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00:14:31He only, you know, sees her when he needs her.
00:14:35It's kind of a cold thing, but it works.
00:14:39Works for them.
00:14:40Works in their world.
00:14:41So, he's that guy.
00:14:43He's not necessarily a fixer, but he's a get-it-done guy.
00:14:49When he discovers her, he knows he's discovered, you know, someone who's special.
00:14:54And somehow, somehow, someway, the coldness of who he is or his gamesmanship allows him to pull her in and take care of her and develop her as an asset, you know, as a smart girl and as a killer.
00:15:16They don't see each other, you know, they don't see each other a lot, you know, once she's got a life of her own, but he's, you know, purchased these things that he knows she wants.
00:15:28Or he sees her in her soft world and he facilitates that, too, with her library and all the other stuff.
00:15:36But, you know, he has a, he has a very eccentric personality outside of the shadow world, seemingly.
00:15:47When you see his house and you see how he lives and, you know, what he's done, you find out that, you know, there is a, there is another side to him also, but he doesn't necessarily do that.
00:16:01But, but they have a very professional relationship that once the professional stuff is done, then he can be sort of a familiar father figure in another kind of way.
00:16:17And they, they come together that way.
00:16:21He very seldom gives her that soft side, but when he does, he gives it to her.
00:16:29Um, and he is concerned about her and he has figured out a way to make sure she'll be comfortable when he's not crying.
00:16:41I killed like six motherfuckers on my way to work with different things, you know, some piano wire, knife, you know, a little pebble, you know, just shit.
00:16:53So, I get my head right, so when I got there, I knew what I wanted to do, how to kill someone.
00:16:59I mean, I've watched movies like this my whole life.
00:17:03So, you know, you, you, uh, kind of tie a piece of one character or one, or one guy you've seen in a movie, you tie a piece of another character you've seen in a movie, you put that together with this guy.
00:17:14So, you come up with this, you know, person.
00:17:19So, you watch enough movies about people like this.
00:17:23You don't necessarily have to go to spy school or killer school to do it.
00:17:27For me, I just, I just cobble together pieces of guys that I've seen in different movies.
00:17:34Some are American, some, you know, mostly, uh, Korean and, uh, Chinese films, guys who are assassins, that are very cool assassins.
00:17:47Uh, and you want to talk about old assassins, then you, uh, start dealing with, you know, the older British guys who, uh, were, you know, undercover and doing stuff like that.
00:17:58So, you cobble together pieces of them, uh, and create a whole person, uh, from that.
00:18:04And you show up and, uh, hope it works.
00:18:11Barton is kind of, uh, he likes the mechanics of what's going on.
00:18:16And he works very hard at making sure that the mechanical aspects of what are happening in the scene are kind of perfect.
00:18:31So that when you move the camera from here to there, the emotional arc of what we're doing fits kind of perfectly in the frame.
00:18:44So, he trusts, trusts the actors a lot to bring what we bring, uh, so that he can make sure that the physical drama of what the scene is for an audience member can be there.
00:19:02He puts it there.
00:19:04He's done some, you know, amazing films.
00:19:07So, for us, you know, to be able to, to watch him work or to listen to him as we work when we rehearse and he wants to see what we're going to do, how he's going to put the camera in the right place to make sure that the audience gets everything that's happening in that particular scene.
00:19:29So, um, detail-oriented, which is great, you know, because I sit at home and pick films apart all the time.
00:19:38Um, it'd be hard to do that in one of his films.
00:19:41I never see Michael in the movies we're in again.
00:19:46I think we've only done one movie where we actually physically talk to each other.
00:19:51Uh, or we're in the same frame one of those times when he shot my ass and I fell down before he was looking at me.
00:19:59But, uh, Maggie was amazing.
00:20:03You know, I've watched her enough on television, you know, when I'm serious.
00:20:06To see her attack, you know, all the things she had to do, I mean, among the, among the physical things she had to do, she also had all this psychological baggage she had to carry on, which was, uh, amazing to watch.
00:20:19Uh, Robert Patrick, man, that was so funny because the day I came to work and he was there and I was like, it's Robert Patrick.
00:20:27But, you know, like I say, you know, there, there, there are actors that you watched that you've always said to yourself, what would I do in a situation like this with that particular actor?
00:20:38And I watched Robert for so long and it was, it was a joyous occasion to walk up on and sit and see him that day.
00:20:46I mean, he, he greeted me like he'd known me forever, you know, and I've, I've, I pretty much felt the same way.
00:20:53Uh, I've watched him work, I've enjoyed it and now I have, you know, my Robert Patrick moment where I can sit and say, wow, I was unseeing with Robert Patrick.
00:21:04I was with Robert Patrick.
00:21:06Awesome.
00:21:07Very interesting, you know, sitting in Romania is, uh, an interesting kind of thing, you know.
00:21:18Discovered some okay restaurants that were dope, you know, we went to.
00:21:22I didn't interact with the people too much, you know, we got up, got in the car, we went to work, um, came back to the hotel, that was it.
00:21:31I mean, at one point it was like, it was okay, you know, the weather was fine, uh, we went to sleep one day and woke up and it had turned to Romania.
00:21:41It was like three, four inches of snow out there.
00:21:43It was like, hey, hey, what happened?
00:21:46We were supposed to be shooting some Vietnam shit that day.
00:21:50So it was like, okay, I guess we're not shooting now.
00:21:53It's cosmopolitan enough.
00:21:56You know, like I said, I didn't go out that often.
00:21:58I didn't go anywhere, really.
00:21:59I was in a hotel that had a casino in it.
00:22:01I never even went in a casino.
00:22:03For some reason.
00:22:05I have no idea why, you know.
00:22:07But I never went in a casino.
00:22:09Um, so I can't say, you know, a whole lot about the city.
00:22:14Other than, you know, it's there.
00:22:18Um, and, uh, I think somebody needs some, like, graffiti remover.
00:22:24You can use some of that.
00:22:25You know, you can use a power wash.
00:22:29It's okay.
00:22:32I think there's an ensemble of actors that are doing this film that make it worth seeing.
00:22:39I can't say that, you know, it's something you've never seen before, because it is.
00:22:44But it's being done by some pretty interesting people, you know.
00:22:50And there are some, there are some surprising twists, I think.
00:22:56But as entertainment goes, it doesn't get any better than this.
00:23:00That's why we go to the movies, to be entertained.
00:23:02I do.
00:23:03Uh, and, uh, there's some wonderful things that happen.
00:23:07There's some wonderful performances.
00:23:08Uh, and, hey.
00:23:13What else you do?
00:23:14I don't know.
00:23:18You know, you, you, you learn to trust cinematographers, you know, as you, you know, move through this world.
00:23:25Especially ones that you've worked, worked with before that, you know, made you look good.
00:23:30And they know how to, you know, set up a shot and work the camera and make it work and make you look like, you know, you're amazing.
00:23:39Oh, wow.
00:23:43Greatest challenge.
00:23:44Um, you know, the weather was kind of crazy.
00:23:47You know, it kept going in and out, in and out, you know.
00:23:50Um, it would rain a bit.
00:23:53And then, you know, kind of wash the snow away.
00:23:56And then the snow got all gray.
00:23:58And we had to do Vietnam.
00:24:00And we had to go to the woods.
00:24:01It was kind of sloggy and messy.
00:24:04You know, it was just, um, I'd say the weather for me.
00:24:08Um, and sort of like, I was a bit of that location kind of madness.
00:24:14Driving, driving, driving, driving, and getting to places.
00:24:18And trying to be in big, big rooms.
00:24:21That was mostly it for me.
00:24:23Yeah.
00:24:24It was a little, you know, a little physically, physically challenging, walking up slippery slopes and doing stuff like that.
00:24:29But, you know, otherwise, you know, a movie's a movie.
00:24:32You know, they all have their own inherent problems.
00:24:38When I first read Richard Wentz's screenplay, um, I really enjoyed it.
00:25:00I really had fun.
00:25:01I turned the pages, uh, which is, sounds like that's what you usually do in a script.
00:25:06But that's not the case.
00:25:07Sometimes you can set it down, walk around, and come back.
00:25:09This one I went through pretty quickly.
00:25:11Uh, it was pretty smart.
00:25:13Pretty clever, I thought.
00:25:14Um, and it, it was, it was an opportunity for me to do something that I hadn't quite done before.
00:25:20Um, did something similar, maybe, in American Assassin.
00:25:24But this is very different.
00:25:26So I was already intrigued, and I enjoyed it a lot.
00:25:29And, uh, I was looking forward to shooting it.
00:25:30It became fun.
00:25:31It's hard to describe Rembrandt.
00:25:36He's a mysterious kind of character.
00:25:39Um, what you see isn't always what you get.
00:25:43And then it turns out it's exactly what you get.
00:25:47He, he's, uh, he's intelligent and realistic in that he totally understands and accepts the world in which he lives.
00:25:59Which is, you know, in this picture, a dangerous world.
00:26:02He lives among, uh, other assassins.
00:26:05Uh, and, uh, it was, it was really fun to play.
00:26:09He's very physical.
00:26:10But he only is physical if he absolutely has to be.
00:26:13He just happens to be pretty good at it.
00:26:18Well, you know, Martin does this as well as anybody, if not better than anybody.
00:26:24You know, if you look at some of his, uh, film work, especially his action sequences, are just great.
00:26:30And he might be the most organized director I've ever worked with.
00:26:35I've never seen anybody this specifically organized and very clear about what he's shooting, how he's shooting it, why he's shooting it.
00:26:45But, uh, open enough, you know, if you have an idea, um, very secure and, you know, I didn't have the time to take advantage of this.
00:26:54I should have, but he, you know, said, come on in, we're all done.
00:26:57Come on in the editing room and tell me what you're thinking.
00:27:00And, uh, I didn't get a chance, but, you know, I think the movie's good, so I got lucky, I guess.
00:27:07Well, Maggie Q is something to watch in this movie, man.
00:27:09I mean, she's, you know, she's very pretty and has these scenes where she's quite feminine.
00:27:17And then she just beats the shit out of a bunch of guys.
00:27:20And it's really fun to watch.
00:27:22I think little young girls are going to enjoy this a lot.
00:27:25Um, um, and, and it's fun.
00:27:28The action is fun.
00:27:29And she's so good at it.
00:27:30And she, but I, you know, you can learn a lot if you've never, if I haven't done a ton of movies like this.
00:27:36I mean, I was lucky to do well over half my, my stunts in there, which is always fun.
00:27:40Because when you're a little kid, this is what you want to do.
00:27:43But there was just stuff that there, there are stunt doubles who just better than I am at doing it.
00:27:49And I'd be a fool not to let them shoot some of those, those, those shots better than I can.
00:27:54And, but when you, so there's always something to learn, uh, when you're doing stunt work.
00:28:00And, uh, it's different for almost every movie where I've had to do stunts.
00:28:06Um, the coordinators all seem to be different, how they approach things.
00:28:12And when you watch Maggie work, she's astute.
00:28:18She's really enjoyable.
00:28:19The stuff between her and Sam Jackson is really fun.
00:28:23Yeah, people love the dinner scene.
00:28:25And I, I like the dinner scene too.
00:28:27The dinner scene with Maggie Q is really fun.
00:28:29Uh, um, it's old fashioned in the best sense of the word.
00:28:36But, uh, also original and, uh, this is where Richard Dwank, I thought the writer, screenwriter really did a really good job.
00:28:47And, uh, you know, it's a little bit of a, a time out in the movie, very short one from the action, uh, and it comes at the right time.
00:28:56And I think Maggie plays it great.
00:28:58And this is an opportunity for me to, you know, if you can find an opportunity to be a, a little bit funny, it's always, uh, you know, welcome.
00:29:07So, so it's fairly, you know, it's a witty exchange and, uh, uh, dangerous at the same time.
00:29:15And most people see it, think it's a very sexy scene.
00:29:18And, uh, it's great.
00:29:20You know, you don't see these kind of scenes a lot in the movies.
00:29:22It's a, this, the thing about this movie, it's a real movie.
00:29:25It's like a big leap of, uh, uh, there's a movie, uh, believability in it, you know, and it's enjoyable for that reason.
00:29:35There's things that happen that aren't going to happen in the average person's life.
00:29:40And that's why the average person, like you and I, like to go see these things.
00:29:44So, uh, yeah, she's great.
00:29:46I can't say enough about her.
00:29:47Sam is always great, you know.
00:29:48The art direction on this is very impressive, you know, uh, in, in, I noticed it from the get-go, from the opening scenes, uh, that shot of coming in, you know, we shot it in, uh, Romania.
00:30:01And, uh, as an example, the best, the prime example was the, the stuff in Vietnam.
00:30:07Uh, at that, I, when I, when I saw the film, I turned to the person I was with and I said, that, that is really impressive.
00:30:15I have no idea what that street really looked like, how he recreated that setting.
00:30:21Uh, I, I, I think he did a great job.
00:30:23It's, there's some really beautiful, beautiful shots and the dinner scene is really nicely, uh, lit and, and, uh, uh, he did a hell of a job, um, given, you know, when you're ever, you're, you know, if you were shooting it in Los Angeles or New York where people are used to movie making, um, it makes your job a lot easier, um, in every department.
00:30:45Um, and so, shooting in Romania, um, you know, uh, we didn't have the greatest weather in the world and I just thought the whole look of it really was impressive.
00:30:57Well, I'll talk about the stunt work, uh, uh, uh, uh, in general because I thought it was so impressive.
00:31:02Um, I had never worked with these guys before.
00:31:05I think all of them were European.
00:31:08Um, and as I was saying before that everybody, all the stunt coordinators I've worked with have their own approach to things.
00:31:18Um, and these guys were, uh, really fun and let's be honest, there's a lot of stuff that there's no way I'm going to look as good as my double or anybody else, uh, who does this for a living.
00:31:32So, for me, you know, getting to do well over 50% of them, you know, this point in my life was really fun and hard.
00:31:43So, you know, unfortunately, instead of living life where you can just eat some pasta every night and sit around, watch television, you're going to have to cut that back when you read one of these scripts.
00:31:54And part of you goes, ooh, this would be fun. This would be fun. I haven't done this. And, you know, that little kid in you still wants to try to do all these things and, you know, actually do as many stunts as you can.
00:32:05And the other part of you thinks, oh man, that means I'm going to have to watch how I live and get back in shape again.
00:32:10Um, it was fun and those guys were terrific. And when I, when I saw the movie, I thought it was seamless from when it was me to when it was them, uh, to my double.
00:32:20And, and, uh, the choreography, and I'm using that word because a friend of mine who saw the movie with me and saw me when we were rehearsing all the stunt scenes, uh, used the word choreography because they were really intricate, really intricate stunt scenes where you, you know, unless you, unless you are a guy and that's, that's what you do.
00:32:43Like the great, the great action guys, you know, who they, they have this down cause they're living a life of doing it all the time. I do all kinds of movies.
00:32:50Um, and so, but it was an interesting experience to have to really learn literally the choreography of it. And, uh, it was, it was fun. It was really challenging.
00:33:01I found it hard just to, you know, through the rehearsal for it, uh, you think you're in good shape and you go home after the first night and you go, man, I'm really sore.
00:33:11And then, you know, you start to get used to it. And, uh, but the difficult part of it more than anything besides just physically, you know, getting thrown around and,
00:33:19you know, trying to be good at looking like you can actually beat these guys up when,
00:33:25you know, that's not the case. Uh, it, it's really, it was the most difficult part of it probably was really learning the, uh, the,
00:33:34the choreography at which was really detailed.
00:33:37The scene in the kitchen was a particularly fun one. Um, it's brutal. You know, uh, my character, uh, Rembrandt,
00:33:48is, uh, he's badass in that scene. And the good news is most of that once, you know, you go through the crack,
00:33:59through the window and roll the floor and get up, it has to be me, it has to be you because the way it was shot there,
00:34:06you know, I'm not real, I don't have a real big macho problem with saying this guy does this for a living.
00:34:14He's going to look much better than them. We shoot him right. Let him do it.
00:34:17But sometimes you can't, which is fun because it's scary to see if you could still pull it off, you know,
00:34:23and I, I love doing that scene. You know, he's, I don't, I don't want to get too much away,
00:34:28but because it's really, uh, really well done. That was really choreographed, maybe a little more than the others,
00:34:34but they all were, but everybody had to be obviously in the right place at the right time.
00:34:42Uh, otherwise somebody's a going to get really hurt and B it's just not going to work.
00:34:47You know, you're not going to believe the scene. And those guys, uh, I can't say enough about how,
00:34:51how good they were about, uh, uh, about plant their planning and their choreography and then their execution,
00:34:59you know, I mean, it's always so much fun to, you know, be able to like pick a bad guy up,
00:35:03throw them across the room or something, knowing that in real life you couldn't even pick up his cat probably.
00:35:12Yeah. They, you know, I'm going to repeat myself. I know, but there's no way around it.
00:35:16All of these were really difficult to stage. It took a lot of time.
00:35:19So not only did we prepare months in advance, then once you're on the set, you know, there's always those obstacles.
00:35:27There are always those obstacles that you had encountered on because now you're actually on the set.
00:35:32You're not, you're not on a, you're not on a taped out, uh, uh, studio floor or something like that.
00:35:37So, so there's always obstacles. And once we had to work through those and now I'm remembering there was a particularly difficult, uh, point of that,
00:35:50where it had to work out just right at the right time in order for that glass to break properly.
00:35:57And then the scene, you know, when you read it, you went, Oh, this is very cleverly written scene.
00:36:02This is a good scene, smart, funny, sexy, and all that, but it doesn't work.
00:36:09If the physical part of it doesn't work. I mean, the, the stunt part of it doesn't work.
00:36:12And then, and then it, it, it heightens and heightens the, the sexiness of it and the, and the, uh, kind of silliness of it.
00:36:20You know, the, the great fun silliness of it. Um, yeah, that, that's fun scene. People like that one too.
00:36:25Yeah, that was one of the nice things about this script that Richard Wrenk wrote was, uh,
00:36:31this relationship is a complex one and evolves. Uh, so what happens is at first it's just a job.
00:36:43And it looks like I'm just going to show up and I've got this well on hand because Rembrandt's done this kind of thing a lot.
00:36:50Basically gets hired to come in and be the cleanup man, um, and do whatever he has to do to make sure the job gets done.
00:36:57So he realizes real early because he's very intelligent and his instincts are really good.
00:37:03When he sees some of the damage she's done, he thinks, he thinks to himself, Oh, this is going to be harder for everybody than, than, than they thought.
00:37:12And, um, because they kind of think this will be easy. We'll just take her out.
00:37:17And I realize now they don't realize who they're dealing with. So I'm intrigued by that.
00:37:21Rembrandt is intrigued by that. And then he's, he's attracted to her and you know, he can kind of, uh, compartmentalize those two things.
00:37:31And then it becomes more and more difficult for him to compartmentalize them because then he, he, he, he, he'd like to see this thing probably go into, uh, into another, into another level.
00:37:44Um, you know, so already it's not, it's not a relationship you see a lot in, in movies like this, which made it fun for me.
00:37:52Well, it, it, it was fun. It was hard. Most movies, you know, if you're trying to make the, um, uh, as best you can are hard and, and, you know, you don't want to, you don't want to phone it in.
00:38:05So when I say it's hard, it's not hard, like working in a coal mine, but it, it was hard physically, uh, because it's not the kind of thing.
00:38:13As I said, it's not the kind of movie that I, that I make, I make all kinds of movies.
00:38:17I make movies where I play anything but this kind of guy. So just getting, uh, used to that, uh, shooting day after day after day, um, was hard, but fun.
00:38:31And, um, you know, there are, you run into obstacles filmmaking that you're, you know, just going to be how it is.
00:38:41And as I said before, if you shoot in certain places where they shoot a lot of movies, you know, the, uh, the infrastructure's there.
00:38:48And when you shoot in places where there's not as much movie making infrastructure.
00:38:52And then when you add Martin Campbell to the mix, I mean, he, Martin Campbell just, just knows how to do this stuff.
00:38:57He's just got this down. And, uh, that, so that makes it, therefore that makes it easier on you.
00:39:04Uh, I really enjoyed, uh, shooting in Bucharest. I, I found people really nice.
00:39:10And, uh, you know, you always learn something when you go to another country.
00:39:14So the experience was really fun.
00:39:16So, uh, my character is Peter. He's the Lieutenant of, uh, Frightening Mobster of Bucharest.
00:39:31And, uh, my character is a problem solver. We could say it like this.
00:39:38It's always, uh, in action and taking care of things. Uh, he's very sure of himself.
00:39:45A lot of self-confidence. He's in the big business with big money and big killings and everything and nothing.
00:39:54Those, uh, kind of guy, nothing can happen to me. I'm in control. I'm protected. I protect people.
00:40:02I, uh, juggle with people's lives. I'm a joker in a, you know, in a way that the jokers does everything.
00:40:11And, but I'm a frightening one. It's a lot of action in my part and, uh, a lot of physical action.
00:40:18And I was thinking about the fact that I have to be very, uh, to control my body language all the time.
00:40:24And this is, this was an important part. And, uh, working with Martin Campbell was, for me, a wonderful experience.
00:40:34Because he's such a detail seeker. And, uh, he's paying attention. And he pays attention to a lot, a lot of details in every scene.
00:40:46And this is somehow, I, I was taught in theater to, to, to seek the detail, devils in the details.
00:40:55And the detail, details can, can change everything. It can change a scene, can change a part, can change a character.
00:41:02So, uh, it was, uh, for me, uh, the kind of director who never let you, uh, go. And he's always in control over what you're supposed to do.
00:41:15And he's over in control over, of what he has to ask from you. So you can deliver a great performance or a good performance or an appropriate performance, to say it like this.
00:41:28So, this was a very important meeting for me. And, um, I'm very happy I, uh, I'm part of this, uh, movie. And I'm very happy I'm part of this movie in the first, uh, 20 minutes.
00:41:42So people, I'm sure people will see me. So, this is, um, great experience.
00:41:50The world's, the world's connected nowadays. So it's incredibly connected. So this opportunity for actors to, to be cast and to, to, to play in international movies, in blockbusters.
00:42:08And this is an amazing experience and a learning experience that, uh, you couldn't have had like 20 years ago.
00:42:17So this old tax incentive thing is, I think it's good. It's good. It happened. It fortunately happened late, but, uh, it's good. It's, it's on.
00:42:26So, um, it's always an opportunity to, to exchange and to learn from, look from what were the chances to meet Martin Campbell. Otherwise, probably smaller chances.
00:42:41We chose Romania one, uh, because it's a terrific place, but number two, the tax breaks are very good here for filming.
00:43:04They have a very good film infrastructure, very good people here, very good crew here. We have a lot of Romanian crew.
00:43:11I'd seen a film production, I think years ago, called the Hatfields and McCoys, which Kevin Costner, which they'd shot here, which looked terrific.
00:43:20It was actually a very good series. The film was actually set in, uh, there's a scene in Romania for Romania.
00:43:27There's a scene in London, and then we're in Vietnam. And a lot of our interiors are being done here for Vietnam.
00:43:36And, uh, we found everything we need, quite frankly, for, I mean, obviously we have a production designer
00:43:42who will make all the interiors feel like we're in Vietnam, but, um, we didn't find great locations, uh, to cover.
00:43:50I've been here two months looking for locations. Uh, our crew has been here for probably the same time.
00:43:59The film is mainly set in Vietnam. Um, there's a little bit in London. I think we're shooting two days in London,
00:44:07but the rest of it is Vietnam. So all the locations are supposed to be in Vietnam.
00:44:14Vietnam, uh, particularly Saigon, um, has French architecture, of course, from me, because it was, uh,
00:44:23very much a French colony for so many years. And, of course, your architecture, I think they call it
00:44:28Little Paris, don't they? Isn't it what they once called it? So there's a lot of French architecture here.
00:44:33Um, so all our interiors for Vietnam are being done here. But now we're going to go to Thailand,
00:44:41um, because, you know, there are certain things that Thailand gives us, um, that Vietnam can't give us.
00:44:48So, uh, we're going to Thailand to shoot, uh, um, really about a week, I think, over there for the X series.
00:44:55But as I said, all the interiors are being done here. They have a great production designer
00:45:00who is going to make it all look like Vietnam. But, um, the buildings on the whole are absolutely beautiful.
00:45:07I noticed they're renovating some of them. I mean, there's a lot of empty buildings, quite interesting.
00:45:12Um, and there are a lot of empty, beautiful buildings. And there are a lot of buildings that are being,
00:45:17remodelled and re, um, restored, I think, to what they were. Um, they're magnificent.
00:45:25We're actually using some of those, of course, as I think any film company coming here. Um, the city's very cooperative.
00:45:32I think every location I've wanted, I think we have, which is pretty remarkable, you know,
00:45:39because so often in cities, um, you, you want certain locations and there are restrictions
00:45:45and there are problems and there's all of this. I haven't really, we haven't really encountered that here.
00:45:51Well, we chose the actors because they're damn good. That's why.
00:45:56You just get the best actors for the job. We've got Michael Keaton, who's one of the best actors there is.
00:46:02Obviously, you know, everything from his early days as Batman to Birdman, I mean, terrific actor.
00:46:09We've got Maggie Q, who is terrific. She's a certain part Vietnamese.
00:46:14She's also a very good fighter. She's a very good martial arts fighter.
00:46:19And of course, Sam Jackson, you know, he's probably done about 140 films.
00:46:24So, you could not get anybody better than Sam Jackson.
00:46:27They're coming from America, but we're using Romanians to have a whole scene set in Bucharest.
00:46:32Um, and, uh, they're all Romanian actors and they will be speaking Romanian.
00:46:38Um, and there are other parts as well because, uh,
00:46:42some of them speak good English, so I'm using them in some of the smaller parts.
00:46:47Um, and, uh, as actors, their auditions have been, uh, terrific.
00:46:54So, um, I'm sure they'll be brave.
00:46:57It's a great place for shooting a thriller movie.
00:47:01I mean, look, you go right back, um, to The Third Man, right?
00:47:05With Orson Welles, one of the most famous British thrillers ever, right?
00:47:09And, um, and that could have been shot here in Bucharest, right?
00:47:14It could have been shot here.
00:47:15It's, uh, it's a marvelous city for that because you've got all the classical buildings.
00:47:20You've got modern, you've got all of that.
00:47:23And, um, you have, outside of Bucharest, you have these, you know, wonderful forests,
00:47:29and, as I say, lakes and so forth.
00:47:31So, no, it's got everything.
00:47:32And for a thriller, it couldn't be more perfect.
00:47:35You know, I think it's the people, very hard-working.
00:47:39We've got a terrific crew.
00:47:40We have a lot of Romanians.
00:47:42Um, they, uh, they're all very good, right?
00:47:46Which was a surprise to me.
00:47:48I suppose it was my lack of knowledge.
00:47:50But, you know, you go to a country like Romania.
00:47:53I've never been here before.
00:47:54I've never even thought about it.
00:47:56But, actually, um, and you automatically think,
00:47:59well, the crews are probably not going to be up to scratch.
00:48:03You know, they're not going to be as good.
00:48:05But they are.
00:48:06They're very much, um, up to, up to, uh, international standards.
00:48:12I don't know what, uh, everything is worth superheroes now.
00:48:17You know, we're all used to it.
00:48:18Franchises.
00:48:19Um, and, and, uh, they're okay.
00:48:23I mean, you know, they're very successful.
00:48:25They do big business and so forth.
00:48:28But if you look at a film like The Last, um, Mission Impossible,
00:48:33it's a terrific film.
00:48:34It's a great film.
00:48:35The action is fantastic.
00:48:37Uh, it's imaginative.
00:48:39I, that, that for me is what a, a real action film is all about.
00:48:45And that's what Bond's about.
00:48:46Bond's an action film.
00:48:47You know, that's what it is.
00:48:48And there's a lot of great action in it.
00:48:50And, uh, it, it, it doesn't, it doesn't necessarily rely on CGI and great CGI effects and so forth.
00:48:59So, uh, so for me, um, uh, those kind of movies for me, uh, and will always be the best action films.
00:49:22The way I got involved in the project was through, uh, Millennium Media.
00:49:25Millennium Media is the production company of the movie.
00:49:27And they are, uh, one of the largest independent producers of film, um, working today and really working ever.
00:49:34Uh, very famous for their action, um, movies all over the world.
00:49:39They've been in business a very long time.
00:49:41Uh, and I'm working with them now for, for, for many years.
00:49:44I'm their head of, uh, head of production, um, at Millennium.
00:49:47So that's, that was my, my, uh, entrance into the, into the film was through the company.
00:49:52Uh, it's a wonderful script, uh, written by a very talented writer who's, uh, who's worked with, with Millennium, our company before, Richard Wenk.
00:50:01Richard Wenk, um, previously had written a movie called 16 Blocks, uh, which was a successful movie.
00:50:07Directed by Richard Donner and starring, um, Bruce Willis.
00:50:11Uh, so, it had a nice writer already attached.
00:50:14And, uh, reasonably early on, uh, the attachment came also with, uh, Martin Campbell.
00:50:20And, uh, the chance to work with the director of that caliber was very, very exciting.
00:50:25Uh, a few reasons.
00:50:28The biggest, of course, is the tax credit.
00:50:30There's a very, uh, good state aid here, uh, that we're taking a benefit of.
00:50:35And, uh, is helping us make the movie.
00:50:38Um, but beyond that, Bucharest is, you know, a large international city.
00:50:42It gives us a lot of options, uh, for architecture.
00:50:45Um, and it has a sort of French style, which is useful for, for this script.
00:50:51And, um, there's crew.
00:50:54There's everything we need.
00:50:55So, it worked out very well.
00:50:58Martin is great.
00:50:59He's, uh, he, he runs the set with an iron fist.
00:51:02He is a very old school director.
00:51:04And, and what I mean by that is, he is, uh, very decisive, very direct.
00:51:10Uh, and, and he knows exactly what he wants.
00:51:13And he's not shy about anything.
00:51:15And everybody's job is to just keep up with him.
00:51:18He's got a huge amount of energy.
00:51:20Uh, he's there before anybody else on set planning his shots.
00:51:24He's extremely well prepared.
00:51:26Um, he's thought about everything he's, he's doing before he does it.
00:51:29You know, he's a commander.
00:51:31Like a proper, uh, proper military style commander on the set.
00:51:35And everybody, uh, everybody's on board for the ride.
00:51:38And it's great.
00:51:39It's really terrific to watch someone like Martin work.
00:51:41He's got terrific instincts.
00:51:43A pleasure.
00:51:44Samuel, uh, we've worked, we at Millennium have worked with Samuel Pryor a few times actually.
00:51:50He's in the Hitman's Bodyguard movie.
00:51:52So, we knew Sam and, and, and have worked with him before.
00:51:55So, we know how great he is.
00:51:56And he is terrific.
00:51:57Uh, he's a wonderful actor.
00:51:59Again, very prepared.
00:52:00Knows the script backwards and forwards.
00:52:02Doesn't just remember his lines.
00:52:04He knows every little, uh, aspect about what he's doing.
00:52:08Why he's doing it.
00:52:09What the character would do.
00:52:11Um, and, uh, he's a professional.
00:52:14And he's a movie star.
00:52:15And it's a really good combination.
00:52:17Uh, Mr. Keaton.
00:52:18Yeah, Michael Keaton I haven't worked with, uh, prior to this.
00:52:21That was a real pleasure for, for me.
00:52:24To watch him work.
00:52:25Uh, he's a very organic actor.
00:52:27He, he likes to do a lot of takes.
00:52:29And each take really builds into, into a better and better and better performance.
00:52:34He worked really, really well with, with Martin Campbell.
00:52:37Our director.
00:52:38Um, to sort of find the character.
00:52:40And, and work through, uh, work through the scenes.
00:52:43He's great on camera with Maggie, our, our other lead.
00:52:46Uh, there's a lot of chemistry there.
00:52:48He's very funny.
00:52:49He's very playful.
00:52:50Um, and again, you know, he's just a terrific movie star, uh, to get a chance to work with.
00:52:56He elevates the project on every level.
00:52:58I mean, more than anything, fun.
00:53:01I wanted people to enjoy the film on a, on a visceral level.
00:53:05It's, it's an, you know, it's an action spy assassin movie.
00:53:09Uh, it's a little bit of escapism.
00:53:12Uh, and it's a good time.
00:53:13It's exciting.
00:53:14Um, it's cool.
00:53:15Um, it's cool.
00:53:16You know, we have a really cool cast of characters.
00:53:19They look great.
00:53:20They all sound great.
00:53:21They're saying cool words.
00:53:22They're doing cool stuff.
00:53:24People should have a good time with this movie.
00:53:26It should be fun.
00:53:27It should be a fun film.
00:53:28I think it is.
00:53:30The toughest part for us was probably the weather.
00:53:34And I say that knowing how lucky we really got.
00:53:37Uh, so much of what we're shooting here is, is meant to be in, uh, Da Nang, Vietnam.
00:53:41And of course, we're in Bucharest in the winter.
00:53:44So things could have been worse, uh, for us.
00:53:46But we had one night right before a major exterior, uh, shot of Vietnam.
00:53:52Our big street scenes with our markets and our vendors and motorbikes and bicycles and extras and people and animals.
00:54:01And we had pigs and chickens and geese.
00:54:03And the night before it snowed about a foot and a half.
00:54:06And so everything, of course, the next morning was covered in snow.
00:54:09Uh, it still, it still looked a little bit like Vietnam, but covered in snow, it wasn't gonna work.
00:54:15So we had a big schedule, uh, change on that, on that day.
00:54:19And we had to find other things to do, which we did.
00:54:21But that was the moment where our luck broke just for, just for a moment.
00:54:26And we had to figure it out.
00:54:27But other than that, we've been very, very fortunate.
00:54:43On set, we have around, uh, 200, uh, people.
00:54:48The crew is made from 200 people.
00:54:50Uh, out of it, uh, we have, um, 120, 30 Romanians.
00:54:57We have around 50 Bulgarians.
00:54:59We have Australians.
00:55:00A couple of them.
00:55:02Uh, New Zealand guy who is Martin Campbell.
00:55:07Everybody knows.
00:55:08We are having, um, I think, uh, French guys.
00:55:13Yes, we have three of them.
00:55:14We are having, uh, Kazakhstanis even.
00:55:18Uh, we have, um, 10 to 15 stands coming and going, uh, from Kazakhstan.
00:55:28We are having, uh, stands from Thailand.
00:55:31So, and I hope I said all the countries.
00:55:35I believe that's, that's all.
00:55:38Yeah, we, we needed, uh, cats.
00:55:42And, uh, we needed, uh, uh, cats who, who are doing stuff which we would like to do.
00:55:50But, you know, cats.
00:55:51Cats are doing what they want.
00:55:53You cannot, uh, behave cats.
00:55:56So, we have to find someone.
00:55:58We have to, uh, we found somebody near Bucharest having two of them the same.
00:56:02The lady came with them.
00:56:04It was, and it happened to be good.
00:56:07The cats were behaving nice.
00:56:08Also, we had to bring a cow.
00:56:10Uh, so we brought the cow and we had to brought the cow in the studio at the first floor.
00:56:17How to bring the cow to the first floor?
00:56:19With the elevator, of course.
00:56:20So, it was, uh, very interesting for the crew to, to see the cow in the elevator.
00:56:30Regarding snow.
00:56:31Um, originally, our, uh, plants, uh, you know, of course, we are in Romania, shooting in Romania.
00:56:40During the winter, during January, during February, that, in theory, should, uh, should mean a lot of snow.
00:56:47So, of course, we are doing plants, we are buying, uh, all kinds of machines to, to blow the snow, to clean.
00:56:56Uh, we, we bought, uh, even salt and, uh, you know, and in the end, was no snow.
00:57:04And, uh, it was surprisingly first that we have no snow in January.
00:57:10No, it was like almost like, uh, like October weather, unbelievable weather.
00:57:17Uh, I was, you know, telling everybody in the prep, guys, it's going to be minus 20 degrees.
00:57:22It's going to be snow, one meter snow.
00:57:25I wanted everybody to know the reality of Romania.
00:57:28And now, after this January and February, everybody's laughing.
00:57:31Gabi, are you sure about that snow or you are just to scare us?
00:57:36So, uh, yeah. After January, when we didn't got snow, we started to feel secure about it.
00:57:44And, uh, what to see? One night, during the shooting, we got snow.
00:57:50And it was just before shooting exterior, see, on the streets.
00:57:55And then we have to change the schedule, uh, we have to postpone it for a week.
00:58:00It was a little bit of, of a hassle.
00:58:03Uh, but in the end, we pull it off.
00:58:06Uh, and in the day when we did the street, the night shooting on the street,
00:58:11they were like three, four degrees, which was perfect for a Vietnam shoot.
00:58:16Right now, behind me, uh, we are, uh, the crew is shooting a very, very heavy scene.
00:58:25Uh, a very complicated scene.
00:58:28Uh, it's complicated because the scene involved a lot of water.
00:58:32Uh, the sprinkles, according with the script, has to, to, uh, pour water on the cast, on the crew, on everybody.
00:58:44And we are struggling with that right now.
00:58:46Uh, we are struggling in the same time.
00:58:48We are working with, uh, with guns and with, uh, munition.
00:58:52Uh, in the same time, of course, we have electricity all over the stage.
00:58:57It's, uh, pretty tough, uh, organizational, uh, wise.
00:59:04And, and it's a little bit, you know, it's, uh, uh, it's not dangerous because we took all the measurements,
00:59:10but, uh, it's not a normal shooting.
00:59:12It's pretty tough and hard for the crew.
00:59:15Think that you have to stay all day with the water pouring from the ceiling.
00:59:20And to shoot, and to do your job, and to do the focus, and to do whatever you need to do on the stage.
00:59:25To do the makeup, to do, it's pretty hard.
00:59:31Martin Campbell, Martin, Martin Campbell, you know, I have to say, is the best director I ever worked with.
00:59:40Is the most experienced one, is the most precise one.
00:59:44Pardon the other director, sorry, but this guy, this guy, it's the, the best one I worked ever.
00:59:51The guy knows exactly what he has to do, is very precise in what he has to do.
00:59:56He's, he's, I think, I think the perfect director.
01:00:00I'm, I'm in love with him.
01:00:02I don't find it difficult to work with Martin.
01:00:05As soon as, because, what's happening?
01:00:09Being very precise, you understand very well as a producer,
01:00:13what do you need to, to provide, and how you have to provide.
01:00:18And then, is no, no room for any discussions later, you know?
01:00:22You got exactly his, you are providing what you were asked, and, and we never had a discussion.
01:00:31I'm telling you what I like the most.
01:00:34There are few members of the crew, who are doing movies for a while.
01:00:43It's, uh, Moshe Diamant, the producer.
01:00:48It's Martin.
01:00:50It's, uh, Wolf, the production designer.
01:00:54They are, it's Bruce, the, the, the first ID.
01:00:59Uh, there are so many things to learn from those guys.
01:01:02I'm so grateful that I'm in this project, so I had a chance to learn a little bit from each of them.
01:01:11And it's, for me, it's a good opportunity.
01:01:13It's, it's, I'm very happy with it.
01:01:18Regarding locations, we are shooting in, uh, in, um, very, let's say, known places for Romanians, at least.
01:01:28Very known places, uh, which we transform in, uh, I will give you examples.
01:01:36Uh, Snagov Palace, Ceausescu Snagov Palace.
01:01:40We transform it in, uh, in a, uh, rich guy, uh, compound in, uh, Vietnam somewhere.
01:01:49So we are able to turn all those, uh, interiors, uh, to, to dress them, to look like Vietnam, to look colonial.
01:01:59And we really, uh, did that, and nice.
01:02:02Uh, we, we were, uh, shooting in, uh, we are going to shoot, actually.
01:02:08We didn't shoot in, uh, Ceausescu's house.
01:02:11We, we got there.
01:02:13It's not easy to, to get permissions for that.
01:02:16We, we, we were able to, to solve it.
01:02:21As I told you before, we are very lucky with the weather.
01:02:24We had, uh, we had no snow.
01:02:27We had good, uh, temperature.
01:02:29All fine.
01:02:30We had this street I told you about.
01:02:32We found it.
01:02:33Then we had to fill it with said dressing.
01:02:36We had to fill it with cars, with scooters.
01:02:39We had around 60 scooters.
01:02:40We had, uh, five, six cars.
01:02:43Actually, it was Vietnam 89, 87.
01:02:48So everything had to be period.
01:02:50We, we even brought from Vietnam stuff.
01:02:52You know, all kind of small piece and bitches of, of those Vietnamese, uh, hats.
01:02:59We brought them from Vietnam.
01:03:01Um, and then we had to bring Asian looking people.
01:03:07We are in Romania.
01:03:08It was not easy to find them.
01:03:10Because we had around 200 extras on that street in that night.
01:03:14So for a night, we had all those people and cars and scooters.
01:03:19And it was really looking like a busy street from Vietnam, from Asia, let's say.
01:03:26It was brilliant.
01:03:27It was brilliant.
01:03:28We had luck and we've done it there in that factory, built in, in 30s, as I told you.
01:03:36And that's it.
01:03:37And it was brilliant and was, I told you.
01:03:39To get into account for Mhm.
01:03:47Thank you.
01:03:48Thanks for this.
01:03:49To get into account for the hospital, Goldberg Keigawa,
01:03:51and the Chris bunny- Mercedes-Benz Hager for sale.
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