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Hi, this is Burr steers, and welcome to the
director's commentary for CharIie St. CIoud.
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This is our opening scene, this sailing race,
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00:01:02,103 --> 00:01:06,815
and the main inspiration for
the sailing race, or what l used as a model,
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00:01:08,318 --> 00:01:14,156
was Carroll Ballard's movie Wind,
which is the ultimate sailing movie.
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00:01:15,492 --> 00:01:19,828
The problem we encountered
with our sailing scene
6
00:01:19,954 --> 00:01:25,667
was that we had no wind,
which is problematic for a sailing race.
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So, we had to manufacture all the dynamics
of a competitive sailing race
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through editing,
and tricks like towing the boats
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and other stuff and justjumping around
10
00:01:41,851 --> 00:01:45,562
and keeping the audience
as disoriented as possible.
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00:01:48,066 --> 00:01:53,070
It was about a week sitting out here
on this incredibly flat water,
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00:01:54,531 --> 00:01:55,906
hoping for a breeze.
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00:01:56,032 --> 00:01:57,324
He's doing it again!
14
00:01:59,160 --> 00:02:00,285
Come on, Sam!
15
00:02:00,912 --> 00:02:03,205
Everybody learned how to sail.
16
00:02:03,331 --> 00:02:08,252
The actors were all paired,
except for Zac and Charlie Tahan.
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00:02:10,213 --> 00:02:14,133
Tess, Amanda Crew, here,
is paired with a real sailor.
18
00:02:14,217 --> 00:02:17,803
The girl in the boat with her
is a competitive sailor.
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00:02:17,887 --> 00:02:21,473
And Amanda learned how to sail for this,
as well, as did all the other actors.
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00:02:21,558 --> 00:02:25,936
Got out there, and were fairly accomplished
by the time we shot this.
21
00:02:26,187 --> 00:02:27,688
Come on, Sam!
22
00:02:30,608 --> 00:02:33,277
Red is a key color in the movie.
23
00:02:33,403 --> 00:02:36,905
lt's the Red Sox, it's the color for the boy
when he comes back,
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00:02:37,031 --> 00:02:40,409
or, actually, just our dead color.
25
00:02:41,911 --> 00:02:46,123
And the boat that we establish here
that they're sailing is the SpIendid SpIinter,
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00:02:46,249 --> 00:02:49,084
which was a nickname for Ted Williams.
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00:02:51,087 --> 00:02:54,256
And the younger brother in the movie
is a Red sox fanatic,
28
00:02:54,382 --> 00:02:57,301
so we thought that would be fitting.
29
00:02:57,427 --> 00:03:00,262
And there we have Charlie, or Zac,
doing his back flip,
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00:03:00,346 --> 00:03:05,017
which he improvised on the day
of the sailing race and got in one take.
31
00:03:05,101 --> 00:03:10,898
That's real spit that he's putting in Charlie's
hair, which Charlie didn't appreciate.
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00:03:11,191 --> 00:03:12,774
Sexy pose.
33
00:03:15,778 --> 00:03:16,945
CongratuIations, boys.
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00:03:17,030 --> 00:03:18,780
-Thank you.
-Thanks.
35
00:03:19,032 --> 00:03:23,619
One of the weird things for me here was
the movie was initially set on the East Coast,
36
00:03:23,745 --> 00:03:28,457
and you have these tony yacht clubs there,
old money yacht clubs.
37
00:03:28,541 --> 00:03:33,128
but on the West Coast, in Washington state,
where this is based, or in Vancouver,
38
00:03:33,213 --> 00:03:35,214
you don't really have that.
39
00:03:35,298 --> 00:03:41,970
So, l was trying to create that feeling,
that this was a town
40
00:03:43,306 --> 00:03:45,307
with train tracks through the middle of it.
41
00:03:45,433 --> 00:03:49,811
There's a good side and a bad side,
and Charlie was from the working-class side,
42
00:03:49,938 --> 00:03:54,983
and these kids were the entitled,
privileged, private school kids,
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00:03:57,779 --> 00:04:01,365
which explains the pink Izod Lacoste shirt.
44
00:04:06,454 --> 00:04:08,997
Cannons going off, sunset cannons,
45
00:04:09,082 --> 00:04:13,669
which signal it's time to get back in
if you're out there sailing.
46
00:04:15,922 --> 00:04:19,508
And the boys watching
all the boats taking off
47
00:04:19,592 --> 00:04:21,927
and going off on adventures
across the world.
48
00:04:22,011 --> 00:04:23,679
Don't worry, that's going to be us one day.
49
00:04:25,848 --> 00:04:30,102
That shot from behind, of the two boys,
that's not actually Charlie Tahan.
50
00:04:30,186 --> 00:04:33,855
He got a horrible stomach flu,
and so that's his stand-in
51
00:04:33,982 --> 00:04:36,525
getting his head mauled by Zac.
52
00:04:36,609 --> 00:04:38,026
I'm just saying,
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00:04:38,152 --> 00:04:41,697
I couId work for a year, fiII the coffers,
and then go to Stanford.
54
00:04:41,823 --> 00:04:43,865
You said yourseIf it was too expensive,
even with the aid, Mom.
55
00:04:43,950 --> 00:04:46,618
I didn't say it was too expensive.
I said it was expensive.
56
00:04:46,703 --> 00:04:48,954
Mom, I don't want you having to work
doubIe shifts at the hospitaI.
57
00:04:49,038 --> 00:04:56,044
Here, in this scene with Kim, unfortunately
we had a malfunction with the film,
58
00:04:56,212 --> 00:05:01,133
and we had to re-shoot
all of Kim's coverage in this scene,
59
00:05:02,385 --> 00:05:05,012
which we did the very next day.
60
00:05:07,307 --> 00:05:12,227
She was incredibly great about
matching what she'd done the day before.
61
00:05:17,567 --> 00:05:21,903
One of the things l took out of this was,
here l had...
62
00:05:21,988 --> 00:05:26,908
lnitially, l was establishing that Charlie had
a bad habit of turning his wheels left
63
00:05:27,744 --> 00:05:32,414
before he would make a left-handed turn.
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00:05:32,540 --> 00:05:37,919
And l realized that Kim had been
in the movie Widow for a Year,
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00:05:38,421 --> 00:05:41,673
or Door Under the FIoor,
the John Irving book
66
00:05:41,758 --> 00:05:46,011
in which it's actually
how the kids die as well.
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00:05:46,095 --> 00:05:48,930
They turn their wheel left
before they're supposed to,
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00:05:49,057 --> 00:05:51,099
and they get rear-ended.
69
00:05:51,225 --> 00:05:56,271
so, I had to edit it a bit.
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00:05:56,481 --> 00:05:57,814
Sammy!
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00:06:00,735 --> 00:06:02,986
-Put me down, SuIIivan!
-Sammy's on a rampage.
72
00:06:03,071 --> 00:06:06,114
-Don't make me hurt you, Green!
-Come on, what do you got?
73
00:06:08,409 --> 00:06:10,994
You see Amanda in the background.
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00:06:13,206 --> 00:06:16,416
David Franco with Zac.
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00:06:17,835 --> 00:06:21,922
l didn't realize before
that they had the exact same coloring,
76
00:06:22,465 --> 00:06:26,802
so I tried in color timing
to darken Mr. Franco a bit.
77
00:06:27,929 --> 00:06:31,598
but the idea was, Franco is going off to war.
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00:06:31,682 --> 00:06:34,017
He's going off to serve in the military,
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00:06:34,102 --> 00:06:39,648
which is what Charlie St. Cloud would
have had to do were he not a good sailor
80
00:06:40,274 --> 00:06:42,275
and had gotten a scholarship.
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00:06:42,360 --> 00:06:45,862
He would have ended up
in the same position that Franco was in,
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00:06:45,947 --> 00:06:49,574
going off to make his living in the military.
83
00:06:56,666 --> 00:06:58,041
You're Iate.
84
00:06:58,751 --> 00:07:00,961
Yeah, I couIdn't find my gIove.
85
00:07:01,045 --> 00:07:03,964
You're Iate, Sam.
Do you want to make Majors next season?
86
00:07:04,048 --> 00:07:06,299
-Yeah, I'm gonna try.
-Yeah? You're gonna try?
87
00:07:06,384 --> 00:07:07,551
Yes, definiteIy, yes!
88
00:07:07,635 --> 00:07:09,261
'Cause I don't want to waste my time
here with you.
89
00:07:09,345 --> 00:07:11,012
-Yes! Yes! Yeah!
-Yeah?
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00:07:11,097 --> 00:07:13,723
Okay. Then I'II make a deaI with you.
91
00:07:14,559 --> 00:07:17,352
I'II practice with you for one hour every day,
92
00:07:17,437 --> 00:07:19,855
right after I get off work,
up untiI I Ieave for Stanford.
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00:07:22,733 --> 00:07:26,069
I'II meet you at sunset cannons every day.
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00:07:26,529 --> 00:07:32,993
This is a tough scene just because
you're setting up the deal for the movie.
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00:07:34,495 --> 00:07:36,079
And these kinds of scenes,
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00:07:36,164 --> 00:07:39,499
you can really hear the typewriter
clicking away in the background.
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00:07:39,584 --> 00:07:44,546
So, to get the actors to make it
as conversational as possible
98
00:07:44,630 --> 00:07:47,674
is always a difficult thing to do,
99
00:07:49,177 --> 00:07:51,052
and still emphasize the information,
100
00:07:51,137 --> 00:07:55,432
so that everybody knows
exactly what the deal is.
101
00:07:58,603 --> 00:08:00,812
Put your hand out, paIms up.
102
00:08:00,897 --> 00:08:02,814
You see these wide seams?
103
00:08:04,108 --> 00:08:05,901
That's the correct way to hoId a basebaII.
104
00:08:05,985 --> 00:08:08,653
I didn't know I was gonna get to go
to basebaII camp this summer.
105
00:08:08,738 --> 00:08:11,156
That's because rich kids
go to camp, Sammy.
106
00:08:11,282 --> 00:08:13,408
Do you have a trust fund
you're not teIIing me about?
107
00:08:14,076 --> 00:08:18,622
Here again, I was trying to hit the idea
of the class system in the town,
108
00:08:19,832 --> 00:08:22,334
and that Charlie's ability has given him
109
00:08:22,418 --> 00:08:27,047
the opportunity to get a scholarship
and break out of it.
110
00:08:28,049 --> 00:08:29,341
You are on Sam duty.
111
00:08:29,425 --> 00:08:32,385
-Mom, I have pIans.
-Make sure he gets in bed at a decent hour.
112
00:08:32,470 --> 00:08:34,387
-Mom...
-I'II bring you donuts for breakfast.
113
00:08:35,181 --> 00:08:39,893
This is one of the four towns we were using
in the Vancouver area.
114
00:08:39,977 --> 00:08:43,855
The movie was initially set
in Massachusetts, in Marblehead,
115
00:08:43,940 --> 00:08:46,191
but we ended up shooting in Vancouver,
116
00:08:46,275 --> 00:08:51,196
and l reset it for the San Juan lslands
in Washington state,
117
00:08:51,280 --> 00:08:53,698
because Vancouver looks very similar.
118
00:08:53,783 --> 00:08:55,659
But we couldn't find one town that worked,
119
00:08:55,743 --> 00:09:00,455
so we put together four towns
and ended up with something really unique.
120
00:09:19,475 --> 00:09:22,185
-Stop!
-Jeez! What the...
121
00:09:26,732 --> 00:09:30,068
-What are you doing?
-What are you doing? You're on Sam duty!
122
00:09:30,152 --> 00:09:31,778
No one babysat me when I was 1 1 , Sam.
123
00:09:31,862 --> 00:09:33,238
Look, it's the 7th-inning stretch.
124
00:09:33,322 --> 00:09:35,407
Can you pIease just get me to Tommy's
by the bottom of the 8th?
125
00:09:35,491 --> 00:09:37,534
No. It's not exactIy on the way, Sam.
126
00:09:40,538 --> 00:09:42,080
Sweet ride.
127
00:09:47,878 --> 00:09:52,257
This is a tough scene.
There's a lot of misdirection in this scene,
128
00:09:54,135 --> 00:09:58,388
'cause people who have read the book,
they know what's coming.
129
00:09:59,181 --> 00:10:02,183
You just don't want them to
know when it's coming.
130
00:10:02,268 --> 00:10:04,102
One of the things also
I was trying to cultivate here
131
00:10:04,186 --> 00:10:09,107
was the relationship between the brothers,
that prickly sibling relationship.
132
00:10:09,191 --> 00:10:12,152
And that flash of the lights,
which not everybody catches,
133
00:10:12,236 --> 00:10:16,114
is the universal sign for "cops up ahead".
134
00:10:16,574 --> 00:10:18,742
Sammy! Cheer up.
135
00:10:20,119 --> 00:10:23,038
Come on, Sammy. Sammy, baby.
136
00:10:23,122 --> 00:10:26,916
And here we have
Zac's very bad Christopher Walken imitation,
137
00:10:27,001 --> 00:10:29,252
which he would use
to crack Charlie Tahan up
138
00:10:29,337 --> 00:10:33,715
when Charlie was feeling glum.
so, he did it in this scene.
139
00:10:33,799 --> 00:10:35,425
I'm gonna see you aII the time.
140
00:10:37,094 --> 00:10:39,929
-That's what Dad said.
-Yeah, but I'm not Dad.
141
00:10:40,681 --> 00:10:44,017
I'm not gonna ditch you, Sam.
I'm not gonna ditch you.
142
00:10:47,438 --> 00:10:48,813
Cheer up, man.
143
00:10:49,565 --> 00:10:52,525
Not an option.
You got one second to cheer up.
144
00:10:52,610 --> 00:10:59,574
Here, Zac was really using his relationship
with his younger brother in this scene,
145
00:10:59,825 --> 00:11:04,954
who, I guess, he pummels, or did pummel
on a regular basis before he outgrew him.
146
00:11:06,749 --> 00:11:12,879
but they really would go at it.
I'm talking about the actors.
147
00:11:12,963 --> 00:11:17,592
We were driving around all night long
shooting this scene,
148
00:11:17,677 --> 00:11:19,886
getting the coverage for it.
149
00:11:19,970 --> 00:11:23,640
by the end,
both of them were black and blue.
150
00:11:29,855 --> 00:11:30,980
Come on.
151
00:11:31,065 --> 00:11:34,192
Now here we have the tires turning.
152
00:11:35,361 --> 00:11:37,946
So, when's it going to happen? Pop!
153
00:11:38,698 --> 00:11:42,242
And then there's a moment of right-before.
154
00:11:45,538 --> 00:11:49,040
And then everything is smashed to bits.
155
00:11:49,875 --> 00:11:55,004
Here, the idea was to make you think
you're looking at a starry sky,
156
00:11:56,048 --> 00:12:00,510
then you come up and realize
you're looking at the shattered glass.
157
00:12:03,222 --> 00:12:04,723
Mom's gonna kiII us!
158
00:12:05,141 --> 00:12:06,975
Don't worry, I'II take the bIame.
159
00:12:07,059 --> 00:12:10,103
And here the brothers are in the in-between.
160
00:12:10,187 --> 00:12:11,938
I was trying to make it ambiguous,
161
00:12:12,022 --> 00:12:18,528
where you would think
that they were close to the accident.
162
00:12:19,989 --> 00:12:23,074
And also my thinking was that if you were,
163
00:12:24,368 --> 00:12:28,788
if they were ghosts,
if their spirits had just left their bodies,
164
00:12:28,873 --> 00:12:32,709
they'd be disoriented and near the site.
165
00:12:34,837 --> 00:12:40,258
And then Ray Liotta brings Zac back.
166
00:12:44,096 --> 00:12:45,388
My word.
167
00:12:48,100 --> 00:12:50,602
We establish the St. Jude medal.
168
00:12:51,270 --> 00:12:52,937
-WeIcome back.
-Where was I?
169
00:12:53,022 --> 00:12:54,272
-It's okay.
-Where was I?
170
00:12:54,356 --> 00:12:56,191
-You've just got to reIax.
-Where's Sam?
171
00:12:56,275 --> 00:12:58,318
-Everything's okay, but you gotta stay stiII.
-Where's Sam?
172
00:12:58,402 --> 00:13:00,737
You got to stay stiII. Okay?
173
00:13:01,614 --> 00:13:03,281
-Everything's okay.
-Sam?
174
00:13:03,365 --> 00:13:04,616
Hey, Sam?
175
00:13:05,951 --> 00:13:08,620
-Sam! Sam?
-You've got to rest.
176
00:13:09,622 --> 00:13:11,456
Come on, come on.
177
00:13:11,540 --> 00:13:14,209
Sam! Sam!
178
00:13:14,585 --> 00:13:18,296
This is a tough scene, approaching this,
179
00:13:18,380 --> 00:13:22,425
'cause showing a dead child
180
00:13:24,470 --> 00:13:30,642
is an incredibly difficult thing to watch,
181
00:13:30,726 --> 00:13:33,853
a difficult thing to overcome
throughout the course of a movie.
182
00:13:33,938 --> 00:13:39,984
So, how to do it as gently as possible,
but still have the impact?
183
00:13:40,736 --> 00:13:44,280
so, there was no bIood,
we turned the boy's face away
184
00:13:45,074 --> 00:13:48,243
and showed his lifeless body,
185
00:13:48,911 --> 00:13:52,580
and then of course the Red Sox cap
next to the car.
186
00:13:54,166 --> 00:13:58,253
...accept our prayers on behaIf of the souI
of thy servant departed
187
00:13:58,337 --> 00:14:02,131
and grant him an entrance
into the Iand of Iight and joy,
188
00:14:02,216 --> 00:14:06,678
and the feIIowship of thy saints,
through Jesus Christ, our Lord.
189
00:14:06,762 --> 00:14:08,513
Most mercifuI Father,
190
00:14:08,597 --> 00:14:13,685
who has been pIeased to take unto thyseIf
the souI of this thy servant,
191
00:14:14,270 --> 00:14:16,813
grant to us, who are stiII in our piIgrimage
192
00:14:16,939 --> 00:14:18,690
-and who waIk as yet by faith...
-Charlie.
193
00:14:18,774 --> 00:14:21,693
...in gIory everIasting...
194
00:14:21,777 --> 00:14:23,653
Here, I was pulling from Don"t Look Now,
195
00:14:23,779 --> 00:14:26,489
and the red, too,
was a lot of Don't Look Now,
196
00:14:26,615 --> 00:14:30,034
but sort of glimpsing things from the side.
197
00:14:30,119 --> 00:14:33,413
There's a red mac in Don't Look Now,
the Nicolas Roeg movie,
198
00:14:33,497 --> 00:14:39,252
that every time they see it, they know
or sense the presence of their dead child,
199
00:14:39,336 --> 00:14:42,755
and that's what I was weaving
throughout the movie.
200
00:14:42,840 --> 00:14:46,259
And so, I was very specific
about the use of red.
201
00:15:05,487 --> 00:15:10,491
As soon as we pass through
this bit of woods...
202
00:15:11,368 --> 00:15:15,538
These are all real woods in Vancouver.
203
00:15:19,001 --> 00:15:22,003
Here, l use the flashback of the accident.
204
00:15:22,129 --> 00:15:26,382
I wanted to get the sense of someone...
205
00:15:26,508 --> 00:15:31,679
And here, also just establish someone
experiencing post-traumatic stress,
206
00:15:31,805 --> 00:15:36,017
and the idea that it's all escalating
in his head and that he's cracking up.
207
00:15:38,979 --> 00:15:42,565
He's having some kind of a breakdown.
208
00:15:46,904 --> 00:15:49,822
so that when we see sam here,
209
00:15:51,533 --> 00:15:58,539
we don't know if he's hallucinating or
if he's actually seeing a ghost of his brother.
210
00:15:58,707 --> 00:16:02,293
I wanted to keep both
of those possibilities alive.
211
00:16:05,589 --> 00:16:07,006
You're Iate.
212
00:16:08,842 --> 00:16:10,843
I thought we had a deaI.
213
00:16:14,765 --> 00:16:15,848
We do.
214
00:16:15,933 --> 00:16:21,354
This is a set that was built by an incredible
production designer, Ida Random.
215
00:16:24,400 --> 00:16:30,279
And the difficulty here was,
the actual glade that it was based on
216
00:16:30,406 --> 00:16:33,700
looked less realistic than the set,
217
00:16:33,784 --> 00:16:37,829
but it still didn't feel natural.
218
00:16:37,913 --> 00:16:42,375
No breeze, no anything going on.
219
00:16:42,459 --> 00:16:46,045
So, in certain ways,
we had to overcompensate
220
00:16:51,427 --> 00:16:53,302
and add sounds.
221
00:16:59,727 --> 00:17:03,187
Here, we're pulling up to
get a look at the geography of the story,
222
00:17:03,272 --> 00:17:05,440
get a sense of the town
223
00:17:07,276 --> 00:17:11,446
and the scope of their lives.
224
00:17:26,587 --> 00:17:30,965
Here, we pull back into
Sam's gravestone five years later.
225
00:17:38,474 --> 00:17:42,894
This section of the movie, l wanted
to give a very different tone, this act.
226
00:17:42,978 --> 00:17:49,150
And so, l started it off with
a song that my editor actually found,
227
00:17:50,277 --> 00:17:55,948
Pad McKinley, just to make sure it didn't get
228
00:17:57,910 --> 00:17:59,827
glum and bogged down.
229
00:17:59,912 --> 00:18:04,999
I mean, it is a sad story,
the guy's lost his brother
230
00:18:07,169 --> 00:18:12,173
and he's removed himself to this hermit's
existence, working at the graveyard.
231
00:18:14,676 --> 00:18:19,597
so, these music choices
were to combat that.
232
00:18:26,814 --> 00:18:31,359
He's going after the geese,
which were initially Canadian geese,
233
00:18:31,443 --> 00:18:33,861
which we would have had
if we had shot in Massachusetts,
234
00:18:33,946 --> 00:18:38,032
but because we were shooting in Canada,
the Canadian geese were protected.
235
00:18:39,368 --> 00:18:41,786
And so, we ended up
having to use domestic geese,
236
00:18:41,870 --> 00:18:44,372
the idea being that
they were domestic geese
237
00:18:44,498 --> 00:18:47,375
that had gotten out and gone feral.
238
00:18:53,841 --> 00:18:56,300
Canadian geese are a menace,
239
00:18:56,385 --> 00:19:00,930
on the East Coast,
as far as bringing all sorts of diseases
240
00:19:01,056 --> 00:19:04,642
and just ripping grass apart and stuff.
241
00:19:06,687 --> 00:19:08,229
You aII right, boss man?
242
00:19:08,313 --> 00:19:09,480
Right. So them geese are back,
243
00:19:09,565 --> 00:19:11,732
and they've done nasty things
to my grass again.
244
00:19:12,192 --> 00:19:16,070
And they've crapped over every headstone
in the whoIe pIace.
245
00:19:16,864 --> 00:19:18,030
That one's the Ieader. Him.
246
00:19:21,034 --> 00:19:22,326
Do the best you can with the grass.
247
00:19:22,911 --> 00:19:28,082
This is Augustus Prew. This was actually,
initially, a much older character.
248
00:19:28,208 --> 00:19:31,252
But when Zac was cast as the lead,
249
00:19:31,336 --> 00:19:35,089
all the other actors
I wanted to be his contemporaries.
250
00:19:36,884 --> 00:19:39,594
I couldn't imagine him
being the head guy at the graveyard
251
00:19:39,678 --> 00:19:41,679
and having these older guys work for him.
252
00:19:41,763 --> 00:19:47,435
So, l came up with the idea that it should be
an immigrant, initially a Russian immigrant.
253
00:19:47,561 --> 00:19:50,855
but then I saw Augustus' audition reel
254
00:19:50,939 --> 00:19:56,861
and ended up, with Augustus' help,
rewriting it for an English character.
255
00:19:56,945 --> 00:19:58,112
You just ended up staying here.
256
00:19:58,197 --> 00:20:02,116
And this time, Cindy has arranged
a IittIe friend to meet you.
257
00:20:02,284 --> 00:20:05,620
And here we see Amanda Crew again,
258
00:20:05,746 --> 00:20:08,206
the character is Tess,
visiting her father's grave
259
00:20:08,290 --> 00:20:12,877
and discovering that it hasn't been cared for.
260
00:20:12,961 --> 00:20:15,630
I caIIed the sprinkIer guy,
and he said he couIdn't come tiII next week.
261
00:20:15,714 --> 00:20:17,215
So I was Iike,
"AII right, cooI. Come next week."
262
00:20:17,299 --> 00:20:19,550
But more important, aII right,
Iisten to me about this.
263
00:20:19,635 --> 00:20:23,888
Cindy's got this mate over staying,
and she is a waitress at the Red Dog Inn.
264
00:20:23,972 --> 00:20:25,306
CharIie? The Red Dog Inn.
265
00:20:25,390 --> 00:20:26,474
You know about the Red Dog Inn,
don't you?
266
00:20:26,600 --> 00:20:30,561
The Red Dog, when we were on the
East Coast, was initially the black Dog lnn,
267
00:20:30,646 --> 00:20:36,275
which is what I grew up knowing about,
and the lore about the black Dog.
268
00:20:37,778 --> 00:20:42,406
but I think there's probably some issues
with using that name,
269
00:20:42,491 --> 00:20:46,077
and so very cleverly changed it
to the Red Dog.
270
00:20:50,624 --> 00:20:55,670
-Good. I'II get right on that.
-Yeah, that'II be great,
271
00:20:56,380 --> 00:20:58,381
getting fIowers.
272
00:21:00,717 --> 00:21:06,597
So, this scene was about her coming back to
the town that she grew up in,
273
00:21:06,682 --> 00:21:08,766
after being away at college for four years,
274
00:21:08,850 --> 00:21:12,520
and running into the former golden boy
of the town,
275
00:21:12,604 --> 00:21:15,106
the boy that she had a crush on,
276
00:21:17,401 --> 00:21:22,363
and her reverting back to
the gawky teenager that she was.
277
00:21:25,867 --> 00:21:29,203
Hey! Hey!
278
00:21:33,875 --> 00:21:35,209
Hey, buddy.
279
00:21:36,962 --> 00:21:39,046
Hey, can you read signs? No rubbing!
280
00:21:43,051 --> 00:21:46,387
If I was going to rub one out,
I wouIdn't do it in a graveyard, St. CIoud.
281
00:21:51,226 --> 00:21:53,394
PeopIe are aIways tracing these headstones.
282
00:21:53,603 --> 00:21:58,107
Here he's running into the ghost
of his best friend from high school,
283
00:22:01,903 --> 00:22:05,906
who's gone off to war and hasn't survived,
284
00:22:05,991 --> 00:22:11,162
and the idea was, there but for the grace
of his sailing ability go Charlie.
285
00:22:13,582 --> 00:22:16,375
And this was a scene
that a lot got cut out of
286
00:22:16,460 --> 00:22:20,755
because there was a lot
about the mother in this scene
287
00:22:20,839 --> 00:22:24,300
and about the mother basically
having given up on him
288
00:22:24,384 --> 00:22:26,510
because he hadn't gotten back
into the swing of things.
289
00:22:26,595 --> 00:22:31,182
but we found that nobody wanted to believe
290
00:22:31,266 --> 00:22:35,936
that Kim basinger could be a mean mother,
291
00:22:36,021 --> 00:22:38,022
so we had to remove all of it.
292
00:22:38,106 --> 00:22:40,900
The intention was just to
show how isolated he was,
293
00:22:40,984 --> 00:22:45,988
that finally even his mother had
written him off and gotten on with her life.
294
00:22:50,911 --> 00:22:53,120
I'm gIad you weren't, CharIie.
295
00:22:54,206 --> 00:22:56,290
Yeah. I'm gIad you weren't.
296
00:23:15,477 --> 00:23:21,565
You see the red flowers,
which is our signal that death is about,
297
00:23:23,318 --> 00:23:27,029
and the omnipresent geese
hovering around behind him.
298
00:23:27,322 --> 00:23:28,656
Got to face it sometime.
299
00:23:31,368 --> 00:23:34,453
AII right. I'II say hi to Sammy for you.
300
00:23:40,210 --> 00:23:41,752
He's not there.
301
00:23:52,514 --> 00:23:53,764
I don't get it.
302
00:23:53,849 --> 00:23:58,144
This is a scene that we went
back and forth on, whether to keep it or not.
303
00:23:58,228 --> 00:24:00,354
-He's weird.
-He's misunderstood.
304
00:24:00,939 --> 00:24:03,190
ln the end, it was decided that
305
00:24:04,568 --> 00:24:07,194
these girls really represented
a large part of the audience,
306
00:24:07,279 --> 00:24:12,408
and so it was how they'd be seeing
the Charlie character.
307
00:24:12,492 --> 00:24:14,493
-You're funny.
-$97.50.
308
00:24:14,703 --> 00:24:16,787
And also to get across the point
309
00:24:16,872 --> 00:24:21,917
that he has really removed himself
from life for the last five years.
310
00:24:23,670 --> 00:24:25,546
Yeah. Yeah, sure.
311
00:24:27,299 --> 00:24:29,091
I Iove saiIing.
312
00:24:29,843 --> 00:24:30,926
CooI.
313
00:24:33,638 --> 00:24:35,890
WeII, maybe
I can take you out sometime, too.
314
00:24:35,974 --> 00:24:37,016
Yeah!
315
00:24:37,100 --> 00:24:39,894
-Enjoy your toy pIane, CharIie.
-It's not for me.
316
00:24:41,480 --> 00:24:43,230
It's for the geese.
317
00:24:46,943 --> 00:24:48,569
So, what do you wear on a saiIing date?
318
00:24:48,653 --> 00:24:50,070
I wouIdn't put too much thought into it,
319
00:24:50,155 --> 00:24:53,240
seeing as he hasn't been saiIing
in five years.
320
00:24:56,495 --> 00:24:59,455
He's closing himself back into his prison.
321
00:25:15,263 --> 00:25:18,432
He checks his sunset chart,
which runs his life,
322
00:25:22,646 --> 00:25:26,774
and heads off to
rendezvous with his brother.
323
00:25:52,384 --> 00:25:53,717
The red glove.
324
00:25:55,470 --> 00:25:56,929
Man, you got it!
325
00:25:57,013 --> 00:25:59,014
-Great, Iet's go hit the Iake.
-No. Not tiII after practice.
326
00:25:59,140 --> 00:26:00,683
Back up, back up. Get out of here.
327
00:26:00,767 --> 00:26:03,143
-PIease? Can we just go now?
-What's our deaI, Sam?
328
00:26:05,897 --> 00:26:08,482
We practice every day at sunset cannons...
329
00:26:08,567 --> 00:26:11,443
And here we pound the deal
back into the script,
330
00:26:11,528 --> 00:26:15,489
just to make sure
everybody is absolutely getting it.
331
00:26:20,161 --> 00:26:22,913
These two worked on baseball every day
332
00:26:23,331 --> 00:26:25,457
and really got good at it.
333
00:26:25,542 --> 00:26:27,209
Charlie Tahan
334
00:26:32,215 --> 00:26:35,301
wasn't an athlete beforehand,
but really learned how to play.
335
00:26:35,385 --> 00:26:37,553
He worked with a coach every day.
336
00:26:37,679 --> 00:26:41,682
Zac is actually
a really talented baseball player,
337
00:26:41,766 --> 00:26:45,769
but a perfectionist,
and was just working to get his form down.
338
00:26:47,022 --> 00:26:50,691
We had to teach Charlie
all sorts of different pitches.
339
00:26:52,027 --> 00:26:56,238
Here, also, there was an issue,
since I'd reset it for Washington state,
340
00:26:56,573 --> 00:26:59,742
do l change the Red Sox to the Mariners?
341
00:27:00,535 --> 00:27:05,247
But, one, l wanted red,
and, two, the Mariners aren't as iconic.
342
00:27:06,041 --> 00:27:09,418
You know SuIIy. I think he was good with it.
343
00:27:10,712 --> 00:27:13,047
I think he reaIIy missed Green.
344
00:27:14,466 --> 00:27:16,050
I think I'd miss you.
345
00:27:17,052 --> 00:27:18,260
A IittIe bit.
346
00:27:18,386 --> 00:27:22,681
Here, we start up with the brother wondering
about how long he's allowed to stay
347
00:27:22,766 --> 00:27:28,395
in this limbo, in the in-between,
between life and death.
348
00:27:32,692 --> 00:27:34,026
AII right, you ready?
349
00:27:34,110 --> 00:27:36,570
And here come the dreaded geese.
350
00:27:36,905 --> 00:27:38,906
It's about to get bIoody.
351
00:27:41,743 --> 00:27:43,911
It's a real plane.
352
00:27:44,871 --> 00:27:49,249
These are not, however, real geese.
They're all put in there.
353
00:27:51,961 --> 00:27:57,091
And this is a filthy lake
that l made them dive into several times
354
00:27:57,759 --> 00:28:00,177
because l am sadistic.
355
00:28:01,846 --> 00:28:07,976
Zac re-emerges,
and magic hour is over, it is later,
356
00:28:08,103 --> 00:28:10,229
and there is nobody there.
357
00:28:11,231 --> 00:28:12,648
You get a sense of how alone he is,
358
00:28:12,774 --> 00:28:16,944
but also the sense
that maybe it was all happening in his brain.
359
00:28:17,112 --> 00:28:19,405
lt was all a hallucination.
360
00:28:25,453 --> 00:28:28,997
The SpIendid SpIinter again,
not having moved.
361
00:28:42,095 --> 00:28:43,470
Excuse me.
362
00:28:43,930 --> 00:28:45,139
You aII right? I'm sorry.
363
00:28:47,976 --> 00:28:52,312
In similar versions of the script that I read,
and also in the book,
364
00:28:52,981 --> 00:28:56,984
Florio is a ghost at this point,
and I played with that idea.
365
00:28:57,819 --> 00:29:00,195
-You're the paramedic.
-I'm the paramedic.
366
00:29:00,280 --> 00:29:03,490
FIorio Ferrente. It's so good to see you.
367
00:29:05,618 --> 00:29:11,457
but in the end, I thought, he's a guy
who knows he's on borrowed time
368
00:29:12,333 --> 00:29:15,669
and he's basically
just broken out of the hospital
369
00:29:15,795 --> 00:29:18,172
for a last walk around his town.
370
00:29:18,506 --> 00:29:20,174
So, what...
371
00:29:20,884 --> 00:29:24,136
What have you been up to
the past five years?
372
00:29:24,220 --> 00:29:26,847
Are you in Iove? You married?
373
00:29:27,182 --> 00:29:29,850
No. It hasn't happened yet.
374
00:29:29,976 --> 00:29:31,143
No?
375
00:29:38,067 --> 00:29:39,526
You're sick.
376
00:29:41,362 --> 00:29:44,031
Yeah. I got the big C.
377
00:29:45,700 --> 00:29:48,202
-I'm sorry.
-Nah, don't be.
378
00:29:48,328 --> 00:29:51,163
I have no regrets. I...
379
00:29:51,247 --> 00:29:53,999
The other thing that we were playing with
in this scene was the idea
380
00:29:54,083 --> 00:29:56,376
that Florio is really a father figure,
381
00:29:57,879 --> 00:29:59,671
and it really is his last opportunity
382
00:29:59,756 --> 00:30:05,552
to make sure that
his son is gonna maximize his life.
383
00:30:05,678 --> 00:30:10,057
How many peopIe can say that to Saint Peter
when they reach the pearIy gates?
384
00:30:11,059 --> 00:30:13,227
You were a compIete fIatIine.
385
00:30:14,562 --> 00:30:15,771
Nothing.
386
00:30:16,940 --> 00:30:18,398
And then...
387
00:30:26,241 --> 00:30:27,950
One of the things also, l think, that works,
388
00:30:28,076 --> 00:30:31,662
as far as the idea
that there is a father-son relationship here,
389
00:30:31,746 --> 00:30:37,459
is that these two actors have the exact
same eyes, the exact same blue,
390
00:30:40,129 --> 00:30:43,131
which in anamorphic was really striking.
391
00:30:43,258 --> 00:30:46,301
WeII, if there is one,
I haven't figured it out yet.
392
00:30:46,427 --> 00:30:47,928
Yeah, weII...
393
00:30:48,596 --> 00:30:51,431
I don't think it's gonna come to you
working in a graveyard.
394
00:30:53,101 --> 00:30:54,768
You're a young man.
395
00:30:55,436 --> 00:30:58,564
You shouId be out in the worId
Iiving your Iife.
396
00:30:59,065 --> 00:31:02,401
Don't squander this gift you've been given.
397
00:31:13,997 --> 00:31:15,664
And here we go,
398
00:31:16,291 --> 00:31:18,125
Zac's first glimpse
399
00:31:20,962 --> 00:31:22,921
of Tess' boat.
400
00:31:25,258 --> 00:31:28,719
which has the initiaIs "Cs" on it,
for "CarroII saiIs",
401
00:31:28,803 --> 00:31:32,389
but l think in his mind,
he's thinking "Charlie St. Cloud",
402
00:31:32,473 --> 00:31:34,933
and is he actually seeing this?
403
00:31:44,152 --> 00:31:45,444
One of Quincy's own,
404
00:31:45,528 --> 00:31:47,029
she wiII seek to become the youngest...
405
00:31:47,155 --> 00:31:51,617
This woman is an actual reporter,
who you catch a fleeting glimpse of.
406
00:31:52,160 --> 00:31:55,078
Everybody's excited.
This is a first for the town.
407
00:32:05,131 --> 00:32:06,423
Amanda Crew, the actress here,
408
00:32:06,507 --> 00:32:09,843
actually learned how to sail
that 50-foot boat.
409
00:32:12,472 --> 00:32:15,515
If you look closely,
you can see the bruises on her legs,
410
00:32:15,642 --> 00:32:18,518
which were the price she paid
for learning how.
411
00:32:18,603 --> 00:32:22,773
No, whether I win this race or not,
Iet's hope that I do, right, Tink?
412
00:32:22,857 --> 00:32:24,691
I mean, Coach?
413
00:32:24,776 --> 00:32:26,109
No, but whether I win it or not,
414
00:32:26,194 --> 00:32:28,779
it wiII not be because
I didn't have a great boat.
415
00:32:28,863 --> 00:32:31,114
Thank you so much, guys.
416
00:32:31,199 --> 00:32:34,034
-That girI is gonna saiI around the worId?
-Yeah.
417
00:32:39,791 --> 00:32:43,043
-Is that the girI? She's hot!
-She's aII right.
418
00:32:43,711 --> 00:32:46,380
"AII right"?
Is there a swimsuit shot anywhere in there?
419
00:32:46,464 --> 00:32:47,631
What are you gonna do
with a swimsuit shot?
420
00:32:47,715 --> 00:32:49,132
Everything.
421
00:32:51,052 --> 00:32:52,219
-Come on.
-You want it?
422
00:32:52,303 --> 00:32:54,137
Give me the magazine.
Sam, you're gonna wreck it.
423
00:32:54,305 --> 00:32:56,390
This was a fun scene to shoot
424
00:32:56,516 --> 00:33:02,896
because Charlie Tahan enjoyed
torturing Zac and teasing him.
425
00:33:03,731 --> 00:33:06,733
WeII done, CharIie. Mature.
426
00:33:07,568 --> 00:33:10,237
You onIy Ieft me with the cover page.
427
00:33:41,060 --> 00:33:44,354
These are always tough scenes
to get to work exactly,
428
00:33:44,439 --> 00:33:48,442
to get the camera move
off of the expression on his face
429
00:33:51,195 --> 00:33:54,614
and convey exactly what he's thinking.
430
00:34:09,464 --> 00:34:10,630
CharIie!
431
00:34:12,425 --> 00:34:15,719
I cannot beIieve that you're here! HeIIo!
432
00:34:15,803 --> 00:34:19,097
Here's Augustus
falling into his Monty Python.
433
00:34:19,557 --> 00:34:22,309
No, not our anniversary,
because we're not going out,
434
00:34:22,393 --> 00:34:24,561
but me and Cindy's.
435
00:34:24,645 --> 00:34:27,564
-I wouIdn't miss your anniversary, man.
-I know you wouIdn't
436
00:34:27,648 --> 00:34:28,982
-and it means a Iot. What's that?
-Nothing.
437
00:34:29,108 --> 00:34:30,233
-You aII right?
-Yeah.
438
00:34:30,318 --> 00:34:33,653
What are you doing?
Doing a bit of drawing?
439
00:34:33,738 --> 00:34:37,324
Very nice. Come on inside.
It's gonna be weII fun, mate.
440
00:34:41,746 --> 00:34:45,332
This song is a vestigial choice from
441
00:34:45,416 --> 00:34:48,335
when the character was
going to be Russian.
442
00:34:49,170 --> 00:34:56,134
And l was having him do Ra Ra Rasputin,
the boney M classic,
443
00:34:56,302 --> 00:34:59,596
which apparently
no one else had ever heard of,
444
00:35:00,431 --> 00:35:02,849
but then went with an English actor.
445
00:35:02,934 --> 00:35:06,436
It didn't really make any sense,
but it didn't need to.
446
00:35:06,521 --> 00:35:07,771
The one I toId you about.
447
00:35:07,855 --> 00:35:11,108
-Hi. Hey.
-Cindy said you wouIdn't show.
448
00:35:11,192 --> 00:35:13,276
OnIy because we never see you
out at night, CharIie.
449
00:35:15,196 --> 00:35:20,117
Ever since the werewoIf bite,
I tend to onIy come out during fuII moons.
450
00:35:20,535 --> 00:35:24,663
-The moon isn't fuII.
-Then I guess it's your Iucky night.
451
00:35:32,839 --> 00:35:34,881
Let's hear it for Cindy!
452
00:35:51,399 --> 00:35:53,900
-Hey.
-How's the weather Iooking, Coach?
453
00:35:54,986 --> 00:35:58,905
Look. Low-pressure system
coming down from AIaska.
454
00:35:58,990 --> 00:36:01,783
See how tight those isobars
are on the back of the depression?
455
00:36:02,285 --> 00:36:04,995
-Not good.
-That means more wind.
456
00:36:05,204 --> 00:36:07,747
Too much wind. This test run can wait.
457
00:36:07,832 --> 00:36:12,252
Donal Logue, who's playing Tink here,
actually was the one who figured out
458
00:36:12,336 --> 00:36:17,674
exactly how to communicate
that a big storm was coming.
459
00:36:18,426 --> 00:36:23,430
Donal is very smart, and he was able
to master all the weather reports
460
00:36:23,556 --> 00:36:27,017
and convey it in a way
that even l could understand.
461
00:36:31,022 --> 00:36:35,525
-Hey, why are you so interested in that Ioon?
-I'm not.
462
00:36:37,111 --> 00:36:39,029
One of the things that got lost in the movie
463
00:36:39,113 --> 00:36:43,742
was the idea
that Tink actually has feelings for Tess
464
00:36:45,411 --> 00:36:52,375
and there's jealousy
as he sees her pining for Charlie.
465
00:36:53,294 --> 00:36:56,129
CharIie was unbeatabIe on the water,
466
00:36:56,214 --> 00:36:59,799
even got himseIf a saiIing schoIarship
and everything.
467
00:36:59,926 --> 00:37:05,388
One of the hardest things to cast
was to cast Connors.
468
00:37:06,557 --> 00:37:09,309
The actor, Matthew ward, is from Edmonton.
469
00:37:09,435 --> 00:37:12,896
It was very hard to get
what you would find in America,
470
00:37:12,980 --> 00:37:19,236
where you could get
that snotty, preppy, rich kid.
471
00:37:22,448 --> 00:37:26,660
Matthew is a private school kid
472
00:37:26,786 --> 00:37:31,498
and really did affect
that sense of being entitled.
473
00:37:31,582 --> 00:37:35,168
And he looks good in pink,
which not many people can pull off.
474
00:37:35,253 --> 00:37:39,297
-Your boy just saved you from a beating.
-No, you're probabIy right.
475
00:37:41,342 --> 00:37:44,344
I'm sorry, man. How is everything?
How's GoIdman Sachs?
476
00:37:45,096 --> 00:37:47,430
The great thing about
doing a fight with these guys is,
477
00:37:47,515 --> 00:37:50,809
Matthew and Zac are both dancers,
478
00:37:51,269 --> 00:37:53,186
so you could choreograph
anything you wanted to.
479
00:37:53,312 --> 00:37:56,982
The stuntmen came in,
and they could make it look real,
480
00:37:57,650 --> 00:38:00,443
and do it again, and again, and again.
481
00:38:17,420 --> 00:38:21,131
but, of course, that's the last thing
the character wanted to do at this point.
482
00:38:21,215 --> 00:38:23,258
We see him in the first act
483
00:38:23,384 --> 00:38:25,677
and we see him being baited
by the Connors character,
484
00:38:25,761 --> 00:38:26,928
but he doesn't rise to the bait
485
00:38:27,054 --> 00:38:30,724
because he knows,
he's confident in how good he is.
486
00:38:31,600 --> 00:38:35,562
And here, at this point in his life,
he's susceptible to it.
487
00:38:36,105 --> 00:38:42,235
And he's not happy with himself
for having punched him,
488
00:38:44,322 --> 00:38:46,489
having been goaded into it.
489
00:39:04,175 --> 00:39:05,592
Hey!
490
00:39:06,427 --> 00:39:10,805
The glory days flashback is something
that I'd used in 17 again, as well,
491
00:39:10,931 --> 00:39:16,061
with Matthew Perry,
who was playing a part with Zac in 17 again.
492
00:39:16,145 --> 00:39:18,104
I used it again here,
493
00:39:18,189 --> 00:39:23,360
of him just reliving, in his mind,
his golden moment.
494
00:39:23,778 --> 00:39:25,236
You didn't seem so harmIess up at Maddie's.
495
00:39:25,321 --> 00:39:28,365
Yeah, that. I can expIain that.
496
00:39:28,449 --> 00:39:29,824
-Yeah?
-Yeah.
497
00:39:31,619 --> 00:39:33,286
Connors is a dick.
498
00:39:34,330 --> 00:39:36,623
Yeah. AIways has been.
499
00:39:43,130 --> 00:39:47,175
-You don't remember me, do you?
-Yeah. Yeah, I do.
500
00:39:47,301 --> 00:39:48,802
-You do?
-I do.
501
00:39:49,470 --> 00:39:50,845
I aIready repIanted aII the fIowers
502
00:39:50,971 --> 00:39:53,473
-by your father's grave.
-No!
503
00:39:53,557 --> 00:39:54,974
High schooI.
504
00:39:56,644 --> 00:40:01,231
This is one of those scenes
where neither one wants to be the one
505
00:40:01,315 --> 00:40:05,735
that says, "I remember you from
high school, and I've thought about you."
506
00:40:05,820 --> 00:40:10,156
They don't want to be
the loser who's been obsessed,
507
00:40:11,826 --> 00:40:13,535
or give that away.
508
00:40:13,661 --> 00:40:15,620
-And you won the Commodores' Cup.
-Yeah.
509
00:40:15,704 --> 00:40:19,165
You got a big saiIing schoIarship
to Stanford, right?
510
00:40:19,667 --> 00:40:21,000
I deferred.
511
00:40:22,169 --> 00:40:23,586
For a whiIe.
512
00:40:23,921 --> 00:40:26,464
The other thing here is, too,
even though she's been away to college,
513
00:40:26,549 --> 00:40:32,178
it is a small town
and she knows what happened,
514
00:40:32,763 --> 00:40:36,057
the accident, and what happened with him.
515
00:40:37,268 --> 00:40:39,519
-It's good catching up.
-Yeah.
516
00:40:53,701 --> 00:40:55,034
FIukes!
517
00:40:56,871 --> 00:41:00,248
-FIukes?
-FIukes. Like a whaIe taiI.
518
00:41:00,332 --> 00:41:02,709
-Can I show you something?
-Yeah.
519
00:41:09,800 --> 00:41:12,969
The reason Zac seems like he knows
what he's talking about when he does this,
520
00:41:13,053 --> 00:41:17,849
is he actually did
master all of these concepts.
521
00:41:17,933 --> 00:41:19,851
This wouId compIeteIy change your boat.
522
00:41:19,935 --> 00:41:21,394
There's no drag.
523
00:41:21,479 --> 00:41:24,397
so, his cockiness about it here
is actually real,
524
00:41:25,816 --> 00:41:28,109
as he is explaining it to her.
525
00:41:28,235 --> 00:41:31,237
But everyone toId me structuraI stabiIity
was more important.
526
00:41:31,322 --> 00:41:33,573
-That doesn't appIy here.
-Why?
527
00:41:34,492 --> 00:41:37,702
Because this eIiminates direct stress
on the keeI.
528
00:41:37,786 --> 00:41:40,079
That's basic! Are you serious?
529
00:41:41,248 --> 00:41:42,415
Sorry.
530
00:41:49,256 --> 00:41:51,341
-Anyways...
-Is that my boat?
531
00:41:52,259 --> 00:41:53,301
Yeah.
532
00:41:55,804 --> 00:41:58,264
-You drew my boat.
-Yeah.
533
00:41:59,099 --> 00:42:01,392
Good Iuck with the race,
534
00:42:02,811 --> 00:42:05,688
-and be carefuI out there.
-Thank you.
535
00:42:17,701 --> 00:42:20,078
This lighthouse doesn't actually exist
536
00:42:20,162 --> 00:42:25,792
because unlike,
especially, the East Coast of America,
537
00:42:25,876 --> 00:42:28,670
they don't really have lighthouses
in Canada.
538
00:42:28,796 --> 00:42:34,551
l think there are three in Vancouver,
but they don't use them
539
00:42:36,136 --> 00:42:40,306
because you have to hire people
to look after lighthouses.
540
00:42:40,683 --> 00:42:44,269
so we had to invent that,
we had to build that.
541
00:42:44,353 --> 00:42:46,354
That's what I like to hear. Where are you?
542
00:42:46,480 --> 00:42:49,315
I was just passing Whidbey IsIand,
heading into Puget Sound.
543
00:42:49,984 --> 00:42:51,818
Okay, good girI. Keep going southeast.
544
00:42:51,902 --> 00:42:54,195
That storm's roIIing in, Iooking reaIIy hairy.
545
00:42:54,321 --> 00:42:56,864
so here's Amanda,
who had never sailed before,
546
00:42:56,991 --> 00:43:00,535
actually handling this 50-foot racing yacht.
547
00:43:00,619 --> 00:43:05,081
This is, l think,
Tommy Hilfiger's racing yacht,
548
00:43:05,165 --> 00:43:08,501
which had been in
the America's Cup competitions.
549
00:43:09,003 --> 00:43:13,339
And here she's tacking.
She actually almost capsizes.
550
00:43:14,300 --> 00:43:15,550
Come on.
551
00:43:15,676 --> 00:43:16,718
This is what you were made for.
552
00:43:16,844 --> 00:43:18,803
And you see how far up she goes,
553
00:43:18,887 --> 00:43:22,348
and right at the last second
554
00:43:22,474 --> 00:43:28,021
about 10 burly guys came running out
from the cabin below to right the ship.
555
00:43:35,821 --> 00:43:41,409
The first Ieg is an aII-out 8,000-miIe sprint
to Cape Town.
556
00:43:43,704 --> 00:43:46,664
I wouId kiII that. You wouId never catch me.
557
00:43:48,417 --> 00:43:51,127
-SIider?
-No, I don't feeI Iike retrieving baIIs today.
558
00:43:51,211 --> 00:43:52,337
One of the things that was trimmed
559
00:43:52,421 --> 00:43:54,964
were all these scenes between the brothers,
560
00:43:55,049 --> 00:43:56,674
because they are character scenes,
561
00:43:56,759 --> 00:44:03,097
and while they were all good on their own,
562
00:44:03,223 --> 00:44:07,602
within the context of the movie,
they didn't move the plot along.
563
00:44:07,728 --> 00:44:12,440
So, it was one of the things that
we realized as we were watching the movie,
564
00:44:12,941 --> 00:44:15,443
we had to pare them down.
565
00:44:19,073 --> 00:44:24,410
Initially, in each scene, Zac was teaching
his younger brother a new pitch,
566
00:44:24,912 --> 00:44:28,039
leading up to a slider,
567
00:44:28,123 --> 00:44:34,212
which is the most difficult pitch
for a kid to... For anyone to master.
568
00:44:37,216 --> 00:44:40,385
And so in this, Zac goads him.
569
00:44:41,762 --> 00:44:43,763
So scared.
570
00:44:44,264 --> 00:44:45,932
Come on, Sam. FaIIing asIeep here.
571
00:44:52,398 --> 00:44:56,401
And, lo and behold,
Charlie throws a ball that slides.
572
00:44:57,152 --> 00:45:00,530
And this is our highbrow comedic moment,
573
00:45:05,828 --> 00:45:09,455
which makes everyone
cross their legs as they watch it.
574
00:45:14,128 --> 00:45:16,963
-Let the Mud Games begin!
-Let the Mud Games begin!
575
00:45:18,006 --> 00:45:19,716
The idea behind this scene,
576
00:45:19,800 --> 00:45:25,221
besides just an opportunity
to have them skimboard,
577
00:45:25,305 --> 00:45:29,267
was to distract the audience
from the fact that
578
00:45:29,351 --> 00:45:32,437
Tess is out there on her boat in the storm.
579
00:45:37,651 --> 00:45:41,779
So you've stored that information,
but you're not thinking about it.
580
00:45:46,869 --> 00:45:51,414
Zac did all of his own stunts here,
581
00:45:51,498 --> 00:45:55,126
except for standing on his head,
582
00:45:55,210 --> 00:46:00,840
which l'm sure he could've done,
but we didn't have him do, for insurance.
583
00:46:04,678 --> 00:46:06,971
Right there.
584
00:46:26,867 --> 00:46:29,368
And here we come up the next day.
585
00:46:31,705 --> 00:46:33,039
Hey, guys.
586
00:46:33,582 --> 00:46:37,043
And Zac's battling the hated geese.
587
00:46:38,545 --> 00:46:40,213
This isn't a game.
588
00:46:43,050 --> 00:46:45,176
Get out of here! Get out of here!
589
00:46:45,260 --> 00:46:47,762
God, what the heII are you doing?
590
00:46:48,263 --> 00:46:49,889
-Hi.
-Hi.
591
00:46:53,560 --> 00:46:55,853
I'm sorry about the noise. I apoIogize.
592
00:46:55,938 --> 00:46:59,023
And here, again, it was a lot of misdirection,
593
00:46:59,107 --> 00:47:03,110
so that you're not thinking he's running
into her at her father's grave.
594
00:47:03,237 --> 00:47:05,571
She's a ghost.
595
00:47:05,739 --> 00:47:08,407
No, I'm fine.
I just hit some rough weather Iast night.
596
00:47:08,534 --> 00:47:11,118
And you see the red flowers behind her.
597
00:47:11,245 --> 00:47:13,162
What?
598
00:47:13,247 --> 00:47:16,833
No, it's fine. I just need some sIeep. I'm fine.
599
00:47:16,917 --> 00:47:19,085
I couId cIean it up for you
and see if it needs a stitch.
600
00:47:19,545 --> 00:47:22,421
It's pretty... It's kind of gross.
601
00:47:24,800 --> 00:47:26,759
I'm right down the hiII.
602
00:47:28,136 --> 00:47:30,972
-A IittIe sting now.
-Is it fataI?
603
00:47:33,058 --> 00:47:34,433
DefiniteIy.
604
00:47:36,562 --> 00:47:37,770
AII done.
605
00:47:39,648 --> 00:47:41,440
You don't need stitches.
606
00:47:41,567 --> 00:47:43,276
-Not a stitch?
-No.
607
00:47:47,072 --> 00:47:49,824
One of the complicated things in this, too,
is if it's a ghost,
608
00:47:49,950 --> 00:47:52,785
the rules of ghosts,
which since The Sixth Sense
609
00:47:52,911 --> 00:47:56,080
everybody is very conscious of.
610
00:47:57,457 --> 00:47:59,250
lt didn't used to be the case.
611
00:47:59,334 --> 00:48:06,090
I mean, it's an odd thing to think that
if there are ghosts that there would be rules,
612
00:48:06,800 --> 00:48:10,678
because that would seem to break
every rule.
613
00:48:12,806 --> 00:48:19,312
but if he is imagining it, if he's just cracked,
then anything really goes,
614
00:48:21,440 --> 00:48:25,151
which is one of the reasons
I wanted that to be something
615
00:48:25,277 --> 00:48:28,279
that we kept alive throughout the movie.
616
00:48:28,363 --> 00:48:32,700
Because if it was one or the other,
it really diminishes the possibilities.
617
00:48:48,508 --> 00:48:50,176
Come on, I can do this.
618
00:48:50,719 --> 00:48:53,179
Gorgeous Vancouver scenery.
619
00:48:53,305 --> 00:48:56,057
but this shimmery lake,
620
00:48:58,185 --> 00:49:02,897
which has this unreal quality to it,
it's just almost glowing,
621
00:49:05,067 --> 00:49:09,904
was because there was an old copper mine
in that area.
622
00:49:11,031 --> 00:49:14,700
The water was still incredibly polluted
from the mining,
623
00:49:14,826 --> 00:49:18,663
and so it had this almost metallic shine to it.
624
00:49:20,749 --> 00:49:24,377
And you see all the logs washed up
on the beaches behind
625
00:49:24,503 --> 00:49:29,048
because of the constant lumber,
626
00:49:31,343 --> 00:49:33,886
timber business going on.
627
00:49:36,682 --> 00:49:38,099
Beer or wine?
628
00:49:41,853 --> 00:49:44,397
-Surprise me.
-Okay.
629
00:49:45,774 --> 00:49:47,525
AII right, I wiII.
630
00:49:47,609 --> 00:49:49,735
WeII, you have to make her pizza.
631
00:49:51,279 --> 00:49:53,239
-Okay.
-What? Pizza's deIicious.
632
00:49:53,532 --> 00:49:56,617
-I'm not arguing. I think pizza is deIicious.
-Good.
633
00:50:05,544 --> 00:50:08,254
Remember me teIIing you
that I kissed Jenny York?
634
00:50:10,090 --> 00:50:11,215
Yeah.
635
00:50:14,261 --> 00:50:16,887
WeII, I Iied.
636
00:50:22,436 --> 00:50:23,602
Hey.
637
00:50:24,563 --> 00:50:27,064
BeIieve me, you're not missing much.
638
00:50:28,817 --> 00:50:32,611
This is one of those scenes
where you realize
639
00:50:34,740 --> 00:50:37,908
that Sam, the younger brother, is stuck.
640
00:50:37,993 --> 00:50:39,326
AbsoIute fanatic.
641
00:50:40,078 --> 00:50:43,247
That whiIe Charlie, Zac's character,
is getting older,
642
00:50:43,331 --> 00:50:47,251
the younger brother
will never have any more life experience.
643
00:50:47,335 --> 00:50:52,548
That his only experience is
what he had before the crash,
644
00:50:52,632 --> 00:50:56,218
and then their games of catch.
645
00:50:56,303 --> 00:50:58,137
FootbaII. That's my sport.
646
00:50:58,263 --> 00:51:00,014
-Come on.
-Oh, pIease!
647
00:51:00,182 --> 00:51:01,474
-No way.
-Yes!
648
00:51:01,600 --> 00:51:03,059
You didn't strike me as one of those chicks
649
00:51:03,143 --> 00:51:05,478
-who Iikes neckIess 'roid-heads.
-WeII, I do.
650
00:51:05,854 --> 00:51:07,146
Come on, hairier, the better.
651
00:51:07,272 --> 00:51:09,273
Yeah. More wine?
652
00:51:09,941 --> 00:51:11,317
Yes, pIease.
653
00:51:11,443 --> 00:51:14,862
And here you'll notice she has a subtle limp.
654
00:51:27,292 --> 00:51:28,793
Are you moving?
655
00:51:29,002 --> 00:51:33,923
And what she noticed on his table,
but we don't show you a shot of, was
656
00:51:34,007 --> 00:51:38,511
she sees the magazine with her in it
and realizes that he's gotten it.
657
00:51:39,554 --> 00:51:44,308
but one of the things I did was,
with the people who aren't actually there,
658
00:51:46,019 --> 00:51:49,355
one, I never went to their point of view,
and two,
659
00:51:50,816 --> 00:51:55,319
l never did over-the-shoulders for them
when I was doing coverage.
660
00:51:55,403 --> 00:51:56,737
-Did he?
-No.
661
00:51:58,198 --> 00:52:01,367
He tried out for the TripIe-A team
in Pawtucket.
662
00:52:02,577 --> 00:52:04,745
That was the Iast we saw of him.
663
00:52:12,587 --> 00:52:14,046
Can I have that sketch someday?
664
00:52:29,855 --> 00:52:31,397
It's yours now.
665
00:52:33,859 --> 00:52:35,025
Thanks.
666
00:52:37,737 --> 00:52:40,197
So, I haven't shown you my route.
667
00:52:40,866 --> 00:52:42,032
You're Iimping.
668
00:52:43,410 --> 00:52:44,910
Yeah, I toId you,
669
00:52:45,036 --> 00:52:48,080
I got tossed around pretty good
on my Iast saiI.
670
00:52:48,415 --> 00:52:50,749
So I'm starting in Boston,
671
00:52:51,418 --> 00:52:54,253
and then I'm going to make my way south
672
00:52:54,588 --> 00:52:56,255
towards BraziI.
673
00:52:58,884 --> 00:53:00,926
And then I'm going to go...
674
00:53:02,721 --> 00:53:05,347
The race l referenced for her,
675
00:53:05,432 --> 00:53:09,852
or modeled her race on, was the Velux race.
676
00:53:09,936 --> 00:53:14,940
And there are women in their early 20s
who do do that race.
677
00:53:15,025 --> 00:53:17,860
lt's a round-the-world solo race. lntense.
678
00:53:18,737 --> 00:53:20,196
I don't know.
679
00:53:20,280 --> 00:53:22,448
No, I... CharIie...
680
00:53:24,117 --> 00:53:26,118
I Ieave in a week.
681
00:53:27,454 --> 00:53:28,579
I know.
682
00:53:29,623 --> 00:53:31,040
I think I shouId go.
683
00:53:33,210 --> 00:53:35,711
-Can I waIk you?
-No.
684
00:53:36,546 --> 00:53:38,589
-Come on, Iet me waIk you.
-No, CharIie.
685
00:53:40,967 --> 00:53:42,468
Timing,
686
00:53:45,055 --> 00:53:46,972
it reaIIy is everything.
687
00:53:48,475 --> 00:53:49,808
I'm sorry.
688
00:54:01,571 --> 00:54:06,659
l had a whole bit in here about fireflies,
as well, that there are fireflies outside,
689
00:54:06,743 --> 00:54:08,577
and then discovered
that there are no fireflies
690
00:54:08,662 --> 00:54:11,664
on the other side of the Mississippi River.
691
00:54:12,958 --> 00:54:14,917
so, I had to nix that idea.
692
00:54:15,001 --> 00:54:21,257
but I did get this great shot of him
running into the dark, holding this lantern,
693
00:54:23,843 --> 00:54:27,179
which I actually think I prefer. It's so simple.
694
00:54:28,473 --> 00:54:30,516
Just into the darkness.
695
00:54:43,321 --> 00:54:46,865
The other idea I played with
was the idea that he's asleep in his cabin,
696
00:54:46,950 --> 00:54:49,827
and he's just gone for this
697
00:54:52,038 --> 00:54:55,791
walk on the astral plane,
then runs into her spirit.
698
00:55:04,217 --> 00:55:05,634
I found you.
699
00:55:47,218 --> 00:55:52,348
I think people had a problem with the idea
that they were making out in a graveyard.
700
00:55:52,432 --> 00:55:56,310
but they're not actually there,
I mean, in hindsight.
701
00:56:02,734 --> 00:56:06,445
Maybe spirits commingling,
but that's about it.
702
00:56:10,742 --> 00:56:14,495
And to do it in a way where it is ambiguous.
703
00:56:40,188 --> 00:56:41,271
What are these?
704
00:56:42,732 --> 00:56:44,108
Burn marks.
705
00:56:45,235 --> 00:56:47,778
It's where the paramedic shocked me.
706
00:56:51,950 --> 00:56:54,034
-They're beautifuI.
-HardIy.
707
00:56:55,286 --> 00:56:56,328
Hey.
708
00:56:57,914 --> 00:56:59,706
They saved your Iife.
709
00:57:01,334 --> 00:57:02,918
They're beautifuI.
710
00:57:30,530 --> 00:57:32,739
This doesn't change anything.
711
00:57:36,828 --> 00:57:40,831
Goose is a very brilliant fowl actor.
712
00:57:42,584 --> 00:57:46,462
My ongoing geese runner.
713
00:57:47,922 --> 00:57:50,424
Here he finds the note.
714
00:57:50,508 --> 00:57:53,385
And we saw him sketching
715
00:57:56,014 --> 00:57:58,974
in his draughtsman shack before.
716
00:58:00,685 --> 00:58:05,105
And so, did she do it, or did he?
717
00:58:05,190 --> 00:58:06,607
I knew you'd find me!
718
00:58:19,704 --> 00:58:22,623
It was freezing cold as we shot this.
719
00:58:23,708 --> 00:58:27,544
They're all trying not to shiver
as they sail on the boat.
720
00:58:27,629 --> 00:58:32,758
but they're actually sailing it. And again,
they both really learned how to sail.
721
00:58:37,555 --> 00:58:38,931
It's choppy.
722
00:58:40,517 --> 00:58:41,767
Whoa, hey!
723
00:58:44,312 --> 00:58:45,479
Thank you.
724
00:58:46,064 --> 00:58:48,774
This is the first time he's been sailing
since his brother died,
725
00:58:48,858 --> 00:58:55,822
and this is about him coming back alive,
her bringing him back alive.
726
00:58:59,494 --> 00:59:01,578
Sorry. It's been a whiIe.
727
00:59:03,039 --> 00:59:04,915
It won't happen again.
728
00:59:06,167 --> 00:59:09,753
This is our mock lighthouse again.
729
00:59:09,963 --> 00:59:12,714
"trust your heart
if the seas catch fire
730
00:59:13,925 --> 00:59:15,050
"and Iive by Iove..."
731
00:59:15,134 --> 00:59:20,305
It's always tough with these.
I mean, this is all green screen behind them.
732
00:59:21,641 --> 00:59:24,810
One of the things we had in our advantage
is shooting in anamorphic,
733
00:59:24,894 --> 00:59:27,980
where the backgrounds would be
kind of blurred anyway.
734
00:59:28,565 --> 00:59:30,857
And it gives it kind of
735
00:59:34,237 --> 00:59:36,321
a surreal effect.
736
00:59:37,240 --> 00:59:38,949
It's E.E. Cummings.
737
00:59:39,742 --> 00:59:41,743
It was my dad's favorite.
738
00:59:44,163 --> 00:59:45,789
I Iike it a Iot.
739
00:59:46,666 --> 00:59:48,875
I don't understand it at aII.
740
00:59:51,629 --> 00:59:53,630
It's about taking chances.
741
00:59:55,091 --> 00:59:56,967
SaiIing around the worId.
742
00:59:59,846 --> 01:00:01,805
I wish you couId come with me.
743
01:00:03,600 --> 01:00:04,933
It's a soIo race.
744
01:00:05,435 --> 01:00:08,145
So you couId be part of my support team.
745
01:00:08,229 --> 01:00:11,148
-I couId see you for a coupIe days.
-I can't.
746
01:00:12,317 --> 01:00:15,110
Why? Come on,
you don't have any hoIidays?
747
01:00:15,612 --> 01:00:17,070
I just can't.
748
01:00:18,990 --> 01:00:20,532
You just can't.
749
01:00:24,537 --> 01:00:25,996
I just can't.
750
01:00:30,835 --> 01:00:32,336
-Oh, shit.
-What?
751
01:00:32,920 --> 01:00:34,463
Nothing. I Ieft something at work.
752
01:00:34,714 --> 01:00:37,424
-What? WeII, hoId on, I'II come with you.
-No. I won't be Iong.
753
01:00:37,592 --> 01:00:39,384
I'II meet you at the cottage.
754
01:00:48,061 --> 01:00:49,603
Sam. Sam!
755
01:00:51,564 --> 01:00:52,731
Stop!
756
01:00:53,483 --> 01:00:55,067
Sam, stop!
757
01:00:57,737 --> 01:00:59,237
You're Iate.
758
01:00:59,322 --> 01:01:03,116
I tried to do everything,
as much as l could, in camera
759
01:01:03,242 --> 01:01:08,246
as far as effects,
not having any ghost effects.
760
01:01:10,583 --> 01:01:11,750
but here, as he's forgetting him,
761
01:01:11,834 --> 01:01:17,422
having him small in the frame,
in the distance.
762
01:01:18,091 --> 01:01:21,510
I feeI myseIf start to disappear.
763
01:01:25,098 --> 01:01:26,473
Be nothing.
764
01:01:28,685 --> 01:01:30,894
There's nothing to be scared of, Sam.
765
01:01:30,978 --> 01:01:33,271
-Do you want me to go?
-No.
766
01:01:33,481 --> 01:01:35,273
Then why did you bring her?
767
01:01:35,692 --> 01:01:38,944
And the trick here was, did she see sam?
768
01:01:42,949 --> 01:01:44,157
CharIie...
769
01:01:44,283 --> 01:01:47,285
Did Sam disappear before she got there?
770
01:01:48,621 --> 01:01:50,831
Or could she not see him?
771
01:01:50,957 --> 01:01:52,457
Sam and I made a deaI.
772
01:01:52,792 --> 01:01:54,584
CharIie, you don't have to expIain anything
to me.
773
01:01:54,669 --> 01:01:56,169
-No, we made a... We made a pact...
-You don't.
774
01:01:56,295 --> 01:01:58,004
...that every day at sunset
I wouId meet him here.
775
01:01:58,131 --> 01:01:59,131
CharIie.
776
01:02:01,843 --> 01:02:03,635
I can't Iose Sam, Tess.
777
01:02:06,389 --> 01:02:08,014
I can't Iose Sam.
778
01:02:10,560 --> 01:02:11,768
Let's go.
779
01:02:11,853 --> 01:02:13,353
-No.
-Let's go.
780
01:02:15,148 --> 01:02:18,233
The more I'm in your worId,
the Iess I can be in his.
781
01:02:20,486 --> 01:02:23,488
CharIie, at some point we aII have to Iet go.
782
01:02:28,035 --> 01:02:29,995
I can't Iose Sam, Tess.
783
01:02:40,506 --> 01:02:42,007
Goodbye, Tess.
784
01:02:45,011 --> 01:02:46,219
Good Iuck with the race.
785
01:02:46,345 --> 01:02:50,307
Again, trying to tell as much of the story
through the camera,
786
01:02:50,391 --> 01:02:52,851
and what's in focus, what's not.
787
01:02:58,357 --> 01:02:59,900
ActuaIIy, I did.
788
01:03:13,206 --> 01:03:16,249
I can't come to Cape Town because
789
01:03:17,001 --> 01:03:20,587
every evening I pIay catch
with my dead brother
790
01:03:22,006 --> 01:03:23,590
in the graveyard.
791
01:03:26,177 --> 01:03:28,929
But I'II be here when you get back, Tess.
792
01:03:31,182 --> 01:03:34,392
This is Charlie really wondering
whether he's...
793
01:03:36,562 --> 01:03:41,399
I don't think he knows at this point
whether he sees ghosts or if he's insane.
794
01:03:46,572 --> 01:03:49,407
Here's the brilliant bobbo.
795
01:03:51,077 --> 01:03:52,118
You.
796
01:03:54,121 --> 01:03:59,084
And here the trick is,
the dog isn't reacting to her.
797
01:03:59,210 --> 01:04:01,419
It could seem like it's reacting to her,
798
01:04:01,504 --> 01:04:06,716
but in hindsight, you realize that the dog
just takes off because the dog can't see her.
799
01:04:09,428 --> 01:04:10,595
Hello?
800
01:04:12,265 --> 01:04:13,431
Charlie?
801
01:04:13,766 --> 01:04:16,893
l never can tell
if your machine has picked up.
802
01:04:17,270 --> 01:04:18,770
It's your mom.
803
01:04:21,566 --> 01:04:23,441
I just really miss you.
804
01:04:24,735 --> 01:04:26,945
Give me a call sometime, okay?
805
01:04:27,280 --> 01:04:28,613
I love you.
806
01:04:28,781 --> 01:04:31,783
Charlie looking for his hangover coffee
807
01:04:34,745 --> 01:04:37,080
and coming up empty.
808
01:04:50,803 --> 01:04:52,804
You aII right, boss man?
809
01:04:54,932 --> 01:04:56,766
You Iook dirty, mate.
What happened to you?
810
01:04:58,144 --> 01:05:00,562
PIease say you got Iaid at Ieast.
811
01:05:02,648 --> 01:05:04,816
Is that a no, is it? Oh, weII.
812
01:05:05,484 --> 01:05:06,985
Thanks, babes.
813
01:05:09,822 --> 01:05:11,114
Can I have your attention?
814
01:05:12,158 --> 01:05:13,325
Bobbo!
815
01:05:13,993 --> 01:05:15,994
JuIie, can you get Bobbo?
816
01:05:17,330 --> 01:05:18,496
JuIie!
817
01:05:20,166 --> 01:05:21,333
JuIie?
818
01:05:29,050 --> 01:05:31,301
We've got a boat missing out
of Quincy Harbor.
819
01:05:32,178 --> 01:05:33,345
Whose boat?
820
01:05:34,972 --> 01:05:38,183
It's the Querencia. Tess CarroII's boat.
821
01:05:40,561 --> 01:05:45,732
Here's Charlie and Tess putting together
the fact that she didn't come back
822
01:05:48,486 --> 01:05:52,822
from her sailing trip three days earlier,
that she's not actually there.
823
01:05:55,868 --> 01:06:02,457
And the idea that ghosts or spirits
are ripped out of life
824
01:06:02,541 --> 01:06:07,545
and they don't even know
that they're no longer alive.
825
01:06:13,719 --> 01:06:18,348
And then Charlie coming back and
seeing that the boat hasn't been touched,
826
01:06:20,226 --> 01:06:22,227
and so he didn't go sailing,
827
01:06:22,311 --> 01:06:26,982
and didn't, obviously, do anything else,
because she wasn't there.
828
01:06:30,486 --> 01:06:36,658
This graveyard that we used in Vancouver
I think is used for every other movie.
829
01:06:36,742 --> 01:06:40,078
And, in fact, as we are walking around,
we'd find tombstones from movies
830
01:06:40,204 --> 01:06:41,496
that had been there before.
831
01:06:41,580 --> 01:06:43,915
l think Jennifer's Body
had shot there before,
832
01:06:44,000 --> 01:06:48,920
so you'd find these tombstones
with very bizarre inscriptions on them.
833
01:06:49,088 --> 01:06:50,213
Tess?
834
01:06:53,926 --> 01:06:58,596
but it's, I think, about 200 years old,
835
01:07:00,141 --> 01:07:02,475
and they weren't always sure
where people were buried there
836
01:07:02,601 --> 01:07:07,772
because when the lumber companies
were running Vancouver,
837
01:07:07,898 --> 01:07:12,694
there'd be indentured servants,
scots and Irish, who wouId come over,
838
01:07:12,778 --> 01:07:15,196
and couldn't afford burials,
839
01:07:17,116 --> 01:07:20,535
and would just bury people there
without markers.
840
01:07:20,619 --> 01:07:25,790
And so, they wouldn't let you dig around
and do a lot of fake headstones,
841
01:07:25,875 --> 01:07:29,461
'cause they didn't know
exactly what you'd be hitting.
842
01:07:30,421 --> 01:07:32,130
I Iied to him. I...
843
01:07:32,590 --> 01:07:34,382
I saiIed straight into the storm.
844
01:07:35,259 --> 01:07:37,886
I remember... I remember
I saw the oId Cape FIattery Iight.
845
01:07:37,970 --> 01:07:39,971
Everyone sees the Iight.
846
01:07:40,973 --> 01:07:42,474
No, you didn't...
847
01:07:42,767 --> 01:07:44,809
I've seen that Iight, Tess.
848
01:07:45,478 --> 01:07:48,146
CharIie, I'm getting coId. I'm scared.
849
01:07:52,401 --> 01:07:54,235
I wanted you to find me.
850
01:07:54,945 --> 01:07:59,157
That's why... That's why I came here,
'cause I wanted you to find me.
851
01:07:59,241 --> 01:08:02,035
You were supposed to find me,
because you're supposed to heIp me.
852
01:08:02,161 --> 01:08:03,495
You were supposed to find me.
853
01:08:03,954 --> 01:08:06,331
I cannot be dead. PIease, Charlie, find me.
854
01:08:06,415 --> 01:08:07,749
Tess!
855
01:08:19,845 --> 01:08:22,680
And there you see the red flowers again.
856
01:08:32,900 --> 01:08:38,071
Every time we shot this scene, Zac would
invariably have a tack or a splinter
857
01:08:38,155 --> 01:08:42,492
stuck in his hand at the end of it
that he'd be unaware of,
858
01:08:42,576 --> 01:08:46,412
and someone would have to
come and pull out with tweezers.
859
01:08:48,332 --> 01:08:54,921
One of the odd things in Vancouver is
that the medic is also the snacks person,
860
01:08:55,005 --> 01:08:58,174
the crafts/snacks person.
861
01:08:58,259 --> 01:09:00,927
For some reason, in Canada,
that's the way it works.
862
01:09:01,053 --> 01:09:03,513
The person who is making our snacks
863
01:09:03,597 --> 01:09:07,976
is also the person who would have to
deal with any on-set injuries,
864
01:09:09,562 --> 01:09:13,148
and wear the same plastic gloves for either.
865
01:09:38,632 --> 01:09:40,592
She's dead, that girI.
866
01:09:44,138 --> 01:09:45,471
Tess.
867
01:09:49,560 --> 01:09:51,978
She took a boat out in that storm.
868
01:09:53,314 --> 01:09:54,480
She...
869
01:09:56,734 --> 01:09:58,484
She never came back.
870
01:10:12,583 --> 01:10:13,708
You stiII got me.
871
01:10:13,792 --> 01:10:17,253
This is one of my favorite moments
in the movie.
872
01:10:17,338 --> 01:10:20,506
His younger brother tries to comfort him.
873
01:10:20,591 --> 01:10:23,384
That's actually the saddest thing
he could hear.
874
01:10:24,178 --> 01:10:25,386
I know.
875
01:10:59,296 --> 01:11:01,673
-Mr. St. CIoud?
-I'm not on duty.
876
01:11:02,299 --> 01:11:03,841
This is a personaI matter.
877
01:11:04,218 --> 01:11:07,387
I'm CarIa Ferrente. FIorio was my husband.
878
01:11:08,347 --> 01:11:10,890
I tried caIIing earIier. He...
879
01:11:12,226 --> 01:11:13,977
He died Iast night.
880
01:11:15,145 --> 01:11:17,855
FIorio wanted you to have his medaIIion.
881
01:11:23,028 --> 01:11:24,279
Are you sure?
882
01:11:25,572 --> 01:11:28,533
I'm sure. He said it was the answer for you.
883
01:11:32,288 --> 01:11:33,538
To what?
884
01:11:34,415 --> 01:11:35,748
"Why you?"
885
01:11:37,751 --> 01:11:39,085
That's it?
886
01:11:39,837 --> 01:11:41,170
That's it.
887
01:11:43,716 --> 01:11:45,967
I've never seen one of these without a cross.
888
01:11:46,510 --> 01:11:48,428
It's not Christ. It's Saint Jude.
889
01:11:48,971 --> 01:11:51,389
Jude is the saint of aII Iost causes.
890
01:11:52,016 --> 01:11:53,808
There's no such thing as a Iost cause.
891
01:11:55,185 --> 01:12:01,566
Jude is also the saint for firemen
and ambulance drivers.
892
01:12:39,104 --> 01:12:40,688
God just doesn't show off.
893
01:12:40,773 --> 01:12:44,859
There's got to be a reason
God gave you a second chance.
894
01:12:46,779 --> 01:12:48,404
You're not dead.
895
01:12:49,448 --> 01:12:52,784
I just reaIIy hate geese, mate.
I just hate them.
896
01:12:52,868 --> 01:12:55,787
-They're dirty, they crap everywhere.
-Where's Tink?
897
01:12:57,456 --> 01:12:59,374
You fueIed up? Let's go.
898
01:12:59,792 --> 01:13:01,376
What are you doing, man? Hey, hey!
899
01:13:01,460 --> 01:13:04,253
Get your hands off my boat!
In case you haven't heard,
900
01:13:04,338 --> 01:13:05,630
the Coast Guard caIIed off the search.
901
01:13:05,714 --> 01:13:07,632
WeII, then give me your keys.
I'm taking your boat.
902
01:13:07,716 --> 01:13:08,800
The heII you are.
903
01:13:09,426 --> 01:13:10,718
-I know where she is, Tink.
-Do you?
904
01:13:10,803 --> 01:13:12,553
-I know where she is!
-That's it, whack job!
905
01:13:12,638 --> 01:13:14,847
Go back to your coffin before I...
906
01:13:14,932 --> 01:13:16,307
I know where Tess is, Tink!
907
01:13:16,392 --> 01:13:17,725
-And she's running out of time!
-CharIie! Shut up!
908
01:13:17,810 --> 01:13:19,060
CharIie! Go. Go back inside.
909
01:13:19,144 --> 01:13:20,311
-He's not worth it.
-She's running out of time!
910
01:13:20,396 --> 01:13:21,562
Tink, we're going, aII right?
911
01:13:24,566 --> 01:13:26,317
What are you doing?
912
01:13:28,821 --> 01:13:30,488
Sorry about that.
913
01:13:31,281 --> 01:13:34,117
The key's in the ignition, aII right? Go.
914
01:13:34,868 --> 01:13:36,202
Go, go, go, go, go. Quick!
915
01:13:42,793 --> 01:13:45,086
Go, go, go, go! Go!
916
01:13:46,004 --> 01:13:47,088
Stop right now!
917
01:13:47,840 --> 01:13:51,342
-I don't think he's gonna make it.
-You son of a bitch!
918
01:13:53,262 --> 01:13:54,595
He made it.
919
01:13:54,680 --> 01:13:55,888
Stay down, stay down, stay down.
920
01:13:55,973 --> 01:13:57,306
You frigging nutjob!
921
01:13:57,391 --> 01:13:58,641
ReIax, reIax. CaIm down, aII right?
922
01:13:58,725 --> 01:14:00,351
-CaIm down!
-Where are you two taking my boat?
923
01:14:00,477 --> 01:14:01,519
Cape FIattery.
924
01:14:01,854 --> 01:14:04,355
That's 20 miIes
from Tess' Iast known position.
925
01:14:04,440 --> 01:14:07,900
But it's exactIy where she wouId have been
if she saiIed straight into the storm, Tink!
926
01:14:07,985 --> 01:14:09,610
She's about to saiI around the worId.
927
01:14:09,820 --> 01:14:12,363
She wouId have wanted to test her boat
in heavy weather.
928
01:14:12,448 --> 01:14:14,949
You didn't even know her, St. CIoud.
How couId you possibIy know...
929
01:14:15,033 --> 01:14:18,786
This is a scene with a lot of hand-held,
to give it energy
930
01:14:21,331 --> 01:14:23,499
and the right feel for it.
931
01:14:23,584 --> 01:14:26,669
but you don't want to become aware of it.
932
01:14:27,713 --> 01:14:33,801
The DP, Enrique Chediak,
is great at shooting hand-held.
933
01:14:35,137 --> 01:14:37,597
Just Iisten to me, Tink.
934
01:14:38,348 --> 01:14:39,474
She's aIive.
935
01:14:39,558 --> 01:14:43,519
So that you don't feel like
you just got off a roller coaster,
936
01:14:44,521 --> 01:14:46,189
but still has the effect.
937
01:14:46,273 --> 01:14:47,732
She's aIive, Tink.
938
01:14:54,198 --> 01:14:58,493
Here we see the Washington coastline,
which is pretty magnificent.
939
01:15:05,918 --> 01:15:07,251
FIattery Light!
940
01:15:08,337 --> 01:15:11,964
These rocks are amazing
as you come out of Puget Sound,
941
01:15:22,059 --> 01:15:25,520
and I'm getting seasick
just looking at these waves.
942
01:15:29,358 --> 01:15:31,442
And those are real seals.
943
01:15:34,863 --> 01:15:39,325
The ocean was just teeming
with bald eagles and seals
944
01:15:39,409 --> 01:15:43,538
and all sorts of dolphins and things.
945
01:15:44,623 --> 01:15:47,792
Let me grab the wheeI. Come on, I got it.
946
01:15:48,126 --> 01:15:49,961
It's my boat. I know what to do. Come on.
947
01:15:50,170 --> 01:15:51,420
Come on.
948
01:15:52,631 --> 01:15:54,382
Keep your eyes open.
949
01:15:54,466 --> 01:15:55,967
Get some rest.
950
01:16:11,316 --> 01:16:14,026
This scene uses shots from the initial shoot,
951
01:16:14,111 --> 01:16:17,738
when we were out on the water, and then
stuff that we caught later in the studio.
952
01:16:17,823 --> 01:16:19,949
And they're about six months apart,
953
01:16:20,033 --> 01:16:23,869
which is always an interesting task,
trying to mesh that.
954
01:16:24,288 --> 01:16:26,414
We couId make it back to Quincy by sunset.
955
01:16:33,297 --> 01:16:36,382
What is it you do
in the woods every night, man?
956
01:16:39,678 --> 01:16:41,929
If I toId you, you wouIdn't...
957
01:16:43,515 --> 01:16:46,601
-You wouIdn't beIieve me.
-I wouId beIieve you.
958
01:16:47,102 --> 01:16:48,644
You're my mate.
959
01:17:02,659 --> 01:17:05,494
You know, she might not even be out there.
960
01:17:08,832 --> 01:17:10,833
What's up, CharIie?
961
01:17:10,917 --> 01:17:13,836
We going back? Or are we moving on?
962
01:17:20,802 --> 01:17:22,720
I'm going to find Tess.
963
01:17:41,907 --> 01:17:46,827
And so, he's made the decision
to break his deal with his brother.
964
01:17:49,498 --> 01:17:51,666
And we see the sun setting,
965
01:17:53,460 --> 01:17:55,961
and little Sammy waiting for him.
966
01:18:05,764 --> 01:18:14,355
CharIie?
967
01:18:39,339 --> 01:18:40,965
Forgive me, Sam.
968
01:18:57,733 --> 01:18:59,483
I Iove you, CharIie.
969
01:19:10,537 --> 01:19:13,122
Again, trying to shoot as much in camera
as possible
970
01:19:13,206 --> 01:19:16,625
and use the available sunlight, the sunset,
971
01:19:16,710 --> 01:19:20,838
as he's wandering, or crossing over
972
01:19:23,008 --> 01:19:24,592
into the light.
973
01:19:27,387 --> 01:19:29,346
And using the flares.
974
01:19:50,368 --> 01:19:51,702
Sam?
975
01:19:56,708 --> 01:19:58,876
Over there! Outer rocks! That way!
976
01:20:07,219 --> 01:20:11,806
Again, we're actually out in the water on this
and also in a tank.
977
01:20:11,890 --> 01:20:15,601
And all of the stuff that looks like ocean
is in the tank,
978
01:20:15,727 --> 01:20:17,686
and all the stuff that looks too flat
979
01:20:17,771 --> 01:20:20,731
was when we were actually
out on the ocean.
980
01:20:21,066 --> 01:20:24,401
because it's called the Pacific for a reason.
981
01:20:26,571 --> 01:20:27,905
Very flat.
982
01:20:27,989 --> 01:20:29,740
-I can see it. I can see the base!
-I'm bringing her back.
983
01:20:29,825 --> 01:20:31,867
-Bear right, mate! Bear right!
-I got it, I got it, I got it.
984
01:20:31,952 --> 01:20:34,411
-Get as cIose as you can!
-Hey!
985
01:20:34,746 --> 01:20:36,914
-Hey!
-CharIie, what are you doing?
986
01:20:38,291 --> 01:20:41,585
CharIie! CharIie, the water's Iike ice!
Don't be an idiot, mate!
987
01:20:41,670 --> 01:20:44,463
-PIease wait for the Coast Guard!
-If we wait, it'II be too Iate.
988
01:20:44,631 --> 01:20:46,966
You won't Iast Iong enough
to save her, mate. PIease!
989
01:20:47,092 --> 01:20:49,093
This is why I was given a second chance.
990
01:20:49,302 --> 01:20:50,344
No! Wait! CharIie!
991
01:20:54,975 --> 01:21:00,020
Zac trained for, l think, a month in the tank,
992
01:21:00,188 --> 01:21:04,525
learning how to hold his breath
and rely on divers with oxygen tanks
993
01:21:04,609 --> 01:21:07,528
so that he wouldn't have to come back up.
994
01:21:10,782 --> 01:21:13,909
He was cool as a cucumber
as we shot all these things,
995
01:21:13,994 --> 01:21:17,162
and really couldn't see more
than a few inches in front of his face
996
01:21:17,289 --> 01:21:19,373
when he was underwater.
997
01:21:26,339 --> 01:21:34,054
Tess?
998
01:21:34,347 --> 01:21:35,472
Tess.
999
01:21:36,224 --> 01:21:40,352
Initially, when he first looks over there,
l actually had Amanda Crew
1000
01:21:41,646 --> 01:21:44,106
in the yellow slicker.
1001
01:21:44,190 --> 01:21:48,527
So, you just get that subliminal suggestion
that she's there.
1002
01:21:49,321 --> 01:21:52,031
And then he comes over, and it's empty.
1003
01:22:32,405 --> 01:22:37,409
Here, the thing was figuring out exactly
the sound of his head hitting the rock,
1004
01:22:37,535 --> 01:22:41,288
wherein you would believe
that his skull wasn't cracked,
1005
01:22:41,373 --> 01:22:43,666
but enough to disorient him.
1006
01:22:44,417 --> 01:22:46,710
And then l cut into the...
1007
01:22:47,504 --> 01:22:53,217
I had the idea of him going back
into the in-between, the dark space,
1008
01:22:57,597 --> 01:22:58,931
to get Tess.
1009
01:22:59,057 --> 01:23:01,767
This is where he left his younger brother,
1010
01:23:01,851 --> 01:23:05,229
or last saw his younger brother
after the accident.
1011
01:23:08,233 --> 01:23:10,067
And he let go of his younger brother there.
1012
01:23:10,193 --> 01:23:14,947
And the idea is that he finds Tess now,
and he's not gonna let go, no matter what.
1013
01:23:23,081 --> 01:23:28,919
And she's, of course, wearing her red suit.
1014
01:23:43,560 --> 01:23:50,524
Makeup gave her that slightly bluish tint,
gave her a hypothermic look.
1015
01:24:13,339 --> 01:24:17,342
Here we have the light,
and we don't know what it is initially.
1016
01:24:20,305 --> 01:24:23,140
And then the helicopter sound comes in.
1017
01:24:40,366 --> 01:24:41,450
Sit tight.
1018
01:24:41,618 --> 01:24:42,659
Sit tight!
1019
01:25:32,585 --> 01:25:34,878
Never steaI another man's gin.
1020
01:25:35,839 --> 01:25:36,880
Water.
1021
01:25:37,715 --> 01:25:39,675
-Water.
-Yeah, aII right.
1022
01:25:42,887 --> 01:25:45,013
WeIcome back. How you doing?
1023
01:25:46,391 --> 01:25:47,599
How is she?
1024
01:25:47,725 --> 01:25:50,394
Yeah, she's good, mate.
Yeah, she's good. She's recovering.
1025
01:25:50,520 --> 01:25:52,563
Doctor said she had hypothermia.
1026
01:25:52,689 --> 01:25:56,733
And when you hugged her,
your body warmth kept her aIive.
1027
01:25:58,403 --> 01:26:00,195
Look, weII done, mate. Proper hero.
1028
01:26:09,289 --> 01:26:14,168
So this old yacht that we used,
we couldn't muck up at all.
1029
01:26:14,252 --> 01:26:19,256
so, the idea is that it's rundown,
that it's been up on blocks for a while.
1030
01:26:20,592 --> 01:26:22,259
All of the stuff
you see on the side of the boat
1031
01:26:22,385 --> 01:26:26,013
is visual effects that we had to add later,
1032
01:26:26,097 --> 01:26:29,266
because the owner of the yacht
would not let us
1033
01:26:31,102 --> 01:26:36,857
attach anything or paint anything on
that might muck up the side of his boat.
1034
01:26:59,964 --> 01:27:01,840
I heard you were back home.
1035
01:27:09,974 --> 01:27:12,059
Isn't this BemeIman's oId boat?
1036
01:27:12,143 --> 01:27:13,644
It's mine now.
1037
01:27:14,145 --> 01:27:17,481
They were gonna strip it for scrap,
so I took it off their hands.
1038
01:27:17,565 --> 01:27:19,566
I aIways Ioved this boat.
1039
01:27:21,277 --> 01:27:26,949
I got the name "bemelmans"
from bemelmans bar in New York.
1040
01:27:27,825 --> 01:27:30,327
Bemelmans, who did
1041
01:27:32,288 --> 01:27:35,332
the children's books, the cartoons.
1042
01:27:36,793 --> 01:27:37,960
ReaIIy?
1043
01:27:38,086 --> 01:27:41,755
And initially, it was going to be
BemeImans Geese,
1044
01:27:43,424 --> 01:27:47,469
but that got nixed somewhere along the way,
so l worked it in here.
1045
01:27:49,597 --> 01:27:52,683
It's that you saved my Iife, CharIie St. CIoud.
1046
01:27:56,312 --> 01:27:59,439
She's a bIue-water cruiser.
Where you headed?
1047
01:28:00,858 --> 01:28:02,192
Everywhere.
1048
01:28:03,361 --> 01:28:05,654
As soon as she's sound,
I'm gonna saiI around the worId.
1049
01:28:09,492 --> 01:28:10,534
WeII, good Iuck.
1050
01:28:13,538 --> 01:28:14,705
After we'd finished shooting this
1051
01:28:14,831 --> 01:28:20,002
was when all those kids were attempting
to sail around the world and getting lost,
1052
01:28:20,628 --> 01:28:22,796
which initially we thought
1053
01:28:24,215 --> 01:28:29,052
would be a tie-in to the movie, but then
realized would not be a positive tie-in,
1054
01:28:29,887 --> 01:28:33,682
as we didn't want to
encourage kids to go sailing off.
1055
01:28:35,893 --> 01:28:37,185
It's you.
1056
01:28:40,690 --> 01:28:41,732
Me?
1057
01:28:42,483 --> 01:28:44,026
The way you make me feeI...
1058
01:28:45,862 --> 01:28:49,740
I don't know. I've been having these visions,
or maybe dreams,
1059
01:28:49,824 --> 01:28:53,535
but they're more vivid than any dreams
that I've ever had. And...
1060
01:28:54,746 --> 01:28:56,246
And you're in them.
1061
01:28:57,081 --> 01:28:59,082
And we're in them. And...
1062
01:29:00,835 --> 01:29:03,879
And this is when Charlie knows
she remembers.
1063
01:29:04,589 --> 01:29:06,590
They're not dreams, Tess.
1064
01:29:07,342 --> 01:29:08,925
They're memories.
1065
01:29:11,888 --> 01:29:14,097
"trust your heart
if the seas catch fire
1066
01:29:14,349 --> 01:29:16,516
"and Iive by Iove
though the stars waIk backward"
1067
01:29:24,108 --> 01:29:26,026
How did you know that?
1068
01:29:29,447 --> 01:29:32,574
It's E.E. Cummings.
It was your dad's favorite.
1069
01:29:33,451 --> 01:29:35,494
It's about taking chances.
1070
01:29:46,631 --> 01:29:48,632
Just take a chance, Tess.
1071
01:29:59,268 --> 01:30:02,062
-My Iegs are stiII a IittIe wobbIy.
-No worries.
1072
01:30:02,146 --> 01:30:04,898
So, again, all of that stuff,
1073
01:30:04,982 --> 01:30:09,945
that taped "X" on the side of the boat,
was put on there through visual effects.
1074
01:30:44,814 --> 01:30:46,189
I miss you.
1075
01:30:48,985 --> 01:30:50,652
I'm okay, CharIie.
1076
01:30:52,113 --> 01:30:54,406
I'd give anything for you to see me,
1077
01:30:54,490 --> 01:30:56,074
what I'd have become.
1078
01:30:58,244 --> 01:31:01,705
But no one ever gets to see
what couId have been.
1079
01:31:05,168 --> 01:31:07,419
Sorry I had to break our deaI.
1080
01:31:09,338 --> 01:31:10,755
It was time.
1081
01:31:12,508 --> 01:31:15,594
I mean, it's beyond anything
we ever imagined, CharIie.
1082
01:31:18,014 --> 01:31:20,474
I hurt as bad as the day you died.
1083
01:31:21,434 --> 01:31:23,685
You hurt because you're aIive.
1084
01:31:40,703 --> 01:31:42,704
We'II aIways be brothers.
1085
01:31:44,373 --> 01:31:45,624
Promise?
1086
01:31:47,001 --> 01:31:48,335
Every day?
1087
01:31:48,711 --> 01:31:51,630
Come rain or shine?
Come heII or high water?
1088
01:32:05,728 --> 01:32:07,062
I promise.
1089
01:32:29,252 --> 01:32:32,254
And here we have
the end scene of the movie,
1090
01:32:33,256 --> 01:32:35,840
he and Tess walking off together,
1091
01:32:40,388 --> 01:32:42,764
and into their future together.
1092
01:32:44,725 --> 01:32:46,893
That angel was a set piece.
1093
01:32:48,020 --> 01:32:51,523
All those monuments
by the side of the woods
1094
01:32:51,607 --> 01:32:53,817
were built by our production designer.
1095
01:33:00,658 --> 01:33:04,452
Thanks very much
for listening to the director's commentary,
1096
01:33:05,413 --> 01:33:09,666
and I hope you enjoyed the movie.
Thanks very much. bye.
1097
01:33:19,510 --> 01:33:21,136
I'm gonna pretend I Iike that.
88785
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