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Dead again (1991) Commentary

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[INFORMATION] [AUTHOR] [SOURCE] [PRG] [FILEPATH] [DELAY] [CD TRACK] [COMMENT] [END INFORMATION] [SUBTITLE] [COLF]&HFFFFFF,[STYLE]no,[SIZE]18,[FONT]Arial 00:00:25.00,00:00:28.15 We wanted to set up[br]the atmosphere immediately, 00:00:28.24,00:00:32.71 which is why you get this low...[br]grind over the first few cards. 00:00:32.80,00:00:34.76 And then in a minute you get... 00:00:36.04,00:00:37.31 ...that. 00:00:37.40,00:00:41.44 Murder, which is the subject matter[br]of the film. 00:00:41.52,00:00:47.67 This title sequence attempted to put[br]together, in newspaper headlines, 00:00:47.76,00:00:50.72 many elements and clues[br]inside the film. 00:00:50.80,00:00:54.11 We wanted to do this to lay out[br]the territory of the movie, 00:00:54.20,00:00:59.48 let the audience know it involved[br]clues, you'd have to think a bit. 00:01:00.76,00:01:05.12 And gave us a chance to do a sort of[br]overture with Patrick Doyle's music 00:01:05.20,00:01:11.72 that could set up the full-blooded[br]melodramatic atmosphere of the film. 00:01:11.80,00:01:17.35 The original script, very noir-ish[br]and a bit gothic as well, 00:01:19.64,00:01:25.79 borrowing from the period[br]that the sequences in the past used, 00:01:25.88,00:01:31.03 and trying to set the audience up for[br]something that would be out there. 00:01:31.12,00:01:33.63 It would definitely be full-blooded. 00:01:33.72,00:01:38.40 And immediately trying to get them[br]intrigued by names like Gray Baker, 00:01:38.48,00:01:41.87 who's a character we'll see[br]a lot of, and newspapers - 00:01:41.96,00:01:45.75 he's a newspaper reporter -[br]play a great part in the movie. 00:01:45.84,00:01:50.67 And making sure everybody's name[br]was on the credit sequence, as well. 00:01:50.76,00:01:54.12 It took us months, a fella[br]called Phil Norman did it. 00:01:54.20,00:01:57.59 We went through many variations[br]in order to see 00:01:57.68,00:02:01.88 the amount of information[br]people could possibly absorb, 00:02:01.96,00:02:06.64 given that this is the moment when[br]people are getting into their seats. 00:02:06.72,00:02:10.43 Just introducing all the names,[br]because there are a lot, 00:02:10.52,00:02:12.64 we go into the past and the future 00:02:12.72,00:02:16.92 and it's, I suppose in the context[br]of a thriller, complex. 00:02:17.00,00:02:21.39 Peter Berger, a co-editor on Fatal[br]Attraction, did a terrific job. 00:02:21.48,00:02:24.95 Tim Harvey, production designer[br]on all the films I've directed, 00:02:25.04,00:02:27.08 came from England to design this. 00:02:27.16,00:02:29.43 Matt Leonetti did a great job as DP. 00:02:40.92,00:02:42.80 And there is Roman Strauss. 00:02:44.92,00:02:49.67 And then we dissolve, musically,[br]into the very beginning of the piece. 00:02:49.76,00:02:54.15 We start to hear[br]the song Lush Life. 00:02:54.80,00:02:59.08 Quite a difficult song to sing,[br]as you can hear from me singing it, 00:02:59.16,00:03:02.36 but a, sort of,[br]almost atonal kind of feel to it. 00:03:03.44,00:03:08.96 And the first time I read the script[br]I remember I was in the midst of - 00:03:09.04,00:03:12.19 that's my birthday,[br]by the way, December 10th - 00:03:12.28,00:03:14.95 I was in a play in Los Angeles, 00:03:15.04,00:03:18.11 and in the dressing room[br]I was sent this script, 00:03:18.20,00:03:22.56 one of a number I was getting sent[br]in the wake of having done Henry V. 00:03:22.64,00:03:25.39 And we were there[br]after Henry V had opened, 00:03:25.48,00:03:27.99 I said to my then-wife,[br]Emma Thompson, 00:03:28.08,00:03:30.75 I'll read this aloud[br]and see if we like it. 00:03:30.84,00:03:33.43 I started to read[br]this opening sequence 00:03:33.52,00:03:36.75 and I was so gripped[br]by the hypnotic quality of it, 00:03:36.84,00:03:40.15 this fella in shadow,[br]singing this strange song, 00:03:40.24,00:03:44.71 and now the arrival of Gray Baker[br]into this cell covered in clippings, 00:03:44.80,00:03:50.64 some of which we've given you[br]moments of during the title sequence. 00:03:56.64,00:03:59.15 Scott Frank, the writer,[br]who did a great job, 00:03:59.24,00:04:03.03 seemed to really enjoy[br]the enigmatic nature of this scene, 00:04:03.12,00:04:08.07 which we'd set up as something[br]the audience should be intrigued by, 00:04:08.16,00:04:13.36 and that eventually would[br]provide clues to the resolution. 00:04:23.88,00:04:26.87 That emergence[br]from the shadow into the light 00:04:26.96,00:04:30.03 was absolutely something[br]that Scott wrote in. 00:04:30.12,00:04:34.83 The atmosphere and noir-ish texture[br]of this scene is very much him. 00:04:34.92,00:04:38.80 I wish I could say I'd done[br]an amazing job creating it myself, 00:04:38.88,00:04:43.08 but I felt it so leapt off the page[br]that we should do what he wrote, 00:04:43.16,00:04:45.51 and that's essentially what we did. 00:04:45.60,00:04:48.59 And as you can see,[br]it's in black and white. 00:04:48.68,00:04:51.48 Scott's original version[br]of the screenplay, 00:04:51.56,00:04:54.95 not the one I saw,[br]which was after several rewrites, 00:04:55.04,00:04:57.95 the script had been[br]to a number of directors. 00:04:58.04,00:05:02.00 By the time it got to me the[br]story was supposed to be in colour. 00:05:02.08,00:05:05.55 We found many, many months[br]into the preview process 00:05:05.64,00:05:08.95 that the story[br]was complex to the point where, 00:05:09.04,00:05:13.08 without the black-and-white[br]sequences explaining clearly, 00:05:13.16,00:05:16.63 visually, that we[br]were in the past, in another world, 00:05:16.72,00:05:22.59 it was difficult to take in all[br]the strands of story going at once. 00:05:22.68,00:05:26.83 You've seen the scissors under[br]the hair on the newspaper again, 00:05:26.92,00:05:31.36 lots of clues, in fact there are[br]various red herrings and in-jokes. 00:05:31.44,00:05:36.27 For what it's worth,[br]the number on my shirt, 25-10-1 4-15, 00:05:36.36,00:05:39.19 is the date[br]of the Battle of Agincourt. 00:05:39.28,00:05:42.87 We felt this film was one[br]in which you could allow yourself 00:05:42.96,00:05:46.87 little moments like that,[br]that weren't too self-indulgent. 00:05:46.96,00:05:51.91 The mysterious whisper that took me[br]three readings of the script 00:05:52.00,00:05:54.88 to understand the point of. 00:06:03.28,00:06:05.87 Then we went into[br]an enjoyable sequence to film, 00:06:05.96,00:06:09.92 which was Roman Strauss's[br]march towards Death Row. 00:06:13.52,00:06:16.32 And again,[br]Scott Frank, very clever 00:06:16.40,00:06:19.71 to produce this kind of scene[br]with such economy. 00:06:19.80,00:06:22.68 Genuine intrigue,[br]not just bogus intrigue. 00:06:22.76,00:06:24.72 A pair of scissors in his hand, 00:06:24.80,00:06:28.79 and we go through[br]this faintly hallucinatory section. 00:06:28.88,00:06:33.27 We shot it in a real jail, just[br]currently unused in Los Angeles, 00:06:33.36,00:06:37.51 and lots of wide-angle lenses,[br]and tried to get closer and closer 00:06:37.60,00:06:40.67 to the eyes of the man[br]who may or may not be a killer, 00:06:40.76,00:06:43.75 approaching a woman[br]whom he may or may not kill. 00:06:43.84,00:06:46.64 This shot here[br]is with me tied to a dolly 00:06:46.72,00:06:49.39 and with the camera[br]very close to my eyes. 00:07:00.88,00:07:04.47 We go straight to one of those[br]classic moments in a film, 00:07:04.56,00:07:07.79 that's become a sort of[br]convention of the genre - 00:07:07.88,00:07:12.40 waking up shocked in the night,[br]and the classic Gothic gates - 00:07:12.48,00:07:16.03 touch of Citizen Kane there -[br]that again was in the script. 00:07:16.12,00:07:19.43 Scott enjoying the vocabulary[br]of this kind of film. 00:07:19.52,00:07:23.96 Again, Hitchcock, and a bit of black[br]magic coming in with the cross, 00:07:24.04,00:07:26.79 you know, the slow turn[br]of the door handle, 00:07:26.88,00:07:31.16 and music supporting it all[br]to say very early to the audience, 00:07:31.24,00:07:35.28 "We're gonna give you what we think[br]is the fun of this visceral ride. 00:07:35.36,00:07:37.35 "When it's frightening,[br]the music'll be frightening, 00:07:39.68,00:07:41.99 "and we'll change tone very quickly." 00:07:42.08,00:07:47.68 And suddenly the first beat of the[br]movie is over, that moment of panic. 00:07:47.76,00:07:52.99 We've set up intrigue, someone being[br]killed and this woman being haunted. 00:07:53.08,00:07:56.79 She's in the present, in colour,[br]and we start working out, 00:07:56.88,00:08:00.35 "Right, what's this all about?[br]Who is this woman? " 00:08:00.44,00:08:05.96 And we know very soon that having[br]produced the female protagonist, 00:08:06.04,00:08:09.32 that we must be near[br]producing the male protagonist, 00:08:09.40,00:08:12.52 and it's that kind of film -[br]he must be a detective. 00:08:12.60,00:08:17.15 First thing he's got to work out is[br]what it means - "Rysher" or "Dysher". 00:08:26.76,00:08:31.04 She's clearly haunted,[br]something we don't understand, 00:08:31.12,00:08:36.27 but what we saw in black and white[br]at the beginning is haunting her. 00:08:47.36,00:08:49.11 And this is a nice touch, 00:08:49.20,00:08:52.91 where, given where we are,[br]with people in clerical gear, 00:08:53.00,00:08:57.44 our hero about to emerge[br]has an appropriately resonant name. 00:09:07.44,00:09:12.88 Mike Church. Another touch of Scott[br]having fun with this kind of genre. 00:09:12.96,00:09:17.51 Because we were having fun, annoying[br]or not, people read things into it, 00:09:17.60,00:09:20.64 including this,[br]where I'm seen for the first time, 00:09:20.72,00:09:23.36 and my car is parked[br]the wrong way on the wrong side. 00:09:23.44,00:09:29.71 Everybody thought it referred to the[br]fact I'm from across the Atlantic. 00:09:29.80,00:09:32.71 It was simply to get[br]the front bit of the shot, 00:09:32.80,00:09:36.76 the background of skyscrapers,[br]so that's where we placed the car. 00:09:36.84,00:09:40.04 The crew were saying,[br]"You'd never park there." 00:09:40.12,00:09:44.35 I thought, "I want to see the front[br]of the shot. We'll live with it." 00:09:44.44,00:09:48.23 This was the introduction[br]to me trying an American accent, 00:09:48.32,00:09:51.52 which I think[br]was more acceptable to people then, 00:09:51.60,00:09:54.40 because they didn't quite know[br]who we were, 00:09:54.48,00:09:58.55 which was good cos they were[br]just watching a thriller then. 00:09:58.64,00:10:04.03 And I had fun, as you can imagine,[br]playing a gumshoe detective, and... 00:10:04.12,00:10:06.16 This is a scene[br]I particularly liked, 00:10:06.24,00:10:09.87 meeting Robin Williams'[br]character for the first time, 00:10:09.96,00:10:12.68 living, as he appears to,[br]in this freezer. 00:10:12.76,00:10:16.15 Cozy Carlisle,[br]who is immediately aggressive. 00:10:16.24,00:10:18.75 Robin Williams,[br]obviously a huge star, 00:10:18.84,00:10:22.31 and someone I was very lucky[br]to have in the movie. 00:10:22.40,00:10:24.67 I went to meet him in San Francisco, 00:10:24.76,00:10:27.64 and in common[br]with all the actors in the film, 00:10:27.72,00:10:31.03 he was someone who I admired[br]because of his talent, 00:10:31.12,00:10:33.55 but he seemed to make unusual choices 00:10:33.64,00:10:37.63 and to be in a film like this[br]with a second-time director, 00:10:37.72,00:10:40.92 he's in three[br]terrifically effective scenes, 00:10:41.00,00:10:43.75 including this one[br]where we start to build 00:10:43.84,00:10:46.91 what will be[br]a wonderfully paid-off sick joke 00:10:47.00,00:10:50.07 that finishes off[br]in a scene with Andy Garcia, 00:10:50.16,00:10:53.04 with Mike Church[br]trying to give up smoking. 00:10:53.12,00:10:56.19 Ironic because at that stage[br]I did not smoke, 00:10:56.28,00:11:01.11 and found it impossible[br]to smoke at all as an individual, 00:11:01.20,00:11:06.64 and scenes that were in the film[br]where I actually smoked, 00:11:06.72,00:11:09.44 had to be cut[br]because I simply couldn't do it. 00:11:09.52,00:11:13.56 The sad, horrible truth is that[br]some time later I now do smoke. 00:11:13.64,00:11:19.24 I'm hoping I'll watch the scene with[br]Andy Garcia and give up instantly. 00:11:37.16,00:11:40.79 Cozy Carlisle is this[br]semi-clairvoyant eccentric 00:11:40.88,00:11:43.15 that Robin had so much fun playing, 00:11:43.24,00:11:46.83 and he introduced a terrifically[br]convincing dark side. 00:11:46.92,00:11:51.67 There's something disturbing about[br]seeing someone who's funny and warm 00:11:51.76,00:11:55.20 introduce this very dark,[br]rather sinister quality. 00:11:55.28,00:11:56.84 Again, in a film like this, 00:11:56.92,00:12:01.12 the vocabulary makes sure that[br]almost every character you meet 00:12:01.20,00:12:04.75 Iooks as though they might[br]be involved in the murder. 00:12:04.84,00:12:08.91 You want to introduce everyone[br]as a sort of potential suspect, 00:12:09.00,00:12:12.71 and produce some of what Agatha[br]Christie called "red herrings", 00:12:12.80,00:12:17.16 dupes that start to entertain[br]and confuse and stimulate you, 00:12:17.24,00:12:21.03 and hopefully make the audience[br]feel, "I know who did it! " 00:12:21.12,00:12:23.39 Or, "Was it him? "[br]Or, "What did he say? " 00:12:23.48,00:12:28.23 And in early screenings there was a[br]lot of conversation in the audience. 00:12:28.32,00:12:33.07 They had tuned in to the idea that[br]you had to listen very carefully, 00:12:33.16,00:12:36.44 that there was[br]probably no line that was casual, 00:12:36.52,00:12:41.80 there was probably something leading[br]to an important clue for later on. 00:12:45.88,00:12:48.15 A lot of this scene was improvised, 00:12:48.24,00:12:50.91 we shot two or three[br]cameras at all times. 00:12:51.00,00:12:55.28 Robin, very free with improvisation,[br]and I tried feebly to keep up. 00:12:55.36,00:12:58.99 The outside of the house there[br]that we return to so often 00:12:59.08,00:13:03.23 is in Pasadena, and aside[br]from its own particular character, 00:13:03.32,00:13:08.71 we built the gates that you see[br]and we put extra Gothic towers on it 00:13:08.80,00:13:13.79 to help us produce a greater sense[br]of a vivid and atmospheric house, 00:13:13.88,00:13:19.11 à la horror films,[br]à la Mandalay in Rebecca, 00:13:19.20,00:13:24.35 and Tim Harvey was very keen to[br]maximise the gothic intensity of it. 00:13:29.48,00:13:33.92 Once again, the sort of detail[br]that Scott Frank had brought to bear 00:13:34.00,00:13:37.47 in several years of[br]development with Lindsay Doran, 00:13:37.56,00:13:41.27 who was hugely influential[br]in tying up the various holes 00:13:41.36,00:13:44.03 that are inevitable[br]in a script like this, 00:13:44.12,00:13:49.19 introduces another important clue,[br]which is gloves and a Claddagh ring. 00:13:49.28,00:13:50.92 And also, as you can tell, 00:13:51.00,00:13:54.83 at all times a little bit[br]of humour from all the characters. 00:14:04.64,00:14:07.76 Important, in such a film,[br]or we thought anyway, 00:14:07.84,00:14:12.12 to make sure that the meeting[br]between the two central characters 00:14:12.20,00:14:15.79 would be important,[br]so we do the little moves in there. 00:14:23.80,00:14:27.27 A more difficult moment[br]where I had to use the accent, 00:14:27.36,00:14:29.63 I don't know why it was, but it was. 00:14:29.72,00:14:34.84 I worked with[br]a terrific... dialect expert, 00:14:34.92,00:14:39.04 Carla Meyer, who helped me[br]with tapes and sessions one-to-one, 00:14:39.12,00:14:43.75 where we worked on trying to find[br]some sort of neutral American accent 00:14:43.84,00:14:46.83 and when I was[br]preparing the film I would go out 00:14:46.92,00:14:49.83 and try and be an American[br]and go to the movies 00:14:49.92,00:14:52.99 and go into shops[br]and try and be an American, 00:14:53.08,00:14:56.96 which was odd, because many people[br]are not from Los Angeles, 00:14:57.04,00:14:59.60 they're from all over the world and[br]not sharp about your accent anyway, 00:14:59.68,00:15:02.19 so it was something that I enjoyed[br]once I got over the embarrassment 00:15:03.80,00:15:09.35 of doing it[br]in front of an American crew. 00:15:16.04,00:15:19.75 Wayne Knight, who's gone on[br]to become hugely successful 00:15:19.84,00:15:22.43 in Seinfeld[br]and Third Rock From The Sun 00:15:22.52,00:15:25.03 and Basic Instinct[br]and Jurassic Park, 00:15:25.12,00:15:29.48 had worked with Emma many years[br]ago on a comedy show in Britain. 00:15:29.56,00:15:33.92 And when Lindsay Doran approached me[br]about making the film I said, 00:15:34.00,00:15:38.99 along with Tim Harvey, and Phyllis[br]Dalton, the costume designer 00:15:39.08,00:15:42.39 and myself and Emma,[br]who I said must play the parts, 00:15:42.48,00:15:44.91 for what that was worth, 00:15:45.00,00:15:50.12 another actor we insisted[br]should be involved was Wayne Knight. 00:15:50.20,00:15:53.43 He's very funny,[br]he's got a great face, 00:15:53.52,00:15:58.15 I knew that he would enjoy[br]this slightly whistling character, 00:15:58.24,00:16:01.95 the funny, hard-edged[br]friend of the hero, 00:16:02.04,00:16:04.23 and their banter with each other, 00:16:04.32,00:16:07.60 and his importance[br]in helping to resolve the plot - 00:16:07.68,00:16:11.47 the best friend's there when it[br]matters-added a real dimension. 00:16:11.56,00:16:17.43 We knew that in order to keep[br]the interest, the acting must be good 00:16:18.56,00:16:21.55 and the characters[br]must be interesting, and again, 00:16:21.64,00:16:24.79 because you get[br]a fully fleshed out human being, 00:16:24.88,00:16:29.83 you wonder whether he's got something[br]to do with whatever's going on. 00:16:33.96,00:16:36.68 We enjoyed this lighting,[br]as you can tell, 00:16:36.76,00:16:40.59 we again go for a sort of[br]noir-ish look, lit from underneath, 00:16:40.68,00:16:44.47 using the red of the darkroom[br]to give it the visual texture 00:16:44.56,00:16:49.59 of a kind of film and kind of world[br]where odd things happen. 00:16:49.68,00:16:55.83 We still keep that "ooee-ooee-oo"[br]in the atmosphere of the film. 00:16:55.92,00:16:57.96 Emma here had a real challenge. 00:16:58.04,00:17:02.83 For the first 20 minutes of the film[br]she doesn't move... speak, rather, 00:17:02.92,00:17:05.51 and one of her strengths[br]as an actress 00:17:05.60,00:17:09.15 is to be able to be[br]a real person without speaking, 00:17:09.24,00:17:13.39 so we were very lucky-that was why[br]I was insisting on casting her, 00:17:13.48,00:17:17.19 who at that stage, like me,[br]was not known by a vast public. 00:17:17.28,00:17:23.12 I'm glad I was right about that and[br]the years have borne out the wisdom 00:17:23.20,00:17:27.75 of the decision by Lindsay[br]and Scott and Paramount to cast her. 00:17:31.08,00:17:33.31 That man is Patrick Doyle,[br]our composer, 00:17:33.40,00:17:37.55 playing the shortest[br]policeman in Los Angeles 00:17:37.64,00:17:41.60 as we do this one-shot visual gag,[br]again a Scott Frank thing, 00:17:41.68,00:17:47.04 that suggests that this is not the[br]nicest place to spend the evening. 00:17:50.24,00:17:55.44 And this sequence was shot...[br]We mocked-up this set in the jail 00:17:55.52,00:17:58.03 where we shot the opening sequence. 00:18:00.16,00:18:02.35 Richard Easton plays the Father. 00:18:02.44,00:18:05.40 I had worked with him[br]in the theatre in England, 00:18:05.48,00:18:08.99 and he was living in America,[br]a long-time colleague, 00:18:09.08,00:18:11.35 been in lots of Shakespeare with me 00:18:11.44,00:18:15.23 and was now working in San Diego,[br]and he came up to do this. 00:18:15.32,00:18:17.51 The exterior of Mike's apartment, 00:18:17.60,00:18:20.91 like most exteriors in the film,[br]is shot from below, 00:18:21.00,00:18:25.20 and lit in a way that tries to give[br]each of the houses a character, 00:18:25.28,00:18:28.40 and potentially[br]a sort of foreboding character. 00:18:30.88,00:18:34.35 The interior of Mike's apartment[br]was on a sound stage 00:18:34.44,00:18:36.79 and most interiors are sound stages. 00:18:36.88,00:18:41.27 The exteriors are real locations[br]that we found in Los Angeles. 00:18:43.72,00:18:48.08 Once again, with the music[br]and Scott's screen directions, 00:18:48.16,00:18:53.44 we start to enjoy what's going to be[br]an important weapon in the picture - 00:18:53.52,00:18:57.67 we've seen it at the beginning[br]in dramatic fashion-the scissors. 00:18:57.76,00:19:00.03 Introducing them in this way, 00:19:00.12,00:19:05.11 you begin to wonder if Mike Church[br]may be at the heart of all this. 00:19:06.32,00:19:11.71 Tim Harvey designed this apartment[br]with an Arts and Crafts feel to it. 00:19:11.80,00:19:16.48 If you ever visit my house, several[br]of the pieces of furniture are there. 00:19:16.56,00:19:21.31 I did pay for them. I didn't sneak[br]them into the back of my car. 00:19:24.60,00:19:29.88 We built the interiors so we'd have[br]as much flexibility as we could 00:19:29.96,00:19:34.00 to be able to move walls[br]and move the camera around. 00:19:34.08,00:19:38.12 I was then, I suppose I still am,[br]in uninterrupted takes, 00:19:38.20,00:19:40.39 and you'll notice that sequence, 00:19:40.48,00:19:45.03 up until the point where we[br]arrive here, was shot in one take, 00:19:45.12,00:19:49.24 and there are many instances[br]where we do uninterrupted takes. 00:19:49.72,00:19:54.87 Mike's self-mocking character was[br]something I enjoyed playing a lot, 00:19:54.96,00:19:58.08 as we enjoyed[br]suddenly resting on the scissors. 00:19:59.60,00:20:03.83 Here we are back to a scream.[br]It's a film where you need a scream, 00:20:03.92,00:20:06.04 and we need to remind ourselves 00:20:06.12,00:20:10.03 that there's something in the past[br]that haunts this woman. 00:20:10.12,00:20:13.27 And by this stage, of course,[br]we're pretty aware 00:20:13.36,00:20:18.67 that Mike Church looks[br]remarkably similar to Roman Strauss, 00:20:18.76,00:20:21.75 who, once again,[br]has picked up those scissors, 00:20:21.84,00:20:24.59 and we are leading[br]the audience to believe 00:20:24.68,00:20:28.04 that if a murder was committed[br]in the past by that man 00:20:28.12,00:20:33.35 then maybe this man who looks[br]like him now may be involved with it. 00:20:41.08,00:20:44.75 Slightly more innocuous view[br]of the same building. 00:20:45.88,00:20:51.27 You're about to meet Derek Jacobi[br]who plays Franklyn Madson. 00:20:51.36,00:20:54.27 Originally, other actors[br]were going to play this part, 00:20:54.36,00:20:57.95 but various complications[br]meant they couldn't, 00:20:58.04,00:21:00.95 so Derek Jacobi[br]was brought out from England. 00:21:01.04,00:21:03.79 He'd been in a play[br]up until the Saturday. 00:21:03.88,00:21:07.11 He flew out on Tuesday[br]and was shooting by Friday. 00:21:07.20,00:21:11.35 Like Emma and myself, having[br]a mainly theatrical background, 00:21:11.44,00:21:14.59 he was an unlikely choice,[br]and given this was... 00:21:14.68,00:21:18.39 albeit a modestly, for the time,[br]budgeted studio movie, 00:21:18.48,00:21:23.79 he was someone, like the pair of us,[br]that the studio was nervous about. 00:21:23.88,00:21:28.91 Not regarding talent, obviously,[br]but on the issue of commerciality. 00:21:29.00,00:21:33.83 So it was Sydney Pollack, executive[br]producer and a great film-maker, 00:21:33.92,00:21:37.91 who ran Mirage with Lindsay Doran, 00:21:38.00,00:21:41.23 who was very helpful[br]in supporting me as a film-maker 00:21:41.32,00:21:45.68 and persuading people that Derek[br]would be a great piece of casting. 00:21:45.76,00:21:48.67 And that,[br]like the other actors in the piece, 00:21:48.76,00:21:56.84 he would be sufficiently ambiguous[br]to whet the audience's appetite 00:21:56.92,00:22:00.96 for believing that he may have[br]something to do with this intrigue. 00:22:01.04,00:22:04.51 And, once again, an actor[br]who makes unusual choices. 00:22:04.60,00:22:07.51 So as you go through[br]you meet all these actors 00:22:07.60,00:22:12.72 whose careers have shown really[br]interesting paths. 00:22:12.80,00:22:15.36 They are always gonna do[br]something unusual. 00:22:15.44,00:22:18.51 So I loved the character[br]of the cast in general, 00:22:18.60,00:22:21.03 and Derek,[br]who's a dear friend of mine, 00:22:21.12,00:22:23.71 is able to play things[br]with great depth, 00:22:23.80,00:22:26.23 and so,[br]although we introduce him here 00:22:26.32,00:22:29.55 as a rather light-hearted[br]and rather funny man, 00:22:29.64,00:22:33.23 we know that he's very likely[br]to be much more than that. 00:22:38.80,00:22:43.75 Here we introduce one of the things[br]that perhaps put off many directors 00:22:43.84,00:22:48.63 whose fingerprints were here before[br]mine-but I take no offence at that. 00:22:48.72,00:22:53.95 It's the idea of hypnosis, regression[br]and eventually of reincarnation, 00:22:54.04,00:22:57.35 so we see Madson[br]beginning slowly to hypnotise her, 00:22:58.72,00:23:02.71 and we wonder what's gonna happen,[br]but we know the kind of film we're in 00:23:02.80,00:23:04.68 so here's what happens. 00:23:07.24,00:23:11.79 At last she speaks, but, of course,[br]speaks in a way that frightens us 00:23:11.88,00:23:14.55 and we know that[br]she surely is in distress 00:23:14.64,00:23:19.35 and now that she can, perhaps,[br]speak, we'll find out a little more. 00:23:31.76,00:23:36.20 Scott Frank did a wonderful job[br]of balancing those "scare" moments 00:23:36.28,00:23:40.24 with humour, he was always[br]undercutting things with humour, 00:23:40.32,00:23:44.03 and I think it sent a signal[br]to the audience that the film, 00:23:44.12,00:23:48.43 although enjoying itself[br]was not taking itself too seriously. 00:23:48.52,00:23:53.80 It was a real delight in working[br]in this kind of... medium, this genre. 00:23:53.88,00:23:58.16 And although the darker side is[br]influenced by films like 00:23:58.24,00:24:01.83 Otto Preminger's Laura,[br]and Hitchcock's Rebecca - 00:24:01.92,00:24:05.12 a lot of Hitchcock,[br]and indeed Wells, 00:24:05.20,00:24:09.19 everybody who worked successfully[br]and inspiringly in noir, 00:24:09.28,00:24:16.55 and who combined such stories with[br]the leavening quality of humour - 00:24:16.64,00:24:21.32 all of these were inspiration for us,[br]and here we end with a nice gag. 00:24:23.48,00:24:29.11 Improvised by Derek, and part[br]of the characteristic sparring 00:24:29.20,00:24:31.95 between the characters[br]of Madson and Church. 00:24:36.20,00:24:39.51 But as we find them together here[br]for a little while, 00:24:39.60,00:24:42.03 it's necessary to make us understand 00:24:42.12,00:24:45.35 that they're[br]becoming attracted to each other, 00:24:45.44,00:24:51.28 so the sort of spiky, joshing,[br]kind of verbal... nonsense 00:24:51.36,00:24:55.96 that Church has been coming up with[br]is leading to something more tender. 00:24:56.04,00:25:01.03 And there's a temptation to think[br]we might be annoying the audience, 00:25:01.12,00:25:04.11 but we're hoping that[br]they will enjoy the fact 00:25:04.20,00:25:07.67 that it's now gonna[br]complicate matters even more, 00:25:07.76,00:25:12.44 especially if Mike Church had[br]anything to do with the murder. 00:25:14.56,00:25:19.43 Another little noir-ish touch,[br]let's introduce The Laughing Duke. 00:25:20.16,00:25:24.95 These films always have mad toys,[br]clockwork things 00:25:25.04,00:25:28.16 that are faintly sinister,[br]depending on how you shoot them. 00:25:28.24,00:25:34.68 And from a jolly exterior where that[br]particular clockwork duke is amusing, 00:25:34.76,00:25:40.31 we go into a slightly more creepy[br]interior and discover Madson at work. 00:25:40.40,00:25:43.23 We had great fun[br]assembling all these props 00:25:43.32,00:25:46.71 from the Paramount prop store,[br]and we hired things, 00:25:46.80,00:25:52.43 and another chance to have shafts[br]of light bring out that noir texture. 00:25:52.52,00:25:58.55 This is Miriam Margolyes, a brilliant[br]English actress and comedienne, 00:25:58.64,00:26:03.19 who shows us how Madson does business[br]by regressing people into past lives 00:26:03.28,00:26:06.48 and finding out[br]where they kept their furniture. 00:26:06.56,00:26:09.87 It's a terrific device.[br]Aside from being fun, 00:26:09.96,00:26:13.35 Scott Frank[br]uses it to divert the audience. 00:26:13.44,00:26:16.67 Humour is a great way[br]of putting them off the trail. 00:26:16.76,00:26:21.71 Miriam I had not worked with before,[br]but knew from the theatre in England. 00:26:21.80,00:26:25.76 She now works a lot in America[br]and she's hugely funny. 00:26:25.84,00:26:28.27 Wonderful mimic,[br]fantastic with voices, 00:26:28.36,00:26:32.59 and it was great to have someone[br]like her here just for a day. 00:26:32.68,00:26:36.15 This interior was built[br]on a sound stage at Paramount, 00:26:36.24,00:26:40.55 although, as before, the exterior[br]was in a real part of Los Angeles. 00:26:40.64,00:26:44.39 It was probably about 40/60[br]interiors to real exteriors. 00:26:44.48,00:26:47.63 And again,[br]it gave us some power of manoeuvre 00:26:47.72,00:26:50.55 because, as you'll see in a moment, 00:26:50.64,00:26:54.76 we tried, when Madson[br]was in the process of hypnotising, 00:26:54.84,00:26:56.91 to produce with the camera[br]some hypnotic sense. 00:26:57.00,00:27:00.39 We didn't want to put the audience[br]to sleep, or indeed regress them, 00:27:03.40,00:27:07.95 but we did want to give a sense[br]of the hypnotic quality that, 00:27:08.04,00:27:11.35 in relation to Derek Jacobi's[br]mellifluous voice, 00:27:11.44,00:27:14.64 was happening[br]to Emma Thompson's character. 00:27:18.36,00:27:22.91 Another clue there, again,[br]a little almost throwaway remark, 00:27:23.00,00:27:25.19 where Madson refers to his mother. 00:27:25.28,00:27:27.71 There's someone behind that curtain. 00:27:28.56,00:27:33.31 And then we take full advantage[br]of candles here to up the ante, 00:27:33.40,00:27:36.36 in terms of the lighting -[br]keep it noir-ish. 00:27:36.44,00:27:39.67 And you begin to see[br]the beginning of a move which, 00:27:39.76,00:27:46.23 as you see, we dissolve from within,[br]but the entire shot was done in one. 00:27:46.32,00:27:52.16 The scene was longer than this,[br]and one of those shots where we took 00:27:52.24,00:27:56.39 probably three-quarters of the day[br]to plan the move. 00:27:56.48,00:28:00.31 Because you see 360 degrees[br]there aren't many cheats to do, 00:28:00.40,00:28:02.96 we wanted the effect[br]of a small space, 00:28:03.04,00:28:09.15 and yet we had to have enough room[br]for the camera, which was on a dolly, 00:28:09.24,00:28:15.08 smaller than a conventional dolly,[br]allowing to negotiate small spaces, 00:28:15.16,00:28:19.91 and, of course, smoother than[br]a Steadicam for this kind of a shot. 00:28:20.00,00:28:23.96 I didn't want the often very[br]pleasing float of a Steadicam, 00:28:24.04,00:28:25.79 I did want a smooth motion 00:28:25.88,00:28:31.59 that was in time and rhythm with[br]Derek's voice and the information. 00:28:31.68,00:28:35.39 And yet the physical process[br]of doing it for a cameraman, 00:28:35.48,00:28:37.55 an operator and a focus puller 00:28:37.64,00:28:42.39 to be moving-noiselessly-because[br]we didn't post-sync this dialogue, 00:28:42.48,00:28:46.27 was a challenge, and for the camera[br]to be at the right point 00:28:46.36,00:28:50.07 and looking at the right person[br]when they were speaking, 00:28:50.16,00:28:52.31 if that's what we chose to do. 00:28:52.40,00:28:58.08 Sometimes it needed to pan[br]so that you had a line from Church, 00:28:58.16,00:29:01.91 and the focus problems[br]of being sharp on Derek Jacobi 00:29:02.00,00:29:05.79 and then sharp on Emma Thompson,[br]and that being seamless, 00:29:05.88,00:29:08.00 all of these were challenges. 00:29:08.08,00:29:13.23 We started at 8am, but by the time[br]we'd practised with the actors, 00:29:13.32,00:29:19.76 lit it, so that you couldn't see[br]the lights beyond the candle-light, 00:29:19.84,00:29:22.99 by the time they had all practised,[br]it was 4pm 00:29:23.72,00:29:28.24 before we started these long, single[br]takes-each take maybe five minutes. 00:29:28.32,00:29:32.07 You see a shorter version[br]because inside it we dissolve. 00:29:32.16,00:29:35.47 But we started then,[br]and of course things go wrong, 00:29:35.56,00:29:38.36 somebody bumps into something, 00:29:38.44,00:29:41.67 we lose focus,[br]an actor forgets a line, 00:29:41.76,00:29:45.83 and then there's a sort of[br]finite number that you can do. 00:29:45.92,00:29:49.15 In my experience with[br]something like this, 00:29:49.24,00:29:51.20 a long, challenging take, it's... 00:29:51.28,00:29:55.03 You might do 15 takes,[br]and maybe around seven or eight, 00:29:55.12,00:29:57.63 I mean number seven or eight,[br]are good, 00:29:57.72,00:30:01.16 where the combination[br]of the camera move, the acting... 00:30:01.24,00:30:04.23 It's not just a question[br]of hitting the marks, 00:30:04.32,00:30:06.51 you want subtlety and variation. 00:30:06.60,00:30:10.67 You want the actors to be[br]spontaneous. It can't be mechanical. 00:30:10.76,00:30:12.75 There's probably, in 15 takes, 00:30:12.84,00:30:19.87 one or two that carry the perfection[br]that you hope for, if you're lucky. 00:30:19.96,00:30:23.67 We had some licence because[br]partly to cut the time down 00:30:23.76,00:30:27.75 and partly because it was[br]more hypnotic than even I wanted, 00:30:27.84,00:30:31.47 we reduced the scene and[br]could travel from take to take 00:30:31.56,00:30:34.63 through the dissolves[br]that we produced later. 00:30:52.48,00:30:56.15 And what this allows us to do[br]is finish on Emma Thompson, 00:30:56.24,00:31:00.71 and take us back,[br]through the medium of the candle, 00:31:00.80,00:31:04.31 to our first[br]proper section in the past, 00:31:04.40,00:31:08.07 where we begin to hear[br]about Roman and Margaret Strauss. 00:31:09.40,00:31:12.23 Here we establish Roman Strauss[br]as a conductor, 00:31:12.32,00:31:16.39 something I had to learn...[br]which was a challenge. 00:31:16.48,00:31:20.60 Bill Kraft, a terrific musician[br]and conductor from Los Angeles 00:31:20.68,00:31:22.72 showed me how to do that. 00:31:22.80,00:31:25.23 And here we have[br]the outside of Syd's, 00:31:25.32,00:31:28.76 a nightclub that[br]it was great fun to recreate. 00:31:30.84,00:31:32.88 We did produce a Steadicam shot 00:31:32.96,00:31:35.63 which took us[br]from the inside of that car, 00:31:35.72,00:31:39.19 all the way through[br]to the table we eventually sit in, 00:31:39.28,00:31:44.07 and that was lost in various previews[br]and post-production processes, 00:31:44.16,00:31:46.83 so this entire sequence[br]was much longer. 00:31:46.92,00:31:53.03 In the end, it became easier[br]to understand in this montage way, 00:31:53.12,00:31:57.72 where we brought out key lines and[br]tried to offer, through the montage, 00:31:57.80,00:31:59.99 the sort of glamour of the period, 00:32:00.08,00:32:03.20 the black-and-white period[br]of nightclubs, tuxedos 00:32:03.28,00:32:08.43 and beautiful shiny dresses and[br]Hollywood after hours in the '30s. 00:32:08.52,00:32:11.43 But it was significantly[br]longer than this 00:32:11.52,00:32:15.88 and it was one of the things[br]it was something of a shame to lose, 00:32:15.96,00:32:20.19 but worked better in terms[br]of the audience's understanding. 00:32:20.28,00:32:23.64 The first cut of the film[br]ran at two and half hours, 00:32:23.72,00:32:27.87 and so in this final version,[br]I think it's about 106 minutes. 00:32:27.96,00:32:32.16 We found that so much information[br]to set up the story was required 00:32:32.24,00:32:36.68 that it was easier if, on the whole,[br]Emma's character narrated this, 00:32:36.76,00:32:40.31 and we seized on key moments,[br]including this sequence, 00:32:40.40,00:32:43.04 which was shot on the very beach[br]in Los Angeles 00:32:43.12,00:32:47.11 where, I believe,[br]some years later, Baywatch was shot. 00:32:47.20,00:32:50.35 And it may have been[br]the very bodies they saw here 00:32:50.44,00:32:54.56 that gave them the idea for that[br]show. I may be wrong, I'm not sure. 00:33:04.08,00:33:07.23 We go back to the Strauss mansion[br]and... 00:33:07.32,00:33:10.91 all of these scenes[br]were shot on colour film. 00:33:11.00,00:33:14.55 We had no intention, immediately, 00:33:14.64,00:33:18.92 to make them[br]eventually be in black and white, 00:33:19.00,00:33:20.80 but as I mentioned earlier, 00:33:20.88,00:33:24.67 it became very important[br]to make a real clear distinction 00:33:24.76,00:33:27.43 between the past[br]and present sequences. 00:33:27.52,00:33:31.43 One of the things that convinced us[br]whilst on location 00:33:31.52,00:33:38.63 was seeing in various ramshackle,[br]made-up screening rooms, 00:33:38.72,00:33:41.31 dailies that had been[br]dupe videos of dailies 00:33:41.40,00:33:44.15 that I would often see[br]in black and white, 00:33:44.24,00:33:47.20 and I remember saying[br]to Scott and to Lindsay, 00:33:47.28,00:33:50.83 "That's good. It has a really strong[br]sense of period." 00:33:50.92,00:33:53.07 So that began to nudge us that way. 00:33:53.16,00:33:56.52 An introduction to Andy Garcia,[br]a wonderful actor. 00:33:56.60,00:34:00.88 When we cast him in this he was[br]just about to open in Godfather IIl, 00:34:00.96,00:34:03.31 in which he was sensational. 00:34:03.40,00:34:08.11 A real actor's actor, Andy,[br]someone with his own mind who is not, 00:34:08.20,00:34:11.99 despite having movie star looks[br]and a successful career, 00:34:12.08,00:34:17.47 is not over-awed by the movie world,[br]and who, as with the other actors, 00:34:17.56,00:34:21.44 is attracted to things[br]that motivate him, in whatever way, 00:34:21.52,00:34:24.88 with an interesting director[br]or an interesting story, 00:34:24.96,00:34:27.08 and an interesting character. 00:34:27.16,00:34:30.99 He hadn't played anything like this,[br]which is Gray Baker, 00:34:31.08,00:34:35.23 this hard-drinking,[br]possibly womanising, reporter, 00:34:35.32,00:34:40.03 who we get the sense[br]is a terrific writer... 00:34:40.12,00:34:44.51 A sort of Hildy Johnson figure[br]from the front page 00:34:44.60,00:34:50.07 and someone who we know, in his[br]atmosphere and his character, 00:34:50.16,00:34:53.36 is gonna probably[br]be taking a shine to Margaret, 00:34:53.44,00:34:55.56 Emma, looking terrific there. 00:34:55.64,00:35:00.32 Christine Ebersole, Gray Baker's[br]partner in crime there. 00:35:00.40,00:35:04.36 And we're introduced[br]for the first time to young Frankie, 00:35:04.44,00:35:08.51 and his mother, played by[br]the German actress Hanna Schygulla, 00:35:08.60,00:35:11.64 who'd been such a hit[br]in the Fassbinder movies, 00:35:11.72,00:35:14.68 and has this terrific[br]screen presence. 00:35:14.76,00:35:19.15 Again makes you wonder whether[br]there's something going on. 00:35:19.24,00:35:23.92 She manages to speak and at the same[br]time suggest the absolute opposite 00:35:24.00,00:35:27.36 of what may be[br]an entirely innocuous remark, 00:35:27.44,00:35:30.83 but there's something in her eyes[br]and her whole being 00:35:30.92,00:35:33.35 that indicates more is going on. 00:35:50.32,00:35:53.20 We had great fun[br]with the hats and costumes. 00:35:53.28,00:35:56.64 Phyllis Dalton,[br]Oscar-winning costume designer 00:35:56.72,00:36:00.51 who did the costumes for Henry V[br]came to work on Dead Again, 00:36:00.60,00:36:04.23 and she'd worked through[br]the glory days of British films, 00:36:04.32,00:36:06.59 costume designer[br]on Lawrence of Arabia, 00:36:06.68,00:36:09.51 terrific personal sense of style, 00:36:09.60,00:36:13.31 and she enjoyed it[br]because she knew the period herself 00:36:13.40,00:36:15.75 and tried to fix the detail of that. 00:36:15.84,00:36:19.43 All of these actors[br]are interested in the clothes. 00:36:19.52,00:36:22.48 Nothing about[br]the way they prepare is casual, 00:36:22.56,00:36:25.84 so the costume fittings[br]for this were extensive. 00:36:25.92,00:36:28.75 It seems a superficial thing,[br]but with this, 00:36:28.84,00:36:31.88 where the story[br]is being told with some economy 00:36:31.96,00:36:35.63 you want everything, the way[br]you shoot it, the way they look, 00:36:35.72,00:36:38.63 from their hair[br]to the quality of their shirt, 00:36:38.72,00:36:42.23 everything conspires to help[br]make the actor feel just right. 00:36:42.32,00:36:46.20 And all of these were pernickety[br]without being difficult. 00:36:46.28,00:36:51.03 They were just very scrupulous about[br]being exactly who they wanted to be 00:36:51.12,00:36:53.24 and making everything tell. 00:36:53.32,00:36:56.55 Andy's another actor[br]who enjoys improvisation 00:36:56.64,00:37:00.68 and he did so here, in small measure, 00:37:00.76,00:37:03.67 and all of it just helped[br]give a natural feel. 00:37:03.76,00:37:07.35 Scott Frank and Lindsay Doran[br]were very good about that, 00:37:07.44,00:37:11.19 because given the time they'd spent[br]working on the script, 00:37:11.28,00:37:16.07 they were, whilst protective of it,[br]always open to suggestion, 00:37:16.16,00:37:19.23 and a lot of the actors, I think,[br]embraced that. 00:37:22.12,00:37:24.08 We're introduced to the anklet, 00:37:24.16,00:37:29.84 mentioned in a newspaper report[br]in the opening title sequence. 00:37:29.92,00:37:33.71 And when you're doing these kinds[br]of pictures it's funny, 00:37:33.80,00:37:37.59 you have to keep reminding yourself[br]that it's important, 00:37:37.68,00:37:41.51 you saw it a moment ago,[br]to make sure there are insert shots 00:37:41.60,00:37:44.72 that really[br]establish the object, the item. 00:37:44.80,00:37:47.55 You mustn't be casual about that, 00:37:47.64,00:37:53.32 because at some stage you'll need[br]to remind the audience what it was, 00:37:53.40,00:37:56.84 without laying it on with a trowel, 00:37:56.92,00:38:01.67 you need to remind them about[br]what's going to become important. 00:38:04.52,00:38:06.48 Shot through this whole film, 00:38:06.56,00:38:10.11 both in the relationship[br]between Roman and Margaret 00:38:10.20,00:38:12.39 and the modern couple, is romance. 00:38:12.48,00:38:16.03 It's a very necessary quality[br]in this kind of film 00:38:16.12,00:38:21.88 to feel a heightened quality to the[br]romance that carries on across time. 00:38:21.96,00:38:24.79 It's one of the themes[br]of the movie, indeed. 00:38:24.88,00:38:29.11 So in shooting it[br]we wanted it to be... very romantic, 00:38:29.20,00:38:35.12 and we enjoyed all these challenges,[br]trying to do many things at once 00:38:35.20,00:38:39.56 and it was one of the excitements[br]of working in a particular genre - 00:38:39.64,00:38:43.47 the thriller-and making it[br]as multi-layered as possible, 00:38:43.56,00:38:47.00 without trying to be pretentious[br]or overloading it. 00:38:47.08,00:38:51.39 But I think this element, from[br]the evidence at early screenings, 00:38:51.48,00:38:54.71 was something that people enjoyed,[br]or at least the girls, 00:38:54.80,00:39:00.24 perhaps the boys decided it was[br]something they could put up with. 00:39:10.64,00:39:16.99 A lot to think about, so there's[br]a moment in the script to relax. 00:39:17.08,00:39:20.07 The mood changes,[br]the tone changes slightly, 00:39:20.16,00:39:23.60 it gives us a chance[br]to think about what's happened 00:39:23.68,00:39:27.39 and establish a little more[br]banter with Mike and Madson. 00:39:27.48,00:39:29.23 And now Grace... 00:39:33.44,00:39:36.51 Another terrible in-joke coming,[br]I'm afraid. 00:39:36.60,00:39:40.23 I couldn't resist it, it was[br]when I was green in judgement. 00:39:40.32,00:39:44.52 The beginning of that shot[br]featured Laurence Olivier as Hamlet 00:39:44.60,00:39:49.15 in a June 1948 edition[br]of Life magazine. 00:39:49.24,00:39:53.84 We were researching copies of Life,[br]which we'd had permission to use, 00:39:53.92,00:39:57.99 so that we could have Madson[br]refer to the actual articles 00:39:58.08,00:40:00.47 where the original murder[br]was talked of, 00:40:00.56,00:40:04.55 and when we looked back at the time[br]that we needed to reveal. 00:40:04.64,00:40:07.52 Laurence Olivier[br]was on the cover as Hamlet, 00:40:07.60,00:40:09.72 promoting his film of that time. 00:40:09.80,00:40:11.84 We trimmed the front of the shot 00:40:11.92,00:40:16.47 so that it didn't look like I was[br]trying to be a complete clever geek, 00:40:16.56,00:40:18.12 and just as well, 00:40:18.20,00:40:22.91 but it was one of the indulgences[br]I allowed myself in the doing of it. 00:40:23.00,00:40:26.71 Later we work on a bridge[br]called the Shakespeare Bridge. 00:40:26.80,00:40:30.59 We originally had a sign saying[br]"The Shakespeare Bridge", 00:40:30.68,00:40:33.83 and at the preview[br]there was an enormous laugh - 00:40:33.92,00:40:38.95 those who enjoyed me presenting that[br]having just made a Shakespeare film. 00:40:39.04,00:40:42.16 And I'm sure annoying[br]the rest of the audience. 00:40:42.24,00:40:47.84 So we dropped that and tried to curb[br]these indulgences during the movie. 00:40:52.28,00:40:54.87 Just for interest,[br]if it is of interest, 00:40:54.96,00:40:59.99 Derek Jacobi had worked with Olivier[br]many, many times during the '60s, 00:41:00.08,00:41:04.76 when he was a member of Olivier's[br]National Theatre Company in England. 00:41:12.84,00:41:16.28 Typical Scott Frank, finishing[br]a scene packed with information 00:41:16.36,00:41:19.48 with a nice, casual and funny remark. 00:41:19.56,00:41:22.60 And very nicely played[br]by Derek Jacobi. 00:41:22.68,00:41:25.35 Now, we're on[br]the streets of Los Angeles, 00:41:25.44,00:41:29.80 this is a real exterior location,[br]outside The Laughing Duke, 00:41:29.88,00:41:32.63 which was a shop[br]of quite a different kind. 00:41:32.72,00:41:35.39 Of course,[br]thanks to the art department, 00:41:35.48,00:41:39.27 had the windows redone[br]to resemble a convincing exterior 00:41:39.36,00:41:43.27 to the interior set that we[br]had built on the Paramount lot, 00:41:43.36,00:41:49.63 where we'd shoot on sound stages[br]that had been used in Citizen Kane. 00:41:49.72,00:41:54.32 Those sound stages[br]were part of the old RKO lot, 00:41:54.40,00:41:59.68 which was swallowed up by Paramount,[br]and which gave us a certain thrill. 00:41:59.76,00:42:03.67 As did the whole film -[br]making a thriller in Hollywood, 00:42:03.76,00:42:05.67 a genre I've always loved, 00:42:05.76,00:42:10.91 and that the very act of doing[br]was a terrific thrill and a luxury, 00:42:11.00,00:42:14.67 a sense of being involved in[br]a little film history was exciting. 00:42:14.76,00:42:18.35 I haven't mentioned the red car.[br]I can't tell you what it was. 00:42:18.44,00:42:22.48 There was a vast selection[br]put in front of me 00:42:22.56,00:42:27.08 and I looked for one that could be[br]driven by a detective in a thriller. 00:42:27.16,00:42:28.72 And that's what I chose. 00:42:30.96,00:42:35.83 We're back with Cozy Carlisle,[br]another uninterrupted Steadicam shot, 00:42:35.92,00:42:39.23 which, again,[br]took us all day to rehearse. 00:42:39.32,00:42:42.39 Robin Williams[br]had a lot of dialogue here, 00:42:42.48,00:42:45.55 plot plus character stuff[br]and a real laying out 00:42:45.64,00:42:52.64 of what Scott decided were our rules[br]for the world of reincarnation, 00:42:52.72,00:42:56.19 as he chose to use it[br]in terms of this plot. 00:42:56.28,00:42:59.03 Plus, Robin also had[br]the business, as we call it, 00:42:59.12,00:43:02.08 of picking up[br]various bits of merchandise. 00:43:02.16,00:43:07.39 We're in a real supermarket in LA,[br]which we took over for the day, 00:43:07.48,00:43:10.60 and this, again,[br]we rehearsed most of the day. 00:43:10.68,00:43:14.15 It isn't a hugely ambitious shot,[br]we make a cut here, 00:43:14.24,00:43:18.12 but there was problems with[br]lighting, fluorescent light, 00:43:18.20,00:43:21.16 and Steadicams sometimes go wrong,[br]and did. 00:43:21.24,00:43:25.31 I remember Robin Williams[br]worked whilst suffering from flu, 00:43:25.40,00:43:27.36 being the trouper that he is. 00:43:40.44,00:43:45.39 We're starting to get into the real[br]intrigue. The plot's turning. 00:43:45.48,00:43:50.03 We know the problem now,[br]and wonder how we're gonna solve it. 00:43:54.52,00:43:57.99 And Robin's character lays it out,[br]a trauma in a past life 00:43:58.08,00:44:01.55 can help you resolve[br]a trauma in a present life, 00:44:01.64,00:44:04.03 something most people believe, 00:44:04.12,00:44:09.32 but not those sophisticates[br]that watch thrillers, 00:44:09.40,00:44:12.44 and for whom the idea[br]of reincarnation is difficult. 00:44:12.52,00:44:14.99 And we were lucky[br]with the actors we had 00:44:15.08,00:44:18.20 that we could carry off[br]this conceit, if you like, 00:44:18.28,00:44:21.03 which is why I think directors[br]passed on this movie, 00:44:21.12,00:44:26.91 they felt reincarnation was something[br]an audience wouldn't accept. 00:44:27.00,00:44:31.95 We hoped that with the presentation,[br]the music and the noir-ish look 00:44:32.04,00:44:36.27 that it would be acceptable and fun,[br]and that it could be witty. 00:44:36.36,00:44:39.80 And we aimed[br]to enjoy ourselves doing that, 00:44:39.88,00:44:45.95 and believed that we could offer up[br]romance, edge and tension. 00:44:46.04,00:44:49.35 Here's something we did as a one-off. 00:44:49.44,00:44:54.59 I said to Robin, "Let's just get a[br]close-up of you looking a bit odd 00:44:54.68,00:45:00.52 "so we can keep you as a possible[br]candidate for the one who did it." 00:45:10.84,00:45:16.60 We're back in romance time here.[br]It was funny, or funny to me, anyway, 00:45:16.68,00:45:20.88 people working on the film used[br]to say that in playing both parts, 00:45:20.96,00:45:24.84 when I was playing Church[br]I was significantly more cheery 00:45:24.92,00:45:28.75 than when I was playing[br]the rather tortured Roman Strauss. 00:45:33.96,00:45:37.03 We also had great fun[br]with making up old newspapers. 00:45:37.12,00:45:41.08 Lindsay Doran, a great producer[br]and a real details merchant, 00:45:41.16,00:45:45.39 was fantastic about[br]assembling all this material for me. 00:45:45.48,00:45:49.39 And Tim Harvey, indeed,[br]appears-our production designer - 00:45:49.48,00:45:54.76 appears as a Nazi type who has[br]helped Roman Strauss out of Germany 00:45:54.84,00:45:58.07 in, I believe,[br]the Life magazine photograph, 00:45:58.16,00:46:03.84 so you see a man who looks Aryan,[br]if he wouldn't mind me saying so, 00:46:03.92,00:46:09.47 and who appears with a sinister[br]fedora in one of those very pieces. 00:46:09.56,00:46:15.71 During shooting we kept rushing off[br]to do photos for newspaper inserts. 00:46:29.28,00:46:32.87 Sometimes people say, "Why do you[br]use the same people over again? " 00:46:32.96,00:46:38.16 I slightly refute the charge[br]because there are always new people. 00:46:38.24,00:46:42.28 Scenes like this benefit[br]from rapport between the two people. 00:46:42.36,00:46:44.71 Emma and I[br]knew each other very well, 00:46:44.80,00:46:48.27 and that has to exist[br]not based on the relationship, 00:46:48.36,00:46:52.07 but based on your mutual trust[br]and admiration as actors, 00:46:52.16,00:46:55.47 but in addition, Wayne Knight,[br]who we knew socially, 00:46:55.56,00:46:59.79 that starts to inform the quality[br]of the on-screen relationship, 00:46:59.88,00:47:04.16 and there's a believability and,[br]necessarily for those scenes, 00:47:04.24,00:47:08.84 a kind of warmth, which it's harder[br]to achieve-not impossible - 00:47:08.92,00:47:10.88 when everybody's new. 00:47:10.96,00:47:15.00 So the idea of a repertory company[br]has always appealed to me, 00:47:15.08,00:47:19.52 and in films I've admired, and[br]particularly in those of Hitchcock, 00:47:19.60,00:47:22.88 in relation to this film,[br]and Wells, of course, 00:47:22.96,00:47:29.03 there were actors who appeared again[br]and again, and I understand why. 00:47:29.12,00:47:32.16 Not only do you have[br]a shorthand with the actor - 00:47:32.24,00:47:36.31 you have to use far fewer words[br]to convey what you require - 00:47:36.40,00:47:39.20 but you have[br]that under-the-skin connection 00:47:39.28,00:47:43.59 that often adds to the believability[br]of relationships. 00:47:43.68,00:47:47.99 It's not something to do exclusively[br]but it's very helpful. 00:47:48.08,00:47:50.59 Pianos went all through this picture, 00:47:50.68,00:47:55.59 and the Dead Again theme,[br]the very thing you're hearing now, 00:47:55.68,00:47:58.83 was something that Emma[br]and I had to learn. 00:47:58.92,00:48:04.99 At various stages, it became a clue,[br]and literally a key-note throughout. 00:48:05.08,00:48:09.36 And it was one of a number of themes[br]that Patrick Doyle had worked on 00:48:09.44,00:48:13.27 prior to the picture, and it was he[br]who taught us how to do it. 00:48:13.36,00:48:16.43 I don't, or didn't then,[br]play any kind of piano. 00:48:16.52,00:48:19.35 Emma did[br]and was slightly more convincing. 00:48:19.44,00:48:22.11 But it's a nice thing about doing[br]movies, 00:48:22.28,00:48:27.03 the chance to experience different[br]things that you're interested in 00:48:27.12,00:48:31.87 in a way that provides you, for free,[br]with experts who help you out. 00:48:31.96,00:48:35.67 Patrick Doyle was around[br]all the way through shooting. 00:48:35.76,00:48:40.75 His attitude has been to breathe in[br]the atmosphere of what's going on. 00:48:40.84,00:48:45.28 He's very aware that films change,[br]whatever's on the page. 00:48:45.36,00:48:49.64 There are three films-one you plan,[br]one you shoot and one you edit. 00:48:49.72,00:48:53.60 And you sense how the picture[br]is changing during shooting, 00:48:53.68,00:48:58.28 and Patrick, aside from appearing[br]as the policeman in the elevator, 00:48:58.36,00:49:00.32 was around all the time. 00:49:00.40,00:49:02.67 These scenes were reshoots. 00:49:02.76,00:49:07.12 This sequence was shot three months[br]after the film was completed, 00:49:07.20,00:49:10.51 because we felt, as a result[br]of preview information, 00:49:10.60,00:49:16.15 that there wasn't a strong enough[br]connection between Mike and Grace, 00:49:16.24,00:49:22.19 which was necessary for belief in the[br]relationship of Margaret and Roman, 00:49:22.28,00:49:29.71 and it seemed necessary to build up[br]the plot's romance and up the stakes. 00:49:29.80,00:49:33.03 And I think, probably,[br]you can see that in my face 00:49:33.12,00:49:36.91 there's more weight than[br]there was in the original movie, 00:49:37.00,00:49:40.55 something the make-up people[br]weren't pleased about. 00:49:40.64,00:49:45.39 But as I was green in judgement,[br]I hoped that we get away with it. 00:49:45.48,00:49:49.03 Also-a bit of movie trivia -[br]the day before we shot this, 00:49:49.12,00:49:52.67 I had been on my[br]first ever skiing trip, to Big Bear. 00:49:52.76,00:49:55.72 I neglected to tell[br]Lindsay Doran, our producer, 00:49:55.80,00:49:59.79 that I would be skiing[br]for the first time 00:49:59.88,00:50:02.47 and being[br]the wolfhound producer she is, 00:50:02.56,00:50:05.71 she tracked me down at a hotel[br]in Big Bear and said, 00:50:05.80,00:50:09.59 "What are you doing?[br]We're about to do expensive reshoots 00:50:09.68,00:50:12.48 "on a film the studio[br]is not happy to do" - 00:50:12.56,00:50:14.87 they never are, cos it costs money - 00:50:14.96,00:50:17.71 "You could be breaking a leg,[br]you fool! " 00:50:17.80,00:50:19.92 And so that was a lesson learned, 00:50:20.00,00:50:23.15 as the movie company insurers[br]were not thrilled 00:50:23.24,00:50:25.75 that their director[br]and leading actor 00:50:25.84,00:50:30.04 was about to possibly break his leg[br]on ski slopes in Big Bear. 00:50:30.12,00:50:32.08 I don't enjoy doing reshoots, 00:50:32.16,00:50:35.60 it feels like you clearly[br]got it wrong the first time. 00:50:35.68,00:50:38.67 Some regard them[br]as a fantastic opportunity. 00:50:38.76,00:50:42.96 The scenes themselves were written[br]right up to the last minute, 00:50:43.04,00:50:47.24 because you're trying to do[br]exactly what you think will address 00:50:47.32,00:50:49.91 what the audience[br]were somehow missing, 00:50:50.00,00:50:54.12 but at the same time making it[br]organic with what's gone before, 00:50:54.20,00:50:58.40 so that it isn't just a sort of[br]papering over of some sort of crack 00:50:58.48,00:51:04.11 that is perhaps more fundamental[br]than another scene or two might mend. 00:51:04.20,00:51:07.32 But in this case[br]it did seem that it would work 00:51:07.40,00:51:13.00 and I suppose it was something that[br]was less comfortable for us to do 00:51:13.08,00:51:15.83 because of the nature[br]of our relationship. 00:51:15.92,00:51:18.91 Sometimes it's harder[br]to do romantic scenes. 00:51:19.00,00:51:23.95 You have to travel back in time to[br]recreate moments when you first met. 00:51:24.04,00:51:27.19 But, anyway, we did it,[br]and enjoyed doing it. 00:51:36.28,00:51:41.75 This was shot in... Echo Park,[br]that's where we were. 00:51:41.84,00:51:46.55 In Los Angeles, Echo Park.[br]And we're on a Steadicam here, 00:51:46.64,00:51:50.00 and, as I recall,[br]quite a frisky area at night. 00:52:01.88,00:52:04.55 And a rather limited budget[br]on lighting, 00:52:04.64,00:52:08.60 so I remember we had a very[br]limited number of places to shoot, 00:52:08.68,00:52:14.28 and we were encouraged by the studio[br]to be economic with this sequence. 00:52:30.64,00:52:32.60 It's also odd to be in this film 00:52:32.68,00:52:35.91 and never to be acting[br]in your own natural accent, 00:52:36.00,00:52:40.71 I was either American here or I was[br]faintly German as Roman Strauss. 00:52:40.80,00:52:44.84 And accents sometimes travelled[br]across Europe and came back, 00:52:44.92,00:52:46.88 sometimes via New Delhi. 00:52:46.96,00:52:50.11 But thank God for accent tapes 00:52:50.20,00:52:54.56 and for filming days where it took[br]a while to get things started, 00:52:54.64,00:52:58.92 so when I wasn't tormenting people[br]with what I required on the set 00:52:59.00,00:53:01.35 I'd be listening to my accent tapes. 00:53:01.44,00:53:05.99 We built this platform because it[br]had a view of Los Angeles downtown, 00:53:06.08,00:53:10.12 and we wanted all those out-of-focus[br]lights in the background, 00:53:10.20,00:53:14.16 through, you will understand,[br]the artificial effect rain, 00:53:14.24,00:53:19.55 which was rained upon us[br]on a very cold night in Los Angeles. 00:53:19.64,00:53:25.03 Because of our clothing, we weren't[br]allowed to wear thermal underwear, 00:53:25.12,00:53:26.95 so pretty nippy that night. 00:53:34.40,00:53:37.15 I used to love[br]doing these scissor shots. 00:53:37.24,00:53:42.31 Get the old boys with the lightning[br]machines there and frisk them up. 00:53:43.04,00:53:45.95 We're introduced, in a moment, to a[br]character played by Campbell Scott, 00:53:46.04,00:53:47.47 who has had a fascinating career, 00:53:50.64,00:53:55.43 who a few years ago, co-directed with[br]Stanley Tucci the film Big Night, 00:53:55.52,00:53:57.79 and did a wonderful job in that. 00:53:59.72,00:54:04.19 Campbell had been playing Hamlet at[br]the Old Globe Theatre in San Diego, 00:54:04.28,00:54:07.59 and he was kind enough[br]to come and be in a small role, 00:54:07.68,00:54:11.72 despite being a rising actor[br]with many more possibilities. 00:54:11.80,00:54:14.87 And he was a big help[br]in rehearsing this scene. 00:54:14.96,00:54:18.75 We rehearsed for about[br]a fortnight before we began, 00:54:18.84,00:54:21.83 and it's very valuable,[br]especially here, 00:54:21.92,00:54:25.55 where you're trying[br]to attend to concerns about plot 00:54:25.64,00:54:28.23 and why people[br]would say certain things. 00:54:28.32,00:54:31.28 Lindsay and Scott were always[br]in rehearsals, 00:54:31.36,00:54:35.88 and there was a significant[br]amount of minor adjustments made 00:54:35.96,00:54:39.43 to accommodate good instincts[br]from the actors, 00:54:39.52,00:54:42.43 and Campbell[br]made a terrific contribution. 00:54:42.52,00:54:45.75 Again, he has the job[br]of being immediately convincing 00:54:45.84,00:54:49.28 as the apparently[br]lost boyfriend of Grace 00:54:49.36,00:54:53.72 dealing with the innate suspicion[br]of Mike Church. 00:54:53.80,00:54:56.79 This kind of scene[br]is difficult in a noir film, 00:54:56.88,00:54:58.84 we're in the middle of the day, 00:54:58.92,00:55:04.92 and we contrived to make shadows and[br]some sort of effect to give texture 00:55:05.00,00:55:07.96 in what can be[br]quite difficult to make moody, 00:55:08.04,00:55:11.27 which is the Los Angeles sun[br]in the heat of the day, 00:55:11.36,00:55:13.55 especially in terms of a noir film. 00:55:13.64,00:55:18.84 We also had here, it seems a simple[br]scene for it to have occurred in, 00:55:18.92,00:55:21.43 but one of the first lessons[br]I received 00:55:21.52,00:55:24.99 in the thorny business[br]of screen direction, 00:55:25.08,00:55:28.79 that issue of making sure[br]you're right with your angles 00:55:28.88,00:55:32.67 to make sure everyone seems to be[br]looking at each other. 00:55:32.76,00:55:36.64 I had an argument with a[br]script supervisor, Marshal Schlom, 00:55:36.72,00:55:41.16 who'd been the continuity man[br]on Psycho, and cameraman. 00:55:41.24,00:55:45.20 It's often the case that people -[br]I hasten to add we all got on - 00:55:45.28,00:55:48.27 do have strong views[br]about screen direction, 00:55:48.36,00:55:53.11 and even with all their experience,[br]and even with all my ignorance, 00:55:53.20,00:55:55.71 we argued the toss[br]until we saw dailies 00:55:55.80,00:55:58.11 and realised[br]to make various cuts work, 00:55:58.20,00:56:01.27 we should shoot the hands[br]from either direction 00:56:01.36,00:56:07.12 to make sure we were convinced[br]it would all fit together 00:56:07.20,00:56:10.27 with three people[br]in those kinds of positions. 00:56:10.36,00:56:16.91 You can try and explain it on paper[br]but sometimes it doesn't work. 00:56:17.00,00:56:22.23 Finally, we resolved it on this,[br]but this issue of crossing the line 00:56:22.32,00:56:27.55 was one that took about two hours[br]of debate on this particular day. 00:56:38.76,00:56:40.43 Caught you out! 00:56:43.52,00:56:45.27 He's a baddie, you see. 00:56:46.28,00:56:50.11 So we begin a chase sequence -[br]cut to another location. 00:56:50.20,00:56:53.56 And here we are running across[br]Shakespeare Bridge. 00:56:53.64,00:56:56.95 As I said, in a preview[br]we had a title for this bridge, 00:56:57.04,00:56:59.31 it's in the background of this shot, 00:56:59.40,00:57:03.52 small enough not to be[br]distracting for the audience, 00:57:03.60,00:57:06.75 who when they first saw it[br]gave an enormous cheer. 00:57:06.84,00:57:10.67 I wish I could say every single[br]frame of this was the two of us, 00:57:10.76,00:57:14.59 but in fact it was two[br]highly skilled stunt performers 00:57:14.68,00:57:16.95 who nevertheless weren't the ones 00:57:17.04,00:57:19.87 to receive the blow[br]in the testicular area, 00:57:19.96,00:57:22.87 which was given to me live[br]by Campbell Scott, 00:57:22.96,00:57:26.92 who was zealous to the point[br]of inflicting actual bodily harm. 00:57:27.00,00:57:29.35 But I did live to fight another day. 00:57:29.44,00:57:35.55 We tried to find some locations[br]that offered... graphic possibilities, 00:57:35.64,00:57:41.19 so the arches, the angle we shot from[br]did what we wanted in an ongoing way, 00:57:41.28,00:57:45.07 which is make for interesting texture[br]and shape and geometrical interest. 00:57:48.12,00:57:53.03 We did that with all the locations,[br]in the architecture itself, 00:57:53.12,00:57:56.32 and we looked at research[br]on old Hollywood 00:57:56.40,00:57:59.23 and found a lot[br]of old Hollywood locations. 00:57:59.32,00:58:01.67 There was a book called City Of Nets, 00:58:01.76,00:58:05.88 which was about the many German[br]emigres who came to Los Angeles 00:58:05.96,00:58:08.92 before and just after[br]the Second World War. 00:58:09.00,00:58:13.52 We looked at houses that Bertolt[br]Brecht had stayed in in Santa Monica 00:58:13.60,00:58:16.91 and we found this particular house[br]and doctored it, 00:58:17.00,00:58:21.63 and as you can imagine, in order to[br]achieve this "wedding cake" sequence 00:58:21.72,00:58:24.44 we really had designed it in colour. 00:58:24.52,00:58:26.64 This was one of the scenes where, 00:58:26.72,00:58:31.11 when the issue of printing sequences[br]in the past in black and white, 00:58:31.20,00:58:34.51 we really wondered[br]whether we had lost something. 00:58:34.60,00:58:39.07 Because in this masked party,[br]I'm very fascinated by masks, 00:58:39.16,00:58:42.87 and it seemed like, again,[br]a terrific thing texturally, 00:58:42.96,00:58:46.19 and very much in the mood[br]of this kind of picture. 00:58:46.28,00:58:51.19 As we did it there were all sorts[br]of vivid colours, greens and reds. 00:59:00.84,00:59:04.23 I think you see, once again here,[br]on the edge of shot, 00:59:04.32,00:59:06.75 Patrick Doyle,[br]making a double appearance 00:59:06.84,00:59:10.72 as composer[br]and slightly mad party guest. 00:59:10.80,00:59:12.68 Otto, the character of Otto, 00:59:12.76,00:59:18.71 here is in a devilish sort of[br]Cardinal Richelieu red outfit, 00:59:18.80,00:59:21.63 so the colour version[br]was pretty striking. 00:59:21.72,00:59:26.32 And it was one of the things that we[br]were concerned diminished things, 00:59:26.40,00:59:28.99 but having decided[br]on black and white - 00:59:29.08,00:59:34.23 which had been Scott Frank's original[br]intention-we decided to go for it. 00:59:35.68,00:59:40.20 You'll also find in the background[br]of certain shots here posters... 00:59:41.52,00:59:46.39 corny film posters, that Scott Frank[br]had great fun designing. 00:59:46.48,00:59:51.23 I'm not sure in which shots they[br]occur, but I have one in my house, 00:59:51.32,00:59:55.36 which is the story of Lefty Lebrandt,[br]a one-armed baseball player. 00:59:55.44,01:00:00.12 "One man, one arm, one legend."[br]It's in the background here. 01:00:00.20,01:00:04.40 There are three or four of Otto's[br]film posters and we designed a logo. 01:00:04.48,01:00:08.07 Scott Frank came up[br]with the various copy material. 01:00:08.16,01:00:13.44 And Tim Harvey enjoyed himself[br]designing Hollywood B-movie posters. 01:00:17.24,01:00:22.84 The smoking theme, carried on through[br]Andy Garcia's character, Gray Baker. 01:00:22.92,01:00:28.23 This was Andy's first day. Before[br]arriving looking movie-star handsome, 01:00:28.32,01:00:32.20 he had done some make-up tests[br]with the prosthetics and latex 01:00:32.28,01:00:36.56 that he was later to use[br]as the older version of Gray Baker. 01:00:36.64,01:00:39.79 There's Lefty Lebrandt himself[br]in the back of the shot. 01:00:39.88,01:00:42.07 And we also designed a cast list, 01:00:42.16,01:00:47.44 which is very much in the flavour[br]of the original kinds of B-movies. 01:00:47.52,01:00:52.51 This is the same actress who was the[br]nun at the beginning of the movie. 01:00:52.60,01:00:56.96 Some of that double casting[br]we enjoyed doing through the picture. 01:00:57.04,01:01:00.08 Partly to confuse,[br]partly to intrigue the audience, 01:01:00.16,01:01:05.03 to make them think in a way we hoped[br]was stimulating and entertaining, 01:01:05.12,01:01:08.32 that there was[br]plenty of intrigue afoot. 01:01:09.48,01:01:11.95 I learned a lesson[br]through this sequence, 01:01:12.04,01:01:14.95 which covered[br]three or four days of shooting. 01:01:15.04,01:01:20.03 The normal budgetary pressures[br]mean over the first day or two 01:01:20.12,01:01:23.56 you would book the most number[br]of extras you'd require, 01:01:23.64,01:01:28.67 and you'd shoot the big sequences,[br]the scenes with lots of people. 01:01:28.76,01:01:33.47 And that has a significant impact -[br]more people to feed and clothe, 01:01:33.56,01:01:36.79 more people to attend to them,[br]costume and make-up. 01:01:36.88,01:01:39.79 I remember the first night,[br]getting a number of shots 01:01:39.88,01:01:42.68 and thinking,[br]"I don't need any more than that," 01:01:42.76,01:01:47.88 Iooking at the dailies the next day[br]and thinking, "I do need some more." 01:01:47.96,01:01:52.11 The practicalities of things being[br]costumes we'd hired, some period, 01:01:52.20,01:01:57.80 all of them very much tailor-made[br]to Phyllis Dalton's overall schemes. 01:01:57.88,01:02:00.84 Nothing was accidental[br]about the combinations. 01:02:00.92,01:02:04.59 Many of the period ones had to[br]go back into costume storehouses. 01:02:04.68,01:02:07.64 So when I decided,[br]"We must shoot some more of this, 01:02:07.72,01:02:11.51 "let's bring these people back,"[br]it wasn't as simple as that. 01:02:11.60,01:02:14.67 Some of the costumes[br]had gone out on hire again. 01:02:14.76,01:02:20.76 I walked up to Phyllis Dalton -[br]the most gracious, civilised woman. 01:02:20.84,01:02:24.75 "I think I've made a mistake."[br]She said, "You bloody well have." 01:02:24.84,01:02:27.07 Which is as tough as she ever got. 01:02:27.16,01:02:32.28 I saw the look of a woman who,[br]having suffered in a different way 01:02:32.36,01:02:35.43 working in the desert[br]for 18 months with David Lean, 01:02:35.52,01:02:38.51 who really did take a long time[br]to get it just right, 01:02:38.60,01:02:43.07 was irritated I was stupid enough[br]to think I got it right first time, 01:02:43.16,01:02:47.07 and didn't think about what it meant[br]to get things back in shape. 01:02:47.16,01:02:49.99 Having then printed the scenes[br]in black and white, 01:02:50.08,01:02:54.68 colour combination wasn't as vital[br]as it might otherwise have been. 01:03:03.56,01:03:07.27 These were sequences,[br]especially when they were arguing, 01:03:07.36,01:03:09.79 where the challenge[br]of playing an accent, 01:03:09.88,01:03:13.32 especially if I'd played Mike Church[br]that morning... 01:03:13.40,01:03:17.55 The schedule meant that we often,[br]in the course of one filming day, 01:03:17.64,01:03:20.31 were shooting some Mike Church[br]and some Roman, 01:03:20.40,01:03:23.76 the same went for Emma[br]as Grace and Margaret. 01:03:23.84,01:03:27.75 Often in the middle of a row like[br]this, instead of speaking like Roman, 01:03:27.84,01:03:32.52 I'd start talking like Mike Church,[br]and couldn't hear I was doing it. 01:03:42.96,01:03:46.92 It was funny to feel how these scenes[br]that carried the romantic theme - 01:03:47.00,01:03:50.36 the theme of love, of real,[br]genuine devotion to each other - 01:03:50.44,01:03:52.67 also had an emotional impact. 01:03:52.76,01:03:57.67 It's a tribute to Scott's script that[br]this combination of qualities works. 01:03:57.76,01:04:02.20 When we screened it, people really[br]did start to care about these people. 01:04:02.28,01:04:06.64 They weren't simply treating it[br]as a sort of melodrama thriller. 01:04:06.72,01:04:11.51 There was an emotional impact that[br]was definitely advantageous to have 01:04:11.60,01:04:13.48 and added to the experience. 01:04:13.56,01:04:18.84 That was the great advantage of[br]having someone like Emma play it. 01:04:18.92,01:04:22.28 Something Paramount executives[br]were generous about, 01:04:22.36,01:04:26.51 having been nervous about casting[br]non-movie stars up front. 01:04:26.60,01:04:29.35 Sydney Pollack and Lindsay Doran's[br]insistence 01:04:29.44,01:04:33.15 that I be supported over that issue[br]was much appreciated. 01:04:33.84,01:04:37.51 They were very generous once[br]the first sets of dailies came in. 01:04:37.60,01:04:40.72 They realised the benefit[br]of having someone like Emma, 01:04:40.80,01:04:43.15 who brought depth to characters 01:04:43.24,01:04:46.55 that might otherwise[br]have been seen as superficial. 01:04:58.72,01:05:02.16 I think I've had masks[br]in every film that I've made. 01:05:03.48,01:05:08.68 We sent to Venice for some of these.[br]There are great mask shops in Venice. 01:05:08.76,01:05:12.99 A lot of them, as you probably know,[br]come from the Comedia Del Arte, 01:05:13.08,01:05:14.83 the Italian theatrical form 01:05:14.92,01:05:18.31 that uses them with various[br]stereotypical characters 01:05:18.40,01:05:21.31 and many variations[br]on the same kind of theme. 01:05:28.52,01:05:31.03 It was fun to use[br]this kind of camera move, 01:05:31.12,01:05:34.16 moving in on[br]the critical information overheard. 01:05:34.68,01:05:40.39 I remember Francis Coppola advising[br]me à propos shots on telephones - 01:05:40.48,01:05:41.99 and I wish I'd known then - 01:05:42.08,01:05:46.36 was always play a shot, if you have[br]someone with a phone conversation, 01:05:46.44,01:05:50.75 with them having their back to you,[br]especially in a thriller. 01:05:50.84,01:05:53.88 Any moment where there might be[br]an interesting shot, 01:05:53.96,01:05:57.32 where you don't see[br]the actor's mouth moving is helpful, 01:05:57.40,01:06:00.55 in case some piece of exposition[br]that has not been clear 01:06:00.64,01:06:03.20 can be put there in post-production. 01:06:03.28,01:06:08.11 If we don't see lips moving, it's not[br]a question of redoing it completely. 01:06:16.76,01:06:20.67 I've always been very lucky[br]in my films with child actors. 01:06:20.76,01:06:24.99 And this young lad, Gregor Hesse,[br]was a very good example of that. 01:06:25.08,01:06:27.96 Because his role[br]was crucially important, 01:06:28.04,01:06:31.43 and I wanted a child[br]like those marvellous children 01:06:31.52,01:06:35.96 who played in a terrific movie of[br]Henry James' The Turn of the Screw. 01:06:36.04,01:06:39.55 The Innocents starred Deborah Kerr[br]and the two kids in that 01:06:39.64,01:06:43.87 had this wonderful creepy quality,[br]a sort of angelic look 01:06:43.96,01:06:48.79 but in everything they said was[br]some ambiguity and sinister quality. 01:06:48.88,01:06:52.08 And Gregor,[br]who was of German extraction, 01:06:52.16,01:06:56.52 did a very convincing accent[br]and he was very straight and real. 01:06:56.60,01:07:00.48 And he was an interesting lesson[br]in how to treat children, 01:07:00.56,01:07:04.68 which is to treat them[br]like grown-ups, like proper actors. 01:07:04.76,01:07:09.20 He got on well with Hanna Schygulla,[br]who like most good actors, 01:07:09.28,01:07:13.16 approached it like another acting[br]colleague and established trust, 01:07:13.24,01:07:17.63 and it meant those scenes were[br]much easier than I imagined. 01:07:17.72,01:07:22.16 One always gets worried with the[br]cliché about working with children, 01:07:22.24,01:07:25.36 that one won't be able to[br]work with them the same way. 01:07:25.44,01:07:29.40 And young Gregor came to rehearsals[br]and was very helpful to us 01:07:29.48,01:07:31.55 and gave a terrific performance. 01:07:43.16,01:07:46.31 This is a moment where,[br]because of what's being said, 01:07:46.40,01:07:50.71 you felt the audience were putting[br]some version of the story together. 01:07:54.24,01:07:57.99 And Scott Frank is deliberately[br]leading us in the direction 01:07:58.08,01:08:01.44 of believing Roman Strauss[br]must have killed his wife. 01:08:01.52,01:08:04.59 Yet there's quite a bit of the movie[br]to go so it can't be true. 01:08:04.68,01:08:07.83 In a preview you can judge[br]how an audience is listening 01:08:07.92,01:08:10.07 from the quality of the silence. 01:08:10.16,01:08:14.12 It sounds silly, but you can hear[br]confusion in a silence 01:08:14.20,01:08:19.80 and hear concentration in a silence,[br]and you can hear boredom as well. 01:08:19.88,01:08:23.71 Not just in silences, but as[br]the doors slam on their way out. 01:08:37.80,01:08:42.11 Our 500th pair of scissors[br]on this shoot, which we kept losing. 01:08:42.20,01:08:46.32 This film put me off having scissors[br]in the house for the rest of my life. 01:08:56.80,01:09:01.59 Scenes like this we very deliberately[br]underscored with dramatic music. 01:09:01.68,01:09:05.12 Patrick Doyle was much influenced[br]by Bernard Herrmann, 01:09:05.20,01:09:09.64 a great cinema composer[br]and a great composer full stop. 01:09:09.72,01:09:14.67 But we definitely went[br]for this full-blooded score. 01:09:21.36,01:09:24.67 I think it's a testament[br]to its effectiveness 01:09:24.76,01:09:29.88 that Patrick and I have heard this[br]used in movie trailers since then. 01:09:29.96,01:09:36.96 It moves the action on and directs[br]the audience in a film like this. 01:09:38.20,01:09:40.51 Trying not to manipulate but to say, 01:09:40.60,01:09:44.04 "We mean it to be scary now.[br]And now it's romantic." 01:09:44.12,01:09:48.59 "And now the tone changes."[br]Wind machines a-go-go here. 01:10:07.32,01:10:10.91 This is something the audience[br]may have been expecting. 01:10:11.00,01:10:14.31 We tried to suggest that[br]if you believe in reincarnation, 01:10:14.40,01:10:19.52 then not only the central characters[br]would have had past lives, 01:10:19.60,01:10:23.75 or indeed, if they're still alive,[br]would have lived during that period - 01:10:23.84,01:10:28.55 we establish that[br]through the nun and the party girl, 01:10:28.64,01:10:32.39 and Patrick Doyle, our mad composer,[br]doing the same thing - 01:10:32.48,01:10:37.00 we introduce the idea that someone[br]is still alive from that time. 01:10:37.08,01:10:40.20 The man in question is Gray Baker. 01:10:40.28,01:10:43.72 And given the number of cigarettes[br]that he smoked, 01:10:43.80,01:10:46.92 we're expecting to see something[br]quite unusual. 01:10:51.24,01:10:54.39 This is another uninterrupted[br]Steadicam shot, 01:10:54.48,01:10:57.55 the kind of thing[br]that threw the lighting cameraman, 01:10:57.64,01:11:01.15 particularly[br]at this kind of light level. 01:11:01.24,01:11:05.47 It's difficult to light and you[br]provide all sorts of difficulties 01:11:05.56,01:11:09.84 and possibilities of shadows and it[br]takes up a large portion of the day. 01:11:09.92,01:11:13.28 This is when what some people[br]unkindly refer to as the suits, 01:11:13.36,01:11:17.27 the executives from the movie[br]company, come down on the set, 01:11:17.36,01:11:20.59 because the phone call[br]hasn't gone through at 9am 01:11:20.68,01:11:23.03 to say you've made the first shot. 01:11:34.60,01:11:38.23 This is a good moment in a movie[br]like this, he says immodestly, 01:11:38.32,01:11:43.35 but it was a good moment and a thrill[br]for the audience when he says... 01:11:49.92,01:11:54.28 Ah! You see, it must be him![br]We got such a reaction! 01:11:54.36,01:11:58.24 This was one of the great pleasures[br]of watching the previews. 01:11:58.32,01:12:01.28 People would give an enormous jump,[br]great screams. 01:12:01.36,01:12:07.96 Even people thinking, "Why am I being[br]drawn into this absolute tosh? " 01:12:08.04,01:12:11.55 But thank God[br]people were increasingly intrigued 01:12:11.64,01:12:14.63 by something[br]that was difficult to work out. 01:12:14.72,01:12:20.24 And now we get to the sequence which,[br]again, was one of the main reasons 01:12:20.32,01:12:24.07 that the people who had not[br]chosen to make this film 01:12:24.16,01:12:28.63 prior to it arriving on my lap[br]had found difficult. 01:12:30.00,01:12:32.04 First of all, there was this issue, 01:12:32.12,01:12:35.11 "Well, can people accept[br]this gothic intensity? 01:12:35.20,01:12:39.40 "Will it not just seem over the top? "[br]I'm sure for many people it did. 01:12:39.48,01:12:43.68 But it certainly allows[br]for a real cinematic experience 01:12:43.76,01:12:47.59 and I had no problem with[br]trying for that gothic intensity. 01:12:47.68,01:12:50.03 Then there's the issue[br]of reincarnation. 01:12:50.12,01:12:52.92 There are many people[br]who simply won't accept 01:12:53.00,01:12:56.36 that that's something[br]that can be a believable basis 01:12:56.44,01:13:00.40 for a story that attempts[br]to hang its central points on that. 01:13:00.48,01:13:05.55 And then this sequence,[br]which at the time not everybody gets, 01:13:05.64,01:13:09.43 which is as Mike Church is regressed, 01:13:09.52,01:13:12.48 trying to find out[br]who he was in that past life, 01:13:12.56,01:13:17.43 we're confused by looking in the[br]mirror, his point of view, to see... 01:13:17.52,01:13:20.19 Margaret Strauss. 01:13:20.28,01:13:22.92 Talking about[br]the quality of silences, 01:13:23.00,01:13:26.20 there's a thick silence[br]at that point in the cinema. 01:13:26.28,01:13:28.71 Some people got it[br]and some people didn't. 01:13:28.80,01:13:33.63 Again, Scott Frank cleverly doesn't[br]explicitly say it in dialogue here, 01:13:33.72,01:13:38.27 but for those prepared to accept it,[br]we finally understood he was she, 01:13:38.36,01:13:40.63 and she was he. 01:13:46.52,01:13:49.19 For those who got it,[br]especially the guys, 01:13:49.28,01:13:52.32 my experience was there was[br]quite a lot of amusement. 01:13:52.40,01:13:57.23 We felt we might lose the audience[br]here, people may find it too risible, 01:13:57.32,01:14:01.28 but I think on the whole people[br]decided, "No, good twist." 01:14:03.48,01:14:07.15 And once again Scott undercuts it[br]with not only something funny, 01:14:07.24,01:14:09.83 but yet one more piece[br]of information. 01:14:09.92,01:14:12.31 So that the twists and turns[br]kept coming. 01:14:12.40,01:14:16.15 It was one of the things that[br]kept me reading all the way through 01:14:16.24,01:14:19.99 and we felt we could exploit[br]as we made the picture, 01:14:20.08,01:14:24.95 that we weren't going to have endless[br]sequences of relationship stuff, 01:14:25.04,01:14:27.60 but that it would be plot-packed. 01:14:27.68,01:14:31.72 And you could feel musically[br]and in terms of intensity 01:14:31.80,01:14:37.64 that the story's starting to crank up[br]with a very confused Mike Church, 01:14:37.72,01:14:41.35 who we've planted a certain degree[br]of would-be machismo in. 01:14:41.44,01:14:45.56 He's very thrown indeed by the idea[br]that he might have been a woman, 01:14:45.64,01:14:51.08 something Cozy Carlisle is going to[br]have great fun discussing. 01:15:01.88,01:15:04.35 In case you're interested,[br]it was great fun driving that car. 01:15:07.00,01:15:11.95 You could feel at the preview that[br]the audience were looking forward 01:15:12.04,01:15:14.27 to what Cozy Carlisle's[br]reaction would be. 01:15:14.36,01:15:20.39 I remember shooting these scenes[br]in a real freezer in Los Angeles. 01:15:20.48,01:15:23.99 We would have to switch[br]the freezer on between takes 01:15:24.08,01:15:27.23 so that we could maintain[br]the cold temperature. 01:15:27.32,01:15:31.92 In fact, we shot these[br]the first day that Robin was working, 01:15:32.00,01:15:33.96 and wanting to stay in character, 01:15:34.04,01:15:36.79 he stayed in the freezer[br]almost the whole time. 01:15:36.88,01:15:40.84 The door was open but the[br]freezing unit was on between takes. 01:15:40.92,01:15:44.99 Indeed, we managed to give him[br]a terrible cold, of course, 01:15:45.08,01:15:49.04 which is why he had trouble when[br]we came to the supermarket sequence. 01:15:57.92,01:16:01.88 Pretty clear advice there[br]from Cozy Carlisle. 01:16:04.76,01:16:07.72 This is not a scene[br]for vegetarians to watch easily. 01:16:16.20,01:16:18.95 Another line that[br]used to get a big laugh. 01:16:19.04,01:16:21.95 Even people who resisted[br]the idea of reincarnation, 01:16:22.04,01:16:24.92 if they were still in the cinema,[br]enjoyed the conceit 01:16:25.00,01:16:29.52 of following through what[br]they might regard as bizarre logic 01:16:29.60,01:16:35.71 of this parallel universe created[br]by Scott to serve this murder plot. 01:16:55.68,01:16:59.91 Definitely a Scott Frank line[br]designed for Robin Williams. 01:17:00.00,01:17:04.20 Here we come to something called[br]the High Tower House. 01:17:04.28,01:17:08.03 I can't really give away the location[br]in LA, but it's in Hollywood. 01:17:08.12,01:17:12.08 It was a fantastic location,[br]the exterior is very much there 01:17:12.16,01:17:17.76 and the elevator is the only swift[br]means of getting up to the house. 01:17:17.84,01:17:21.99 Obviously, a terrific,[br]striking piece of architecture. 01:17:22.08,01:17:26.20 It's very strong on that landscape,[br]you can see it from Sunset. 01:17:26.28,01:17:30.67 The interior, we built once again[br]on the sound stages at Paramount 01:17:30.76,01:17:35.15 and once again, Tim Harvey had[br]an extraordinary time and great fun 01:17:35.24,01:17:39.63 shooting this sequence, where[br]the haunted creature of Amanda - 01:17:39.72,01:17:42.31 what we now realise is[br]the new identity of Grace - 01:17:42.40,01:17:48.87 has filled her studio[br]with endless images of scissors. 01:17:48.96,01:17:54.35 Here's another case of director's[br]stubbornness, a mistake in the movie. 01:17:54.44,01:17:57.88 When we shot the sequence[br]where they come in, 01:17:57.96,01:18:01.92 we started on the scissors painting[br]and we moved to Emma's face 01:18:02.00,01:18:04.47 and we have her[br]carry us around the room. 01:18:04.56,01:18:07.95 When we shot it, Lindsay Doran,[br]the producer, said, 01:18:08.04,01:18:14.23 "We should have a shot of Emma,[br]then inserts of the scissor sculpture 01:18:14.32,01:18:17.79 "to make the point that[br]this is the nature of her studio." 01:18:17.88,01:18:21.08 I remember, I think more through[br]stubbornness and ego, 01:18:21.16,01:18:23.55 saying, "No, I want this reveal." 01:18:23.64,01:18:26.60 The fact is,[br]we just got away with it. 01:18:26.68,01:18:29.35 It used to be a slow burn[br]of a reaction in the cinema, 01:18:29.44,01:18:34.83 people realising, "Oh, God, it's full[br]of scissor sculpture. How creepy." 01:18:34.92,01:18:38.31 The shorthand of it would have been[br]more effective 01:18:38.40,01:18:42.63 with a shot of her face,[br]then back to shots of the sculptures, 01:18:42.72,01:18:46.55 and back to her, then maybe popping[br]out for a wide shot at the end. 01:18:46.64,01:18:51.55 I refused to shoot the coverage[br]to have an alternative, 01:18:51.64,01:18:55.15 and Lindsay Doran, a very patient[br]producer but very dogged, 01:18:55.24,01:18:58.20 simply couldn't get her own way[br]with the director, 01:18:58.28,01:19:00.43 who was stupid not to have listened. 01:19:00.52,01:19:03.51 But we all make mistakes,[br]and that was one of mine. 01:19:03.60,01:19:06.72 It didn't cost us the scene,[br]but I remember thinking, 01:19:06.80,01:19:09.60 "No, this is probably[br]not as effective." 01:19:09.68,01:19:15.47 I was determined not to do things[br]as prosaic as inserts. 01:19:15.56,01:19:21.11 I wanted some fluidity to the[br]sequence, and so went for my version. 01:19:21.20,01:19:24.99 I've learned it's good to do the[br]alternatives because you never know. 01:19:25.08,01:19:29.55 I think in this case[br]I would have been wiser to do that. 01:19:29.64,01:19:32.60 But fair play to Lindsay[br]for letting me get away with it, 01:19:32.68,01:19:34.72 because it made me a little happier. 01:19:34.80,01:19:39.08 Made sure I didn't stomp out[br]of the trailer or whatever. 01:19:55.80,01:20:00.03 You'll see in the night-time sequence[br]that comes up shortly, 01:20:01.68,01:20:06.31 that outside this apartment we have[br]a clear view of the Hollywood hills. 01:20:06.40,01:20:10.23 We took real pictures[br]and produced a huge translight, 01:20:10.32,01:20:14.36 a fantastic photograph of the view[br]which was entirely convincing. 01:20:14.44,01:20:17.35 I hope you'll agree when you see it. 01:20:18.44,01:20:22.11 The very camera test I talked about[br]earlier that Andy Garcia made 01:20:22.20,01:20:24.27 in order to test this old-age make-up 01:20:24.36,01:20:27.19 was something we also[br]had to experiment with. 01:20:27.28,01:20:32.15 We covered this scene many ways,[br]but decided to start with this shot, 01:20:32.24,01:20:34.20 where we're wide and we move out, 01:20:34.28,01:20:37.56 and where Andy Garcia's character[br]is lit rather shadowily. 01:20:37.64,01:20:42.47 When we started the scene[br]with a close-up of Gray Baker 01:20:42.56,01:20:45.63 people found it very difficult[br]to accept him, 01:20:45.72,01:20:49.63 however convincing the make-up was[br]and the performance was. 01:20:49.72,01:20:52.15 And so this long, slow move in, 01:20:52.24,01:20:58.35 in which we have a chance to continue[br]being intrigued by the story, 01:20:58.44,01:21:01.67 meant that the audience[br]were more hooked into the scene. 01:21:01.76,01:21:06.12 We could establish the idea that the[br]Gray Baker character has a voice box, 01:21:06.20,01:21:10.64 he talks with a microphone[br]which he presses into his throat. 01:21:10.72,01:21:16.03 There wasn't the temptation for the[br]audience to criticise the make-up, 01:21:16.12,01:21:20.00 because when we do go to the first[br]close-up, it is rather startling. 01:21:20.08,01:21:23.99 In the first preview, people laughed, 01:21:24.08,01:21:27.28 it took them out of the scene,[br]they lost the information, 01:21:27.36,01:21:30.72 and didn't get a chance[br]to see how well Andy acted this 01:21:30.80,01:21:33.11 and how good the make-up was. 01:21:33.20,01:21:37.08 So you see there, we gave[br]a tiny piece of him in a mid-shot. 01:21:37.16,01:21:41.28 We don't hold the close-ups too long[br]until we've given them the chance 01:21:41.36,01:21:47.91 to accept that this convention -[br]young actor in make-up-will work. 01:21:55.12,01:21:59.48 This moment probably drew the biggest[br]reaction in the entire cinema. 01:21:59.56,01:22:03.60 This was based on a moment[br]Scott Frank, the writer, had. 01:22:03.68,01:22:08.83 He was in a restaurant and he saw[br]someone who had had a tracheotomy, 01:22:08.92,01:22:15.11 and who was breathing through[br]that tiny hole in their throat. 01:22:15.20,01:22:19.35 And he saw them do something[br]pretty extraordinary, 01:22:19.44,01:22:21.71 and decided[br]it had to go into a movie. 01:22:21.80,01:22:25.03 As we know, both through[br]Mike's attempts to give up 01:22:25.12,01:22:29.51 and the constant smoking[br]of Gray Baker earlier in the film, 01:22:29.60,01:22:32.67 that this would be[br]the perfect moment for it. 01:22:36.72,01:22:39.95 There was a certain[br]kind of gory disbelief 01:22:40.04,01:22:43.67 that what was about to happen[br]was going to happen. 01:22:44.76,01:22:48.55 But the reaction in the cinema,[br]when the following occurred, 01:22:48.64,01:22:55.35 was as noisy and singular a reaction[br]to anything I've ever seen or heard. 01:22:55.44,01:22:57.75 Obviously a special effect. 01:22:57.84,01:23:00.19 We had a strange contraption[br]under the table 01:23:00.28,01:23:02.51 and a prop guy was bent double. 01:23:03.60,01:23:06.91 And it tells the all too horrible[br]truth about the addiction 01:23:07.00,01:23:09.43 some people have to cigarettes. 01:23:09.52,01:23:13.31 As you can imagine, on the day,[br]Andy spoke in his normal voice 01:23:13.40,01:23:17.23 and the treatment of the voice[br]occurred in post-production. 01:23:31.64,01:23:34.60 This moment,[br]which is as simple as it seems, 01:23:34.68,01:23:37.43 is something that[br]threw the audience enormously. 01:23:37.52,01:23:42.47 There was concern about it perhaps[br]meaning more, but he did kiss him. 01:24:03.80,01:24:05.95 Big shock coming up. 01:24:16.36,01:24:18.32 Antiques? 01:24:31.64,01:24:36.35 Indeed, The Laughing Duke, the very[br]fancy, eccentric toy we saw earlier. 01:24:36.44,01:24:39.43 Another moment that got[br]a great reaction. 01:24:39.52,01:24:44.07 As I read it, I had the same reaction[br]of really admiring the cleverness 01:24:44.16,01:24:47.04 of Scott's construction[br]of this whole plot, 01:24:47.12,01:24:50.40 and the surprise and enjoyment[br]of how you got caught up in it. 01:24:50.48,01:24:53.20 And by this stage of the game, 01:24:53.28,01:24:57.64 there's a real sense-and Pat's[br]music picks it up-of internal pace. 01:24:57.72,01:25:00.23 The rhythm of the movie[br]is firing away. 01:25:00.32,01:25:03.99 We know we're getting so near the[br]dénouement in relation of the story 01:25:04.08,01:25:09.76 and that possibly, we're going to[br]have a physical climax to the film. 01:25:21.16,01:25:24.44 I don't know whether anybody[br]spotted it at the time, 01:25:24.52,01:25:29.99 but in retrospect - I didn't spot it,[br]such is my piercing intelligence - 01:25:30.08,01:25:34.91 that of course, the character played[br]by Derek Jacobi is Franklyn Madson. 01:25:35.00,01:25:37.67 Or, if you look at his surname[br]in more detail, 01:25:37.76,01:25:40.11 Franklyn mad son. 01:25:40.20,01:25:45.40 And so from the very moment[br]you hear his name, there's a clue. 01:25:45.48,01:25:49.63 Here you see the visual possibilities[br]of the High Tower House. 01:25:49.72,01:25:53.55 It looks like a set[br]made for a film noir movie. 01:26:02.36,01:26:06.27 We shot once again on prosthetic[br]make-up with Hanna Schygulla. 01:26:06.36,01:26:09.91 There are difficulties-the[br]application process takes a long time 01:26:10.00,01:26:12.80 and it's difficult for the actors. 01:26:12.88,01:26:17.40 They have to come in very early,[br]and sometimes it doesn't work. 01:26:17.48,01:26:20.23 Their skin dries out,[br]they get cranky. 01:26:20.32,01:26:24.31 With Andy and Hanna[br]we were very lucky. 01:26:24.40,01:26:28.36 And we were lucky that,[br]given the noir-ish look that we had, 01:26:28.44,01:26:31.40 that the make-up[br]wasn't under phenomenal pressure 01:26:31.48,01:26:35.68 in terms of what we saw -[br]people were mostly in shadow. 01:26:35.76,01:26:40.96 but the maintenance of[br]that kind of make-up takes some time. 01:26:41.04,01:26:45.32 So it does require patience and you[br]often end up working long hours. 01:26:45.40,01:26:50.79 Having gone through all trouble of[br]getting them into the prosthetics - 01:26:50.88,01:26:53.15 especially if[br]they've been applied well - 01:26:53.24,01:26:56.99 you try and exploit that time[br]so they end up being long days 01:26:57.08,01:26:59.83 and prosthetic make-up days[br]usually were. 01:27:02.48,01:27:06.44 By this stage, we're trying to[br]tie up so many loose ends at once, 01:27:06.52,01:27:09.51 and it was many previews[br]before we did begin 01:27:09.60,01:27:16.84 to be able to know how economic we[br]could be about tying up loose ends. 01:27:16.92,01:27:19.35 There were many variations on this. 01:27:19.44,01:27:22.19 Our initial previews for this film[br]were disastrous. 01:27:22.28,01:27:28.07 All the kinds of combinations of tone[br]that I've talked about up to now 01:27:28.16,01:27:35.43 were not firmly enough[br]and clearly enough mixed together. 01:27:35.52,01:27:38.75 So this section of the movie,[br]where we explain the past 01:27:38.84,01:27:43.31 without it being too heavy-handedly[br]expositional, took a long time. 01:27:43.40,01:27:46.31 So the movie previewed[br]six or seven times, 01:27:46.40,01:27:50.15 the first couple of times[br]absolutely disastrously. 01:27:50.24,01:27:54.87 Then after preview four or five,[br]we decided to help clarify things 01:27:54.96,01:27:58.16 with the past sequences[br]being printed for black and white. 01:27:58.24,01:28:01.47 We made a huge step forward. 01:28:01.56,01:28:06.03 Once this process of[br]trying to break up the information 01:28:06.12,01:28:10.51 so it wasn't just "this happened,[br]he went there, she did this". 01:28:10.60,01:28:13.16 Once we found the way to do that, 01:28:13.24,01:28:16.87 always thinking the film[br]should be under two hours, 01:28:16.96,01:28:20.92 we began to make real progress, and[br]from a disastrous opening preview, 01:28:21.00,01:28:23.96 the scores, for what they're worth,[br]turned around 01:28:24.04,01:28:27.51 and the balance was struck between[br]not patronising the audience 01:28:27.60,01:28:32.28 but at the same time doing our best[br]to make the story clear. 01:28:32.36,01:28:37.15 This scene was immensely helpful.[br]Originally played in one, 01:28:37.24,01:28:40.15 but eventually used[br]with lots of intercut material 01:28:40.24,01:28:44.07 that previously had been[br]part of long, narrative sections. 01:28:44.16,01:28:48.28 Most of the black-and-white stuff[br]ended up being internally cut 01:28:48.36,01:28:50.59 to work in a much briefer way, 01:28:50.68,01:28:54.88 and this was one scene[br]where it was immensely helpful. 01:29:07.88,01:29:11.55 Where we had the chance,[br]I like just what's about to come up, 01:29:11.64,01:29:13.07 because it's a real thriller moment. 01:29:13.16,01:29:16.75 He leaves, and were going to have a[br]bit of screeching rubber in a moment. 01:29:19.88,01:29:22.03 She goes to put the television on. 01:29:22.12,01:29:26.87 The audience are thinking, "We[br]haven't seen Derek Jacobi for a bit. 01:29:26.96,01:29:29.15 "Is she going to get away with it? " 01:29:29.24,01:29:34.71 It's a simple shot. She puts the TV[br]on, we stay on the television, 01:29:34.80,01:29:39.16 and fiddle-dee-dee, Pat Doyle[br]gives us a lovely drum roll. 01:29:39.24,01:29:42.28 And again, it may seem like[br]a corny old thing, 01:29:42.36,01:29:47.67 but the audience were very thrown[br]by that and they also are terrified 01:29:47.76,01:29:50.19 by what they know is bound to happen. 01:29:50.88,01:29:55.16 No longer do we see the charming,[br]mellifluous voice 01:29:55.24,01:29:58.39 of the rather light[br]and camp Mr Madson, 01:29:58.48,01:30:03.68 but we see the rather more dead-eyed,[br]rather sinister son, 01:30:03.76,01:30:06.48 who loves not wisely, but too well. 01:30:07.60,01:30:10.67 We take the music out here,[br]for all this time, 01:30:10.76,01:30:15.47 because we know something awful[br]is about to occur. 01:30:21.36,01:30:26.39 Derek Jacobi plays it with surprising[br]and very effective emotion. 01:30:35.36,01:30:37.71 Quote from Hamlet, by the way. 01:30:40.44,01:30:44.96 Leave the camera on her.[br]Little glimpse of the cushion. 01:30:46.12,01:30:48.08 Has he gone? 01:30:52.84,01:30:54.80 Of course he hasn't. 01:30:54.88,01:30:59.71 Using the sound and music -[br]pulling sound out, putting music in, 01:30:59.80,01:31:03.68 and playing with the orchestration[br]of the scares. 01:31:03.76,01:31:07.12 Scares to be had here were something[br]we had great fun with. 01:31:07.20,01:31:09.35 And because it's the last sequence, 01:31:09.44,01:31:13.88 you've got to provide a problem[br]for the hero, which is the car. 01:31:13.96,01:31:17.43 It would be much too easy[br]if he got there at the right time. 01:31:18.52,01:31:23.96 Just in case you hadn't seen a pair[br]of scissors before, at this point, 01:31:24.04,01:31:29.43 let's produce the famous pair that[br]killed Margaret in the first place. 01:31:38.40,01:31:41.91 Specially designed and a bugger[br]to focus on there, 01:31:42.00,01:31:44.80 because they were held loosely[br]by Derek Jacobi, 01:31:44.88,01:31:47.76 and you have to be so close[br]to the object. 01:31:47.84,01:31:50.80 Things like that suddenly[br]take two hours to shoot 01:31:50.88,01:31:54.16 in order to read Die Schere[br]on the blade. 01:31:54.24,01:31:57.87 We had lots of fun getting the angles[br]on this elevator shaft 01:31:57.96,01:32:03.67 and lots of fun in post-production[br]with sounds and crunches and wheels. 01:32:03.76,01:32:07.88 They were part of our soundtrack[br]at this point. 01:32:07.96,01:32:13.48 Not just the music, but the actual[br]mechanics of the elevator. 01:32:13.56,01:32:18.68 We're playing with the audience.[br]"Is it him? Is it her? Is it Madson? 01:32:18.76,01:32:23.12 "Is it Pete? Who's coming through[br]that door? Will someone get there? 01:32:23.20,01:32:25.24 "How's it going to work out? " 01:32:25.32,01:32:28.28 It was so wonderful,[br]when it started to work, 01:32:28.36,01:32:33.99 to be in the audience when they were[br]on the edge of their seat. 01:32:35.00,01:32:38.55 As you'll see, as I mentioned[br]earlier, this huge translight - 01:32:39.40,01:32:45.84 which was fantastically expensive -[br]this full-length view from the house 01:32:45.92,01:32:47.99 on a very clear night in Hollywood. 01:32:48.08,01:32:52.28 But we're very much,[br]and firmly, inside the room. 01:32:52.36,01:32:54.59 We're in a sound stage at Paramount 01:32:54.68,01:32:58.75 and outside the door we're up on[br]that hill at the High Tower House. 01:32:59.96,01:33:04.24 So now he goes round[br]the outside of the real house. 01:33:06.00,01:33:11.23 And now, we're inside the studio,[br]with the translight behind us. 01:33:11.32,01:33:16.52 And, thank God, just in case it comes[br]under more scrutiny than it can bear, 01:33:16.60,01:33:18.35 all the blinds come down. 01:33:18.44,01:33:22.23 So for the rest of this extended[br]sequence we're not thinking, 01:33:22.32,01:33:26.28 "Is that really outside?[br]I think it's a painting." 01:33:33.24,01:33:36.95 We're really trying to confuse[br]the audience's expectations. 01:33:37.04,01:33:41.24 Scott Frank, very cleverly, decided[br]that he would push it to the limit, 01:33:41.32,01:33:43.75 because the last thing[br]you would expect, 01:33:43.84,01:33:49.95 now that we know that Mike Church[br]cannot have killed her 01:33:50.04,01:33:53.43 because he was she -[br]he was the one who got killed - 01:33:53.52,01:33:59.59 and the last thing that could happen[br]is that he gets shot. 01:34:00.80,01:34:05.00 And we immediately throw ourselves[br]into slow motion 01:34:05.08,01:34:08.59 and into the more lyrical elements[br]of the operatic theme 01:34:08.68,01:34:13.04 that spring from Roman Strauss'[br]being a composer and which, 01:34:13.12,01:34:16.67 alongside the fast-moving,[br]pulsating thriller themes 01:34:16.76,01:34:19.03 that accompany this end of the movie, 01:34:19.12,01:34:23.32 we punctuated with,[br]some would say grandiloquent, 01:34:23.40,01:34:25.99 operatic motifs[br]that go through the sequence. 01:34:32.00,01:34:35.04 Oh, hello. That'll be the villain.[br]Right on cue. 01:34:38.44,01:34:40.95 Many people thought[br]that Derek Jacobi, 01:34:41.04,01:34:44.55 who had famously played[br]the stuttering Roman emperor Claudius 01:34:44.64,01:34:47.39 in the hugely successful TV series[br]l, Claudius, 01:34:47.48,01:34:52.16 was doing a sort of in-joke here, in[br]the stutter that's about to come up. 01:34:52.24,01:34:54.07 I'll talk a little about this shot. 01:34:54.16,01:34:57.71 What you're about to see -[br]the recreation of the murder - 01:34:57.80,01:35:03.32 was originally not the series[br]of intercut sequences you'll see, 01:35:03.40,01:35:10.24 but was one long Steadicam shot[br]that involved the entire studio. 01:35:10.32,01:35:14.44 In this sequence, we travel round,[br]we moved a wall, 01:35:14.52,01:35:17.48 the bed was lifted up,[br]every member of the studio staff 01:35:17.56,01:35:21.11 was involved in making this[br]one uninterrupted sequence. 01:35:21.20,01:35:25.72 Which, put together, turned out[br]to be too long and too involved. 01:35:25.80,01:35:29.92 So it became intercut both with Roman[br]composing at the piano 01:35:30.00,01:35:32.88 and with the modern sequence[br]in the flat. 01:35:32.96,01:35:37.11 You can imagine the blood was rather[br]more vivid in the colour sequence. 01:35:39.76,01:35:42.40 It looks like Frankie[br]will get away with it. 01:35:42.48,01:35:47.35 All of this was part of the same[br]Steadicam shot that ended up cut. 01:35:47.44,01:35:51.64 And in the end we thought[br]that mirroring in the present 01:35:51.72,01:35:55.23 what was going on in the past[br]in this much briefer version 01:35:55.32,01:35:58.63 was more effective and allowed us[br]to maintain the tension. 01:35:58.72,01:36:02.92 But of course it's a thriller,[br]so the hero can't possibly be dead. 01:36:03.00,01:36:06.88 And we hope that the audience are[br]enjoying that rather than hating it. 01:36:19.96,01:36:24.03 I knew those scissors[br]would come in handy one time. 01:36:24.12,01:36:25.92 Serves him right. 01:36:30.52,01:36:35.12 During the rehearsal of this fight,[br]which was myself and Derek Jacobi, 01:36:35.20,01:36:39.56 I instructed Derek, terrifically[br]committed to all of this - 01:36:39.64,01:36:42.20 that was a shot that took forever,[br]by the way - 01:36:42.28,01:36:46.64 I told Derek Jacobi whatever he does,[br]you must always cheat it. 01:36:46.72,01:36:49.28 So when I smash his head[br]on the shelf, 01:36:49.36,01:36:52.99 he must put his hands there[br]in order to soften the blow. 01:36:53.08,01:36:55.88 Derek was absolutely certain[br]this would be the case 01:36:55.96,01:37:01.03 until we shot the sequence, and he[br]hit his real head on the real shelf 01:37:01.12,01:37:03.43 and was concussed for the next hour. 01:37:03.52,01:37:07.48 A lesson to actors out there -[br]do what the stunt director tells you. 01:37:17.60,01:37:23.20 Although this sequence is only a few[br]minutes long, it took days to build, 01:37:23.28,01:37:26.24 including building in[br]this piece of comedy. 01:37:32.32,01:37:35.52 Although it's very tense,[br]on the day we did this, 01:37:35.60,01:37:38.80 we all found it amusing[br]to be staring at each other - 01:37:38.88,01:37:43.00 someone's got scissors covered in[br]blood and someone else has got a gun, 01:37:43.08,01:37:45.04 who's about to stutter. 01:37:51.88,01:37:53.76 Very good line from Scott Frank. 01:37:53.84,01:37:56.51 I insisted Derek Jacobi[br]should wear a toga, 01:37:56.60,01:38:01.23 just to absolutely make[br]the connection with l, Claudius. 01:38:01.32,01:38:04.23 Now the full operatic works[br]of Patrick Doyle come in. 01:38:04.32,01:38:07.28 There are lyrics to the choral work[br]going on here, 01:38:07.36,01:38:10.27 lyrics we drew[br]from Shakespeare's play Othello, 01:38:10.36,01:38:13.91 one that deals very significantly[br]with jealousy. 01:38:17.28,01:38:20.40 And here's where we wrap up,[br]in this montagey way, 01:38:20.48,01:38:23.31 all of the pictorial ends[br]of the plot. 01:38:23.40,01:38:26.60 And where I had to spend[br]half an afternoon 01:38:26.68,01:38:31.20 coaxing Derek Jacobi to make the leap[br]that he would have to make 01:38:31.28,01:38:37.51 in order to fulfil Scott Frank's[br]desired end for the villain here, 01:38:37.60,01:38:40.96 which is either massively[br]and camply over the top 01:38:41.04,01:38:43.19 or as we thought,[br]entirely appropriate. 01:38:43.28,01:38:47.56 A very brave Derek Jacobi did that[br]as I moved the scissors into place, 01:38:47.64,01:38:51.87 and you'll be relieved to know[br]that it wasn't him doing that. 01:38:51.96,01:38:55.27 For your interest,[br]we had a stunt guy on the scissors 01:38:55.36,01:39:01.36 and pulled him back on spring wires[br]and then reversed the film, 01:39:01.44,01:39:04.99 so that we could make sure[br]he hit the scissors each time. 01:39:12.52,01:39:16.27 With a film like this[br]there were many different endings. 01:39:16.36,01:39:21.23 Romance is shot through the film and[br]being a rabid old romantic myself, 01:39:21.32,01:39:26.00 we wanted to find a way[br]to finish off this theme 01:39:26.08,01:39:31.68 of love lasting successfully forever,[br]in the context of the movies, anyway. 01:39:31.76,01:39:34.19 So we came up[br]with this series of shots 01:39:34.28,01:39:38.59 that took us back through the house[br]that more or less began the film. 01:39:40.80,01:39:44.31 And then back through[br]Roman and Margaret, 01:39:44.40,01:39:51.48 and we wanted to dissolve[br]to Mike and Grace. 01:39:53.08,01:39:58.87 In order to match the characters,[br]we had to flip the negative, 01:39:58.96,01:40:05.19 so that Roman dissolved into Grace 01:40:05.28,01:40:07.35 and Margaret into Mike Church. 01:40:07.44,01:40:10.00 Previously,[br]we'd lined them up the same way 01:40:10.08,01:40:12.20 because we thought that made sense. 01:40:12.28,01:40:14.35 In the end, we thought this did. 01:43:11.60,01:43:12.71 Director's Commentary Template
DC Sniper 23 Days of Fear
D A R Y L 1985
Daddy Day Care
Daffy Duck - Drip Along Daffy (1951)
Daffy Duck - Duck Amuck (1953)
Daffy Duck - Duck Dodgers in the 245 Century (1953)
Daffy Duck and Porky - Boobs in the Woods (1950)
Daffy Duck and Porky - Daffy Duck Hunt (1949)
Daffy Duck and Porky - Deduce You Say (1956)
Daffy Duck and Porky - Golden Yeggs (1950)
Daffy Duck and Porky - The Ducksters (1950)
Daffy Duck and Porky - Yankee Doodle Daffy (1943)
Daffy Duck and Sylvester - The Scarlet Pumpernickel (1950)
Damien Omen II
Damnation (1988) CD1
Damnation (1988) CD2
Damnation de Faust La CD1
Damnation de Faust La CD2
Dance With Me
Dancer in the Dark (2001) CD1
Dancer in the Dark (2001) CD2
Dances With Wolves (Extended Cut) 1990 CD1
Dances With Wolves (Extended Cut) 1990 CD2
Dances With Wolves (Extended Cut) 1990 CD3
Dances With Wolves 1990 CD1
Dances With Wolves 1990 CD2
Dangerous Beauty
Dangerous Minds
Dantes Peak 1997
Daredevil
Dark Angel 1x15 Haven
Dark Angel 1x16 Shorties In Love
Dark Angel 1x17 Pollo Loco
Dark Angel 1x18 I Am I Am A Camera
Dark Angel 1x19 Hit A Sista Back
Dark Angel 1x20 Meow
Dark Angel 1x21 And Jesus Bought A Casserole
Dark Blue
Dark Blue World (2001)
Dark City
Dark Passage
Dark Water
Dark Wolf
Dark Woods (2003)
Darkness
Darkness 2002 CD1
Darkness 2002 CD2
Darling 1965 CD1
Darling 1965 CD2
Das Boot - The Directors Cut
Dauria 1971 - Part 1 23976fps
Dauria 1971 - Part 2 23976fps
David Copperfield - Illusion CD1
David Copperfield - Illusion CD2
Dawg
Dawn Of The Dead (2004)
Dawns Here Are Quiet The CD1
Dawns Here Are Quiet The CD2
Day A (2001)
Day After The 1983 23976fps
Day For Night CD1
Day For Night CD2
Day I Became A Woman The 2000 CD1
Day I Became A Woman The 2000 CD2
Day The World Ended The
Day after tomorrow The
Day of The Jackal [1973] CD1
Day of The Jackal [1973] CD2
Day the Earth Stood Still The
Days Of Heaven
Days Of Wine And Roses 1962 CD1
Days Of Wine And Roses 1962 CD2
Days of Thunder
De LAmour
De Vierde Man (23976)
Dead End 2003
Dead Friend
Dead Men Dont Wear Plaid (1982)
Dead Or Alive 2
Dead Presidents CD1
Dead Presidents CD2
Dead Reckoning
Dead Ringers
Dead Zone The
Dead again (1991)
Dead again (1991) Commentary
Dead man walking 1995 CD1
Dead man walking 1995 CD2
Dead or alive
Dear Diary 1994
Death To Smoochy
Death Warrant
Death Wish
Death in Venice 1971
Deathwatch 2002
Debut The
Decalage Horaire
Decalogue 06 1988
Decalogue 07 1988
Decalogue 08 1988
Decalogue 09 1988
Decalogue 10 1988
Decameron
Decline of the American Empire The 1986
Deconstructing Harry
Decoys
Deep Blue CD1
Deep Blue CD2
Deep Impact
Deep Loves CD1
Deep Loves CD2
Deep Rising
Deep Space 9 1x01 and 1x02 Emissary
Deep Space 9 1x03 Past Prologue
Deep Space 9 1x04 A Man Alone
Deep Space 9 1x05 Babel
Deep Space 9 1x06 Captive Pursuit
Deep Space 9 1x07 Q-Less
Deep Space 9 1x08 Dax
Deep Space 9 1x09 The Passenger
Deep Space 9 1x10 Move Along Home
Deep Space 9 1x11 The Nagus
Deep Space 9 1x12 Vortex
Deep Space 9 1x13 Battle Lines
Deep Space 9 1x14 The Storyteller
Deep Space 9 1x15 Progress
Deep Space 9 1x16 If Wishes Were Horses
Deep Space 9 1x17 The Forsaken
Deep Space 9 1x18 Dramatis Personae
Deep Space 9 1x19 Duet
Deep Space 9 1x20 In The Hands Of The Prophets
Deep blue sea
Defiant Ones The
Delicatessen
Delicatessen (1991)
Delirium (Delirio Caldo)(23.976)
Deliv and Daniel Webster The
Deliver Us from Eva
Deliverance
Demetrius And The Gladiators 1954
Demoiselles de Rochefort Les CD1
Demoiselles de Rochefort Les CD2
Demon Baby
Demoniacs
Demonic Beauty (2002)
Demonlover CD1
Demonlover CD2
Dentist 2 The 1998
Deranged
Derrick 2004
Dersu Uzala (Akira Kurosawa) CD1
Dersu Uzala (Akira Kurosawa) CD2
Desert Fox - The Story of Rommel
Desert Rats The
Desk Set
Desperate Hours The
Desperate Living
Destination Tokyo CD1
Destination Tokyo CD2
Destry Rides Again
Detaljer
Detonator
Detroit 9000
Dev
Devdas (2002) CD1
Devdas (2002) CD2
Devil Probable The
Devil Rides Out The 1968
Devil is a Woman The
Devils Advocate The CD1
Devils Advocate The CD2
Devils Backbone The
Devils Brigade The
Devils Own The
Dial M for Murder 1954
Diamonds Are Forever
Diana Krall Live in Paris
Diarios De Motocicleta
Diary of a Chambermaid
Diary of a Country Priest (1951 Bresson Robert)
Dias de Nietzsche em Turim
Dickie Roberts Former Child Star
Die Another Day (2002) CD1
Die Another Day (2002) CD2
Die Hard 1988 Extended Version CD1
Die Hard 1988 Extended Version CD2
Die Hard With a Vengeance
Die Nibelungen - Die Kriemhilds Rache CD1
Die Nibelungen - Die Kriemhilds Rache CD2
Diez de hollywood Los 1951
Dil Ka Kya Kasoor
Dil Ka Rishta
Dinosaur
Dirty Dancing
Dirty Dancing - Havana Nights
Dirty Harry
Dirty Tiger Crazy Frog 1978
Disaster
Discovery Air Jaws Sharks of South Africa
Discovery Channel - Raising The Mammoth
Dish The
Disha
Disorderly Orderly The
Distant Lights
Distant Thunder
Diva
Django spara per primo
Do Raaste
Do The Right Thing CD1
Do The Right Thing CD2
Dobry vojak Svejk
Dodeskaden (Akira Kurosawa)
Dodgeball - A True Underdog Story
Dog Nail Clipper
Dog Soldiers (2002)
Dogma
Dogs Of War The 1981
Dogville CD1
Dogville CD2
Doing Hard Time CD1
Doing Hard Time CD2
Dois Perdidos Numa Noite Suja 2002
Dokument Fanny och Alexander CD1
Dokument Fanny och Alexander CD2
Dolce Vita La 1960 CD1
Dolce Vita La 1960 CD2
Dolores Claiborne (1995)
Dolphins
Domicile conjugal
Don Giovanni CD1
Don Giovanni CD2
Dong (The Hole) 1998
Donggam (2000) - Ditto
Donnie Brasco
Donnie Darko
Dont Be A Menace To South Central While Drinking Your Juice In The Hood
Dont Bother to Knock
Dont look now
Dont say a word
Donzoko 1957
Door in the Floor The 2004
Doors The CD1
Doors The CD2
Dora-Heita 2000
Double Jeopardy
Double Team
Double Vision (Shuang Tong)
Doulos Le
Down By Law 1986
Down Periscope
Down Time
Down With Love
Down and Out in Beverly Hills
Dr Dolittle
Dr Jekyll and Mr Hyde
Dr No
Dr Strangelove
Dracula - Dead and Loving It
Dracula 1931
Dracula 1979
Dracula Has Risen From The Grave 1968
Dragon Head CD1
Dragon Head CD2
Dragonball Z
Dragonfly
Dragonheart (1996)
Dragonheart - Collectors Edition
Dragons Forever (Jackie Chan)
Dragstrip Girl
DreamKeeper 2003 CD1
DreamKeeper 2003 CD2
Dream Master The
Dream Of A Warrior (Cheonsamong)
Dreamcatcher
Dreamers The
Dreamlife of Angels The
Dressed to Kill 1980
Drifting Clouds
Driving Miss Daisy
Driving miss Wealthy (2004)
Drop Dead Gorgeous 1999
Drowning Mona CD1
Drowning Mona CD2
Druids
Drumline
Drums Along the Mohawk
Drunken Master (Yuen Woo-Ping 1978)
Du rififi chez les hommes (Jules Dassin 1955) CD1
Du rififi chez les hommes (Jules Dassin 1955) CD2
Duck Soup (1933 Marx Brothers)
Dude Wheres My Car
Duel The
Duel in the Sun CD1
Duel in the Sun CD2
Duel to the Death
Duellists The
Duets
Dumb And Dumberer When Harry Met Lloyd 2003
Dumb and Dumber
Dumbo
Dune 2000 - 1 of 3
Dune 2000 - 2 of 3
Dune 2000 - 3 of 3
Dungeons And Dragons
Dunken Monkey 2002
Dushmun
Dust in the Wind (Hsiao-hsien Hou 1986)
Dying td CD1
Dying td CD2
The Dawns Here Are Quiet The CD2