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Good afternoon. My name is
Florian Henckel von Donnersmarck.
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I'm the director of this film.
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And I'm recording
this DVD commentary...
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...on Friday, December 10th, 2010
in Santa Monica.
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I figured that since we had about
a minute worth of logos...
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...at the beginning of the film...
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...we'd go straight into the action
and not have a long title sequence.
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I also always think that that helps you
enter into the reality of a film...
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...if you don't have to see
for a long time...
10
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...the names of all the people
who made it.
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There's something, I think,
that helps suspension of disbelief...
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...if you aren't constantly reminded of
the fact that it's made by people.
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One thing that's always really
important to me...
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...is the very first introduction
of a character.
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I think in a little subtle way, it has
to say something about the person.
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And about how that person
will be treated throughout the film.
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And here, I thought that a fun way
to introduce Angelina...
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...would be to have these cops
talk about her...
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...as this elusive
and dangerous target.
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And then once the door opens...
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...you see that the target
is actually this beautiful...
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...delicate, elegant
and sophisticated woman.
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And that's kind of the game
that we play throughout the whole film.
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Underwear or no underwear today?
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And that's also a principle that I tried to
apply to all supporting characters too.
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Like for example
the French sergeant...
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...a brilliant French actor,
Bruno Wolkowitch.
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He comes in
and he's the kind of sergeant...
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...who will actually bring coffee
to his officers.
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And they're the kind of officers
who will actually make their job fun...
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...by enjoying the beauty
of the target they're observing.
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I feel that every character deserves
a little bit of three-dimensionality...
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...even if you only see them
for a moment.
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Do you have a visual?
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Well, you know, here these people
are just undercover cops...
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...but they are two very,
very good actors.
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Frangois Vincentelli
and Clément Sibony.
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And so I give them a little moment
to show...
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...what it looks like
when they flex their acting muscle.
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A little joke.
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No one gets the tea joke,
but I actually think it's quite funny.
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Yes, this is Mhamed Arezki
who plays the courier.
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Tried to find someone who could really
express that innocence...
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...that I needed for this character...
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...to be a humourous victim
for Paul Bettany.
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Another of those introductions
of a character.
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See, just a shrill ring
of a cell phone.
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Felt that would be a good way
to characterise...
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Stay on his face.
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...Acheson's, Paul Bettany's,
intensity.
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PaulBefiany
really is a phenomenal actor.
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And I fought hard to make sure we
could close his deal on this picture...
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...because he just acts as
an acting catalyst.
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He raises everybody's game,
because he's just so good.
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There really has not been a film
where I haven't admired...
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...his acting skill and intelligence.
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This whole sequence at the beginning
used to have many more jokes.
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And, yeah,
they were kind of funny...
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...but, you know,
upon watching it a few times...
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...| felt that it would be more interesting
if the full humour really started...
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...with the arrival of Johnny Depp
and Frank Tupelo.
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So I cut out all those things.
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One thing that was very important
to me in this film...
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...was to have ultimate clarity
at all times.
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You can see that
even in this handwriting...
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...or the logo of the AP
on the Smythson stationery.
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Or just all the images...
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...and the way that you're given
information several times over.
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I just wanted this to be the kind of film
where you could just lay back...
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...and know that you didn't have
to think too hard or exert yourself...
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...that you could just be enveloped
in this world of clarity...
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...and luxury and beauty...
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...and, you know,
hopefully some suspense.
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But I wanted it to feel easy.
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I wanted to see how light
and easy can I go.
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Save that letter. Go in now.
Save that letter.
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Yes, this was a big discussion.
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Would we be able to keep this "****"
of Paul Bettany here in this scene?
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And I felt it was very important
to introduce the character...
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...and to make him feel like someone
who would use a strong word.
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But if you want to go for
a PG-13 rating, which we had to...
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Il**** II
...you can only have two.
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I'll send you someone.
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Now I've already maybe used my quota
on the DVD commentary...
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...so I won't say the word again.
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But we had to distribute them
very carefully.
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And of course we needed
Johnny's "****" later on...
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...when he just admires
Angelina's beauty.
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And there was
a third "****" actually...
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...when Paul Bettany sees Johnny
arrive on the dance floor...
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...and he says,
ll' lh\-~k*****ll it."
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But luckily we were able to change
that to, "I don't bloody believe it"...
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...and still sounds pretty strong
and still makes the scene funny.
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Yeah, this was a tough one to make
very clear exactly what she's doing.
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To not have to involve people
in thinking.
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That was my big ambition,
to not have to have people think.
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Just have them, you know,
somehow feel and enjoy and relax.
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If you look at all these extras,
not just here, but in every scene...
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...every one of them is chosen
with a lot of love and care.
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And every one of them was cast for
their ability to walk elegantly...
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...or to express something
in their face...
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...and I hope you can feel all the love
that went into those little details.
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Oh, yes, here is Timothy Dalton...
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Specialist pool.
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...whom I wanted to have in the film
not so much because of James Bond--
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Of course I enjoyed him
as James Bond.
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--But mainly because of his role
as the villain in The Racketeer.
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I just felt he was so compelling
and charming and attractive in that...
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...that I just wanted that for this film
and for this part.
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Not only has Pearce--
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And I think he did a really great job.
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--He's also 4 inches shorter
than he used to be.
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Dalton's assistant is lddo Goldberg.
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That's him right there,
a very accomplished actor.
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And I'm very glad
that he was willing to do this part.
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I feel that for the small part,
for an exchange of glances like that...
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...it's very important
to have a very, very good actor...
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...because otherwise a moment
like that will ruin a scene.
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--Has 744 million in illegal assets...
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...that, given he is a British subject,
we might seize.
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That apple that you see on
Timothy Dalton's desk...
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...that was at Timothy's request.
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I'll often ask an actor
when he or she first comes on the set:
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"What is it that you think
this set could take...
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...to make it more your own space?
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What would you,
as the character that you're playing...
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...have on the desk
or around there?"
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Thank you, sir.
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Timothy said, "You know what?
I think I'd like an apple there."
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And I really like the apple
in that scene.
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Yes, this technology of actually
reconstructing letters...
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...with special chemicals
even after they've been burnt...
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...is something that I saw as a child on
a science show called 3-2-1 Contact.
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Those of you who are about my age
will remember that show.
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It was really impressive.
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And they once had an episode about
reconstructing burned documents.
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And it looked something like this.
And so when I thought up this scene...
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...| went back there mentally.
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This is the last time you see
my three French officers:
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Bruno Wolkowitch,
who plays the captain.
141
00:11:04,169 --> 00:11:07,505
March Ruchmann,
who's the Brigadier Kaiser.
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00:11:07,672 --> 00:11:11,885
And Julien Baumgartner,
who plays Brigadier Ricuort.
143
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I always like to give actors--
Their character's names...
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Gare de Lyon, perhaps?
145
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...even if you don't hear them
on-screen.
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I think it says something
about the respect...
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...for the characters that they play.
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She's getting on an 822 train. Go.
149
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And for their names...
150
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...| always choose the last names
of members of the crew...
151
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...who've somehow impressed me
or really helped me.
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So I'll leave it to you
to figure out who was who.
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Bruno Wolkowitch,
the French captain...
154
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...actually also a very accomplished
theatre actor.
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The day after we finished shooting--
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No, actually the very day
that we finished shooting...
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...| took my DP, my production
designer and my assistant...
158
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...to watch one of his plays.
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It was called Le Donneur de Bain,
The Giver of Baths.
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He plays a crippled orphan who lives
in the basement of a brothel...
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...and falls in love with one of
the prostitutes. Pretty extreme story.
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But he's a really wealthy guy,
so when she becomes pregnant...
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...this prostitute pretends
that she loves him.
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And he can't believe his luck.
165
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And you get to know Bruno's character
as this deeply romantic person...
166
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...who tells this prostitute how,
despite everything...
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...she was always
this pure creature for him.
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And what she doesn't know
is that he has the whole brothel wired.
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When she goes back
to her other clients...
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...and makes fun of the cripple
and his romantic notions to them...
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...it destroys him completely...
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...and he seeks vengeance
by electrocuting everybody.
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But back to our heroes.
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This scene to me is your kind of
ultimate wish fulfilment.
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I mean, we all know that situation...
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...where we're on a train or a bus
and there's a seat next to us...
177
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...and a beautiful girl
comes walking down the aisle.
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And we think, you know,
"Please, sit here right next to me."
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And she almost never does,
of course.
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But when she does,
we don't know what to say...
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...and it turns out
to be an embarrassing fiasco.
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Well, not here. Not in this film.
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Here she actually sits
right opposite us...
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...and starts hitting on us, seducing us,
and takes us to her hotel room.
185
00:13:53,046 --> 00:13:56,257
That's what the world
should be like...
186
00:13:56,424 --> 00:13:58,843
...and that's what it's gonna be like
in this film.
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That's a terrible name.
188
00:14:01,596 --> 00:14:03,014
It's the only one I've got.
189
00:14:04,224 --> 00:14:06,059
Now I'm going to tell you a secret...
190
00:14:06,226 --> 00:14:09,479
...since most of you listening
are probably filmmakers anyhow.
191
00:14:11,022 --> 00:14:13,525
That landscape out there
is all green screen.
192
00:14:13,691 --> 00:14:16,277
And I really think that in this film,
you can't tell.
193
00:14:16,444 --> 00:14:21,491
I really think that Ted Rae,
our VFX supervisor...
194
00:14:21,658 --> 00:14:27,038
...has set a new standard here
for train green screen.
195
00:14:27,205 --> 00:14:28,790
I'm a mysterious woman on a train.
196
00:14:28,957 --> 00:14:33,002
He shot these perfect landscapes
in Tuscany...
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00:14:33,169 --> 00:14:35,547
...that we spent a long time
selecting...
198
00:14:35,713 --> 00:14:39,592
...on VistaVision
to fill these green screens.
199
00:14:39,759 --> 00:14:43,471
And I think that's what makes it feel
so especially crisp.
200
00:14:43,638 --> 00:14:46,391
And it's also just a very, very,
very good compositing job.
201
00:14:46,558 --> 00:14:49,018
--Whose father's been kidnapped--
202
00:14:49,269 --> 00:14:52,939
Look at train scenes in the future
and if you can find a better one--
203
00:14:53,106 --> 00:14:55,316
A microfilm.
There's usually microfilm involved.
204
00:14:55,483 --> 00:14:57,569
--Then write me about it.
205
00:14:58,444 --> 00:15:02,699
Or write my assistant:
206
00:15:02,866 --> 00:15:05,285
asst@donnersmarck.com.
207
00:15:06,828 --> 00:15:08,538
Is there a man in my life?
208
00:15:12,041 --> 00:15:13,293
Have to wait and see.
209
00:15:13,459 --> 00:15:16,296
Johnny,
I could just look at him forever.
210
00:15:16,462 --> 00:15:18,173
He's just such a phenomenal actor...
211
00:15:18,339 --> 00:15:21,968
...and he has just
such an incredible sense of humour.
212
00:15:23,344 --> 00:15:25,889
Straight from the first meeting
that we had...
213
00:15:26,055 --> 00:15:30,935
...| knew that I had to write
a lot of humour into the script...
214
00:15:31,102 --> 00:15:34,606
...because he's just
such an incredibly funny person.
215
00:15:34,772 --> 00:15:37,066
He just really makes
everybody laugh.
216
00:15:40,111 --> 00:15:44,073
I know that's a dangerous thing to say
about someone since Goodfel/as...
217
00:15:44,240 --> 00:15:46,910
...that they're a funny person.
218
00:15:47,076 --> 00:15:52,081
Remember Joe Pesci
asking Ray Liotta, "So I amuse you?"
219
00:15:52,248 --> 00:15:55,585
"Yes-II
And then think he's gonna kill him.
220
00:15:55,752 --> 00:15:59,714
Oh, here are the first of
our aerial shots.
221
00:15:59,881 --> 00:16:02,258
Well, actually there was one
when the train left.
222
00:16:03,384 --> 00:16:07,430
I love helicopter shots
when they're done right.
223
00:16:07,597 --> 00:16:10,058
And I feel no one does them better
than Ridley Scott.
224
00:16:10,225 --> 00:16:14,062
So when I came on the show,
I just asked:
225
00:16:14,229 --> 00:16:17,148
"Who does Ridley Scott's
aerial shots?"
226
00:16:17,315 --> 00:16:19,317
They said it was this man called
Marc Wolff.
227
00:16:20,068 --> 00:16:25,114
So I said, "| need Marc Wolff."
And Marc Wolff came and delivered.
228
00:16:25,281 --> 00:16:27,617
And I will be forever grateful
to Marc Wolff.
229
00:16:27,784 --> 00:16:31,246
I actually used some of the insights
that I had also learned...
230
00:16:31,412 --> 00:16:37,460
...from Simon Crane,
our stunt supervisor...
231
00:16:37,627 --> 00:16:40,755
...in working with Marcus Wolff,
because Simon has this principle...
232
00:16:40,922 --> 00:16:44,801
...that to make something very dramatic
and fast that's moving towards you...
233
00:16:44,968 --> 00:16:47,470
...you have the camera move
against it, never with it.
234
00:16:47,637 --> 00:16:51,099
Of course it seems self-evident,
but it's actually a pretty deep insight.
235
00:16:51,266 --> 00:16:55,311
And so I kept pushing Marc Wolff
to actually move against the train...
236
00:16:55,478 --> 00:16:57,730
...to make it even faster
and more impressive.
237
00:16:57,897 --> 00:17:01,067
So I'm particularly pleased...
238
00:17:01,234 --> 00:17:06,197
...with our aerial photography.
239
00:17:09,701 --> 00:17:13,079
My main photographer was
John Seale.
240
00:17:14,455 --> 00:17:19,836
I actually wrote my thesis in film school
about The Talented Mr. Ripley...
241
00:17:20,461 --> 00:17:23,214
...and had a large section
about his work.
242
00:17:23,381 --> 00:17:27,969
So he was actually shocked
to see how much I knew...
243
00:17:28,136 --> 00:17:32,348
...about his method of working,
that I'd really seriously studied him.
244
00:17:36,227 --> 00:17:37,687
He developed a special light...
245
00:17:38,354 --> 00:17:43,901
...where you can actually shoot
several cameras at the same time.
246
00:17:44,902 --> 00:17:48,072
Three is the minimum he likes to use.
247
00:17:48,281 --> 00:17:51,909
And not have to make
any compromises in lighting.
248
00:17:53,369 --> 00:17:56,414
It was really interesting
to experiment with that.
249
00:17:58,875 --> 00:18:01,586
But about halfway through the shoot,
I just said:
250
00:18:01,753 --> 00:18:05,381
"You know, this isn't working for me.
I have to go back to just one camera.
251
00:18:05,548 --> 00:18:08,801
I can't concentrate on two actors
at the same time."
252
00:18:08,968 --> 00:18:13,181
And I do also believe
that an actor acts a little differently...
253
00:18:13,348 --> 00:18:15,600
...for a close-up than for a wide shot.
254
00:18:15,767 --> 00:18:19,562
It's just a different concentration
of energy.
255
00:18:19,729 --> 00:18:25,610
And so I said,
"Let's send the other operators home."
256
00:18:25,777 --> 00:18:29,238
And from then on,
I concentrated only on one image.
257
00:18:29,405 --> 00:18:33,743
And we did have to do a lot
of digital corrections...
258
00:18:33,910 --> 00:18:37,080
...to the frames
and the movements...
259
00:18:37,246 --> 00:18:41,959
...that were shot while we were still
in our three-camera mode.
260
00:18:42,543 --> 00:18:47,256
But luckily it was all fixable.
261
00:18:50,176 --> 00:18:51,844
Do you know something?
262
00:18:52,470 --> 00:18:54,597
I think you're right.
263
00:18:54,806 --> 00:18:55,848
Really?
264
00:18:56,015 --> 00:19:00,269
And there's this idea that, of course,
if you cross-shoot with two cameras...
265
00:19:01,354 --> 00:19:05,358
...you would be able to out almost like
live television to the actual reaction...
266
00:19:05,525 --> 00:19:07,276
...but you never end up doing that.
267
00:19:07,443 --> 00:19:10,238
I've spoken to several directors since
who have cross-shot...
268
00:19:10,405 --> 00:19:13,449
...and to many editors
who've edited things like that...
269
00:19:13,616 --> 00:19:17,662
...and they always say
that's a very theoretical idea.
270
00:19:18,246 --> 00:19:20,581
You always end up going for
the strongest moment...
271
00:19:20,748 --> 00:19:23,292
...and not for the one
that happens to match perfectly.
272
00:19:23,459 --> 00:19:25,962
Perfect continuity
is overrated anyhow.
273
00:19:28,214 --> 00:19:34,846
Yes, this is Alessio Boni,
the Italian captain there.
274
00:19:36,305 --> 00:19:39,851
He is an actor that
I've admired for a long time.
275
00:19:40,017 --> 00:19:43,020
If you still have space on
your Netflix queue...
276
00:19:43,187 --> 00:19:45,815
...you should put a film on there
called Best of Youth.
277
00:19:45,982 --> 00:19:51,612
It is truly one of the best Italian films
of the past decades.
278
00:19:52,196 --> 00:19:53,364
What happened?
279
00:19:53,531 --> 00:19:55,658
And in it...
280
00:19:58,744 --> 00:20:01,038
...he plays one of two brothers...
281
00:20:01,205 --> 00:20:07,211
...who all go very separate paths
and then unite...
282
00:20:07,378 --> 00:20:12,550
...to find a girl that they both loved
when they were young...
283
00:20:12,717 --> 00:20:15,720
...and who has been imprisoned
in a lunatic asylum.
284
00:20:15,887 --> 00:20:18,806
It's extremely melodramatic,
unbelievably moving.
285
00:20:18,973 --> 00:20:23,311
And I always knew that if
I ever had a role for an Italian actor...
286
00:20:23,478 --> 00:20:25,146
...it would have to be Alessio Boni.
287
00:20:25,313 --> 00:20:28,399
He's just so incredibly attractive
in that film...
288
00:20:28,566 --> 00:20:31,861
...and gives a very complex
performance.
289
00:20:32,737 --> 00:20:34,780
Again, here he only has
a very small part...
290
00:20:34,947 --> 00:20:38,701
...but I think you can sense
how magnetic he is.
291
00:20:45,291 --> 00:20:48,211
Yes, here's one of those moments
that I always like in films...
292
00:20:49,670 --> 00:20:54,592
...when the boy looks after the girl
and she seems to be looking away.
293
00:20:54,759 --> 00:20:56,427
And then just as he turns around...
294
00:20:57,762 --> 00:20:59,388
...after him.
295
00:21:00,431 --> 00:21:03,684
Misunderstanding:
the essence of human life.
296
00:21:07,772 --> 00:21:13,611
This is Gwilym Lee,
who I think is a phenomenal actor.
297
00:21:14,278 --> 00:21:18,491
He actually went to the same
film school, the same acting school...
298
00:21:18,658 --> 00:21:23,621
...as Steven Robertson, who plays
the junior technician, the traitor...
299
00:21:24,914 --> 00:21:26,123
...a few scenes later.
300
00:21:30,586 --> 00:21:32,964
Here I find you can notice
something interesting.
301
00:21:33,130 --> 00:21:39,011
Look at the way that Gwilym
slightly chews one corner of his lip.
302
00:21:39,804 --> 00:21:44,475
Then look at the way Paul Bettany
does the exact same thing.
303
00:21:46,519 --> 00:21:48,354
One of those interesting
mannerisms...
304
00:21:48,521 --> 00:21:54,110
...that I have just seen come about
in acting over the past decade or so.
305
00:21:55,111 --> 00:21:56,153
Thank you.
306
00:22:00,032 --> 00:22:02,994
But they both pull it off,
because they're just terrific actors.
307
00:22:09,041 --> 00:22:11,502
I always think Gwilym
has such an amazing voice also.
308
00:22:13,087 --> 00:22:15,840
I wish I had had him speak more
in this film.
309
00:22:18,509 --> 00:22:21,345
Here is our first glimpse of Venice.
Not yet a beauty shot...
310
00:22:21,512 --> 00:22:25,016
...but I wanted to hold those back
for a second.
311
00:22:25,182 --> 00:22:28,686
Yes, here you see
Alessio Boni again...
312
00:22:29,854 --> 00:22:32,898
...with that intense face.
313
00:22:33,065 --> 00:22:35,151
And he actually used to be
a policeman...
314
00:22:35,318 --> 00:22:39,155
...so he can explain a lot
of the Italian police things to us.
315
00:22:39,322 --> 00:22:40,865
Return to headquarters. Quickly.
316
00:22:41,032 --> 00:22:45,036
This little moment, believe it or not,
was one of the hardest things to shoot...
317
00:22:45,202 --> 00:22:48,914
...because it was hard to communicate
with all these people at the same time...
318
00:22:49,081 --> 00:22:51,292
...and get them to do
that exact choreography...
319
00:22:52,627 --> 00:22:54,629
...and coordinate it
with the moving train.
320
00:23:01,302 --> 00:23:03,554
And more of my brilliant extras.
321
00:23:03,721 --> 00:23:05,514
Every single one of them...
322
00:23:07,725 --> 00:23:11,062
...clothed with the same care
as our lead actors, really.
323
00:23:14,106 --> 00:23:18,736
This is a thing that
I just found very funny...
324
00:23:18,903 --> 00:23:23,324
...the idea of him helping someone
who really doesn't want to be helped...
325
00:23:23,491 --> 00:23:25,326
...because that's just who Frank is.
326
00:23:29,246 --> 00:23:30,539
What are you doing?
327
00:23:31,123 --> 00:23:33,626
The Internet fraud report.
328
00:23:36,253 --> 00:23:37,296
80--
329
00:23:37,463 --> 00:23:41,717
This Scotland Yard location
was entirely built in Venice...
330
00:23:41,884 --> 00:23:43,678
...right on the Grand Canal...
331
00:23:43,844 --> 00:23:47,431
...by my brilliant production designer,
Jon Hutman.
332
00:23:50,142 --> 00:23:53,104
Oh, yes, here is the traitor,
Steven Robertson.
333
00:23:54,146 --> 00:23:57,483
And now you're going to meet
Reginald Shaw.
334
00:23:58,359 --> 00:24:02,113
See, look. You start all gentle
and soft over the clouds...
335
00:24:02,279 --> 00:24:06,033
...and then move on to a face that
seems to be thinking about things...
336
00:24:06,200 --> 00:24:08,452
...that are less gentle
than those clouds.
337
00:24:08,619 --> 00:24:10,830
He's mulling over his past crimes.
338
00:24:10,996 --> 00:24:14,125
Now, that's kind of the spirit in which
I wanted to introduce him.
339
00:24:14,583 --> 00:24:19,296
And then also show what a smart...
340
00:24:19,463 --> 00:24:22,049
...and, in a way,
humourous person he is also...
341
00:24:22,633 --> 00:24:25,428
...despite all his vice...
342
00:24:26,470 --> 00:24:32,101
...by helping one of his guys
win at poker without even watching.
343
00:24:32,893 --> 00:24:34,353
I have a piece of information--
344
00:24:34,520 --> 00:24:36,814
It's another one of
those character introductions.
345
00:24:36,981 --> 00:24:39,442
Supposed to be subtle.
Shouldn't be too in-your-face.
346
00:24:39,608 --> 00:24:42,278
It's supposed to teach you something
about a character...
347
00:24:42,445 --> 00:24:43,863
...just within a few seconds.
348
00:24:44,029 --> 00:24:45,322
--Just arrived in Venice--
349
00:24:45,489 --> 00:24:48,325
Just like when I introduced
Johnny earlier.
350
00:24:48,492 --> 00:24:51,871
I introduced him as a man
who's smoking...
351
00:24:53,164 --> 00:24:55,791
...under a "no smoking" sign
on a train.
352
00:24:55,958 --> 00:24:57,835
But it turns out
he isn't really smoking.
353
00:24:58,002 --> 00:25:02,757
In a way, that says a lot about
who he is in this film.
354
00:25:04,300 --> 00:25:06,677
And just in a little symbolic way.
355
00:25:07,428 --> 00:25:12,141
That's what I like to get
from the introduction of characters.
356
00:25:21,484 --> 00:25:23,027
Frank!
357
00:25:24,111 --> 00:25:26,363
You know that feeling
when you arrive in a city...
358
00:25:28,157 --> 00:25:30,493
...and you just don't know
your way around.
359
00:25:30,659 --> 00:25:32,787
And I'm not particularly great
at reading maps.
360
00:25:32,953 --> 00:25:34,872
Do you want to come with me?
361
00:25:35,039 --> 00:25:37,708
And what you hope for, of course,
is a beautiful woman...
362
00:25:37,875 --> 00:25:40,795
...to pull up on a boat
with water sparkling behind her.
363
00:25:40,961 --> 00:25:43,255
We waited for a long time
for just that sparkle.
364
00:25:47,468 --> 00:25:49,762
And take you
to her fantastic hotel room.
365
00:25:59,897 --> 00:26:04,276
I love the unabashed romance
and joy...
366
00:26:04,443 --> 00:26:08,781
...that James Newton Howard put into
his beautiful Venice theme here.
367
00:26:21,627 --> 00:26:24,421
Now, why I wanted to set this whole film
in Venice.
368
00:26:25,089 --> 00:26:28,342
Because Venice is just a place
that makes people beautiful.
369
00:26:28,509 --> 00:26:33,514
Something quite extraordinary,
living there for half a year, almost...
370
00:26:33,681 --> 00:26:36,141
...and just seeing so much beauty
in people's faces...
371
00:26:36,308 --> 00:26:38,185
.“notbecause
they just are beautiful...
372
00:26:38,352 --> 00:26:41,689
...but because the place makes them
that. It just makes you feel happy.
373
00:26:43,399 --> 00:26:46,110
And I wanted to see that
on my actors' faces.
374
00:26:46,277 --> 00:26:48,112
And I hope we do.
375
00:26:54,285 --> 00:26:56,120
This is another one of
those moments...
376
00:26:56,287 --> 00:26:59,206
...that never really gets the laugh
that I get out of it.
377
00:27:00,332 --> 00:27:02,001
But I still think it's really funny.
378
00:27:02,167 --> 00:27:07,131
Neri Marcoré somehow losing
his train of thought...
379
00:27:07,298 --> 00:27:09,967
...simply because he's so confused
by this woman's beauty.
380
00:27:11,969 --> 00:27:18,642
Neri is a very famous
TV personality...
381
00:27:18,809 --> 00:27:23,522
...because he can imitate any Italian
politician perfectly perfectly.
382
00:27:23,814 --> 00:27:25,983
Thank you.
383
00:27:27,276 --> 00:27:30,237
And I thought,
"That's not impersonation skill.
384
00:27:30,404 --> 00:27:33,032
That's real acting skill.
I need this man."
385
00:27:33,824 --> 00:27:36,994
And he really, really delivered.
386
00:27:37,161 --> 00:27:39,663
--Arranged
according to the precise instructions.
387
00:27:40,372 --> 00:27:43,375
Just there you also saw Rufus Sewell
for the second time.
388
00:27:44,335 --> 00:27:47,171
I was very happy when Rufus
accepted this part...
389
00:27:47,338 --> 00:27:53,761
...because I needed the red herring
of this film...
390
00:27:53,928 --> 00:27:58,557
...to have a great screen presence.
391
00:27:58,724 --> 00:28:05,689
And, in a way, be made
out of the same superstar clay...
392
00:28:05,856 --> 00:28:09,360
...that my lead actors are made of.
393
00:28:09,526 --> 00:28:11,779
And Rufus Sewell is that completely.
394
00:28:11,946 --> 00:28:16,784
He is such an incredibly precise
and subtle actor.
395
00:28:30,089 --> 00:28:35,636
This is one of those moments
where I went very soft and mushy.
396
00:28:37,388 --> 00:28:41,392
A girl fawning over jewellery
and clothes.
397
00:28:41,558 --> 00:28:44,561
But, I don't know, it just felt like
the right thing at the time.
398
00:28:49,191 --> 00:28:52,444
This really is a very nice hotel,
isn't it?
399
00:28:53,195 --> 00:28:54,947
They think of everything,
don%they?
400
00:28:55,114 --> 00:28:58,158
I probably would have out
that little exchange out now.
401
00:28:58,325 --> 00:29:04,039
Just would have had him look,
see that closet and then walk on.
402
00:29:04,206 --> 00:29:06,583
I think we could have understood that
without words.
403
00:29:07,543 --> 00:29:10,045
Although Johnny's line
always gets a laugh...
404
00:29:10,212 --> 00:29:12,214
...| don't think
it's one of my best lines.
405
00:29:18,303 --> 00:29:23,017
And here I would have racked focus
onto the Rialto Bridge.
406
00:29:23,183 --> 00:29:26,103
Would have been interesting to see
the focus go away from him...
407
00:29:26,270 --> 00:29:28,480
...and into that landscape,
but, you know...
408
00:29:30,691 --> 00:29:33,152
...you always have
to live with a few little regrets.
409
00:29:42,703 --> 00:29:44,455
This is actually
Johnny Depp's plane.
410
00:29:45,497 --> 00:29:48,584
Or I think the plane that Johnny
and Graham shared on this picture.
411
00:29:53,922 --> 00:29:57,968
So, Johnny is the real Reginald Shaw,
or Graham King is.
412
00:30:00,804 --> 00:30:04,475
Steven Berkoff is an actor
that I've admired for so many years...
413
00:30:04,641 --> 00:30:06,852
...ever since I saw him
in Beverly Hills Cop.
414
00:30:07,019 --> 00:30:10,939
Thought he was such a charming
and dignified villain.
415
00:30:11,106 --> 00:30:14,109
I always love it
when villains are dignified.
416
00:30:14,276 --> 00:30:16,236
And he always is.
417
00:30:16,820 --> 00:30:18,989
And then a few years afterwards--
418
00:30:20,240 --> 00:30:21,575
Understand?
419
00:30:22,576 --> 00:30:27,122
--I saw him playing
his own stage version...
420
00:30:27,289 --> 00:30:30,584
...of Franz Kafka's Metamorphosis...
421
00:30:30,751 --> 00:30:34,963
...in one of the very serious theatres
in Brussels.
422
00:30:37,299 --> 00:30:40,969
It was just so impressive to see that
somebody could be equally at home...
423
00:30:41,136 --> 00:30:44,139
...in the world of so-called high culture
and of popular culture.
424
00:30:44,306 --> 00:30:45,349
Do you mean ravishing?
425
00:30:45,516 --> 00:30:49,353
And so I really needed him for this part
and I'm so glad...
426
00:30:50,479 --> 00:30:51,688
I am.
427
00:30:51,855 --> 00:30:54,024
...that he was available,
that he did it...
428
00:30:54,191 --> 00:30:56,401
...and that I got to work with him
and know him.
429
00:30:57,111 --> 00:31:02,074
Now actually,
he's just shooting David Fincher's...
430
00:31:02,950 --> 00:31:04,743
...Girl with the Dragon Tattoo.
431
00:31:05,702 --> 00:31:08,789
So I'm looking forward to seeing him
on the big screen soon again.
432
00:31:08,956 --> 00:31:12,709
I'm glad that Fincher and I
on this were aligned in taste.
433
00:31:13,502 --> 00:31:14,545
Excellent.
434
00:31:15,254 --> 00:31:20,425
This is Maurizio Casagrande,
another famous Italian TV actor.
435
00:31:20,592 --> 00:31:21,885
He didn't say that to me.
436
00:31:22,052 --> 00:31:26,056
My first AD, Alberto Mangiante...
437
00:31:26,223 --> 00:31:29,309
...who was also Giuseppe Tornatore's
first AD.
438
00:31:29,685 --> 00:31:31,603
So he showed me this film of his...
439
00:31:31,770 --> 00:31:34,439
...where he plays a priest
who is so incredibly bored...
440
00:31:34,606 --> 00:31:39,319
...with hearing the confessions
of the people in his parish.
441
00:31:39,486 --> 00:31:44,032
And it was just so funny that I thought,
"I really need him for this little part."
442
00:31:45,117 --> 00:31:46,910
I think he really adds
something to it.
443
00:31:49,913 --> 00:31:52,666
Hotels don't leave gifts like that,
do they?
444
00:31:52,833 --> 00:31:56,503
I find that Angelina here
looks so beautiful...
445
00:31:56,670 --> 00:31:59,089
...that I could just look
at this footage forever.
446
00:31:59,506 --> 00:32:01,008
Used to?
447
00:32:02,134 --> 00:32:06,263
Took a long time selecting
that exact shade of lipstick.
448
00:32:06,430 --> 00:32:07,806
Lot of camera tests.
449
00:32:10,809 --> 00:32:14,271
Had to be a red
that wasn't too bright...
450
00:32:14,438 --> 00:32:19,610
...as if it were some, you know,
very young little girl wearing it...
451
00:32:19,776 --> 00:32:24,948
...but it also couldn't go too far
into that violet colour...
452
00:32:25,115 --> 00:32:29,912
...that, you know,
the 50-year-old vamp will have.
453
00:32:30,078 --> 00:32:31,914
It had to be right in between.
454
00:32:32,080 --> 00:32:36,460
And I think Toni G,
who was Angelina's makeup artist...
455
00:32:36,627 --> 00:32:38,462
...found the exact right shade.
456
00:32:38,629 --> 00:32:41,298
And I was very glad
when it photographed like that.
457
00:32:44,051 --> 00:32:46,803
It also goes so well
with the white silk.
458
00:32:46,970 --> 00:32:48,805
--The Roman god, Janus.
459
00:32:48,972 --> 00:32:51,808
You know, it was an interesting
experience for me...
460
00:32:51,975 --> 00:32:54,895
...spending all my time thinking
about these things...
461
00:32:55,062 --> 00:32:58,899
...and not about weighty
political issues...
462
00:32:59,066 --> 00:33:00,609
...|ike on The Lives of Others...
463
00:33:00,776 --> 00:33:03,153
...and on the film
that I'm going to be doing next.
464
00:33:04,863 --> 00:33:07,908
It was an interesting
bizarre experience...
465
00:33:08,075 --> 00:33:13,205
...just thinking about material beauty
and what it can say...
466
00:33:13,372 --> 00:33:16,083
...and really taking things
from the outside in.
467
00:33:16,250 --> 00:33:17,834
You know, and trusting the fact...
468
00:33:18,001 --> 00:33:20,963
...that if you accumulate
the right amount of material beauty...
469
00:33:21,129 --> 00:33:23,632
...it will say something
about the world.
470
00:33:26,385 --> 00:33:29,596
He's different--
471
00:33:29,763 --> 00:33:34,101
I love that gentle, delicate voice
and accent...
472
00:33:34,268 --> 00:33:36,812
...that Angelina developed
for this film.
473
00:33:36,979 --> 00:33:39,189
She is a very,
very accomplished actress.
474
00:33:42,359 --> 00:33:43,443
Where I come from...
475
00:33:43,610 --> 00:33:47,030
...the highest compliment
they can offer a person...
476
00:33:47,197 --> 00:33:48,699
Johnny, during this scene...
477
00:33:50,450 --> 00:33:53,036
...improvised a lot.
I mean, none of which we used...
478
00:33:53,203 --> 00:33:56,790
...because it would have made our film
an instant NC-17.
479
00:33:56,957 --> 00:33:59,876
All of his improvisations
are always completely obscene.
480
00:34:01,211 --> 00:34:04,798
But it was very, very funny and I think
gave the scene a certain lightness...
481
00:34:04,965 --> 00:34:06,883
...that it otherwise would not
have had...
482
00:34:07,050 --> 00:34:09,886
...because Angelina's laughter
and his jokes...
483
00:34:10,053 --> 00:34:13,515
...will somehow spill over into the rest
of the scene and just energize it.
484
00:34:13,682 --> 00:34:15,058
I'm sure that's why he did it.
485
00:34:15,225 --> 00:34:17,352
--Restaurant, wasn't it?
486
00:34:17,519 --> 00:34:19,521
A very nice wine.
487
00:34:20,230 --> 00:34:23,942
I'm making us a nice little drink...
488
00:34:24,109 --> 00:34:25,235
...which is nice of me--
489
00:34:25,402 --> 00:34:28,530
Isn't she just perfect goddess there
draped on that sofa?
490
00:34:29,740 --> 00:34:31,241
Thank you.
491
00:34:31,408 --> 00:34:33,076
Were those here
when we checked in?
492
00:34:33,243 --> 00:34:36,580
I love the play
with the various reds here.
493
00:34:37,080 --> 00:34:39,750
The red of the lipstick,
the red of the sofa...
494
00:34:39,916 --> 00:34:43,253
...the red of
the Americano Campari drink.
495
00:34:45,797 --> 00:34:49,384
And here all the different beiges
and whites going into the pinks.
496
00:34:49,551 --> 00:34:50,927
It's an invitation to a ball--
497
00:34:51,094 --> 00:34:52,888
When I got that invitation, I thought:
498
00:34:53,055 --> 00:34:55,932
"This is the most glamorous piece
of paper I have ever gotten."
499
00:34:56,099 --> 00:34:58,226
Not so much because of the content.
That too.
500
00:34:58,393 --> 00:35:00,437
But just because of the way
that it was done.
501
00:35:28,340 --> 00:35:30,884
Everything was done with
such incredible taste.
502
00:35:39,142 --> 00:35:42,312
May I pay you a compliment?
503
00:35:42,979 --> 00:35:45,690
Another question
you need never ask.
504
00:35:48,527 --> 00:35:52,656
You are the least
down-to-earth person...
505
00:35:52,989 --> 00:35:54,491
...I've ever met.
506
00:35:54,658 --> 00:35:58,370
For me, this is one of the most
touching moments in the film...
507
00:35:58,537 --> 00:36:01,873
...where he says, "You're the least
down-to-earth person I've ever met."
508
00:36:04,000 --> 00:36:06,586
And she suddenly snaps out
of her...
509
00:36:07,254 --> 00:36:10,465
...somehow unhappy...
510
00:36:12,342 --> 00:36:14,177
...and cool mode.
511
00:36:15,846 --> 00:36:20,684
And just realises for a second
what kind of a man he is.
512
00:36:21,351 --> 00:36:23,645
But then she quickly decides:
513
00:36:26,189 --> 00:36:27,649
"| can't do this after all."
514
00:36:32,028 --> 00:36:34,906
I love this picture. Look at that.
Imagine that as a painting.
515
00:36:37,200 --> 00:36:40,704
Angelina had a good way of describing
what she was thinking in that moment.
516
00:36:40,871 --> 00:36:43,707
She said, "| close the door
and I ask myself:
517
00:36:43,874 --> 00:36:45,834
'Did I do the right thing? Yes, I did."'
518
00:36:47,961 --> 00:36:50,714
I'll forever hear that in my ear,
how she says that.
519
00:36:52,799 --> 00:36:58,722
And this was a shot that
I had big discussions over with my DP.
520
00:36:59,514 --> 00:37:02,976
He felt that people would think...
521
00:37:05,395 --> 00:37:08,231
...that this was the Russians'
perspective.
522
00:37:08,523 --> 00:37:11,943
Or the police's perspective,
that they were watching them.
523
00:37:12,110 --> 00:37:14,404
I thought that by now,
we'd have forgotten them...
524
00:37:14,571 --> 00:37:17,240
...would just be thinking
about the two of them together.
525
00:37:17,407 --> 00:37:20,202
I don't think that we see this
as the Russians' perspective.
526
00:37:20,368 --> 00:37:24,581
But he was not happy with me
when he saw that on the shot list.
527
00:37:26,708 --> 00:37:28,752
You decide.
528
00:37:44,434 --> 00:37:47,479
Now, this scene,
I'd originally meant to show...
529
00:37:47,646 --> 00:37:50,106
...how beautiful it is
when a woman undresses...
530
00:37:50,273 --> 00:37:52,859
...and how somehow sad it is
when a man undresses...
531
00:37:53,026 --> 00:37:56,279
...but it turned into something
a little bit different.
532
00:37:56,446 --> 00:37:58,907
I thought here,
"Look at those beautiful female feet."
533
00:37:59,074 --> 00:38:01,618
But then Johnny turned out
to have these beautiful feet.
534
00:38:01,785 --> 00:38:04,746
And I remember everybody on set
commenting on the fact...
535
00:38:04,913 --> 00:38:07,958
...that his feet were really
quite extraordinarily handsome.
536
00:38:09,918 --> 00:38:13,421
Here I am giving a director's
commentary about feet.
537
00:38:17,759 --> 00:38:22,764
But I like the quiet yearning
melancholy of this scene...
538
00:38:22,931 --> 00:38:25,308
...and of John Seale's
beautiful light...
539
00:38:25,475 --> 00:38:29,145
...and of Jon Hutman's
fantastic production design.
540
00:38:32,107 --> 00:38:36,695
Doesn't that bed in that moment there
feel like most cosy place on earth?
541
00:38:38,321 --> 00:38:40,115
That one, not so much.
542
00:38:43,994 --> 00:38:47,330
You hear that foghorn there
in the distance?
543
00:38:48,623 --> 00:38:52,711
You know, those things really add
atmosphere, I find, to moments.
544
00:38:54,546 --> 00:38:57,215
Wylie Stateman,
our supervising sound editor...
545
00:38:57,382 --> 00:39:01,636
...was a master at
that kind of sound creation.
546
00:39:11,021 --> 00:39:14,524
This was the piece of music that
I asked James to write...
547
00:39:15,567 --> 00:39:18,862
...over and over and over again
until we had this piece.
548
00:39:19,029 --> 00:39:23,575
But I just feel it has a real erotic--
549
00:39:23,742 --> 00:39:26,202
Well, more than that,
sexual intensity.
550
00:39:27,704 --> 00:39:30,498
I always felt that dreams--
551
00:39:32,250 --> 00:39:35,211
They feel like dreams of conquest,
those sexual dreams...
552
00:39:35,378 --> 00:39:37,714
...and I wanted the music
to express that.
553
00:39:37,881 --> 00:39:40,050
Now here is the man.
He's taken the castle.
554
00:39:40,216 --> 00:39:42,385
He's taken the fortress.
He's the king.
555
00:39:42,552 --> 00:39:47,557
And then the cut will be
even more painful.
556
00:39:52,687 --> 00:39:55,690
Good morning. My name is Guido.
557
00:39:55,857 --> 00:39:57,651
I'm your waiter.
558
00:39:58,026 --> 00:39:59,611
I'm Frank.
559
00:40:00,695 --> 00:40:02,072
What's this?
560
00:40:02,238 --> 00:40:04,115
It's your breakfast, sir.
561
00:40:05,033 --> 00:40:08,453
This was Johnny's idea,
to actually say, "I'm Frank."
562
00:40:10,580 --> 00:40:12,374
And I thought it was very touching...
563
00:40:12,540 --> 00:40:15,877
...this idea that the waiter comes
and introduces himself...
564
00:40:16,044 --> 00:40:18,171
...and he also dutifully
introduces himself.
565
00:40:18,838 --> 00:40:23,218
That's very much the character
that Johnny plays here.
566
00:40:37,524 --> 00:40:40,443
This was something
I actually went back to shoot.
567
00:40:40,610 --> 00:40:44,447
When I shot it the first time, I didn't feel
that I'd seized that moment enough...
568
00:40:44,614 --> 00:40:47,325
...that this is where he just had
this incredible fantasy.
569
00:40:47,492 --> 00:40:51,955
So we went back the next day
and just shot that for a half-hour...
570
00:40:52,122 --> 00:40:53,957
...just to be sure
to have that moment.
571
00:40:56,626 --> 00:41:01,005
Him reminiscing about the dream
and realising that it was just a dream.
572
00:41:03,967 --> 00:41:08,221
Vladimir Orlov, Vladimir Tevlovski.
573
00:41:10,140 --> 00:41:15,937
These two tough guys are actually
two of the most decent gentlemen...
574
00:41:16,104 --> 00:41:17,439
...I've worked with ever.
575
00:41:19,149 --> 00:41:22,736
They used to be stuntmen.
They now are actors.
576
00:41:24,070 --> 00:41:26,990
And good ones, I think.
577
00:41:28,825 --> 00:41:33,747
I like their very minimal
precise movements.
578
00:41:33,913 --> 00:41:35,415
We worked on those for a while.
579
00:41:43,965 --> 00:41:47,635
This shot is one where I'm really not
happy with the colour and the lighting...
580
00:41:47,802 --> 00:41:49,471
...but there was nothing
we could do.
581
00:41:49,637 --> 00:41:51,097
There are men trying to break--
582
00:41:51,264 --> 00:41:55,351
I'd just not noticed on set that
we were just lighting it from below...
583
00:41:55,518 --> 00:41:58,313
...and that it looks like
from a different film a little bit.
584
00:42:00,356 --> 00:42:01,858
Your Spanish is excellent, sir.
585
00:42:02,025 --> 00:42:06,529
But if you push these kind of things
in colour correction too far...
586
00:42:06,696 --> 00:42:09,199
...they look artificial
and that's the worst of all.
587
00:42:09,365 --> 00:42:12,202
I really wanted everything in this film
to feel very natural.
588
00:42:20,210 --> 00:42:26,883
You know, this chase sequence
was meant as a fun, light...
589
00:42:27,050 --> 00:42:31,054
...by-the-by introduction
of the beauty of Venice.
590
00:42:33,431 --> 00:42:37,060
I thought it would be a fun idea...
591
00:42:38,561 --> 00:42:43,441
...to present Venice while people were
actually chasing after you with guns.
592
00:42:47,487 --> 00:42:49,239
What made me think
of this sequence...
593
00:42:51,699 --> 00:42:57,413
...was Casanova fleeing over the
rooftops from the cuckold husband.
594
00:42:59,165 --> 00:43:03,211
But I thought that Frank really
was the anti-Casanova.
595
00:43:03,586 --> 00:43:07,423
That it would be really funny seeing
him use the same escape route.
596
00:43:08,675 --> 00:43:11,511
Daniele Pecci,
who puts the gun together there.
597
00:43:11,678 --> 00:43:12,971
Also a very good actor.
598
00:43:13,555 --> 00:43:15,056
Request permission to intervene.
599
00:43:15,223 --> 00:43:17,100
And if I'm to trust the tabloids...
600
00:43:17,267 --> 00:43:19,602
...he is presently dating
Michelle Hunziker...
601
00:43:19,769 --> 00:43:24,983
...who is truly one of the most beautiful
showbiz women ever.
602
00:43:25,149 --> 00:43:26,442
I'd say not our mandate.
603
00:43:26,609 --> 00:43:28,945
Sir, this man is in real peril.
604
00:43:30,363 --> 00:43:34,200
So I know that both he and she
have very good taste.
605
00:43:35,201 --> 00:43:36,244
If that's true.
606
00:43:36,411 --> 00:43:37,912
--Move unless she moves.
607
00:43:38,079 --> 00:43:40,290
Am I making myself crystal clear?
608
00:43:40,456 --> 00:43:44,127
Sir, they Will kill him.
609
00:43:45,879 --> 00:43:48,006
Not our mandate.
610
00:43:50,800 --> 00:43:53,970
Yes, this view of Venice
I think is the most phenomenal view...
611
00:43:54,137 --> 00:43:55,597
...you will ever have of Venice.
612
00:43:55,763 --> 00:43:58,683
It's not been shown
in any film before.
613
00:43:58,850 --> 00:44:03,730
But Jon Hutman and I kept seeing
this one huge rooftop balcony.
614
00:44:04,647 --> 00:44:06,149
And said, "Why can't we get up?"
615
00:44:06,316 --> 00:44:09,819
They said, "It's the top of the music
academy. It's difficult to get there."
616
00:44:09,986 --> 00:44:13,197
We said, "We have to go up there,"
and when we went there...
617
00:44:14,115 --> 00:44:18,119
...we had this phenomenal view
and said, "We have to use this."
618
00:44:18,828 --> 00:44:22,832
And so we used it for this one shot
where Frank climbs along the rooftops.
619
00:44:23,166 --> 00:44:25,126
Hello? Hello?
620
00:44:26,294 --> 00:44:27,837
Hello?
621
00:44:32,175 --> 00:44:33,176
Oh, God.
622
00:44:33,343 --> 00:44:34,510
Fruit market.
623
00:44:36,346 --> 00:44:40,850
We actually had new canvas
put over the entire fruit market...
624
00:44:41,017 --> 00:44:43,478
...because it just had to look fresh
and beautiful...
625
00:44:43,645 --> 00:44:45,521
...and not like some old
decrepit market.
626
00:44:46,689 --> 00:44:49,317
So if you go to Venice
and see that market...
627
00:44:50,068 --> 00:44:52,862
...know that Graham King
and Tim Headington...
628
00:44:53,655 --> 00:44:57,158
...paid for the beautiful roofing
that you see there.
629
00:44:58,534 --> 00:45:00,036
Stop, stop! Please!
630
00:45:00,203 --> 00:45:03,539
This was a difficult sequence to shoot,
the whole rooftop chase.
631
00:45:04,874 --> 00:45:09,295
Johnny actually scratched his feet
and was bleeding all over the roof...
632
00:45:09,462 --> 00:45:12,173
...and, you know, said,
"No, no, it's just scratches"...
633
00:45:13,174 --> 00:45:15,134
...and went on playing.
634
00:45:15,301 --> 00:45:16,761
I felt terrible that evening.
635
00:45:16,928 --> 00:45:20,306
Remember going home and thinking,
"This is not why I became a director...
636
00:45:20,473 --> 00:45:23,851
...to have great actors bleed
for action sequences."
637
00:45:26,938 --> 00:45:28,731
Stop him!
638
00:45:29,023 --> 00:45:34,821
Nino Frassica,
another phenomenal TV actor...
639
00:45:34,988 --> 00:45:38,241
...who just makes me laugh
whenever I see him.
640
00:45:50,253 --> 00:45:52,547
Johnny in handcuffs.
641
00:45:52,714 --> 00:45:55,758
He's going to have to get used
to those handcuffs in this film.
642
00:45:57,593 --> 00:45:59,387
And this is Christian De Sica...
643
00:46:00,680 --> 00:46:05,309
...an actor so famous in Italy that his
autobiography became a bestseller.
644
00:46:06,894 --> 00:46:10,064
And it was called Figlio di Papa.
645
00:46:10,857 --> 00:46:12,900
I think you need it more than I.
646
00:46:13,359 --> 00:46:15,570
Papa's Son. Daddy's Son.
647
00:46:17,321 --> 00:46:22,452
Because his father, of course,
was Vittorio De Sica...
648
00:46:22,618 --> 00:46:24,579
...who really is a legend in Italy.
649
00:46:24,954 --> 00:46:26,456
No.
650
00:46:29,125 --> 00:46:32,003
He's a very famous actor,
of course, his father...
651
00:46:32,170 --> 00:46:34,881
...but also the director
of Bicycle Thieves.
652
00:46:36,716 --> 00:46:40,970
Actually Bicycle Thief, I think
it's called. Yeah, Ladri di biciclette.
653
00:46:41,137 --> 00:46:42,638
You wish to report a murder.
654
00:46:43,097 --> 00:46:44,474
No.
655
00:46:45,141 --> 00:46:46,809
Some people tried to kill me.
656
00:46:47,602 --> 00:46:49,979
I was told
you were reporting a murder.
657
00:46:50,271 --> 00:46:51,647
Attempted murder.
658
00:46:53,816 --> 00:46:54,984
That's not so serious.
659
00:46:55,485 --> 00:46:57,528
No. Not when you--
660
00:46:57,695 --> 00:47:00,198
This is actually shot on
St. Mark's Square.
661
00:47:01,199 --> 00:47:04,827
No one will believe that, because
all you see is just something...
662
00:47:04,994 --> 00:47:07,121
...we could have easily done
as a backdrop...
663
00:47:07,288 --> 00:47:09,582
...but I always think
you can sense these things.
664
00:47:10,583 --> 00:47:12,126
This is the Marciana...
665
00:47:12,835 --> 00:47:19,634
...the administrative offices
of the official Venetian state library.
666
00:47:21,469 --> 00:47:22,637
--Not Italian.
667
00:47:24,347 --> 00:47:27,350
I just felt that even Jon Hutman...
668
00:47:28,017 --> 00:47:30,895
...even Jon Hutman, the genius,
our production designer...
669
00:47:31,062 --> 00:47:36,692
...would not be able to create patina
like you found in this old library.
670
00:47:37,819 --> 00:47:39,987
What is it
you think you're involved in'?
671
00:47:44,242 --> 00:47:48,871
It all started when I met a woman
on the train from Paris.
672
00:47:49,163 --> 00:47:51,666
-This is already good.
-No. No.
673
00:47:51,833 --> 00:47:53,167
She took me to her hotel.
674
00:47:55,211 --> 00:47:57,213
I don't know. No.
She's involved with--
675
00:47:57,380 --> 00:48:00,091
The suit that Christian De Sica
is wearing...
676
00:48:00,258 --> 00:48:02,885
...is one of the few pieces of clothing
in the film...
677
00:48:03,052 --> 00:48:05,638
...not designed by Colleen Atwood.
678
00:48:07,056 --> 00:48:09,809
Colleen Atwood
is our costume designer.
679
00:48:11,060 --> 00:48:14,689
I'd first become aware of her work
through Chicago.
680
00:48:15,398 --> 00:48:18,734
I just thought, "How is it possible
that she can present these women...
681
00:48:18,901 --> 00:48:22,738
...in such an incredibly sexual way
without making them seem cheap?"
682
00:48:22,905 --> 00:48:24,740
And I just wrote her name down.
683
00:48:24,907 --> 00:48:27,285
I was in film school in Munich
at the time and said:
684
00:48:27,451 --> 00:48:29,412
"Okay, if I ever make
an American film...
685
00:48:29,579 --> 00:48:32,582
...this is the lady I'm gonna ask
to do the costumes.
686
00:48:33,249 --> 00:48:36,210
And luckily she was available
and game to do this.
687
00:48:37,086 --> 00:48:40,673
So almost every single costume
in the film was designed by her...
688
00:48:40,840 --> 00:48:43,759
...but when she saw Christian
come in with this suit...
689
00:48:44,218 --> 00:48:46,971
...she said to me,
"We can't do better than that suit.
690
00:48:47,138 --> 00:48:50,474
Just if you look at that fabric,
the way that that's tailored and cut...
691
00:48:50,641 --> 00:48:51,976
...we can't beat that."
692
00:48:52,727 --> 00:48:55,396
So Christian is there in his own suit.
693
00:48:56,981 --> 00:48:58,858
And I will soon be flying to Naples...
694
00:48:59,025 --> 00:49:03,070
...to have his suitmaker
make me a suit.
695
00:49:10,203 --> 00:49:12,121
Please don't do this.
696
00:49:12,455 --> 00:49:15,333
Sir, I've done nothing wrong.
697
00:49:17,126 --> 00:49:21,255
-Please.
-It's only until I check some facts.
698
00:49:21,756 --> 00:49:24,425
Here I thought there had to be
someone in the jail cell...
699
00:49:24,592 --> 00:49:27,386
...who would just impress
through his physical presence.
700
00:49:27,553 --> 00:49:31,515
And I thought of my training partner,
Ralf Moeller...
701
00:49:32,892 --> 00:49:34,560
...who you might know from
Gladiator.
702
00:49:35,561 --> 00:49:40,733
So he flew in for a day
and did this little appearance.
703
00:49:42,193 --> 00:49:44,070
We have to leave.
704
00:49:44,737 --> 00:49:45,780
You're not safe here.
705
00:49:45,947 --> 00:49:48,908
I love the way that John Seale
has sculpted the light here.
706
00:49:50,368 --> 00:49:52,495
Beautiful use of shadow and light.
707
00:49:54,830 --> 00:49:56,207
Come on.
708
00:49:59,001 --> 00:50:02,129
The man you are talking about
is called Alexander Pearce.
709
00:50:03,422 --> 00:50:08,010
And here you experience the dark
and mysterious side of Venice...
710
00:50:08,177 --> 00:50:10,179
...which definitely exists.
711
00:50:10,346 --> 00:50:12,098
You walk through Venice at night...
712
00:50:12,265 --> 00:50:15,184
...you somehow know
that you could just disappear here...
713
00:50:15,351 --> 00:50:18,312
...and no one would ever hear
of you again.
714
00:50:19,814 --> 00:50:25,152
Just seems like a gigantic,
beautiful, very dark maze.
715
00:50:29,865 --> 00:50:31,701
Wait here for a moment.
716
00:50:31,867 --> 00:50:33,202
Went pretty heavy on the fog.
717
00:50:36,289 --> 00:50:39,292
And Wylie even had a dog bark
in the distance.
718
00:50:42,878 --> 00:50:45,131
But of course most of the atmosphere
is created...
719
00:50:45,298 --> 00:50:47,049
...through
the production design here.
720
00:50:48,134 --> 00:50:51,804
Jon Hutman really is my hero
on this film.
721
00:50:53,014 --> 00:50:57,184
People think of production design as
everything that's built or decorated...
722
00:50:57,351 --> 00:51:01,022
...but so often,
it's just the choice of locations...
723
00:51:01,188 --> 00:51:03,107
...and even the choice of an angle.
724
00:51:03,566 --> 00:51:06,986
He'd sometimes bring me somewhere
and say, "Look at that from this angle."
725
00:51:07,153 --> 00:51:09,405
And I'd see it as a completely
new location...
726
00:51:09,572 --> 00:51:12,158
...and realise why it could work
for our film.
727
00:51:12,908 --> 00:51:14,702
Jon Hutman...
728
00:51:15,745 --> 00:51:20,916
...designed everything from Quiz Show
to Sydney Po||ack's The Interpreter...
729
00:51:21,083 --> 00:51:23,169
...from Nancy Meyers'
What Women Want...
730
00:51:24,587 --> 00:51:25,629
...to Coyote Ugly.
731
00:51:26,881 --> 00:51:29,216
And on every single one
of those films...
732
00:51:29,633 --> 00:51:33,596
...you will see that
he's invented a new universe...
733
00:51:33,763 --> 00:51:38,601
...of style and precision
and discipline.
734
00:51:39,101 --> 00:51:41,771
He is quite phenomenal.
735
00:51:42,438 --> 00:51:44,607
Actually on What Women Want...
736
00:51:44,774 --> 00:51:47,068
...Nancy Meyers was so enthralled
with his work...
737
00:51:47,234 --> 00:51:49,987
...that she actually had him
do the DVD commentary with her.
738
00:51:51,489 --> 00:51:53,449
I remember about halfway
through the film--
739
00:51:53,616 --> 00:51:55,326
He was explaining things so well.
740
00:51:55,493 --> 00:51:56,827
--He left the DVD commentary.
741
00:51:56,994 --> 00:51:59,038
And I always thought,
"What happened there?"
742
00:51:59,205 --> 00:52:03,626
Did Nancy feel that he was taking up
too much of the attention...
743
00:52:03,793 --> 00:52:06,754
...too much of the space,
being too eloquent, maybe?
744
00:52:06,921 --> 00:52:10,674
And so I asked him when
we worked together and he said:
745
00:52:10,841 --> 00:52:12,968
"No, I think I just had
a dentist appointment.
746
00:52:13,135 --> 00:52:14,470
That's why I had to |eave."
747
00:52:14,637 --> 00:52:19,558
So out the window went my conspiracy
theory from film school days.
748
00:52:19,809 --> 00:52:21,435
0K8)'-
749
00:52:24,897 --> 00:52:26,315
Elise! Elise!
750
00:52:32,488 --> 00:52:34,115
Here comes Tevlovski's big leap.
751
00:52:34,281 --> 00:52:37,743
I always thought when
I used to see stunt sequences...
752
00:52:39,286 --> 00:52:43,165
...that somehow things weren't as
dangerous when stuntmen did them...
753
00:52:45,000 --> 00:52:47,420
...as they would be
if they were done for real.
754
00:52:47,586 --> 00:52:52,341
But this stuntman really literally
had to jump against this boat...
755
00:52:52,508 --> 00:52:54,969
...and missed it three, four times...
756
00:52:55,136 --> 00:52:57,972
...before he finally
was able to hang on there.
757
00:53:00,683 --> 00:53:04,311
And here we actually, you know,
killed one of our actors.
758
00:53:04,478 --> 00:53:05,771
Very unfortunate.
759
00:53:10,776 --> 00:53:13,195
Now, we just did a double pass,
of course.
760
00:53:13,362 --> 00:53:15,406
But it's amazingly effective, isn't it?
761
00:53:16,031 --> 00:53:22,037
So we had Tevlovski swim in the canal
and suddenly throw his face forward...
762
00:53:22,204 --> 00:53:25,583
...as if he'd been knocked
by something.
763
00:53:25,749 --> 00:53:28,377
And then we left the camera
in the same position...
764
00:53:28,544 --> 00:53:30,045
...had Tevlovski swim out...
765
00:53:30,212 --> 00:53:34,341
...and just had the boat move
towards the camera...
766
00:53:35,134 --> 00:53:37,511
...which was still
in the exact same position.
767
00:53:37,887 --> 00:53:39,722
And then at the last moment...
768
00:53:39,889 --> 00:53:44,393
...the camera moved out of the way
so the boat would knock into it.
769
00:53:45,019 --> 00:53:46,520
And then we just digitally...
770
00:53:47,813 --> 00:53:52,401
...copied those two scenes,
composited those two takes together.
771
00:53:54,278 --> 00:53:58,240
And when we went
to a second round of shooting it...
772
00:53:58,407 --> 00:54:01,327
...you know,
just so you have multiple choices...
773
00:54:01,494 --> 00:54:04,705
...we just had to, again,
lock the camera in a new position...
774
00:54:04,872 --> 00:54:07,124
...have Tevlovski
throw his face forward again...
775
00:54:07,291 --> 00:54:09,168
...and then do the pass again.
776
00:54:09,335 --> 00:54:12,922
It's actually really simple
and traditional...
777
00:54:13,088 --> 00:54:17,092
...but I know that many people will
be thinking, "How did they do that?
778
00:54:17,843 --> 00:54:22,014
And I know that we were all really
proud that we were able...
779
00:54:22,181 --> 00:54:25,768
...to present the brutal death
of Vladimir Tevlovski here.
780
00:54:32,483 --> 00:54:35,903
I love the way that
James Newton Howard...
781
00:54:36,070 --> 00:54:39,532
...built a dramaturgy of music
for this chase sequence...
782
00:54:39,698 --> 00:54:44,245
...making it consecutively
more intense.
783
00:54:51,794 --> 00:54:55,089
In a way, he really helped me
be a better director here.
784
00:55:08,352 --> 00:55:09,853
You all right'?
785
00:55:10,020 --> 00:55:11,438
Yeah.
786
00:55:12,690 --> 00:55:15,818
It's amazing what
Johnny let us do with him here.
787
00:55:22,908 --> 00:55:25,411
He's such a generous
and wonderful person.
788
00:55:27,830 --> 00:55:29,832
A few days ago,
he was on Letterman...
789
00:55:29,999 --> 00:55:33,002
...talking about our film
and about Angelina's dog.
790
00:55:33,752 --> 00:55:35,838
And at the end of the show...
791
00:55:37,673 --> 00:55:40,175
...when Johnny left,
Letterman said to the audience--
792
00:55:40,342 --> 00:55:42,678
And you could see
that it was completely heartfelt.
793
00:55:43,512 --> 00:55:47,349
He said, "You know, every time
when Johnny Depp leaves...
794
00:55:48,309 --> 00:55:51,353
...| just feel like he's leaving
a void in my life.
795
00:55:51,812 --> 00:55:53,856
I want him to stay."
796
00:55:54,231 --> 00:55:57,651
I've never heard him say anything
like that about anybody on his show.
797
00:55:57,818 --> 00:56:01,697
But it's so true. That's what it feels like,
even at the end of the day of shooting.
798
00:56:02,990 --> 00:56:05,993
So that's why often
we'd sit together...
799
00:56:06,160 --> 00:56:08,579
...and have some of Johnny's
amazing wine...
800
00:56:08,746 --> 00:56:13,042
...and just talk through
philosophical questions.
801
00:56:13,751 --> 00:56:14,960
He's a great philosopher.
802
00:56:15,127 --> 00:56:17,796
He thinks a lot
about philosophy of religion...
803
00:56:17,963 --> 00:56:20,299
...and he follows literature
very, very closely.
804
00:56:20,466 --> 00:56:22,259
--Who stole $2.3 billion--
805
00:56:22,426 --> 00:56:26,430
I think a person who could not have
an interesting conversation...
806
00:56:26,597 --> 00:56:27,973
...with Johnny Depp...
807
00:56:28,140 --> 00:56:30,809
...could not have an interesting
conversation with anyone.
808
00:56:32,102 --> 00:56:33,395
No more chasing--
809
00:56:33,562 --> 00:56:38,192
There is really a reason why he's such
an incredible star and so admired.
810
00:56:38,359 --> 00:56:40,402
Here you see Steven Berkoff again.
811
00:56:40,569 --> 00:56:42,613
I always find
that his head reminds me...
812
00:56:42,780 --> 00:56:47,076
...of those old Mexican,
pre-Columbian Olmec statues.
813
00:56:50,037 --> 00:56:52,706
There's something so sculpture
about his face.
814
00:56:52,873 --> 00:56:56,168
I really think
that he's a very beautiful man.
815
00:56:56,335 --> 00:56:59,088
And I don't know anybody
who has a head shaped like that.
816
00:57:00,631 --> 00:57:02,383
Somewhere between
a great sculpture...
817
00:57:04,093 --> 00:57:07,471
...and, yeah, a Roman emperor.
818
00:57:11,433 --> 00:57:13,102
He's a very, very elegant man.
819
00:57:14,603 --> 00:57:19,525
And I think those very traditional,
gentlemanly clothes suit him very well.
820
00:57:19,692 --> 00:57:25,447
In real life, he wears much more
extravagant, flamboyant...
821
00:57:25,614 --> 00:57:28,575
...exotic costumes.
822
00:57:29,118 --> 00:57:30,244
Like always.
823
00:57:30,411 --> 00:57:33,664
But I think the cashmere coats...
824
00:57:33,831 --> 00:57:38,961
...and these beautiful suits
suit him even better.
825
00:57:39,128 --> 00:57:41,296
--I think it looks all right.
826
00:57:41,463 --> 00:57:45,968
I love the way that Igor Jijikine, who is
actually a very good Russian actor...
827
00:57:46,760 --> 00:57:49,805
...who was also in the latest
Indiana Jones instalment...
828
00:57:49,972 --> 00:57:54,852
...and has played with Clint Eastwood,
and has quite an impressive resume...
829
00:57:55,018 --> 00:57:59,732
...| love the way that he plays
that "very good"...
830
00:57:59,898 --> 00:58:02,067
...at the end of that exchange
with Shaw.
831
00:58:02,234 --> 00:58:05,779
He just plays so well
a thug under pressure.
832
00:58:06,989 --> 00:58:08,907
That's a real performance.
833
00:58:09,074 --> 00:58:11,994
I always like it when people
who seem like background figures...
834
00:58:12,161 --> 00:58:15,038
...suddenly have a moment
where they can show their acting.
835
00:58:15,205 --> 00:58:21,044
It's like when, in an orchestra, you hear
the bassoon as part of the orchestra...
836
00:58:21,211 --> 00:58:24,047
...but suddenly it's given a solo
just for a little moment...
837
00:58:24,214 --> 00:58:26,550
...and you realise,
"Wow, this is a real musician."
838
00:58:26,717 --> 00:58:29,011
You know, just like that,
I want people to marvel:
839
00:58:29,178 --> 00:58:32,181
"Wow, this guy. We thought he was
just some goon standing around.
840
00:58:32,347 --> 00:58:34,600
He's a real actor."
And he certainly is.
841
00:58:36,185 --> 00:58:38,854
I am sorry I got you involved
in all this.
842
00:58:39,438 --> 00:58:41,190
Why are you involved in all this?
843
00:58:44,109 --> 00:58:48,322
-Because I'm in love with him.
-Really? I'm not.
844
00:58:49,531 --> 00:58:52,659
Seriously, help me understand why.
845
00:58:52,826 --> 00:58:53,994
I honestly didn't think--
846
00:58:54,161 --> 00:58:58,874
I thought for a while what the horror
story about Shaw was going to be...
847
00:58:59,041 --> 00:59:01,418
...that could show
that he was incredibly violent...
848
00:59:01,585 --> 00:59:05,881
...but that would be fun enough
to actually listen to twice...
849
00:59:06,048 --> 00:59:09,468
...because we hear it once here
and then at the end at the apartment.
850
00:59:10,928 --> 00:59:13,597
And finally...
851
00:59:15,474 --> 00:59:18,393
...| thought of that very primal
male fantasy...
852
00:59:20,229 --> 00:59:22,856
...of killing every man...
853
00:59:23,023 --> 00:59:25,484
--owns most of the casinos
and brothels from here--
854
00:59:25,651 --> 00:59:27,110
...that a woman that you like...
855
00:59:27,277 --> 00:59:31,907
...or that your girlfriend or wife
or anything ever had anything with.
856
00:59:33,033 --> 00:59:36,036
...his wife had slept with
before she met him.
857
00:59:36,954 --> 00:59:39,873
I think Angelina
delivers it beautifully.
858
00:59:41,917 --> 00:59:43,502
There you are.
859
00:59:43,710 --> 00:59:46,088
One incredible thing
that no one would think...
860
00:59:46,255 --> 00:59:51,176
...about superstars
like Angelina and Johnny...
861
00:59:51,343 --> 00:59:54,596
...is that they are incredibly
well-prepared.
862
00:59:55,347 --> 00:59:57,182
They never flubbed a single line.
863
00:59:58,600 --> 01:00:02,604
They got every scene wrong.
864
01:00:02,771 --> 01:00:06,066
They were always willing to go
for that extra take.
865
01:00:07,109 --> 01:00:08,986
I don't regret it, you know.
866
01:00:11,446 --> 01:00:13,073
Kissing you.
867
01:00:15,450 --> 01:00:18,036
I have to go check--
868
01:00:18,203 --> 01:00:20,789
This was actually a really
nice scene to shoot.
869
01:00:21,999 --> 01:00:27,921
We had this boat propped up
on a stand in a studio...
870
01:00:28,630 --> 01:00:31,925
...and it was very just calm
and peaceful.
871
01:00:33,093 --> 01:00:36,430
Some of the shooting always has
the spirit of what the scene is about...
872
01:00:36,597 --> 01:00:39,641
...and this was a very tender,
intimate scene...
873
01:00:39,808 --> 01:00:41,977
...and that's how it felt
on the set too.
874
01:00:49,818 --> 01:00:52,112
Yeah, here,
Angelina actually drove this boat.
875
01:00:52,279 --> 01:00:57,784
She learned that so well
that we got rid of all the stunt drivers...
876
01:00:57,951 --> 01:00:59,745
...and just had her do it.
877
01:00:59,912 --> 01:01:01,580
And Johnny trusted her.
878
01:01:03,165 --> 01:01:05,417
And I was in the back.
879
01:01:06,793 --> 01:01:09,796
It was just me, I think.
So it was the three of us on a boat.
880
01:01:10,339 --> 01:01:15,177
And she went very, very fast...
881
01:01:16,470 --> 01:01:19,014
...and violated all the traffic rules...
882
01:01:19,181 --> 01:01:23,685
...but drove so impressively and
with such total command of that boat.
883
01:01:23,852 --> 01:01:27,522
And she'd only learned over the past
weeks, but no one stopped her.
884
01:01:30,067 --> 01:01:32,778
I wish we'd met in another life, Frank.
885
01:01:37,574 --> 01:01:40,869
Take the next flight to America.
Find what you need in the bag.
886
01:01:43,163 --> 01:01:44,206
Be safe.
887
01:01:48,460 --> 01:01:54,883
Yes, and here you hear
that beautiful song...
888
01:01:55,050 --> 01:01:58,011
..."Fear of Heights"
from Katie Melua's new album.
889
01:02:01,598 --> 01:02:04,059
While I was making this film...
890
01:02:05,102 --> 01:02:09,815
...| listened to Katie Melua's
music many times.
891
01:02:09,982 --> 01:02:13,735
Mostly her beautiful sailboat song,
"If I Were A Sailboat"...
892
01:02:16,071 --> 01:02:20,784
...written by Katie Melua
and Mike Batt.
893
01:02:26,248 --> 01:02:30,711
I tried to use that sailboat song in the
film, but it never quite fit anywhere...
894
01:02:30,877 --> 01:02:32,754
...because it was somewhat
too melancholy.
895
01:02:33,714 --> 01:02:37,509
But then while we were making
this film, her new album came out.
896
01:02:37,676 --> 01:02:40,804
And there was this beautiful,
tender...
897
01:02:43,932 --> 01:02:46,935
...gentle piece of music on it
written by Katie herself.
898
01:02:47,769 --> 01:02:54,276
And I just put it on there and I called
her and said, "Can we use this?"
899
01:02:56,528 --> 01:02:59,156
And she actually came to L.A.,
to the editing room...
900
01:02:59,322 --> 01:03:02,659
...and was I think the first person
who ever saw the film.
901
01:03:02,826 --> 01:03:05,537
She liked it very much and said,
"Yeah, you can use it."
902
01:03:07,581 --> 01:03:11,626
She's a very beautiful
and incredibly talented singer...
903
01:03:14,337 --> 01:03:19,134
...that, by chance, I heard once
live at an awards show...
904
01:03:19,968 --> 01:03:23,180
...where my lead actor from
The Lives of Others got an award.
905
01:03:23,346 --> 01:03:27,893
She wasn't really that famous yet
and I think she was 17 at the time.
906
01:03:28,935 --> 01:03:33,315
And just that little awards show
in Eastern Germany...
907
01:03:33,482 --> 01:03:34,816
Agent Elise Clifton-Ward--
908
01:03:34,983 --> 01:03:38,737
...suddenly everything
in that performance room changed...
909
01:03:39,071 --> 01:03:42,574
...when she got up on the stage
with a guitar...
910
01:03:42,741 --> 01:03:47,496
...and just started singing her song
about the bicycles in Beijing.
911
01:03:48,830 --> 01:03:52,000
I never forgot that and since then,
I've followed her career.
912
01:03:52,167 --> 01:03:55,170
And I always wanted to use
one of her things in a film...
913
01:03:55,337 --> 01:03:57,923
...so I'm very glad that it finally
worked out that way.
914
01:04:00,801 --> 01:04:05,263
I think we've only seen the beginning
of Katie Melua's career.
915
01:04:11,561 --> 01:04:16,399
Oh, by the way, the number,
her identification number was--
916
01:04:16,566 --> 01:04:22,197
The MFS number was the same
that Ulrich MtJhe...
917
01:04:22,364 --> 01:04:26,326
...my character in The Lives of Others,
had as an identification number...
918
01:04:29,329 --> 01:04:30,956
...for his agency card.
919
01:04:32,374 --> 01:04:34,709
You can only find it in the print
and screenplay...
920
01:04:34,876 --> 01:04:38,046
...because it's a scene that
I actually deleted, where he uses it.
921
01:04:38,213 --> 01:04:42,384
But as we learned from Inception...
922
01:04:42,551 --> 01:04:44,928
...there's a certain subconscious
reason...
923
01:04:45,095 --> 01:04:48,890
...why we just write seemingly
random numbers.
924
01:04:49,057 --> 01:04:50,559
They mean something.
925
01:04:50,725 --> 01:04:55,230
So I always come up with the same
numbers and same sequence of letters.
926
01:04:55,730 --> 01:04:59,734
So you aren't here
to beg me to lift your suspension.
927
01:05:00,277 --> 01:05:03,321
You've actually come to do your job.
928
01:05:03,572 --> 01:05:04,614
Allow me to ask--
929
01:05:04,781 --> 01:05:08,326
I had the ambition with every picture
that we made here...
930
01:05:08,493 --> 01:05:12,122
...with every frame,
to create a painting.
931
01:05:12,289 --> 01:05:13,498
--Man for a year...
932
01:05:13,665 --> 01:05:16,918
...during which time we don't get
one single useable-
933
01:05:17,085 --> 01:05:20,213
I really thought there's never
an excuse on this film...
934
01:05:20,380 --> 01:05:22,382
...not to go
for the maximally beautiful.
935
01:05:23,550 --> 01:05:26,469
Takes a lot of effort.
It's really very difficult to do.
936
01:05:28,680 --> 01:05:30,682
Nothing is easier to create...
937
01:05:32,434 --> 01:05:34,227
...than random ugliness.
938
01:05:34,394 --> 01:05:36,646
You can point a camera at anything.
939
01:05:36,813 --> 01:05:39,608
But to create beauty,
that's really very, very hard.
940
01:05:41,276 --> 01:05:43,862
So hard that I'm actually not
gonna rush to do it again.
941
01:05:44,779 --> 01:05:48,450
I wish I could understand
your choice in men.
942
01:05:49,534 --> 01:05:51,703
A fugitive thief. We||--
943
01:05:51,870 --> 01:05:53,455
The look of that, I mean...
944
01:05:55,957 --> 01:06:02,714
...has any Scotland Yard-slash-Interpol
agent ever looked more beautiful?
945
01:06:03,924 --> 01:06:09,512
I find it so interesting that Angelina
has everything at the same time.
946
01:06:09,679 --> 01:06:12,474
She is mysterious and open.
947
01:06:12,641 --> 01:06:14,643
She's strong and gentle.
948
01:06:14,809 --> 01:06:17,187
She's everything at the same time.
949
01:06:17,354 --> 01:06:21,274
She has that amazing contradiction
within her...
950
01:06:21,441 --> 01:06:24,319
...in almost every characteristic.
951
01:06:30,825 --> 01:06:36,665
This scene was actually the idea
of my producer, Graham King.
952
01:06:38,124 --> 01:06:40,001
He read through the script and said:
953
01:06:40,168 --> 01:06:46,007
"Florian, we're missing
just a superstar moment, a walk.
954
01:06:46,174 --> 01:06:48,176
And then we brainstormed
what it could be...
955
01:06:48,343 --> 01:06:52,347
...and came up with this thing that
maybe he should just be smoking...
956
01:06:52,514 --> 01:06:55,141
...you know, and show
that he's finally broken free...
957
01:06:55,308 --> 01:07:00,230
...from all his psychological
inhibitions.
958
01:07:00,397 --> 01:07:01,815
When I shot this scene here...
959
01:07:01,982 --> 01:07:05,026
...where she arrives at that landing
and walks into the ballroom...
960
01:07:05,193 --> 01:07:09,114
...| was just so thrilled when I saw her
step off that boat and I thought:
961
01:07:09,281 --> 01:07:14,703
"Wow, has anyone in the history
of mankind ever looked better?
962
01:07:15,495 --> 01:07:19,708
You think of how much in the world
and in the history of the world...
963
01:07:19,874 --> 01:07:22,627
...is about female beauty.
964
01:07:22,794 --> 01:07:26,006
And we may have reached
the pinnacle here...
965
01:07:26,172 --> 01:07:29,301
...with Angelina Jolie on that evening
where she enters at the ball.
966
01:07:33,138 --> 01:07:37,892
Those are the rare moments on a film
like that where you're just really happy.
967
01:07:38,059 --> 01:07:40,228
And you think,
"| have captured something...
968
01:07:40,395 --> 01:07:43,148
...and this can be my gift
to the audience."
969
01:07:45,984 --> 01:07:47,777
I know it's not always seen like that.
970
01:07:47,944 --> 01:07:51,531
And certainly many reviewers
don't see it like that.
971
01:07:52,490 --> 01:07:53,575
I thought you'd never--
972
01:07:53,742 --> 01:07:57,078
But I really perceive filmmaking
as a gift...
973
01:07:57,245 --> 01:08:00,582
...from the filmmakers
to the audience.
974
01:08:00,749 --> 01:08:06,254
And if I'm not in that spirit
of giving...
975
01:08:07,797 --> 01:08:09,382
...then I'm not good.
976
01:08:10,258 --> 01:08:13,762
Fate wouldn't bring me
to an evening like this with no reason.
977
01:08:14,512 --> 01:08:17,891
As soon as you walked in,
I knew what the reason was.
978
01:08:18,058 --> 01:08:19,517
This is Raoul Bova...
979
01:08:22,103 --> 01:08:24,481
...who plays Conte Filippo Gaggia.
980
01:08:28,276 --> 01:08:30,445
There is actually
a real Conte Filippo Gaggia...
981
01:08:30,612 --> 01:08:33,907
...from whom we had to get clearance
to play this, and he said:
982
01:08:34,074 --> 01:08:37,035
"You know what?
If Raoul Bova is playing me, I'm in"...
983
01:08:37,202 --> 01:08:41,456
...because Raoul Bova is just such
a universally admired actor.
984
01:08:44,959 --> 01:08:49,047
And I called him
Conte Filippo Gaggia...
985
01:08:49,214 --> 01:08:51,883
...because I got to know this man
in Venice.
986
01:08:54,052 --> 01:08:58,890
And I just thought he must have been
incredibly charming and smooth...
987
01:08:59,057 --> 01:09:04,938
...when convincing his unbelievably
beautiful wife to many him.
988
01:09:06,147 --> 01:09:10,985
So I thought, "Okay, here I'm writing
this very smooth character...
989
01:09:11,152 --> 01:09:14,322
...who is confident enough
to approach this woman.
990
01:09:14,823 --> 01:09:17,075
Let's call him Conte Filippo Gaggia.
991
01:09:17,283 --> 01:09:18,993
Pull up the footage,
we have his face.
992
01:09:22,956 --> 01:09:24,624
Alexander.
993
01:09:25,291 --> 01:09:29,671
Just look at all those girls
at this ball.
994
01:09:30,505 --> 01:09:32,215
Alexander.
995
01:09:35,009 --> 01:09:38,179
Now, isn't there this idea...
996
01:09:38,346 --> 01:09:42,350
...that Muslim paradise for the just...
997
01:09:44,018 --> 01:09:48,898
...is just this idyllic place
with 70 virgins?
998
01:09:49,065 --> 01:09:55,363
Well, if that paradise exists,
I'd imagine it to look like this ballroom.
999
01:09:56,531 --> 01:09:57,824
Minus the men.
1000
01:10:02,162 --> 01:10:04,122
And all the dancers would be there.
1001
01:10:04,539 --> 01:10:07,959
And all the women standing around
there. Just look at some of them.
1002
01:10:08,251 --> 01:10:11,796
I think you'll discover some
that you'll fall in love with.
1003
01:10:16,509 --> 01:10:19,429
I'll tell you, all the men,
while we were shooting this scene...
1004
01:10:19,596 --> 01:10:22,557
...were in constant hormonal
overdrive...
1005
01:10:22,724 --> 01:10:24,767
...because there was just so much
to look at.
1006
01:10:24,934 --> 01:10:26,769
Because Colleen,
our costume designer...
1007
01:10:26,936 --> 01:10:29,355
...had sculpted all these women
so beautifully...
1008
01:10:29,939 --> 01:10:35,612
...as had Maurizio Silvi,
our makeup artist...
1009
01:10:36,404 --> 01:10:39,491
...and Giorgio Gregorini,
our hairstylist.
1010
01:10:41,367 --> 01:10:44,746
I'm not just saying these names
to flatter them and bore you to death.
1011
01:10:44,913 --> 01:10:49,834
But I think that you are filmmakers
who are listening to this.
1012
01:10:50,293 --> 01:10:54,005
Otherwise you just wouldn't take
those extra two hours.
1013
01:10:54,923 --> 01:11:00,094
I really am mentioning only the people
who were key to making this film...
1014
01:11:01,304 --> 01:11:06,267
...into what obviously interested you
enough to listen to this commentary.
1015
01:11:06,434 --> 01:11:11,439
And I just wanna point towards
these people...
1016
01:11:11,606 --> 01:11:16,361
...and say that if you want to achieve
what hopefully you've liked on-screen...
1017
01:11:16,528 --> 01:11:19,489
...you will need these people
or people like them.
1018
01:11:19,656 --> 01:11:24,285
And you'll have to understand...
1019
01:11:24,452 --> 01:11:27,914
...that it's really not only the director
who does all these things...
1020
01:11:28,081 --> 01:11:29,958
...but these key people.
1021
01:11:32,293 --> 01:11:33,795
And I'm not leaving without you.
1022
01:11:33,962 --> 01:11:37,006
One thing for instance that
just happens in the background here...
1023
01:11:37,173 --> 01:11:39,300
...is this incredible dancing.
1024
01:11:40,218 --> 01:11:43,221
For that, we had an incredible
choreographer...
1025
01:11:43,388 --> 01:11:44,430
What do you think--?
1026
01:11:44,597 --> 01:11:47,308
."Luca".
1027
01:11:47,475 --> 01:11:51,980
...and a great dance teacher,
Roberta...
1028
01:11:52,146 --> 01:11:55,066
...whom you actually seen in this film
from time to time.
1029
01:11:56,484 --> 01:11:58,820
She was so beautiful
and thereby really inspired...
1030
01:11:58,987 --> 01:12:02,073
...both Angelina and Johnny
to practise with her all the time.
1031
01:12:02,240 --> 01:12:04,117
She was on the set for weeks
on end...
1032
01:12:04,284 --> 01:12:09,038
...so we could just rehearse this dance
in little pauses between setups.
1033
01:12:10,456 --> 01:12:13,001
And I just thought,
"Wow, isn't this incredible?
1034
01:12:13,167 --> 01:12:15,837
That such a beautiful woman
like Roberta...
1035
01:12:16,004 --> 01:12:21,759
...would just, you know, be living in an
Italian town, undiscovered somehow?
1036
01:12:21,926 --> 01:12:27,432
And in America,
she would be a star...
1037
01:12:27,599 --> 01:12:31,436
...or at least be dating someone
incredibly important."
1038
01:12:31,603 --> 01:12:36,733
And then I found out that she was
Matt Dillon's girlfriend for five years...
1039
01:12:36,899 --> 01:12:39,861
...that he was constantly travelling
to Italy to see her.
1040
01:12:42,822 --> 01:12:46,117
Anyway, one of the happiest moments
that I had in making this film...
1041
01:12:46,284 --> 01:12:52,540
...was when Luca and Roberta first
presented me with their dance troop...
1042
01:12:52,915 --> 01:12:57,629
...and did a rehearsal for me
in a gymnasium...
1043
01:12:57,795 --> 01:13:01,966
...in a school gymnasium in Venice
in the middle of the night.
1044
01:13:02,133 --> 01:13:03,760
It was at 2:00 in the morning.
1045
01:13:03,926 --> 01:13:06,804
I just drove there after
a long shooting day and just thought:
1046
01:13:06,971 --> 01:13:10,475
"| hope they got this right, because
we talked through every move."
1047
01:13:10,642 --> 01:13:12,852
Then I saw them dance
and it was so beautiful...
1048
01:13:13,019 --> 01:13:15,813
...and these people were
just so charming and so friendly...
1049
01:13:15,980 --> 01:13:17,857
...and so fresh
and had so much energy...
1050
01:13:18,024 --> 01:13:22,445
...and I knew that that would translate
into such a feeling of...
1051
01:13:23,154 --> 01:13:28,201
...you know, warmth and love
and lightness on-screen...
1052
01:13:28,368 --> 01:13:29,869
...that I was very, very happy.
1053
01:13:30,036 --> 01:13:33,122
And I'll really forever stay grateful
to those dancers.
1054
01:13:33,289 --> 01:13:38,086
And I've listed every single one
of them in the end crawl.
1055
01:13:44,384 --> 01:13:47,220
Can you believe that
Reginald Shaw...
1056
01:13:47,387 --> 01:13:49,347
...Steven Berkoff
was never on that boat?
1057
01:13:51,808 --> 01:13:58,439
We actually digitally composited him
into that shot, into those two shots.
1058
01:13:58,856 --> 01:14:01,317
I think that's really wizardry...
1059
01:14:01,484 --> 01:14:06,114
...but Ted Rea, our VFX supervisor,
is a wizard.
1060
01:14:06,280 --> 01:14:10,368
And if you're looking
for truly realistic VFX...
1061
01:14:10,535 --> 01:14:12,620
...you should get him
for your next picture.
1062
01:14:13,496 --> 01:14:15,623
Let's have a little fun with him.
1063
01:14:21,838 --> 01:14:22,880
Who are you people?
1064
01:14:23,047 --> 01:14:24,549
Where are we going?
1065
01:14:24,716 --> 01:14:28,094
I think this is one of those scenes
where you just see...
1066
01:14:28,261 --> 01:14:31,764
...what an exceptional actor
Paul Bettany is.
1067
01:14:31,931 --> 01:14:36,144
Making this character disgusting
and attractive...
1068
01:14:36,310 --> 01:14:39,856
...angry and happy
all at the same time.
1069
01:14:41,983 --> 01:14:44,569
It's within those contradictions
that lies great acting.
1070
01:14:45,445 --> 01:14:47,155
Great acting is never just one thing.
1071
01:14:47,321 --> 01:14:48,781
--Million pounds back taxes.
1072
01:14:50,116 --> 01:14:51,993
Seven hundred
and forty-four million?
1073
01:14:52,660 --> 01:14:55,955
And you know what?
I'll say something very arrogant here.
1074
01:14:56,122 --> 01:14:59,208
Anybody who really understands
acting...
1075
01:14:59,375 --> 01:15:04,297
...will see what incredible talent
this film presents...
1076
01:15:04,464 --> 01:15:05,757
Stay close but not too--
1077
01:15:05,923 --> 01:15:09,051
...and will see how they can live
that talent in this film.
1078
01:15:09,218 --> 01:15:13,181
Yes, 744 million.
1079
01:15:13,347 --> 01:15:17,727
You didn't think we knew about
that bank account in Liechtenstein.
1080
01:15:19,353 --> 01:15:23,441
The tiniest mistake in acting,
the tiniest moment of untruth...
1081
01:15:25,568 --> 01:15:29,113
...will totally pull me out of a film.
1082
01:15:29,280 --> 01:15:31,115
And I don't think there is one here.
1083
01:15:31,282 --> 01:15:33,242
There are moments of stylization.
1084
01:15:33,409 --> 01:15:38,623
There are moments
of somehow blissfully...
1085
01:15:38,790 --> 01:15:43,211
Hopefully blissfully aesthetic
interpretation...
1086
01:15:43,377 --> 01:15:46,130
...of what life and human behaviour
could be like.
1087
01:15:46,589 --> 01:15:49,842
But to me, there is not a single
moment of weak acting.
1088
01:15:50,343 --> 01:15:53,805
You know what? Not just to me. There
is not a single moment of weak acting.
1089
01:15:53,971 --> 01:15:57,725
All these actors are just brilliant
and play together so wonderfully.
1090
01:15:58,768 --> 01:16:00,728
It's all right, Frank.
1091
01:16:01,813 --> 01:16:04,398
I know you're not Alexander Pearce.
1092
01:16:04,565 --> 01:16:06,234
But you know who you are?
1093
01:16:06,734 --> 01:16:08,277
You're a moron.
1094
01:16:08,486 --> 01:16:10,613
Look at that smile
that Paul Bettany has here.
1095
01:16:11,906 --> 01:16:16,577
Look at the way that
after he says "twice," he still smiles.
1096
01:16:16,744 --> 01:16:20,248
There's nothing to smile about,
but somehow there is--
1097
01:16:20,414 --> 01:16:21,958
I haven't done anything.
1098
01:16:22,124 --> 01:16:24,377
--Because that's
what human nature is like.
1099
01:16:24,544 --> 01:16:26,546
And he just detects that.
1100
01:16:26,712 --> 01:16:28,965
There's something very supernatural
about acting.
1101
01:16:29,298 --> 01:16:30,383
--You really should be.
1102
01:16:30,550 --> 01:16:34,554
You know, I often think
that it's the purest form of art.
1103
01:16:35,179 --> 01:16:39,183
Because, for acting, you know, you're
not like a painter who needs a brush.
1104
01:16:39,350 --> 01:16:42,895
You're not like a trumpet player
who needs the trumpet.
1105
01:16:43,604 --> 01:16:45,314
Or a writer who needs his pen.
1106
01:16:46,440 --> 01:16:48,568
You can't hide behind anything.
1107
01:16:48,734 --> 01:16:51,112
You can't hide behind the camera
like I can.
1108
01:16:51,279 --> 01:16:56,617
All you have is your own body
and your own experiences.
1109
01:16:57,243 --> 01:17:00,955
And through that, with that, you
somehow have to create emotions...
1110
01:17:01,122 --> 01:17:04,041
...for the person who's consuming
this piece of art.
1111
01:17:05,459 --> 01:17:07,169
The viewer.
1112
01:17:07,795 --> 01:17:11,591
So to me, a good actor...
1113
01:17:13,384 --> 01:17:15,386
...is the greatest artist.
1114
01:17:15,553 --> 01:17:16,804
No question about it.
1115
01:17:21,309 --> 01:17:26,397
Here the challenge, of course,
was to keep it very light at all times.
1116
01:17:26,564 --> 01:17:28,816
Sometimes I'd misdirect a scene...
1117
01:17:28,983 --> 01:17:35,907
...and actually go into my default mode
of doing things seriously...
1118
01:17:36,073 --> 01:17:38,618
...and then I'd say,
"Oh, no. Sorry. I got that wrong.
1119
01:17:38,784 --> 01:17:43,789
Let's rewind and do it all without
any sense of doom or tragedy."
1120
01:17:45,583 --> 01:17:49,837
So that even here when she comes
into the apartment...
1121
01:17:50,004 --> 01:17:55,217
...that he's promised to build for her
at some point in Venice...
1122
01:17:58,888 --> 01:18:01,682
...maybe a little bit emotional,
but not too much.
1123
01:18:05,353 --> 01:18:06,354
Magnificent.
1124
01:18:06,520 --> 01:18:11,150
We searched for a long time
until we found a room...
1125
01:18:11,317 --> 01:18:14,570
...that Jon Hutman could build
into this apartment.
1126
01:18:15,029 --> 01:18:17,657
Money, yes. Possessions, yes.
1127
01:18:17,823 --> 01:18:19,033
But people--
1128
01:18:19,200 --> 01:18:21,535
You know, even the producers
got involved.
1129
01:18:24,163 --> 01:18:28,376
I wanna speak a little bit about
our producer, Graham King.
1130
01:18:29,210 --> 01:18:31,379
GK Films stands
for Graham King Films.
1131
01:18:31,545 --> 01:18:35,216
It's a company that he has
with his partner, Tim Headington...
1132
01:18:35,383 --> 01:18:37,551
...who made a fortune
in the oil business...
1133
01:18:37,718 --> 01:18:40,554
...but cares more about movies
than he does about oil.
1134
01:18:41,097 --> 01:18:46,686
And teamed up with Graham, who had
been Martin Scorsese's producer.
1135
01:18:47,853 --> 01:18:53,859
They created a company which
is slowly growing into a real studio.
1136
01:18:55,236 --> 01:18:57,863
They now have
their own distribution apparatus.
1137
01:18:58,489 --> 01:19:03,077
Got Bob Berney to run it, the man
who distributed Pan's Labyrinth.
1138
01:19:05,246 --> 01:19:07,999
So if you want
to become filmmakers...
1139
01:19:08,165 --> 01:19:11,085
...these are the kind of people
who will be key to your career.
1140
01:19:12,753 --> 01:19:16,132
Now, if Hollywood
is about thinking big...
1141
01:19:16,298 --> 01:19:19,802
...I'll tell you, no one thinks bigger
than Graham King.
1142
01:19:21,262 --> 01:19:25,766
So, I mean, he should be on the top
of the list of people...
1143
01:19:25,933 --> 01:19:29,103
...that you send your screenplays to.
1144
01:19:29,937 --> 01:19:32,106
--Didn't give me any pleasure at all.
1145
01:19:34,442 --> 01:19:37,361
You know, this dialogue,
this monologue, actually...
1146
01:19:38,362 --> 01:19:43,617
...where Reginald Shaw
speaks about Alexander Pearce...
1147
01:19:43,784 --> 01:19:46,078
...you know, I really like it.
1148
01:19:46,245 --> 01:19:52,084
And his joke about the family doctor
is one of the ones I'm most proud of.
1149
01:19:52,251 --> 01:19:54,462
You know,
it never really gets a laugh...
1150
01:19:55,296 --> 01:20:01,802
...but I do think it's kind of
creepy funny in a camp kind of way.
1151
01:20:01,969 --> 01:20:05,139
I just love him
and the way he delivers it.
1152
01:20:05,931 --> 01:20:10,061
And maybe subconsciously
it'll register as very funny.
1153
01:20:13,314 --> 01:20:17,276
Alec Utgoff, who does that laugh.
A very young actor.
1154
01:20:17,443 --> 01:20:23,491
I just saw his graduation film project
he did in film school.
1155
01:20:23,657 --> 01:20:27,578
I don't think it was his graduation film.
I think it was just a film that he did...
1156
01:20:27,745 --> 01:20:29,955
...while he was in acting school.
1157
01:20:30,122 --> 01:20:32,208
It was somehow so impressive...
1158
01:20:34,043 --> 01:20:37,463
...and he had such an interesting
creepy presence...
1159
01:20:39,298 --> 01:20:41,884
...that I immediately asked him
to join our cast.
1160
01:20:42,051 --> 01:20:43,928
He sent you to get the money.
1161
01:20:44,095 --> 01:20:45,638
He did very well.
1162
01:20:46,514 --> 01:20:48,099
80--
1163
01:20:48,307 --> 01:20:54,939
Of course I don't usually watch
graduation films or anything like that.
1164
01:20:55,106 --> 01:20:59,110
But our casting agent did,
Susie Figgis.
1165
01:20:59,568 --> 01:21:03,697
She's, of course, the most important
casting agent in England...
1166
01:21:03,864 --> 01:21:06,534
...and I was lucky to have her
as an adviser.
1167
01:21:06,700 --> 01:21:11,831
And this is an interesting thing that
I always tell young actors...
1168
01:21:11,997 --> 01:21:16,335
...who come and give me
their portfolios and their show reels:
1169
01:21:17,878 --> 01:21:22,007
"Don't give it to me. I'm just gonna
throw it straight into the trashcan...
1170
01:21:22,174 --> 01:21:24,135
...if I'm gonna be honest.
1171
01:21:24,677 --> 01:21:26,846
Give it to a casting director.
1172
01:21:27,012 --> 01:21:29,807
When I'm casting a film,
that's the person I'm talking to.
1173
01:21:29,974 --> 01:21:34,145
That's the only person whose advice
I'm going to listen to...
1174
01:21:34,311 --> 01:21:36,230
...apart from that of the producer."
1175
01:21:37,690 --> 01:21:40,818
And obviously
that's what Alec Utgoff did...
1176
01:21:42,194 --> 01:21:45,239
...and it got him a role
while he was still in acting school.
1177
01:21:46,407 --> 01:21:49,243
So I think that's what you should tell
all young actors.
1178
01:21:49,410 --> 01:21:52,663
Make sure the casting directors
know you.
1179
01:21:52,830 --> 01:21:54,081
I repeat, hold your fire.
1180
01:21:54,248 --> 01:21:55,374
There aren't so many.
1181
01:21:55,541 --> 01:22:01,547
There's only about, you know, probably
a dozen serious ones in every country.
1182
01:22:01,714 --> 01:22:05,217
Make sure that they are aware
of what you've done in the past year.
1183
01:22:05,968 --> 01:22:09,597
That's probably the most important
piece of advice you can give an actor.
1184
01:22:09,763 --> 01:22:12,600
Make sure they always have
updated show reels.
1185
01:22:12,766 --> 01:22:18,522
Make sure that they realise that
you're a reliable and agreeable person.
1186
01:22:18,689 --> 01:22:20,316
You know, that you're professional.
1187
01:22:21,567 --> 01:22:24,153
That's important advice
to young actors.
1188
01:22:24,486 --> 01:22:27,615
Expert in undercover operations.
1189
01:22:28,157 --> 01:22:30,701
Yeah, surveillance.
I know a few journalists have said:
1190
01:22:30,868 --> 01:22:34,413
"This has the common theme of
surveillance with The Lives of Others."
1191
01:22:34,580 --> 01:22:38,209
But, you know,
I really don't believe that at all.
1192
01:22:40,252 --> 01:22:43,464
This is as far away from The Lives
of Others as anything can be.
1193
01:22:44,298 --> 01:22:49,470
It's not something that somehow
sprang from my own subconscious...
1194
01:22:49,637 --> 01:22:53,057
...and it's not a story
that I've wanted to tell all my life.
1195
01:22:53,224 --> 01:22:57,603
You know, it's something that
I saw as a vehicle...
1196
01:22:57,770 --> 01:23:01,690
...to transport something very light
and beautiful into the world.
1197
01:23:01,857 --> 01:23:05,069
And of course surveillance
is a part of our modern world.
1198
01:23:06,946 --> 01:23:09,657
I think surveillance will be a part
of every single film...
1199
01:23:09,823 --> 01:23:12,201
...that I set in a vaguely
contemporary setting...
1200
01:23:12,368 --> 01:23:14,328
...because it's just part of our lives.
1201
01:23:15,621 --> 01:23:17,706
I mean, just think of this situation.
1202
01:23:17,873 --> 01:23:20,960
I'm here in a little booth
in a sound studio.
1203
01:23:21,126 --> 01:23:27,007
I have two engineers watching me
and recording me.
1204
01:23:27,174 --> 01:23:30,344
I have a producer watching them.
1205
01:23:32,137 --> 01:23:34,932
I have my assistant watching
all of us.
1206
01:23:35,933 --> 01:23:38,060
And, you know,
just surveillance is everywhere.
1207
01:23:38,227 --> 01:23:43,649
Our mobile phone companies know
where we are at this very moment.
1208
01:23:44,441 --> 01:23:46,944
Surveillance is just part
of our everyday lives...
1209
01:23:47,403 --> 01:23:53,033
...and, you know, is not a specific
foible of mine somehow.
1210
01:23:53,200 --> 01:23:54,660
It's the reality of modern life.
1211
01:23:54,827 --> 01:23:57,037
--If you don't tell me
where the safe is...
1212
01:23:57,204 --> 01:24:00,332
...| might be tempted
to rearrange your face--
1213
01:24:00,499 --> 01:24:04,378
Yeah, this was a scene
where I just thought:
1214
01:24:05,462 --> 01:24:10,718
"What is most iconic about the
wonderful icon that is Angelina Jolie?"
1215
01:24:10,884 --> 01:24:12,386
And I'm sure it is her lips.
1216
01:24:13,887 --> 01:24:18,058
So I thought it would be really fun
to have Reginald Shaw...
1217
01:24:18,225 --> 01:24:22,730
...threaten to somehow cut off her lips,
to disfigure her.
1218
01:24:23,397 --> 01:24:25,691
I'm really proud of that line:
1219
01:24:25,858 --> 01:24:29,987
"You will find life is less giving
to an ugly woman."
1220
01:24:30,154 --> 01:24:31,572
There's a lot of truth in it.
1221
01:24:33,157 --> 01:24:37,578
Think of how easy and welcoming
and giving, truly...
1222
01:24:37,745 --> 01:24:40,247
...|ife is to beautiful women.
1223
01:24:42,041 --> 01:24:44,793
Of course it has its difficulties too,
for beautiful women.
1224
01:24:47,129 --> 01:24:51,425
If there's difficulty, it's the abundance
of gifts that's thrown their way.
1225
01:24:51,592 --> 01:24:57,431
And the sudden absence thereof at
the moment that they lose their beauty.
1226
01:24:58,807 --> 01:25:01,602
But I think that scene worked
really well.
1227
01:25:01,769 --> 01:25:03,854
And if you listen closely
to those sounds...
1228
01:25:04,021 --> 01:25:09,068
...| love that little sandpaper sound
of the knife...
1229
01:25:09,234 --> 01:25:14,114
...a sharp knife travelling over her lips
that Wylie created for this.
1230
01:25:20,287 --> 01:25:23,499
Isn't this safe
just an amazing creation?
1231
01:25:25,834 --> 01:25:26,919
Open it.
1232
01:25:27,086 --> 01:25:28,837
You just write something
in a script...
1233
01:25:29,296 --> 01:25:33,884
...describe something to a production
designer and a special effects guy...
1234
01:25:34,051 --> 01:25:36,595
...and they just make it possible.
1235
01:25:42,017 --> 01:25:44,645
You know what?
He does look a little like you.
1236
01:25:45,646 --> 01:25:48,190
Paul Bettany, I just never get tired
of watching him.
1237
01:25:48,982 --> 01:25:52,152
Maybe I should tell a little about
the genesis of the project.
1238
01:25:56,490 --> 01:26:02,121
I had just spent a year researching
a very dark subject, suicide...
1239
01:26:02,830 --> 01:26:07,501
...and exploring that in the lives
of different regular people...
1240
01:26:07,668 --> 01:26:11,213
...and how their lives start
interconnecting when their suicides fail.
1241
01:26:12,673 --> 01:26:17,803
And while I think that I found a way
in the script that I then wrote...
1242
01:26:17,970 --> 01:26:20,973
...to bring it to a positive place...
1243
01:26:22,015 --> 01:26:25,352
...| was kind of depressed
after spending so much time...
1244
01:26:25,519 --> 01:26:28,021
...thinking about these really
dark subject matters.
1245
01:26:29,022 --> 01:26:34,403
And I'd spent five weeks in a monk cell
in the Vienna Woods in Austria...
1246
01:26:34,570 --> 01:26:39,032
...actually writing the first draught
for this screenplay...
1247
01:26:39,199 --> 01:26:42,536
...when Angelina called me
and said:
1248
01:26:43,871 --> 01:26:47,207
"You know, I have this project
that I'm toying with.
1249
01:26:48,417 --> 01:26:54,339
If you'd consider rewriting it
and directing it...
1250
01:26:56,049 --> 01:26:58,051
...I'd be really interested to do it.
1251
01:26:59,303 --> 01:27:02,556
See if you find something
interesting about it."
1252
01:27:02,723 --> 01:27:04,558
And I read it...
1253
01:27:06,310 --> 01:27:09,229
...and I could completely understand
what she liked about it.
1254
01:27:09,396 --> 01:27:10,689
The interesting thing was...
1255
01:27:10,856 --> 01:27:13,275
...that it immediately
somehow uplifted my spirits...
1256
01:27:13,442 --> 01:27:15,986
...because it was somehow so light
and so different...
1257
01:27:16,153 --> 01:27:19,990
...from everything that I normally do,
that I normally go to...
1258
01:27:20,157 --> 01:27:23,911
...that I said, "You know,
I think I can turn this into something."
1259
01:27:24,703 --> 01:27:28,123
And then I thought:
1260
01:27:28,290 --> 01:27:35,088
"Who could be an equally
charismatic co-star for Angelina?"
1261
01:27:36,215 --> 01:27:39,259
And except on Mr. & Mrs. Smith,
on many of Angelina's films...
1262
01:27:39,426 --> 01:27:42,221
...| don't even remember
who she played with, acted with.
1263
01:27:42,387 --> 01:27:44,348
I don't remember
who her co-stars were...
1264
01:27:44,890 --> 01:27:47,142
...because she just has
such a strong presence...
1265
01:27:47,309 --> 01:27:49,144
...and she dominates the screen
so much.
1266
01:27:50,270 --> 01:27:52,439
So I didn't want that to happen.
1267
01:27:53,524 --> 01:27:56,527
And then brainstorming with Angelina
and Graham King...
1268
01:27:57,778 --> 01:28:01,949
...came up with Johnny.
You know, he just is so charismatic...
1269
01:28:02,491 --> 01:28:05,619
...that no one would forget
that it was him playing opposite her.
1270
01:28:07,287 --> 01:28:11,291
And Graham arranged
for a meeting with Johnny.
1271
01:28:11,458 --> 01:28:14,878
Normally it takes about a year
to get an audience with Johnny Depp.
1272
01:28:15,045 --> 01:28:16,880
But in this case, it took a few days...
1273
01:28:17,047 --> 01:28:21,760
...because of Graham's
special relationship with Johnny Depp.
1274
01:28:22,594 --> 01:28:23,637
And he liked it.
1275
01:28:24,388 --> 01:28:26,473
And, you know, before we knew it--
1276
01:28:26,640 --> 01:28:28,642
You told a tourist?
1277
01:28:28,809 --> 01:28:33,605
--He said, "| wanna do it, but we have
to do it pretty much right away."
1278
01:28:33,772 --> 01:28:39,570
That was a little scary,
because we were in December of '09.
1279
01:28:40,404 --> 01:28:43,991
And he had a commitment to play
Captain Jack Sparrow...
1280
01:28:44,157 --> 01:28:47,160
...as of May 2010.
1281
01:28:47,327 --> 01:28:53,166
So all we had left was, you know,
a little over five months...
1282
01:28:53,333 --> 01:28:55,002
...to prep and shoot the film...
1283
01:28:55,168 --> 01:28:58,964
...and for me to rewrite the screenplay
that nobody was really happy with yet.
1284
01:29:01,174 --> 01:29:03,677
So after some soul-searching,
we decided:
1285
01:29:03,844 --> 01:29:06,221
"You know what?
This is gonna be a fun adventure.
1286
01:29:06,388 --> 01:29:10,017
We know that we have to have done
this entire film within 11 months...
1287
01:29:10,183 --> 01:29:12,436
...from starting to write the script...
1288
01:29:12,603 --> 01:29:16,648
...to finishing the mix
and having the first answer print."
1289
01:29:16,815 --> 01:29:19,359
Because the film had to be released
before Christmas...
1290
01:29:19,526 --> 01:29:21,028
...for other contractual reasons.
1291
01:29:21,903 --> 01:29:26,783
So, yeah,
it all became a really big adventure.
1292
01:29:26,950 --> 01:29:30,454
And we looked each other in the eye
and said, "Let's justjump into it."
1293
01:29:31,538 --> 01:29:34,875
And I also felt
that if it uplifted my spirits...
1294
01:29:35,042 --> 01:29:39,379
...and stopped me thinking about
the suicide in my film...
1295
01:29:39,546 --> 01:29:42,341
...maybe it would uplift
people's spirits too.
1296
01:29:42,507 --> 01:29:44,384
You know, the viewers' spirits.
1297
01:29:44,551 --> 01:29:49,014
And they would stop
with their suicidal ideation...
1298
01:29:49,181 --> 01:29:51,224
...which they couldn't turn
into a script.
1299
01:29:51,933 --> 01:29:58,440
So that was what really moved me
towards this subject...
1300
01:29:58,607 --> 01:30:00,067
...if I'm to be totally honest.
1301
01:30:02,903 --> 01:30:07,115
You know, here, for this scene,
I thought it would be good...
1302
01:30:08,659 --> 01:30:12,204
...to have an almost painfully
beautiful music.
1303
01:30:14,414 --> 01:30:17,417
Because there's something beautiful
about a man...
1304
01:30:17,584 --> 01:30:20,253
...willing to sacrifice himself
for someone else.
1305
01:30:20,420 --> 01:30:21,797
It doesn't make se--
1306
01:30:21,963 --> 01:30:23,548
This is Chief Inspector Jones.
1307
01:30:23,882 --> 01:30:26,885
I remember
that one of our producers...
1308
01:30:28,095 --> 01:30:30,430
...and my story consultant,
Denis O'Sullivan...
1309
01:30:30,597 --> 01:30:33,100
...was always really worried
if people would accept...
1310
01:30:33,850 --> 01:30:36,687
...that Timothy Dalton
suddenly appeared there in Venice...
1311
01:30:36,853 --> 01:30:40,148
...out of nowhere,
but I feel it's not really a problem.
1312
01:30:40,315 --> 01:30:42,275
Did you see when Shaw
just fell there?
1313
01:30:42,442 --> 01:30:47,030
That incredible bullet flying
through his lapel...
1314
01:30:47,197 --> 01:30:50,867
...the lapel flapping open,
him falling to the ground.
1315
01:30:51,034 --> 01:30:55,372
That's a digital effect, believe it or not.
I think it's very, very impressive.
1316
01:30:57,290 --> 01:30:58,917
I wanted to be able to determine...
1317
01:30:59,084 --> 01:31:03,213
...the exact level of goriness
and blood in post...
1318
01:31:03,380 --> 01:31:06,758
...so we didn't actually do any shots
or blood or anything...
1319
01:31:08,385 --> 01:31:09,970
...while we shot it.
1320
01:31:10,804 --> 01:31:13,056
Then in post,
I actually became quite squeamish.
1321
01:31:14,099 --> 01:31:17,185
Whenever we had more blood
on there, it just felt gross...
1322
01:31:17,352 --> 01:31:22,149
...and somehow didn't fit the film,
so that little hole is all you'll see.
1323
01:31:28,530 --> 01:31:31,324
-Are you all right?
-Yes.
1324
01:31:32,534 --> 01:31:35,162
This is one of Angelina's
most attractive shots.
1325
01:31:36,329 --> 01:31:39,875
The way that she looks slightly hurt,
slightly defiant...
1326
01:31:40,041 --> 01:31:42,586
...still so delicate and feminine.
1327
01:31:46,256 --> 01:31:48,675
Yeah, and here is Acheson,
saved by the bell.
1328
01:31:48,842 --> 01:31:54,473
Saved by his radio
from the day of reckoning.
1329
01:32:03,398 --> 01:32:07,194
Do you hear that little boat
driving off there in the distance...
1330
01:32:07,360 --> 01:32:10,280
...to show that they now are
truly alone...
1331
01:32:10,447 --> 01:32:12,449
...so we have space
for this intimate scene?
1332
01:32:16,411 --> 01:32:22,083
Those are the little subconscious tricks
through which we manipulate you.
1333
01:32:22,876 --> 01:32:25,879
Well, not you
who watch the DVD commentary...
1334
01:32:26,046 --> 01:32:28,507
...but you if you hadn't watched
the DVD commentary...
1335
01:32:28,673 --> 01:32:30,050
...if you weren't a filmmaker.
1336
01:32:32,219 --> 01:32:35,555
I love him too. Unfortunately.
1337
01:32:36,723 --> 01:32:40,435
You know, this was one of the most
difficult scenes to shoot...
1338
01:32:43,146 --> 01:32:46,399
...because somehow Johnny
was being particularly funny that day...
1339
01:32:46,566 --> 01:32:49,653
...and Angelina was finding him
particularly funny, as was I.
1340
01:32:49,820 --> 01:32:53,490
So we have probably about an hour's
worth of Angelina just laughing.
1341
01:32:55,283 --> 01:32:56,493
And Johnny laughing too...
1342
01:32:56,660 --> 01:32:59,538
...and me laughing too much
to be able to say cut.
1343
01:33:00,872 --> 01:33:05,544
All in the middle of what was supposed
to be a really tender, delicate scene.
1344
01:33:07,420 --> 01:33:09,130
But it still worked out fine.
1345
01:33:14,761 --> 01:33:16,930
Are you with me this time?
1346
01:33:22,936 --> 01:33:25,272
Just earlier this week,
I was on Charlie Rose.
1347
01:33:26,064 --> 01:33:30,777
And Charlie Rose asked me:
1348
01:33:30,944 --> 01:33:32,779
"What is it?
What does Johnny Depp have?
1349
01:33:32,946 --> 01:33:35,782
What makes people so crazy
about him?"
1350
01:33:37,284 --> 01:33:39,494
I thought about it and I said:
1351
01:33:39,661 --> 01:33:45,959
"| think it is that he makes it
so easy for us to love him.
1352
01:33:46,126 --> 01:33:48,295
And we appreciate him for that."
1353
01:33:48,461 --> 01:33:50,630
Everybody likes to feel love...
1354
01:33:51,464 --> 01:33:53,550
...and he allows us to feel that.
1355
01:33:54,509 --> 01:33:56,469
He's almost like a teacher of love.
1356
01:33:56,636 --> 01:33:58,430
He can make anyone access
that feeling.
1357
01:33:59,222 --> 01:34:01,266
And I love him for it all the more.
1358
01:34:01,725 --> 01:34:03,643
Here is a scene
where you suddenly see...
1359
01:34:03,810 --> 01:34:07,188
...what a fantastic actor
Rufus Sewell is.
1360
01:34:07,355 --> 01:34:11,234
You know, it's as if you haven't let
the clarinet play a solo...
1361
01:34:11,401 --> 01:34:13,028
...and suddenly here it goes.
1362
01:34:13,653 --> 01:34:16,948
So let me get this straight
because I'm a little confused.
1363
01:34:17,657 --> 01:34:20,160
You receive money
from a man you've never met before--
1364
01:34:20,327 --> 01:34:23,496
Rufus Sewell and Paul Bettany
have been in a film together before...
1365
01:34:24,164 --> 01:34:27,500
...in The First Knight with--
1366
01:34:28,919 --> 01:34:32,505
No, it's not called The First Knight.
A Knight's Tale with Heath Ledger.
1367
01:34:35,759 --> 01:34:42,474
Of course Rufus was the bad guy and
Paul Bettany was Geoffrey Chaucer.
1368
01:34:42,974 --> 01:34:45,977
Here is the only explosion
in the film.
1369
01:34:46,144 --> 01:34:48,188
So this is a film with explosions.
1370
01:34:49,522 --> 01:34:52,901
At least one
very underplayed explosion.
1371
01:34:56,529 --> 01:34:59,866
Do you hear that sound when
he opens the safe and the music?
1372
01:35:00,033 --> 01:35:03,912
That synthesizer,
I call it kind of headache sound...
1373
01:35:04,079 --> 01:35:06,206
...that is a sound that
James Newton Howard...
1374
01:35:06,373 --> 01:35:08,208
"specifically developed for the film.
1375
01:35:08,375 --> 01:35:11,252
One of many sounds that
he developed specifically for the film.
1376
01:35:11,419 --> 01:35:15,048
He has a team of sound experts
that, with him...
1377
01:35:15,215 --> 01:35:19,427
...develop specific
new acoustic elements...
1378
01:35:19,594 --> 01:35:23,181
...that he uses only for a specific film
that he works on...
1379
01:35:23,348 --> 01:35:27,018
...so he doesn't repeat himself,
so every film sounds unique.
1380
01:35:28,103 --> 01:35:32,148
I think that's extraordinary and I'm
going to do exactly the same thing...
1381
01:35:33,692 --> 01:35:38,363
...for other technical things
on my next too.
1382
01:35:39,948 --> 01:35:41,449
A dead gangster.
1383
01:35:41,616 --> 01:35:44,035
And he has good taste in women.
1384
01:35:45,704 --> 01:35:47,998
I love the way Timothy Dalton
walks off here.
1385
01:35:48,164 --> 01:35:51,751
When my editor Joe Hutshing saw
this footage for the first time, he says:
1386
01:35:51,918 --> 01:35:54,004
"Boy, that man knows where
the camera is."
1387
01:35:55,046 --> 01:35:58,133
And it's true. He is such
a precise actor, Timothy Dalton.
1388
01:35:59,759 --> 01:36:01,469
In acting, experience really helps.
1389
01:36:02,429 --> 01:36:05,598
Although some people are
born geniuses like Paul Bettany.
1390
01:36:24,367 --> 01:36:27,704
Originally there was gonna be another
big kiss between them there.
1391
01:36:28,788 --> 01:36:31,624
But then one day, after we had really
perfected the editing...
1392
01:36:31,791 --> 01:36:33,626
...of that beautiful kiss at the end--
1393
01:36:33,793 --> 01:36:34,794
Do you not like it?
1394
01:36:34,961 --> 01:36:38,214
--I just suddenly thought,
"We've had three kisses in this film.
1395
01:36:38,381 --> 01:36:42,010
Let's cut it out. Let's just end
with this sail coming out."
1396
01:36:42,177 --> 01:36:44,054
A digital sail, by the way.
1397
01:36:44,512 --> 01:36:46,639
And I'm really glad we did.
1398
01:36:48,683 --> 01:36:51,978
And now you hear Muse.
1399
01:36:57,358 --> 01:37:00,528
Muse, they're just really
extraordinary.
1400
01:37:02,822 --> 01:37:06,659
I know that people have been crazy
about them in Europe for a long time...
1401
01:37:06,826 --> 01:37:11,039
...but in America,
it's only just starting.
1402
01:37:11,623 --> 01:37:14,709
And they're slowly turning
into the Beatles of our generation.
1403
01:37:16,836 --> 01:37:18,713
Maybe thanks to Twilight.
1404
01:37:18,880 --> 01:37:20,757
I'm sure they wouldn't like
to hear that.
1405
01:37:28,181 --> 01:37:30,517
Let me tell you about some
of the people on here...
1406
01:37:30,683 --> 01:37:32,894
...and some of the producers.
1407
01:37:33,853 --> 01:37:36,064
Gary Barber, Roger Birnbaum.
1408
01:37:36,231 --> 01:37:38,608
They own a company
called Spyglass...
1409
01:37:38,775 --> 01:37:43,029
...that burst onto the scene
with The Sixth Sense...
1410
01:37:43,196 --> 01:37:45,949
...which they completely financed
and owned.
1411
01:37:46,116 --> 01:37:49,786
So suddenly they were major players
and, boy, have they used that status.
1412
01:37:52,122 --> 01:37:54,332
They now run MGM.
1413
01:37:54,499 --> 01:37:57,210
Jonathan Glickman
is their junior partner.
1414
01:38:00,213 --> 01:38:03,508
His father, Dan Glickman,
was the head of the MPAA.
1415
01:38:04,634 --> 01:38:06,678
Jon had said:
1416
01:38:08,179 --> 01:38:13,434
"| was first in this industry and I talked
to my psychiatrist about it every day."
1417
01:38:17,230 --> 01:38:18,481
Ron Halpern.
1418
01:38:20,024 --> 01:38:21,442
Olivier Courson.
1419
01:38:22,777 --> 01:38:27,198
They were the heads of--
They are the heads of StudioCana|.
1420
01:38:29,409 --> 01:38:32,120
Our French co-producers.
1421
01:38:33,454 --> 01:38:38,293
I've told you about Tim Headington
and Graham King, that formidable duo.
1422
01:38:38,459 --> 01:38:42,589
Denis O'Sullivan
is their head creative guy.
1423
01:38:42,755 --> 01:38:44,966
A really brilliant head.
1424
01:38:45,133 --> 01:38:49,345
And, I don't know, if you could buy
producer future stock options...
1425
01:38:49,512 --> 01:38:53,391
...I'd buy Denis O'Sullivan options.
1426
01:38:53,808 --> 01:38:55,810
Lloyd Phillips...
1427
01:38:56,603 --> 01:38:59,606
...was someone who had already
worked with Tom Tykwer...
1428
01:38:59,772 --> 01:39:02,275
...another German on
The International.
1429
01:39:04,360 --> 01:39:08,281
And he recently
executive produced...
1430
01:39:08,448 --> 01:39:10,533
...Quentin Tarantino's
lnglourious Basterds.
1431
01:39:13,494 --> 01:39:15,496
My editors.
1432
01:39:16,247 --> 01:39:21,044
Joe Hutshing, I told you about him.
He's someone who's edited films...
1433
01:39:21,211 --> 01:39:28,134
...as diverse as Being John Malkovich
and Jerry Maguire...
1434
01:39:28,301 --> 01:39:30,303
...one of my favourite films
of all times.
1435
01:39:30,470 --> 01:39:34,307
Patricia Rommel.
Don't say Rommel.
1436
01:39:34,515 --> 01:39:37,477
Patricia Rommel.
She's French and beautiful.
1437
01:39:37,644 --> 01:39:40,146
And she's edited
The Lives of Others for me...
1438
01:39:40,313 --> 01:39:44,275
...and most recently already edited
an English language film...
1439
01:39:44,442 --> 01:39:48,446
...called The Last Station.
I still haven't seen it.
1440
01:39:48,613 --> 01:39:51,324
And I will always think of it
as The Last Station...
1441
01:39:51,491 --> 01:39:55,161
...because that's how
she always calls it.
1442
01:39:57,372 --> 01:39:59,707
And by the end
of our postproduction process...
1443
01:39:59,874 --> 01:40:04,420
...everybody was referring
to Reginald Shaw's Russian killers...
1444
01:40:04,587 --> 01:40:06,172
...as "the thugs."
1445
01:40:06,339 --> 01:40:10,760
Because that's what she always
called them with her French accent.
1446
01:40:14,138 --> 01:40:17,725
Well, so that was The Tourist
and I hope you enjoyed it.
1447
01:40:17,892 --> 01:40:22,063
And I hope I've been able to give you
some insight...
1448
01:40:22,230 --> 01:40:25,566
...into how we made it
with this commentary.
1449
01:40:26,276 --> 01:40:29,821
You know, I think a lot of people...
1450
01:40:30,863 --> 01:40:34,200
...a lot of critics certainly misunderstood
this film when it came out...
1451
01:40:34,367 --> 01:40:38,079
...and somehow thought I was going
to make another The Lives of Others.
1452
01:40:38,246 --> 01:40:40,164
Because it turned out to be
The Tourist...
1453
01:40:40,331 --> 01:40:42,875
...it must have fallen short
of that ambition.
1454
01:40:43,751 --> 01:40:47,880
But I really hope that over time...
1455
01:40:48,047 --> 01:40:53,177
...this will be the film that people
turn to when they feel low...
1456
01:40:53,344 --> 01:40:59,475
...and just want to spend two hours
soaring through...
1457
01:40:59,642 --> 01:41:02,520
...you know, the beauty
that the world has to offer.
1458
01:41:02,687 --> 01:41:06,524
And when they just want to,
you know, relax for two hours.
1459
01:41:09,235 --> 01:41:12,780
I really believe in beauty.
1460
01:41:12,947 --> 01:41:18,578
The beauty of our actors,
the beauty of their performances.
1461
01:41:18,995 --> 01:41:22,540
The beauty that we've hopefully
created in images...
1462
01:41:22,707 --> 01:41:26,586
...and through the costumes
and the production design.
1463
01:41:26,878 --> 01:41:31,299
And I hope that you can see this...
1464
01:41:31,466 --> 01:41:36,929
...as the eternal Christmas gift
that we meant it to be.
1465
01:41:37,305 --> 01:41:39,807
We had an amazing time making it.
1466
01:41:39,974 --> 01:41:44,020
I remember that sometimes
in the mornings...
1467
01:41:44,187 --> 01:41:47,023
Because as you can see,
most of the film was shot at night.
1468
01:41:47,190 --> 01:41:51,277
So when the sun started coming up,
we had to stop shooting.
1469
01:41:51,444 --> 01:41:53,613
And I'd go on to my boat...
1470
01:41:53,780 --> 01:42:00,661
...and we'd drive
through the canals of Venice...
1471
01:42:00,828 --> 01:42:02,455
...in that early morning sun.
1472
01:42:02,622 --> 01:42:05,500
Mostly Venice was still
completely deserted.
1473
01:42:05,666 --> 01:42:09,504
I had a few cigarettes,
not electronic ones...
1474
01:42:09,712 --> 01:42:14,717
...with my driver and Jason,
my assistant.
1475
01:42:15,093 --> 01:42:19,972
And, you know,
then I'd drive home...
1476
01:42:20,932 --> 01:42:26,312
...and walk up to my incredible
living room there...
1477
01:42:26,479 --> 01:42:28,439
...right on the Grand Canal...
1478
01:42:28,606 --> 01:42:33,486
...and went onto the balcony
and looked over the city.
1479
01:42:33,694 --> 01:42:37,990
I still couldn't sleep, because I was
still so full of all these impressions...
1480
01:42:38,157 --> 01:42:41,702
...that I had experienced
throughout the entire day.
1481
01:42:42,036 --> 01:42:43,996
I just stood there looking
over the city.
1482
01:42:44,163 --> 01:42:46,249
It's right by the Accademia Bridge.
1483
01:42:46,416 --> 01:42:50,670
I thought, "You know, it could well be
that in the history of mankind...
1484
01:42:50,837 --> 01:42:54,173
...no one has ever had it better
than I have it now."
1485
01:42:54,465 --> 01:42:59,679
And if only a little bit of that feeling
that I felt there and then...
1486
01:42:59,846 --> 01:43:01,931
...is translated in this film...
1487
01:43:06,018 --> 01:43:11,357
...then I'd trust
I made the right decision in making it.
1488
01:43:12,483 --> 01:43:15,027
Thank you and goodbye.