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MOSCOW, RUSSIA
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Straight in, Bourne on the run.
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The key question, making
this film, was tempo, I thought.
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This is the third installment
of the Bourne trilogy
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and I wanted to set the tempo high
from the off.
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Why? Because all movies
are ultimately chase movies
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and I wanted this film
to be all about Bourne getting answers,
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getting towards the end of his journey,
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the chase reaching its furious crescendo,
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and so, from the first frame,
I wanted the tempo to be high.
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So, here we have
Bourne on the run in Moscow,
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and that was one of the first decisions,
actually, that was made on the film,
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was to start it in Moscow
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and to start the film earlier
than where Bourne Supremacy had ended.
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That was an important choice.
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Tony Gilroy's choice, actually,
the screenwriter.
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And in the end, I think
that choice comes down
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to the fact that Bourne is looking
for answers.
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And when you look
at the end of Bourne Supremacy,
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you realize that he ends up in New York,
having just left Moscow,
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and you wonder why he went to New York.
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What happened between his leaving Moscow
and arriving in New York?
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Why did he come to New York?
What happened in the interim?
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And that's what Bourne Ultimatum
is all about.
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Send him in.
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The difficulty, of course,
with any Bourne film
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is that the story exists
in several time frames.
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You've got the story
of Bourne being chased,
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but you also have the story
of what happened to Bourne
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in his hidden past, in the flashbacks.
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And in these flashbacks,
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I wanted to give them
a strong contemporary edge.
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One of the things, I think,
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that's most exciting
about the Bourne franchise
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is that it's about a real man
in a strong contemporary world,
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with stories that feel like
they're ripped out of tomorrow's headlines,
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and so it seemed to me appropriate
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to fill Bourne's dreams, his nightmares,
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the fragments of his past
that are visible to him,
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with images that shock and disturb
and feel like they're from today.
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My argument is not with you.
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SIX WEEKS LATER
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CENTRAL INTELLIGENCE AGENCY
LANGLEY, VIRGINIA
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There's no place it won't catch up to you.
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It's how every story ends.
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Tape recording, of course,
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was the tape that Bourne sent to Pam Landy
at the end of Bourne Supremacy.
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And one of the difficult
storytelling problems
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that you have in a Bourne film,
particularly in this film,
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is to create a film that
exists for an audience
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and will be explicable and understandable
for an audience
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that's coming to only Bourne Ultimatum
for the first time,
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and yet feel satisfying to an audience
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that has followed the trilogy from
Bourne Identity through Bourne Supremacy
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and onwards.
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And a lot of discussion,
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particularly in the editing room,
around this scene,
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which is essentially backstory.
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We have to convey our backstory
with maximum economy
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and also establish, of course,
the character of Landy,
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who's very, very important
in the Bourne trilogy, obviously,
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as the character who pursues Bourne,
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but also comes to understand
what his real agenda is.
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And that's what this scene's all about.
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He's looking for something.
Something in his past.
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Maybe he hasn't found it yet
and we need to know what it is.
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Are you telling me
he's not a threat to this agency?
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I think if he wanted to hurt us,
he could have sent the tape to CNN.
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Maybe he still will.
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Scott Glenn came in to play the part
of CIA Director Kramer.
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A very fine actor and a very, very good foil,
I think, for Joan Allen.
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Let's keep looking.
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And, of course,
it's often said that in a thriller,
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the hero is only as good
as the characters ranged against him,
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and so it's very important that all the parts
in a Bourne film are played with conviction.
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So now we meet a young reporter,
a British reporter, Simon Ross,
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played by Paddy Considine.
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To a mysterious meeting in a Turin café.
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I wanted this meeting to remind us...
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it certainly reminded me
of the great 1970s movies,
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particularly All the President's Men.
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Great scenes between
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Bob Woodward and Deep Throat
in the underground car park.
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I wanted it to have those echoes,
but be a story for today.
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This reporter, who's on the hunt
for Jason Bourne,
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in front of a source.
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Will the source help? What does he know?
What will he say?
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And that's ultimately what drives
the story of Bourne Ultimatum.
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PARIS, FRANCE
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Now we meet another character, Martin,
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Marie's brother.
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We learned of his existence,
actually, in Bourne Identity
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and I always assumed
that if Bourne didn't know him,
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that he knew of Bourne,
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and that maybe Marie, his sister,
had been in contact at some point.
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And it gives a platform
for some emotionality for Bourne.
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We can reclaim the memory of Marie
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and also understand
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that the character of Bourne
is made by his circumstances
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rather than inborn.
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Where is she?
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She's dead.
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She was killed.
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I'm sorry.
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In a way, this is quite a similar scene
to the final scene in Supremacy,
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when Bourne meets the young girl, Irena,
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but, again, I thought that was helpful,
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as I say, in balancing an audience
that has followed the trilogy
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through Identity and Supremacy,
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that they'll reclaim the Bourne
from the end of Supremacy
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and take him forward
into Bourne Ultimatum.
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And for that audience
that hadn't seen Supremacy,
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the scene would sit as a very important
indicator of Bourne's emotional state.
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She was shot.
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We were together in India.
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He came for me.
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You killed him?
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Balancing backstory
with forward momentum
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in an action-adventure thriller
is one of the most difficult things, I think.
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How you get the story going.
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And I would say in this film, probably,
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more time was spent in the cutting room,
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myself, Chris Rouse and the team
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trying to get this film working swiftly,
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but yet allowing the audience
to gather the pieces that they need,
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meet the characters that they need to know.
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And it's very hard to get that balance right.
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If you spend too much time
setting things up,
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your audience never forgive you
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because they never quite exist
at high tempo.
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A film will always be slightly
hampered by that,
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but, on the other hand,
if you go too quickly,
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then the audience won't have absorbed
what you need them to absorb
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moving forward towards the climax.
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- Sir!
- What you got?
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We intercepted a call in London.
Keyword, "Blackbriar."
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Okay, send it to New York right away.
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So now we meet
for the first time Noah Vosen,
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played brilliantly by David Strathairn,
I think.
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David's an actor I've long admired,
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obviously particularly
in Good Night, and Good Luck,
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but in many other films.
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And when we were thinking
about how to replace Brian Cox,
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who obviously died
at the end of Supremacy,
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I wanted an actor with conviction
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and the ability
to frame a new kind of bad guy,
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an intelligent mental master,
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someone who could play chess
with Bourne,
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and that's what Vosen is.
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Have you heard of an Operation Blackbriar?
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You have details?
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I also wanted to locate Vosen
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at the heart of the, kind of, modern,
technological CIA,
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operating the full panoply
of surveillance techniques,
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in this case, ECHELON,
which is a keyword-identifying program.
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Our target is a British national,
Simon Ross. A reporter.
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I want all his phones, his BlackBerry,
his apartment, his car,
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bank accounts, credit cards, travel patterns.
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I want to know what he's gonna think
before he does.
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Every dirty little secret he has.
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I've always loved this scene
'cause it seemed to me
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to dramatize and express
all our worst, paranoid fantasies
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about what goes on in secret, in our name,
in these organizations.
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And, of course,
it builds up the bad guy nicely.
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And now our story...
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I think, at this point,
we always felt, as we were cutting it,
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this is really the moment
when the story starts to bite,
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when you realize that Bourne is after Ross
and so is Vosen
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but they have two very, very different
agendas, obviously.
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What?
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Will you commit to this program?
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This is the second flashback
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that sets the scene for the mystery
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that Bourne is gonna
have to uncover about his past.
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And already you can see in that flashback
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that it's all going
to be about what happened
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when Bourne first joined the program.
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"Will you commit to the program?"
is the signpost.
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What is it that happened
when Bourne joined the program?
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How did Jason Bourne
become Jason Bourne?
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What is the secret of Bourne's identity?
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That's the question in Bourne's mind
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as he powers through the countryside
towards his meeting with Simon Ross.
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Whatever that secret is,
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we know from that flashback
that it's cost him the life of Marie.
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Copy that.
Mr. Vosen, the subject is entering his office.
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Give me some eyeballs on the street.
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- Where's my picture, please?
- Coming online.
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Online now.
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Jimmy, how you doing with the phone line?
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Peter Wenham,
who designed Bourne Ultimatum,
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wanted, and I think rightly,
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to give the hub a more striking, hi-tech look.
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The hub in Bourne Identity
was tucked away in a basement of the CIA.
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The hub in Bourne Supremacy
was an open-windowed office
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10 floors up, above Berlin.
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What we worked on
for the hub in Ultimatum
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was that it be in New York
and, as it were, a technical upgrade,
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capable of fielding all the vast array
of surveillance equipment
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that Noah Vosen has at his fingertips.
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And, I think,
the whole Waterloo sequence works
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because it pits one man, Jason Bourne,
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who has only his wits,
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against the hi-tech reality
of modern-day espionage.
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Subject exiting the building.
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And it makes
for a great cat-and-mouse game
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with an innocent,
uncomprehending man in the middle,
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the reporter, Simon Ross.
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Mobile One should have him.
Mobile One should have him.
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Get Mobile One on it.
Let me know when you hear it.
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Hi. Waterloo Station, south entrance.
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- Mr. Wills.
- Where's he going?
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Destination is Waterloo Station.
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00:15:57,248 --> 00:15:58,332
Okay, Waterloo Station.
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00:15:58,416 --> 00:16:00,709
Give me eyes at Waterloo.
Put everyone in play.
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00:16:00,793 --> 00:16:02,960
- Let's activate the asset.
- Mobilize Tracker Three.
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00:16:04,547 --> 00:16:09,551
Going into Bourne Ultimatum,
I always wanted to set part of it in London.
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That's because it's my city
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and, also, it was the obvious choice
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because it was the major Northern European
city that Bourne had not yet operated in,
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but there were personal reasons, too.
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I've always felt that London, in big movies,
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is too often presented to us
as a land of Big Ben
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and the Houses of Parliament,
St Paul's and London buses,
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and, you know, a tourist's London,
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and that's not the world of Jason Bourne.
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Jason Bourne lives
in the cities that we all live in,
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whether it's Paris or Berlin or Moscow
or, in this case, London.
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It's just an ordinary city.
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And the Brit in me wanted to create
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a bit of the Bourne thriller in my hometown.
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There were other reasons, too, though,
for choosing Waterloo
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and that really goes to the heart
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of what was going on
with Bourne Ultimatum
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in the preparation.
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It always felt to me, when I first saw
Doug Liman's Bourne Identity,
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that it was a wonderful collision
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00:17:33,136 --> 00:17:38,724
between a mainstream Hollywood mentality
and an indie mentality
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and that's what made
the Bourne franchise so fresh.
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And it was that collision
that I tried to keep alive
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in Bourne Supremacy.
242
00:17:48,568 --> 00:17:52,195
But the problem, coming
into Bourne Ultimatum, of course,
243
00:17:53,489 --> 00:17:57,492
is that by the time we sat down
to start making the third in the trilogy,
244
00:17:57,577 --> 00:18:00,579
the franchise, of course,
by then, was very, very successful
245
00:18:00,663 --> 00:18:04,708
and, clearly, Bourne Ultimatum
was gonna be a very big movie
246
00:18:04,834 --> 00:18:08,670
and I didn't want us to succumb
to "big movie-itis,"
247
00:18:08,755 --> 00:18:14,509
to move into town
and create sanitized spaces,
248
00:18:14,594 --> 00:18:17,345
put a picket fence around the unit,
249
00:18:17,430 --> 00:18:21,183
and make our film cut off
from everyday life,
250
00:18:21,267 --> 00:18:24,019
because that's not where
the Bourne franchise lives.
251
00:18:24,103 --> 00:18:26,521
The Bourne franchise lives on the streets.
252
00:18:26,689 --> 00:18:32,027
And so that really led me
to set the action sequences in the film
253
00:18:32,111 --> 00:18:36,990
in places where it was impossible
for us to operate as a big unit.
254
00:18:37,074 --> 00:18:39,618
So, for instance, Waterloo Station,
255
00:18:40,203 --> 00:18:43,830
the crowded markets of Tangier
and the streets of New York.
256
00:18:43,915 --> 00:18:47,709
They're all places where no matter
what resources you have as a movie,
257
00:18:47,794 --> 00:18:51,338
you can't operate and cut yourselves off.
258
00:18:51,422 --> 00:18:53,141
I mean,
in Waterloo we were only able to have,
259
00:18:53,216 --> 00:18:55,550
I think, 15 or 20 people on the station
at any one time.
260
00:18:55,635 --> 00:18:59,846
The unit had to be housed
a mile or two away
261
00:18:59,931 --> 00:19:04,810
and it forced us to be true to our roots,
to operate like a guerrilla unit,
262
00:19:05,645 --> 00:19:10,398
seizing the shots on the run
in amongst everyday life,
263
00:19:10,483 --> 00:19:13,109
the teeming reality of big cities.
264
00:19:13,236 --> 00:19:16,571
And I think that gives
this sequence its vitality,
265
00:19:16,656 --> 00:19:20,909
because very often we were literally
making it up as we go along
266
00:19:20,993 --> 00:19:27,916
and grabbing shots as best we could
in amongst the workings of the station.
267
00:19:29,836 --> 00:19:31,920
Go! Let's go.
268
00:19:32,088 --> 00:19:33,421
Oh, shit.
269
00:19:37,468 --> 00:19:38,593
What the hell was that?
270
00:19:40,972 --> 00:19:43,598
Sir, we've lost all communication
with Mobile One.
271
00:19:49,772 --> 00:19:56,194
So Bourne successfully
gets Ross away from his hunters
272
00:19:58,114 --> 00:20:00,282
but he knows he can only speak
to him fleetingly
273
00:20:00,366 --> 00:20:02,951
because Vosen will be on him.
274
00:20:04,453 --> 00:20:05,871
Sir, asset's on scene.
275
00:20:06,163 --> 00:20:11,835
And I love the contrast
between Vosen furiously trying to find him
276
00:20:11,961 --> 00:20:16,965
and Bourne grabbing
his hurried moments with Ross,
277
00:20:17,967 --> 00:20:23,638
and the whole orchestration, really,
of the threat with Paz coming in.
278
00:20:25,099 --> 00:20:27,475
Paz, of course, a new character.
279
00:20:29,312 --> 00:20:31,688
In each of the films,
280
00:20:31,814 --> 00:20:36,943
there's been a character
who really has been Bourne's doppel.
281
00:20:38,279 --> 00:20:41,406
It was Clive Owen, of course,
in Bourne Identity
282
00:20:41,490 --> 00:20:44,409
and then we had Kirill in Bourne Supremacy,
283
00:20:44,493 --> 00:20:48,663
and now, Paz, played by Edgar Ramirez.
284
00:20:50,041 --> 00:20:52,292
And they're very difficult parts to play,
285
00:20:52,376 --> 00:20:55,003
because, of course,
they're essentially dialogless parts.
286
00:20:55,129 --> 00:20:58,173
He said that you were square one,
the dirty little secret.
287
00:20:58,299 --> 00:21:00,508
He said he knows who you are.
288
00:21:04,013 --> 00:21:05,722
All right, we have to move.
289
00:21:05,848 --> 00:21:10,352
So that's the first time that Bourne hears
of Operation Blackbriar,
290
00:21:10,478 --> 00:21:16,358
which was a code name that was
thrown away at the end of Bourne Identity.
291
00:21:16,484 --> 00:21:19,235
For eagle-eyed viewers of the trilogy,
292
00:21:19,820 --> 00:21:24,699
they'll remember
that when Brian Cox, Abbott,
293
00:21:24,825 --> 00:21:28,703
went up to Capitol Hill to testify
at the end of Bourne Identity,
294
00:21:28,829 --> 00:21:32,791
he testified that Operation Treadstone
had been closed down,
295
00:21:32,875 --> 00:21:37,921
but he asked for funding
for an unspecified operation, Blackbriar.
296
00:21:39,090 --> 00:21:40,715
And in this film,
297
00:21:42,385 --> 00:21:47,389
the story is going to center on
what that Operation Blackbriar actually is.
298
00:21:49,225 --> 00:21:50,892
And Bourne straightaway knows.
299
00:21:51,018 --> 00:21:55,730
He can see straight off
that it's Treadstone upgraded.
300
00:21:57,775 --> 00:22:00,485
I'm gonna walk by you.
I want you to move along the far wall
301
00:22:00,569 --> 00:22:04,698
to your left in four, three, two, one.
302
00:22:04,782 --> 00:22:05,949
Stand up.
303
00:22:06,075 --> 00:22:07,409
That's it.
304
00:22:10,204 --> 00:22:12,038
Where the hell is he?
305
00:22:12,123 --> 00:22:14,207
We cannot afford to lose this guy, people.
306
00:22:14,750 --> 00:22:18,586
There was an interesting example
307
00:22:18,713 --> 00:22:22,465
of the way fact and fiction can work
with each other.
308
00:22:22,591 --> 00:22:25,093
When we were designing this sequence,
309
00:22:25,219 --> 00:22:27,262
I wanted very much Vosen, in New York,
310
00:22:27,388 --> 00:22:30,765
to be able to tap into the CCTV cameras
at Waterloo
311
00:22:30,891 --> 00:22:34,102
in order to track Bourne's progress,
312
00:22:35,604 --> 00:22:39,107
but, of course,
that was essentially a flight of fancy.
313
00:22:39,233 --> 00:22:42,110
It was only when we went down to Waterloo
314
00:22:42,236 --> 00:22:45,655
and actually visited
the security operation there
315
00:22:45,781 --> 00:22:50,493
that we realized it's actually something
that could easily happen.
316
00:22:50,619 --> 00:22:52,412
Hurry, Ross. We gotta move.
317
00:22:52,496 --> 00:22:54,173
Okay, move through this crowd.
Move through this crowd.
318
00:22:54,248 --> 00:22:56,290
Get undercover right now.
Move through this crowd.
319
00:23:03,966 --> 00:23:07,469
The whole choreography of this sequence
320
00:23:07,595 --> 00:23:10,805
was brilliantly executed, I think,
by Christopher Rouse
321
00:23:10,931 --> 00:23:12,474
and the editorial team.
322
00:23:19,982 --> 00:23:21,867
It's a funny thing
when you see these sequences
323
00:23:21,942 --> 00:23:24,787
months after you've completed them,
because you look at them and you think,
324
00:23:24,862 --> 00:23:29,074
"Well, it could only be like that.
Every shot has to be in that order."
325
00:23:29,158 --> 00:23:30,617
But, of course,
326
00:23:30,701 --> 00:23:35,789
when you're actually wrestling with a
monstrous, great action sequence like this,
327
00:23:35,873 --> 00:23:38,792
you watch them, literally,
hundreds upon hundreds of times
328
00:23:38,876 --> 00:23:42,295
in different ways, different orders,
different pacing.
329
00:23:45,883 --> 00:23:47,059
And I think it's in this sequence
330
00:23:47,134 --> 00:23:49,969
that the whole issue of tempo starts to work
for the film,
331
00:23:50,054 --> 00:23:54,224
because we set the tempo
so high from the off that here
332
00:23:57,353 --> 00:23:58,853
it gets its payoff.
333
00:24:15,871 --> 00:24:20,250
And tempo is a difficult beast in a film,
334
00:24:20,376 --> 00:24:23,878
because you need tempo,
but you have to have clarity.
335
00:24:25,256 --> 00:24:28,550
Tempo without clarity
is very, very unsatisfying.
336
00:24:29,051 --> 00:24:30,552
Jesus Christ.
337
00:24:31,720 --> 00:24:33,555
That's Jason Bourne.
338
00:24:34,014 --> 00:24:36,891
He's picking us apart.
Do you think he's the source?
339
00:24:37,017 --> 00:24:38,560
He's gotta be.
340
00:24:40,354 --> 00:24:45,066
So here is one of those examples
of where you can vary the pace
341
00:24:46,110 --> 00:24:48,570
and introduce clarity and detail
342
00:24:50,781 --> 00:24:52,281
and then, when you pick it up again,
343
00:24:52,366 --> 00:24:56,536
you feel like a tremendous surge
of energy returns.
344
00:24:56,620 --> 00:24:58,580
And varying pace,
345
00:24:59,748 --> 00:25:03,877
and ensuring that you're developing
at all times
346
00:25:03,961 --> 00:25:08,006
character and narrative and action,
347
00:25:08,090 --> 00:25:10,967
is at the heart of this kind of filmmaking,
I think.
348
00:25:12,386 --> 00:25:15,054
Listen to me!
This isn't some story in a newspaper.
349
00:25:15,139 --> 00:25:18,266
This is real. You understand me?
350
00:25:18,642 --> 00:25:19,893
Okay.
351
00:25:30,613 --> 00:25:31,613
Call all agents back.
352
00:25:31,739 --> 00:25:34,282
Give Bourne's location
at the back of the store to the asset.
353
00:25:34,450 --> 00:25:39,787
The character of Jason Bourne, of course,
has always had this antenna, this radar,
354
00:25:39,914 --> 00:25:44,125
this ability to size up his situation
355
00:25:45,127 --> 00:25:46,961
and sense danger.
356
00:25:47,755 --> 00:25:52,133
It's just a casual look at two security men
turning their backs,
357
00:25:53,636 --> 00:25:56,346
a camera turning in the wrong direction.
358
00:26:01,477 --> 00:26:03,978
- Bourne.
- Wait. Something's not right.
359
00:26:04,188 --> 00:26:07,106
And he knows that he's in a killing field.
360
00:26:09,109 --> 00:26:13,446
And now all the threads
of this long action sequence come together
361
00:26:13,530 --> 00:26:15,490
because, finally, Paz is...
362
00:26:17,826 --> 00:26:19,327
He's in play.
363
00:26:19,995 --> 00:26:21,663
Ross is panicking.
364
00:26:27,169 --> 00:26:30,088
And Bourne knows he has a body
on his hands.
365
00:26:44,186 --> 00:26:46,854
And now this long sequence
that's been built up
366
00:26:46,939 --> 00:26:51,276
from the moment Bourne got on the train
to London from Paris
367
00:26:51,360 --> 00:26:53,861
resolves itself in a headlong chase.
368
00:27:01,287 --> 00:27:04,706
Bourne catches a glimpse of his doppel.
369
00:27:18,345 --> 00:27:20,221
And this sequence, of course, has had...
370
00:27:21,348 --> 00:27:23,516
It's got more than a wink
371
00:27:24,393 --> 00:27:29,897
at probably the great action-adventure film
of all time, French Connection,
372
00:27:30,899 --> 00:27:33,026
one of my favorite films.
373
00:27:40,159 --> 00:27:42,910
The wink gets a bit heavy at this point,
374
00:27:47,333 --> 00:27:52,337
but it's good because
it's Bourne face to face with his nemesis,
375
00:27:55,215 --> 00:28:01,054
and the stage is set, then, of course,
for the rest of the film.
376
00:28:05,351 --> 00:28:07,101
We have a situation.
377
00:28:12,274 --> 00:28:13,358
Yeah.
378
00:28:13,942 --> 00:28:15,610
Director Kramer would like to see you.
379
00:28:15,944 --> 00:28:19,405
- We need to get those warrants...
- He said it's urgent.
380
00:28:35,130 --> 00:28:40,468
The other interesting and infuriating thing
when you make these kinds of thrillers
381
00:28:41,804 --> 00:28:46,641
is that the pieces, the clues, if you like,
that drive the narrative
382
00:28:46,725 --> 00:28:49,894
are usually incredibly small
and incredibly simple.
383
00:28:53,148 --> 00:28:57,318
And often, when you're constructing them,
they feel too simple
384
00:28:58,654 --> 00:29:04,492
and often what you end up going for
in preproduction
385
00:29:04,576 --> 00:29:08,079
is something much more convoluted
386
00:29:08,455 --> 00:29:14,252
and, very often, the task of making,
certainly making the Bourne films,
387
00:29:15,087 --> 00:29:21,134
is to take dense, complex,
plotted storytelling
388
00:29:21,844 --> 00:29:24,679
and distill it, boil it down,
389
00:29:26,598 --> 00:29:30,351
bring it to its simplest core.
390
00:29:32,187 --> 00:29:34,021
A source on the run.
391
00:29:34,857 --> 00:29:36,816
A journalist murdered.
392
00:29:39,027 --> 00:29:43,364
Bourne hunting the source
and the bad guys, too.
393
00:29:43,490 --> 00:29:48,703
And the clues that actually oil those wheels
can be very simple,
394
00:29:49,204 --> 00:29:53,541
because as long as the audience knows
the paradigm of the story,
395
00:29:53,667 --> 00:29:55,960
what's broadly driving it,
396
00:29:56,044 --> 00:30:00,298
then they're content and happy
to absorb the characters.
397
00:30:02,801 --> 00:30:04,969
That's particularly true, I think,
in this scene,
398
00:30:05,345 --> 00:30:09,056
which I think is a wonderful scene
between Joan and David
399
00:30:10,225 --> 00:30:12,393
where you see a clash of temperaments
400
00:30:12,519 --> 00:30:18,357
and a clash of approaches
to intelligence work.
401
00:30:19,401 --> 00:30:21,286
- Anything for you, ma'am?
- Just coffee, please.
402
00:30:21,361 --> 00:30:22,663
- Are you sure? I'm buying.
- I'm good.
403
00:30:22,738 --> 00:30:29,410
And you see this quality of intelligence
at the heart of it all,
404
00:30:29,661 --> 00:30:35,208
that these are people using their minds
to fight each other and to fight Bourne.
405
00:30:35,834 --> 00:30:39,003
And I think that's one
of the crucial elements
406
00:30:39,087 --> 00:30:43,257
of the success of the Bourne franchise,
that it's not just action and brawn.
407
00:30:43,759 --> 00:30:48,095
There's always a cool, smart factor
at the heart of it
408
00:30:49,765 --> 00:30:52,266
that sustains the franchise, keeps it going,
409
00:30:52,351 --> 00:30:55,436
makes it endlessly rewarding to watch,
I think.
410
00:30:55,562 --> 00:31:00,274
Particularly, I think, and I would say that,
I suppose, but on DVD...
411
00:31:00,359 --> 00:31:03,402
I think that audiences come
to these films on DVD
412
00:31:03,487 --> 00:31:08,616
and see all sorts of layers
of motivation and cleverness
413
00:31:09,409 --> 00:31:14,080
that, perhaps, aren't immediately apparent
when you see the film theatrically.
414
00:31:16,375 --> 00:31:19,210
Bourne saw us coming.
The question is what was he doing there?
415
00:31:19,294 --> 00:31:20,846
No, the real question is how you managed
416
00:31:20,921 --> 00:31:23,297
to get into a firefight
at a public train station.
417
00:31:23,423 --> 00:31:26,467
You know as well as I do decisions made
in real time are never perfect.
418
00:31:26,552 --> 00:31:30,638
Don't second-guess
an operation from an armchair.
419
00:31:34,810 --> 00:31:36,811
I'll see you at the office.
420
00:31:37,271 --> 00:31:39,146
Enjoy your egg whites.
421
00:31:51,952 --> 00:31:54,620
Here we are. Bourne arrives in Madrid.
422
00:31:55,956 --> 00:31:59,500
It was always one of the elements
of making Bourne Ultimatum.
423
00:31:59,626 --> 00:32:04,672
I wanted to link London, Madrid
and New York,
424
00:32:05,924 --> 00:32:11,637
three cities that had
their own experiences of paranoia
425
00:32:12,806 --> 00:32:15,641
and fear in recent years.
426
00:32:16,977 --> 00:32:21,689
If the Bourne franchise is about anything,
it is about fear and paranoia,
427
00:32:23,859 --> 00:32:26,527
and subtly, under the surface,
it makes those cities
428
00:32:26,653 --> 00:32:30,531
very good backdrops
for a contemporary thriller.
429
00:32:32,534 --> 00:32:36,954
Now, I want everyone to sit down,
strap in and turn on all you've got.
430
00:32:38,123 --> 00:32:39,373
That would mean now!
431
00:32:39,875 --> 00:32:40,958
Thank you.
432
00:32:41,376 --> 00:32:42,668
Give me a team deployment plan.
433
00:32:42,753 --> 00:32:45,880
I want everything you got
on Ross on screen one.
434
00:32:46,173 --> 00:32:52,511
Landy is such a great character,
I think, because she combines
435
00:32:53,680 --> 00:32:57,433
a certain sort of ruthless realpolitik
436
00:32:57,517 --> 00:33:02,229
with sympathetic understanding
and almost compassion for Bourne.
437
00:33:03,231 --> 00:33:05,399
She's never a sentimental character
438
00:33:06,735 --> 00:33:11,030
and, also, she's always the smartest person
in the room.
439
00:33:12,199 --> 00:33:14,700
Found a round-trip ticket
to Turin, Italy, yesterday.
440
00:33:14,785 --> 00:33:17,495
0800 arrival, 1205 departure.
441
00:33:17,579 --> 00:33:20,665
I think we can be pretty certain
that Bourne's not your source, then.
442
00:33:21,375 --> 00:33:22,458
How?
443
00:33:22,542 --> 00:33:24,761
Ross's call to his editor
where he said he'd just met the source
444
00:33:24,836 --> 00:33:25,878
took place just after...
445
00:33:25,962 --> 00:33:29,298
This scene was the brainchild
of George Nolfi,
446
00:33:30,842 --> 00:33:34,720
who was the principal writer
on Bourne Ultimatum.
447
00:33:35,472 --> 00:33:40,893
And it was George who came up
with this idea
448
00:33:40,977 --> 00:33:44,772
of demonstrating Landy's expertise,
449
00:33:44,856 --> 00:33:47,775
that she would come into the hub,
Vosen's world,
450
00:33:47,859 --> 00:33:50,778
where we had already seen Vosen
451
00:33:50,862 --> 00:33:55,157
with all his array of technological expertise
at his fingertips,
452
00:33:55,242 --> 00:33:58,244
and she would literally turn it on its head.
453
00:33:58,328 --> 00:33:59,912
So, you got any better ideas?
454
00:33:59,996 --> 00:34:01,506
Yeah, look at all the people
whose cell phones...
455
00:34:01,581 --> 00:34:03,416
That's a very, very clever scene
456
00:34:03,500 --> 00:34:06,419
because it sells so many characters
all at once.
457
00:34:06,503 --> 00:34:11,090
Landy, the beginning
of her fencing match with Vosen,
458
00:34:12,759 --> 00:34:18,556
the way that the hub operates
and its technological possibilities,
459
00:34:18,974 --> 00:34:22,226
and also the characters
of the two principal lieutenants.
460
00:34:22,978 --> 00:34:26,814
Tom Cronin, who is Landy's number two,
461
00:34:27,190 --> 00:34:31,235
very ably played by Tom Gallop,
returning again from Bourne Supremacy,
462
00:34:31,945 --> 00:34:36,824
and, also, Wills,
who is Vosen's number two,
463
00:34:38,452 --> 00:34:40,745
played very ably by Corey Johnson.
464
00:34:41,455 --> 00:34:42,580
Neal Daniels.
465
00:34:42,998 --> 00:34:46,125
- He's station chief in Madrid, isn't he?
- Yeah.
466
00:34:50,005 --> 00:34:51,964
All right, call the RSO at the embassy.
467
00:34:52,048 --> 00:34:54,425
Have them take Daniels into custody,
if he is there.
468
00:34:54,509 --> 00:35:00,055
And, also, the scene drives us
towards the source,
469
00:35:00,891 --> 00:35:03,184
Neal Daniels.
470
00:35:03,643 --> 00:35:05,060
If he is not the source,
471
00:35:05,145 --> 00:35:07,605
then he is after the source,
the same as we are.
472
00:35:13,820 --> 00:35:20,451
Good thriller writing,
and it's an incredibly rare skill,
473
00:35:20,535 --> 00:35:25,581
is all about distilling what you know
474
00:35:26,583 --> 00:35:29,335
and then moving it up to the next level
475
00:35:30,504 --> 00:35:35,007
and continually turning the screw,
piece by piece,
476
00:35:36,134 --> 00:35:41,347
towards a final satisfying conclusion.
477
00:35:43,016 --> 00:35:44,317
Three minutes to destination, sir.
478
00:35:44,392 --> 00:35:46,936
And we were very lucky
in Bourne Ultimatum,
479
00:35:47,020 --> 00:35:51,273
all the Bourne films,
to have wonderful, wonderful writers.
480
00:35:52,776 --> 00:35:56,403
Tony Gilroy, obviously,
who's been there from the beginning,
481
00:35:57,656 --> 00:36:01,575
but also on this film,
Scott Burns and George Nolfi.
482
00:36:08,333 --> 00:36:12,378
Your mission will save American lives.
483
00:36:16,341 --> 00:36:19,385
A vital moment now
in the middle of the film,
484
00:36:20,136 --> 00:36:23,222
where Bourne finds the photograph
485
00:36:24,516 --> 00:36:29,311
and remembers the character of Hirsch,
played by Albert Finney,
486
00:36:32,107 --> 00:36:36,819
and finally remembers his maker,
487
00:36:37,612 --> 00:36:39,446
the man who made him.
488
00:36:40,240 --> 00:36:44,410
Of course, we're driving forward
on that theme
489
00:36:45,579 --> 00:36:48,706
of Bourne discovering the secret
of his identity,
490
00:36:49,916 --> 00:36:51,792
who made him and how he was made.
491
00:37:02,095 --> 00:37:04,388
Sir, they're at the front door.
492
00:37:22,782 --> 00:37:24,158
- Five seconds.
- Put it up live.
493
00:37:24,242 --> 00:37:27,453
This action sequence is all built
on Bourne's ability
494
00:37:27,537 --> 00:37:30,664
to improvise using everyday objects.
495
00:37:30,999 --> 00:37:33,468
It's been a feature of the Bourne films
since Bourne Identity,
496
00:37:33,543 --> 00:37:35,878
when he picked up the ballpoint pen.
497
00:37:36,504 --> 00:37:39,840
Bourne Supremacy, obviously,
was the famous toaster,
498
00:37:41,134 --> 00:37:45,971
and now we have another action sequence
which turns on everyday objects.
499
00:37:55,815 --> 00:37:57,441
- The safe is empty.
- Shit.
500
00:37:57,525 --> 00:37:59,193
Looks like he left in a hurry.
501
00:37:59,277 --> 00:38:01,946
- Track Daniels' passports.
- Stand by.
502
00:38:27,430 --> 00:38:30,349
Making a sequence like this, of course, is...
503
00:38:30,642 --> 00:38:31,684
You have to make choices.
504
00:38:31,768 --> 00:38:36,188
Do you stay with Bourne and watch it unfold
from Bourne's point of view
505
00:38:36,690 --> 00:38:41,235
or do you, as in this case,
stay with the hunters
506
00:38:42,195 --> 00:38:43,779
and let Bourne drop out of the story?
507
00:38:43,863 --> 00:38:46,156
And that's what we chose to do.
508
00:38:46,533 --> 00:38:49,827
And always, in action sequences,
you're trying to decide
509
00:38:49,911 --> 00:38:52,830
"Which point of view is it better to go for?"
510
00:38:54,082 --> 00:38:55,374
Suspense?
511
00:38:59,921 --> 00:39:01,046
God damn it!
512
00:39:01,131 --> 00:39:02,756
Or revelation?
513
00:39:13,309 --> 00:39:16,395
Get me a secure line in there.
Get the second team over there now!
514
00:39:24,404 --> 00:39:27,865
For those people who saw
Bourne Supremacy, obviously,
515
00:39:27,949 --> 00:39:29,825
we've been here before.
516
00:39:29,993 --> 00:39:31,827
I was posted here after Berlin.
517
00:39:31,911 --> 00:39:33,620
Bourne and Nicky.
518
00:39:35,540 --> 00:39:37,166
Where's Daniels?
519
00:39:39,711 --> 00:39:41,128
Where is he?
520
00:39:44,215 --> 00:39:47,217
I've always very much liked
the character of Nicky
521
00:39:47,302 --> 00:39:50,846
and felt that she had offered
tremendous opportunities
522
00:39:50,930 --> 00:39:52,056
for the Bourne franchise.
523
00:39:52,140 --> 00:39:56,518
Ever since Julia Stiles
brought the character in, in Identity.
524
00:39:56,978 --> 00:40:01,023
It was quite a small part then, I think,
rather undeveloped,
525
00:40:02,442 --> 00:40:07,404
and I think she came much more
into her own in Supremacy,
526
00:40:07,489 --> 00:40:10,741
with those wonderful scenes in Berlin,
527
00:40:12,243 --> 00:40:15,245
and I always wanted, in Bourne Ultimatum,
528
00:40:16,664 --> 00:40:20,751
to explore the Bourne-Nicky relationship
in more detail.
529
00:40:21,336 --> 00:40:23,587
Nicky, I need to do an ID challenge.
530
00:40:23,671 --> 00:40:25,339
Code in, Sparrow.
531
00:40:31,638 --> 00:40:36,600
But, of course, to do that,
it was critical to get the relationship
532
00:40:36,684 --> 00:40:41,271
beyond the point
at which Bourne was holding a gun to her.
533
00:40:41,731 --> 00:40:43,148
Nicky, this is Noah Vosen.
534
00:40:44,109 --> 00:40:46,068
That's really what this scene's all about.
535
00:40:46,152 --> 00:40:47,236
I just walked in.
536
00:40:48,613 --> 00:40:52,366
We have two officers on-site.
Are you in contact with them?
537
00:40:55,745 --> 00:40:59,039
They're down. Unconscious but alive.
538
00:41:03,336 --> 00:41:06,130
- Any sign of Neal Daniels?
- No.
539
00:41:06,965 --> 00:41:09,091
Nicky, this is Pam Landy.
540
00:41:09,884 --> 00:41:11,978
We have reason to believe
there's a connection between
541
00:41:12,053 --> 00:41:14,304
Neal Daniels and Jason Bourne.
542
00:41:15,807 --> 00:41:19,768
Bourne? You're still looking for Bourne?
I thought that case was closed.
543
00:41:19,978 --> 00:41:21,562
No, some people are convinced...
544
00:41:21,646 --> 00:41:24,148
You see these scenes put together...
545
00:41:24,232 --> 00:41:27,484
It's an absolute testimony to the actors
546
00:41:28,278 --> 00:41:29,871
that they flow together so effortlessly,
547
00:41:29,946 --> 00:41:31,664
'cause, of course, all these scenes are shot
548
00:41:31,739 --> 00:41:35,993
in different times, in different places,
in different fragments,
549
00:41:36,077 --> 00:41:38,871
often with additional photography
in there, too,
550
00:41:38,997 --> 00:41:43,834
and yet, always, the central believability
or the conceit of the scene,
551
00:41:43,918 --> 00:41:47,796
that they're all listening to each other,
is entirely intact.
552
00:41:48,089 --> 00:41:50,841
Backup will be arriving
in approximately one hour.
553
00:41:50,925 --> 00:41:54,595
It often doesn't feel like that
when you're shooting them,
554
00:41:54,679 --> 00:41:57,556
but that, in a sense, is the real challenge
555
00:41:58,516 --> 00:42:00,184
for the actor in these films.
556
00:42:00,268 --> 00:42:03,270
To maintain concentration and conviction
557
00:42:03,354 --> 00:42:06,023
when fragments
of story are coming to you...
558
00:42:06,107 --> 00:42:07,399
My car's outside.
559
00:42:07,483 --> 00:42:09,735
...in very, very difficult situations.
560
00:42:09,819 --> 00:42:12,404
Somewhere,
you have to play that little piece,
561
00:42:12,488 --> 00:42:17,284
even though you may not know where it fits
into the whole, with complete conviction.
562
00:42:19,871 --> 00:42:22,915
I think it really shows through
in that sequence.
563
00:42:22,999 --> 00:42:26,501
All these actors,
Matt, Julia, David and Joan,
564
00:42:26,586 --> 00:42:30,881
all locked in together,
with different agendas, in that phone call.
565
00:42:31,925 --> 00:42:34,927
And, again, like any great action sequence,
566
00:42:35,011 --> 00:42:37,387
it drives towards a payoff,
567
00:42:37,472 --> 00:42:38,764
an action payoff.
568
00:42:39,182 --> 00:42:41,600
...to a bank account in Tangier.
569
00:42:42,101 --> 00:42:45,979
Right, that's 300 miles away.
If we hurry, we can make the morning ferry.
570
00:42:47,065 --> 00:42:48,106
Where are you parked?
571
00:42:48,191 --> 00:42:51,401
To the right, 20 meters,
north side of the street.
572
00:42:55,615 --> 00:42:57,449
I like this scene 'cause there's always a...
573
00:42:57,867 --> 00:43:02,621
In a Bourne film,
you need just a small element of wit
574
00:43:02,914 --> 00:43:04,248
at the back of it all.
575
00:43:09,170 --> 00:43:13,298
Bourne films are never meant to be funny.
They're never broad.
576
00:43:15,051 --> 00:43:20,264
But I think you want to smile
when you see how Bourne outwits them
577
00:43:20,348 --> 00:43:22,391
and how simply he does it.
578
00:43:25,687 --> 00:43:27,521
What the hell just happened?
579
00:43:27,605 --> 00:43:29,115
We've lost visual contact
with the subjects, sir.
580
00:43:29,190 --> 00:43:30,232
Christ!
581
00:43:32,819 --> 00:43:36,488
Issue a standing kill order on
Jason Bourne, effective immediately.
582
00:43:38,032 --> 00:43:40,701
Of course, now the scene is set
583
00:43:40,785 --> 00:43:44,788
for the next confrontation
between Vosen and Landy
584
00:43:46,249 --> 00:43:49,584
as Bourne and Nicky make their getaway,
en route to Daniels.
585
00:44:03,391 --> 00:44:06,018
This is a very important scene in the film.
586
00:44:06,102 --> 00:44:10,814
We actually shot it two or three times
in two or three different ways,
587
00:44:11,316 --> 00:44:13,317
a daylight scene, a night scene...
588
00:44:13,401 --> 00:44:14,985
What's Operation Blackbriar?
589
00:44:16,654 --> 00:44:20,115
...always trying to nail the same idea,
590
00:44:21,284 --> 00:44:25,871
Vosen being forced by Landy
to answer some questions,
591
00:44:25,955 --> 00:44:30,042
because the audience, at this point,
needs to know certain things
592
00:44:31,044 --> 00:44:32,753
to keep going on the quest.
593
00:44:33,463 --> 00:44:37,049
But, of course, we can't give so much away
594
00:44:38,009 --> 00:44:40,844
that the rest of the story is redundant.
595
00:44:40,928 --> 00:44:44,014
And you often find that
with these kinds of thrillers,
596
00:44:44,098 --> 00:44:48,435
that very often,
they turn on a small number of scenes,
597
00:44:48,519 --> 00:44:52,689
and those scenes
you may shoot three or four times
598
00:44:52,774 --> 00:44:56,276
because you're trying to get
the exact right piece of the jigsaw.
599
00:44:56,361 --> 00:44:59,529
It's got to be exactly right to fit
600
00:45:01,366 --> 00:45:04,701
and sometimes you can shoot it one way
and, tonally, it will be wrong
601
00:45:04,827 --> 00:45:09,289
or it'll give away too much information,
or maybe not enough.
602
00:45:09,957 --> 00:45:14,878
And you're trying all the time
to calibrate that absolutely perfectly
603
00:45:14,962 --> 00:45:16,630
for the unfolding story.
604
00:45:18,716 --> 00:45:24,513
In this scene, what you need to know
is a glimpse of where Vosen's operation fits
605
00:45:24,639 --> 00:45:28,016
in the overall world of paranoia.
606
00:45:28,393 --> 00:45:30,394
What's the connection to Daniels?
607
00:45:30,478 --> 00:45:33,105
He ran all of our operations
in Southern Europe...
608
00:45:33,189 --> 00:45:36,608
And, of course, what that does
is enable us to elevate Daniels,
609
00:45:36,692 --> 00:45:39,694
to give him some sense of identity.
610
00:45:39,821 --> 00:45:42,823
This Deep Throat. Who is he?
What does he know?
611
00:45:43,491 --> 00:45:44,741
How far does his knowledge go?
612
00:45:44,826 --> 00:45:47,577
And, of course,
the more you can elevate that,
613
00:45:47,662 --> 00:45:49,413
the higher the stakes in the film.
614
00:45:49,497 --> 00:45:51,498
He's after Daniels for a reason.
615
00:45:52,333 --> 00:45:54,960
Well, what does it matter
what Bourne is after?
616
00:45:55,044 --> 00:45:58,088
When we find Daniels,
and, believe me, we'll find him...
617
00:45:58,172 --> 00:46:02,259
And what you need to know
is that Vosen is desperate to get him
618
00:46:02,885 --> 00:46:08,181
and that Landy knows
that she's on the trail of the truth,
619
00:46:08,516 --> 00:46:11,601
but she's not yet got it,
that Vosen is hiding something.
620
00:46:23,030 --> 00:46:27,742
And, again, this is a very, very important
scene for Bourne and for Nicky.
621
00:46:28,911 --> 00:46:33,081
So you have these two scenes back-to-back,
in the middle of the film,
622
00:46:33,958 --> 00:46:39,087
which define a lot of the character
in the film
623
00:46:40,047 --> 00:46:44,134
on Bourne's side of the story
and also on the Vosen and Landy side.
624
00:46:47,597 --> 00:46:49,598
Do you know who that is?
625
00:46:50,933 --> 00:46:52,476
That's Daniels.
626
00:46:53,728 --> 00:47:00,108
This scene's a very clever scene, I think,
627
00:47:00,234 --> 00:47:02,486
cleverly constructed.
628
00:47:02,778 --> 00:47:04,905
He was there at the beginning.
629
00:47:05,948 --> 00:47:09,326
It was actually the original idea
of Tom Stoppard,
630
00:47:09,410 --> 00:47:12,287
who was one of the writers on the film,
631
00:47:12,788 --> 00:47:17,125
and we talked about how we could develop
the Bourne-Nicky relationship
632
00:47:18,753 --> 00:47:24,591
and he had this idea that you could
create a scene where Bourne would realize
633
00:47:25,843 --> 00:47:29,095
from what Nicky was saying
that they had a past together
634
00:47:29,180 --> 00:47:32,641
and that past would be ambiguous
but meaningful.
635
00:47:34,101 --> 00:47:38,939
And out of that idea...
it went through various versions.
636
00:47:39,857 --> 00:47:43,151
This was George Nolfi's version
of that scene.
637
00:47:44,362 --> 00:47:46,488
And I think it really plays.
638
00:47:48,783 --> 00:47:49,824
Why are you helping me?
639
00:47:49,951 --> 00:47:51,711
It's a difficult scene
because it's got to develop
640
00:47:51,786 --> 00:47:56,456
the idea of Hirsch and Bourne's past
and what Bourne's agenda is
641
00:47:56,541 --> 00:47:58,500
in pursuing this quest,
642
00:47:58,626 --> 00:48:03,880
but it's also got to develop their past,
Bourne and Nicky's past.
643
00:48:06,884 --> 00:48:10,220
And I think it's beautifully played
by both of them.
644
00:48:22,525 --> 00:48:25,068
You really don't remember anything.
645
00:48:25,236 --> 00:48:30,365
And, of course, ultimately,
it's a scene about Bourne's memory,
646
00:48:31,742 --> 00:48:34,494
what he can know and what he can't know.
647
00:48:39,208 --> 00:48:44,004
And I love the fact that
that ambiguous past is left hanging there,
648
00:48:45,214 --> 00:48:48,300
explored and yet unexplored,
649
00:48:48,384 --> 00:48:52,846
and there's enough of it
to drive them forward together,
650
00:48:53,723 --> 00:48:55,348
towards Tangier,
651
00:48:57,226 --> 00:48:59,352
which is where the story next goes.
652
00:49:04,191 --> 00:49:05,859
He's in Tangier.
653
00:49:12,742 --> 00:49:14,200
Noah Vosen.
654
00:49:21,208 --> 00:49:23,585
Great action scenes
and great action thrillers,
655
00:49:23,711 --> 00:49:26,046
I think, are all about setup.
656
00:49:26,797 --> 00:49:32,052
You've got to take the time
to set a sequence up
657
00:49:33,095 --> 00:49:34,888
and that's what we're doing here.
658
00:49:36,098 --> 00:49:38,642
And when you're sitting in a theater
with an audience,
659
00:49:38,726 --> 00:49:45,231
the audience knows
that it's getting ready for the tempo to rise,
660
00:49:46,275 --> 00:49:51,279
but, often, you can have a lot of enjoyment
in holding that back,
661
00:49:52,281 --> 00:49:54,115
as we're doing here,
662
00:49:54,241 --> 00:49:58,078
signaling to the audience
that it is going to come soon
663
00:49:59,622 --> 00:50:03,625
but we're going to make you wait a little bit
while we set it up.
664
00:50:03,834 --> 00:50:05,126
And then...
665
00:50:07,755 --> 00:50:09,089
You start.
666
00:50:10,174 --> 00:50:12,258
Again, hold it back.
667
00:50:12,968 --> 00:50:14,636
Set the scene.
668
00:50:15,262 --> 00:50:18,014
First of all, establish a sense of place,
669
00:50:19,600 --> 00:50:24,145
two characters on a mission
to find a man, Daniels,
670
00:50:24,271 --> 00:50:29,025
who Bourne believes can tell him
the secret of his identity.
671
00:50:43,457 --> 00:50:48,545
And then slowly choreograph the forces
672
00:50:49,171 --> 00:50:51,005
ranged against them.
673
00:50:52,007 --> 00:50:56,302
In this case, a new operative, Desh,
who arrives in Tangier,
674
00:50:57,346 --> 00:51:00,140
brought into play, obviously, by Vosen.
675
00:51:14,530 --> 00:51:18,992
There are a lot of complex elements
that have got to come into play here
676
00:51:19,326 --> 00:51:21,327
before you can let rip.
677
00:51:23,873 --> 00:51:27,125
All right, get an elevation
and a floor plan, tic-tac-toe.
678
00:51:27,334 --> 00:51:31,504
It was always my instinct,
coming into Bourne Ultimatum,
679
00:51:31,630 --> 00:51:35,967
to try and make the action
sequences much, much longer
680
00:51:36,051 --> 00:51:40,722
than they'd been in Bourne Supremacy.
Much denser, richer and more complex,
681
00:51:41,557 --> 00:51:46,853
and I think it's at the heart
of why people enjoy the film,
682
00:51:47,313 --> 00:51:50,857
because the tempo is high,
683
00:51:51,692 --> 00:51:53,735
but the ride is sustained
684
00:51:54,862 --> 00:51:58,198
and it's filled with this kind
of texture and detail.
685
00:52:12,213 --> 00:52:14,380
His location's being blocked by the firewall.
686
00:52:14,507 --> 00:52:16,925
No, they found Daniels.
They know where he is.
687
00:52:17,051 --> 00:52:18,811
They'll get one of the operatives
to terminate him.
688
00:52:18,886 --> 00:52:20,386
Find out who.
689
00:52:24,433 --> 00:52:25,517
Desh.
690
00:52:28,354 --> 00:52:31,147
Tell him you're gonna meet him
and you have a new phone for him.
691
00:52:31,232 --> 00:52:33,316
If you stop Desh,
they'll just get someone else.
692
00:52:33,400 --> 00:52:35,494
No, we're not gonna stop him,
we're gonna follow him.
693
00:52:35,569 --> 00:52:37,612
Joey Ansah played Desh.
694
00:52:39,448 --> 00:52:41,324
It was his first role
695
00:52:41,408 --> 00:52:45,036
and I think he turned in
a very strong performance.
696
00:52:46,580 --> 00:52:52,043
Again, it's very, very hard
to play these parts when you have no lines
697
00:52:54,421 --> 00:52:57,632
and it's a tribute,
when you can still follow a story...
698
00:52:57,758 --> 00:53:01,302
A story's been sold to you,
but through physical acting.
699
00:53:05,724 --> 00:53:08,434
Tangier was a wonderful place to shoot.
700
00:53:09,812 --> 00:53:12,772
We loved it, I think, again, because it's...
701
00:53:15,150 --> 00:53:19,153
It's there, just in the margins
in French Connection.
702
00:53:20,239 --> 00:53:24,951
It's a wonderful location that throws back,
I think, to the 1970s,
703
00:53:25,786 --> 00:53:29,289
but also has a strong
contemporary resonance.
704
00:53:32,001 --> 00:53:33,877
We had a lot of fun there.
705
00:53:33,961 --> 00:53:37,797
We practically closed the city down
for weeks and weeks and weeks.
706
00:53:44,096 --> 00:53:47,807
This, in fact,
is one of the main intersections in Tangier.
707
00:53:53,981 --> 00:53:55,857
Asset unscheduled stop.
708
00:54:19,965 --> 00:54:24,177
Originally this scene was going to be in cars
but we switched it
709
00:54:25,179 --> 00:54:29,849
and made it Vespas, basically because
710
00:54:31,185 --> 00:54:36,022
it was obvious, once we got to Tangier,
that Bourne would never operate in a car.
711
00:54:38,817 --> 00:54:41,778
In a landscape like Tangier
712
00:54:41,862 --> 00:54:46,032
the quickest way to get around
would be by motorbike
713
00:54:47,326 --> 00:54:48,952
because the streets are so crowded.
714
00:54:49,036 --> 00:54:51,663
South to Rue de Belgique,
stationary Place de France.
715
00:54:53,248 --> 00:54:54,874
That's where Parsons is.
716
00:54:55,000 --> 00:54:57,261
When we're finished with Daniels,
send the asset after her.
717
00:54:57,336 --> 00:54:58,336
Yes, sir.
718
00:54:58,420 --> 00:55:00,546
We find Parsons, we find Bourne.
719
00:55:00,673 --> 00:55:02,757
Noah, what are you doing?
720
00:55:03,092 --> 00:55:04,643
- Not now.
- I wanna know what's going on.
721
00:55:04,718 --> 00:55:06,219
I said not now!
722
00:55:06,345 --> 00:55:08,721
What basis are you continuing
this operation on?
723
00:55:08,847 --> 00:55:11,307
The Vosen-Landy feud breaks out.
724
00:55:11,392 --> 00:55:14,811
- She is up to her neck in this!
- This is about Daniels, not Nicky!
725
00:55:14,895 --> 00:55:17,281
- She has betrayed us.
- You don't know the circumstances...
726
00:55:17,356 --> 00:55:22,944
The differing philosophies,
the personal chemistry finally boiling over.
727
00:55:24,029 --> 00:55:25,738
And you had better get on board.
728
00:55:25,864 --> 00:55:27,615
Noah, she's one of us.
729
00:55:27,741 --> 00:55:30,910
And this, I think,
is one of my favorite lines in the film.
730
00:55:31,453 --> 00:55:33,413
It ends when we've won.
731
00:55:35,416 --> 00:55:38,376
A great line for a bad guy.
732
00:55:38,460 --> 00:55:43,589
Ruthless, definitive, and upping the stakes
for what's gonna happen.
733
00:55:46,760 --> 00:55:49,595
When we're finished with Daniels,
send the asset after them.
734
00:55:49,722 --> 00:55:50,763
Yes, sir.
735
00:55:50,889 --> 00:55:52,932
- Okay, come on.
- Stand by...
736
00:56:13,120 --> 00:56:15,329
- Two minutes, sir.
- Two minutes.
737
00:56:15,456 --> 00:56:18,791
John Powell composed
the score for Bourne Ultimatum.
738
00:56:18,917 --> 00:56:22,795
Obviously he scored
Bourne Supremacy and Bourne Identity.
739
00:56:22,921 --> 00:56:27,508
Myself think that
John Powell's Bourne music
740
00:56:27,634 --> 00:56:32,472
is amongst the best action-adventure
thriller music ever composed.
741
00:56:32,598 --> 00:56:35,933
Much imitated, never surpassed, in my view.
742
00:56:38,312 --> 00:56:40,813
I think what he did on this film,
743
00:56:41,982 --> 00:56:46,986
particularly in view of the time constraints,
was nothing less than extraordinary.
744
00:56:52,785 --> 00:56:55,286
His music has a pulse
745
00:56:55,370 --> 00:56:57,371
and an energy
746
00:56:57,498 --> 00:57:00,833
and yet a lyrical quality
747
00:57:00,959 --> 00:57:03,544
that defines Bourne, literally.
748
00:57:21,688 --> 00:57:24,357
- On it, sir.
- Two hundred meters.
749
00:57:24,483 --> 00:57:26,858
Okay, come on,
I want to lay in some preliminary tracking.
750
00:57:35,869 --> 00:57:38,287
We love this little trick. it...
751
00:57:38,372 --> 00:57:40,998
it throws Bourne onto the defensive.
752
00:57:45,045 --> 00:57:49,757
Suddenly what we think
was gonna happen doesn't
753
00:57:49,883 --> 00:57:52,218
and Bourne is in mortal danger.
754
00:58:00,561 --> 00:58:04,480
And it enables me to have a bit of fun
winking back
755
00:58:04,565 --> 00:58:07,400
at another great film, Battle of Algiers
756
00:58:07,526 --> 00:58:09,569
and the famous café scene.
757
00:58:10,946 --> 00:58:14,824
Sadly, Pontecorvo,
the wonderful director of Battle of Algiers
758
00:58:14,908 --> 00:58:18,369
passed away
while we were shooting Bourne Ultimatum.
759
00:58:19,913 --> 00:58:24,000
And we had a minute's silence on set
in his memory.
760
00:58:24,084 --> 00:58:27,420
One of the great directors of all time,
in my view.
761
00:58:53,947 --> 00:58:56,083
During the making
of Bourne Supremacy and Bourne Ultimatum
762
00:58:56,158 --> 00:59:00,453
I was often asked, "How do you approach
these big action sequences?"
763
00:59:01,955 --> 00:59:03,873
And I would always answer,
764
00:59:03,957 --> 00:59:07,501
"The first thing you do
is phone a man called Dan Bradley,
765
00:59:07,628 --> 00:59:11,797
"who's the best action-unit director
in the business."
766
00:59:13,800 --> 00:59:18,262
And he and I worked together very closely
on Supremacy and on Ultimatum.
767
00:59:19,640 --> 00:59:22,975
And here's another example
of some of his brilliant work.
768
00:59:33,695 --> 00:59:37,531
He has the ability to have ideas,
769
00:59:37,658 --> 00:59:40,159
get some great action shots,
770
00:59:41,995 --> 00:59:45,623
and he's an integral member
of the Bourne team.
771
00:59:47,668 --> 00:59:52,672
He shares with me, I think,
just a thirst to be there when it happens,
772
00:59:52,798 --> 00:59:56,968
to be in the middle of it
rather than to watch it from the outside,
773
00:59:57,052 --> 01:00:01,681
so you're not a spectator,
you're immersed in it as a participant.
774
01:00:06,520 --> 01:00:10,648
He also has a genius for coming up
with the most outrageous shots
775
01:00:11,483 --> 01:00:13,734
and being able to execute them.
776
01:00:15,570 --> 01:00:20,616
It helps, of course,
to have a stunt team of several hundreds
777
01:00:20,701 --> 01:00:24,036
and we certainly used every one of them
in this film.
778
01:00:46,226 --> 01:00:48,894
So we reach the Tangier Medina
779
01:00:49,938 --> 01:00:54,567
where we shot for what felt like months
but probably was only several weeks.
780
01:01:00,407 --> 01:01:03,617
When you direct a film
like Bourne Ultimatum
781
01:01:03,702 --> 01:01:07,538
one of the most extraordinary things,
I think, when you make those films
782
01:01:07,622 --> 01:01:12,460
is that you're surrounded
by so many talented, committed people,
783
01:01:15,589 --> 01:01:19,550
and here in this sequence, in the market,
784
01:01:19,634 --> 01:01:22,928
I leaned very heavily on Chris Carreras,
my first A.D.
785
01:01:23,764 --> 01:01:29,602
who's responsible, basically, for
marshalling a unit in small confined areas
786
01:01:29,728 --> 01:01:32,396
where you can't control crowds,
787
01:01:32,481 --> 01:01:33,991
where people are looking at the camera,
788
01:01:34,066 --> 01:01:37,401
where you've gotta run
complicated action sequences,
789
01:01:37,486 --> 01:01:40,571
where there's safety issues,
790
01:01:40,655 --> 01:01:45,534
where you've got to make sure
that the camera unit can see the action.
791
01:01:45,619 --> 01:01:49,580
It's an absolute creative
and logistical nightmare.
792
01:01:50,624 --> 01:01:53,667
And, again, like Dan Bradley,
793
01:01:53,794 --> 01:01:58,923
Chris Carreras is one of the unsung heroes
of Bourne Ultimatum.
794
01:02:18,151 --> 01:02:22,988
This is one of my favorite bits
of Bourne Ultimatum.
795
01:02:23,115 --> 01:02:27,910
When you feel that, as a film,
it's got more gears,
796
01:02:27,994 --> 01:02:30,422
you're going through the gears,
getting quicker and quicker,
797
01:02:30,497 --> 01:02:34,375
and you feel it can do it as a film
and sustain its energy,
798
01:02:35,836 --> 01:02:40,506
it gives that wonderful feeling
of running along a cliff.
799
01:02:42,217 --> 01:02:44,510
It's just got a lot of energy.
800
01:02:59,860 --> 01:03:01,902
To me, making a Bourne film
801
01:03:02,028 --> 01:03:06,657
is a bit like taking a high performance car
onto a racetrack.
802
01:03:06,741 --> 01:03:11,745
You've got to drive it
as fast as it can possibly go
803
01:03:11,872 --> 01:03:17,042
but at a place where you still have
perfect control of narrative character.
804
01:03:20,088 --> 01:03:21,589
And where those two meet,
805
01:03:21,715 --> 01:03:23,924
the forces of anarchy
and the forces of control,
806
01:03:24,050 --> 01:03:27,011
is where a Bourne film should sit.
807
01:03:27,095 --> 01:03:30,598
And when you hit that sweet spot,
as I think we do here,
808
01:03:32,434 --> 01:03:34,727
the result is thrilling
809
01:03:35,770 --> 01:03:37,271
because you know where everybody is,
810
01:03:37,397 --> 01:03:40,232
you know where the police are,
you know what Bourne's doing,
811
01:03:40,358 --> 01:03:43,444
you know why he's picked up the towel.
812
01:03:43,570 --> 01:03:47,573
You've got cause and effect,
complex choreography,
813
01:03:48,575 --> 01:03:50,242
a woman in danger,
814
01:03:51,369 --> 01:03:53,621
Bourne riding to the rescue.
815
01:04:03,298 --> 01:04:06,342
And the ability to vary pace.
816
01:04:06,426 --> 01:04:11,305
Now it slows down again
and you get a different texture,
817
01:04:11,431 --> 01:04:16,477
stairs, interiors, cat-and-mouse,
deadly cat-and-mouse.
818
01:04:36,498 --> 01:04:39,583
It's great fun shooting this stuff
819
01:04:39,668 --> 01:04:45,005
because all the time you're trying to make
choices based on the physical environment.
820
01:04:45,131 --> 01:04:46,840
The idea for the towels on the glass
821
01:04:46,967 --> 01:04:50,427
was one that came up literally
as we were shooting it.
822
01:05:10,115 --> 01:05:12,324
Now we pick the pace up again.
823
01:05:25,130 --> 01:05:29,758
I think the sound mix, which I think
was brilliant in Bourne Ultimatum...
824
01:05:29,843 --> 01:05:33,637
But I think it comes into its own
in the Tangier sequence
825
01:05:33,722 --> 01:05:37,141
because you can feel
all the texture of a real city,
826
01:05:37,225 --> 01:05:40,728
all the detail of doors and sounds
827
01:05:42,480 --> 01:05:44,690
and space. Menace.
828
01:06:10,008 --> 01:06:13,218
We used to call this
"the haunted-house sequence."
829
01:06:15,180 --> 01:06:18,891
Often you find with these action sequences
that you're playing around
830
01:06:20,393 --> 01:06:22,853
with classic thriller paradigms.
831
01:06:25,690 --> 01:06:30,027
The trick is to try and take those paradigms
and do something interesting with them.
832
01:06:30,111 --> 01:06:35,908
This case, here's the woman
in the haunted house pursued by the killer
833
01:06:36,034 --> 01:06:38,661
and Bourne
has got to take the straightest route
834
01:06:38,745 --> 01:06:41,163
and the straightest route
is not over the roofs.
835
01:06:41,247 --> 01:06:46,293
It's straight through people's apartments,
in and out of everyday lives,
836
01:06:46,419 --> 01:06:49,797
as he races to try and get there
before it's too late.
837
01:06:56,596 --> 01:06:58,055
And, of course, in doing so,
838
01:06:58,139 --> 01:07:03,977
he's trying to redeem his failure
to save Marie in Bourne Supremacy.
839
01:07:11,403 --> 01:07:13,904
This time, he gets there in time.
840
01:07:16,074 --> 01:07:19,493
That was one of Dan Bradley's great ideas,
841
01:07:19,619 --> 01:07:23,497
that you could create a shot
coming down into the window
842
01:07:23,623 --> 01:07:27,418
where literally the cameraman
would jump with the character,
843
01:07:27,502 --> 01:07:30,254
and that's what we did. it was a...
844
01:07:30,338 --> 01:07:32,798
And it's a great cinematic moment.
845
01:07:44,352 --> 01:07:48,564
The fights, of course, are staple ingredients
of the Bourne franchise.
846
01:07:48,648 --> 01:07:51,483
Each one, I think, has been powerful.
847
01:07:53,653 --> 01:07:57,865
They're essentially ballets, violent ballets.
848
01:08:00,660 --> 01:08:04,663
They look real but, of course, in fact,
849
01:08:04,789 --> 01:08:07,040
they're rehearsed endlessly
850
01:08:08,168 --> 01:08:11,336
to get this amount of detail.
851
01:08:12,672 --> 01:08:15,424
So each move has got a purpose,
852
01:08:15,508 --> 01:08:18,385
each move is counted, cause and effect,
853
01:08:19,304 --> 01:08:24,683
and yet still have a sprawling quality
that makes it feel violent and real.
854
01:08:33,693 --> 01:08:36,487
I'm not a great fan
of designer violence myself.
855
01:08:36,571 --> 01:08:42,159
I think violence is desperate and brutal,
ugly,
856
01:08:43,912 --> 01:08:49,374
and it's essential
that Bourne discovers that in each film.
857
01:08:51,544 --> 01:08:54,296
His destiny as a character
858
01:08:54,380 --> 01:08:57,591
is to be put into the dark place,
859
01:08:57,717 --> 01:09:00,260
to become a killer against his will
860
01:09:01,554 --> 01:09:03,972
and to feel that sense of shame.
861
01:09:05,225 --> 01:09:08,602
It's essential
to our understanding of the character.
862
01:09:19,572 --> 01:09:21,907
Code it in. We need to be dead.
863
01:09:29,541 --> 01:09:32,417
Sir? Asset confirms both targets are down.
864
01:09:40,593 --> 01:09:45,347
And, of course, very important,
I think, in action sequences,
865
01:09:45,431 --> 01:09:48,767
that not only must you spend time
setting them up
866
01:09:49,644 --> 01:09:51,854
and then choreograph them
867
01:09:51,938 --> 01:09:55,566
with complexity and pace and variety,
868
01:09:55,650 --> 01:10:00,028
but, I think, as important also
is that when they end
869
01:10:00,113 --> 01:10:03,532
they take the character to a new level.
870
01:10:03,616 --> 01:10:08,370
Action has got to deliver character
for it to really work, I think,
871
01:10:08,454 --> 01:10:11,582
and in that case,
in the whole Tangier sequence,
872
01:10:12,625 --> 01:10:15,919
it delivers Bourne that moment of shame.
873
01:10:18,423 --> 01:10:20,966
Just remember why we put Landy there.
874
01:10:22,093 --> 01:10:27,139
If Blackbriar goes south, we'll roll it up,
hang it around her neck and start over.
875
01:11:03,593 --> 01:11:07,387
One of the interesting things
making Bourne Ultimatum
876
01:11:07,513 --> 01:11:10,933
and looking back at Supremacy
and to a lesser extent Identity,
877
01:11:11,017 --> 01:11:13,060
Doug Liman's film,
878
01:11:13,186 --> 01:11:16,396
was to see the way
Matt himself had changed
879
01:11:16,522 --> 01:11:19,650
over the five or six years of the franchise
880
01:11:19,734 --> 01:11:22,402
as Bourne had become tempered.
881
01:11:24,030 --> 01:11:26,323
The Bourne of Bourne Ultimatum
882
01:11:28,076 --> 01:11:31,995
is a character who knows so much more,
who's seen so much more
883
01:11:32,080 --> 01:11:34,915
than the Bourne
who's pulled out of the water
884
01:11:35,041 --> 01:11:37,125
at the beginning of Bourne Identity
885
01:11:37,210 --> 01:11:39,920
and I think Matt played that
886
01:11:40,046 --> 01:11:44,007
tempered Bourne in this film to perfection.
887
01:11:48,054 --> 01:11:50,263
I just don't know their names.
888
01:11:52,183 --> 01:11:55,769
And, I think, by this stage in the film
you can see
889
01:11:57,230 --> 01:12:02,859
the breadth of acting required
to carry one of these films.
890
01:12:03,069 --> 01:12:09,074
What Matt brings to that character
is this quality of truthful acting.
891
01:12:10,368 --> 01:12:12,536
...help me remember the names.
892
01:12:23,131 --> 01:12:28,093
He has that ability
in those small number of scenes
893
01:12:29,595 --> 01:12:34,474
to bring us
to the heart of the character of Bourne
894
01:12:34,600 --> 01:12:36,977
trapped in a cycle of violence,
895
01:12:37,103 --> 01:12:40,147
with great truthfulness and restraint,
I think.
896
01:12:43,317 --> 01:12:48,822
And then ally that to
the extraordinary range of physical acting
897
01:12:48,948 --> 01:12:51,116
that the part of Jason Bourne requires,
898
01:12:51,242 --> 01:12:54,494
the running, the jumping,
the fighting, the driving,
899
01:12:55,455 --> 01:13:01,251
and it's that range of acting skills
that he brings to the part
900
01:13:02,587 --> 01:13:06,423
that I think really is
the reason why the franchise works.
901
01:13:08,134 --> 01:13:10,719
You know, I've said it before
and I believe it to be true.
902
01:13:10,803 --> 01:13:15,599
I think that he has, in the Bourne franchise,
903
01:13:15,683 --> 01:13:20,979
redefined how we understand
the action-adventure hero
904
01:13:21,105 --> 01:13:23,607
for a new century.
905
01:13:23,691 --> 01:13:28,862
I think he stripped out
all the macho, gun-toting,
906
01:13:29,447 --> 01:13:33,158
conventional clichés
of the action-adventure hero
907
01:13:33,284 --> 01:13:38,705
and brought instead a quality of humanity,
a quality of truthfulness,
908
01:13:38,831 --> 01:13:44,669
still married to the brilliant action-adventure
elements that you have to have
909
01:13:44,796 --> 01:13:47,547
and, in doing so,
he's created a new kind of hero,
910
01:13:47,673 --> 01:13:49,883
one that speaks to our times.
911
01:13:50,968 --> 01:13:55,180
A human being,
a character with heart and soul,
912
01:13:55,306 --> 01:13:58,266
a rather moral character, I think,
Jason Bourne is,
913
01:13:58,351 --> 01:14:02,646
because he searches for truth
in a corrupt world
914
01:14:02,730 --> 01:14:04,815
and is destined to be alone.
915
01:14:07,026 --> 01:14:09,653
And, of course, he feels the pain of loss.
916
01:14:09,737 --> 01:14:15,659
And in those small moments of humanity
the character is brought to us.
917
01:14:15,743 --> 01:14:18,203
We relate to Jason Bourne.
918
01:14:18,329 --> 01:14:22,541
And I think that when people
look back on this trilogy of films,
919
01:14:22,667 --> 01:14:24,584
as I'm sure they will,
920
01:14:24,710 --> 01:14:28,296
I think they will look at Matt's performances
as Jason Bourne
921
01:14:28,381 --> 01:14:31,758
and see that they give a very real insight
922
01:14:31,884 --> 01:14:35,095
into the temperature of our culture
923
01:14:36,430 --> 01:14:39,432
in the six years since 2001 .
924
01:14:40,893 --> 01:14:44,604
He has created
that absolutely hardest thing of all,
925
01:14:44,730 --> 01:14:48,942
an iconic character who exists beyond us.
926
01:14:50,069 --> 01:14:54,281
We all know of Jason Bourne and we all
think of Matt when we hear the name.
927
01:14:54,407 --> 01:14:58,243
And that is a testament to his achievement.
928
01:15:00,746 --> 01:15:02,372
It gets easier.
929
01:15:18,764 --> 01:15:22,309
These are Mr. Daniels' belongings.
930
01:15:22,435 --> 01:15:23,768
It's everything?
931
01:15:24,061 --> 01:15:25,103
Yes.
932
01:15:25,938 --> 01:15:26,938
Let's see that.
933
01:15:58,804 --> 01:16:04,184
The idea for bringing Jason Bourne
back to New York was Tony Gilroy's.
934
01:16:04,310 --> 01:16:06,770
Station chief in Rabat just called.
935
01:16:06,854 --> 01:16:08,605
They found a body.
936
01:16:11,025 --> 01:16:12,651
- Bourne?
- Desh.
937
01:16:14,654 --> 01:16:18,531
In a sense it means that the story
is about Bourne coming home.
938
01:16:19,867 --> 01:16:23,203
And Tony had this idea
939
01:16:23,329 --> 01:16:27,374
that you could create the Bourne Ultimatum
940
01:16:27,500 --> 01:16:33,129
where the first two acts took place between
the last two scenes of Bourne Supremacy.
941
01:16:33,214 --> 01:16:36,967
And so you would come
to the last scene of Bourne Supremacy,
942
01:16:37,051 --> 01:16:42,180
the phone call between Bourne and Landy
that we remember from that film,
943
01:16:42,306 --> 01:16:46,559
and you would understand it
in a different way in Bourne Ultimatum.
944
01:16:46,686 --> 01:16:49,938
It would replay in a different way.
945
01:16:50,022 --> 01:16:53,316
And it was a great idea.
946
01:16:55,027 --> 01:17:00,323
And, again, it's all about
choreographing the pieces,
947
01:17:00,408 --> 01:17:04,536
bringing all the pieces
on the checkboard together
948
01:17:04,662 --> 01:17:10,542
in order to create the third act
and the final act in the Bourne trilogy
949
01:17:11,669 --> 01:17:13,712
on the streets of New York.
950
01:17:17,883 --> 01:17:20,719
Gilberto de Piento. Gilberto de Piento.
951
01:17:20,845 --> 01:17:23,054
Your party is waiting for you.
952
01:17:59,383 --> 01:18:02,552
It's interesting.
When we made the film we were obsessed
953
01:18:03,679 --> 01:18:07,807
with the idea that audiences would struggle
954
01:18:07,933 --> 01:18:11,561
with the idea that they were going to see
a scene from Bourne Supremacy
955
01:18:11,645 --> 01:18:12,697
played in a different way.
956
01:18:12,772 --> 01:18:17,275
We were concerned
that audiences wouldn't understand
957
01:18:17,401 --> 01:18:19,819
or would reject it.
958
01:18:19,945 --> 01:18:22,614
In point of fact, it was never an issue.
959
01:18:51,310 --> 01:18:55,355
Small example of the visual effects
in Bourne Ultimatum.
960
01:18:55,481 --> 01:18:56,981
Pamela Landy.
961
01:18:57,358 --> 01:19:03,196
Peter Chiang, our visual effects supervisor
I've worked with on a number of occasions,
962
01:19:03,280 --> 01:19:07,325
knows that I like visual effects
to be very subtle,
963
01:19:08,327 --> 01:19:10,995
almost a last-resort
option rather than a first
964
01:19:11,122 --> 01:19:13,883
because I think that one of the things
that distinguishes a Bourne film
965
01:19:13,958 --> 01:19:15,875
is that it is as you see it.
966
01:19:16,001 --> 01:19:18,503
It's not a greenscreen construct.
967
01:19:20,506 --> 01:19:23,675
But there are visual effects
and they have to be done
968
01:19:23,801 --> 01:19:27,011
and he does them
with great subtlety, I think, and skill.
969
01:19:27,138 --> 01:19:28,513
Is that official?
970
01:19:28,681 --> 01:19:31,182
No. Off the record. You know how it is.
971
01:19:31,517 --> 01:19:33,351
- You tracing this?
- Fifty seconds to trace.
972
01:19:34,186 --> 01:19:36,146
- Goodbye.
- Wait. Wait.
973
01:19:39,024 --> 01:19:41,401
David Webb. That's your real name.
974
01:19:43,487 --> 01:19:46,865
You were born 4/1 5/71 in Nixa, Missouri.
975
01:19:48,033 --> 01:19:50,869
Why don't you come in
and we'll talk about it?
976
01:19:51,912 --> 01:19:53,705
Something is very wrong here.
977
01:19:54,665 --> 01:19:59,127
So now we get the answer to the question
that was my first question, really,
978
01:19:59,211 --> 01:20:02,213
when I rewatched Supremacy
before I started Ultimatum.
979
01:20:02,339 --> 01:20:03,798
When I rewatched it
980
01:20:03,883 --> 01:20:08,553
and you got to that phone call
between Bourne and Landy, it was obvious.
981
01:20:08,679 --> 01:20:13,933
The question was, why did Bourne
come to New York just to phone her
982
01:20:14,894 --> 01:20:17,103
when he was a couple of hundred yards
away from her?
983
01:20:17,229 --> 01:20:21,065
There must have been a reason
why he did that. What was that reason?
984
01:20:21,192 --> 01:20:25,111
What was he doing?
What did she think he was doing?
985
01:20:27,406 --> 01:20:29,199
And now you get the answer.
986
01:20:29,283 --> 01:20:32,076
He was sending her a message
and so was she.
987
01:20:34,038 --> 01:20:35,413
Landy just left the building!
988
01:20:36,123 --> 01:20:38,416
And Vosen realizes it.
989
01:20:38,542 --> 01:20:42,420
And now the scene is set
for the final adventure.
990
01:20:53,766 --> 01:20:56,809
She's using her cell.
There's an incoming text.
991
01:20:57,102 --> 01:20:58,320
- Get it.
- Working on it, sir.
992
01:20:58,395 --> 01:20:59,604
How many do we have on Landy?
993
01:20:59,730 --> 01:21:04,400
One of the realities of shooting a film like
Bourne Ultimatum is the sheerscale of it,
994
01:21:04,485 --> 01:21:07,946
as a production, means that
you'll be shooting across seasons.
995
01:21:08,822 --> 01:21:11,115
We started shooting in October
996
01:21:12,284 --> 01:21:16,412
and we were still shooting in May,
997
01:21:16,497 --> 01:21:18,456
the following year.
998
01:21:18,958 --> 01:21:24,629
What that means is that you're trying
to create an even palette
999
01:21:25,464 --> 01:21:27,882
when, in fact, the material you've gathered
1000
01:21:27,967 --> 01:21:31,511
from very different times
and very different weather conditions.
1001
01:21:32,471 --> 01:21:35,765
And it's never more apparent
than in this sequence,
1002
01:21:36,308 --> 01:21:40,103
where we began shooting in New York
in the middle of a blizzard
1003
01:21:41,647 --> 01:21:45,817
and we ended up shooting
in the height of summer.
1004
01:21:47,319 --> 01:21:51,155
And it meant that Peter Wenham,
the designer,
1005
01:21:51,824 --> 01:21:56,452
and Oliver Wood, our cinematographer,
had to use all their ingenuity
1006
01:21:56,537 --> 01:21:59,998
to ensure
that you couldn't tell the difference.
1007
01:22:00,666 --> 01:22:01,833
He's trapping himself.
1008
01:22:01,959 --> 01:22:03,876
It's a bad place to meet. It's too exposed.
1009
01:22:03,961 --> 01:22:06,170
He wouldn't have chosen it
if he didn't have a reason.
1010
01:22:11,677 --> 01:22:13,678
Subject is en route.
1011
01:22:14,013 --> 01:22:15,763
Roof 43, let me know when you have visual.
1012
01:22:16,015 --> 01:22:17,390
Roof 43, standing by.
1013
01:22:24,398 --> 01:22:25,440
Standing by.
1014
01:22:25,524 --> 01:22:28,526
Okay, folks, here we go. Box 200 meters.
1015
01:22:29,028 --> 01:22:30,361
Visual on leader.
1016
01:22:30,487 --> 01:22:32,363
43 ground in position.
1017
01:22:32,823 --> 01:22:35,533
As soon as you have eyes on Landy,
I wanna know.
1018
01:22:46,045 --> 01:22:49,881
This is one of the great moments,
I think, in Bourne Ultimatum.
1019
01:22:50,382 --> 01:22:51,591
Okay, here we go.
1020
01:22:51,717 --> 01:22:53,301
Copy that. I see her.
1021
01:22:53,385 --> 01:22:57,013
The stage is set.
Vosen is waiting for Bourne to show up.
1022
01:22:58,390 --> 01:23:00,850
You know something's gonna happen.
1023
01:23:04,563 --> 01:23:05,605
Make them wait.
1024
01:23:05,731 --> 01:23:07,231
Any sign of Bourne?
1025
01:23:07,608 --> 01:23:08,900
Negative.
1026
01:23:09,568 --> 01:23:11,361
No sign of target.
1027
01:23:23,082 --> 01:23:24,415
Noah Vosen.
1028
01:23:25,542 --> 01:23:27,043
This is Jason Bourne.
1029
01:23:27,920 --> 01:23:30,630
Audiences love this in theaters.
1030
01:23:31,090 --> 01:23:32,715
How did you get this number?
1031
01:23:32,800 --> 01:23:35,385
You didn't actually think
I was coming to Tudor City, did you?
1032
01:23:35,469 --> 01:23:37,470
It always got a big laugh.
1033
01:23:38,597 --> 01:23:40,056
No, I guess not.
1034
01:23:40,140 --> 01:23:44,268
But if it's me you want to talk to,
perhaps we can arrange a meet.
1035
01:23:44,645 --> 01:23:46,437
Where are you now?
1036
01:23:47,272 --> 01:23:49,315
I'm sitting in my office.
1037
01:23:50,734 --> 01:23:52,235
I doubt that.
1038
01:23:52,736 --> 01:23:54,654
And why would you doubt that?
1039
01:23:54,780 --> 01:23:56,040
If you were in your office right now,
1040
01:23:56,115 --> 01:23:58,783
we'd be having this conversation
face to face.
1041
01:24:06,291 --> 01:24:07,625
Noah Vosen.
1042
01:24:10,754 --> 01:24:12,380
This is a code ten abort.
1043
01:24:12,464 --> 01:24:14,767
I want everyone back in the vehicles.
This is a code ten abort.
1044
01:24:14,842 --> 01:24:16,634
Let's go! Let's go!
1045
01:24:16,760 --> 01:24:18,761
Now the chase begins again.
1046
01:24:23,100 --> 01:24:26,644
Now Bourne has got the truth
about Blackbriar.
1047
01:24:27,312 --> 01:24:30,815
Bigger, better, more dangerous than ever.
1048
01:24:31,483 --> 01:24:34,360
Unaccountable secret power out of control.
1049
01:24:39,199 --> 01:24:41,659
- Yeah?
- Wills, check my office.
1050
01:24:45,497 --> 01:24:48,291
And Vosen knows Bourne's got the secret.
1051
01:24:52,171 --> 01:24:54,464
We need building security up here.
1052
01:24:56,008 --> 01:24:57,675
- He's got everything.
- God damn it!
1053
01:24:57,801 --> 01:24:59,978
All right, set a four-block perimeter
around the building.
1054
01:25:00,053 --> 01:25:01,262
Somebody give me a visual.
1055
01:25:01,346 --> 01:25:02,847
I want the entire building searched.
1056
01:25:02,931 --> 01:25:06,058
Every room, every hallway, every closet,
every goddamn air duct.
1057
01:25:06,185 --> 01:25:08,186
You understand? I want him found!
1058
01:25:11,732 --> 01:25:12,815
What just happened?
1059
01:25:12,900 --> 01:25:18,029
The action in New York
becomes more and more car-based.
1060
01:25:18,697 --> 01:25:19,739
Where to?
1061
01:25:19,865 --> 01:25:23,159
Because, of course,
we're moving towards the car chase.
1062
01:25:23,243 --> 01:25:24,577
Four-fifteen-seventy-one?
1063
01:25:24,912 --> 01:25:28,206
Always one of my favorite moments
in a Bourne film.
1064
01:25:38,884 --> 01:25:41,219
When Matt and I first talked
about Bourne Ultimatum,
1065
01:25:41,345 --> 01:25:44,222
it was the first thing we discussed, really.
1066
01:25:45,224 --> 01:25:49,727
We had to dare to come back to New York,
where French Connection was shot,
1067
01:25:51,230 --> 01:25:56,025
and see if we could give a good account
of ourselves,
1068
01:25:57,027 --> 01:25:58,194
30 years on.
1069
01:25:58,278 --> 01:25:59,612
North on Eighth.
1070
01:26:00,906 --> 01:26:05,952
And that, I think, more than anything else,
spurred us on.
1071
01:26:06,870 --> 01:26:08,297
He's headed east in the Port Authority.
1072
01:26:08,372 --> 01:26:11,916
We had to prove that we could be as good,
if we could.
1073
01:26:34,773 --> 01:26:36,148
Right there!
1074
01:26:51,164 --> 01:26:55,293
Mind you, New York
is a ferociously hard city
1075
01:26:55,419 --> 01:26:57,670
to shoot any kind of car chase in.
1076
01:27:00,465 --> 01:27:05,970
In Supremacy, Moscow was a city
of wide boulevards
1077
01:27:07,306 --> 01:27:12,268
and you can create great speed.
But New York, of course, is built up,
1078
01:27:13,604 --> 01:27:15,980
streets very dense with traffic.
1079
01:27:17,774 --> 01:27:21,277
And so we went for
a different kind of texture,
1080
01:27:21,361 --> 01:27:26,616
much more percussive,
much more of a pinball-machine ride.
1081
01:27:27,367 --> 01:27:30,870
Much less about speed
and much more about obstruction.
1082
01:27:36,627 --> 01:27:39,670
- Police! Freeze!
- Put your hands in the air!
1083
01:27:47,721 --> 01:27:52,058
And we had to decide
what vehicle Bourne would be driving.
1084
01:27:52,184 --> 01:27:56,520
Of course, in Supremacy he drove
the yellow taxi, the Russian taxi,
1085
01:27:58,023 --> 01:28:02,735
but what better car to drive in New York?
What car would give Bourne an edge?
1086
01:28:04,363 --> 01:28:06,781
The answer, a police car,
1087
01:28:06,865 --> 01:28:11,202
to enable him to monitor
the environment around him
1088
01:28:11,703 --> 01:28:13,371
and to use his siren.
1089
01:28:14,081 --> 01:28:16,582
It's a smart choice, but an exciting one.
1090
01:28:16,708 --> 01:28:18,542
Take a look at this! Bourne's birthday, sir.
1091
01:28:18,669 --> 01:28:20,086
- What about it?
- Check that out.
1092
01:28:20,212 --> 01:28:24,799
Sir, Landy told Bourne that his birthday
was 4/1 5/71.
1093
01:28:24,883 --> 01:28:27,176
Oh, my God. It's a code.
1094
01:28:27,719 --> 01:28:30,346
Everything stops. Everything stops!
Listen up!
1095
01:28:30,430 --> 01:28:33,265
4/1 5/71 . New assignment, numbers.
1096
01:28:33,392 --> 01:28:35,193
- What does it mean?
- Give me encryption codes!
1097
01:28:35,268 --> 01:28:37,895
Sir, if you plug them in as variables
of longitude and latitude
1098
01:28:38,021 --> 01:28:39,730
you get Cameroon.
1099
01:28:39,856 --> 01:28:42,566
41571 is the zip code for Varney, Kentucky.
1100
01:28:45,570 --> 01:28:49,115
- What date did she give him?
- 4/1 5/71.
1101
01:28:49,574 --> 01:28:51,367
I don't believe it.
1102
01:28:51,868 --> 01:28:55,204
SRD is at 415 East 71 st Street.
1103
01:28:55,706 --> 01:28:58,207
- She just gave him the training facility.
- Oh, Christ.
1104
01:28:58,583 --> 01:28:59,958
Bring all the teams in behind us.
1105
01:29:04,214 --> 01:29:08,718
Like any good thriller,
you need a final act reveal
1106
01:29:09,761 --> 01:29:15,433
and in Bourne Ultimatum's case
it's Bourne moving towards his maker
1107
01:29:16,101 --> 01:29:18,519
and discovering that his maker is located
1108
01:29:18,603 --> 01:29:22,815
at the Treadstone/Blackbriar research
training facility,
1109
01:29:23,734 --> 01:29:26,110
in a downtown Manhattan hospital.
1110
01:29:28,321 --> 01:29:32,116
But to get there,
he's got to run the gauntlet of metal.
1111
01:29:44,296 --> 01:29:45,588
You can feel, here,
1112
01:29:45,672 --> 01:29:50,092
that percussive stop-start tempo
1113
01:29:50,594 --> 01:29:55,097
that I think is much more credible
and realistic for a chase in New York.
1114
01:30:10,322 --> 01:30:13,616
Only Dan Bradley could execute
a stunt like that
1115
01:30:13,700 --> 01:30:16,285
and leave a car like that still rolling.
1116
01:30:30,467 --> 01:30:34,804
And, of course,
you have to have a final coup de théâtre.
1117
01:30:34,888 --> 01:30:39,683
You have to have a crowd-pleasing,
shameless final moment
1118
01:30:39,810 --> 01:30:41,977
in any action-adventure film
1119
01:30:43,230 --> 01:30:44,855
and here's ours.
1120
01:30:59,579 --> 01:31:02,414
- Hurry up! Somebody call 911!
- Help him!
1121
01:31:07,838 --> 01:31:13,342
Magnificent. A great stunt,
brilliantly executed.
1122
01:31:15,011 --> 01:31:18,347
Over in seconds, of course, in the theater,
1123
01:31:18,431 --> 01:31:21,350
but months and months of planning.
1124
01:31:22,227 --> 01:31:28,607
Hundreds and hundreds of people involved
to execute something like that safely.
1125
01:31:36,616 --> 01:31:39,118
The asset lost Bourne. We lost him.
1126
01:31:47,210 --> 01:31:49,378
- Hello?
- Albert, it's Vosen.
1127
01:31:50,714 --> 01:31:54,425
Bourne knows everything
and he's on his way to you right now.
1128
01:31:54,968 --> 01:31:57,178
He's coming home, Noah.
1129
01:31:57,262 --> 01:32:00,055
- How long do I have?
- I don't know.
1130
01:32:00,432 --> 01:32:02,808
Just get the hell out of there.
1131
01:32:02,934 --> 01:32:04,894
No, I'm gonna stay.
1132
01:32:05,729 --> 01:32:08,022
Like most British directors,
1133
01:32:08,106 --> 01:32:11,317
Albert Finney is one of my acting heroes.
1134
01:32:12,110 --> 01:32:16,238
As a kid, I can remember watching
those great films from the '60s
1135
01:32:16,615 --> 01:32:21,327
where he was a powerful actor
who defined a new Britain.
1136
01:32:23,246 --> 01:32:26,916
Of course, now he's
an enduring movie star,
1137
01:32:27,292 --> 01:32:33,130
and when casting the role of Hirsch,
we needed somebody with stature,
1138
01:32:33,256 --> 01:32:37,176
someone who,
when Bourne finally got there,
1139
01:32:37,302 --> 01:32:40,679
after this three-film quest to find his maker,
1140
01:32:41,598 --> 01:32:44,767
you would know
was worthy of his attention.
1141
01:32:46,937 --> 01:32:49,521
What better actor than Albert Finney?
1142
01:33:03,787 --> 01:33:05,746
They'll kill you for giving me this.
1143
01:33:05,830 --> 01:33:08,374
4/1 5/71 isn't much of a code.
1144
01:33:08,792 --> 01:33:11,543
My guess is Vosen is on his way already.
1145
01:33:12,545 --> 01:33:16,966
And this is a very important scene,
of course, because this is the only scene
1146
01:33:17,676 --> 01:33:21,136
that Bourne and Landy have together,
face to face.
1147
01:33:21,638 --> 01:33:25,891
After two films of speaking to each other,
dealing with each other,
1148
01:33:26,476 --> 01:33:29,061
talking to each other across a divide,
1149
01:33:30,981 --> 01:33:33,607
and finally they realize
they're on the same side.
1150
01:33:33,692 --> 01:33:34,733
David.
1151
01:33:35,402 --> 01:33:37,987
They speak for a better way,
1152
01:33:38,071 --> 01:33:41,031
a truer, more moral future.
1153
01:33:41,866 --> 01:33:45,536
This is where it started for me.
This is where it ends.
1154
01:33:46,871 --> 01:33:49,832
That's, of course,
assuming they can survive.
1155
01:33:59,551 --> 01:34:01,051
That's Landy.
1156
01:34:07,225 --> 01:34:12,271
Mandy Aaron, dial extension 200, please.
Mandy Aaron, dial extension 200.
1157
01:34:13,440 --> 01:34:16,442
All right, lock this building down.
Set a secure perimeter of one block.
1158
01:34:23,867 --> 01:34:27,202
Hello. This is Pamela Landy.
I have to send a classified document.
1159
01:34:27,537 --> 01:34:29,288
Get a team to SRD after Bourne.
1160
01:34:29,414 --> 01:34:31,132
And put someone in every
public area of this hospital.
1161
01:34:31,207 --> 01:34:34,209
Okay. Elevator shafts, service entrances, go!
1162
01:34:36,963 --> 01:34:39,256
I love the pace at this point of the film
1163
01:34:39,382 --> 01:34:44,261
because a lot of complex storytelling
is being delivered
1164
01:34:45,096 --> 01:34:47,222
with great economy, I think.
1165
01:34:47,807 --> 01:34:51,435
We've got the logistical issues
of where people are going.
1166
01:34:52,312 --> 01:34:56,315
You've got the fact
that Landy is revealing the truth
1167
01:34:56,816 --> 01:34:59,735
of the Blackbriar program
via a secure fax.
1168
01:34:59,819 --> 01:35:02,363
Bourne, en route to meet his maker.
1169
01:35:06,451 --> 01:35:10,662
Vosen, having to decide where he goes,
where he splits his forces.
1170
01:35:11,581 --> 01:35:13,665
I'll take Landy on my own.
1171
01:35:14,250 --> 01:35:19,671
And somehow, and it's the problem
of resolving all action-adventure thrillers,
1172
01:35:20,673 --> 01:35:24,259
the trick is resolving
all the various characters,
1173
01:35:24,344 --> 01:35:29,681
all the various storylines, in a way
that feels satisfying to the audience
1174
01:35:29,808 --> 01:35:33,185
and yet leaves time for the central payoff,
1175
01:35:33,311 --> 01:35:37,147
for the central character to come to fruition.
1176
01:35:38,858 --> 01:35:42,820
It's a bit like the reverse problem
of starting a thriller.
1177
01:35:44,030 --> 01:35:46,198
If starting a thriller is the problem
1178
01:35:46,324 --> 01:35:49,618
of pushing a football team
through a small doorway,
1179
01:35:49,994 --> 01:35:53,872
the end of the thriller is the reverse problem
of getting them out the door again,
1180
01:35:53,998 --> 01:35:55,874
leaving only the hero.
1181
01:36:05,635 --> 01:36:08,387
A republic lives on the knife's edge.
1182
01:36:18,314 --> 01:36:21,358
It was always clear to me
with Bourne Ultimatum
1183
01:36:21,443 --> 01:36:23,444
that, as a film, it had to provide answers.
1184
01:36:23,528 --> 01:36:26,780
I think Bourne Identity
and Bourne Supremacy
1185
01:36:26,865 --> 01:36:29,700
were films driven essentially by questions.
1186
01:36:29,826 --> 01:36:33,537
"Who am I? What did I do?
Why are people trying to kill me?"
1187
01:36:33,955 --> 01:36:35,289
Jason.
1188
01:36:35,457 --> 01:36:39,793
Bourne Ultimatum couldn't sustain
on questions alone.
1189
01:36:39,878 --> 01:36:42,129
It had to provide the answers.
1190
01:36:42,714 --> 01:36:44,465
Bourne, in this film,
1191
01:36:44,549 --> 01:36:48,802
has got to realize and discover his identity
1192
01:36:48,887 --> 01:36:50,480
and he's got to realize, in particular,
1193
01:36:50,555 --> 01:36:54,725
that his identity
is not just a matter of his name.
1194
01:36:55,685 --> 01:37:00,230
It's a question of his moral identity.
What kind of a man was he?
1195
01:37:00,356 --> 01:37:04,067
Was he always a killer?
Or did they turn him into a killer?
1196
01:37:06,488 --> 01:37:10,407
And those answers have got to be original
and compelling
1197
01:37:11,201 --> 01:37:13,994
and consistent with the first two films.
1198
01:37:17,582 --> 01:37:21,502
And that was the great challenge
of this final scene,
1199
01:37:23,254 --> 01:37:27,591
where all the elements of Bourne's past
and present
1200
01:37:28,551 --> 01:37:32,846
come together
to one single, dramatic confrontation.
1201
01:37:42,857 --> 01:37:44,358
Captain Webb.
1202
01:37:44,609 --> 01:37:45,943
Good morning, Captain.
1203
01:37:51,616 --> 01:37:53,700
You came in here.
1204
01:37:55,620 --> 01:37:58,455
You didn't even blink, Jason.
1205
01:38:03,503 --> 01:38:05,546
You just handed me these.
1206
01:38:12,220 --> 01:38:14,721
Has everything been explained to you?
1207
01:38:16,808 --> 01:38:18,141
Yes, sir.
1208
01:38:20,812 --> 01:38:22,896
You said you wanted to serve.
1209
01:38:24,732 --> 01:38:28,986
- Your missions will save American lives.
- I understand, sir.
1210
01:38:30,947 --> 01:38:37,119
It's a very interesting journey,
this climactic scene in Bourne Ultimatum.
1211
01:38:37,662 --> 01:38:40,998
It began as a sketched idea
1212
01:38:41,082 --> 01:38:43,166
by Tony Gilroy.
1213
01:38:43,251 --> 01:38:47,921
It was then developed by Paul Attanasio,
1214
01:38:48,006 --> 01:38:50,090
who did some work on this scene
1215
01:38:50,174 --> 01:38:51,842
and some others,
1216
01:38:52,510 --> 01:38:54,261
into a fuller confrontation.
1217
01:38:54,345 --> 01:38:58,432
And then developed further
by George Nolfi.
1218
01:39:00,518 --> 01:39:04,771
And, ultimately, it took its final shape
in the cutting room,
1219
01:39:06,441 --> 01:39:10,360
Chris Rouse and I finally pinning it down
1220
01:39:10,486 --> 01:39:13,530
and trying to bring
all those threads together.
1221
01:39:18,202 --> 01:39:20,704
You haven't slept for a long time, David.
1222
01:39:26,002 --> 01:39:28,045
Have you made a decision?
1223
01:39:32,884 --> 01:39:34,635
This can't go on.
1224
01:39:35,136 --> 01:39:36,970
You have to decide.
1225
01:39:40,558 --> 01:39:43,644
- Who is he?
- We've been through that.
1226
01:39:47,649 --> 01:39:49,232
What did he do?
1227
01:39:49,692 --> 01:39:51,526
It doesn't matter.
1228
01:40:05,416 --> 01:40:07,417
You came to us.
1229
01:40:10,046 --> 01:40:11,922
You volunteered.
1230
01:40:12,006 --> 01:40:14,216
The answers that Bourne seeks
1231
01:40:15,426 --> 01:40:18,428
can't be consoling, it seems to me.
1232
01:40:19,430 --> 01:40:20,931
You're not a liar, are you?
1233
01:40:21,015 --> 01:40:23,433
He's a character with a dark past,
1234
01:40:24,435 --> 01:40:27,771
but with a redeemed future.
1235
01:40:29,857 --> 01:40:32,401
But in seeking to confront his past,
1236
01:40:33,111 --> 01:40:36,905
he can't avoid responsibility
for what he's done,
1237
01:40:39,242 --> 01:40:44,579
and I think it's at the core of the heroism
and the morality of the character
1238
01:40:45,790 --> 01:40:49,793
that he successfully does see
what happened
1239
01:40:50,586 --> 01:40:53,797
and that what happened
doesn't sentimentalise him
1240
01:40:53,881 --> 01:40:55,966
or duck his responsibility.
1241
01:40:57,885 --> 01:41:02,973
I think it's part of what makes
the Bourne films unique and original,
1242
01:41:04,475 --> 01:41:07,227
that they're prepared
to go to the dark places
1243
01:41:09,147 --> 01:41:11,314
and, from them,
1244
01:41:11,441 --> 01:41:14,651
find a sense of redemption,
1245
01:41:15,945 --> 01:41:19,990
an emotionality, a truthfulness,
a way forward.
1246
01:41:21,451 --> 01:41:23,618
Welcome to the program.
1247
01:41:25,830 --> 01:41:30,333
And it depends on acting
of the highest caliber to pull it off.
1248
01:41:36,674 --> 01:41:38,508
Do you remember now?
1249
01:41:47,268 --> 01:41:48,769
I remember.
1250
01:41:50,980 --> 01:41:52,856
I remember everything.
1251
01:41:54,525 --> 01:41:56,651
I'm no longer Jason Bourne.
1252
01:41:58,196 --> 01:42:00,363
So now you're gonna kill me.
1253
01:42:01,866 --> 01:42:03,116
No.
1254
01:42:04,827 --> 01:42:08,872
You don't deserve the star
they'd give you on the wall at Langley.
1255
01:42:15,546 --> 01:42:21,551
But you always have to have one piece more
in a really rewarding thriller.
1256
01:42:23,304 --> 01:42:25,388
He's headed for the roof!
1257
01:42:26,808 --> 01:42:31,228
Bourne's character is resolved.
He has renounced the past.
1258
01:42:32,396 --> 01:42:34,689
He is no longer Jason Bourne.
1259
01:42:35,566 --> 01:42:37,567
He's discovered the truth.
1260
01:42:44,075 --> 01:42:47,327
But of course,
there is still one unresolved issue.
1261
01:42:47,578 --> 01:42:50,580
Paz, his doppel,
1262
01:42:51,040 --> 01:42:53,917
who has tracked him through the film
1263
01:42:54,001 --> 01:42:58,755
and who, in many ways, in various different
guises, has tracked him through the trilogy.
1264
01:42:59,924 --> 01:43:03,176
The Professor and Kirill, and now Paz.
1265
01:43:10,560 --> 01:43:12,769
Why didn't you take the shot?
1266
01:43:13,104 --> 01:43:18,441
This was a scene that Frank Marshall,
who has produced all three of the films,
1267
01:43:20,403 --> 01:43:23,613
always argued for, and he was quite right.
1268
01:43:23,739 --> 01:43:27,117
You need to have this final encounter
1269
01:43:27,618 --> 01:43:31,454
for the trilogy,
for this film, to be truly satisfying.
1270
01:43:33,624 --> 01:43:37,544
And, of course, Bourne's use of words
hearkens back to the confrontation
1271
01:43:37,628 --> 01:43:40,046
he had with the Professor, Clive Owen
in Bourne Identity,
1272
01:43:40,131 --> 01:43:43,383
where the roles were reversed
and Bourne was holding the gun
1273
01:43:43,467 --> 01:43:45,969
and the Professor was on the ground.
1274
01:43:49,807 --> 01:43:54,060
Now he's come full circle.
The young gunslinger has become the old
1275
01:44:12,121 --> 01:44:15,665
and Jason Bourne returns to the water.
1276
01:44:18,419 --> 01:44:21,755
This is where he was found
at the very beginning of the trilogy,
1277
01:44:21,839 --> 01:44:24,633
at the very beginning of Bourne Identity.
1278
01:44:25,676 --> 01:44:29,346
He was a dark floating body, wounded...
1279
01:44:32,183 --> 01:44:33,600
Good morning, senators.
1280
01:44:33,684 --> 01:44:38,688
If I may, I'd like to begin
by making a statement for the record.
1281
01:44:40,024 --> 01:44:42,108
...his past and future uncertain.
1282
01:44:42,193 --> 01:44:45,862
The file indicates that Ezra Kramer
authorized six illegal...
1283
01:44:45,988 --> 01:44:48,949
The President convened an emergency
cabinet meeting today
1284
01:44:49,033 --> 01:44:50,450
to discuss the growing scandal
1285
01:44:50,534 --> 01:44:52,420
over an alleged
government assassination program.
1286
01:44:52,495 --> 01:44:55,538
And I always wanted to return Bourne
1287
01:44:56,874 --> 01:45:01,711
back to that state,
as the walls of Jericho crumbled.
1288
01:45:02,630 --> 01:45:05,799
Walls of Langley's Jericho,
if you like, crumbled.
1289
01:45:08,886 --> 01:45:11,471
Two agency officials
have already been arrested.
1290
01:45:12,348 --> 01:45:14,307
As the temples of the CIA crumble
1291
01:45:14,392 --> 01:45:17,519
and Vosen and Kramer
and Hirsch are arrested.
1292
01:45:18,396 --> 01:45:22,816
I wanted this simple floating body.
1293
01:45:23,401 --> 01:45:26,236
Meanwhile, mystery surrounds
the fate of David Webb...
1294
01:45:26,320 --> 01:45:28,238
Watched by Nicky.
1295
01:45:30,074 --> 01:45:31,658
She, free, of course.
1296
01:45:31,742 --> 01:45:34,337
It's been reported that Webb was shot
and fell from a Manhattan rooftop...
1297
01:45:34,412 --> 01:45:35,412
Or not.
1298
01:45:37,164 --> 01:45:41,418
However, after a three-day search,
Webb's body has yet to be found.
1299
01:45:47,425 --> 01:45:50,093
But then, because it's a Bourne movie,
1300
01:45:51,762 --> 01:45:54,014
you have to know he gets away,
1301
01:45:55,266 --> 01:45:58,393
because he's Jason Bourne.
1302
01:45:59,020 --> 01:46:00,937
He's the spirit of opposition.
1303
01:46:01,939 --> 01:46:03,815
I want him to survive
1304
01:46:05,943 --> 01:46:09,112
because you never know,
we might need him one day.
1305
01:46:11,949 --> 01:46:15,035
And that sense of hope and optimism
1306
01:46:15,119 --> 01:46:18,455
and energy is what Moby gives us.
1307
01:46:19,081 --> 01:46:21,958
It's become the theme song
of a Bourne film.
1308
01:46:22,543 --> 01:46:24,419
He remixed it for us.
1309
01:46:31,552 --> 01:46:35,972
It was a great, fun, fun film to make,
hard, but fun,
1310
01:46:37,141 --> 01:46:39,768
and it was a great privilege to make it, too.