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00:00¡Suscríbete al canal!
00:30¿Alguien de alguien que no ha llegado?
00:32No.
00:42I'd really like to see you again.
00:44Under, you know, different circumstances.
00:48These are the best circumstances you'll ever see me in.
00:54Here we go, and slow-mo action.
00:58BAM!
01:00Now hold it there.
01:02So what you can do is, on Maggie, as she starts to move, right,
01:06you can go on to him and her foot.
01:08Does that, go ahead of her.
01:10So start that, and go ahead of her.
01:12BAM! She kicks that.
01:14You know, Martin is known for his tentpole movies, especially the Bonds, right?
01:18You know, I knew he brought a lot in the action genre,
01:20but what I didn't expect from him was to care so much about these character relationships
01:24and character development in the film.
01:26Nothing was more important than how I felt about Sam and how he felt about me
01:30and how Michael looked at her and how she looked at him.
01:34All of that, to him, was really, you know, the center in which the movie really pivoted around.
01:39And for him, it was like, if you don't care about these people,
01:42it doesn't matter what fight scene we throw in there.
01:44I mean, that's entertainment for dummies.
01:46We want people to watch this who really want to be challenged by these relationships.
01:51Yeah, that was one of the nice things about this script that Richard Rank wrote
01:54was this relationship is a complex one, and it evolves.
02:00It's not a relationship you see a lot in movies like this, which made it fun for me.
02:07Ever since I did Long Kiss Goodnight, I've always thought that, you know,
02:11women who kick ass are like great.
02:14I like to watch it.
02:16You know, it's become sort of a normal thing now.
02:19But, you know, back in the day, it wasn't so much.
02:23Someone who's beautiful, dangerous, and lethal always has an appeal.
02:30The thing about these female assassin pictures is that most of the plots are very predictable.
02:38What this has, I think, which is different, is there are a lot of twists and turns in the story.
02:43Surprises for an audience.
02:45Obviously a good cast with Michael Keaton and Sam Jackson and Maggie Q.
02:49And it is sort of fun.
02:51There's a kind of fun element to the whole thing as well.
02:53Happy birthday!
02:54No more fucking birthdays!
02:57Take birthdays and show them up to your fucking head!
03:03But it's really what got me was the plot, which is very intriguing.
03:07I like the characters too, and I like that kind of sense of humor.
03:10With Richard Rose, there's some great dialogue between the characters.
03:14Nothing sounds like this in the world.
03:17I'd almost given up hope to find one.
03:23How in the world did you?
03:24You?
03:25You taught me how to find things that didn't want to be found.
03:29Albert King played one.
03:31Albert King played that one.
03:33My first task, so to speak, was to create some relationships.
03:38You know, because I think ultimately we've seen every piece of action we could possibly see.
03:44And the ones that stand out are always the ones with characters we care about and characters we believe.
03:51So everything is heightened when you believe in someone or root for someone or is worried about someone.
03:57You don't have to create a big glossy spectacle.
04:01You could be walking on a ledge and your heart's in your throat.
04:04So I wanted to create characters that were interesting and I wanted to follow.
04:09And I was curious about it and where they would go.
04:13There's several layers to the story.
04:15There's the, you know, the assassin world story.
04:18There's the personal story of a young girl in the midst of a war-torn country
04:23that violence becomes part of her and is rescued by a man of dubious means
04:29who takes her in and pretty much adopts her and teaches her and hones her skills into the world in which he actually operates.
04:38I may have to go back to Vietnam.
04:42Be nice if you weren't with me.
04:45I'm never going back there.
04:47And so you have a relationship movie between like a father and a daughter in the same kind of world that we jumped 30 years into.
04:55And then also the idea that you have to go back into your past in order to avenge and the killing of your adopted father.
05:04So there was all those different layers I thought could be very tonally cool.
05:09It's a wonderful script written by a very talented writer who's worked with Millennium, our company before, Richard Wang.
05:15So everyone knew that Richard's work was of a very high quality.
05:18And beyond that, an opportunity to work with Martin on a script that I knew to be this good was wonderful.
05:27Three, two, one, action!
05:30Interestingly enough, they kind of sold it as the action movie that it is.
05:34And I wasn't actually interested.
05:36I mean, when I got the first pitch, I thought, you know, it's an action movie.
05:39I've done action movies before.
05:40And then when they said Martin Campbell, I think that was the magic word.
05:43I mean, I heard his name, such an experienced director, someone whose work I really respect.
05:47And that's kind of, in that genre, that's what I'm looking for.
05:50If I'm going to do it again, I'm going to do it with the best.
05:52And Martin Campbell's one of the best.
05:53Three, two, one, action!
05:56Maggie was amazing to see her attack, you know, all the things she had to do.
06:05I mean, among the physical things she had to do, she also had all the psychological baggage
06:10she had to carry around, which was amazing to watch.
06:17You know, you have to remember she trained under Jackie Chan.
06:20But she's also a terrific actress.
06:23You know, you don't often get the combination of somebody who is as skilled as her.
06:29There was a lot of physicality in this role.
06:30So, you know, we have a few really big fight scenes.
06:36And big wire gags.
06:37So there was a lot of physical rehearsal.
06:39And then Martin's a big rehearsal guy.
06:42He's a really big.
06:43So I did a lot of rehearsals with Martin.
06:45I did a lot of rehearsals with Michael.
06:47And then Sam I didn't get to rehearse with until Romania, until we're on location.
06:52But all the prep that we could have done, we did do beforehand.
06:55And it's nice when a director is always concerned with that chemistry.
06:58Like, what is that chemistry going to be like?
07:00What's it going to look like?
07:01And if it doesn't look the way we want it right now, let's work towards that.
07:04And so we had weeks of rehearsal time before this movie started.
07:07You fell in a pond with those who drowned.
07:08If I fall in a pond without you, I'd probably fall away.
07:09She's really great.
07:10She's great in this movie.
07:11I mean, she's really enjoyable.
07:12The stuff between her and Sam Jackson is really fun.
07:13Didn't take any, huh?
07:14Take what?
07:15Money.
07:16It was all there, right?
07:17We were paid to eliminate a target.
07:18We did that.
07:19Well, three million dirty money nobody's looking for.
07:20I'm just saying.
07:21I will say that Maggie and Samuel L. Jackson really, right out of the gate, there was something
07:42between them.
07:43There was a tenderness that he had for her.
07:45There was a familiarity that she felt with him.
07:48And right out of the gate, you could tell this relationship was going to be very strong between
07:52them.
07:53It's a really beautiful connection they have, you know?
07:55And I'm so glad it was Sam because you don't always have connection with people, right?
07:59And with Sam, I kind of, I knew it would be there.
08:01And then when we met, it was kind of immediate that we did have this connection in that way.
08:07And so, you know, it made, you know, time on set a lot easier because I think that flow
08:12was really natural for us.
08:13Hey!
08:24Are you just going to lay there?
08:26He's a terrific actor.
08:27You know, one of the great things about him, he's a chameleon.
08:29He does all, he can do anything.
08:31In this, you know, he's basically playing a father.
08:34It's like a father-daughter relationship.
08:36Get him on.
08:43And also at the end, when he confronts the old man, Bunker, you know, he's just one of
08:49those actors that has the ability to be able to make scenes like that really sing.
08:55I'm the big bad wolf who comes to get you when someone on this earth decides your time is up.
09:03Moody.
09:05Preservation's a bitch, eh?
09:07He is so good with dialogue and he's got such a strong presence on the set, you know,
09:12and that gravitas and that weight and that voice.
09:15And he's so good with the long soliloquies and he can just nail it every time.
09:20Actually, I've killed people for it.
09:23Bad people, mind you, but still, I don't pretend to be anything else.
09:30You, front and center of a dozen high-profile charity causes.
09:37To the world, you're clean as your first fucking snow.
09:41Your hands are covered in shit and blood and everything from surrogast to human trafficking.
09:50You don't necessarily have to go to spy school or a killer school to do it.
09:54You just kind of...
09:55For me, I just cobble together pieces of guys that I've seen in different movies.
10:02Some are American, some, you know, mostly Korean and Chinese films.
10:12Guys who are assassins that are very cool assassins.
10:15When you want to talk about old assassins, then you start dealing with, you know,
10:21the older British guys who were, you know, undercover and doing stuff like that.
10:26So you cobble together pieces of them and create a whole person from that.
10:32And you show up and hope it works.
10:36Hey, why don't you buy your suits?
10:39Because I've got a cousin who's big and tall.
10:41He has kind of a hard time.
10:44When I first read Richard Weint's screenplay, I really enjoyed it.
10:52I really had fun.
10:53I turned the pages, which sounds like that's what you usually do in a script.
10:58But that's not the case.
10:59Sometimes you can set it down, walk around and come back.
11:01This one I went through pretty quickly.
11:03Pretty smart, pretty clever, I thought.
11:05It was an opportunity for me to do something that I hadn't quite done before.
11:10Did something similar, maybe in American Assassin.
11:13But this is very different.
11:15So I was already intrigued.
11:16And I enjoyed it a lot.
11:18And I was looking forward to shooting it.
11:19It became fun.
11:22It's hard to describe Rembrandt.
11:24He's a mysterious kind of character.
11:27What you see isn't always what you get.
11:30And then it turns out it's exactly what you get.
11:35He's intelligent and realistic in that he totally understands and accepts the world in which he lives.
11:44Which is, you know, in this picture, a dangerous world.
11:47Lives among other assassins.
11:49And it was really fun to play.
11:51He's a very organic actor.
11:52He likes to do a lot of takes.
11:54And each take really builds into a better and better and better performance.
11:58He worked really, really well with Martin Campbell to sort of find the character and work through the scene.
12:03It almost makes him look sympathetic.
12:07Yes, but it almost starts to make him look more sympathetic.
12:10The bigger the prick he is, the more the only thing I like when he gets it.
12:13He plays it so truthfully.
12:15There are moments, for example, at the end where he recognizes her at the gala.
12:19Just watch his eyes.
12:21You know, what's going on in his brain, right?
12:23Just sort of sussing her up.
12:25Very, very clever.
12:26You can see it all going on in the eyes.
12:29And he's a wonderful actor.
12:31That was a long 27 minutes.
12:36What I loved about their chemistry in this movie is they're playing a game of wits.
12:41And she's highly intelligent and so is he.
12:44And I don't think he's ever met his match in the way that he does with her in this film.
12:48And I think that is sort of the crux of their relationship.
12:52It's who's going to get ahead of the other and how are they going to do it.
12:56And they both know that they're both capable of it.
12:58So it's that game.
13:00It's that constant game.
13:01And you never really know what's going to happen with them until literally the end of the film.
13:05You still, up to the last second, you don't know who's going to make what decision.
13:09And it becomes a really exciting type of romance.
13:13I hate to even call it a romance.
13:15It's better than that, I think.
13:17Keep it fresh.
13:18Enjoy it.
13:19Mindfuck each other.
13:20And action!
13:21I'll do it.
13:23I'll be with you in a second.
13:25The very first scene that we shot was the scene in the bookstore where they meet each other.
13:31And it's a pretty big scene.
13:32I mean, in terms of its importance to the movie.
13:36And, you know, so that I'm sure made everyone just a little bit nervous.
13:40Because right out of the gate, it's a very, you know, it's a big moment.
13:44All right.
13:45His wife collects books, first editions.
13:49Any particular subject?
13:51Very.
13:52One of the producerial concerns was that the character of Michael Rembrandt did not appear
13:57in the script until page 50.
13:59And they felt it would be nice to get them in earlier.
14:01And I struggled with that.
14:03And then came up with the idea of the bookstore scene.
14:05And the idea of introducing their chemistry.
14:08I always looked at these two characters as chess players anyway.
14:12Both grandmasters.
14:13And understanding being three or four moves ahead of the other person.
14:16And yet, they're not in this scene.
14:19It's almost like, I say this, I catch you on that.
14:22To Megan, do we need to speed that up a little?
14:24Yes.
14:25We'll do our finals and then we're shooting.
14:27It's intriguing to both of them.
14:28They're not used to someone being as smart as they are.
14:31Or as deft as they are in this situation.
14:34And that's exciting and curious and intriguing to both characters in a way.
14:39Okay, no talking.
14:41Ready.
14:42And.
14:43Background action.
14:44Action.
14:45Action.
14:50Aren't you interested?
14:52She does take his card.
14:54And it is a real one.
14:55So the idea, before he knows she's involved and needs to be taken out or whatever that is,
15:02which he doesn't really, he's more of a fixer anyway, is that I don't meet many people like this.
15:08And I'm very intrigued.
15:10So I like the idea of sort of setting you up as an audience going, I hope I see more of that.
15:15Never thought I'd see you here again.
15:19Well, maybe you're not seeing me now.
15:21Robert Patrick is also in the film as well.
15:23So I've got these sort of three men that I kind of, you know, move seamlessly through and the relationships are all different.
15:29But it's all kind of in the same vein, if that makes sense.
15:32Robert Patrick, man, that was so funny.
15:34Because the day I came to work and he was there and I was like, it's Robert Patrick.
15:39Like I say, you know, there are actors that you've watched that you've always said to yourself,
15:45what would I do in a situation like this with that particular actor?
15:49And I watched Robert for so long.
15:51And it was a joyous occasion to walk up on the set and see him that day.
15:57I mean, he greeted me like he'd known me forever.
16:00And I pretty much felt the same way.
16:03I've watched him work.
16:04I've enjoyed it.
16:05And now I have, you know, my Robert Patrick moment where I can sit and say, wow, I was in a scene with Robert Patrick.
16:13I worked with Robert Patrick.
16:15Awesome.
16:16Thank you.
16:17That was amazing.
16:18That was amazing.
16:19All the way from Hollywood.
16:21Amazing.
16:22Woo!
16:23I think that the movie in its totality was a challenge for me.
16:26I mean, everything.
16:27It's sort of like the culmination of everything I've already done in my career, but not at this level.
16:31Right?
16:32So the heightened emotion, the heightened action, you know, all of the complex relationships, you know, the really the smart romance that kind of goes on in it.
16:39There's nothing worse to me than a dumbed down connection between two people.
16:42Like I want to see really that sort of fireworks chemistry that comes from real intelligence.
16:48Action!
16:49From two people who are playing a game.
16:51That to me is very interesting on screen.
16:53And so that this movie definitely had.
16:55The dinner scene with Maggie Q is really fun.
16:57It's old fashioned in the best sense of the word, but also original.
17:02And this is where Richard Wank, I thought the writer screenwriter, really did a really good job.
17:08And, you know, it's a little bit of a time out in the movie, very short one from the action.
17:14It comes at the right time.
17:15And I think Maggie plays it great.
17:17And this is an opportunity for me to, you know, if you can find an opportunity to be a little bit funny.
17:24It's always, you know, well.
17:26HK nine millimeter.
17:27Very good.
17:29Not where I'm sitting.
17:31A lot of times there aren't any relationships.
17:33They're just who's going to be alive at the end or who's going to kill the last guy.
17:38And this movie, I don't know where it's going.
17:41And I don't know what their relationship is going to be.
17:43And I'm kind of like them together and how they dance around one another.
17:47And how curious is about her.
17:49And maybe sees a different life for himself with somebody who might want to have a different life.
17:53It's very interesting subtext to something that can be fairly a trope.
18:00And I think we try to avoid that in this movie.
18:03You always ask like this?
18:04Yeah.
18:05I like to have people's attention when I talk, you know?
18:07Well, you certainly have the attention of the boys down there.
18:12It's a great scene.
18:13And by the way, you have to credit Richard Wenk for that.
18:16Because some of his dialogue is very snappy.
18:19I don't think I caught your name.
18:21Anna.
18:22Pleasure.
18:23We'll see.
18:24To be honest, he wrote a great scene.
18:25We planned it.
18:26We went in.
18:27I shot it, I think, a day and a half.
18:29I don't remember.
18:30We did all the whole scene.
18:32I tightened it a little from what it was originally there.
18:34The location is, it's in a hotel.
18:37It's right in the middle of Pocarest.
18:39So we shot it there and it just went very smoothly.
18:43You know, we had time to get the performances right and everything else.
18:48So it was, it was good.
18:50Action.
18:51You put it in your glass.
18:52All right.
18:53Well, we're ready to go.
18:54Action.
19:03Martin is great.
19:04He runs the set with an iron fist.
19:05He is a very old school director.
19:07And what I mean by that is, he is very decisive.
19:11Very direct.
19:12And he knows exactly what he wants and he's not shy about anything.
19:16And everybody's job is to just keep up with him.
19:19He's got a huge amount of energy.
19:21He's there before anybody else on set planning his shots.
19:25He's extremely well prepared.
19:27He's thought about everything he's doing before he does it.
19:29And he's, you know, he's a commander.
19:31Like a proper, proper military style commander on the set.
19:35And everybody's on board for the ride.
19:37And it's great.
19:38It's really terrific to watch someone like Martin work.
19:41You'll be, have hot guns.
19:42You'll be pointed up.
19:44Recue the water.
19:45When it's a full blast, okay, it's going everywhere.
19:48The water's a full blast.
19:50Action, right?
19:52What you do is you fire your guns.
19:54Then you start reacting to the water, all right?
19:58When you start reacting to the water, where the fuckers are coming from.
20:02Yeah.
20:03You do your backing up.
20:04You.
20:05Where the fuck are you going?
20:06Where the fuck are you going?
20:08Yeah, where the fuck are you going?
20:09Martin, he is an all-rounder.
20:10He's very strong in all areas.
20:17Again, unusual, you know.
20:19It's Martin's unique thing.
20:21What makes Martin Martin, you know?
20:23He's very strong with the writer.
20:27He works with the writer.
20:28Right up to shooting.
20:30He was so inclusive of me and so collaborative.
20:32We would meet here at my house, in my office, for eight, ten hours a day.
20:37Go through the script.
20:38I'd make the changes.
20:39We'd go through it again.
20:40When he went and scouted locations, he'd call me and said, I found this instead of that.
20:45Can we make that work?
20:46What do you think?
20:47I was able to give my opinion, whether that would upset something later or whatever, which often happens.
20:54And so it was such a lovely process to work with a talent as accomplished as he is.
21:01With camera, you know, very, very knowledgeable.
21:05He started Donkeys years ago at the BBC, you know, as a camera operator before he became a director at the BBC.
21:13So he knows his lenses.
21:14You know, he knows the impact and the difference between shooting with wide lenses or long lenses or the camera movement.
21:21You know, he knows the difference between a 50 and a 65, you know, whereas most directors might not.
21:27You know, they'll know the difference between an 18 and a 100 maybe, but the subtle difference is, you know.
21:36He's not a coverage guy.
21:38He's actually, it's all specifically shot for this.
21:43These are specifically choreographed and framed pieces of the sequence.
21:52Take a look and over there and just hold that look.
21:55One, two, three, three beats, right?
21:59Yes.
22:00And then, and as the camera finishes, right, you exit frame sharp that way.
22:06He likes the mechanics of what's going on.
22:09He works very hard at making sure that the mechanical aspects of what are happening in the scene are kind of perfect.
22:19So 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.
22:32So he trusts the actors a lot to bring what we bring so that he can make sure that the physical drama of what the scene is for an audience member can be there.
22:47He puts it there.
22:48He puts it there.
22:54Get it!
22:56Detail oriented.
22:57It was great.
22:58You know, because I sit at home and pick films apart all the time.
23:02It'd be hard to do that in one of his numbers.
23:08Exactly.
23:09Exactly, yeah.
23:10Okay.
23:11And then give this moment.
23:12This moment is important.
23:13Yeah.
23:14This is like really, yeah, yeah.
23:15Money moment when you see that in the big danger.
23:18Then, right away for the chin.
23:27Make sure you get the pretty face.
23:30I haven't done a ton of movies like this.
23:32I mean, I was lucky to do well over half my stunts in here, which is always fun because when you're a little kid, this is what you want to do.
23:39Good.
23:40Yes.
23:42Pull her there.
23:44Elbow, push.
23:48Nice.
23:50Pull it.
23:51And pick moves.
23:52Yeah.
23:53Nice.
23:54Twice.
23:55It's more than enough.
23:56But there was just stuff that there are stunt doubles who just better than I am at doing it and I'd be a fool not to let them shoot some of those shots better than I can.
24:06You can't see the joints really.
24:07He's very good and, you know, he's not, to be honest, he'd be the first to admit he's not as good as Maggie because Maggie's, that's what she's brilliant at.
24:24But he really went for it.
24:26Three, two, one, action.
24:27He worked very, very hard and we were just very careful to make sure that we had the cuts, as it were. The angles were short in terms of the, you know, when we filmed it, so when we put it together, of course, it all, you know, had the maximum amount of energy.
24:51The scene in the kitchen was a particularly fun one.
24:58It's brutal, you know, my character, he's a badass man in that scene. And the good news is, most of that has to be me because of the way it was shot, which is fun because it's scary to see if you can still pull it off, you know.
25:06And I love doing that scene. I mean, when he picks up that hammer at the end of that scene and smashes his head and rams the guy's head on the spike. It's awesome.
25:21But it was important to actually make him lethal. You know, it's a show. You need one point where you realize this guy, you know, he doesn't take any process. And that was the point of that.
25:42Okay, everybody, let's go. Ready? We're going to go through the schedule. If that's okay. Starting with something I've never done before, day zero.
25:53We started in January last year. Covid wasn't around at that point, or certainly wasn't a problem. So we started literally, you know, right in the middle of winter. We were in Romania, Bucharest.
26:05We were scouting during the months of November, December. And some of the local crew were saying, well, you're crazy shooting this stuff here. You know, because normally January, February here, it's like minus 20. There's snow everywhere. You know, really you'll see the breath. You know, there's no leaves on the trees. There's nothing tropical about Bucharest in early January, February.
26:28The city hall is not going to approve to stop the traffic. We're going to do ITC.
26:32Well, that's fine. Those guys didn't in Romania at all. It was first time for all of them. Of course, in the beginning, they were not very positive about the experience in Romania. But, you know, day by day, we start to find a location to see something which might work. And after a couple weeks, Martin said, okay, it's doable.
26:59After you see the main locations and he agreed on them is doable. We can make it here.
27:05Well, it was interesting because what you need is a production designer who is very clever about the way they do this. And we also, we had two major locations.
27:16One was Ceaușescu, who was the dictator, if you remember, in Romania before they shot him. He had a big country kind of estate with a house which is where we made the exterior of the old man's house.
27:31It's a Snagov Palace. It's a Sunnagov Palace, the Ceaușescu Snagov Palace, we transformed it into rich guy compound in Vietnam somewhere.
27:42Así que pudimos convertir todos esos interiores para vestir, para ver como Vietnam, para ver como colonia.
27:51Y dentro de las habitaciones panelas, que usamos para la escena de Sam,
27:56que Wolf y su equipo están todos vestidos bastante maravillosos.
28:02Y usamos eso para todo tipo de cosas.
28:04Tenemos la gala ahí.
28:06Así que lo importante es centralizar los lugares que se usan por varios propósitos.
28:11En realidad usamos Ceausescu's town villa también.
28:15Es el lugar donde el swimming pool es en el principio de la película,
28:18donde se mató los tres de ellos.
28:21We did scout Vietnam, y eso fue fantástico.
28:24We went there for a week, y found a whole bunch of locations.
28:27Ahora, el pensamiento era que algunas cosas podrían ser vestidos.
28:30En nuestra main localización, que era Bucharest, en Romania.
28:34Entonces, algunos interiores, algunos secuencias, que podíamos controlar más fácilmente.
28:42Nosotros tuvimos que recrear una calle de Vietnam en Bucharest en January.
28:49Originalmente, en la prepa, eso estaba sonando increíble.
28:53Completamente increíble.
28:55La mayor alegría que tuvimos es que encontramos una localización.
29:00Esta es la Mátasa Popular.
29:02Esta es una fábrica de textiles que construyó en los años 30.
29:08Y ahora, esta es muy bajada.
29:11Esta es solo antes de la demolición.
29:13Esta es una gran alegría que Wulf construyó.
29:20Hats off a él.
29:21Es increíblemente.
29:22Con los frutos, los árboles, los animales, los muros.
29:26Los muros en los árboles.
29:27Los árboles en los árboles.
29:28Los árboles en los árboles.
29:29Los árboles en los árboles.
29:31Los árboles en los árboles.
29:32Los árboles en los árboles.
29:33Lo hizo un gran trabajo.
29:36Y nosotó cuatro o cinco escenas.
29:39Nosotó a piezas.
29:41Apenas, a piezas.
29:43La pestaña, a piezas.
29:45En la pestaña.
29:46Es un gran trabajo.
29:47En la pestaña, en la pestaña, en la pestaña.
29:50En la pestaña, en la pestaña.
29:51Fue la pestaña.
29:52¿Y a la pestaña?
29:53No, lo sabía que estamos sincera.
29:54Lo sabía de que lo sufamos.
29:55Lo que hemos hecho.
29:56Lo que estamos haciendo aquí es para que lo que estamos en Vietnomes.
29:59Es hora de estar en Vietnano.
30:01Y, por supuesto, en la pestaña.
30:02Entonces, cosas podrían ser peor.
30:04Lo sabía.
30:05La pestaña, un poco más de la pestaña.
30:07Lo sabía de lo que estaba.
30:08Lo sabía de los árboles en los árboles.
30:11y por la mayoría de los que no se ha tenido ningún tipo de precipitación.
30:15Es fríjido, es muy caliente, pero podemos evitar que eso.
30:22Una noche, justo antes, una gran gran grabación de Vietnam,
30:27la gran escena de la calle, con los mercados, los vendedores,
30:32y motorbikes, y bicicletas, y personas, y animales,
30:36y pobres, y pobres, y pobres, y pobres, y pobres, y pobres.
30:38El weather was fine.
30:40We went to sleep one night and woke up and it had turned to Romania.
30:43It was like three, four inches of snow out there.
30:46It was like, hey, hey, what happened?
30:48We were supposed to be shooting some Vietnam shit that day.
30:52So I was like, okay, I guess we're not shooting that.
30:55It still looked a little bit like Vietnam,
30:57but covered in snow, it wasn't going to work.
30:59So we had a big schedule change on that day,
31:02and we had to find other things to do, which we did.
31:04Now, of course, Covid came about when we were about two thirds
31:09of the way through the shooting,
31:11and everyone was starting to get a little bit nervous,
31:13and we still had probably a week to shoot.
31:15But really, we got out of Romania the day before they closed it.
31:20So we had the night shoot.
31:21We finished at 5.30 in the morning, rushed for the hotel,
31:24grabbed our bags, rushed to the airport,
31:27and got out the next day.
31:28I think it was a Sunday they were closing the place.
31:31Got to London.
31:32We had a week in London,
31:33and you probably recognize a couple of bits of London,
31:35apart from the aerial shot,
31:37where she drives up in a cab.
31:39And actually, Sam's mansion was also,
31:42the country house was England.
31:44So we did three days there,
31:46but Covid was rapidly, you know, dictating everything.
31:49They started closing the airports,
31:51and the filming industry in England just collapsed.
31:55It closed down overnight.
31:57Everybody stopped shooting.
31:58But our plan was to then go on to Vietnam, right?
32:01That was the plan.
32:02But because of the Covid thing,
32:04it all happened during this last three weeks.
32:06Vietnam closed down.
32:07They just closed down their borders.
32:11And so we had to close our movie down
32:14for a couple of months, actually.
32:17We got out of London just by the skin of our teeth.
32:20We were on the last plane.
32:22So we got back to L.A.
32:25And I edited with Angie totally remotely.
32:29He and I probably only live about five miles from each other,
32:32but we each worked in our own homes,
32:34worked remotely, completed the director's cut,
32:37completely working remotely.
32:40And eventually, they decided it was safe
32:45to go shoot the remainder of the film.
32:47Because of the Covid issues and the travel restrictions,
32:51a second B plan was to go to the Dominican Republic.
32:55But at that time, the logistics of getting the crew
32:59to those locations and with Covid,
33:03it just was going to be impossible.
33:05So they found a way to cheat Bulgaria for Vietnam.
33:10Yeah, so we went back for a month, the month of September,
33:14with a greens department
33:16and several trucks full of rubber plants
33:19and tree banana trees and stuff like that.
33:22And the river, that was shot in Bulgaria.
33:25I got a bunch of photographs from the scout
33:28and photoshopped some of those Sugarloaf mountains
33:30in the background that the visual effects department
33:33then sort of copied and put into the moving chart.
33:36All the stuff with her on the boat was shot in Bulgaria.
33:41It was a night scene in the rain that was all budged.
33:44So that was a great lesson to us all, you know?
33:47It worked out pretty well.
33:49I was very nervous about it,
33:50but with an appropriately placed practical palm tree here and there
33:54and then with the assistance of visual effects,
33:57I think it sells Vietnam perfectly.
34:01I guess we'll be seeing each other real soon then.
34:04It was fun, it was hard.
34:07Most movies, you know, if you're trying to make them as best you can, are hard.
34:13I mean, it is fun.
34:14I mean, I didn't expect this movie to be as funny as it is.
34:17I mean, you have Michael, who's a brilliant comedic actor.
34:19Sam as well.
34:21It's so well written.
34:22You know, Richard Wank is just, you know, one of the best writers in Hollywood.
34:25Aw.
34:26You really believe you're going up.
34:29Don't you?
34:30And you're talking about a great combo.
34:32You have a combination of a great script.
34:33You have these wonderful talents.
34:35And so the comedy is always going to come out.
34:37The movie never takes itself too seriously until it's supposed to.
34:41You ought the moody to stay alive.
34:45I know what I ought.
34:46You know, when you're dealing with serious themes, you're in it.
34:49But when you're having a light moment, you're also in it.
34:51It's good stuff.
34:52She's good.
34:53And that's very hard to do.
34:55You know, those transitions are hard to do.
34:57But it happens organically in this movie.
34:59And I think that's what excites me the most about it,
35:01is that you're going to have all these experiences within it,
35:04and they're all going to feel of it.
35:06When I started this, I was curious.
35:08And then I went from curious to concerned.
35:10And now?
35:11I'm testy.
35:12The thing about this movie, it's a real movie.
35:14It's enjoyable for that reason.
35:16There's things that happen that aren't going to happen in the average person's life.
35:19And that's why the average person like you and I like to go see these things.
35:24So, Maggie Q, she's great.
35:25I can't say enough about her.
35:26And Sam is always great, you know.
35:28These films are a bloody tough shoot, really.
35:31Because in order to make them good, you just have to go the extra mile.
35:36You know, which means the way you prep it, the way people you hire to do it,
35:40everybody across the board.
35:41First of all, my producer, Moishevich Diamo, was excellent.
35:44His version was, you need it for the film, you should have it, right?
35:48And Abby was, Abby Lerner was very good as well from Millennium.
35:52He practiced and he's a friend now.
35:55And he was really supportive.
35:57So, thanks to those people, I guess.
36:00And a terrific crew and everything else.
36:03We sort of, I hope, pulled off on the entertaining movie.
36:07There's an ensemble of actors that are doing this film that make it worth seeing.
36:12As entertainment goes, it doesn't get any better than this.
36:15And that's why we go to the movies to be entertained.
36:17I do.
36:18And there's some wonderful things that happen.
36:20There's some wonderful performances.
36:21And, hey, what else you do?
36:26It is a ride.
36:27I mean, you've got great sexy dynamics, relationships.
36:31There's a lot of humor in the script.
36:33But there's some really pretty heavy themes that do make you think
36:37and do, you know, allow you a real emotional experience.
36:40I mean, I cried when I watched this film.
36:42I really did because her journey is, it's harrowing and it's sad.
36:45But, you know, you want her to come out.
36:47You do.
36:48You want her to get out of, you know, the situation she's in.
36:50And, you know, you'll see if she does or she doesn't.
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