1. All right. We're here
to blather about the movie.
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2. This is Jen Nelson,
the director of The Darkest Minds.
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3. And Dan Levine, producer.
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4. And Dan Cohen,
executive producer.
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5. - Wow. This is...
- That's the logo.
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6. This is probably the first time
we've watched the movie
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7. in a little while, right?
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8. - I think we got to re-up our...
- Several months.
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9. - Re-up our hard drives.
- I hear good things.
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10. Well, this was really
about two years...
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11. This was really about two years of us
trying to figure out
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12. how to make this movie, right?
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13. Yeah, to get the script right
and how to make it feel different
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14. from the other sort of
YA dystopian movies out there.
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15. Yeah, because when I first
met you guys, it was two years ago...
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16. - Yeah.
- Almost to the day, pretty much.
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17. - Yeah.
- Was it really?
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18. - Yeah.
- You checked your diary?
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19. - I think so. It's on my calendar.
- Nice.
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20. And I read the script,
and we're chatting about this movie
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21. as being something
you were very passionate about
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22. - for a while, right?
- Yes. Oh, yeah. No, we... Dan and I...
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23. I think we've been
working on this for what?
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24. - Seven years?
- Yeah, six, seven years.
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25. I want to say it was 2011
when we sold the book to Fox.
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26. By the way, we've not been
talking about the cup shaking,
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27. which was very hard to get.
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28. - People might think that was an easy bit.
- I wanted that cup shaking so bad.
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29. I know. We...
I think we got it right.
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30. - Yeah.
- But there was...
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31. Every war starts quietly.
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32. It's a long journey getting there.
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33. - Yes.
- Yeah, so...
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34. It's always good to start a movie
with a kid dying in cafeteria class room.
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35. It's always... one of those
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36. sort of movie 101s
that they teach you at school.
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37. Pretty much, but this moment
was in the book,
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38. - and it's also...
- Yes.
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39. In the script,
in the very early passes of the script.
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40. It started off the whole
story with such a bang.
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41. I feel like the...
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42. What we had in the early scripts,
most of it's still in the movie.
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43. The script while it
always got better and better,
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44. the bones of it were always,
story-wise, very much the same.
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45. Strange and unexplained incidents
involving surviving children...
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46. - Definitely.
- Except for this scene, which you
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47. always find that, when you finish
a movie, you have to go back
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48. and reshoot all your newscast scenes
to better fit the movie.
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49. I think everyone makes the mistake
of doing them while you're filming,
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50. which makes sense, but somehow your story
shifts, and then it never tracks,
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51. and you always do these quick
reshoots with the newscasters.
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52. - Like this.
- Like this.
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53. It's like a fancy little pickup shot
that we got on the Fox lot.
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54. - Yep.
- Yes, we did.
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55. We shot this all in Atlanta,
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56. but this was something we did in LA
a few months back, just to, uh...
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57. Get the information exactly right
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58. - that he's talking about.
- Yeah, move the story along,
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59. - set it up a little better.
- Yeah, I think that's...
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60. the beginning of our movie, we always
had to figure out how to get the...
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61. It's always a balance
of world-building, and yet getting at it
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62. - in an emotional way.
- Right.
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63. Getting across
all of our characters, like Clancy there.
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64. And... what's also nice is
starting off with a little bit of sympathy
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65. so that you kind of feel for the dad
dealing with the fact his son
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66. - is going through all this stuff.
- Personalize it.
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67. Yeah.
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68. I think, throughout
every step of the process,
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69. we're always trying to find
those little emotional beats
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70. to put in there to humanize everyone
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71. and keep this from becoming
so straight-out about the dystopia.
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72. - It's more about people.
- I think that's why
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73. we wanted to cast
Bradley as the president,
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74. just because he felt grounded
and real, and...
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75. Yeah. This was probably the first...
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76. Do you remember
there was a big thunderstorm?
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77. This was the first day of shooting.
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78. Yeah, there was
a huge storm outside.
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79. - We were worried about losing power.
- It was the very first day of shoot.
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80. This was the scene where me and the DP,
Kramer, and H, the first AD,
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81. were crammed in the kid's closet
around the corner,
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82. - 'cause there was no room.
- Yeah. Felt very left out.
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83. Yeah... Literally no room
in the closet. It was about two by two.
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84. You don't have to worry about me.
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85. I'll be fine.
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86. Okay, bed time.
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87. I love you.
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88. So, this wasn't
in the book, and it's...
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89. This is a late addition
in developing the script.
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90. Right. It was a late addition.
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91. It was something that we wanted
to make sure that you thought of...
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92. You're with little Ruby
as she's thinking about her parents
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93. and trying to give a tangible goal
for her to try to get home for...
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94. Like, she's thinking about home,
so this is the object she looks at
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95. - when she's thinking about home.
- Mm-hmm.
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96. And there was no
physical object in the book.
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97. How did that pop in your head?
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98. - What's the back story there?
- Funnily enough, a friend of ours
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99. who's a story artist,
actually, in live action,
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100. Amy, gave my husband
a souvenir card from Japan
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101. when she went traveling to Japan.
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102. I remember seeing
early props of that.
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103. It's always fun when
you're working on a story,
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104. seeing how an idea evolves.
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105. - Right.
- And as we did more passes
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106. deep into prep,
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107. seeing how it became more prevalent
in the script and more important
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108. as you'll see later in the movie, too.
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109. Right, and the fact that,
of course, later on in the movie,
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110. the fact that it becomes this thing
that Ruby gives Liam
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111. sort of to send him away with,
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112. again, it's a visual way
of showing, "remember me."
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113. I remember
with Mike Sable in props,
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114. looking at the different versions,
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115. - and trying to figure out...
- Yeah, there were some ugly ones.
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116. - And then there's some cute ones.
- I was worried this one was
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117. too small, but it actually
turned out to be just right.
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118. - It fits well in a kid's hand.
- Fits well in the hand.
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119. Yeah, 'cause you have
something too big,
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120. and then you think the guards
are really stupid for missing it, but...
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121. Everyone watching and wondering,
this is actually a real house.
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122. We did not build this.
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123. We took over someone's house
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124. who was nice enough to rent it to us.
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125. There was this awesome motorcycle in
the garage that we had to shoot around.
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126. I think they had to move it out,
but it was just a crazy-huge cruiser bike
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127. with an Evel Knievel color scheme.
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128. - Nice.
- I wanted to keep it.
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129. - How is that not in the movie?
- I don't know.
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130. Well, I guess we should've
talked to the prop master.
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131. Is it too late?
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132. Oh, man.
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133. Lidya was so good.
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134. - Yeah. She was great, a real pro.
- Yeah, she...
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135. All our kid actors were
so good in this movie.
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136. We really lucked out.
Not only were they great actors
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137. and performers and professionals,
but they're really nice to be around.
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138. Yeah.
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139. And Lidya was talking about how
she wants to be a veterinarian.
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140. I thought, "She has it all planned out."
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141. Hopefully, we didn't ruin that
by giving her a taste of acting.
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142. The one thing to talk about would
be just past the scenes of the landscape
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143. as they're leaving, as we really
didn't want this movie
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144. to be your typical YA dystopian,
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145. "Far in the future, buildings raised,
big war had been fought."
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146. We really wanted it to feel
a minute in the future
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147. and just, really, the absence of children.
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148. What would the world look like
without kids in it?
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149. - And part of it...
- And we wanted a big truck.
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150. - Right.
- And we got that.
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151. I sat in that. That was awesome.
I want to take that home.
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152. Actually, there's a picture of you
and I in it, and I look really awful.
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153. I really remember being like,
"Damn, I missed a good photo op."
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154. It was a terrible angle for me.
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155. Hey, it's a set. Everyone's sweaty
and ugly on set except for the actors.
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156. But this set was really one
of the first ones we chose, wasn't it?
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157. Because of the amazing color inside
these buildings, which was all practical.
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158. And it's pretty creepy and uncanny
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159. how these scenes
are mirroring what's going on
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160. with, you know, the tragedies that are
going on in the world right now, with...
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161. - It is a bit...
- kids being rounded up
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162. - by the government.
- Again, this...
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163. This was written a while ago, years ago.
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164. The book was written
many years ago,
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165. and the scripts were written
many years before,
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166. but it is chilling when you see sort
of a dystopian future become real.
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167. - Right.
- As your movie's coming out.
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168. But those...
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169. Something to note is, in that scene
where the kids are walking through
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170. the barbed wire fencing
and the chain link little enclosures,
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171. all the color in there was
one of the big things
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172. that I got really excited about
when we walked into this location,
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173. 'cause there's this rose,
and this beautiful green
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174. and it's the most beautiful prison
you could imagine.
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175. - You get that contrast of...
- Yeah.
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176. - Nature, and this...
- So it's not depressing.
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177. There's always color,
and Kramer Morgenthau, the DP,
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178. was very much intent on colors.
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179. One of the first things we talked about
was trying to get color into the movie.
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180. And so, even in a room like this,
which should be just sterile and white,
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181. we put this mint green and little colors
everywhere so it doesn't feel drab.
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182. Speaking of colors, we spent a lot
of time figuring out that color pyramid.
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183. A lot of things got flipped and flopped,
who's most powerful.
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184. Yeah. I think the fact that we
don't notice might be a good thing!
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185. Yeah.
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186. Poor... Poor Björn had to redo
that pyramid how many times?
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187. Our visual effects
supervisor, yes. Many times.
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188. "Who's more powerful? If an orange
is more powerful than a red, then..."
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189. These guys were awesome.
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190. - I wanted one of those outfits so bad.
- Yes, that was a big victory,
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191. the wardrobe on the soldiers.
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192. Yeah, 'cause it's... accurate,
but not accurate.
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193. - Yes.
- It's not slavishly accurate.
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194. It's a kind of slight feature.
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195. Yeah. It's a real military uniform
with some slight tweaks
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196. to make it feel more
Orwellian and scarier.
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197. One of things that's important
is trying to get the look
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198. of a near, possible future...
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199. - Yeah.
- Rather than something far.
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200. - Mm-hmm.
- And I'm a real geek as far
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201. as military, tech and weaponry.
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202. - Yes, you love that stuff.
- I do. I really do.
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203. One of my favorite memories
in prep is you testing the flame thrower.
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204. - I did.
- Yeah.
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205. - You were good at it.
- That thing had a kick.
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206. I enjoyed that a little too much, I think.
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207. But that was fun. That was really fun,
and that thing is hot.
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208. - Yeah, one would think.
- Yeah.
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209. Maybe Elon Musk figured it out
with his that it's no longer hot, but...
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210. These shots are really chilling, because
you're starting to see images in the news
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211. that are so uncannily similar.
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212. - Yeah, and they get...
- Someone sent me a picture,
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213. and I thought, "Oh my God,
that's our movie."
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214. And then I realized,
"Wait a minute. That's real."
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215. And again, this was all
completely unintentional,
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216. because a couple of years ago,
when we were thinking up this thing,
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217. we were thinking,
"Oh, this is science fiction."
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218. You don't have to worry
about science fiction so much.
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219. - "Oh, it's so unlikely to happen."
- Right.
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220. - And yet it did.
- And yet it does.
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221. Hey! Let's go! Move!
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222. This is our first shot
of Ruby as an adult.
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223. - And...
- Oh, that's right. Yes.
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224. - Yes, our very first shot.
- In our famed shoe factory.
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225. Wanted to make sure that you see her
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226. as a person suffering
through all this stuff.
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227. And Wade.
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228. - Yes, our beloved Captain.
- Wade, one of the sweetest,
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229. most wonderful guys in the world.
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230. - You'd never know in this scene.
- In person.
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231. - In person.
- But on se...
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232. He got into this character.
He was amazing.
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233. He's bloody intimidating on screen,
but he's such a sweetheart.
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234. He really is.
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235. And he would bring
his fiddle on set.
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236. - Was that his?
- Yeah, no, Amandla had one.
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237. I remember he had a guitar,
because I remember during the night shoots
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238. I would try to catch a nap,
and I'd hear someone playing a guitar,
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239. and it would be driving me crazy,
and I realized it was Wade.
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240. Well, Wade was playing guitar...
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241. - He was good.
- And he also had a fiddle,
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242. and Amandla had a violin,
and in between takes,
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243. - everybody was playing on stuff.
- I remember the campfire...
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244. Yeah, when we were in the woods,
everyone playing along.
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245. I didn't realize the fiddle
came from Wade,
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246. - but it makes sense.
- Yeah.
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247. When we're in that train house scene
later in the movie, he...
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248. It was his last day, and he showed up
with a fiddle,
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249. and he was just playing for everybody,
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250. - as part of his...
- And he had wrapped weeks earlier.
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251. - Yeah.
- Like, "Wade, you're here?"
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252. Oh, man.
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253. And again, this is supposed to be
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254. this dystopian horrible, you know,
prison shoe factory,
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255. but look how pretty it is
through the windows
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256. - and the way the mist is coming through.
- I remember walking onto the set,
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257. and Kramer did such a great job, our DP,
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258. with lighting this,
and Russell, with the set design.
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259. It was really wonder... Remember
it was so good that we thought,
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260. - "Wow, we're only shooting one day here?"
- Yeah, "Can we do more?"
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261. I remember you were trying to
figure out what else we could shoot there,
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262. but it really is hard to...
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263. It's one scene, so you really can't
go back there, but man...
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264. We were going to have this white
noise sound test in the shoe factory,
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265. - but it just...
- Oh, that's right.
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266. You and I had a lot
of spirited debates about that,
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267. whether it could work or not.
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268. We ended up shooting it outside,
but I was thinking about it.
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269. I even aborted the whole scene
as if it continued on
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270. - in the shoe factory.
- Yeah. I blame myself.
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271. If all those things were...
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272. If we had more time,
maybe we should've done it both ways.
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273. - Right.
- But we didn't.
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274. Ruby, can you hear me?
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275. Now, this is Mandy's first shot
in the movie.
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276. You're gonna be fine, Ruby.
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277. As the face of humanity and warmth
of the resistance organization.
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278. Do you know where you are?
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279. This was a fun set.
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280. Again, this was all stuff
that was there at that location.
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281. Not the hospital beds, but the metal
cage walls and all that stuff.
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282. - Yeah, the chain-link fence walls.
- The ambiance was waiting for you.
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283. - This was a real find, this location.
- Yeah. Such a beautiful place.
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284. I almost wanted to move in there.
It was great. But it was such a cool...
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285. - Really?
- No. Not really.
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286. - Yeah. It was pretty...
- It was gnarly.
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287. Just like, right out
of a dystopia movie.
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288. - It was...
- It used to be an air base?
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289. - Or it was a military base?
- I think it was the military surplus
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290. because it was
right next to a train station.
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291. Right. Lot of trains in Atlanta.
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292. - A lot of trains.
- Yep.
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293. And having to film between trains,
planes and automobiles was...
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294. We actually lucked out.
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295. I've worked on other films where you
have to yell cut because of trains.
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296. Right. But the lights were moved in.
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297. Russell put those lights up there so
that we could have some retro feel to it,
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298. but those steel enclosures were either
moved from places elsewhere
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299. in this building or found to look exactly
like what was already there.
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300. We didn't talk about the...
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301. How hard it was to get the prison outfits,
the coloring right,
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302. what shade of green should it be,
because some were too lime green
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303. and some were too dark,
and it took a lot of work.
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304. Yeah, these are all scrubs
that you can buy online,
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305. - because they're actual scrubs.
- That was a smart idea
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306. that we should go with
what would really happen,
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307. although now, I wonder
what really happened, but... Um... Uh...
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308. Yes, off-the-rack.
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309. - Off-the-rack, distressed.
- But dyed.
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310. And so you can feel that use,
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311. but pretty much that's what they use
in juvenile detention centers.
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312. And try to, again, keep that grounded,
real feel to the movie.
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313. What I love about this scene is
this is one of those scenes
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314. that really came together in post,
that initially it wasn't a timed breakout,
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315. - it was a much slower-paced scene.
- Yeah.
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316. And our editor, Dean Zimmerman,
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317. had the brilliant idea of,
"Make it feel like a prison break"
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318. with alarms going off, and...
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319. The fact he put that sound
of the alarm in the background
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320. was the thing that really gave it.
A bit of a drive.
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321. It changed everything. Re-cut it,
and it gave urgency to a scene...
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322. that we didn't quite have
in the earlier cuts.
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323. One of the big pluses of this whole
location was Russell really pushed
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324. to get those lights on the buildings
back there, those diagonal light bars.
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325. It makes the whole place
look so cool.
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326. Hey, I got Dr. Rogers with me.
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327. And Wade was such a trooper.
This is cold rain.
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328. This is water that's
just flowing for hours,
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329. - drenching him through his outfit.
- That guy never complained once.
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330. - Yeah.
- He is a man's man.
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331. And I'd go up to him and say,
"Wade, do you need a blanket?
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332. Do you need to just dry off
for a second between setups?"
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333. He's like, "Nope, I'm fine."
And he was literally shaking.
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334. He did not look fine,
but he's like oh, Navy SEAL man.
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335. I mean, he was gonna
man his way through it.
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336. Stayed in character while we were
all huddled under a tent.
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337. - Yeah, dealing with the mosquitos.
- Yeah, he was great in this scene.
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338. He was really great.
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339. Remember he wanted to do
a version where he had his gun out?
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340. - Yeah.
- He wanted to go full commando...
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341. - We actually shot it that way.
- Did we do a take with that?
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342. - Yeah. We did a few takes.
- It didn't work.
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343. We tried a couple, and it didn't work,
and then we...
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344. Yeah, it was more menacing
for him not to have it.
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345. Just the gesture of him
reaching for it was enough to...
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346. Another thing we can talk about
was the eye glow which is something
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347. you championed early on,
and I think a lot of us were like,
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348. - "That's not going to work."
- We were skeptics.
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349. "Maybe Jen will forget about that,
we won't do that, and..."
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350. I would not forget about it.
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351. - You didn't forget about it...
- I am a hardcore...
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352. and thankfully you pressed
on it, and it really works.
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353. I'm an eye freak.
I love weird effects on eyes.
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354. I guess it's, like, that anime background.
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355. Right.
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356. And I just love weird stuff
happening with eyes.
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357. By the way, this is, again,
more of a different take
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358. - on a dystopian future...
- Yeah.
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359. Where it's
the absence of things.
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360. Not destruction,
but the absence of children, and...
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361. Not a muted palette.
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362. It's actually very green
and optimistic outside.
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363. It's just a lack of children.
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364. - And no zombies.
- No zombies.
Copy !req
365. - Look at those cows.
- Despite our asking for them.
Copy !req
366. A lot of this footage
of the interior of the car
Copy !req
367. was on the day when me and Kramer
Copy !req
368. were kind of, you know, pissed off
and full of piss and vinegar,
Copy !req
369. and we said,
"We're gonna get these shots!"
Copy !req
370. And he jumped in that little car,
that little physical car.
Copy !req
371. I jumped in the back, and he shot that
stuff hanging out the window!
Copy !req
372. That's right. I also love...
We're not there yet.
Copy !req
373. When he got on that golf cart
and just started shooting stuff
Copy !req
374. hanging off the back of it when we...
Copy !req
375. - Oh, yeah.
- We'll get there a bit later.
Copy !req
376. That was that golden hour stuff.
Copy !req
377. Like, to try to get it
that beautiful light wherever we could.
Copy !req
378. It certainly is beautiful stuff.
And then this whole ride through,
Copy !req
379. we had other footage of really dystopian
wrecked buildings
Copy !req
380. - and stuff like that.
- Yeah.
Copy !req
381. Some really beautiful shots,
Copy !req
382. but ultimately,
it made it seem too destroyed.
Copy !req
383. Right, because what this was...
The world didn't go away.
Copy !req
384. I mean, there are no children,
and the future is obviously in question,
Copy !req
385. but parents, older people were still alive
and so, maybe the economy crashed,
Copy !req
386. but buildings still stood,
and people still went about their lives.
Copy !req
387. I think we're running on the idea
that this is six years later,
Copy !req
388. and not 60, you know?
Copy !req
389. - Yeah.
- This is still a very near future.
Copy !req
390. The only people that were
very distressed were babysitters
Copy !req
391. because they were all out of work.
Copy !req
392. - Oh, man.
- Nannies took a hit.
Copy !req
393. I've got to say, though,
I love the beautiful destruction
Copy !req
394. of completely destroyed buildings
and stuff.
Copy !req
395. That'd be cool to do at some point.
Copy !req
396. - We'll do that in the sequel.
- Okay. Total destruction.
Copy !req
397. I love Patina. That's what it is. Patina.
Copy !req
398. Those like you are...
Copy !req
399. But I do remember early days
when you talked...
Copy !req
400. Remember, we almost shot this
movie in the fall-winter,
Copy !req
401. but it was very important for you to have
the foliage and the green and the life
Copy !req
402. to feel different.
Copy !req
403. I remember the meeting at Fox
where we were gonna rush into production,
Copy !req
404. and they said,
"How do you feel about...
Copy !req
405. waiting, like, six more months,"
something like that?
Copy !req
406. Yeah, which is a producer's
nightmare, because a lot could go wrong.
Copy !req
407. I saw you guys' faces.
Copy !req
408. Your faces looked pale
when they suggested pushing it...
Copy !req
409. - What happens is suddenly...
- I could see Dan tense up,
Copy !req
410. feeling, "That's six months of any problem
that could derail the movie."
Copy !req
411. Yeah, this movie vanishing,
Copy !req
412. Jen taking another movie,
the actors not being available.
Copy !req
413. But it was the right move
for the look of the movie.
Copy !req
414. Yeah, because we would have had
a very brown movie
Copy !req
415. with brown, leafless trees...
Copy !req
416. Yep.
Copy !req
417. And it just worked out
Copy !req
418. to get the beautiful foliage
and the color this way.
Copy !req
419. This is Mark O'Brien.
Copy !req
420. Our good friend and has been
in a few movies of 21 Laps,
Copy !req
421. - and he always comes through.
- Yeah.
Copy !req
422. Personally... He personally
picked that jacket for himself.
Copy !req
423. He was shown some options,
and he liked that one.
Copy !req
424. Did he take it home?
Copy !req
425. No, he probably didn't.
Although actually, I don't know.
Copy !req
426. I'm gonna call him.
Copy !req
427. Soap, some other things, a bathroom...
Copy !req
428. I think there was a boring time
while we were setting up
Copy !req
429. some stuff in this area,
and Amandla got bored
Copy !req
430. and took one of the set dressing
little mini pink bikes
Copy !req
431. and was riding around in the road!
Copy !req
432. Oh, yeah. That's right.
Copy !req
433. That's also... That creepy
gas station is where I got bit
Copy !req
434. by some strange bug.
Copy !req
435. Yeah, it was like some predator bug.
You had three bite marks like a triangle.
Copy !req
436. I know, and two different spots,
and they lasted for about three months.
Copy !req
437. We thought maybe you were gonna
get flesh-eating bacteria
Copy !req
438. and die on us or something.
Copy !req
439. I know. I was
pretty sure it was the end.
Copy !req
440. And that, by the way,
is not much different than
Copy !req
441. what this convenient mart looked like
in real life. It was a weird...
Copy !req
442. - It looked nicer than that.
- We didn't do much to distress it.
Copy !req
443. We happened upon some good,
ready locations, is what it sounds like.
Copy !req
444. Yeah, this was another find. Um...
Copy !req
445. - It's so awesome.
- Even though it was very far away,
Copy !req
446. part of you is like,
"This looks perfect for the movie."
Copy !req
447. The other part is, "God, I'm gonna be
stuck in traffic for a really long time."
Copy !req
448. Does it have to look this good?
Maybe we could do it closer."
Copy !req
449. This was far, but I think
what got me on this location
Copy !req
450. was the color of the refrigerator units.
Copy !req
451. That's usually what is
the key thing...
Copy !req
452. for a shoot.
Copy !req
453. That's where your eye went.
Copy !req
454. This is our first shot
with Miya, who was...
Copy !req
455. - Miya!
- The most awesome person ever.
Copy !req
456. Miya is such a sweetheart.
Copy !req
457. She is so, like, genuinely cute,
not like put-on cute.
Copy !req
458. Yeah.
Copy !req
459. So outgoing.
Copy !req
460. - She chats a lot.
- And I love... I got to say, her...
Copy !req
461. And yet, you wouldn't know that
with a character that never speaks.
Copy !req
462. - No. She never speaks.
- I love her...
Copy !req
463. And we owe it to you, Jen. I love
her costume, because that really was...
Copy !req
464. You know, that big hooded sweatshirt with
the yellow gloves and the military boots
Copy !req
465. was such an iconic look.
Copy !req
466. - Yeah, that was fun.
- I think she'll be a fan favorite,
Copy !req
467. I really do.
Copy !req
468. I really think she's so, so cool,
Copy !req
469. and in the book, it went a lot more into
what her back story was,
Copy !req
470. and I know she has a new book
that's all about her.
Copy !req
471. - So...
- Spoiler alert.
Copy !req
472. - Well...
- Yeah, no, I know. Um...
Copy !req
473. - Here come Harris and Skylan.
- The first time we see the guys.
Copy !req
474. The dream team's together
for the first time.
Copy !req
475. They're together
for the very first time in the van.
Copy !req
476. The full van kids scene.
Copy !req
477. Russell did a great job,
our production designer,
Copy !req
478. with the interior of the van.
We really wanted it to feel like
Copy !req
479. a home away from home.
Copy !req
480. - The kids live there.
- Yep.
Copy !req
481. It's where they learn, eat, sleep.
Copy !req
482. They would hang out in this van
in between takes
Copy !req
483. simply 'cause it was convenient and comfy,
Copy !req
484. - and they had all their stuff in there.
- You know, the van,
Copy !req
485. we shipped it out to LA, we have it.
We should take it to the premiere.
Copy !req
486. Yeah. We should
just park it out there. Why not.
Copy !req
487. They wanted to take it home.
Copy !req
488. I bet.
Copy !req
489. If we had left everyone alone,
I think all this stuff
Copy !req
490. would've disappeared.
Copy !req
491. 'Cause everybody wanted
to take the van with them.
Copy !req
492. But super comfy,
and all the stuff in the back,
Copy !req
493. and drawings, and little corners
for everyone's little...
Copy !req
494. - It felt lived in.
- Specialization.
Copy !req
495. - No strays!
- Wait. I'll handle this.
Copy !req
496. And Amandla
had just learned how to drive
Copy !req
497. when she did this movie, didn't she?
Copy !req
498. Which works out well,
Copy !req
499. 'cause she's not supposed to be
a good driver, and she pulled it off.
Copy !req
500. Yeah, remember we were gonna
get to the motel scene?
Copy !req
501. It was a little nerve-racking
to get her to stop in the right spot,
Copy !req
502. - because she was...
- It's also a huge van.
Copy !req
503. Yes. That, too.
Copy !req
504. - In a beat-up blue minivan.
- That's no way to talk about Betty.
Copy !req
505. - Skylan was so good in this too.
- Yeah.
Copy !req
506. I really loved what he did
with the character,
Copy !req
507. because Chubs was probably
one of the latest adjustments that we did.
Copy !req
508. - His character was the hardest to find.
- Yeah... There was a draft
Copy !req
509. where his character just
got that sense of humor,
Copy !req
510. and a real life and spark to him,
and a real personality,
Copy !req
511. and uh...
Copy !req
512. - Skylan just killed it.
- Yeah. He really nailed it.
Copy !req
513. Here comes a very fast gold car.
Copy !req
514. Very first shot of Lady Jane.
Copy !req
515. It's Lady Jane!
Copy !req
516. Gwendoline was cool.
It was interesting,
Copy !req
517. trying to find her look, 'cause...
Copy !req
518. Yeah, remember we had
almost a flannel,
Copy !req
519. - Seattle look for her for a while?
- Yeah, we went full hillbilly.
Copy !req
520. - And a hunter look.
- Yeah, hunter-hillbilly look.
Copy !req
521. Red vest.
Copy !req
522. - And then we went biker.
- It didn't suit her at all.
Copy !req
523. - No.
- The hunter-hillbilly look.
Copy !req
524. One of the nicest people
you'll ever meet.
Copy !req
525. - She sure is.
- With a great laugh.
Copy !req
526. I think the first time I met her,
Copy !req
527. first of all, I was amazed
I was meeting her.
Copy !req
528. I think we're all huge
Game of Thrones fans.
Copy !req
529. - Yeah.
- And yeah, she was so cool.
Copy !req
530. She was not in the movie much,
but great having her there.
Copy !req
531. But she drove in this car.
There's a guy on the roof of the car.
Copy !req
532. The pod drivers are up there driving.
Copy !req
533. The stunt guys are driving,
but the actor's in the car
Copy !req
534. in these shots,
they're not in some green-screen studio.
Copy !req
535. No.
Copy !req
536. For everyone watching, basically,
there was a little pod that sits on top
Copy !req
537. of these cars where you have a stunt man
driving the actual car
Copy !req
538. and then you erase it in post
with visual effects.
Copy !req
539. You just wipe it out so you don't see them
so it looks just like a regular car.
Copy !req
540. But the actor, though, is in the car
through the movements of this.
Copy !req
541. Yeah, they're getting
banged around.
Copy !req
542. They're feeling the impact
and the Gs and all this stuff.
Copy !req
543. I remember in the...
Copy !req
544. There was great outtakes with Mandy
and with Mark just having a blast.
Copy !req
545. The banter between them
in between takes was hilarious.
Copy !req
546. Yeah.
Copy !req
547. And here, Harris gets to lean out
the back of the car.
Copy !req
548. He is in full body harness here.
Copy !req
549. This car is booking. Like, on the road,
moving fast, for reals.
Copy !req
550. And he is heavily strapped in.
Copy !req
551. - Yes, which is a good thing.
- Yeah.
Copy !req
552. Safety first.
Copy !req
553. - But he had such fun doing this.
- Yeah.
Copy !req
554. We're going up and down the road,
him hanging out the back of this van!
Copy !req
555. Us yelling orders through the intercom.
Copy !req
556. I'm impressed that Chubs
can hold him as he leans out the...
Copy !req
557. - Arm strength.
- Yeah.
Copy !req
558. That is his super ability, his great grip.
Copy !req
559. - But Jack Gill, he is of course...
- Our stunt coordinator, great guy.
Copy !req
560. Our stunt extraordinaire
and Fast and Furious vet.
Copy !req
561. - Yeah, this was easy for him.
- Yeah, this was small beans I guess.
Copy !req
562. But still, he's so good,
and watching...
Copy !req
563. His brother was
on top one of the cars.
Copy !req
564. Yeah. I think he was
on top of Lady Jane's car.
Copy !req
565. Do you remember how many
meetings we had about the tree?
Copy !req
566. Oh my gosh.
We had so many meetings about that tree.
Copy !req
567. Practical tree, visual effects.
Copy !req
568. The thing that seems the simplest,
Copy !req
569. "throw a tree," is really hard,
because a tree is bloody heavy.
Copy !req
570. And trying to find a real tree was
ten times harder than finding a fake tree.
Copy !req
571. A lot of meetings
Copy !req
572. about the tree.
Copy !req
573. We did use a real tree,
but it was embellished.
Copy !req
574. Remember how cold it was this day?
Copy !req
575. It was warm in Atlanta,
but we went a couple hours north
Copy !req
576. and it was very cold that day.
Copy !req
577. This scene was actually done
fairly early on.
Copy !req
578. - But this was added later.
- This is a little tiny pickup shot.
Copy !req
579. This scene was a late addition,
this exact moment.
Copy !req
580. - That little moment was...
- But the rest of it,
Copy !req
581. everything outside the van is...
Copy !req
582. This was on the very first week
of shoot, like day three,
Copy !req
583. and on this beautiful country road
with cows meandering around.
Copy !req
584. And it was freezing.
Copy !req
585. - It was cold.
- It was odd.
Copy !req
586. Just when you think you escape
the trains, the cows show up.
Copy !req
587. What's interesting about Harris
is that we cast him off his audition,
Copy !req
588. and he had starred in a movie called
Beach Rats that had gone to a festival,
Copy !req
589. but we hadn't seen it yet.
Copy !req
590. And then we saw
the movie after casting him...
Copy !req
591. And then felt really smart,
Copy !req
592. - because he was so good in it.
- He's incredible in Beach Rats.
Copy !req
593. Oh, you could tell, even in this
very casual audition tape
Copy !req
594. that he did, very casual, like, you know,
Copy !req
595. this is a read that agents
send you, like, "This person exists."
Copy !req
596. He was amazing just in that casual read.
Copy !req
597. - Yeah. You knew he was special.
- He wasn't even trying.
Copy !req
598. You should come with us.
Copy !req
599. Jen was the unsung hero
of this scene.
Copy !req
600. Jen actually did take a bite
of a Twinkie and ate it
Copy !req
601. - just to see what a Twinkie tastes like.
- I did, and I'm still alive.
Copy !req
602. No. It was actually really good.
I really loved Twinkies when I was a kid,
Copy !req
603. but there was a lot of
Twinkies in this set.
Copy !req
604. - A lot.
- And pickles.
Copy !req
605. We went through boxes
and boxes of pickles.
Copy !req
606. Oh my gosh.
I completely forgot about that!
Copy !req
607. - Yeah.
- That was Kramer, right?
Copy !req
608. - Kramer and...
- And our script supervisor.
Copy !req
609. So, our script supervisor
and Kramer, the DP,
Copy !req
610. had this ongoing pickle feud where
Copy !req
611. they would sneak these gigantic,
awful, disgusting-looking dill pickles
Copy !req
612. - in a plastic...
- Well to be fair, they were
Copy !req
613. on craft services,
individually bagged and yes,
Copy !req
614. Steve Gehrke, our script supervisor
extraordinaire, and Kramer
Copy !req
615. had an ongoing battle
of who could stash pickles and...
Copy !req
616. And you'd find them
in the side pocket of your chair or like...
Copy !req
617. - Your backpack.
- In your backpack.
Copy !req
618. I remember that,
the last day of shooting,
Copy !req
619. Steve put it on Kramer's
windshield wipers.
Copy !req
620. He hollowed the pickles out
and put them over each windshield wiper.
Copy !req
621. It kept going.
Copy !req
622. Apparently, someone put a pickle
in Kramer's bag and he got to the airport.
Copy !req
623. That's right,
and they had to check it.
Copy !req
624. - He got to the airport and...
- It's like Spinal Tap.
Copy !req
625. Security...
Copy !req
626. Security found
this giant pickle!
Copy !req
627. It's fitting.
Copy !req
628. One of the great four shots
of the movie there.
Copy !req
629. Yeah.
Copy !req
630. Oh, man, that...
Copy !req
631. Also just wanted to say
that the slicing of the Twinkie...
Copy !req
632. I just love in this movie
when the powers are used casually
Copy !req
633. as kind of a gesture,
whether it's that,
Copy !req
634. - or unhooking the tire...
- Right, not a big effect, yeah.
Copy !req
635. Or during later, when he drags her
to dance. Just a really, you know...
Copy !req
636. - It's natural.
- Yeah, it's natural,
Copy !req
637. and it's not usually
how you see powers used
Copy !req
638. in these kind of films,
and it's a nice approach.
Copy !req
639. This is another scene
that we redid.
Copy !req
640. We did very minimal reshoots
on this movie.
Copy !req
641. I think just a couple of days.
And this was just one scene
Copy !req
642. that we did to add
a little bit more emotion
Copy !req
643. and a little bit
more of a trajectory to the relationship.
Copy !req
644. - A little bite. A little pushback.
- Yeah, a little... Yeah.
Copy !req
645. Not a lot, but just a little,
so you can see them...
Copy !req
646. Enough to show that that's not
an easy relationship where they...
Copy !req
647. Are seeing where they're
both coming from.
Copy !req
648. - Yeah.
- Yeah.
Copy !req
649. And how passionate he is
about the league.
Copy !req
650. Where she's thinking,
possibly, they may be good,
Copy !req
651. he's had a different experience.
Copy !req
652. That's a whole process of when
you're trying to make a relationship
Copy !req
653. - progress in a natural way...
- Yeah.
Copy !req
654. And you find these little areas
where you have to adjust it.
Copy !req
655. Like, originally, this scene
was just very, very soft.
Copy !req
656. He was gentle and nice,
and everyone was nice to each other.
Copy !req
657. - Too nice, yeah.
- Too nice.
Copy !req
658. Everyone was so nice that
there was nowhere for them to go.
Copy !req
659. Right,
and so the scenes that follow this
Copy !req
660. really benefit from the warmness
Copy !req
661. between them, because you feel like
they've come over something.
Copy !req
662. - Overcome something.
- Yeah.
Copy !req
663. They just sort of laid there,
as moments go.
Copy !req
664. It didn't have any momentum.
It didn't have any sense of progress.
Copy !req
665. - Mm-hmm.
- Something also,
Copy !req
666. starting with this scene,
and reshooting it, and then kind of
Copy !req
667. exploring the previous scene with them
outside with the Twinkie, was just getting
Copy !req
668. across the information about the league
Copy !req
669. and the back story about it
Copy !req
670. 'cause there's a lot to get across
and you don't want to feel like...
Copy !req
671. an information dump
which is always a problem.
Copy !req
672. So really kind of methodically giving it
piece by piece which, in the end
Copy !req
673. - I think we did a really good job with.
- But more importantly,
Copy !req
674. we need to talk about
Wade and his intimidation factor
Copy !req
675. - in the scene, and...
- Wade is so, like... He goes there.
Copy !req
676. - He does.
- He's great. I'd be afraid to...
Copy !req
677. I remember we put in that foam wall.
Copy !req
678. What's behind our doctor actor
is a foam wall,
Copy !req
679. because we were worried
about him getting slammed into it.
Copy !req
680. It ended up being
perfectly fine, but still...
Copy !req
681. This was a great moment, just
adding this hint of what are the reds.
Copy !req
682. I love the fact that all the reds
we really focus on are little.
Copy !req
683. Yeah.
Copy !req
684. - There's nothing scarier than...
- I love dangerous little kids.
Copy !req
685. They're far more scary
than dangerous adults, right?
Copy !req
686. I love that one liner. We had
a lot of versions of it, but it was funny.
Copy !req
687. This is the scene where
we were trying to get Amandla
Copy !req
688. to stop this giant hulking
old van on the right spot.
Copy !req
689. - On a wet pavement.
- On a wet pavement.
Copy !req
690. But just to go back
to that previous scene too,
Copy !req
691. that was something that we brought
in late, and it really brought...
Copy !req
692. You know, that establishes
that there is a real threat chasing them
Copy !req
693. for the rest of the movie.
Copy !req
694. It also is a way of showing
a taste of what the reds...
Copy !req
695. - Again, it helps you remember...
- A little grounding, remembering
Copy !req
696. - where she came from, and...
- Where she wants to go.
Copy !req
697. Right, what she wants
to get back to.
Copy !req
698. Don't worry.
Copy !req
699. Nothing can take me away from you.
Copy !req
700. This is one of my favorite
scenes and also... I mean, I don't...
Copy !req
701. It's about to come up, and, um...
Copy !req
702. - The socks.
- It was a big scene in the book.
Copy !req
703. I mean, one great thing
about our screenwriter, Chad Hodge
Copy !req
704. is he had a very good relationship
with author Alexandra Bracken,
Copy !req
705. and occasionally, we'd say,
"Well, we got to get rid of this or..."
Copy !req
706. and he'd be like, "No, no, no,
that's a fan favorite."
Copy !req
707. Yeah, he had, like, a Wikipedia
knowledge of what the must-haves were.
Copy !req
708. Um... And the sock scene was key.
In fact, I gave those socks to Alexandra.
Copy !req
709. - She visited the set that day, and...
- Yeah. Alex has the socks.
Copy !req
710. She has the set socks.
Copy !req
711. Which she immediately then sold on eBay.
Copy !req
712. They're clean, new socks.
Copy !req
713. They haven't been worn.
Copy !req
714. And again, to go to this scene
when we were talking earlier
Copy !req
715. about having to kind of bring in
conflict between them,
Copy !req
716. that makes the scene now an olive branch,
whereas without it, it's not.
Copy !req
717. It's just another tender moment.
Copy !req
718. And another nice thing too
was Skylan's just...
Copy !req
719. You know, in a movie that can be
heavy and dramatic,
Copy !req
720. his moments of humor really work,
Copy !req
721. and always got a huge laugh
when we screened the movie,
Copy !req
722. and it just was a really nice balance,
Copy !req
723. so when the movie felt a little heavy,
we could just see that these are kids.
Copy !req
724. - Yeah.
- And what's so great
Copy !req
725. about Skylan too, I mean, I think often,
when you see a team dynamic,
Copy !req
726. there's the funny kid,
but he... You really just...
Copy !req
727. Chubs feels like a very real person.
Copy !req
728. Yeah, he's not a one-line,
like, you cast a comedian.
Copy !req
729. - He's a really talented actor.
- Been with these kids for a while.
Copy !req
730. Also, you notice back then
the guys had color-coded blankets?
Copy !req
731. That's a little Easter egg for people.
Copy !req
732. Jen, wanna talk about this scene?
This was always a favorite moment.
Copy !req
733. I remember when you storyboarded it.
It was so beautiful.
Copy !req
734. This scene was... Originally Amandla,
Ruby's character, was not in this.
Copy !req
735. It was pure flashback
in the original draft,
Copy !req
736. and it was just mainly focused on
the guys and what they were going through,
Copy !req
737. and I really felt that seeing
her visually in the scene
Copy !req
738. - gave sort of a dreamy quality to it.
- It was great.
Copy !req
739. What I love about this scene
is just the theme of our movie
Copy !req
740. about fighting back, about not accepting
being oppressed or beaten down,
Copy !req
741. that you can fight back,
Copy !req
742. you can use your powers, your abilities,
to fight back and win,
Copy !req
743. and that we do have to see people rise up
in real life, and...
Copy !req
744. Uh... And... And...
Copy !req
745. take on, you know, the establishment,
and I think this is a really timely movie.
Copy !req
746. This shot coming up kills me.
Copy !req
747. When we shot it, I literally was doing
a little happy dance
Copy !req
748. when Miya was looking back at camera
and stuff, because it's so sweet.
Copy !req
749. That shot, it always felt like
a very iconic trailer shot.
Copy !req
750. Yeah.
Copy !req
751. I was playing music
in my headpiece, you know, watching this.
Copy !req
752. What was the music? The score?
Copy !req
753. - No. Obviously, we didn't have it.
- No. We didn't have score back then.
Copy !req
754. It was just basically
this weird electronic...
Copy !req
755. - Was it Britney Spears?
- No, it wasn't.
Copy !req
756. No, it was definitely. No, it wasn't.
Copy !req
757. - It was atmospheric, weird European stuff.
- Nice.
Copy !req
758. Are you okay, Zu?
Copy !req
759. He shot that entire scene
over-cranked,
Copy !req
760. so in real life, you see everybody
running around looking completely normal,
Copy !req
761. but then to see it slow motion,
Copy !req
762. we'd watched it played
back on the little monitors.
Copy !req
763. I remember there was a big
conversation, because it was...
Copy !req
764. In the script,
Copy !req
765. it was a little flashback,
but when you boarded it out and budgeted,
Copy !req
766. - it was a big shoot.
- Yeah.
Copy !req
767. So, it's a lesson when you look
at a script and there's, like, three lines
Copy !req
768. and it's a flashback,
and you think, "Oh, that's easy,"
Copy !req
769. but sometimes, it's a full day shoot.
Copy !req
770. - Yeah.
- And you get a little beat.
Copy !req
771. I'm not a fancy dress kind of girl.
Copy !req
772. Another great Miya moment.
Copy !req
773. Remember we didn't have
enough letters to peel off?
Copy !req
774. So, we couldn't really show him
scraping off letters,
Copy !req
775. - because there was one...
- Kept having to put them back on.
Copy !req
776. A little mishap.
They did not bring enough letters.
Copy !req
777. No, no. It's, uh...
Copy !req
778. Ooh! Ooh...
Copy !req
779. It's been a while since I've seen...
Copy !req
780. I just dropped something.
Copy !req
781. Or anyone in a dress.
Copy !req
782. I feel like I should ask you to prom
or something.
Copy !req
783. This was a nice little bit
of banter and actually is a nice set up...
Copy !req
784. for the ending, when she and he are alone.
Copy !req
785. I won't give the spoiler yet.
Copy !req
786. I'll assume people listening
to this have seen the movie.
Copy !req
787. Kramer is so snaky as a visualist
Copy !req
788. that he would compose these shots to have
that sunburst on the van behind the kids.
Copy !req
789. Remember he...
And what was great about Kramer
Copy !req
790. is he would always beg for just one shot
where he could do something interesting...
Copy !req
791. - He would say...
- Something special on his own,
Copy !req
792. and it was always worth it.
Copy !req
793. - He got some really beautiful shots...
- He did.
Copy !req
794. That were just all him
just saying, "Let me try something."
Copy !req
795. He would just lean in and say,
"I got a surprise for you".
Copy !req
796. - Yeah.
- And then he'd do something,
Copy !req
797. and I'd be like, "Oh, man that's crazy!"
Copy !req
798. Yeah, he's definitely someone
we'd love to work with again.
Copy !req
799. Definitely.
Copy !req
800. Notice that we're
not really peeling letters off,
Copy !req
801. because we didn't have enough.
Copy !req
802. - Don't ruin the scene!
- Big studio movie!
Copy !req
803. Big studio movie,
Copy !req
804. but we didn't have enough letters.
Copy !req
805. We had, like, what,
three or four sets of letters?
Copy !req
806. No, we had like ten sets of letters,
Copy !req
807. - but we had, like, ten shots.
- Yeah.
Copy !req
808. And this was a scene that got changed.
Copy !req
809. It's exactly how it was, but in post,
it took on a different meaning
Copy !req
810. because it was just
a couple of parents leaving, and...
Copy !req
811. I don't know if it was you or Dean had
the idea to make it more of a threat...
Copy !req
812. - It was Dean. Yeah.
- That they were skip tracers.
Copy !req
813. And it allows for a little bit
of a sense of the world.
Copy !req
814. One thing that was interesting
about this hotel
Copy !req
815. - is it was an occupied hotel at the time.
- Oh, I remember. That was... Yeah.
Copy !req
816. And there were people
looking out the window.
Copy !req
817. We'd have to tell them,
"Could you not look out the window?
Copy !req
818. - "Because you're in the shot."
- Yeah.
Copy !req
819. I remember that day we got for craft
services, they brought Italian ices,
Copy !req
820. which I think is probably the most
important story we could tell for this.
Copy !req
821. Italian ices were very nice.
Copy !req
822. Yeah, they were delicious
because it was hot.
Copy !req
823. Those are my drawings. I'm so proud.
Copy !req
824. I'm so proud.
Copy !req
825. You made it Jen.
You got your drawing in the movie.
Copy !req
826. I made it. I made my big break.
I've got drawings in the movie.
Copy !req
827. - But...
- And this was another great...
Copy !req
828. What we loved about the script is that
the friendship between the four of them
Copy !req
829. is really what this movie is about. Um...
Copy !req
830. And this was a real abandoned mall
in Atlanta, that little...
Copy !req
831. Dan, can I mention what else
was just recent? Okay.
Copy !req
832. We'll erase that bit. But...
Copy !req
833. This actually had
a much bigger set up.
Copy !req
834. We had to cut a lot of it out.
Copy !req
835. We had Chuck, the Czechoslovakian
wolf dog in this scene.
Copy !req
836. - He's still in it.
- I think he's still in it.
Copy !req
837. Yeah, no, he...
Copy !req
838. But there was more of him than...
He was an awesome dog.
Copy !req
839. - No one told Chuck he was cut.
- Wait, did we just talk over it?
Copy !req
840. Yeah, he was in it a little bit.
He was a beautiful wolf dog.
Copy !req
841. And this was another just great moment.
Copy !req
842. Kids being kids and forgetting
all the dangers in the world.
Copy !req
843. Things they're on the run from and running
to that they can have a moment together.
Copy !req
844. And the pink bicycle that Ruby is...
Copy !req
845. And this was all improvised a lot.
Copy !req
846. All the playing around. They told them
to have fun, and they were able to do it.
Copy !req
847. That pink bike that she rides right
there is the one that we actually had
Copy !req
848. - on the side of the road.
- At the gas station?
Copy !req
849. So, she had a chance to practice.
Copy !req
850. Yeah, and I said,
"Make sure we have it in the mall".
Copy !req
851. So we brought it in. It was great.
Copy !req
852. Watership Down book.
Copy !req
853. And look at the bokeh
on the back of that shot.
Copy !req
854. We shot this entire film in anamorphic,
which was actually very challenging,
Copy !req
855. 'cause of all
the special effects involved.
Copy !req
856. The distortion is complicated
for a lot of VFX.
Copy !req
857. But it gives this warm, sort of
amazingly filmic look to the movie.
Copy !req
858. And a little nostalgic.
Copy !req
859. And it gives that sort of beautiful
bokeh on the back of those shots.
Copy !req
860. Now, this shot was done
with old-school wiring.
Copy !req
861. Yanking them up and down.
Copy !req
862. They were such troopers during this,
because we were yanking them up and down,
Copy !req
863. up and down, floor to ceiling, all day.
Copy !req
864. - It doesn't feel good.
- It does not feel good.
Copy !req
865. Although we constantly checked
with them to make sure they were okay.
Copy !req
866. And they were really...
They're good troopers.
Copy !req
867. They're indestructible
18-year-olds or 19-year-olds.
Copy !req
868. And I think later,
Harris said how, like...
Copy !req
869. he was sore from being held up in the air.
Copy !req
870. - Those harnesses don't feel great.
- They do not feel great.
Copy !req
871. And this is
our human bowling pin scene.
Copy !req
872. We had all this cool
camera rig set up in this.
Copy !req
873. We had this sort of aerial cam going on,
on a track.
Copy !req
874. We had... I think, one of the...
Copy !req
875. Am I crazy? Even though we were
inside, this was a night shoot?
Copy !req
876. I feel like I just remember...
Oh, we were there late.
Copy !req
877. It was a day shoot.
It's a night shoot...
Copy !req
878. Well, it's supposed to be set at night,
but we shot it during the day,
Copy !req
879. because we're dealing
with the constraints of shooting kids.
Copy !req
880. - Oh, right.
- At certain times of the day.
Copy !req
881. - A lot of the cast was younger.
- These were all our...
Copy !req
882. The other kids were
all local casting, right?
Copy !req
883. A lot of them were,
but a lot of them weren't.
Copy !req
884. I mean, we actually lucked out with
who was available when and where.
Copy !req
885. - And you can sleep here, tonight.
- What?
Copy !req
886. But only tonight.
Copy !req
887. I remember we had
to do a very quick
Copy !req
888. wardrobe adjustment on their stuff
Copy !req
889. - like seconds before shooting.
- Seconds.
Copy !req
890. I remember they came to set
with things that didn't look quite right,
Copy !req
891. - and we had to race to fix it.
- It literally was in the hallway.
Copy !req
892. Yeah, it was literally
in the hallway.
Copy !req
893. And it's hard to comment
on an actors' clothing,
Copy !req
894. 'cause you don't want them
to take it personally.
Copy !req
895. That's not their issue.
It's just a matter of on the day,
Copy !req
896. it doesn't look right on set,
you got to change stuff.
Copy !req
897. Again, the color.
Copy !req
898. It's an abandoned mall.
Copy !req
899. It's at night.
It could have been really shabby.
Copy !req
900. But everywhere we could try
and find color, we'd put it in there.
Copy !req
901. The fact that the little camp
fire light around them
Copy !req
902. puts on this red-orange glow...
Copy !req
903. Do you think that we've survived...
Copy !req
904. Dystopia never look so pretty.
Copy !req
905. Look, we're not just
a bunch of dead weight.
Copy !req
906. And we didn't have a lot of time
in the mall,
Copy !req
907. because we were also
setting up a lot of the stunt scenes
Copy !req
908. - for the second unit at the same time.
- Right.
Copy !req
909. We had to book through
a lot of the shots of this.
Copy !req
910. And so, one of the things
that Kramer came up with was...
Copy !req
911. And it was odd, 'cause...
Copy !req
912. I remember shooting,
we were in the bottom level of this mall,
Copy !req
913. abandoned mall, so you could never
really tell if it was night or day,
Copy !req
914. - you just felt just...
- Yeah, but you had to book anyway.
Copy !req
915. You only had a certain amount of time.
Copy !req
916. And Kramer was coming up with
this track system
Copy !req
917. so that we could get
a lot of rotating shots,
Copy !req
918. a lot of coverage
of all these people talking.
Copy !req
919. It was a nightmare in the cutting room,
Copy !req
920. because you had to cut through
all these moving rotating shots.
Copy !req
921. But it allowed us to get
through the day quicker.
Copy !req
922. We go to sleep.
Copy !req
923. I was a big fan of that hoodie.
That was a big wardrobe success for us.
Copy !req
924. That was the first...
The red hoodie was the first.
Copy !req
925. This was the second.
Copy !req
926. I love this moment, by the way.
Copy !req
927. Having seen what happens when she...
has contact. The restraint.
Copy !req
928. Wanting to touch him,
but being afraid of it.
Copy !req
929. A lot of it's about that
visual hang time, right?
Copy !req
930. What are you doing?
Copy !req
931. And no one's ever gonna
be able to unsee that,
Copy !req
932. but that little campfire makes a little
happy face in the background of that shot.
Copy !req
933. Is that right?
Copy !req
934. Yeah, when he holds up the notebook
and there's a little happy face.
Copy !req
935. Wow, I didn't even know that.
Now I got to watch it again.
Copy !req
936. Everyone in editorial was like,
Copy !req
937. "I can't unsee it now.
It's there forever."
Copy !req
938. This is a scene that we really didn't
have that much time to get through.
Copy !req
939. - And so it was all Steadicam.
- Who did all those drawings?
Copy !req
940. - Was it the prop department?
- Yeah, the prop department.
Copy !req
941. I was really impressed with all...
A lot of work, to fill it up with code.
Copy !req
942. Oh, yeah.
Copy !req
943. I hope it all makes sense if people
freeze-frame and look at it.
Copy !req
944. - It's not like...
- No, we double-checked.
Copy !req
945. Oh, it does.
It all adds up. I checked.
Copy !req
946. What I also like
about Chubs a lot, too,
Copy !req
947. is even though he is the comedic relief,
he's also the skeptic.
Copy !req
948. He's the one who's
the least trusting of Ruby
Copy !req
949. when they first meet her, and, um...
Copy !req
950. You know, when they get to the camp
in the end, he's the same way there,
Copy !req
951. and I think it's a really interesting
kind of character that way.
Copy !req
952. - I always loved this.
- And Skylan played it really well.
Copy !req
953. Yeah. I love that he's smart.
Copy !req
954. But he also has that,
as an actor, such a range.
Copy !req
955. And you can see that sensitivity
come through in moments like this.
Copy !req
956. My dad's a police detective, so...
Copy !req
957. Yeah, this scene
was fast and furious.
Copy !req
958. But it turned out very simply.
Copy !req
959. Sometimes, when you're pushed to the limit
Copy !req
960. and you have to get things done
really fast, it comes out the best,
Copy !req
961. because you don't noodle stuff.
Copy !req
962. I also love scenes where the main
source of illumination is a flashlight.
Copy !req
963. - Yeah.
- Yep.
Copy !req
964. Police talk to each other on frequencies
only they can listen to, like UHF, VHF.
Copy !req
965. I love the fact
his eyes are glowing.
Copy !req
966. Yeah.
Copy !req
967. Yeah, that was a tough one
to figure out, because he has...
Copy !req
968. His powers are the least external,
Copy !req
969. So we had to decide, "Okay,
when is he thinking super-intelligently",
Copy !req
970. versus just thinking?"
Copy !req
971. How do you visualize his mind
racing and his superpower happening?
Copy !req
972. It's pretty great.
Copy !req
973. And I just love the fact it looks
like an animal in the night.
Copy !req
974. Five, four, zero.
Copy !req
975. Okay, got it.
Copy !req
976. This took some fancy footwork,
trying to get the shot right.
Copy !req
977. I'm also thinking we probably did
too few cranks on that recharger,
Copy !req
978. 'cause I don't think it would work
after two or three.
Copy !req
979. It's not accurate!
Copy !req
980. If we could redo it, I would
have him crank it for 20, 30 minutes.
Copy !req
981. Reshoots!
Copy !req
982. Or it's just a great radio.
Copy !req
983. That voice is
Dean Zimmerman's daughter.
Copy !req
984. - Is that right?
- Yeah.
Copy !req
985. Charles!
Copy !req
986. That's one of those things, like,
Copy !req
987. "Who are we gonna get to do that?
Oh, let's just..."
Copy !req
988. Super cute.
Copy !req
989. But that moment when they smile
at each other, I just love that.
Copy !req
990. So, we're gonna
take the next exit, and...
Copy !req
991. So much of this movie
was happening in that van.
Copy !req
992. And you wouldn't know it,
but that's all screen. They're in the van.
Copy !req
993. Yeah, most of the
van scenes were on-stage.
Copy !req
994. Other than the big chase sequences,
which were real.
Copy !req
995. Trying to get it to look natural,
but at the same time, practical.
Copy !req
996. The under bridge... We went through
so many bridges trying to find a bridge.
Copy !req
997. I remember.
Copy !req
998. And we went to a bridge
that probably was more cool as a bridge,
Copy !req
999. but it looked so dystopianly,
desperately sad.
Copy !req
1000. And this bridge was actually
really pretty in a nice neighborhood,
Copy !req
1001. and we had to go and mess
it up really badly.
Copy !req
1002. Yeah.
Copy !req
1003. Neighbors were probably wondering
why we were schlepping all this stuff.
Copy !req
1004. We had a big rain storm.
I don't know if it was this scene, or...
Copy !req
1005. - It was.
- Yeah, where...
Copy !req
1006. I wanted one more shot, and I was,
like, desperate for that one more shot,
Copy !req
1007. and then there was
this complete flood of just...
Copy !req
1008. Luckily, everyone was able
to jam under the bridge.
Copy !req
1009. So, you had an entire cast and crew of
a movie under the bridge, waiting it out.
Copy !req
1010. It was very, very fortuitous,
'cause we shot this at the same time
Copy !req
1011. we shot the Lady Jane scene as well.
Copy !req
1012. Right.
Copy !req
1013. 'Cause again, as people
who make movies would know,
Copy !req
1014. but people who maybe
don't make movies don't know,
Copy !req
1015. we have to shoot
all these things out of order.
Copy !req
1016. Yeah, I remember
when I first started doing this,
Copy !req
1017. that was something I just
never thought of. "Oh, that's right."
Copy !req
1018. You don't film a movie
in the order that it's written.
Copy !req
1019. "You have to group shots together."
Copy !req
1020. That's something that we don't
have to worry about in animation,
Copy !req
1021. 'cause the set is in a computer somewhere.
We just open up the file.
Copy !req
1022. But, yeah, going physically
to a location is quite a lot of work.
Copy !req
1023. Like this. This was our
opening scene when she was younger.
Copy !req
1024. This was Amandla's
first day of shoot.
Copy !req
1025. And a tough scene too.
Copy !req
1026. Yeah, it was... Oh, yeah,
this is the hardest emotional scene,
Copy !req
1027. where you have to bawl
and see your parents for the first time.
Copy !req
1028. And it was the first day
she was physically on set.
Copy !req
1029. But she said it was very helpful for her,
Copy !req
1030. 'cause it allowed her to know
kind of the stakes
Copy !req
1031. of what she was going home for emotionally
to be able to carry that with her.
Copy !req
1032. Whenever she's thinking about her parents,
she was thinking about
Copy !req
1033. what was going on in this scene.
Copy !req
1034. They lost their daughter.
Copy !req
1035. And we thought of planning this
as full-on real-time, but it just...
Copy !req
1036. It didn't come off right.
Copy !req
1037. No, I feel... She's on a journey.
Copy !req
1038. We couldn't put the brakes
on the movie for that long.
Copy !req
1039. But it feels like we got
the emotion out of that.
Copy !req
1040. - Seeing it more from her point of view.
- What's great about it too is
Copy !req
1041. - it's her realizing that Liam was right.
- Right.
Copy !req
1042. - There is no going home.
- Yeah.
Copy !req
1043. And then this was one
of those great finds.
Copy !req
1044. This was one of my favorite scenes,
this shot.
Copy !req
1045. - A DP's dream.
- Yep.
Copy !req
1046. - I love the flag in the background.
- This is such a beautiful location.
Copy !req
1047. It was completely natural.
All we did was bring those two little...
Copy !req
1048. The flag and the two little
old goalposts in the background.
Copy !req
1049. And we just stuck it in
the middle of this field.
Copy !req
1050. Such beautiful color.
Copy !req
1051. This to me is some of my favorite
stuff from Harris in the movie here.
Copy !req
1052. - Just very delicate.
- Yeah.
Copy !req
1053. It was one of those dangerous things
in post.
Copy !req
1054. We recut this 50 thousand times,
this scene,
Copy !req
1055. subtly taking a frame here
or a frame there out.
Copy !req
1056. And every time we changed it, it died.
Copy !req
1057. It got worse, and so we'd
have to put it back.
Copy !req
1058. Mm.
Copy !req
1059. Because of the subtlety,
as you're talking about.
Copy !req
1060. There's a purity to it.
You can't sacrifice that.
Copy !req
1061. We're very lucky, you never can
know this early that your actors
Copy !req
1062. are gonna have chemistry,
but they were so great together.
Copy !req
1063. Yeah, they're friends.
They're just really good friends.
Copy !req
1064. That sort of warmth,
the fondness, really comes through.
Copy !req
1065. I think it was Harris' dancing
on set that really won Amandla over early.
Copy !req
1066. Yeah, the first day they met,
literally the first day they met,
Copy !req
1067. they'd never set eyes
on each other before,
Copy !req
1068. and they walked into the room
and they're just running a scene together
Copy !req
1069. to see what they would be like together,
and at one point Harris,
Copy !req
1070. in between doing things or reading lines,
they started dancing.
Copy !req
1071. - Mm-hmm.
- Like, ballroom dancing together.
Copy !req
1072. And it was so sort of goofy and so sweet,
Copy !req
1073. - and instantly, everybody in the room...
- Bonding, yeah.
Copy !req
1074. We felt like we were watching
some rare occurrence
Copy !req
1075. among wild animals
in the wilderness.
Copy !req
1076. Like, "Oh, my gosh, I can't believe
we caught that moment."
Copy !req
1077. - "It's so beautiful and rare."
- This is a great moment.
Copy !req
1078. Sort of a near-kiss.
She wants connection,
Copy !req
1079. but she's afraid of what happens
when she has it.
Copy !req
1080. That's' why all those scenes
were in color.
Copy !req
1081. We had to cut down on
how pretty that shot was
Copy !req
1082. 'cause it was so pretty that it
was almost fairy tale pretty,
Copy !req
1083. so we had to de-prettify it
just a hair in color.
Copy !req
1084. Yeah.
Copy !req
1085. Till then, Zu saved some Twinkies for you.
Copy !req
1086. We didn't get a good product deal
with Twinkies, did we?
Copy !req
1087. Did we get any
free Twinkies out of this.
Copy !req
1088. - I don't remember having it.
- I don't think we did.
Copy !req
1089. I think the last day, Björn Mayer,
the VFX sup, was working,
Copy !req
1090. we said, "The last day you're working,
you're gonna have to eat a Twinkie"
Copy !req
1091. for the very first time,"
'cause he's German.
Copy !req
1092. - He said he would eat one?
- He didn't eat one.
Copy !req
1093. - But we wanted to. I did.
- You did.
Copy !req
1094. They're good.
Copy !req
1095. Can hear frequencies that adults can't.
Copy !req
1096. There is some good in getting old...
Copy !req
1097. This was an awesome moment.
Copy !req
1098. We had a lot of last-minute work
on the sort of noise gun attachment.
Copy !req
1099. Again, going for
the real, but also...
Copy !req
1100. Yeah, the earlier versions
looked a little too much like a toy.
Copy !req
1101. And the visual effect of the ripple
in the air,
Copy !req
1102. again, going for a real effect, versus...
Copy !req
1103. 'Cause statically,
it doesn't look as cool.
Copy !req
1104. Considering I'm the one with the gun,
I think I'm gonna pass.
Copy !req
1105. This is an actual working bridge
Copy !req
1106. that had a ton of cars
trafficking over it all the time.
Copy !req
1107. And it was such a challenge not to get
either traffic or people honking,
Copy !req
1108. - because traffic was stopped.
- Right. We were causing traffic.
Copy !req
1109. This was a visual that,
when I first heard Gwendoline
Copy !req
1110. was gonna do the movie,
Copy !req
1111. I was so excited about this setup,
because Amandla is...
Copy !req
1112. That shot right there.
Amandla is a very petite person.
Copy !req
1113. - Yeah.
- She's very petite,
Copy !req
1114. and Gwendoline is very, very tall.
Copy !req
1115. - And the image of her...
- She's at least a foot taller.
Copy !req
1116. Yeah, and the image of her kneeling
and Ruby being in charge of that dynamic
Copy !req
1117. was just really exciting.
Copy !req
1118. I always love this beat.
It's so chilling.
Copy !req
1119. Yep.
Copy !req
1120. 'Cause I remember at,
whether during script stage,
Copy !req
1121. they're like, "Wait,
so she just walks until she dies?"
Copy !req
1122. - Yep.
- We're like, "Yeah!"
Copy !req
1123. - Like, "Wow, that's pretty rough!"
- She keeps going, yeah.
Copy !req
1124. I thought that just...
Copy !req
1125. That shows how serious
she is about it.
Copy !req
1126. Yeah, it leaves it open
for the sequel
Copy !req
1127. for Lady Jane to just walk into frame
looking very hungry.
Copy !req
1128. Oh, man.
Copy !req
1129. You know, this is
the moment when...
Copy !req
1130. her friends see
how powerful she really is.
Copy !req
1131. - Or realize she's an orange.
- Yeah.
Copy !req
1132. Until then, she was
telling them she was a green.
Copy !req
1133. - This is also another great scene.
- This is great.
Copy !req
1134. This location is actually literally
across a little service road
Copy !req
1135. - from the scene in the meadow.
- In the field, yeah.
Copy !req
1136. And it's the other view.
It's a beautiful location. Um...
Copy !req
1137. And our camera puller...
Before I even talk about that,
Copy !req
1138. I've cut that part out.
Copy !req
1139. But this scene was when, in between takes,
the kids were all sitting around
Copy !req
1140. and just sort of playing
instruments in between takes.
Copy !req
1141. I remember they sent us a song.
They cut, like, a little CD of it.
Copy !req
1142. - Yeah, they did. It's really great.
- It's floating around in my car.
Copy !req
1143. I was like,
"Wow, that's really great."
Copy !req
1144. They're so talented as musicians,
on top of everything else.
Copy !req
1145. That light,
I remember, I actually...
Copy !req
1146. It's amazing.
Copy !req
1147. Fracturing through the trees,
was so beautiful.
Copy !req
1148. This was where they were
playing music around the campfire.
Copy !req
1149. It was so great. We just let them go
and keep going,
Copy !req
1150. and I think John Starke came over
and just sort of nudged over,
Copy !req
1151. he said, "So, what's going on?"
Copy !req
1152. Because as the UPM,
he was making sure things moved along,
Copy !req
1153. but we just loved
watching them play for a while.
Copy !req
1154. It's good bonding moments
when you can get that off-camera,
Copy !req
1155. where your actors really like each other.
Copy !req
1156. Yeah.
Copy !req
1157. But this location was the one where...
Copy !req
1158. I think one of the signs
that I realized that
Copy !req
1159. things were gonna be okay on set
and people didn't hate me
Copy !req
1160. was this location was filled with spiders
and all sorts of critters underfoot.
Copy !req
1161. Is this when they laid
a mat down for you?
Copy !req
1162. They laid a little furni pad
under my chair for me.
Copy !req
1163. Everyone liked you, Jen.
You never needed to worry.
Copy !req
1164. - But that was a sign of...
- I was like, "Aw, that's so sweet!"
Copy !req
1165. And Steve, the script supervisor's
so happy,
Copy !req
1166. 'cause he sat right next to me,
so he got the mat too.
Copy !req
1167. - Let's go!
- Yeah. We're not far now.
Copy !req
1168. Hey, Zu!
Copy !req
1169. We're packing up.
Copy !req
1170. Gotta go.
Copy !req
1171. Yeah, this location was so pretty.
Copy !req
1172. Try and run away again.
Copy !req
1173. Again, so green.
Copy !req
1174. And this was nice to have,
a moment of some comedy,
Copy !req
1175. some lightheartedness.
Copy !req
1176. And Kramer really worked
to get the mist perfect.
Copy !req
1177. - Yeah.
- In between pranking people
Copy !req
1178. with pickles, he worked
very hard on the mist.
Copy !req
1179. Yes, he did.
Copy !req
1180. Blaze of glory.
Copy !req
1181. And this van.
Copy !req
1182. Since this is the last time
we're gonna be seeing it,
Copy !req
1183. it was just nice just to see it
Copy !req
1184. in the sort of
idyllic beautiful resting place.
Copy !req
1185. - It's a character in the movie.
- Yeah.
Copy !req
1186. We spent a lot of time trying
to figure out what song to play here.
Copy !req
1187. This is one of the better
song cues of the movie, I think, too.
Copy !req
1188. - This is a great one.
- Yeah.
Copy !req
1189. I think, Dan, this is
what you listen to
Copy !req
1190. when you're doing Pilates, right?
Copy !req
1191. Yep. That's where we got it from.
Copy !req
1192. The old Pilates mix.
Copy !req
1193. And this was great.
I remember just...
Copy !req
1194. We kind of randomly picked up shots,
and this was where Kramer, our DP,
Copy !req
1195. was hanging off the back of a golf cart.
Copy !req
1196. - Trying to get a golden hour...
- Yeah, as the sun was going down.
Copy !req
1197. - Yeah.
- And then we also had
Copy !req
1198. some drone shots going here,
and I think a drone crashed at one point.
Copy !req
1199. - Well, it landed hard but was fine.
- Yeah.
Copy !req
1200. It's always fun when you're
trying to beat sunset capture stuff.
Copy !req
1201. That's all practical.
Copy !req
1202. - End up with moments like that.
- Some flares.
Copy !req
1203. - Yeah.
- All that's real, practical.
Copy !req
1204. And this is
in Stone Mountain in Atlanta.
Copy !req
1205. Real train tracks.
We didn't pay for those.
Copy !req
1206. No, we built those from scratch.
Copy !req
1207. Well, we built the EDO from scratch.
Copy !req
1208. And then we had a lot
of conversations about,
Copy !req
1209. "How do we make this EDO look...
Copy !req
1210. recognizable, but not too obvious?"
Copy !req
1211. And there was a conversation
about how many rocks should go in the E.
Copy !req
1212. You came over to me
looking really worried,
Copy !req
1213. and I know that when you come over
looking really worried you said,
Copy !req
1214. "Jen, the E."
Copy !req
1215. So, we were moving
the rocks around on the E.
Copy !req
1216. It was so perfect, that it made
it seem like, "How could you miss"
Copy !req
1217. this clue to the secret camp?
Everyone would be there."
Copy !req
1218. Oh, dear.
Copy !req
1219. - Hey, we're not armed.
- Save it, asshole.
Copy !req
1220. Hold on.
Copy !req
1221. This scene actually was about
100 and something degrees.
Copy !req
1222. - Yes.
- A very, very hot day.
Copy !req
1223. It was crazy hot.
Copy !req
1224. Feel bad from the soldiers
in multiple layers.
Copy !req
1225. And out on that bleaching rock too.
Copy !req
1226. - Yep.
- Yep.
Copy !req
1227. But this is an old rock quarry,
Copy !req
1228. and that was actually
the way the rock looks.
Copy !req
1229. - Mm-hmm.
- It had an interesting
Copy !req
1230. sort of stark look to it
Copy !req
1231. that was different from
the actual main body of the kids' camp.
Copy !req
1232. I told you, man, you...
Copy !req
1233. This was probably
our biggest set, right?
Copy !req
1234. Yes, the camp.
Copy !req
1235. Um... The most constructed,
the most scale, the most extras.
Copy !req
1236. Every day, we had 300 kids running around.
Right? 300, I think.
Copy !req
1237. Yeah, the kids were great.
They were so enthusiastic,
Copy !req
1238. were happy to do the same things
over and over and over.
Copy !req
1239. And there are places in this camp...
Copy !req
1240. Russell's funny,
our production designer's funny.
Copy !req
1241. He likes to get all outdoorsy
and build stuff.
Copy !req
1242. And a lot of the places in this camp
are places you can actually hang out,
Copy !req
1243. and in between, you'd find set members,
cast members or crew members
Copy !req
1244. hanging out in some of these places.
They're actually comfortable.
Copy !req
1245. Yeah, the treehouse.
This is the great Paddy Gibson.
Copy !req
1246. First time we're seeing Paddy
in person rather than a flashback.
Copy !req
1247. Exactly.
Copy !req
1248. I knew you weren't reformed.
Copy !req
1249. And this office of his,
on top of a water tower,
Copy !req
1250. again, every single set in this place
you could just hang out in.
Copy !req
1251. - Yeah.
- This was all... This was inside.
Copy !req
1252. This was on a stage, just the interior
of this... Of his little lair.
Copy !req
1253. Everything you see outside
is obviously out on a real location.
Copy !req
1254. You're kinda legendary.
Copy !req
1255. Yeah, this one...
Copy !req
1256. And he does a great
American accent, I think...
Copy !req
1257. Paddy really is
an incredible actor.
Copy !req
1258. - Yeah.
- Great in The OA.
Copy !req
1259. Yeah, he was
the best thing in The OA.
Copy !req
1260. Just saw a new movie he was in
called In a Relationship that he was...
Copy !req
1261. He stole that movie. He's wonderful.
Copy !req
1262. He's also very interesting
and subtle in what he does.
Copy !req
1263. Yeah, agreed.
Copy !req
1264. Yeah, he took a good approach
to this character.
Copy !req
1265. He played it real, as opposed
to mustache-twirling.
Copy !req
1266. In The OA, he plays a bully
that you feel bad for, you know.
Copy !req
1267. - Dan, want to talk about the song?
- How did we find this song, Dan?
Copy !req
1268. Pilates Mix?
Copy !req
1269. Also on the Pilates mix.
Copy !req
1270. Uh... I mean, obviously, this is...
We are six years in the future,
Copy !req
1271. so you want this to be
a relatively recent song,
Copy !req
1272. but you know, I was on the set
with Jen, I think,
Copy !req
1273. - days before this shot.
- Yeah.
Copy !req
1274. And this was an ongoing
conversation, and I was...
Copy !req
1275. I've always just loved this album
In Colour by Jamie xx
Copy !req
1276. who's the DJ of The xx.
Copy !req
1277. And this song in particular
that I feel really speaks to the moment.
Copy !req
1278. I remember you picked it.
Every cue on this movie changed,
Copy !req
1279. but this song we always fought to keep,
because it just felt perfection,
Copy !req
1280. and we didn't... We always told
everyone, "No, this song stays."
Copy !req
1281. Yeah, you literally leaned over
with your phone and you said,
Copy !req
1282. "How's this?", and you played it.
Copy !req
1283. And I said, "That's great!
We're gonna use it!"
Copy !req
1284. Here it is by the way.
I mean, this is just magic.
Copy !req
1285. I remember when we read it in the script
for the first time, whenever that was,
Copy !req
1286. being like, "Awesome."
But then seeing it happen...
Copy !req
1287. I mean, her look obviously sells it too,
Copy !req
1288. but it's just that natural use
of the powers where it's done out of love.
Copy !req
1289. - It's a loving gesture.
- Right.
Copy !req
1290. It's funny, when we shot
that scene practically with a wire,
Copy !req
1291. with him lassoing her
out to the dance floor, I...
Copy !req
1292. In the back of my head, I did not...
I wasn't sure it was gonna work.
Copy !req
1293. I thought, "Is this too silly?"
Copy !req
1294. But it's actually really romantic
and sweet.
Copy !req
1295. And it works great.
But at the time, I was a little nervous.
Copy !req
1296. Yeah, 'cause it's thrown away.
Copy !req
1297. If it was a big thing, it would be silly,
but it's the fact it's thrown away.
Copy !req
1298. It's just a little practical
gesture of, "Go on."
Copy !req
1299. And people do all sorts of silly things
on a dance floor in real life.
Copy !req
1300. No, and also on this movie,
I remember that when you're doing
Copy !req
1301. these movies, you're working
with a lot of extras,
Copy !req
1302. and some of them are not as good
dancers as you hoped,
Copy !req
1303. and you have to sort of gently
push them to the background
Copy !req
1304. and pull up the people
who can dance, and...
Copy !req
1305. I was actually really worried about
the dance scene,
Copy !req
1306. because I can't dance worth anything.
I'm really bad.
Copy !req
1307. I'm remedial.
Copy !req
1308. And so, I was really worried about...
And I don't go to dances.
Copy !req
1309. - I think I stayed home for prom.
- Have to get you out of the house.
Copy !req
1310. I remember what happened was
we got a bunch of professional dancers,
Copy !req
1311. but also there were background actors
that we were gonna use,
Copy !req
1312. and it was almost like
a very quick dance-off
Copy !req
1313. where people just started dancing,
and we slowly pulled...
Copy !req
1314. It was like picking
the baseball team in summer camp.
Copy !req
1315. It was very funny.
Copy !req
1316. - Yeah. It ended up being...
- They look great in that scene.
Copy !req
1317. This is a scene where there was
an iconic moment from the book
Copy !req
1318. that we ended up cutting
'cause it didn't work.
Copy !req
1319. Is this the...
Did we initially have the rose here?
Copy !req
1320. We had the rose scene when
they first arrived in the room.
Copy !req
1321. - And we actually shot it.
- Oh, then he puts it into her...
Copy !req
1322. We shot the whole
rose giving scene.
Copy !req
1323. We spent a lot of time
on that shot.
Copy !req
1324. We did.
Copy !req
1325. And getting the look of it right
and getting the perfect rose for it.
Copy !req
1326. And everything.
Copy !req
1327. And it ended up being a major telegraph
of, oh, he's a bad guy.
Copy !req
1328. Because it's creepy.
Copy !req
1329. - It is a creepy thing for him to do.
- Yeah, it didn't occur to me
Copy !req
1330. when we had it
that that might be taken that way.
Copy !req
1331. But we kept it in as long as we could
'cause I do remember our writer Chad
Copy !req
1332. telling us how iconic that moment was.
This was great too.
Copy !req
1333. My father didn't care,
he sanctioned it.
Copy !req
1334. Uh, I remember,
even though it's just
Copy !req
1335. little quick cuts of it,
that Paddy was so great.
Copy !req
1336. His anguish and betrayal
of his father and...
Copy !req
1337. Yeah, his last day on set.
Copy !req
1338. And he got a bouquet of orange flowers...
Copy !req
1339. I have a great a photo of
him holding his bouquet.
Copy !req
1340. I got to give it to him at some point.
Copy !req
1341. What's great too
is you see him briefly
Copy !req
1342. in the opening in this same scene,
Copy !req
1343. but now you're getting his version of it.
You know?
Copy !req
1344. If he knows we can't be fixed...
Copy !req
1345. They'll never stop trying to fix us.
Copy !req
1346. Why?
Copy !req
1347. Because he's afraid of us.
Copy !req
1348. But he's so intense here
which is really great.
Copy !req
1349. But you feel
the hurt in his voice.
Copy !req
1350. - Yeah.
- Yup.
Copy !req
1351. And so it makes him
really likeable and relatable.
Copy !req
1352. 'Cause Paddy's such a great actor.
Copy !req
1353. He can make someone that could have come
off as being, sort of, straight evil.
Copy !req
1354. No, it wasn't a ton to work with
in the script.
Copy !req
1355. And not the fault of
the script just the role.
Copy !req
1356. And he made the most of it.
Copy !req
1357. And I won't hurt anyone?
Copy !req
1358. Amandla's so great with
what she could do with her eyes and...
Copy !req
1359. Teach me.
Copy !req
1360. "Teach me." I love that.
Copy !req
1361. Everyone has a place
in the world.
Copy !req
1362. A responsibility, a purpose.
Copy !req
1363. We really lucked out with rain too
'cause this whole set,
Copy !req
1364. at one point it became a mud pit.
Copy !req
1365. We were not there later,
but we didn't luck out with rain
Copy !req
1366. because we got rained out.
Copy !req
1367. That thing turned into a swamp in
later night scenes which we'll get to.
Copy !req
1368. I got to learn how
to wear galoshes properly.
Copy !req
1369. - They were mud.
- We had some torrential downpours.
Copy !req
1370. I'm amazed we actually finished.
Copy !req
1371. Focus.
Copy !req
1372. This scene, the fact it's montaged
is actually really helpful.
Copy !req
1373. Originally, it wasn't.
We shot it all as separate scenes.
Copy !req
1374. And the hope was to eventually montage it,
Copy !req
1375. but it never quite got there.
Copy !req
1376. You and Dean did a lot
of magic tricks in the movie,
Copy !req
1377. but this might have been one of the more
impressive ones. What you did here.
Copy !req
1378. This is basically post magic.
Copy !req
1379. Because Dean came up with how to
cut this in a way that really felt great.
Copy !req
1380. Yeah.
Copy !req
1381. And it, we even used
little outtakes and stuff.
Copy !req
1382. Little things in there that
made things a little bit happier,
Copy !req
1383. brighter, seeing their relationship
progress over the course of it.
Copy !req
1384. But also kept the momentum going.
Copy !req
1385. Because when we had it not a montage,
it really drove down the energy.
Copy !req
1386. No, this was a...
I remember in the early days,
Copy !req
1387. it was a real challenge this scene.
It wasn't working.
Copy !req
1388. And felt a lot of different things
competing, a little clunky.
Copy !req
1389. But this really pushed
it all along nicely.
Copy !req
1390. Yeah.
Copy !req
1391. You need to be stronger.
Copy !req
1392. And those bottles.
Copy !req
1393. That sort of enclosure
around the plants back there.
Copy !req
1394. That's a Russell special.
Copy !req
1395. This is, I think,
is gonna be the most informational
Copy !req
1396. and educational moment
in the film for everyone.
Copy !req
1397. Anyone, anyone interested
in peppers is gonna learn a lot right now.
Copy !req
1398. I learned about peppers.
I didn't know about that.
Copy !req
1399. A lot of people didn't. I'm trying
to remember when I knew that was the case.
Copy !req
1400. Probably when I first read the script.
I mean, the book or...
Copy !req
1401. You're right.
Copy !req
1402. I love the look on his face,
that's great.
Copy !req
1403. We need all the Vitamin C we can get.
Copy !req
1404. But this is towards
the end of the shoot.
Copy !req
1405. We had, um... This is probably
the last couple of weeks of shoot.
Copy !req
1406. It started getting really hot and humid
out in Atlanta.
Copy !req
1407. Oh, yeah.
Copy !req
1408. - Atlanta in the summer is not easy.
- Yeah.
Copy !req
1409. Although we luckily wrapped
in June before it got really intense.
Copy !req
1410. But it was definitely... humid.
Copy !req
1411. What happened?
Copy !req
1412. I've never told anyone.
Copy !req
1413. I think there was a photograph
of the two of them
Copy !req
1414. sitting and figuring this thing out.
Copy !req
1415. And I'm literally sitting between them
on the sofa staring.
Copy !req
1416. I felt like I was in some
sort of therapy session.
Copy !req
1417. Yeah.
Copy !req
1418. But Liam looking through the window
and seeing the two of them together...
Copy !req
1419. It's okay.
Copy !req
1420. That's really, it's so sad.
Copy !req
1421. He's very sad in this scene.
Copy !req
1422. Yeah.
Copy !req
1423. They're connecting in a way
he can't connect with her.
Copy !req
1424. Yet.
Copy !req
1425. And there's nothing
he can do about it.
Copy !req
1426. There's no way he can share
what these two can share.
Copy !req
1427. And that's the way the villain can
insinuate himself into Ruby's life
Copy !req
1428. because he can offer something Liam can't.
Copy !req
1429. Yeah, here's our sort of fading
smoke effect which took a long time
Copy !req
1430. to figure out how it should look,
and we're thrilled with how it turned out.
Copy !req
1431. It was a long development process.
Copy !req
1432. Remember it was
like computerized, like Matrixy.
Copy !req
1433. - Yeah.
- Early days.
Copy !req
1434. It just didn't have the emotion to it.
Copy !req
1435. Björn was trying to find a look
that was natural and emotional.
Copy !req
1436. Right.
Copy !req
1437. And I think
what he finally settled on was
Copy !req
1438. the effect of ink in water dissipating.
Copy !req
1439. Just a little kid.
I had no clue what I was doing.
Copy !req
1440. I love effects like that.
Copy !req
1441. The kind that you look at and go,
I haven't seen that before done like that.
Copy !req
1442. Mm-hmm.
Copy !req
1443. I think early on we were also trying to
do something so groundbreaking
Copy !req
1444. and never seen before that it got too
complicated and really we needed something
Copy !req
1445. elegant and simple and sad.
Copy !req
1446. It's that stereotypical thing,
you walk in and say,
Copy !req
1447. "I want something
that's never been seen before."
Copy !req
1448. I want something completely new.
Copy !req
1449. Then you look at 20 things
and you're like I don't like any of this.
Copy !req
1450. Let's just go back
to the first thing we had
Copy !req
1451. that seems to work pretty well.
Copy !req
1452. Let's go back to the simple thing.
Ink in water.
Copy !req
1453. It's actually one of the things
I'm obsessed with too. Because...
Copy !req
1454. - Ink in water?
- Ink in water.
Copy !req
1455. But living water color paintings and stuff
Copy !req
1456. is something that I was interested
in doing before.
Copy !req
1457. And to see it happen here visually
on a live action shot is pretty amazing.
Copy !req
1458. Intense.
Copy !req
1459. I love the fact there's details
in here that really we didn't have to do.
Copy !req
1460. But Russell put in there.
Copy !req
1461. This tent was originally just a tent.
Copy !req
1462. Like a military surplus tent
in the script.
Copy !req
1463. And the fact that it became this
sort of bohemian place
Copy !req
1464. you'd really want to hang out in.
Copy !req
1465. Remember, we hired Russell off of,
or Rusty as he prefers to be called,
Copy !req
1466. - off of Captain Fantastic.
- Captain Fantastic.
Copy !req
1467. Which had that real lived in feel.
Copy !req
1468. Real lived in, yeah.
Copy !req
1469. It was a perfect correlation
to what we needed in our film.
Copy !req
1470. I remember we said,
Jen, go check out...
Copy !req
1471. It wasn't even... I think it was just,
you got to see Captain Fantastic.
Copy !req
1472. It's a great movie.
It has the feel of our movie.
Copy !req
1473. You went and saw it right away
and the hire that came out of it was,
Copy !req
1474. Russell as the production designer.
It's wonderful.
Copy !req
1475. Yeah, we're really lucky to get him.
Copy !req
1476. It's a very unusual look.
Copy !req
1477. It's sort of like happy decrepit.
Copy !req
1478. I do need to point out
that's in a real lake.
Copy !req
1479. That's a real lake.
Copy !req
1480. You can look at that and go
that's a green screen,
Copy !req
1481. but they we were literally at...
Still at Stone Mountain.
Copy !req
1482. We did have to build the dock.
Copy !req
1483. - But it was made out of real wood.
- It was made out of real wood.
Copy !req
1484. I think this was the day
where I really, you know...
Copy !req
1485. This was the first time
I've dealt with a live action shoot.
Copy !req
1486. And occasionally moments of reality
hit you and go,
Copy !req
1487. wow, this is really happening.
Copy !req
1488. We were here on this little island
and it started pouring rain.
Copy !req
1489. And we were huddled under this tent
sort of waiting for the rain to go away.
Copy !req
1490. And I was watching
all the rain land around us,
Copy !req
1491. looking at the dock, having people
rush over trying to dry the dock
Copy !req
1492. between rain showers so that
we could have a consistent shot.
Copy !req
1493. And those mundane things were so exciting
because I hadn't dealt with that before.
Copy !req
1494. Right.
Copy !req
1495. My parents.
Copy !req
1496. What is Clancy up to?
This can't be good.
Copy !req
1497. This was
an interesting little late addition
Copy !req
1498. because we always knew he was
Copy !req
1499. doing this, but to show
what he was doing on the computer.
Copy !req
1500. No, I remember I was worried
it was telegraphing too much.
Copy !req
1501. But I think Dean had some
great instincts for it,
Copy !req
1502. how to just up the tension and jeopardy
and not be afraid of it.
Copy !req
1503. - Embrace it.
- Yeah.
Copy !req
1504. Something bad is about to happen.
Copy !req
1505. Because when do you show
that the villain is the villain?
Copy !req
1506. When do you really, really give it away?
Copy !req
1507. And if you didn't know it
before this next section,
Copy !req
1508. this next section
doesn't have any tension.
Copy !req
1509. 'Cause you just have him going to her mind
and you don't really know whether
Copy !req
1510. it means anything or not.
Copy !req
1511. He's not stupid.
He's, like, the smartest person...
Copy !req
1512. I mean, he is a green.
Copy !req
1513. Huh?
Copy !req
1514. All right.
Copy !req
1515. Just talking at the screen.
Copy !req
1516. But first... you teach me.
Copy !req
1517. What do you want me to teach you?
Copy !req
1518. I wanna know how...
Copy !req
1519. Remember? A lot of conversation
about collar up, collar down for Clancy.
Copy !req
1520. Collar up, evil.
Copy !req
1521. - Collar down, good.
- Good.
Copy !req
1522. What mood is he in?
What's his collar doing?
Copy !req
1523. If we can figure out how you did it...
Copy !req
1524. I wonder if this movie
will bring back the up collar.
Copy !req
1525. I don't know.
Copy !req
1526. One thing that's really neat about seeing
some of the descent into showing
Copy !req
1527. - what the villain is.
- Mm-hmm.
Copy !req
1528. 'Cause that descent had
to be believable
Copy !req
1529. and we kept figuring where
we'd start that descent
Copy !req
1530. to make that slide seem believable.
Copy !req
1531. And before when we didn't have the
reveal that he was the bad guy here,
Copy !req
1532. this area right here was just this gentle,
Copy !req
1533. soft walk down memory lane that
seemed exactly like the other scenes.
Copy !req
1534. This was like a sweet little moment.
Instead...
Copy !req
1535. But now it's got
a little bit of tension.
Copy !req
1536. It's a little sinister.
Copy !req
1537. And I remember on the very
first day of shoot we shot Clancy,
Copy !req
1538. Paddy in this room with Lidya
on the very first day.
Copy !req
1539. And everybody was saying
this looks really creepy.
Copy !req
1540. - And I'm like, yes, it does.
- It was creepy.
Copy !req
1541. Yeah... Watching a little girl.
Copy !req
1542. Don't worry anymore,
mommy and daddy.
Copy !req
1543. Nothing can take me away from you.
Copy !req
1544. 'Cause he is invading her space.
Copy !req
1545. Yeah, and I love what Kramer
did here with distortion and...
Copy !req
1546. - He found this crazy Petzval lens.
- Oh, right.
Copy !req
1547. And, uh, it was all
practical visual effect, in-camera effect.
Copy !req
1548. And what we ended up doing was
we'd have to swap out lenses
Copy !req
1549. like 8,000 times
Copy !req
1550. in order to get a regular shot
and Petzval shot.
Copy !req
1551. And Björn had this, he basically mapped it
and said we'll replicate
Copy !req
1552. the same effect in visual effects.
Copy !req
1553. So some of the shots are Petzval
and some of them are practical.
Copy !req
1554. Or VFX.
Copy !req
1555. And you wouldn't really know which
ones they are 'cause they look identical.
Copy !req
1556. I'll just erase this part
and we can start over.
Copy !req
1557. Now this was a tough scene to do.
Copy !req
1558. Trying to get the balance right.
Copy !req
1559. Yeah, and I wanted to make sure
that we treated it tastefully and that.
Copy !req
1560. Amandla was never uncomfortable
during this scene.
Copy !req
1561. 'Cause there was a lot
of conversation
Copy !req
1562. throughout the script phase
and up to shooting about this scene.
Copy !req
1563. 'Cause it's a rape scene.
Or near rape scene.
Copy !req
1564. It... It was pretty graphic.
Copy !req
1565. But it was such a critical part
of the book that there was no way there.
Copy !req
1566. I know there was some conversation,
can you get rid of it?
Copy !req
1567. And I think we tried to figure out
how to get rid of it.
Copy !req
1568. But you can't get rid of it
because it's integral to the book.
Copy !req
1569. Of course.
Which is why we kept it.
Copy !req
1570. I think the big note that I had
when we first talked about the movie
Copy !req
1571. was how do we deal with it.
Copy !req
1572. - And the two things, if we...,
- It's pretty intense
Copy !req
1573. in the book too.
And in the original script.
Copy !req
1574. Much more intense than
what we shot I think.
Copy !req
1575. But I think you found the
perfect balance cause it's...
Copy !req
1576. It's a balance
of showing what happens
Copy !req
1577. and having her actually confront it
Copy !req
1578. and make the guy pay.
Copy !req
1579. Through here.
Copy !req
1580. Come on. This way is not guarded.
Copy !req
1581. This scene was actually one
in the very original draft,
Copy !req
1582. did not have Clancy showing up here.
Copy !req
1583. It was more of a scene
between him and Captain.
Copy !req
1584. - And, uh...
- Right. I remember.
Copy !req
1585. And this was a tough scene to get this
together in terms of production design.
Copy !req
1586. Yeah, this one I boarded myself.
Copy !req
1587. Remember? Because it was
so important to me to get right.
Copy !req
1588. Do you remember Wade was banging
his head against the wall to get the feel
Copy !req
1589. of what it would be like to
be thrown against the wall.
Copy !req
1590. He was a real method actor.
Copy !req
1591. He was very method about it.
Copy !req
1592. And I said, "You don't have
to do that, Wade."
Copy !req
1593. Yeah.
Copy !req
1594. It's not our idea.
Copy !req
1595. But he was really
throwing himself into it.
Copy !req
1596. But I love the sort of simplicity
Copy !req
1597. of the light bar here
and then being confronted
Copy !req
1598. by all these soldiers.
Copy !req
1599. Remember, we had to figure out
why are they going inside to get away?
Copy !req
1600. And we... I think we pulled it off,
but I remember it was a little tricky
Copy !req
1601. to establish this set.
Copy !req
1602. This is also not what
it was like in the book.
Copy !req
1603. This is very different
Copy !req
1604. from the original draft of the script
and the book.
Copy !req
1605. Because in the book, you didn't have
this confrontation here.
Copy !req
1606. - You had it in the middle of the battle.
- No.
Copy !req
1607. - And he never...
- Oh, right.
Copy !req
1608. - Punched Liam repeatedly.
- Yeah, I remember that.
Copy !req
1609. This was all an addition,
and the reason why I boarded it
Copy !req
1610. was because...
Not for the setup of the compositions,
Copy !req
1611. but I wanted to get this moment where
he is confronting the other suitor.
Copy !req
1612. So that literally he's punching Liam
because he has so much more power.
Copy !req
1613. - Like, look how much power I have.
- Right.
Copy !req
1614. And it's a way to build Ruby
Copy !req
1615. to the place
where she's gonna be strong enough
Copy !req
1616. to change into this other person.
Copy !req
1617. This powerful person that's gonna sort
of become the protector of the group.
Copy !req
1618. It sucks, Ruby.
Copy !req
1619. We could have been leading
an army together.
Copy !req
1620. And it's so creepy the fact
that he's punching him.
Copy !req
1621. He can't fight back.
It's so underhanded.
Copy !req
1622. And again, I somehow,
Copy !req
1623. 'cause of Paddy's acting,
I feel bad for him.
Copy !req
1624. He's got such pain in his delivery.
Copy !req
1625. I remember on set thinking
he's playing it with such hurt.
Copy !req
1626. - Yeah.
- That you feel for him.
Copy !req
1627. In his very screwed up way.
Copy !req
1628. And obviously,
it's impossible to root for him
Copy !req
1629. after an attempted assault on Ruby.
Copy !req
1630. - But, uh...
- If you can empathize
Copy !req
1631. with a villain and you feel bad
for him whatever
Copy !req
1632. it is that's tortured him in this place.
Then that's a good performance.
Copy !req
1633. I also didn't want
to have cartoon violence.
Copy !req
1634. I mean, a guy's getting kicked
and I wanted to make sure it looked real.
Copy !req
1635. And that he's gonna be dealing with it
for the rest of the movie.
Copy !req
1636. I love that little Zu is so dangerous.
Copy !req
1637. Yeah,
it was a constant refrain of mine
Copy !req
1638. which I'm sure you were tired of hearing
Copy !req
1639. was more light, more lighting,
more danger.
Copy !req
1640. - More lightening.
- More power.
Copy !req
1641. And our Ospreys.
Copy !req
1642. This was about two weeks
of night shoots.
Copy !req
1643. In the rain.
Copy !req
1644. In a muddy bog of a rain
which you hopefully can't tell some days.
Copy !req
1645. Right next to a bog.
Copy !req
1646. So it literally was a bog
and had mosquitos all over the place.
Copy !req
1647. Um, and I think...
Copy !req
1648. And if we haven't
mentioned before, Jen does not like bugs.
Copy !req
1649. I don't like bugs.
Copy !req
1650. But this was all night time so we went to
straight night shoots for two weeks.
Copy !req
1651. - It was brutal.
- It was brutal.
Copy !req
1652. I think we lost a couple days
Copy !req
1653. because of the rain
or we had to wrap early.
Copy !req
1654. And this was great.
I remember watching the rehearsal on this
Copy !req
1655. with the revealing of the reds and...
Copy !req
1656. I love that the red is the sweetest,
most beautiful little girl.
Copy !req
1657. And it's worth noting
that all the reds with the hoods off
Copy !req
1658. are the kids of stunt men.
Copy !req
1659. - And they're stunt kids.
- Yeah.
Copy !req
1660. We had to make sure
that everybody was safe.
Copy !req
1661. They can actually do...
Uh, there goes Mike.
Copy !req
1662. There was practical flames
in addition to non-practical flames.
Copy !req
1663. And we wanted to make sure
everybody was very safe through all this.
Copy !req
1664. Yeah, we definitely were...
Copy !req
1665. I think the idea was to go with
practical flames,
Copy !req
1666. um, but when we saw a cut of the film,
we needed to enhance some
Copy !req
1667. because it just didn't have that
otherworldly supernatural power to it.
Copy !req
1668. Yeah.
Copy !req
1669. - Extra terrifying there.
- But, yeah, safety first.
Copy !req
1670. Safety first.
Copy !req
1671. Kramer was, uh, trying to get
a lot of the visual effects,
Copy !req
1672. the practical effects of the flames.
Copy !req
1673. Any DP is gonna want that.
Copy !req
1674. Yeah.
Copy !req
1675. I re... And you, Jen, I remember
the idea that it had that little bit of
Copy !req
1676. a concussive air ripple with
the heat blast was
Copy !req
1677. a real, smart little tweak.
Copy !req
1678. I don't know if people
will notice it but...
Copy !req
1679. 'Cause it's not...
It's not unrealistic. It's real flames.
Copy !req
1680. But with a tweak which is kind
of the tone of the whole movie.
Copy !req
1681. Remember way back when,
Copy !req
1682. way, way in the very beginning
when basically there's me
Copy !req
1683. and my husband and Molly sitting,
Copy !req
1684. trying to figure out
what to do with the movie
Copy !req
1685. - in a little tiny office.
- In Hollywood, right?
Copy !req
1686. Yeah. This scene,
we were boarding on the wall.
Copy !req
1687. And I showed you the scene where
everybody's kneeling in front of Clancy.
Copy !req
1688. That was a very early little visual play.
Copy !req
1689. Yeah, I remember on set that day,
it was a conversation.
Copy !req
1690. How many kids
or do we have too many kids doing it?
Copy !req
1691. Or not enough kids?
But I think you got it just right.
Copy !req
1692. I just love the fact he has
that much power over these kids.
Copy !req
1693. It's a quick visual read
of they're in trouble.
Copy !req
1694. This is a great beat.
Copy !req
1695. It shows her powerful.
Copy !req
1696. Shows her facing this guy,
which I love.
Copy !req
1697. And glowing eyes!
Copy !req
1698. This was in the original pitch
Copy !req
1699. - to marketing.
- Right.
Copy !req
1700. I remember the look between them.
Copy !req
1701. Even in your storyboards, Jen.
Copy !req
1702. Just the back and forth, this was great.
Copy !req
1703. Because again, it shows strength.
Copy !req
1704. It shows power to have
these big burly guys just taken over.
Copy !req
1705. They're almost the chess pieces
in this game between them.
Copy !req
1706. Yeah.
Copy !req
1707. One thing I'm happy about
'cause in other films is sometimes you
Copy !req
1708. cast the extras for soldiers
Copy !req
1709. and they come to set
and they're very small,
Copy !req
1710. thin, and don't have
that physical presence.
Copy !req
1711. And I remember us saying
to the extras casting,
Copy !req
1712. get us football players.
Copy !req
1713. Former military people
who look intimidating.
Copy !req
1714. Yeah.
Copy !req
1715. I just wanted to make sure they knew
how to handle themselves.
Copy !req
1716. Right and that's another thing
you sometimes find.
Copy !req
1717. Is that they actually don't know how
to handle a gun.
Copy !req
1718. And so it doesn't look real.
Copy !req
1719. And I always catch that
in movies or TV shows.
Copy !req
1720. In the background.
Copy !req
1721. But we had them perfectly trained.
Copy !req
1722. I love this beat because
it just shows what she's capable of doing.
Copy !req
1723. The moment where she finally
grows into herself completely.
Copy !req
1724. And realizes she's powerful
and she can fight back.
Copy !req
1725. I love that shot of her
with her eyes looking up at the Osprey.
Copy !req
1726. I kinda like how I am.
Copy !req
1727. That's a great line.
Copy !req
1728. And I think it's empowering
for women to hear that,
Copy !req
1729. to have a character say,
I'm not gonna... You can't change me.
Copy !req
1730. I think everybody goes
through relationships like that.
Copy !req
1731. And I think we should point out
that's a real Osprey
Copy !req
1732. we crashed multiple times.
Copy !req
1733. Multiple times.
We had to have five spares.
Copy !req
1734. The Osprey budget of this movie
was just incredible.
Copy !req
1735. It was amazing.
It just missed her head.
Copy !req
1736. We totally lucked out on that one.
Copy !req
1737. Um. No, that was
pretty brilliant CG work on the Ospreys.
Copy !req
1738. And it's tough when
you're watching cuts in the early days.
Copy !req
1739. - It's so skeletal and not done...
- You have no idea
Copy !req
1740. - what you're getting.
- And you just hope that one day
Copy !req
1741. uh, it'll look great.
And Björn did an amazing job.
Copy !req
1742. This beat right here
really came out nicely too of Clancy.
Copy !req
1743. Clancy, I mean of Chubs saving her
and getting burnt in the process.
Copy !req
1744. Chubs is the hero.
Copy !req
1745. The understated hero of them all.
Copy !req
1746. You know, this shows
how committed the actors were.
Copy !req
1747. On the day they showed up and
their clothes weren't quite dirty enough.
Copy !req
1748. And both of them just jumped down,
rolled around in the dirt for a while
Copy !req
1749. to get themselves properly
messed up for this shot.
Copy !req
1750. There's your smiley face again.
Copy !req
1751. Yeah,
Copy !req
1752. subliminal little smiley faces everywhere.
Copy !req
1753. This is, um...
This is a nice moment for Chubs.
Copy !req
1754. We're really debating
just how damaged his face was.
Copy !req
1755. Yes, we had to worry about...
Obviously, he had to look gravely injured,
Copy !req
1756. but we also had to worry about rating
and um, gross out factor.
Copy !req
1757. The great thing about the make up
in this movie and Donald...
Copy !req
1758. Donald's amazing.
I have not mentioned that yet.
Copy !req
1759. Donald Mowat is the best.
Copy !req
1760. One of the best, most legendary
make-up guys in the business
Copy !req
1761. and the reason why he's so great is
you don't notice what he does.
Copy !req
1762. He's such a pro. He's one of...
Copy !req
1763. He's so naturalistic in how he makes
people look without making them look like
Copy !req
1764. they're wearing anything.
Copy !req
1765. And he did all of this work
on the burns and everything,
Copy !req
1766. it looks very subtle. Tasteful.
Copy !req
1767. Remember there were a lot
Copy !req
1768. of last minute conversations
about that button.
Copy !req
1769. I remember the early version
was not ideal.
Copy !req
1770. - We had to...
- But we got it right.
Copy !req
1771. We had to shimmy around
that button quite a bit.
Copy !req
1772. Chubs?
Copy !req
1773. Even in the daytime you see
the burns and they still look natural.
Copy !req
1774. - Mm-hmm.
- Not horror movie.
Copy !req
1775. I knew you were okay.
Copy !req
1776. I think this was the day where
just watching this performance,
Copy !req
1777. it was a very simple scene,
the two of them.
Copy !req
1778. In fact, the ending of the movie was
the first thing that we knew that we had
Copy !req
1779. in that, unless you have a good ending
you don't have a movie
Copy !req
1780. and I hate the idea
of people barreling into production
Copy !req
1781. when they don't have the ending.
Copy !req
1782. I mean, how do you know
what anything's going to?
Copy !req
1783. And this is sort of the flight into
the big emotional...
Copy !req
1784. sort of finale of the relationship.
Copy !req
1785. And this day, I remember
we were watching the two of them.
Copy !req
1786. Such a simple scene.
Copy !req
1787. But there's so much going on between them
just emotionally, facially.
Copy !req
1788. I remember I missed it because
when we were doing the crew call,
Copy !req
1789. it's when I found out my daughter
was going to be born.
Copy !req
1790. That's right, you had
to rush off set that day.
Copy !req
1791. I did and so I missed
the actual shooting of this moment.
Copy !req
1792. But, yeah,
I remember it was a splits that day.
Copy !req
1793. And I got to set and I was like,
oh, I got to leave.
Copy !req
1794. - I think you had a good excuse.
- Yeah.
Copy !req
1795. - It was a pretty good excuse.
- Yeah.
Copy !req
1796. You can't pull that one too often, though.
Copy !req
1797. I'm not leaving you.
Copy !req
1798. But again, the performances
of these guys are just so amazing.
Copy !req
1799. These actors are so good.
Copy !req
1800. Yeah, we really...
Copy !req
1801. Sometimes you don't always get it right,
but I feel like the cast we got
Copy !req
1802. for this movie we got it really right,
Copy !req
1803. and they're really the next generation
of great actors.
Copy !req
1804. There was a lot of effort put into
finding the right group.
Copy !req
1805. - Oh, yeah.
- Oh, yeah.
Copy !req
1806. The chemistry of this group
was a big thing for us in the beginning.
Copy !req
1807. - And they're really good kids too.
- Yeah.
Copy !req
1808. If you're going to be spending
this much time with people in the woods,
Copy !req
1809. you better like them.
Copy !req
1810. - You don't always get that luxury.
- That's rule one in filmmaking.
Copy !req
1811. Yeah.
Copy !req
1812. I was always curious, Jen,
why'd you go with the one-armed aiming?
Copy !req
1813. Because it's awesome.
Copy !req
1814. I like this shot a lot
of just the feet and the foreground.
Copy !req
1815. - It was a beautiful action.
- It's actually because
Copy !req
1816. it's a trunk shot.
Copy !req
1817. Those are actually my feet, Dan.
I don't know if you know that.
Copy !req
1818. I was back from the hospital.
Copy !req
1819. Dan's a multi-hyphenate producer
and leg model.
Copy !req
1820. So, the safe house.
Copy !req
1821. Yeah, we could have gone
with a full-on crazy,
Copy !req
1822. you know, James Bond lair kind of thing.
Copy !req
1823. No, I think
the grounded approach is...
Copy !req
1824. - Full grounded.
- So much better.
Copy !req
1825. Chubs, he's in the hospital.
Copy !req
1826. He's in pretty bad shape.
So if he has any chance...
Copy !req
1827. Someone's real house with cute dogs
that they had to put away for the day.
Copy !req
1828. It was a very nice house.
Copy !req
1829. A very nice house.
Copy !req
1830. And it was air conditioned
which was helpful.
Copy !req
1831. That's a plus in Atlanta.
Copy !req
1832. Again, this was a scene
that was a bit different.
Copy !req
1833. And it sort of leads to one
of my favorite movies...
Copy !req
1834. moments of this movie
is how she gets rid of Rob.
Copy !req
1835. Oh, yeah. That always got
a good laugh which was nice.
Copy !req
1836. I love a movie when you...
Copy !req
1837. that's as intense as this one
when you can earn those laughs
Copy !req
1838. and that was a nice beat
that's about to come up.
Copy !req
1839. And that wasn't in
the original draft and uh...
Copy !req
1840. No.
Copy !req
1841. It just seemed like, especially
with so much intensity happening,
Copy !req
1842. you need that moment of lightness before
we go into this next big emotional beat.
Copy !req
1843. Yeah.
Copy !req
1844. And again, it gives you satisfaction
to see her do this.
Copy !req
1845. - It's so good.
- Well, yeah, it turned into a...
Copy !req
1846. fantasy for a teen to be able
to make an adult shut up.
Copy !req
1847. Everybody wants
to have the power to do that, right?
Copy !req
1848. You're an asshole.
Copy !req
1849. I'm an asshole.
Copy !req
1850. I love that.
Copy !req
1851. I love the look
that Mandy gives her here.
Copy !req
1852. - Yeah.
- Don't do that to me, please.
Copy !req
1853. And Rob committed to it, you know?
Copy !req
1854. Mark was just in it for that moment.
Copy !req
1855. - He's a trooper.
- Yeah.
Copy !req
1856. Please don't call me an asshole.
Copy !req
1857. At this point, she's so powerful,
she's able to do so much,
Copy !req
1858. but she's still dealing with,
Copy !req
1859. she's living in a system
that's still bigger than her,
Copy !req
1860. which is difficult.
Copy !req
1861. I love the fact she gets smarter,
Copy !req
1862. I love the fact that she actually starts
taking control of the situation...
Copy !req
1863. That's a big theme, control.
Copy !req
1864. Yeah, control and being comfortable
with what she's capable of
Copy !req
1865. for the right reasons.
Copy !req
1866. I remember this moment here
where he steps back...
Copy !req
1867. Yeah, it got a big laugh
Copy !req
1868. - in the previews...
- It got a big laugh on set.
Copy !req
1869. Yeah.
Copy !req
1870. It's subtle. It's the little things,
it's the little things.
Copy !req
1871. And, Jen, this was always a scene,
really this movie got greenlit
Copy !req
1872. because you did an animatic of this moment
and it moved people so much
Copy !req
1873. and it's one of the moments in the movie
that didn't change much. That it...
Copy !req
1874. We always had an ending, it's where
usually you have to figure out
Copy !req
1875. your ending, we shoot your ending,
this always works.
Copy !req
1876. Want to talk about that a bit?
Copy !req
1877. Yeah, it was the thing that really
made me sign onto the movie was this beat,
Copy !req
1878. because if you don't have
an emotional core to the movie,
Copy !req
1879. you don't have a movie
and this always was in the book.
Copy !req
1880. This moment where she erases him
was so heart wrenching
Copy !req
1881. and, uh, I actually went back
Copy !req
1882. to the book to try and get the story
to be closer to what the book was.
Copy !req
1883. Mm-hmm.
Copy !req
1884. The words that he says,
the story that he gives is just so...
Copy !req
1885. it's heartbreaking
what he's talking about,
Copy !req
1886. their future lives together.
Copy !req
1887. You wrote this.
Copy !req
1888. Well, I went back to the book
and sort of basically found...
Copy !req
1889. - Help piece it together.
- Help piece it together.
Copy !req
1890. But I did craft it very carefully.
Copy !req
1891. Because this had to be
the moment where you cry.
Copy !req
1892. This is the grown, hairy man crying,
bawling into his popcorn kind of thing...
Copy !req
1893. I would hear Dan through
our office wall, sobbing.
Copy !req
1894. Multiple times, but each time.
Copy !req
1895. But getting this moment
Copy !req
1896. and people felt it on that day
when we were shooting it,
Copy !req
1897. the camera people watching them film it...
Copy !req
1898. I think it was your
simple animatic to shooting it,
Copy !req
1899. to watching it in previews,
it always worked.
Copy !req
1900. And even a simple animatic,
I set it to music,
Copy !req
1901. and I showed it, that this is
what the movie could be like,
Copy !req
1902. - and you could feel that even then.
- Mm-hmm.
Copy !req
1903. And what was really amazing
Copy !req
1904. was watching our actors
performing this beat
Copy !req
1905. in real life, it was a chilly moment.
Chillies.
Copy !req
1906. Running off to some fancy university.
Copy !req
1907. My mom can't bear to see her baby leave.
So...
Copy !req
1908. And those are real tears.
Copy !req
1909. Oh, yes, they are.
Copy !req
1910. We actually had to clean up a few.
Copy !req
1911. Yeah, Amandla had
an amazing ability to tear on command...
Copy !req
1912. when she needed to.
Copy !req
1913. One of them is not real,
Copy !req
1914. but I dare anyone to try
and figure out which one.
Copy !req
1915. The blue one.
Copy !req
1916. Again, so much of the work
in this movie was done for stuff
Copy !req
1917. that you don't notice.
Copy !req
1918. A sort of enhanced reality
rather than anything too overt.
Copy !req
1919. Earbuds in, music blaring.
Copy !req
1920. - It's such an emotional beat.
- It's great.
Copy !req
1921. The reason Dan's not talking right now
is he's actually crying.
Copy !req
1922. Pass the tissues. There, there.
Copy !req
1923. Just plug in me. I'm back on after
an emotional couple of moments.
Copy !req
1924. This score is beautiful.
Copy !req
1925. Yeah.
Copy !req
1926. What happens next?
Copy !req
1927. Again, the performances are so good.
Copy !req
1928. This line.
Copy !req
1929. I tell you that I love you.
Copy !req
1930. - That's a pretty good one.
- That right there.
Copy !req
1931. Close your eyes.
Copy !req
1932. So beautiful.
Copy !req
1933. I'm gonna finish the story.
Copy !req
1934. We had a lot of debate on whether
her eyes should go on or off.
Copy !req
1935. Yeah, we did.
Copy !req
1936. I wasn't so sure we should,
but I think in the end it works.
Copy !req
1937. I really liked having it on,
because it's a subtle little thing
Copy !req
1938. and we played with the sound to make sure
that it's not too much.
Copy !req
1939. And this, again,
Copy !req
1940. back to our smoke erasing effect
which is so eloquent.
Copy !req
1941. And, again,
this was all from the beginning,
Copy !req
1942. what we were planning
the whole movie around.
Copy !req
1943. So whenever we shot all these locations,
we would have the erasure shot
Copy !req
1944. that we would pick up on the day
knowing that we were going to be using it
Copy !req
1945. - for this section.
- I love that image.
Copy !req
1946. In fact,
they're using it internationally a lot.
Copy !req
1947. As a poster, yeah.
Copy !req
1948. - Yeah.
- It's heart breaking.
Copy !req
1949. In fact, it's one of the reasons
why we wanted to make the movie
Copy !req
1950. as pretty as it is, because if the movie
had ugly images you were erasing,
Copy !req
1951. you would go, oh, that's fine.
Copy !req
1952. - He doesn't want to remember.
- You got a situation there.
Copy !req
1953. It had to be the most beautiful images
that you can't imagine losing.
Copy !req
1954. That's the great...
Copy !req
1955. The most moving thing
is that she has to erase herself
Copy !req
1956. and his love of her from him.
Copy !req
1957. She's sacrificing that to save him.
Copy !req
1958. Yeah.
Copy !req
1959. Who are you?
Copy !req
1960. I really love the fact
that we don't linger
Copy !req
1961. and don't have a whole bunch of,
wait, what just happened?
Copy !req
1962. No. I remember in an earlier cut
there was a little more space in there.
Copy !req
1963. We actually filmed all of that.
Copy !req
1964. - Yeah, smartly tightened it up.
- I love that it's gone.
Copy !req
1965. I don't want anything from you.
Copy !req
1966. And this is another reason why
when we were first formulating the movie,
Copy !req
1967. why that Gudetama was so important.
Copy !req
1968. Without it, it's very hard to know
whether she's leaving hope.
Copy !req
1969. - Mm-hmm.
- This just becomes a sad ending.
Copy !req
1970. Whereas if you have a visual cue,
like she's leaving him a bread crumb,
Copy !req
1971. just a little something to give you hope
like maybe he'll remember...
Copy !req
1972. They're not totally disconnected.
Copy !req
1973. Right. She's getting him to safety
but she's giving a little bit of hope,
Copy !req
1974. someday maybe this will work out.
Copy !req
1975. Again,
do you want to talk about the song?
Copy !req
1976. 'Cause this was also,
we knew from minute one,
Copy !req
1977. the perfect song.
Copy !req
1978. It was one of those...
Copy !req
1979. We actually filmed it
with this song in mind.
Copy !req
1980. And it was one of the first round of, hey,
wouldn't these wish-list songs be good.
Copy !req
1981. And Anton actually, he sent this list
and I listened to it and instantly
Copy !req
1982. I saw the end of the movie,
I saw every shot at the end of this movie.
Copy !req
1983. Exactly what it needed to be.
Copy !req
1984. And so I edited the song down to exactly
what I needed and made an animatic,
Copy !req
1985. that was not like a drawing animatic
but a word animatic,
Copy !req
1986. with shots of Ruby walking,
Gudetama shot,
Copy !req
1987. Liam turns, starts to walk down that...
Copy !req
1988. I remember you showing that
and I was amazed how just a simple text...
Copy !req
1989. Each one of these shots is exactly
what was set to music
Copy !req
1990. and we filmed it on the day
with the music in mind for this.
Copy !req
1991. Her turning, the way her feet are walking,
Copy !req
1992. how that goes into her
going into the stadium,
Copy !req
1993. all the shots with the kids
with their hands raised.
Copy !req
1994. All of that was set to the music
and we filmed every single shot
Copy !req
1995. to the timing that we needed.
Copy !req
1996. Smart.
Copy !req
1997. But the weird thing is,
even an animatic with words,
Copy !req
1998. just words on a screen and this song
made people stop and go,
Copy !req
1999. that feels like something.
Copy !req
2000. By the way, we have a cameo
of our author, right there.
Copy !req
2001. - Alexandra Bracken, nurse.
- Nurse.
Copy !req
2002. - Alexandra!
- Made the movie.
Copy !req
2003. She was very worried.
Copy !req
2004. - She did very well, she...
- She did amazing.
Copy !req
2005. Yeah, I remember
she was worried about tripping.
Copy !req
2006. There were a lot of cables
on the ground.
Copy !req
2007. I love this shot.
Copy !req
2008. Yeah, remember we had
to make him a little bit more damaged,
Copy !req
2009. early versions he didn't look like
a plane landed on him.
Copy !req
2010. Right.
Copy !req
2011. This is an actual abandoned stadium,
which is kind of crazy.
Copy !req
2012. It is amazing how many
abandoned structures we found
Copy !req
2013. that worked for the movie in Atlanta.
Copy !req
2014. Yeah.
It's an actual abandoned stadium.
Copy !req
2015. We didn't have to do much except
for making sure the graffiti was cleared
Copy !req
2016. and make our own to cover some of it.
But, it was real.
Copy !req
2017. And then remember spending time
trying to figure out what color orange,
Copy !req
2018. - what shade of orange paint?
- We really worked hard on that.
Copy !req
2019. And I think we nailed it.
Copy !req
2020. Dan, why didn't you
and I get a cameo in the stands?
Copy !req
2021. - I'm just realizing,
- Yeah, why didn't you?
Copy !req
2022. What happened there?
Copy !req
2023. They'd be like, what are
those two old guys doing in there?
Copy !req
2024. That doesn't seem appropriate.
Copy !req
2025. - And that is The Darkest Minds.
- That is The Darkest Minds.
Copy !req
2026. Here's our awesome credit sequence.
Copy !req
2027. Which also took probably
very few people think about,
Copy !req
2028. the amount of effort
that goes into getting this right...
Copy !req
2029. But, yeah, we put a lot of thought into
trying to find a simple
Copy !req
2030. but elegant font and effect.
Copy !req
2031. With cool, you know,
back shots, moments from the movie,
Copy !req
2032. like the train tracks there.
Copy !req
2033. I always liked the idea of having
something beautiful to look at
Copy !req
2034. so that people sit through
and watch the hardworking people.
Copy !req
2035. The only thing we're missing
is a post-credit.
Copy !req
2036. Uh... Sto...
Copy !req
2037. Yeah, what happened
to the post-credit scene?
Copy !req
2038. Post credit scene
following a Twinkie.
Copy !req
2039. That's right. What was in the Twinkie?
Copy !req
2040. Is it too late to do this?
It would have been awesome if we...
Copy !req
2041. You're the producer, get the money
for it, let's do it now.
Copy !req
2042. Little Easter egg.
Copy !req
2043. We should introduce the character
from the second book.
Copy !req
2044. Oh, my gosh.
Copy !req
2045. I just like the idea of ending
the movie with an uplift
Copy !req
2046. and it's sort of empowering.
Copy !req
2047. I remember
when we first heard Ben, our composer,
Copy !req
2048. who's amazing, his approach
to this end score
Copy !req
2049. and it sounded amazing.
Copy !req
2050. Right. Because we could have gone
with a song,
Copy !req
2051. but we never really could top
the emotion of this.
Copy !req
2052. Yeah, no, this felt very sweeping.
Copy !req
2053. Powerful.
Copy !req
2054. And also the imagery is classy.
It's really... pretty.
Copy !req
2055. It really... Yeah, we saw a lot
of prototypes that weren't quite right
Copy !req
2056. and I think we ended
with the best version.
Copy !req
2057. And the Ospreys.
Copy !req
2058. Ospreys get their moment.
Copy !req
2059. Very cool. Well, this was fun.
Copy !req
2060. Yeah. Thanks for hearing us out.
Copy !req
2061. Yeah,
I hope if you're watching this,
Copy !req
2062. I hope you enjoyed the movie and, uh...
Copy !req
2063. thanks for letting us blab over it
for a while.
Copy !req
2064. - All right.
- All right.
Copy !req