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1
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As long as I can remember,
I think he was talking about
2
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doing Quixote.
He believes in Quixote.
3
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It's Terry's sort of film.
4
00:00:56,900 --> 00:01:00,610
It mixes all his humour, his fun,
his joy and his darkness.
5
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It's the best sort of Terry Gilliam.
6
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Every film Terry makes,
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Terry somehow manifests himself as
the characters.
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And yeah, Quixote, there he is,
a man charging against windmills.
9
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This has been bugging me for a long time
10
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and Quixote has been dogging me.
11
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The first time we started this,
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trying to get Quixote on
the page was around '91.
13
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I had been, you know,
14
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fantasizing this for a very long time.
15
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I made the film in my head.
The pictures were there.
16
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It's been played out many, many times.
17
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Quixote, I think,
has obsesses me for years,
18
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because all my stuff
has been about reality,
19
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fantasy, madness, sanity.
Quixote encompasses all of those.
20
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Exterior. Spanish hilltop. Day.
21
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In black and white,
an ancient stone windmill.
22
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OK, cut.
See what I mean?
23
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Sorry.
Back to the top.
24
00:02:15,740 --> 00:02:18,050
It's always difficult on
the first scene. Back to the top.
25
00:02:18,060 --> 00:02:20,570
Terry, Tony? OK, you guys ready?
26
00:02:20,580 --> 00:02:23,170
We're going back?
From the top.
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I'm gonna go ahead and roll now.
Scene one, take two.
28
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Exterior. Spanish hilltop. Day.
29
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An ancient stone windmill
spins slowly in the breeze.
30
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Don Quixote appears, gaunt, aged,
a madly fierce gleam in his eyes.
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Stand your ground, foul and fearsome giant!
32
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I am Don Quixote de la Mancha!
33
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Next to him is his fat partner,
Sancho Panza.
34
00:02:51,220 --> 00:02:53,810
It's just a windmill!
Stand aside, Sancho!
35
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Don Quixote lowers his lance
and charges the windmill.
36
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The lance impales the sail
37
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and Don Quixote is wrenched from Rocinante
38
00:03:00,980 --> 00:03:03,380
and spins high in the air,
hooked on the revolving sail.
39
00:03:29,940 --> 00:03:33,010
It's starting to look...
See, it's like out that way.
40
00:03:33,020 --> 00:03:35,610
Terry Gilliam, the maverick director
41
00:03:35,620 --> 00:03:39,570
behind such films as Brazil,
The Fischer King and 12 Monkeys,
42
00:03:39,580 --> 00:03:42,370
has been trying to mount
a film production of Don Quixote
43
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for more than a decade.
44
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It's interesting down there.
45
00:03:45,420 --> 00:03:47,810
So the military map has
loads of old windmills back there.
46
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That's good. If we can get in there,
that'll be interesting to see.
47
00:03:51,340 --> 00:03:52,930
After several false starts
48
00:03:52,940 --> 00:03:55,570
and financial mishaps with the project,
49
00:03:55,580 --> 00:03:58,860
Gilliam has finally arrived in Spain
to begin production.
50
00:04:01,060 --> 00:04:02,810
Don Quixote seems to be at
51
00:04:02,820 --> 00:04:05,610
the back of Terry's work for a long time.
52
00:04:05,620 --> 00:04:07,210
In the broadest sense,
53
00:04:07,220 --> 00:04:10,610
he's a hero that would appeal to Terry,
54
00:04:10,620 --> 00:04:16,370
because the notion of
someone gleefully battling in
55
00:04:16,380 --> 00:04:19,170
the face of all odds,
and logic and reality,
56
00:04:19,180 --> 00:04:21,500
is one that appeals to him.
57
00:04:25,260 --> 00:04:28,050
What happens in Cervantes' Don Quixote
58
00:04:28,060 --> 00:04:31,650
is that you meet a man, an old man,
59
00:04:31,660 --> 00:04:35,370
a man who surrounds himself
with romantic novels,
60
00:04:35,380 --> 00:04:38,810
tales of the deeds of great knights.
61
00:04:38,820 --> 00:04:42,410
He then decides that he will go forth
62
00:04:42,420 --> 00:04:45,730
and actually live out
these romantic tales himself.
63
00:04:45,740 --> 00:04:47,810
And so he puts together a suit of armour
64
00:04:47,820 --> 00:04:50,210
out of bits and pieces
he finds around the house.
65
00:04:50,220 --> 00:04:53,570
The famous helmet is a shaving basin
66
00:04:53,580 --> 00:04:55,650
with the piece cut out for the neck.
67
00:04:55,660 --> 00:04:57,530
He saddles his horse, Rocinante,
68
00:04:57,540 --> 00:04:59,810
who is an old nag, is falling to pieces.
69
00:04:59,820 --> 00:05:01,930
All he's missing is his faithful squire.
70
00:05:01,940 --> 00:05:06,460
And Sancho Panza is a short,
fat guy with a donkey, a peasant.
71
00:05:08,380 --> 00:05:13,890
So they set off and they start to
look for daring deeds to do.
72
00:05:13,900 --> 00:05:17,250
Quixote is so deluded that where
other people see a windmill,
73
00:05:17,260 --> 00:05:18,370
he sees a giant...
74
00:05:18,380 --> 00:05:20,330
where other people see a windmill's sails,
75
00:05:20,340 --> 00:05:23,380
he sees the flailing arms of this giant.
76
00:05:26,900 --> 00:05:31,330
Quixote's delusions are
a major part of his appeal for us.
77
00:05:31,340 --> 00:05:34,250
We want to see the world
through Quixote's eyes.
78
00:05:34,260 --> 00:05:37,330
Because the way he sees the world, I think,
79
00:05:37,340 --> 00:05:40,570
connects with the way
that we saw the world as children.
80
00:05:40,580 --> 00:05:43,780
A world where objects
did have a magical significance.
81
00:06:06,820 --> 00:06:10,090
Gilliam has fought many battles
to bring his vision
82
00:06:10,100 --> 00:06:11,770
of Quixote to the screen.
83
00:06:11,780 --> 00:06:15,370
After several unsuccessful attempts
to develop the project in Hollywood
84
00:06:15,380 --> 00:06:18,130
he decided to produce the film in Europe.
85
00:06:18,140 --> 00:06:20,490
Quixote will be among
the most expensive films
86
00:06:20,500 --> 00:06:23,250
ever produced solely with European funds.
87
00:06:23,260 --> 00:06:25,300
Bonjour, Terry.
Bonjour, bonjour.
88
00:06:28,020 --> 00:06:30,530
Ladies and gentlemen.
89
00:06:30,540 --> 00:06:36,090
Ladies and gentlemen, we just,
basically just called this meeting,
90
00:06:36,100 --> 00:06:38,330
because we haven't had
a sort of open forum.
91
00:06:38,340 --> 00:06:39,730
At any stage up till now.
92
00:06:39,740 --> 00:06:42,610
We're missing a few people,
of course, but this is...
93
00:06:42,620 --> 00:06:44,850
You represent the main bodies of the film
94
00:06:44,860 --> 00:06:46,210
that are under work at the moment.
95
00:06:46,220 --> 00:06:51,850
This is the first time that we have
Senor Gilliam in Spain
96
00:06:51,860 --> 00:06:53,370
and he's here to stay.
97
00:06:53,380 --> 00:06:55,410
So there's no excuses for any of us now.
98
00:06:55,420 --> 00:06:58,250
If we have any questions,
if we have any doubts,
99
00:06:58,260 --> 00:07:00,490
or there's something that we want to know,
100
00:07:00,500 --> 00:07:02,010
this is the place to come to.
101
00:07:02,020 --> 00:07:03,650
I've said this to a few different people,
102
00:07:03,660 --> 00:07:06,330
I dunno if I said it to everybody,
but I think it's going to be great.
103
00:07:06,340 --> 00:07:07,890
Everyone's got a good sense of humour.
104
00:07:07,900 --> 00:07:09,930
Everybody's smart,
everybody's good at their job
105
00:07:09,940 --> 00:07:12,130
And you, with any luck,
will protect me from making
106
00:07:12,140 --> 00:07:14,740
an utter fool of myself.
107
00:07:16,380 --> 00:07:19,570
One thing to say is, you know I'll
keep demanding all sorts of things.
108
00:07:19,580 --> 00:07:21,450
And you've got to scream,
earlier than later.
109
00:07:21,460 --> 00:07:23,930
Say, "No, can't, can't do it."
110
00:07:23,940 --> 00:07:28,250
Cos, I mean, we all know,
working on a budget that's way below
111
00:07:28,260 --> 00:07:31,090
what we normally need
to make a film like this,
112
00:07:31,100 --> 00:07:35,530
we gotta do it for what we've got
and find ways of doing it.
113
00:07:35,540 --> 00:07:36,970
Basically, let's get on with it.
114
00:07:36,980 --> 00:07:39,610
He's here now, he's a resource,
let's use him, let's drain him.
115
00:07:39,620 --> 00:07:43,010
He knows the film.
He's been with it for... two years?
116
00:07:43,020 --> 00:07:45,210
Let's give it ten.
Let's do the whole decade.
117
00:07:45,220 --> 00:07:47,650
Let's go with ten years.
Been at it for ten years.
118
00:07:47,660 --> 00:07:49,260
So he should know what he's doing.
119
00:07:52,540 --> 00:07:54,650
Gilliam is not the first film-maker
120
00:07:54,660 --> 00:07:57,530
to have struggled to bring
Quixote to the screen.
121
00:07:57,540 --> 00:08:00,810
In 1957, Orson Welles began production
122
00:08:00,820 --> 00:08:03,410
on his own adaptation of Don Quixote.
123
00:08:03,420 --> 00:08:06,410
The project would become Welles's
creative obsession for
124
00:08:06,420 --> 00:08:07,570
the next two decades.
125
00:08:07,580 --> 00:08:12,170
In a village in La Mancha,
whose name I prefer not to recall...
126
00:08:12,180 --> 00:08:15,170
Welles took on various acting
and directing projects
127
00:08:15,180 --> 00:08:16,610
to help finance the film.
128
00:08:16,620 --> 00:08:19,690
He would gather bits and pieces
of footage whenever he could,
129
00:08:19,700 --> 00:08:22,730
even after the project outlived
Francisco Reiguera,
130
00:08:22,740 --> 00:08:24,610
Welles's Quixote.
131
00:08:24,620 --> 00:08:27,770
But by the time of Welles's death in 1985,
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Quixote remained incomplete.
133
00:08:51,820 --> 00:08:55,530
The struggle to launch Quixote
began just a year ago,
134
00:08:55,540 --> 00:08:58,450
when Gilliam actually started
pre-production on the film,
135
00:08:58,460 --> 00:09:02,250
only to have a major financier
back out at the last minute.
136
00:09:02,260 --> 00:09:04,330
In order to get the film going this time,
137
00:09:04,340 --> 00:09:07,490
Gilliam and his producer
have had to scale back the budget,
138
00:09:07,500 --> 00:09:10,100
from 40 to $32 million.
139
00:09:33,460 --> 00:09:38,370
The budget of this thing
is $32.1 million.
140
00:09:38,380 --> 00:09:41,210
Which, by European standards,
without American investment
141
00:09:41,220 --> 00:09:43,810
is a big chunk of change.
142
00:09:43,820 --> 00:09:46,620
For what we're trying to do,
it's half the money we need.
143
00:09:48,260 --> 00:09:49,850
In Gilliam's adaptation,
144
00:09:49,860 --> 00:09:52,970
he has taken
the fantastic story of Don Quixote
145
00:09:52,980 --> 00:09:56,370
and embellished it
with another layer of fantasy.
146
00:09:56,380 --> 00:09:59,130
He's created the story of Toby Grosini,
147
00:09:59,140 --> 00:10:02,770
a modern-day advertising executive
who travels back into
148
00:10:02,780 --> 00:10:06,820
the 17th century, where Quixote
mistakes him for Sancho Panza.
149
00:10:07,980 --> 00:10:10,450
Johnny Depp stars as Toby,
150
00:10:10,460 --> 00:10:14,130
Vanessa Paradis plays Toby's
love interest, Altisidora,
151
00:10:14,140 --> 00:10:19,170
and the veteran French actor,
Jean Rochefort, plays Don Quixote.
152
00:10:19,180 --> 00:10:23,930
The script is as ambitious as
anything Gilliam has ever attempted.
153
00:10:23,940 --> 00:10:26,090
Stand your ground, foul and fearsome giant,
154
00:10:26,100 --> 00:10:28,730
I am Don Quixote de la Mancha!
155
00:10:28,740 --> 00:10:31,090
It's not a giant, it is a windmill!
156
00:10:31,100 --> 00:10:34,010
I am Don Quixote de la Mancha!
157
00:10:34,020 --> 00:10:36,930
It's not a giant, it is a windmill!
158
00:10:36,940 --> 00:10:40,650
More intense. "It's not a giant..."
159
00:10:40,660 --> 00:10:43,100
It's not a giant, it is a windmill!
160
00:11:04,540 --> 00:11:07,810
I must say, there are very few
scenes that are simple.
161
00:11:07,820 --> 00:11:11,810
Terry as we all well know,
has the tendency of
162
00:11:11,820 --> 00:11:13,570
overloading everything.
163
00:11:13,580 --> 00:11:16,660
I mean, there is nothing ever
simple and plain.
164
00:11:19,980 --> 00:11:23,370
They'll be on things,
so they can walk down.
165
00:11:23,380 --> 00:11:24,690
Oh ho!
166
00:11:24,700 --> 00:11:26,330
Ah!
167
00:11:26,340 --> 00:11:29,090
I mean, that's what you're saying.
Yeah, yeah, I know.
168
00:11:29,100 --> 00:11:31,090
So he ends up like a kid holding on to it.
169
00:11:31,100 --> 00:11:33,810
We rig this thing so
the camera can get like that.
170
00:11:33,820 --> 00:11:36,370
Because looking down will be amazing.
171
00:11:36,380 --> 00:11:39,290
Basically, Terry came to make
a Hollywood movie without Hollywood,
172
00:11:39,300 --> 00:11:42,010
it's almost impossible.
The difficulty is making a film
173
00:11:42,020 --> 00:11:45,300
the best possible way
with the money we have.
174
00:11:46,260 --> 00:11:47,980
I think that's the better face.
175
00:11:57,900 --> 00:12:00,170
Now, the sheep can go here very nicely.
176
00:12:00,180 --> 00:12:02,060
They come around that curve, tons of sheep.
177
00:12:07,580 --> 00:12:11,530
This will be very tumultuous.
This film will not be easy.
178
00:12:11,540 --> 00:12:15,220
Making a film with Terry,
is like riding a bareback pony.
179
00:12:16,780 --> 00:12:19,170
Just grab on to the mane,
180
00:12:19,180 --> 00:12:22,770
dig in the heels and the knees and hang on.
181
00:12:22,780 --> 00:12:25,060
Because you're in for
the ride of your life.
182
00:12:27,140 --> 00:12:29,860
Distant thunder.
183
00:12:32,620 --> 00:12:35,490
What's that? Don't look. Toby goes
to twist around in his saddle.
184
00:12:35,500 --> 00:12:36,530
Something's coming.
185
00:12:36,540 --> 00:12:38,540
There's nothing there.
Please, don't look.
186
00:12:41,100 --> 00:12:43,730
Giant shadows rise across Toby.
187
00:12:43,740 --> 00:12:46,130
He turns, he looks back.
188
00:12:46,140 --> 00:12:48,330
Three giants loom up over
the brow of the hill.
189
00:12:48,340 --> 00:12:50,210
In their hands are great cudgels.
190
00:12:50,220 --> 00:12:52,970
One plays castanets.
191
00:12:52,980 --> 00:12:55,140
Me llamo Raul.
192
00:13:02,260 --> 00:13:04,140
Me llamo Fernando.
193
00:13:27,860 --> 00:13:29,410
Let's see, let's see!
194
00:13:29,420 --> 00:13:33,140
The third is fantastic.
195
00:13:34,860 --> 00:13:36,020
Raul...
196
00:13:50,380 --> 00:13:52,020
Come to me.
197
00:13:57,340 --> 00:13:59,060
OK. Gracias.
198
00:14:03,580 --> 00:14:05,410
You've got to see the giants.
199
00:14:05,420 --> 00:14:07,410
Ah!
200
00:14:07,420 --> 00:14:10,170
What is terrifying and what is
extraordinary about it,
201
00:14:10,180 --> 00:14:13,050
it's suddenly you're seeing
what Quixote sees.
202
00:14:13,060 --> 00:14:15,130
And it's like nothing you've seen in film.
203
00:14:15,140 --> 00:14:17,060
It's like, "Whoa!"
204
00:14:19,900 --> 00:14:22,210
Altisidora and Toby charge down a corridor.
205
00:14:22,220 --> 00:14:24,650
She wheels her horse.
They set off down a dark tunnel.
206
00:14:24,660 --> 00:14:26,900
Sounds echo behind them, their pursuers.
207
00:14:27,980 --> 00:14:29,930
They emerge into an utterly dark space.
208
00:14:29,940 --> 00:14:31,570
Altisidora reigns in her horse.
209
00:14:31,580 --> 00:14:34,450
What's wrong?
I thought this was the way, but...
210
00:14:34,460 --> 00:14:37,010
Halt! They turn and
are confronted by... Don Quixote.
211
00:14:37,020 --> 00:14:38,650
Traitor! Judas!
212
00:14:38,660 --> 00:14:42,370
As Don Quixote moves forward,
we see he is a giant puppet.
213
00:14:42,380 --> 00:14:44,370
Toby and Altisidora are suddenly surrounded
214
00:14:44,380 --> 00:14:47,050
by a dozen armoured guards.
The guards are puppets, too.
215
00:14:47,060 --> 00:14:51,410
Uno y dos y tres y cuatro
216
00:14:51,420 --> 00:14:54,900
y cinco y sies y siete...
217
00:14:59,900 --> 00:15:01,170
When this thing splits apart,
218
00:15:01,180 --> 00:15:03,370
Toby, he's got to have
his arm getting caught in there.
219
00:15:03,380 --> 00:15:06,170
There is no way that'll get his arm
caught when it comes back together.
220
00:15:06,180 --> 00:15:08,210
Absolutely.
Have his arm caught?
221
00:15:08,220 --> 00:15:11,330
Yes, this is like whole a key bit.
222
00:15:11,340 --> 00:15:12,650
Could the whole thing become...
223
00:15:12,660 --> 00:15:14,970
just chop and pull it, push it,
make it thinner
224
00:15:14,980 --> 00:15:16,570
so that he can get his arm in there.
225
00:15:16,580 --> 00:15:19,850
So really that his...
No, no...
226
00:15:19,860 --> 00:15:22,170
We have to touch the molds, then.
227
00:15:22,180 --> 00:15:25,370
I know you're going to have to
touch the molds. To make it thinner.
228
00:15:25,380 --> 00:15:28,970
That's what I'm assuming, yeah.
Unless...
229
00:15:28,980 --> 00:15:31,770
No, I'm just thinking about the time again.
230
00:15:31,780 --> 00:15:33,730
I understand, I know, I know, yes.
231
00:15:33,740 --> 00:15:36,730
I like taking on very complex
and difficult challenges.
232
00:15:36,740 --> 00:15:38,290
If it's easy, I don't do it.
233
00:15:38,300 --> 00:15:42,250
If it's almost impossible to do,
I have a go at it.
234
00:15:42,260 --> 00:15:44,890
It seems that's what gets
my adrenaline going.
235
00:15:44,900 --> 00:15:49,050
Maybe it's what fires
what creativity I have.
236
00:15:49,060 --> 00:15:53,170
Without a battle, maybe I don't know
exactly how to approach it.
237
00:15:53,180 --> 00:15:54,770
The action is very simple,
238
00:15:54,780 --> 00:15:57,770
the action is simple
except that there's horses.
239
00:15:57,780 --> 00:15:59,650
So the action of the horses is complicated,
240
00:15:59,660 --> 00:16:01,250
but with the puppets, it's very simple.
241
00:16:01,260 --> 00:16:03,050
Toby has got to lash out at the puppet.
242
00:16:03,060 --> 00:16:05,250
It's gotta go "fft" in the air.
He gets tangled
243
00:16:05,260 --> 00:16:08,730
and "whoof" off his horse.
I can do all that.
244
00:16:08,740 --> 00:16:10,170
All that rigging.
Yeah.
245
00:16:10,180 --> 00:16:13,890
In the studio, I paint black the floor.
246
00:16:13,900 --> 00:16:16,330
No, but you still have to do
the wooden floor like that.
247
00:16:16,340 --> 00:16:20,130
I have to cut part of the...
No, no.
248
00:16:20,140 --> 00:16:24,900
Why is it so difficult to have each
of the structures on a plate?
249
00:17:10,180 --> 00:17:13,850
Terry Gilliam has a history
of hugely ambitious projects,
250
00:17:13,860 --> 00:17:15,570
visually rich films that explore
251
00:17:15,580 --> 00:17:17,730
the fantasy worlds of his protagonists,
252
00:17:17,740 --> 00:17:21,090
all of them dreamers like himself.
253
00:17:21,100 --> 00:17:24,170
But turning his dreams into reality
has not been an easy thing
254
00:17:24,180 --> 00:17:26,820
for Gilliam in the Hollywood studio system.
255
00:17:28,100 --> 00:17:31,290
Beset with visions too elaborate
for low-budget financing,
256
00:17:31,300 --> 00:17:34,010
but often too eccentric
for Hollywood taste,
257
00:17:34,020 --> 00:17:37,130
all his productions have been a battle.
258
00:17:37,140 --> 00:17:40,370
His wild visions are always
accomplished on limited budgets
259
00:17:40,380 --> 00:17:43,130
and have consistently met
with both critical
260
00:17:43,140 --> 00:17:44,620
and box office success.
261
00:17:45,660 --> 00:17:48,940
The Adventures of Baron Munchausen
was a painful exception.
262
00:17:54,100 --> 00:17:55,410
Teamed with a producer
263
00:17:55,420 --> 00:17:58,890
who spun tales of extravagant
resources that didn't exist,
264
00:17:58,900 --> 00:18:02,050
Gilliam found himself at
the reigns of a production
265
00:18:02,060 --> 00:18:05,210
that was already $10 million over budget by
266
00:18:05,220 --> 00:18:06,530
the end of its sixth week.
267
00:18:06,540 --> 00:18:10,610
Despite Gilliam's repeated efforts
to scale back complex scenes,
268
00:18:10,620 --> 00:18:14,250
the budget more than doubled by
the completion of filming.
269
00:18:14,260 --> 00:18:18,650
Munchausen became one of
the textbook cases of a film fiasco
270
00:18:18,660 --> 00:18:22,420
and Gilliam acquired a reputation
as a director out of control.
271
00:18:24,220 --> 00:18:26,810
That reputation has often made it
272
00:18:26,820 --> 00:18:29,700
extremely difficult for Gilliam
to launch his own projects.
273
00:18:33,900 --> 00:18:37,050
There is a mismatch I think between
the industry's perception of Terry
274
00:18:37,060 --> 00:18:38,890
and how Terry has actually
worked in the past.
275
00:18:38,900 --> 00:18:40,890
And I know it used to drive Terry crazy.
276
00:18:40,900 --> 00:18:43,370
He kept saying if someone mentioned
Baron Munchausen again,
277
00:18:43,380 --> 00:18:45,250
he wouldn't be answerable for his actions.
278
00:18:45,260 --> 00:18:46,290
Because he felt,
279
00:18:46,300 --> 00:18:48,530
that was a film that happened
I think ten years before,
280
00:18:48,540 --> 00:18:49,970
and people just thought about that
281
00:18:49,980 --> 00:18:52,730
and didn't think of the actual work
he had done in the film since then.
282
00:18:52,740 --> 00:18:54,210
He's a responsible film-maker.
283
00:18:54,220 --> 00:18:57,090
He understands the responsibility
of film-making.
284
00:18:57,100 --> 00:19:01,330
I mean he's, I think, enjoyed the...
285
00:19:01,340 --> 00:19:06,010
Sometimes fencing under
the cloak of enfant terrible.
286
00:19:06,020 --> 00:19:08,610
But he's...
a responsible enfant terrible,
287
00:19:08,620 --> 00:19:10,060
if there is such a thing.
288
00:19:14,980 --> 00:19:16,450
Just reaching that point now,
289
00:19:16,460 --> 00:19:18,890
the actors are going to have to
start turning up soon.
290
00:19:18,900 --> 00:19:21,340
And we've only got what...
What have we got now, seven weeks?
291
00:19:23,380 --> 00:19:25,820
It's got lot of potential for chaos here.
292
00:19:30,780 --> 00:19:32,810
Due to the production's tight budget,
293
00:19:32,820 --> 00:19:35,850
many of the actors are taking
less than their usual fees
294
00:19:35,860 --> 00:19:39,330
and squeezing the film into their
already busy schedules.
295
00:19:39,340 --> 00:19:42,090
The situation has made it
more difficult for Gilliam
296
00:19:42,100 --> 00:19:45,370
to assemble the principal actors
for script readings and rehearsals.
297
00:19:45,380 --> 00:19:48,940
Well, I mean, I'm still trying
to reach Johnny directly.
298
00:19:50,100 --> 00:19:51,410
Erm...
299
00:19:51,420 --> 00:19:55,290
But I think we just plan to go
over there and we wait him out.
300
00:19:55,300 --> 00:19:58,930
A flight from London for Tony,
a flight from Paris for Jean,
301
00:19:58,940 --> 00:20:00,690
and we'll surround him.
302
00:20:00,700 --> 00:20:04,290
Yeah, well... But just find out all
the possibilities.
303
00:20:04,300 --> 00:20:06,370
We have to march forward.
304
00:20:06,380 --> 00:20:08,540
But I still want to try to reach him.
305
00:20:09,620 --> 00:20:13,650
So when do you see Vanessa again?
I mean, here.
306
00:20:13,660 --> 00:20:15,970
Vanessa, maybe...
307
00:20:15,980 --> 00:20:19,690
Jean-Yves tell me, maybe four, five, six...
308
00:20:19,700 --> 00:20:23,810
No. The 7th. From Johnny, yeah.
When Johnny come here.
309
00:20:23,820 --> 00:20:26,370
Well, this is what they're
trying to organise.
310
00:20:26,380 --> 00:20:28,370
It would be better to see Johnny,
311
00:20:28,380 --> 00:20:31,770
I mean, you know,
just also for one day. I know.
312
00:20:31,780 --> 00:20:33,530
Or two days. Just so...
313
00:20:33,540 --> 00:20:35,970
Everything is separated.
The costumes are in Rome,
314
00:20:35,980 --> 00:20:39,290
the cast is in England
or in France, or in Prague.
315
00:20:39,300 --> 00:20:42,090
Special effects...
everything is everywhere.
316
00:20:42,100 --> 00:20:43,730
And until we all get together,
317
00:20:43,740 --> 00:20:46,250
that's when it's going to get to
the hard work.
318
00:20:46,260 --> 00:20:48,090
Yeah.
319
00:20:48,100 --> 00:20:50,570
What we have to achieve on this,
320
00:20:50,580 --> 00:20:52,930
is putting all these people
that have been working
321
00:20:52,940 --> 00:20:54,610
in separate places together.
322
00:20:54,620 --> 00:20:59,250
The sets are being made in Spain,
make-up is working from England.
323
00:20:59,260 --> 00:21:00,690
Actors are here, there.
324
00:21:00,700 --> 00:21:02,970
But they haven't been together at all.
325
00:21:02,980 --> 00:21:05,330
I mean, it's just,
we gotta put everybody together.
326
00:21:05,340 --> 00:21:08,170
Everything has to be centralized in Madrid.
327
00:21:08,180 --> 00:21:12,450
It's one more reason to have mess,
to have one person in London.
328
00:21:12,460 --> 00:21:14,850
But all the pick-ups
are not in the same place.
329
00:21:14,860 --> 00:21:16,210
The driver, we don't know where
330
00:21:16,220 --> 00:21:19,050
the driver is coming from,
because we are using this company...
331
00:21:19,060 --> 00:21:20,370
I tell you what, with an actor,
332
00:21:20,380 --> 00:21:23,090
we know that suddenly
the actor is... we don't know where.
333
00:21:23,100 --> 00:21:25,010
If we have to deliver a script change...
334
00:21:25,020 --> 00:21:27,090
I mean, I don't know.
So many things can happen.
335
00:21:27,100 --> 00:21:30,010
So many things.
For me, maybe...
336
00:21:30,020 --> 00:21:31,130
Camera left.
337
00:21:31,140 --> 00:21:34,330
Mas. Mas. Poco mas. Ah, si.
338
00:21:34,340 --> 00:21:36,810
OK.
Now, bring this foot to here.
339
00:21:36,820 --> 00:21:39,770
And then that good. Like, Raul,
look into the camera.
340
00:21:39,780 --> 00:21:44,060
Lean over. Ah, si, si! Es perfecta.
341
00:21:50,460 --> 00:21:51,780
Get violent.
342
00:21:55,540 --> 00:21:57,610
Boom, boom, boom!
343
00:21:57,620 --> 00:21:59,820
Ra-pa-pa-pa-pa-papum.
344
00:22:21,780 --> 00:22:23,690
Woo! Good!
345
00:22:23,700 --> 00:22:27,410
Bravo, bravo!
346
00:22:27,420 --> 00:22:29,890
Filmed has turned.
347
00:22:29,900 --> 00:22:32,460
Film has finally turned on this film.
348
00:22:40,340 --> 00:22:42,850
Ah!
349
00:22:42,860 --> 00:22:45,500
That thing is great.
Yeah, I know, the...
350
00:22:49,220 --> 00:22:52,210
That's the trailer
for the film right there. Exactly.
351
00:22:52,220 --> 00:22:55,020
"Coming Soon."
352
00:23:42,380 --> 00:23:44,050
So do I. So do I.
353
00:23:44,060 --> 00:23:46,170
We're on the same page there.
354
00:23:46,180 --> 00:23:48,970
My goal, by September 25th,
is to try and find
355
00:23:48,980 --> 00:23:52,570
some actor who will come to Spain
and do pre-production.
356
00:23:52,580 --> 00:23:54,850
Because I'm a great believer in rehearsal.
357
00:23:54,860 --> 00:23:56,820
And being prepared before you shoot.
358
00:24:00,540 --> 00:24:02,730
My problem still isn't with training.
359
00:24:02,740 --> 00:24:05,010
Cos I know all of these guys know horses.
360
00:24:05,020 --> 00:24:07,010
My problem is the fucking organization,
361
00:24:07,020 --> 00:24:08,460
because it's a locking nightmare.
362
00:24:10,140 --> 00:24:12,210
Traditionally on film productions,
363
00:24:12,220 --> 00:24:15,010
it's the responsibility of
the first assistant director
364
00:24:15,020 --> 00:24:17,780
to set a schedule which complements
the film's budget.
365
00:24:18,900 --> 00:24:20,170
In this particular case,
366
00:24:20,180 --> 00:24:22,650
Phil Patterson has inherited
a budget and schedule
367
00:24:22,660 --> 00:24:26,610
which leave no margin for error,
no safety net.
368
00:24:26,620 --> 00:24:28,250
Every film is different.
369
00:24:28,260 --> 00:24:31,370
So it's very hard to compare
a Terry Gilliam film
370
00:24:31,380 --> 00:24:33,130
to anybody else's films.
371
00:24:33,140 --> 00:24:36,370
It's very hard to say
what's right or wrong,
372
00:24:36,380 --> 00:24:39,530
but this film is in, erm...
373
00:24:39,540 --> 00:24:44,970
I'd like to say, complete disarray.
Absolute and faffing total disarray.
374
00:24:44,980 --> 00:24:49,530
But it is absolutely the correct way
it should be, given that it's Terry,
375
00:24:49,540 --> 00:24:53,610
given that it's a Gilliam film.
Because Captain Chaos, erm...
376
00:24:53,620 --> 00:24:55,810
is completely in his element at the moment.
377
00:24:55,820 --> 00:24:59,220
Now, you walk this way.
Come to me, lead on.
378
00:25:00,300 --> 00:25:03,050
Down this way. Now, turn a bit.
Turn a bit. Little bit.
379
00:25:03,060 --> 00:25:05,290
It isn't a disaster.
380
00:25:05,300 --> 00:25:09,140
It just has a lot of elements
that seem to be a little different.
381
00:25:10,620 --> 00:25:12,220
Rocinante.
382
00:25:15,940 --> 00:25:17,730
Rocinante.
383
00:25:17,740 --> 00:25:21,810
No, you can't eat.
You're not allowed to eat.
384
00:25:21,820 --> 00:25:23,010
Look at those ribs.
385
00:25:23,020 --> 00:25:25,130
I thought we were going to
need make-up look.
386
00:25:25,140 --> 00:25:28,010
The pelvic bones are fantastic.
Look at them.
387
00:25:28,020 --> 00:25:29,330
We have a horse.
You are here.
388
00:25:29,340 --> 00:25:31,850
I am here, you are here, we are all here!
389
00:25:31,860 --> 00:25:34,490
Jean Rochefort is the first
of the principal actors
390
00:25:34,500 --> 00:25:36,650
to be able to schedule
a short trip to Madrid
391
00:25:36,660 --> 00:25:39,250
for the necessary costume
and make-up tests.
392
00:25:39,260 --> 00:25:41,810
This is the ride for the theme park.
393
00:25:41,820 --> 00:25:45,210
Rochefort has been learning English
for the last seven months
394
00:25:45,220 --> 00:25:47,690
in order to play the part of Don Quixote.
395
00:25:47,700 --> 00:25:51,530
This is Toby Grosini.
This is the Duchess.
396
00:25:51,540 --> 00:25:54,890
Little, little it comes together.
Spanish actors?
397
00:25:54,900 --> 00:25:57,530
Yeah. Oh, yeah,
the majority are Spanish.
398
00:25:57,540 --> 00:25:59,370
Yes, yes.
399
00:25:59,380 --> 00:26:00,810
They don't speak English.
No.
400
00:26:00,820 --> 00:26:02,290
Nobody speaks English on this film.
401
00:26:02,300 --> 00:26:03,980
Language!
Yeah, yeah.
402
00:26:06,420 --> 00:26:09,490
Jean Rochefort is just so beyond perfect.
403
00:26:09,500 --> 00:26:11,210
The spirit of the man is absolutely right,
404
00:26:11,220 --> 00:26:15,610
and his comic timing is perfect,
his dignity, is...
405
00:26:15,620 --> 00:26:17,260
All of those things are all there.
406
00:26:18,500 --> 00:26:21,250
What I'd like to try is,
an experiment to make your nose
407
00:26:21,260 --> 00:26:24,330
a little bit more Spanish.
Something very small.
408
00:26:24,340 --> 00:26:25,970
Cos Jean has a great nose,
409
00:26:25,980 --> 00:26:28,290
but, I mean, I look at
these Spanish noses...
410
00:26:28,300 --> 00:26:29,940
Cos yours is... It goes...
411
00:26:32,780 --> 00:26:35,930
And it's whether just needs
a tiny bit more to make it
412
00:26:35,940 --> 00:26:37,410
a little bit more Spanish.
413
00:26:37,420 --> 00:26:39,690
It's something,
if you think about it, "It's bad."
414
00:26:39,700 --> 00:26:43,970
Yes, thank you.
Because, perhaps if I have this,
415
00:26:43,980 --> 00:26:48,010
I feel that I play Don Quixote.
Oh, really?
416
00:26:48,020 --> 00:26:50,250
I want to be Quixote.
417
00:26:50,260 --> 00:26:54,420
I understand.
I want to think I am Quixote.
418
00:26:55,980 --> 00:26:58,570
Totally, yeah.
Oh, thank you.
419
00:26:58,580 --> 00:27:01,490
This is a marvellous day for me.
420
00:27:01,500 --> 00:27:05,010
Not only is he perfect for the part,
he's a great horseman.
421
00:27:05,020 --> 00:27:07,090
That was always my biggest problem,
422
00:27:07,100 --> 00:27:10,250
finding a guy old enough, 70 years old,
423
00:27:10,260 --> 00:27:13,700
who looks right, can act well,
and can ride a horse.
424
00:27:17,420 --> 00:27:20,170
So the question is,
the three of us, where...
425
00:27:20,180 --> 00:27:22,170
I just want to know I want to get it down,
426
00:27:22,180 --> 00:27:23,730
so I understand everything.
427
00:27:23,740 --> 00:27:27,210
Where we are with Vanessa at the moment?
428
00:27:27,220 --> 00:27:28,770
Vanessa is now where?
429
00:27:28,780 --> 00:27:31,930
So where are we contractually?
The contract is not signed.
430
00:27:31,940 --> 00:27:35,690
The agent says, "No!"
Each time we are asking something,
431
00:27:35,700 --> 00:27:40,010
availability for your meeting,
availability for the test,
432
00:27:40,020 --> 00:27:42,450
the agent says, "No, she is not available".
433
00:27:42,460 --> 00:27:44,210
"We need Vanessa on the 11th."
434
00:27:44,220 --> 00:27:45,770
"No, she is not available."
435
00:27:45,780 --> 00:27:50,330
So we are, more or less,
a little bit... trapped.
436
00:27:50,340 --> 00:27:53,090
If we have weather condition problems,
437
00:27:53,100 --> 00:27:57,490
we have to have her agreement
to change any dates. That's crazy.
438
00:27:57,500 --> 00:28:00,850
We have very set pieces for
the second-string actors.
439
00:28:00,860 --> 00:28:04,010
Miranda, Bill Patterson,
Peter Vaughan, etc.
440
00:28:04,020 --> 00:28:07,490
The only thing we have in our favour
is the notion of some flexibility
441
00:28:07,500 --> 00:28:09,890
to move around
the rest of the work we're doing
442
00:28:09,900 --> 00:28:12,330
by having Vanessa on a picture deal,
443
00:28:12,340 --> 00:28:13,730
Johnny Depp on a picture deal
444
00:28:13,740 --> 00:28:15,930
and having Jean Rochefort on
a picture deal.
445
00:28:15,940 --> 00:28:17,690
If we take Vanessa as,
446
00:28:17,700 --> 00:28:21,530
"It can only be this, this, this,"
we're in deep shit.
447
00:28:21,540 --> 00:28:23,730
Yeah. It's not possible.
We did the deal.
448
00:28:23,740 --> 00:28:25,570
I don't understand how it slides.
449
00:28:25,580 --> 00:28:28,090
Because, and this is what
kind of makes me crazy,
450
00:28:28,100 --> 00:28:30,370
the fact that contracts
are allowed to run this long.
451
00:28:30,380 --> 00:28:33,490
To be this close to shooting
and not have a contract...
452
00:28:33,500 --> 00:28:37,570
is crazy. We are so fragile.
453
00:28:37,580 --> 00:28:40,250
This thing's so hanging on strings.
No, no, yes.
454
00:28:40,260 --> 00:28:43,500
And if we don't have any flexibility
with her, we're dead.
455
00:29:02,180 --> 00:29:05,970
Quixote struck me more powerfully
when I reached middle age,
456
00:29:05,980 --> 00:29:08,690
because that's what I though
Quixote was very much about.
457
00:29:08,700 --> 00:29:10,690
He's an older man, he's been through life,
458
00:29:10,700 --> 00:29:14,090
it's kind of like a last "Hurrah"
He has one last chance to make
459
00:29:14,100 --> 00:29:18,250
the world as interesting
as he dreams it to be.
460
00:29:18,260 --> 00:29:21,170
Yeah, and I'll be 61 years
in another couple months.
461
00:29:21,180 --> 00:29:24,010
Just an old man!
I've only done X number of films.
462
00:29:24,020 --> 00:29:25,330
Wish I would have done more,
463
00:29:25,340 --> 00:29:27,900
the amount of ideas
that are floating in my head.
464
00:29:32,500 --> 00:29:36,530
All of the film's interior scenes
must be shot on a sound stage.
465
00:29:36,540 --> 00:29:38,570
Gilliam's producers
have been able to secure
466
00:29:38,580 --> 00:29:41,490
the last available sound stage in Madrid.
467
00:29:41,500 --> 00:29:44,450
And it's important for Gilliam
and his team to inspect the site
468
00:29:44,460 --> 00:29:46,690
before sets construction can begin.
469
00:29:46,700 --> 00:29:49,300
So we're supposed to put
all our sets in this... In here?
470
00:29:55,260 --> 00:29:57,410
The acoustics are appalling.
Si.
471
00:29:57,420 --> 00:29:58,460
Yeah.
472
00:30:00,860 --> 00:30:02,250
We've got air-conditioning.
473
00:30:02,260 --> 00:30:04,930
Is that air conditioning, do you think?
474
00:30:04,940 --> 00:30:09,010
Or just stuff to make noise,
so we get bad sound.
475
00:30:09,020 --> 00:30:10,570
The sound is terrible here.
476
00:30:10,580 --> 00:30:13,620
Yeah, I mean, we are enclosed
and it still echoes. Yeah.
477
00:30:14,900 --> 00:30:17,850
I mean, that was the first thing
we said when we got here.
478
00:30:17,860 --> 00:30:20,290
Said, "This is... It's a warehouse."
479
00:30:20,300 --> 00:30:23,060
So I don't know how we do this.
Because the sets have got to be...
480
00:30:24,660 --> 00:30:26,010
not that.
481
00:30:26,020 --> 00:30:27,930
There's no other studios?
482
00:30:27,940 --> 00:30:31,770
Properly done, proper,
proper with everything...
483
00:30:31,780 --> 00:30:35,050
I mean, sound is...
I mean, it's critical.
484
00:30:35,060 --> 00:30:38,170
I mean, I thought
we were coming to a studio.
485
00:30:38,180 --> 00:30:39,450
A studio.
Yeah.
486
00:30:39,460 --> 00:30:41,060
This isn't a studio.
487
00:30:42,420 --> 00:30:44,730
I don't want to be doing a film like this.
488
00:30:44,740 --> 00:30:47,620
I'm really getting... Very...
Getting very nervous.
489
00:31:12,900 --> 00:31:16,490
I think all versions of Quixote
have always been plagued
490
00:31:16,500 --> 00:31:21,650
by bad things. It's kind of like
the Scottish play, I think.
491
00:31:21,660 --> 00:31:24,210
It is a jinxed project.
492
00:31:24,220 --> 00:31:26,290
The biggest threat
of this whole thing is that,
493
00:31:26,300 --> 00:31:27,850
I fear, it could be Munchausen II.
494
00:31:27,860 --> 00:31:31,410
There's so many echoes of Munchausen
that just keep happening.
495
00:31:31,420 --> 00:31:34,130
And that's what scares me.
496
00:31:34,140 --> 00:31:37,450
Luckily, those who weren't
on Munchausen aren't scared.
497
00:31:37,460 --> 00:31:41,130
And actually interesting, Jose Luis,
who was on Munchausen, isn't scared.
498
00:31:41,140 --> 00:31:44,450
We are on the edge, yes,
We are on the edge, that's for sure.
499
00:31:44,460 --> 00:31:47,250
We are not well covered, that's for sure.
500
00:31:47,260 --> 00:31:51,650
But I don't think that means
that we are repeating Munchausen.
501
00:31:51,660 --> 00:31:54,690
Everyone knew on Munchausen,
from the beginning,
502
00:31:54,700 --> 00:31:57,850
from the beginning,
that nothing was realistic.
503
00:31:57,860 --> 00:31:59,730
So...
504
00:31:59,740 --> 00:32:02,130
no, I don't think we are in the same...
505
00:32:02,140 --> 00:32:05,220
The same things are happening at all, no.
506
00:32:08,340 --> 00:32:10,730
Ah, shit!
507
00:32:10,740 --> 00:32:12,650
Wah!
508
00:32:12,660 --> 00:32:16,010
Than, we fill that in so it's solid.
509
00:32:16,020 --> 00:32:17,770
You can't go wrong.
It goes in there,
510
00:32:17,780 --> 00:32:20,410
another arm starts flailing
and that arm's caught.
511
00:32:20,420 --> 00:32:21,940
Thanks.
512
00:32:29,620 --> 00:32:31,820
OK, Giant test.
513
00:32:44,460 --> 00:32:46,380
Now, it's time to die.
514
00:32:49,180 --> 00:32:50,770
No!
515
00:32:50,780 --> 00:32:52,660
What more do you want?
516
00:33:04,420 --> 00:33:06,260
Hola!
517
00:33:07,340 --> 00:33:08,660
It's OK.
518
00:33:15,940 --> 00:33:18,450
He was asking if you knew...
who he was going to...
519
00:33:18,460 --> 00:33:21,300
He was just telling you,
he's going to take Johnny Depp. Si.
520
00:33:28,260 --> 00:33:29,890
Carnivore.
Si.
521
00:33:29,900 --> 00:33:32,340
Si, si, exactly, carnivore.
Si.
522
00:33:45,500 --> 00:33:47,540
Yargh!
523
00:33:54,340 --> 00:33:57,010
Jean Rochefort was getting
on a plane yesterday,
524
00:33:57,020 --> 00:34:01,090
so I get a call yesterday afternoon
from Rene Cleitman saying,
525
00:34:01,100 --> 00:34:02,570
"Guess what.
526
00:34:02,580 --> 00:34:07,690
"Jean, as he was about to board
the plane, started feeling pain,
527
00:34:07,700 --> 00:34:11,410
"and decided he might
have a prostate problem.
528
00:34:11,420 --> 00:34:14,650
"And cancelled the flight,
didn't get on the flight,
529
00:34:14,660 --> 00:34:19,530
"and is now seeing
a doctor this morning."
530
00:34:19,540 --> 00:34:21,890
If he hesitates about
getting on a plane, I'll call him.
531
00:34:21,900 --> 00:34:25,690
As soon as he sees the doctor,
I will tell you.
532
00:34:25,700 --> 00:34:27,730
You have to say, "I need you."
533
00:34:27,740 --> 00:34:29,970
We've got to at least get
a few hours with him today,
534
00:34:29,980 --> 00:34:32,300
or we're in big trouble, so...
But he...
535
00:34:33,580 --> 00:34:36,970
But what's interesting
is how powerful his mind is.
536
00:34:36,980 --> 00:34:39,210
It's destroying his body right now.
537
00:34:39,220 --> 00:34:41,690
It's a metamorphosis.
538
00:34:41,700 --> 00:34:43,930
He suffers, like Don Quixote.
Yeah.
539
00:34:43,940 --> 00:34:46,180
I'm going to kill him.
540
00:34:47,300 --> 00:34:50,010
It's ridiculous. Ridiculous.
Ridiculous.
541
00:34:50,020 --> 00:34:52,890
I mean, Jean has become
totally psychosomatic.
542
00:34:52,900 --> 00:34:54,850
Everything is like...
543
00:34:54,860 --> 00:34:57,300
Yeah.
544
00:35:03,900 --> 00:35:07,850
On Munchausen,
we didn't have costumes or sets
545
00:35:07,860 --> 00:35:09,370
at the beginning.
546
00:35:09,380 --> 00:35:11,130
And now this one, we don't have actors.
547
00:35:11,140 --> 00:35:13,010
We've got costumes and sets, but no actors.
548
00:35:13,020 --> 00:35:16,900
Jean Rochefort panicked on Sunday.
549
00:35:20,180 --> 00:35:21,500
I am very calm.
550
00:35:26,420 --> 00:35:28,330
Nothing like a false sense of security.
551
00:35:28,340 --> 00:35:30,610
There's none of that around here, is there?
552
00:35:30,620 --> 00:35:32,850
I don't think
there's any sense of security,
553
00:35:32,860 --> 00:35:34,820
false or real.
554
00:35:37,220 --> 00:35:40,850
How would you describe the state of things?
555
00:35:40,860 --> 00:35:42,020
Sheer panic.
556
00:35:43,980 --> 00:35:45,090
Like, total panic.
557
00:35:45,100 --> 00:35:47,570
You know, chickens with
no heads running around.
558
00:35:47,580 --> 00:35:49,530
I mean, it is real panic now.
559
00:35:49,540 --> 00:35:53,730
It's one week before production,
what's worrying you the most?
560
00:35:53,740 --> 00:35:56,770
Pre-production.
Tell the truth.
561
00:35:56,780 --> 00:35:59,250
The first location that we shoot in
562
00:35:59,260 --> 00:36:02,170
is adjacent to a NATO bombing range,
563
00:36:02,180 --> 00:36:06,490
that I was told it only operated
a maximum of one hour per day.
564
00:36:06,500 --> 00:36:10,010
We don't really have any horses.
565
00:36:10,020 --> 00:36:14,210
We don't really have any actors.
566
00:36:14,220 --> 00:36:15,690
I have a phone.
567
00:36:15,700 --> 00:36:18,890
Hello? How are you?
568
00:36:18,900 --> 00:36:22,850
I got an actor.
I have an actor. He's sitting here.
569
00:36:22,860 --> 00:36:25,450
Yeah, last time, I know,
he didn't have an actor last time,
570
00:36:25,460 --> 00:36:27,290
now we got an actor.
571
00:36:27,300 --> 00:36:29,130
You're the new boy in town.
572
00:36:29,140 --> 00:36:31,860
This is called our film.
What's the name of it?
573
00:36:33,540 --> 00:36:36,130
It's not Chocolat.
574
00:36:36,140 --> 00:36:38,250
Oh, did I finished that one?
575
00:36:38,260 --> 00:36:42,370
This is the inn. But there's gonna
be a herd of sheep in the inn.
576
00:36:42,380 --> 00:36:44,450
For the lonely people.
577
00:36:44,460 --> 00:36:47,930
This is Antonio Gil.
You know him, he was on Chocolat.
578
00:36:47,940 --> 00:36:49,810
Yeah, he was on Chocolat.
Yeah, he's a good guy.
579
00:36:49,820 --> 00:36:53,370
That's Bob Hoskins and...
Danny DeVito.
580
00:36:53,380 --> 00:36:55,770
Ian Holm...
Ian Holm, all put together.
581
00:36:55,780 --> 00:36:57,690
Bastard child.
And he's a dwarf.
582
00:36:57,700 --> 00:36:59,690
Oh, good.
And he sings opera.
583
00:36:59,700 --> 00:37:00,740
Makes sense.
584
00:37:03,220 --> 00:37:05,930
You spin around and Quixote
is already charging you.
585
00:37:05,940 --> 00:37:08,250
It's not that he's standing there
saying, "Stand aside".
586
00:37:08,260 --> 00:37:10,650
He's in full charge right at you.
587
00:37:10,660 --> 00:37:13,330
I don't know what else
Toby should be doing.
588
00:37:13,340 --> 00:37:14,890
The only thing I was thinking
589
00:37:14,900 --> 00:37:17,570
is that would Toby's
initial thing be, like,
590
00:37:17,580 --> 00:37:19,690
maybe he's on a set of commercial.
591
00:37:19,700 --> 00:37:22,210
What I was thinking maybe
the first thing he would do
592
00:37:22,220 --> 00:37:24,180
is want Bob to yell, "Cut".
593
00:37:28,700 --> 00:37:30,450
"Bob!"
"Cut, Bob! Bob!"
594
00:37:30,460 --> 00:37:32,610
That's great. That's really...
No, that's great.
595
00:37:32,620 --> 00:37:35,770
Just to bring it back to that.
Yeah, that's really good.
596
00:37:35,780 --> 00:37:38,650
There's got to be an explanation for it.
597
00:37:38,660 --> 00:37:40,130
And obviously here's Don Quixote
598
00:37:40,140 --> 00:37:42,210
and there's the windmills
and all that shit...
599
00:37:42,220 --> 00:37:44,090
"Cut this."
Yeah.
600
00:37:44,100 --> 00:37:48,180
And then it's clear that...
No, it's great. It's really nice.
601
00:37:56,460 --> 00:37:59,010
While Gilliam and Depp discuss the script,
602
00:37:59,020 --> 00:38:01,450
Vanessa Paradis arrives for screen tests
603
00:38:01,460 --> 00:38:03,740
of her many make-up and costume changes.
604
00:38:05,940 --> 00:38:10,180
The production, however, is still
missing it's his Don Quixote.
605
00:38:11,940 --> 00:38:14,170
Have you heard any more about...
from him?
606
00:38:14,180 --> 00:38:17,610
Yes, because my assistant, Corinne, yeah...
607
00:38:17,620 --> 00:38:21,850
went with him at the airport,
yes, to be sure this time.
608
00:38:21,860 --> 00:38:24,410
Oh, good. Good, good, good.
And he was in very good shape.
609
00:38:24,420 --> 00:38:29,050
But it's not...
Is it really a prostate infection?
610
00:38:29,060 --> 00:38:31,810
Infection. So it's nothing more than
a small infection?
611
00:38:31,820 --> 00:38:35,250
He can sit...? The problem is,
can he sit on a horse? Yeah, no, no.
612
00:38:35,260 --> 00:38:37,850
It was panic. He was...
There's always panic.
613
00:38:37,860 --> 00:38:39,820
Panic, yes.
614
00:38:43,100 --> 00:38:44,540
Uh-huh.
615
00:38:55,500 --> 00:38:57,050
No, no, no, no.
616
00:38:57,060 --> 00:39:00,250
I like the uneven, more irregular.
617
00:39:00,260 --> 00:39:03,090
He made it.
Don Quixote made the armour.
618
00:39:03,100 --> 00:39:05,300
There was one piece here,
one piece there, one with...
619
00:39:06,980 --> 00:39:09,780
sewing and, "Ah, a knight!"
620
00:39:11,540 --> 00:39:14,250
Even if you take,
just for the moment, just to look,
621
00:39:14,260 --> 00:39:16,410
that piece on there.
622
00:39:16,420 --> 00:39:19,860
It's suddenly, immediately...
Bom! It's good.
623
00:39:20,820 --> 00:39:22,380
Yeah, we need...
624
00:39:27,300 --> 00:39:29,660
So he's just got a piece tied on there.
625
00:39:32,180 --> 00:39:34,970
That isn't much elegant.
626
00:39:34,980 --> 00:39:36,780
Oh, yes.
627
00:39:39,940 --> 00:39:42,850
He's got to be sad, pathetic.
Yes.
628
00:39:42,860 --> 00:39:45,700
And he's wonderful.
Cos it's all in his mind.
629
00:39:50,420 --> 00:39:52,810
We'll design this for you, Gabriella.
630
00:39:52,820 --> 00:39:56,420
You'll get another Oscar.
Another Oscar for this.
631
00:39:57,420 --> 00:39:58,690
It's getting there.
632
00:39:58,700 --> 00:40:02,980
I think Don Quixote...
slowly becomes real.
633
00:40:32,020 --> 00:40:34,700
I'm here to save you, Sancho.
Stand aside!
634
00:40:37,380 --> 00:40:40,770
Suddenly, we are in the fields of Montiel.
635
00:40:40,780 --> 00:40:43,370
Destiny guides our fortunes
636
00:40:43,380 --> 00:40:46,090
more favourably than we
could have wished ourselves.
637
00:40:46,100 --> 00:40:48,970
Look, Sancho, my friend!
638
00:40:48,980 --> 00:40:51,250
A beautiful princess!
639
00:40:51,260 --> 00:40:52,770
She's in gave danger!
640
00:40:52,780 --> 00:40:56,730
We must save her.
Those giants are almost upon her.
641
00:40:56,740 --> 00:40:57,970
Don't you see them?
642
00:40:57,980 --> 00:41:02,460
Giants!
Giants with arms six-miles long!
643
00:41:04,180 --> 00:41:07,530
Just face it,
Dulcinea del Toboso does not exist.
644
00:41:07,540 --> 00:41:11,650
Now, I understand.
You have a plan, Sancho.
645
00:41:11,660 --> 00:41:14,500
You are very clever for a peasant.
Erm...
646
00:41:18,420 --> 00:41:21,370
Fantastic! It's going to be
an extraordinary film.
647
00:41:21,380 --> 00:41:23,010
Yes, yes, yes.
648
00:41:23,020 --> 00:41:25,850
I think that your face is so wondrous,
649
00:41:25,860 --> 00:41:27,170
your eyes, the words.
650
00:41:27,180 --> 00:41:29,930
All this stuff and the costumes,
651
00:41:29,940 --> 00:41:31,130
the sets and the location.
652
00:41:31,140 --> 00:41:34,290
I mean, it's going to be
an extraordinary film.
653
00:41:34,300 --> 00:41:38,370
It's going to be beautiful
and terrible at the same time.
654
00:41:38,380 --> 00:41:40,140
Yes.
Yep.
655
00:41:51,740 --> 00:41:53,890
The shoot begins in Las Bardenas,
656
00:41:53,900 --> 00:41:57,090
a natural preserve
four hours north of Madrid.
657
00:41:57,100 --> 00:41:58,490
Due to the distance,
658
00:41:58,500 --> 00:42:01,450
all the cast and crew
must be lodged nearby.
659
00:42:01,460 --> 00:42:04,250
The extra expense makes it all
the more critical that
660
00:42:04,260 --> 00:42:06,260
the production remains on schedule.
661
00:42:20,940 --> 00:42:22,130
The first scene to be shot,
662
00:42:22,140 --> 00:42:24,370
is one in which Quixote rescues Toby
663
00:42:24,380 --> 00:42:26,220
from an inquisition chain gang.
664
00:42:38,420 --> 00:42:41,860
DOS, DOS. Director On Set.
665
00:42:48,020 --> 00:42:49,130
Let's clear please.
666
00:42:49,140 --> 00:42:51,370
Everyone behind there.
667
00:42:51,380 --> 00:42:53,300
Everybody hidden behind, please.
668
00:42:56,100 --> 00:42:58,380
Load it up, everywhere.
We're shooting now.
669
00:42:59,740 --> 00:43:01,810
You good, Carlos?
670
00:43:01,820 --> 00:43:04,650
All right, here we go. Roll camera!
671
00:43:04,660 --> 00:43:06,180
Here.
672
00:43:07,220 --> 00:43:09,140
And action, Richard.
673
00:43:13,420 --> 00:43:14,700
Action crane!
674
00:43:31,660 --> 00:43:33,130
OK, and cut it.
675
00:43:33,140 --> 00:43:34,850
And cut!
676
00:43:34,860 --> 00:43:37,650
Excellent. Excelente.
677
00:43:37,660 --> 00:43:40,170
With the first shot of the day in the can,
678
00:43:40,180 --> 00:43:41,610
the crew prepares for
679
00:43:41,620 --> 00:43:43,570
a choreographed portion of the scene.
680
00:43:43,580 --> 00:43:44,650
Go, go, go, go, go, go, go.
681
00:43:44,660 --> 00:43:46,290
In this part of the scene,
682
00:43:46,300 --> 00:43:48,610
one of the guards drops
the key to the chain
683
00:43:48,620 --> 00:43:52,050
and the 12 prisoners
must scramble to retrieve it.
684
00:43:52,060 --> 00:43:53,770
Cos he's the only one with the free hand,
685
00:43:53,780 --> 00:43:56,210
everybody else has got two hands.
The guy in the front
686
00:43:56,220 --> 00:43:58,410
has got a free hand.
Cos he's in front of them.
687
00:43:58,420 --> 00:43:59,580
So it's a domino thing.
688
00:44:04,140 --> 00:44:08,170
OK, now, while that's going on,
OK, what's happening here?
689
00:44:08,180 --> 00:44:09,810
We got the key somewhere?
690
00:44:09,820 --> 00:44:11,610
Who's got the key?
691
00:44:11,620 --> 00:44:15,050
Did we manage to get the key to the lock?
692
00:44:15,060 --> 00:44:17,370
Accion.
693
00:44:17,380 --> 00:44:19,090
How are we doing for time?
694
00:44:19,100 --> 00:44:20,970
Badly.
Good.
695
00:44:20,980 --> 00:44:24,330
Come on, on your feet. What happened
to you guys? Nobody's getting up?
696
00:44:24,340 --> 00:44:26,890
You gotta make a start!
Wakey, wakey, folks!
697
00:44:26,900 --> 00:44:28,490
People have to start getting up!
698
00:44:28,500 --> 00:44:30,410
I thought this was rehearsed.
699
00:44:30,420 --> 00:44:31,850
This is not rehearsed!
700
00:44:31,860 --> 00:44:33,370
Fuck!
701
00:44:33,380 --> 00:44:34,610
We didn't have the extras.
702
00:44:34,620 --> 00:44:36,570
So we need to tell the extras what we do.
703
00:44:36,580 --> 00:44:37,610
You see what I mean?
704
00:44:37,620 --> 00:44:39,850
On Saturday, we didn't
have the extras to rehearse? No.
705
00:44:39,860 --> 00:44:41,930
No, we didn't have the extras.
706
00:44:41,940 --> 00:44:44,610
Since when? What was the point of
having a rehearsal without them?
707
00:44:44,620 --> 00:44:46,170
We couldn't get the extras.
708
00:44:46,180 --> 00:44:47,690
You need extras to do the rehearsals.
709
00:44:47,700 --> 00:44:49,450
If you don't get them,
you'd better tell us,
710
00:44:49,460 --> 00:44:52,530
so we know in advance that
we're fucked! We are fucked!
711
00:44:52,540 --> 00:44:53,810
And we didn't know it.
712
00:44:53,820 --> 00:44:55,930
I want to know when we're fucked
in advance,
713
00:44:55,940 --> 00:44:57,340
not in the middle of a shoot.
714
00:45:00,460 --> 00:45:02,410
To try to get the most out of the day,
715
00:45:02,420 --> 00:45:04,930
Gilliam and Phil Patterson
decide to move on
716
00:45:04,940 --> 00:45:06,610
to another part of the scene.
717
00:45:06,620 --> 00:45:09,770
It's Jean Rochefort, not a double.
Walking in.
718
00:45:09,780 --> 00:45:13,130
Walking in, basically doing
the dialogue, doing the scene.
719
00:45:13,140 --> 00:45:16,770
I mean, this is a wide shot.
So we go through all the action.
720
00:45:16,780 --> 00:45:18,450
And then we will...
Yes, and the master.
721
00:45:18,460 --> 00:45:21,370
Yeah, but this is a master.
722
00:45:21,380 --> 00:45:23,180
So whatever we can get is good.
723
00:45:24,180 --> 00:45:26,330
Lock it up, everyone.
We're shooting now.
724
00:45:26,340 --> 00:45:27,860
Background action!
725
00:45:29,820 --> 00:45:31,660
And action, Jean!
726
00:45:42,660 --> 00:45:44,820
Cut, cut, cut! What's going on?
727
00:45:56,500 --> 00:45:59,210
We're fucked. We have now spent
all this time and we got fighters.
728
00:45:59,220 --> 00:46:02,690
But we're doing the scene anyway.
I don't give a fuck about sound.
729
00:46:02,700 --> 00:46:06,210
We will use the close-up sound.
We shoot through everything.
730
00:46:06,220 --> 00:46:08,410
And we need people who can work horses.
731
00:46:08,420 --> 00:46:10,940
And I feel nobody can work horses here.
732
00:46:17,740 --> 00:46:18,780
Action, Jean!
733
00:46:22,020 --> 00:46:24,370
Move the horse.
734
00:46:24,380 --> 00:46:26,250
Move the fucking horse!
735
00:46:26,260 --> 00:46:29,060
Somebody push his horse.
Fuck, push his horse.
736
00:46:30,660 --> 00:46:35,210
Tell me sir, why do you lead
these poor wretches in chains?
737
00:46:35,220 --> 00:46:36,890
They are convicted criminals,
738
00:46:36,900 --> 00:46:39,210
condemned to serve the king in his galleys.
739
00:46:39,220 --> 00:46:41,330
I am Don Quixote de la Mancha,
740
00:46:41,340 --> 00:46:45,330
dedicated to chivalry and
the protection of the weak!
741
00:46:45,340 --> 00:46:47,410
Whoa!
742
00:46:47,420 --> 00:46:49,890
No-one make any sudden moves.
743
00:46:49,900 --> 00:46:51,570
You have nothing to fear from me,
744
00:46:51,580 --> 00:46:53,770
provided your intentions are honourable.
745
00:46:53,780 --> 00:46:55,610
Thank God for that.
746
00:46:55,620 --> 00:46:59,210
Cut! There's good, good, good bits
in there.
747
00:46:59,220 --> 00:47:01,530
The F-16 gets the award!
748
00:47:01,540 --> 00:47:03,530
Well done for putting up your voice.
749
00:47:03,540 --> 00:47:05,290
That was good.
There was lots of good...
750
00:47:05,300 --> 00:47:07,460
I want to do one more
and then I think we have this.
751
00:47:23,380 --> 00:47:24,650
All right, let's stand by,
752
00:47:24,660 --> 00:47:26,650
let's just check this opening position.
753
00:47:26,660 --> 00:47:28,420
Everybody lean down.
754
00:47:31,300 --> 00:47:33,530
Stand by.
755
00:47:33,540 --> 00:47:34,580
Juan.
756
00:47:35,820 --> 00:47:38,250
Ow! Fucker, that hurt!
757
00:47:38,260 --> 00:47:42,410
Why am I being punished with
this god-awful nightmare?
758
00:47:42,420 --> 00:47:44,570
Fine. This isn't real.
759
00:47:44,580 --> 00:47:46,690
It's just a dream. Doesn't hurt.
760
00:47:46,700 --> 00:47:47,770
Doesn't hurt.
761
00:47:47,780 --> 00:47:50,130
Ow, Jesus Christ!
762
00:47:50,140 --> 00:47:51,620
Don't blaspheme!
763
00:47:53,740 --> 00:47:55,420
Cut! Let's go to lunch.
764
00:48:00,020 --> 00:48:03,490
Very strange weather today.
765
00:48:03,500 --> 00:48:06,090
Strange weather, strange horses.
766
00:48:06,100 --> 00:48:08,410
This is going flat.
767
00:48:08,420 --> 00:48:09,970
Slowly coming in?
768
00:48:09,980 --> 00:48:14,380
Very hard to understand what
the boundaries are.
769
00:48:15,740 --> 00:48:19,290
So what we're going to do is,
we start with you and Rocinante.
770
00:48:19,300 --> 00:48:21,970
Yes. Two sizes.
One like this, and one like that.
771
00:48:21,980 --> 00:48:25,130
Yes. So, Joe,
you'll just be off-camera.
772
00:48:25,140 --> 00:48:28,580
So we won't have to worry about
the other horse. Yes.
773
00:48:32,500 --> 00:48:34,970
Got the same weather report
774
00:48:34,980 --> 00:48:38,940
at lunchtime that I got yesterday...
775
00:48:40,300 --> 00:48:41,330
and the day before.
776
00:48:41,340 --> 00:48:43,290
Oh, it's always the same, is it, each day?
777
00:48:43,300 --> 00:48:46,020
Well, that's good. It's consistent.
We know what we're doing here.
778
00:48:47,460 --> 00:48:49,410
That's a nice sound
779
00:48:49,420 --> 00:48:52,020
If it isn't the F-16s, it's thunder.
780
00:48:56,180 --> 00:48:57,210
You're right, Phil.
781
00:48:57,220 --> 00:48:59,730
In another half hour, it'll be clear,
782
00:48:59,740 --> 00:49:01,610
once this cloud comes over.
783
00:49:01,620 --> 00:49:04,650
Lock it up everyone!
We're shooting now!
784
00:49:04,660 --> 00:49:07,610
You good, Carlos?
785
00:49:07,620 --> 00:49:09,290
All right, here we go.
786
00:49:09,300 --> 00:49:10,460
Rehearsal.
787
00:49:12,260 --> 00:49:14,290
You have nothing to fear from me,
788
00:49:14,300 --> 00:49:16,930
provided your intentions are honourable.
789
00:49:16,940 --> 00:49:20,050
Thank God for that.
We wouldn't stand a chance...
790
00:49:20,060 --> 00:49:22,330
would we, boys?
791
00:49:22,340 --> 00:49:26,450
It doesn't seem right that
honourable men like yourselves
792
00:49:26,460 --> 00:49:29,490
should be the executioners
of your fellow men
793
00:49:29,500 --> 00:49:31,220
when they have not wronged you.
794
00:49:33,100 --> 00:49:35,010
It's a sad, sad world.
795
00:49:35,020 --> 00:49:37,850
According to the duty of my profession,
796
00:49:37,860 --> 00:49:41,740
I have no choice, but to take
these men under my protection.
797
00:49:43,580 --> 00:49:46,210
Yield to Heaven's command!
798
00:49:46,220 --> 00:49:48,330
Ladies and gentlemen,
just listen up for a second.
799
00:49:48,340 --> 00:49:51,370
I suspect there's
a large bunch of lightning
800
00:49:51,380 --> 00:49:53,250
and a storm about to hit us.
801
00:49:53,260 --> 00:49:55,010
What I would like everybody to do right now
802
00:49:55,020 --> 00:49:57,450
is to make all the gear completely safe.
803
00:49:57,460 --> 00:50:00,770
Cover up. We're going to wait
for this lightning to pass,
804
00:50:00,780 --> 00:50:02,890
see what the weather on
the other side of the front is,
805
00:50:02,900 --> 00:50:04,370
whether or not we can reconstitute,
806
00:50:04,380 --> 00:50:06,410
but, at the moment,
what I need everybody to do
807
00:50:06,420 --> 00:50:09,260
is to make safe and get under cover.
808
00:50:19,540 --> 00:50:22,500
Yes! Whoa!
809
00:50:24,620 --> 00:50:27,260
Which is it, King Lear or Wizard of Oz?
810
00:51:56,700 --> 00:51:59,090
I don't know what we got out of this.
811
00:51:59,100 --> 00:52:01,770
How much money we get insurance-wise?
812
00:52:01,780 --> 00:52:03,490
We got to clear...
813
00:52:03,500 --> 00:52:06,810
I mean, all that gear is going to
take... a day? I have no idea.
814
00:52:06,820 --> 00:52:10,530
We have to clean up everything
and it has to dry OFF.
815
00:52:10,540 --> 00:52:13,140
Yeah. Are we covered with insurance
for things like that?
816
00:52:24,860 --> 00:52:27,210
Now, look, we have to come here
in the morning,
817
00:52:27,220 --> 00:52:29,850
see if we're all right
and see what we can do.
818
00:52:29,860 --> 00:52:32,650
This could be dry. It may not.
Weather might be shitty.
819
00:52:32,660 --> 00:52:35,850
It's going to be a mud hole.
820
00:52:35,860 --> 00:52:38,290
It's not going to dry overnight.
821
00:52:38,300 --> 00:52:40,820
No. It's... No.
822
00:52:42,220 --> 00:52:44,170
Urgh.
823
00:52:44,180 --> 00:52:46,530
Interesting situation.
824
00:52:46,540 --> 00:52:50,140
Almost checkmate, but not quite.
Mm.
825
00:52:51,740 --> 00:52:53,740
We'll wriggle out of this somehow.
826
00:53:06,420 --> 00:53:09,490
A call to the insurance company
has revealed that although
827
00:53:09,500 --> 00:53:12,290
the production is covered
for any damage to equipment,
828
00:53:12,300 --> 00:53:14,170
they won't necessarily be covered
829
00:53:14,180 --> 00:53:17,450
for the shooting time lost
due to acts of God.
830
00:53:17,460 --> 00:53:20,170
In an attempt to salvage something
from the day,
831
00:53:20,180 --> 00:53:22,690
the producers have suggested
that they try to resume
832
00:53:22,700 --> 00:53:25,450
shooting parts of the chain gang scene.
833
00:53:25,460 --> 00:53:27,130
If we go ahead and try to shoot today,
834
00:53:27,140 --> 00:53:28,210
we won't get that done.
835
00:53:28,220 --> 00:53:30,810
We'll shoot half a day today,
we'll shoot half a day tomorrow.
836
00:53:30,820 --> 00:53:32,730
And we'll probably not get Friday.
837
00:53:32,740 --> 00:53:35,810
Now, the correct way,
the correct way to ensure
838
00:53:35,820 --> 00:53:40,290
that you continue on in a fully and
the most operational way you can,
839
00:53:40,300 --> 00:53:44,570
is to take this day to put
the unit back together.
840
00:53:44,580 --> 00:53:45,650
But don't you see,
841
00:53:45,660 --> 00:53:48,370
would it not have been possible
to go with a small unit?
842
00:53:48,380 --> 00:53:50,850
No. That's my answer, no.
843
00:53:50,860 --> 00:53:54,330
And you can say that,
that you talked to me and I said no.
844
00:53:54,340 --> 00:53:56,290
I agree that most of the crew
845
00:53:56,300 --> 00:54:01,690
will have to reconcile everything,
but why didn't you whisk ten people
846
00:54:01,700 --> 00:54:05,050
to shoot inside the taxi...
It's not, you know...
847
00:54:05,060 --> 00:54:08,450
We need 10 people or 15 people.
It doesn't work like that.
848
00:54:08,460 --> 00:54:13,370
This film unit is not able to
function today, in any capacity,
849
00:54:13,380 --> 00:54:16,940
except for maintenance and putting
ourselves back together.
850
00:54:31,340 --> 00:54:33,850
Although the sets have finally dried out,
851
00:54:33,860 --> 00:54:37,170
the heavy rains have entirely
changed the colour of the desert.
852
00:54:37,180 --> 00:54:40,490
The landscape that Gilliam chose
for its starkness,
853
00:54:40,500 --> 00:54:42,730
is now tinged with brown and green
854
00:54:42,740 --> 00:54:44,900
and won't match what's already been shot.
855
00:54:47,180 --> 00:54:48,730
To make matters worse,
856
00:54:48,740 --> 00:54:50,850
the first part of the chain gang scene
857
00:54:50,860 --> 00:54:54,460
was shot in bright sunlight
and now there's no sun at all.
858
00:54:56,940 --> 00:54:59,530
It's pointless.
It's wasted time to be honest,
859
00:54:59,540 --> 00:55:02,570
because we don't have the light.
And I don't know if there ever will.
860
00:55:02,580 --> 00:55:06,050
Do you think it would be possible,
just to anticipate,
861
00:55:06,060 --> 00:55:08,850
to come back to the base camp,
862
00:55:08,860 --> 00:55:13,250
and if the weather is keeping like that,
863
00:55:13,260 --> 00:55:16,850
to try to re-shoot the sequence?
864
00:55:16,860 --> 00:55:21,930
I know that the sequence
is written with big, sunny weather,
865
00:55:21,940 --> 00:55:24,330
but I don't think we have other options.
866
00:55:24,340 --> 00:55:25,850
If we want to do something...
867
00:55:25,860 --> 00:55:28,780
Yeah, yeah, I know, I know.
I know, I know.
868
00:55:29,900 --> 00:55:31,180
Nicola.
869
00:55:32,180 --> 00:55:33,860
Here's a thought.
870
00:55:35,900 --> 00:55:38,170
Taxi is bullshit.
We don't want to do taxi.
871
00:55:38,180 --> 00:55:42,610
But we could do Johnny,
tighter shots, and light him,
872
00:55:42,620 --> 00:55:43,850
even in this light.
873
00:55:43,860 --> 00:55:46,420
For which scene?
Continuing the scene back there.
874
00:55:51,740 --> 00:55:55,130
The crew decides to move camp
in order to shoot a different scene
875
00:55:55,140 --> 00:55:57,290
which doesn't require bright sunlight.
876
00:55:57,300 --> 00:56:00,700
The move will take several hours
out of the day.
877
00:56:32,420 --> 00:56:35,850
We wait them out.
I don't want to waste time,
878
00:56:35,860 --> 00:56:38,810
shooting dialogue while that's going on.
879
00:56:38,820 --> 00:56:40,530
No, we can't.
Yeah.
880
00:56:40,540 --> 00:56:42,850
By the time...
No, no, no, no.
881
00:56:42,860 --> 00:56:44,930
There's going to be something else soon.
882
00:56:44,940 --> 00:56:47,850
There'll be something else,
I don't know what it is, but...
883
00:56:47,860 --> 00:56:51,130
I mean, set there, ready to go.
These guys arrive.
884
00:56:51,140 --> 00:56:53,380
And then we just stir in
a little bit of Munchausen.
885
00:57:00,020 --> 00:57:02,570
Why don't we try to shoot this?
886
00:57:02,580 --> 00:57:05,170
This, the first...
887
00:57:05,180 --> 00:57:07,570
No, we were setting up
for that shot. Yes.
888
00:57:07,580 --> 00:57:08,610
There's a plan,
889
00:57:08,620 --> 00:57:10,730
there's a very clear plan what we're doing
890
00:57:10,740 --> 00:57:13,170
and we're the victims of that.
891
00:57:13,180 --> 00:57:15,970
And if we keep running for each thing,
892
00:57:15,980 --> 00:57:17,610
all we do is run in circles.
893
00:57:17,620 --> 00:57:19,730
I mean, this is...
I don't know what else to do.
894
00:57:19,740 --> 00:57:21,250
All of us have done a lot of stuff,
895
00:57:21,260 --> 00:57:23,130
but none of us know the answer right now.
896
00:57:23,140 --> 00:57:25,500
Everybody is just, like...
897
00:58:00,820 --> 00:58:03,250
All right, ladies and gentlemen,
we're a minute away.
898
00:58:03,260 --> 00:58:05,460
Let's do final checks.
Yes, it says!
899
00:58:13,740 --> 00:58:15,970
Be steady, Sancho. Trust me...
900
00:58:15,980 --> 00:58:19,610
It may happen that before
we pass six days together,
901
00:58:19,620 --> 00:58:22,490
I shall conquer a number of kingdoms.
902
00:58:22,500 --> 00:58:23,810
Fuck you! We had a deal!
903
00:58:23,820 --> 00:58:27,490
And your loyalty shall be rewarded.
904
00:58:27,500 --> 00:58:29,050
Cut!
905
00:58:29,060 --> 00:58:32,090
We're fucked!
Did you see him sit on the horse?
906
00:58:32,100 --> 00:58:34,410
Fucking crazy!
The pain when he sat down...
907
00:58:34,420 --> 00:58:35,450
He can't fucking act.
908
00:58:35,460 --> 00:58:37,290
He can't do it.
It ain't gonna happen.
909
00:58:37,300 --> 00:58:39,690
I was watching his face very carefully as
910
00:58:39,700 --> 00:58:43,210
he got on that horse
and it was just, "Oh, fuck."
911
00:58:43,220 --> 00:58:44,650
He can't ride like that,
912
00:58:44,660 --> 00:58:46,170
he certainly can't act like that
913
00:58:46,180 --> 00:58:48,450
and he certainly can't jiggle
hand props with that.
914
00:58:48,460 --> 00:58:50,890
Honestly, I want to go to
the French and say,
915
00:58:50,900 --> 00:58:54,290
"I'm going to refuse to shoot
with Jean Rochefort on a horse
916
00:58:54,300 --> 00:58:55,860
"until he is medically fit."
917
00:58:57,540 --> 00:58:59,450
The producers want to put him on the horse.
918
00:58:59,460 --> 00:59:01,130
Terry wanted to put him on the horse.
919
00:59:01,140 --> 00:59:03,330
Rochefort himself came out of the trailer
920
00:59:03,340 --> 00:59:05,890
and they put it to him
and he wanted to get on the horse.
921
00:59:05,900 --> 00:59:09,250
And I just overruled Phil and said
"OK, he's got to do it.
922
00:59:09,260 --> 00:59:13,130
"He's got to put somebody on film.
He's been working seven months.
923
00:59:13,140 --> 00:59:15,380
"He hasn't a chance to do anything.
Let's do it."
924
00:59:19,980 --> 00:59:23,250
Lock it up everywhere, shooting now.
925
00:59:23,260 --> 00:59:25,130
Action.
926
00:59:25,140 --> 00:59:29,130
It may happen that before
we spend six days together,
927
00:59:29,140 --> 00:59:31,610
I shall conquer a number of kingdoms.
928
00:59:31,620 --> 00:59:35,300
Cut. I will crown you king
of one of them.
929
00:59:36,860 --> 00:59:38,290
King!
930
00:59:38,300 --> 00:59:39,450
OK, and cut.
931
00:59:39,460 --> 00:59:41,450
That was nice.
932
00:59:41,460 --> 00:59:44,850
One more, OK?
Yes, one more.
933
00:59:44,860 --> 00:59:47,090
When it was time for him to get off,
934
00:59:47,100 --> 00:59:50,610
it took two men to carry him off
the horse and put him in a chair.
935
00:59:50,620 --> 00:59:53,700
Took him 40 minutes from there
to be able to walk to his car.
936
01:00:21,220 --> 01:00:23,170
We're checking the gate,
ladies and gentlemen.
937
01:00:23,180 --> 01:00:25,290
Thank you very much.
938
01:00:25,300 --> 01:00:27,570
I know it hasn't been
the best week for everybody.
939
01:00:27,580 --> 01:00:29,610
I know it's been really, really difficult.
940
01:00:29,620 --> 01:00:31,410
And I know we've had a lot of calamity,
941
01:00:31,420 --> 01:00:34,810
but I'd like to thank you all
very much for hanging in
942
01:00:34,820 --> 01:00:38,650
and doing your bit.
And all I can tell you is
943
01:00:38,660 --> 01:00:41,330
I'll endeavour to make it better next week.
944
01:00:41,340 --> 01:00:44,690
And I hope you'll join me
at Monasterio de Piedra
945
01:00:44,700 --> 01:00:47,370
and we'll start making the film.
946
01:00:47,380 --> 01:00:50,890
Thank you very much, one and all.
That's a warp. Let's pack it up.
947
01:00:50,900 --> 01:00:53,900
Do we get snow next week?
948
01:00:56,100 --> 01:00:59,970
Because the greater problem wasn't
just within the unit...
949
01:00:59,980 --> 01:01:01,610
Never, never, never,
950
01:01:01,620 --> 01:01:04,570
in 22 years I've been in this business,
951
01:01:04,580 --> 01:01:10,490
I've never seen such a sum
of sfiga, we say in Italian...
952
01:01:10,500 --> 01:01:14,610
bad luck. I mean, sfiga is actually
a better word than bad luck.
953
01:01:14,620 --> 01:01:17,650
Because sfiga is the negation of the pussy.
954
01:01:17,660 --> 01:01:22,810
La figa is the pussy,
la sfiga is the negation of it.
955
01:01:22,820 --> 01:01:25,970
Everything that can go wrong, goes wrong.
956
01:01:25,980 --> 01:01:29,810
I mean everything.
Everything, everything, everything.
957
01:01:29,820 --> 01:01:31,650
If you write a script
958
01:01:31,660 --> 01:01:34,370
and you think of
the worst possible situation,
959
01:01:34,380 --> 01:01:37,290
you can't make it up.
I mean, it's...
960
01:01:37,300 --> 01:01:38,690
I don't know.
961
01:01:38,700 --> 01:01:42,650
I think storyboards is the only way
I'm gonna get my brain together.
962
01:01:42,660 --> 01:01:45,850
The producers are looking for
a solution to the film's problems.
963
01:01:45,860 --> 01:01:47,930
And it's often the case
on film productions,
964
01:01:47,940 --> 01:01:49,890
that the first solution is to replace
965
01:01:49,900 --> 01:01:51,250
the assistant director.
966
01:01:51,260 --> 01:01:53,890
In this case, Gilliam's right-hand man,
967
01:01:53,900 --> 01:01:55,220
Phil Patterson.
968
01:01:56,460 --> 01:01:58,850
I think that actually if you fire him,
969
01:01:58,860 --> 01:02:01,570
he would be very happy, the first reaction,
970
01:02:01,580 --> 01:02:04,140
then he probably would, because he...
971
01:02:05,700 --> 01:02:09,930
It's basically he's taking all
the responsibility on his shoulders.
972
01:02:09,940 --> 01:02:12,650
And he's feeling it's just
a complete failure
973
01:02:12,660 --> 01:02:15,050
and it's his fault.
And that's ridiculous.
974
01:02:15,060 --> 01:02:17,130
That's where that's coming from.
975
01:02:17,140 --> 01:02:19,650
So that kind of sense of responsibility
976
01:02:19,660 --> 01:02:21,700
and dedication is really rare.
977
01:02:28,900 --> 01:02:30,970
Because Phil has been one of the few people
978
01:02:30,980 --> 01:02:32,650
holding this thing together.
979
01:02:32,660 --> 01:02:35,490
His strength is that he
just won't let go, he'll keep going.
980
01:02:35,500 --> 01:02:37,770
And if he can regain
981
01:02:37,780 --> 01:02:41,020
some sense of being able
to control, you know, the mess...
982
01:02:42,660 --> 01:02:44,060
I don't know.
983
01:02:50,140 --> 01:02:54,890
Later that day, Jean Rochefort
flies back Paris, to see his doctor.
984
01:02:54,900 --> 01:02:57,650
Although Rochefort will be
returning in a few days,
985
01:02:57,660 --> 01:02:59,970
his departure leaves
the production in a quandary,
986
01:02:59,980 --> 01:03:02,650
about what to do with
the next week's shoot.
987
01:03:02,660 --> 01:03:05,610
I stated my opinion quite strongly
that we should pack up,
988
01:03:05,620 --> 01:03:08,810
and we should take the unit back to Madrid
989
01:03:08,820 --> 01:03:10,650
and reconstitute ourselves
990
01:03:10,660 --> 01:03:13,730
and make a decision
about where we were going.
991
01:03:13,740 --> 01:03:16,730
Any form of shooting was wasteful.
992
01:03:16,740 --> 01:03:20,530
There's a lot of argument to say,
"Cut and run now. Stop."
993
01:03:20,540 --> 01:03:22,050
But I would rather keep shooting,
994
01:03:22,060 --> 01:03:24,130
because at least
we're putting stuff on film,
995
01:03:24,140 --> 01:03:27,130
and we got people who just gave us
$16 million,
996
01:03:27,140 --> 01:03:28,770
coming down, 60 of them.
997
01:03:28,780 --> 01:03:31,300
Yeah, we gotta shoot on Monday.
We have to shoot no matter what.
998
01:03:43,420 --> 01:03:44,860
Here we go.
999
01:03:59,420 --> 01:04:03,260
Welcome to Spain, to the set, to the movie.
1000
01:04:04,700 --> 01:04:07,730
With Rochefort scheduled
to return in two days,
1001
01:04:07,740 --> 01:04:10,730
Gilliam and the producers
have decided to forge ahead
1002
01:04:10,740 --> 01:04:13,250
and shoot the scenes
that don't require him.
1003
01:04:13,260 --> 01:04:15,250
They're especially concerned
that the location
1004
01:04:15,260 --> 01:04:16,930
will be unusable in a few weeks
1005
01:04:16,940 --> 01:04:19,250
when leaves begin to fall from the trees.
1006
01:04:19,260 --> 01:04:23,410
They also have their principal
investors visiting the set.
1007
01:04:23,420 --> 01:04:25,330
You fiddle with the fish.
Beat his brains out
1008
01:04:25,340 --> 01:04:27,970
and the horse comes up
and nudges you over that way.
1009
01:04:27,980 --> 01:04:30,610
So is that me?
1010
01:04:30,620 --> 01:04:34,730
I hope so. Or the horse.
He's very good. He's a professional.
1011
01:04:34,740 --> 01:04:37,340
Lock it up everyone.
We're shooting now.
1012
01:04:40,780 --> 01:04:43,810
We've loaded the fish.
The fish is loaded.
1013
01:04:43,820 --> 01:04:45,850
Here we go.
1014
01:04:45,860 --> 01:04:48,170
Roll camera!
1015
01:04:48,180 --> 01:04:49,540
Action.
1016
01:04:55,380 --> 01:04:59,050
Horse come on.
Come on, horse, come on, horsey.
1017
01:04:59,060 --> 01:05:01,010
Huh? Fucker?
1018
01:05:01,020 --> 01:05:03,850
Cut it, cut it.
Let's do it again, straight away.
1019
01:05:03,860 --> 01:05:06,090
Fast. Action.
1020
01:05:06,100 --> 01:05:08,330
Horse come on. Horse.
1021
01:05:08,340 --> 01:05:11,740
We're moving in.
Is the horse about to move? OK.
1022
01:05:13,940 --> 01:05:15,770
Good, good, good, good. Good idea.
1023
01:05:15,780 --> 01:05:17,810
Cut, cut, cut, cut, cut, cut, cut.
1024
01:05:17,820 --> 01:05:20,690
Turn the camera on this.
Turn the camera on Johnny, looks in.
1025
01:05:20,700 --> 01:05:23,050
Let's just get on with it.
Johnny, we go into a close-up.
1026
01:05:23,060 --> 01:05:25,690
We don't have to be anywhere.
Johnny can do it from here.
1027
01:05:25,700 --> 01:05:26,890
Leave the camera there,
1028
01:05:26,900 --> 01:05:28,690
he turns in the camera and walks out.
1029
01:05:28,700 --> 01:05:31,580
Get some shots.
This is fucking stupid. Jesus!
1030
01:05:33,340 --> 01:05:35,090
As Gilliam troubleshoots the scene,
1031
01:05:35,100 --> 01:05:38,730
news arrives from Paris
that it will be at least a week
1032
01:05:38,740 --> 01:05:41,690
before Jean Rochefort
is well enough to return.
1033
01:05:41,700 --> 01:05:44,020
You now what they're going to ask us to do?
1034
01:05:48,980 --> 01:05:51,780
They're going to say,
let's start him off without...
1035
01:06:10,020 --> 01:06:12,290
It's a funnier look from there.
OK.
1036
01:06:12,300 --> 01:06:15,370
But that was really good though.
Everything sort of clicked.
1037
01:06:15,380 --> 01:06:17,860
Lock it up everywhere. Shooting now.
1038
01:06:25,780 --> 01:06:28,650
You want to fuck with me, huh?
Fucker!
1039
01:06:28,660 --> 01:06:31,820
What were you thinking?
What were you thinking?
1040
01:06:34,500 --> 01:06:36,330
And cut it!
1041
01:06:36,340 --> 01:06:37,770
Cut it. Just cut it out.
1042
01:06:37,780 --> 01:06:39,690
Ladies and gentlemen, that's a wrap.
1043
01:06:39,700 --> 01:06:42,780
You're supposed to be at the front.
I'm the football.
1044
01:06:46,380 --> 01:06:48,380
The team! Excellent.
1045
01:06:51,220 --> 01:06:54,170
I'll be down here, like this.
1046
01:06:54,180 --> 01:06:56,250
OK, we give you one, two, three.
1047
01:06:56,260 --> 01:06:58,850
At three, I will be shooting, all right?
1048
01:06:58,860 --> 01:07:01,650
Hi!
Hi.
1049
01:07:01,660 --> 01:07:05,410
Thank you.
1050
01:07:05,420 --> 01:07:07,330
Thank you.
1051
01:07:07,340 --> 01:07:11,490
As the investors leave the set,
the insurance adjusters arrive.
1052
01:07:11,500 --> 01:07:14,410
They've come to investigate
last week's claims
1053
01:07:14,420 --> 01:07:17,020
and to decide how to proceed
in Rochefort's absence.
1054
01:07:20,940 --> 01:07:24,650
Just so you know,
we're not going to shoot tomorrow.
1055
01:07:24,660 --> 01:07:27,340
OK? So we're going to
travel back to Madrid.
1056
01:07:30,300 --> 01:07:32,650
Just check in with production
before you go.
1057
01:07:32,660 --> 01:07:35,730
Eight o'clock, we meet at the base camp,
1058
01:07:35,740 --> 01:07:39,050
have breakfast together
and decide what to do.
1059
01:07:39,060 --> 01:07:41,210
All right?
1060
01:07:41,220 --> 01:07:43,490
Meeting at eight o'clock at the base camp,
1061
01:07:43,500 --> 01:07:45,140
have breakfast together.
1062
01:07:46,180 --> 01:07:49,020
We'll see.
We're not shooting, but we'll see.
1063
01:07:52,780 --> 01:07:55,730
We don't known the state of
Jean Rochefort's health.
1064
01:07:55,740 --> 01:08:00,250
We don't know whether he's going to
come back whole, or come back.
1065
01:08:00,260 --> 01:08:01,810
Or what. We don't know.
1066
01:08:01,820 --> 01:08:05,260
I mean, he's been tested,
prodded, probed, poked.
1067
01:08:06,700 --> 01:08:09,820
And I suppose we'll know in a couple
more days what his state is.
1068
01:08:28,220 --> 01:08:29,250
In the book,
1069
01:08:29,260 --> 01:08:32,010
Cervantes does something
very strange and very cruel.
1070
01:08:32,020 --> 01:08:35,330
At every turn, Cervantes mocks Quixote.
1071
01:08:35,340 --> 01:08:38,010
At every turn,
Cervantes goes out of his way
1072
01:08:38,020 --> 01:08:40,730
to show how foolish the old man is.
1073
01:08:40,740 --> 01:08:44,290
And the crueller he is,
the more we love Quixote.
1074
01:08:44,300 --> 01:08:46,890
So that when this man
becomes sane at the end,
1075
01:08:46,900 --> 01:08:48,930
as a reader, we can't stand this.
1076
01:08:48,940 --> 01:08:51,450
We don't want him to be sane,
we want him to remain mad.
1077
01:08:51,460 --> 01:08:54,570
Because we know full well,
that when he's sane, he will die.
1078
01:08:54,580 --> 01:08:58,370
We're waiting to hear what the doctor says.
1079
01:08:58,380 --> 01:09:00,050
What test he wants to do.
1080
01:09:00,060 --> 01:09:03,050
Or does he just say,
"Jean, you need to rest"?
1081
01:09:03,060 --> 01:09:06,010
We're just waiting to hear.
Literally, just waiting to hear.
1082
01:09:06,020 --> 01:09:08,930
On film productions, a completion guarantor
1083
01:09:08,940 --> 01:09:11,610
assumes financial responsibility
for ensuring
1084
01:09:11,620 --> 01:09:14,370
that a film will be completed
and delivered on schedule.
1085
01:09:14,380 --> 01:09:18,250
Fred Millstein has come to Madrid
to protect his assets
1086
01:09:18,260 --> 01:09:22,730
and to help the production team
cope with the recent setbacks.
1087
01:09:22,740 --> 01:09:26,330
I think there is no worse situation
1088
01:09:26,340 --> 01:09:28,530
than not knowing anything.
1089
01:09:28,540 --> 01:09:31,130
So everyone is keeping asking every day,
1090
01:09:31,140 --> 01:09:33,490
"What do we have to do?"
"When are we going to restart?"
1091
01:09:33,500 --> 01:09:37,410
And nobody is able to give an answer.
1092
01:09:37,420 --> 01:09:39,540
We don't know. We don't know.
1093
01:09:40,540 --> 01:09:42,220
No, that's all the news we have.
1094
01:09:44,620 --> 01:09:46,770
Yeah, yeah, yeah, yeah, yeah. Yeah.
1095
01:09:46,780 --> 01:09:51,170
OK, the castle? No, we moved that
from Wednesday.
1096
01:09:51,180 --> 01:09:54,090
Fantastic. Brilliant.
1097
01:09:54,100 --> 01:09:55,900
Absolutely fantastic.
1098
01:09:57,460 --> 01:09:58,860
They're wonderful.
1099
01:09:59,980 --> 01:10:02,370
I mean, I keep working.
I keep marching ahead.
1100
01:10:02,380 --> 01:10:04,730
It's the one thing I've always been
pretty good at,
1101
01:10:04,740 --> 01:10:07,010
is just to keep marching ahead
and doing it and saying,
1102
01:10:07,020 --> 01:10:09,570
"Yeah, we can do it,
let's keep going, let's keep going."
1103
01:10:09,580 --> 01:10:14,220
We're not shooting Monday, Tuesday.
So you can have a holiday til then.
1104
01:10:24,620 --> 01:10:27,570
The production team has been working
to arrange a new schedule
1105
01:10:27,580 --> 01:10:29,050
based on Rochefort's return,
1106
01:10:29,060 --> 01:10:31,810
but the news comes in
from Rochefort's doctors
1107
01:10:31,820 --> 01:10:34,930
that he will not be returning
for at least ten more days.
1108
01:10:34,940 --> 01:10:37,210
And while the production
continues to spend money
1109
01:10:37,220 --> 01:10:38,370
to keep the crew working,
1110
01:10:38,380 --> 01:10:42,130
the insurance company seems to be
claiming that Rochefort's illness
1111
01:10:42,140 --> 01:10:44,330
may be a "force majeure" event,
1112
01:10:44,340 --> 01:10:47,090
an act of God, not covered by the policy.
1113
01:10:47,100 --> 01:10:50,770
His opinions is more that
if there's an insured event,
1114
01:10:50,780 --> 01:10:54,690
it's not "force majeure".
It needs to be defined.
1115
01:10:54,700 --> 01:10:56,450
It needs to be defined.
1116
01:10:56,460 --> 01:10:59,650
But, clearly, it's for acts of God.
1117
01:10:59,660 --> 01:11:02,010
And he doesn't think
the illness of another actor
1118
01:11:02,020 --> 01:11:04,370
is a force majeure event.
1119
01:11:04,380 --> 01:11:08,090
The "force majeure",
it's necessary to have a definition
1120
01:11:08,100 --> 01:11:11,970
of the force majeure to be applicable.
1121
01:11:11,980 --> 01:11:16,450
He was looking at the contract
and he said there is no definition,
1122
01:11:16,460 --> 01:11:20,010
no real definition of
the force majeure. In that case,
1123
01:11:20,020 --> 01:11:23,010
for him, I don't know,
it's not applicable at all.
1124
01:11:23,020 --> 01:11:25,970
My feeling, or my wish
more than my feeling,
1125
01:11:25,980 --> 01:11:30,570
is that we should at least stop
for a few weeks or months
1126
01:11:30,580 --> 01:11:32,370
and reorganise everything, because,
1127
01:11:32,380 --> 01:11:34,650
of course the location now is a big mess,
1128
01:11:34,660 --> 01:11:36,730
cast is a big mess, crew is a big mess.
1129
01:11:36,740 --> 01:11:39,490
So the best thing for everybody,
and for the film,
1130
01:11:39,500 --> 01:11:40,570
would to be able to stop,
1131
01:11:40,580 --> 01:11:42,930
but I know that, financially,
that's a lot of money.
1132
01:11:42,940 --> 01:11:44,850
The insurance company was saying,
1133
01:11:44,860 --> 01:11:46,930
"Hold on, you have to be very careful.
1134
01:11:46,940 --> 01:11:48,890
"So keep everybody on track,
1135
01:11:48,900 --> 01:11:51,850
"but on the other hand,
don't spend money."
1136
01:11:51,860 --> 01:11:58,050
The question is
whether they would re-insure Jean.
1137
01:11:58,060 --> 01:11:59,770
That's the problem.
1138
01:11:59,780 --> 01:12:02,930
And then the pressure would be to re-cast
1139
01:12:02,940 --> 01:12:05,530
and that's what I don't want to do.
1140
01:12:05,540 --> 01:12:07,370
And I don't even know who can do the job.
1141
01:12:07,380 --> 01:12:11,170
Cos, I mean, We spent a long time
coming to Jean Rochefort.
1142
01:12:11,180 --> 01:12:13,690
And then he spent a year and a half
thinking about it,
1143
01:12:13,700 --> 01:12:17,930
seven months learning English
and he's magnificent.
1144
01:12:17,940 --> 01:12:20,410
Another problem with recasting the film,
1145
01:12:20,420 --> 01:12:22,570
is that Gilliam, Depp and Rochefort
1146
01:12:22,580 --> 01:12:25,970
are what are contractually known as
essential elements.
1147
01:12:25,980 --> 01:12:28,050
If any one of them leaves the project,
1148
01:12:28,060 --> 01:12:30,260
the film must be entirely refinanced.
1149
01:13:23,780 --> 01:13:27,570
The idea is to reschedule
the film as soon as possible.
1150
01:13:27,580 --> 01:13:30,810
Check with everybody, actors, erm,
1151
01:13:30,820 --> 01:13:34,010
all the departments and locations
about their availability of
1152
01:13:34,020 --> 01:13:37,650
the new schedule,
based on starting on the 16th.
1153
01:13:37,660 --> 01:13:40,050
What's happening if Jean
is not back on the 16th?
1154
01:13:40,060 --> 01:13:41,850
There are many possibilities.
1155
01:13:41,860 --> 01:13:43,890
The film is going to be done.
It doesn't matter how.
1156
01:13:43,900 --> 01:13:45,140
The film is going to be done.
1157
01:14:13,460 --> 01:14:15,930
I'd just like to know, for the record,
1158
01:14:15,940 --> 01:14:17,900
where is the director of this film?
1159
01:14:23,460 --> 01:14:27,090
This is no way to make a film,
even a small film.
1160
01:14:27,100 --> 01:14:28,450
This is just crap.
No.
1161
01:14:28,460 --> 01:14:31,770
I mean, to make one like this,
it's impossible.
1162
01:14:31,780 --> 01:14:35,090
The fact is,
nothing is pushing us right now.
1163
01:14:35,100 --> 01:14:36,810
There's no motor any more in this.
1164
01:14:36,820 --> 01:14:40,010
We're just waiting for the insurance
to tell us what to do.
1165
01:14:40,020 --> 01:14:43,140
Nobody seems to be in control, of anything.
1166
01:14:44,460 --> 01:14:45,530
I like shooting things,
1167
01:14:45,540 --> 01:14:47,970
even if it's completely fucked up
and totally useless.
1168
01:14:47,980 --> 01:14:51,210
At least, there's some images.
Something to pay...
1169
01:14:51,220 --> 01:14:54,620
To justify the several years of work.
1170
01:14:56,660 --> 01:14:58,330
So much denial going on.
1171
01:14:58,340 --> 01:15:00,290
You know, the fact, the 27th of November,
1172
01:15:00,300 --> 01:15:03,970
Jean Rochefort is going to be back,
dancing, jumping on the horse.
1173
01:15:03,980 --> 01:15:05,370
Forget about it!
1174
01:15:05,380 --> 01:15:09,980
I mean, accept the idea this man
won't be fit to make the movie.
1175
01:15:32,820 --> 01:15:37,170
No, but see, the problem is,
we had force majeure last weekend
1176
01:15:37,180 --> 01:15:40,370
and we should have used that
in order to straighten house.
1177
01:15:40,380 --> 01:15:43,690
And when I say to Bernard,
like I did today, "Bernard,
1178
01:15:43,700 --> 01:15:45,770
"tell me now, tell me straight to my face
1179
01:15:45,780 --> 01:15:47,410
"that if Rochefort comes back,
1180
01:15:47,420 --> 01:15:50,410
"and we have him on the set,
and I turn to you
1181
01:15:50,420 --> 01:15:52,650
"as the first AD, on the set,
1182
01:15:52,660 --> 01:15:56,010
"and say 'this man is
incapable of working, '
1183
01:15:56,020 --> 01:15:57,890
"are you going to sail me
down the tube again?
1184
01:15:57,900 --> 01:16:00,170
"Are you going to vote against
my decision?"
1185
01:16:00,180 --> 01:16:01,530
And I'm trying to remain...
1186
01:16:01,540 --> 01:16:04,090
You're not... succeeding,
particularly, but go on.
1187
01:16:04,100 --> 01:16:07,490
Somewhat rational...
Somewhat is good enough.
1188
01:16:07,500 --> 01:16:09,610
Here's what's making me crazy.
1189
01:16:09,620 --> 01:16:12,530
OK, we've stopped shooting and
now we're reorganizing ourselves.
1190
01:16:12,540 --> 01:16:15,650
Well, are we reorganizing ourselves?
No.
1191
01:16:15,660 --> 01:16:18,570
No. That's what pisses me off,
this is the whole point of the time,
1192
01:16:18,580 --> 01:16:20,810
is to go through and get ourselves
1193
01:16:20,820 --> 01:16:23,770
in fighting-fit shape
to actually do the film.
1194
01:16:23,780 --> 01:16:25,930
And nothing is happening.
Nothing is happening.
1195
01:16:25,940 --> 01:16:28,450
We're running around in circles.
1196
01:16:28,460 --> 01:16:30,610
And the days are just floating past.
1197
01:16:30,620 --> 01:16:32,930
We're getting in worse shape
than we were when we stopped.
1198
01:16:32,940 --> 01:16:34,330
I don't know how one gets out.
1199
01:16:34,340 --> 01:16:37,090
Not being... Having been
in this stuff before,
1200
01:16:37,100 --> 01:16:41,170
I ploughed on. And I don't have any
energy to plough on at the moment.
1201
01:16:41,180 --> 01:16:44,370
This isn't a ploghable...
Yeah, I know. I know that.
1202
01:16:44,380 --> 01:16:47,380
So I don't know how a plug
gets pulled on a thing like this.
1203
01:16:50,100 --> 01:16:53,890
Look, I'm going to go back to Algete
1204
01:16:53,900 --> 01:16:56,250
and I'm going to tell the French producers
1205
01:16:56,260 --> 01:17:00,650
that I'm not going to continue in
the project the way it is.
1206
01:17:00,660 --> 01:17:03,370
And explain to them the reason
that I'm leaving the film
1207
01:17:03,380 --> 01:17:05,450
is that I don't have confidence
in the producers
1208
01:17:05,460 --> 01:17:07,810
to support me in the decisions
that need to be made
1209
01:17:07,820 --> 01:17:09,820
in terms of making the film.
1210
01:17:13,460 --> 01:17:18,140
We can't make the film.
Not the film you want to make.
1211
01:17:19,580 --> 01:17:22,890
You know, I'm sorry to be,
1212
01:17:22,900 --> 01:17:26,970
as always, the bearer
of fucking bad tidings and...
1213
01:17:26,980 --> 01:17:28,220
whatever, but...
1214
01:18:00,940 --> 01:18:02,620
Yeah. Mm.
1215
01:18:04,540 --> 01:18:07,730
I don't know any more.
I've lost it completely.
1216
01:18:07,740 --> 01:18:10,850
I can't imagine the film any more.
That's my problem.
1217
01:18:10,860 --> 01:18:13,890
Yeah, yeah, yeah. Exactly.
1218
01:18:13,900 --> 01:18:16,740
And now everyone's limping off
to other jobs, even already.
1219
01:18:20,140 --> 01:18:21,490
Have you heard any more since
1220
01:18:21,500 --> 01:18:24,020
the fact that doctors are just doing
more tests today?
1221
01:18:25,140 --> 01:18:27,300
Yeah, for the insurers
all going to Paris tomorrow.
1222
01:18:30,060 --> 01:18:33,690
It's almost like
I've forgotten about this film.
1223
01:18:33,700 --> 01:18:35,690
It's like it doesn't exist, it can't exist.
1224
01:18:35,700 --> 01:18:38,450
Cos if it does exist, it's too painful.
1225
01:18:38,460 --> 01:18:40,530
I'll just hang around here.
1226
01:18:40,540 --> 01:18:42,970
Yeah, yeah, a shell. Yeah.
1227
01:18:42,980 --> 01:18:46,020
OK. All right, thanks. Bye.
1228
01:18:53,700 --> 01:18:58,020
Well, the insurers are
all meeting in Paris tomorrow.
1229
01:18:59,380 --> 01:19:03,850
Rene's going up there to decide what to do.
1230
01:19:03,860 --> 01:19:06,010
But there's been a little complication.
1231
01:19:06,020 --> 01:19:07,780
Fred Millstein, the completion bond...
1232
01:19:09,180 --> 01:19:12,180
guy has been down here
the last few days, trying to...
1233
01:19:13,700 --> 01:19:14,940
sort things out.
1234
01:19:16,220 --> 01:19:17,690
And he was saying something to Jose
1235
01:19:17,700 --> 01:19:20,450
about the fact that
the paperwork isn't quite correct
1236
01:19:20,460 --> 01:19:22,730
between him and the insurance company.
1237
01:19:22,740 --> 01:19:26,330
And it could mean that he's
going to get stuck with the bill.
1238
01:19:26,340 --> 01:19:28,250
Which would be disastrous for him,
1239
01:19:28,260 --> 01:19:33,020
cos he's not protected in
the way insurance companies are.
1240
01:19:34,220 --> 01:19:37,090
And Jose is saying, you know,
of course he'll fight it
1241
01:19:37,100 --> 01:19:38,530
and it'll probably end up in court,
1242
01:19:38,540 --> 01:19:41,050
with them fighting over
who picks up the pieces,
1243
01:19:41,060 --> 01:19:45,500
or picks up the pieces of paper
that need paying.
1244
01:19:47,060 --> 01:19:50,930
It's like what it is
is the curse of Quixote.
1245
01:19:50,940 --> 01:19:52,820
Going on around us. Interesting.
1246
01:19:56,220 --> 01:19:58,370
Listen to that wind.
1247
01:19:58,380 --> 01:20:00,490
It started with the deluge,
1248
01:20:00,500 --> 01:20:03,170
and now the great wind
is sweeping it clean,
1249
01:20:03,180 --> 01:20:06,490
blowing Quixote away,
out of Spain, forever.
1250
01:20:06,500 --> 01:20:08,860
It's howling out there, "It's over."
1251
01:20:16,460 --> 01:20:20,930
By the end of October, it's clear
that Rochefort will not return.
1252
01:20:20,940 --> 01:20:24,370
He's been diagnosed with
a double herniated disc.
1253
01:20:24,380 --> 01:20:27,140
And he requires at least
another month of recovery.
1254
01:20:30,060 --> 01:20:32,380
What is the state of the film now?
1255
01:20:53,740 --> 01:20:57,570
Often, when you have problems in prep,
1256
01:20:57,580 --> 01:21:00,210
when you have a shaky film production
1257
01:21:00,220 --> 01:21:03,330
the usual catchcry of the film is,
1258
01:21:03,340 --> 01:21:05,610
"Let's start shooting
and straighten it out."
1259
01:21:05,620 --> 01:21:09,090
Always in the belief that
to begin filming will
1260
01:21:09,100 --> 01:21:12,650
help you get on track
and send you down one path.
1261
01:21:12,660 --> 01:21:14,740
The old train theory.
1262
01:21:15,820 --> 01:21:17,050
It didn't work this time.
1263
01:21:17,060 --> 01:21:20,490
Jean Rochefort was
the sort of tragic end to it.
1264
01:21:20,500 --> 01:21:23,860
A series of problems
that beset the film quite early on.
1265
01:21:26,220 --> 01:21:30,810
Maybe the only real responsibility
of Terry is, about all this mess,
1266
01:21:30,820 --> 01:21:33,890
that is in order to make it happen,
1267
01:21:33,900 --> 01:21:37,810
I believe he lowered too much his targets.
1268
01:21:37,820 --> 01:21:41,970
And he gave an impression of
being about to do
1269
01:21:41,980 --> 01:21:44,450
a more simple movie than it is.
1270
01:21:44,460 --> 01:21:47,730
Because again, it's been going on
for so long for him.
1271
01:21:47,740 --> 01:21:49,690
I mean, that's what we don't consider,
1272
01:21:49,700 --> 01:21:52,220
for him, this is not the first time.
1273
01:21:54,980 --> 01:21:56,730
Terry is very good at being proud
1274
01:21:56,740 --> 01:21:58,890
of how impossible something might be,
1275
01:21:58,900 --> 01:22:01,410
but no director is going to start
a picture thinking,
1276
01:22:01,420 --> 01:22:03,130
"We may not ever get through this".
1277
01:22:03,140 --> 01:22:06,170
It was very painful
to see it all coming horribly true.
1278
01:22:06,180 --> 01:22:07,210
Like I say, it was...
1279
01:22:07,220 --> 01:22:09,530
the most painful thing
was seeing reality win
1280
01:22:09,540 --> 01:22:12,220
over Don Quixote in the end.
Because it did.
1281
01:22:35,740 --> 01:22:38,090
I honestly don't know
what I'd like to see happen
1282
01:22:38,100 --> 01:22:40,890
I suppose on one hand,
I'd like Jean to get better
1283
01:22:40,900 --> 01:22:42,740
and us to be able to make the film.
1284
01:22:44,100 --> 01:22:46,970
And that would be...
On the other hand, I don't know.
1285
01:22:46,980 --> 01:22:48,970
I mean, I just, like...
1286
01:22:48,980 --> 01:22:52,250
I've done the film too often
in my head, too many times.
1287
01:22:52,260 --> 01:22:54,820
I've seen it, I've been through it,
I know how it goes.
1288
01:22:57,180 --> 01:22:59,930
Is it better, you know,
to just leave it there?
1289
01:22:59,940 --> 01:23:01,460
I really don't know.
103831
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