breaking down
the equipment
1849
02:05:51,212 --> 02:05:52,755
and we were moving on
to the next scene,
1850
02:05:52,838 --> 02:05:56,467
I was kind of standing around going,
"Did you believe what just happened?"
1851
02:05:56,550 --> 02:05:58,844
And everybody was sort of rocketing on
to the next scene,
1852
02:05:58,928 --> 02:06:03,599
but I just knew in my heart
that we had that character's good-bye.
1853
02:06:05,517 --> 02:06:08,145
And that brings us to
Tom's great decision
1854
02:06:08,229 --> 02:06:09,897
that he wants to live a real life.
1855
02:06:10,564 --> 02:06:12,107
He doesn't want to dream any more.
1856
02:06:12,858 --> 02:06:17,321
So in finding reality, he has to sacrifice
1857
02:06:18,948 --> 02:06:20,115
the dream of love
1858
02:06:20,950 --> 02:06:24,119
for the promise of actual love.
1859
02:06:25,537 --> 02:06:30,042
And a love that he can appreciate
because he was schooled by Sofia.
1860
02:06:39,885 --> 02:06:44,056
So now you have the good-bye
that passes between a character
1861
02:06:44,723 --> 02:06:49,019
who's ecstatic that he's got
this love of his life back,
1862
02:06:50,062 --> 02:06:51,605
but she is a figment.
1863
02:06:53,274 --> 02:06:55,442
And I really wanted to do this scene
1864
02:06:56,110 --> 02:06:58,779
because it's just
one of the more original ways
1865
02:07:00,030 --> 02:07:02,574
that two lovers can say
good-bye in a story.
1866
02:07:03,367 --> 02:07:05,911
And I've got to hand it
to Alejandro Amenábar
1867
02:07:05,995 --> 02:07:09,206
because it's his creation.
1868
02:07:10,332 --> 02:07:11,375
When he saw the movie,
1869
02:07:12,334 --> 02:07:15,296
he said some really inspiring stuff
to me.
1870
02:07:16,088 --> 02:07:20,759
But one of the things he said is
that he really loved that line about,
1871
02:07:20,843 --> 02:07:23,512
"I'm frozen, you're dead and I love you."
1872
02:07:23,595 --> 02:07:27,266
He said, "Oh, man,
I wish that was in my movie!"
1873
02:07:27,933 --> 02:07:33,022
But, you know,
they're all in both movies,
1874
02:07:33,105 --> 02:07:36,734
the different interpretations
and the different roads you can travel.
1875
02:07:38,152 --> 02:07:39,737
And I do love this good-bye.
1876
02:07:41,071 --> 02:07:42,823
"I'll find you again," she says.
1877
02:07:44,033 --> 02:07:46,827
And it is a pure moment
for Penélope Cruz,
1878
02:07:47,453 --> 02:07:50,247
who really can fall in love onscreen
1879
02:07:51,373 --> 02:07:52,916
as good as anybody ever has.
1880
02:07:54,168 --> 02:07:55,294
That yearning,
1881
02:07:56,170 --> 02:07:59,715
that kind of simple, mysterious look
that she gives him
1882
02:07:59,798 --> 02:08:01,091
powers the end of the movie.
1883
02:08:02,092 --> 02:08:05,679
And Tom repeats that line
that came from Penélope herself
1884
02:08:06,680 --> 02:08:08,390
and I love that wave, too.
1885
02:08:09,016 --> 02:08:14,688
The vertigo that you get
looking down was difficult to achieve.
1886
02:08:15,481 --> 02:08:17,316
A lot of hard work with John Toll and
1887
02:08:18,233 --> 02:08:22,571
we studied how the original did it
and we tried our own ways.
1888
02:08:22,654 --> 02:08:27,368
And I liked what made it celestial.
1889
02:08:27,951 --> 02:08:32,748
A guy who is jumping
for a new beginning
1890
02:08:34,124 --> 02:08:36,960
and the end will be brief
1891
02:08:37,961 --> 02:08:42,466
and his beginning will appear quickly.
1892
02:08:46,387 --> 02:08:50,140
These images are kind of
our own little Sgt. Pepper cover.
1893
02:08:50,224 --> 02:08:51,642
Each one of them matters
1894
02:08:51,725 --> 02:08:55,354
and I invite you to pause and think
about who they are and what they mean.
1895
02:08:55,437 --> 02:08:57,773
Some of them are bands,
some of them are out-takes,
1896
02:08:57,856 --> 02:09:00,359
some of them are musicians,
albums that matter a lot.
1897
02:09:01,693 --> 02:09:04,822
Home movies from Tom's archives.
1898
02:09:07,116 --> 02:09:10,661
What it does is give you
a collage of feelings and impressions.
1899
02:09:10,744 --> 02:09:14,039
And we fade to white at the end,
which I was really proud of.
1900
02:09:22,756 --> 02:09:25,634
I've heard many interpretations
of the movie
1901
02:09:25,884 --> 02:09:29,179
and almost all of them
to date end up discussing
1902
02:09:29,263 --> 02:09:32,599
whose voice it is that wakes
David Aames up in the future.
1903
02:09:33,767 --> 02:09:37,354
For the theatrical version,
we asked a actress
1904
02:09:37,438 --> 02:09:41,275
that we really wanted to work with,
the great Scottish actress Laura Fraser,
1905
02:09:41,358 --> 02:09:42,776
to be the voice of the future.
1906
02:09:43,444 --> 02:09:46,029
But in other sections of this Blu-ray,
1907
02:09:46,947 --> 02:09:49,700
you'll hear different voices
waking David Aames up.
1908
02:09:49,783 --> 02:09:53,954
And each path, is different,
open to interpretation.
1909
02:09:54,037 --> 02:09:56,790
Choose your path well
and listen carefully.
1910
02:11:15,869 --> 02:11:20,290
I've read some great stuff on
Greg Mariotti's website, The UnCool.
1911
02:11:20,832 --> 02:11:22,084
It's been very entertaining
1912
02:11:22,167 --> 02:11:26,046
and I've always loved how people
got so invested in the movie.
1913
02:11:26,129 --> 02:11:30,384
Billy Wilder once said
that his greatest dream was
1914
02:11:30,467 --> 02:11:32,719
that he could make a movie
that people would want to talk about
1915
02:11:32,803 --> 02:11:34,888
for 15 minutes afterwards.
1916
02:11:34,972 --> 02:11:38,225
And when I was interviewing him
for our book, I said, "Just 15 minutes?"
1917
02:11:38,308 --> 02:11:40,310
He said, "15 minutes is the minimum."
1918
02:11:40,394 --> 02:11:45,232
But that was his goal
and I think that was an honorable goal
1919
02:11:45,315 --> 02:11:48,610
that I had in my mind
when we made Vanilla Sky.
1920
02:11:48,694 --> 02:11:51,655
That this could be a movie
that people could talk about later,
1921
02:11:52,364 --> 02:11:54,408
and as we're talking about it now.
1922
02:11:54,992 --> 02:11:57,327
The song, I have to tell you,
that we're hearing
1923
02:11:57,411 --> 02:11:59,830
by Paul McCartney was a gift.
1924
02:12:01,164 --> 02:12:04,251
Paul was on our minds a lot
in the making of the movie
1925
02:12:04,334 --> 02:12:06,837
and Danny Bramson,
who does the music,
1926
02:12:06,920 --> 02:12:09,131
we do the music
together on the movies,
1927
02:12:09,214 --> 02:12:12,259
contacted him and asked him if he
would want to come to the editing room,
1928
02:12:12,342 --> 02:12:17,097
and see some footage and think about
participating with some of his music.
1929
02:12:17,639 --> 02:12:21,018
So one day Paul McCartney
actually showed up in our editing room.
1930
02:12:21,768 --> 02:12:26,773
And that in itself
was a seismic situation.
1931
02:12:27,524 --> 02:12:30,360
But he came and he saw
about 40 minutes of the movie
1932
02:12:33,071 --> 02:12:34,448
and was affected by it
1933
02:12:34,531 --> 02:12:38,744
and we went back to his studio,
where he was recording Driving Rain,
1934
02:12:38,827 --> 02:12:40,162
and he played us some songs.
1935
02:12:40,746 --> 02:12:43,874
And they sounded great.
They sounded like they'd work
1936
02:12:43,957 --> 02:12:46,209
and I just sort of jumped in and said,
1937
02:12:46,293 --> 02:12:48,337
"You know, you've seen
about 40 minutes of the movie.
1938
02:12:48,420 --> 02:12:52,633
"There's a theme about cherishing
what's real in our lives
1939
02:12:52,716 --> 02:12:57,137
"and cherishing love and embracing
the sweet and sour of life.
1940
02:12:57,220 --> 02:13:00,474
"And if anything comes to you,
if you want to write a new song..."
1941
02:13:00,557 --> 02:13:01,683
Like a folk song.
1942
02:13:01,767 --> 02:13:03,143
Like a folk song, a ballad.
1943
02:13:03,226 --> 02:13:07,314
'Cause the movie always did feel
a little bit like a folk song to me.
1944
02:13:08,273 --> 02:13:09,566
"Go right ahead."
1945
02:13:10,192 --> 02:13:11,735
And he kind of looked at me like,
1946
02:13:12,402 --> 02:13:16,573
"You know, I'm a little busy and this is
the album that I'm recording right now."
1947
02:13:17,949 --> 02:13:19,993
But he was
totally gracious and wonderful
1948
02:13:20,077 --> 02:13:21,578
and then that was on a Tuesday.
1949
02:13:21,662 --> 02:13:24,164
On a Saturday,
Danny Bramson's cell phone rang
1950
02:13:24,247 --> 02:13:25,499
and it was Paul McCartney.
1951
02:13:26,375 --> 02:13:28,293
And he said, you know,
"Get to know me, man,
1952
02:13:28,377 --> 02:13:31,838
"because if you ask me for something,
I might just come through for you.
1953
02:13:31,922 --> 02:13:35,926
"I've written a new song,
a folk song, called Vanilla Sky.
1954
02:13:37,010 --> 02:13:40,806
"And if you don't like it, I'll just
change the words to 'Manila Envelope'."
1955
02:13:40,889 --> 02:13:45,018
And we raced across town
to the studio and saw him again
1956
02:13:45,102 --> 02:13:46,269
and he played us the song
1957
02:13:46,937 --> 02:13:51,400
and it felt like the perfect way
1958
02:13:51,483 --> 02:13:54,069
to kind of come back down to earth
1959
02:13:54,653 --> 02:13:56,738
after we've tumbled through this story.
1960
02:13:57,614 --> 02:13:59,366
And that became the end title.
1961
02:14:00,325 --> 02:14:01,785
You hear a little bit of it
in the beginning
1962
02:14:01,868 --> 02:14:04,329
when David Aames is waking up
in his apartment,
1963
02:14:04,413 --> 02:14:07,958
but it was Paul McCartney who, I think...
1964
02:14:08,041 --> 02:14:13,422
The DNA of the movie really is in him.
1965
02:14:13,505 --> 02:14:19,594
And he just kind of perfectly hit
the right note for the end of the movie.
1966
02:14:19,678 --> 02:14:22,139
And as we're now watching
the many songs
1967
02:14:22,889 --> 02:14:27,436
that kind of rattle around the psyche
of Vanilla Sky,
1968
02:14:27,519 --> 02:14:30,188
it's kind of perfect that it ends
1969
02:14:30,272 --> 02:14:34,651
with this kind of grace note
from Paul McCartney.
1970
02:14:35,694 --> 02:14:38,822
Who says in the song the words
"sweet and sour."
1971
02:14:39,531 --> 02:14:43,160
And it really brings the movie together
for me when it's over.
1972
02:14:44,703 --> 02:14:48,623
I want to thank a few people
for being involved in this labor of love.
1973
02:14:48,707 --> 02:14:52,085
Scott Martin and Andy Fischer
from Vinyl Films.
1974
02:14:52,169 --> 02:14:55,839
Scott, thank you for being
on-set DJ and producer.
1975
02:14:56,757 --> 02:15:00,385
Paula Wagner, Tom Cruise,
Jonathan Sanger,
1976
02:15:00,469 --> 02:15:01,595
the cast and crew.
1977
02:15:02,179 --> 02:15:06,933
Jeff Wexler, Don Coufal,
who did the great sound.
1978
02:15:07,559 --> 02:15:11,354
Ana Maria Quintana,
Dianne Dreyer, Don Lee.
1979
02:15:12,189 --> 02:15:15,859
Woody, Herb,
Dilly Gent from Radiohead.
1980
02:15:15,942 --> 02:15:19,404
Daya Fernandez, Michael Doven,
David McGiffert,
1981
02:15:19,488 --> 02:15:23,825
Gail Levin, Michèle Burke,
Betsy Heimann, Ellen Freund,
1982
02:15:23,909 --> 02:15:27,037
Mike Thomas, Graydon Carter,
for letting us use Vanity Fair.
1983
02:15:27,120 --> 02:15:31,166
John Arena, Michael Mann
and the Ali crew that mixed next to us.
1984
02:15:31,249 --> 02:15:34,586
Martin Scorsese
for loaning us Cameron Diaz.
1985
02:15:34,669 --> 02:15:40,175
And you've got to say
Alejandro Amenábar and Mateo Gil.
1986
02:15:40,258 --> 02:15:44,304
Thank you very much for loaning us
your folk song and your fable
1987
02:15:44,387 --> 02:15:46,431
and your great words and story.
1988
02:15:46,515 --> 02:15:49,476
And the great Nancy Wilson,
who thinks I say "great" too much.
1989
02:15:49,559 --> 02:15:51,520
Thank you for your score. Bye.