1. I liked the color that was chosen.Copy !req
2. Ian, when he was doing
the digital intermediate...Copy !req
3. decided to make this very
sort of contrast-y and burnished...Copy !req
4. sort of gold, or brassy logos...Copy !req
5. which was a nice contrast
to the first shot of the snow.Copy !req
6. - What kind is it?
- I don't know.Copy !req
7. This is an odd cold open...Copy !req
8. in that you need to sort of
hopefully grab the audience...Copy !req
9. and have them wonder what's
going on between these two guys.Copy !req
10. This was a little bit longer scene
in the original script...Copy !req
11. and they talked about a few more
things about these pressed flowers...Copy !req
12. and we ended up cutting it
back to the bone...Copy !req
13. knowing that we were gonna
come with this opening-title sequence.Copy !req
14. So the title sequence.Copy !req
15. We had this cover of
"Immigrant Song."Copy !req
16. I was riding in a van in Sweden
and had my iPhone with me...Copy !req
17. and I was listening to Led Zeppelin,
and this song came on and I...Copy !req
18. I mean, aside from the incredibly,
inanely obvious:Copy !req
19. "I come from the land
of the ice and snow"...Copy !req
20. I just like the idea of an anthemnal,
incredibly famous track...Copy !req
21. that could be wailed by a woman.Copy !req
22. And I called Trent and I said:Copy !req
23. "What do you think of a cover
of 'Immigrant Song'?"Copy !req
24. I think at first
he thought I was joking.Copy !req
25. And I said, "No, imagine, you know,
a woman's voice singing this."Copy !req
26. And he did a version just to the music
and I listened to it...Copy !req
27. and I thought it's so evocative
of what I think Lisbeth is...Copy !req
28. Not thinking, but,
you know, sort of her marrow.Copy !req
29. What's happening down deep
inside her bones.Copy !req
30. And we got Karen O.Copy !req
31. Ren Klyce gave us
Karen's e-mail address...Copy !req
32. and we asked her to do this.Copy !req
33. And I think in about
three or four days...Copy !req
34. they had a version of this song
that was...Copy !req
35. To my mind, it was undeniable.Copy !req
36. It just seemed like such
a great sort of kindred spirit...Copy !req
37. to what I thought
Lisbeth was about.Copy !req
38. And then we needed visuals
to go with it.Copy !req
39. And I went to Tim Miller at Blur,
and I said:Copy !req
40. "What can you do
along the lines of a nightmare?Copy !req
41. What would Lisbeth's
nightmare be?"Copy !req
42. And he came back with about
50 different little scene cards...Copy !req
43. and we whittled it down
to about 20, 25.Copy !req
44. And I turned to him and said:Copy !req
45. "That looks great.
You got eight weeks. Go."Copy !req
46. Will you appeal?Copy !req
47. What is this?Copy !req
48. So we shot this
in the actual courthouse...Copy !req
49. where Blomkvist would have had
judgment passed on him.Copy !req
50. We came in on a weekend...Copy !req
51. and we did one of the biggest
rain-tower jobs...Copy !req
52. that had ever been done
in Stockholm.Copy !req
53. We had to do about a block and a half
worth of rain.Copy !req
54. So there was a good day,
or two days...Copy !req
55. of just setting up the rain towers
to do this one shot...Copy !req
56. where we crane up and we see him
walking off in the distance.Copy !req
57. But we had a half a day
to get the shot...Copy !req
58. and it worked pretty much
from the first take.Copy !req
59. The girl who works as the barista
in this scene...Copy !req
60. We found this coffee shop
that we loved in Södermalm.Copy !req
61. I said to Bob Wagner,
the assistant director:Copy !req
62. "Just find somebody who actually
knows how to use this equipment.Copy !req
63. You know, let's just use somebody
who works here...Copy !req
64. and have her be the barista
that serves him his sandwich."Copy !req
65. And it turned out
it was Michael Nyqvist's daughter.Copy !req
66. The actor who had played Blomkvist
in the Swedish movie.Copy !req
67. And it was one of those ironic things
that you can't plan for.Copy !req
68. And he dropped by while we were
shooting and introduced himself.Copy !req
69. And was extremely nice
and polite to us...Copy !req
70. given that we were about to trample
all over the memory...Copy !req
71. of his great work.Copy !req
72. Steve Zaillian added this nice little bit
of Blomkvist buying his cigarettes.Copy !req
73. We were trying to figure out a way to
tell the story that he had quit smoking.Copy !req
74. And I thought the only way
to really be able to do that...Copy !req
75. was to have him also
need a lighter.Copy !req
76. It's not just enough that he buys
cigarettes, he has to buy a lighter.Copy !req
77. And we get the idea
that he's picking up an old habit.Copy !req
78. Joel Kinnaman plays
Christer Malm...Copy !req
79. a character who's much more
prevalent in the next two stories.Copy !req
80. But he agreed to come in
and basically be an extra for us...Copy !req
81. for about three days.
And he's... At the beginning...Copy !req
82. he's at the bottom of the stairs,
and he's the one who looks at Daniel...Copy !req
83. when Daniel comes in
and gives his look of disgust.Copy !req
84. TV4 called.
I told them no statement...Copy !req
85. until we've read
the judgment in its entirety.Copy !req
86. I love Daniel Craig's ability
to be open about his disappointment.Copy !req
87. And I think he does
an amazing job...Copy !req
88. of not only being disappointed
with the outcome...Copy !req
89. of the legal aspect of this case...Copy !req
90. but he very wonderfully
kind of shows you...Copy !req
91. his disappointment in himself.Copy !req
92. Which I think is a...Copy !req
93. It's part of the thing that makes him
such a generous actor...Copy !req
94. is that he's not afraid
to seize those moments...Copy !req
95. where a character can
kind of show you...Copy !req
96. that he had hoped
he was capable of more.Copy !req
97. - You called her and spoke to her?
- I'm afraid that doesn't mean much.Copy !req
98. When you're talking about having
to introduce a character like this...Copy !req
99. she has to ride up on a motorcycle
and whip off her helmet...Copy !req
100. and you don't want it to look
like a Clairol commercial.Copy !req
101. I wanted her to take off this helmet
and instead of...Copy !req
102. it being these long flowing locks,
she has hair like a porcupine.Copy !req
103. And to follow her through this office
so that you really establish...Copy !req
104. what a sort of fringe-lying human
that she is.Copy !req
105. And I love this
kind of sparse nature...Copy !req
106. of Zaillian's dialogue here
as they talk about her...Copy !req
107. because he paints
a really interesting picture...Copy !req
108. with very, very few comments
about her.Copy !req
109. Lisbeth.Copy !req
110. Mr. Dirch Frode.Copy !req
111. How do you do?Copy !req
112. One of the things
I was trying to do with Lisbeth...Copy !req
113. is really show that she's specific
to the information age.Copy !req
114. She not only has
a photographic memory...Copy !req
115. but if she's going
to take a record of something...Copy !req
116. she's not gonna write anything down,
she's going to take pictures of it.Copy !req
117. And she's going to carry this camera
with her and that camera...Copy !req
118. Then she's able to take those photos
and put them onto her laptop.Copy !req
119. She deals with information
in a photographic way...Copy !req
120. as opposed to the written word.Copy !req
121. And so when she meets
with her boss, Armansky...Copy !req
122. and she meets with Frode...Copy !req
123. who's paid for her investigation,
one of the things he's looking for...Copy !req
124. because he's of a different time
and a different place...Copy !req
125. He's a lawyer who's used
to hiring an investigator...Copy !req
126. and then he wants the data...Copy !req
127. which is what she's provided
before she even walks in the room...Copy !req
128. which is this file...Copy !req
129. but he's looking for her take
on the subject.Copy !req
130. It's an old-fashioned sense
of the private eye.Copy !req
131. He's looking to her to say,
"Give me your gut."Copy !req
132. And part of her inability
to deal with the world has to do with...Copy !req
133. she doesn't have opinions,
she doesn't trust opinions...Copy !req
134. she doesn't trust hearsay,
she only trusts data.Copy !req
135. And so the notion of their schism,
the thing that makes it impossible...Copy !req
136. for them to kind of
even communicate...Copy !req
137. is that she's not about
to give him an opinion.Copy !req
138. She's just going to dump
this information in his lap.Copy !req
139. And I liked that, and I liked how
it plays out throughout the movie.Copy !req
140. She sort of distrusts anybody
who's in a suit.Copy !req
141. She certainly distrusts any men
who are bureaucrats and middle-aged.Copy !req
142. But also, you see it in the way that
she harvests and collates information.Copy !req
143. So in the movie
she lives in an apartment...Copy !req
144. that her mother lived in
before her mother died.Copy !req
145. And I liked this idea of this person...Copy !req
146. who has taken
all of her mother's belongings...Copy !req
147. and instead of putting them away
in some kind of reverential way...Copy !req
148. she's just sort of stacked it
to the ceiling...Copy !req
149. off in the corner like a hoarder,
and she's moved on with her life.Copy !req
150. And I like that about her.Copy !req
151. I like the fact that you could sort of
pictorially represent this person...Copy !req
152. who has no reverence
or nostalgia.Copy !req
153. She's simply trying to sweep the past
under whatever sort of emotional rug.Copy !req
154. One of the things that we had to do
very, very broad brushstrokes with...Copy !req
155. was the investigation
into Wennerström...Copy !req
156. and what the Wennerström
story meant.Copy !req
157. And by bringing
the two characters...Copy !req
158. The two main characters,
the characters I cared most about...Copy !req
159. you know, Blomkvist's story
and Lisbeth's story into further relief...Copy !req
160. it was apparent that they had both
sort of retreated from modern society.Copy !req
161. You know,
he had sort of been cast out...Copy !req
162. and she had, at a very early age...Copy !req
163. you know,
probably in her early teens...Copy !req
164. She had sort of given up
on the world and...Copy !req
165. So the Wennerström story,
it's kind of like...Copy !req
166. first half of act one
and the end of act five.Copy !req
167. And it was a tough thing
in wrestling with this material...Copy !req
168. because there was really no way
to take what Larsson had written...Copy !req
169. and get it into three acts.Copy !req
170. And so we sort of had
to make our peace...Copy !req
171. with the idea of
a five-act structure which is...Copy !req
172. It's not an unheard-of structure...Copy !req
173. it's very similar
to a lot of TV cop dramas.Copy !req
174. And so, you know,
after wrestling with it for many weeks...Copy !req
175. we finally gave ourselves over...Copy !req
176. to the idea that this was gonna
be a five-act movie...Copy !req
177. and that the Wennerström thing
would be teased at the beginning.Copy !req
178. We would know it meant a lot to him,
and then at the end...Copy !req
179. her helping him out of his shell...Copy !req
180. that he could be pulled out
of the wreckage of the first act.Copy !req
181. Good evening.Copy !req
182. I like the women in Blomkvist's life.Copy !req
183. I like the fact
that he has an ex-wife...Copy !req
184. he has a lover
who has a husband...Copy !req
185. he has a daughter
who he's finding his way with...Copy !req
186. and that Lisbeth is kind of
an amalgam of all of these people.Copy !req
187. And I like the fact
that she becomes this focal point...Copy !req
188. for his kind of working out
a lot of these relationship issues.Copy !req
189. It was a very important thing
to find an actor...Copy !req
190. who not only brought
a real masculinity to it...Copy !req
191. but he also had to be able
to be a friend to many women.Copy !req
192. And a confidant to many women.Copy !req
193. And that necessitated
that he be a good listener...Copy !req
194. and that he have a good sense
of humor about himself.Copy !req
195. And Daniel is not only
a great presence...Copy !req
196. but he's also
an incredibly fine actor...Copy !req
197. who can make
a lot of minute adjustments.Copy !req
198. He's a great listener.Copy !req
199. As a director,
he's a great partner to work with...Copy !req
200. because little tiny notes, little things
that you can be trying to mine...Copy !req
201. he can not only understand
how it fits into the tapestry...Copy !req
202. but he can do the blind stitch.Copy !req
203. He can do those things
that are very, very subtle...Copy !req
204. and minutely change the way
that you feel about the situation...Copy !req
205. because you can see on his face
that he's wrestling with it.Copy !req
206. When we dared to dream about
who could play Erika Berger...Copy !req
207. obviously, the first person
on everyone's lips was Robin Wright.Copy !req
208. There are very few actors
who have this kind of package...Copy !req
209. of being the person
who stops traffic.Copy !req
210. Everyone in the room
is aware of where they are...Copy !req
211. and they're on their best behavior
when she's around...Copy !req
212. because she's so lovely.Copy !req
213. But she's also
so ferociously intelligent.Copy !req
214. And we were so lucky to be able
to have Robin to play Erika...Copy !req
215. because she's so formidable
in so many ways.Copy !req
216. There are a lot of effects
in this movie.Copy !req
217. You know, obviously the trains
and outside windows.Copy !req
218. And there was a lot
of green screen...Copy !req
219. just to be able to tie
environments together.Copy !req
220. And cars. Most all of the interiors
of the cars were shot green-screen.Copy !req
221. But there are also probably a handful,
a couple handfuls of shots...Copy !req
222. that Digital Domain took plates...Copy !req
223. This is a shot,
driving over the bridge...Copy !req
224. where it was snowing
and it was cold...Copy !req
225. but it was nowhere near
this terrible-looking.Copy !req
226. And so we turned these plates over
to Eric Barba and said:Copy !req
227. "We need you
to add more snow to this."Copy !req
228. Which entailed, probably,
10 weeks of rotoscope...Copy !req
229. to be able to put the snow
behind those trees in the foreground...Copy !req
230. but they did it.Copy !req
231. One of my favorite books growing up
was Dracula.Copy !req
232. And I always loved Harker's trip
to meet Dracula for the first time.Copy !req
233. And there was something
about this environment...Copy !req
234. especially when it was covered
in this layer of powdered sugar...Copy !req
235. that just seemed
so unbelievably sinister.Copy !req
236. We were scheduled
to shoot something else this day...Copy !req
237. and we had been told
by all of the locals...Copy !req
238. that we shouldn't expect snow...Copy !req
239. that was anywhere near
deep enough for another month.Copy !req
240. And one day we got up at the
bed-and-breakfast we were staying at...Copy !req
241. and there was about 6 inches
of snow on the ground.Copy !req
242. It was unbelievably beautiful,
and I immediately got on the phone...Copy !req
243. and had all the DGA clan
make sure...Copy !req
244. that nobody walked across
the front of the house...Copy !req
245. because we were gonna
shit-can the morning schedule...Copy !req
246. and we were just gonna shoot
the drive up to the house.Copy !req
247. We had just acres and acres of snow,
so everybody stayed back in town...Copy !req
248. while we shot these gyrostabilized
plates driving up to this frozen manor.Copy !req
249. I remember sitting
in the back of the truck...Copy !req
250. watching it
on a little tiny monitor...Copy !req
251. as we drove up
and we came through the trees...Copy !req
252. and the snow was blowing
at the lens, and I thought:Copy !req
253. "This would be a good teaser."Copy !req
254. One of the things that I loved
about Henrik Vanger...Copy !req
255. and it's such a nice send-up
of most mystery stories...Copy !req
256. is instead of him being
in any way...Copy !req
257. concerned about the legacy
of his family...Copy !req
258. or trying to sort of
sugar-coat anything...Copy !req
259. he just comes right out
and tells you...Copy !req
260. how much he hates everybody
in his family.Copy !req
261. It's such a nice diffusion of
the expectation of this kind of meeting.Copy !req
262. And Chris Plummer,
who's so warm and interested...Copy !req
263. and makes such wonderful contact
with Daniel in this scene...Copy !req
264. it's such a nice counterpoint.Copy !req
265. Would you like to sit?Copy !req
266. Tony Way, who plays Plague,
was a wonderful find.Copy !req
267. I ended up having to call Trent...Copy !req
268. to tell him that I didn't wanna
do anything disparaging...Copy !req
269. about Nine Inch Nails fans,
I just liked the idea...Copy !req
270. that Plague would have
a Nine Inch Nails sweatshirt on.Copy !req
271. No, thank you.Copy !req
272. This is Harriet.Copy !req
273. The granddaughter
of my brother Richard.Copy !req
274. So Henrik explains it all to you.Copy !req
275. It's a horrific amount of data
that you have to cover.Copy !req
276. And there were scores of photographs
that needed to be taken...Copy !req
277. that looked period
and looked like Sweden in the '40s...Copy !req
278. and Sweden in the '60s.Copy !req
279. And all this photography
had to be done in preparation...Copy !req
280. before, and sometimes as,
we were shooting.Copy !req
281. There were photographs taken
of the day of the parade...Copy !req
282. and photographs taken
of the Vanger manor...Copy !req
283. on the day that
Harriet disappears.Copy !req
284. And all these photographs
had to be generated...Copy !req
285. and art-directed
and made to look soft and grainy...Copy !req
286. and they had to be printed
on the right photographic paper.Copy !req
287. There was an army
of people working...Copy !req
288. just to make all of the photographs
that you see in the movie.Copy !req
289. - Well, somebody's gotta do it.
- That's right.Copy !req
290. Anyway, he died in 1965.Copy !req
291. Drowned, drunk, here on the island.Copy !req
292. His wife, Isabella, who had been pretty
much useless as a parent before...Copy !req
293. became even more so
after his death...Copy !req
294. which is when I began
looking after the children.Copy !req
295. Martin, who runs Vanger Industries,
now that I'm retired.Copy !req
296. That's right, I Googled him.Copy !req
297. And Harriet.Copy !req
298. She was bright, curious...Copy !req
299. We were looking for a Harriet...
We were looking for somebody...Copy !req
300. who could be
the center of this storm.Copy !req
301. We needed a face that you could...Copy !req
302. Obviously, we needed a face
that we could connect with an actor...Copy !req
303. later on in the movie,
but we needed her to be striking.Copy !req
304. She needed to be somebody
who could really be a focal point.Copy !req
305. And Moa Garpendal who...
I don't know when she was found.Copy !req
306. Pretty early on we got a tape of Moa
and she was so striking.Copy !req
307. This haunted sort of look
that she had in her eyes.Copy !req
308. And she's a wonderful actor
who didn't have a lot of experience...Copy !req
309. but she was Harriett.
She became this... She was the lost...Copy !req
310. This lost child.Copy !req
311. It was funny how people reacted to her
and acted when they were around her.Copy !req
312. She was not just striking,
but she was sort of ethereal.Copy !req
313. It was during those few minutes
that something else occurred.Copy !req
314. The accident had nothing to do...Copy !req
315. So the accident on the bridge
was such an odd thing.Copy !req
316. Because obviously there's no way...Copy !req
317. that a truck traveling at any good
speed could possibly be on its side.Copy !req
318. We just needed something
that looked like...Copy !req
319. it was an amazingly huge accident,
given the tiny little town...Copy !req
320. and the tiny bridge
that it takes place on.Copy !req
321. This was something that Don Burt
previsualized in a computer...Copy !req
322. and we looked at eight
or 10 different ways...Copy !req
323. that this crash could take place.Copy !req
324. And we finally ended up
going with...Copy !req
325. one that looked like a Brontosaurus
had been felled by a rhino.Copy !req
326. herself saw her.Copy !req
327. The colors of the flashback were
based on photographs that we had...Copy !req
328. of the late '60s and early '70s,
so it probably has more chroma in it...Copy !req
329. than the reference that we had.
They were more faded.Copy !req
330. But we wanted it to kind of look like
Kodachrome of that period...Copy !req
331. and that we would make it
very saturated...Copy !req
332. and that it had this incredible
warmth to it that the...Copy !req
333. His recollection of that summer,
or that summer eve, was this...Copy !req
334. warm, beautiful time and place,
and that something horrible...Copy !req
335. had happened that was completely
out of character...Copy !req
336. with the world at that time.Copy !req
337. And then later on when you
have an understanding...Copy !req
338. from Harriet's point of view
as to what really happened...Copy !req
339. we show it then that it's raining
and it was cold...Copy !req
340. and it was sort of miserable,
and I like the way that turned out.Copy !req
341. It wasn't intended
that it would be raining.Copy !req
342. We went back to reshoot that scene
because we wanted to have her...Copy !req
343. secreted away
in the trunk of the car.Copy !req
344. But on the day, it rained,
and I sort of felt like...Copy !req
345. it ended up being better.Copy !req
346. the year before.Copy !req
347. Oh, no. Someone killed her.Copy !req
348. Someone on the island that day.Copy !req
349. When we shot this sequence,
we planned this big crane pullback...Copy !req
350. from the doorway,
and when we turned the light on...Copy !req
351. the lens got flared so badly
that the grips ended up...Copy !req
352. painting a black dot
onto the clear lightbulb...Copy !req
353. so when it turned on
it wouldn't flare too badly.Copy !req
354. So we were able to, in post,
not only take out that black dot...Copy !req
355. and put in another
clear glass lightbulb...Copy !req
356. but then we were able
to put the flare back on top of it...Copy !req
357. that the black dot
was there to erase.Copy !req
358. Again, there's so much added snow,
and this is a shot...Copy !req
359. where we were panning on the house
right after the sun had gone down...Copy !req
360. and Digital Domain
added all that blowing snow.Copy !req
361. but what you're asking me to do,
it's a waste of money.Copy !req
362. - But we haven't discussed your fee.
- We don't need to.Copy !req
363. I love the notion of the detective
who's trying to turn down work...Copy !req
364. and he's up against a guy
who is not taking no for an answer.Copy !req
365. Part of what makes
Henrik interesting...Copy !req
366. is that he's used
to having his own way.Copy !req
367. He's used to getting things
the way he wants them.Copy !req
368. And even though
he's buried the lead here...Copy !req
369. and he won't mention Wennerström
until the last possible moment...Copy !req
370. he knows that's his...
That's the ace up his sleeve.Copy !req
371. Think of this
as a well-deserved holiday.Copy !req
372. A way of avoiding all those people...Copy !req
373. There's some lovely acting
going on with Daniel...Copy !req
374. and how he's not being heard.Copy !req
375. And he takes these wonderful
little nuanced moments to really...Copy !req
376. To show you his frustration
with the fact that he's somehow...Copy !req
377. unable to make any in-roads
with this guy.Copy !req
378. There's a nice little moment
at the end where he pushes...Copy !req
379. the duck forward, and we watch it
as it moves closer to Daniel.Copy !req
380. And then he does this thing
where he just sits up in his chair...Copy !req
381. just the tiniest bit.Copy !req
382. The camera follows him, tilts up,
and it's a moment of...Copy !req
383. Sort of a cinematic
synaptic firing of his ideas.Copy !req
384. You just couldn't prove it.Copy !req
385. I was very worried about this wardrobe
with Rooney in this cowl...Copy !req
386. because I thought she looked
a little too much like a Jedi.Copy !req
387. So the scene where Robin comes
to the office in the morning...Copy !req
388. and she sees Daniel packing...Copy !req
389. She's angry with me,
or she was upset with me...Copy !req
390. when she saw the first cut
of the movie and thought:Copy !req
391. "Why do I have to be so shrewish?
Why am I harping on him?"Copy !req
392. And I thought it seemed to me
like it's a very realistic...Copy !req
393. portrayal of a relationship
between people who are partners.Copy !req
394. It's not a male-female thing to me.Copy !req
395. It was the conversation
you have to have...Copy !req
396. with somebody you're running
a publication with.Copy !req
397. And in a weird way, he almost gets
a "get out of jail free" card...Copy !req
398. because he's honest and says,
"I'm running away."Copy !req
399. And because it's a man saying that,
in some way it makes it...Copy !req
400. irrefutable.Copy !req
401. We decided to place this scene
in a Max Burger...Copy !req
402. which is wonderful
in that it's this incredibly slick...Copy !req
403. and white and neon burger joint.
It's very Swedish.Copy !req
404. Hey, hey.Copy !req
405. In the master shot that we did
of Daniel getting off the train...Copy !req
406. we had a woman unload all of his
luggage for him in the background.Copy !req
407. I like the... We got talking about the
idea of Blomkvist as sort of a bimbo.Copy !req
408. It was very funny
because you would see him...Copy !req
409. and he was so kind of
lost in his own thought...Copy !req
410. about trying to get a cab
to take him to the cottage.Copy !req
411. And there was this woman with
like eight huge pieces of luggage...Copy !req
412. wrestling them down the stairs.Copy !req
413. All of the cabin interiors,
all the cottage interiors...Copy !req
414. are shot against green screen.Copy !req
415. And Digital Domain
did an amazing job of tracking.Copy !req
416. They took actual photographs.Copy !req
417. I think they actually took
Google Maps and figured out...Copy !req
418. where the vantage point
of the camera was...Copy !req
419. and photographs that
we'd taken of the location...Copy !req
420. and they tiled
all that stuff together.Copy !req
421. So Scotty the cat. Scotty the cat.Copy !req
422. He had many, many specific things
that were written for him to do.Copy !req
423. All these things that he was supposed
to look at and jump up on and...Copy !req
424. Scotty was great, but I gave up
on that about five or seven minutes...Copy !req
425. into the first day, and we just...Copy !req
426. We had rehearsals
where we'd bring the cat...Copy !req
427. and we'd say,
"What would Scotty do here?Copy !req
428. He'd be over here on the chair
watching what's going on."Copy !req
429. We'd put Scotty in his chair...Copy !req
430. and whatever he ended up
sort of doing first...Copy !req
431. that's what we would rehearse
the scene around, and he was great.Copy !req
432. He was great every time.Copy !req
433. If you don't expect cats
to do something...Copy !req
434. they'll usually give you
a very catlike response.Copy !req
435. This was bitter cold. This was
probably as cold as we ever were.Copy !req
436. This was the shot that we would give
to effects houses and say:Copy !req
437. "Match this snow."Copy !req
438. Because when I was there,
this is as cold as it gets.Copy !req
439. There was a little story point that
he was bringing his favorite books...Copy !req
440. because he was going away...Copy !req
441. and wanted to bring books
he cared about...Copy !req
442. to re-read them
while he had time alone.Copy !req
443. And I love the idea that literally
the first night he was gonna be there...Copy !req
444. he would burn them
in trying to keep warm.Copy !req
445. - You're Mr. Palmgren's daughter?
- His ward. He doesn't have a daughter.Copy !req
446. Please.Copy !req
447. He's had severe
cerebral hemorrhaging...Copy !req
448. either from the fall itself
or from a stroke that led to the fall.Copy !req
449. We actually went onto a train
and we rigged the lights to flicker...Copy !req
450. and then we went around
to three or four subway stops.Copy !req
451. We found this one little moment
where there was a train station...Copy !req
452. that had work lights in it...Copy !req
453. and her eyes just naturally caught
a lot of the light.Copy !req
454. It's such a striking image
of her face.Copy !req
455. It's very Joan of Arc.Copy !req
456. This is Scotty the cat at his best.Copy !req
457. I had told Daniel,
"You don't know this cat.Copy !req
458. This is a feral cat.
You let it into this house...Copy !req
459. and you're letting it sleep there...Copy !req
460. but when it sleeps on your head,
you don't know if it has rabies."Copy !req
461. And so when Scotty did his clawing,
he clawed the blanket...Copy !req
462. as Daniel started to pull it away.Copy !req
463. Daniel reacted exactly the way
that I had hoped...Copy !req
464. which is he sort of jumps away
from it like...Copy !req
465. it's dangerous.Copy !req
466. You're an author.Copy !req
467. Well, I'm doing a biography
of Herr Vanger.Copy !req
468. - I saw you on television.
- That's unfortunate.Copy !req
469. Bit of trouble, I guess.Copy !req
470. - No jail time though. That's good.
- No.Copy !req
471. Cost you a lot of money
though, yeah?Copy !req
472. It's a running joke that everybody
knows how to make a fire...Copy !req
473. except for Blomkvist.Copy !req
474. The entire island
is owned by my family.Copy !req
475. Your closest neighbor...Copy !req
476. It was an unbelievably cold day.
Daniel said to me:Copy !req
477. "This is my first time on the island?
So I'm not really prepared for this."Copy !req
478. And I said, "No."Copy !req
479. He said, "I'm just gonna wear
a shirt and sweater...Copy !req
480. and I'll have a scarf and this coat."
And I said, "Great."Copy !req
481. And between takes
he was shivering so badly...Copy !req
482. that he would go over and stick
his face in a propane heater...Copy !req
483. just to thaw out his eyes.Copy !req
484. And then we had shot...
All the POVs in the sequence...Copy !req
485. we had to shoot at another time.
We had snow on the ground.Copy !req
486. We had snow
on the roofs of the houses.Copy !req
487. But we didn't have the mist
and we didn't have the snowflakes...Copy !req
488. blowing sideways across the lens.Copy !req
489. So Digital Domain had to come in...Copy !req
490. and sort of tie
all of these shots together...Copy !req
491. with the same kind
of blowing snow.Copy !req
492. Soon you will know us all
only too well. With my apologies.Copy !req
493. Now, out there, my grandnephew
Martin's house, Harriet's brother.Copy !req
494. - Who speaks to him?
- I speak to him.Copy !req
495. He runs the company now,
as I think I told you.Copy !req
496. Someone's shooting his dinner.
Gunnar, probably.Copy !req
497. Oh, yes, I met him earlier.Copy !req
498. He was 19 when...Copy !req
499. Daniel's blowing on the ballpoint pen
was a real stroke of genius.Copy !req
500. And I don't know
if he had to do that...Copy !req
501. because I don't know
if he's writing anything down.Copy !req
502. It's lovely when
you go to an actor and say:Copy !req
503. "You know that great thing
you just did? Little more of that."Copy !req
504. The man who hires the detective...Copy !req
505. should always be kept
on the suspects list.Copy !req
506. We shot this wall,
the information wall...Copy !req
507. the family-tree wall,
three or four different times...Copy !req
508. and there are many, many
composites in the movie...Copy !req
509. because we kept updating
the information.Copy !req
510. There were scenes that were cut
with family members...Copy !req
511. who initially were designed to make
a bigger impression than they did...Copy !req
512. and we didn't have time.Copy !req
513. We were cutting things out
of the back half of the movie...Copy !req
514. and the wall kept changing,
so there are so many...Copy !req
515. composite shots of the wall
over people's shoulders...Copy !req
516. and the wall in the background
of boxes being unloaded.Copy !req
517. And all of it had to be updated
every time we would make...Copy !req
518. a change to the cut
and take a Vanger family member out.Copy !req
519. Her mother.Copy !req
520. Originally the sequence...
The way that it connected to...Copy !req
521. Officer Morell, who we see
David Dencik in flashback here...Copy !req
522. and then to Officer Morell
as he is in modern day...Copy !req
523. and that's Donald Sumpter.Copy !req
524. When we connect the two,
we went with this idea...Copy !req
525. of this gestural link between them,
the lighting of the cigarette.Copy !req
526. We see him step out of the trees
and he lights a cigarette...Copy !req
527. and then we cut to him present day
finishing lighting the cigarette.Copy !req
528. It wasn't intended that way.Copy !req
529. It was just one of these things
that we found...Copy !req
530. as we were cutting the material
that we needed...Copy !req
531. to really be able to tie
this guy in the past...Copy !req
532. to this guy in the present.Copy !req
533. Originally the train shot
as he goes up to Hedeby...Copy !req
534. was going to be used to connect...Copy !req
535. David Dencik from the past,
Morell's past...Copy !req
536. to Donald Sumpter
in Morell's present.Copy !req
537. But we ended up doing it
just with the cigarette.Copy !req
538. Did she know something
someone wished she didn't?Copy !req
539. - Was it about business?
- Business? Well, she was 16.Copy !req
540. And very bright.Copy !req
541. Henrik told me and many others
he could easily see her...Copy !req
542. running the company one day.Copy !req
543. She was with some friends
that day at a parade.Copy !req
544. She told them she was feeling unwell.
She left early.Copy !req
545. But they also told me
she kept secrets from them too.Copy !req
546. The main thing I learned was that
teenage girls are complicated.Copy !req
547. This was a cover set.Copy !req
548. Sometimes you have, you know,
a house standing by...Copy !req
549. in case it gets snowed in,
and we got snowed in on one day...Copy !req
550. and we went to this set
to shoot this scene.Copy !req
551. And it was this lovely little
empty house...Copy !req
552. and this beautiful period furniture
was brought in, and...Copy !req
553. I loved how this came together.
This is one of those moments where...Copy !req
554. Often when you rush
to do something...Copy !req
555. because you're filling your day
with work...Copy !req
556. because of the weather,
you end up sacrificing...Copy !req
557. the kind of sense of planning,
or in some ways...Copy !req
558. the fact that it's meant
to be a flexible piece...Copy !req
559. it doesn't get its due.Copy !req
560. But this is one
of those scenes where...Copy !req
561. things came together really nicely,
and it's nice when you imagine...Copy !req
562. two people working
well together...Copy !req
563. and how they're going to seem
across from one another, and then...Copy !req
564. And when they're better,
you sleep well.Copy !req
565. Every policeman has at least one
unsolved case to obsess over.Copy !req
566. Back then we had an
Officer Torstensson.Copy !req
567. Year after year, he kept
going back to this Rebecka case.Copy !req
568. Taking out the files,
studying them over and over.Copy !req
569. We were young.
We laughed at him.Copy !req
570. And that was also
a missing-girl case?Copy !req
571. No, no, no,
that's not why I mention it.Copy !req
572. I'm talking about
the soul of a policeman.Copy !req
573. So originally the scene
where he takes out the notebook...Copy !req
574. and looks at the numbers,
that was supposed to happen...Copy !req
575. before he goes to Morell.Copy !req
576. And we ended up putting it afterwards,
and it seemed to work fine.Copy !req
577. So Yorick van Wageningen plays
Advocate Bjurman...Copy !req
578. and Bjurman is one
of our antagonists.Copy !req
579. And there were many discussions
about exactly how...Copy !req
580. to characterize Bjurman,
and I felt it was very important...Copy !req
581. not only in the playing,
but in the casting...Copy !req
582. that Bjurman is not somebody
who rapes every woman...Copy !req
583. who comes through his door.Copy !req
584. His docket is too full for that,
and it didn't seem realistic to me.Copy !req
585. Something about Lisbeth
and the way that Rooney plays this...Copy !req
586. and the thing
that I love about it is...Copy !req
587. it's almost that
she comes on his radar...Copy !req
588. because of the disrespect
that she shows him.Copy !req
589. He probably wouldn't
think twice about her...Copy !req
590. but the fact that she doesn't
seem to have bathed...Copy !req
591. or doesn't seem to be
giving him eye contact...Copy !req
592. or doesn't seem to be respecting
his opinion about things...Copy !req
593. makes her prominent.Copy !req
594. It brings her into
his peripheral vision.Copy !req
595. Otherwise he'd just as easily
forget her.Copy !req
596. And I love the ease, and I love the...Copy !req
597. It's not a smugness.Copy !req
598. It's that he's fed up
with these kinds of people.Copy !req
599. He's not angry because
she's a woman being disrespectful.Copy !req
600. He's... She's a young person
being disrespectful.Copy !req
601. I don't think he even sees her
as a woman at this point in the drama.Copy !req
602. But I think that at the point in time
where he asks her:Copy !req
603. "Do you think
that makes you attractive?"Copy !req
604. It's the first time you even realize
that he's sort of looking at her.Copy !req
605. There's a lovely line where he says:Copy !req
606. "Not to mention the way
you're looking at me now."Copy !req
607. One of the things Yorick came up with
that I thought was so lovely is...Copy !req
608. he does it without
even looking up at her.Copy !req
609. He knows that she's
giving him stink eye.Copy !req
610. I assume the difference
is going to drugs.Copy !req
611. I've taken care of myself
since I was 10.Copy !req
612. The state has taken care of you.Copy !req
613. When we shot this scene,
Rooney had a cold and I was worried.Copy !req
614. I was worried that it wouldn't track...Copy !req
615. but I love the fact
that she's under the weather.Copy !req
616. It makes her... Somehow it makes her
feel more real and fragile.Copy !req
617. Not fragile in a delicate way,
but malnourished.Copy !req
618. This was an idea that we just
came up with on the day...Copy !req
619. was she gets into the...
Into the elevator and screams.Copy !req
620. And I like the fact that she has to find
a release for some of these feelings.Copy !req
621. One of the things
that we kept talking about...Copy !req
622. is Lisbeth is afraid
of her inner Zala.Copy !req
623. She's afraid of her father's
genetic package.Copy !req
624. And I like the idea that she almost
has to find a secret place...Copy !req
625. in order to deal with her frustration
with the real world.Copy !req
626. Stellan Skarsgård.Copy !req
627. He may be the first person
that I talked to about the movie.Copy !req
628. I met him on my first trip to Sweden.Copy !req
629. I'd spoken with Gore Verbinski
about him, and I said:Copy !req
630. "Tell me about Stellan Skarsgård."
And he said, "Get him. Just get him."Copy !req
631. This glass house was a house
that we found early on in scouting.Copy !req
632. And I remember thinking,
"Well, if we don't get that house...Copy !req
633. there's no reason
to shoot this movie in Sweden."Copy !req
634. No, I wanted this house.Copy !req
635. I loved the idea of this
sinister character...Copy !req
636. living this wide-open life
where he has nothing to hide.Copy !req
637. There's no... There's nowhere to hide,
and then of course...Copy !req
638. you find out that's not the case.Copy !req
639. Don't look in the pool room.Copy !req
640. Together they are the old Sweden
and the new.Copy !req
641. Yes, they are.Copy !req
642. Poor Daniel. The day we shot this,
they were eating moose steak...Copy !req
643. and I think we probably shot
like 18 takes of the master.Copy !req
644. We moved in on the
over-the-shoulders and we started...Copy !req
645. By the time we turned around
to shoot his close-up...Copy !req
646. he had probably eaten about
14 porterhouse steaks.Copy !req
647. Liv knows everything
about my crazy family.Copy !req
648. I love the ease.Copy !req
649. Stellan Skarsgård is the most
relaxed human being ever...Copy !req
650. and I think that's what makes him
a fantastic villain.Copy !req
651. It's that he's...Copy !req
652. so comfortable in his own skin,
and that's what makes you...Copy !req
653. reassess everything that you could
possibly think about evil in the world.Copy !req
654. began after my sister's death.Copy !req
655. There's a moment where
he talks about his sister's death.Copy !req
656. I love the way that Daniel registers:Copy !req
657. "Well, we don't know
that she's dead."Copy !req
658. But it's interesting to him that
everybody in the family refers to her...Copy !req
659. as the dead Harriet.Copy !req
660. - I know it well.
- A terrible day.Copy !req
661. There's a great moment
of softness here where Arly...Copy !req
662. who plays his girlfriend,
she reaches over...Copy !req
663. just to comfort him,
and it's such a nice human way...Copy !req
664. of dealing with somebody who's been
through that kind of personal tragedy.Copy !req
665. There's no way she can know anything
about Harriet except Harriet's legacy.Copy !req
666. She may not have seen
photographs of her...Copy !req
667. but she knows how much
Harriet meant to him.Copy !req
668. I got a call from social welfare.Copy !req
669. I've been assigned a new guardian.Copy !req
670. There are a lot of people who see
Salander as this kickass character.Copy !req
671. This girl who takes no shit
from anyone.Copy !req
672. And this scene is definitely
designed to kind of show that...Copy !req
673. but I always wanted her to be...Copy !req
674. a girl who lashes out.Copy !req
675. And I like the fact
that she's waiting for...Copy !req
676. somebody to do something
when this thug steals her backpack.Copy !req
677. And when no one comes to her aid,
she deals with the problem...Copy !req
678. in a way that she knows how to.Copy !req
679. And I liked her desperation,
and I liked...Copy !req
680. And I think the thing that Rooney
understood inherently...Copy !req
681. about the character is that
the character doesn't want...Copy !req
682. to have to be that person.Copy !req
683. She's hoping that things
can be dealt with in a civil manner...Copy !req
684. and when they can't be,
she's perfectly willing...Copy !req
685. to deal with it in a way
that she sees as being fair.Copy !req
686. I love Daniel's response
when he opens the door.Copy !req
687. He really has no idea
who's on his doorstep.Copy !req
688. And it's almost the fact that
he's embarrassed about it...Copy !req
689. kind of makes him angry,
and I thought that was a really...Copy !req
690. human response.Copy !req
691. I like the way that he gets
blindsided by who Cecilia is.Copy !req
692. It's not my intention to present
a malicious portrait of anyone.Copy !req
693. Unlike the one
that landed you in court.Copy !req
694. Unlike that one, yes.Copy !req
695. Geraldine James is not only
a wonderful, wonderful actor...Copy !req
696. but she's like the lost Redgrave.Copy !req
697. She's so much like a Redgrave
that the notion of pairing her...Copy !req
698. with Joely was too delicious.Copy !req
699. I wonder sometimes who's crazier,
my Nazi father or my obsessed uncle.Copy !req
700. Since we're talking about her...Copy !req
701. since you brought her up,
what was she like?Copy !req
702. Again, trying to shore up these ideas
about how a journalist...Copy !req
703. who's, you know,
sort of a post-Watergate...Copy !req
704. written-word guy,
and his color-coordinated Post-its.Copy !req
705. I love the contrast between
Blomkvist and Salander...Copy !req
706. that she doesn't work
that way at all.Copy !req
707. And that when he's going to later on
use the computer in front of her...Copy !req
708. it's gonna be in such a dorky,
primitive way.Copy !req
709. You couldn't pay her to send
a Christmas card, much less visit.Copy !req
710. I'll track her down for you.Copy !req
711. If you do, and try talking
to her about us...Copy !req
712. don't be surprised
if she tells you to fuck off.Copy !req
713. You're backed up, aren't you?Copy !req
714. Hard drive at home, yeah.Copy !req
715. We never intended to put a halo
over Salander in this scene.Copy !req
716. It just...
One of those things that happens.Copy !req
717. Have you ever had any
sexually transmitted diseases?Copy !req
718. And when was the last time
that you were tested for HIV?Copy !req
719. So the prelap to this scene
where Salander shows up...Copy !req
720. to ask Bjurman for money
to replace her computer...Copy !req
721. we had a guy with a floor polisher
in the background...Copy !req
722. and part of that was due to the fact
that there was a cue...Copy !req
723. that Trent Reznor and Atticus Ross
had written.Copy !req
724. A musical cue that sounded like
this weird humming machine.Copy !req
725. And I liked that drone,
and I liked the tone of that...Copy !req
726. for this scene, and I thought:Copy !req
727. "I'm gonna add a guy with a floor
polisher in the background.Copy !req
728. A, he'll tell me that the offices
are closed for the evening.Copy !req
729. B, we can sort of take the sound
of his floor polisher...Copy !req
730. and move it into the music
of the scene."Copy !req
731. The idea of the floor polisher
being this reminder...Copy !req
732. of how alone she is in the building
with Bjurman.Copy !req
733. And then it becoming
this horrible underscore to...Copy !req
734. his sexual impropriety.Copy !req
735. I want you to have that computer.Copy !req
736. Steve Zaillian,
when he crafted this scene...Copy !req
737. included this idea
which we talked about.Copy !req
738. We were constantly
playing with the notion of Bjurman...Copy !req
739. His manipulation of her.
His putting her in a corner...Copy !req
740. has everything to do
with challenging her desire...Copy !req
741. that he feels she must have
to be normal.Copy !req
742. And I love the notion
of relationships...Copy !req
743. as transaction.Copy !req
744. And so when he says to her:Copy !req
745. "I want you to have this computer.
You do something for me.Copy !req
746. I do something for you.
The way normal people do."Copy !req
747. It's such a wonderfully hideous
manipulation of her.Copy !req
748. And one question
we needed to ask ourselves is:Copy !req
749. "She's been through
the foster-care system.Copy !req
750. Has she ever been molested?Copy !req
751. Has she ever suffered
the kind of sexual abuse...Copy !req
752. that he's going to visit on her?"Copy !req
753. And I love the ambiguity
of not knowing how she feels...Copy !req
754. about his expectation
of her sexual favors.Copy !req
755. There's a moment in the
Swedish movie, in Niels' movie...Copy !req
756. where Noomi does this incredibly
great thing in the bathroom.Copy !req
757. She finds a dispenser of soap...Copy !req
758. and she puts soap on her hand...Copy !req
759. and she washes her mouth out
with soap.Copy !req
760. And we knew we needed
to acknowledge that...Copy !req
761. that was a great thing and couldn't
touch it. We wouldn't go near it.Copy !req
762. But I like the fact that we were able to
sort of up the stakes in an odd way.Copy !req
763. She looks at a soap dispenser
and decides that's not enough...Copy !req
764. and then she walks over
to the toilet...Copy !req
765. and gags herself
and throws up his semen.Copy !req
766. We wanted to shoot the scene
where she's...Copy !req
767. plotting her revenge of Bjurman,
and I wanted the idea...Copy !req
768. that her world literally
gets turned upside down.Copy !req
769. And I like the idea
of taking a Technodolly...Copy !req
770. and flying over
the top of her head...Copy !req
771. and seeing her face
as you see her eyes darting around...Copy !req
772. as she's lost in vindictive fantasy.Copy !req
773. Anita Vanger.Copy !req
774. - Through there.
- Thank you.Copy !req
775. So the scene where Daniel
meets Joely for the first time...Copy !req
776. when he goes to London
and sits with Anita...Copy !req
777. we had many questions about
how timid he was going to be...Copy !req
778. in revealing to her
what it is that he was really after.Copy !req
779. And he goes and he sits with her
and he has a wonderful little joke...Copy !req
780. where he talks about
how he has no money...Copy !req
781. and he's really there
under false pretenses.Copy !req
782. And her reaction when he says
he's writing a book about her uncle...Copy !req
783. She gives you nothing.Copy !req
784. You don't know whether she's going
to allow the scene to continue...Copy !req
785. and then you cut to this scene
where they're in a coffee shop...Copy !req
786. or they're in a restaurant.Copy !req
787. And he's just
plowing straight ahead.Copy !req
788. He's a good detective,
and I love that about this scene.Copy !req
789. I like the way their faces...
It's all about their faces...Copy !req
790. and it's all about how well
she lies to him...Copy !req
791. and how he tries
to get her to tell him...Copy !req
792. what he really,
really wants to know...Copy !req
793. even though he's not being
completely honest.Copy !req
794. I'm not really speaking
about the event itself.Copy !req
795. I just want to get a clearer sense
of what Harriet was like.Copy !req
796. She was very messed up.Copy !req
797. Well, just like all us Vanger kids,
really, but...Copy !req
798. We shot this at a restaurant that was
a fairly famous restaurant in London.Copy !req
799. We closed the restaurant down for
three or four hours to shoot this scene.Copy !req
800. We moved in,
and I placed the actors...Copy !req
801. where it would be best
for the light...Copy !req
802. and where it would be best
to get the camera back far enough...Copy !req
803. and shoot the pieces
that I needed to.Copy !req
804. And I was about halfway done
with shooting it when...Copy !req
805. I saw Daniel talking to Joely and
he was laughing about something...Copy !req
806. and I went up to him and I said,
"What is it?"Copy !req
807. And he said,
"Well, I don't want to tell you."Copy !req
808. "Why?" And he said,
"Well, I shot a movie...Copy !req
809. I shot a scene for a movie
in this restaurant before."Copy !req
810. And I said, "Oh, okay, well, great."Copy !req
811. And he said, "And I didn't want
to tell you that in the scene...Copy !req
812. I sat in this chair,
and the person I was talking to...Copy !req
813. was sitting in the chair
that Joely is sitting in now."Copy !req
814. And I thought, "Well, I'm glad...
I'm glad you waited...Copy !req
815. till we were halfway done
to tell me that."Copy !req
816. So the scene with Salander on the
stairs, where she calls Bjurman...Copy !req
817. that was the first scene we ever
shot with Rooney in Stockholm.Copy !req
818. We found this location that we liked
much better than another location.Copy !req
819. And so I asked Production,
"Can you make this happen?Copy !req
820. Can I shoot this scene with Rooney
on these steps?Copy !req
821. I wanna shoot tomorrow. I want it
to be the first thing we do with her."Copy !req
822. A lot of the Swedish crew was very
skeptical about our motives...Copy !req
823. for wanting to make the English
language version of this movie.Copy !req
824. And there was a kind of palpable
tension, and Rooney showed up.Copy !req
825. This was the first day
they were gonna see Lisbeth...Copy !req
826. and Swedes are
very protective of Lisbeth.Copy !req
827. She's part of their
cultural landscape.Copy !req
828. And I remember everybody
was kind of on pins and needles.Copy !req
829. Finally the van showed up,
and Rooney hopped out of the van...Copy !req
830. went around the corner and smoked
a cigarette and she came on.Copy !req
831. And everybody was watching,
and we sent her up the stairs...Copy !req
832. and we gave her a cell phone,
and she walked down the stairs.Copy !req
833. We shot... I think we probably
shot 30, 35 takes...Copy !req
834. of her coming up and down
the stairs.Copy !req
835. And at the end of it, I said,
"Great, I have what I need."Copy !req
836. And she rushed off
and she got in the van.Copy !req
837. And she drove away
to the next location.Copy !req
838. And I looked around, and the
Swedish crew, they were all smiling.Copy !req
839. And I went to the script supervisor
and I said, "What is it?"Copy !req
840. And she said,
"They like her. They approve."Copy !req
841. I'm so glad you decided
to come and visit.Copy !req
842. I just want my money.Copy !req
843. Well, let's see if we can
help you out with that.Copy !req
844. This was a very difficult scene
to shoot.Copy !req
845. Not only because of the kind of...Copy !req
846. inhumanity that one character
visits on the other...Copy !req
847. but people were very nervous
about how we were going to...Copy !req
848. stage and photograph the rape.Copy !req
849. Because Salander's rape
is a very important part...Copy !req
850. of who she is.Copy !req
851. And why she responds to things
that she responds to...Copy !req
852. in the way that she does.Copy !req
853. The progression of this...Copy !req
854. you know, from the phone call
on the steps...Copy !req
855. to the showing up
at the front door.Copy !req
856. The vulnerability
that she enters into...Copy !req
857. and the way that she disrobes,
and...Copy !req
858. Of course, in retrospect, we know
that she is videotaping all of this.Copy !req
859. And her backpack...Copy !req
860. hides her kind of endgame.Copy !req
861. Which is to get him
to proposition her.Copy !req
862. She's prepared to engage
in oral sex with him again...Copy !req
863. and give him his satisfaction...Copy !req
864. if she can get it on videotape
so that she can use it...Copy !req
865. to keep him away from her
the rest of her life.Copy !req
866. But she's not prepared for the kind
of cruelty that she experiences.Copy !req
867. And so when we staged
this scene...Copy !req
868. I had never talked
to Rooney about...Copy !req
869. We had talked about the specifics
of how much nudity we would see.Copy !req
870. But we hadn't talked about
what her reaction was going to be...Copy !req
871. or what her screams
were gonna be like.Copy !req
872. And I sort of gave that to her as...Copy !req
873. you know, "This is gonna be
your responsibility.Copy !req
874. You're not gonna have
a lot of room to move.Copy !req
875. You're not gonna have
a lot to work with, you know.Copy !req
876. You're gonna be very vulnerable
for an entire day of shooting.Copy !req
877. And we're gonna shoot
a lot of different angles of this.Copy !req
878. But your response to it
is gonna be your own.Copy !req
879. That's what you're gonna do."Copy !req
880. And so when we got to shoot
the wide shot of the...Copy !req
881. We were shooting the master,
the shot at the end of the bed.Copy !req
882. That shot, over the backpack...Copy !req
883. and also the sort of omniscient shot
from directly behind him in the room.Copy !req
884. And she started screaming.
You could see...Copy !req
885. the hair on peoples' arms
and on the backs of their necks.Copy !req
886. They were extremely uncomfortable.Copy !req
887. People were really bristling with...Copy !req
888. You know,
nobody wanted to see this.Copy !req
889. And we talked a long time.Copy !req
890. You know, one of the things
that I think is important...Copy !req
891. is that Salander
is sophisticated about...Copy !req
892. the kind of pervert...Copy !req
893. that Bjurman is.Copy !req
894. And when he mounts her...Copy !req
895. and she realizes
that she has no recourse...Copy !req
896. there's nothing she's gonna
be able to do about it...Copy !req
897. I said to her, "I don't think she
would give him the satisfaction.Copy !req
898. I think that she would stop
screaming at that point.Copy !req
899. I think that she would just try
to blot out what's happening...Copy !req
900. and hope that it ends quickly
and that she...Copy !req
901. Her resistance to him
would only excite him.Copy !req
902. So she's not gonna give him
that satisfaction."Copy !req
903. And I remember when we screened
this for an audience the first time...Copy !req
904. people were really unnerved
about the fact...Copy !req
905. that she actually...Copy !req
906. Not submitted, but that
she reserved her resistance.Copy !req
907. And I thought that was
a particularly telling thing.Copy !req
908. You know, one of the things that
they say in rape-avoidance classes...Copy !req
909. is not to fight.Copy !req
910. And when we dramatized that...Copy !req
911. it only made the audience
that much more uncomfortable.Copy !req
912. There's the moment that you
normally see in a movie.Copy !req
913. And then there's the moment
after the moment...Copy !req
914. that you normally see in a movie.Copy !req
915. There are these heightened
moments that are used...Copy !req
916. to dramatize conflict
between characters...Copy !req
917. and horrific ideas about
what people do to one another.Copy !req
918. I liken it to, in an odd way, it's...Copy !req
919. To me the scariest thing
in Psycho...Copy !req
920. is not Norman's stabbing...Copy !req
921. of Janet Leigh in the shower,
but his cleanup.Copy !req
922. And he goes through
this ritualized almost...Copy !req
923. It's like the anal-retentiveness of it.Copy !req
924. The need for order,
or to restore order...Copy !req
925. is what makes it so
kind of terrifying.Copy !req
926. And I loved the fact that Bjurman...Copy !req
927. he doesn't see himself as a rapist.Copy !req
928. It has to do with his narcissism.Copy !req
929. I think that if you held Bjurman
at gunpoint...Copy !req
930. and you said, "Why do you do
these horrible things?"Copy !req
931. He would have an excuse.
He would have a rationalization.Copy !req
932. There's a part of him that won't allow
himself to see himself for what he is.Copy !req
933. When Rooney fumbles with the pills
and takes off her shirt...Copy !req
934. and we see the tattoo
on her chest...Copy !req
935. that has her mother's name
and the date her mother died...Copy !req
936. and then she squats
in the shower...Copy !req
937. it's so incredibly vulnerable.Copy !req
938. And it's so brave
of somebody to do.Copy !req
939. It totally wins me over.Copy !req
940. It's one of those moments that
strikes me as an audience member...Copy !req
941. on a level
that I can't even rationalize.Copy !req
942. I can't even look at it and say
what it is that is so moving about it.Copy !req
943. But it's that notion of being so...Copy !req
944. It's not the nakedness...Copy !req
945. it's the trying to put
the pieces back together.Copy !req
946. Trying to make sense of it.
Trying to move on.Copy !req
947. That sounds about right.Copy !req
948. I used to be
in the newspaper business.Copy !req
949. - We owned six dailies back in the '50s.
- We still own one.Copy !req
950. - The Courier, here in town.
- Which I let my nephew, Birger, run...Copy !req
951. because he can't run
anything else.Copy !req
952. So, what would you say
to taking on a partner?Copy !req
953. Well, we've never had
to consider it before.Copy !req
954. There's a lovely moment
in the dinner scene...Copy !req
955. where Daniel is asking him:Copy !req
956. "Why would you want to buy
our magazine?Copy !req
957. What could possibly
be the interest in that?"Copy !req
958. And Stellan gives him this...Copy !req
959. wonderful smile and says:Copy !req
960. Not out of greed, that's for sure.Copy !req
961. And I love that as a...Copy !req
962. Again, the information age looking
squarely down both barrels of the...Copy !req
963. The point of view of the journalist.Copy !req
964. That's one reason. And...Copy !req
965. And...?Copy !req
966. The enemies of my friends
are my enemies.Copy !req
967. There's a moment at the end of the
dinner where Christopher Plummer...Copy !req
968. does this incredibly great
and slightly diabolical thing...Copy !req
969. where he says, "The enemies
of my friends are my enemies."Copy !req
970. It's the possibility
of Henrik's danger...Copy !req
971. or the Vanger family's
notions of vengeance.Copy !req
972. And it's an interesting color
to the proceedings...Copy !req
973. because he's so dignified
and so warm...Copy !req
974. and yet he also gives you
this side of himself...Copy !req
975. that's steely and masculine.Copy !req
976. You know, it has a real certain
masculine vindictiveness to it.Copy !req
977. - Mikael?
- What?Copy !req
978. I'm leaving this godforsaken island
in the morning.Copy !req
979. - So?
- So are you coming to bed or not?Copy !req
980. The tattoo artist
was somebody that Rooney met.Copy !req
981. I think he's the gentleman who did
at least one of her piercings.Copy !req
982. And she just loved the way he looked
and loved his energy.Copy !req
983. Just thought he was
such a sweet man.Copy !req
984. And we had already shot the scene
with another tattoo artist...Copy !req
985. and just felt that we didn't quite
capture the closeness between them.Copy !req
986. So she said,
"Why don't you get this guy?"Copy !req
987. And so we brought him in and for
a couple hours he played with us.Copy !req
988. Are you referring
to Mr. Wennerström?Copy !req
989. I'm referring to anyone who tries
to sue his enemies into submission.Copy !req
990. If Herr Wennerstrom
would like to try it again...Copy !req
991. he will find himself fighting a
company that can afford to fight back.Copy !req
992. I've always admired Henrik Vanger.
He's a titan and a gentleman.Copy !req
993. But he's also quite old now...Copy !req
994. which may explain
how he could be...Copy !req
995. There's something about
Rooney's face that's so haunted.Copy !req
996. And when you put... I mean, you could
put the tiniest little wad of cotton...Copy !req
997. under her lip and all of the sudden
she had this gigantic bruise.Copy !req
998. And gigantic swollen...
Her skin is so thin...Copy !req
999. that we couldn't actually make
the plumper any smaller than that.Copy !req
1000. So this is a moment
that was written originally...Copy !req
1001. I'm not exactly sure
what the order of the events were.Copy !req
1002. But I liked the idea
that he finds by accident...Copy !req
1003. this photograph,
or this series of enlargements...Copy !req
1004. that leads him to this picture
of one of the Vanger girls.Copy !req
1005. He doesn't know who it is,
if it's Anita or if it's Harriet.Copy !req
1006. But it was taken on the day
at the bridge.Copy !req
1007. And it leads to the next idea,
which is...Copy !req
1008. taking the photographs of the parade
and blowing them up.Copy !req
1009. Originally it came
in a different order.Copy !req
1010. But we ended up sort of
reconstituting it...Copy !req
1011. in this new chronology.Copy !req
1012. I like Daniel's little tics,
you know, where he...Copy !req
1013. He carries that photograph
and it's sort of his nervous energy.Copy !req
1014. He's flipping it around. I love the way
his glasses hang off his face.Copy !req
1015. That's something that...
A few writers that I know...Copy !req
1016. have that.Copy !req
1017. This is Uppsala...Copy !req
1018. which is the city in Sweden
that Ingmar Bergman's from.Copy !req
1019. It's a beautiful,
beautiful downtown area.Copy !req
1020. And they let us shut down
like eight blocks.Copy !req
1021. We did the parade there,
and then we did this scene.Copy !req
1022. We came back a couple weeks later
and did this scene.Copy !req
1023. It was kind of amazing to have the run
of an entire main street in Sweden.Copy !req
1024. What general period
are you interested in?Copy !req
1025. September, 1966.Copy !req
1026. Thank you.Copy !req
1027. I think this was the final shot
that we did of Daniel in the movie.Copy !req
1028. It was this scene.
It was literally from here that...Copy !req
1029. I mean, the last...
I think we wrapped Sweden...Copy !req
1030. and the next time I saw him,
we were doing ADR.Copy !req
1031. - Lisbeth.
- I need to pay my rent.Copy !req
1032. I need some money.Copy !req
1033. Oh, come on in.Copy !req
1034. When she walks into the apartment
and she looks around...Copy !req
1035. and Rooney said,
"What am I doing? I'm coming in here.Copy !req
1036. I'm supposed to look
like I'm strung out.Copy !req
1037. I look down the hallway.
What am I looking at?"Copy !req
1038. And I said, "You're looking to see
how long the hallway is...Copy !req
1039. so that you can decide
if you can drag him by his feet...Copy !req
1040. or by his arms." And she smiled
and said, "Okay, I can do that."Copy !req
1041. Now, we played with this idea that
maybe she looks a little strung out...Copy !req
1042. so that he begins
to sort of see her as...Copy !req
1043. maybe she does have
a drug problem.Copy !req
1044. And maybe she's finally
sort of come around...Copy !req
1045. and she will be
what he wants her to be...Copy !req
1046. which is his concubine
or his booty call.Copy !req
1047. It was an interesting thing
because we screened the movie...Copy !req
1048. one time for an audience
of about 80 people at Sony.Copy !req
1049. And when she shows up
at Bjurman's apartment...Copy !req
1050. people were so upset with her.Copy !req
1051. There were people
who didn't know the story...Copy !req
1052. and didn't know
what was coming next...Copy !req
1053. who were really prepared to leave.Copy !req
1054. They had almost
written off Salander.Copy !req
1055. If she was going to make
this mistake again...Copy !req
1056. this would be an irreversible error
as far as they were concerned.Copy !req
1057. And they weren't
going to forgive her.Copy !req
1058. And when she whips out that Taser
and she drops him in one...Copy !req
1059. One blow, it was pretty amazing to
watch the reaction of the audience.Copy !req
1060. Because the ones who didn't know
what was coming were stunned...Copy !req
1061. and at the same time,
there was this...Copy !req
1062. It was almost like
a reaction to a comedy.Copy !req
1063. They laughed and sort of
were released in this moment...Copy !req
1064. because they could now
root for her again.Copy !req
1065. But I misjudged
just how sick you are.Copy !req
1066. Okay.Copy !req
1067. We shot this scene...Copy !req
1068. and I canvassed a lot of people
who are close to me...Copy !req
1069. who have been through
hideous abuse.Copy !req
1070. And I asked them,
would he be naked?Copy !req
1071. And all of them said, "No, I don't want
to see him. I wouldn't want to see...Copy !req
1072. I mean, even if I was going
to sodomize him with a dildo...Copy !req
1073. I wouldn't want to see
his naked body."Copy !req
1074. And so we shot the scene...Copy !req
1075. and everybody felt
that we had copped out.Copy !req
1076. And that by showing
Rooney naked...Copy !req
1077. and not showing Yorick naked,
that we had somehow...Copy !req
1078. split a hair or chickened.
And so we reshot the scene.Copy !req
1079. And we shot it with Yorick
wearing a little Speedo.Copy !req
1080. And then we digitally added
his naked buttocks and genitals.Copy !req
1081. to have my declaration
of incompetence lifted.Copy !req
1082. There's no doubt
that this raccoon makeup...Copy !req
1083. or her war paint,
was something that was...Copy !req
1084. semi-inspired by Blade Runner,
but I wanted it to look like...Copy !req
1085. a mask that she could just take...Copy !req
1086. you know, some greasepaint
on her black gloves...Copy !req
1087. and just smear it into her eyes
and go:Copy !req
1088. "Okay, I'm ready now.
I'm hidden enough.Copy !req
1089. I can respond now in the way
that I've always wanted to respond."Copy !req
1090. I'll be checking on you.Copy !req
1091. If I find a girl in here with you, whether
she came of her own free will or not...Copy !req
1092. No, not the video.Copy !req
1093. I'll kill you.Copy !req
1094. Do you doubt anything I've said?Copy !req
1095. Do you doubt what's in the reports that
have followed me around all my life?Copy !req
1096. What do they say?
If you had to sum it up.Copy !req
1097. They say I'm insane.Copy !req
1098. No, it's okay,
you can nod because it's true.Copy !req
1099. I am insane.Copy !req
1100. Nod!Copy !req
1101. I know it's going to be hard for you
to abide by my rules.Copy !req
1102. The abstinence part most of all.Copy !req
1103. I wanted Props and Wardrobe...Copy !req
1104. to supply me with
a couple of different options...Copy !req
1105. as it related to splatter guards.
I thought it was only prudent...Copy !req
1106. especially since
he had worn a condom...Copy !req
1107. that she would wear
some sort of orthodontics.Copy !req
1108. Some way to keep the blood,
the atomized blood...Copy !req
1109. from going in her nostrils
or being on her mouth.Copy !req
1110. And so we brought a bunch
of different masks in...Copy !req
1111. and the one that seemed
the most kind of structured...Copy !req
1112. and appropriate
for the amount of time...Copy !req
1113. that she spends straddling him
and tattooing him...Copy !req
1114. was this clear plastic sort of
head-dress thing that she puts on.Copy !req
1115. And it looked cool in the light,
with the stage lights on.Copy !req
1116. And it looked kind of normal.Copy !req
1117. And then when we
actually went to shoot it...Copy !req
1118. it was catching
all the lights in the room.Copy !req
1119. And it had this weird
little sheen to it...Copy !req
1120. and the clear plastic
headband part of it...Copy !req
1121. sort of caught the little point sources
that were in the room.Copy !req
1122. It almost looked like a tiara,
and I remember...Copy !req
1123. kind of going, "Oh, God,
is this too Lady Gaga for...?Copy !req
1124. Is this gonna end up
being a mistake?"Copy !req
1125. But it was kind of beautiful
in an odd way.Copy !req
1126. We added a bunch of blood
and cigarette butts...Copy !req
1127. and excrement in that last shot.Copy !req
1128. We tried to art-direct it
as completely as possible...Copy !req
1129. but, you know,
when you have somebody...Copy !req
1130. who's been chained to the floor
for two days...Copy !req
1131. and you're going in to do
the last shot, I sort of felt like...Copy !req
1132. it would be better to do it in post...Copy !req
1133. and we could decide
exactly where all the bloodstains...Copy !req
1134. and handprints
and bootprints would be.Copy !req
1135. What's in Skellefteå?Copy !req
1136. Bible camp.Copy !req
1137. Oh, yeah.Copy !req
1138. So Pernilla's arrival
at the cottage is...Copy !req
1139. Really exists to have somebody...Copy !req
1140. who's a non-atheist...Copy !req
1141. be able to plant the seed
for Blomkvist...Copy !req
1142. that these crimes are somehow
related to the Bible.Copy !req
1143. And that's the reason it exists.Copy !req
1144. But I felt that there was
a wonderful opportunity...Copy !req
1145. and I think that Steve
drew it very deftly.Copy !req
1146. Which is, again, that he has
a relationship with his daughter...Copy !req
1147. that's hard for him
to kind of manage.Copy !req
1148. And I love the fact
that he says to her:Copy !req
1149. "I would never want you
not to tell me something...Copy !req
1150. just because you
wouldn't want me to hear it.Copy !req
1151. You know, I want you
to share things with me."Copy !req
1152. And I love the fact
that she's wiser than he is...Copy !req
1153. and that she's able to say,
"Well, that's what I'm trying to do.Copy !req
1154. That's what I'm here to do."Copy !req
1155. And I thought that was
such a great little...Copy !req
1156. I mean, in amongst
the mosaic of the thriller...Copy !req
1157. and this mystery...Copy !req
1158. that you also have these
little moments of character...Copy !req
1159. where people who mean something
to him help him reassess things.Copy !req
1160. You know, he's embarrassed in a way
about how far apart they are.Copy !req
1161. And he's sort of trying
to make up for that.Copy !req
1162. And yet she's saying to him,
"No, no, no.Copy !req
1163. The fact that I'm here
should speak volumes...Copy !req
1164. to the fact that I care about you."Copy !req
1165. And I like that
if you're gonna have a character...Copy !req
1166. who appears to do
a narrative service...Copy !req
1167. that there's also another reason
for them to exist.Copy !req
1168. And I like the dent
that she makes in him.Copy !req
1169. The fact that he clocks that.Copy !req
1170. A woman who is a medium
or a sorcerer...Copy !req
1171. shall be put to death by stoning.Copy !req
1172. If a dove is the sinner's offering...Copy !req
1173. the priest shall wring off its head,
cleave its wings...Copy !req
1174. and burn it upon the altar.Copy !req
1175. - Hello?
- Detective Morell, it's Mikael Blomkvist.Copy !req
1176. Yes, hello. How are you?Copy !req
1177. Not still freezing in Hedestad,
I hope, for your sake.Copy !req
1178. You know that Rebecka case
you mentioned.Copy !req
1179. Would you recall her last name?Copy !req
1180. Of course I do.
But what has that to do with anything?Copy !req
1181. - Nothing, probably.
- Jacobsson. Rebecka Jacobsson.Copy !req
1182. This is a perfect example of,
you know, obviously...Copy !req
1183. in Swedish it would be
Rebecka Jacobsson.Copy !req
1184. And of course we would say it
in English, Rebecka Jacobsson.Copy !req
1185. And it has to be written
on a piece of paper with a J.Copy !req
1186. And we had to make decisions
all over the place...Copy !req
1187. about whether or not
we were going to...Copy !req
1188. pronounce the names as they
would be pronounced in Sweden...Copy !req
1189. and, you know, full steam ahead...Copy !req
1190. not worry about
how the J would be pronounced.Copy !req
1191. But in the end, I don't think
it made it any more confusing.Copy !req
1192. I honestly don't know.Copy !req
1193. - You go. Talk to you later.
- I'm sorry.Copy !req
1194. Again, Scotty the cat
doing great cat work.Copy !req
1195. Evening.Copy !req
1196. So how is he?Copy !req
1197. Well, the good news is he survived.Copy !req
1198. How he does now, we'll have to see.Copy !req
1199. - He's in intensive care.
- Right.Copy !req
1200. - May I have one of those?
- You want a sandwich?Copy !req
1201. - Small Scotch.
- Sure.Copy !req
1202. Thank you.Copy !req
1203. I hate to be indelicate...Copy !req
1204. This is another nice
kind of facet to Blomkvist...Copy !req
1205. is when he's blunt
and actually concerned about...Copy !req
1206. if Henrik dies, then the promise...Copy !req
1207. of this whatever it is
that he has on Wennerström is lost.Copy !req
1208. Or could be.Copy !req
1209. And I like the fact that he's
talked himself into the idea...Copy !req
1210. that he wants to be part
of this investigation...Copy !req
1211. into Harriet's disappearance,
but really...Copy !req
1212. it is for semi-self-serving
interests...Copy !req
1213. that he's promised his life
to this cause.Copy !req
1214. And it is this Wennerström
information.Copy !req
1215. And I thought it was very deftly
and beautifully done...Copy !req
1216. the way that he is ultimately...Copy !req
1217. very pragmatic in his conversation
with Frode where he says:Copy !req
1218. "Yeah, I agreed to certain
circumstances and it sounds ugly...Copy !req
1219. but I wanna know
what happens if he dies."Copy !req
1220. - I can find someone.
- I know an excellent one.Copy !req
1221. She did the background check
on you.Copy !req
1222. The what?Copy !req
1223. Well, you don't think we can
hire just anyone...Copy !req
1224. without doing
a background check.Copy !req
1225. I want to read that.Copy !req
1226. Herr Frode was kind enough
to share your report with me.Copy !req
1227. The investigator's name.
That is her name, yes?Copy !req
1228. So Armansky
was originally written as a...Copy !req
1229. Sort of looked like a gangster...Copy !req
1230. and was in his mid-50s.Copy !req
1231. And we looked at a bunch of actors
who sort of were more...Copy !req
1232. probably at home in The Sopranos
than they would be...Copy !req
1233. in Stockholm.Copy !req
1234. But what I loved about Goran...Copy !req
1235. was there was a sense of polish,
and you look at him and you think...Copy !req
1236. it's so nice that he has
this concern for Lisbeth.Copy !req
1237. And when he reveals that
when he says:Copy !req
1238. "She's had a hard life.
Can we not make it any harder?"Copy !req
1239. I thought that was
an interesting revelation.Copy !req
1240. She's had a rough life.Copy !req
1241. Can we please
not make it any rougher?Copy !req
1242. So this was an important scene
to me.Copy !req
1243. It was definitely something
we contemplated losing for length.Copy !req
1244. But I loved the idea of seeing Salander
smile somewhere in the movie.Copy !req
1245. And, I mean, I felt like Lisbeth's...Copy !req
1246. bisexuality was
an important thing to see.Copy !req
1247. And I also felt
that it was important to show...Copy !req
1248. she does get her needs met.Copy !req
1249. She's emotionally 13 years old...Copy !req
1250. but she's 23 in her daily life.Copy !req
1251. And she needs a release.Copy !req
1252. And she needs closeness,
even if she doesn't trust intimacy.Copy !req
1253. She has to find comfort
in people that will be safe for her.Copy !req
1254. And the safe ones are strangers.Copy !req
1255. Miriam is somebody
that she brings home...Copy !req
1256. and it exacerbates the kind of
tension in this scene...Copy !req
1257. because she's roped somebody
into her private life.Copy !req
1258. Which is her job.Copy !req
1259. What she does for a living.Copy !req
1260. The secret thing
that she can't tell anybody...Copy !req
1261. that is paid for in cash
and off the books.Copy !req
1262. - Actually, I'm not really up yet.
- May I come in?Copy !req
1263. Please?Copy !req
1264. Hi. You and I need to talk.
I've got us some breakf...Copy !req
1265. I'm sorry, I didn't realize
you had some company.Copy !req
1266. Who do you think you are?Copy !req
1267. I'm the guy you know better
than my closest friends do.Copy !req
1268. Why don't you put some clothes on,
get rid of your girlfriend.Copy !req
1269. We need to talk.Copy !req
1270. This was a scene that we auditioned
many, many times.Copy !req
1271. We screen-tested
a number of actors...Copy !req
1272. for Lisbeth's part, with Daniel.Copy !req
1273. And we shot this scene...
We probably shot it eight times.Copy !req
1274. And by the time we got down to
shooting it, we had what I thought...Copy !req
1275. was a very specific idea
of what we were doing.Copy !req
1276. And it was funny
because when the studio saw it...Copy !req
1277. some people were concerned.
They were saying:Copy !req
1278. "Well, she's not bristly enough.Copy !req
1279. She's not angry enough
that he's there."Copy !req
1280. And I thought that was an odd...Copy !req
1281. I never saw it that way.Copy !req
1282. I always saw it
as this is her sanctuary.Copy !req
1283. She is off the grid.
Nobody knows where she lives.Copy !req
1284. It's the thing
that makes her feel safe.Copy !req
1285. And she only brings strangers
to this place.Copy !req
1286. And she has control
about when she sends them home...Copy !req
1287. and if she wants them to stay.Copy !req
1288. There's a knock at the door,
and all of the sudden this person...Copy !req
1289. that she knows more about
than most people in her life...Copy !req
1290. is on the other side of the door.
And he says, "I wanna talk to you."Copy !req
1291. That there would be this...
To my way of thinking...Copy !req
1292. you know, as somebody who finds
people and finds out about people...Copy !req
1293. she would be fascinated by him.Copy !req
1294. She doesn't have a fire escape, so it's
not like she's gonna run out the door.Copy !req
1295. But there's this moment
where she thinks about:Copy !req
1296. "What can I do?
I don't want to involve...Copy !req
1297. this person that I brought home
from a club last night in this.Copy !req
1298. And I know that what I've done
is illegal.Copy !req
1299. And I know that he has the sort of
moral high ground in this case."Copy !req
1300. But it's also,
"If this guy could find me, he's good.Copy !req
1301. And I need to know
how he found me."Copy !req
1302. And so those are the reasons
we made the choices...Copy !req
1303. that we did about
the behavior in it.Copy !req
1304. And what I love about Daniel
is that he's able to understand...Copy !req
1305. how sort of feline she is.Copy !req
1306. And how she needs
to see him behave...Copy !req
1307. and give her space.
And he needs to offer her food.Copy !req
1308. And set the table
and pull up a chair for her.Copy !req
1309. And make it, "It's on your terms.
If you wanna come over and join me...Copy !req
1310. I'd like you to join me."Copy !req
1311. It's not a seduction.
He shows faith in her ability to trust.Copy !req
1312. And that's a way
that he gives her respect.Copy !req
1313. or how they're connected...Copy !req
1314. to the death of a 16-year-old girl,
but they must be somehow.Copy !req
1315. What we've gotta do is find out who
they are, what happened to them...Copy !req
1316. There's a wonderfully Rooney
moment coming up...Copy !req
1317. where she tells him
that she understands...Copy !req
1318. exactly what he's asked of her.
She's already committed it to memory.Copy !req
1319. And I love the way she just points
at her head for a second, like:Copy !req
1320. "I got that." And when he insists
that she take these papers...Copy !req
1321. instead of resisting him
anymore...Copy !req
1322. she just takes them and drops them
on the nearest chair.Copy !req
1323. She did that to me
like once or twice a day.Copy !req
1324. I like the fact that she decides
to bring her own Coca-Cola.Copy !req
1325. It's the single worst idea...Copy !req
1326. of transporting something
that's your private stash...Copy !req
1327. because it's really heavy,
you can buy it anywhere...Copy !req
1328. and yet she feels somehow
that she's gonna be so busy...Copy !req
1329. that she's gonna need
to bring her own Coke.Copy !req
1330. Cat!Copy !req
1331. So this is one of those moments.Copy !req
1332. You hear about them,
and it's a moment in time...Copy !req
1333. when Daniel Craig knocks over
this bottle of water...Copy !req
1334. which rolls to the edge,
and then he deftly...Copy !req
1335. leans back in like Gene Kelly
and catches that bottle of water...Copy !req
1336. and puts it up on the refrigerator.Copy !req
1337. Then we track over and the cat does
exactly what the cat's supposed to do.Copy !req
1338. This is probably take 16
or something.Copy !req
1339. And we maybe shot two more
after this, hoping...Copy !req
1340. I don't know what we could hope for
that would be better than that.Copy !req
1341. But again, it's the incredibly
metrosexual Mikael Blomkvist...Copy !req
1342. in a private moment
catching his Evian water...Copy !req
1343. before it falls to the ground.Copy !req
1344. And it's one of those things
I remember as we were shooting...Copy !req
1345. going, "That's in the movie."Copy !req
1346. to know about an awful murder?Copy !req
1347. - It interests me.
- Does it?Copy !req
1348. Her husband was the first suspect.Copy !req
1349. The husband is always
the first suspect and usually the last.Copy !req
1350. But not this time.
We moved on to a neighbor.Copy !req
1351. Then a vagrant.Copy !req
1352. I had worked with Rooney
for four days...Copy !req
1353. maybe five on Social Network.Copy !req
1354. She was wonderful in the movie...Copy !req
1355. and I had an amazing time
working with her.Copy !req
1356. You cannot exhaust her.
She just keeps coming.Copy !req
1357. It was particularly evident in
the casting process on this movie...Copy !req
1358. because, and I count myself
as one of the people who initially...Copy !req
1359. It was very difficult
to imagine her in this role...Copy !req
1360. because the experience
that I had of her...Copy !req
1361. was as Erica Albright in the opening
scene of Social Network.Copy !req
1362. Where she's this
incredibly feminine...Copy !req
1363. warm, mature...Copy !req
1364. verbal foil to Mark Zuckerberg.Copy !req
1365. And all of the things
that she does in that scene...Copy !req
1366. almost makes you forgive him
in his behavior...Copy !req
1367. and his treatment of her.Copy !req
1368. And yet at the end of it,
she's able to exit the scene...Copy !req
1369. with this great
sort of cutting remark...Copy !req
1370. and encapsulate this first
five and a half minutes of the movie.Copy !req
1371. Now, Lisbeth Salander
is not mature.Copy !req
1372. She barely makes eye contact.
She's preverbal.Copy !req
1373. Ice cold. So it was a very
difficult thing to imagine...Copy !req
1374. an actor being able to do
this one thing incredibly well...Copy !req
1375. and to then transfer them
to this other role...Copy !req
1376. which had none
of those requirements.Copy !req
1377. And as we screen-tested with her,
we did it probably four or five times...Copy !req
1378. I'd set up a hurdle. I'd say,
"This is what I need to see."Copy !req
1379. And she would jump that hurdle.
And I would call her back.Copy !req
1380. And we would test her
with a group of other actors...Copy !req
1381. and I would say,
"Now I need to see this."Copy !req
1382. And one of the things
that became apparent to me...Copy !req
1383. was we weren't going to
be able to dissuade her.Copy !req
1384. We weren't going to be able
to make her doubt herself.Copy !req
1385. She was indomitable.Copy !req
1386. And in the end...Copy !req
1387. that was kind of the thing
that I wanted most from Lisbeth.Copy !req
1388. Forget the cheekbones.
Forget the white skin...Copy !req
1389. and the piercings
and the tattoos.Copy !req
1390. Lisbeth needed to be somebody
who was not going to quit.Copy !req
1391. She wasn't going away.Copy !req
1392. And that was the thing that ultimately
impressed me the most...Copy !req
1393. was that this was an actor,
this was a girl, who was going to...Copy !req
1394. No matter what you said,
her faith in her ability...Copy !req
1395. and her faith in her interpretation
of this character...Copy !req
1396. was unshakable.Copy !req
1397. In my conversations with the studio,
I kept saying:Copy !req
1398. "Look, she's the last puppy
in the window.Copy !req
1399. The one that I want is the one
that's not being encouraged.Copy !req
1400. The one that I want is the one
that we can't discourage enough."Copy !req
1401. Lisbeth.Copy !req
1402. - I'll get that.
- It's okay.Copy !req
1403. - Martin Vanger.
- How do you do?Copy !req
1404. Fine.Copy !req
1405. - It's a girlfriend, or...?
- Assistant.Copy !req
1406. Thank you so much.Copy !req
1407. - Good night.
- Good night.Copy !req
1408. Problems finding the place?Copy !req
1409. Everyone in town knows
who and where you are.Copy !req
1410. That's comforting. Are you hungry?
I can make you a sandwich.Copy !req
1411. No.Copy !req
1412. I used to have a motorbike,
a Triumph.Copy !req
1413. I know.Copy !req
1414. The five cases from Harriet's list.Copy !req
1415. And five more she missed.
Three I'm sure of.Copy !req
1416. Rebecka was the first,
just as you thought.Copy !req
1417. The second, M.H., is Mari Holmberg,
a prostitute in Kalmar...Copy !req
1418. murdered in 1954,
matching Leviticus 20:18.Copy !req
1419. Right. "If a man lies with a woman
having her sickness...Copy !req
1420. he has made naked her fountain
and she has uncovered... "Copy !req
1421. So the crime-scene photographs...Copy !req
1422. were something that were created
completely for the movie.Copy !req
1423. In most cases, you see them
for about 11 frames or 15 frames...Copy !req
1424. they just kind of scroll past you.Copy !req
1425. But there's an enormous
amount of detail work...Copy !req
1426. that goes into making them.Copy !req
1427. Even if you throw them away,
they have to be...Copy !req
1428. They have to be right.Copy !req
1429. And all of these files
were created...Copy !req
1430. and all of these files
had to be edited and checked...Copy !req
1431. to make sure that they
made enough of an impression...Copy !req
1432. and then we could move on.Copy !req
1433. So there's many, many times
where we would...Copy !req
1434. go through the animation
and say:Copy !req
1435. "That one should hold
a little longer.Copy !req
1436. Three more frames,
four more frames.Copy !req
1437. This one you can blow past.Copy !req
1438. This one needs more airbrushing
on the skin flap on the forehead."Copy !req
1439. It was kind of a little repellent...Copy !req
1440. having to walk into the
Art Department and see all of these...Copy !req
1441. ravaged women.Copy !req
1442. The killer uncaged the animals,
smashed the aquariums.Copy !req
1443. There was a parakeet inside her.Copy !req
1444. Next, Eva Gustavsson, 1960.Copy !req
1445. A runaway. Raped, strangled.
A burnt pigeon tied around her neck.Copy !req
1446. Lena Andersson, 1967. A student.
Raped, stabbed, decapitated...Copy !req
1447. - Okay.
- I'm not finished.Copy !req
1448. We're looking for
a serial murderer...Copy !req
1449. I never wanted to say
"serial killer" in the movie.Copy !req
1450. I was...Copy !req
1451. I was adamant that we never
ever use that word.Copy !req
1452. So "serial murderer"
was as close as we could get.Copy !req
1453. - Am I missing anything?
- The names.Copy !req
1454. This was a scene
that we shot a couple of times.Copy !req
1455. The first time we shot it,
it wasn't staged properly...Copy !req
1456. and the light changed.Copy !req
1457. And, actually, it started snowing
in one iteration of this.Copy !req
1458. The second time we shot it...Copy !req
1459. by the time we turned around
to Rooney's close-up...Copy !req
1460. And one of the things you need
to know about Sweden is...Copy !req
1461. it is silent.Copy !req
1462. When it's nighttime in Sweden,
you can hear, like...Copy !req
1463. You can crack an egg
three miles away and hear it.Copy !req
1464. Somebody was running a generator
on the other side of the lake...Copy !req
1465. or the fjord where we were...Copy !req
1466. and you could hear the sound
over Rooney's dialogue.Copy !req
1467. So I told her, I said,
"We're gonna have to loop this scene."Copy !req
1468. And she was like, "You can't.Copy !req
1469. It'll never be the same.
I'll never get that back.Copy !req
1470. The accent, and this and that."Copy !req
1471. I said, "We'll try it.
If we can clean up the dialogue...Copy !req
1472. we'll use the production track."Copy !req
1473. In that scene
where they're out smoking...Copy !req
1474. we used the production track from
Daniel's side, but we used the loop.Copy !req
1475. And her loop is perfect.Copy !req
1476. It sounds exactly like
the production track.Copy !req
1477. When she saw the movie
in New York City, she said:Copy !req
1478. "I'm so glad you kept
that production."Copy !req
1479. And I said, "Absolutely.Copy !req
1480. I wouldn't think of not."Copy !req
1481. - What are you doing?
- Reading your notes.Copy !req
1482. They're encrypted.Copy !req
1483. Here are digital effects
at their most oddly helpful.Copy !req
1484. We shot this sequence... There's
a moment at the end of this scene...Copy !req
1485. where she goes out onto
the front porch and she sees the cat.Copy !req
1486. And her hair had this little part in it.Copy !req
1487. And when we shot the scene
on the stage in Los Angeles...Copy !req
1488. her hair didn't have that part.Copy !req
1489. That little Louise Brooks part
that you see at the top.Copy !req
1490. And so we went back in and...Copy !req
1491. This company called Lola
in Los Angeles...Copy !req
1492. and I asked them...Copy !req
1493. and they were able to go in
and create this little part in her hair...Copy !req
1494. that they were able to track in
for all these shots.Copy !req
1495. And it's one of those
little, tiny effects...Copy !req
1496. that you are totally unaware of...Copy !req
1497. which, of course, is the thing
that makes it the best.Copy !req
1498. Every time I see it, it's like...Copy !req
1499. It just makes me smile,
that little gap in her bangs.Copy !req
1500. So the discovery of the cat...Copy !req
1501. I can assure anyone
who's watching this video...Copy !req
1502. that nothing untoward
happened to Scotty.Copy !req
1503. Scotty was miles away...Copy !req
1504. when this fake cat was dressed
and spattered...Copy !req
1505. and left on the doorstep.Copy !req
1506. Salander's helmet, we wanted it
to be customized for her.Copy !req
1507. We wanted her to have done
something to it.Copy !req
1508. It's a little homage to Henry Selick's
Nightmare Before Christmas.Copy !req
1509. We decided to put some,
like, x-ray teeth...Copy !req
1510. on Salander's helmet.Copy !req
1511. The carpentry shop is gone. I don't
even know if he worked there or not...Copy !req
1512. but if he did, maybe he used
to come in here for hardware.Copy !req
1513. I don't recognize him. Sorry.Copy !req
1514. Well, I had to start somewhere.Copy !req
1515. I'm no detective, but 1966, I would
have started at a retirement home.Copy !req
1516. This was a shot
that we did in Los Angeles.Copy !req
1517. The interior of the tunnel.
We had shot a shot in Sweden...Copy !req
1518. but it was vibrating too much...Copy !req
1519. so we came back
and went down to the...Copy !req
1520. It's pretty much by the airport.Copy !req
1521. It's, like, Century Boulevard
as it turns onto the 405.Copy !req
1522. We closed down
and shot for a couple hours.Copy !req
1523. We got the shot of the back of her head
as she zooms through the tunnel.Copy !req
1524. And really our only requirement
to make it look Swedish...Copy !req
1525. was we just put a bunch
of Volvos in the tunnel.Copy !req
1526. That was probably the last shot
that we did for this movie.Copy !req
1527. In 1966, you were in Hedestad
with your husband.Copy !req
1528. Who took these?Copy !req
1529. A local photographer.Copy !req
1530. You were taking pictures
too that day...Copy !req
1531. and I'd love to look at them
if by some miracle you have them.Copy !req
1532. It wouldn't be a miracle.
We were on our honeymoon.Copy !req
1533. But why?Copy !req
1534. This girl here. Here, you can see
her better in the enlargement.Copy !req
1535. See, that's you there.
Just after this was taken...Copy !req
1536. The flare of the Instamatic...Copy !req
1537. that's an actual flare
from that camera.Copy !req
1538. It was one of those things
that you can't believe it happened...Copy !req
1539. but it happened in one frame,
and we got it.Copy !req
1540. We would've faked it...Copy !req
1541. but it's one of those rare moments
where you get to say:Copy !req
1542. "Oh, look how it all came together."Copy !req
1543. The re-creation of this
Children's Day parade...Copy !req
1544. which is not something
they do anymore.Copy !req
1545. It's an idea whose time
has sort of passed.Copy !req
1546. But we had reference...Copy !req
1547. of all of these cities...Copy !req
1548. and their own little parades
that they would throw for the kids...Copy !req
1549. and they were always filled
with these incredibly scary clowns.Copy !req
1550. I was marveling
at what a childhood must be like...Copy !req
1551. when you go to a parade
and you see clowns that look like...Copy !req
1552. something out of Magic
or Day of the Dead.Copy !req
1553. Next time,
fill out the proper paperwork.Copy !req
1554. Which one are you?Copy !req
1555. So when we were trying to devise...Copy !req
1556. the different looks for Lisbeth...Copy !req
1557. Different makeup look.Copy !req
1558. One of the things that I talked
with Pat McGrath...Copy !req
1559. Pat McGrath,
who's one of the three most talented...Copy !req
1560. makeup artists who've ever lived.Copy !req
1561. She came in to play...Copy !req
1562. with Rooney one weekend
when we were in Stockholm...Copy !req
1563. and I talked to her about this...Copy !req
1564. David Bowie video
called Jazzin' for Blue Jean...Copy !req
1565. that Julien Temple had done,
I think in the late '80s.Copy !req
1566. And they painted these shadows
onto Bowie's face...Copy !req
1567. and no matter
where the lights moved...Copy !req
1568. he still had these shadows
under his eyes...Copy !req
1569. and still had these shadows
for his cheekbones.Copy !req
1570. We played with this idea.Copy !req
1571. This is the scene
where we decided to use it.Copy !req
1572. Torsten Witte,
who did Rooney's makeup...Copy !req
1573. every day of the actual shooting...Copy !req
1574. took these photos from Pat
and the idea...Copy !req
1575. and we brought Rooney
into the elevator...Copy !req
1576. and we looked at the way
the light fell on her face...Copy !req
1577. and then he painted these shadows
under her eyes...Copy !req
1578. and under her cheekbones
and under her nose.Copy !req
1579. And it's a very odd thing because...Copy !req
1580. You almost don't see
that it's there...Copy !req
1581. but it sculpts her features in a way
that makes her really kind of wraithlike.Copy !req
1582. And it was an odd thing because...Copy !req
1583. It's one of those things,
if you see her sitting in a chair...Copy !req
1584. eating an apple or something,
she looks so strange...Copy !req
1585. but under that one light,
that one soft top light...Copy !req
1586. that all just blends together.Copy !req
1587. You look at it and you go,
"There's something odd.Copy !req
1588. I don't know what it is."Copy !req
1589. I love this little moment.
I loved him finding...Copy !req
1590. a child's book
that had been left 40 years...Copy !req
1591. and no one's been inside this house,
and no one has cleaned up...Copy !req
1592. people are squatting in this house
or kids are partying in it...Copy !req
1593. and yet there's still
this handwriting from 1965.Copy !req
1594. We were able to shoot this shot
in like four or five takes...Copy !req
1595. where Daniel walks to the top
of this little hill...Copy !req
1596. and we shot behind his head
with a little pellet gun...Copy !req
1597. that had little powder pellets in it,
so that he could react to something.Copy !req
1598. But the actual chunks flying off
the post were done in CG...Copy !req
1599. and the scratch on his eyebrow...Copy !req
1600. and the blood
that issues forth from that...Copy !req
1601. were all done in CG.Copy !req
1602. And it just works perfect.Copy !req
1603. So there's a moment
in this montage...Copy !req
1604. where we see Salander
as she puts up the security cameras...Copy !req
1605. and we see her in infrared...Copy !req
1606. and she climbs to the top
of this wall...Copy !req
1607. and she puts another
security camera up...Copy !req
1608. and we see her eyes glowing
like a vampire, and she steps off.Copy !req
1609. We shot the scene
over about four different nights.Copy !req
1610. We had to keep
going back and catching...Copy !req
1611. as the light was disappearing
from the sky.Copy !req
1612. And this shot right here...Copy !req
1613. where she turns and looks back
and then goes inside the house, was...Copy !req
1614. I remember going to Rooney
and saying:Copy !req
1615. "I've just seen Lisbeth Salander.
That's who she is."Copy !req
1616. I played it back for her,
I showed it to her, and said:Copy !req
1617. "That's Salander.
That moment is exactly..."Copy !req
1618. She was like, "Oh, great.Copy !req
1619. We're halfway done shooting,
and now you're finally seeing..."Copy !req
1620. - Is that dental floss?
- Yes.Copy !req
1621. You're gonna sterilize that, right?Copy !req
1622. So again, this is CG blood.Copy !req
1623. There's a little wound
that he has tacked to his head.Copy !req
1624. And all of the rest of the blood...Copy !req
1625. that flows from the wound
and down his cheek...Copy !req
1626. is done in post
so that it could match.Copy !req
1627. And I love what a wuss he is.Copy !req
1628. I love the fact that...Copy !req
1629. she goes to find his designer vodka
in the freezer and brings it back.Copy !req
1630. This is something that
when my daughter was young...Copy !req
1631. I used to try to adjust her back,
I could crack her back.Copy !req
1632. Playfully, she would say to me:Copy !req
1633. "No, Daddy, you're not a doctor."Copy !req
1634. So I thought this would be
a nice little moment in here...Copy !req
1635. where she comes at him
with dental floss and a needle...Copy !req
1636. and he says, "Hey, hey.
Remember, you're not a doctor."Copy !req
1637. Yeah, I think it's stopped bleeding.Copy !req
1638. It still fucking hurts, though.Copy !req
1639. There was a lot of anxiety...Copy !req
1640. about how Mikael and Lisbeth...Copy !req
1641. consummate
their sexual relationship.Copy !req
1642. It's very different in the book.Copy !req
1643. No matter where it came,
it always felt...Copy !req
1644. I mean, again,
they've just begun to cohabitate.Copy !req
1645. You know, they've lost their cat...Copy !req
1646. and he's been shot at, and he's
acting like a little bit of a wuss.Copy !req
1647. And I always saw it as...Copy !req
1648. she's just trying to get him
to calm down.Copy !req
1649. It's like, somebody once told me
that the Air Force...Copy !req
1650. did a study and found
that the best way...Copy !req
1651. for people to overcome jet lag
was through orgasm.Copy !req
1652. So I saw this as being
Salander's way of saying:Copy !req
1653. "Look, you just need to get
your mind off of this...Copy !req
1654. because all of your crybaby antics
are driving me nuts."Copy !req
1655. And I like the fact that she
sort of takes him and...Copy !req
1656. So this was obviously going to be
an intimate scene to shoot...Copy !req
1657. and it was going to be
awkward for the actors.Copy !req
1658. Any time you do this kind of stuff
it's awkward because it's so technical.Copy !req
1659. They have to be here
in order to get the sidelight...Copy !req
1660. he has to flip her.Copy !req
1661. We had to do that 15 times...Copy !req
1662. in order to make it look
reasonably elegant, you know?Copy !req
1663. Otherwise it starts to look like
bad wrestling.Copy !req
1664. And so we knew that Rooney
was gonna have to be naked...Copy !req
1665. and she asked to have
a merkin made.Copy !req
1666. She wanted to have a pubic wig
so that she didn't have to...Copy !req
1667. So she felt a little more comfortable
in front of everyone.Copy !req
1668. And she also pointed out
that in the book...Copy !req
1669. Lisbeth is naturally a redhead...Copy !req
1670. and she dyes her hair black.Copy !req
1671. So she came to me with this plan...Copy !req
1672. and she had this little strand
of red hair...Copy !req
1673. and she said, "I'm gonna have
a merkin made in this color.Copy !req
1674. Are you okay with that?"
And I said, "Whatever," you know?Copy !req
1675. "However you can feel
most comfortable. Of course."Copy !req
1676. And so she had this merkin made.Copy !req
1677. I believe in Japan, we had to,
like, put a mosaic over it...Copy !req
1678. because fake pubes
are considered to be nasty.Copy !req
1679. I like working with you too.Copy !req
1680. - It could have been a stray shot.
- Not by Gunnar.Copy !req
1681. If he wanted to shoot him,
he wouldn't be here.Copy !req
1682. And then we have poachers.
They shoot at anything that moves.Copy !req
1683. Or he's right, Dirch. What if he is?Copy !req
1684. We're back at Martin's house...Copy !req
1685. and I love this scene...Copy !req
1686. because we couldn't shoot it on
location, we had to shoot it on set.Copy !req
1687. We weren't allowed to shoot
inside the house on location.Copy !req
1688. And so we built a replica of the house
on a sound stage at Paramount.Copy !req
1689. We shot it in front of green screen.
I kept wondering, "What's it gonna be?"Copy !req
1690. Then I thought,
"It could just be this whiteout.Copy !req
1691. It could just be this fog has rolled in,
and his glass house is over it."Copy !req
1692. You just barely sort of make out...
Like a Japanese airbrush painting...Copy !req
1693. you kind of make out
these layers of the hills.Copy !req
1694. And I was very happy with that.
I thought it turned out beautifully.Copy !req
1695. probably a lot.Copy !req
1696. If this is what he needs to finish,
he should have permission.Copy !req
1697. What am I looking for?Copy !req
1698. Any connections between
Vanger Industries...Copy !req
1699. and the towns
where the women were killed.Copy !req
1700. And everything about Frode.Copy !req
1701. So again, you're seeing
in 10-frame, 12-frame little snatches...Copy !req
1702. all of the photographs taken
of the bridge crash that day.Copy !req
1703. And there are hundreds of them.Copy !req
1704. And there were literally two units.Copy !req
1705. A photographer who was just
responsible for Harald's photographs...Copy !req
1706. and there was a photographer
who was just responsible...Copy !req
1707. for the Courier side of the bridge.Copy !req
1708. So if you're looking at the family...Copy !req
1709. it was shot by Baldur...Copy !req
1710. and if you're looking
at Harald's point of view...Copy !req
1711. from the family's side of the bridge,
it was shot by Anders.Copy !req
1712. And it's... I mean...Copy !req
1713. It was...
The still photos in this movie...Copy !req
1714. were its own schedule,
its own crew.Copy !req
1715. It was a massive undertaking.Copy !req
1716. Sorry.Copy !req
1717. Please?Copy !req
1718. - Are you finished?
- I need to know where all factories...Copy !req
1719. offices and projects
were from 1949 to 1966.Copy !req
1720. - You already have everything.
- No, I don't.Copy !req
1721. I love this woman.Copy !req
1722. I love the notion that...Copy !req
1723. the real thing that's actually
subjugating Lisbeth...Copy !req
1724. is bureaucracy and not...Copy !req
1725. It's not just misogyny,
it's bureaucracy.Copy !req
1726. We shot coverage
of every angle of that.Copy !req
1727. Bringing the books down,
putting them on the cart...Copy !req
1728. but in the end,
it just played great in one.Copy !req
1729. Thank you for seeing me.Copy !req
1730. Come in.Copy !req
1731. - Tea?
- Please.Copy !req
1732. Per Myrberg plays Harald...Copy !req
1733. and in the script he's supposed to be
this very frightening figure.Copy !req
1734. And I love the idea of him
as sort of Yoda.Copy !req
1735. He's like...Copy !req
1736. I think the thing that makes him scary
is not his physical presence...Copy !req
1737. or how sort of diabolical
his lair is...Copy !req
1738. but he's making no excuses
for his past.Copy !req
1739. He's completely comfortable
with his anti-Semitism...Copy !req
1740. and he's not about to hide it.Copy !req
1741. I thought that Steve Zaillian's
approach to that...Copy !req
1742. was very, very adult
and interesting.Copy !req
1743. "Blom" or "Bloom"?Copy !req
1744. Blomkvist.Copy !req
1745. I'm not a recluse.Copy !req
1746. I don't close my door to anybody.Copy !req
1747. Thank you.Copy !req
1748. They just don't visit.Copy !req
1749. Well...Copy !req
1750. perhaps if you redecorated.Copy !req
1751. Hide the past like they do?Copy !req
1752. Under a thin, shiny veneer?Copy !req
1753. Like an IKEA table?Copy !req
1754. I am the most honest of all of them.Copy !req
1755. - The family?
- Sweden.Copy !req
1756. I mean, I have nothing
against IKEA, so...Copy !req
1757. I keep being asked,
"Why do you have...?Copy !req
1758. What's your personal attack on Ikea?
Why do you keep doing this?"Copy !req
1759. But it was the idea
of the veneer of something...Copy !req
1760. and then when he finally
gets to say:Copy !req
1761. "No, no. I'm more honest
than the rest."Copy !req
1762. "Meaning the family?"
"No, meaning Sweden."Copy !req
1763. This is one of those
percentage-points issues.Copy !req
1764. How much blur can there be
on Martin's photograph?Copy !req
1765. We would go back
and re-composite the photos.Copy !req
1766. We would take blur
from one photograph...Copy !req
1767. and put it over another photograph,
just to find that place...Copy !req
1768. where it tells a story clearly...Copy !req
1769. and yet it still obscures
the person...Copy !req
1770. so that the actor
can actually look at it and say:Copy !req
1771. "I can't tell who that is.
Can you tell me who that is?"Copy !req
1772. Call Frode.Copy !req
1773. Leave the keys with the guard.Copy !req
1774. One thing that was important
to the character...Copy !req
1775. is that Lisbeth would have her own
kind of customized operating system.Copy !req
1776. That her computer is not gonna
look like Blomkvist's computer.Copy !req
1777. Blomkvist's computer has digital
color-coded Post-it notes on it.Copy !req
1778. He's operating OS X Lion.Copy !req
1779. And she's got her own weird
custom-skinned interface, and...Copy !req
1780. Little things like that
were very important to me...Copy !req
1781. that we get those ideas across.Copy !req
1782. So again, this is one
of those things where...Copy !req
1783. How much do you
have to underline something?Copy !req
1784. We see Henrik,
we see the shield...Copy !req
1785. we connect the shield
to Lena Andersson.Copy !req
1786. Come on.Copy !req
1787. Shit!Copy !req
1788. Going back to Dracula, I've never done
the castle-on-the-hill shot before.Copy !req
1789. But it's fun to reference
every once in a while.Copy !req
1790. Most of this sequence
was shot with a Technodolly...Copy !req
1791. which is
a motion-controlled camera...Copy !req
1792. that you kind of rough
into position...Copy !req
1793. and then you can move
all these different axes.Copy !req
1794. The whole idea was that this
would be a very quick way...Copy !req
1795. to do these elaborate moves.Copy !req
1796. And, of course, the quick part
didn't really work out.Copy !req
1797. I love this elevator.Copy !req
1798. It really was in this storage facility...Copy !req
1799. where they had all the records
for the city of Stockholm.Copy !req
1800. I love, you know, these doors
from, like, Terminator 2...Copy !req
1801. that would close every time
you got in the elevator.Copy !req
1802. It was terrifying.Copy !req
1803. This was a sequence that I...Copy !req
1804. From the beginning,
when Ren Klyce and I...Copy !req
1805. and Trent Reznor
and Atticus Ross...Copy !req
1806. When we started talking
about the scene...Copy !req
1807. where Mikael goes up
to Martin's house...Copy !req
1808. and he walks in the back door,
the glass house...Copy !req
1809. I said,
"There's not gonna be music."Copy !req
1810. Because music will tell us
that we're in a movie.Copy !req
1811. It's all sound effects,
and it's as much silence...Copy !req
1812. as we could possibly do.Copy !req
1813. And I really wanted
to get the idea of:Copy !req
1814. There's outside
where you feel the wind...Copy !req
1815. and there's inside where it's sealed
and you have the air-conditioning.Copy !req
1816. So that when he leaves
the door open just a crack...Copy !req
1817. we would get this whistling
later on when Martin returns.Copy !req
1818. And again,
it's a testament to Daniel...Copy !req
1819. because the notion of walking
into a house in the night...Copy !req
1820. and immediately going over
to pick up a knife...Copy !req
1821. You have to suspend
a certain kind of disbelief...Copy !req
1822. and he makes it work.Copy !req
1823. Ren does this thing where when we cut
to the house and Martin arrives...Copy !req
1824. we see the cottage,
we hear this horn...Copy !req
1825. and then when we cut to
Martin's house...Copy !req
1826. we hear the horn that much
further away, a half mile further away.Copy !req
1827. And I love the vertical... The kind of
cutting from inside to outside...Copy !req
1828. and you're aware of...Copy !req
1829. You know, one is out in nature...Copy !req
1830. and the other one
is in this mausoleum.Copy !req
1831. There's a moment
we had planned for this...Copy !req
1832. where he walks
to the gun case and looks...Copy !req
1833. and the camera's gonna track left
as he walked out...Copy !req
1834. and see that there was one gun
that was missing from the gun rack.Copy !req
1835. But as I was watching it
on the monitor, I thought:Copy !req
1836. "Who gives a shit?"Copy !req
1837. When we shot this scene,
Rooney had a real Kex bar...Copy !req
1838. which is a very abundant
Craft Service candy.Copy !req
1839. So we had a bunch of Kex bars,
and she had...Copy !req
1840. all of these little cups of espresso.Copy !req
1841. We probably shot 16 takes,
and by the end of it...Copy !req
1842. She weighs like 83 pounds...Copy !req
1843. so she'd eaten
like nine Kex bars...Copy !req
1844. and drunk 18 shots
of espresso, so she...Copy !req
1845. She was literally shaking.Copy !req
1846. Again, once he opens the back door,
the pressure is released...Copy !req
1847. and the whistling stops, which is
what makes Martin go to the door.Copy !req
1848. He sees that the door's
been left open.Copy !req
1849. It doesn't amount to anything
because we know who the bad guy is.Copy !req
1850. It's just about how you stretch
the moment.Copy !req
1851. Mikael.Copy !req
1852. I love this moment where Daniel...Copy !req
1853. He stands up
and he's wiping off his hands...Copy !req
1854. as he's just fallen in the mud.Copy !req
1855. He doesn't know what to say.Copy !req
1856. He's so obviously caught.Copy !req
1857. And when Stellan walks forward,
he knows the gig is up.Copy !req
1858. They both know
what they both know.Copy !req
1859. And now it's a question of whether
or not politeness will rule the day.Copy !req
1860. And I love the drama of that,
which is...Copy !req
1861. he can't let him know...Copy !req
1862. what he thinks is going on.Copy !req
1863. So he has to follow him
back into the house.Copy !req
1864. Because he has to pretend
like there's nothing to it.Copy !req
1865. It's sadism that's perpetrated
on the audience...Copy !req
1866. that can actually be fun.Copy !req
1867. Again, you get an idea
of how many photographs it took...Copy !req
1868. to make up the archives
of photographs...Copy !req
1869. to tell the story
of Harriet's disappearance.Copy !req
1870. Shut the door. It's quite windy.Copy !req
1871. - What happened to you?
- When?Copy !req
1872. Just now.Copy !req
1873. I fell in the dark.Copy !req
1874. You don't have a flashlight?
I'll get you one.Copy !req
1875. I just wasn't being careful, that's all.Copy !req
1876. I love in the blocking the way that
they sort of stay opposite one another.Copy !req
1877. He keeps his distance from Martin,
and Martin tries to close the gap.Copy !req
1878. And when they're finally
next to each other...Copy !req
1879. it's almost as if Daniel
has sort of talked himself...Copy !req
1880. out of the idea
that Martin's a problem.Copy !req
1881. There's another little moment
where Stellan takes a look...Copy !req
1882. at the knife rack and sees
that one of the knives is gone.Copy !req
1883. And only in a house like this
could you ever even...Copy !req
1884. remotely believe somebody would
know that their knife was missing.Copy !req
1885. - So, what did he say?
- What?Copy !req
1886. You said Henrik asked you
to ask me something.Copy !req
1887. - Well, I just did.
- What?Copy !req
1888. - How's the investigation?
- Oh, yeah.Copy !req
1889. That was his question.Copy !req
1890. And I love the fact that Daniel's
been walking past this rifle...Copy !req
1891. out in the middle...Copy !req
1892. of the family room,
near the kitchen.Copy !req
1893. He's walked past it three times
and he hasn't seen it.Copy !req
1894. And it's been there the entire time.Copy !req
1895. - I can see you're anxious.
- No.Copy !req
1896. No, I mean to get home
after the walk.Copy !req
1897. Yeah, well, I suppose I am.Copy !req
1898. To have dinner with your girlfriend.Copy !req
1899. Assistant.Copy !req
1900. Daniel makes the notion
of an assistant...Copy !req
1901. different from one scene
to the next.Copy !req
1902. In the first scene where Stellan
asks him if that's his girlfriend...Copy !req
1903. and he says it's his assistant,
it's more of a...Copy !req
1904. He downgrades her. Here he
downgrades her for a different reason.Copy !req
1905. He doesn't want her to be involved.Copy !req
1906. And he does it in such a nice...
There's such a nice clarity to it.Copy !req
1907. To the right.Copy !req
1908. And here's the first time
that sort of music enters...Copy !req
1909. into the equation.Copy !req
1910. It starts to...Copy !req
1911. foreshadow what
you're about to see.Copy !req
1912. It becomes sinister.Copy !req
1913. Mikael, it did work. You're here.Copy !req
1914. This shot was one of the last shots
that we did in Sweden.Copy !req
1915. We were shooting the drive up
to the Vanger archives...Copy !req
1916. during the day,
and then when the sun went down...Copy !req
1917. we just needed two setups.Copy !req
1918. We needed Lisbeth walking
to her motorcycle...Copy !req
1919. and then we needed the motorcycle
taking off and driving away.Copy !req
1920. And we finished shooting
the daylight shot and the sun set.Copy !req
1921. We figured we would
have four or five hours.Copy !req
1922. This was in June.Copy !req
1923. The sun went down at 11:58 p.m.Copy !req
1924. And it rose again at 1:58 a.m.Copy !req
1925. So we were really running.Copy !req
1926. So the gassing...Copy !req
1927. This was not meant to be
a particularly Nazi solution...Copy !req
1928. to getting control of Blomkvist.Copy !req
1929. But we went to the Special Effects
Department and we asked them...Copy !req
1930. what can he possibly do?Copy !req
1931. He can't hit him on the back
of the head. That's just too lame.Copy !req
1932. Daniel Craig offered the idea
of, like, maybe a...Copy !req
1933. A dart gun, like a blowgun...Copy !req
1934. that he would have learned
from indigenous peoples...Copy !req
1935. of a faraway land, how to use.Copy !req
1936. And we nixed that idea.Copy !req
1937. And then somebody
brought up the idea of...Copy !req
1938. Not gas but carbon monoxide
that we could...Copy !req
1939. It could be released quickly
and cause unconsciousness.Copy !req
1940. And so we looked at what
that would look like.Copy !req
1941. It's how animals are dealt with
in extreme cases.Copy !req
1942. And we looked at what
that technology would look like...Copy !req
1943. in a room like this, and it was
decided that this was probably...Copy !req
1944. the most immediate way
of getting control of Blomkvist.Copy !req
1945. - Of?
- You.Copy !req
1946. In an Uppsala prep school blazer.Copy !req
1947. What does that prove?Copy !req
1948. You lied about
where you were that day.Copy !req
1949. - Did I?
- Or rather, when.Copy !req
1950. So what? People lie all the time.Copy !req
1951. It also says that you and Lena
Andersson were schoolmates.Copy !req
1952. Lena...Copy !req
1953. That was a long time ago.Copy !req
1954. I like the fact that Stellan is
still curious about:Copy !req
1955. "Tell me what it is, tell me what it...
What's the mistake that I made?"Copy !req
1956. And he actually seems genuinely
interested in the answers.Copy !req
1957. How much does the girl know?Copy !req
1958. I hope it's as much as you do.Copy !req
1959. That'll make it fun.Copy !req
1960. Where is she?Copy !req
1961. Stockholm.Copy !req
1962. We used to have a scene...
When we first assembled...Copy !req
1963. we had shot a scene
where Stellan gets a call...Copy !req
1964. from the archives manager.Copy !req
1965. It was interesting, when we had it,
it seemed overly pedantic.Copy !req
1966. It seemed like we were just
explaining too much.Copy !req
1967. And when we took it out,
it was nice...Copy !req
1968. how he got to reveal to Blomkvist
something that even we didn't know...Copy !req
1969. but obviously made sense because
it's something that Salander forced.Copy !req
1970. Hey, hey.Copy !req
1971. So "hey, hey" was something
that we picked up in Sweden...Copy !req
1972. as something that everybody
on the crew said...Copy !req
1973. and we had to work it into the text.Copy !req
1974. We were gonna get shirts printed up
that said "hey, hey."Copy !req
1975. So, what do you wanna know?Copy !req
1976. You're a journalist,
ask me questions.Copy !req
1977. What do I do with the girls?Copy !req
1978. I liked the idea of Martin
as sort of a half-assed Dick Cavett.Copy !req
1979. I thought it was kind of a funny notion
that he's so narcissistic that...Copy !req
1980. I mean, he has all these tapes...Copy !req
1981. from all these years of all this
horrendous shit that he's done.Copy !req
1982. And I like the idea
that he finally has somebody...Copy !req
1983. in his basement
who's an interviewer.Copy !req
1984. And he wants to try his hand at it.Copy !req
1985. Stellan came up with this thing...Copy !req
1986. when he starts talking about
his father, he starts itching.Copy !req
1987. His father gives him eczema.Copy !req
1988. This takes discipline.Copy !req
1989. It's a science of a thousand details.Copy !req
1990. The planning, the execution.Copy !req
1991. It's the cleanup.Copy !req
1992. I guess I don't have to tell you...Copy !req
1993. but you're going to create
quite a mess here.Copy !req
1994. Let me ask you something.Copy !req
1995. Why don't people
trust their instincts?Copy !req
1996. One of the things that I liked
was the idea of Martin...Copy !req
1997. as sort of an audiophile.Copy !req
1998. And so I wanted him to have
a reel-to-reel tape recorder player.Copy !req
1999. And when we started sort of riffing
on that idea of the audiophile...Copy !req
2000. these tapes that he makes
are very private.Copy !req
2001. And he probably doesn't make more
than three or four of them a year...Copy !req
2002. at the most.Copy !req
2003. So he's bought in bulk
and he has a camera...Copy !req
2004. that he's comfortable with
and a system he's comfortable with.Copy !req
2005. And it doesn't matter
that it's from 1985.Copy !req
2006. He has his way of working
and he's comfortable with it.Copy !req
2007. It's never occurred to him
that it's time to switch over...Copy !req
2008. to rewriteable DVD.Copy !req
2009. getting hard.Copy !req
2010. But, you know, we're not that different,
you and I. We both have urges.Copy !req
2011. Satisfying mine...Copy !req
2012. requires more towels.Copy !req
2013. Enya.Copy !req
2014. We were actually rewriting
this scene.Copy !req
2015. We did a rehearsal read-through
with Steve Zaillian...Copy !req
2016. and Stellan and Daniel in London
before we came to L.A. to shoot.Copy !req
2017. And we were talking about
the things...Copy !req
2018. "Here are the things
Martin should talk about.Copy !req
2019. Here are the things
that he shouldn't talk about."Copy !req
2020. And we were playing around
with these ideas.Copy !req
2021. There was a moment where we cut to
Salander, and when we came back...Copy !req
2022. I liked the idea of Martin
having music that calmed him.Copy !req
2023. Because he was about to do
some really terrible stuff.Copy !req
2024. And he has his music.Copy !req
2025. He has the music
that he likes to drive to.Copy !req
2026. He has the music
that he likes to slaughter to.Copy !req
2027. We started to talk about what should
that be when he hits the play button...Copy !req
2028. and the reel-to-reel
recorder spins.Copy !req
2029. What comes out?Copy !req
2030. And Daniel Craig,
to give credit where credit's due...Copy !req
2031. immediately sat up in his chair
and said, "Orinoco Flow."Copy !req
2032. We didn't know if he'd had a stroke.
No one knew what it meant.Copy !req
2033. No one knew what...
What is "Orinoco Flow"?Copy !req
2034. And he started laughing.Copy !req
2035. And he ran, he got his iPod out,
and he played...Copy !req
2036. what I always thought
was called "Sail Away" by Enya.Copy !req
2037. And we could not stop laughing.Copy !req
2038. We just thought it was
the greatest thing...Copy !req
2039. for a serial murderer to have
this music as his music to kill by.Copy !req
2040. Now, it's originally written that he had
this gigantic roll of Saran Wrap.Copy !req
2041. We spent a good two hours
one morning trying to figure out...Copy !req
2042. how to physically engineer this.Copy !req
2043. And finally we just decided,
"Go get some plastic bags."Copy !req
2044. And the Props Department
ran down to...Copy !req
2045. It was Ralphs or something.Copy !req
2046. We were in Los Angeles
on the Paramount lot...Copy !req
2047. and they ran and got
all of these plastic bags...Copy !req
2048. that were for produce.Copy !req
2049. We had dozens of them
and we almost ran out of plastic bags.Copy !req
2050. Stellan came up with this idea of
sort of finding the edge of his rib cage.Copy !req
2051. You know, he has all these knives,
different kinds of knives...Copy !req
2052. and bolt cutters and saws
and things in his...Copy !req
2053. And yet he needs to select exactly
the implement and then...Copy !req
2054. And I do think that there's something
about what you've seen before...Copy !req
2055. in the movie that might lead you
to believe that we're gonna see...Copy !req
2056. Daniel Craig get gutted.Copy !req
2057. - May I kill him?
- Yeah.Copy !req
2058. Now, there's much debate about
whether or not it was a wise idea...Copy !req
2059. to have Lisbeth ask,
"May I kill him?"Copy !req
2060. And I wrote this line. I like this idea.Copy !req
2061. And the idea for me was not
that she's looking for permission...Copy !req
2062. as much as...Copy !req
2063. I always felt that the drama...Copy !req
2064. between the two characters,
the friction...Copy !req
2065. comes from the fact that Blomkvist,
in his journalistic hubris...Copy !req
2066. feels that he understands exactly
the evils that men do.Copy !req
2067. And he can speak about it
from a safe proximity.Copy !req
2068. He's able to say, "No, no, I get it.
I get what you've been through."Copy !req
2069. And Lisbeth, who has suffered
at the hands of a sadist...Copy !req
2070. is able to, in this moment,
sort of say, "Now how do you feel?"Copy !req
2071. And so when she comes
to ask him, "May I kill him?"...Copy !req
2072. it's not looking for permission.Copy !req
2073. She's kind of saying,
"Are you with me now on this?"Copy !req
2074. But I didn't want her
to be Dirty Harriet.Copy !req
2075. That seemed too obvious.Copy !req
2076. I saw it as being more of a:Copy !req
2077. "Will you hate me if I deal with this
in a way that I feel is correct?"Copy !req
2078. There are many interpretations
of this line...Copy !req
2079. and a lot of people
were taken aback.Copy !req
2080. I felt it was a strong notion that...Copy !req
2081. She's not looking for permission
as much as it is that she's...Copy !req
2082. looking for understanding,
and she turns to him in that moment...Copy !req
2083. to say, "Are you gonna hate me
if I do what I feel is just here?"Copy !req
2084. And he says, "Absolutely not."Copy !req
2085. There used to be a scene
where Frode comes over...Copy !req
2086. and we acknowledge...Copy !req
2087. how many tapes have been found
in Martin's basement...Copy !req
2088. how many books of photographs
of women that he's slaughtered...Copy !req
2089. in his little basement abattoir.Copy !req
2090. And we took that out to go right
from the burnt, charred Range Rover...Copy !req
2091. to this one little moment
where we have...Copy !req
2092. some kind of understanding
of what has complicated her life.Copy !req
2093. I love the idea of a person
revealing something...Copy !req
2094. and in the moment of revealing
something about themselves...Copy !req
2095. makes themselves
more enigmatic.Copy !req
2096. And, to me, this is the moment
where they truly come together.Copy !req
2097. It's not where they fornicate.Copy !req
2098. It's where he wakes up
and she's watching him sleep.Copy !req
2099. He says, "Tell me something about you,
because you're fascinating me."Copy !req
2100. And she tells him something...Copy !req
2101. and it only ends up making him
realize how little he knows about her.Copy !req
2102. Martin's basement
among his souvenirs.Copy !req
2103. No, Martin didn't deny
killing anyone.Copy !req
2104. But when I mentioned Harriet,
he was confused.Copy !req
2105. He got angry at me because I couldn't
tell him what had happened to her.Copy !req
2106. He didn't kill her.Copy !req
2107. His father didn't do it.
He was dead the year before.Copy !req
2108. What if she did somehow manage
to get away?Copy !req
2109. I mean, if...Copy !req
2110. she is still alive...Copy !req
2111. then there's only one person in this
family who'd know where she is.Copy !req
2112. I love dissolving through
and seeing Tony asleep.Copy !req
2113. I don't know if everybody
who's seen the movie...Copy !req
2114. realizes that that's Plague.Copy !req
2115. But I like the idea that Tony
is snoring away on the plane.Copy !req
2116. Fuck me. Fuck me. Fuck me.Copy !req
2117. I like a scene where people think...Copy !req
2118. that they're doing
the smartest possible thing...Copy !req
2119. and the end of it is
that much more frustrating.Copy !req
2120. I think both Daniel and Joely
in this scene are fantastic.Copy !req
2121. I love how she is finally fed up
with his nonsense.Copy !req
2122. Hi. Look, I'm sorry to bother you.Copy !req
2123. What do you want?Copy !req
2124. - Has no one called you?
- About?Copy !req
2125. Your cousin Martin.Copy !req
2126. - What about him?
- He died in a car accident...Copy !req
2127. last Thursday. There's going
to be a memorial in Hedestad.Copy !req
2128. I'm not interested in any memorial.Copy !req
2129. - Well, I understand.
- What do you understand?Copy !req
2130. We shot this at 2:00 in the morning,
maybe 3:00 in the morning...Copy !req
2131. and Joely was well
and truly fed up with me...Copy !req
2132. but the last take is the take that's
in the movie, and she's so good in it.Copy !req
2133. How'd it go?Copy !req
2134. Okay, I think.Copy !req
2135. She's on.Copy !req
2136. And she's shopping.Copy !req
2137. There was a scene that we cut
that took place in a bar...Copy !req
2138. where we meet Trinity
for the first time.Copy !req
2139. We ended up cutting it
just for length.Copy !req
2140. But it was a very funny scene.Copy !req
2141. But it didn't really move the narrative
forward except to be amusing.Copy !req
2142. I was so sure
she was gonna lead us to her.Copy !req
2143. Put your hand back in my shirt.Copy !req
2144. The "Put your hand back in my shirt"
was something that I wanted...Copy !req
2145. from Steve Zaillian.Copy !req
2146. I really liked this idea
that they're getting comfortable...Copy !req
2147. with one another and that
she really just likes his touch...Copy !req
2148. and that's what makes her feel good
and so she asks for it.Copy !req
2149. And there's a change.
You get a sense of the change.Copy !req
2150. And the sex scene that follows that
I always thought was funny.Copy !req
2151. I know that it's not
a new gag to have...Copy !req
2152. somebody ask somebody else
to be quiet until...Copy !req
2153. they've been brought to orgasm,
but again it goes to the notion...Copy !req
2154. of Blomkvist has been...Copy !req
2155. Well, we could, absolutely.Copy !req
2156. What is it now?Copy !req
2157. Before he died,
your brother hung me from a hook...Copy !req
2158. Harriet.Copy !req
2159. So you sent the flowers.Copy !req
2160. Yes, I did.Copy !req
2161. We found in the Swedish Family
Registry that Anita was married.Copy !req
2162. - But the family never knew, did they?
- No.Copy !req
2163. The flashbacks that we set up
at the beginning of the movie...Copy !req
2164. that kind of were
from Henrik's point of view...Copy !req
2165. or from Henrik's remembrance
of that day...Copy !req
2166. it was a warm place,
it was this idyllic setting...Copy !req
2167. and these blond-haired,
blue-eyed beautiful children...Copy !req
2168. and this family gathering.Copy !req
2169. And yet in this flashback we're gonna
see her escape from the island...Copy !req
2170. and we're gonna see it
in this drab, cold, drizzly...Copy !req
2171. The reality of it.Copy !req
2172. What it was really like to be 16
and leaving everything behind...Copy !req
2173. to climb into the trunk of a car...Copy !req
2174. and hopefully never
see these people again.Copy !req
2175. I was 14 the first time he raped me.Copy !req
2176. Martin.Copy !req
2177. No, my father.Copy !req
2178. Martin only started after he had died.Copy !req
2179. - Well, why didn't you tell somebody?
- I did.Copy !req
2180. Joely did an audition on tape
and I think it was in New York.Copy !req
2181. Maybe it was in London.
I think it was in New York.Copy !req
2182. And she sent it and it was this scene
and it was so beautiful.Copy !req
2183. There's a real dignity
of the survivor.Copy !req
2184. There are people who were very upset
with the idea that we didn't go...Copy !req
2185. all the way to Australia
to find Harriet.Copy !req
2186. But I like the idea
of Harriet hiding in plain sight.Copy !req
2187. I liked its parallels with Lisbeth.Copy !req
2188. Lisbeth has learned to hide
in plain sight in her way...Copy !req
2189. by being sort of invisible detritus.Copy !req
2190. And Harriet had to become Anita.Copy !req
2191. I like the parallels
of those two stories.Copy !req
2192. I got out of the house.Copy !req
2193. I went down to the dock.Copy !req
2194. He came staggering after me.Copy !req
2195. I could never fight him off
in a small space...Copy !req
2196. but out in the open...Copy !req
2197. I was strong enough
to deal with an old drunk.Copy !req
2198. When it was over...Copy !req
2199. I looked up and Martin was
standing there, staring at me.Copy !req
2200. And all I'd accomplished was
substitute one for another.Copy !req
2201. A couple of months later, Henrik
sent Martin to school in Uppsala.Copy !req
2202. And I thought that maybe, just maybe,
the nightmare was finally over.Copy !req
2203. And then I saw him
the day of the parade...Copy !req
2204. across the street.Copy !req
2205. And I knew
that it would never be over.Copy !req
2206. So how did you escape?Copy !req
2207. Anita. She...Copy !req
2208. She insisted
that I leave everything behind.Copy !req
2209. The change with Harriet taking on
Anita's identity...Copy !req
2210. was made before I saw the script.Copy !req
2211. But I thought it was smart
and there was no reason...Copy !req
2212. for the shoe leather.Copy !req
2213. And it was the only way to create
enough room to be able...Copy !req
2214. to finish off
the Wennerström story.Copy !req
2215. And I appreciated that.Copy !req
2216. I'd grown up with that bridge
as my link to home...Copy !req
2217. but all I could think is...Copy !req
2218. if I could just
get away from them...Copy !req
2219. just get past the police...Copy !req
2220. then I might be safe.Copy !req
2221. And I was.Copy !req
2222. There were a lot of birds
in this park.Copy !req
2223. And they were especially loud...Copy !req
2224. and one of the reasons
that we had to loop the entire scene.Copy !req
2225. There's no way to shoot a scene
in metropolitan London...Copy !req
2226. and not have to loop it these days.Copy !req
2227. - How are you feeling?
- I'm fine.Copy !req
2228. Thank you, Anna.Copy !req
2229. I made you a promise...Copy !req
2230. whether you found anything or not.Copy !req
2231. So, what do you have to tell me?Copy !req
2232. I have this wonderful
Christopher Plummer as Henrik...Copy !req
2233. and he was gonna be wheeled
into this foyer...Copy !req
2234. and he was gonna see this woman
that he hasn't seen in 40 years.Copy !req
2235. And both actors, you know, were...Copy !req
2236. very ready to wring out...Copy !req
2237. whatever emotion was going
to be in this...Copy !req
2238. being reunited.Copy !req
2239. And I said to Joely before
we started shooting, I said, "Now...Copy !req
2240. build up to it, you know,
I mean, as much as you can.Copy !req
2241. I mean, A, we're gonna have to do
your makeup between every take...Copy !req
2242. and I also don't want you
to get bored with it.Copy !req
2243. I'll shoot a wide shot
at the end of the hallway.Copy !req
2244. I'm gonna shoot a medium shot
over Lisbeth and Mikael.Copy !req
2245. I'm gonna shoot a POV from Frode.Copy !req
2246. There's a lot of coverage on this,
so I don't want you to burn it all up."Copy !req
2247. So the first take, she just melted.Copy !req
2248. And I knew I wasn't gonna get
that many takes.Copy !req
2249. So I went to her and I said:Copy !req
2250. "Okay, here's what I want you
to keep in mind...Copy !req
2251. which is, when you see him,
he looks terrible.Copy !req
2252. Part of the reason he looks terrible
and part of the reason he's sick...Copy !req
2253. is because of you.Copy !req
2254. And because of the pressed flowers
that you send him.Copy !req
2255. And all of the angst
that he's suffered...Copy !req
2256. because you didn't tell him
where you went.Copy !req
2257. And so I want you to take that in."Copy !req
2258. And that take is in the movie.Copy !req
2259. She turns to see him
and she looks at him like:Copy !req
2260. "It can't be you.
Can it possibly be you?"Copy !req
2261. And it was a lovely, like,
one momentary gear shift...Copy !req
2262. before she gets
into the waterworks.Copy !req
2263. It was fake.Copy !req
2264. Which he easily proved in court.Copy !req
2265. You were emphatic
that the way I looked into your life...Copy !req
2266. was illegal and immoral. Would you
feel the same about Wennerström?Copy !req
2267. - Go on.
- I did some work on my own on him...Copy !req
2268. before you hired me.
I haven't looked at it all...Copy !req
2269. because you
and Harriet-fucking-Vanger...Copy !req
2270. have kept me busy.Copy !req
2271. But I may have something.Copy !req
2272. You may have something?Copy !req
2273. Maybe.Copy !req
2274. They launder money
from arms and drug sales...Copy !req
2275. and crime syndicates in Russia.Copy !req
2276. So there's no real reason
to care about Wennerström...Copy !req
2277. this many hours later.Copy !req
2278. But, again, I think it completes...Copy !req
2279. for Lisbeth, to make a difference...Copy !req
2280. in Blomkvist's life,
especially as it relates...Copy !req
2281. to his fall from grace that we saw
in the first eight minutes of the movie.Copy !req
2282. To me, it was an important part
of coaxing him back out into the world.Copy !req
2283. He's run away to hide.Copy !req
2284. And I love the fact
that she does this for him.Copy !req
2285. Even if it is act five.Copy !req
2286. Financial journalist
Mikael Blomkvist...Copy !req
2287. One of the great things about
Rooney's characterization of Lisbeth...Copy !req
2288. I love the fact that she's...Copy !req
2289. You could start a scene,
turn to Rooney and say:Copy !req
2290. "She should be picking her nose,"
and she would go, "Okay."Copy !req
2291. "You'd be playing with that.
You'd be playing with that thing.Copy !req
2292. Maybe it's rusty or, I don't know,
maybe it's crusty."Copy !req
2293. What happens now?Copy !req
2294. Well, he'll say it's a personal vendetta,
which won't wash.Copy !req
2295. The police will investigate,
FI will investigate.Copy !req
2296. It'll go to court.
Maybe he'll go to prison.Copy !req
2297. You think?Copy !req
2298. Probably not.Copy !req
2299. These guys never do.Copy !req
2300. This scene originally did the job...Copy !req
2301. that the scene in the bedroom
where he brings the magazine in...Copy !req
2302. and says,
"Now the shit hits the fan."Copy !req
2303. Originally, there was only
this scene...Copy !req
2304. and we shot that little bridge
and put it before this.Copy !req
2305. But there's this wonderful moment
where she tells him:Copy !req
2306. "I've been through your books,
I know how much money you have.Copy !req
2307. I need to borrow some money."
He thinks for a second.Copy !req
2308. And then he says, "Okay."Copy !req
2309. Daniel really looks like the first person
who's ever said to her:Copy !req
2310. "I totally trust you 1000 percent,
whatever it is you need."Copy !req
2311. I felt that that was
extremely important...Copy !req
2312. to the notion of coaxing her
out of her shell.Copy !req
2313. from this so-called journalist...Copy !req
2314. are as ridiculous
as they are untrue.Copy !req
2315. I'll be seeing Mr. Blomkvist in court
again, and I'm looking forward to it.Copy !req
2316. What about his documentation?Copy !req
2317. Fabricated. All of it.Copy !req
2318. The Securities Fraud Office isn't quite
as certain as Mr. Wennerstrom of that.Copy !req
2319. If a fraction of what Mr. Blomkvist
alleges proves to be true...Copy !req
2320. not only will there be
a securities investigation...Copy !req
2321. but an organized-crime inquiry
as well.Copy !req
2322. Mr. Blomkvist names no sources.Copy !req
2323. And we can't force him to.Copy !req
2324. And now we get into something
that's ostensibly...Copy !req
2325. a montage, you know,
a music video...Copy !req
2326. but I love Rooney's performance
as Irene.Copy !req
2327. I love the idea
that she's made herself up...Copy !req
2328. to sort of look like Robin Wright...Copy !req
2329. in a slightly more
drag-queeny way.Copy !req
2330. - Okay. Thank you.
- Thank you.Copy !req
2331. It is not that easy to go from country
to country with a fake passport...Copy !req
2332. just so everyone knows.Copy !req
2333. Extremely complicated procedure.Copy !req
2334. May I have your passport, please?Copy !req
2335. By the time we got to shooting this,
we had finished our first...Copy !req
2336. kind of bout of location
photography in Sweden.Copy !req
2337. We hadn't shot Stockholm,
but we had shot...Copy !req
2338. all the sort of outlying areas,
all the Vanger manor stuff.Copy !req
2339. And we went off to Zurich to shoot,
and by the time we got to doing this...Copy !req
2340. Rooney who, you know,
is completely comfortable...Copy !req
2341. in, like, print dresses
and really feminine clothing...Copy !req
2342. she had forsaken it all.Copy !req
2343. And by the time we got her
dressed as Irene...Copy !req
2344. and put her in these situations,
she was so...Copy !req
2345. She was crawling out of her skin,
she was so uncomfortable...Copy !req
2346. with the idea of playing
this blond bimbo.Copy !req
2347. Thank you.Copy !req
2348. I have accounts at Bank
of Kroenenfeld, Cayman Islands.Copy !req
2349. I'd like to transfer them
and convert to bonds.Copy !req
2350. - Naturally, you have the clearing codes.
- Naturally.Copy !req
2351. I love this guy, he's like
the Germanic version of Mike Ovitz.Copy !req
2352. - This will take some time.
- You will receive 4 percent commission.Copy !req
2353. - I will.
- Then it won't be a waste of it.Copy !req
2354. A Swedish tourist vacationing
here in Barbados...Copy !req
2355. says he knows where fugitive
financier Hans-Erik Wennerstrom is:Copy !req
2356. Here, in this Caribbean island's
capital, Bridgetown.Copy !req
2357. Police released this photo and
believe it is the disgraced billionaire.Copy !req
2358. This is the natural beauty of Zurich.Copy !req
2359. It's a tremendously photogenic city.Copy !req
2360. It's very expensive and it's hard
to work in, but it is stunning.Copy !req
2361. How many of these would you like
to convert for deposit?Copy !req
2362. All 50, into five accounts.Copy !req
2363. This is a little moment that I think
is in the script, but it was a...Copy !req
2364. It started with a conversation,
and we wanted to give Salander...Copy !req
2365. as many of those little kind of
Perry Mason moments as possible.Copy !req
2366. You know, she's going to be leaving
that coffee cup behind...Copy !req
2367. so she's definitely not leaving
a lip print.Copy !req
2368. The wig continuity in this sequence
leaves a little bit to be desired.Copy !req
2369. The bangs tend to recede
depending on what country she's in.Copy !req
2370. And again, here's her only other
sort of look of complacency...Copy !req
2371. or even the tiniest bit of a smile.Copy !req
2372. Originally, where she returns home
and she burns her passport...Copy !req
2373. there was a shot of Bjurman
across the street.Copy !req
2374. Yorick was watching...Copy !req
2375. and it was meant to
sort of remind us...Copy !req
2376. that she still had adversaries
out there.Copy !req
2377. But it made the audience feel like
he had witnessed everything...Copy !req
2378. that she had just done.Copy !req
2379. article appeared...Copy !req
2380. on newsstands,
began emptying accounts...Copy !req
2381. at Bank of Kroenenfeld
in the Cayman Islands.Copy !req
2382. We had a point of view in there...Copy !req
2383. of Salander waiting
on the sidewalk.Copy !req
2384. And when Blomkvist goes over
we cut to it.Copy !req
2385. But it just seemed so ham-fisted.Copy !req
2386. I like that he sees something
that draws him outside.Copy !req
2387. And then we find out what it is.Copy !req
2388. And then we see them together...Copy !req
2389. and we're made aware of
Erika Berger's noticing that he's gone.Copy !req
2390. No, I quit.Copy !req
2391. It was a good investment?Copy !req
2392. It was okay.Copy !req
2393. I think this scene is very beautiful.Copy !req
2394. I love the fact that she has
kind of come into her own.Copy !req
2395. We had a long discussion,
you know.Copy !req
2396. Daniel asked me,
"Am I lying to her?Copy !req
2397. Am I lying when I tell her I'm gonna be
spending time with my daughter?"Copy !req
2398. And I don't think so.Copy !req
2399. I think he and Erika are gonna go
do something with Pernilla...Copy !req
2400. and so he's answering honestly.Copy !req
2401. And to me, that was something
that was...Copy !req
2402. kind of beautiful about the fact that
he makes no bones about who he is.Copy !req
2403. He's not covering anything up.Copy !req
2404. And it's not
that he's omitting anything.Copy !req
2405. He's answering the question
as simply as he can.Copy !req
2406. It's not that he's returned to Erika...Copy !req
2407. it's that he's always
gonna return to Erika.Copy !req
2408. Never showing up with good news,
only problems.Copy !req
2409. I have good news now.Copy !req
2410. I made a friend.Copy !req
2411. I mean, one that you'd approve of.Copy !req
2412. I'm happy.Copy !req
2413. I love the idea that we don't have to see
her on camera saying, "I'm happy."Copy !req
2414. That that can be one little step
for a little pawn.Copy !req
2415. in what police are calling
a classic gangland execution.Copy !req
2416. The investigation
into Wennerstrom's ties...Copy !req
2417. to crime organizations worldwide
will now turn into speculation.Copy !req
2418. Which of them caught up with him
before Swedish authorities could?Copy !req
2419. Wennerström spent the last days
of his flamboyant life...Copy !req
2420. One of the things we discussed
when shooting the cafe scene...Copy !req
2421. is how much culpability
does Blomkvist feel?Copy !req
2422. And what does it mean for him
to be responsible...Copy !req
2423. in some way,
for the death of another human being?Copy !req
2424. And I think that he's torn
in that moment.Copy !req
2425. He turns away,
and he's sort of thinking:Copy !req
2426. "Wow, does this mean there's
mobsters looking for me?Copy !req
2427. Or the fact that I got him back...Copy !req
2428. and yet I don't know
that I feel that great about it."Copy !req
2429. This was a neighborhood
in Stockholm right above Slussen...Copy !req
2430. that was so photogenic.Copy !req
2431. This building
is actually across the street...Copy !req
2432. about 25 feet from the building...Copy !req
2433. that Larsson wrote about
in the novel.Copy !req
2434. The actual address that he gives
is right across the street.Copy !req
2435. And the building was
a really beautiful building.Copy !req
2436. It's kind of a famous
apartment building.Copy !req
2437. And we went, we saw it...Copy !req
2438. and we were like, "That's amazing.
We should shoot here."Copy !req
2439. And the next week...Copy !req
2440. scaffolding went up,
and they painted it bright orange.Copy !req
2441. And I said:Copy !req
2442. "I really like the castle across the street
that looks like the Dakota building.Copy !req
2443. Let's shoot there."Copy !req
2444. Single most dangerous stunt
in the entire movie.Copy !req
2445. There's nothing like
wetting down cobblestones...Copy !req
2446. then turning to a stunt coordinator
and say:Copy !req
2447. "This motorcycle has to take off
as quickly as possible...Copy !req
2448. and go straight downhill."Copy !req
2449. What I liked about the story...Copy !req
2450. was regardless of what happens
with the Vangers...Copy !req
2451. and what happens
in the locked-door mystery...Copy !req
2452. it was really a tale...Copy !req
2453. about how a 20-something girl
and a 40-something man...Copy !req
2454. help each other out of hiding.Copy !req
2455. And that, to me, was the thing
that we needed to support.Copy !req
2456. And I felt that that was something
that I hadn't seen.Copy !req
2457. I hadn't seen people
of this age group...Copy !req
2458. or these kinds of socioeconomic,
intellectual and emotional differences...Copy !req
2459. impact each other
and find a way to sort of fit together.Copy !req
2460. And that, to me, was always the thing
that was strongest about Larsson.Copy !req
2461. I feel like all the books...Copy !req
2462. are sort of talking about how
men and women work together.Copy !req
2463. How they partner.Copy !req
2464. And they partner
in very different ways.Copy !req
2465. They partner sexually,
they partner professionally...Copy !req
2466. they partner as friends,
they partner as helpmates...Copy !req
2467. and people to go through
difficult times together.Copy !req
2468. And that, I think, is the thing that...Copy !req
2469. if there's a legacy
that this book has...Copy !req
2470. is it talks about that in
a very modern and interesting way.Copy !req