00:12The way I see it, we have one job to do, and that is to get home to see our
00:19families.
00:27You just got to hold on.
00:44The way I see it, we have one job to do.
01:05We talk many times for a casino player, so it's good to talk to you guys.
01:11But why this movie?
01:14Because, Rennie, I'd like to ask you about the tone, because it has that tone that goes all the way
01:21back to Ford Fairlane, where the drama and the action and the humor all floats together, to use a pun.
01:27Could you talk about that?
01:29And, Gene, your interest in sort of helping shepherd this and get it made?
01:35I think that movies are at their best when they have all these different elements that blend together, because that's
01:43how life is.
01:44And I think you can have the deepest tragedy, but if you don't have elements of humor, it doesn't give
01:50you the depth that you really need for the human experience.
01:55And I really was interested, besides the spectacle of the plane crash and the sharks and all that, I really
02:04wanted to concentrate on the characters.
02:05And obviously, it doesn't mean that we sit with somebody for 20 minutes and listen to their story about their
02:10childhood, but that we, in quick strokes, we draw everybody so that we understand who they are.
02:19We can relate to them, we can care about them, and then through tragedy, through emotion, through laughter, through tears,
02:27through all these elements of real life, we get to really see what they all are, when everything is stripped
02:34away and they are put into this extreme situation.
02:38Looked like you wanted to take a swing at me over that flam check.
02:41Isn't that how you got bounced out of the Air Force?
02:43That senior officer had it coming.
02:45You, you're just, you're annoying.
02:50You're now free to move about the cabin.
02:54Where's mom and dad?
02:55You're back there.
03:01Way out of your league.
03:02Oh, wait, what if I've got a great personality?
03:04You don't.
03:14Mayday, mayday, mayday.
03:18Tail down, 100 feet.
03:26Sir, you can't do that!
03:28You worried about this?
03:30Brace, call you back.
03:37What do we do?
03:39We find survivors.
03:43And for you, Gene, because, I mean, the film is balls to balls.
03:46I mean, when you guys do the plane crash, it doesn't mess, it goes for the jugular.
03:50Could you talk about, you know, looking at the film that way and your approach to it?
03:58Look, technically, a producer's out of his league.
04:03My job, and some producers, because they're not all the same.
04:08A producer is just a title.
04:10And there's a line producers, associate producers, executive, all kinds of stuff.
04:15And they all sort of wander in terms of their responsibilities.
04:19My responsibility on the film had to do with making, you know, suggestion here and there
04:24in terms of casting, let's say, moving the chess piece this way.
04:28But also in terms of, you know, making nice with the money people, making sure they don't
04:33really, because they can, you know, they can scooch away.
04:35It's like a girl that you're talking with all night.
04:37You hope she's going to go to the final step.
04:40But you've got to sweet talk it all the way so that it doesn't mess up the dinner, if
04:45you see what I mean.
04:47Yeah, totally.
04:47My responsibilities rose towards the end of the film to make sure that the completion
04:55bond company and the insurance and, you know, all that stuff kicked in.
04:58Because towards the end, all kinds of other costs kind of come up out of nowhere.
05:04The director has a vision.
05:05I want more special effects.
05:06I want this.
05:07And so you've got to do all that kind of stuff.
05:09So here I am next to Ron, next to our director, Renny.
05:14I don't deserve any of the credit.
05:17You know, everybody else, no matter how talented they are, that includes Sir Ben Kingsley, has
05:22to step back and give, you know, the tip of the hat to the guy that's responsible for
05:28all of it.
05:29The music, the special effects, the script, the nuances and the subtleties of how to add
05:34lines, take lines.
05:35And our little girl was dressed, I just found out for a minute, a completely different way.
05:41Her personality was a different thing.
05:43He said, no, no, I don't like that.
05:45Let's just change the way she's dressed and say this line or that line.
05:49You got to give a script life.
05:52And only a director can do that.
05:54And you're looking at him.
06:11Andrew, Andrew, Andrew, you lost me to your watch.
06:14Andrew, you can't do that.
06:16You worried about this?
06:17Give me my chair a seat right now.
06:42Renny, yeah, you've done this previous, but the way you cover stuff, the way you make
06:47it sort of integrate has, you know, it's always been, it was great from the beginning,
06:51but it's, you can use the ball, where it'd be the pushing in the cargo hold, the cutting,
06:56the way that the tone sort of plays, but, you know, the way visually it tells the story
07:02without losing any of the characters along the way.
07:05Could you talk about that balance and finding that, looking at the script, but then extrapolating
07:10I could talk about that forever, and I'm flattered by your attention to detail and pay attention
07:17to actually what I try to do.
07:20And I do try to shoot things in a certain way, which really goes back to my very beginning
07:27of my career.
07:28I always thought, how do I shoot this scene so that it feels like the audience is there,
07:32like I'm experiencing it through their eyes.
07:35And the editing is very much planned before we even start shooting anything.
07:42And if you look at it in this movie, we cut from, you know, the door of the bathroom locks,
07:48and from that we cut to the other door opening into the cargo hold.
07:52And from that fire we go to something else.
07:54And so I try to, that way, keep the progression of the story all the time.
08:01So there's always, the scene ends before it gets boring, and the next scene starts when
08:08it's getting interesting.
08:09And that way keep the tempo without making it so fast that you don't have time to relate
08:15to the characters and be with them.
08:17So it's, let's hope that I'm getting better at it, because I've done it so many times now.
08:28Oh, shit.
08:32Oh, shit.
08:37Oh, shit.
08:43Oh, shit.
08:48Oh, shit.
08:50Oh, shit.
08:52Oh, shit.
08:55Oh, shit.
08:56Oh, shit.
08:56Oh, shit.
08:57Oh, shit.
08:58Oh, shit.
08:58Oh, shit.
08:59Oh, shit.
09:00Oh, shit.
09:00Oh, shit.
09:01Oh, shit.
09:01Oh, shit.
09:17yeah going from that like gene what makes for you interesting movies i already made some of the
09:22you know best action films ever made i mean how do you have to what what do you look for
09:28in a film
09:28what make engages you in a film and same with you ready i mean what excites you you did you
09:33know you
09:33could do something like strangers and do a three-parter and then do this you have that sort
09:38of variety and like uh that ability to do these kinds of different things are you asking me yeah
09:45you what first eugene what's important there is no substitute for the phrase a great movie
09:53and by the way i i go on record as saying deep water is a more third dimensional movie than
10:01jaws is
10:02jaws is one of my favorite films and i said this before but it's a simple story there's a big
10:07fish
10:08it's killing people and three guys get in a boat and try to kill it that's it you know there
10:14are no
10:14beast stories no other thing the whole thing's about how do we kill this big fish this movie
10:19there's so many layers so many characters they all have to work you laugh you cry i don't remember
10:26crying at at jaws or having that thing that doesn't mean that i miss that it's a different kind of
10:33film
10:33so on the surface it looks like this deep water is a disaster film well not so much maybe it's
10:41about
10:41hope maybe it's about the human spirit maybe it's about survival maybe it's about family maybe it's about
10:47love and yes you're getting the most off off the track uh kind of plane crash you've never seen
10:55in a movie the biggest longest and all that kind of that scares the bejesus out of you you've got
11:01sharks not one not two lots of them tearing people apart now who's going to survive who's not
11:07and on top of that if that's all you had you'd say that's okay but you care you gripping your
11:13seat
11:14because the characters you love you don't want them to die and i'll give you to ask me to just
11:19a
11:20very short answer which is for me it always starts with the characters and uh sometimes you get a
11:27great script and it's still not easy to make a great movie out of it and sometimes you have a
11:32script that is not so great and what i've learned is to just try to run away from those scripts
11:37and i've
11:38made the mistake of my in my life where sometimes i didn't run fast enough but with this one with
11:43deep water i felt like it was a it was a combination of a good script good characters uh good
11:50group of
11:51people good producer and and as a result now we have a movie that people seem to really enjoy
12:07where's my little brother okay it's gonna be all right
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