Dead again (1991) Commentary
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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,
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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 -
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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
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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.
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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,
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and that's essentially what we did.
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And as you can see,[br]it's in black and white.
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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
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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
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