All language subtitles for Snatch.2000.BluRay.1080p.TrueHD.Atmos.7.1.AVC.HYBRID.REMUX-FraMeSToR.EnglishDC

Okay, you have the director.
That's me, Guy Ritchie...

...and Matthew Vaughn.

The producer. Hello.

We're gonna talk you
through this film.

This is a scene that we shot
on the last two days...

...when we remedied some of the faults
that we found in the film.

This comes at the end
and at the beginning...

...and it seemed to give the film
a feeling of circulation.

It seemed to give it a top and tail,
turned it into a whole revolution.

Anything you'd like to add to that,
Mr. Vaughn?

- No.
- Good. I'm very pleased about that.

This is a new actor we discovered...

...a chap from Liverpool...

...who can emulate
any accent perfectly.

To try and copy
an authentic London accent...

...has proved to be very tricky
for most characters.

This guy
managed to do it fantastically.

If you heard him in his native tongue,
you couldn't understand a word.

I'll come back to him later.
Oh, Benny. Benicio Del Toro.

You rather liked Benicio,
didn't you, Matt?

Lovely guy.

This is Benny playing a Hasidic Jew.

We've enlarged his nose
to about three times the size.

This was an idea I had...

...when we were recceing
for a certain scene.

When we were stuck in the lift,
I suddenly thought...

We were looking around locations
for a diamond heist.

And it was all rather complicated...

...and I thought the interesting stuff was
actually our arrival to this location...

...and all the security measures
you had to pass.

So as we were recceing this place,
I came up with this idea...

...which was to have all six monitors.

So you'd go from one monitor
to another without a cut in the film.

Then it comes off
the last monitor onto real time...

...and you're into the scene.

The director of photography had
something to do with this concept...

...and he'd feel rather annoyed if I didn't
involve him in this creative process...

...because he had
something to do with it.

He did make it too long,
so you had to cut it.

It's not a continuing shot
like it was gonna be.

I think you'll find
it is a continuing shot.

Go back.
There was a cut two seconds ago.

- I remember we cut into it.
- No, we didn't cut it.

We did cut into it.

- Well, where?
- We took 45 seconds off.

Did we?

- How did we cut it? You didn't see it cut.
- If you rewind...

A cut and a dissolve.

- Really?
- Yeah.

It went on and on. We all
fell asleep when the credits...

That's because we took the front off,
all the shit in the beginning.

No, in the middle.
When it goes up, that's the cut.

- What do you know?
- Well, I know.

- Okay.
- The audience can decide.

We might as well say
who the other Jews are.

That's the sound man, Simon Hayes.
That's the first AD that just went down.

That was another member
of the crew.

- Tim.
- There goes one of the runners.

That was a shot we put in later.
No one realised what we were doing...

...until we had some diamonds
actually coming out of a safe.

Good name.

Quite swanky,
this piece of filmmaking.

We wanted to lead you
into a false sense of...

Oh, there goes
the director of photography.

This is the poor chap
that got drowned...

...in the beginning of Lock, Stock
by Barry the Baptist.

He always takes a kicking...

...well, in both the films
that we've done.

What was I saying, Matt?
I got distracted there for a second.

- The credits, I don't know.
- I can't remember myself now.

I'm sure it was fascinating, anyway.

Oh, there's Dennis. You loved Dennis.

There's Lennie. Top man, Len.
What's his name again?

Brandon Gunn next to Brad. Voice
coaching for making Brad's accent...

Brad. Brad Pitt, that's it.
That's the name I was looking for.

- Robbie Gee, good boy. Benny again.
- Who everybody thought was Brad.

Which was quite confusing when
we did the first test-screening.

Jason Statham,
who we used in Lock, Stock...

We were very pleased with his
performance in Lock, Stock, and in this.

- We're keen on Jason, but not today.
- He didn't turn up.

He was supposed to be here
talking with us and he swerved.

Mike Reid. Infamous in England as one
of the most prolific actors of all time.

Alan Ford. Hero.

- That was Basher being bashed.
- That was Basher. He was our "sparks."

You'll come across
every member of the crew...

...and, of course, the cast,
during the next hour and a half.

We've got them all
in front of the camera.

That's... Sid Hoare, I think
his name is. In the back there.

Infamous judo player.
Strangled many a man, has Sid Hoare.

- Which one, on the right or the left?
- No, that's a Russian chap.

He took his work very seriously,
I'm pleased to say.

Sid Hoare, with the cheekbones,
just there in the back.

Very well-known in the judo world.

As is Gorgeous George, who's...

Was he 22 stone or 18 stone off?

Don't know. He's big. He's not
a very good chess player, but he's big.

- Even I can beat him.
- He's a better chess player than you.

He's the only one
I beat on a regular basis.

Look at it. How am I supposed
to run this thing from that?

Explain the sausages, Guy.

Oh, yeah, we... This is
our first day of shooting, actually.

That's our Liverpudlian
on the right there...

...who is illustrating
his very authentic London accent.

Now, that's another infamous
judo player in the back...

...who's cooking the sausages.

He was a Hungarian heavyweight...

...feared throughout
the Eastern bloc countries.

And somehow
ended up working with us.

Great character, Charlie.

"Turkey."

Yeah. It took him a long time
to get the names right.

He just kept calling him "Turkey."

But we felt as though his presence
was warranted in this scene.

He wasn't written in
but got embroiled in it...

...because he was such a character.

I cut this scene down
quite considerably...

...which was one of the things
I didn't like doing because I loved it.

It was a big, fat long scene and
I find these two very entertaining.

I was keen on the dialogue...

...but this film was three hours long
on our first cut.

I slept through two hours of it,
which was not a good sign.

So we cut it down to an hour and a half,
and lots of the stuff that I liked...

...got chucked out the old window.

Anything you'd like to say about Boris,
since I seem to be doing all the talking?

No, I enjoy just listening. But Rade's...
What the hell's Rade's surname?

Well, I mean, it's unpronounceable.
But Rade, he was...

I saw him in... What's that film?

- Eyes Wide Shut.
- Eyes Wide Shut.

Which wasn't my favourite film
of all time, it must be said.

However, I was extremely keen
on Rade's performance.

I thought he was one of the
most entertaining things in it.

So we got him in the action.

Here's Alan Ford. He was
the barman in Lock, Stock.

- He only had a sentence in Lock, Stock.
- And did the voice-over.

He did the narration for Lock, Stock.
He's a bit of class, Alan Ford.

And he's a real pro and...

You know, you could see that
when we were making Lock, Stock...

...because a lot of these guys
were just fill-ins off the street.

Some of them were just off the street.

Obviously, a lot of them didn't have
the professional attitude...

...of a pro actor like Alan.

And then as soon as you had them
juxtaposed against Alan...

...and Alan did his stuff,
you could...

You all right there, Matt?
Don't die on me just yet.

And I was so impressed with
his professionalism and ability...

...that I wrote this role, really, for him.

What the fuck are you two looking at?

If you got to deal with him, just make
sure you don't end up owing him.

Then you're in his debt.

Now, that's John Farnell at the back.

John Farnell is a bit of a tough chap.

That's Dave Legeno at the front.
He's another tough chap.

We had quite a lot of tough chaps
on this set.

They all complained about this scene,
didn't they? Because it really stank.

Yeah, we did shoot this in a pigsty.
Funny, that.

But pigsties are more stinky
than you can possibly imagine.

I mean, pigs stink, what can you say?

All the clothes they're wearing there
had to be burned afterwards.

No matter how many times you washed
them, never got the smell of pigs out.

This was a scene we shot
after the film, wasn't it?

It was a scene that I felt we missed,
and we put it in at the end there.

A lot of people got very confused and...
What'd we do? Why did we...?

Bloody hell, man.
You ain't gotta say much.

When you open your mouth, can you
let something sensible fall out?

Trying to remember what we clarified.
What were we clarifying in that?

Not much. My tracksuit bottoms
you got on there, Vaughn?

- Yeah.
- How did you end up...

- ...wearing my tracksuit bottoms?
- Your girlfriend gave them to me.

- Now, this shot...
- Is out of focus.

Is out of focus, yeah.

You'll see it go a bit fuzzy,
a bit soft in a minute.

The director of photography
has something to answer for there.

He tried to convince me
that it was sharp as a pin...

...but he was wrong,
as you shall see shortly.

This was a complicated scene. We first
shot it in Russian, and it was subtitled.

But no one could understand a fucking
word of what was going on.

So we had to re-shoot
the chap on the right.

And he had to get... Fucking hell,
this is a hard one to explain.

Because they're both in shot, they
have to be in sync with one another...

...because there's only
a finite amount of time...

...between one speaking
and the other speaking.

So the re-shoot was tricky...

...because he had to get all the words
out in the right amount of time.

Sorry about that.
There we go, anyway.

Just letting you know about some
of the trickier parts of filmmaking.

Bit of boring trivia, but Benicio
is in Hatchet Harry's office.

Because we're such cheapskates,
we used the same location.

- No, you are such a cheapskate, Matt.
- No, we are. You didn't complain.

Yes, interesting point. Thank you.
That was Hatchet Harry's office.

- It was.
- Yup.

Which is the famous
Bethnal Green Town Hall...

...which has had more films shot in it
than Hollywood.

This very interesting character
on the right, reading a newspaper...

This is my screen debut.

I wanted to get in
on the action somewhere.

People have asked for my autograph
after this scene.

There we go, that's the end of my
performance. You shan't see me again.

Now, this is Hatton Garden.

This is where the English
diamond business has its centre.

And this is a jewellery shop
in Bond Street...

...a smart shopping area of London.

- That's David Garren, wasn't it?
- Yeah, I think it was.

Good bunch of boys, they were.
Oh, yeah.

What are you doing here?

"A free country, isn't it?"

I like this idea of sort of
stroppy young Jewish lads...

...hanging out on street corners,
making a nuisance of themselves.

This is something
we just knocked up on the spot.

- Some people find it funny, some don't.
- English like it more than Americans.

It's sort of flown over their heads a bit
in the States, that bit.

This is a scene we put in,
took out, put in again.

I was very taken with these twins.

- Nikki and Teena.
- Nikki and Teena.

"Yeah, Dad, you told us!"

Keen on those girls. I wanted to
involve them more in the film, but...

I don't know what went wrong.

It's a funny house, this, wasn't it?
This was in Perivale.

The producer, who's sitting on my left,
had just bought a brand-new Porsche.

And in this Porsche, he had the most
state-of-the-art, the most expensive...

...satellite navigation system
ever fitted in a car.

And Perivale...

...is not the most salubrious
of London locations.

When Vaughn tapped in Perivale...

...his state-of-the-art navigational
system refused to recognise Perivale.

It's suburbia at its best.

This house... It's very funny.
If you stand 20 feet back from it...

...it looked like quite a large house.

It was the smallest house I've ever
been in. It was a bit like a doll's house.

A family of 12 lived in it.
I'm not quite sure how they managed.

It's just so small, I can't tell you.

We've got the doors open at the back
and at the front to give it more depth.

This is another place that Vaughn's
navigational system didn't recognise.

- Where is this? In Croydon, isn't it?
- Yeah, Croydon. It's horrible.

- Are you enjoying your lunch, Matt?
- I am indeed.

- Jolly good.
- You want some?

Oh, no, I made sure I had lunch
before we did this, Matt.

Directors always get looked after
and producers don't.

Not as flash as your bike.

Who are you looking for?

Mr. O'Neil.

What was that young lad's name,
Vaughn?

I know you always remember
the young lads' names.

Yeah, he's a lovely guy. Originally not
from Ireland, though. He was called...

- He's a good actor.
- Yeah, he was a good boy.

- Austin.
- Austin, yeah.

Go on, Austin.
He was a good lad, Austin.

Game lad. I'm sure Vaughn can...

Explain that shot. The debate... No one
noticed what Brad just did in that shot.

That was Brad having a poo
behind a Shogun...

...car.

Which Brad and I thought was
the funniest thing in the world.

- The whole crew did.
- Yeah.

But no one in the audience
ever picked up on it.

You look like a boxer.

Get out of the way, Mickey.
See if the fellas would like a drink.

I could murder one.

Be no murdering done around here,
I don't mind telling you.

Get your hands out of there.

Cup of tea for the big fella?

Don't be silly, Mickey.
Offer the man a proper drink.

It's the first time he's seen Brad.
There was an embarrassing instance...

...where I said it would be funny if he
threw the lad over his left shoulder.

And you saw no more about it...

...and then later on you'd see the kid
bouncing around happily.

But the travelling folk...
What's-his-face here...

Brad had this very sort of tough way
of treating everyone.

He was always
punching and slapping...

...and knocking people around,
and they could all tolerate it.

Anyway, he threw the child over
his shoulder and no one caught it.

But he was a tough lad
and he didn't mind about it at all.

- That's the wonderful Jason Flemyng.
- Super Mullet. Jason Flemyng.

He wormed his way onto the set.

He said he was gonna come down
and take a couple of pictures.

Somehow, he managed to end up
in front of the camera.

Little Austin just got
a clip round the ear.

See you later, lads. See you, boss.

All right, Mickey. Laters.

Now, the unfortunate thing
about Brad's accent...

...is that he had some of
the best lines in the film...

...and of course no one can appreciate
any of them.

This was based on
a true story I heard.

- From a lot of people.
- Scene for scene.

You see that car?
I suggest you use it.

You should fuck off now while
you still got the legs to carry you.

Nobody brings you...

...unless they're trying
to say something without talking.

Sorry, Mickey. Just give our money
back and you can keep your caravan.

Outside Croydon.
What was it called again, this place?

Croydon.

Didn't it have a sort of a name like
Perivale? Sort of like Perivale...

- Never mind.
- I thought that was called Perivale.

It sounded like it, yeah.

We spent some time down here.

I won hundreds of pounds playing
chess in this particular location...

...in that caravan behind there.

Yeah.

Vaughn pointed out to me
after we had done this shot...

...that it was
a complete replica of...

We'd stolen it from
Raiders of the Lost Ark, I think.

Where he just punches him.

I couldn't remember where I'd nicked
it from, but I had nicked it.

I recognised the shot once we did it.
I couldn't think why I recognised it...

...and later, we put it together...

...and I think we pinched it
from Raiders of the Lost Ark.

Brad was a game lad
through all of this.

Now we cut to
Brad's brilliant stand-in.

Remember the stand-in guy?
He turned up with a wig.

Well, in the end we more or less just
ended up using Brad for all the stunts.

- He comes in right now.
- What are you talking about?

He only got kicked, but it was him.

That was fucking ages ago, Vaughn.
We've moved on.

Wake up!

Right, yeah. Brad didn't mind
being thrown around at all.

Quite a fit-looking fucker,
old Brad, I must say.

This was a song that...
Got good abs, Brad.

- He's got nice abs, hasn't he, Matt?
- Pretty jealous.

This was a song that I'd been
gagging to use in both films.

We tried a thousand
different tracks...

...and no one would give us
clearing rights.

Then the producer,
in a very rare moment...

...came up with the good idea of using
this track, which seems to fit perfectly.

- Well done, the producer.
- Thank you very much.

But "Helter Skelter" was good.

Well, we wanted to call this film "Helter
Skelter" and I love the track...

...but Charles Manson did all
kinds of atrocities to that track...

...or wrote "helter skelter" in blood on
people's walls after butchering them...

...so we didn't think it was appropriate.
Great track, though.

I'm very keen on this. I must say, the
first 40 minutes of the film, I'm proud of.

I think it rattles along at a great speed.

I like the way it feels. I'm very
pleased with the performances.

I was very pleased. Right up to here,
I can't really pick many holes in it.

You know, we got what we were after.

There's the wonderful dog.
There's some good dog stories.

Vaughn's got some good dog stories,
which he'll tell you about later.

Nothing to do with the film,
of course, but...

Hey, Goldie!

- Matt and Goldie were best of chums.
- He's a good boy.

They saw eye to eye
on just about everything.

Spurious. Not genuine.

And it's worth...

...fuck-all.

Bad Boy, I keep telling you,
stick to being a gangster.

Leave this game to me and Sol.

Laters.

He's a good lad, Goldie.

I just wish somehow we could've
involved him more in the narrative.

Unfortunately, he did have
a bigger role, but...

Everyone more or less had bigger
roles, but they all got whittled down.

Unfortunately, one of the scenes
that he was in took a bit of a...

- Disappeared.
- Yeah, did get rather heavily edited.

- What was the dog called? Bo?
- Yeah, the bitch with the black eye.

Bo, yeah. Apparently it was a film dog,
which means that it's film-friendly.

- And trained well.
- And trained well.

I've never come across such
an ill-disciplined dog as that one.

- I have a job for you.
- I already have a job.

He butchered and raped almost
every member of the cast and crew...

...at some stage or another.

- Especially Lennie, though.
- No, that was Robbie.

- That was Lennie.
- Who got raped in the back of the car?

Robbie got raped,
but Lennie got eaten.

- Which one got ejaculated on?
- Robbie.

Yeah, poor old Robbie.

They were locked in this car,
it's a scene that comes up later on...

...and the dog took
a real shine to Robbie...

...as soon as they were introduced
and would never leave his side.

If Robbie was without
physical support from anyone...

...the dog would always
recognise the opportunity...

...of taking advantage of poor Robbie.

It's a scene
that I shall bring up later...

...but Robbie was actually raped
in the back of a car.

He's bad to the bone,
ain't you, Tyrone?

Of course I am.

This was their first encounter.

Poor... This was...

Poor old Robbie is somewhat nervous
with this animal.

While I'm at the wheel, it's my car...

- I don't think he's even in this shot.
- He was, he's on his leg. Look.

There we go. He was trying to get
onto Lennie's back at that point.

He thought the fur was real.

There we go,
a little sensitive touch there.

It's like he's
a fucking homing beacon.

Steady on the brakes.

I thought you said
he could drive, Sol.

- You wanna introduce Ade?
- Oh, Ade.

Ade is a pal of mine, who I've always
found a very interesting character.

- Is he acting or...?
- This is... Well...

That sort of took on
its own personality, that scene.

It did take him that long
to get out of the car.

Don't worry about Tyrone.
He can move when he has to.

Ade, I always felt, had the presence
of someone that should be on-screen.

I always felt as though
he should've been in this film more.

He sort of disappears
at an appropriate time...

...but I think he should have
come back, somehow.

Brad Pitt again, who some people
mistake as Benicio Del Toro.

This was a running gag which is subtle.
Some people didn't pick up on it.

Benicio changes his appearance every
time you see him, because he's so...

...clandestine in his operations.

So he hires a van
and drives around in a van.

He gets into it and gets out the other
end looking like a different man.

This was the scene
where Robbie got raped, I believe.

- Yup. And Lennie...
- Lennie got butchered.

- This is where he got his ear.
- He got butchered the week before.

- Yeah, but it was in this scene.
- Yeah.

There's Bo, post-sex. That's why
he's calmed down a bit now.

He's warming up a bit here. Look.

People'll see the damage.
What'd you do that for?

I didn't see it.

It's a four-ton truck. It's not like
it's a packet of fucking peanuts.

If Robbie knew what was
coming at him now...

Bo's getting excited.
He's got his eyes on Lennie. Look.

He's had his fill of Robbie.
Hello, son! Go on, boy!

- That wasn't actually in the script.
- At this point, panic ensued in the car.

None of the lads could open the doors.

They were all locked in, due to the fact
we had microphones and stuff in there.

All the doors had to be screwed down.

And the dog went mad. There was
nothing anyone could do about it.

The poor lads were somewhat peeved by
the time we managed to open the doors.

There wasn't much left
of their clothes.

- We had to replace the dog.
- We replaced the dog with...

With a white one with makeup on it.

Yes, as my assistant
later referred to:

"Thank God the bitch didn't mind
being given a black eye each morning."

Because it was an albino dog...

...but it had a much more suitable
temperament than Bo.

You haven't heard
the last of the Bo stories.

Later on, Bo moves off rape
and just sticks to pure violence.

How'll we explain this to Brick Top?

That his fight isn't gonna happen?

We replace the fighter.

I was always very keen on the idea of
that Lancaster bomber behind Jason.

I like the idea that...

Those two scenes
were stuck in later on.

...and The Gun shot himself.

Oops.

I liked the idea of Turkish
remembering his grandfather...

...by having a Lancaster bomber
behind his desk.

I don't know why it tickled me,
but it did.

- How much you gonna pay us?
- 10 K.

Me bollocks. Lose more
than that running for the bus.

We had some fun shooting this scene.

We sort of... I think this might be one of
the first scenes we shot with Brad.

It was.

The left of the screen,
I found a bit empty.

I wish I'd filled it up with
another couple of travelling folk.

We should point out how Flemyng
does try to steal every shot.

Yeah, it got called "doing a Flemyng."
He coined the phrase, Flemyng.

- There he is.
- If you notice, he's full in frame.

This is the man that turned up to take
a couple of photos, and look at him.

He's passing photographs around
in front of the camera now.

He's talking in Brad's ear. You notice
Brad ducked his head away there.

Frightened of having
his ear taken off.

I thought this flute
was just the coolest shit ever.

I didn't really want to waste it
on a scene as short as this.

- I'd like to make a whole film with flute.
- Is this Murphy playing?

No, it's one of Murph's men.

That guy can play a flute. I just think
the flute is the coolest shit ever.

- Oh, the dog fight.
- Yeah.

I was always repelled
by stories of dog fights...

...but I was also very interested
in the fact that...

That's a real dog on the floor.

Of course, it's dead.
We'd got it when it was dead.

It's a very complicated process
going on with stuffed dogs...

...because after they die... Never
mind, horrible things take place.

But anyway, we wanted a dog
that looked like a real dog...

...however quick it was, the shot.

Anyway, I was interested in the world
of illegal boxing and dog fights.

The two don't necessarily
go hand in hand with one another...

...but I tend to find that a lot of people
are into one, are into the other.

It's a whole subculture.

And these places do exist.

You bet your bollocks to a barn dance
you're not backing out.

We're changing the fighter.

Oh, fuck me...

You can fully appreciate Alan Ford's
dentistry at this point.

- But he's mustard.
- Mustard?

"I don't care if he's
Muhammad 'I'm Hard' Bruce Lee."

You can't change fighters.

That was just a line
I made up on the spot.

I was quite pleased with that one.

Yeah. What's great about Alan is that
he at least manages to say the dialogue.

On Lock, Stock, I wrote some brilliant
pieces of dialogue that a certain actor...

- ...couldn't remember.
- He is a bit of class, he really is.

It's the difference between working with
someone that's as professional as he...

...and working with people
as unprofessional as my producer.

I have gotta give you
a bit of ying and yang.

And I shall be under it
when it breaks.

Now, fuck off.

Sorry about all the language in
that scene, I do apologise for that.

There's an extra in the back who looks
like a walrus. Where did he come from?

Socks was a last-minute idea.

Stars and Stripes
on the coffee cup there...

...and Union Jack on the socks.

Didn't Maurice-Jones piss you off
the way he shot these things?

- How?
- Since it gave you no room for editing.

Oh, God! Oh, it drove me mad.

Maurice-Jones, my DP. We came up
with some ideas on Lock, Stock...

...to have these split screens.

It's impossible then to edit
the scene, because you put some...

Anyway, he gave me the latitude
on the last film in order to edit it.

I promised I wouldn't, and of course
I did because it was too long.

And on this one, he made it as such,
it's a slippery trick he pulled...

...made it as such that I couldn't edit
the scene or cut it down at all.

He put black tape down the camera,
which I only found out afterwards...

"Shut up and sit down,
you big bald fuck!"

So there was nothing I could do
about editing that scene.

Now, this was an idea we came up with
on the spur of the moment...

...the "Sit down!"

Just because I've always found
the transit thing extremely boring.

- So we committed to a very speedy...
- Cheap, as well.

- Which I was happy about.
- Yes.

Imagine how much it would cost to
shoot at Heathrow the thing landing.

You think he'll be all right?

All right.
What's going on here? Oh, yes.

Anything you'd like to say? I see that
your vocal chords are warming up.

No. Give me time.

We were panicking that it suddenly
got dark and it wasn't meant to be dark.

- Were we? I wasn't panicking.
- Yeah.

You should've panicked. They'd
scheduled the whole thing wrong.

- Then we decided it was a long...
- It works, doesn't it?

Just.

- It works, doesn't it?
- It depends on how smart you are.

It means poor Benicio's
been knocked out for eight hours.

- Why?
- They knock him out in bright daylight.

It's daylight, and it's not
very bright daylight, either.

- It's bright enough.
- It's just daylight.

Sometimes it's light at 6
and it's dark by 6:30.

- Have you been knocked out before?
- I have, as it happens, yeah.

- How long?
- Don't get clever with me, Vaughn.

I'm just saying,
if you're gonna get knocked out...

- But it's a fucking film, isn't it?
- Exactly.

But I'm the producer,
so I gotta be a little bit more practical.

There's my good pal, Mickey Dee.

Is that him?

I don't know.
How many fingers did he have?

Sorry, I couldn't get
the binoculars out in time.

Well, let's not stand on ceremony,
mate. Let's start the show.

- When were you knocked out?
- On a few occasions.

Never for very long.

I was very keen on this girl.
She was tops, wasn't she?

- Sydney was brilliant.
- Sydney. Great girl.

I wish we'd given her more work.

This scene was much longer...

...and I came up with this montage idea
when I was hacking the film to pieces.

It was dragging. For some reason,
it wasn't as amusing...

...as I'd imagined it to have been.

However, it seems to get remedied
with a montage.

Appreciated...

...but all bets...

You don't appreciate the full capacity
of Sydney's performance here.

Because she was a bit of class.

...then there can't be
any money, can there?

I ain't fucking buying that.

"That's handy,
because I ain't fucking selling it."

What have you got?

Nothing, really.

A few coins, but no notes.

Show me your hands.

You've got five fingers.

This is one of the few things
I've shot in a studio, isn't it?

It's the only time
we've been in one.

- Is it Shepperton?
- Pinewood.

- I was quite impressed with...
- It's much easier.

There are advantages of shooting
in a studio, I must say.

My leg.

What are you moaning about?
It didn't even touch it.

There's not one of these instances that
hasn't actually occurred in real life.

I just amalgamated a few of these
instances into one incident.

What the fuck are you two doing?

Get us out of here.

There's old Brad Pitt looking like
Benicio Del Toro again.

Tyrone, what are you doing?
Get us out of here!

Who the fuck is this man, Tyrone?

That hat was from Hermès.
Very expensive hat there.

In the red corner, we have the young
and unchallenged...

Now...

I'll let you articulate some of the
pros and cons of this scene, Matt...

...since you seem to have nodded off.

I'm gonna pull your shirtsleeve,
wake you up...

...and you can concentrate
a little while. How's that?

The biggest problem we had
with this scene...

...is we couldn't afford
all the extras Guy wanted.

We had to film everything
with the camera going this way.

We got all fucking 40 extras,
or whatever, on one side.

Every time we turned the camera, all
the extras had to run to the other side.

- It made it look like...
- A lot.

- Like we could afford 80 extras.
- They got pissed off by the end of it.

Guy was really angry about this fat guy
because he wanted the boxing to be...

No. Be fair, Matt. He was...
There's my man, Mickey Dee.

You tried to replace
him with Chopper.

Yeah, Chopper. Chopper was
a black fellow we saw earlier.

He's got one of the most
amazing physiques I've ever seen.

He's a good lad, isn't he? And
we wanted to use him in this scene...

...but things got carried away with us.

That chap just had a bit of a problem
falling down realistically.

We were there for about... There's
the chap who took "angry pills."

There's a chap in the background
who was a real bare-knuckle boxer.

A couple of weeks before a fight,
he would take "angry pills."

What "angry pills" consist of,
I have absolutely no idea.

But they seemed to do the job. He won.

I got invited to his
bare-knuckle fight. I declined.

But he won.
And he credited the "angry pills."

Good name for a film or a pop group,
"Angry Pills."

- Is that it?
- Right, we've just had a break.

There's been a two-minute hiatus while
I've been stuffing my face with...

...the most disgusting chocolate bar
I've ever tasted.

We've just had
the men in suits in here...

...telling us we're saying the wrong
things and can we say the right things?

To start talking technically.

So, I'll let you take over
at this point, Vaughn.

We've got a list of talking points.
One of them says "Origin of project.

How and when
did this project begin?"

Guy had the idea. Guy, where did your
inspiration for this movie come from?

Don't go and hand it back to me
straightaway.

Let's have a look at this list,
shall we?

The length of time from concept
to release was about 14 months.

- I was letting you think.
- It's all right, I've thought.

Do you wanna let me get on with it? You
asked. Do you want an answer or not?

- Yes, please.
- "Origin of project.

How did the project begin? Length
of time from concept to release."

I suppose I started thinking about it
pre-Lock, Stock...

...or about the same time
as Lock, Stock.

I'd say in the post-production
of Lock, Stock.

Okay. I wanted to get on with
making another film...

...and I heard so many stories
whilst I was making Lock, Stock...

...that I felt as though there was a
second film to be made in this genre.

That was really the...
That's the origin of the project.

And you got very interested
in the whole Jewish...

Yeah. I was going out with
a Jewish girl at the time...

...and I loved their family and they
were all incredibly good to me.

The nuances...

Yeah, I loved the way they had
this subcultural thing going on...

...and how good they were to one
another and how hospitable they were.

It may not reflect that in this film...

...but that's where the idea came from
for using the whole Jewish thing.

And Hatton Garden, I find, the diamond
dealing area, an interesting world.

We cut that scene.
I was a bit miffed about that.

It was a long scene where Boris
the Blade starts singing in Russian...

...about how he
misses his lover in Latvia.

- I never saw that. Really?
- Yeah.

It was the ironic juxtaposition
of Boris singing...

...about how he misses his Russian in
Latvia, whilst butchering Benicio's...

- Leg.
- ...arm off.

It had an interesting quality to it.
Anyway, so we move on.

One point, I never understood why...

The men in suits are wagging their
fingers at me, pointing at the paper.

Why is the kettle on
before he's arrived?

That's the idea. He walks in and is
thinking, "I'll make a cup of tea."

- He walks in and the kettle's on.
- Yeah, I know.

But he doesn't see... They're in there,
having made a cup of tea.

All right, so he never sees...
Never mind.

He was in there and saw that they're
making tea. A bit of a jump there, lads.

If anyone was paying attention.
Notice Jason just walked 30 feet...

...in about a millisecond.

This was because
we cut the scene down.

Go and put the kettle on.

Some good dialogue got cut out.
What was it?

- I won't repeat it now.
- Just use it for the next one.

Yeah. It was some good dialogue.

He's just finishing up.

This is the remnants of the song about
his lover he's had to leave in Latvia.

Okay?

In the director's cut,
they should stick that whole thing in.

It's indulgent, but if you wanna
learn a song about a lover in Latvia...

...it's a great place to start.

- "Motherfuckers!"
- Bit of class, Rade.

That was inspired by the idea that Rade
had seen lots of American movies...

...and heard the word "motherfucker"
loads of times.

When he really wanted to sound
mean, he would say "motherfucker."

I wanna use the pikey.

All right. Of course.

Of course, fucking of course.

I wasn't asking, I was telling.

Anyway, back to... What am I
supposed to...? "Story."

- Yeah...
- It's the film.

You're looking at that, aren't you?
That's on the list.

I mean, the story just came up
from the origin of the project.

I just felt that there was another
story to be told in this genre.

"Screenplay." Isn't the screenplay
the same as the story, Matt?

It's just the way you wrote it,
so it's pretty obviously the same.

The men in suits are getting
repetitive on this piece of paper.

- Just trying to be thorough.
- Okay. "Cast."

What would you like to say
about the cast?

- The casting process was interesting.
- Well, go on, then.

- It's very hard, casting a film with you.
- Why is that, then?

Because you hate virtually
every poor actor that we bring in.

Guy is, for the benefit
of the movie...

- I'm not unique.
- No, you are unique.

- A director's point of view there.
- A lot of directors aren't as thorough.

When it comes to balancing
credibility and acting ability.

They'll go more for acting ability than
what will make an interesting film.

Have you...? Have you...?

Those young kids
are going through wallets...

...that they've found somewhere.

They go through credit cards.
A little embellishment.

He's coursing.

What's coursing?

Coursing is something that...

You'll give Gareth Wigan a heart attack
if you start talking about coursing.

Are you all right, Matt?
Calm down, that's a good lad.

Right. Hare coursing is something that
travelling folk do participate in.

Travelling folk are visceral in their
approach to life, which I'm a fan of.

I love the way
they're still in touch with nature...

...and that they're
a rough old bunch of lads.

They're really into hare coursing and
have lurchers, dogs that chase hares.

Very into country sports that have
a lot to do with horses, ponies...

...and hares and dogs.

It's one of their interests,
so I wanted to use it.

Bit rude there, I know,
but there you go.

We did have some fun
shooting this scene.

This was almost...
Well, it wasn't, actually.

Jason Flemyng seems to have wormed
his way back into the picture again.

I don't know what poor actor got
a kidney punch for him to have...

- Moved to one side.
- Yeah.

It's amazing how he always ends up
next to Brad Pitt.

Where's the judo guy? Danny.

Jim, Judo Jim. Check out his ears...

...once the camera
goes to the left a bit.

He's got some fantastic
cauliflowers in his ears.

He's got a great grip on him,
Judo Jim.

Have I made myself clear?

It's Flemyng doing that thing
with his eyebrows.

- Roger Moore training.
- Looks like Neanderthal Man.

Taking it all very seriously. There's
Judo Jim, a quick flash of his ears...

...just in between Jason and Tommy.

There's the ear. Perfect shot.

"Fucker."

I think Brad intentionally
stood on the dog.

He'll bet you for it.

What, like Tommy did last time?
Do me a favour?

They're all good lads, these are.

- Except one of the actors in the back...
- Complained.

Well, yeah. He tried to sue us for
inclement weather on the day.

As you can see, the weather doesn't
seem to be particularly inclement.

For England, it's good.
For Croydon, even better.

He tried to worm a few
more pounds out of the producer.

- Needless to say, he didn't get them.
- But he tried.

We had to bring him back
for re-shoots with these chaps...

...and every time,
he found something to complain about.

It's the only time we've ever really had
an actor get tricky with us.

We're on!

Bit of class, Brad in that scene.
I'm happy with Brad there, I must say.

We did have a laugh during that one.

I think this is one of the few scenes
that I operated the camera on.

- Which bit?
- This. The side of the car.

- What, the fixed-camera shot?
- Fucking shut your mouth.

Smart-ass.
No one likes a smart-ass, Vaughn.

- I'm the producer, so...
- Ah, the hare!

You'll be pleased to hear that the hare
did actually get away in this scene.

This did cause some controversy
back home in the U.K.

We had various
animal rights campaigners...

- Who had nothing better to do.
- ...picketing on Vaughn's doorstep.

In fact, they were best of friends,
dog and hare.

They're just frolicking in the fields,
having the best of times.

Of course when the dogs actually
catch the hare, they lick the hare.

Tickle it with its teeth.

They're not complaining about them
biting Ade. It's ridiculous.

Ade is paranoid
about being a grass now, in public.

He complained about... He tried to...
Well, I'll keep that out.

- Shepherd's pie, I had, you know.
- I can smell, don't worry.

Didn't know the Americans
ate shepherd's pie, did you?

- I didn't, actually.
- It's very good, as it happens.

- Where did you have it?
- Just down the road.

I'll give you the address if you'd like
to come back and buy some later.

Put that bit in for the Americans.
Jason does need the work.

He's trying.

I loved all this stuff
in the green fields...

...as opposed to the pink fields.

- Is it all natural light?
- Yeah, this is all...

No, I think someone is down there
with a stick of "fluorry."

We shot this three different ways.
At one point, I had it all cut...

...so you go from field to car, field
to where else did we shoot it?

I can't remember,
but it was an interesting effect...

...that unfortunately just didn't work.

There's old Goldie again.

You mistake him for a rabbit?

- What do you want me to do?
- Sort it out.

Right. "Shooting schedule."

I'm again being pointed at
by the men in suits.

They are telling me to talk about the
more officious side of filmmaking.

It was an efficient schedule. Shot
in eight weeks and no complaints.

So it was good.

We probably could have taken
a week off this...

...by all the stuff
that we got rid of in the end.

Which I hold myself responsible for.

Not that I hold myself responsible
for many things.

But we could make the decision in the
cutting room instead of making war.

We probably could have
reduced it by a week or so.

We shot Lock, Stock in six.
Six is hard, seven would be.

Yeah. It was painful,
Lock, Stock was painful.

Do you know who I am?

The men in suits seem to have...

They said it'll enhance the value of the
DVD sales by having extra scenes on.

- Thank you, guys.
- Thank you, chaps.

Nice to have someone else
talking, joining in with us.

Sounds like God.

- Is that how you think God sounds?
- Yeah.

- Has God spoken to you before?
- He said, "Make Lock, Stock."

Apparently, the best thing to do...

...is cut up a corpse into six pieces
and pile it all together.

It's a true story.
I heard it off a couple of chaps...

- That used to do it.
- Well, I don't want to...

You said "chaps."

I think they knew people
that used to do it.

One of them, at a very young age,
he did this for a living.

He used to get rid of bodies.

And all the old clichés
of being poured in...

...when they re-lay roads,
they call each other up and say:

"Have you noticed down in wherever
that they're laying a new road?"

They called each other up and said
that there's a road being laid.

And any bodies they had to
get rid off, they'd just drop in.

The same goes for whenever
a motorway overpass was being put up.

They'd all call each other up again.

The most popular way of getting rid of
the bodies was to feed them to pigs.

This dialogue isn't quite right.
It's my fault.

But you have to shave their heads,
take out their fingernails...

...and take out their teeth,
because pigs...

- Before you feed them.
- Or you can do it afterwards, of course.

But no one wants to go
sifting through pig shit.

But pigs can't digest.
Well, they can, but...

...it will come out the other end.
Whole fingernails, teeth and hair.

Which are the only things
you can identify the body by.

So they'd have to gather these
items together, mash them up...

...and scatter them. That's it,
you'll never know any more about it.

If you just bury someone in a road,
you can dig the road up again.

Once you've fed someone to the pigs,
that was it, mate.

Because they do eat
the bones and everything.

This was an interesting scene.
We weren't sure how to play it.

Half of us wanted to do something
really funny, to have:

Have a German oompah band
playing, which had a different...

- It made you laugh.
- It did make you laugh, yeah.

But I thought that I should
be taken seriously as a filmmaker...

...so we did something serious.
This is a scene we cut down a lot.

There used to be two different scenes.

The whole story about
Bullet Tooth Tony followed this scene.

- Or came before it, I can't remember.
- Came before it.

And then this scene took place.
There were two long scenes.

So you were thinking,
"What the hell was that about?"

- Yeah, something like that.
- Vinnie looks good with the mullet.

- He looks terrible with a mullet.
- I think it looks good, it suits him.

He had one for five years.

Anyway, you like him
with a mullet, I don't.

Anyway, we combined these scenes...

...and consequently
you get the same job.

This was a little homage
to Lock, Stock, Vinnie's debut.

"Bonjour."

Yes, I thought that was
quite amusing, that bit.

Why do you think
we've got a dead man...

- ...missing an arm in our office?
- Talk to me.

"Tell me."

Right. Where are we now, Matt?

We're being waved at again
by the men in suits.

"Locations."

"Where/Why chosen?"

Because they were the only ones
we could find.

- A lot of it was financial.
- Yeah.

- We just...
- It was all shot in London.

All shot in London in unused houses
that were nowhere very startling.

It was just where
we could put a camera up, really.

Call me "Susan"
if it makes you happy.

- "Cinematography?"
- Tim Maurice-Jones.

In fact, one of these scenes coming up,
he's got a lot to answer for.

- Which one?
- It suddenly goes very dark.

Not this one, later on.
This particular set-up.

It goes pitch black.
I hate this office, yeah.

I like that three-shot there.

The design of the office was just
dull as dishwater.

We spent so much time
in that sodding office.

It's my fault, but when I look back
at that office, I kick myself.

It's the truculent Jewish youth
hanging out on the street corners...

...looking for some Nazi to kick in.

There's £10 in it for anyone who can
understand what he's on about...

...because that ain't in my dialogue,
I'll tell you that.

Something about a golden retriever.

How you doing?
You all right, mate?

Nice tie.

- We cut this down a lot, didn't we?
- Yeah.

Poor Ewen dislocated
his shoulder in this scene.

Yeah, he did, poor chap.
I was very keen on Ewen Bremner.

He's an actor I'd like to use more
in the future.

He did seem rather sensitive.
Fragile, that's the word, yeah.

He dislocat... Yeah.

- Jones might have been...
- A little bit aggressive.

We all thought he was a very good
actor when he was screaming.

Then we realised his shoulder
had popped out. Poor guy.

What the fuck you doing, Tone?

Driving down the street
with your head in my window.

"You penile arse."

You been using dog shit
for toothpaste?

I do think Vinnie has one of
the greatest faces for film ever.

I just think he's got
a great face. Great delivery.

Oh, I love this track.

Talented young lady, this.
We all think she's gonna go far.

We just wanted to assist her
on her way up the ladder.

Better not be telling me porky pies.

I tell you, it's two black guys work
out of a pawnshop on Smith Street.

- You're looking at the stuntman's...
- Head.

There.

Are we taking him with us?

You got rid of the wallet stuff.
That was nice. I liked that.

There was lots of lovely
embellishments in this scene.

It's a quarter of what it was.
I did get a bit carried away.

A Russian?

Well, to be technical,
he's an Uzbekistanian.

- I always liked the framing of this.
- Yeah, I was very keen.

I think that's a great shot.

This was a scene that
we'd given ourselves half a day to film.

And then the first AD told me we had
half an hour to shoot it in.

So we managed to get it all in one
frame, and just a couple of takes.

This was the first take
and by far the best.

I love his shirt.

He's a stubborn bastard. He said
he's got to look after his mum.

- Are you taking the piss?
- What can I do?

I'm very keen on Pete Wignall,
who's my camera operator...

...and Tim Maurice-Jones,
who is in charge of photography.

They are a very industrious couple
and they very rarely let a shot sit still.

The camera is always in motion.

I'm appreciative of that
when it comes to the editing room.

Hello. Go on, son.

I liked the fact that he missed it
the first time he went down there.

Bang! The only problem with this...

...is that there seems to be a
proliferation of black baseball bats.

Brick Top thought smashing up
our arcade...

...might help me
to persuade Mickey to fight.

And if that wasn't enough...

I do have various problems with this.
I should've... I didn't...

I fumbled my way through
both of these scenes, really.

I would've liked to have...

- You don't like this scene?
- I do, I just would've liked to...

There should've been
more build-up to it...

...and I would've liked
to have covered it better.

To have seen the dodgy guys
setting fire to the caravan...

...and putting a broom handle through
the door so she couldn't get out.

That sort of stuff.

It's quite nice when you
cut straight to the point.

I know, but a little build-up
would have been nice.

I know what you mean.
I like the economy of it...

...but I could've stuck a couple of
things in without it getting too busy.

Also, the scene we're about to go
back to, with Turkish and Tommy.

I would've liked it to be
a more impressive punch-up.

It's amazing. Brad's got a fake nose
in this film. You just can't tell.

I don't think you can tell
it's different. Can you?

No.

I quite like the framing of "Jesters"
above their heads.

This is my favourite line
in the whole movie, about to come up.

It's a classic line.

Great tune, that. Massive.

Good tune.
I had some miserable experiences...

...dealing with bands during this.

Because all of the people
I've idolised as I've grown up...

...all the bands I just think are
the business, mostly English bands...

...I approached about
helping me out with this film.

And they all ended up hating me
one way or the other, didn't they?

It's a very tricky business,
artists dealing with one another...

...because you know exactly
what you want as a director...

...and they see it a different way.
You know, you try and...

Terrible post-sync, but no one could
understand what he was saying...

...so we had to.

You tend to fall out with musicians.
So I swore I'd never do it again.

The whole musical side of
filmmaking, which is so important...

Here we go, Tim Maurice-Jones.
It's fucking midnight in there!

- What was he thinking?
- He loves it dark, doesn't he?

Well, there's dark and there's midnight.
I mean, there's nothing in it.

He was a highly trained
undercover agent.

He'll be impossible to track down.

Yeah.

- Anyway, what was I saying?
- Music. How difficult it is to get music.

Hopefully, I repaired most of these
relationships with the bands...

...but what they gave me
I didn't think was suitable for the film...

...and what I then put on,
they didn't think was suitable.

They thought we'd arsed them around,
but we didn't.

It was a very sensitive situation.

I must say it's much easier
if you just find a track...

...and then if you like it,
you just try and buy it off them.

The problem is that everyone's looking
for a hit single, a new track...

...which means that
you've gotta find a new track.

They want established bands.

Then the problem is finding a track
to help push the movie.

So I've given up with all that.
So I just get the music that I like now.

Because otherwise I just end up
pissing everyone off.

- What was that chap's name?
- Rosebud was Sam. Sam Douglas.

- Sam Douglas, that's it. He was...
- I'm just gonna check that.

A good friend of your family's,
isn't he, Matt?

- He is now.
- That's nice.

There's a bit of a mistake there, as you
can see. The boot was already open.

I should have cut in a bit later.

Poor old Rade got the arse there a bit.

He was pushed around
a bit recklessly by Rosebud.

That seems to happen a lot on our films.
Remember old Steve Mackintosh?

Yeah, whenever it comes up to being
roughed up, people did get excited.

Non-actors didn't realise
that you have to act the violence...

...and beat the crap
out of the thespians.

- We're coming over. Hold him there.
- Hold on!

He's not on his own!

That's the doll's house they're about to
walk into, in Perivale...

...that Matt Vaughn
didn't turn up for that day.

- The opposite of the Tardis effect.
- Yeah.

We shot this scene without sound.
This is all sound we put on after.

Which somehow saved it, didn't it?
Because it looked kind of like crap.

- They locked Boris in the car.
- Why didn't you tell us that?

Did they look hard?

They looked messy.

I'm very keen on Robbie's
performance throughout this.

All right.

I think we should get you a new gun.

This is a scene
we had some fun writing.

I don't know quite how it ended up
working the way it did...

...because we changed
the idea so many times, you know.

If I knock something around here,
it makes a funny "donging" noise.

It was a scene that, you know,
we weren't quite sure...

...how it was gonna come together
until we shot it and started editing.

But I'm quite pleased with the way
that you bounce between...

- Is that two cars or three cars?
- Three cars.

Yeah. I'm pleased with the way
it wraps itself up.

- It was hard to edit, though.
- It took a lot of faffing around with.

- I quite like the dialogue.
- The music helped a hell of a lot.

- I wouldn't say "a hell of a lot."
- It contributed.

- It contributed. I'll accept.
- Smoothed over.

- You wanted to get rid of that.
- What, the actual explosion?

You thought it was too slapstick
for a moment.

- Did I?
- Yeah.

Yeah, I'm very nervous about putting
slapstick in these things.

But the public do love it.

Well, you think they love it
just because they laugh, but...

- It's a good sign, though.
- It's more positive than negative.

But often when I sit
in the cinema and I laugh...

...sometimes I'm laughing thinking,
"This is funny, but I can't wait to leave."

There seems to be
several different types of laughter.

- Knee-jerk and then there's thinking.
- Yeah.

And slapstick, obviously,
gets you...

...the cheap version.

Did you see that spike has just
shot up between the stuntman's legs?

The concrete hadn't set right.
The car was supposed to stop dead...

...on that bollard there.

But unfortunately,
the car did what it just did...

...and had that car bounced another
foot, it would've gone up his arsehole.

- That's much less than a foot.
- It was right on his nads.

It was an inch.
I mean, I did not enjoy that.

Oh, God, there was great gasps of,
"Poor old stuntman."

We had to pull his legs out from it.
Oh! Hello, hello, hello!

A bit of CGI there, helped us out.

- Not much, though.
- About 10 frames, or something.

Which is half a second.

That's quite
a seamless little accident.

Now, Indian women
we don't see enough of in films...

...so I suddenly thought that I'd get
a lot of Indian women in this film.

For a brief moment it may have been...

...but there was a factory here
that made vinyl records.

There can't be many factories
that still make vinyl records.

And there was a lot of Indian women
that worked in it.

I'm a big fan of vinyl,
I'm a big fan of Indian women...

...so we brought them all out
into the street for no sensible reason...

...other than I wanted to get
a lot of Indian women in the frame.

Back in Perivale, to the doll's
house. Still no Matt Vaughn.

Still driving around aimlessly
on the M25.

He's got as many of these nuts
as he has those nuts.

I don't care if
he's got fucking hazelnuts.

Sunny Perivale.

My God, Tommy, you certainly
got those minerals.

"Certainly got the minerals."

This was a scene that wasn't in
the script that we tried to get back in.

It was gone and we thought, "Let's
film it and somehow get it to work."

- Oh, really?
- Yeah.

Because he was dead, originally, and
then he wasn't. We couldn't decide.

I would've liked Rade to have been
limping in there. That was my mistake.

We shot this before the car crash,
not realising how hard he'd get hit.

This is some pub in Lambeth.
In fact, we were on such a budget...

...that on the other side of the pub...

...all the punters are in there still
drinking away as happy as you like.

During the course of the day,
they got so disgracefully drunk...

...that they had to be turfed out.
They wanted to get in on the action.

But as you look, there are punters
on the other side of the bar...

...getting merrily drunk.

...but unless you give me what
I want, there will be fucking murders.

It's one of the first scenes
you wrote, isn't it?

Yeah, it was.

- It's a little on the nose, but...
- I like it.

- Vinnie was terrified of it.
- Yeah, it's a fucking monolithic speech.

I think we cut quite a lot out of it
in this, as well.

You're obviously the big dick...

...and that, on either side of you,
are your balls.

There are two types of balls:

Right, Matt, I'll let you talk
for two minutes.

Because I'm getting bored
of the sound of my own voice.

- That's a first.
- Funny. Go on, you talk now.

You think of something witty
and intelligent to say.

- Well, you know...
- Very good, Matt, I like that, yeah.

Good start. Auspicious, that is.

You write me some dialogue,
then I will be, won't I?

The budget was very low.

The gentlemen in suits asked
the producer to talk about the budget.

- On a serious note...
- On a serious note, Matthew?

We might as well try and be serious.
I can't joke about budget.

I don't want you to joke about anything.
A producer, not supposed to joke.

Thank you, sir. The actual cost of
the movie is only 3.6 million.

A lot of people expected us to go
all Hollywood and make it for more...

...but we wanted to keep
the same crew and atmosphere.

We didn't wanna spoil anyone, and
we're all better people because of it.

...should precipitate...

...your balls into shrinking,
along with your presence.

- Are you finished, Vaughn?
- No, just waiting for you to wake up.

- What did you think of the budget?
- I'm surprised it was 3.6 million.

- What did you think it was?
- I thought it was three.

- Like to know what happened to the 0.6.
- It was spent.

On your Porsche
and your useless navigational system?

Exactly.

Lock the door.

Lock it!

I thought we made this
for $3 million.

It was certainly the right move
for both Vaughn and myself...

...to have made a low-budget
second film.

There were very many
beguiling offers...

...being made to us
in Hollywood at the time.

And, you know,
it was Matt and I's dream...

...to have gone off and
made something big and revolting.

- A bit short-term if we had, though.
- Yeah, it would have been short-term.

So we declined.
We've been knocked...

...for making a film
that's too similar to the first...

...but I think there's no question
that it was the right decision.

Also, it has given us
more of an identity.

And we've had two more years
experience of negotiating.

It's important you don't... Filmmakers try
and reinvent themselves and fuck up.

Don't you think
it's been good for us...

...to understand the Hollywood system
a bit more?

And the pitfalls of dealing,
and being given lots of money.

When you're given lots of money,
you relinquish control.

I was very fucking keen on this tune.
We're back into the flutes again.

I didn't really want to interrupt
this shot at all.

We cut away here to that.

You do need it, but as a single shot
it worked beautifully.

He just came in, walked all
the way down, nice wide lens.

Walk back with this music. I think it's
one of the best shots in the film, this.

I was just taken with it.
It was just the simplicity.

People were shocked, because
originally we didn't have the Boris.

"Fuck you," all that stuff,
and Vinnie comes across as an ogre.

Yeah, it became a funny scene.

For fuck's sake.

It was quite menacing without that.
It's really powerful stuff.

It looks good on TV, this film.

Finishing off, it was without a
question the right film to have made...

...instead of making a big job.

Hollywood is very good
at chewing people up, really.

Yeah. I mean, there's a monster
and you need to feed it.

People have jobs
and they need to justify them.

It's okay.

Not to say it's all bad.

Okay, we'll bring the dog story up
at the appropriate moment.

- I think we're boring them.
- Yeah. Sorry, lads.

We've got three-quarters into the film
and have run out of witty anecdotes.

I might just start
taking the piss out of Vaughn.

How about before you do that,
what about the Vinnie Jones story?

The chap that comes up to the window
here is a Vinnie Jones look-alike.

You can look him up in
Look-alike magazine...

...and Vinnie Jones has a look-alike.

And I must say he don't half
look like Vinnie Jones.

You allowed to say why we had
to have a look-alike?

Why? What was he doing at the time?
He wasn't in prison, was he?

- Recuperating.
- Was he?

Remember we had the...

This is the Vinnie Jones look-alike.
I had to make him stick his neck back...

...to give him a thicker neck.

Can't you remember Vinnie
had a bit of a problem the night before?

Look, just tell him the stone's back
at the office.

Oh, yeah.

Yeah. Vinnie had gotten himself
in a bit of trouble the night before.

He wasn't in prison, I'm pleased to say,
but we couldn't film him that day.

- He didn't turn up.
- Yeah, we got the stand-in.

He's very good at that. The first day
of Lock, Stock, he was in prison.

Yeah. He got banged up
for biting someone's head.

Of all the parts of someone's body
that you shouldn't bite...

...the head is the last thing
that I'd bite.

Vinnie tried.

Anyway, Vinnie was in a paper suit
in a prison cell somewhere...

...on the first day's filming.

Don't think I haven't thunk
about that one.

It's his mum's funeral tonight.

This is one of my favourite scenes.
It's a great fucking tune.

I love this scene.

It was fun shooting it.
We all got completely drunk filming it.

- Brad got really drunk.
- Brad and me got pretty smashed up.

We'd all gotten
pretty smashed up, yeah.

...and I imagine we get fed
to the pigs.

It's a great tune, this.
This isn't on the CD, this?

Why isn't this on the CD?
Is it? No. Where?

I've got the CD in my car.
I've not heard it.

- It's not on the CD, and it should be.
- It's on the new one.

The record industry is worse than the
film industry. That's saying something.

Bollocks! I'm going for a walk.

We'll see Maurice-Jones in a moment,
doing a white check.

No, he's feeding him a can of lager,
actually.

- Oh, is it? I thought...
- Yeah.

- What are they called, those things?
- Light metres.

Light metre.

The DP is coming in again. Before, he
was a Hasidic Jew being battered.

There he is! The man on the left,
opening a can of beer.

The only man dressed like he's
on a film set, part of the film unit.

The officious men in suits just came in
and reprimanded Matthew Vaughn...

...for being the most boring man they've
ever had doing a DVD commentary.

Matt took it very well and promised
he would tell some very funny jokes.

Now we've started again.

- You've been saved by...
- The dog story.

The dog in this scene...

It was told to be excited
but then just sat down.

- It wouldn't do anything.
- "It'll get excited in a moment."

The dog trainers,
of which there were five...

...consoled us that the dog would obey
every command we gave to it.

There it goes. It sat there for 20
minutes doing absolutely nothing.

Then the only way you could arouse
the dog was to arouse the dog.

So Lennie was given the job
of arousing the dog...

...which meant a consistent rubbing
motion in the obvious department.

And sure enough,
it provoked the desired effect...

...but a little too much so.

As you'll see in a minute.

- The dog's warming up quite nicely.
- It wants more.

Even Vinnie tickles it in the right
place to get the desired effect.

Now, if you catch the shot of its penis,
you'll see that it's fully erect.

Now we're really talking.
It's so excited...

...it doesn't know which one
to take advantage of.

It'll take advantage of the coat.
Now, it takes one look at Lennie.

There we go.
Poor Lennie's getting very nervous.

- The next shot is an outtake.
- No, it was part of...

There we go.
Straight on his nads!

It did get the end of his cock,
and the only thing that saved his cock...

Obviously,
we shot this 10 different ways.

At this point,
if we'd stuck to that scene...

...poor Lennie had his trousers
down at his ankles...

...20 people were leaning over him,
an ambulance was called...

...and the only thing that saved
Lennie's penis was his mobile phone.

And that's a true story.

Which he had in his pocket.
There were teeth-marks on it.

Its teeth only got round half his cock
and the other were around the phone.

If the phone wasn't there,
we would've been miserable.

- His agent was not happy.
- Lennie took it like a trooper.

Lennie was all right with it
until he got to his agent.

That's why we had to change the dog
and start using makeup.

Yeah. Then we got the placid dog.

This was Bo's last day. The actors
then refused to work with him...

...after being obviously
interfered with...

...in every way that a dog
can interfere with someone.

How's the dog
gonna find the campsite?

Have you smelled the campsite, Sol?

Yeah. Notice it didn't come out
of Matt Vaughn's mouth.

Now, Matt, it's your chance
to tell the joke. Go on.

Tell the joke,
because the men in suits...

The men in suits want hard facts,
that's all they want.

- I can't see jokes.
- The viewers want entertainment.

They want some good talking points.
We'll talk about the deleted scenes.

- That is interesting.
- Enough out of you.

Right. Where did we shoot this scene?

Some dirty little room like
every other scene, I suppose.

A lot of this we made up
as we were shooting it.

This little drinking joke
was just made up on the spot.

A little Brad addition
coming in here in a sec.

Brad wanted to appear as more of an
earthy character than he already...

- Was.
- Yeah.

Mickey!

He put in a line about
wanting to have a shite.

Need to have a shite!

He became obsessed with it.
We started the film off with him...

- But it does give him an earthy...
- Feel.

This was a scene we had to re-shoot
five fucking times. I've no idea why.

We kept changing the ending,
so we had to get it to work.

There was more on it that we cut out.

- There's my two lads again.
- One Eyed Jack and Salt Peter.

One Eyed Jack and Salt Peter,
yeah.

- He's got a great voice.
- What did One Eyed Jack say?

He always got it wrong.

The ending changed like 10 times,
as Matt just pointed out.

We just kept shifting it around.

It just wasn't satisfactory,
the original ending.

Is he fucking stoned?

He's like that before a fight.

Do you know
when you're going down?

Bit of a mistake. I don't know why we
can see the pads on Brad's knuckles.

There wouldn't be any, and there's
no reason that we needed to...

Unless he was a cheat.

There's not supposed to be any pads
over his knuckles, just tape.

To stop the cuts.

Was it you telling me how bare-knuckle
boxing is better than with gloves?

They reckon, I can't remember
the statistics, but it's alarming.

Of course,
if you get hit by a real fist...

...your fist smashes up before
the other person's head smashes up.

With gloves, it does very
little to dissipate the punch...

...and of course your fist can carry on
pounding the fuck out of him.

The head takes all the punishment,
rather than the fists.

- We shot this in two days?
- A bit more, three or four.

No, it wasn't four.
Maybe it was three.

- There was a lot. So much to cover.
- It was three days.

He gave me a heart attack hitting
me over the head with a bottle...

...saying, "I didn't know
what happened."

That won't mean anything
to anyone listening...

...so if you can just save those
private anecdotes for afterwards...

...and stick to things that are more
entertaining and relevant.

- The referee is Guy's judo teacher.
- Yeah. That's Ronnie Isaac.

A bit of a judo man...

- Guy enjoys wrestling with men.
- ...who's in charge of this fight.

I did have a bit of fun shooting this,
I must say.

It's got more sepia in it,
this part of the film, than any other.

- Didn't you tell Maurice to take it out?
- Yeah, he took some of it out.

But this is quite warm-looking
compared to the rest of the film.

I've only seen this film about three
or four times in its completed state...

...which is quite rare for a director.

Because I saw Lock, Stock
about a thousand times...

You had nothing else to do.

...before it was completed. This film
I saw for the first time in America...

...a month after we finished it. We were
doing the sound mix till the last minute.

The first time I watched it
was with an audience in America.

And I really enjoyed it. Previously,
I had never really enjoyed it...

...and at one stage I thought
that I'd made a dog-awful film.

So did Matthew,
who kept writing me nasty letters...

...about how
unprofessional I was being.

That I should step up to the plate
and concentrate on the issues at hand.

Because I don't know what happened,
but this film was crap at one stage.

- It wasn't crap.
- It meandered fucking everywhere.

It had no point to it.

- It was just an amalgamation.
- Wonderful scenes that didn't connect.

This scene
always worked brilliantly, though.

John Harris needs
a mention for the editing.

Yeah, John Harris.
John Harris was the editor.

Both Matthew and I were very pleased
with John, who worked day and night.

- First film.
- There's many advantages to that.

The chap we had before
was a slightly older gentleman.

He was capable but wasn't prepared
to put the hours in like John...

...the chap we ended up using.

For John, it was his first film
and he had something to prove.

- He was willing to take risks.
- He'd take risks.

But he hardly left, did he? He worked
in that editing suite endlessly.

And gradually we carved together,
I think, a decent film.

But it really was at one stage,
wasn't doing it as a film.

There were problems getting music for
this scene. This was "Helter Skelter."

Guy loved this track
when you heard the Oasis album.

He was sitting on it forever and ever
and literally the last week...

...this popped out of nowhere.

We sat for three months
wondering what track to use.

I wanted to use this
track somewhere else in the film.

Everyone was trying to write music.

It was like they were
looking at a different scene.

Yeah, it was just inappropriate.

This is where I fell out
with all my musical mentors.

Now, this is something I shot
at 800 frames.

Real time is 24-25 frames...

...which you can appreciate
is extremely slow.

A special camera called Photo Sonics.
It can go to 10,000 frames a second.

There we went 800 frames, and you
still retained a lot of information.

It turns one second
into 10 minutes, at 2000 frames.

We also nearly lost the underwater
stuff. You weren't sure about that.

The underwater stuff
was really in the balance.

It didn't make as much sense as...

He's got "Arsenal" on his arm there...

...a tattoo of Arsenal, which is
a football team in the U.K.

What I changed it to was,
"My mind is my Arsenal."

So we got round that little problem.

So the underwater scene,
which we spent a day filming...

Nearly didn't make it.

You freeze. And your life
doesn't flash before you...

...because you're too scared
to think.

You just freeze
and pull a stupid face.

But the pikey didn't. Why?

This is all re-shoot coming up,
isn't it?

This isn't. No, this isn't.

It had previously occurred to me...

...that he'd taken the demise
of his mother rather lightly.

That was a Hollywood shot we put in
the trailer to get people to see the film.

- That's the producer talking.
- It's the truth.

...is quite a fucking thing.

We had a bit of fun shooting this.

Didn't something go wrong?
That fucking car didn't turn up.

You wanna do something
about your language.

You're F-ing all over the place.

You've sworn more than I have on this.

- What were you saying about a car?
- It's coming up in a moment.

Remember the black car,
Sting's Land Rover?

We sat there for five hours on a tight
schedule with nothing to do.

Boring story, Matt. Can't you think of
something more entertaining?

I'm trying to make you look better.

Pete, talk to me.

It's Flemyng, who again turned up
to take some photographs...

...somehow managed to end up
holding a shotgun.

And then got scared.

- Give me that fucking shooter.
- I'll give you your shooter, you cunt.

Great riff, this.
"Shoot you, you cunt, you."

That's Tim Maurice-Jones
sitting in the front.

The director of photography
posing as a heavy.

That's why the bastard never
goes down when he's supposed to.

That's Judo Jim with the ears.

That's not Brad Pitt walking away.

That's some other character
we used in the re-shoots.

It was your idea, that scene, Matt.
I must say it was a good idea.

He doesn't have very many,
but that was a better one.

It's best to have a few which
are good, than many which are crap.

Oh, fucking hell,
I must remember that.

- Astounding statement, that.
- I know.

I try to please.

He ain't fucking here,
that's for sure.

We can't ask a man to fight for us
if we can't find him, can we?

You won't find a pikey that
doesn't want to be found.

Now, this is shot several months
later, isn't it?

- Yeah.
- There are no leaves on the trees.

This was the new ending.
The ending before just wasn't doing it.

The same with Lock, Stock. I shot
an ending and thought it was shit.

But I found it's a good idea to tap
an ending on, go away, cut it...

...then come back and stick
a more appropriate ending on.

I love these guys. I always
hate English coppers in films.

Somehow, they look out of place.

There's a series we got in the U.K.
called The Sweeney...

...where all the coppers look
like villains. And I like that.

The '70s English policeman looks
like a villain, the '90s one doesn't.

- And these lads looked a bit dodgy.
- And fat.

Which they thought
was a vital requirement.

The policemen were overweight.

They just sort of look like
hard-working coppers.

- This is the fake Bo.
- Yeah, the good-natured dog.

- As you can tell, because...
- She wags her tail.

Yeah, she's having a great time.

Tommy's thumb disappeared
up the dog's behind at this point.

Which, if it was the real Bo,
he'd have lost several fingers...

- It was good makeup.
- ...and other appendages.

Could you tell me...

...why you got a dead man
with an arm missing in your boot?

Hey, George.

Explain the tea cosy thing.

Yeah, the tea cosy thing is earlier on.

Benicio Del Toro with a tea cosy
on his head, before he got shot.

That's a scene
which was extracted from the film...

...so maybe that line goes awry there.

Then we're back to the beginning.

It's been relatively painless,
this session, hasn't it?

- Yeah.
- We've sort of flown by.

We have to talk over the credits.
I don't know what to say.

Sony insisted that we show
that the dog didn't get hurt.

- Probably a good idea.
- It made sense.

It sort of makes sense.

Studios are really not into having
dogs shot or hurt in any way.

I'm gagging to make a film just
about cat killing and dog killing!

Well, there you go, chaps.

I hope you enjoyed it
as much as we enjoyed making it.

Sorry about the producer
and his unwitty anecdotes.

But thanks for joining us
and good luck.

And if you want any advice
on making films, don't.

We can do without the competition.
Cheers, lads. Cheerio.