00:05Questa è interessante, è diverso,
00:08ma perché ho avuto un'attore per un'attore,
00:11io sono molto usato a lavorare in front of the camera,
00:14quindi non sembra come extra work,
00:17ma non sembra come normale,
00:21ma il problema è che il tempo che pensi
00:23a pensare a pensare a pensare
00:24perché la faccia di fare la prestazione
00:26da quelli che si tratta di fare
00:27quindi la grande cosa è quella che si tratta di fare
00:35e quindi l'abbiamo a limitare
00:37perché come si tratta di tempo
00:38è il meglio di essere più attraversato
00:41quando si tratta di un'attore
00:43e la gente a un'attore di che attrazio
00:47è un'attore di attrazione,
00:53And a lot of actors will, you know, have the instincts about that.
00:57So it's not uncommon to have those kinds of, you know, sensory perceptions while you're working on a movie.
01:04It's just that you have to sort of learn to cultivate them.
01:06You know what I mean?
01:07You have to really learn to listen.
01:09And then I just, I just do it a bunch.
01:11And then go over to the monitor and say, sort of, did anybody notice anything weird?
01:18I obviously want to have the best actors possible.
01:20But I also wanted people that I could make look just like the real people.
01:25Because I wanted that correlation, that similarity, it was a true story to show people that, in fact, this is
01:31real.
01:31It really happened.
01:32And so that, you know, when they're in a magazine or in a book or at the picture at the
01:35end of the movie,
01:36you could be kind of struck by the similarities.
01:41But it turned out that, you know, mustaches and glasses and wardrobe kind of goes a long way
01:45toward getting people to look like the other, different people in the 70s.
01:50And so what I did that I think was helpful was I made them all live on the set in
01:58the house
01:58that we have dressed as, you know, their ambassador's residence in Tehran.
02:03And we put the period movies in, period magazines and books and their wardrobe.
02:09And they had to live, I couldn't find 70s, like, food boxes.
02:12But they had to live together and get used to one another as if they'd been cooped up together.
02:17And when they got out, you really did, it felt different.
02:19It felt like these are people who knew each other in a more intimate way.
02:28You know, when you say a movie is based on true events, particularly a movie that's as outrageous as this
02:33one
02:33and extraordinarily, with a thriller and a comedy and a CIA story and all this stuff,
02:37you have a responsibility to stay close to the truth.
02:39You know, when you tell the audience this is a true story, you have to make it as true as
02:42you possibly can.
02:43So I kept the spine and the heart of the story is absolutely true.
02:47These Americans escaped from the embassy when it was taken over.
02:49They stayed with the Canadians, a CIA agent with a Hollywood Oscar-winning makeup artist
02:54came up with a plan to get them out that involved pretending they were making a movie.
02:58That's all real.
02:59John Chambers, the makeup artist that was friends with Tony Mendez, an absolutely real guy.
03:02He also looks almost like...
03:07...because he won the first Oscar for makeup.
03:09He did Planet of the Apes.
03:10He was the head of makeup for Warner Brothers.
03:11But he also had his, like, secret compartment makeup, you know, drawer with a lock on it.
03:19That's where he kept all the CIA disguises.
03:21You know, the masks that got people out of, you know, snuck people out of Southeast Asia and that kind
03:25of thing.
03:25So it was, that was really true.
03:27The Alan Arkin character is a bit of a composite and we made him a little bit more of a
03:31sort of old, famous, you know, worldly producer.
03:35The real guy Seidel was a little bit less, had a little bit less interesting history.
03:40And I thought, Alan, you know, to play that you would get an even better sense into Hollywood,
03:44both the part that you kind of roll your eyes at and the part that's really interesting.
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