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BRUCKHE/MER: Hi, I'm Jerry
Bruckheimer, the producer of D�j� Vu.
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If you're watching this,
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you've activated a seamless
behind the scenes experience
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that will continue throughout the film,
with myself, director Tony Scott,
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I hope you enj0Y it-
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MARSILIII Hello, I'm Bill Marsilii,
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writer of D�j� Vu,
with my friend Terry Rossio.
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SCOTT: Hi, I'm Tony Scott.
I'm the director of D�j� Vu,
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and I hope you enjoy it.
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I say what always attracts me
to material is difference.
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And I've never done anything
like this before, you know.
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And if you look at my last four movies,
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they've all been
very different approaches
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to, you know, different material.
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And this was a real chance for me
to actually pull it off, and...
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When I do interviews and stuff,
and do press, the...
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I always try to come up
with a one-liner,
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you know, that says
what the movie is about,
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and I found this impossible to
come up with a one-liner,
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It's a love story,
it's a little bit of time travel,
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it's science fact rather than
science fiction, it involves a terrorist.
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It's a bunch of different stories
that are woven together,
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but it's all woven together
around this love story.
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You know, Began/u for me is one
of the toughest creative experiences,
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because the world of science fiction,
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if you get it a little bit wrong,
you get it drastically wrong,
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especially when they're trying
to incorporate science fiction
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into what is supposedly a real world.
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So, I struggled conceptually.
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I actually... I struggled because
I wanted to make it science fact,
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and the writers were determined
to make it science fiction.
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So, I won't say I struggled,
I struggled with them,
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to get them off science fiction
and into science fact.
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MARSILII: I first became involved with
the story that would become D�tiavu
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And Terry called me and I told him
I wanted to write a spec this time,
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that is, to write a
completed screenplay on my own,
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without any studio notes,
without any pay either, actually.
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And I told him
I wanted to write a love story.
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And Terry really did something
kind of charming after that.
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Unsolicited,
he started sending me ideas
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for screenplays,
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the rationale being
that if I liked one of them, I'd write it
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and he and Ted
would be my producers again.
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And I might have mentioned to him...
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I think I told him about a movie
that I'd always liked
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But something I said
jogged Terry's memory
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and reminded him
of a one-page treatment he had
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And he started telling me this story,
it was just six paragraphs that he had,
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about a detective
whose girlfriend gets murdered
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and somehow
he gets a hold of this device
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that allows him to look
roughly one week into the past.
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And in the process
of using this device,
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he watches the last few days
of his girlfriend's life
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And as Terry was telling me about it,
I started to get incredibly excited,
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and I said, "Wait, wait, wait.
It's brilliant. I love it, but one thought.
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"While he's watching
the last few days of her life.
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"The first time he sees her
should be at her autopsy,
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�cause, you know, how cool is that?
She's already dead."
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BRUCKHE/MER: Terry Rossio is one of
the writers of Pirates of the Caribbean
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and also worked on National Treasure,
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and he came to us
with a new writer named Bill Marsilii.
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And I think they met online.
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And Terry liked his ideas
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and kind of
worked on a screenplay together.
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So, knowing Terry was involved,
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I knew it was going to be
an excellent piece of work,
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and also, you know, Ted Elliott
was also involved in the creation of it.
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And you're always looking
for something
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that's fresh and unique and different.
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That's what D�ja Vu is.
It's a really fresh idea.
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I haven't seen a picture like this.
And we read the script.
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The script was delivered to us,
you read it.
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One of those screenplays
that you couldn't put down.
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You had to keep reading it.
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You had to watch, I guess, the time
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because it went by so quickly.
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SCOTT: Yeah, but we did have
a few stumbling blocks.
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Our first one, trying to blow up a ferry
in the Mississippi.
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The biggest concern was that
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the size of the explosion
we wanted to do
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could actually
breach the banks of the Mississippi.
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So that was a little bit of a concern,
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but people were
amazingly cooperative.
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I think generally
the people in New Orleans are,
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but they were just so grateful
for the fact we were there
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and we were employing
a lot of people in the city.
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And I think our biggest hardship
was, when we first went down,
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there was no room service
and no laundry.
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Other than that, it was great.
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MARSILII: That's not a model,
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and those are not CGI people.
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Tony made the, I think, brilliant
though horrifying choice
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to do it practical.
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Many of the effects in the movie
were done for real.
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And...
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I can't speak for anybody else
associated with the production,
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but me, personally,
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I don't think
I could ever open a movie this way
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I \ �I \ V, �I
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we were gonna save everybody
at the end.
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The ferry blow that you see
at the beginning of the movie,
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it's the biggest explosion
I've ever done.
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The trick there
was not to sink the ferry,
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'cause this was a real ferry
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and we said, "We're only gonna
put you out of operation for four days."
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I think, in actual fact, we put it
out of operation for two weeks.
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But we had to put steel plates
on the decks of the ferry
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'cause the explosion was so big,
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we were scared that the explosive
might not go up, it might go down.
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And that would mean,
"Bye-bye, the Stump?
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Which is the name of the ferry.
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BRUCKHEIMER: Well, you always try
to populate movies with brilliant actors,
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and Denzel is in that category.
He's a brilliant actor.
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He can do just about anything.
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He's very smart,
and he comes off smart on the screen.
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And somehow,
he's a very sympathetic character.
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SCOTT: And it's funny.
I read the script...
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And I always think,
"Well, maybe I should...
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"Oh, I'd like to try and work with..."
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There's a bunch of actors
I still wanna work with.
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When I read the script,
the first 10 pages,
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I said, "This role is for Denzel."
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And 'cause he...
One, he always delivers.
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Two, I really enjoy working with him.
He's tough.
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He's tough, but he has
the same work ethic or the same...
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He loves research, I love research,
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and so, always,
our characters come out of real people
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And so that's why
we've done three movies together.
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And I think in each movie,
he always delivers.
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And each movie,
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we've found a different character
that he's never played.
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Even though he's played cops,
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he's played FBI agents,
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and he's never played
an ATF agent before,
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but he said, "What am I gonna do?
I've done these guys before."
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You know? So...
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Don Ferrarone,
who's my guy who's in touch with...
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Don's on all my movies
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and he's in touch
with the agency world.
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And we really did a live casting
of who was a good ATF agent
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And we found a guy
called Jerry Rudden.
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Rudden was famous in the ATF,
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and the ATF are the bomb guys.
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Denzel and Jerry grew up
within a few blocks of each other,
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, , ' 'M '
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And Jerry tells a funny story.
How he got to be a police officer is,
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he said being Irish-Catholic
he had three choices.
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He could either be a priest, a fireman,
or a police officer,
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SCOTT: When you give to actors,
as I did in Man on Fire...
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I gave him a role model in real life,
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and I did the same here
with Jerry Rudden,
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gave him a real role model, so...
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It makes life that much easier,
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'cause you've always got
a point of reference.
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'Cause it's always hard
saying to an actor,
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"Well, I think you should be stronger
in the way you deliver the line here,"
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or, "You should wear this tie
or these shoes."
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But if you have a real person
as a point of reference,
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it's always that much easier.
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MARSILII: Here we go
into the investigation
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that follows
the horror of that explosion.
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And we're starting to see
Doug's process that he has.
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We all wanted him
to have the kind of insights
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where he can take one look
at a crime scene and deduce things
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and steer the investigation
in directions that will save everybody
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'. � � � � � ' ,' � � �. : � � � �
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This bridge scene was part of that.
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In our discussions
with several ATF and FBI consultants,
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among them Jerry Rudden
from the FBI,
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we learned a lot
about ammonium nitrate-fuel oil,
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and the kind of residue
that would be involved,
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and the bridge offered us
a fantastic chance
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to show Doug making an intuitive leap
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that otherwise might have
escaped everyone.
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SCOTT: Yeah, and we got Val back.
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It's my third movie with Val, obviously.
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He said I ruined his life
because of that one line,
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"You can be my wingman at any time."
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'Cause he said
he walks through airports
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and some joker will come up and say,
"You can be my wingman anytime."
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(LAUGHING) So he wants to kill me.
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No, so Val and I did Top Gun,
True Romance, and now this.
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And this is a very different character
from... You know, it's...
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And I was desperately hunting
for a role model for Val in real life.
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And we came up
with two guys from the DEA,
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two guys that we found
down in, actually, New Orleans,
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and Val found his character
or reference to his character
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somewhere between these two guys.
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MARSILII: This first scene
between them
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was originally
a bit more of a character scene
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between Pryzwarra and Doug.
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But Jerry loves the process,
and so does Tony,
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and we had
a lot of discussions about it.
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And now, here I'm going to confess
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that the way we kept it
from being purely expositional,
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we're pulling
the dirtiest trick in the book.
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Doug is risking his life
just to recover some evidence.
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And I love the way
Val plays that moment,
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because within 30 seconds
of meeting this man,
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Doug's literally
trusting him with his life.
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It's a fast way to forge a relationship.
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We can't rule out an accident
at this point.
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-It's not officially a crime scene yet.
-Here's a thought.
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Why don't we double the perimeter
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so we don't have wall-to-wall trailers
down there?
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ELKINS: No, we're gonna need
all our manpower
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for evidence control
and witness processing.
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MARSILII: One of the first things
that has to be determined
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Is whether or not it was an accident
or a deliberate act of terrorism.
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Doug found this...
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Earlier we see him
finding this blue plastic confetti,
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as they call it in the trade,
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that was evidence of,
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you know, the kind of blue barrels
that you'd find the bomb chemicals in.
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And he's laying it all out for them.
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(MARSILII LAUGHING)
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I still think it strains credulity just a bit
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that he found a blasting cap
and leg wire on his way to work,
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out of 10 square miles of wreckage,
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-Oh, good, good, good.
-Yeah.
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And that coffeepot
was also something that we got
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from our discussions
with Jerry Rudden.
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Often that's the way
he will break the ice
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when there's a tense turf war going on
between the numerous agencies
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that are first responders
to a disaster like this.
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And thus the coffeepot moment
made its way into the movie.
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CHAD OMAN: You know, even though
you see all these horrific pictures
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of the surrounding areas
of New Orleans,
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the inner city's rebounding
and the French Quarter's rebounding.
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And it's kind of sad that the media's
playing up the destruction of it,
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00:12:51,521 --> 00:12:54,733
which it has, believe me.
It's not a pretty picture.
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But the city is still vibrant.
People should go there, support it.
233
00:12:58,028 --> 00:13:00,280
It's just a wonderful town.
234
00:13:00,697 --> 00:13:01,823
Hey, did Larry call?
235
00:13:01,865 --> 00:13:03,617
Still not answering his cell.
236
00:13:03,700 --> 00:13:07,871
MARSILII: Here we're planting,
in plain sight, a number of clues
237
00:13:09,539 --> 00:13:12,417
that seem incidental
in the swirl of activity
238
00:13:13,168 --> 00:13:15,170
following a disaster like this.
239
00:13:17,339 --> 00:13:20,258
And later
they turn out to have huge pay-offs.
240
00:13:20,967 --> 00:13:23,512
Listen, I know you're maybe still
pissed off at me...
241
00:13:23,553 --> 00:13:26,515
MARSILII: One of the things
that is kind of subtle
242
00:13:26,556 --> 00:13:29,935
but that I particularly like
about the way this shaped out
243
00:13:32,062 --> 00:13:34,940
is here you've got the hero
244
00:13:35,023 --> 00:13:37,734
of what is going to become
a love story,
245
00:13:37,818 --> 00:13:43,824
and the first time
he hears about our female lead,
246
00:13:43,907 --> 00:13:46,660
his response is,
"Just have them bag it."
247
00:13:47,285 --> 00:13:50,497
And he's actually returning
a phone call to the dead woman
248
00:13:50,580 --> 00:13:52,749
while he's busy doing other things.
249
00:13:53,041 --> 00:13:54,751
He doesn't know it and neither do we,
250
00:13:54,835 --> 00:13:58,338
but I think
there's a really keen irony in that.
251
00:14:01,341 --> 00:14:02,384
Stop right there.
252
00:14:02,426 --> 00:14:06,388
As much as possible, to render
the rest of the movie plausible,
253
00:14:07,264 --> 00:14:11,768
Tony was particularly insistent that we
take as much advantage as possible
254
00:14:12,436 --> 00:14:15,605
of existing
conventional surveillance technology.
255
00:14:15,939 --> 00:14:19,443
Terry and I were always very on board
with that, as well.
256
00:14:20,110 --> 00:14:23,155
We just didn't want it
to overwhelm the rest of the story.
257
00:14:23,238 --> 00:14:27,284
We didn't want the time window
to become, you know, irrelevant
258
00:14:27,367 --> 00:14:30,120
because they were on top of it
with other things.
259
00:14:30,203 --> 00:14:31,496
McCREADY: Can I have
your attention, please?
260
00:14:31,580 --> 00:14:33,081
Thanks very much for coming.
261
00:14:33,123 --> 00:14:35,375
I'm Jack McCready, special agent...
262
00:14:35,459 --> 00:14:36,877
MARSILII: This dialogue
from McCready
263
00:14:36,960 --> 00:14:38,795
was really kind of vital for us,
264
00:14:38,837 --> 00:14:42,048
because, basically,
he's laying out for the press,
265
00:14:42,132 --> 00:14:44,259
and we're laying out for the audience,
266
00:14:44,301 --> 00:14:49,139
the near-impossibility
of solving this crime quickly.
267
00:14:52,517 --> 00:14:55,145
When we were first casting about
268
00:14:55,187 --> 00:14:59,024
for a disaster
that Claire's death could be tied to,
269
00:15:01,860 --> 00:15:06,198
back in October of '97,
I had made a list of a few things:
270
00:15:07,949 --> 00:15:11,828
plane crash, train wreck,
building collapse,
271
00:15:11,912 --> 00:15:15,749
and I had even written,
"Plane flying into skyscraper."
272
00:15:16,958 --> 00:15:18,460
Ultimately, I chose not to use that
273
00:15:18,502 --> 00:15:21,004
because of a Richard Burton film
called The Medusa Touch
274
00:15:24,925 --> 00:15:28,220
One thing here
I want to give Tony full credit for is,
275
00:15:29,846 --> 00:15:35,227
he felt very strongly that he wanted
Doug to have his own process
276
00:15:35,310 --> 00:15:38,522
that involved the city of New Orleans
as much as possible.
277
00:15:38,605 --> 00:15:41,024
-What? Streetcar?
-Hey, don't look at me.
278
00:15:41,233 --> 00:15:44,653
It's part of his process.
He says it helps him think.
279
00:15:48,782 --> 00:15:50,867
SCOTT: The reason that Denzel
was traveling by...
280
00:15:50,951 --> 00:15:53,203
In England we call them trams,
281
00:15:53,245 --> 00:15:56,039
and here
you call them streetcars, yeah?
282
00:15:56,081 --> 00:15:59,042
And these streetcars
actually weren't working after Katrina.
283
00:15:59,125 --> 00:16:03,213
We had to get them all towed
because all the electric were down,
284
00:16:03,296 --> 00:16:05,590
all the lines were ripped up,
you know, but...
285
00:16:06,633 --> 00:16:10,470
And everybody was concerned
that I was making it too, sort of, artsy
286
00:16:10,554 --> 00:16:12,722
and too lyrical, but I said,
287
00:16:12,764 --> 00:16:15,475
"Listen, I'm basing everything
off what Jerry Rudden did,
288
00:16:15,559 --> 00:16:17,894
"who is Denzel's role model,
and what he did."
289
00:16:17,978 --> 00:16:20,355
He walked, he took public transport,
290
00:16:20,397 --> 00:16:24,568
just to find his own space
while he worked things out.
291
00:16:27,320 --> 00:16:29,239
And it's also beautiful,
'cause it's very lyrical
292
00:16:29,322 --> 00:16:31,867
and it's all part and parcel
of the city, very poetic, you know.
293
00:16:31,908 --> 00:16:34,244
And also so this...
This movie is a love story,
294
00:16:34,286 --> 00:16:36,913
so it helped that aspect,
just the background.
295
00:16:36,997 --> 00:16:40,250
So this weird love story that begins
the first time he looks at this woman...
296
00:16:40,292 --> 00:16:43,837
You know, she's lying
on the slab in the morgue.
297
00:16:43,920 --> 00:16:46,590
And I tried to make Paula
as alive as possible,
298
00:16:46,715 --> 00:16:49,759
so we don't see the hand
that actually turns her head.
299
00:16:49,801 --> 00:16:51,720
And her head turns
and her eyes are open,
300
00:16:51,761 --> 00:16:54,598
and she's looking
right into D's eyes, yeah?
301
00:16:54,681 --> 00:16:57,934
So that was a sort of odd beginning,
302
00:16:58,018 --> 00:17:00,896
but even in death, in the morgue,
she looked beautiful.
303
00:17:00,937 --> 00:17:03,607
Hold her hand for me, will you?
Right here.
304
00:17:03,982 --> 00:17:07,027
MARSILII: These missing fingers,
actually, are not merely an attempt
305
00:17:07,110 --> 00:17:08,403
to be gruesome on our part.
306
00:17:08,445 --> 00:17:10,947
They're important
for two reasons, really,
307
00:17:11,114 --> 00:17:14,451
the first of them being
we wanted to make it very clear
308
00:17:14,534 --> 00:17:16,036
� "' � �' ,' � � �'/'
309
00:17:16,661 --> 00:17:21,124
This isn't a case of somebody faking it.
310
00:17:21,666 --> 00:17:24,252
This isn't mistaken identity.
311
00:17:24,294 --> 00:17:25,545
This is a love story
312
00:17:25,629 --> 00:17:29,758
where the first time
the guy sees the girl is at her autopsy.
313
00:17:31,134 --> 00:17:32,761
-Diesel.
-Accelerant, maybe?
314
00:17:32,802 --> 00:17:35,805
MARSILII: The other thing
about her fingers missing is,
315
00:17:36,348 --> 00:17:38,642
in a story like this,
in a mainstream film,
316
00:17:38,683 --> 00:17:40,185
I think the audience takes for granted
317
00:17:40,268 --> 00:17:43,355
that somehow
the hero's going to save her life.
318
00:17:45,023 --> 00:17:49,402
But there's no guarantee that
he'll stop her from being tortured first.
319
00:17:50,195 --> 00:17:52,280
-CARLIN: You see that?
-Duct tape.
320
00:17:52,322 --> 00:17:54,157
SCOTT: You know,
originally, the movie,
321
00:17:54,199 --> 00:17:58,244
when I shot it, was an R-rated movie.
322
00:17:58,328 --> 00:18:03,792
R-rated mainly because of the tone
and the violence and the...
323
00:18:03,833 --> 00:18:07,837
You know, whether it's the stuff
in the medical examiner's office
324
00:18:07,921 --> 00:18:10,006
or the blowing up the ship
at the beginning,
325
00:18:10,090 --> 00:18:13,468
it's a lot more... What's the word?
A lot more graphic.
326
00:18:14,469 --> 00:18:16,596
I don't think it's...
327
00:18:16,680 --> 00:18:21,434
Overall, the R-rated version is a lot
more graphic than this PG version.
328
00:18:22,018 --> 00:18:24,104
I was actually contracted
to do an R version,
329
00:18:24,187 --> 00:18:27,023
but it was hard, actually,
getting it down to a PG.
330
00:18:27,107 --> 00:18:29,818
So everything
that you're gonna see there...
331
00:18:29,859 --> 00:18:31,736
It's not one particular sequence
332
00:18:31,820 --> 00:18:35,573
that makes it distinctively an R,
it's an overall tone.
333
00:18:35,657 --> 00:18:37,367
And everything from the...
334
00:18:37,784 --> 00:18:39,077
Obviously,
all the dangerous sequences,
335
00:18:39,160 --> 00:18:41,204
the violent sequences,
there's nothing...
336
00:18:41,246 --> 00:18:43,832
Unfortunately, there's nothing
in terms of sex that's R,
337
00:18:43,873 --> 00:18:46,793
'cause that wasn't in the actual story,
338
00:18:47,377 --> 00:18:52,424
but violence and content,
339
00:18:54,592 --> 00:18:59,014
in terms of explosions
and the gassing of Paula
340
00:18:59,055 --> 00:19:03,518
is very much different
in the R-rated version.
341
00:19:06,438 --> 00:19:08,982
MARSILII: When Terry first told me
his idea, I loved it,
342
00:19:09,065 --> 00:19:11,359
but as I was looking through it,
343
00:19:12,068 --> 00:19:15,739
there were a number of issues
that really had to be addressed
344
00:19:15,780 --> 00:19:18,074
in order to make the film plausible.
345
00:19:21,828 --> 00:19:26,416
Any real time machine
using existing technology
346
00:19:26,499 --> 00:19:28,793
would have to cost $10 billion
347
00:19:28,877 --> 00:19:32,297
and probably be hooked up
to a mile-wide particle accelerator,
348
00:19:33,298 --> 00:19:36,134
which is why the original draft
of the script had been set
349
00:19:36,217 --> 00:19:38,428
at Brookhaven National Lab
on Long Island.
350
00:19:38,470 --> 00:19:41,639
But given that,
351
00:19:42,807 --> 00:19:45,560
if you've got
a $10 billion time machine,
352
00:19:46,978 --> 00:19:48,521
nobody is going to use it to find out
353
00:19:48,605 --> 00:19:52,108
who killed one woman
that nobody's ever heard of.
354
00:19:52,525 --> 00:19:58,573
Her death, I felt, had to be tied
to something just gigantic,
355
00:20:03,953 --> 00:20:07,957
And when we chose to set the disaster
on a ferry,
356
00:20:11,294 --> 00:20:14,756
In order to drive the bomb
onto the boat,
357
00:20:15,590 --> 00:20:17,884
really became the key
to the whole story.
358
00:20:19,469 --> 00:20:21,096
And where is he now, Alan?
359
00:20:21,137 --> 00:20:22,347
" � *1 \ - \ 'f � ' �. � '. � ' if 'y/
360
00:20:22,430 --> 00:20:28,686
One of the wonderful virtues
of Terry's initial idea
361
00:20:28,770 --> 00:20:31,022
that thrilled me about working on it,
362
00:20:33,191 --> 00:20:37,987
you've got a love story where
the man is an investigator
363
00:20:39,447 --> 00:20:40,990
and the woman's dead,
364
00:20:42,826 --> 00:20:44,536
so it is his job
365
00:20:45,662 --> 00:20:48,832
to go through her apartment,
366
00:20:49,916 --> 00:20:52,836
read her diaries,
look through her photographs,
367
00:20:52,919 --> 00:20:57,549
listen to her answering machine tapes,
and hear her talk to her father.
368
00:20:58,591 --> 00:21:01,553
All of these things
that would normally be considered
369
00:21:03,138 --> 00:21:05,682
incredible invasions of privacy
370
00:21:07,058 --> 00:21:08,768
are actually necessary.
371
00:21:09,477 --> 00:21:11,312
His job requires it.
372
00:21:13,106 --> 00:21:17,068
It's a great excuse to get a man
to pay undivided attention
373
00:21:17,694 --> 00:21:20,071
to the last four days of a woman's life.
374
00:21:20,238 --> 00:21:23,658
See, I know how these things go,
Agent Carlin,
375
00:21:23,783 --> 00:21:25,368
and I need her to matter to you.
376
00:21:25,451 --> 00:21:26,828
1 �\�\'/\\ kgiy/ (It; I� iijiiljj'; ziiijf'; I 'if; , u-"Iky. 'f; z' zriiiljlltii: 'ti;. ','::;$�'_ 'f; t' iiliifi' if: gig" I? 'igifi: �
377
00:21:28,621 --> 00:21:32,375
At one point, it had fallen out
of the movie, in one of the early cuts,
378
00:21:32,417 --> 00:21:34,961
and I begged Tony to put it back in.
379
00:21:36,045 --> 00:21:37,172
It's small,
380
00:21:38,381 --> 00:21:42,719
but it really speaks to that man's grief
at the loss of his daughter.
381
00:21:43,970 --> 00:21:45,972
He knows he's only got
a few moments
382
00:21:46,055 --> 00:21:49,017
with the man who's going to
try and solve her murder,
383
00:21:50,560 --> 00:21:53,980
and in that moment all he asks is,
"Please get to know my daughter.
384
00:21:54,063 --> 00:21:55,982
"| need her to matter to you."
385
00:21:57,400 --> 00:21:59,736
That, I think, resonates with Doug
386
00:21:59,777 --> 00:22:02,363
throughout everything
that's going to follow.
387
00:22:03,573 --> 00:22:06,576
It's his first step down the path
of becoming
388
00:22:06,618 --> 00:22:08,995
more emotionally involved
than he might.
389
00:22:11,915 --> 00:22:13,750
Now, this is a subtle tittie thing
with the cat,
390
00:22:13,833 --> 00:22:17,420
but the cat's
very affectionate with him here,
391
00:22:18,338 --> 00:22:20,173
and then later on,
when he goes back in time
392
00:22:20,256 --> 00:22:23,718
and walks into the house
for the first time, the cat runs away.
393
00:22:23,927 --> 00:22:27,764
Claire says, "She always does that
around strangers."
394
00:22:29,224 --> 00:22:31,935
So, does the cat recognize him?
395
00:22:39,150 --> 00:22:41,778
Here is the scene
where we really get our first clue
396
00:22:41,861 --> 00:22:44,739
that Doug's in the middle
of something strange.
397
00:22:47,325 --> 00:22:49,786
As he's walking through
Claire's apartment,
398
00:22:51,412 --> 00:22:55,291
around the edges, we're getting
to know her a little bit more.
399
00:22:55,833 --> 00:22:59,629
And while we're getting to know her
through the small details of her life,
400
00:22:59,671 --> 00:23:04,008
that beautiful mural that is
uncompleted, she never got to finish it,
401
00:23:05,969 --> 00:23:07,637
we're also getting to see Doug work.
402
00:23:07,679 --> 00:23:10,056
He's very meticulous,
he's very careful.
403
00:23:10,306 --> 00:23:14,185
All of this is going on while
we're laying out these visual clues
404
00:23:15,561 --> 00:23:18,856
that, God willing, will have
very neat payoffs later.
405
00:23:19,983 --> 00:23:23,486
The trick of plotting all of this out was
that everything we're seeing here
406
00:23:23,528 --> 00:23:26,197
has to convince Doug
and the audience
407
00:23:26,281 --> 00:23:29,909
that these are signs of a struggle
from when Claire was abducted.
408
00:23:31,202 --> 00:23:34,872
And then, later on,
each and every one of these things
409
00:23:34,956 --> 00:23:38,668
has to occur on-screen
exactly as they're found here,
410
00:23:39,210 --> 00:23:42,714
only it turns out that
Doug himself left all the clues,
411
00:23:47,343 --> 00:23:49,429
It took forever to plot that out.
412
00:23:49,679 --> 00:23:51,639
And originally, we had
even more moments like that,
413
00:23:51,681 --> 00:23:55,852
these kind of moments
where the story back-flips on itself
414
00:23:58,229 --> 00:24:02,066
At one point,
our executive producer, Chad Oman,
415
00:24:02,150 --> 00:24:05,862
had me prepare a nine-page
document for the production team,
416
00:24:05,903 --> 00:24:09,365
in which I laid out
every setup and payoff in the movie.
417
00:24:10,783 --> 00:24:13,328
There were far too many of them
for Tony's taste,
418
00:24:13,369 --> 00:24:16,372
but we did end up trimming back
to something
419
00:24:16,414 --> 00:24:19,042
that I still think holds up very well.
420
00:24:21,294 --> 00:24:24,047
SCOTT: I think why it's always
a good experience with Denzel,
421
00:24:24,130 --> 00:24:26,299
is because
we have that same intensity
422
00:24:26,382 --> 00:24:29,052
in terms of our work
and getting things right,
423
00:24:29,093 --> 00:24:31,471
and doing the homework to get it right.
424
00:24:31,888 --> 00:24:37,060
And he, like I, was worried
about the science fiction aspect,
425
00:24:39,645 --> 00:24:42,065
Over the years, and three movies,
is trust.
426
00:24:42,315 --> 00:24:45,651
And trusting that...
I always trust him to deliver.
427
00:24:45,735 --> 00:24:48,404
And he always comes with
a ton of his own stuff,
428
00:24:48,446 --> 00:24:51,074
and he always trusts me to deliver
from my end, yeah?
429
00:24:51,115 --> 00:24:53,201
So, the combination...
430
00:24:53,242 --> 00:24:55,620
And we've touched
three very different characters.
431
00:24:55,703 --> 00:24:59,123
And I think he respects the fact I'm
always able to give him a new niche,
432
00:24:59,207 --> 00:25:01,417
even in a world he's touched
many times before,
433
00:25:01,501 --> 00:25:04,087
you know, this world here of the cops,
434
00:25:04,462 --> 00:25:07,632
or, you know, agency guys.
435
00:25:08,216 --> 00:25:12,261
But also, you know, Denzel is great
because he's got such a gravity
436
00:25:12,345 --> 00:25:15,640
in terms of his personality and himself,
and such a reality.
437
00:25:15,723 --> 00:25:20,019
He always... When he finds a
character, he finds it, you know, 200%.
438
00:25:20,103 --> 00:25:23,439
So, therefore, he manages
to sell this world
439
00:25:23,523 --> 00:25:26,109
because people trust in him,
they believe in him,
440
00:25:26,150 --> 00:25:28,361
they believe who he is
when he plays a character,
441
00:25:28,444 --> 00:25:30,113
because he gets so much
into the character.
442
00:25:30,196 --> 00:25:35,243
And he, you know,
Denzel's totally dedicated to his work.
443
00:25:35,284 --> 00:25:36,702
You know, he likes his glass of wine.
444
00:25:36,786 --> 00:25:40,706
He doesn't have a glass of wine,
nothing, for the duration of the movie.
445
00:25:41,499 --> 00:25:44,752
You know,
Denzel's all about getting it right.
446
00:25:46,212 --> 00:25:50,508
But again, it's so... You know,
it's great, I love to educate myself.
447
00:25:53,469 --> 00:25:56,264
And I love to educate the audience
and entertain.
448
00:25:56,639 --> 00:25:59,142
BRUCKHEIMER: I think Tony and I,
there's a mutual respect.
449
00:25:59,183 --> 00:26:01,477
I think he's a brilliant director,
450
00:26:01,519 --> 00:26:04,439
so he's got total control of his set,
as he should,
451
00:26:04,814 --> 00:26:06,190
and the way he works with actors.
452
00:26:06,274 --> 00:26:08,901
And he's wonderful
developing the screenplays
453
00:26:08,985 --> 00:26:11,821
and working on the characters
to make them more in-depth,
454
00:26:11,904 --> 00:26:12,989
and give them layers,
455
00:26:13,030 --> 00:26:15,324
which he loves to do,
he involves the actors in that.
456
00:26:15,450 --> 00:26:17,994
You know, when you find a wonderful
director, you don't want to lose him.
457
00:26:18,035 --> 00:26:20,329
Unfortunately, you know, we can't
work on every film together,
458
00:26:23,666 --> 00:26:25,501
MARSILII: Here's Denny's intro
into the story,
459
00:26:25,543 --> 00:26:28,129
and one of the things
that I like about it is
460
00:26:29,130 --> 00:26:32,508
that his first lines in the movie
are about time.
461
00:26:35,178 --> 00:26:37,180
What his role is going to be
in the rest of the story.
462
00:26:37,263 --> 00:26:40,516
She washed up before the explosion
and against the tide.
463
00:26:41,017 --> 00:26:42,810
Do you have a scenario?
464
00:26:42,852 --> 00:26:44,479
We're into this hangar scene
465
00:26:44,520 --> 00:26:48,733
where Doug is going to lay out
his theory of what actually happened.
466
00:26:50,485 --> 00:26:54,530
So, he's joining
his federal employees who...
467
00:26:54,697 --> 00:26:56,073
A disaster that hadn't happened yet.
468
00:26:56,157 --> 00:26:59,368
...judging by some of the screensavers
in the background,
469
00:27:00,119 --> 00:27:05,374
they did not get the memo on sexual
harassment policy in the workplace.
470
00:27:06,125 --> 00:27:08,753
Good question. Her SUV is missing.
471
00:27:10,087 --> 00:27:11,547
W's atan and red...
472
00:27:11,589 --> 00:27:14,884
What Doug's laying out
for his superiors,
473
00:27:14,926 --> 00:27:17,470
is part of what's gonna get him the job.
474
00:27:18,262 --> 00:27:21,307
They'd originally been looking
for his partner Minuti.
475
00:27:22,225 --> 00:27:26,687
This is how
Claire's the key to the whole case.
476
00:27:26,729 --> 00:27:28,564
It was really kind of vital.
477
00:27:29,023 --> 00:27:33,444
What's important here, in terms of
keeping Claire a key to the case,
478
00:27:35,863 --> 00:27:38,699
is that the bomber
was in direct contact with her.
479
00:27:39,575 --> 00:27:42,245
There's a key line here where he says,
480
00:27:42,328 --> 00:27:44,539
"If we solve her murder,
we solve everybody's."
481
00:27:44,580 --> 00:27:46,582
-What?
-Larry Minuti, my partner.
482
00:27:46,749 --> 00:27:47,750
That's his car right there.
483
00:27:47,833 --> 00:27:50,753
The death of a partner
is one of those things that
484
00:27:50,836 --> 00:27:53,130
we had to be very
careful about, because
485
00:27:54,799 --> 00:27:57,134
� ,' 'u wu ,_ (-' 'w: ' '-. ,1' ' ,_ 'm ' \/' ' ' f' w'
, �. ' ' ' � � ' � Q ', .@' � � ' �' � .@ .@H � � .',' �
486
00:27:59,136 --> 00:28:01,681
And if it weren't going to pay off
in a surprising way later,
487
00:28:04,934 --> 00:28:08,229
But in our conversations
with Jerry Rudden,
488
00:28:09,814 --> 00:28:13,317
he laid it out for us, still,
that there's nothing more devastating
489
00:28:13,985 --> 00:28:15,861
for an investigator.
490
00:28:18,197 --> 00:28:19,991
MARSILII: Then,
to not only lose his partner,
491
00:28:20,074 --> 00:28:23,619
but to later discover that he
was responsible for the man's death.
492
00:28:23,661 --> 00:28:25,288
Sorry.
493
00:28:28,958 --> 00:28:33,963
Now, there are actually two ways
to interpret Minuti's car being there.
494
00:28:34,505 --> 00:28:39,302
One being, that it was at the ferry dock
because Minuti was on vacation
495
00:28:39,343 --> 00:28:41,345
and died in the ferry disaster,
496
00:28:42,179 --> 00:28:45,224
then Doug and the team
only change the way he dies.
497
00:28:45,725 --> 00:28:47,685
Or there's the darker interpretation
498
00:28:47,768 --> 00:28:51,147
that everything
was completely circular.
499
00:28:55,234 --> 00:28:56,861
All right. Let's go find him.
500
00:28:58,321 --> 00:29:00,197
This is another example of
501
00:29:00,281 --> 00:29:04,243
where Tony's visual sense
really informed the movie.
502
00:29:04,910 --> 00:29:10,958
As often as possible, Tony
chose to take these scenes that were,
503
00:29:11,000 --> 00:29:13,210
you know, originally office scenes,
indoor moments,
504
00:29:13,294 --> 00:29:16,130
and place them
in and around New Orleans.
505
00:29:21,135 --> 00:29:24,680
One of the benefits of having
great actors like Denzel and Val...
506
00:29:25,681 --> 00:29:30,227
Like, that moment just a moment ago
where he says, "Oklahoma City."
507
00:29:30,311 --> 00:29:32,355
And Doug says, "Yeah."
508
00:29:33,022 --> 00:29:36,317
As a writer, you can't just write
a two-line exchange like that
509
00:29:36,359 --> 00:29:38,778
and expect it to have any weight.
510
00:29:39,528 --> 00:29:43,074
You have to write out the whole story,
the whole thing.
511
00:29:43,157 --> 00:29:45,701
Give the man a moment
where he talks about
512
00:29:45,743 --> 00:29:47,787
what that experience was to him.
513
00:29:48,412 --> 00:29:51,123
And then you take it out,
and you've got brilliant guys like this
514
00:29:51,207 --> 00:29:52,875
and you shoot it.
515
00:29:53,751 --> 00:29:56,212
And the whole story is in their eyes.
516
00:29:57,505 --> 00:30:01,550
And all the rest of that dialogue
falls out of the movie.
517
00:30:03,636 --> 00:30:07,890
SCOTT: You look at Val in the
movie and I think he's a little different.
518
00:30:08,474 --> 00:30:09,725
Well, he's not a lot different...
519
00:30:09,809 --> 00:30:12,520
He's played character actors before,
but normally Val is a son' of...
520
00:30:12,561 --> 00:30:15,398
You know, the good-looking,
521
00:30:15,815 --> 00:30:18,109
you know, leading man,
but in this he...
522
00:30:18,192 --> 00:30:20,236
He very much wanted
to be in this movie,
523
00:30:20,277 --> 00:30:22,071
and so...
It's so hard with actors, saying,
524
00:30:22,113 --> 00:30:24,865
"I think you should out your hair off,
because I've got this feeling
525
00:30:24,907 --> 00:30:26,701
"you need this,
sort of, really bad haircut,
526
00:30:26,742 --> 00:30:29,078
"and you're gonna wear
this really crumpled suit."
527
00:30:29,120 --> 00:30:32,248
But the guys that we met
motivated the glasses that he wore,
528
00:30:32,331 --> 00:30:35,710
motivated the haircut that he had,
and the suit that he wore.
529
00:30:36,585 --> 00:30:40,256
MARSILII: Earlier, I had mentioned that
Terry's premise was intriguing.
530
00:30:43,175 --> 00:30:46,470
And one of the things that I'd done
at the time was I rented a car
531
00:30:46,554 --> 00:30:49,140
and drove out
to Brookhaven National Lab
532
00:30:49,223 --> 00:30:52,101
in order to see what these
particle accelerators were really like.
533
00:30:52,184 --> 00:30:55,938
And that huge cylindrical chamber
that you're seeing right there,
534
00:30:57,732 --> 00:31:00,776
the production team exactly duplicated
535
00:31:02,903 --> 00:31:07,158
a section of the ion collider
at the Brookhaven National Lab.
536
00:31:07,241 --> 00:31:09,201
T.
537
00:31:10,453 --> 00:31:13,789
And they are in a sound stage
in Downey, California.
538
00:31:20,880 --> 00:31:23,299
Everything in terms
of the main lab here.
539
00:31:23,966 --> 00:31:25,968
'V I 'I
540
00:31:27,762 --> 00:31:30,473
I shot that on Genesis.
All the windows,
541
00:31:30,514 --> 00:31:34,310
all the tiles surrounding that window
were shot on regular def.
542
00:31:34,393 --> 00:31:35,853
So the contrast and the separation,
543
00:31:35,936 --> 00:31:38,522
when you see the finished print,
is huge.
544
00:31:38,647 --> 00:31:41,692
So, the main window,
it hums and sings and stands out.
545
00:31:41,776 --> 00:31:46,822
It's very different from
the other smaller tiles.
546
00:31:47,531 --> 00:31:49,825
And then I shot all of the main lab
on Genesis
547
00:31:49,909 --> 00:31:52,411
because Genesis is a digital camera,
548
00:31:52,495 --> 00:31:55,706
but it's a state-of-the-art
in terms of the digital world.
549
00:31:55,790 --> 00:31:58,000
And everything feels
almost three-dimensional.
550
00:31:58,042 --> 00:31:59,627
It really does feel 3-D.
551
00:31:59,668 --> 00:32:03,589
So that helped, this technology
in this main lab.
552
00:32:03,672 --> 00:32:06,717
It helped this world having...
553
00:32:06,801 --> 00:32:10,846
Using, you know, high-def cameras.
554
00:32:10,930 --> 00:32:14,642
And I think that's gonna become the
way of the world, you know, high-def.
555
00:32:14,683 --> 00:32:17,394
But I've only been using it...
For instance, I shot all my night stuff,
556
00:32:17,478 --> 00:32:21,565
all the car chases at night
we shot just with existing light.
557
00:32:21,649 --> 00:32:23,984
And we shot,
obviously those selected locations
558
00:32:24,026 --> 00:32:29,073
and I shot in low level situations
in which it's at its true strength.
559
00:32:29,240 --> 00:32:31,867
And everything we did
in the "main lab" here, as we call it.
560
00:32:31,951 --> 00:32:36,872
But bright daylight exteriors,
they still haven't quite got it right.
561
00:32:36,914 --> 00:32:41,210
That contrast ratio is too much
for the digital world, still, to hold
562
00:32:41,252 --> 00:32:43,754
in a good and comfortable way.
563
00:32:44,880 --> 00:32:47,716
MARSILII: This cover story
that they lay out for Doug,
564
00:32:47,758 --> 00:32:50,010
about how this is spy satellite video,
565
00:32:50,052 --> 00:32:54,765
this was the most contentious part
of the movie as we were developing it.
566
00:32:55,349 --> 00:32:58,352
We spent months working this over.
567
00:32:59,728 --> 00:33:02,857
And Don Ferrarone,
one of our technical advisors,
568
00:33:02,898 --> 00:33:05,109
pointed out that
with top-secret technology like this,
569
00:33:05,192 --> 00:33:09,113
they would not be likely to tell Doug
what he was really seeing.
570
00:33:10,906 --> 00:33:13,409
So, the compromise position,
the sort of...
571
00:33:15,077 --> 00:33:18,122
Sort of fallback that we all ended up
settling on,
572
00:33:18,664 --> 00:33:22,710
was that they tell him
this is spy satellite video.
573
00:33:24,545 --> 00:33:28,424
And he's immediately skeptical of it,
but he goes along with it.
574
00:33:30,342 --> 00:33:33,804
If the audience sees
that Denzel's not quite buying it...
575
00:33:33,888 --> 00:33:36,056
Can't look back and see
if there was a second gunman.
576
00:33:39,310 --> 00:33:42,271
And they'll be patient,
because they know that eventually
577
00:33:42,354 --> 00:33:44,899
he's gonna get to the bottom
of what's really going on here
578
00:33:44,940 --> 00:33:46,775
and he's gonna blow it open for them.
579
00:33:46,817 --> 00:33:48,277
It's the when that's always constant.
580
00:33:48,319 --> 00:33:50,779
SCOTT: And then
we also had Adam Goldberg,
581
00:33:50,946 --> 00:33:56,744
and Adam, who's the whiz kid
behind the "main |ab" as we call it.
582
00:33:56,785 --> 00:34:01,290
And Adam's character's role-modeled
off a guy called Brian Greene.
583
00:34:01,332 --> 00:34:06,211
And so I gave Adam
a bunch of tapes on Brian,
584
00:34:06,295 --> 00:34:11,091
'cause Brian's a very busy guy, and
then got Adam on the phone with him.
585
00:34:11,133 --> 00:34:15,387
And also we got Brian Greene doing
a video tape demonstration
586
00:34:15,721 --> 00:34:18,641
of what he believed, you know,
the whole theory
587
00:34:18,682 --> 00:34:24,229
of this particular time travel that
we were trying to access in the movie,
588
00:34:24,438 --> 00:34:27,399
what he believed that to be,
and we videotaped him,
589
00:34:27,483 --> 00:34:29,652
'cause he'd done it
in Jerry's office with me.
590
00:34:29,735 --> 00:34:32,863
And then I gave that to Adam,
and Adam copied it.
591
00:34:33,822 --> 00:34:36,200
Adam Goldberg's the
funniest cat on two legs,
592
00:34:36,283 --> 00:34:38,202
but he's very smart, and he...
593
00:34:38,285 --> 00:34:42,081
And his delivery... And that stuff
was tough, 'cause it's a mouthful.
594
00:34:42,289 --> 00:34:45,292
And it's a tough one to sell
the general public on,
595
00:34:45,501 --> 00:34:47,753
who don't really know anything
about this world.
596
00:34:47,836 --> 00:34:51,507
But with Brian Greene's help
and Adam's delivery,
597
00:34:51,757 --> 00:34:53,968
he helped, made it understandable.
598
00:34:54,009 --> 00:34:57,471
Even if people, so far...
Even if the audience don't quite get it,
599
00:34:57,513 --> 00:34:59,556
they buy into it, and they run with it,
600
00:34:59,640 --> 00:35:02,476
which is... That was always my goal.
601
00:35:02,518 --> 00:35:05,854
All right, match the viewer settings
to the signal.
602
00:35:07,940 --> 00:35:11,485
The map, I think, was one of
my fights with the writers,
603
00:35:11,527 --> 00:35:16,156
in that they just wanted it like a pure,
one-shot surveillance camera,
604
00:35:16,198 --> 00:35:18,951
you know, from the corner of a room,
that didn't move, you know.
605
00:35:19,034 --> 00:35:23,163
But I took license,
so I built a joystick onto the desk
606
00:35:23,497 --> 00:35:27,918
where Gunnars has the ability
to zoom in and travel around,
607
00:35:28,210 --> 00:35:31,088
you know, which give it a whole
different life, which wasn't in the...
608
00:35:31,171 --> 00:35:32,923
That wasn't in the original script.
609
00:35:33,007 --> 00:35:37,177
And everybody was worried about
the fact that I was reaching too hard,
610
00:35:37,219 --> 00:35:40,556
and getting too hip,
and doing too many tricks, you know.
611
00:35:40,723 --> 00:35:43,350
Basically, we can walk through walls.
612
00:35:44,393 --> 00:35:46,729
MARSILII: When Doug looks at her
for the first time,
613
00:35:46,812 --> 00:35:48,814
and says, "Claire Kuchever,"
614
00:35:48,981 --> 00:35:52,776
is he just stating her name,
or is he having a d�j� vu moment?
615
00:35:53,235 --> 00:35:56,864
It's kind of interesting
the way that Denzel played that.
616
00:35:56,989 --> 00:35:59,033
SCOTT: This particular scene here
617
00:35:59,950 --> 00:36:02,786
was the first time
that Denzel actually sees Paula.
618
00:36:02,870 --> 00:36:05,372
You know, and that was for me...
I thought... I was really worried about
619
00:36:05,414 --> 00:36:07,916
trying to get that connection
between the two of them.
620
00:36:07,958 --> 00:36:12,129
But... And I did everything, I milked it,
I shot from behind the screen,
621
00:36:12,337 --> 00:36:16,508
you know, through Paula's image
onto Denzel, and vice versa.
622
00:36:17,134 --> 00:36:21,138
But... And I reconstructed that scene
a little bit, so she was left...
623
00:36:21,388 --> 00:36:24,183
You thought she was actually
looking out of the screen at Denzel.
624
00:36:24,266 --> 00:36:26,769
So, I restructured the timing
in the scene.
625
00:36:26,852 --> 00:36:29,646
And you're distracted,
you think she's looking at D,
626
00:36:29,730 --> 00:36:32,608
but in actual fact, she's listening
to her answering machine.
627
00:36:32,649 --> 00:36:35,444
MARSILII: One of the great things
about Tony Scott is that,
628
00:36:35,486 --> 00:36:39,448
typically in a movie like this,
where you've got characters
629
00:36:39,490 --> 00:36:42,785
that are going to staring at a screen
for some time,
630
00:36:43,035 --> 00:36:45,662
the way it's handled in production is,
631
00:36:46,789 --> 00:36:49,792
you stand the actors
in front of a green screen,
632
00:36:49,875 --> 00:36:52,336
they all stare at a big "X"
made of gaffer's tape and
633
00:36:52,419 --> 00:36:55,047
pretend to see something up there,
634
00:36:55,130 --> 00:36:58,342
while somebody else reads
the dialogue off-screen.
635
00:36:58,592 --> 00:37:02,805
And you can burn through pages a day
that way, if that's what you care about,
636
00:37:02,846 --> 00:37:06,475
you know, shooting Denzel
as he falls in love with a big
637
00:37:06,558 --> 00:37:09,686
But Tony chose instead
638
00:37:09,770 --> 00:37:13,148
to shoot all of these
time window scenes last.
639
00:37:13,857 --> 00:37:17,820
First, he shot everything that was
going to be seen in the window,
640
00:37:17,861 --> 00:37:19,696
I:
641
00:37:19,780 --> 00:37:21,740
Then he shut down
physical production of the movie,
642
00:37:21,824 --> 00:37:23,033
for, I think, about a week,
643
00:37:23,117 --> 00:37:26,078
maybe 10 days, to cut all of it together.
644
00:37:26,954 --> 00:37:30,165
Then when the shooting resumed,
with these scenes,
645
00:37:30,249 --> 00:37:32,876
the actors didn't have
to fake everything.
646
00:37:32,960 --> 00:37:34,711
SCOTT: I shot for 14 weeks,
647
00:37:35,629 --> 00:37:37,381
and I shot everything which was...
648
00:37:37,464 --> 00:37:40,050
For instance, Paula going
into that time window.
649
00:37:40,134 --> 00:37:43,762
I then had to put it
into one piece of film
650
00:37:43,846 --> 00:37:45,556
that would serve as every scene,
651
00:37:45,639 --> 00:37:48,475
so I had to get the actors to
sign off to play to that.
652
00:37:48,684 --> 00:37:52,187
They were dictated to by this window,
and actors don't like that.
653
00:37:52,229 --> 00:37:55,774
You know, especially
at 6:00 on a Monday morning,
654
00:37:56,024 --> 00:37:57,526
saying to Denzel, "Well, this is...
655
00:37:57,568 --> 00:38:01,029
"You've gotta play to this
timing in this scene."
656
00:38:01,071 --> 00:38:03,740
But in the end, the guys got into it,
657
00:38:03,824 --> 00:38:06,076
'cause that's the way it was scripted,
658
00:38:06,160 --> 00:38:09,454
and we could do some little changes
and stuff but it was pretty tied down,
659
00:38:09,538 --> 00:38:13,000
in terms of, they had to perform
and act to the window.
660
00:38:13,792 --> 00:38:17,379
MARSILII: Everything on the screen in
the time window that they're looking at,
661
00:38:17,462 --> 00:38:20,507
is being projected onto
the set in real time.
662
00:38:20,674 --> 00:38:25,053
The actors are reacting to the same
visuals that the audience is seeing.
663
00:38:25,137 --> 00:38:28,182
And personally, as a movie fan,
664
00:38:28,223 --> 00:38:31,351
I really like that we went
old-school like that.
665
00:38:32,603 --> 00:38:35,856
Most of the fantastic images
in the film are real,
666
00:38:35,898 --> 00:38:38,233
they're not CG or green screen.
667
00:38:39,318 --> 00:38:41,570
It was a real boat that blew up,
668
00:38:41,612 --> 00:38:44,406
real water, real fire,
the stunts were real.
669
00:38:45,824 --> 00:38:49,036
It would have been cheaper
to do it the other way,
670
00:38:49,077 --> 00:38:51,079
but I really think
we have a richer movie for this.
671
00:38:51,163 --> 00:38:52,414
No, do not give him my number.
672
00:38:52,497 --> 00:38:56,710
SCOTT: I say, one of the challenges
with 40 minutes in an enclosed space...
673
00:38:58,378 --> 00:39:01,256
You know, but it's a very colorful
space, you know, in terms of
674
00:39:01,298 --> 00:39:03,675
all this information, all these windows.
675
00:39:03,759 --> 00:39:05,385
It's a great space.
676
00:39:05,427 --> 00:39:07,721
But it was a very similar challenge
on Crimson Tide,
677
00:39:07,763 --> 00:39:11,266
'cause that was this claustrophobic
submarine environment.
678
00:39:11,308 --> 00:39:13,936
But this had a little more going for me,
679
00:39:14,227 --> 00:39:17,272
in terms of I could use that third
character, which was the window,
680
00:39:23,320 --> 00:39:27,950
And then Paula, Paula Patton, this is...
Paula had done two movies.
681
00:39:28,075 --> 00:39:30,410
She'd done...
She had a very small part in Hitch,
682
00:39:30,452 --> 00:39:31,954
where she looks stunning,
683
00:39:32,037 --> 00:39:34,581
and she just finished a movie
called ldlewild.
684
00:39:34,915 --> 00:39:39,252
But this kid is beautiful, she's honest,
685
00:39:40,796 --> 00:39:43,632
and I think
the right word is "ingenuous, "
686
00:39:43,715 --> 00:39:46,635
'cause you... She just soaks you up.
You're engaged by her.
687
00:39:46,718 --> 00:39:50,055
And so... But she's relatively new
in terms of her acting career.
688
00:39:50,138 --> 00:39:54,142
But she's got great instincts.
But most of all, you adore her,
689
00:39:54,309 --> 00:39:56,478
which was perfect for this role,
690
00:39:56,520 --> 00:40:00,524
'cause it's very hard to find someone
who has the right qualities
691
00:40:01,024 --> 00:40:03,360
for a voyeuristic relationship.
692
00:40:03,443 --> 00:40:06,113
You know, for the... If there'd been
something a little more sexual...
693
00:40:06,154 --> 00:40:07,739
Paula is sexy, but...
694
00:40:07,823 --> 00:40:10,283
But as, I mean, something
little off sexual-wise...
695
00:40:10,325 --> 00:40:13,829
Or Denzel had played it a little off,
696
00:40:13,870 --> 00:40:16,415
it could have become,
I said, voyeuristic
697
00:40:16,498 --> 00:40:18,834
and sort of a little nasty.
698
00:40:18,917 --> 00:40:21,837
But then, D was absolutely...
Denzel was...
699
00:40:21,962 --> 00:40:25,173
He said, "This girl is so stunning,
she's so beautiful,
700
00:40:26,883 --> 00:40:30,095
He said, "And that's in the best
and strongest possible way,"
701
00:40:30,178 --> 00:40:32,347
and that was great for the character.
702
00:40:32,389 --> 00:40:34,349
BRUCKHEIMER: No, we never made
a decision to cast an unknown.
703
00:40:34,391 --> 00:40:35,684
I think we just wanted
to get the best actress
704
00:40:35,767 --> 00:40:36,935
we could find who fit the part.
705
00:40:37,019 --> 00:40:38,061
It's a very difficult part
706
00:40:38,145 --> 00:40:39,604
because you have to fall in love
with this woman
707
00:40:39,688 --> 00:40:40,772
without her really saying much,
708
00:40:40,856 --> 00:40:43,275
or having any interaction
with the lead characters
709
00:40:43,358 --> 00:40:45,986
until halfway or three quarters
of the way through the movie.
710
00:40:46,028 --> 00:40:48,155
And that's a very difficult role to play.
711
00:40:48,196 --> 00:40:49,990
So, we had to, you know,
photograph her
712
00:40:50,032 --> 00:40:52,159
in such a way that she is sympathetic,
713
00:40:52,200 --> 00:40:55,454
endearing, engaging.
And that's what Tony did.
714
00:40:55,871 --> 00:41:00,542
And Paula has just this
enthusiasm and energy,
715
00:41:00,709 --> 00:41:02,669
and she's very uplifting.
716
00:41:02,711 --> 00:41:04,838
She's the kind of person
that you wanna have around you,
717
00:41:04,880 --> 00:41:06,381
because, you know, she's always got
718
00:41:06,423 --> 00:41:09,009
a wonderful smile on her face
and a great laugh,
719
00:41:09,051 --> 00:41:10,677
and she's always looking
at the brighter side of things,
720
00:41:10,719 --> 00:41:12,637
which is what you want.
721
00:41:13,722 --> 00:41:18,393
MARSILII: Again, one of the wonderful
virtues of Terry's original concept,
722
00:41:19,603 --> 00:41:21,354
there are scenes like this,
723
00:41:21,396 --> 00:41:24,566
that you really can't do
in any other kind of story.
724
00:41:26,693 --> 00:41:29,696
You've got a man reading
this woman's journal,
725
00:41:30,280 --> 00:41:34,159
and then watching her record
the very same thing he's reading,
726
00:41:35,744 --> 00:41:40,332
and she's so spooked by
what she's starting to sense.
727
00:41:41,708 --> 00:41:45,253
It's his first clue that they might be
affecting the past somehow.
728
00:41:47,005 --> 00:41:51,093
One of the wonderful things
that Paula brought to the role...
729
00:41:51,635 --> 00:41:53,595
God, thank you for blessing me
with this food...
730
00:41:53,678 --> 00:41:57,808
Our first meeting with her, she wanted
to talk about her character a bit.
731
00:41:57,891 --> 00:42:00,936
And we'd never met,
although we became fast friends
732
00:42:01,019 --> 00:42:05,107
because it was her first
really big break and mine, too.
733
00:42:05,941 --> 00:42:09,277
Of all the things she could've
latched on to about Claire's character,
734
00:42:09,361 --> 00:42:12,614
she wanted to talk about
Claire's spirituality.
735
00:42:14,491 --> 00:42:17,494
There are touches of it still in the film,
736
00:42:19,204 --> 00:42:24,126
where she had suggested that
her mother had passed away
737
00:42:24,167 --> 00:42:26,878
not long before the movie takes place.
738
00:42:26,962 --> 00:42:30,882
And that she was a bit spiritually adrift.
She still wanted to believe in God,
739
00:42:31,591 --> 00:42:34,636
but she couldn't imagine herself
going to church again.
740
00:42:35,846 --> 00:42:40,725
And her father asks her to come to
church with her the following Sunday,
741
00:42:40,809 --> 00:42:44,479
that Baptist revival meeting
that's on her refrigerator.
742
00:42:45,105 --> 00:42:48,984
That ft yer is actually an invitation
from Claire's father.
743
00:42:50,318 --> 00:42:54,531
And Claire dies
before she has a chance to go.
744
00:42:55,407 --> 00:42:57,325
These were all suggestions
that Paula had made
745
00:42:57,367 --> 00:42:58,827
and I thought they were lovely.
746
00:42:58,910 --> 00:43:01,079
Everything God has done
will remain forever.
747
00:43:01,163 --> 00:43:04,291
SCOTT: This particular scene here is
the oldest graveyard in New Orleans,
748
00:43:04,332 --> 00:43:07,544
and all the graveyards in New Orleans
are actually below sea-level.
749
00:43:07,627 --> 00:43:12,841
So when they get flooded
all the bodies float to the top.
750
00:43:13,049 --> 00:43:15,844
The city's so unlike America.
751
00:43:16,761 --> 00:43:22,475
It is, 'cause it's so much more
European in terms of flavor and look.
752
00:43:23,602 --> 00:43:24,728
BRUCKHEIMER: Well,
we looked at Seattle.
753
00:43:24,811 --> 00:43:26,646
We needed a ferry
and Seattle had a ferry.
754
00:43:26,688 --> 00:43:29,524
Also on the East Coast.
We could've gone to the East Coast,
755
00:43:29,566 --> 00:43:31,860
but Tony loved
the quality of New Orleans.
756
00:43:31,902 --> 00:43:34,154
And after Katrina hit,
we were supposed to start in October,
757
00:43:34,196 --> 00:43:37,699
of course we couldn't,
because the city was devastated.
758
00:43:38,283 --> 00:43:41,328
But Denzel felt that the people in
New Orleans needed a shot in the arm
759
00:43:41,369 --> 00:43:44,706
and he gave up quite a bit of money
to delay the movie
760
00:43:44,748 --> 00:43:47,000
and to begin shooting
in February there.
761
00:43:48,877 --> 00:43:53,465
MARSILII: Throughout the movie we
wanted our villain and the investigators
762
00:43:53,548 --> 00:43:56,009
to really be as smart as possible.
763
00:43:57,010 --> 00:43:59,763
Terry came up with this bit
about the limo drivers.
764
00:43:59,846 --> 00:44:01,890
I thought it was a great way
to have the bomber be there
765
00:44:01,932 --> 00:44:05,769
without the audience wondering why
they didn't catch on or pick him up.
766
00:44:06,895 --> 00:44:10,232
One of the things
we learned in our research was that
767
00:44:11,233 --> 00:44:15,070
investigators will scope out a funeral
to see if the killer showed up
768
00:44:15,153 --> 00:44:16,821
in order to gloat.
769
00:44:17,572 --> 00:44:19,532
Or in Oerstadt's case
he's actually showing up
770
00:44:19,574 --> 00:44:21,743
because he wants to see
whether or not they're onto him.
771
00:44:21,826 --> 00:44:24,913
Whether or not they realize that
Claire's the key to the whole thing.
772
00:44:25,622 --> 00:44:28,792
And once Oerstadt sees that
he knows it's time to start running.
773
00:44:33,088 --> 00:44:35,131
They got good food there.
774
00:44:36,424 --> 00:44:37,592
(I " " ' (I " \' ' 'I Q "
775
00:44:37,842 --> 00:44:41,596
SCOTT: In a similar way, but that was
10 years ago, Enemy of the State...
776
00:44:41,638 --> 00:44:45,100
Now, I went and did my homework
on all those techno-nerds
777
00:44:47,143 --> 00:44:49,813
And Enemy of the State
was a homage to The Conversation,
778
00:44:51,398 --> 00:44:54,276
But I will say I updated it.
779
00:44:54,317 --> 00:44:59,030
All the kids in that surveillance-techno
world which is the NSA world,
780
00:44:59,614 --> 00:45:02,742
were taken from me during
my research going to NSA
781
00:45:02,784 --> 00:45:04,953
and looking at the kids who actually...
782
00:45:05,036 --> 00:45:07,497
You know, and at the CIA watching
all these kids walking around
783
00:45:07,580 --> 00:45:10,917
in bell-bottomed jeans,
and carrying computers, and long hair.
784
00:45:10,959 --> 00:45:13,586
You know,
gone were the days of the suits.
785
00:45:13,628 --> 00:45:18,466
And the same with Brian Greene
and Elden Henson
786
00:45:18,550 --> 00:45:21,136
and Shanti, Erika.
787
00:45:21,970 --> 00:45:26,266
I got all those ideas for my cast
from meeting the real guys
788
00:45:26,308 --> 00:45:28,768
and seeing documentaries about
those guys in white,
789
00:45:28,810 --> 00:45:31,646
and they're all
wannabe rock 'n' rollers.
790
00:45:31,688 --> 00:45:34,649
MARSILII: One of the things that
Terry in particular was adamant about,
791
00:45:34,774 --> 00:45:36,151
that with all these investigators
792
00:45:36,234 --> 00:45:38,486
and all this conventional
evidence recovery going on,
793
00:45:38,570 --> 00:45:41,990
we really had to be sure
that the crime was still unsolvable
794
00:45:44,326 --> 00:45:46,536
This scene where we got the ability
795
00:45:46,619 --> 00:45:49,581
to listen in on a conversation
that took place four days ago
796
00:45:51,833 --> 00:45:56,129
That was a great way to demonstrate
how important this technology is.
797
00:45:56,671 --> 00:46:01,009
It's also interesting that Doug
immediately picks up,
798
00:46:01,092 --> 00:46:04,679
the moment he hears this man's voice,
that that's the guy.
799
00:46:09,184 --> 00:46:11,519
Now, it's subtle,
but throughout this scene
800
00:46:11,603 --> 00:46:14,689
you can hear Oerstadt later telling her,
801
00:46:14,856 --> 00:46:18,360
telling Claire that there's another car
that he's also got his eye on,
802
00:46:18,401 --> 00:46:21,446
and if it doesn't work
he'll get back to her.
803
00:46:21,863 --> 00:46:25,200
This is kind of a classic example of
one of those story choices
804
00:46:25,241 --> 00:46:28,036
that only happens
after you let the idea
805
00:46:28,119 --> 00:46:30,538
marinate in your brain for a little while.
806
00:46:30,997 --> 00:46:34,376
When I was first outlining the story
I knew that I wanted a paradox
807
00:46:34,459 --> 00:46:37,545
where Doug is responsible
for his partner's death.
808
00:46:37,629 --> 00:46:40,256
But it was months into the process
when I thought,
809
00:46:40,340 --> 00:46:45,303
"Hey, wait a minute. What if
it turns out they also got Claire killed?"
810
00:46:47,389 --> 00:46:49,307
It had to be subtle,
811
00:46:49,391 --> 00:46:55,563
because we don't want Doug to seem
negligent for missing it.
812
00:46:58,608 --> 00:47:00,819
But it's right there in plain sight.
813
00:47:00,902 --> 00:47:04,739
The killer would have left her alone
if Doug and the team hadn't interfered.
814
00:47:05,824 --> 00:47:08,785
Which is just one paradox
on top of another.
815
00:47:08,910 --> 00:47:11,037
Behind the guy on the left.
816
00:47:12,247 --> 00:47:17,836
One of things that Tony and Jerry
were particularly strong on
817
00:47:20,922 --> 00:47:24,926
The time-window is a tool
that they're using and it's vital,
818
00:47:24,968 --> 00:47:27,178
but it's only one part of the arsenal.
819
00:47:28,805 --> 00:47:33,977
And it's kind of fun to watch them use
conventional surveillance technology,
820
00:47:34,060 --> 00:47:37,021
face-recognition software,
everything they can
821
00:47:37,105 --> 00:47:39,107
in order to get to the bottom of this.
822
00:47:39,649 --> 00:47:42,527
Because the time window
is being surrounded
823
00:47:42,694 --> 00:47:45,488
by so much other technology that is
824
00:47:46,448 --> 00:47:49,451
real, that is currently being used,
825
00:47:50,326 --> 00:47:55,290
it adds a layer of authenticity
to this, that
826
00:47:55,999 --> 00:47:58,126
I give Tony full credit for.
827
00:47:59,627 --> 00:48:04,090
Now, they're about to find
a piece of video
828
00:48:08,470 --> 00:48:09,721
Directly to the bombing,
829
00:48:09,804 --> 00:48:13,099
where they've got just a glimpse
of him at the dock.
830
00:48:16,102 --> 00:48:19,147
And it's vital. It's only a glimpse of him,
831
00:48:19,230 --> 00:48:22,484
but it gives us a vital piece
of information that Doug can use later
832
00:48:22,525 --> 00:48:25,236
when he wants to send a warning
back to himself.
833
00:48:25,320 --> 00:48:27,322
It wouldn't be enough
just to send a note back
834
00:48:27,405 --> 00:48:28,907
that says the ferry's gonna blow up,
835
00:48:28,990 --> 00:48:32,535
because that wouldn't help anybody
catch the guy who did it.
836
00:48:33,495 --> 00:48:36,581
Oerstadt could just abort the mission
and go blow up something else,
837
00:48:36,664 --> 00:48:38,500
something even bigger.
838
00:48:38,833 --> 00:48:41,169
We needed to have Doug see him
doing something
839
00:48:41,211 --> 00:48:43,171
that could get him arrested.
840
00:48:43,296 --> 00:48:47,425
And videotaping a secure area
at 4:00 in the morning worked for us.
841
00:48:47,926 --> 00:48:49,636
BRUCKHEIMER: Well, when we used
Val for Top Gun,
842
00:48:49,677 --> 00:48:51,638
he was, you know, a young,
up-and-coming actor,
843
00:48:51,971 --> 00:48:54,891
and on his way to Hollywood, I think
he was in New York at the time,
844
00:48:54,974 --> 00:48:57,644
and he was in a play at that time,
845
00:48:57,685 --> 00:49:00,188
and we saw what a
gifted young man he was
846
00:49:00,230 --> 00:49:04,317
and put him in a leading role,
which turned out to be a big movie,
847
00:49:04,359 --> 00:49:06,444
we didn't know when we were
making it we were making a big movie,
848
00:49:06,528 --> 00:49:07,862
we just thought we were making,
849
00:49:07,904 --> 00:49:11,699
you know, a very effective movie,
but the audiences agreed with us.
850
00:49:11,741 --> 00:49:14,077
It became a movie that's still,
you know, being played today
851
00:49:14,160 --> 00:49:16,538
on DVD players around the world.
852
00:49:16,871 --> 00:49:20,166
And, you know, it's always great
when you see actors spar
853
00:49:20,208 --> 00:49:24,128
and, you know, have to work in
front of a camera, and you get the...
854
00:49:24,212 --> 00:49:26,422
I guess, the opportunity
to watch them do it
855
00:49:26,506 --> 00:49:28,508
and be a fly on the wall.
856
00:49:28,550 --> 00:49:30,260
And they're both really professional,
857
00:49:30,343 --> 00:49:31,970
and know their lines,
and are ready to go to work,
858
00:49:32,053 --> 00:49:34,305
and have a good time doing it.
859
00:49:35,306 --> 00:49:37,225
So, Val...
Coming back together with Val,
860
00:49:37,308 --> 00:49:39,143
I've stayed in touch with him
through the years,
861
00:49:39,227 --> 00:49:42,188
and finally found something
that he would do with us,
862
00:49:43,606 --> 00:49:45,316
And also, you know, Val...
863
00:49:45,400 --> 00:49:48,695
Actors love to take on challenges
of playing different types of characters.
864
00:49:48,736 --> 00:49:51,864
And the fact that he got the opportunity
to play somebody who's very smart,
865
00:49:51,906 --> 00:49:55,410
you know, I guess he felt
that was something he could do.
866
00:49:56,411 --> 00:49:58,454
SCOTT: You know, I'm always
criticized for my visual style,
867
00:49:58,538 --> 00:50:01,583
'cause they always think
it's style over content.
868
00:50:01,916 --> 00:50:04,085
So, Ridley and me, and everybody that
869
00:50:04,127 --> 00:50:06,504
comes out of commercials,
are always criticized.
870
00:50:06,588 --> 00:50:07,755
I mean, me more than anybody,
871
00:50:07,839 --> 00:50:11,217
'cause I think I always
reach harder and farther,
872
00:50:11,259 --> 00:50:13,636
in trying to try different things.
873
00:50:13,720 --> 00:50:17,348
But style for me is always dictated to
by the material,
874
00:50:17,932 --> 00:50:20,893
and by the world I'm trying to get into.
875
00:50:21,436 --> 00:50:23,771
And you know, this movie...
876
00:50:24,981 --> 00:50:27,775
Felt it needed a different touch,
a different feel,
877
00:50:31,112 --> 00:50:33,114
And, as I say, the center of the movie
is a love story.
878
00:50:33,156 --> 00:50:34,657
So, I always look for the center,
879
00:50:34,741 --> 00:50:39,412
and I look for the world of the ATF,
and I look for Jerry Rudden's world.
880
00:50:39,746 --> 00:50:42,749
And somehow, I felt
it needs to be simpler
881
00:50:42,957 --> 00:50:47,378
and slower, and...
But still rich in terms of look.
882
00:50:48,004 --> 00:50:50,757
So, what we did, we did what
are called cross-process,
883
00:50:50,798 --> 00:50:54,177
which heightens the contrast,
884
00:50:54,594 --> 00:50:58,222
and just makes everything that little...
A little richer.
885
00:51:00,308 --> 00:51:03,936
And we varied the amounts
of cross-process depending on
886
00:51:04,354 --> 00:51:05,605
what sequences we were shooting,
887
00:51:05,647 --> 00:51:07,482
where we were shooting,
and how we were shooting it.
888
00:51:07,523 --> 00:51:10,693
But it just makes the film...
The blacks that much richer,
889
00:51:12,320 --> 00:51:13,655
And you're still getting...
890
00:51:13,696 --> 00:51:15,406
It's a little dangerous,
'cause your mid-tones can...
891
00:51:15,490 --> 00:51:18,701
You can lose them altogether,
and we get so contrasty.
892
00:51:18,785 --> 00:51:21,829
But I just thought, it really is
such a high-tech film,
893
00:51:22,038 --> 00:51:25,375
and I wanted that sort of...
This brightness and hardness.
894
00:51:25,458 --> 00:51:28,127
It just felt like that was right
for this material.
895
00:51:28,169 --> 00:51:30,004
BRUCKHEIMER: You know, for us,
we love verisimilitude,
896
00:51:30,088 --> 00:51:33,675
so we always bring experts
into the projects we work on,
897
00:51:33,758 --> 00:51:36,219
so we can learn, and also, the
audience can learn at the same time.
898
00:51:36,302 --> 00:51:39,347
We try to give it
some sense of authenticity.
899
00:51:39,764 --> 00:51:43,685
And Brian Greene is a physicist
and an author,
900
00:51:43,935 --> 00:51:46,187
and understands a lot of things
that we don't understand,
901
00:51:46,229 --> 00:51:48,439
and enlightened us on string theory,
902
00:51:51,693 --> 00:51:53,653
So, we got educated,
and so did our writers,
903
00:51:53,695 --> 00:51:57,281
and so did Tony, and so we
incorporated it into the screenplay.
904
00:51:57,365 --> 00:52:00,410
MARSILII: Tony wanted to adhere to
science fact.
905
00:52:02,995 --> 00:52:06,582
He didn't want to make a "woo-woo
science fiction movie," as he calls it.
906
00:52:07,208 --> 00:52:09,460
In fact, when we first talked to him,
he wanted to cut
907
00:52:09,544 --> 00:52:11,462
the time-window completely,
and replace it
908
00:52:11,546 --> 00:52:13,965
with conventional spy satellites.
909
00:52:15,383 --> 00:52:18,678
The idea being that the data would
take four days to download,
910
00:52:18,720 --> 00:52:21,264
much as it's being described here.
911
00:52:21,681 --> 00:52:23,307
Then, much later in the story,
912
00:52:23,391 --> 00:52:25,435
when it was time for Doug
to go back in time,
913
00:52:25,518 --> 00:52:29,021
they'd reveal a completely different
device that they had.
914
00:52:29,355 --> 00:52:32,191
SCOTT: There was a lot
of pull and push between...
915
00:52:32,233 --> 00:52:34,736
Between myself and the writers
916
00:52:34,819 --> 00:52:38,698
was the science fact
versus science fiction, you know.
917
00:52:38,823 --> 00:52:42,160
And for me, this movie was
the science of surveillance
918
00:52:42,285 --> 00:52:44,412
that segues into time travel.
919
00:52:44,954 --> 00:52:48,249
And, really, that was the one-liner
I could give on the movie.
920
00:52:48,583 --> 00:52:50,042
And it's...
921
00:52:50,251 --> 00:52:53,921
And my battles were those,
trying to get the guys to say,
922
00:52:53,963 --> 00:52:57,759
"Listen, I'm really worried
about it being science fiction."
923
00:52:58,593 --> 00:53:01,179
MARSILII: The explanations that follow
924
00:53:01,888 --> 00:53:07,935
were the source of endless, endless
developmental wrestling, arguments.
925
00:53:15,109 --> 00:53:19,739
Scientific exposition, in general,
is tough to put across on-screen,
926
00:53:20,573 --> 00:53:22,784
but especially here,
if we weren't careful,
927
00:53:24,494 --> 00:53:26,162
There's nothing worse
than having somebody
928
00:53:26,245 --> 00:53:30,208
meticulously explain something
that you don't really care to know.
929
00:53:32,877 --> 00:53:35,505
On the other hand,
Tony and Jerry clearly had a point.
930
00:53:35,588 --> 00:53:38,883
Something as fantastical
as this time window,
931
00:53:39,342 --> 00:53:41,302
really demands an explanation,
932
00:53:41,886 --> 00:53:44,472
and Doug would demand
an explanation.
933
00:53:45,139 --> 00:53:48,059
Especially in a movie where
everything else is as real
934
00:53:48,643 --> 00:53:50,686
as the technology here.
935
00:53:52,313 --> 00:53:55,441
So Terry and I took two tacks
in order to make this work.
936
00:53:56,317 --> 00:53:57,318
For one,
937
00:53:58,152 --> 00:54:02,240
we put some of the arguments that
we were having behind the scenes,
938
00:54:02,323 --> 00:54:04,325
on-screen, into the movie.
939
00:54:05,326 --> 00:54:09,455
It is frustrating to try to explain this,
it's frustrating to try to understand it,
940
00:54:09,997 --> 00:54:14,210
the answers inevitably involve
all kinds of high-end physics stuff,
941
00:54:14,794 --> 00:54:17,922
so we chose to let Doug be frustrated.
942
00:54:19,173 --> 00:54:23,135
Let Denny have a hard time
explaining it.
943
00:54:23,970 --> 00:54:26,806
Let them, you know, fall back
on the same sales pitch
944
00:54:26,848 --> 00:54:31,060
they used at the grant committee
to get the funding for this thing.
945
00:54:31,477 --> 00:54:33,813
And sometimes, that's really
the best way through a problem
946
00:54:33,855 --> 00:54:36,190
when you're working on a story.
947
00:54:36,315 --> 00:54:39,735
The fact that we were having so much
conflict behind the scenes on this
948
00:54:39,819 --> 00:54:42,029
ended up enhancing the scene.
949
00:54:42,488 --> 00:54:44,198
-If we keep the mass low...
-No!
950
00:54:44,240 --> 00:54:46,117
And the second thing we decided,
951
00:54:47,243 --> 00:54:49,954
the second thing we did,
was to use humor.
952
00:54:50,663 --> 00:54:54,250
I had been living in New York,
with my then-pregnant wife,
953
00:54:55,293 --> 00:54:58,004
when that massive
four-day blackout hit,
954
00:54:58,796 --> 00:55:01,883
that took out half
the Eastern Seaboard.
955
00:55:02,425 --> 00:55:04,594
It was sweltering, and it was horrible,
956
00:55:05,845 --> 00:55:08,389
but it came back to me later,
when we were
957
00:55:08,848 --> 00:55:10,892
in Jerry's office,
talking with Dr. Greene
958
00:55:10,975 --> 00:55:14,145
about how much power
it would take to bend time.
959
00:55:14,562 --> 00:55:17,857
And I thought it was a fun way
to make this even more plausible.
960
00:55:19,734 --> 00:55:21,736
BRUCKHEIMER: I think
the hardest part in a movie like this
961
00:55:21,903 --> 00:55:23,905
is to make the audience believe
what's actually happening,
962
00:55:23,988 --> 00:55:28,075
and create a scenario
that they can live with, understand.
963
00:55:28,117 --> 00:55:30,661
And that's the problem
with pictures like this,
964
00:55:30,745 --> 00:55:32,246
unless they're totally science fiction,
965
00:55:32,288 --> 00:55:34,415
and we wanted to do more
science fact than science fiction.
966
00:55:34,707 --> 00:55:36,375
So, by bringing in the experts
that we brought in,
967
00:55:37,001 --> 00:55:40,087
they helped me understand,
which helped us, in turn,
968
00:55:40,421 --> 00:55:43,257
make the writers understand,
and, hopefully, in turn,
969
00:55:43,341 --> 00:55:46,260
making the audience understand
what's going on.
970
00:55:47,929 --> 00:55:50,014
SCOTT: We shot an additional scene,
971
00:55:50,097 --> 00:55:53,559
and the additional scene
was to help clarify
972
00:55:53,893 --> 00:55:56,270
you know,
why Denzel's character comes...
973
00:55:56,604 --> 00:55:58,064
SCOTT: When he gets back at the end,
974
00:55:58,105 --> 00:56:01,275
you know, and how he gets back
at the end, there were two theories,
975
00:56:01,359 --> 00:56:03,778
and both theories were supported
by Brian Greene.
976
00:56:03,861 --> 00:56:05,738
4 /'\�\'/\\ ;';I;\\//j//;\\~ ;';';\\\�:Z/L 'LXI zfigsLiii 'Li'. I?!' ""1; ;;;_,'zi.': L�! 33:::::__-'_I"y::" ~;t::;;:�;{:::: 'If?!' 'iifigi�fxi I: Fig'
977
00:56:05,780 --> 00:56:09,951
But there's a theory of parallel
universes at any one moment in time.
978
00:56:10,034 --> 00:56:14,121
There's another universe where you're
sitting talking to another Tony Scott.
979
00:56:14,163 --> 00:56:17,750
Yeah. Or the other one is split
the universe, diverse universes.
980
00:56:17,792 --> 00:56:22,630
And Brian said both are,
you know, pretty valid theories,
981
00:56:22,672 --> 00:56:24,799
if there ever is gonna be such a thing
as time travel.
982
00:56:24,840 --> 00:56:27,802
He said, "Take whichever one
you wanna go for."
983
00:56:27,843 --> 00:56:33,015
And Brian, he saw the final movie
and he said, "Damn, you sold me,"
984
00:56:33,099 --> 00:56:37,019
which is good, which is the biggest
pat on the back I could get.
985
00:56:38,938 --> 00:56:40,398
. ' '. � 'W. m
986
00:56:40,481 --> 00:56:42,316
MARSILII:
It was important here, though,
987
00:56:42,358 --> 00:56:44,318
to establish some scientific theory
988
00:56:44,402 --> 00:56:47,238
that at least allowed for the possibility.
989
00:56:48,406 --> 00:56:49,532
Denny's telling the truth.
990
00:56:49,615 --> 00:56:53,661
This is not the prevailing,
accepted theory,
991
00:56:53,744 --> 00:56:56,205
the "branching universe theory,"
as we call it,
992
00:56:56,330 --> 00:56:58,708
but some do believe that it's possible.
993
00:56:59,542 --> 00:57:01,252
It was important for Doug to have that
994
00:57:01,335 --> 00:57:05,506
so that he didn't just seem to be
committing suicide later in the film.
995
00:57:10,511 --> 00:57:14,181
It's not quite clear perhaps,
from the geography of the movie,
996
00:57:14,265 --> 00:57:17,435
but this time displacement chamber
where they're putting the note,
997
00:57:17,518 --> 00:57:19,770
and where later Doug himself will go,
998
00:57:19,854 --> 00:57:23,858
this chamber is directly behind
the screen that they're watching.
999
00:57:25,067 --> 00:57:29,822
That is how Doug's able to shine
a laser light straight through it
1000
00:57:30,698 --> 00:57:32,742
and into the past itself.
1001
00:57:33,743 --> 00:57:34,827
SHANTI: We're ready.
1002
00:57:35,494 --> 00:57:39,832
It's kind of interesting because,
considering the end of the film,
1003
00:57:40,207 --> 00:57:44,295
when we're going to have the
four-day-old version of Doug show up,
1004
00:57:45,755 --> 00:57:49,341
having never met Claire,
but finding her strangely familiar,
1005
00:57:50,634 --> 00:57:54,388
like so much else in the film,
we were able to hide it in plain sight.
1006
00:57:55,431 --> 00:57:58,476
The other Doug is there
on the screen, in the time window.
1007
00:57:58,559 --> 00:58:00,853
They're watching him right now.
1008
00:58:01,145 --> 00:58:06,650
But we still manage to forget about it,
if the movie's been pulled off correctly.
1009
00:58:07,318 --> 00:58:11,030
If we got away with it,
the audience has forgotten he's there,
1010
00:58:12,073 --> 00:58:16,118
off back in his own house,
living the rest of his life that night,
1011
00:58:16,994 --> 00:58:19,705
while our guy is trying to save Claire.
1012
00:58:21,874 --> 00:58:24,919
One of the things I'm very
happy about with, the way
1013
00:58:25,336 --> 00:58:28,923
the time window lab technicians
have been characterized in the movie,
1014
00:58:30,758 --> 00:58:34,970
Denny was inspired
by a Brookhaven physicist
1015
00:58:35,054 --> 00:58:38,099
who had died
in the Swiss Air Flight 111 crash.
1016
00:58:39,100 --> 00:58:42,895
I was intrigued because the man's
website... He looked like a guitarist.
1017
00:58:42,937 --> 00:58:47,525
His website listed all of his
publications on quark-gluon plasma,
1018
00:58:47,608 --> 00:58:51,195
and right next to them was a list
of all his favorite garage bands
1019
00:58:54,281 --> 00:58:56,450
We wanted to flip the movie clich�
1020
00:58:56,492 --> 00:59:00,079
that physicists are all nerds,
or unattractive somehow.
1021
00:59:00,412 --> 00:59:03,791
We knew we were going to be
with these people for a long time,
1022
00:59:03,833 --> 00:59:06,627
and it was a conscious choice
to give them a sense of humor,
1023
00:59:06,710 --> 00:59:09,130
really do justice to them as characters.
1024
00:59:09,171 --> 00:59:11,382
If they're people
you enjoy hanging out with,
1025
00:59:11,465 --> 00:59:13,008
that'll make it
that much more palatable
1026
00:59:13,092 --> 00:59:15,678
when it's time for them to get serious.
1027
00:59:17,513 --> 00:59:19,640
SCOTT: Matt Craven,
who's in Crimson Tide...
1028
00:59:19,723 --> 00:59:22,726
Yeah, so this is my second time
out with Matt.
1029
00:59:22,810 --> 00:59:27,022
And I just thought that Matt was
a real good combination in terms of
1030
00:59:27,106 --> 00:59:30,818
a buddy for Denzel in this movie.
1031
00:59:30,860 --> 00:59:32,361
Put it down, Larry. I'm not coming back.
1032
00:59:32,444 --> 00:59:35,698
MARSILII: It's kind of interesting
the way this shakes out,
1033
00:59:35,781 --> 00:59:39,618
because with these paradoxes,
1034
00:59:39,910 --> 00:59:41,579
especially once Doug and the team
1035
00:59:41,662 --> 00:59:44,290
begin actively trying
to change the past,
1036
00:59:45,791 --> 00:59:50,087
time itself becomes like
another character in the movie.
1037
00:59:51,338 --> 00:59:55,718
Ostensibly, our villain is the bomber,
but really it's time itself,
1038
00:59:57,219 --> 00:59:59,763
or fate, destiny.
1039
01:00:01,348 --> 01:00:06,020
It's constantly outwitting Doug.
It's constantly one step ahead of him,
1040
01:00:07,855 --> 01:00:10,524
anticipating everything
that he thinks of doing,
1041
01:00:11,192 --> 01:00:14,153
until everything ends up exactly
the way it was supposed to go
1042
01:00:14,361 --> 01:00:17,698
in the first place,
no matter what he does.
1043
01:00:17,990 --> 01:00:22,953
Tony likes to joke sometimes that the
movie is about Denzel versus Jesus.
1044
01:00:24,205 --> 01:00:28,876
But another way to look at it is that
it's Denzel versus time, or destiny,
1045
01:00:34,715 --> 01:00:38,844
SCOTT: You know, I had found this guy
in the bayou who bred pit bulls
1046
01:00:38,886 --> 01:00:42,848
and he was a good 0|' boy
from the South, from New Orleans.
1047
01:00:42,890 --> 01:00:47,728
So I got him, I cast him. Then we went
out and actually put him on tape here.
1048
01:00:47,770 --> 01:00:50,522
And this guy's extraordinary.
He was way out there.
1049
01:00:50,564 --> 01:00:52,650
Brilliant. A guy called Chad.
1050
01:00:52,733 --> 01:00:55,986
Anyway, I made the mistake of
giving it to JC, just for 20 minutes
1051
01:00:56,070 --> 01:00:58,447
and all of a sudden
he became this guy.
1052
01:00:58,530 --> 01:01:01,575
It was fantastic,
'cause it was audio-visual.
1053
01:01:03,494 --> 01:01:07,665
And he worked so hard
at his New Orleans accent
1054
01:01:07,748 --> 01:01:10,376
and this character...
Just after 20 minutes.
1055
01:01:10,417 --> 01:01:13,462
And it took me a lot
to talk him off the ledge.
1056
01:01:13,545 --> 01:01:17,841
But it's funny, all this stuff
all in the dark here at night,
1057
01:01:17,925 --> 01:01:21,345
this was Genesis at night in the rain
1058
01:01:21,428 --> 01:01:26,100
in February, in New Orleans.
February in New Orleans is freezing.
1059
01:01:26,183 --> 01:01:28,269
Don't let anyone ever
tell you otherwise.
1060
01:01:28,310 --> 01:01:34,275
It is so cold. Night shooting in the rain
with Genesis.
1061
01:01:34,358 --> 01:01:37,319
Genesis is still, you know...
1062
01:01:37,403 --> 01:01:40,906
Digital cameras still have this umbilical
cord, so it's all a pain in the ass.
1063
01:01:40,948 --> 01:01:45,411
We managed to get it down in the end
so it became less cumbersome.
1064
01:01:45,452 --> 01:01:50,457
But it's still tricky,
especially night-shooting in the rain.
1065
01:01:52,293 --> 01:01:53,294
GUNNARS: He's still breathing.
1066
01:01:53,377 --> 01:01:57,464
MARSILII: We're setting up
the big goggle-chase here.
1067
01:01:59,341 --> 01:02:02,428
One of the wonderful things for me
about working with Terry was that
1068
01:02:02,469 --> 01:02:06,640
he and I think on the same sort of
off-kilter wavelength.
1069
01:02:07,641 --> 01:02:12,521
My initial outline had this split-level
car chase with these time goggles.
1070
01:02:12,604 --> 01:02:15,691
I really desperately wanted to
do it because,
1071
01:02:15,774 --> 01:02:17,276
well, I'd never seen anything
like it before
1072
01:02:17,318 --> 01:02:19,320
and whenever you can do
something like that with a car chase,
1073
01:02:19,403 --> 01:02:21,238
that's golden.
1074
01:02:22,990 --> 01:02:24,366
I was afraid he might not go for it,
1075
01:02:24,450 --> 01:02:28,162
because it requires
another leap of scientific faith
1076
01:02:28,245 --> 01:02:30,456
on the part of the audience.
1077
01:02:30,497 --> 01:02:32,166
It's one thing to say
that we can look back in time
1078
01:02:32,207 --> 01:02:36,920
using this gigantic, you know,
time-window device
1079
01:02:37,004 --> 01:02:41,133
and this huge particle accelerator,
or whatever it is that powers it.
1080
01:02:42,301 --> 01:02:44,595
I was afraid
it might seem like too much
1081
01:02:44,678 --> 01:02:48,849
that we also have a portable version
that can fit on somebody's back.
1082
01:02:50,017 --> 01:02:56,982
Fortunately, Jerry, Tony, everybody
involved got on board with it.
1083
01:02:57,024 --> 01:03:01,403
With the drama of the scene
and the cool mechanics,
1084
01:03:01,487 --> 01:03:04,365
the dynamics of this chase
were just so irresistible
1085
01:03:04,448 --> 01:03:08,410
that we were willing to
push the bounds of science fact.
1086
01:03:13,040 --> 01:03:15,334
SCOTT: I think the movie's got,
you know,
1087
01:03:15,376 --> 01:03:17,878
some really unique aspects to it.
1088
01:03:17,961 --> 01:03:21,924
For instance the...
Which is all Bill Marsilii,
1089
01:03:22,007 --> 01:03:24,676
you know, who was the original writer.
1090
01:03:24,718 --> 01:03:27,221
Which is, you know...
Car chases have been done to death.
1091
01:03:29,014 --> 01:03:30,641
You know, shootouts
have been done to death.
1092
01:03:30,724 --> 01:03:34,603
And always the true strength
is concept or idea.
1093
01:03:34,686 --> 01:03:36,939
And that's what was
so interesting here, 'cause the idea...
1094
01:03:37,022 --> 01:03:39,691
I don't think I shot the car chase
particularly well.
1095
01:03:39,733 --> 01:03:42,611
To be honest with you, I thought it was
pretty mediocre, what I did,
1096
01:03:42,694 --> 01:03:48,242
by nature of time
and logistical problems and stuff.
1097
01:03:48,283 --> 01:03:51,161
But the concept is so strong,
1098
01:03:54,623 --> 01:03:57,251
In terms of the general public
who have seen it.
1099
01:03:58,919 --> 01:04:00,838
MARSILII: One of the movies
that for me
1100
01:04:00,921 --> 01:04:03,715
that had kind of inspired
this goggle chase...
1101
01:04:04,925 --> 01:04:07,177
There was a Clint Eastwood movie,
one of the Dirty Harry films,
1102
01:04:07,261 --> 01:04:11,432
I think it was The Dead Pool,
where there's a car chase.
1103
01:04:11,473 --> 01:04:15,936
Everything about it obeys
the normal conventions of a car chase,
1104
01:04:16,019 --> 01:04:19,523
but one of the cars is a toy car
with a bomb in it.
1105
01:04:19,606 --> 01:04:21,233
Oh, shit!
1106
01:04:23,068 --> 01:04:24,778
What? What happened?
What happened?
1107
01:04:24,862 --> 01:04:28,240
And once we got into this idea
1108
01:04:29,950 --> 01:04:32,744
of goggles
that would extend the time window,
1109
01:04:34,329 --> 01:04:38,292
it got really fun to sit down and
come up with all kinds of variations on,
1110
01:04:38,333 --> 01:04:40,294
"Okay, what could happen
during this chase?"
1111
01:04:40,335 --> 01:04:42,296
Okay, I got him. I got him.
He's back in range.
1112
01:04:43,255 --> 01:04:45,299
One of the little secrets
I can tell you here is
1113
01:04:45,340 --> 01:04:48,635
that the only reason
the time window goes back
1114
01:04:48,719 --> 01:04:51,346
four days, six hours
and some minutes,
1115
01:04:52,306 --> 01:04:54,433
was so that during this car chase,
1116
01:04:54,475 --> 01:04:57,519
Oerstadt could be driving on an empty
road in the middle of the night,
1117
01:04:57,603 --> 01:05:00,981
while Doug has to plow
through rush hour traffic.
1118
01:05:02,399 --> 01:05:06,403
We didn't originally envision
so much vehicular mayhem,
1119
01:05:06,487 --> 01:05:10,657
but it is pretty exciting.
I'll give him that.
1120
01:05:13,327 --> 01:05:16,121
One of the fun things
with this goggle chase was
1121
01:05:17,039 --> 01:05:18,582
ringing all the possible changes on,
1122
01:05:18,665 --> 01:05:21,502
"Okay, what possible situations
could we have?"
1123
01:05:22,002 --> 01:05:26,006
There's a moment where
the bad guy's got a clear road
1124
01:05:26,089 --> 01:05:27,883
and Doug doesn't.
1125
01:05:27,966 --> 01:05:29,510
Good. Now stay with him.
1126
01:05:29,551 --> 01:05:32,387
At one point Oerstadt stops
1127
01:05:32,471 --> 01:05:35,182
at an accident
and that causes Doug to
1128
01:05:35,265 --> 01:05:40,521
have to stop
in the middle of rush hour traffic.
1129
01:05:41,813 --> 01:05:45,192
Originally, in fact, we had a moment
where Doug hits the brakes
1130
01:05:45,692 --> 01:05:50,405
and actually slides
into Oerstadt's back seat.
1131
01:05:50,489 --> 01:05:52,115
He puts the goggles on
1132
01:05:52,199 --> 01:05:54,910
and he is inside the other guy's car.
1133
01:05:54,993 --> 01:05:57,162
They've overlapped in time.
1134
01:05:57,871 --> 01:06:01,041
It turned out to be incredibly daunting,
physically to do that
1135
01:06:01,083 --> 01:06:04,044
and Tony also felt that it was
a bit "woo-woo." Science fiction.
1136
01:06:04,127 --> 01:06:07,548
So, instead we gave him this 180 spin.
1137
01:06:09,591 --> 01:06:12,261
SCOTT: Actually, on first screening,
we had one bad laugh, which...
1138
01:06:12,344 --> 01:06:14,054
I died, 'cause I thought
we'd really screwed up.
1139
01:06:14,137 --> 01:06:15,222
I thought that was it.
1140
01:06:15,264 --> 01:06:19,893
It's where Denzel... He spins his truck
and he ends up facing Jim Caviezel.
1141
01:06:19,935 --> 01:06:23,397
And Jim Caviezel, obviously,
played Christ in The Passion.
1142
01:06:24,398 --> 01:06:27,651
And Denzel said...
Spontaneously, he just said,
1143
01:06:27,734 --> 01:06:30,195
"Jesus, yeah, he's dead ahead of me."
1144
01:06:30,237 --> 01:06:33,323
And we had it in the cut and nobody
in the editing room spotted it.
1145
01:06:33,407 --> 01:06:36,451
And all the audience laughed out loud,
there was this roar of laughter.
1146
01:06:36,535 --> 01:06:40,372
We thought we'd fallen off the wagon
in terms of credibility.
1147
01:06:43,417 --> 01:06:47,004
It was because JC, as we called him,
Jim Caviezel.
1148
01:06:47,087 --> 01:06:49,089
I think Jim's real name
was Doug Caviezel.
1149
01:06:49,131 --> 01:06:53,093
Till he did the Passion,
he changed it to Jim Caviezel.
1150
01:06:53,135 --> 01:06:55,304
Consequent initials JC.
1151
01:06:56,597 --> 01:07:01,184
MARSILII: And yet another situation
now, we've got a scene where...
1152
01:07:01,268 --> 01:07:03,562
Earlier we had
Doug being able to see,
1153
01:07:03,604 --> 01:07:06,106
and the guys
at the time-window lab can't.
1154
01:07:06,565 --> 01:07:10,902
Now the goggle's smashed, so they
can see what's going on and he can't.
1155
01:07:12,279 --> 01:07:14,281
Whenever you've got something
like this,
1156
01:07:14,364 --> 01:07:17,034
you really wanna try
and take advantage of
1157
01:07:17,117 --> 01:07:20,162
every possible cool moment within it.
1158
01:07:20,245 --> 01:07:23,457
And I'm so glad
we got as many of them as we did.
1159
01:07:23,957 --> 01:07:29,171
SCOTT: And I felt I was always a little
bit, little bit, little bit loose.
1160
01:07:29,254 --> 01:07:31,506
Not loose in terms of
the size of my frame.
1161
01:07:31,590 --> 01:07:35,677
But I never quite got a handle
on this goggle rig.
1162
01:07:35,761 --> 01:07:37,054
I mean, trying to...
1163
01:07:37,137 --> 01:07:39,765
I just hoped that the audience
was getting enough of this.
1164
01:07:39,806 --> 01:07:42,309
Goggle rig was actually
the piece of technology
1165
01:07:42,392 --> 01:07:44,728
which is communicating
all this back there.
1166
01:07:44,811 --> 01:07:45,896
They obviously get it.
1167
01:07:45,979 --> 01:07:48,732
But I wanted to make that connection
I didn't feel was strong enough.
1168
01:07:48,815 --> 01:07:51,360
'Cause I felt, I wanted to get inside
the rig a little bit more.
1169
01:07:51,443 --> 01:07:54,488
Inside, you know, Denzel,
the pupil of his eye,
1170
01:07:54,571 --> 01:07:56,156
and do that sort of stuff, you know.
1171
01:07:58,492 --> 01:08:01,703
You know, so I never quite got it
as sophisticated,
1172
01:08:01,787 --> 01:08:06,291
or as much of a study
as I wanted to make it, you know.
1173
01:08:07,042 --> 01:08:08,543
BRUCKHEIMER: Well, Tony
loves to storyboard things.
1174
01:08:08,627 --> 01:08:11,421
In fact, everything that he does
is storyboarded, every single scene,
1175
01:08:11,505 --> 01:08:14,549
he gets up at 4:00 in the morning,
and he starts doing his storyboard.
1176
01:08:14,633 --> 01:08:15,967
Something like a
Hummer chase, of course,
1177
01:08:17,677 --> 01:08:19,137
We started filming it.
1178
01:08:19,179 --> 01:08:21,556
He does a lot of the drawing himself.
He brings the storyboard artist.
1179
01:08:21,640 --> 01:08:24,601
But every frame of this film
was storyboarded.
1180
01:08:26,103 --> 01:08:27,687
MARSILII: One of the things
1181
01:08:27,771 --> 01:08:30,023
that strongly helps motivate
this chase for me
1182
01:08:30,065 --> 01:08:33,402
is that we've seen earlier
that Minuti is still breathing.
1183
01:08:33,860 --> 01:08:35,862
Yes, it's been four days
since he got shot,
1184
01:08:35,904 --> 01:08:38,824
but there is still somehow
the possibility, at least,
1185
01:08:38,865 --> 01:08:40,909
that his partner is still alive.
1186
01:08:41,076 --> 01:08:42,702
And if that weren't enough,
1187
01:08:42,744 --> 01:08:46,373
this might be their last chance
to track down Oerstadt.
1188
01:08:47,374 --> 01:08:49,418
If they lose sight of him here,
1189
01:08:49,501 --> 01:08:52,421
they could probably
lose sight of him forever.
1190
01:08:53,839 --> 01:08:56,383
This is Doug's only chance
to track him down
1191
01:08:58,927 --> 01:09:02,806
To ultimately go back and try
to save everybody on that ferry.
1192
01:09:04,266 --> 01:09:05,725
SCOTT: I wasn't just shooting
in New Orleans,
1193
01:09:05,767 --> 01:09:08,061
but I shot a lot in the bayou, you know.
1194
01:09:08,103 --> 01:09:11,314
And that was never in the script.
Long Island was in the script.
1195
01:09:11,398 --> 01:09:14,234
But I just wanted, you know...
1196
01:09:18,655 --> 01:09:20,657
And, so, therefore,
I adapted lots of locations
1197
01:09:20,740 --> 01:09:22,242
and moved them out of the city.
1198
01:09:22,325 --> 01:09:24,035
And the bayou in winter.
1199
01:09:24,077 --> 01:09:26,037
'Cause, you know, we ended up
because of Katrina... Originally,
1200
01:09:26,079 --> 01:09:28,915
we were meant to be
shooting in September.
1201
01:09:28,999 --> 01:09:32,586
And because of Katrina, we had
to move our shoot back till the winter,
1202
01:09:32,627 --> 01:09:34,087
but I love the winter in the bayou.
1203
01:09:35,589 --> 01:09:38,049
Those birch trees
became sort of silver white,
1204
01:09:38,091 --> 01:09:40,594
and the graphics were spectacular.
1205
01:09:42,679 --> 01:09:45,432
And after Katrina happened,
they wanted me to go to Miami.
1206
01:09:45,515 --> 01:09:46,766
And wanted me to go to Seattle
1207
01:09:46,808 --> 01:09:48,894
which would've been
different movies there, but...
1208
01:09:48,935 --> 01:09:50,228
You know, it's hard to let go
1209
01:09:50,270 --> 01:09:53,773
because it became such
an important character in the movie,
1210
01:09:53,815 --> 01:09:55,609
where we placed the movie.
1211
01:09:55,692 --> 01:10:00,030
And I couldn't come to terms
with those other places,
1212
01:10:00,113 --> 01:10:02,407
they'd have been different movies.
1213
01:10:03,950 --> 01:10:07,954
MARSILII: Yet another example
of planting the clues in plain sight
1214
01:10:07,996 --> 01:10:10,040
to what's going to happen later.
1215
01:10:10,248 --> 01:10:12,292
No. Nothing.
1216
01:10:13,210 --> 01:10:17,088
Originally, we had a couple of lines
earlier in the FBI briefing scene
1217
01:10:17,130 --> 01:10:18,715
where somebody alluded to the fact
1218
01:10:18,798 --> 01:10:24,179
that somebody claiming to be a
federal agent stole an ambulance
1219
01:10:25,639 --> 01:10:27,682
out of the hospital, the other night.
1220
01:10:27,766 --> 01:10:31,102
But, ultimately,
that fell out of the picture.
1221
01:10:33,647 --> 01:10:35,232
The sequence that's coming up now,
1222
01:10:35,315 --> 01:10:40,779
as Doug makes his way into
the bait camp with the backpack,
1223
01:10:41,655 --> 01:10:44,407
and the fellows back
at the time-window lab,
1224
01:10:44,741 --> 01:10:46,993
are talking him through it
describing everything.
1225
01:10:48,537 --> 01:10:49,871
Do you see him?
1226
01:10:50,205 --> 01:10:54,334
I was reminded of a scene
in Alfred Hitchcock's Rebecca,
1227
01:10:55,835 --> 01:10:58,630
which is also present in the
Daphne du Maurier novel.
1228
01:11:04,344 --> 01:11:08,390
Mrs. Danvers is describing
to Mrs. de Winter
1229
01:11:09,933 --> 01:11:12,769
how Rebecca used to
walk across the room.
1230
01:11:12,852 --> 01:11:14,854
"There's where
she used to write her letters.
1231
01:11:14,938 --> 01:11:17,232
"There's where
she would lay her things.
1232
01:11:20,110 --> 01:11:23,113
And you're following it
in an empty room.
1233
01:11:23,321 --> 01:11:26,700
I think it's the diesel fuel,
like at the ferry.
1234
01:11:27,576 --> 01:11:30,328
Doug's having that
same sort of experience here.
1235
01:11:34,457 --> 01:11:36,209
I have to say, watching this,
1236
01:11:36,251 --> 01:11:42,382
it's one thing to write
a line of stage direction that says,
1237
01:11:42,716 --> 01:11:44,467
"Shanti begins to cry."
1238
01:11:46,261 --> 01:11:48,388
It's another thing to see it.
1239
01:11:48,471 --> 01:11:53,560
I really love the performances
from these folks.
1240
01:11:56,730 --> 01:11:59,399
The moment between
Elden and Erika there,
1241
01:12:00,275 --> 01:12:02,402
as they're watching what's happened,
1242
01:12:02,485 --> 01:12:05,071
really sells the impact of this for me.
1243
01:12:08,283 --> 01:12:11,661
Doug still has some hope
that he's wrong here and...
1244
01:12:16,041 --> 01:12:19,878
Of course, getting shot and stabbed
and set on fire is not enough.
1245
01:12:22,130 --> 01:12:24,090
Tony felt that it was really important
1246
01:12:24,174 --> 01:12:27,385
that he also get eaten
by alligators afterwards.
1247
01:12:29,095 --> 01:12:32,015
SCOTT: But actually a little spooky
because all the alligators around there,
1248
01:12:32,098 --> 01:12:33,350
and they're all in hibernation.
1249
01:12:33,433 --> 01:12:36,269
But we came in with our air boats, and
these alligators are really pissed off.
1250
01:12:36,353 --> 01:12:39,814
So they come out, they're all trying
to sleep for the winter, so...
1251
01:12:39,898 --> 01:12:42,400
And alligators can move fast.
1252
01:12:42,442 --> 01:12:44,152
They can do the 100 yards
in even time, yeah,
1253
01:12:44,235 --> 01:12:46,738
so you gotta get out of there.
1254
01:12:48,239 --> 01:12:50,784
MARSILII: If we had chosen to,
we could have decided
1255
01:12:50,867 --> 01:12:53,453
that the reason
they're watching this woman
1256
01:12:53,495 --> 01:12:55,372
is because
she's the President's daughter,
1257
01:12:55,455 --> 01:12:57,832
or the Prime Minister,
or something like that.
1258
01:12:57,916 --> 01:13:00,919
That would've been one way to solve
a number of plot problems
1259
01:13:00,960 --> 01:13:03,171
as we were creating the story.
1260
01:13:04,964 --> 01:13:07,175
But Terry and I both felt
1261
01:13:08,635 --> 01:13:12,097
that the wonderful thing about it
is that she's a normal woman,
1262
01:13:12,263 --> 01:13:15,392
living her life,
coming out of a bad relationship,
1263
01:13:17,811 --> 01:13:21,731
and she's looking forward to a future
that's never gonna happen.
1264
01:13:22,982 --> 01:13:25,944
As they're discussing
the possible ramifications
1265
01:13:25,985 --> 01:13:27,737
of whether or not
they've changed the past,
1266
01:13:27,821 --> 01:13:30,824
it's also kind of intriguing
1267
01:13:30,907 --> 01:13:33,952
that now they're part of
what they're investigating.
1268
01:13:35,120 --> 01:13:36,246
They're not just watching.
1269
01:13:36,329 --> 01:13:39,833
They have to discuss whether or not
they're responsible for it.
1270
01:13:40,667 --> 01:13:45,380
Also, these guys are physicists,
they're not investigators by trade.
1271
01:13:45,630 --> 01:13:47,132
� Flw. � w. '
1272
01:13:47,173 --> 01:13:50,009
They're not used to
seeing people get killed.
1273
01:13:52,637 --> 01:13:55,056
It's kind of uniquely frustrating
to be a witness to a murder,
1274
01:13:55,140 --> 01:13:57,684
and they're not allowed to
testify about it.
1275
01:13:59,310 --> 01:14:01,104
All they could do was watch.
1276
01:14:03,523 --> 01:14:06,151
When Doug finds
Claire's earring there,
1277
01:14:06,192 --> 01:14:09,487
this is how he knows
this is where she was killed.
1278
01:14:10,113 --> 01:14:12,365
This is where he has to go,
1279
01:14:12,407 --> 01:14:15,493
when he comes back in time,
steals an ambulance,
1280
01:14:15,535 --> 01:14:18,872
that's where he has to drive,
if he's going to save her life.
1281
01:14:20,206 --> 01:14:21,541
SCOTT: Carroll Oerstadt, the bad guy,
1282
01:14:21,583 --> 01:14:23,376
Jim Cavieze|'s character,
we adapted him,
1283
01:14:23,418 --> 01:14:26,337
we put him...
He had a house in the 9th Ward.
1284
01:14:28,798 --> 01:14:33,803
And, so, when they eventually locate,
you know, where he lives,
1285
01:14:33,887 --> 01:14:35,889
they go to the 9th Ward,
which is the area
1286
01:14:35,972 --> 01:14:38,224
that got hit the hardest during Katrina.
1287
01:14:38,308 --> 01:14:42,854
This particular sequence here is,
was in the 9th Ward.
1288
01:14:43,772 --> 01:14:46,941
But, emotionally, everybody is like
they were knocked sideways,
1289
01:14:47,025 --> 01:14:49,486
you know,
looking at all that devastation,
1290
01:14:49,736 --> 01:14:52,947
and it was emotionally very upsetting.
1291
01:14:53,031 --> 01:14:55,909
The guys were...
They were all dragging all afternoon.
1292
01:14:57,285 --> 01:15:01,748
MARSILII: At one point,
Tony had wanted the scene to play out
1293
01:15:01,790 --> 01:15:05,335
in a son' of
a cookie cutter suburban area.
1294
01:15:06,252 --> 01:15:07,670
And then, after Katrina,
1295
01:15:07,754 --> 01:15:10,089
we realized that if we were going to
portray the devastation at all,
1296
01:15:10,173 --> 01:15:12,717
this was really the place to do it.
1297
01:15:13,885 --> 01:15:17,806
Oerstadt, as a character,
has relatively little screen time
1298
01:15:17,889 --> 01:15:20,433
where we actually get to hear him talk.
1299
01:15:21,434 --> 01:15:24,771
So, by his very nature,
1300
01:15:24,854 --> 01:15:28,107
we need to see whatever we can
about him through implication.
1301
01:15:30,193 --> 01:15:32,654
BRUCKHEIMER: You know, Tony
found a location for the Oerstadt chase,
1302
01:15:32,737 --> 01:15:35,323
where he was arrested,
that he felt was intriguing.
1303
01:15:35,406 --> 01:15:38,493
And that's why he picked the bayou,
it's really beautiful looking
1304
01:15:38,576 --> 01:15:41,079
and the way he shot it
makes it even prettier.
1305
01:15:41,120 --> 01:15:42,539
SCOTT: When we were
scouting the bayou,
1306
01:15:42,622 --> 01:15:43,665
we were scouting in airboats,
1307
01:15:43,748 --> 01:15:47,126
which are brilliant. Yeah.
'Cause you can go over...
1308
01:15:47,210 --> 01:15:49,254
You can actually drive...
We were driving across roads
1309
01:15:49,295 --> 01:15:52,966
and over intersections
in these things, in these airboats.
1310
01:15:53,049 --> 01:15:57,262
And I just thought it was interesting
to have Oerstadt try to escape
1311
01:16:00,473 --> 01:16:03,935
When we shot that sequence there,
it was pouring with rain, it was...
1312
01:16:03,977 --> 01:16:06,187
But it worked for the sequence.
1313
01:16:13,486 --> 01:16:18,283
MARSILII: This interrogation scene
was informed to a great extent
1314
01:16:18,324 --> 01:16:21,494
by transcripts from Timothy McVeigh
that Tony had found.
1315
01:16:21,578 --> 01:16:27,292
And he also had video footage of
ATF interrogations of other bombers.
1316
01:16:28,835 --> 01:16:32,130
And we did use some of it here,
particularly in Doug's trade craft.
1317
01:16:32,171 --> 01:16:35,925
Often an investigator
will flatter the suspect,
1318
01:16:36,676 --> 01:16:39,846
as Doug does here, saying,
"We're impressed with the expertise.
1319
01:16:39,929 --> 01:16:42,599
"Could you help us out? Tell us
how you did this? It's fascinating."
1320
01:16:42,682 --> 01:16:48,021
But we didn't want
Oerstadt's military background
1321
01:16:49,272 --> 01:16:52,275
to ultimately be the thing
that motivates him.
1322
01:16:54,193 --> 01:16:58,281
Terry and I were very strong that
we wanted this character
1323
01:16:58,364 --> 01:17:00,533
to really be about destiny.
1324
01:17:01,868 --> 01:17:05,747
It's much more in keeping with
the themes of the rest of the film,
1325
01:17:05,830 --> 01:17:10,710
if everything he does is motivated out
of a sense of thwarted destiny.
1326
01:17:10,752 --> 01:17:14,631
There was a way that his future
was supposed to go and it didn't.
1327
01:17:15,673 --> 01:17:18,259
And he's taking steps to rectify that.
1328
01:17:20,511 --> 01:17:22,180
SCOTT: Yeah, it's funny
'cause I didn't...
1329
01:17:22,221 --> 01:17:23,640
When I was trying to piece together,
1330
01:17:23,723 --> 01:17:25,892
it's really tough trying to
piece together a bad guy.
1331
01:17:25,975 --> 01:17:29,771
Even though, in the script,
it was a domestic terrorist and...
1332
01:17:29,854 --> 01:17:32,440
But I did... They didn't...
1333
01:17:32,523 --> 01:17:34,567
They didn't have him down
in terms of who he was,
1334
01:17:34,609 --> 01:17:35,860
and I'll be very blunt here.
1335
01:17:35,902 --> 01:17:39,322
The guy was not a good bad guy.
He was stereotypical.
1336
01:17:40,073 --> 01:17:43,910
And I had a different sort of feel
or a different actor in mind,
1337
01:17:44,535 --> 01:17:49,415
and then I only met with JC,
Jim Caviezel
1338
01:17:49,540 --> 01:17:52,085
because Denzel's agent is his agent.
1339
01:17:52,126 --> 01:17:55,254
And I said,
"| don't wanna meet with Jesus."
1340
01:17:55,296 --> 01:17:57,340
I said, "He's not right for this role."
1341
01:17:57,423 --> 01:18:02,804
And, now, he came in. He sat with me
for 30 seconds. I said, "You got it."
1342
01:18:02,887 --> 01:18:08,434
I said he's great, 'cause JC
is such an extraordinary odd individual
1343
01:18:09,936 --> 01:18:12,939
And the character you see
in this movie is JC.
1344
01:18:14,774 --> 01:18:17,110
BRUCKHEIMER: I think Jim wanted
to do a part like this
1345
01:18:17,151 --> 01:18:19,779
because, you know,
he's remembered as Jesus.
1346
01:18:19,821 --> 01:18:22,615
And he wants to be remembered
as a good actor.
1347
01:18:22,657 --> 01:18:26,452
And that he's versatile and you can
make him play any kinds of parts.
1348
01:18:26,494 --> 01:18:28,621
The fact that he took on this role
was a thrill for us
1349
01:18:28,705 --> 01:18:30,289
'cause he's such a gifted actor.
1350
01:18:30,373 --> 01:18:32,125
And he does
such wonderful preparation.
1351
01:18:32,166 --> 01:18:35,336
He spent a lot of time
reading transcripts
1352
01:18:35,420 --> 01:18:38,631
from people who were serial bombers
1353
01:18:38,715 --> 01:18:41,718
or people who were,
I guess you would say,
1354
01:18:41,801 --> 01:18:43,594
on the wrong side of the law.
1355
01:18:43,636 --> 01:18:45,638
And really got into their psyche.
1356
01:18:45,680 --> 01:18:47,849
And fortunately for us,
transferred it to the screen.
1357
01:18:47,932 --> 01:18:50,601
He's a very creepy character
on screen.
1358
01:18:52,895 --> 01:18:54,313
MARSILII: This scene perhaps
1359
01:18:54,355 --> 01:18:57,191
more than any other
critical exchange in the film
1360
01:18:57,567 --> 01:19:01,863
was really improved
through Tony's fidelity
1361
01:19:01,946 --> 01:19:05,658
to research,
through Jim Caviezel's suggestions
1362
01:19:05,742 --> 01:19:09,495
for what motivated the character,
how he wanted to play it,
1363
01:19:09,996 --> 01:19:12,248
and certainly, you know,
1364
01:19:12,331 --> 01:19:15,501
Terry and I,
our own views on the subject.
1365
01:19:17,336 --> 01:19:22,008
The danger when you have
three or four people collaborating
1366
01:19:22,091 --> 01:19:25,136
on what a scene should be about,
1367
01:19:25,762 --> 01:19:28,681
is that it'll end up a horrific jumble.
1368
01:19:30,850 --> 01:19:34,020
This all came together very well.
1369
01:19:34,103 --> 01:19:37,190
-'Cause I seen what's coming.
-Did... Have you? What?
1370
01:19:38,399 --> 01:19:42,904
In fact, it was during
the course of our meetings
1371
01:19:42,987 --> 01:19:45,156
about the interrogation scene
1372
01:19:46,032 --> 01:19:49,160
that it occurred to me
that a bomb has a destiny,
1373
01:19:51,370 --> 01:19:56,292
"a predetermined fate set by the hand
of its creator," as Oerstadt says.
1374
01:19:57,293 --> 01:19:59,212
He's got a second sense about this.
1375
01:19:59,295 --> 01:20:02,048
He knows that
he's never going to be convicted,
1376
01:20:02,131 --> 01:20:04,926
that the case is never
going to go to trial,
1377
01:20:05,009 --> 01:20:08,262
because ultimately,
he's going to die on the ferry.
1378
01:20:08,346 --> 01:20:11,682
And anyone who tries to alter
that destiny will be destroyed.
1379
01:20:12,975 --> 01:20:15,686
He might not know that that's how
it's gonna go,
1380
01:20:18,940 --> 01:20:23,820
I'm happy that we lucked onto
that metaphor that, with a bomb,
1381
01:20:23,903 --> 01:20:27,907
"Anyone who tries to stop it
from happening causes it to happen."
1382
01:20:29,075 --> 01:20:33,996
That's really the theory
that Doug is up against
1383
01:20:34,080 --> 01:20:35,957
throughout the whole movie.
1384
01:20:36,040 --> 01:20:38,960
He's been trying to prevent
Claire's death,
1385
01:20:39,043 --> 01:20:41,337
trying to prevent the ferry explosion.
1386
01:20:42,338 --> 01:20:45,133
And could he actually be
helping it happen?
1387
01:20:47,218 --> 01:20:49,262
SCOTT: Bruce Greenwood
was another great actor
1388
01:20:49,345 --> 01:20:53,266
that I wanted to work with
for a long time, but...
1389
01:20:54,100 --> 01:20:55,810
No, I had a great collection of actors,
1390
01:20:55,893 --> 01:20:57,687
and they feel very real,
there's a strength.
1391
01:20:57,770 --> 01:21:00,273
And nobody feels out of place,
nobody feels shooed-in,
1392
01:21:00,314 --> 01:21:03,359
they all feel like they sit comfortably.
1393
01:21:04,694 --> 01:21:09,115
MARSILII: We were really great fans
of law enforcement,
1394
01:21:09,157 --> 01:21:14,787
and we were pretty clear
that we didn't want anybody
1395
01:21:15,580 --> 01:21:19,500
on the law enforcement
side of the story to be a bad guy.
1396
01:21:20,793 --> 01:21:24,255
McCready's being harsh here,
but he's absolutely right.
1397
01:21:25,798 --> 01:21:28,384
They've got the evidence they need.
1398
01:21:29,385 --> 01:21:31,262
Using this machine,
1399
01:21:31,762 --> 01:21:35,183
at least in theory,
got one of their agents killed.
1400
01:21:35,266 --> 01:21:38,060
And Val's character isn't
a bad guy either.
1401
01:21:38,144 --> 01:21:41,606
He had to file a report.
He waited as long as he could.
1402
01:21:44,066 --> 01:21:48,112
SCOTT: And this roll I shot with
sunglasses on. Jerry hated me for that.
1403
01:21:49,906 --> 01:21:51,532
Wanted to see their eyes.
1404
01:21:51,949 --> 01:21:53,075
He thought Val...
1405
01:21:53,159 --> 01:21:57,246
Although the sun was going down
and I think Val had his glasses on,
1406
01:21:57,330 --> 01:22:00,166
so I think that gave D the idea
to put his glasses on.
1407
01:22:00,458 --> 01:22:02,335
To be honest, in hindsight, I think
1408
01:22:02,418 --> 01:22:05,004
maybe I should've shot the scene
without the sunglasses,
1409
01:22:05,087 --> 01:22:08,007
'cause it's a pivotal scene,
an emotional scene,
1410
01:22:08,090 --> 01:22:12,011
so therefore, it would've helped a little
bit if you had seen D's eyes.
1411
01:22:12,637 --> 01:22:15,473
I think we shot this whole scene
in 40 minutes,
1412
01:22:15,514 --> 01:22:17,475
because we started off
shooting the scene,
1413
01:22:17,516 --> 01:22:20,811
had rainbirds,
and we were in good shape...
1414
01:22:20,853 --> 01:22:23,272
We were meant to start
shooting at, like, noon,
1415
01:22:23,356 --> 01:22:26,025
and had the rainbirds,
we were gonna shoot it in the rain,
1416
01:22:26,108 --> 01:22:27,151
'cause it was, you know...
1417
01:22:27,193 --> 01:22:29,487
That other stuff we'd seen
in the bayou was in the rain.
1418
01:22:29,528 --> 01:22:32,740
And the guys
had all these plastic macs on.
1419
01:22:32,823 --> 01:22:34,951
And the rain sounded like fish frying.
1420
01:22:35,034 --> 01:22:37,703
The sound was just impossible,
1421
01:22:38,329 --> 01:22:42,041
so in the end I just ripped
their raincoats off and we shot it.
1422
01:22:42,875 --> 01:22:48,214
MARSILII: People have asked me
if D�y�vu was a response
1423
01:22:49,048 --> 01:22:50,925
to the September 11th attacks.
1424
01:22:51,676 --> 01:22:53,803
And of course, it wasn't originally.
1425
01:22:53,886 --> 01:22:58,474
It was something that we'd been
working on for many years before that.
1426
01:22:59,267 --> 01:23:03,938
But one thing that I did take away
from that experience,
1427
01:23:04,063 --> 01:23:05,398
was the memorial service,
1428
01:23:05,439 --> 01:23:08,067
the candlelight vigils
that happened afterwards.
1429
01:23:08,150 --> 01:23:09,860
They were heartbreaking.
1430
01:23:10,069 --> 01:23:14,448
And I thank Tony and Jerry, because
they were expensive to shoot.
1431
01:23:15,032 --> 01:23:16,534
It took a long time.
1432
01:23:18,577 --> 01:23:20,329
And it's only a touch, but
1433
01:23:21,747 --> 01:23:25,543
I give them full credit that
they went that extra mile to include it.
1434
01:23:26,419 --> 01:23:28,546
Personally, it was important to me.
1435
01:23:30,089 --> 01:23:33,968
SCOTT: All these pictures you see
in Paula's apartment are of Paula.
1436
01:23:34,051 --> 01:23:36,762
She gave me a whole bunch of boxes
of her pictures,
1437
01:23:36,804 --> 01:23:39,390
just 'cause when she
was a kid, her parents
1438
01:23:39,432 --> 01:23:41,642
obviously photographed
her growing up.
1439
01:23:41,726 --> 01:23:44,645
So, all those pictures you see,
those are pictures of Paula.
1440
01:23:44,729 --> 01:23:47,023
' .' M .' ' .' ' _ ' �_ '.' ' .' '4' (I\ W'.' (�
1441
01:23:47,481 --> 01:23:50,985
MARSILII: Denzel, Jim, Paula,
1442
01:23:51,068 --> 01:23:56,407
and then later, even Adam, with
the Denny character, who's so cynical,
1443
01:23:56,449 --> 01:24:00,619
all of them, at one point or another,
suggested moments
1444
01:24:01,579 --> 01:24:05,541
in which their characters were seen
as having a spiritual dimension.
1445
01:24:06,876 --> 01:24:08,002
And the danger is always about
1446
01:24:08,085 --> 01:24:09,587
becoming too
heavy-handed about that,
1447
01:24:09,628 --> 01:24:12,590
and nobody wants to get
a Sunday school lesson
1448
01:24:12,631 --> 01:24:15,468
when they're out to see
a good action film.
1449
01:24:15,926 --> 01:24:22,683
But the fact that they all saw that
in the story and embraced it,
1450
01:24:23,142 --> 01:24:24,226
really warmed my heart.
1451
01:24:24,310 --> 01:24:26,479
And it gave me some hope that maybe
1452
01:24:26,937 --> 01:24:30,316
the same themes would
reach an audience the same way.
1453
01:24:30,900 --> 01:24:32,526
We both know what happens if I don't.
1454
01:24:33,361 --> 01:24:34,612
I mentioned a moment ago
1455
01:24:34,653 --> 01:24:38,324
that we didn't want anyone
to come off as a bad guy,
1456
01:24:41,160 --> 01:24:45,998
In an early cut of the film,
Val's last moment in the story
1457
01:24:48,000 --> 01:24:51,670
was when he tells Doug,
"It's not your fault Claire dies."
1458
01:24:54,965 --> 01:24:59,345
And reshot this,
and added an extra moment
1459
01:25:00,513 --> 01:25:05,893
where Val tacitly approves of
what they're about to do.
1460
01:25:08,020 --> 01:25:10,356
Nobody here wants
a disaster to happen.
1461
01:25:12,525 --> 01:25:16,362
This scene coming up,
when Doug goes back
1462
01:25:16,404 --> 01:25:18,489
and Denny helps him out,
1463
01:25:19,615 --> 01:25:22,743
I got a phone call
the day that they were shooting this.
1464
01:25:23,369 --> 01:25:25,830
Adam Goldberg
had asked for an exchange
1465
01:25:27,081 --> 01:25:30,167
where Doug asks him,
1466
01:25:31,085 --> 01:25:32,545
you know, "Why are you helping
me to do this?
1467
01:25:32,586 --> 01:25:35,714
"| thought you didn't believe
it was possible to change the past."
1468
01:25:35,756 --> 01:25:40,219
And Adam suggested the line,
"Yeah, but I do believe in God."
1469
01:25:41,387 --> 01:25:43,597
And I said, "Adam said that?"
1470
01:25:45,224 --> 01:25:46,642
There were spiritual themes
in the movie
1471
01:25:46,725 --> 01:25:51,021
that I was hoping nobody would notice
until it was too late to out them.
1472
01:25:53,607 --> 01:25:57,069
So, I suggested a slight addition.
1473
01:25:58,362 --> 01:25:59,905
"Don't tell anybody."
1474
01:26:01,115 --> 01:26:05,744
He doesn't want to lose his cynical,
physicist science cred.
1475
01:26:07,371 --> 01:26:10,416
And I'm really happy with
the way he played it.
1476
01:26:14,920 --> 01:26:17,465
SCOTT: You know, the time box,
or whatever you want to call it,
1477
01:26:17,548 --> 01:26:20,593
that's a really hard thing
to make credible, you know, so...
1478
01:26:20,926 --> 01:26:23,262
And obviously,
we educated the audience
1479
01:26:23,345 --> 01:26:26,891
in terms of the process of sending
solid matter back
1480
01:26:26,932 --> 01:26:31,145
where we sent the note back,
and we put it into that little time box.
1481
01:26:31,228 --> 01:26:35,441
And originally, the machine that
actually transports objects back,
1482
01:26:35,524 --> 01:26:40,696
again, I went into the real world
and took it from an MRI machine.
1483
01:26:40,779 --> 01:26:42,573
You know, so I took an MRI machine.
1484
01:26:42,615 --> 01:26:45,951
But in the end they say,
"Well, we've never sent humans back."
1485
01:26:45,993 --> 01:26:47,453
Or they say they've
never sent humans back.
1486
01:26:47,495 --> 01:26:50,372
So therefore, it felt like
an MRI machine is built for a human,
1487
01:26:50,456 --> 01:26:54,793
so therefore, we just made Denzel
climb into this little box, you know.
1488
01:26:55,252 --> 01:26:59,131
So we had to try and find something
that I felt was more credible.
1489
01:27:00,758 --> 01:27:04,220
You know, it feels like
he's one of those astronauts,
1490
01:27:04,303 --> 01:27:05,804
when he's sitting in there
talking back to him.
1491
01:27:05,888 --> 01:27:09,391
So, that was good, in that it had
a sense of humor to it, as well.
1492
01:27:09,475 --> 01:27:12,144
So, the humor and
the moon-shot quality, you know,
1493
01:27:12,186 --> 01:27:16,106
gave a sort of credence, or a validity,
to what we were trying to do.
1494
01:27:16,148 --> 01:27:17,691
MARSILII:
One of the potential stumbling blocks
1495
01:27:17,775 --> 01:27:19,485
of the original premise was
1496
01:27:19,527 --> 01:27:22,488
that if you could use this machine
to go back, or to send something back,
1497
01:27:22,571 --> 01:27:25,658
why would anybody spend
most of the movie just looking?
1498
01:27:27,535 --> 01:27:31,413
It wasn't enough to just say,
"You're not allowed. It's a rule."
1499
01:27:31,497 --> 01:27:35,668
We felt that we needed to have
a seemingly insurmountable obstacle.
1500
01:27:36,669 --> 01:27:39,255
Otherwise you'd just get impatient
with the movie.
1501
01:27:39,338 --> 01:27:41,590
And maybe we never did overcome
that for some people,
1502
01:27:41,674 --> 01:27:46,220
but the key to a really good love story
1503
01:27:47,513 --> 01:27:50,015
is the obstacle
that separates the lovers.
1504
01:27:50,099 --> 01:27:52,268
And the greater the obstacle,
1505
01:27:52,351 --> 01:27:55,396
the stronger the love has to be
to overcome it.
1506
01:27:57,022 --> 01:28:00,025
So, I thought,
what if this machine kills you?
1507
01:28:02,027 --> 01:28:03,988
That made... To me,
that actually made the whole story
1508
01:28:04,029 --> 01:28:06,073
a lot more profound.
1509
01:28:07,032 --> 01:28:08,534
And Terry dove into it.
1510
01:28:08,617 --> 01:28:14,039
He thought it was fantastic
that Doug has to literally die
1511
01:28:14,123 --> 01:28:16,584
in order to try to save Claire.
1512
01:28:17,042 --> 01:28:19,837
NURSE: What the hell?
DOCTOR: All right, hold on, everybody.
1513
01:28:22,548 --> 01:28:27,344
About exactly how Doug should arrive
when he's in the past.
1514
01:28:28,554 --> 01:28:31,599
Our sale draft of the script had him
arriving fully clothed
1515
01:28:31,682 --> 01:28:36,020
with his gun, his ID,
and a Brookhaven National Lab badge
1516
01:28:36,061 --> 01:28:41,483
that helped Claire at the end to figure
out what might be going on here.
1517
01:28:43,319 --> 01:28:46,614
Then Tony at one point
wanted him to go back naked.
1518
01:28:46,989 --> 01:28:50,909
And we thought that's a little bit
like The Terminator.
1519
01:28:51,660 --> 01:28:56,248
We ended up with Denzel
in his underwear. Collaboration.
1520
01:28:56,790 --> 01:28:58,417
SCOTT: I have a style.
1521
01:28:58,500 --> 01:29:01,378
I mean, it's not just the filming style,
it's the editing style,
1522
01:29:01,420 --> 01:29:04,840
and, you know, this is my eighth movie
with Chris Lebenzon, who's my editor.
1523
01:29:04,923 --> 01:29:07,259
And Chris, he was just the one editor.
1524
01:29:07,301 --> 01:29:10,054
You know, on Man on Fire
I had three different editors.
1525
01:29:10,095 --> 01:29:13,432
But Chris edited the...
He was the... He's the master.
1526
01:29:13,932 --> 01:29:17,978
And he... And Chris is,
this is my eighth movie.
1527
01:29:18,270 --> 01:29:22,107
But Chris is absolutely brilliant
in terms of story, character,
1528
01:29:22,274 --> 01:29:23,817
performance, timing.
1529
01:29:23,901 --> 01:29:27,613
And after eight movies,
obviously has become my right arm.
1530
01:29:29,365 --> 01:29:31,033
And this was...
1531
01:29:32,910 --> 01:29:34,620
It was a long movie on the page.
1532
01:29:34,703 --> 01:29:37,539
And when I say long,
the script was a little long.
1533
01:29:37,623 --> 01:29:41,627
But I tend to shoot things
at a given pace,
1534
01:29:41,710 --> 01:29:44,129
and so they tend to come out shorter
1535
01:29:44,421 --> 01:29:48,133
than the average director, say.
My rule of thumb, I think, is...
1536
01:29:49,343 --> 01:29:51,553
One page constitutes
one minute of screen time,
1537
01:29:51,637 --> 01:29:54,807
I think with me it's more like
two-thirds of a minute of screen time,
1538
01:29:55,140 --> 01:29:59,395
but my first cut,
when I'd finished shooting
1539
01:29:59,937 --> 01:30:03,232
was two hours, I think,
and three minutes.
1540
01:30:03,816 --> 01:30:05,776
That's brilliant for a first cut, you know.
1541
01:30:05,818 --> 01:30:09,530
But that's all down to Chris, Chris Leb,
1542
01:30:09,613 --> 01:30:13,158
'cause I was actually shooting
when he's doing all of that.
1543
01:30:13,200 --> 01:30:16,495
But Chris has got a knacky,
an uncanny...
1544
01:30:16,578 --> 01:30:20,207
Chris has an uncanny knack of,
you know, selecting
1545
01:30:20,290 --> 01:30:22,626
the right performance
for the right moment.
1546
01:30:22,668 --> 01:30:26,088
And being able to let things sit
and breathe a little bit more.
1547
01:30:26,171 --> 01:30:28,340
I've got, say, ADD, and I sort of,
1548
01:30:28,382 --> 01:30:32,428
when I'm left to my own devices,
it'll be like Domino on speed.
1549
01:30:32,511 --> 01:30:34,346
A bounty hunter on speed.
1550
01:30:34,430 --> 01:30:37,850
But Chris lets things breathe
and live and move,
1551
01:30:37,891 --> 01:30:48,694
and he always has a great shape
to every scene he does in a movie.
1552
01:30:48,694 --> 01:30:50,863
MARSILII: Now here, structurally,
this is kind of interesting
1553
01:30:55,033 --> 01:31:00,038
That we ever jump to a scene
that does not in any way include Doug.
1554
01:31:01,039 --> 01:31:04,042
We're seeing a moment
that took place in the past
1555
01:31:07,045 --> 01:31:08,547
But we're not looking through
the window.
1556
01:31:08,630 --> 01:31:10,507
The point of that structurally is that
1557
01:31:10,549 --> 01:31:12,801
we're seeing
what's about to happen to her
1558
01:31:13,886 --> 01:31:16,054
but Doug is racing to get there.
1559
01:31:18,849 --> 01:31:23,770
SCOTT: I've got an amazingly strong
family in terms of my work family,
1560
01:31:23,854 --> 01:31:26,064
and they all have a say.
1561
01:31:26,106 --> 01:31:28,358
You know, Chris Seagers,
who's my production designer,
1562
01:31:30,277 --> 01:31:34,156
You know, Chris was my art director
on Spy Game.
1563
01:31:34,740 --> 01:31:37,451
And I made him
my production designer
1564
01:31:37,534 --> 01:31:39,286
right at the beginning of Spy Game.
1565
01:31:39,369 --> 01:31:42,581
And he stunned me
when he did Spy Game.
1566
01:31:42,748 --> 01:31:47,461
He did Man on Fire, he did Domino,
and he's done D�j� Vu with me.
1567
01:31:47,544 --> 01:31:52,925
And Chris is tireless, tireless in
his pursuit of getting things better,
1568
01:31:52,966 --> 01:31:56,428
and making it work,
and he's a huge talent.
1569
01:31:56,595 --> 01:31:58,305
And the same
with Harry Gregson-Williams,
1570
01:31:58,388 --> 01:32:00,933
who does my music, you know.
1571
01:32:02,100 --> 01:32:03,810
Harry's got a little bit of a tortured soul.
1572
01:32:03,894 --> 01:32:07,689
Harry's a little bit of Man on Fire,
he's a little bit of Creasy.
1573
01:32:07,773 --> 01:32:11,610
And every time he does a movie
he gives a part of his soul,
1574
01:32:11,652 --> 01:32:15,739
so that's why the scores that he does
are so interesting, 'cause they're...
1575
01:32:16,281 --> 01:32:20,160
Harry's very sweet
and he's got a very dark side as well
1576
01:32:20,244 --> 01:32:22,663
so you always get that combination.
1577
01:32:22,746 --> 01:32:25,666
So again,
he's one of what I call my family.
1578
01:32:27,584 --> 01:32:29,545
MARSILII: Also here we see
Doug getting shot
1579
01:32:29,628 --> 01:32:32,506
which became vitally important.
1580
01:32:33,966 --> 01:32:35,384
After Tony initially signed on,
1581
01:32:35,467 --> 01:32:39,471
one of the things
that he was concerned about was
1582
01:32:39,972 --> 01:32:42,516
after the rescue of Claire,
1583
01:32:42,599 --> 01:32:47,020
he didn't feel that Doug was strongly
motivated enough to take her home.
1584
01:32:47,104 --> 01:32:50,023
At one point he'd even suggested
cutting that entire sequence
1585
01:32:50,107 --> 01:32:52,401
and going straight to the ferry.
1586
01:32:52,609 --> 01:32:54,278
But he had a point.
1587
01:32:54,319 --> 01:33:00,117
And the way that we got around it
was having Doug get shot here.
1588
01:33:02,744 --> 01:33:05,831
Then it required them
to go to her house
1589
01:33:05,914 --> 01:33:09,376
because he wasn't
going to make it otherwise.
1590
01:33:11,461 --> 01:33:14,631
SCOTT: You know, this bait camp in
the bayou was actually a working store.
1591
01:33:14,673 --> 01:33:20,345
It was a working bait camp.
And the people who ran the bait camp,
1592
01:33:20,429 --> 01:33:23,974
they were an old couple,
very sweet couple who were retired,
1593
01:33:24,182 --> 01:33:26,184
and they lived in the house next door.
1594
01:33:26,226 --> 01:33:27,769
But they said,
"Listen, we wanna remodel."
1595
01:33:27,853 --> 01:33:30,731
I said, "Done. We'll help you remodel."
1596
01:33:31,356 --> 01:33:36,153
So we blew...
So now the store got rebuilt.
1597
01:33:36,194 --> 01:33:38,572
So that was the store they wanted
to remodel, that thing in flames there.
1598
01:33:38,655 --> 01:33:43,201
That's what's called
"Hollywood remodeling."
1599
01:33:44,578 --> 01:33:46,496
MARSILII: This explosion and fire,
1600
01:33:47,789 --> 01:33:49,416
beyond the physical spectacle of it,
1601
01:33:49,499 --> 01:33:52,878
and we all love it
when something blows up real good,
1602
01:33:53,795 --> 01:33:58,342
it was important to the story
that Oerstadt believe
1603
01:33:58,967 --> 01:34:00,969
Claire and Doug are dead.
1604
01:34:01,970 --> 01:34:04,473
Otherwise, it would not
quite be plausible
1605
01:34:04,556 --> 01:34:07,434
that he continues with
his plan if he thinks
1606
01:34:08,226 --> 01:34:12,439
that there's a cop or somebody
who's already on his case.
1607
01:34:16,234 --> 01:34:18,278
By blowing the place up
1608
01:34:18,362 --> 01:34:21,948
and allowing him to drive off
without seeing them escape,
1609
01:34:24,284 --> 01:34:26,620
it makes it a bit more plausible
1610
01:34:27,204 --> 01:34:29,915
that Oerstadt still thinks
he can get away with this.
1611
01:34:29,956 --> 01:34:31,500
He's already killed one agent.
1612
01:34:31,583 --> 01:34:34,711
Now he believes
he's killed these folks as well.
1613
01:34:35,337 --> 01:34:39,383
And he's on his way
to blow up the ferry in Claire's car.
1614
01:34:41,385 --> 01:34:43,762
I'm a federal agent. Hang on, hang on.
1615
01:34:43,845 --> 01:34:46,181
There's only one reason, really,
1616
01:34:47,516 --> 01:34:50,435
that I wanted Claire to have
a hood over her head,
1617
01:34:51,478 --> 01:34:55,982
because that moment when they look
into each other's eyes for the first time,
1618
01:34:56,066 --> 01:34:59,945
that was something that...
It was just that much stronger
1619
01:35:06,326 --> 01:35:09,496
Later, when Doug seems to
know too much about her,
1620
01:35:14,126 --> 01:35:15,877
Creates so much suspicion in her
1621
01:35:15,961 --> 01:35:18,672
that it motivates
everything that follows.
1622
01:35:19,172 --> 01:35:23,218
SCOTT: Denzel falling in love
with Paula,
1623
01:35:24,469 --> 01:35:26,054
that was a challenge in itself,
1624
01:35:26,138 --> 01:35:28,974
because they never
get together on-screen
1625
01:35:29,015 --> 01:35:31,393
until you're an hour into the movie.
1626
01:35:31,476 --> 01:35:33,311
BRUCKHEIMER: No, I think
the major concern with the fact
1627
01:35:33,353 --> 01:35:35,522
that they don't have
much screen time is,
1628
01:35:35,605 --> 01:35:36,898
when do we get them together?
1629
01:35:36,982 --> 01:35:38,817
How quickly can we get
them together on-screen?
1630
01:35:38,900 --> 01:35:40,819
So, we constantly had to look
at the screenplay
1631
01:35:40,902 --> 01:35:43,739
and find out ways
to bring them together much sooner.
1632
01:35:43,822 --> 01:35:45,741
MARSILII:
And especially in a story like this,
1633
01:35:45,824 --> 01:35:48,243
every moment they do have counts,
1634
01:35:49,619 --> 01:35:54,374
because he's had four days to become
emotionally attached to her.
1635
01:35:55,584 --> 01:35:58,336
Here she has really a matter of hours.
1636
01:35:58,754 --> 01:36:02,340
And every look Paula gives him,
every moment, every touch,
1637
01:36:04,634 --> 01:36:08,305
is so delicate, it really helps us.
1638
01:36:10,223 --> 01:36:14,436
SCOTT: And so, I was worried that
the love story, or the relationship,
1639
01:36:14,811 --> 01:36:17,647
whatever you wanna call it,
wouldn't work.
1640
01:36:18,231 --> 01:36:22,110
You know, but I think
the strength is in the...
1641
01:36:22,360 --> 01:36:25,363
You know, one,
in terms of how I shot it,
1642
01:36:25,405 --> 01:36:27,365
but two, most of all, the chemistry
between the two people,
1643
01:36:27,407 --> 01:36:29,242
between Paula and Denzel,
1644
01:36:29,326 --> 01:36:34,080
and, you know, Denzel's commitment
to making this relationship work.
1645
01:36:34,915 --> 01:36:37,459
I think that I managed to pull it off.
1646
01:36:38,210 --> 01:36:41,379
MARSILII: One of the lovely things
about this to me is that,
1647
01:36:43,048 --> 01:36:46,676
here you've got a man who knows
everything about this woman.
1648
01:36:48,595 --> 01:36:51,306
He's read her dairies, he's gone
through everything she owns,
1649
01:36:51,389 --> 01:36:54,309
he's watched her
in the most private moments of her life.
1650
01:36:56,770 --> 01:36:59,272
She doesn't know a thing about him.
1651
01:37:01,066 --> 01:37:04,277
He's gonna have to try
as hard as he can to play this properly,
1652
01:37:04,361 --> 01:37:07,572
so that he doesn't come off to her
like a stalker.
1653
01:37:08,490 --> 01:37:11,576
SCOTT: And this house we shot,
you know, Claire's apartment,
1654
01:37:12,994 --> 01:37:16,206
was actually in a house which was in
1655
01:37:18,500 --> 01:37:20,877
a suburb of New Orleans
called the Bywater.
1656
01:37:20,919 --> 01:37:24,089
And the house had
a preservation order on it, though,
1657
01:37:24,381 --> 01:37:27,217
so we couldn't put nails in the walls
or do anything, so...
1658
01:37:27,300 --> 01:37:29,135
But the people were very sweet,
1659
01:37:29,219 --> 01:37:31,805
so we actually built
the house on-stage,
1660
01:37:32,347 --> 01:37:35,600
but we took all the doors,
all the windows, from the real house,
1661
01:37:35,684 --> 01:37:40,105
and brought them to the stage,
so that's why I think it feels like a real...
1662
01:37:43,191 --> 01:37:45,610
And that... You know, that's what I do
with Chris, it's the same.
1663
01:37:45,652 --> 01:37:49,447
Actually, it's funny, I just realized
it's the same rule of thumb, so...
1664
01:37:49,531 --> 01:37:52,242
What Chris Seagers,
my production designer, and I do,
1665
01:37:52,450 --> 01:37:54,661
we always find real locations
1666
01:37:55,620 --> 01:37:59,291
and then we then we build them
if we have to.
1667
01:37:59,332 --> 01:38:01,334
You know, we always take the...
Everything.
1668
01:38:03,378 --> 01:38:04,754
Beg, borrow and steal
as much dressing
1669
01:38:04,796 --> 01:38:06,631
as we can from the real locations,
1670
01:38:06,715 --> 01:38:10,385
'cause it's funny, real life,
it's always hard to reproduce,
1671
01:38:10,468 --> 01:38:13,722
it's always much
stranger than fiction, you know.
1672
01:38:13,805 --> 01:38:18,643
And so, Chris and I, we'd beg, borrow
and steal from the real locations and...
1673
01:38:18,685 --> 01:38:21,813
But that's the way we...
You know, you can say,
1674
01:38:21,897 --> 01:38:23,273
"God, I wonder what
her house looks like."
1675
01:38:23,315 --> 01:38:24,733
So, we looked at,
1676
01:38:24,816 --> 01:38:26,651
you know, in terms of
Claire on the page,
1677
01:38:26,735 --> 01:38:28,153
what does her house really look like?
1678
01:38:28,194 --> 01:38:30,488
And Claire, you know...
1679
01:38:30,572 --> 01:38:33,617
And Paula's character
in the original script,
1680
01:38:33,992 --> 01:38:36,286
she was a child's book illustrator,
1681
01:38:36,328 --> 01:38:40,999
and I felt it was a little too saccharine
and a little too cliched.
1682
01:38:41,333 --> 01:38:42,626
So, when I started scouting,
1683
01:38:42,667 --> 01:38:45,337
when I first went down
to New Orleans,
1684
01:38:45,503 --> 01:38:48,632
I met a girl who was a maitre d'
in a restaurant,
1685
01:38:49,174 --> 01:38:53,011
and I found it much more real
to have a working girl as a...
1686
01:38:53,053 --> 01:38:54,346
You know, who did...
1687
01:38:54,429 --> 01:38:57,349
She painted some murals
inside her apartment,
1688
01:38:57,390 --> 01:38:59,184
but I felt a real girl was
much more interesting,
1689
01:38:59,267 --> 01:39:03,521
so Paula's character, and her work,
was based off this real girl
1690
01:39:03,563 --> 01:39:05,106
we met at a restaurant
in New Orleans,
1691
01:39:05,190 --> 01:39:08,026
and I gave that character to Paula.
1692
01:39:08,276 --> 01:39:11,613
And then I got her to go and
spend time working as a maTtre d'
1693
01:39:11,696 --> 01:39:14,199
in one of the hot restaurants,
called NOLA,
1694
01:39:14,282 --> 01:39:16,910
just to get a sense of, you know,
1695
01:39:17,577 --> 01:39:19,287
not just about how you're a maitre d',
1696
01:39:19,371 --> 01:39:21,623
but it'd give a sense of
who the people are around you.
1697
01:39:21,706 --> 01:39:24,584
And you always get ideas
when you touch the real world.
1698
01:39:26,711 --> 01:39:29,547
MARSILII: Tony's big note
about these scenes,
1699
01:39:29,923 --> 01:39:33,551
once Doug and Claire
are actually together is that,
1700
01:39:35,261 --> 01:39:38,056
he felt that the less of them, the better.
1701
01:39:38,098 --> 01:39:40,892
He very much wanted
to get to the ferry.
1702
01:39:42,185 --> 01:39:45,105
We had scripted,
and he had even shot,
1703
01:39:46,189 --> 01:39:48,149
a bit more between them,
1704
01:39:48,900 --> 01:39:50,193
more character moments,
1705
01:39:50,235 --> 01:39:54,406
moments where Doug is telling her
what he knows about her
1706
01:39:59,327 --> 01:40:01,079
It's very fortunate
1707
01:40:02,038 --> 01:40:05,750
that Denzel and Paula have
such a strong chemistry together.
1708
01:40:06,001 --> 01:40:10,005
That's something that, as a writer,
you can really only pray for.
1709
01:40:11,715 --> 01:40:15,593
The danger of this story,
structurally, is that
1710
01:40:16,928 --> 01:40:18,930
it's a love story
where the man and the woman
1711
01:40:18,972 --> 01:40:21,766
really don't have
that much time together
1712
01:40:28,690 --> 01:40:31,234
If they don't seem
made for each other,
1713
01:40:31,276 --> 01:40:34,612
the whole thing can really, kind of,
just fall flat.
1714
01:40:36,948 --> 01:40:39,784
SCOTT: Now, we talked, and the
writers here, they said the same.
1715
01:40:39,868 --> 01:40:41,828
This is, you know,
this is a piece of Hitchcock.
1716
01:40:41,911 --> 01:40:45,915
This movie, this story, is a piece
of, you know, movie history.
1717
01:40:45,957 --> 01:40:49,544
And to be honest,
I was never a great fan of Hitchcock's.
1718
01:40:49,919 --> 01:40:53,757
But Hitchcock's movies, you know,
they were great films, but they're not...
1719
01:40:53,798 --> 01:40:56,301
It's like, people say,
"What sort of painting do you like?"
1720
01:40:56,384 --> 01:40:59,471
And I'd say, you know, "I'm not into,
1721
01:41:00,180 --> 01:41:03,558
"you know, modern, contemporary,
abstract painters, you know.
1722
01:41:03,641 --> 01:41:06,061
"I'm more into Hieronymous Bosch
and Brueghel, "
1723
01:41:06,144 --> 01:41:08,688
psychological, religious persecution.
1724
01:41:09,147 --> 01:41:10,648
Yeah, so...
1725
01:41:10,690 --> 01:41:13,610
No, listen, he did some really
interesting movies,
1726
01:41:13,651 --> 01:41:16,821
but they were not...
They were, I don't know...
1727
01:41:17,322 --> 01:41:20,742
I mean, Roman Polanski, Nic Roeg,
1728
01:41:22,827 --> 01:41:25,997
they were the guys
that I sort of aspired to, they were...
1729
01:41:26,164 --> 01:41:30,376
I don't want the word more "strange,"
"surreal," "odd."
1730
01:41:30,960 --> 01:41:33,296
Yeah, I think I, too, son' of...
1731
01:41:33,671 --> 01:41:35,924
My guiding lights
in terms of the older cinema.
1732
01:41:36,007 --> 01:41:38,927
Nic Roeg has been one of my
biggest guiding lights.
1733
01:41:39,010 --> 01:41:40,678
I think I've said before,
1734
01:41:40,720 --> 01:41:43,014
his movie Performance,
his first movie, was...
1735
01:41:43,098 --> 01:41:45,725
I've stolen from that movie
so many times.
1736
01:41:45,809 --> 01:41:48,520
Yeah. Others... I steal from everybody.
1737
01:41:51,106 --> 01:41:53,691
MARSILII: Now it all starts paying off.
1738
01:41:55,026 --> 01:41:58,363
Up until now, it was possible
for Doug and for the audience
1739
01:41:58,404 --> 01:42:00,824
to believe he'd actually saved Claire.
1740
01:42:03,201 --> 01:42:07,831
But now, as moments like this
start replaying themselves,
1741
01:42:09,207 --> 01:42:12,502
Donnelly writing her number
on the candy wrapper,
1742
01:42:14,254 --> 01:42:18,216
the blood that's going to be found
later on will turn out to be Doug's,
1743
01:42:18,258 --> 01:42:21,553
as everything starts to dovetail
1744
01:42:23,179 --> 01:42:25,557
and fold back onto itself plot-wise,
1745
01:42:27,517 --> 01:42:32,063
we start to wonder if he's ever going to
be able to change anything at all.
1746
01:42:33,940 --> 01:42:36,276
I'll let you in on a little secret here,
1747
01:42:36,359 --> 01:42:40,697
this answering machine moment...
Originally, as scripted,
1748
01:42:42,073 --> 01:42:46,077
Doug was going to lip-synch perfectly
Beth's message
1749
01:42:46,161 --> 01:42:47,996
as it was being left.
1750
01:42:49,455 --> 01:42:51,374
I don't know if
they ever shot a take that way,
1751
01:42:51,416 --> 01:42:54,335
but ultimately, I think
they just felt it wouldn't play.
1752
01:42:55,920 --> 01:42:58,047
SCOTT: I mean, it's funny,
obviously, this...
1753
01:42:58,089 --> 01:43:00,091
The location in New Orleans
didn't resemble
1754
01:43:00,175 --> 01:43:02,468
what was in the original screenplay,
1755
01:43:02,552 --> 01:43:04,345
which was Long Island,
1756
01:43:05,430 --> 01:43:07,932
and the ferry journey
is a much longer journey
1757
01:43:08,016 --> 01:43:11,853
in Long Island than it was here.
This is just a very short hop.
1758
01:43:12,020 --> 01:43:15,607
It's a 17-minute hop across the river.
1759
01:43:15,815 --> 01:43:18,276
But the writers came down, and...
1760
01:43:19,235 --> 01:43:20,445
When I was actually...
1761
01:43:20,528 --> 01:43:22,322
A week before I started shooting,
and sort of said,
1762
01:43:22,405 --> 01:43:25,450
"Wow. I don't know
how this is gonna work."
1763
01:43:26,993 --> 01:43:29,245
But you know...
1764
01:43:29,287 --> 01:43:32,373
It's hard for a writer, 'cause they
fall in love with what they've written.
1765
01:43:32,457 --> 01:43:34,876
And they see it.
The location is... They see it.
1766
01:43:34,959 --> 01:43:36,169
Then we try to give them
something else,
1767
01:43:36,252 --> 01:43:38,963
and you have to adapt
to what you find.
1768
01:43:39,005 --> 01:43:40,965
You know...
1769
01:43:41,174 --> 01:43:45,178
So I, obviously, had
a big adaptation to do
1770
01:43:45,303 --> 01:43:47,555
to get away from Long Island
to New Orleans,
1771
01:43:47,639 --> 01:43:49,098
but New Orleans is so much,
1772
01:43:49,140 --> 01:43:52,352
I felt, the better place
for this story and this movie.
1773
01:43:54,145 --> 01:43:57,398
Then on our, you know,
our very first ferry,
1774
01:43:57,482 --> 01:44:00,026
when we were scouting,
our first trip across the river,
1775
01:44:00,109 --> 01:44:03,071
we got diverted
because a tanker came through.
1776
01:44:03,154 --> 01:44:07,200
And that diversion pulled us towards
the bridge, which gave me the idea,
1777
01:44:07,283 --> 01:44:09,202
which is now in the movie,
1778
01:44:09,285 --> 01:44:11,955
the ferry gets diverted
and goes underneath a bridge,
1779
01:44:11,996 --> 01:44:15,375
which is a good excuse for a much
better location for the ferry to blow.
1780
01:44:15,458 --> 01:44:18,836
And that's what also gave me the idea
about the guy on the bridge watching,
1781
01:44:18,878 --> 01:44:21,130
that, whether you get it or not
in the movie, the guy...
1782
01:44:21,172 --> 01:44:23,007
When he sees
the ferry coming towards him,
1783
01:44:23,049 --> 01:44:26,970
and he knows it's gonna blow,
he splits, gets on his bike and goes.
1784
01:44:27,011 --> 01:44:31,140
So, all of that all comes about through
scouting locations, you know.
1785
01:44:32,809 --> 01:44:36,062
It was actually, you know, Chris
Seagers, my production designer,
1786
01:44:37,897 --> 01:44:41,651
and Marshall Vernet,
one of my location guys,
1787
01:44:42,235 --> 01:44:45,280
and Richard Klotz, they sent me back
these pictures.
1788
01:44:45,363 --> 01:44:48,866
And the pictures, in terms of
1789
01:44:49,033 --> 01:44:52,203
the ferry docks,
and the journey that the ferry took...
1790
01:44:54,747 --> 01:44:59,043
Then, you know, it was actually
Chris Seagers that said, you know,
1791
01:44:59,544 --> 01:45:01,838
"You know, what happens if
these guys were in
1792
01:45:03,172 --> 01:45:06,634
So, it was Chris' idea to say that
these sailors were coming in for
1793
01:45:07,260 --> 01:45:09,595
Mardi Gras, for the weekend.
1794
01:45:24,110 --> 01:45:26,863
Once Oerstadt sees
his own car back there,
1795
01:45:26,904 --> 01:45:30,908
he realizes that Doug and Claire
are not, in fact, dead,
1796
01:45:33,828 --> 01:45:38,416
and the final act of the picture
really kicks into gear.
1797
01:45:40,418 --> 01:45:44,839
One of the things that's a staple
of bomb movies,
1798
01:45:44,922 --> 01:45:48,176
that Terry and I both desperately
wanted to get away from,
1799
01:45:48,259 --> 01:45:53,264
was the clich� of the digital timer
that you keep cutting back to,
1800
01:45:53,306 --> 01:45:56,017
to show how many
seconds we have left.
1801
01:45:56,100 --> 01:46:00,605
So many polite bombers that put these
big, readable timers on their bombs.
1802
01:46:02,065 --> 01:46:05,860
Instead, the countdown,
the ticking clock, so to speak,
1803
01:46:07,445 --> 01:46:11,783
is the inevitable repeat
of a series of events
1804
01:46:11,824 --> 01:46:14,077
that we saw at the top of the movie.
1805
01:46:15,828 --> 01:46:21,459
The teacher counting the children,
the horn going off, the captain talking,
1806
01:46:22,001 --> 01:46:24,420
everything repeating exactly.
1807
01:46:24,462 --> 01:46:29,842
All while Doug and Claire
are running around underneath them
1808
01:46:29,926 --> 01:46:32,345
trying to avert a disaster.
1809
01:46:34,472 --> 01:46:37,809
And every time we see
one of those events replay itself,
1810
01:46:37,892 --> 01:46:42,271
it's just one more clue that
maybe they're not changing anything.
1811
01:46:45,691 --> 01:46:48,694
SCOTT: We used a lot of our extras.
On our biggest day, on the ferry
1812
01:46:51,447 --> 01:46:52,657
That sounds very indulgent,
1813
01:46:52,740 --> 01:46:56,119
but when you look at that ferry,
and you do aerial shots of the ferry,
1814
01:46:56,160 --> 01:46:58,913
750 people disappear like that.
1815
01:46:58,996 --> 01:47:02,583
So the whole idea was
meant to be a full ferry.
1816
01:47:02,750 --> 01:47:06,754
So our biggest days were, I think, 750.
1817
01:47:08,297 --> 01:47:11,008
But it's funny,
all these uniforms you see here,
1818
01:47:11,092 --> 01:47:15,763
a lot of the guys came from
the naval base in New Orleans,
1819
01:47:16,013 --> 01:47:19,058
but we couldn't use their actual
uniforms, we had to wardrobe them.
1820
01:47:19,142 --> 01:47:22,895
But, you know,
when we first started shooting,
1821
01:47:23,980 --> 01:47:26,357
right after Katrina,
1822
01:47:26,399 --> 01:47:30,528
originally there were 500,000 people
every night who slept in New Orleans,
1823
01:47:30,570 --> 01:47:33,030
after Katrina it went down to 60,000.
1824
01:47:33,364 --> 01:47:38,035
By the time we started shooting
it was still 60,000.
1825
01:47:38,077 --> 01:47:41,873
By the time we finished shooting
it was 250,000. So that was good.
1826
01:47:41,956 --> 01:47:44,167
The confidence in the city,
not because of the film,
1827
01:47:44,208 --> 01:47:46,210
but just people were coming back.
1828
01:47:46,294 --> 01:47:48,171
But there were not a lot of people
in New Orleans,
1829
01:47:48,212 --> 01:47:49,547
so we had to ferry a lot of people,
1830
01:47:49,630 --> 01:47:52,717
we had to bus people in
from Baton Rouge every day.
1831
01:47:52,967 --> 01:47:56,679
We had huge busloads
leaving at 2:00 or 3:00 in the morning.
1832
01:47:56,721 --> 01:48:00,183
Then all these guys that you see
had to be wardrobed. Yeah.
1833
01:48:04,061 --> 01:48:06,147
MARSILII: One of the reasons
that we ended up
1834
01:48:06,230 --> 01:48:10,359
choosing a ferry disaster, Terry and I,
1835
01:48:10,985 --> 01:48:14,572
was there were
a number of virtues to it cinematically.
1836
01:48:15,740 --> 01:48:18,367
One, it had never been done,
to my knowledge.
1837
01:48:18,409 --> 01:48:19,911
I'd never seen something like this.
1838
01:48:19,994 --> 01:48:23,331
Plane crashes have unfortunately
been done to death in movies.
1839
01:48:24,499 --> 01:48:27,210
A ferry is a visually interesting place
1840
01:48:27,793 --> 01:48:30,755
to stage
a cat-and-mouse suspense sequence.
1841
01:48:30,838 --> 01:48:33,591
There are multiple levels,
some indoors, some outdoors,
1842
01:48:33,674 --> 01:48:35,676
lots of innocent people around.
1843
01:48:37,136 --> 01:48:41,140
Also, the deep water makes
the evidence so much harder to obtain
1844
01:48:41,766 --> 01:48:44,936
and thus it helps justify
the use of a time-window.
1845
01:48:46,729 --> 01:48:48,648
And it's also a contained space.
1846
01:48:48,731 --> 01:48:50,816
Once the boat sets sail,
1847
01:48:51,108 --> 01:48:55,238
there's no way for Doug, Claire
or anybody else to escape the bomb.
1848
01:48:55,571 --> 01:49:00,284
Doug has to solve the problem
or everybody dies.
1849
01:49:02,203 --> 01:49:04,288
It worked out very well for us I think.
1850
01:49:04,580 --> 01:49:06,832
No passengers allowed, sir.
1851
01:49:10,002 --> 01:49:12,004
SCOTT: In the script
this sequence was very different.
1852
01:49:12,088 --> 01:49:16,092
Obviously, the ferry that they had
in the script was a Long Island ferry
1853
01:49:18,803 --> 01:49:23,474
And it was very much
motivated by action shootout
1854
01:49:23,516 --> 01:49:25,685
and the bad guy, in the original script,
1855
01:49:25,768 --> 01:49:28,813
was carrying pipe-bombs
that he kept throwing around.
1856
01:49:28,896 --> 01:49:32,316
So this, I tried to structure it,
1857
01:49:32,358 --> 01:49:36,153
I tried to make Jim Cavieze|'s
character very much more real.
1858
01:49:37,780 --> 01:49:44,161
MARSILII: Tony very much wanted
Caviezel to come off as a...
1859
01:49:44,245 --> 01:49:47,999
He mentioned Robert De Niro
in Taxi Driver
1860
01:49:48,082 --> 01:49:51,502
where this guy's got his guns,
he's unstoppable,
1861
01:49:51,544 --> 01:49:58,342
and he just marches through
shooting anybody that gets in his way.
1862
01:50:02,638 --> 01:50:05,266
SCOTT: And then the location itself,
the ferry itself,
1863
01:50:05,349 --> 01:50:09,770
dictated how the set piece laid out,
how Denzel and he faced off,
1864
01:50:09,854 --> 01:50:13,024
and have this monologue
with each other at the end.
1865
01:50:13,733 --> 01:50:17,737
But that stuff's hard, 'cause you know
you got to tell the story,
1866
01:50:17,820 --> 01:50:22,908
and then you gotta tell the story
between the two characters
1867
01:50:23,034 --> 01:50:26,579
that had to drive the Bronco
off the ferry and into the water
1868
01:50:26,662 --> 01:50:28,039
and trying to keep those things real
1869
01:50:28,080 --> 01:50:31,709
without them becoming sort of
old-fashioned action set pieces,
1870
01:50:32,168 --> 01:50:35,212
that's hard. It's a real challenge. So...
1871
01:50:35,296 --> 01:50:38,549
But I think it's successful.
I think it works.
1872
01:50:40,384 --> 01:50:42,011
MARSILII: One of the nice things
about this,
1873
01:50:42,053 --> 01:50:44,722
as Doug starts to draw Oerstadt out,
1874
01:50:44,764 --> 01:50:47,975
we can see he's got a plan
even if it's not clear yet.
1875
01:50:48,059 --> 01:50:52,563
So Doug starts using
Oerstadt's own words against him.
1876
01:50:52,647 --> 01:50:56,192
And you can even imply
1877
01:50:57,485 --> 01:51:01,906
that Oerstadt's having a dej� vu
moment here that will cost him his life.
1878
01:51:04,909 --> 01:51:07,536
One of the other things
I'm kind of proud of here
1879
01:51:07,578 --> 01:51:11,582
is that so often in a hostage situation,
1880
01:51:11,666 --> 01:51:14,293
you know, where you've got a woman
who's tied up,
1881
01:51:14,377 --> 01:51:17,254
she doesn't take any part
in her own rescue.
1882
01:51:18,464 --> 01:51:21,592
We wanted to give Claire
something more active.
1883
01:51:22,093 --> 01:51:23,511
Who are you?
1884
01:51:25,096 --> 01:51:30,893
So Doug depends on her
at this moment to save his life,
1885
01:51:32,144 --> 01:51:36,107
even though she has to do
something horrible in order to do it.
1886
01:51:39,610 --> 01:51:43,447
SCOTT: You know, and Paul Cameron,
this is my second movie with Paul,
1887
01:51:43,489 --> 01:51:49,120
I've done many commercials.
And Paul is...
1888
01:51:49,245 --> 01:51:51,414
No, no. The last movie I did with him
was Man on Fire.
1889
01:51:51,455 --> 01:51:56,627
So, Paul loves to experiment,
try different things, and he is...
1890
01:51:58,295 --> 01:52:01,549
Paul's brilliant in terms of,
you know, technology
1891
01:52:01,632 --> 01:52:05,469
and to do something like this,
I mean cross-processing, you know,
1892
01:52:05,511 --> 01:52:07,388
and shooting
in all the different formats,
1893
01:52:07,471 --> 01:52:08,764
and we were shooting in terms of,
1894
01:52:08,806 --> 01:52:11,142
you know,
the digital world and the film world,
1895
01:52:11,183 --> 01:52:13,227
was a really dangerous thing
to do, so...
1896
01:52:13,310 --> 01:52:15,312
But with Paul I always
have confidence in him.
1897
01:52:15,396 --> 01:52:17,481
He can take me right to an edge.
1898
01:52:17,523 --> 01:52:20,901
It's irreversible.
You're left sitting on this knife edge,
1899
01:52:20,985 --> 01:52:24,655
in terms of the final released
product, your film,
1900
01:52:24,697 --> 01:52:28,451
and your DVDs,
and your digital world, yeah.
1901
01:52:28,868 --> 01:52:29,952
" ' '
1902
01:52:29,994 --> 01:52:32,329
He always gets it right then,
gets it there in a great way.
1903
01:52:32,413 --> 01:52:36,709
'Cause the film is so...
I mean, I think it's the most rich and...
1904
01:52:37,001 --> 01:52:39,795
Densely rich and most...
What's the word?
1905
01:52:39,837 --> 01:52:44,383
Contrasty, in the best possible way,
movie, that I've ever done.
1906
01:52:47,678 --> 01:52:50,890
MARSILII:
When I wrote this action beat,
1907
01:52:50,973 --> 01:52:55,978
with the ferry running over the car,
1908
01:52:56,020 --> 01:52:59,523
and causing it to tumble upside down,
1909
01:53:00,024 --> 01:53:02,651
I was working other jobs,
1910
01:53:04,278 --> 01:53:07,823
my screenwriting career had gone
fallow, and I really
1911
01:53:08,699 --> 01:53:12,203
could only imagine how they would
ever pull this off,
1912
01:53:12,244 --> 01:53:14,955
if I was lucky enough to see it happen.
1913
01:53:16,415 --> 01:53:19,543
And they did. I'm really amazed at how
1914
01:53:20,628 --> 01:53:22,379
this sequence looks.
1915
01:53:23,464 --> 01:53:25,424
SCOTT: This particular sequence here,
1916
01:53:25,508 --> 01:53:28,719
this stuff, we shot
at Warner Brothers, underwater.
1917
01:53:30,221 --> 01:53:33,265
And Paula had swum,
but she wasn't a great swimmer.
1918
01:53:33,349 --> 01:53:34,892
Denzel was a strong swimmer.
1919
01:53:34,975 --> 01:53:39,230
So, imagine how scary it was
being 30 feet down in a tank,
1920
01:53:39,271 --> 01:53:43,025
inside a car which is on a...
It's like a rotisserie,
1921
01:53:43,067 --> 01:53:47,947
you know, that's being barrel-rolled
along, and you're on a hooker line,
1922
01:53:48,030 --> 01:53:51,075
which is like a tank, air tank, yeah.
1923
01:53:51,158 --> 01:53:54,578
And you gotta take that line out
and then swim out, you know.
1924
01:53:54,620 --> 01:53:55,788
And then, when you swim out,
1925
01:53:55,871 --> 01:53:58,749
you gotta get 30 feet out
beyond the hull of the ship.
1926
01:53:58,833 --> 01:54:01,252
So, Paula was a real trouper,
'cause she was terrified.
1927
01:54:01,335 --> 01:54:03,963
She had claustrophobia,
'cause she's inside this car.
1928
01:54:04,046 --> 01:54:05,589
The car's underneath the hull
of the ship.
1929
01:54:07,049 --> 01:54:10,427
When it's being rotisseried
and slamming against
1930
01:54:12,096 --> 01:54:15,766
D was great. So, what you
saw there, we had doubles,
1931
01:54:16,016 --> 01:54:18,561
you know, we had
stunt doubles doing it,
1932
01:54:19,603 --> 01:54:22,982
but I'd say the majority
was Denzel and Paula.
1933
01:54:24,859 --> 01:54:27,111
MARSILII: Let you in on
a little secret here, too.
1934
01:54:27,194 --> 01:54:30,114
In the original version of the script,
1935
01:54:30,614 --> 01:54:33,367
Claire was literally blown
out of the water.
1936
01:54:33,450 --> 01:54:37,663
She was still struggling to reach
the surface when the bomb went off.
1937
01:54:37,788 --> 01:54:41,500
She hit the water face down
and was floating,
1938
01:54:42,167 --> 01:54:43,794
just like a doll.
1939
01:54:45,588 --> 01:54:48,215
SCOTT: Then, this end of
the movie here, was the...
1940
01:54:48,299 --> 01:54:51,468
Which was always the biggest
leap for me, when Denzel
1941
01:54:51,552 --> 01:54:54,972
turns up at the end, getting
the audience to buy into the fact
1942
01:54:55,014 --> 01:54:58,809
that Denzel lived because of what we
explained earlier in the movie about
1943
01:54:59,310 --> 01:55:01,520
parallel or diverse universes,
1944
01:55:01,896 --> 01:55:03,981
that there's a second Denzel
somewhere else
1945
01:55:04,064 --> 01:55:06,108
at the same point in time.
1946
01:55:07,735 --> 01:55:12,615
And this... You know, this was
the culmination of the love story.
1947
01:55:12,656 --> 01:55:15,659
So, it's funny, the movie does give you
a sentimental jolt.
1948
01:55:15,701 --> 01:55:19,997
And I was surprised, I mean,
how people responded in that way,
1949
01:55:20,539 --> 01:55:24,084
which was the best possible response
I could have got, because
1950
01:55:24,627 --> 01:55:28,088
it was very hard to pull that off.
Well, it's very hard to pull off.
1951
01:55:28,505 --> 01:55:31,675
It's pulled off because of Denzel,
because of Paula.
1952
01:55:31,759 --> 01:55:35,554
But it was dangerous
whether this end would come off,
1953
01:55:37,222 --> 01:55:41,185
It could have divorced you totally
from the emotional content
1954
01:55:44,271 --> 01:55:46,732
MARSILII: Originally,
in the opening scenes
1955
01:55:46,815 --> 01:55:48,692
of the movie, after the ferry explodes
1956
01:55:48,734 --> 01:55:51,570
and Doug comes to the dock
to investigate,
1957
01:55:52,863 --> 01:55:55,741
we had rain,
at least scripted, we had rain.
1958
01:56:00,037 --> 01:56:03,290
In the scenes afterwards,
where Doug's on the boat,
1959
01:56:04,041 --> 01:56:06,543
because we needed that
in order to obliterate the evidence.
1960
01:56:06,585 --> 01:56:08,545
But originally,
all the scenes at the dock,
1961
01:56:08,629 --> 01:56:11,256
were covered in torrential downpour.
1962
01:56:12,049 --> 01:56:16,053
And at the end of the movie,
when Doug comes to get Claire,
1963
01:56:16,178 --> 01:56:18,013
and he's alive again,
1964
01:56:18,889 --> 01:56:22,559
it's drizzling, but it starts to taper off
1965
01:56:25,104 --> 01:56:28,983
That's different from what happened
at the beginning of the movie.
1966
01:56:29,441 --> 01:56:32,194
And the last lines
of the film, originally...
1967
01:56:33,779 --> 01:56:37,574
...he has his d�j� vu moment,
he's looking out of the window,
1968
01:56:38,075 --> 01:56:40,285
and Claire says, "What is it?"
1969
01:56:40,786 --> 01:56:43,622
Doug says,
"It was supposed to rain all day."
1970
01:56:44,456 --> 01:56:47,626
And they look outside,
and it has stopped raining.
1971
01:56:49,044 --> 01:56:52,923
And the last line of the movie
was Claire turning to him and saying,
1972
01:56:52,965 --> 01:56:55,259
"I guess God changed his mind."
1973
01:56:56,635 --> 01:57:00,764
Fast forward to the day that we shot it.
1974
01:57:02,516 --> 01:57:06,562
I wasn't there this particular day,
1975
01:57:06,854 --> 01:57:10,899
but they had several hundred feet
of scaffold over the dock
1976
01:57:10,941 --> 01:57:13,318
in order to provide rain.
1977
01:57:13,986 --> 01:57:16,030
Everything was good to go.
1978
01:57:16,280 --> 01:57:19,450
And the sun was
so brilliantly bright out,
1979
01:57:19,491 --> 01:57:22,786
it was like 98 degrees,
not a cloud in the sky.
1980
01:57:23,620 --> 01:57:26,081
They couldn't even fake the rain.
1981
01:57:27,207 --> 01:57:28,292
0on9-.
1982
01:57:32,588 --> 01:57:34,465
To see the ferry explode,
1983
01:57:34,548 --> 01:57:36,258
Chad took me aside and very...
1984
01:57:36,300 --> 01:57:41,388
Chad Oman very delicately
informed me that
1985
01:57:42,056 --> 01:57:45,059
we had to change the ending
just a little bit,
1986
01:57:49,396 --> 01:57:54,485
And I stood there smiling and nodding
as he explained it all to me,
1987
01:57:54,568 --> 01:57:57,029
and he said, "Don't freak out,"
1988
01:57:58,739 --> 01:58:03,327
and finally I pointed at my own face,
I said, "Look at me. I'm fine, I'm okay."
1989
01:58:03,786 --> 01:58:06,163
He said, "Yeah?" I said, "Yeah."
1990
01:58:06,455 --> 01:58:07,998
What can I say?
1991
01:58:08,290 --> 01:58:10,375
If God wanted the movie to end
that way,
1992
01:58:10,459 --> 01:58:13,462
he'd have helped us out
with some cloud cover.
1993
01:58:16,507 --> 01:58:17,716
SCOTT: And then Macy Gray, we had...
1994
01:58:17,800 --> 01:58:19,426
You remember Macy?
She was in Domino.
1995
01:58:19,551 --> 01:58:21,804
And she does the final song
in the movie now.
1996
01:58:21,929 --> 01:58:24,556
And Macy's great, because, you know,
1997
01:58:25,015 --> 01:58:28,227
the danger with the song
at the end of the movie, is it becomes,
1998
01:58:28,310 --> 01:58:30,938
you know, a little too...
What's the word?
1999
01:58:31,021 --> 01:58:34,024
Is mainstream, or a little too
on the nose, you know.
2000
01:58:34,108 --> 01:58:36,610
But Macy's voice is so great,
2001
01:58:36,693 --> 01:58:40,989
and she's got such mystery,
and she embodied so much about...
2002
01:58:41,073 --> 01:58:45,369
Her voice embodied so much of
what I wanted the movie to feel like.
2003
01:58:45,410 --> 01:58:48,288
People always ask me, you know,
in terms of the press,
2004
01:58:48,372 --> 01:58:49,915
"So, tell us about your d�j� vu"
2005
01:58:49,998 --> 01:58:53,460
I say, 'cause I'm 62, dej� vu
gets difficult to differentiate between
2006
01:58:53,544 --> 01:58:56,630
memory loss, or did it actually...
2007
01:58:56,713 --> 01:58:59,716
Have I been there,
have I not really been there?
2008
01:58:59,883 --> 01:59:03,178
And, it was funny, the title always...
I was surprised, actually,
2009
01:59:03,220 --> 01:59:07,391
because I thought D�ja Vu sounds a
little too artsy for an American public,
2010
01:59:07,599 --> 01:59:08,934
you know, for a Jerry movie,
2011
01:59:09,017 --> 01:59:11,311
and, like, a little too artsy, but...
2012
01:59:11,436 --> 01:59:14,773
And they liked the fact
that the public were a little...
2013
01:59:14,857 --> 01:59:17,568
It's a little mysterious,
a little confusing,
2014
01:59:17,651 --> 01:59:20,070
because that's the nature
of the screenplay that they had.
2015
01:59:20,154 --> 01:59:22,906
So, they built into it
those strengths, doing it.
2016
01:59:22,990 --> 01:59:26,660
But you know, the first thing I do
when you get a title like oegavu...
2017
01:59:26,743 --> 01:59:28,871
So I said, I mean,
"What does d�ja vu mean to you?"
2018
01:59:28,912 --> 01:59:30,747
And everybody's got a
different interpretation.
2019
01:59:30,789 --> 01:59:33,876
So, I went to the Oxford
English Dictionary
2020
01:59:33,917 --> 01:59:35,252
and looked in there, and they said,
2021
01:59:35,294 --> 01:59:38,714
"It's an uncomfortable feeling
about a place you've been before,
2022
01:59:38,755 --> 01:59:40,591
"a person you've been with before."
2023
01:59:40,632 --> 01:59:42,759
So, it's funny,
'cause that word, "uncomfortable,"
2024
01:59:42,801 --> 01:59:45,095
then became my key
to my day every day.
2025
01:59:45,137 --> 01:59:47,764
Always... Whether it's
Denzel's performance, or...
2026
01:59:47,806 --> 01:59:51,435
The movie gave it this odd
and uncomfortable, odd feeling.
2027
01:59:51,476 --> 01:59:54,104
And so, that was sort
of a driving force,
2028
01:59:54,188 --> 01:59:56,648
one of my driving forces through...
2029
01:59:56,732 --> 01:59:58,901
You know, through the movie.
2030
01:59:59,610 --> 02:00:02,112
Okay, so, that was my journey.
2031
02:00:02,654 --> 02:00:06,158
That was my journey into a world
which frightened me.
2032
02:00:06,533 --> 02:00:10,954
That was my journey into a world
that I got to educate myself,
2033
02:00:12,915 --> 02:00:16,043
Educate and entertain, and I hope
this movie did it for you.
2034
02:00:19,963 --> 02:00:23,592
In honor of New Orleans, and
I wanna see the city back on its feet.
2035
02:00:23,634 --> 02:00:26,094
And it's amazing
that the public spirit there...
2036
02:00:26,136 --> 02:00:30,641
How much,
how strong it was after Katrina.
2037
02:00:31,350 --> 02:00:34,978
And I want them to get it back
to where they were before Katrina.
2038
02:00:35,812 --> 02:00:37,147
Thank you.
2039
02:00:37,481 --> 02:00:39,399
BRUCKHEIMER: Well,
we really appreciate you joining us
2040
02:00:39,483 --> 02:00:41,485
for this commentary in D�j� Vu.
2041
02:00:41,526 --> 02:00:43,403
It was a very complicated movie,
a very interesting movie.
2042
02:00:43,487 --> 02:00:45,781
It's a movie you have to see more
than once, there are a lot of clues
2043
02:00:45,822 --> 02:00:47,282
that you miss the first time,
2044
02:00:47,324 --> 02:00:50,494
and I know you'll appreciate them
when you see them again.
2045
02:00:50,661 --> 02:00:53,038
(COMING BACK TO YOU PLAYING)
2046
02:01:44,214 --> 02:01:47,384
(SUSPENSEFUL MUSIC PLAYING)