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So, with that drum roll,
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I'm David Kerr,
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welcoming you to
the director's commentary of
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Johnny English Strikes Again.
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So, thanks for joining me.
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If you haven't seen the movie yet,
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then what are you doing listening to me?
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Get rid of me, watch the movie,
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come back to this when you've seen it.
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So, here we go. Ominous music,
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something sinister
might be about to happen.
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And we're in London.
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It's nighttime.
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Ml? Headquarters,
and here we have Kevin Eldon.
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A great British character comedy actor.
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I worked with him on Inside No. 9.
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A comedy series I did for the BBC.
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And we actually built this
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bunker-like room
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inside a ballroom. Quite a grand ballroom.
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So, that's a fake ceiling
that you're seeing there,
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that our art department put in.
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And depending which version of the movie
you're listening to,
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the word "bollocks"
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may have been changed to "bollards."
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There you are.
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Emma Thompson, what a star.
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The only person, I think, who's won
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an Oscar for both writing and acting.
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She's an amazing, amazing actress,
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playing our Prime Minister.
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And don't we wish
she was our Prime Minister.
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So, there she is with Adam James,
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Playing Pegasus.
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And, yeah, it's all kicking off.
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...and you know absolutely nothing?
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That does pretty much sum up
the situation, Ma'am, yes.
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Well, you better get someone on it
and find me some answers!
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So, who're they gonna call?
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I wonder.
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So bring back an old one!
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And we're in a forest.
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And that's Black Park,
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which is very close to Pinewood Studios,
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where we shot a lot of the movie.
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Black Park's been used for
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all kinds of movies,
including Bond movies.
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And here he is, Rowan Atkinson.
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And I have to say,
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kind of a dream fulfilled
to work with Rowan.
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I grew up watching
Not the Nine o'clock News,
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Efiackadder, British TV shows like that.
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And then of course, Mr. Bean.
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And enjoyed the first couple of
Johnny English movies.
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And we shot this
at night in Black Park,
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where comedy fans...
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I also shot a sketch
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for That Mitchell and Webb Look.
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A BAFTA-winning TV show
I did years ago
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about Nazis
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discovering that
they might be the bad guys.
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So, look that one up
on YouTube if you can.
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Never mind, Baggaley.
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It's a great cast
of child actors here as well,
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playing the school kids.
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We really were fortunate
to find some really good people.
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Excellent. That is a first-class man-trap.
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- Six house points.
- Yes!
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Right, let's get back to school
before matron notices you're missing.
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So, it's kind of the school
we all wish we went to, I think.
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Worth saying that, that fall in the hole,
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we actually picked that up
after the main shoot.
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We sort of shot the main film
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and that scene used to end
with sort of a dialog joke.
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And we came back to shoot
Johnny falling in the hole.
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Gus Brown there, headmaster of the school.
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I worked with Gus before
on comedy sketches.
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Very funny man.
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We haven't seen him, sir.
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And here is one of the times
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that Rowan suffered for his art.
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He had to get painted, as you can see,
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in camouflage paint.
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And a special suit made
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that was also painted
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to match the suit he'd been wearing.
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Here we go, the zip wire.
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So, those are actually
small stunt people,
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as opposed to actual children.
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Spoiler.
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And here we go for the bomb that goes off.
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And we only got, I think, one take of this
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foam in Rowan's face,
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'cause it went right up his nose.
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He wanted to do another take
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and then he just couldn't bear it,
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'cause it was really quite hard
to put up with.
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We shot this
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at an empty building.
It's not actually a school.
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So, we dressed the whole set.
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Everything you see
was kinda brought in specially.
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And here, Johnny's about to get
the call back to Ml7.
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And we had a number of...
At the script stage,
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we had a number of options
on how he was gonna get
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the invitation from Ml7.
It was gonna be
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at one point, a ticket on his car.
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A fake driving ticket.
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And Johnny's driving
a Triumph Dolomite Sprint.
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Rowan, as you may know,
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is really into cars.
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And we felt like the Dolomite Sprint,
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that green car,
was the sort of thing Johnny,
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as a teacher, would have afforded.
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It's a little bit sporty,
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but it's the sort of
affordable version of sporty.
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Here we are in
Britain's real Foreign Office.
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So, the Prime Minister lives literally,
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you know, yards away
from where Johnny's standing.
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And this, through sleight of hand,
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movie style,
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is the interior of London's County Hall.
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So, it used to be where the
Greater London Council was based.
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And the wonderful
Pippa Bennett-Warner there,
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Playing Lesley.
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And, fact fans, some of those paintings
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you'll see in actual Bond movies.
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We hired them specially
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as a little homage to Bond movies.
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And here we go, some of
Britain's greatest older actors.
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An amazing line-up here.
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Confession. This scene, originally,
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was written for three old Bonds.
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Potentially, it was gonna be
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Roger Moore,
Pierce Brosnan, Timothy Dalton.
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But, sadly, Roger Moore died.
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Then we realized that
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it was gonna be very difficult to get
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people who'd played Bond
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to play a sort of slight
send-up of the Bond thing.
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And...
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So, instead we rewrote the scene
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and we managed to
persuade Charles Dance, there,
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who you probably know
from Game of Thrones.
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And Edward Fox, who you may know from
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something like The Day of the Jackal.
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If you haven't seen that,
the movie dates to 1973.
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But if you haven't seen it,
go and watch it.
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After you've watched this,
go and watch Day of the Jackal.
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And Michael Gambon, an absolute
legend of a British actor.
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You might know him from Ham] Potter,
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but The Singing Detective
was the TV show that I most
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remember him for.
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So, getting these three guys
in a room together with Rowan,
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and this was actually
our second day of shooting,
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this was an absolute coup.
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Amazing to work with them.
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And, you know, Rowan,
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here we go.
It's just a classic thing of his,
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the way he manages to play
those different expressions
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as he's listening to the cups.
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Just a consummate
physical comedy actor.
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And just these little details
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about how hot the cup is.
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Of course, the water's not even hot.
That's just acting.
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And...
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Boom. That's one of those moments where
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we sort of thought,
should it be a bigger bang?
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And then we figured,
well, if it's a bigger bang,
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then everyone in
the building would hear it.
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So, it's a stun grenade after all.
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And...
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And there they are.
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They nodded off.
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Right...
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So, this bit of the County Hall's
actually a hotel.
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So, we sort of
sectioned off a corridor or two
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to do this bit of the filming.
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"English..."
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So, Johnny's back in.
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He's back in Ml7.
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This is, again,
a part of County Hall here.
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We shot this in one on Steadicam.
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So, we got this in, in about an hour.
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Which is pretty quick
for a sort of single-take scene.
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...because the links get caught
in the little hairs on my wrist.
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And I'll also need a Bough.
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What's a Bough?
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And this was one
of the joys really, of this film,
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was to bring back Ben Miller,
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from the first movie, as Bough.
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And we really wanted to
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play with the idea that he's
almost been living in the basement
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of Ml7, all this time.
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And he's kind of the forgotten man.
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They've kind of forgotten
he's still on the payroll.
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So, this little set is a set build.
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So, that sort of fake daylight
that you see outside the window.
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And I love the way it's dressed.
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Production designer, Simon Bowles,
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went to a lot of trouble to
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get the details right.
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Just to make it feel like
a sort of time-worn forgotten space.
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And then we go
through the lift into a slightly
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zhuzhier, jazzier,
more modern part of Ml7.
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This is at Kensington, Olympia.
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We built a set inside a massive hall
at Kensington, Olympia.
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Matthew Beard playing P.
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Great actor, you might've
seen him in The Imitation Game.
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And again, that ceiling,
design fans, is a sort of
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nod back to the ceiling we saw
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in the bunker set
at the start of the movie.
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What's he on about, Bough?
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I need a weapon.
Not a box of gobbledygook.
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So, we're getting introduced to
what is, I suppose,
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one of the main themes of the movie.
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The idea of
analog versus digital.
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Johnny is pretty dubious about
digital technology, and much more...
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Puts his faith much more in analog.
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And we're gonna be
going on a mission with Johnny
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where he's gonna try and use
analog to avoid digital detection.
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So, what he's come for is a gun.
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We don't really do guns anymore.
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Just get him a gun.
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And I love this...
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This kind of wall that moves away
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to reveal behind it
this sort of old,
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kind of dusty bit of storage,
where, you know,
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the things that
don't get used much anymore,
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like guns, are kept.
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..."of the Health and Safety Directive
to inform you"...
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So, behind Matthew there,
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you're seeing a sort of vast expanse.
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It's actually probably 400-meters long of
a big hall at Kensington,
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sort of a big conference hall.
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"Furthermore, any agents
with nut allergies
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"should be aware
that traces of cashew oil..."
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Thank you.
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Right, transport.
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So, we had such a big hall
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to make space for
all of these hybrid cars.
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Which are absolute anathema to Johnny.
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And I love Rowan's expression there.
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It's really not what he signed up for.
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I love this little point-of-view pan.
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A sort of double-take
from Johnny's point-of-view.
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And here we meet
another character in the movie.
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00:11:01,746 --> 00:11:03,289
The Aston Martin Vantage.
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00:11:03,539 --> 00:11:05,499
And if you were a real Bond fan,
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you may have noticed that
the Aston Martin Vantage,
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00:11:08,419 --> 00:11:10,046
not that color, but one appears in
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The Living Daylights.
The Timothy Dalton movie
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00:11:12,631 --> 00:11:14,175
from the late 1980s.
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And this was Rowan's very specific choice,
this car, for the movie.
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Right for the character.
Rowan really knows his cars.
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00:11:22,350 --> 00:11:23,934
Encyclopedic knowledge of cars.
256
00:11:24,894 --> 00:11:28,230
And we had to
buy a second one.
257
00:11:28,314 --> 00:11:31,400
And they're very rare.
The second one was actually black.
258
00:11:31,484 --> 00:11:34,612
So, we had it resprayed red
and changed the upholstery
259
00:11:34,695 --> 00:11:37,031
so we end up with
two cars that are identical.
260
00:11:38,074 --> 00:11:40,534
So that we could
have one for free driving,
261
00:11:40,618 --> 00:11:42,119
as Rowan is showing us here.
262
00:11:42,286 --> 00:11:44,080
And another one, we could put onto
263
00:11:44,163 --> 00:11:46,582
low loaders,
and tracking vehicles, and so on.
264
00:11:48,000 --> 00:11:50,878
Here we are, King Charles Street,
just outside the Foreign Office.
265
00:11:51,087 --> 00:11:52,713
Bursting out onto Whitehall.
266
00:11:53,172 --> 00:11:56,884
So, great to be able to film
right in the heart of London.
267
00:11:57,009 --> 00:11:58,344
The real true heart of government.
268
00:11:59,345 --> 00:12:01,722
And now, we get to hear about
some of the gadgets
269
00:12:01,806 --> 00:12:05,726
that are gonna be going with
Johnny and Bough on their mission.
270
00:12:07,395 --> 00:12:09,480
So, set-up Klaxon.
271
00:12:09,772 --> 00:12:12,149
Look, these are gonna be important, guys.
272
00:12:12,775 --> 00:12:14,568
Something's gonna happen with these pills.
273
00:12:15,194 --> 00:12:16,445
I wonder what.
274
00:12:17,446 --> 00:12:19,448
Probably worth labeling these.
275
00:12:20,658 --> 00:12:23,035
Look, sir. Sweeties.
276
00:12:23,119 --> 00:12:24,745
So, old style sweets.
277
00:12:25,538 --> 00:12:26,747
Hang on a minute.
278
00:12:26,831 --> 00:12:28,165
Jelly babies.
279
00:12:29,500 --> 00:12:32,586
I wouldn't if I was you, Bough.
"Jelly" is short for gelignite.
280
00:12:32,670 --> 00:12:34,380
One bite and it'll take
the top of your head off
281
00:12:34,463 --> 00:12:36,132
along with the roof of the car.
282
00:12:36,715 --> 00:12:38,467
So, what does this do?
283
00:12:38,717 --> 00:12:42,054
So, lots of things that may be unfamiliar
to people under 30.
284
00:12:42,596 --> 00:12:46,308
So, here we go. Cassette goes in
and we're with Wham!
285
00:12:46,434 --> 00:12:49,979
We tried a bunch of different tracks
over this driving montage.
286
00:12:50,062 --> 00:12:52,857
We tried all sorts of things,
from Duran Duran
287
00:12:53,190 --> 00:12:54,984
through to AC/DC.
288
00:12:55,109 --> 00:12:59,029
We wanted something retro and
kind of energetic and uplifting.
289
00:12:59,113 --> 00:13:01,449
And we also tried ABBA,
290
00:13:01,532 --> 00:13:03,868
'cause Johnny has quite a history of
291
00:13:03,951 --> 00:13:06,620
involvement with ABBA
in the first movie, particularly.
292
00:13:06,704 --> 00:13:08,747
But we couldn't resist this Wham! track.
293
00:13:08,831 --> 00:13:10,291
It just seemed to give a great uplift.
294
00:13:11,167 --> 00:13:12,751
Driving through France
295
00:13:13,752 --> 00:13:16,046
and ending up at this hotel.
296
00:13:16,130 --> 00:13:18,507
It's not actually a hotel,
it's a private house.
297
00:13:18,591 --> 00:13:19,967
So, this was a drone shot.
298
00:13:20,050 --> 00:13:21,343
It's quite fiddly to get it right,
299
00:13:21,427 --> 00:13:22,595
with the timing of the car.
300
00:13:22,970 --> 00:13:24,430
And that's Rowan driving the car,
301
00:13:24,513 --> 00:13:25,890
as he very often did.
302
00:13:25,973 --> 00:13:28,100
He did most of his driving, the stunts.
303
00:13:28,851 --> 00:13:30,269
He's an excellent driver.
304
00:13:33,230 --> 00:13:35,733
And that's a stuntwoman,
with her touching her hat.
305
00:13:35,900 --> 00:13:38,611
Just in case Rowan got it wrong,
which he never did.
306
00:13:38,903 --> 00:13:40,988
Love this. That's a fax, everybody.
307
00:13:41,071 --> 00:13:43,657
That's a whole pile
of faxes stuck together.
308
00:13:44,408 --> 00:13:46,702
And filmed this at magic hour,
309
00:13:46,785 --> 00:13:48,204
so there's a very short window
310
00:13:48,287 --> 00:13:51,165
to catch this kind of dusky light
that we wanted.
311
00:13:51,957 --> 00:13:55,294
Just to get that kind of very
rich, glamorous atmosphere.
312
00:13:57,338 --> 00:14:00,257
Sebastian Lynch, ex-Army
and Military Intelligence.
313
00:14:01,383 --> 00:14:03,010
And we wanted a photo of
314
00:14:03,093 --> 00:14:05,262
Roger Barclay,
who's playing Sebastian Lynch,
315
00:14:05,471 --> 00:14:07,890
that really looked very non-threatening.
316
00:14:08,557 --> 00:14:12,520
There he is. That's Roger Barclay
and Irena Tyshyna.
317
00:14:12,686 --> 00:14:16,607
And they are our couple
that are gonna be watched.
318
00:14:17,525 --> 00:14:18,692
And this...
319
00:14:18,817 --> 00:14:20,694
To film this whole sea sequence.
320
00:14:21,070 --> 00:14:23,072
We're about to have
a long sequence in the restaurant.
321
00:14:23,155 --> 00:14:25,157
We built this set at Pinewood.
322
00:14:26,283 --> 00:14:28,327
So, it's a pretty enormous set
323
00:14:28,410 --> 00:14:31,622
with a wraparound of
a photo of the south of France.
324
00:14:31,705 --> 00:14:32,706
So, it was vast.
325
00:14:33,832 --> 00:14:34,959
And there they are.
326
00:14:35,209 --> 00:14:37,294
The waiters' outfits, they're almost
327
00:14:37,378 --> 00:14:40,631
sort of, you know,
Bond casino kind of outfits.
328
00:14:40,714 --> 00:14:43,425
I like that sort of
smartness that they have.
329
00:14:43,509 --> 00:14:47,596
But, this is just a really
bold thing to sort of,
330
00:14:47,680 --> 00:14:48,681
in the middle of the movie,
331
00:14:48,764 --> 00:14:53,602
go in for a scene.
A long scene that's very low on dialog,
332
00:14:53,727 --> 00:14:55,271
apart from the old bit of French.
333
00:14:56,313 --> 00:15:00,985
And it's just
a great sort of opportunity for Rowan
334
00:15:01,151 --> 00:15:03,487
to show what he's a master of.
335
00:15:03,571 --> 00:15:05,823
Which is this kind of physical comedy.
336
00:15:06,031 --> 00:15:09,910
This really amazing ability
to express without words.
337
00:15:10,661 --> 00:15:13,998
So, they're trying to get
to Sebastian Lynch's phone
338
00:15:14,707 --> 00:15:17,042
and they go...
339
00:15:17,334 --> 00:15:19,211
And they go to any lengths,
really, to get it.
340
00:15:19,295 --> 00:15:21,755
This is a scene that
we spent quite a lot of time rehearsing.
341
00:15:22,006 --> 00:15:25,718
And we went through various iterations
of what the action would be.
342
00:15:26,635 --> 00:15:27,720
At one point,
343
00:15:27,845 --> 00:15:31,390
Johnny was playing
three-card Monte, shuffling the glasses.
344
00:15:31,682 --> 00:15:33,058
And trying to take the phone.
345
00:15:33,267 --> 00:15:34,518
And we actually shot that.
346
00:15:34,852 --> 00:15:38,272
What we just felt was,
it was taking a bit too long.
347
00:15:38,355 --> 00:15:40,149
And it's a tricky thing, that.
348
00:15:40,232 --> 00:15:42,610
Sometimes you have to
lose something that's funny
349
00:15:42,776 --> 00:15:44,570
to help the next thing that's funny.
350
00:15:44,903 --> 00:15:47,656
And to not try people's patience.
351
00:15:48,198 --> 00:15:50,909
Pacing a comedy
is a really difficult thing to judge.
352
00:15:51,243 --> 00:15:53,120
And it's really only when
you get to the edit suite,
353
00:15:53,370 --> 00:15:55,247
that you can make those final decisions.
354
00:15:55,372 --> 00:15:58,167
And then, if you do a test screening,
and we did a couple.
355
00:15:58,250 --> 00:15:59,460
If you do a test screening,
356
00:15:59,543 --> 00:16:01,545
then you sort of know
what the audience is feeling.
357
00:16:01,629 --> 00:16:06,884
You can tell by the laughter, or
dare I say, the lack of laughter.
358
00:16:06,967 --> 00:16:09,261
If you're getting tumbleweed,
then you know you gotta change something.
359
00:16:14,725 --> 00:16:18,020
And here we go.
This is just masterful, I think.
360
00:16:18,729 --> 00:16:20,064
This is so funny.
361
00:16:20,189 --> 00:16:21,482
Cracks me up every time.
362
00:16:23,776 --> 00:16:29,114
And this little detail of wiping it
on his bottom, and handing it back.
363
00:16:29,323 --> 00:16:31,950
You don't want that phone when
it's just been on the waiter's bottom.
364
00:16:32,451 --> 00:16:33,619
Jack Fox, here.
365
00:16:34,119 --> 00:16:38,332
I worked with Jack on a British TV comedy
I directed, called Fresh Meat.
366
00:16:38,874 --> 00:16:40,334
Very funny man.
367
00:16:41,335 --> 00:16:44,922
And that's Miranda Hennessy
playing his fiancée.
368
00:16:45,339 --> 00:16:50,135
Playing exactly what you would play
if a waiter started handling your food
369
00:16:50,219 --> 00:16:53,097
with the sort of ineptitude
that Johnny is showing.
370
00:16:54,431 --> 00:16:58,227
And yet again, this kind of
physical comedy thing
371
00:16:58,310 --> 00:17:00,521
that Rowan can judge so well on this.
372
00:17:01,605 --> 00:17:02,940
We did do a lot of takes.
373
00:17:03,107 --> 00:17:06,819
We spent several days on this set
just shooting this one scene.
374
00:17:07,569 --> 00:17:09,530
'Cause it's all about the details.
375
00:17:09,738 --> 00:17:11,407
It's all about timing those details.
376
00:17:11,657 --> 00:17:15,744
Dan March there, playing
the hotel maTtre d'.
377
00:17:16,912 --> 00:17:20,999
And then, that's a real,
genuine, real-life waiter
378
00:17:21,291 --> 00:17:23,752
who knows how to flambe' properly.
379
00:17:23,961 --> 00:17:26,964
He was brought in by our chef advisor,
a guy called Andrew Turner.
380
00:17:27,297 --> 00:17:30,384
I 'd worked with Andrew
on a BBC comedy called Whites.
381
00:17:31,009 --> 00:17:33,554
Set in a restaurant kitchen
with Alan Davies.
382
00:17:34,054 --> 00:17:38,684
And again, it's just that little dance
that Rowan does as Johnny,
383
00:17:38,767 --> 00:17:40,310
it just made me laugh.
384
00:17:40,394 --> 00:17:45,149
And this. Just superb timing
to make that look accidental.
385
00:17:45,899 --> 00:17:47,651
I think, all credit to Rowan.
386
00:17:51,071 --> 00:17:54,783
Could never get quite enough velocity
out of the champagne.
387
00:17:54,867 --> 00:17:56,160
I know they manage to do it on Formula 1,
388
00:17:56,243 --> 00:17:57,745
but it was actually
surprisingly difficult to do
389
00:17:57,870 --> 00:17:59,288
with the prop champagne that we had.
390
00:18:00,497 --> 00:18:03,125
So, we actually
enhanced that slightly in CGI.
391
00:18:03,959 --> 00:18:05,461
And here we go. It's just this...
392
00:18:05,586 --> 00:18:07,796
The very last thing you want to eat
393
00:18:07,880 --> 00:18:09,757
is the food that
you know has been stamped on,
394
00:18:09,840 --> 00:18:11,467
that you know has been on the floor.
395
00:18:11,759 --> 00:18:15,345
It's completely disgusting
and Johnny is fronting it out.
396
00:18:15,429 --> 00:18:18,056
He's just trying to get away with it.
397
00:18:18,223 --> 00:18:19,349
Everything's fine.
398
00:18:20,476 --> 00:18:21,477
And...
399
00:18:24,271 --> 00:18:26,398
And those final words, "Bon Appétit."
400
00:18:27,232 --> 00:18:30,360
I will talk to the manager.
I will talk to the manager.
401
00:18:33,989 --> 00:18:36,158
So, we used to have a scene at this point
402
00:18:36,241 --> 00:18:39,661
where Miranda Hennessey,
the fiancée's hair went on fire.
403
00:18:40,788 --> 00:18:43,665
And it was one of those things.
It was really a funny idea.
404
00:18:43,749 --> 00:18:45,334
And it was funny itself, we shot it,
405
00:18:45,709 --> 00:18:49,880
but it actually
sort of unbalanced the scene, somewhat.
406
00:18:50,005 --> 00:18:51,924
It was a difficult decision
to lose it,
407
00:18:52,424 --> 00:18:54,051
but we went instead for that suspense.
408
00:18:54,134 --> 00:18:56,178
So, you just know
something's gonna kick off
409
00:18:56,261 --> 00:18:58,430
when you see that
kind of final flaming prawn.
410
00:18:58,889 --> 00:19:00,516
We just left that hanging there.
411
00:19:00,766 --> 00:19:04,728
As an absolute sort of
"Uh-oh. Something's up."
412
00:19:05,020 --> 00:19:06,980
...and then just sailed away.
413
00:19:07,272 --> 00:19:09,024
I think it's time we paid...
414
00:19:09,107 --> 00:19:12,110
And there we go with the
first glimpse of the Dot Calm yacht.
415
00:19:13,946 --> 00:19:15,364
And I love that, you know,
416
00:19:15,447 --> 00:19:19,326
we get a sense of something going on
before they do. And then we hold back
417
00:19:19,409 --> 00:19:21,161
the full reveal of the fire.
418
00:19:21,245 --> 00:19:22,412
So, we're just playing it in audio
419
00:19:22,496 --> 00:19:24,164
and then those facial expressions.
420
00:19:24,248 --> 00:19:28,418
'Cause getting that timing between
Johnny and Bough was wonderful.
421
00:19:28,502 --> 00:19:30,504
All credit to Ben and Rowan.
422
00:19:31,213 --> 00:19:33,215
Jake Lacy here, playing Volta.
423
00:19:33,340 --> 00:19:36,385
So, for Volta, our tech guru,
424
00:19:36,510 --> 00:19:40,430
we wanted him to be,
I guess, quite charismatic.
425
00:19:41,056 --> 00:19:42,850
Quite a sort of smooth character.
426
00:19:42,975 --> 00:19:45,894
Not sort of nerdy, social misfit.
427
00:19:46,061 --> 00:19:49,773
So, he's a very
sort of smooth, polished guy.
428
00:19:49,857 --> 00:19:51,358
And that's why
429
00:19:51,650 --> 00:19:53,902
our Prime Minister
feels so much faith in him.
430
00:19:54,111 --> 00:19:56,989
...a second-rate nation and make it
431
00:19:57,072 --> 00:19:58,949
world class.
432
00:20:00,242 --> 00:20:03,120
We meet our Prime Minister's
assistant, Samir,
433
00:20:03,203 --> 00:20:05,414
played by the wonderful Amit Shah.
434
00:20:05,831 --> 00:20:09,543
I worked with Amit on that show
I mentioned a little earlier, Whites,
435
00:20:09,626 --> 00:20:10,878
BBC comedy.
436
00:20:11,086 --> 00:20:12,921
Where he played a sort of inept chef.
437
00:20:13,171 --> 00:20:15,007
Really funny guy, Amit.
438
00:20:15,507 --> 00:20:17,301
I love data.
439
00:20:18,927 --> 00:20:23,473
And I think it's, well, you know,
the movie playing with the notion of data.
440
00:20:23,849 --> 00:20:25,726
You know, we're all just becoming aware of
441
00:20:26,351 --> 00:20:28,437
the idea of tech companies
having our data
442
00:20:28,562 --> 00:20:30,689
and that that may not be
such a great thing.
443
00:20:31,023 --> 00:20:32,691
So, it's sort of
444
00:20:32,816 --> 00:20:36,028
one way that the movie, I hope,
speaks to the present day.
445
00:20:36,403 --> 00:20:39,114
Just get him into Number 10
and let me work on him.
446
00:20:39,239 --> 00:20:41,658
So, Emma is not drinking red wine.
447
00:20:41,783 --> 00:20:43,118
She's not that method.
448
00:20:43,493 --> 00:20:45,871
Red wine in movies is
almost always grape juice.
449
00:20:46,371 --> 00:20:49,625
And we're about to see us
burning a set down.
450
00:20:49,708 --> 00:20:52,628
Which is huge fun to do
after working on that set
451
00:20:52,711 --> 00:20:53,712
for a few days
452
00:20:53,837 --> 00:20:56,381
and perfecting the
physical comedy of trying to get the foam.
453
00:20:56,465 --> 00:20:58,008
We burn it down, so...
454
00:20:58,800 --> 00:20:59,885
Few stunt people
455
00:21:00,010 --> 00:21:03,347
and quite a lot of doing
to get that to work.
456
00:21:06,141 --> 00:21:07,643
And we're back in the south of France.
457
00:21:07,768 --> 00:21:10,979
We only spent just,
I think, a week or two.
458
00:21:11,271 --> 00:21:14,274
Just over a week
in the south of France.
459
00:21:14,483 --> 00:21:16,401
And then quite a few of the locations,
460
00:21:16,485 --> 00:21:19,071
we sort of cheated interiors
and built sets back in the UK.
461
00:21:20,197 --> 00:21:21,323
A phone box,
462
00:21:21,490 --> 00:21:23,659
for anyone too young to know what that is.
463
00:21:24,618 --> 00:21:26,328
Again, it's just playing with this great
464
00:21:26,411 --> 00:21:28,455
analog-digital theme.
465
00:21:30,040 --> 00:21:31,041
Where?
466
00:21:32,542 --> 00:21:34,503
And here we are, the first time
467
00:21:34,670 --> 00:21:37,798
we see the Dot Calm yacht for real,
468
00:21:37,881 --> 00:21:39,549
as opposed to just on the phone.
469
00:21:39,758 --> 00:21:42,511
We're in Villefranche,
in the south of France
470
00:21:42,970 --> 00:21:44,888
where movie fans,
471
00:21:45,514 --> 00:21:47,766
Dirty Rotten Scoundrels,
a lot of that was filmed here.
472
00:21:47,933 --> 00:21:50,394
And this tittie scene with the...
473
00:21:51,228 --> 00:21:52,771
The shoe box inflatable blowing up,
474
00:21:52,854 --> 00:21:55,357
was actually the very last thing
we shot on the main shoot.
475
00:21:56,441 --> 00:22:00,404
And it was huge fun
to see it working.
476
00:22:00,821 --> 00:22:02,906
Not much fun for Ben and Rowan,
477
00:22:02,990 --> 00:22:04,825
getting their faces squashed
against the glass.
478
00:22:04,908 --> 00:22:07,953
But I just love that
swivelly eye thing that Rowan does.
479
00:22:08,036 --> 00:22:09,121
Really lovely detail.
480
00:22:09,997 --> 00:22:13,083
And now we're in a tank
at Pinewood to shoot this.
481
00:22:13,208 --> 00:22:15,085
So, that's a CG yacht.
482
00:22:15,669 --> 00:22:18,964
And there it is floating in,
483
00:22:19,131 --> 00:22:21,299
that's a real section of hull
484
00:22:21,842 --> 00:22:23,010
propped up in a tank
485
00:22:23,510 --> 00:22:25,846
and the background is CGI.
486
00:22:26,138 --> 00:22:28,265
And we're about to
meet the magnetic boots.
487
00:22:28,974 --> 00:22:30,475
Which seem like a great way
488
00:22:30,642 --> 00:22:33,353
of climbing up the side of a yacht's hull.
489
00:22:34,396 --> 00:22:36,898
They're actually
incredibly heavy, these props.
490
00:22:36,982 --> 00:22:40,861
You know, so Rowan and Ben
kinda hated putting them on,
491
00:22:41,945 --> 00:22:43,613
but they really work.
492
00:22:43,780 --> 00:22:44,865
They don't really work.
493
00:22:44,990 --> 00:22:47,576
You couldn't actually scale
the side of a yacht with them,
494
00:22:48,035 --> 00:22:49,119
but I love the joke.
495
00:22:49,369 --> 00:22:50,370
So, here we are.
496
00:22:50,454 --> 00:22:53,290
Inside the kitchen,
they don't know what's about to happen.
497
00:22:53,832 --> 00:22:59,337
Remember, the absolutely vital element
of this mission is surprise.
498
00:23:01,131 --> 00:23:02,549
And off they go.
499
00:23:02,924 --> 00:23:06,344
So, those things initially were being
pulled on wire.
500
00:23:06,470 --> 00:23:09,306
And then there's magnets, real magnets,
501
00:23:09,473 --> 00:23:11,099
on the other side of that wall.
502
00:23:11,391 --> 00:23:14,394
And we laid the wall
almost flat on the floor.
503
00:23:14,478 --> 00:23:16,104
It was a small section of wall.
504
00:23:16,605 --> 00:23:20,275
So that in those cutaway shots,
we could move the metal implements.
505
00:23:21,068 --> 00:23:22,569
So, that's not acting.
506
00:23:22,652 --> 00:23:23,987
That's Rowan and Ben
507
00:23:24,071 --> 00:23:26,740
genuinely feeling the pain
of those heavy old boots
508
00:23:26,865 --> 00:23:29,034
as they swing their legs
over the side of the yacht.
509
00:23:29,659 --> 00:23:32,079
And originally, they were
gonna walk across the yacht
510
00:23:32,162 --> 00:23:34,331
at a crazy angle,
511
00:23:34,790 --> 00:23:36,958
which we found out,
on the day, was impossible.
512
00:23:37,084 --> 00:23:39,336
So, we went for
this little ant-like scurrying.
513
00:23:39,503 --> 00:23:41,046
Which I really enjoy.
514
00:23:42,339 --> 00:23:43,673
And here we meet
515
00:23:44,341 --> 00:23:45,801
Ophelia Bhuletova,
516
00:23:46,009 --> 00:23:47,594
Played by Olga Kurylenko.
517
00:23:48,386 --> 00:23:51,098
You may recognize her
from many things,
518
00:23:51,389 --> 00:23:54,643
but Quantum of Solace,
the Bond movie, that she was in.
519
00:23:54,768 --> 00:23:57,062
It's really hard
to have a conversation like this.
520
00:23:58,480 --> 00:23:59,731
I have a better idea.
521
00:23:59,815 --> 00:24:02,067
And Olga doesn't get
to play comedy very often,
522
00:24:02,150 --> 00:24:03,360
but she's fantastic.
523
00:24:04,236 --> 00:24:06,988
And just a little note from the set.
524
00:24:07,072 --> 00:24:09,366
At that point, on one of the takes,
525
00:24:09,491 --> 00:24:12,786
Rowan and Ben were thrown in
pretty roughly, into the room.
526
00:24:12,869 --> 00:24:14,329
And they landed against that back wall
527
00:24:14,412 --> 00:24:15,747
and the back wall fell off.
528
00:24:16,540 --> 00:24:19,251
So, the set had to be resecured
529
00:24:19,376 --> 00:24:23,130
and the chippys, the carpenters,
came back and stuck it back together.
530
00:24:24,965 --> 00:24:27,134
There will just be a slight pop.
531
00:24:29,553 --> 00:24:30,887
And there's the slight pop.
532
00:24:30,971 --> 00:24:32,514
Yeah. I mean, I love that bang.
533
00:24:32,597 --> 00:24:35,392
Again, it's the sort of thing where
sound makes such a difference to comedy.
534
00:24:35,559 --> 00:24:37,644
Both the timing of it and the level of it.
535
00:24:37,853 --> 00:24:40,355
And especially if
you're gonna do a joke here about
536
00:24:40,522 --> 00:24:42,983
shouting when you should be whispering,
537
00:24:43,150 --> 00:24:44,985
you really want to have...
538
00:24:45,110 --> 00:24:48,363
You gotta get that absolutely right
in terms of creating a sort of
539
00:24:48,613 --> 00:24:50,323
space for it to land.
540
00:24:51,366 --> 00:24:54,828
But unlike earlier with the pen,
541
00:24:54,911 --> 00:24:57,497
exploding pen stun grenade at Ml7,
542
00:24:57,581 --> 00:25:00,208
where it was
a very deadened, stunning noise,
543
00:25:00,375 --> 00:25:02,210
this is a much bigger noise.
544
00:25:02,294 --> 00:25:03,336
Anyway, here we are
545
00:25:03,420 --> 00:25:05,672
in the bowels of the Dot Calm
546
00:25:05,964 --> 00:25:08,550
where Volta's processing power
547
00:25:08,633 --> 00:25:10,635
is pretty evident.
548
00:25:11,219 --> 00:25:12,637
So, again, it's a set build.
549
00:25:13,930 --> 00:25:17,017
And we're about to
meet another of Johnny's gadgets
550
00:25:17,726 --> 00:25:21,897
based on old-fashioned confectionery.
551
00:25:21,980 --> 00:25:23,773
That's Sherbet Fountain.
552
00:25:23,857 --> 00:25:27,944
Again, if you're a certain age,
you may remember Sherbet Fountains.
553
00:25:29,070 --> 00:25:31,740
A sugary powder with a liquorice stick.
554
00:25:32,908 --> 00:25:34,159
Here we go.
555
00:25:34,659 --> 00:25:36,703
He's activating the Sherbet Fountain.
556
00:25:37,245 --> 00:25:38,663
It's gonna help them track
557
00:25:39,372 --> 00:25:40,749
the movements of the yacht.
558
00:25:48,215 --> 00:25:49,424
Aniseed balls.
559
00:25:49,507 --> 00:25:50,508
So, Aniseed balls.
560
00:25:50,592 --> 00:25:52,719
Again, another
old-fashioned confectionery
561
00:25:52,802 --> 00:25:54,638
put into use. And away they go.
562
00:26:04,856 --> 00:26:07,984
If you'd wanted to kill me,
you would have already done so.
563
00:26:08,068 --> 00:26:10,570
So, some lovely eyebrow acting
from Rowan, again.
564
00:26:10,654 --> 00:26:14,866
A great, you know,
little kind of Johnny motif.
565
00:26:15,158 --> 00:26:17,410
And here he goes over.
566
00:26:17,494 --> 00:26:18,995
He Cousteau's over the side.
567
00:26:20,330 --> 00:26:22,415
Like Jacques Cousteau used to do.
568
00:26:22,666 --> 00:26:23,667
I love that.
569
00:26:23,750 --> 00:26:25,835
I just love that reveal of him landing
570
00:26:25,919 --> 00:26:29,297
and then the little click
of his spine as he tries to
571
00:26:29,756 --> 00:26:30,799
sort it out.
572
00:26:32,133 --> 00:26:36,012
And a lovely deadpan
from Olga at that point.
573
00:26:38,098 --> 00:26:40,475
And it's nice to be able
to do a joke about Johnny
574
00:26:41,309 --> 00:26:43,728
feeling the aches and pains
that an older guy feels
575
00:26:43,812 --> 00:26:44,896
doing something like that.
576
00:26:45,647 --> 00:26:47,232
And we're back in Villefranche.
577
00:26:47,315 --> 00:26:49,484
So, yet again,
578
00:26:49,567 --> 00:26:52,362
where they filmed
Dirty Rotten Scoundrels many years ago.
579
00:26:52,570 --> 00:26:54,781
And we built this little cafe'.
580
00:26:54,906 --> 00:26:57,075
So, it's all a set that we put in.
581
00:26:58,326 --> 00:27:00,370
So convincing was the set that
582
00:27:00,453 --> 00:27:03,039
plenty of people turned up
and tried to buy coffee.
583
00:27:05,375 --> 00:27:07,460
But I love what Will Davies, the writer,
584
00:27:07,544 --> 00:27:08,920
has done with this scene.
585
00:27:09,004 --> 00:27:10,755
It's a sort of gentle scene
586
00:27:10,839 --> 00:27:12,007
where you kind of get
587
00:27:12,132 --> 00:27:14,843
a little insight into
Johnny and Bough's relationship.
588
00:27:15,010 --> 00:27:16,344
And, you know,
589
00:27:16,678 --> 00:27:17,846
Bough's got married
590
00:27:18,054 --> 00:27:20,098
and Johnny could not care less.
591
00:27:20,390 --> 00:27:22,183
He's not interested remotely
592
00:27:22,267 --> 00:27:23,476
in hearing about Bough's wife.
593
00:27:23,560 --> 00:27:25,020
It's just a lovely, sort of,
594
00:27:25,854 --> 00:27:28,106
little character joke.
595
00:27:28,189 --> 00:27:31,860
And they just play so well together,
I think, Ben and Rowan.
596
00:27:32,527 --> 00:27:34,195
It's great to watch them.
597
00:27:34,279 --> 00:27:35,447
She's in the Navy, you see.
598
00:27:36,406 --> 00:27:37,574
What, as a cook?
599
00:27:38,450 --> 00:27:40,452
Or some kind of seagoing...
600
00:27:40,535 --> 00:27:43,204
And again, Johnny's prejudices, really,
601
00:27:43,288 --> 00:27:45,290
about what women can do.
602
00:27:45,582 --> 00:27:47,292
Extremely funny, I think,
603
00:27:47,375 --> 00:27:49,419
just to see that he's a man out of time
604
00:27:49,502 --> 00:27:51,004
and he can't quite figure things out.
605
00:27:53,882 --> 00:27:58,136
No. An Aston Martin
is surprisingly economical, Bough.
606
00:27:58,470 --> 00:28:00,388
Yes, another bit of setup.
607
00:28:00,889 --> 00:28:01,890
So...
608
00:28:01,973 --> 00:28:03,641
...it looks like we're in business.
609
00:28:06,978 --> 00:28:09,022
So, yeah, that's Villefranche harbor.
610
00:28:15,320 --> 00:28:18,156
So, we're about to get into a car chase
611
00:28:18,490 --> 00:28:20,116
and pitting the
612
00:28:20,575 --> 00:28:23,286
electric BMW i3 against
613
00:28:23,453 --> 00:28:25,622
the roaring Aston.
614
00:28:25,830 --> 00:28:28,249
So, all the way along,
this was really a sort of
615
00:28:28,458 --> 00:28:30,460
culture clash, as much as anything else.
616
00:28:30,710 --> 00:28:32,087
The idea of the
617
00:28:32,253 --> 00:28:34,589
digital and analog again.
618
00:28:36,549 --> 00:28:38,593
It's a roaring dragon of a car,
619
00:28:38,885 --> 00:28:40,261
and then this sort of
620
00:28:40,428 --> 00:28:41,805
sleek and silent
621
00:28:42,514 --> 00:28:44,766
space-age capsule that's kind of
622
00:28:45,308 --> 00:28:46,684
gliding ahead.
623
00:28:48,311 --> 00:28:51,773
And we get a pretty clear sense that
624
00:28:52,065 --> 00:28:56,152
Ophelia is talking to some
sinister-sounding Russians.
625
00:28:58,154 --> 00:29:00,824
Look at her cornering.
Seems so effortless, doesn't it, sir?
626
00:29:00,907 --> 00:29:02,534
So, we filmed again
in the south of France.
627
00:29:02,617 --> 00:29:05,328
But, actually, in quite a few...
This is near Monaco.
628
00:29:06,037 --> 00:29:08,373
And then, about, you know,
629
00:29:08,873 --> 00:29:12,252
10 seconds later,
we're about 100 kilometers away
630
00:29:12,460 --> 00:29:14,170
in a different part
of the south of France.
631
00:29:15,296 --> 00:29:17,048
Because we wanted to get
632
00:29:17,507 --> 00:29:18,883
a different landscape
633
00:29:19,008 --> 00:29:21,469
to do the scene that
we've got with the cyclists.
634
00:29:21,928 --> 00:29:24,806
And the idea that Ophelia's taken...
635
00:29:25,265 --> 00:29:28,476
Taken a turn away from the
main road and onto a smaller road.
636
00:29:30,478 --> 00:29:31,688
And we meet the cyclists.
637
00:29:31,771 --> 00:29:33,481
Now, I have to confess, I am a cyclist.
638
00:29:33,857 --> 00:29:35,316
So, when I first read this scene,
639
00:29:35,442 --> 00:29:36,443
part of me felt,
640
00:29:36,651 --> 00:29:38,945
"Oh, that's not fair.
You can't do that to the cyclists."
641
00:29:39,028 --> 00:29:41,573
But, Johnny has to make a calculation.
642
00:29:41,698 --> 00:29:43,491
The security of Britain
643
00:29:43,575 --> 00:29:44,826
could be at stake here.
644
00:29:46,828 --> 00:29:49,122
And after all,
this is a non-lethal technique.
645
00:29:49,205 --> 00:29:51,958
So, he's making a judgement call.
646
00:29:53,168 --> 00:29:56,796
I mean, who wouldn't want a sliding bonnet
647
00:29:57,046 --> 00:29:59,007
with missiles in it, from time to time?
648
00:29:59,215 --> 00:30:01,050
So, he's taking aim...
649
00:30:03,386 --> 00:30:05,096
And that's a practical rig
650
00:30:05,221 --> 00:30:06,848
that actually fires a missile,
651
00:30:06,931 --> 00:30:09,225
but not quite as far as that one went.
652
00:30:09,309 --> 00:30:11,019
So, it's a combination
653
00:30:11,102 --> 00:30:14,731
of CG and practical effects
to get all that to work.
654
00:30:15,315 --> 00:30:17,567
And those guys
really did fall off their bikes.
655
00:30:17,984 --> 00:30:20,028
Believe me that,
if you've ever fallen off a bike,
656
00:30:20,737 --> 00:30:22,447
it's not something you would do lightly.
657
00:30:22,530 --> 00:30:24,324
So, we did
as few takes of that as possible.
658
00:30:28,411 --> 00:30:30,455
We're talking a bit about the score.
659
00:30:30,788 --> 00:30:33,625
Howard Goodall, who's worked a lot
with Rowan over the years,
660
00:30:33,875 --> 00:30:35,668
on a lot of Rowan's TV work
661
00:30:35,752 --> 00:30:37,587
and is a really fine composer.
662
00:30:37,670 --> 00:30:40,381
So, Howard did a lovely job,
I think, on the score.
663
00:30:40,548 --> 00:30:44,219
And just here, getting the
music to sort of come to a halt
664
00:30:44,511 --> 00:30:47,722
around the time that
the car does, as well.
665
00:30:51,768 --> 00:30:54,062
And this is Rowan driving himself...
666
00:30:56,189 --> 00:30:58,983
Doing that little kinda
kangaroo hop with the car.
667
00:30:59,067 --> 00:31:01,277
Which again, is
a really difficult thing to do,
668
00:31:01,694 --> 00:31:04,572
to sort of make out that
the car has just run out of petrol.
669
00:31:08,243 --> 00:31:10,036
And I just love the way
670
00:31:10,161 --> 00:31:11,454
Olga arrives there.
671
00:31:11,746 --> 00:31:14,040
And Johnny's trying to play it cool.
672
00:31:15,583 --> 00:31:17,377
And I say trying to
play it cool, because in fact,
673
00:31:17,460 --> 00:31:18,962
it was an incredibly hot day.
674
00:31:19,295 --> 00:31:22,966
And even though
this scene is only two minutes long,
675
00:31:23,466 --> 00:31:26,511
it takes hours to film a dialog scene.
676
00:31:26,678 --> 00:31:30,306
Because you gotta do separate
setups for each of the shots.
677
00:31:31,349 --> 00:31:34,269
So, we were going through this scene for
678
00:31:34,352 --> 00:31:35,770
a good half a day.
679
00:31:36,020 --> 00:31:39,190
And there's no
air conditioning in the car.
680
00:31:39,274 --> 00:31:40,525
'Cause you can't have air conditioning on
681
00:31:40,608 --> 00:31:42,986
when you're trying
to record whispery dialog.
682
00:31:43,403 --> 00:31:45,154
So, it was a case of,
683
00:31:45,321 --> 00:31:46,948
between takes, having to sort of
684
00:31:47,782 --> 00:31:51,202
stretch legs and powder foreheads
685
00:31:51,286 --> 00:31:52,495
just to get through it.
686
00:31:52,662 --> 00:31:55,915
But, it is just beautiful, I think, to see
687
00:31:55,999 --> 00:31:58,126
Rowan and Ben playing
688
00:31:58,209 --> 00:32:02,005
a really quite classic bit
of physical comedy.
689
00:32:02,088 --> 00:32:05,758
And I think Olga's just superb at
690
00:32:05,842 --> 00:32:08,344
earthing all this and making it feel real.
691
00:32:10,013 --> 00:32:11,639
Real-ish, shall we say.
692
00:32:15,310 --> 00:32:16,561
It's a date.
693
00:32:21,024 --> 00:32:22,525
And, yet again...
694
00:32:25,194 --> 00:32:28,406
Johnny taking the credit
for every disaster.
695
00:32:28,948 --> 00:32:32,452
Trying to snatch victory
from the jaws of defeat.
696
00:32:33,077 --> 00:32:34,162
What?
697
00:32:34,329 --> 00:32:36,706
Junior doctors. They've confirmed
they are going on strike...
698
00:32:37,081 --> 00:32:39,250
So, yeah, I mean, really,
699
00:32:39,334 --> 00:32:42,128
what's great about the way
Emma plays the Prime Minister is
700
00:32:42,211 --> 00:32:44,047
that I think you just believe
she's this person
701
00:32:44,130 --> 00:32:45,965
who's trying to deal with all sorts of
702
00:32:46,215 --> 00:32:48,009
crazy chaos kicking off.
703
00:32:48,343 --> 00:32:51,471
And it matters
how she's doing in the opinion polls,
704
00:32:51,596 --> 00:32:53,181
it matters what's going on.
705
00:32:53,598 --> 00:32:56,100
And she's really in trouble.
706
00:32:57,268 --> 00:32:59,270
But I think Emma made that very believable
707
00:32:59,395 --> 00:33:01,147
and just very funny.
708
00:33:01,731 --> 00:33:05,568
But she could've played it in
a much more broadly comic way.
709
00:33:05,652 --> 00:33:08,446
But I think you have to believe in
the authority of the Prime Minister
710
00:33:08,529 --> 00:33:09,906
for the movie to work.
711
00:33:11,282 --> 00:33:12,617
But you know she's pretty desperate
712
00:33:12,700 --> 00:33:15,828
to have someone to help her
in this situation.
713
00:33:16,704 --> 00:33:20,208
So, Volta, she is hoping,
is gonna be that guy.
714
00:33:22,835 --> 00:33:25,380
- Can we do a quick...
- Needs Photoshop.
715
00:33:27,215 --> 00:33:28,966
So, it was nice to have that little
716
00:33:29,050 --> 00:33:30,843
"needs Photoshop" gag, I think.
717
00:33:31,427 --> 00:33:34,597
Again, Xander generally...
718
00:33:34,847 --> 00:33:36,808
It's kind of the personality of Xander,
719
00:33:36,974 --> 00:33:39,852
was where it could say things that were
720
00:33:40,103 --> 00:33:42,313
inconvenient for people to hear.
721
00:33:42,438 --> 00:33:44,399
But it's not actually trying
722
00:33:44,524 --> 00:33:46,109
to assert itself.
723
00:33:46,609 --> 00:33:48,820
It's just kinda working out ways to make
724
00:33:49,112 --> 00:33:51,364
comedy from what Xander says
725
00:33:51,447 --> 00:33:53,783
and the circumstances in which it's said.
726
00:33:57,829 --> 00:34:00,665
- I won't tell if you won't.
- Right you are.
727
00:34:01,749 --> 00:34:05,336
Bypassing security. Security bypassed.
728
00:34:05,545 --> 00:34:07,463
So, there we are, British security.
729
00:34:08,506 --> 00:34:09,674
Beat that.
730
00:34:11,551 --> 00:34:15,388
Denied service attack.
Yeah, primitive but effective.
731
00:34:16,514 --> 00:34:19,892
You know what we could try,
rerouting all service requests
732
00:34:19,976 --> 00:34:22,103
to our server farm in Nevada.
733
00:34:25,523 --> 00:34:27,191
Rerouting, Jason.
734
00:34:27,608 --> 00:34:29,068
Rerouting complete.
735
00:34:34,031 --> 00:34:35,116
Crikey.
736
00:34:36,909 --> 00:34:39,912
So, what was it
you wanted to talk to me about?
737
00:34:40,455 --> 00:34:43,374
So, yep. She's completely fallen for
738
00:34:43,458 --> 00:34:45,877
everything that Volta can do for her.
739
00:34:49,505 --> 00:34:51,007
This is back at,
740
00:34:51,132 --> 00:34:53,301
even though it says
it's in Cagnes-sur-Mer,
741
00:34:53,384 --> 00:34:55,344
we actually shot this at night in London.
742
00:34:55,428 --> 00:34:57,472
And so, it's the exterior of
743
00:34:57,555 --> 00:34:59,223
London's old County Hall,
744
00:34:59,307 --> 00:35:00,933
which is now a hotel.
745
00:35:01,225 --> 00:35:03,060
But we put in that fountain
746
00:35:03,144 --> 00:35:05,354
and some of the flowers around it.
747
00:35:06,230 --> 00:35:08,566
And that really is Ben pushing the car.
748
00:35:09,275 --> 00:35:11,486
We shot this, I think, on the first night
749
00:35:11,569 --> 00:35:13,154
of our main shoot.
750
00:35:15,156 --> 00:35:17,450
And we're in a sophisticated restaurant
751
00:35:17,533 --> 00:35:18,576
within the hotel.
752
00:35:18,701 --> 00:35:22,079
And this, in fact, is a restaurant
in London called Quaglino's.
753
00:35:22,997 --> 00:35:26,250
And there's Olga again.
754
00:35:28,377 --> 00:35:31,130
We committed to
this scene at the script stage,
755
00:35:31,255 --> 00:35:33,549
being quite a sort of long scene.
756
00:35:33,674 --> 00:35:35,718
Where we were just gonna
have a chance for
757
00:35:36,469 --> 00:35:38,137
Johnny to plaY
758
00:35:38,262 --> 00:35:40,348
some quite classic jokes.
759
00:35:42,183 --> 00:35:45,102
So, it's very much riffing on
that kind of Bond glamour
760
00:35:45,186 --> 00:35:47,647
of meeting in a bar in an exquisite place,
761
00:35:48,022 --> 00:35:50,483
and then just kinda
undercutting it with silliness.
762
00:35:53,569 --> 00:35:55,446
But, so often, we tried to play this
763
00:35:55,571 --> 00:35:57,031
as if it were a Bond movie,
764
00:35:57,198 --> 00:36:00,034
in terms of the lighting,
in terms of the locations,
765
00:36:00,409 --> 00:36:02,703
to give it the sort of production polish
that you'd expect
766
00:36:02,787 --> 00:36:04,497
from a Bond-style movie.
767
00:36:04,789 --> 00:36:07,124
And then just to
undercut it with silliness.
768
00:36:07,333 --> 00:36:09,627
Wild horses couldn't keep me away.
769
00:36:09,710 --> 00:36:13,047
So, it's like a Bond movie,
but with an idiot
770
00:36:13,172 --> 00:36:15,007
where James Bond would normally be.
771
00:36:15,132 --> 00:36:18,761
I'm feeling a little homesick tonight.
I'll have a Moscow Mule.
772
00:36:19,095 --> 00:36:21,013
And the barman, David Mumeni, there.
773
00:36:21,514 --> 00:36:23,099
Great, great actor.
774
00:36:23,224 --> 00:36:25,518
I worked with him
on Fresh Meat as well, TV show.
775
00:36:28,646 --> 00:36:30,940
So, Johnny's come up
with this "London Lemming,"
776
00:36:31,065 --> 00:36:33,901
as his riposte to the Moscow Mule.
777
00:36:33,985 --> 00:36:35,736
It's something equally alliterative.
778
00:36:35,820 --> 00:36:38,573
And it was a case of trying to
think of what the most revolting...
779
00:36:38,948 --> 00:36:41,450
What's the most
revolting combination of ingredients?
780
00:36:43,119 --> 00:36:45,496
And the Parmesan
really is the topper, I think.
781
00:36:46,163 --> 00:36:48,207
That just sounds pretty unpleasant.
782
00:36:49,166 --> 00:36:52,879
So, what brings you
to the South of France, Miss...
783
00:36:54,463 --> 00:36:55,673
Bhuletova.
784
00:36:56,173 --> 00:36:57,550
Bhuletova.
785
00:36:57,884 --> 00:36:59,677
I'm just visiting a friend of mine.
786
00:37:03,598 --> 00:37:05,308
So, where did that olive go?
787
00:37:07,268 --> 00:37:10,688
So, again, Ophelia really...
788
00:37:10,813 --> 00:37:13,024
Johnny's trying to
figure out who Ophelia is.
789
00:37:13,316 --> 00:37:18,029
Olga's playing it
pretty subtly, I think.
790
00:37:18,446 --> 00:37:19,447
Basil?
791
00:37:19,614 --> 00:37:21,949
I'm just here on business.
792
00:37:22,199 --> 00:37:25,202
Although, it's rapidly
turning into pleasure.
793
00:37:29,916 --> 00:37:31,042
I love these.
794
00:37:34,420 --> 00:37:35,630
So, here we go.
795
00:37:36,255 --> 00:37:37,465
They're really hot.
796
00:37:38,174 --> 00:37:40,384
And only after
Johnny's put them in his mouth
797
00:37:40,468 --> 00:37:42,094
does he find out they're really hot.
798
00:37:42,178 --> 00:37:43,220
So, again, it's just
799
00:37:43,846 --> 00:37:46,432
Rowan's capacity to make this funny.
800
00:37:47,016 --> 00:37:48,309
It's extraordinary, just
801
00:37:49,393 --> 00:37:53,898
something as simple as
putting a nut in his mouth, that...
802
00:37:53,981 --> 00:37:55,566
Just amazing.
803
00:38:06,494 --> 00:38:07,578
Cheers.
804
00:38:08,037 --> 00:38:11,207
I'm not sure I've ever met a man
quite like you, Basil.
805
00:38:12,375 --> 00:38:14,335
Let me clear up the uncertainty for you.
806
00:38:14,418 --> 00:38:16,295
So, this cocktail gag, I mean,
807
00:38:16,545 --> 00:38:19,048
I can't tell you how many takes we did
808
00:38:19,131 --> 00:38:20,675
to get this exactly right.
809
00:38:20,758 --> 00:38:23,260
To get it to sit in just the right spot,
810
00:38:23,386 --> 00:38:24,512
with just the right timing,
811
00:38:24,637 --> 00:38:25,930
just the right expressions.
812
00:38:26,430 --> 00:38:28,808
I mean,
Rowan is an absolute perfectionist.
813
00:38:28,975 --> 00:38:30,476
He's absolutely meticulous.
814
00:38:30,768 --> 00:38:34,355
And we would be discussing...
815
00:38:34,563 --> 00:38:36,482
Take after take, we'd just be discussing
816
00:38:36,565 --> 00:38:38,275
what little detail we could tweak
817
00:38:38,359 --> 00:38:39,735
to make it better.
818
00:38:40,528 --> 00:38:43,239
Just to really refine it and hone it
819
00:38:43,948 --> 00:38:45,366
until we were happy.
820
00:38:45,574 --> 00:38:47,201
And that carried on through the edits.
821
00:38:47,326 --> 00:38:49,245
Just trying different takes...
822
00:38:49,328 --> 00:38:50,997
I love that reveal of Ben, by the way.
823
00:38:51,080 --> 00:38:53,666
Lovely little comic reveal.
824
00:38:53,833 --> 00:38:55,084
Where did he come from?
825
00:38:55,334 --> 00:38:59,046
Lovely sense of humor.
And obviously entirely innocent.
826
00:39:00,631 --> 00:39:02,633
I just love this scene,
827
00:39:02,758 --> 00:39:04,677
the way Ben plays the son' of...
828
00:39:05,094 --> 00:39:07,888
He knows... He just knows
829
00:39:07,972 --> 00:39:09,974
that Ophelia can't be any good at all.
830
00:39:10,725 --> 00:39:12,226
Gotta be a wrong 'un.
831
00:39:12,435 --> 00:39:14,270
Clearly working as a spy.
832
00:39:14,478 --> 00:39:15,604
And Johnny's not having it.
833
00:39:15,688 --> 00:39:18,065
He's not even entertaining the notion.
834
00:39:18,441 --> 00:39:21,152
Comes up with these harebrained excuses
835
00:39:21,360 --> 00:39:22,820
for why Ophelia
836
00:39:23,154 --> 00:39:24,697
can't be a spy.
837
00:39:25,531 --> 00:39:28,284
I think I know
what a spy looks like, Bough.
838
00:39:41,380 --> 00:39:43,340
So, grave news for Johnny
839
00:39:44,258 --> 00:39:46,969
that Ophelia's been
given orders by Moscow.
840
00:39:47,094 --> 00:39:48,471
She's gonna have to dispatch him.
841
00:39:48,804 --> 00:39:51,849
So, you can see that she's already
842
00:39:52,475 --> 00:39:54,018
not delighted with that order.
843
00:39:54,101 --> 00:39:56,270
But she's gonna have to carry it out.
844
00:39:57,688 --> 00:39:59,398
Johnny's tossing and turning.
845
00:40:00,858 --> 00:40:02,610
We shot this in a hotel
846
00:40:02,693 --> 00:40:04,195
which was in London, in fact.
847
00:40:21,921 --> 00:40:24,548
So, we're about to be
reintroduced to those pills
848
00:40:24,673 --> 00:40:26,967
that we've set up much earlier on.
849
00:40:27,718 --> 00:40:30,930
So, whether or not
you can remember which ones were...
850
00:40:31,680 --> 00:40:33,974
Which ones were gonna keep you awake
851
00:40:34,058 --> 00:40:35,142
and give you energy,
852
00:40:35,226 --> 00:40:36,811
and which ones were not
853
00:40:37,728 --> 00:40:40,606
total knockout sleeping pills.
Johnny can't remember either.
854
00:40:41,774 --> 00:40:42,775
Crucial.
855
00:40:59,208 --> 00:41:01,252
So, one of my favorite moments there.
856
00:41:01,794 --> 00:41:03,963
Johnny knocks Ophelia out
857
00:41:04,213 --> 00:41:06,841
and we find him
on the dance floor and he's buzzing.
858
00:41:09,385 --> 00:41:12,930
This was just one of those things
that was hilarious to watch.
859
00:41:13,013 --> 00:41:15,933
Just to see what Rowan can do, you know.
860
00:41:17,101 --> 00:41:19,228
Literally just dancing
to a piece of music.
861
00:41:19,603 --> 00:41:21,105
Incredibly funny.
862
00:41:21,647 --> 00:41:24,775
And we shot a lot of takes for this.
863
00:41:25,067 --> 00:41:26,902
Tried a lot of different things.
864
00:41:27,111 --> 00:41:29,488
And in the end,
we sort of kept it fairly short,
865
00:41:29,613 --> 00:41:32,700
just so that you feel like
you're just left wanting more.
866
00:41:34,660 --> 00:41:37,997
And we tried a bunch of
different tracks as potential tracks.
867
00:41:38,080 --> 00:41:39,915
This one's called Sandstorm.
868
00:41:52,928 --> 00:41:56,390
So, Ophelia hides behind the curtain.
869
00:42:00,311 --> 00:42:01,896
Track has changed.
870
00:42:09,987 --> 00:42:13,032
Ophelia's trying to get a bead on him.
871
00:42:18,037 --> 00:42:19,455
And he's oblivious.
872
00:42:23,876 --> 00:42:25,711
So, this next section
873
00:42:25,794 --> 00:42:28,047
is more closely choreographed.
874
00:42:28,172 --> 00:42:31,217
I worked with a
choreographer called Litza Bixler.
875
00:42:31,592 --> 00:42:33,385
We'd done some commercials together.
876
00:42:34,511 --> 00:42:37,181
And between us, we sort of worked with
877
00:42:37,431 --> 00:42:40,476
Rowan and Olga, to get this...
878
00:42:41,101 --> 00:42:43,687
This whole routine working,
really, in terms of
879
00:42:44,939 --> 00:42:48,692
which moments Ophelia could be
trying to use the garroting watch.
880
00:42:51,070 --> 00:42:52,947
And there, she's trying to, again,
881
00:42:53,239 --> 00:42:54,865
pretend she's having a great time.
882
00:42:54,949 --> 00:42:56,450
Johnny's having the time of his life.
883
00:42:56,533 --> 00:42:57,618
This is amazing.
884
00:42:57,952 --> 00:42:59,912
Ophelia's come to dance with him,
885
00:43:00,454 --> 00:43:01,455
it's great.
886
00:43:04,208 --> 00:43:05,709
And over she goes.
887
00:43:08,045 --> 00:43:11,548
So, we stunt-doubled Johnny and Ophelia,
888
00:43:11,715 --> 00:43:13,342
just for the moment of the throw.
889
00:43:13,634 --> 00:43:15,135
So, just at that moment there,
890
00:43:15,219 --> 00:43:16,971
there are actually stunt performers.
891
00:43:17,888 --> 00:43:19,765
And I love this,
892
00:43:19,848 --> 00:43:21,684
that they're still in the club.
893
00:43:22,142 --> 00:43:24,520
It was a really funny idea in the script
894
00:43:24,603 --> 00:43:26,397
and something that...
895
00:43:26,772 --> 00:43:29,358
We actually came back
to this location, Quaglino's,
896
00:43:29,441 --> 00:43:30,943
on a separate day,
897
00:43:31,652 --> 00:43:33,237
'cause we ran out of time.
898
00:43:34,113 --> 00:43:35,906
So often, filming is a case of
899
00:43:36,031 --> 00:43:39,368
chasing a schedule
and trying to get it done.
900
00:43:40,577 --> 00:43:43,122
Sometimes, you have to
go back to a location.
901
00:43:43,247 --> 00:43:44,915
This was the one time that happened to us.
902
00:43:49,378 --> 00:43:50,963
Again, choice of music here.
903
00:43:51,046 --> 00:43:53,882
Nick Angel was our music supervisor
904
00:43:54,258 --> 00:43:57,261
and we wanted something
a bit crazy and high-tempo
905
00:43:57,344 --> 00:44:00,347
to sort of work with the energy of Johnny
as they drive back from France.
906
00:44:15,112 --> 00:44:17,948
Do you think we might
slow down a little, sir?
907
00:44:18,282 --> 00:44:20,826
And Rowan's face at that moment
is just so funny.
908
00:44:20,993 --> 00:44:23,329
In case... In the edit,
of trying to hold that back.
909
00:44:23,412 --> 00:44:25,914
So, you don't see his face.
You're with Ben,
910
00:44:25,998 --> 00:44:27,791
and then you hold back that reveal.
911
00:44:29,293 --> 00:44:31,503
With what appears to be
another cyber attack,
912
00:44:31,587 --> 00:44:32,880
pressure is mounting
on the Prime Minister.
913
00:44:32,963 --> 00:44:34,923
- Every train in England?
- Yes, sir.
914
00:44:35,007 --> 00:44:38,093
They're all trying to terminate
at Bristol Temple Meads.
915
00:44:39,720 --> 00:44:41,347
So, back at Ml7,
916
00:44:41,430 --> 00:44:43,182
Johnny's still buzzing.
917
00:44:43,640 --> 00:44:46,935
And this was actually
the very first scene we shot.
918
00:44:47,019 --> 00:44:49,313
We shot this on the
first day of the main shoot.
919
00:44:49,772 --> 00:44:52,066
We'd rehearsed it a little bit,
920
00:44:52,649 --> 00:44:54,985
and we'd gone through
various iterations of the scene.
921
00:44:55,069 --> 00:44:56,195
There was a version where
922
00:44:56,278 --> 00:44:58,530
Johnny struggled to stay awake
923
00:44:58,614 --> 00:44:59,615
for a lot longer.
924
00:44:59,865 --> 00:45:01,158
And he was sort of like,
925
00:45:01,241 --> 00:45:04,161
asleep, awake, asleep,
awake, nodding off, awake.
926
00:45:04,912 --> 00:45:07,373
And then we went for this version,
927
00:45:07,456 --> 00:45:10,209
where he falls asleep
really pretty early in the scene
928
00:45:10,626 --> 00:45:12,419
and they have to carry on
929
00:45:12,711 --> 00:45:14,046
as if he's not asleep.
930
00:45:16,423 --> 00:45:18,258
I'd need hard evidence.
931
00:45:25,391 --> 00:45:26,725
Which...
932
00:45:27,476 --> 00:45:29,978
...is why Agent English is proposing
933
00:45:30,062 --> 00:45:32,606
a penetration of Volta's country estate
in Surrey.
934
00:45:33,315 --> 00:45:36,110
It's just so funny to see both of
935
00:45:36,443 --> 00:45:38,237
Rowan and Ben in a two-shot.
936
00:45:38,445 --> 00:45:40,489
It's just always funny,
I think, when you can see
937
00:45:40,948 --> 00:45:42,449
how they play off each other.
938
00:45:42,533 --> 00:45:44,368
They just have this uncanny chemistry.
939
00:45:45,452 --> 00:45:48,497
Sometimes, it's like
a Laurel and Hardy situation.
940
00:45:48,622 --> 00:45:50,874
This sort of double-act
chemistry they have. It's amazing.
941
00:45:52,668 --> 00:45:54,253
"Virtual reality"?
942
00:45:54,336 --> 00:45:56,755
So, we're back with P at MI7.
943
00:45:57,673 --> 00:46:01,552
That is a plan of Volta's house
in the background.
944
00:46:02,177 --> 00:46:05,431
And the graphics were designed by
a company called Territory.
945
00:46:06,515 --> 00:46:09,226
Who have done some
great work on other movies.
946
00:46:09,977 --> 00:46:12,271
This floor, by the way,
947
00:46:12,354 --> 00:46:15,232
this sort of treadmill
that's gonna move in any direction.
948
00:46:15,482 --> 00:46:18,444
We had numerous conversations
about what this could look like
949
00:46:18,527 --> 00:46:19,611
and how it could work.
950
00:46:19,987 --> 00:46:22,614
'Cause this doesn't actually
exist as a thing in life.
951
00:46:23,407 --> 00:46:25,033
As far as I know.
952
00:46:25,284 --> 00:46:27,119
So, we had to put Ben on wires
953
00:46:27,202 --> 00:46:28,996
and then paint out the wires.
954
00:46:29,079 --> 00:46:31,999
And then get the floor to move in CG.
955
00:46:32,082 --> 00:46:33,959
So, something as simple as that,
956
00:46:34,042 --> 00:46:36,253
where it's a wide shot of Ben
apparently just moving,
957
00:46:36,378 --> 00:46:38,672
walking on a little treadmill,
958
00:46:39,214 --> 00:46:40,507
took quite a lot of doing.
959
00:46:46,263 --> 00:46:48,182
But, I think when I read the script,
960
00:46:48,265 --> 00:46:50,517
this was one of the scenes
that most excited me.
961
00:46:50,601 --> 00:46:52,561
I just thought,
"I've never seen this joke."
962
00:46:52,644 --> 00:46:54,563
'Cause very often, you read jokes,
963
00:46:54,646 --> 00:46:56,773
you think, "Well, I've seen
a version of this before,
964
00:46:56,857 --> 00:46:58,192
"or something a bit like this."
965
00:46:58,484 --> 00:47:01,153
But I've just never seen this joke
where Johnny
966
00:47:01,695 --> 00:47:03,572
puts on the VR goggles
967
00:47:04,156 --> 00:47:06,241
and then... VR headset.
968
00:47:06,450 --> 00:47:07,951
And then, you know,
969
00:47:08,410 --> 00:47:10,954
sets off on this hapless journey.
970
00:47:11,038 --> 00:47:12,956
And it just felt like
an amazing opportunity
971
00:47:13,040 --> 00:47:15,375
to do some physical comedy.
972
00:47:15,459 --> 00:47:18,003
It was really true to Johnny's character.
973
00:47:18,504 --> 00:47:21,423
And completely in tune
with the theme of the film.
974
00:47:21,507 --> 00:47:23,759
So, again, it's about
975
00:47:24,176 --> 00:47:26,220
the digital and the analog.
976
00:47:27,179 --> 00:47:29,306
So, that's the Bank of England.
977
00:47:29,389 --> 00:47:32,392
In fact, it took us ages
to get access to that door.
978
00:47:32,476 --> 00:47:33,977
But Jonah Coombes, our location manager,
979
00:47:34,061 --> 00:47:36,021
finally persuaded
the Bank of England to let us
980
00:47:36,271 --> 00:47:38,357
use that building.
981
00:47:39,024 --> 00:47:41,318
And going into a bookshop.
982
00:47:47,157 --> 00:47:50,077
And Johnny, of course,
thinks he's in Volta's house.
983
00:47:50,160 --> 00:47:52,871
And what he thinks is
a bread board is, in fact, a book.
984
00:47:55,082 --> 00:47:58,502
And this scene was
an amazing jigsaw puzzle.
985
00:47:58,585 --> 00:48:01,922
I storyboarded it very closely with
the storyboard artist, Doug Ingram.
986
00:48:02,339 --> 00:48:04,091
And then it was a case of
987
00:48:04,216 --> 00:48:06,593
adapting it slightly
as I found locations.
988
00:48:06,718 --> 00:48:08,929
And to see what the
989
00:48:09,304 --> 00:48:11,640
point-of-view that Johnny
sees in the mask would be like,
990
00:48:11,723 --> 00:48:15,018
and how that would relate
to the geography of the locations.
991
00:48:17,271 --> 00:48:18,981
And it took a lot of getting right.
992
00:48:19,064 --> 00:48:20,274
It was a scene where,
993
00:48:20,357 --> 00:48:22,276
in the early versions
of this scene in the edit,
994
00:48:22,609 --> 00:48:25,737
nobody was laughing because
we didn't have the point-of-view,
995
00:48:25,821 --> 00:48:27,447
Johnny's point-of-view,
of what he sees in the goggles.
996
00:48:28,198 --> 00:48:29,992
We didn't have this made,
997
00:48:30,075 --> 00:48:31,368
'cause it took quite a lot of making.
998
00:48:31,493 --> 00:48:34,037
So, we just had, literally,
the stills from my storyboards
999
00:48:34,121 --> 00:48:35,581
and no one was laughing.
1000
00:48:35,747 --> 00:48:37,416
So, there were some concerns, I think,
1001
00:48:37,541 --> 00:48:38,625
at the production level,
1002
00:48:38,709 --> 00:48:41,587
of, "Is this scene ever
going to be really funny?"
1003
00:48:42,129 --> 00:48:45,799
And once we started
getting the point-of-view in,
1004
00:48:46,341 --> 00:48:49,511
and testing it
in front of an audience, it just...
1005
00:48:49,595 --> 00:48:51,346
The audience went crazy for it.
1006
00:48:51,471 --> 00:48:53,265
It was just really thrilling
1007
00:48:53,348 --> 00:48:55,767
to see people getting behind it
and understanding what was going on.
1008
00:49:02,190 --> 00:49:04,026
I love just the stillness of this.
1009
00:49:04,109 --> 00:49:06,194
Just seeing a wide shot
1010
00:49:06,278 --> 00:49:08,822
in a banal location, and then,
1011
00:49:10,073 --> 00:49:12,576
holding back the reveal of,
"It's a granny."
1012
00:49:17,331 --> 00:49:19,333
And Johnny thinks he's done great things.
1013
00:49:20,917 --> 00:49:22,336
And here, we're about to meet
1014
00:49:22,419 --> 00:49:24,254
an actor called James Eeles,
1015
00:49:25,631 --> 00:49:28,300
playing the coffee shop worker.
1016
00:49:39,936 --> 00:49:42,731
So, Johnny thinks
he's about to go up a staircase.
1017
00:49:43,190 --> 00:49:44,733
The Steadicam guy, by the way,
1018
00:49:44,816 --> 00:49:46,485
almost collided with that bicycle.
1019
00:49:46,693 --> 00:49:47,694
It was a near miss.
1020
00:49:49,196 --> 00:49:50,947
So, Johnny thinks
he's going up a stairway,
1021
00:49:51,073 --> 00:49:52,074
and in fact,
1022
00:49:52,157 --> 00:49:54,576
he's on a London bus tour.
1023
00:49:54,951 --> 00:49:57,621
And about to meet the tour guide,
1024
00:49:57,704 --> 00:49:59,289
played by Jonny Sweet.
1025
00:50:00,207 --> 00:50:02,167
Wonderful comedy actor, Jonny Sweet.
1026
00:50:05,587 --> 00:50:09,466
I just love the way
he's trying to carry on with his tour.
1027
00:50:09,716 --> 00:50:12,678
Despite this strange man
advancing towards him.
1028
00:50:15,764 --> 00:50:19,309
So, we rehearsed this with a static bus
ahead of the shoot.
1029
00:50:19,393 --> 00:50:22,270
And then had to get it right
with the bus moving.
1030
00:50:27,234 --> 00:50:30,028
And this is one of
my favorite moments in the film really.
1031
00:50:30,112 --> 00:50:33,156
Just this idea of a background joke.
1032
00:50:33,281 --> 00:50:36,284
So, Pegasus thinks one thing is happening
1033
00:50:36,368 --> 00:50:39,287
and that people are
reacting to his serious news.
1034
00:50:39,788 --> 00:50:43,041
And, of course, there's
another story happening behind him
1035
00:50:43,417 --> 00:50:44,543
and he's oblivious.
1036
00:50:44,626 --> 00:50:48,046
So, timing and everything for this,
was really key
1037
00:50:48,672 --> 00:50:49,715
for it to work.
1038
00:50:53,301 --> 00:50:54,761
And Johnny, back where he started.
1039
00:51:01,435 --> 00:51:02,436
Sir?
1040
00:51:03,729 --> 00:51:06,565
- Is everything all right, sir?
- Yes, I've done it, Bough.
1041
00:51:06,815 --> 00:51:09,568
Child's play.
Don't know what all the fuss was about.
1042
00:51:17,701 --> 00:51:19,870
So, Bough's point-of-view
was actually shot,
1043
00:51:20,036 --> 00:51:21,538
I think, a few weeks later,
1044
00:51:21,621 --> 00:51:23,915
just outside the Foreign Office.
1045
00:51:25,584 --> 00:51:26,752
Took quite a lot of choreography
1046
00:51:26,877 --> 00:51:28,754
just to get all of those people on the bus
1047
00:51:28,962 --> 00:51:30,213
in exactly the right spot.
1048
00:51:31,381 --> 00:51:33,467
The pleasure's all mine.
1049
00:51:33,800 --> 00:51:35,260
Hate to rush you...
1050
00:51:35,343 --> 00:51:38,805
And we see inside
the real Volta's mansion.
1051
00:51:39,055 --> 00:51:40,766
It's a location in Oxfordshire.
1052
00:51:44,394 --> 00:51:45,771
So, we just like this idea that
1053
00:51:46,438 --> 00:51:47,856
Volta didn't just have a hologram,
1054
00:51:47,981 --> 00:51:49,483
but he had a hologram that could be
1055
00:51:49,566 --> 00:51:52,444
behaving in a different way
from the way he was behaving.
1056
00:51:53,069 --> 00:51:55,530
So, it's kind of more formal and polite
1057
00:51:56,031 --> 00:51:58,325
and he's just sitting back in his house.
1058
00:51:58,617 --> 00:52:00,827
At one point, he was playing PlayStation
1059
00:52:00,994 --> 00:52:03,747
while communicating with the PM.
1060
00:52:03,955 --> 00:52:07,709
But that was just getting a bit
too complicated. A bit too silly.
1061
00:52:08,376 --> 00:52:11,213
So, yeah, believe it or not,
sometimes things are too silly
1062
00:52:11,421 --> 00:52:12,756
for us to do in the movie.
1063
00:52:13,507 --> 00:52:14,591
Here we have
1064
00:52:14,716 --> 00:52:17,010
Johnny and Bough
advancing towards Volta's house
1065
00:52:17,093 --> 00:52:19,679
and that hedge is
actually at Pinewood Studios.
1066
00:52:20,514 --> 00:52:22,557
But this side is in Oxfordshire.
1067
00:52:22,766 --> 00:52:26,520
So, we're cutting 150 miles or so,
1068
00:52:26,770 --> 00:52:29,272
maybe not that many,
but 50 miles at least,
1069
00:52:29,397 --> 00:52:31,900
to get between
the hedge and the point-of-view.
1070
00:52:33,902 --> 00:52:35,695
And Johnny recognizes the
1071
00:52:35,946 --> 00:52:40,784
interior of Volta's house, of course,
from the VR model that he trained on.
1072
00:52:40,992 --> 00:52:41,993
Sir?
1073
00:52:43,870 --> 00:52:45,831
It was a tricky find, this location,
1074
00:52:45,914 --> 00:52:48,250
'cause most ultra-modern houses
1075
00:52:48,625 --> 00:52:49,709
are quite small.
1076
00:52:49,793 --> 00:52:53,839
And we needed a place
that was big enough to really explore
1077
00:52:54,214 --> 00:52:56,758
and give us this sort of
range of locations that we needed.
1078
00:53:12,065 --> 00:53:13,066
So, at this point,
1079
00:53:13,149 --> 00:53:15,193
Johnny's about to go downstairs
1080
00:53:15,861 --> 00:53:18,613
and we transition from the location
1081
00:53:18,738 --> 00:53:20,198
to a bit of a set build.
1082
00:53:20,323 --> 00:53:22,325
So, this was built back at Pinewood.
1083
00:53:22,701 --> 00:53:23,743
Again, it sort of...
1084
00:53:23,869 --> 00:53:26,246
So much of filming is about joining up
1085
00:53:26,663 --> 00:53:28,373
these disparate bits of
1086
00:53:28,456 --> 00:53:31,126
things that were shot on real locations,
1087
00:53:31,209 --> 00:53:33,587
with sets that you construct specifically.
1088
00:53:35,630 --> 00:53:37,090
So, this is a set build.
1089
00:53:37,883 --> 00:53:41,761
There's so much you don't understand
about this world you've got caught up in.
1090
00:53:42,846 --> 00:53:46,224
Spare me the idiot act.
You're British Secret Service.
1091
00:53:47,475 --> 00:53:49,519
So, Ophelia is on to Johnny.
1092
00:53:49,686 --> 00:53:51,271
She knows exactly what he is.
1093
00:53:51,396 --> 00:53:52,480
Who he is.
1094
00:53:54,733 --> 00:53:56,818
And Johnny's trying to bluff it, as ever.
1095
00:54:00,280 --> 00:54:04,284
I've spent two years undercover.
Simple operation until you showed up.
1096
00:54:04,492 --> 00:54:06,244
And I like to keep things simple.
1097
00:54:07,120 --> 00:54:08,997
"Simple" is my middle name.
1098
00:54:09,331 --> 00:54:11,833
Great line. Thanks, Will Davies.
1099
00:54:13,251 --> 00:54:15,128
It would seem you've got a choice to make.
1100
00:54:17,756 --> 00:54:21,676
- Temporary suspension of hostilities?
- A short-term partnership?
1101
00:54:22,844 --> 00:54:24,012
Agreed.
1102
00:54:25,555 --> 00:54:27,182
So they're now working together.
1103
00:54:31,061 --> 00:54:32,646
I love that little nod.
1104
00:54:32,729 --> 00:54:36,024
This little recognition, shared moment.
1105
00:54:36,107 --> 00:54:37,317
Get me a copy of the target list.
1106
00:54:37,651 --> 00:54:39,986
We'll hit them once more
just to be on the safe side.
1107
00:54:40,445 --> 00:54:42,238
So, we're back in Oxfordshire.
1108
00:54:42,322 --> 00:54:44,741
The house location for Volta's house.
1109
00:54:46,242 --> 00:54:48,912
And yet they're so useful
for making phone calls.
1110
00:54:48,995 --> 00:54:51,122
- Excellent.
- I'm not phoning anyone.
1111
00:54:51,206 --> 00:54:53,458
So, Johnny's about to
try gathering evidence.
1112
00:54:56,586 --> 00:55:00,632
The target list, Jason.
Four iconic central London landmarks.
1113
00:55:00,882 --> 00:55:02,133
Make your selection.
1114
00:55:02,300 --> 00:55:04,302
Volta's got his energy juice.
1115
00:55:06,262 --> 00:55:09,057
This cyber attack
could potentially impact...
1116
00:55:09,224 --> 00:55:10,809
And we're about to hear Boney M.
1117
00:55:10,934 --> 00:55:12,936
The great Boney M track.
1118
00:55:13,103 --> 00:55:16,690
And I liked the idea that
it was all like a little Russian nod.
1119
00:55:16,773 --> 00:55:17,857
But it was just something...
1120
00:55:17,941 --> 00:55:20,527
Trying to find something
silly and inappropriate
1121
00:55:20,610 --> 00:55:24,155
that could kind of puncture
the serious spy atmosphere.
1122
00:55:25,991 --> 00:55:28,201
Face recognition software launched.
1123
00:55:28,618 --> 00:55:31,955
Johnny English is a geography teacher
from Lincolnshire.
1124
00:55:32,414 --> 00:55:36,251
Rather heavily armed for a lesson
on European capitals, Mr. English.
1125
00:55:38,753 --> 00:55:39,963
Any thoughts, sweetheart?
1126
00:55:40,296 --> 00:55:41,589
So, yeah. Jake Lacy...
1127
00:55:41,673 --> 00:55:43,466
I'd seen Jake in Girls,
1128
00:55:43,550 --> 00:55:45,218
the HBO TV series,
1129
00:55:45,385 --> 00:55:48,096
and in some really interesting films.
1130
00:55:48,221 --> 00:55:50,598
He was in one called Miss Sloane
and another one called Their Finest.
1131
00:55:51,433 --> 00:55:54,352
And he's also, I think, in Rampage,
1132
00:55:55,186 --> 00:55:56,521
the Dwayne Johnson movie.
1133
00:55:56,604 --> 00:55:57,981
...just waiting to strike.
1134
00:56:03,278 --> 00:56:05,989
I love this. Just a really simple joke.
1135
00:56:06,114 --> 00:56:09,826
Fact fans, Ben Miller
is actually a really good runner.
1136
00:56:10,201 --> 00:56:13,580
I think the school record
1137
00:56:13,705 --> 00:56:15,915
that he set for, I think, the 800 meters,
1138
00:56:15,999 --> 00:56:18,334
still stands from when he was at school.
1139
00:56:19,002 --> 00:56:21,629
So, that's Ben doing some great running.
1140
00:56:22,088 --> 00:56:23,465
And the dogs...
1141
00:56:23,673 --> 00:56:25,341
We actually shot the dogs running
1142
00:56:25,425 --> 00:56:28,136
as a separate plate and then
comped them together afterwards,
1143
00:56:28,219 --> 00:56:30,847
so that there weren't dogs
genuinely chasing Ben.
1144
00:56:31,139 --> 00:56:32,140
Stop him?
1145
00:56:33,683 --> 00:56:36,603
Johnny takes out a couple of stunt men.
1146
00:56:41,066 --> 00:56:43,234
And we're outside the real Volta's house.
1147
00:56:46,071 --> 00:56:47,072
Go.
1148
00:56:49,949 --> 00:56:53,286
So, yeah, we're about to
get into a chase scene
1149
00:56:53,369 --> 00:56:55,246
involving the learner driver car.
1150
00:56:55,330 --> 00:56:57,624
So, Johnny just manages to
get through the electric gates.
1151
00:56:58,208 --> 00:57:01,336
And then he sees something ahead
1152
00:57:01,419 --> 00:57:03,713
that may be his route out of here.
1153
00:57:04,756 --> 00:57:06,633
Those electric gates are slow,
1154
00:57:06,758 --> 00:57:08,802
so Volta stopped
behind the electric gates.
1155
00:57:08,885 --> 00:57:11,262
Johnny sees a learner driver car,
this is Neil Edmond,
1156
00:57:11,346 --> 00:57:13,098
who I've worked with before.
1157
00:57:13,681 --> 00:57:16,768
And we're about to meet
Pauline McLynn as the learner driver.
1158
00:57:18,311 --> 00:57:19,521
Pauline McLynn,
1159
00:57:19,813 --> 00:57:22,065
best known, I think, for the wonderful
1160
00:57:22,232 --> 00:57:24,067
Channel 4 sitcom, Father Ted.
1161
00:57:24,400 --> 00:57:25,401
Very funny woman.
1162
00:57:26,820 --> 00:57:30,323
So, Johnny takes one look at
those glasses and thinks, "Uh-oh."
1163
00:57:31,241 --> 00:57:34,327
And he then notices dual controls.
1164
00:57:34,994 --> 00:57:36,746
So, just felt like a really funny idea
1165
00:57:36,830 --> 00:57:39,040
that Johnny's powering the car
1166
00:57:39,249 --> 00:57:41,167
and Mrs. Trattner has to steer it.
1167
00:57:42,168 --> 00:57:46,381
So, to make this feel as
dynamic and speedy as possible,
1168
00:57:46,589 --> 00:57:48,967
we actually had a stunt driver
1169
00:57:49,092 --> 00:57:50,802
on the top of the car.
1170
00:57:51,469 --> 00:57:53,888
Not for those shots,
the exterior shots of the car,
1171
00:57:53,972 --> 00:57:55,807
but these shots,
when we're inside the car.
1172
00:57:55,890 --> 00:57:58,059
There's actually a racing driver
1173
00:57:58,184 --> 00:57:59,435
in a special rig
1174
00:57:59,727 --> 00:58:01,271
built on top of the car.
1175
00:58:01,396 --> 00:58:03,106
So, he's doing the actual driving.
1176
00:58:03,523 --> 00:58:07,110
And there's five cameras
pointed at Johnny and Mrs. Trattner
1177
00:58:07,485 --> 00:58:09,487
while they do the dialog and the action.
1178
00:58:10,405 --> 00:58:11,656
And what this allowed us,
1179
00:58:11,739 --> 00:58:14,868
was to drive at
quite considerable speed,
1180
00:58:15,034 --> 00:58:18,246
to make it just feel as
immersive and dangerous as possible.
1181
00:58:18,371 --> 00:58:21,416
It's a technique used on
some movies like Mission: Impossible.
1182
00:58:26,588 --> 00:58:28,840
Three, two, one.
1183
00:58:29,340 --> 00:58:30,341
Go!
1184
00:58:30,508 --> 00:58:31,509
So, this moment,
1185
00:58:31,676 --> 00:58:36,931
there's a driver actually doing
that spin handbrake turn,
1186
00:58:37,265 --> 00:58:39,601
on the top of the car.
The roof of the car. It's amazing.
1187
00:58:46,566 --> 00:58:48,776
And we used to have another scene.
1188
00:58:48,860 --> 00:58:50,570
We had a scene just after this.
1189
00:58:50,695 --> 00:58:52,655
A sort of final beat of the pursuit,
1190
00:58:53,072 --> 00:58:56,826
where Johnny escaped
by driving up a transporter truck.
1191
00:58:57,202 --> 00:58:58,328
And the ramp...
1192
00:58:58,578 --> 00:59:02,373
And he sort of flew off the
end of the ramp like an Evel Knievel move.
1193
00:59:02,624 --> 00:59:04,459
We shot it
1194
00:59:05,001 --> 00:59:08,087
and it just felt that it wasn't
quite good enough for us.
1195
00:59:08,254 --> 00:59:10,798
So, we ended up losing it
and coming out where we did.
1196
00:59:11,090 --> 00:59:14,093
Given the Prime Minister's new friendship
with Volta, the situation has changed.
1197
00:59:14,177 --> 00:59:18,806
But the facts haven't, sir.
That attack is V0lta's responsibility.
1198
00:59:18,890 --> 00:59:23,353
It's always funny when Johnny thinks
he's winning.
1199
00:59:23,436 --> 00:59:27,482
He's got that sort of smug pleasure in...
1200
00:59:27,649 --> 00:59:29,234
You know, he's definitely winning.
1201
00:59:29,359 --> 00:59:32,654
And, of course, he's about to be
brought low and humiliated.
1202
00:59:36,532 --> 00:59:39,953
And it's just amazing to get
Emma and Rowan in the scene together.
1203
00:59:40,787 --> 00:59:44,374
Emma's younger than Rowan,
1204
00:59:44,582 --> 00:59:47,543
but they both broke onto the British
comedy scene around the same time.
1205
00:59:47,752 --> 00:59:48,920
Emma had been...
1206
00:59:49,337 --> 00:59:51,631
She began doing comedy
at Footlights at Cambridge.
1207
00:59:51,714 --> 00:59:55,385
And Rowan started
doing his comedy at Oxford.
1208
00:59:56,552 --> 01:00:00,682
They're just two of the towering figures,
really, in British comedy.
1209
01:00:00,765 --> 01:00:02,433
So, getting them
in a scene together is amazing.
1210
01:00:05,853 --> 01:00:08,022
And I just love this dawning realization
1211
01:00:08,273 --> 01:00:09,315
and the sheer horror.
1212
01:00:12,110 --> 01:00:15,280
Happy birthday to you
1213
01:00:19,033 --> 01:00:20,243
And you know, yet again,
1214
01:00:20,493 --> 01:00:22,704
Johnny's ineptitude at digital tech.
1215
01:00:23,121 --> 01:00:25,540
Can I just ask, what is wrong with you?
1216
01:00:26,833 --> 01:00:29,210
The country
is in a state of complete chaos.
1217
01:00:29,294 --> 01:00:30,461
The press is wetting itself,
1218
01:00:30,545 --> 01:00:32,505
and the only person capable of saving us
1219
01:00:32,588 --> 01:00:34,841
is the man you're accusing
of high treason.
1220
01:00:35,800 --> 01:00:39,095
I was in the room myself
when he gave the order, Prime Minister!
1221
01:00:39,220 --> 01:00:40,430
But there was a...
1222
01:00:40,513 --> 01:00:42,098
Do you know what I was
in the room with, English?
1223
01:00:42,223 --> 01:00:43,850
Your file, which I've read,
in its entirety,
1224
01:00:43,933 --> 01:00:44,976
and I have a few questions.
1225
01:00:45,101 --> 01:00:46,644
Did you or did you not burn
1226
01:00:46,728 --> 01:00:49,188
the Cote de Roe restaurant tn Antwaes
to the ground'?
1227
01:00:50,440 --> 01:00:52,817
And did you or did you not fire
a guided missile
1228
01:00:52,942 --> 01:00:54,569
at a peloton of French cyclists?
1229
01:00:55,236 --> 01:00:57,572
So, you know,
the first couple of accusations,
1230
01:00:57,655 --> 01:01:00,491
Johnny knows he's guilty.
1231
01:01:00,825 --> 01:01:03,619
Whereas this one, he's not quite sure.
1232
01:01:05,330 --> 01:01:08,583
Because, of course,
he had the VR headset on all that time.
1233
01:01:09,625 --> 01:01:12,712
Do you have any idea
how hard it is to be me?
1234
01:01:13,379 --> 01:01:15,715
And yet again,
we're just feeling the strain of
1235
01:01:16,257 --> 01:01:18,718
the Prime Minister,
having to run a country.
1236
01:01:19,385 --> 01:01:21,095
And then deal with Johnny English.
1237
01:01:22,597 --> 01:01:27,268
...in the face of events
and facts and voters
1238
01:01:27,393 --> 01:01:30,521
and that tsunami of tosspots
we call "the national press"?
1239
01:01:30,646 --> 01:01:33,983
Finally I get the chance to do
something good for my country,
1240
01:01:34,067 --> 01:01:35,318
and what happens?
1241
01:01:35,443 --> 01:01:38,029
The universe sends me you.
1242
01:01:39,530 --> 01:01:43,951
So, it's a big emotional moment, I think,
in the movie at this point.
1243
01:01:44,744 --> 01:01:46,120
Johnny has just been...
1244
01:01:46,788 --> 01:01:47,872
Just been fired.
1245
01:01:47,955 --> 01:01:49,082
So, he's brought really low.
1246
01:01:49,165 --> 01:01:52,251
I love Adam James' reaction.
Pegasus' reaction at that point.
1247
01:01:52,919 --> 01:01:57,131
So, Johnny's been fired
and it's quite a sad moment.
1248
01:01:57,256 --> 01:01:59,967
And we go out to the courtyard
of the Foreign Office.
1249
01:02:02,095 --> 01:02:03,346
Worth saying as well
1250
01:02:03,471 --> 01:02:06,349
that my director of photography on this,
Florian Hoffmeister,
1251
01:02:06,432 --> 01:02:08,768
who I've worked with before
on commercials,
1252
01:02:10,061 --> 01:02:11,729
I think he did an amazing job of
1253
01:02:11,979 --> 01:02:17,402
making it look like
a polished Bond-style movie.
1254
01:02:18,528 --> 01:02:22,907
And helping me give it the kind of scale
that we wanted the film to have.
1255
01:02:24,283 --> 01:02:28,621
And we had rain bars set up
in the Foreign Office courtyards.
1256
01:02:30,415 --> 01:02:32,166
So, that's where the rain's coming from.
1257
01:02:32,250 --> 01:02:35,753
The camera's on a crane
and it just starts coming down.
1258
01:02:36,254 --> 01:02:38,256
And in runs Ben.
1259
01:02:39,507 --> 01:02:43,469
The thing about rain scenes is that
you do get very wet, very quickly.
1260
01:02:43,594 --> 01:02:48,474
So, we had to dry Johnny and Bough off,
Rowan and Ben off, between takes.
1261
01:02:49,016 --> 01:02:53,229
And it's one of those difficult things
where they have to get soaked
1262
01:02:53,312 --> 01:02:55,898
and then dried,
and then soaked, and then dried,
1263
01:02:56,149 --> 01:02:57,733
as we do successive takes.
1264
01:02:59,152 --> 01:03:02,405
So, we're in Scotland,
where we're gonna spend the third act.
1265
01:03:02,530 --> 01:03:05,700
And that's a real Scottish loch
and a CG submarine.
1266
01:03:06,367 --> 01:03:08,661
And this is a submarine set at Pinewood.
1267
01:03:08,786 --> 01:03:12,331
And this is the amazing Vicki Pepperdine.
1268
01:03:13,833 --> 01:03:15,084
This says we're sinking.
1269
01:03:16,627 --> 01:03:18,963
Again, just a great moment
for Rowan there.
1270
01:03:19,088 --> 01:03:21,257
Just the timing from banging his head.
1271
01:03:26,679 --> 01:03:30,349
And it's a very British score
at this point from Howard.
1272
01:03:30,433 --> 01:03:32,894
Harking back to
some of those old war movies
1273
01:03:33,019 --> 01:03:34,187
that we can remember.
1274
01:03:34,896 --> 01:03:37,064
And then revealing the castle
1275
01:03:37,273 --> 01:03:40,401
where so much of the action
is going to happen in this third act
1276
01:03:40,526 --> 01:03:41,819
in the G 12 Summit.
1277
01:03:42,612 --> 01:03:45,406
Jeremy has always spoken
very highly of you, Agent English.
1278
01:03:46,073 --> 01:03:49,035
That conning tower is
a little set at Pinewood
1279
01:03:49,118 --> 01:03:55,124
and all the backgrounds are a combination
of plates shot in Scotland, and in CG,
1280
01:03:55,500 --> 01:03:57,585
trying to get the right level of mist.
1281
01:03:57,668 --> 01:04:02,048
And a sort of atmosphere
of that kind of early dusk feel.
1282
01:04:02,215 --> 01:04:03,841
This sort of fading light
1283
01:04:03,966 --> 01:04:06,385
so that Johnny and Bough
can mount the mission.
1284
01:04:06,469 --> 01:04:07,637
...until you're well clear, gentlemen.
1285
01:04:07,720 --> 01:04:12,141
So, all this action in the third act
is set in Scotland.
1286
01:04:12,850 --> 01:04:15,353
And we didn't go to Scotland at all,
1287
01:04:15,436 --> 01:04:20,608
apart from sending a drone team there
to shoot some shots of lochs.
1288
01:04:20,942 --> 01:04:24,779
And then all of this was done
with the tank and then CG.
1289
01:04:24,904 --> 01:04:26,572
But this is actually a real location.
1290
01:04:26,656 --> 01:04:30,409
So, that's CG water, a real wall,
1291
01:04:30,868 --> 01:04:32,495
CG pier, you know.
1292
01:04:32,578 --> 01:04:34,497
It's all manner of trickery.
1293
01:04:34,580 --> 01:04:36,582
Sorry, I'm letting a lot of
daylight into the magic here.
1294
01:04:38,417 --> 01:04:40,044
Johnny climbing over the wall.
1295
01:04:41,212 --> 01:04:45,383
Again, just a lovely bit of
double act chemistry here.
1296
01:04:45,466 --> 01:04:48,886
He's made Bough do all the work,
all the heavy-lifting, quite literally.
1297
01:04:49,011 --> 01:04:52,265
And all he cares about
when Bough lands on his back
1298
01:04:52,431 --> 01:04:53,766
is that the equipment might be damaged.
1299
01:04:53,933 --> 01:04:57,311
Gain access to V0lta's bedroom
and take him out.
1300
01:04:57,728 --> 01:04:58,896
How are you going to get up there,
though, sir?
1301
01:04:58,980 --> 01:05:00,606
So, the model for the castle
1302
01:05:00,773 --> 01:05:04,610
is actually an English castle,
Berkeley Castle, just outside Bristol.
1303
01:05:07,530 --> 01:05:09,615
And here we meet the exosuit.
1304
01:05:11,325 --> 01:05:14,287
So, a lovely bit of old-fashioned tech.
1305
01:05:18,416 --> 01:05:23,087
And it was great fun finding
the right sounds and the right images
1306
01:05:23,212 --> 01:05:27,174
to put on the screen here for this
lovely bit of clunky old tech.
1307
01:05:27,592 --> 01:05:29,760
And I love that
little gesture that Ben does
1308
01:05:29,844 --> 01:05:31,679
as this thing's powering up.
1309
01:05:33,014 --> 01:05:35,266
And this is kind of like
one of those tooling-up moments
1310
01:05:35,516 --> 01:05:37,810
that you get in '80s action movies.
1311
01:05:39,604 --> 01:05:41,522
And then off he goes, Johnny.
1312
01:05:41,731 --> 01:05:43,482
Very heroic score.
1313
01:05:45,359 --> 01:05:48,613
And even Bough is surprised that
this thing actually works.
1314
01:05:51,866 --> 01:05:56,537
So, this involved a real section of tower
laid flat on the ground.
1315
01:05:56,787 --> 01:06:00,374
And then an elaborate crane move
that I choreographed with Florian
1316
01:06:00,625 --> 01:06:03,210
so that it moves around Johnny.
1317
01:06:03,753 --> 01:06:06,005
And this used to be a longer scene here.
1318
01:06:06,130 --> 01:06:10,259
There used to be a scene where
Olga had crept into...
1319
01:06:11,677 --> 01:06:16,515
Ophelia had crept into Volta's room
and was hacking into his laptop.
1320
01:06:16,641 --> 01:06:19,060
And then hid in
the bathroom when he came in.
1321
01:06:19,518 --> 01:06:21,103
But we just cut it back.
1322
01:06:21,187 --> 01:06:24,523
'Cause I think at this point in the movie,
you're just with the action
1323
01:06:24,607 --> 01:06:27,360
and just getting to the point
of her trying to poison him.
1324
01:06:27,443 --> 01:06:31,364
And then him catching on to her,
that she's trying to deceive him.
1325
01:06:33,282 --> 01:06:34,950
Just felt much stronger, really.
1326
01:06:35,034 --> 01:06:37,161
You're working for Russian Intelligence
and you have been from the start.
1327
01:06:37,244 --> 01:06:38,537
Again, so much of the movie is,
1328
01:06:38,663 --> 01:06:40,498
you go through the script process
1329
01:06:40,581 --> 01:06:42,750
and you try and make
the script as strong as it can be,
1330
01:06:42,958 --> 01:06:45,211
and then you learn things
in the shooting of
1331
01:06:45,544 --> 01:06:47,296
lines that you don't need.
1332
01:06:47,546 --> 01:06:49,507
And you learn even more in the edit
1333
01:06:49,590 --> 01:06:51,509
as you discover things
that can be played on a look
1334
01:06:51,717 --> 01:06:52,885
and not with a line.
1335
01:06:53,344 --> 01:06:55,721
And then, as you screen test things
as well,
1336
01:06:55,805 --> 01:06:59,141
you can sort of sense when an audience
is with you
1337
01:06:59,225 --> 01:07:02,311
and maybe when
they're slightly losing attention.
1338
01:07:03,104 --> 01:07:07,733
So, you end up pacing the movie into
taking out anything that's holding it up.
1339
01:07:10,236 --> 01:07:11,904
And 100% deadly.
1340
01:07:14,115 --> 01:07:16,075
So, this was a set build
at Pinewood Studios
1341
01:07:16,200 --> 01:07:18,703
where we were based
for the production of the movie.
1342
01:07:21,664 --> 01:07:24,041
Seriously, this cannot be happening.
1343
01:07:24,875 --> 01:07:27,169
And this was very tricky.
1344
01:07:27,253 --> 01:07:28,796
'Cause it's a combination of
1345
01:07:29,505 --> 01:07:34,677
real fabric attached to
a real window stanchion.
1346
01:07:35,094 --> 01:07:37,304
And then CG...
1347
01:07:37,596 --> 01:07:43,144
That's a sort of CG shot.
So, the stretching rubber.
1348
01:07:44,353 --> 01:07:47,106
You cannot be working
with this English idiot!
1349
01:07:47,189 --> 01:07:50,609
Save the pillow talk
for your prison cell, Volta.
1350
01:07:53,195 --> 01:07:55,573
Rowan was actually on wires for this
1351
01:07:55,781 --> 01:07:58,909
so that we could
hoick him out at great speed
1352
01:07:59,326 --> 01:08:01,036
and come crashing out of the set.
1353
01:08:01,203 --> 01:08:04,039
So, that's Rowan
genuinely being flung out.
1354
01:08:04,331 --> 01:08:06,917
Although, the one
from behind him is a stunt double.
1355
01:08:07,126 --> 01:08:08,794
And that is...
1356
01:08:09,628 --> 01:08:12,256
One of Rowan's flying shots
is a real Rowan shot as well.
1357
01:08:18,220 --> 01:08:21,223
Nice to get a little
quick bit of fighting in.
1358
01:08:21,348 --> 01:08:24,143
Paul Herbert, stunt coordinator,
did a great job on the movie.
1359
01:08:24,810 --> 01:08:27,271
So, this is Berkeley Castle
just outside Bristol.
1360
01:08:27,354 --> 01:08:30,691
And we used CG to create the loch beyond.
1361
01:08:32,735 --> 01:08:35,529
And here we're about to see
Bough popping his head up.
1362
01:08:36,071 --> 01:08:39,200
And then a very soggy Johnny appears.
1363
01:08:40,326 --> 01:08:41,827
And we did a few takes of this
1364
01:08:41,911 --> 01:08:44,330
and between takes,
we had to literally chuck
1365
01:08:44,413 --> 01:08:46,040
a bucket of water over Rowan's head.
1366
01:08:46,707 --> 01:08:49,210
So, again, he's suffering for his art.
1367
01:08:53,380 --> 01:08:54,799
So, this pipe band,
1368
01:08:54,882 --> 01:08:57,593
I think, is possibly Ben's favorite day.
1369
01:08:57,718 --> 01:09:01,972
Ben Miller's favorite day was when he
got the play the massive drum
1370
01:09:02,097 --> 01:09:03,557
at the front of the pipe band.
1371
01:09:07,019 --> 01:09:09,897
And we tried a few versions of this
with Rowan.
1372
01:09:10,439 --> 01:09:12,316
He's playing
My Bonnie Lies Over the Ocean,
1373
01:09:12,399 --> 01:09:14,735
but he was just playing duff notes.
1374
01:09:17,905 --> 01:09:20,574
But this felt funnier,
that he can actually play a tune,
1375
01:09:20,699 --> 01:09:22,159
apart from a couple of dud notes,
1376
01:09:22,243 --> 01:09:23,661
but it happens to be the wrong tune.
1377
01:09:28,666 --> 01:09:30,084
Hey, you!
1378
01:09:30,751 --> 01:09:31,836
Hey!
1379
01:09:40,719 --> 01:09:42,555
That's Ca van Clerkin
1380
01:09:42,763 --> 01:09:45,099
playing the first
of the guards in pursuit there.
1381
01:09:45,766 --> 01:09:48,394
And then we're into
the chamber in Berkeley Castle
1382
01:09:48,519 --> 01:09:50,688
where the G12 meeting is going to happen.
1383
01:10:06,203 --> 01:10:07,538
And down he goes.
1384
01:10:08,622 --> 01:10:11,000
So, that was actually
a stuntman doing that fall.
1385
01:10:11,125 --> 01:10:13,752
Not something anyone
would wanna volunteer for, I think.
1386
01:10:14,378 --> 01:10:16,672
...where the great Scottish clans
1387
01:10:16,797 --> 01:10:20,384
once settled their differences
and forged new alliances.
1388
01:10:20,467 --> 01:10:23,846
So, we spent a couple of days
filming in this chamber,
1389
01:10:23,929 --> 01:10:25,639
doing the dialog scenes.
1390
01:10:27,808 --> 01:10:28,809
Sir?
1391
01:10:30,144 --> 01:10:31,729
Back with Johnny in the armor.
1392
01:10:32,146 --> 01:10:35,232
So, this was a suit of armor
that was actually made of plastic.
1393
01:10:36,066 --> 01:10:39,278
And then we've added sound effects
to make it sound more metallic.
1394
01:10:40,029 --> 01:10:41,322
So, it wasn't. ..
1395
01:10:41,822 --> 01:10:44,033
It wasn't particularly heavy, in truth.
1396
01:10:44,116 --> 01:10:45,200
Bits of it were metal.
1397
01:10:45,326 --> 01:10:46,994
Including the chain mail, by the way,
1398
01:10:47,119 --> 01:10:49,330
which did sort of
cut into Rowan's skin a bit.
1399
01:10:50,122 --> 01:10:52,499
He didn't enjoy that,
understandably enough.
1400
01:10:53,626 --> 01:10:55,920
And getting the helmet to behave itself,
1401
01:10:56,003 --> 01:10:58,213
it was on a sort of electronic release,
1402
01:10:58,631 --> 01:11:01,425
but the... It wasn't always reliable,
1403
01:11:01,508 --> 01:11:04,011
so it did take quite a few takes
to get that timing to work.
1404
01:11:10,893 --> 01:11:13,646
Standing by to launch attack, Jason.
1405
01:11:13,729 --> 01:11:18,317
So, that staircase that you see
in the background of the G12 chamber,
1406
01:11:18,400 --> 01:11:20,319
I'll talk about that again in a minute.
1407
01:11:23,822 --> 01:11:25,783
Must have jammed when you fell over, sir.
1408
01:11:25,950 --> 01:11:27,993
- For goodness sake.
- Wait. Try this.
1409
01:11:29,954 --> 01:11:33,666
So, it's very important, I guess
that we set up the idea that
1410
01:11:33,749 --> 01:11:35,084
this thing is really jammed.
1411
01:11:35,167 --> 01:11:37,252
Nothing's gonna move it
and Johnny's put a lot of oil on it.
1412
01:11:38,045 --> 01:11:39,546
It's really stuck.
1413
01:11:40,965 --> 01:11:41,966
Back in the chamber,
1414
01:11:42,049 --> 01:11:43,592
that staircase that
you're seeing on the left
1415
01:11:44,051 --> 01:11:47,221
is something we built
and it doesn't exist.
1416
01:11:47,346 --> 01:11:49,056
It's a Grade I listed castle.
1417
01:11:49,139 --> 01:11:53,060
I think it's the oldest
continually inhabited building
1418
01:11:53,143 --> 01:11:55,396
in the UK, apart from the Tower of London.
1419
01:11:55,896 --> 01:11:58,649
And well worth a visit
if you're in that part of England.
1420
01:11:58,732 --> 01:11:59,733
But the...
1421
01:12:00,109 --> 01:12:01,443
We needed a staircase,
1422
01:12:01,568 --> 01:12:04,530
'cause you're about to see Johnny arriving
into the scene.
1423
01:12:04,655 --> 01:12:07,366
And, of course, once he arrives,
1424
01:12:07,491 --> 01:12:11,453
he, very swiftly,
makes his exit down the stairs.
1425
01:12:11,620 --> 01:12:13,622
And we searched high and low
1426
01:12:13,789 --> 01:12:16,667
all around the country, really,
for a chamber room
1427
01:12:16,959 --> 01:12:18,919
that would lend itself
to the action we wanted
1428
01:12:19,044 --> 01:12:21,005
where Johnny would fall down the stairs.
1429
01:12:21,338 --> 01:12:24,341
And it's incredibly difficult
to find somewhere
1430
01:12:24,425 --> 01:12:25,926
that had everything we wanted.
1431
01:12:26,010 --> 01:12:28,387
So, we built that. That's a set build.
1432
01:12:28,595 --> 01:12:31,390
So all credit to the art department
for pulling that off.
1433
01:12:31,890 --> 01:12:34,977
The only person ordering an arrest
around here will be me.
1434
01:12:35,769 --> 01:12:38,147
There's no cause for concern,
ladies and gentlemen,
1435
01:12:38,272 --> 01:12:42,943
you are now in the capable hands
of Her Majesty's Secret Service.
1436
01:12:43,277 --> 01:12:47,948
And you, my friend,
are in for an uncomfortable ride.
1437
01:12:50,117 --> 01:12:52,661
So, that's a stunt man doing that fall,
1438
01:12:52,745 --> 01:12:57,166
but that's Rowan, very much,
up to that fall moment.
1439
01:13:00,335 --> 01:13:02,212
And it's very difficult
to stunt-double Rowan,
1440
01:13:02,379 --> 01:13:06,383
because he's so brilliant
at playing full body acting.
1441
01:13:06,467 --> 01:13:08,594
So many actors just act from the neck up.
1442
01:13:08,677 --> 01:13:09,678
And with Rowan,
1443
01:13:09,803 --> 01:13:12,973
he knows how to make
every bit of his movement
1444
01:13:13,348 --> 01:13:16,727
help sell his character
and sell the comedy.
1445
01:13:17,102 --> 01:13:19,104
So, absolute master of that stuff.
1446
01:13:19,480 --> 01:13:23,150
But there are just one or two things like
the falling down a whole lot of stairs
1447
01:13:23,233 --> 01:13:24,651
that we can't ask him to do.
1448
01:13:24,860 --> 01:13:25,944
Shut up.
1449
01:13:26,487 --> 01:13:27,738
Now, hold on.
1450
01:13:29,073 --> 01:13:30,741
Castle now locked down
1451
01:13:31,784 --> 01:13:34,036
and under your control, Jason.
1452
01:13:35,996 --> 01:13:38,415
The agreement this ignoramus just signed
1453
01:13:38,499 --> 01:13:41,168
didn't just give me access
to all the UK's data.
1454
01:13:42,544 --> 01:13:46,715
So, yes, we're paying off this idea
of sinister tech guru
1455
01:13:46,882 --> 01:13:50,135
stealing your data, or data.
1456
01:13:50,469 --> 01:13:55,182
And it does feel like
a very timely idea.
1457
01:13:56,058 --> 01:13:57,434
Timely threat.
1458
01:13:59,937 --> 01:14:01,939
So, this is a set build in Pinewood.
1459
01:14:03,690 --> 01:14:05,901
There's that little breakaway door,
'cause Johnny's obviously
1460
01:14:05,984 --> 01:14:09,947
come down all those stairs
and fallen through and broken that door.
1461
01:14:11,073 --> 01:14:12,616
And don't lose that one!
1462
01:14:12,699 --> 01:14:15,452
And here's an old-fashioned phone
1463
01:14:15,744 --> 01:14:18,664
that Ophelia got to replace
the other one that Johnny took
1464
01:14:19,123 --> 01:14:20,582
and she didn't get it back.
1465
01:14:21,333 --> 01:14:23,210
Got left behind in Mrs. Trattner's car.
1466
01:14:23,293 --> 01:14:26,463
Trains will collide.
Law and order will break down
1467
01:14:26,547 --> 01:14:29,424
and the world as you know it will be over.
1468
01:14:30,134 --> 01:14:32,761
Show, don't tell, right?
1469
01:14:36,265 --> 01:14:38,642
Initiating attack, Jason.
1470
01:14:39,560 --> 01:14:41,645
Taking control of junction box.
1471
01:14:42,271 --> 01:14:47,317
Suspending Internet and electricity supply
across Britain and Europe.
1472
01:14:48,443 --> 01:14:50,279
Stage one of attack complete.
1473
01:14:51,446 --> 01:14:54,741
Ladies and gentlemen.
I can stop the attack
1474
01:14:54,825 --> 01:14:58,328
as long as each of you signs
the same agreement as the Prime Minister,
1475
01:14:58,412 --> 01:15:00,414
giving me complete control.
1476
01:15:01,331 --> 01:15:02,749
Your call.
1477
01:15:03,750 --> 01:15:05,794
- Welcome to British Intelligence.
- Get me Pegasus!
1478
01:15:05,878 --> 01:15:10,465
So, this was actually filmed
back at Pinewood studios.
1479
01:15:10,632 --> 01:15:13,719
So, that's a CG loch with a CG submarine.
1480
01:15:14,011 --> 01:15:18,599
The computer graphics across the movie
were designed by BlueBolt.
1481
01:15:18,724 --> 01:15:23,312
Our VFX supervisor, Angela Barson,
did an amazing job.
1482
01:15:24,104 --> 01:15:26,690
Signal the chopper,
we're almost done here.
1483
01:15:27,107 --> 01:15:28,901
For accounts, press five.
1484
01:15:29,026 --> 01:15:32,404
And I just love the banality
of being stuck in a call-waiting
1485
01:15:32,613 --> 01:15:37,492
when the country's about to be overtaken
by a villain.
1486
01:15:38,535 --> 01:15:43,999
Only two further signatures required
to achieve control of G12 nations' data.
1487
01:15:44,750 --> 01:15:46,418
And so, yeah, we ceded the idea
1488
01:15:46,543 --> 01:15:49,504
that the submarine could be
affected by mobile phone calls
1489
01:15:49,630 --> 01:15:50,631
in close proximity.
1490
01:15:50,714 --> 01:15:52,049
And so it goes...
1491
01:15:55,219 --> 01:15:56,220
Oh, my God.
1492
01:15:56,595 --> 01:16:00,224
Dive the submarine.
Repeat, dive the submarine.
1493
01:16:01,099 --> 01:16:02,100
And back in Ml7,
1494
01:16:02,184 --> 01:16:04,228
where, of course,
their emergency generator
1495
01:16:04,728 --> 01:16:06,021
is keeping their lights on.
1496
01:16:09,399 --> 01:16:10,901
One moment, please, sir.
1497
01:16:12,653 --> 01:16:13,946
This is HMS Vengeance.
1498
01:16:14,029 --> 01:16:17,658
We have a full launch code.
Repeat, launch code is locked.
1499
01:16:17,950 --> 01:16:19,451
Do I have your permission to fire?
1500
01:16:19,910 --> 01:16:22,246
Oh, my God.
Could you hold on one moment, please?
1501
01:16:22,913 --> 01:16:25,791
So, here's a little bit of crossed lines.
1502
01:16:26,833 --> 01:16:31,713
Again, a background joke, the submarine
sinking beneath the waters,
1503
01:16:31,964 --> 01:16:33,507
and Johnny's oblivious.
1504
01:16:33,590 --> 01:16:37,261
- Did you say "attack," sir?
- Yes, an attack. Attack.
1505
01:16:38,720 --> 01:16:41,390
General quarters, we are go for launch.
1506
01:16:41,515 --> 01:16:42,557
I love this set.
1507
01:16:42,724 --> 01:16:45,602
Peter Singh there,
Submarine Officer Kohli.
1508
01:16:46,478 --> 01:16:47,521
Hello?
1509
01:16:58,031 --> 01:17:00,284
Commander, the missile
is being redirected.
1510
01:17:00,367 --> 01:17:03,996
A nice little bit of silliness
that it's coming up as a Sherbet F.
1511
01:17:06,081 --> 01:17:09,042
And we zoom back inside the boat to see...
1512
01:17:10,043 --> 01:17:11,378
Yep, there it is.
1513
01:17:19,303 --> 01:17:21,430
- Oh, no.
- What was that?
1514
01:17:22,347 --> 01:17:24,599
So, lighting effects in Berkeley Castle,
1515
01:17:24,683 --> 01:17:27,019
and then everything else
is computer-generated
1516
01:17:27,144 --> 01:17:30,063
at that point, the yacht
and the explosion.
1517
01:17:32,899 --> 01:17:34,234
Did you
1518
01:17:34,609 --> 01:17:37,195
make a call quite close
to the submarine, sir?
1519
01:17:38,780 --> 01:17:40,198
And it's a lovely moment here
1520
01:17:40,282 --> 01:17:43,910
where Johnny's just trying to
piece things together, and wondering if
1521
01:17:43,994 --> 01:17:46,538
it's a good thing
to take ownership of this or not.
1522
01:17:47,706 --> 01:17:50,375
And, of course, it was his idea all along.
1523
01:17:51,043 --> 01:17:52,127
Not for the first time.
1524
01:17:52,210 --> 01:17:54,713
I am re-evaluating our options, Jason.
1525
01:17:58,008 --> 01:18:00,385
So, Xander is on the back foot,
and so is Volta.
1526
01:18:01,219 --> 01:18:02,346
They're beating retreat.
1527
01:18:02,929 --> 01:18:06,016
Volta is getting away!
He's heading for his helicopter!
1528
01:18:06,099 --> 01:18:07,392
No, Bough.
1529
01:18:08,560 --> 01:18:11,688
So, it's a real jetty
that they're walking on.
1530
01:18:11,772 --> 01:18:15,442
But pretty much everything else you see
is visual effects.
1531
01:18:21,490 --> 01:18:27,788
Again, I just love this, kind of gag
where Johnny's trying to move quickly,
1532
01:18:27,871 --> 01:18:30,123
but wearing this
incredibly heavy suit of armor
1533
01:18:30,207 --> 01:18:32,376
and Bough is impatiently held up
by Johnny,
1534
01:18:32,459 --> 01:18:34,086
but he's trying to do what he can.
1535
01:18:34,169 --> 01:18:35,253
Their relationship,
1536
01:18:35,337 --> 01:18:37,047
they're sort of like
the master and servant.
1537
01:18:37,130 --> 01:18:39,800
It's a very old-fashioned relationship.
1538
01:18:39,883 --> 01:18:41,385
It goes back
1539
01:18:41,593 --> 01:18:43,762
through comedy, really.
It's an old archetype.
1540
01:18:43,887 --> 01:18:45,555
Careful, sir. Sir?
1541
01:18:49,309 --> 01:18:51,353
This was a little bit of set actually,
for that,
1542
01:18:51,436 --> 01:18:53,105
that pick-up shot on Johnny's face.
1543
01:18:53,230 --> 01:18:54,898
We picked that up back at Pinewood.
1544
01:18:55,732 --> 01:18:59,236
And this helicopter,
we had to take the rotor blades off
1545
01:18:59,403 --> 01:19:02,197
to wheel the helicopter in
through the archway
1546
01:19:02,572 --> 01:19:04,074
'cause it wasn't quite big enough.
1547
01:19:04,241 --> 01:19:08,328
This courtyard wasn't quite big enough
to land a helicopter in.
1548
01:19:08,829 --> 01:19:12,207
You need a bit more space
than the rotor blades
1549
01:19:13,083 --> 01:19:14,418
to land a helicopter.
1550
01:19:15,961 --> 01:19:16,962
Just love this.
1551
01:19:17,087 --> 01:19:19,005
It's almost like one of those
First World War tanks
1552
01:19:19,172 --> 01:19:22,300
where you used to see the soldiers
crawling along behind,
1553
01:19:22,384 --> 01:19:23,552
using it for cover.
1554
01:19:23,635 --> 01:19:25,595
Don't worry,
he's only got six bullets in that thing.
1555
01:19:27,139 --> 01:19:30,475
And this is a nice gag
that we added afterwards.
1556
01:19:30,559 --> 01:19:33,603
It wasn't in the original script,
and Rowan came up with that,
1557
01:19:33,728 --> 01:19:37,023
the line about the six bullets
and the thing itself.
1558
01:19:37,941 --> 01:19:39,776
Nice extra joke to have in the edit.
1559
01:19:42,863 --> 01:19:46,867
The world's going down, English.
And I'll be the last man standing.
1560
01:19:47,492 --> 01:19:50,537
Goodbye, English! Goodbye, Internet.
1561
01:19:53,415 --> 01:19:57,043
So, the rotor blades
are only moving through VFX.
1562
01:19:57,669 --> 01:19:59,796
And this was a difficult scene,
1563
01:19:59,921 --> 01:20:02,924
'cause we had all sorts of weather
and light changing during the scene.
1564
01:20:03,008 --> 01:20:06,845
So, it was quite
a balancing act to get it all to work.
1565
01:20:06,928 --> 01:20:11,057
Look at you! You couldn't use that thing
if your life depended on it!
1566
01:20:15,187 --> 01:20:21,735
And again, nothing more analog
than throwing the iPad
1567
01:20:21,818 --> 01:20:23,987
as opposed to
hacking into the website, so...
1568
01:20:24,070 --> 01:20:27,824
Rerouting complete. Attack data
now installed at our Nevada servers.
1569
01:20:28,283 --> 01:20:31,703
And I hope, by now,
you, as an audience member,
1570
01:20:31,828 --> 01:20:34,456
are feeling
what Johnny is feeling about Xander,
1571
01:20:34,539 --> 01:20:37,375
this sort of
smarty-pants bit of technology.
1572
01:20:37,792 --> 01:20:41,087
So, we were sort of really hoping that
everybody feels
1573
01:20:41,213 --> 01:20:46,134
the same sort of delight that Johnny feels
to kill the dragon at that point.
1574
01:20:55,602 --> 01:20:57,062
So, we're back with the press.
1575
01:20:57,187 --> 01:21:01,024
I think we can all agree, that wasn't
quite the evening we were expecting.
1576
01:21:01,107 --> 01:21:04,027
And again, as a prime minister would,
1577
01:21:04,152 --> 01:21:08,865
trying to make the best
out of a pretty unhappy situation,
1578
01:21:09,908 --> 01:21:12,953
and trying to take as much credit for it
as she possibly can.
1579
01:21:15,080 --> 01:21:18,625
...the man who, I might add,
I personally assigned to this case,
1580
01:21:18,959 --> 01:21:20,377
Lovely Rowan reaction.
1581
01:21:24,589 --> 01:21:28,718
And it's that sort of Elgar-type
horn section going on.
1582
01:21:29,177 --> 01:21:30,971
Pomp and Circumstance kind of feel to it
1583
01:21:31,054 --> 01:21:34,057
that Howard Goodall has given us
in the score.
1584
01:21:34,140 --> 01:21:36,184
...and above all, a quiet
1585
01:21:36,268 --> 01:21:38,979
unassailable dignity.
1586
01:21:42,732 --> 01:21:47,112
And just trying to get that reveal
and the timing of the reactions
1587
01:21:47,487 --> 01:21:49,072
to make it as funny as possible,
1588
01:21:49,155 --> 01:21:54,619
and then to cap it with
the little helmet joke from Olga there.
1589
01:21:55,537 --> 01:21:57,831
And an extra bit of bottom at the end.
1590
01:21:58,832 --> 01:22:02,836
So, this used to be where the film ended
and it did feel a bit abrupt.
1591
01:22:03,128 --> 01:22:04,963
And we'd always kind of wanted to
1592
01:22:05,046 --> 01:22:06,923
get something
back at the school with the kids.
1593
01:22:08,091 --> 01:22:11,511
So, we went back and shot
for a couple of days back at the school.
1594
01:22:12,095 --> 01:22:15,140
So, what you're seeing now,
this is what we picked up.
1595
01:22:16,141 --> 01:22:17,976
So, Johnny's come back,
but not as a teacher.
1596
01:22:18,059 --> 01:22:19,978
He's a sort of returning hero.
1597
01:22:20,645 --> 01:22:21,813
Thank you, Headmaster.
1598
01:22:21,896 --> 01:22:23,607
Thank you for agreeing
to be our guest speaker.
1599
01:22:25,400 --> 01:22:27,527
Of course, what he wants to do
is catch up with the kids
1600
01:22:27,611 --> 01:22:28,862
who are in his class.
1601
01:22:38,830 --> 01:22:40,081
And here we go.
1602
01:22:40,373 --> 01:22:43,668
So, trying to find places
to hide the kids in the classroom,
1603
01:22:43,793 --> 01:22:46,588
that they could reveal themselves
and make it an escalation...
1604
01:22:46,671 --> 01:22:48,423
I love that volcano-hat thing.
1605
01:22:49,466 --> 01:22:51,593
And then this spinning blackboard joke.
1606
01:22:52,677 --> 01:22:54,471
- Here, sir.
- Good.
1607
01:22:55,597 --> 01:22:58,683
And this is, of course,
a little callback to the opening scene.
1608
01:22:59,392 --> 01:23:02,437
So, that took some doing
to disguise him there.
1609
01:23:04,397 --> 01:23:05,440
There we go.
1610
01:23:06,524 --> 01:23:08,818
There we are. There we are.
1611
01:23:09,277 --> 01:23:10,987
- Breadstick blowpipe, anyone?
- Me!
1612
01:23:11,071 --> 01:23:13,073
So, of course, Johnny thinks it's great
to have all these gadgets.
1613
01:23:13,156 --> 01:23:15,950
And then very quickly realizes
that giving them to children,
1614
01:23:16,076 --> 01:23:19,663
these lethal things,
is maybe not the best idea.
1615
01:23:19,871 --> 01:23:21,581
Here, let me take that.
1616
01:23:22,290 --> 01:23:26,961
But this scene is really just building up
to the jelly babies.
1617
01:23:27,170 --> 01:23:30,715
And we just have to hope that
people remember that setup.
1618
01:23:30,965 --> 01:23:32,217
We did have conversations about,
1619
01:23:32,342 --> 01:23:34,469
"Do you think everybody'll
remember that the jelly babies
1620
01:23:34,552 --> 01:23:36,262
"were made of gelignite?"
1621
01:23:36,805 --> 01:23:40,016
'Cause if they don't,
then people will be thinking,
1622
01:23:40,100 --> 01:23:44,813
"Why on Earth is this any big deal
if the jelly beans have gone amiss?"
1623
01:23:45,355 --> 01:23:47,190
I always did love a jelly baby.
1624
01:23:51,194 --> 01:23:52,362
Great face.
1625
01:23:52,904 --> 01:23:54,489
And over to Olly Murs.
1626
01:23:54,948 --> 01:23:56,408
Well, thank you for listening.
1627
01:23:56,574 --> 01:23:58,451
I hope you've enjoyed it,
1628
01:23:59,160 --> 01:24:02,122
and why don't you watch the movie again,
now with all that extra knowledge?
1629
01:24:02,372 --> 01:24:03,373
Thanks a lot.