00:13Grazie a tutti.
00:41Grazie a tutti.
01:10Grazie a tutti.
01:27Grazie a tutti.
01:30Grazie a tutti.
01:31Grazie a tutti.
02:49Grazie a tutti.
03:12Grazie a tutti.
04:48Grazie a tutti.
05:20Grazie a tutti.
05:53All right, so hold the line off, don't see the line.
05:55Just notice the trees at this point.
05:57All right.
06:26And...
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09:30......
09:59......
10:01made some of the best movies of all time.
10:06There's a missing patient, uh...
10:08the 67th patient, Rachel Salondo, and...
10:12um...
10:12Everyone's looking for her because there's no way that she could have possibly escaped this island.
10:17When you look at the way it's fortified, the... the fact that, uh...
10:31the woman somehow has disappeared from this island and no one knows how she did it.
10:36And it seems like there's some sort of conspiracy going on, um...
10:40with all the doctors and the administration.
10:42And Teddy and his partner are there to uncover what's really happening.
10:47And... and certainly the more they talk to people, the more they find out information,
10:52the more things become, um...
10:55the more things become suspicious to them, and rightfully so.
11:01Scorsese certainly as well was, uh...
11:04had been talking about working with him on many movies in the past,
11:07and we finally got to work together on this film.
11:09And he was...
11:10you know, he... he's Teddy's partner.
11:12And he's...
11:13both of them are, uh...
11:15intrigued by this conspiracy that's going on in this island.
11:18And they're... a trust relationship starts to form towards the end of this...
11:22end of the film.
11:25We shot in, um...
11:27Massachusetts, in Medfield.
11:30Uh...
11:30It was an old mental institution, as I gather.
11:36And, um...
11:36a lot of it was there.
11:38A lot of it was there.
11:39A lot of... a lot of it had been abandoned,
11:41so there were sort of these twisted vines over certain sections
11:44and homes that have sort of been engulfed by nature.
11:58Um...
11:58that was, uh...
11:59the environment that we were trying to portray.
12:00And that...
12:01and that really...
12:02it was amazing.
12:03It was amazing to know that there were even locations like that.
12:06And...
12:06you know, I think there was a certain...
12:07haunting element to all of it, too,
12:09that we were...
12:11putting up on screen...
12:12all these, uh...
12:13stories from a mental institution,
12:15and we're actually...
12:16at an old one.
12:19It is a psychological thriller.
12:21I think it is a mystery.
12:23But to me,
12:25as you watch the film,
12:27and...
12:27as you're invested in the story of...
12:29of Teddy Daniels going to find this missing prisoner,
12:33and...
12:33also,
12:34you understand that he has this back story of what happened to him
12:37with his wife who...
12:39who...
12:39who passed away,
12:40and trying to find...
12:42who...
12:42who he believes is the killer that is on this island,
12:45uh...
12:46you start to become really emotionally invested in who these people are.
12:59One of the, uh...
13:00elements that...
13:01that attracted me to the story was that...
13:03the nature of the genre.
13:05This picture seems to be...
13:06seems to have its roots in...
13:07in a number of genres.
13:09Um...
13:10and...
13:10uh...
13:11primarily, I guess, what you would call the psychological thriller.
13:14With...
13:15touches of...
13:16uh...
13:16a gothic horror.
13:18Or...
13:18implications of gothic horror.
13:23The script was sent to me.
13:25And I...
13:26didn't really know.
13:27Uh...
13:27I know, of course, of the...
13:29uh...
13:29the novelist Dennis Lehane.
13:30And I knew Mystic River,
13:31and, uh...
13:32Gone Baby Gone,
13:33a number of his other books.
13:34And, of course, the two films that...
13:36the...
13:36the...
13:37his... his books were made into.
13:41I found I couldn't put the script down.
13:44And...
13:46was constantly surprised...
13:48by...
13:48the different levels...
13:49of the story.
13:53It's the type of picture I like to watch.
13:58I thought...
13:59having...
13:59worked with Leo...
14:01since, uh...
14:01Gangs of New York.
14:02It's Gangs of New York, The Aviator...
14:04The Departed.
14:05And now this...
14:06I...
14:07I thought...
14:08I immediately...
14:09uh...
14:10agreed...
14:11that he should do it,
14:12because...
14:13I knew...
14:14by this point...
14:15we have a kind of...
14:16way of working together now.
14:17And I knew that...
14:19uh...
14:19the different levels of...
14:20the different emotional...
14:21emotional and psychological levels that...
14:23Teddy has to...
14:24uh... reach.
14:27It's not necessarily the...
14:29the...
14:29the nature where the story is told...
14:31or...
14:31um...
14:32the setting...
14:33um...
14:34but it's really what happens to the character of Teddy...
14:36I...
14:36I...
14:37found...
14:37to be very moving.
14:41Two marshals...
14:43um...
14:43Teddy Daniels and...
14:44uh...
14:45Chuck All...
14:46uh...
14:47are going to an island...
14:48off of...
14:49um...
14:50Boston Harbor...
14:52uh...
14:52that has a...
14:53uh...
14:54very unique...
14:56prison hospital...
14:58for the criminally insane...
14:59uh...
15:00compound...
15:01uh...
15:01on it...
15:02um...
15:03and it's a special hospital.
15:04There aren't that many patients...
15:04I think 60 or some odd patients, whatever.
15:06and there are different levels of...
15:08of...
15:08uh...
15:08communication or...
15:09or different levels of treatment.
15:11Um...
15:12but...
15:12um...
15:12a female patient has escaped...
15:15and these two marshals have to come there and investigate...
15:17and try to find her.
15:21What you have with Mark...
15:23is a strong emotional connection.
15:26You believe that he cares.
15:30I just met her and just liked her...
15:32very much, and I had seen her in Brokeback Mountain.
15:35um...
15:35and...
15:36I thought she was remarkable in that film.
15:40We had to create a state of mind with the lighting...
15:43and the camera movement.
15:45And that's where Richardson came in.
15:47And these references...
15:48and my own discussion with him...
15:50constant discussions.
15:51And...
15:52also...
15:52Dante Ferretti.
15:53A state of mind had to be conveyed.
15:55A place that was more than just a place.
15:58It was a...
15:59a place...
16:00a being.
16:03There's really...
16:04a creepy...
16:05uh...
16:06threatening...
16:07sense about it.
16:17working with...
16:19Marty...
16:20it's...
16:20it is a great archaeological dig.
16:22You dig up some extraordinary things...
16:24that are buried inside the character...
16:26and you bring them to the fore.
16:30He is inexhaustible...
16:34profoundly gifted...
16:35and is...
16:36I...
16:37is...
16:38in all our opinions...
16:39one of the greatest storytellers...
16:41that we're blessed with right now.
16:42and I'm very...
16:45very privileged to be...
16:46working with him.
16:50I think he's cast the film brilliantly.
16:53Um...
16:54Leo...
16:56is...
16:57at...
16:58that Hamlet stage...
17:00of his life...
17:01which...
17:02you know...
17:02I played Hamlet...
17:03I know where Leo is.
17:06Mark...
17:08is...
17:09he radiates affection...
17:11and loyalty.
17:12and...
17:13massive persistent...
17:15Mark...
17:15Mark...
17:16persistence.
17:17And...
17:17and...
17:18on the set...
17:19wonderful imagination...
17:20Mark Ruffalo.
17:22Michelle brings...
17:23a...
17:24beautiful vulnerability.
17:25Max von Sydow brings...
17:26towering authority.
17:28Um...
17:30all these ingredients...
17:31Patricia Clarkson...
17:33and her...
17:34exquisite stillness and intelligence.
17:37All these...
17:38all these people...
17:39Marty has...
17:40placed like...
17:41a painter...
17:43placing one colour...
17:44next to another...
17:45for great effect.
17:49Yep...
17:49I think they can only...
17:49build the...
17:49compare put......
17:50especially....
17:52when the
17:52sure... you know...
17:53on... the line...
17:53for security as
17:53know...
17:54I wanna read...
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