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Hi, my name is Roel Reiné,
and I'm the director, DOP,
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cinematographer and camera operator
of this movie Hard Target 2.
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So, you have to know this,
when I wanted to be a director,
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I had a house,
when I was 26 years old in Holland,
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and in my house, I had a little cinema,
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and on the cinema,
were five photos of my five hero directors.
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And so, that was Ridley Scott,
and there was Paul Verhoeven,
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and there was Luc Besson,
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but also, there was John Woo,
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and he was absolutely
one of my favorite directors.
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So, when I heard that Universal
was doing a Hard Target sequel,
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I wanted to do this.
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At that time, I was very busy
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because I just finished this movie
called "Admiral,"
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which is a big,
epic Dutch language movie that I made.
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My schedule was very problematic
to do this movie,
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to shoot this movie, and to post this movie,
but I'm happy, we could squeeze it in.
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Let's talk a little bit
about this opening scene.
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So, we wanted to do like a...
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I wanted to make an homage
to the John Woo movies that I love
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and do a version of that.
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So, for me, the whole opening sequence
is like the opening of Hard Target,
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somebody gets chased and killed,
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but I wanted to do it with
a nice modern kind of camera style.
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And this is all handheld rigs,
but we also used some CableCams,
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but we used a very low-budget CableCam.
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I think the CableCam system
was only $2,000.
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And we put a GH4 underneath it to use it.
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And that's also what I really like.
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I like to use all these kind of toys
and small things to figure out new stuff.
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So this is that CableCam shot,
with just the GH4,
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and it was a $2,000 thing.
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We put a Ronin-M
underneath the CableCam system.
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Ronin-M is a stabilization...
Like, a movie rig, stabilization rig.
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This is the same, also the CableCam,
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and then with the computers, we took out
the cable, and cleaned out the cable.
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And of course, there's one of
my favorite actors, Temuera Morrison,
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he's been in three of my movies.
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I always like to have him on set,
he's just a great actor,
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and he's always so
present, and great ideas.
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Anyway, Hard Target 2,
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we made this movie
for four and a half million dollars,
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I shot the movie in 20 days, in Thailand,
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I did, now, four movies,
I think, in Thailand.
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Which I'm really proud of, because
shooting in Thailand is such a blast.
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The crews are so good, and they're fast,
and the stunt guys are amazing.
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Welcome, everybody,
to tonight's weighing in!
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And all these movies
that I've done in Thailand
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are produced by Chris Lowenstein
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and with his company, Living Films.
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And there of course Scott Adkins,
I'm a huge fan of Scott Adkins.
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I always wanted to work with him,
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and also Robert Knepper, and Rhona Mitra,
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those are the three leads in the movie.
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But Scott Adkins,
I really am a fan of his work.
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I see all the movies that he does. And
he does three, four movies a year or so.
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I always wanted to work with him,
and this was the perfect movie for him.
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So, when we were developing the screenplay,
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we always, from the beginning,
had Scott in mind.
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And we were very happy that he would do it.
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And then the villain of this movie
is Robert Knepper.
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He, of course, is from Prison Break,
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one I really liked
and he had a beautiful character there.
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And so, I was very happy
to get him as well.
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So, for this boxing game,
this whole opening scene...
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So, this whole... The weigh-in sequence,
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and then, the whole fight,
we did three rounds,
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the whole aftermath of him killing him,
that was all one shooting day.
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So, I did like 180 setups or something
on this day, it was crazy.
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And also, you see the top thing,
where you see these LEDs hanging?
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So, for me, it was very difficult
to find a good location in Thailand
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to build this boxing match, Vegas thing.
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By the way, those two Vegas shots
you just saw, the drone shots,
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I shot them myself, I
also have a little drone.
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I had a DJI Inspire
that I shot those shots with.
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And I was in Vegas for the NAB.
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And it's a fair about toys and stuff,
camera toys.
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And then I then I flew over The Strip
and made the shots,
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and those are the shots
that we put in the movie.
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Anyway, so,
we had this empty hall in Thailand,
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and what we did, I had Nikorn,
who was my gaffer,
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he put in this great lighting,
all these lights in the background,
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you see them moving, all these theater
spots that could move with computers.
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And then I had the art department
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build this beautiful LED above the ring,
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that we could have the American flag in.
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And that was my basic lighting plan
for this whole thing.
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We had only 150 extras,
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and then, we put a lot of neon lights
in the background on empty...
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Kind of, empty seats,
what was in the background.
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So, it feels like there's a lot of depth.
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You see in the background,
you see these LEDs,
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they are also backwards, and reverse,
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because there are some brands there...
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You're not allowed to
put them in the movie, right?
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So, we put them backwards, in reverse,
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and then with the spot lights...
And the depth,
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it feels like a big, big stadium,
while it's only 150 people,
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and one day of shooting.
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And of course, the fighting...
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This whole fight was choreographed
by Scott himself.
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He is such a good fighter,
and he has so many ideas,
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and such a good attitude
and energy on the set,
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that it was a blast to see
him doing this fight.
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And this was the last shooting day,
by the way, funny enough.
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Don't know about the first,
but you definitely lost the second.
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You can't leave it up to the judges, okay?
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So, we shot this movie on RED DRAGONs,
by the way.
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Get out there...
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I always like to shoot on REDs,
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the cameras are very small and compact,
and I can move them around quickly.
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And with battery solutions,
you can really get nice handhelds.
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Because especially when
it is a fight like this,
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a lot of stuff in this fight,
I'm handheld in the ring with them.
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Any my other operator Rolf Dekens,
he's Dutch,
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he's also with me in the ring.
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And we shot this handheld style.
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What I also like to use a lot is...
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I'm using a monopod,
and I put the monopod on top of the camera,
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so, I then can put it really low on the ground,
but it feels like a handheld, so it's a...
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Handheld at low angle,
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and I use a lot of that
during the fighting as well.
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So, we shot this on REDs,
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we had three cameras
and three main crew cameras
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and Neung was my other operator,
he's a local Thai guy.
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And then we also used GH4s,
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we put them on a Ronin rig
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and put it on the CableCam,
and we put them on motorcycles and stuff.
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And we destroyed a few of them. I remember.
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And then, I also used a DJI Inspire
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so all the helicopter shots and
drone shots, I operated myself
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on the DJI Inspire.
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It's a beautiful drone,
and I love doing drone shots.
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I also use drones to do scouting,
when I'm scouting on locations,
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and that's kind of how I work.
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So, the actors we had were...
Scott Adkins, we had Robert Knepper.
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And what
I wanted to do in this commentary...
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This is, by the way,
for me, a very John Woo moment.
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Putting the things in the air
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with the cannon, with serpentines...
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How do you call it in English?
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And then, with a big slo-mo stuff going on,
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a lot of times, I was doing
John Woo homage moments.
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And, for me, it was definitely
these moments in the ring,
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and the slo-mo,
and all these little sparkles coming down,
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and I love that kind of stuff.
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It was amazing,
and a big honor to do a movie,
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a sequel to a John movie,
especially when I'm such a big fan of Woo,
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especially his early work,
and also, of course, Face/Off.
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But Hard Target...
But I loved his Hong Kong movies.
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And Hard Boiled, and The Killer.
And all those movies
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I saw so many times,
and I really studied them.
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And the interesting thing
is, that the first AD,
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the first assistant director
that I had on the set here in Thailand,
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his name is Charlie,
and he was John Woo's first AD
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in his beginning years in Hong Kong.
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And so, it was very interesting
to hear stories from him,
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how John Woo shoots.
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And here comes my favorite shot.
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This is my favorite shot of the movie.
I love this.
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The whole feeling, and all the guys in
black and him in the white trousers,
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and then the side lighting,
and the slo-mo, et cetera.
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It really was a blast.
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So, including this scene,
we shot this all in one day,
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including this water stuff,
and this flashback that he had with Jonny.
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And it was a tough, tough day.
Tough last day.
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What beach house?
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The next scene we're gonna look at
is the scene where
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Scott is kind of at his place
six months later in Bangkok.
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Bangkok is one of my favorite cities
in the world.
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I just love the feeling of it,
the grittiness, the energy.
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Especially Chinatown,
it's one of my favorite places in Bangkok.
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And I wanted to shoot the movie there
for a big part,
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but we were just not able to do it.
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It's very expensive
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to close down all the streets,
and all the shops, and...
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So, we shot the movie
for four days in Bangkok,
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and shot the rest of movie in Kanchanaburi.
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So, this is me with my drone,
flying over Chinatown.
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And then, over the river here. And then,
this is his house, where he lives,
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and, of course, we have
the doves in slo-mo,
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and you have to have them
if you do a John Woo movie.
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So, what I wanna do in this commentary,
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I wanna get on the phone,
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a few crew members and a few cast members
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and I thought, maybe it would be cool
to have them on the speaker phone.
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So, first,
I'm gonna have a call with Scott Adkins.
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So, we now have Scott Adkins
on my cell phone.
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Hey, Scott.
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- Hey, Roel. How are you?
- I'm good.
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So, you're now in England right now?
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Yeah, in England.
This is me with my English accent.
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- So, I was...
- That'd have been different in the movie.
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So, I always do director's commentaries
on all my movies.
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And I thought it would be fun to
talk with some people individually.
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I just said that I was such a big fan...
I'm still...
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That I was such a big fan of Scott Adkins,
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and I saw a lot of movies of you,
I've seen all your movies.
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And I always wanted to work with you,
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and when we were developing
the Hard Target screenplay,
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I always was like,
"We need to get Scott for this."
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So, I was so happy that you did.
So, how was your experience on this movie?
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Thanks for that, Roel,
I wanted to work with you as well.
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It's a crazy film, to be honest.
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It was a crazy film to work on
because every day
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there seemed to be something
completely different than the day before.
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Whether it was with the elephants,
whether it was on a speedboat,
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running through the jungle,
swimming in the water,
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every day was very high energy,
and lots of action.
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It was a very, very tough shoot,
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one of the hardest shoots
I've ever done,
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but at the same time, for some reason,
it was really enjoyable as well.
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I think that's because of all the
different locations and different settings
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that you came up with.
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So, it was really hard,
but really enjoyable as well.
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Great.
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- And how do you...
- But you shoot so fast, you see?
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I've never worked with anyone
that shoots as quickly as you do.
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When I saw the schedule, I thought,
"Well, this isn't gonna be possible."
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But let me tell you, Roel,
he shoots like I've never known it.
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And you work hard as well yourself.
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And it's good 'cause it
keeps things moving,
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there's no waiting around,
we're constantly on the go.
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- It was a lot of fun.
- Great, man.
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And how do you prepare yourself
for a part like that?
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You know, mentally and physically,
how do you do that?
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If it's an action film, obviously,
there's so much physicality to it
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that your body's got to be
in a certain shape, and...
229
00:14:05,320 --> 00:14:08,996
I'm always in good shape 'cause
I enjoy to train and I look after myself.
230
00:14:09,080 --> 00:14:12,790
But really, it's a case of preparing
your mind mentally because
231
00:14:13,840 --> 00:14:17,993
I know how hard it's going to be,
there's so much action that we need to do.
232
00:14:18,080 --> 00:14:20,640
All the action needs to be taken care of,
233
00:14:20,720 --> 00:14:24,509
I know that I'm gonna be having
five hours sleep,
234
00:14:24,880 --> 00:14:26,553
six if I'm lucky tonight.
235
00:14:27,840 --> 00:14:30,719
So, really, I...
You gotta mentally prepare yourself
236
00:14:30,800 --> 00:14:34,714
for, basically, going to war,
is what it feels like.
237
00:14:37,200 --> 00:14:38,919
It can be really difficult,
238
00:14:39,000 --> 00:14:42,118
you've gotta love it to do it,
otherwise, you'd just be insane.
239
00:14:43,360 --> 00:14:47,798
Yes. And the fighting,
you're very amazing, good at it.
240
00:14:47,920 --> 00:14:50,000
But also, you did a lot of
the choreography yourself.
241
00:14:50,360 --> 00:14:53,751
Like the opening fight, you know...
242
00:14:53,840 --> 00:14:56,036
How did you do that?
243
00:14:56,160 --> 00:14:59,312
And can you tell us a little bit
about what you were planning?
244
00:15:00,480 --> 00:15:04,713
It's a collaborative effort.
We've got Seng and the stunt guys,
245
00:15:05,560 --> 00:15:08,473
and my stunt double Brahim, he's great.
246
00:15:08,560 --> 00:15:11,997
And Jonny came in, and...
247
00:15:12,680 --> 00:15:16,037
We reallyjust wanted
to make it quite realistic,
248
00:15:16,120 --> 00:15:18,112
that MMA fight.
249
00:15:18,200 --> 00:15:22,035
So, we all got together
and we hashed out some choreography.
250
00:15:23,960 --> 00:15:26,680
We tried to learn it as best we could
before we shot it on the day,
251
00:15:26,760 --> 00:15:29,320
but we were kind of playing catch up
at that point because
252
00:15:29,400 --> 00:15:31,278
that was at the end of the schedule,
wasn't it?
253
00:15:31,360 --> 00:15:33,079
And everybody's busy and tired.
254
00:15:33,880 --> 00:15:38,750
But yeah, I'm a big fan of MMA,
and, obviously, I practice it.
255
00:15:39,840 --> 00:15:43,675
And it was fun to create that fight,
and tell a bit of a story.
256
00:15:43,760 --> 00:15:49,358
It's a different style to the rest of
the movie, that opening MMA fight.
257
00:15:50,800 --> 00:15:54,111
Yeah, and it was beautiful, man,
it was absolutely amazing.
258
00:15:54,840 --> 00:15:58,550
What was one of the hardest things
you had to do on this shoot?
259
00:15:59,400 --> 00:16:01,790
Every day was hard, wasn't it?
Let me think.
260
00:16:01,880 --> 00:16:06,750
What was the hardest? It was all hard.
Just working with you is hard, basically.
261
00:16:06,840 --> 00:16:10,629
But I'd do it again.
I'm happy to do it again, strangely.
262
00:16:10,720 --> 00:16:12,279
But what was the hardest day?
263
00:16:12,360 --> 00:16:15,637
I guess, you know, what was the
hardest day, it was the first day,
264
00:16:15,720 --> 00:16:19,953
because that was when I realized
how quickly you shot stuff.
265
00:16:20,080 --> 00:16:25,155
That was when I realized, "Okay, I'm gonna
be doing six or seven things today."
266
00:16:25,400 --> 00:16:28,120
And of course so much of the movie
is action-packed.
267
00:16:28,280 --> 00:16:30,636
So much of it is me running around.
268
00:16:30,760 --> 00:16:33,434
I remember after the first
day, I was so tired.
269
00:16:35,120 --> 00:16:39,592
I just thought to myself, "God, am I gonna be
able to do this for the rest of the shoot?"
270
00:16:39,720 --> 00:16:41,916
But then, you become accustomed to it.
271
00:16:42,000 --> 00:16:44,276
But the first day was a
shock to the system.
272
00:16:44,360 --> 00:16:48,070
I always work hard on every action film,
but this was...
273
00:16:50,160 --> 00:16:52,311
I mean, it was just so fast paced.
274
00:16:53,920 --> 00:16:58,233
Hey, and your fascination with John Woo,
can you tell us a little bit about that?
275
00:16:58,920 --> 00:17:00,752
Oh, man, I'm a huge John Woo fan.
276
00:17:00,840 --> 00:17:02,832
He's one of the best directors
there's ever been.
277
00:17:02,920 --> 00:17:06,391
I was heavily into Hong Kong cinema
as a kid.
278
00:17:07,800 --> 00:17:12,477
And before John Woo broke through
with I guess Hard Target in the west,
279
00:17:13,160 --> 00:17:15,436
I was a big fan of The Killer,
and Hard Boiled,
280
00:17:15,600 --> 00:17:19,150
and Bullet in the Head,
and A Better Tomorrow.
281
00:17:19,440 --> 00:17:22,512
I actually got to meet John Woo
when I was about 15 years old,
282
00:17:22,600 --> 00:17:24,831
the first time he came to England.
283
00:17:24,920 --> 00:17:29,358
And there was a double bill
of The Killer and Bullet in the Head.
284
00:17:29,920 --> 00:17:32,435
And I got to meet him.
So, yeah, a huge fan.
285
00:17:33,480 --> 00:17:35,119
As I know you are as well.
286
00:17:36,640 --> 00:17:40,190
And, yeah, one of the best action directors
to have ever lived.
287
00:17:40,280 --> 00:17:42,556
- Absolutely.
- And it's a pleasure for us
288
00:17:42,640 --> 00:17:46,395
to do a sequel to
one of his most well-known films.
289
00:17:46,480 --> 00:17:48,551
Yes. Yes, I agree with that.
290
00:17:48,640 --> 00:17:51,109
Cool, man. Fun. Great, thank you.
291
00:17:51,720 --> 00:17:53,632
- That was... Yeah.
- Roel, I just wanna say,
292
00:17:53,760 --> 00:17:55,513
it was a blast working with you, man.
293
00:17:55,640 --> 00:17:58,838
And I look forward to seeing the film,
which I haven't seen yet,
294
00:17:58,920 --> 00:18:00,479
and listening to this commentary.
295
00:18:00,600 --> 00:18:05,391
Yes, you're gonna see it very shortly.
Cool, man. Great talking with you.
296
00:18:05,520 --> 00:18:07,796
- I'll speak to you soon.
- Okay.
297
00:18:07,880 --> 00:18:09,633
- Thanks, Roel.
- Thanks. Bye.
298
00:18:12,520 --> 00:18:16,753
So, we are back in commentary,
that was fun then.
299
00:18:16,840 --> 00:18:21,756
I love doing this. I think from now on,
all my commentaries, I'll do this.
300
00:18:22,840 --> 00:18:24,559
And you're set for life.
301
00:18:27,840 --> 00:18:30,230
Madden, give Mr. Baylor our particulars.
302
00:18:30,960 --> 00:18:36,399
So, Robert Knepper, he's of course,
a mind-blowing, good actor.
303
00:18:36,760 --> 00:18:39,912
I was such a fan of Prison Break,
304
00:18:40,200 --> 00:18:44,717
and so, when he was available,
305
00:18:44,800 --> 00:18:47,474
I was really so enthusiastic.
306
00:18:47,560 --> 00:18:51,634
This is also a very cool shot, by the way,
when I just pan into the streets.
307
00:18:51,720 --> 00:18:56,795
So, this is just a RED Epic,
where we shot on 1280 ISO,
308
00:18:56,880 --> 00:19:01,193
and then I put some high speed lenses on
that are the 1. 1 stop,
309
00:19:01,800 --> 00:19:03,280
if that says anything to you.
310
00:19:03,720 --> 00:19:05,791
And then you get this really nice look.
311
00:19:09,280 --> 00:19:11,476
You're always gonna be welcome
out at the beach house.
312
00:19:12,480 --> 00:19:13,550
What beach house?
313
00:19:13,640 --> 00:19:15,776
The one I'm gonna buy with the money I get
from kicking your ass.
314
00:19:15,800 --> 00:19:18,269
What was really a blast to shoot,
315
00:19:18,400 --> 00:19:22,952
they were all choreographed by Seng.
316
00:19:23,040 --> 00:19:26,397
Seng is a local stunt
coordinator in Thailand.
317
00:19:26,480 --> 00:19:28,392
I use him in many of my movies.
318
00:19:28,520 --> 00:19:31,911
And I really like his style, his ethics,
319
00:19:32,200 --> 00:19:35,193
and his stunts are really amazing.
320
00:19:35,280 --> 00:19:39,035
This is, by the way, the shot that
comes now, I really like that shot.
321
00:19:39,760 --> 00:19:42,559
This is my drone again, the DJI Inspire,
322
00:19:42,640 --> 00:19:45,633
doing this drone shot
of the glass building.
323
00:19:45,720 --> 00:19:49,270
And then this pull out, we have a very cool
Steadicam operator in Thailand
324
00:19:49,360 --> 00:19:52,319
his name is Somsak,
who pulled off this shot.
325
00:19:52,400 --> 00:19:56,599
I just love this image,
it's such an iconic image.
326
00:19:56,720 --> 00:20:00,555
He's on top of the world
with the samurai statue there,
327
00:20:00,640 --> 00:20:03,314
what is kind of his philosophy in life.
328
00:20:03,400 --> 00:20:05,232
And then he's on his iPad
329
00:20:05,320 --> 00:20:09,951
that shows him, how in control he is
of his own world and his own space.
330
00:20:10,720 --> 00:20:14,077
And this was basically the top floor,
and it was completely empty,
331
00:20:14,160 --> 00:20:17,631
and it was my hotel where I stayed in,
in Bangkok.
332
00:20:19,720 --> 00:20:21,313
It helps me to focus.
333
00:20:22,040 --> 00:20:25,670
They also have very nice restaurant
called Long Table.
334
00:20:25,760 --> 00:20:29,197
And I stayed in this hotel,
and the top floor was completely empty,
335
00:20:29,280 --> 00:20:33,160
so we put in carpet,
and we put in a lot of lighting,
336
00:20:33,240 --> 00:20:37,632
to balance the light from the outside
with the inside, so I could do this scene.
337
00:20:37,960 --> 00:20:42,512
And I always thought maybe it would
be interesting to have him cut a fish
338
00:20:42,600 --> 00:20:44,751
and talk about making sushi.
339
00:20:45,560 --> 00:20:50,191
And we brought in a real chef
to cut the fish for us.
340
00:20:50,640 --> 00:20:54,873
And to have the fish fresh,
and do a really nice job with it,
341
00:20:54,960 --> 00:20:56,997
and it looks really cool.
342
00:20:57,160 --> 00:21:00,915
The only thing is,
Robert became very sick of the fish later.
343
00:21:01,160 --> 00:21:02,196
So, it was a pity.
344
00:21:02,320 --> 00:21:06,553
And on top of this hotel, was this pool,
and this was not the hotel pool.
345
00:21:06,640 --> 00:21:09,872
It was a private pool
of the owner of the hotel.
346
00:21:10,120 --> 00:21:12,237
And we could not land a chopper there,
347
00:21:12,360 --> 00:21:15,034
but I asked them
to just have the chopper hovering.
348
00:21:15,120 --> 00:21:17,954
So, Chris, the producer,
349
00:21:18,040 --> 00:21:20,874
organized that we had this chopper
hanging there
350
00:21:20,960 --> 00:21:25,034
and then it will tell the story of them
traveling from Bangkok
351
00:21:25,200 --> 00:21:28,750
away to Myanmar
to do the Hard Target game.
352
00:21:31,840 --> 00:21:36,073
What else will be fun is that we also
tracked down Robert Knepper
353
00:21:36,160 --> 00:21:38,834
and he will be on the phone with us
right now.
354
00:21:39,240 --> 00:21:40,879
...of Myanmar, Mr. Baylor.
355
00:21:41,400 --> 00:21:43,198
- Hey, Robert.
- Yo!
356
00:21:43,360 --> 00:21:47,718
Hey, so, you're now live
in my director's commentary.
357
00:21:49,240 --> 00:21:52,153
So, this is Robert Knepper on my phone.
How you doing, man?
358
00:21:52,280 --> 00:21:56,160
How many times do we have to work together
before you pronounce my name correct?
359
00:21:57,040 --> 00:22:00,158
Because I only say "Rob" or "Robert"
to you. Never "Knepper, " right?
360
00:22:00,240 --> 00:22:01,276
What do I do wrong?
361
00:22:01,360 --> 00:22:03,920
Knepper-schnapper, schnapper-pepper here.
362
00:22:04,760 --> 00:22:06,080
It's my Dutch accent.
363
00:22:06,160 --> 00:22:07,920
In this country, darling,
the "K" is silent.
364
00:22:11,160 --> 00:22:15,916
So, I'm in the commentary right now.
We are recording this conversation.
365
00:22:16,200 --> 00:22:20,638
So, you play the villain
in the Hard Target sequel, right?
366
00:22:21,720 --> 00:22:23,916
So, how do you think the shoot went?
367
00:22:24,040 --> 00:22:27,477
And can you tell us a little bit
about your experience in Thailand?
368
00:22:27,680 --> 00:22:31,913
Well, it's funny you asked that because
just the other day somebody asked me
369
00:22:32,160 --> 00:22:34,776
"What did you think of Thailand?
We're thinking of going to Thailand."
370
00:22:34,800 --> 00:22:37,759
And I said, "Run. Run to Thailand."
371
00:22:39,120 --> 00:22:40,679
It's an amazing experience.
372
00:22:40,760 --> 00:22:43,992
It's notjust a great place to go,
it's an amazing experience.
373
00:22:44,080 --> 00:22:48,996
And all of it together was pretty amazing
because of the people, first of all.
374
00:22:49,720 --> 00:22:52,030
The people are the country.
375
00:22:53,360 --> 00:22:57,115
And secondly,
without tooting your horn too much,
376
00:22:57,480 --> 00:22:59,631
working with you, sir,
377
00:23:01,880 --> 00:23:04,076
was a lot of fun, was a real treat.
378
00:23:04,200 --> 00:23:08,558
There's a lot of hardworking people.
You knew every crew member by name.
379
00:23:08,680 --> 00:23:13,311
The only mistake I made was wearing black
clothing that didn't breathe in a jungle.
380
00:23:13,400 --> 00:23:16,199
Other than that,
it was pretty freaking amazing.
381
00:23:17,400 --> 00:23:18,400
Yes, you know...
382
00:23:18,480 --> 00:23:21,473
You get to play a lot when you're an actor.
383
00:23:21,560 --> 00:23:24,359
And I certainly got to play a lot
in Thailand with you.
384
00:23:24,480 --> 00:23:27,757
Yes. Yeah. You know,
you're one of my favorite actors, right?
385
00:23:27,840 --> 00:23:31,959
And I always wanted to work with you,
so it was really a blast to do that.
386
00:23:34,120 --> 00:23:38,353
Hey, but how did you prepare yourself
to do a villain like this?
387
00:23:38,520 --> 00:23:40,716
Did you do special preparations for this?
388
00:23:42,840 --> 00:23:45,639
Ever since I remember acting,
I always was taught...
389
00:23:45,720 --> 00:23:49,680
Bill Esper in New York
always taught me to play the opposite.
390
00:23:49,760 --> 00:23:54,437
And you wrote a line in the script
that I remember, it stuck out for me.
391
00:23:55,680 --> 00:23:58,434
Something about,
"they thought I was too theatrical,
392
00:23:58,520 --> 00:23:59,920
"if you can believe that."
393
00:24:00,040 --> 00:24:03,351
Or I added, I think, "If you can believe
that." They thought I was too theatrical.
394
00:24:03,440 --> 00:24:08,117
Well, I just thought,
"Just make him like a showman.
395
00:24:09,360 --> 00:24:11,477
"Make everything
he's selling to these people
396
00:24:11,600 --> 00:24:14,434
"that have all of the gobs and
gobs of money to do this,
397
00:24:14,640 --> 00:24:16,359
"make it really interesting.
398
00:24:16,480 --> 00:24:21,794
"And that they're not out to kill somebody,
they're out there to enrich their lives."
399
00:24:23,320 --> 00:24:26,119
So, playing the opposite for me meant
400
00:24:26,200 --> 00:24:29,955
being charismatic and
being fun and being theatrical
401
00:24:30,600 --> 00:24:31,716
and stuff like that.
402
00:24:31,800 --> 00:24:32,870
Yes.
403
00:24:33,520 --> 00:24:38,151
And you did really well because
every moment in the movie where you are,
404
00:24:39,440 --> 00:24:43,434
it's such an interesting
depth level stuff that I see.
405
00:24:43,520 --> 00:24:45,239
And I really enjoyed it.
406
00:24:45,400 --> 00:24:50,794
Even in the editing, I was looking at all
of the takes, and it was such cool stuff.
407
00:24:52,080 --> 00:24:53,514
Hey, thank you, man.
408
00:24:53,600 --> 00:24:55,796
And you fighting with Scott Adkins,
409
00:24:55,880 --> 00:24:58,600
how was you beating...
410
00:24:58,920 --> 00:25:01,355
Letting you beat him.
How was the experience?
411
00:25:03,680 --> 00:25:08,152
There were so many incredible memories
from that bridge,
412
00:25:08,240 --> 00:25:10,118
- as you know.
- Yes.
413
00:25:10,200 --> 00:25:15,195
That bridge was a true testament to,
414
00:25:15,760 --> 00:25:17,592
"Yeah? You thought
you couldn't take any more?
415
00:25:17,720 --> 00:25:19,439
"Well, how about this one?"
416
00:25:20,840 --> 00:25:24,516
The conditions were unbelievable
on top of that bridge
417
00:25:24,600 --> 00:25:28,753
having two, three
beautiful Thai people fanning me
418
00:25:28,920 --> 00:25:31,992
and keeping umbrellas over me
like they did with everybody.
419
00:25:32,240 --> 00:25:34,516
The fighting sequence was...
420
00:25:34,600 --> 00:25:39,436
I was actually really glad that you didn't
make me go one-on-one with him,
421
00:25:40,960 --> 00:25:42,838
as much as some of the other guys.
422
00:25:42,920 --> 00:25:45,833
That my weapon was my words.
423
00:25:46,640 --> 00:25:50,077
And my words, which you gave me,
were beautiful there.
424
00:25:50,160 --> 00:25:53,710
I just loved hoping to prove to you
425
00:25:53,800 --> 00:25:57,077
that the more you gave me,
the more I could say
426
00:25:57,200 --> 00:25:59,237
in a rapid amount of time.
427
00:25:59,320 --> 00:26:02,757
And really, the slings and arrows
that were going his way
428
00:26:02,840 --> 00:26:04,559
were gonna hopefully cut.
429
00:26:04,640 --> 00:26:08,236
Unfortunately, it didn't
'cause he was gonna have to beat me.
430
00:26:08,320 --> 00:26:11,916
And I remember something very funny
that you thought I had said.
431
00:26:12,080 --> 00:26:14,993
- "I don't want blood." Do you remember this?
- Yes.
432
00:26:16,280 --> 00:26:17,999
And you looked at me, like,
433
00:26:18,080 --> 00:26:21,073
"No, that's the whole climax of the movie
is you being bloody."
434
00:26:21,160 --> 00:26:24,517
I said, "No, no, no.
I never said I didn't want to be bloody."
435
00:26:25,760 --> 00:26:28,753
When I saw that sequence,
when we were doing the ADR for it,
436
00:26:28,840 --> 00:26:32,470
do you remember, I was like,
"That platoon kind of like..."
437
00:26:32,560 --> 00:26:33,676
- Yes.
- Yes.
438
00:26:33,760 --> 00:26:38,551
Rapid fire at my body. I just thought,
"Wow! Thatjust all looks so amazing.
439
00:26:38,840 --> 00:26:41,400
"It's pretty great to have
experienced that with you."
440
00:26:41,480 --> 00:26:45,156
Yeah, man. That was a pretty epic ending.
Yeah, and I loved it.
441
00:26:45,240 --> 00:26:48,358
And I love the moment
when you turn around and say,
442
00:26:48,480 --> 00:26:51,951
"No, you're not doing
what he wants you to do, "
443
00:26:52,160 --> 00:26:55,471
and then you see the army coming and
then you're flipping and laughing.
444
00:26:55,560 --> 00:26:57,517
It was such a blast.
445
00:26:57,600 --> 00:27:01,719
I was also... Remember, Roel, by
that point, we were all so tired.
446
00:27:01,880 --> 00:27:05,669
And we're just like, "Oh, my God!"
I saw that the end was near
447
00:27:05,760 --> 00:27:07,114
by the time we did that
448
00:27:07,200 --> 00:27:09,669
because, I think, for me,
that was the last day.
449
00:27:09,760 --> 00:27:12,594
And it was a bitter-sweet kind of feeling
450
00:27:12,680 --> 00:27:16,390
because I was happy to be
out of that freaking heat.
451
00:27:16,960 --> 00:27:20,715
At the same time I was thinking,
"No! I gotta say goodbye to Roel.
452
00:27:20,800 --> 00:27:23,395
"I gotta say goodbye
to these beautiful people."
453
00:27:23,560 --> 00:27:25,358
Yes. Cool, man.
454
00:27:25,440 --> 00:27:28,274
So, where are you now?
Are you working on something?
455
00:27:29,080 --> 00:27:33,757
We're doing the nine-part event series
of Prison Break up in Vancouver.
456
00:27:33,920 --> 00:27:35,354
Cool, man.
457
00:27:35,440 --> 00:27:37,159
Putting back this old glove...
458
00:27:37,240 --> 00:27:39,471
Putting back on this old glove,
which is kind of fun.
459
00:27:39,560 --> 00:27:41,836
Yeah, man, I cannot wait to see that.
460
00:27:42,600 --> 00:27:45,593
- All right, man, thanks... Yeah.
- It's gonna be fun. It's gonna be fun.
461
00:27:45,680 --> 00:27:47,080
- Thanks for...
- Much love.
462
00:27:47,160 --> 00:27:49,755
Yeah, man. Thanks for
stepping in for a sec.
463
00:27:50,640 --> 00:27:52,279
- You're welcome.
- All right.
464
00:27:52,440 --> 00:27:54,909
- Speak to you later. Bye.
- Yeah. Bye-bye.
465
00:27:56,920 --> 00:27:58,400
So, that was great.
466
00:27:58,480 --> 00:28:02,269
So, what I really wanted to do
was this one shot, right.
467
00:28:02,400 --> 00:28:06,519
You just saw it when we kind of introduced
all the fighters.
468
00:28:06,640 --> 00:28:09,394
We did this one tracking shot
with Steadicam.
469
00:28:09,480 --> 00:28:13,554
And Somsak, again, the Steadicam operator,
pulled this off.
470
00:28:13,720 --> 00:28:17,919
Because I really felt that if you
want to introduce all these characters
471
00:28:18,000 --> 00:28:21,437
and all these hunters,
and Scott's reaction,
472
00:28:21,560 --> 00:28:22,960
and you want to make it real,
473
00:28:23,040 --> 00:28:24,872
I wanted to do it, not like a documentary,
474
00:28:24,960 --> 00:28:29,239
but I wanted it to feel like
this one-shot moving along the story
475
00:28:29,320 --> 00:28:34,679
and it was like a three or four page dialog
that we did in one continuous shot.
476
00:28:35,040 --> 00:28:38,795
And I think we did seven takes,
and this was take five
477
00:28:38,960 --> 00:28:42,636
that we used in the movie
and I'm really happy with the result.
478
00:28:51,640 --> 00:28:53,711
So, all these hunter actors,
479
00:28:53,800 --> 00:28:56,554
they came from Australia a lot.
480
00:28:57,240 --> 00:29:00,631
Of course, not Rhona Mitra.
She's from Britain.
481
00:29:02,440 --> 00:29:05,512
And I was always a big fan of Rhona.
482
00:29:05,920 --> 00:29:09,914
So, I really happy
that she was available to join us.
483
00:29:11,280 --> 00:29:15,194
And then the other actors,
they all came from Australia.
484
00:29:15,280 --> 00:29:19,069
I did a casting in Australia
and I met these guys.
485
00:29:19,280 --> 00:29:21,875
So, we have Adam Saunders,
486
00:29:22,200 --> 00:29:24,715
Peter Hardy, Sean, Jamie,
487
00:29:26,680 --> 00:29:30,230
and of course, Ann, who
plays Tha, the girl.
488
00:29:30,760 --> 00:29:33,036
She also came from Australia.
489
00:29:33,200 --> 00:29:36,511
And this is Gigi. He is from Thailand.
490
00:29:37,800 --> 00:29:41,714
So, I met these guys in Australia.
I did only one casting.
491
00:29:41,840 --> 00:29:46,357
And that's a pity when you do
these movies that are so far away
492
00:29:46,440 --> 00:29:48,477
from Los Angeles, where I live.
493
00:29:49,360 --> 00:29:54,151
I'm originally from Holland, but I've lived
in Los Angeles for 11 years now.
494
00:29:54,240 --> 00:29:56,675
But you never shoot in LA.
495
00:29:56,760 --> 00:30:00,117
You shoot in Thailand, or in Africa,
or in Canada.
496
00:30:00,720 --> 00:30:03,599
So, I had to cast in Australia.
497
00:30:04,000 --> 00:30:05,798
And I found during the casting process...
498
00:30:05,880 --> 00:30:09,078
I had this great casting director
in Australia, in Sydney.
499
00:30:09,200 --> 00:30:12,477
And she found all these great actors.
500
00:30:12,560 --> 00:30:14,517
And then during this casting session,
501
00:30:14,600 --> 00:30:19,914
you basically start talking already about
the parts and try to rehearse a little bit.
502
00:30:20,400 --> 00:30:23,472
And mold already, a little
bit, the characters
503
00:30:23,560 --> 00:30:26,120
because you know
you don't have any time later
504
00:30:26,240 --> 00:30:28,391
during the process of shooting the movie.
505
00:30:28,480 --> 00:30:32,759
Now, I was very lucky to have
Tha and Scott a week before shooting,
506
00:30:33,360 --> 00:30:35,397
so we could do rehearsals with them.
507
00:30:35,560 --> 00:30:38,155
And also the other actors came in
two days before shooting.
508
00:30:38,240 --> 00:30:40,675
I could do some small rehearsals with them.
509
00:30:40,760 --> 00:30:44,356
But the rest is just, you know,
they know their stuff,
510
00:30:44,480 --> 00:30:48,440
we talked about the characters
and what the characters are going through.
511
00:30:48,600 --> 00:30:52,594
I think, also costumes...
Costume designing, costumes work a lot.
512
00:30:52,680 --> 00:30:57,596
You are with them in the costumes, they
try it on, we talk about the characters,
513
00:30:57,720 --> 00:30:59,598
we change the little things,
514
00:30:59,720 --> 00:31:02,474
and therefore
you're creating these characters
515
00:31:02,560 --> 00:31:04,597
because on these kind of movies...
516
00:31:04,680 --> 00:31:08,435
I just did the Admiral movie,
the Dutch epic movie.
517
00:31:08,600 --> 00:31:10,319
I had three weeks of rehearsals there,
518
00:31:10,440 --> 00:31:13,877
so I could really build the characters
with the cast.
519
00:31:13,960 --> 00:31:17,397
But on movies like this,
you don't have that luxury.
520
00:31:17,520 --> 00:31:22,072
And especially the way I shoot,
I do like, 100 to 120 slates a day,
521
00:31:22,200 --> 00:31:23,520
setups a day.
522
00:31:25,240 --> 00:31:28,870
And because you need the coverage,
you need a lot of cuts...
523
00:31:28,960 --> 00:31:32,749
And movie like this, has like,
I think 2,800 cuts.
524
00:31:33,240 --> 00:31:35,357
Picture cuts.
525
00:31:35,480 --> 00:31:38,791
And that's kind of what you need
to do an action movie.
526
00:31:40,600 --> 00:31:43,638
And to do that, you
cannot do 20 shots a day.
527
00:31:43,880 --> 00:31:48,477
Because if you do... Normally, movies
do like 20 slates, 25 slates a day.
528
00:31:49,160 --> 00:31:53,234
If you have only 20 days
and you do like 20 slates a day,
529
00:31:53,320 --> 00:31:55,152
you have 400 shots.
530
00:31:55,280 --> 00:31:58,910
And how can you get a rhythm
in a movie like this
531
00:31:59,000 --> 00:32:00,639
with only 400 shots?
532
00:32:00,760 --> 00:32:05,755
So, that's the reason why I work fast and
use a lot of cameras to get that feeling.
533
00:32:12,200 --> 00:32:16,274
Now we are in Kanchanaburi area
with the locations.
534
00:32:16,360 --> 00:32:21,196
This is a very famous waterfall.
It's a big tourist attraction in Thailand.
535
00:32:21,840 --> 00:32:26,039
We also shot... I did
the Scorpion King sequel many years ago.
536
00:32:26,640 --> 00:32:29,314
We shot that also
at the same waterfall as here.
537
00:32:30,600 --> 00:32:34,514
And the funny thing is that
because this is a nature park,
538
00:32:34,640 --> 00:32:36,597
you cannot use live fire.
539
00:32:36,680 --> 00:32:38,717
You cannot shoot any blanks.
540
00:32:38,800 --> 00:32:41,599
Even movie blanks. You cannot use them.
541
00:32:41,680 --> 00:32:45,959
So we had to do all these things digitally
with special effects
542
00:32:46,040 --> 00:32:49,351
and they always look really good.
So, that's not a problem.
543
00:32:51,040 --> 00:32:52,076
Fuck!
544
00:33:02,600 --> 00:33:05,513
So, of course, Scott had
to go into the water.
545
00:33:05,600 --> 00:33:08,195
And the fun thing
546
00:33:08,280 --> 00:33:11,751
in these movies, for me,
camera operating and camera angles
547
00:33:11,880 --> 00:33:14,600
is one of the most important things,
of course.
548
00:33:14,920 --> 00:33:17,640
One of my operators' name is Rolf Dekens.
549
00:33:17,720 --> 00:33:20,360
He is a DP from Holland. Very talented.
550
00:33:20,560 --> 00:33:24,634
And I always ask him, for the last
few years, to come in on my movies.
551
00:33:24,840 --> 00:33:27,150
And he's then the one
climbing up the waterfall,
552
00:33:27,280 --> 00:33:31,399
he's the one in the water,
he's the one climbing in through the tree.
553
00:33:31,480 --> 00:33:35,076
He's crazy like me,
only much younger than me.
554
00:33:35,880 --> 00:33:39,271
So, we're gonna call him
and talk with him as well.
555
00:33:39,400 --> 00:33:41,596
So, here's Rolf Dekens on the phone.
556
00:33:41,920 --> 00:33:46,472
So, Rolf, I'm now in the director's
commentary session of Hard Target,
557
00:33:46,840 --> 00:33:50,993
and this is, guys, on the phone now with me
is Rolf Dekens.
558
00:33:51,280 --> 00:33:52,953
He's a Dutch cinematographer.
559
00:33:53,640 --> 00:33:57,190
And he's one of my favorite cameramen
in the world.
560
00:33:57,280 --> 00:34:00,796
And he comes a lot with my movies, right,
561
00:34:00,880 --> 00:34:05,830
he operates cameras and
co-DPs with me in my movies, right?
562
00:34:06,240 --> 00:34:08,038
Yeah, absolutely, Roel.
563
00:34:08,120 --> 00:34:11,796
It's always a big pleasure
to be in a set with you
564
00:34:11,880 --> 00:34:14,031
'cause the energy level is very high,
565
00:34:15,320 --> 00:34:19,951
and for a cameraman, it's the perfectjob
'cause it's a dream coming true.
566
00:34:20,800 --> 00:34:25,158
Lot of things happening, high pace,
high energy and great directing,
567
00:34:25,320 --> 00:34:27,551
great locations, great acting.
568
00:34:27,640 --> 00:34:30,394
Yeah, it's a boy's dream just coming true.
569
00:34:31,640 --> 00:34:35,953
Hey, and can you tell me a little bit more
about where you come from
570
00:34:36,120 --> 00:34:39,830
and how you started working with me,
and which movie that was?
571
00:34:40,360 --> 00:34:44,320
Yeah, yeah.
Well, I've always been a fan of your work.
572
00:34:45,000 --> 00:34:48,880
I finished film school in 2001 in Amsterdam
at the Dutch Film Academy.
573
00:34:49,040 --> 00:34:51,032
And I started following you immediately.
574
00:34:51,160 --> 00:34:53,755
And at a certain point, I thought,
"I want to work with Roel, "
575
00:34:56,000 --> 00:34:58,390
so, I thought lemme just
send him an e-mail.
576
00:34:58,520 --> 00:35:01,479
And Roel responded and said,
"Yeah, sure. Let's have a talk."
577
00:35:01,600 --> 00:35:04,434
So, I went to LA and there I met Roel,
578
00:35:04,520 --> 00:35:09,595
and the first thing Roel said was, "Well,
I hate DPs, and especially Dutch DPs, "
579
00:35:09,720 --> 00:35:12,189
'cause Roel had some bad experience
in the past.
580
00:35:12,280 --> 00:35:16,274
But I said, "Well, I hope I can convince
you that not all DPs are horrible people,
581
00:35:16,360 --> 00:35:20,149
"and some are very willing to help
the director/DP
582
00:35:20,440 --> 00:35:22,159
"to make the movie as good as possible."
583
00:35:22,360 --> 00:35:25,353
And then Roel said, "Well, great.
Come to my next movie.
584
00:35:25,440 --> 00:35:29,036
"It's called The Man with the Iron Fists 2:
The Sting of The Scorpion."
585
00:35:29,160 --> 00:35:32,631
And, well,
I basically proved myself a little bit,
586
00:35:32,720 --> 00:35:34,552
that Roel and I are a great team.
587
00:35:34,640 --> 00:35:35,994
And the rest is history.
588
00:35:36,080 --> 00:35:38,800
We did another movie after that.
And another one after that.
589
00:35:38,880 --> 00:35:42,157
And in the future,
we have some other projects scheduled.
590
00:35:42,240 --> 00:35:44,038
- So, it's a...
- Absolutely.
591
00:35:44,240 --> 00:35:45,356
It's amazing. Yeah.
592
00:35:45,440 --> 00:35:48,239
And what makes a shoot,
like Hard Target, right...
593
00:35:48,320 --> 00:35:49,720
So, we shot this in Thailand.
594
00:35:49,800 --> 00:35:52,713
Can you tell me a little bit about
working with the Thai crew
595
00:35:52,840 --> 00:35:54,718
and working on Thai sets?
596
00:35:58,440 --> 00:36:00,830
Yeah, it's great to work in Thailand.
597
00:36:00,920 --> 00:36:05,199
You have a lot of people doing a job
598
00:36:05,280 --> 00:36:09,194
that in some countries,
you could do with less people.
599
00:36:09,280 --> 00:36:12,079
But the way they do it
and the smile on their faces
600
00:36:12,160 --> 00:36:14,231
makes it just a great experience.
601
00:36:15,120 --> 00:36:19,319
The heat we experienced on Hard Target 2
was very intense.
602
00:36:19,400 --> 00:36:22,677
Celsius, it was sometimes
40 degrees or more.
603
00:36:22,800 --> 00:36:24,154
But it was all worth it.
604
00:36:24,760 --> 00:36:26,479
You shoot long days in Thailand,
605
00:36:27,080 --> 00:36:30,437
you were being picked up at 4:15
and you're home at 10:00,
606
00:36:30,920 --> 00:36:34,675
but the days just fly by
'cause it's just great.
607
00:36:35,120 --> 00:36:38,591
The locations are amazing in Thailand,
the scenery changes a lot.
608
00:36:38,800 --> 00:36:42,635
You drive for a couple of hours
and then you're completely somewhere else.
609
00:36:42,800 --> 00:36:47,238
It looks easier to shoot
than in other countries around the world.
610
00:36:47,440 --> 00:36:52,231
So, Thailand is a very friendly
film country to be in with great crews,
611
00:36:52,760 --> 00:36:56,071
and they are experienced
with a lot of American movies
612
00:36:56,160 --> 00:36:58,311
and it shows on set. Yeah.
613
00:36:58,400 --> 00:37:03,475
So, how is it different shooting
with me being also your director
614
00:37:03,760 --> 00:37:05,080
than shooting other movies?
615
00:37:05,200 --> 00:37:06,873
Or, how is it different?
616
00:37:06,960 --> 00:37:09,714
Yeah, there is a big difference.
617
00:37:10,320 --> 00:37:13,392
I also work as a director of photography
on my own movies
618
00:37:13,480 --> 00:37:15,073
and then I'm fully in charge.
619
00:37:15,320 --> 00:37:18,996
And if something goes wrong,
I have to say that to the director.
620
00:37:19,080 --> 00:37:22,278
But when Roel is the director
and director of photography,
621
00:37:22,400 --> 00:37:26,474
problems are very easily solved
because one man has all the answers.
622
00:37:27,080 --> 00:37:29,640
So, if something goes
wrong, Roel just says,
623
00:37:29,760 --> 00:37:32,832
"Great. We'll change it, we'll improvise.
We'll make it work."
624
00:37:32,920 --> 00:37:36,277
For me, as an operator,
I have to do a step down the ladder.
625
00:37:36,360 --> 00:37:38,591
'Cause I'm not in charge
of the Camera Department,
626
00:37:38,680 --> 00:37:42,674
although I try to be as much as possible
in a friendly way
627
00:37:42,880 --> 00:37:46,794
if I see things that can help Roel,
I'll do it quietly.
628
00:37:47,200 --> 00:37:51,911
I won't put any attention on it for Roel
'cause he wants to do his show.
629
00:37:52,600 --> 00:37:56,116
It's basically the Roel Reiné show.
You either love it, or hate it.
630
00:37:56,200 --> 00:38:00,194
And I very much love it.
And everybody on his sets love it.
631
00:38:00,320 --> 00:38:03,518
What I also must say is that Roel
is very loyal.
632
00:38:03,600 --> 00:38:08,516
So, he's hard to satisfy. But if he
likes you, he will keep calling you.
633
00:38:08,800 --> 00:38:12,874
And that's not very much seen
in the motion picture industry world-wide.
634
00:38:12,960 --> 00:38:16,032
And Roel is a big exception on that
and that's a big plus.
635
00:38:16,640 --> 00:38:17,640
Good.
636
00:38:17,720 --> 00:38:20,076
Hey, and we shot this on RED Epics, right?
637
00:38:20,160 --> 00:38:21,160
Yes.
638
00:38:21,200 --> 00:38:25,160
Can you tell us a little bit about
the style, handheld, dollies,
639
00:38:25,280 --> 00:38:27,875
what kind of style did you use
on this movie?
640
00:38:28,040 --> 00:38:29,713
Yes. Well, Roel has a favorite camera.
641
00:38:29,840 --> 00:38:33,231
It's called the RED Epic or RED DRAGON.
642
00:38:34,360 --> 00:38:37,797
It's a very small...
Basically, a pretty new camera.
643
00:38:37,880 --> 00:38:41,191
It's only a couple of years on the market
and it's designed for Roel.
644
00:38:41,280 --> 00:38:43,136
It's perfectly small. You
can hide it anywhere.
645
00:38:43,160 --> 00:38:44,355
You can put it in cars.
646
00:38:44,440 --> 00:38:47,160
You can put it in boats.
You can hide it in the tree.
647
00:38:47,240 --> 00:38:51,280
It's not that much hassle to make a good
shot with a very light weight camera.
648
00:38:52,280 --> 00:38:56,069
And the way Roel shoots
is with a lot of cameras.
649
00:38:56,520 --> 00:38:58,557
Most of the time, it's always three.
650
00:38:58,720 --> 00:39:01,315
Sometimes four,
and he'd rather shoot with five.
651
00:39:02,640 --> 00:39:05,758
And it's needed because
he has so much going on on the set
652
00:39:05,840 --> 00:39:08,514
that every camera operator
has something to shoot.
653
00:39:08,640 --> 00:39:13,510
So, what he basically does is, he shoots
the whole movie with the A camera,
654
00:39:13,760 --> 00:39:15,353
that's his decoupage.
655
00:39:15,480 --> 00:39:18,678
And he lets the other
operators do theirjob.
656
00:39:18,760 --> 00:39:23,277
He trusts them, but he knows he shoots the
movie with the first camera he operates.
657
00:39:23,360 --> 00:39:24,999
He can tell the story with that.
658
00:39:25,200 --> 00:39:27,760
All the other cameras
do the extra coverage,
659
00:39:28,160 --> 00:39:33,189
and the extra Roel Reiné flavor
that gives the movie its special flavor.
660
00:39:33,720 --> 00:39:35,552
And it's a very smart way of shooting
661
00:39:35,640 --> 00:39:39,475
'cause you can always tell the story
with his shots
662
00:39:39,640 --> 00:39:43,190
and then the rest is just extra,
which makes it look amazing.
663
00:39:43,280 --> 00:39:47,559
So, it's a very smart way of shooting
and nobody works like that.
664
00:39:47,840 --> 00:39:50,514
Nobody. Nope.
He's the only one on the planet.
665
00:39:51,880 --> 00:39:55,317
Good. Don't tell anybody,
'cause now they're gonna copy it.
666
00:39:58,320 --> 00:39:59,993
So, what was...
667
00:40:00,080 --> 00:40:02,959
It sounds a lot easier than it does.
668
00:40:03,080 --> 00:40:06,835
It needs a lot of discipline,
it needs a lot of love for the job,
669
00:40:07,000 --> 00:40:08,400
and it's pretty demanding.
670
00:40:08,480 --> 00:40:12,713
And it's 12, 13-14 hours a day
and very tough circumstances.
671
00:40:13,240 --> 00:40:17,314
Weather, location, climbing,
diving, jumping, exploding...
672
00:40:17,440 --> 00:40:21,195
Yeah. It's great. It's top sports.
It's Olympic-level.
673
00:40:21,760 --> 00:40:22,910
Great.
674
00:40:23,000 --> 00:40:26,357
Hey, what was your favorite scene
that you remember?
675
00:40:27,960 --> 00:40:32,876
Well, I very much loved the fact that
you gave us an update during lunch
676
00:40:33,000 --> 00:40:36,516
about the helicopter chasing our main hero
to the bridge.
677
00:40:36,600 --> 00:40:38,831
He's on a boat, he's being fired at.
678
00:40:39,080 --> 00:40:42,232
Then the helicopter drops the bad guys
on the top of the bridge
679
00:40:42,360 --> 00:40:46,877
and then they chase him,
there is a big fight scene on the bridge.
680
00:40:47,040 --> 00:40:48,190
And it's my favorite scene.
681
00:40:48,280 --> 00:40:50,749
The way we shot it was amazing.
The day was amazing.
682
00:40:50,880 --> 00:40:54,715
The location was great. And I just
love that scene. It was just great.
683
00:40:54,800 --> 00:40:56,840
Anything we are missing
on the director's commentary
684
00:40:56,880 --> 00:40:58,633
that you wanna talk about?
685
00:40:59,400 --> 00:41:00,834
Well, no, I don't think so.
686
00:41:00,920 --> 00:41:03,640
I think it's great that people
are listening to this.
687
00:41:04,360 --> 00:41:07,751
I think a commentary track of Roel Reiné
is always very interesting.
688
00:41:07,880 --> 00:41:10,554
And we try to hide our Dutch accent
as much as possible,
689
00:41:10,640 --> 00:41:12,376
'cause normally, we would
sound like this...
690
00:41:12,400 --> 00:41:13,436
That sounds stupid.
691
00:41:15,160 --> 00:41:18,198
All right. It's cool, man.
What are you working on right now?
692
00:41:18,640 --> 00:41:23,556
Well, I'm the director of photography of
the Hans Zimmer Live on Tour
693
00:41:23,640 --> 00:41:24,994
through Europe.
694
00:41:25,080 --> 00:41:29,199
He's visiting 32 locations
and it's an amazing repertoire
695
00:41:29,360 --> 00:41:33,877
and he has a 130-people choir and
orchestra, and yeah, it's great.
696
00:41:34,000 --> 00:41:38,074
We're now shooting in Prague.
So, it's great to work with him. Yeah.
697
00:41:38,240 --> 00:41:40,709
Cool, man. All right.
Thanks for popping in.
698
00:41:40,880 --> 00:41:43,760
- I'll speak to you later. Bye.
- Thank you so much, Roel, for having me.
699
00:41:43,800 --> 00:41:45,256
And enjoy the rest of
your commentary track.
700
00:41:45,280 --> 00:41:46,634
All right, man. Thank you.
701
00:41:46,720 --> 00:41:48,598
- Thank you. Bye-bye.
- All right.
702
00:41:50,200 --> 00:41:51,520
So, that was fun.
703
00:41:54,240 --> 00:41:55,435
Tha, listen.
704
00:41:55,600 --> 00:41:58,877
Your life is going to be
a lot safer without me in it. Trust me.
705
00:42:43,960 --> 00:42:45,394
I'll lead them away. Hide!
706
00:43:05,800 --> 00:43:09,350
A lot of these shots are then shot by Rolf.
707
00:43:09,520 --> 00:43:12,638
I hate second units. I
never do second units.
708
00:43:12,720 --> 00:43:14,871
I wanna control everything myself,
709
00:43:15,520 --> 00:43:19,355
but I have, a lot of times,
operators doing shots.
710
00:43:19,960 --> 00:43:23,397
So, this shot for example, and this shot.
711
00:43:23,920 --> 00:43:26,913
Those shots are done by Rolf. This shot...
712
00:43:27,040 --> 00:43:32,195
I leave him then behind
with the stunt guys for a few hours,
713
00:43:32,520 --> 00:43:37,151
and then he will do a few shots,
and then he comes back to the main unit,
714
00:43:37,240 --> 00:43:39,516
and then he will continue shooting with me.
715
00:43:42,360 --> 00:43:45,000
This is the CableCam again with the GH4.
716
00:43:45,080 --> 00:43:47,993
I thought that it was really cool
going through that forest there.
717
00:43:48,920 --> 00:43:53,153
Then, of course, I wanted to do
an epic shot for Rhona Mitra.
718
00:43:54,800 --> 00:43:58,953
So, what happens is that,
when I do action scenes, right,
719
00:43:59,040 --> 00:44:03,353
in the script,
the action scenes are just very simple
720
00:44:03,440 --> 00:44:06,797
and they are just half page
where you see, kind of,
721
00:44:06,880 --> 00:44:09,236
okay, they fight or they have a battle.
722
00:44:09,640 --> 00:44:14,078
But then I step in with the stunt guys
and with special effects guys
723
00:44:14,200 --> 00:44:16,396
and locations and production,
724
00:44:16,520 --> 00:44:20,719
and I basically pitch everybody
action scenes,
725
00:44:21,080 --> 00:44:22,799
and then, they come with some ideas.
726
00:44:22,880 --> 00:44:24,792
So, this whole net flying thing...
727
00:44:26,800 --> 00:44:31,397
I liked it when I saw it in Jurassic Park,
right, many years before.
728
00:44:31,880 --> 00:44:35,874
So, I thought,
"Why not eject a net thing on these bike?"
729
00:44:36,440 --> 00:44:40,957
And for me, the Death Race kind of bikes,
I did the Death Race sequels,
730
00:44:41,240 --> 00:44:44,199
and I wanted to do that kind of thing.
731
00:44:44,280 --> 00:44:47,830
Then Alex Gunn,
he's the special effects supervisor
732
00:44:47,920 --> 00:44:51,550
that also has done a lot of movies of mine,
he made that blast.
733
00:44:51,680 --> 00:44:52,830
Basically what he used,
734
00:44:52,960 --> 00:44:58,115
he uses a gas canister
that is ignited by a little spark
735
00:44:58,400 --> 00:45:01,598
and that is what the explosion does.
736
00:45:01,680 --> 00:45:05,310
So, it's, of course, real fire,
but it's very safe and controllable,
737
00:45:05,400 --> 00:45:07,437
so the actors can be really close to it.
738
00:45:07,520 --> 00:45:11,275
And that was the explosion Rhona Mitra
was walking past.
739
00:45:11,360 --> 00:45:14,319
So, then, I pitched the
stunt coordinator...
740
00:45:15,280 --> 00:45:19,240
I pitched them some ideas of a chase,
of a fight, of...
741
00:45:20,760 --> 00:45:24,231
Okay, the motorcycles are now firing guns,
742
00:45:24,320 --> 00:45:27,996
I wanna put some guns on the motorcycles
and be shooting at him.
743
00:45:28,120 --> 00:45:30,316
So, those are the things I come up with,
744
00:45:30,400 --> 00:45:33,711
and then brief them with the stunt guys
and the art department,
745
00:45:33,800 --> 00:45:35,837
and then, they build the bikes.
746
00:45:35,960 --> 00:45:39,954
And Seng with his team
built then the action scenes,
747
00:45:40,040 --> 00:45:42,919
and I make a little sequence list
with little maps,
748
00:45:43,000 --> 00:45:47,313
and in this sequence list, I basically
describe every beat of an action scene
749
00:45:47,400 --> 00:45:50,393
that we then need to get to shoot.
750
00:45:50,480 --> 00:45:53,996
Because if you script
this scene, for example,
751
00:45:54,080 --> 00:45:57,756
you're gonna have a really big script
with 200-300 pages
752
00:45:57,840 --> 00:46:00,230
and we cannot afford to shoot that.
753
00:46:00,360 --> 00:46:03,831
So, what you do is that,
in the scene it says,
754
00:46:03,960 --> 00:46:06,270
"Okay, Tha fights with
one of the hunters, "
755
00:46:06,360 --> 00:46:09,592
and then in the sequence list,
in the beat sheet,
756
00:46:09,680 --> 00:46:11,353
you then do every beat, you know.
757
00:46:11,440 --> 00:46:13,557
She's coming in. She's fighting him.
758
00:46:13,880 --> 00:46:17,112
And all these kind of things
that you then come up with,
759
00:46:17,200 --> 00:46:19,237
that you cannot script,
but you have to shoot it
760
00:46:19,320 --> 00:46:21,835
because you're making an action movie.
761
00:46:22,000 --> 00:46:24,913
Trouble is, you can never get enough of it.
762
00:46:32,680 --> 00:46:33,856
I don't want anything to do with this.
763
00:46:33,880 --> 00:46:37,999
Seng is really good at
designing these fights with his team.
764
00:46:38,080 --> 00:46:41,039
He has a really good fighting team.
765
00:46:41,120 --> 00:46:44,079
Also, what is different, I think,
than other directors...
766
00:46:44,160 --> 00:46:47,836
Normally, his stunts coordinator
comes in for a few days,
767
00:46:47,920 --> 00:46:49,991
and they do a few days of shooting.
768
00:46:50,080 --> 00:46:51,150
But for me, no.
769
00:46:51,240 --> 00:46:53,357
For all my action movies,
770
00:46:53,440 --> 00:46:57,719
I have a stunt crew and a stunt coordinator
on the shoot everyday
771
00:46:57,800 --> 00:47:00,634
with the whole team of fighters every day,
772
00:47:00,720 --> 00:47:02,996
so I can shoot action every day.
773
00:47:03,080 --> 00:47:05,037
Because action costs time, you know?
774
00:47:05,120 --> 00:47:06,952
When you wanna do a fight like this,
775
00:47:07,040 --> 00:47:10,670
or you wanna do an explosion
like the jeep we exploded,
776
00:47:10,760 --> 00:47:13,673
it costs just a lot of time to set it up,
777
00:47:13,760 --> 00:47:17,310
and in-between takes,
it costs a lot of time to reset it.
778
00:47:17,640 --> 00:47:20,838
And at the moment
when they're resetting for an hour,
779
00:47:20,920 --> 00:47:23,594
I'm gonna go out and shoot other things
780
00:47:23,720 --> 00:47:27,430
while the stunt coordinator
or Alex, the special effects coordinator,
781
00:47:27,520 --> 00:47:30,354
are then setting up the next gag
782
00:47:30,440 --> 00:47:33,797
and I'm shooting dialog
or I'm shooting this little fight here,
783
00:47:33,880 --> 00:47:36,759
while outside, they're planning...
784
00:47:36,840 --> 00:47:38,593
I think, when we were shooting this,
785
00:47:38,720 --> 00:47:42,873
Alex was planning the whole bombs
for the mine field sequence,
786
00:47:43,280 --> 00:47:46,239
so we could do that later in the day
and shoot a little bit of that.
787
00:47:46,360 --> 00:47:50,798
I just hoped that the day might come
that I get to hunt the hunter.
788
00:47:51,120 --> 00:47:52,474
So, that's what this is about.
789
00:47:52,640 --> 00:47:56,270
So, this fight,
the two actors did all by themselves,
790
00:47:56,840 --> 00:47:59,992
no doubles except for this end kick.
791
00:48:00,560 --> 00:48:04,395
And I love this thing in one shot.
There we go.
792
00:48:05,480 --> 00:48:07,153
There we go.
793
00:48:07,680 --> 00:48:11,720
And this stunt girl
really took this kick in her stomach.
794
00:48:12,480 --> 00:48:14,756
There's no tricks involved there.
795
00:48:14,840 --> 00:48:19,153
She just goes through it and Scott
kicks her and she's flying.
796
00:48:22,320 --> 00:48:24,551
That's also kind of Seng's style, you know?
797
00:48:24,640 --> 00:48:26,871
The fight choreographers...
798
00:48:26,960 --> 00:48:29,520
They really fight like it is real.
799
00:48:29,600 --> 00:48:31,990
And I really like that
800
00:48:32,120 --> 00:48:36,000
because you will see it back,
and it feels real and it feels good.
801
00:48:36,080 --> 00:48:40,279
So, this location,
where we shot all this stuff,
802
00:48:40,360 --> 00:48:44,320
I remember scouting this hotel resort
803
00:48:44,480 --> 00:48:46,358
many years before,
804
00:48:46,440 --> 00:48:49,433
and we also shot
some Scorpion scenes there.
805
00:48:49,600 --> 00:48:55,073
And this resort has really nice jungle,
it has a beautiful river,
806
00:48:55,200 --> 00:48:58,955
and the movie,
Deer Hunter was shot on this location,
807
00:48:59,080 --> 00:49:01,754
and they used the river
and used the jungle as well.
808
00:49:01,840 --> 00:49:04,912
And it gives you a very practical set,
809
00:49:05,000 --> 00:49:08,232
because everywhere,
there are roads and parking structures
810
00:49:08,360 --> 00:49:11,637
and you still feel you're in
the middle of the jungle and in the river.
811
00:49:11,760 --> 00:49:14,229
So, we shot here for six days.
812
00:49:14,360 --> 00:49:18,274
We did the whole mine sequence,
a lot of boat chasing,
813
00:49:18,360 --> 00:49:20,192
the jump in the water,
814
00:49:20,280 --> 00:49:24,433
all the underwater water stuff
and it was a perfect place.
815
00:49:24,560 --> 00:49:28,156
And, of course, it's very iconic
to shoot in the same location
816
00:49:28,240 --> 00:49:32,951
as Deer Hunter has done
20, 30, 40 years ago.
817
00:49:33,040 --> 00:49:34,474
So, that's pretty cool.
818
00:49:34,560 --> 00:49:36,950
- What happened?
- I don't know.
819
00:49:37,040 --> 00:49:38,440
The woman.
820
00:49:39,560 --> 00:49:40,755
She did this.
821
00:49:42,120 --> 00:49:44,794
You let a girl do this to your father?
822
00:49:45,480 --> 00:49:46,994
How could you?
823
00:49:49,240 --> 00:49:52,312
Your father spent a small fortune
so you could grow some balls,
824
00:49:52,400 --> 00:49:55,154
and that's exactly what you're gonna do,
right here, right now.
825
00:49:55,240 --> 00:49:56,594
You want to kill these people?
826
00:49:56,720 --> 00:49:58,791
- No, no. I don't want to kill anyone.
- Say it.
827
00:49:58,880 --> 00:49:59,880
Say it.
828
00:49:59,960 --> 00:50:01,679
- I want to kill them.
- Louder.
829
00:50:01,760 --> 00:50:02,910
- I want to kill...
- Louder!
830
00:50:03,000 --> 00:50:05,560
- I want to kill them!
- Like you mean it!
831
00:50:08,760 --> 00:50:12,595
This, of course,
we never hurt any scorpions in this movie.
832
00:50:12,680 --> 00:50:16,117
But the scorpion that we play with,
with the sword is, of course, real.
833
00:50:16,280 --> 00:50:21,435
And that shot is, again, something
that I left behind for Rolf to solve.
834
00:50:22,240 --> 00:50:25,950
Slowly, we are killing hunter for hunter
and hunter.
835
00:50:27,120 --> 00:50:29,760
What was also so nice
about the first Hard Target,
836
00:50:29,880 --> 00:50:34,397
I really like the buildup
and how people were killed
837
00:50:34,760 --> 00:50:37,355
and we wanna pay an homage to that.
838
00:50:37,440 --> 00:50:41,753
So, the reason also to choose
the weapons here, was based on that.
839
00:50:41,840 --> 00:50:46,153
We wanted to do that.
So, this is a real scorpion, of course.
840
00:50:46,240 --> 00:50:49,790
And then, here, in comes the fake one,
when he destroys it.
841
00:50:54,040 --> 00:50:56,953
Trevor Morris has done the score
for this movie
842
00:50:57,040 --> 00:50:58,793
and we have him on the phone.
843
00:50:58,880 --> 00:51:00,394
Good morning, Trevor.
844
00:51:00,920 --> 00:51:03,560
- Good morning, Roel. How are you?
- I'm good.
845
00:51:03,880 --> 00:51:06,031
So, I'm doing this director's commentary,
846
00:51:06,120 --> 00:51:09,192
and I thought it would be fun to
get my key people that we worked with
847
00:51:09,280 --> 00:51:10,555
into the session.
848
00:51:10,640 --> 00:51:12,996
So, I'm so glad that
you're available to talk.
849
00:51:13,120 --> 00:51:16,397
You're my favorite composer of the world.
You know that, right?
850
00:51:17,360 --> 00:51:20,831
And you're my favorite director,
so, I think that's why we fit so good.
851
00:51:20,920 --> 00:51:26,393
So, tell me a little bit about
how you did the score for Hard Target.
852
00:51:26,560 --> 00:51:29,439
What was your process? Your thought?
853
00:51:30,280 --> 00:51:33,512
Well, this is the great thing about
having worked together before.
854
00:51:33,600 --> 00:51:35,432
What's this, our fourth or fifth movie,
855
00:51:35,520 --> 00:51:37,477
- or maybe even more?
- Yeah, more, I think.
856
00:51:37,560 --> 00:51:41,634
We have a shorthand
and we both like big, well-produced music.
857
00:51:41,720 --> 00:51:45,760
So, that already put us into a headspace
of where we're gonna be.
858
00:51:45,840 --> 00:51:50,153
And you like to work fast,
so there's always a time consideration.
859
00:51:50,240 --> 00:51:52,550
We have to get it done
in whatever time we have.
860
00:51:52,640 --> 00:51:55,872
So, for me, the first thing I latched onto
was the Aldrich character.
861
00:51:56,000 --> 00:51:59,710
Because I felt like
he kind of sucks us into his world,
862
00:51:59,800 --> 00:52:03,077
and then we're physically in his world
and trying to get out of his world.
863
00:52:03,160 --> 00:52:05,629
And my first idea was to create a theme,
864
00:52:05,720 --> 00:52:09,396
'cause you and I both love themes
we can revisit throughout the movie.
865
00:52:09,560 --> 00:52:15,113
It's to find a theme for him that had
just this snake charmer kind of feel to it.
866
00:52:15,200 --> 00:52:20,070
Kind of a dark feel that we could just use
whenever he is pulling the strings
867
00:52:20,160 --> 00:52:21,833
- like a puppet master.
- Yes.
868
00:52:21,920 --> 00:52:25,880
So, that was the point of entry, which was,
"Let's get his theme and just put it,
869
00:52:25,960 --> 00:52:28,794
"basically all the way through the movie
and see if it worked."
870
00:52:28,880 --> 00:52:30,394
And, I think, it did.
871
00:52:30,480 --> 00:52:33,279
And that became the backbone
of where we started.
872
00:52:33,360 --> 00:52:34,555
Cool, man.
873
00:52:34,680 --> 00:52:38,310
And then, you used
a lot of electronics on this score, or not?
874
00:52:39,800 --> 00:52:43,510
Yeah, we really approached it
from a modern standpoint.
875
00:52:43,600 --> 00:52:46,069
There is orchestra in there,
but it wasn't the focus.
876
00:52:46,200 --> 00:52:48,874
I would say it's primarily electronic,
877
00:52:48,960 --> 00:52:53,079
and then, of course,
we have the Thailand look and feel.
878
00:52:53,160 --> 00:52:58,360
So, we did some ethnic instruments,
specifically some percussion,
879
00:52:58,440 --> 00:53:03,276
and also this wonderful
two-stringed instrument called the "erhu, "
880
00:53:03,440 --> 00:53:07,229
which is an instrument that's
sort of mimicking the human vocal chords,
881
00:53:07,840 --> 00:53:12,756
and it became part of Wes' character's
love interest theme
882
00:53:13,000 --> 00:53:15,959
and it geographically put us in the place
where you shot it.
883
00:53:16,720 --> 00:53:17,720
Yes.
884
00:53:17,760 --> 00:53:20,480
Hey, and you had a collaborator
on this score.
885
00:53:20,560 --> 00:53:22,950
Can you tell us a little bit about that?
886
00:53:23,040 --> 00:53:26,112
Yeah, I collaborated
with a good friend of mine, Jack Wall.
887
00:53:26,200 --> 00:53:29,079
Jack and I are very good friends
and we collaborate a lot.
888
00:53:29,160 --> 00:53:32,392
And he's one of the top,
all-time video game composers.
889
00:53:32,520 --> 00:53:35,194
He's just been in that business
for a long time.
890
00:53:35,280 --> 00:53:37,920
And he's just at the top of his game,
891
00:53:38,000 --> 00:53:40,640
doing scores like Mass
Effect and Black Ops,
892
00:53:40,720 --> 00:53:42,996
where he records it
with the London Symphony Orchestra
893
00:53:43,080 --> 00:53:44,799
for a week at Abbey Road.
894
00:53:44,920 --> 00:53:46,912
So, he's a big league composer,
895
00:53:47,000 --> 00:53:49,720
but had never done a movie before
and really wanted to.
896
00:53:49,800 --> 00:53:52,076
And I thought
this will be a great chance to collaborate.
897
00:53:52,160 --> 00:53:54,296
And, I think, when you're putting
your temp score together,
898
00:53:54,320 --> 00:53:58,360
where I do the editor, there's always
some of the Black Ops score in there.
899
00:53:58,480 --> 00:54:00,836
It just clicked. It was a great fit.
900
00:54:00,920 --> 00:54:04,709
And it was a good chance for me
to pass on some knowledge to Jack
901
00:54:04,840 --> 00:54:07,833
in terms of the process,
'cause I've done it more than he has.
902
00:54:07,920 --> 00:54:09,752
And creatively, he's just golden.
903
00:54:09,840 --> 00:54:13,038
So, it became this really great energy
between the two of us.
904
00:54:13,160 --> 00:54:17,200
And what ends up happening
when we use timeframes and stuff like that,
905
00:54:17,280 --> 00:54:19,749
is we get to focus a little harder
and a little bit longer
906
00:54:19,840 --> 00:54:21,513
than if you did it all by yourself.
907
00:54:21,600 --> 00:54:23,159
So, I think it was the right choice
908
00:54:23,360 --> 00:54:25,591
and I really appreciate
you being open to the idea,
909
00:54:25,680 --> 00:54:28,400
and I think it ended up
having just a really great score.
910
00:54:28,520 --> 00:54:32,070
Yeah, no. I think it's great.
The score is amazing. Absolutely.
911
00:54:32,160 --> 00:54:34,356
No, I was so happy about it.
912
00:54:34,600 --> 00:54:38,674
Hey, and you have your own studio?
What kind of system do you work on?
913
00:54:38,760 --> 00:54:43,596
Can you tell me a little bit more
technically what you use on scoring movies?
914
00:54:43,680 --> 00:54:47,356
Yeah, my software is Cubase.
That's my music software.
915
00:54:47,480 --> 00:54:49,870
That's where I write
all my mockups, electronics.
916
00:54:50,000 --> 00:54:53,357
And I use all the usual plugs-ins.
And then we mix it into Pro Tools.
917
00:54:53,480 --> 00:54:55,392
And then, as you know, Roel,
918
00:54:55,520 --> 00:54:59,514
I have a pretty state-of-the-art
mixing facility at my LA studio.
919
00:54:59,600 --> 00:55:03,480
I've always looked at mixing music
like the color timing phase
920
00:55:03,560 --> 00:55:05,472
of being a movie maker, like what you do,
921
00:55:05,560 --> 00:55:09,554
is you got the material, it's edited,
there's the movie, but color timing,
922
00:55:09,640 --> 00:55:12,439
you can really make a big difference
to the look of something,
923
00:55:12,520 --> 00:55:14,432
- by saturating the color.
- Yeah, absolutely.
924
00:55:14,520 --> 00:55:16,557
Or desaturating, or whatever.
925
00:55:16,680 --> 00:55:19,593
Music mixing is that same phase for me,
926
00:55:19,680 --> 00:55:24,232
where we get to really open it up in 5. 1
and really get those subwoofers going,
927
00:55:24,320 --> 00:55:26,630
and that cinematic thing that we both love.
928
00:55:26,760 --> 00:55:28,513
So, it starts with me in Cubase
929
00:55:28,600 --> 00:55:31,240
and it ends up going through
my Euphonix console in the mix room.
930
00:55:31,320 --> 00:55:34,711
And then, ultimately, to Pro Tools,
on its way to the dub stage.
931
00:55:34,840 --> 00:55:36,115
Cool, man.
932
00:55:36,400 --> 00:55:39,313
Hey, and are you a big John Woo fan?
933
00:55:39,920 --> 00:55:40,920
Yeah.
934
00:55:40,960 --> 00:55:43,031
Can you tell me
a little bit about the experience
935
00:55:43,120 --> 00:55:45,430
when you first saw his movie, or something?
936
00:55:46,840 --> 00:55:48,069
It's been a while,
937
00:55:48,160 --> 00:55:52,598
but I remember seeing
an interview with him on Face/Off.
938
00:55:52,680 --> 00:55:54,353
- He did Face/Off, right? Yeah.
- Yeah.
939
00:55:54,440 --> 00:55:57,877
Talking about how he...
He reminds me of you a lot, actually, Roel.
940
00:55:58,000 --> 00:56:01,960
He talks about how much he loves
big sound, big music, big sound effects.
941
00:56:03,520 --> 00:56:05,671
He has a thing for doves or birds.
942
00:56:05,760 --> 00:56:09,640
And just his style
that makes his thing unique and...
943
00:56:09,760 --> 00:56:12,594
For these sort of movies,
you wanna be experientially
944
00:56:12,760 --> 00:56:13,876
just all the way in it.
945
00:56:14,000 --> 00:56:17,994
Immersed in the sound and the look
and the action and...
946
00:56:18,120 --> 00:56:20,191
I think you're a great fit
to do this one in a way,
947
00:56:20,280 --> 00:56:23,990
'cause guys have very similar styles, which
is why I like working with you, I think.
948
00:56:24,120 --> 00:56:26,237
Cool, man. Great. All right. Thanks, man.
949
00:56:26,360 --> 00:56:29,273
Thanks for popping in
on such a short notice.
950
00:56:29,360 --> 00:56:32,080
But I like having
all these people on the commentary.
951
00:56:32,240 --> 00:56:33,435
Thanks for doing this.
952
00:56:33,520 --> 00:56:35,216
No, thanks for having me.
No problem at all.
953
00:56:35,240 --> 00:56:36,390
Okay, man. Good luck.
954
00:56:36,480 --> 00:56:38,312
- Speak to you later. Bye.
- Okay, bye.
955
00:56:38,440 --> 00:56:39,794
Well, that was Trevor.
956
00:56:40,640 --> 00:56:41,869
Wait!
957
00:57:01,880 --> 00:57:02,996
Fuck!
958
00:57:04,560 --> 00:57:07,837
God damn it!
Somebody kill this prick!
959
00:57:22,240 --> 00:57:26,029
The burning...
Officially, we were planning a big burn.
960
00:57:26,120 --> 00:57:28,191
A stunt burn with a stunt guy.
961
00:57:28,360 --> 00:57:32,434
When you start shooting a movie
and you only have 20 days,
962
00:57:32,520 --> 00:57:34,273
and there's so much going on,
963
00:57:34,360 --> 00:57:38,832
that you are changing things during
the shoot because you don't have any time.
964
00:57:38,920 --> 00:57:44,200
So, there was no time left to do
a big burning gag with a stunt guy.
965
00:57:44,360 --> 00:57:45,953
So, I said,
966
00:57:46,040 --> 00:57:51,593
"So, why are we notjust putting
a result of burning on the floor?"
967
00:57:51,720 --> 00:57:57,000
So, I suggested to put down a wardrobe,
so we have trousers and a t-shirt.
968
00:57:57,560 --> 00:58:00,075
And inside, we'll put sand.
969
00:58:00,160 --> 00:58:03,039
So, we filled it up with sand,
the t-shirt and the trousers,
970
00:58:03,560 --> 00:58:06,712
and then, on top of it,
Alex Gunn, the special effects guy,
971
00:58:06,800 --> 00:58:09,998
puts some gasoline
or some kind of gasoline thing,
972
00:58:10,080 --> 00:58:11,560
and then we're gonna put it on fire.
973
00:58:11,720 --> 00:58:13,871
So, it looks like a body's on fire.
974
00:58:13,960 --> 00:58:17,670
Because if you wanna use a dummy
to put on fire,
975
00:58:17,760 --> 00:58:20,639
the dummies are made out of
foam and plastic.
976
00:58:20,720 --> 00:58:23,440
And so, you cannot put it on fire.
It will look silly.
977
00:58:23,560 --> 00:58:29,238
But putting sand in the wardrobe
was the easy and the fastest solution.
978
00:58:29,320 --> 00:58:32,950
But was, of course...
I was really happy with the result.
979
00:58:34,440 --> 00:58:37,638
So, now, we are in this real cave.
980
00:58:37,760 --> 00:58:40,753
It was a beautiful cave.
981
00:58:40,880 --> 00:58:43,793
Thailand has a lot of caves
and I shot in many of them.
982
00:58:43,880 --> 00:58:45,872
And this was a night shoot.
983
00:58:46,080 --> 00:58:48,834
Yeah, let's talk a little
bit about the lighting.
984
00:58:48,960 --> 00:58:53,512
So, on all my movies, I
don't use HMI lights.
985
00:58:54,320 --> 00:58:58,712
I don't like the look of it.
I like tungsten lights.
986
00:58:58,800 --> 00:59:02,476
So, I use tungsten for the days,
987
00:59:02,640 --> 00:59:05,519
and I use tungsten for the nights as well.
988
00:59:05,600 --> 00:59:09,435
It gives me a very nice, warm white light.
989
00:59:09,520 --> 00:59:12,718
And especially
when you do the color timing that I do,
990
00:59:12,800 --> 00:59:15,952
a lot of saturation, you
take the colors out.
991
00:59:16,120 --> 00:59:18,954
I put a kind of a look to it,
992
00:59:19,040 --> 00:59:22,431
then this tungsten becomes white
993
00:59:22,520 --> 00:59:26,673
and then, it doesn't take away
the skin color of the actors too much.
994
00:59:26,920 --> 00:59:31,278
But then in the flashlights,
we put in daylight, so that's HMI.
995
00:59:31,360 --> 00:59:34,637
It's LEDs in the flashlights.
996
00:59:34,800 --> 00:59:37,474
And that gives you then now
the nice blue stuff.
997
00:59:37,560 --> 00:59:41,839
So, if I would have shot
that scene at night in HMI,
998
00:59:41,920 --> 00:59:44,389
then the whole jungle would be blue.
999
00:59:44,480 --> 00:59:49,271
But now it's a nice distinguish
between the blue lights in the flashlights
1000
00:59:49,680 --> 00:59:51,512
and the lights themselves.
1001
00:59:54,840 --> 00:59:57,435
This also is all tungsten lighting.
1002
00:59:57,520 --> 01:00:01,912
I try to get as less as possible lighting
in the location,
1003
01:00:02,000 --> 01:00:04,196
and I really like sidelights.
1004
01:00:04,280 --> 01:00:07,512
So, I'm not really
a traditional director of photography
1005
01:00:07,600 --> 01:00:12,470
having a key light and a backlight
and a fill and soft and...
1006
01:00:12,640 --> 01:00:17,317
I don't do that.
I do hard sidelights on eye level
1007
01:00:17,400 --> 01:00:19,710
that gives them a nice glow, you see.
1008
01:00:19,840 --> 01:00:25,199
And then, in the cave, I had china bowls
that you can buy at IKEA.
1009
01:00:25,280 --> 01:00:29,877
You have this little paper bowls
where you put a little bulb in
1010
01:00:29,960 --> 01:00:32,759
and those bulbs are also
tungsten on a dimmer
1011
01:00:32,840 --> 01:00:35,639
and that gives you
a nice little fill from the camera
1012
01:00:35,760 --> 01:00:39,834
and then the hard sidelights
are doing the nice rims on their faces.
1013
01:00:40,000 --> 01:00:43,391
And then, of course,
there's a lot of candles in the background.
1014
01:00:43,680 --> 01:00:45,797
That's what you want, right?
1015
01:00:45,880 --> 01:00:47,314
This is the music...
1016
01:00:47,400 --> 01:00:50,438
I really like this theme
that Trevor composed.
1017
01:00:50,560 --> 01:00:54,315
And you hear the violin
that Trevor was talking about.
1018
01:01:01,440 --> 01:01:03,079
Good night, Tha.
1019
01:01:06,600 --> 01:01:09,672
And that was
a very famous traditional instrument.
1020
01:01:09,760 --> 01:01:12,639
A violin composer came in to do that.
1021
01:01:12,720 --> 01:01:14,712
What is this? Fucking summer camp?
1022
01:01:18,520 --> 01:01:23,072
So, Aldrich, how'd you get into
this business, if you don't mind me asking?
1023
01:01:24,280 --> 01:01:29,275
CIA didn't have
much appreciation for my talents.
1024
01:01:29,360 --> 01:01:32,319
Said I was too theatrical.
1025
01:01:32,760 --> 01:01:34,638
Can you believe that?
1026
01:01:35,680 --> 01:01:38,240
So, I came up with my own business.
1027
01:01:38,560 --> 01:01:41,758
We cut the movie in Los Angeles.
1028
01:01:41,880 --> 01:01:45,271
Radu lon, he's my regular editor.
1029
01:01:45,440 --> 01:01:49,354
We cut, I think, in 12 weeks, the movie.
1030
01:01:49,440 --> 01:01:54,231
He does first, an edit assembly,
and then I come and do a director's cut.
1031
01:01:54,320 --> 01:01:57,233
But this time, we were kind of bummed out
1032
01:01:57,320 --> 01:02:02,952
because I was doing an episode
of Black Sails in Cape Town.
1033
01:02:03,040 --> 01:02:07,239
So, after I delivered my director's cut,
I had to go there,
1034
01:02:07,320 --> 01:02:10,313
and prep and shoot Black Sails.
1035
01:02:10,960 --> 01:02:15,432
And then, through Skype and on the phone
and with little QuickTimes,
1036
01:02:15,520 --> 01:02:20,470
I was watching the producer's cut
or the studio cut evolving
1037
01:02:20,560 --> 01:02:22,552
and gave notes and...
1038
01:02:22,640 --> 01:02:26,714
So, I was a little bit remote,
but I didn't like the process of that.
1039
01:02:26,840 --> 01:02:28,832
And then, when I was done with the episode,
1040
01:02:29,000 --> 01:02:34,519
I came back to supervise
or direct the audio recordings and ADR.
1041
01:02:34,840 --> 01:02:37,309
And that's how it goes, you know?
1042
01:02:37,440 --> 01:02:40,751
So, as a director
for these kind of studio movies,
1043
01:02:40,840 --> 01:02:43,594
the script will be developed by the studio.
1044
01:02:43,680 --> 01:02:47,390
I will be part of that,
in the development process.
1045
01:02:47,520 --> 01:02:50,513
I do notes or I do
sessions with the writers.
1046
01:02:50,600 --> 01:02:52,319
And then, you get a budget,
1047
01:02:52,400 --> 01:02:56,314
what is kind of the budget that
the studio decides to make this movie for.
1048
01:02:56,840 --> 01:02:58,976
In this regard,
it was four and a half million dollars.
1049
01:02:59,000 --> 01:03:02,550
And then,
I always suggested to shoot in Thailand.
1050
01:03:02,680 --> 01:03:06,117
So, then,
I went to Thailand with an executive.
1051
01:03:06,200 --> 01:03:09,716
His name is George Engel.
And he's a really great guy from Universal.
1052
01:03:10,320 --> 01:03:15,031
And you go to Thailand,
you then scout locations,
1053
01:03:15,240 --> 01:03:16,879
you meet the crew.
1054
01:03:16,960 --> 01:03:18,792
For me, of course, shooting in Thailand,
1055
01:03:18,880 --> 01:03:22,351
it was like I already knew the crew
that I wanted to hire.
1056
01:03:22,440 --> 01:03:26,036
And Chris, the producer,
the local producer in Thailand,
1057
01:03:26,120 --> 01:03:28,635
he locked down this crew.
1058
01:03:28,720 --> 01:03:32,873
But then, during the scouts, you
basically see the locations that I like,
1059
01:03:32,960 --> 01:03:35,475
and I pick the locations
that I want to shoot at,
1060
01:03:35,560 --> 01:03:38,632
and then,
you basically start designing the movie.
1061
01:03:38,720 --> 01:03:41,713
By choosing locations,
you're designing the look,
1062
01:03:41,800 --> 01:03:43,996
you're designing also the story.
1063
01:03:44,080 --> 01:03:48,040
And you're designing, of course,
the action, and what will happen.
1064
01:03:48,200 --> 01:03:50,271
For example, the elephant scene.
1065
01:03:50,880 --> 01:03:54,191
There were different
variations of this idea.
1066
01:03:54,280 --> 01:03:58,479
I think, in the original script,
there was a snake.
1067
01:03:58,600 --> 01:04:02,640
He fell in water,
and then a big snake would attack him.
1068
01:04:02,800 --> 01:04:06,111
But I thought that doing a snake,
we've seen it before.
1069
01:04:06,240 --> 01:04:08,960
And also, doing a fake
snake will look fake,
1070
01:04:09,920 --> 01:04:11,832
and doing a CG...
1071
01:04:11,920 --> 01:04:14,389
This is, by the way,
one of my drone shots again.
1072
01:04:14,480 --> 01:04:16,551
I really like to pull out to the clouds.
1073
01:04:16,640 --> 01:04:21,351
This drone goes, like,
one and a half kilometer far away.
1074
01:04:21,440 --> 01:04:26,037
And, of course, anywhere in the world,
you need to have a permit to fly.
1075
01:04:27,000 --> 01:04:31,313
Because, especially at those kind of
distances, it's very dangerous, of course.
1076
01:04:31,440 --> 01:04:35,832
In America itself,
you cannot fly higher than 400 feet,
1077
01:04:35,960 --> 01:04:38,555
but in Thailand, we had to get permission.
1078
01:04:38,680 --> 01:04:41,991
So, the production
did this at the government...
1079
01:04:42,080 --> 01:04:44,037
They sent us these permission forms,
1080
01:04:44,120 --> 01:04:48,478
and I was the first drone operator
getting a permit
1081
01:04:49,120 --> 01:04:52,431
for flying and shooting movies with drones.
1082
01:04:52,520 --> 01:04:55,479
So, an official permit,
and I still have it.
1083
01:04:55,600 --> 01:04:59,992
I put it in a little thing to put up on
the wall, because it was very unique.
1084
01:05:00,080 --> 01:05:04,438
At that time, nobody had a permit yet
to shoot officially with drones.
1085
01:05:04,520 --> 01:05:10,232
So, that shot to the clouds,
the drone is one and a half kilometer up.
1086
01:05:10,640 --> 01:05:15,431
And then, on the monitor on the remote,
you can see the shot and operate the shot.
1087
01:05:15,520 --> 01:05:16,920
I do it myself.
1088
01:05:17,000 --> 01:05:19,071
A lot of drones, they have two operators,
1089
01:05:19,160 --> 01:05:22,517
but I like to do it with only me,
with one operator.
1090
01:05:22,960 --> 01:05:27,113
And, especially, these DJI drones,
they're so easy to fly.
1091
01:05:27,200 --> 01:05:31,672
And if you understand shots,
you can pull off these shots easily.
1092
01:05:33,360 --> 01:05:35,829
So, I was
talking about the whole setup, right?
1093
01:05:36,000 --> 01:05:37,593
Then I choose the locations...
1094
01:05:37,680 --> 01:05:41,594
The design, the action,
are all based on these locations.
1095
01:05:41,680 --> 01:05:44,673
And then, I went back to LA,
talked with the writer,
1096
01:05:44,840 --> 01:05:47,560
and threw in my ideas to the writers.
1097
01:05:47,640 --> 01:05:51,839
So, we found these railroad bridges,
and we found the cave.
1098
01:05:51,920 --> 01:05:53,434
And then, instead of the snake,
1099
01:05:53,520 --> 01:05:58,754
I thought, "Okay, let's do
this introduction with Tha with elephants."
1100
01:05:58,880 --> 01:06:01,714
Because elephants are
always beautiful creatures,
1101
01:06:01,800 --> 01:06:03,712
and there are a lot of them in Thailand.
1102
01:06:03,880 --> 01:06:07,396
So, they are easier to get.
So, we got the elephants there.
1103
01:06:07,880 --> 01:06:11,157
So, then,
this design will go into the screenplay,
1104
01:06:11,240 --> 01:06:13,118
there will come another draft.
1105
01:06:13,200 --> 01:06:18,559
And then, the production will start
six weeks before the first day of shooting
1106
01:06:18,640 --> 01:06:22,270
with producing the movie,
organizing everything.
1107
01:06:22,440 --> 01:06:25,672
And I normally start
four weeks before shooting.
1108
01:06:25,760 --> 01:06:28,400
This time, I think,
I started five weeks before shooting.
1109
01:06:28,560 --> 01:06:29,789
I flew then to Australia.
1110
01:06:31,440 --> 01:06:34,558
At the time, we already did some reading,
1111
01:06:34,640 --> 01:06:37,314
so, I could look at videos
of actors in Australia.
1112
01:06:37,680 --> 01:06:39,990
And then, I picked the choices,
1113
01:06:40,120 --> 01:06:43,352
the guys or the girls
that I thought were interesting.
1114
01:06:43,440 --> 01:06:46,160
And then, I was in Sydney for three days.
1115
01:06:46,240 --> 01:06:49,233
And then during those three days,
I do casting sessions,
1116
01:06:49,320 --> 01:06:52,119
do call-backs of the actors that I liked.
1117
01:06:52,200 --> 01:06:56,160
And then, take a look at them, rehearse
with them, do the scenes with them,
1118
01:06:56,280 --> 01:06:58,795
talk a little bit with
them, have a feeling.
1119
01:06:58,920 --> 01:07:03,233
And then basically,
I do my number one and number two options,
1120
01:07:03,320 --> 01:07:05,880
choices of these sessions.
1121
01:07:06,000 --> 01:07:08,959
And then, these choices go to the studio.
1122
01:07:09,120 --> 01:07:12,113
And then, they say,
"Yay or nay" on my choices.
1123
01:07:12,200 --> 01:07:17,320
And, a lot of times, we are completely
in agreement in who we will cast.
1124
01:07:17,720 --> 01:07:20,394
That is for all the smaller parts.
1125
01:07:20,520 --> 01:07:24,150
Scott, of course, was
in from very early on.
1126
01:07:24,640 --> 01:07:27,838
And Robert Knepper was in very early on.
1127
01:07:27,920 --> 01:07:31,675
And Temuera,
I really wanted to bring to Australia
1128
01:07:31,800 --> 01:07:33,473
from really early on.
1129
01:07:33,600 --> 01:07:35,557
And Rhona Mitra as well.
1130
01:07:35,680 --> 01:07:39,310
So, those are the four actors
that I decided on out from LA.
1131
01:07:39,440 --> 01:07:44,310
And then, all the other actors,
I cast in Australia or in Thailand.
1132
01:07:44,400 --> 01:07:48,076
Because after those three days in Sydney,
I flew to Bangkok.
1133
01:07:48,160 --> 01:07:51,710
And then, we were
four weeks out for principle photography.
1134
01:07:51,800 --> 01:07:54,952
And then, I start first with casting,
1135
01:07:55,040 --> 01:08:00,832
seeing actors in Thailand that I like,
doing call-backs and doing sessions.
1136
01:08:01,400 --> 01:08:04,199
And then you start going scouting again,
1137
01:08:04,280 --> 01:08:08,240
because then, you need to finalize the sets
1138
01:08:08,320 --> 01:08:10,152
and what we're going to do there.
1139
01:08:10,240 --> 01:08:14,154
At that time, art department is
already building the props et cetera.
1140
01:08:14,280 --> 01:08:17,671
I have daily meetings with
the stunt coordinators
1141
01:08:17,840 --> 01:08:21,356
and the special effects coordinators
to figure out the stunts and the action.
1142
01:08:21,480 --> 01:08:23,392
Then I do some more scouting.
1143
01:08:23,520 --> 01:08:25,751
And then you start to do tech-recces.
1144
01:08:25,840 --> 01:08:27,877
Tech-recces are, basically,
you go to the location
1145
01:08:27,960 --> 01:08:32,034
with all the technical crew and I
talk them through what we're gonna do.
1146
01:08:32,120 --> 01:08:35,113
And I'm very specific in those meetings.
1147
01:08:35,200 --> 01:08:38,272
I'm not somebody
who does any storyboards.
1148
01:08:38,360 --> 01:08:39,874
I'm not doing shotlists.
1149
01:08:40,040 --> 01:08:43,511
But what I will do is
that I dream my movies.
1150
01:08:43,680 --> 01:08:45,990
So, on every location,
1151
01:08:46,080 --> 01:08:49,357
I know exactly
where this crane movement will be,
1152
01:08:49,520 --> 01:08:54,879
where the actors will be coming from,
how we stage a fight or stage a scene.
1153
01:08:55,000 --> 01:08:59,040
And then, during the tech-recces,
I tell everybody how I'm going to do it.
1154
01:08:59,120 --> 01:09:04,070
And so, they know
how to clean out this little jungle here,
1155
01:09:04,240 --> 01:09:07,597
or they know
where to put all the service trucks.
1156
01:09:07,760 --> 01:09:11,595
Because I know very specifically,
what I'm going to shoot on the day.
1157
01:09:11,720 --> 01:09:14,792
I even tell them already
where the dolly track will be,
1158
01:09:14,920 --> 01:09:18,630
or where the crane will be built,
and which lenses we are using.
1159
01:09:18,800 --> 01:09:21,838
And, 90% of what I tell them
during the tech-recce
1160
01:09:21,920 --> 01:09:25,675
is also actually what we shoot
on the location on the day.
1161
01:09:26,280 --> 01:09:28,158
Meet me at the river.
1162
01:09:36,920 --> 01:09:38,673
I will never tell you.
1163
01:09:49,320 --> 01:09:50,879
I think you will.
1164
01:09:58,600 --> 01:10:04,278
So, this fight was choreographed
by Seng and his crew and his team.
1165
01:10:04,840 --> 01:10:06,479
Pretty well done.
1166
01:10:06,800 --> 01:10:09,759
Officially, this stunt
was a little bit longer.
1167
01:10:09,880 --> 01:10:13,157
And in the deleted scenes on the Blu-ray,
1168
01:10:13,240 --> 01:10:18,554
you can see a little bit longer, this scene,
and what happens with the girl fight.
1169
01:10:18,680 --> 01:10:23,914
And also, this, I like a lot.
I like fights where the guns go off.
1170
01:10:24,080 --> 01:10:27,710
And then, of course,
we have a little John Woo moment here.
1171
01:10:27,920 --> 01:10:31,197
Nice and close. There we go.
And the two guns, of course, there.
1172
01:10:33,120 --> 01:10:35,112
The girl fight, right?
1173
01:10:35,240 --> 01:10:37,152
So, officially, the girl fight ended
1174
01:10:37,280 --> 01:10:40,990
with them rolling down the hill
and then she would break her neck.
1175
01:10:41,320 --> 01:10:43,915
But this stunt, which is a real stunt,
1176
01:10:44,000 --> 01:10:47,835
which is very dangerous, was so nasty,
1177
01:10:48,000 --> 01:10:52,836
and such a beautiful gag, that we decided,
"Okay, let's kill her there."
1178
01:10:52,960 --> 01:10:56,112
And that is something
you decide in the editing.
1179
01:10:56,240 --> 01:10:58,880
So, with CG, it would do
a little bit help here.
1180
01:10:58,960 --> 01:11:03,830
So, it's all CG blocked there,
because that was a different planning.
1181
01:11:10,680 --> 01:11:13,752
This is a very nice moment
when the shell hits him.
1182
01:11:14,400 --> 01:11:17,791
Of course, that is all CG,
because, so at close range.
1183
01:11:18,200 --> 01:11:21,193
This jump, right?
So, Scott is doing this jump himself.
1184
01:11:21,320 --> 01:11:23,676
On the bridge, he's jumping on a mattress.
1185
01:11:23,880 --> 01:11:26,600
And then, this is back at that resort
1186
01:11:26,680 --> 01:11:31,197
at the river for Deer Hunter,
where Scottjumps into the river himself.
1187
01:11:31,680 --> 01:11:34,957
And because
this river is the same river as the bridge,
1188
01:11:35,040 --> 01:11:37,953
but it's only like 100
kilometers further up,
1189
01:11:38,040 --> 01:11:41,238
where we shot the jumping in the water.
1190
01:11:43,920 --> 01:11:47,391
So, then in the fight,
in editing, we decided
1191
01:11:47,480 --> 01:11:51,269
that it's much cooler and much stronger
to end that fight
1192
01:11:51,360 --> 01:11:56,037
with her being knocked down
in between the two carriages of the train.
1193
01:11:56,200 --> 01:11:58,760
And so, that's what you end up with.
1194
01:12:02,000 --> 01:12:05,630
So, these are
the stunt-doubles floating around.
1195
01:12:05,720 --> 01:12:08,838
And, of course,
Temuera seeing the dead body.
1196
01:12:09,040 --> 01:12:11,157
And that's, of course, not good,
1197
01:12:11,960 --> 01:12:13,235
killing the hunters.
1198
01:12:14,200 --> 01:12:17,238
Also, the fight where we did the train on,
1199
01:12:17,360 --> 01:12:20,910
that was in that same resort
of The Deer Hunter resort.
1200
01:12:21,080 --> 01:12:26,519
So, the bridge that you see here
is really the bridge of River Kwai.
1201
01:12:26,600 --> 01:12:32,358
You know, the famous bridge that was
built during the Second World War by Japan,
1202
01:12:32,520 --> 01:12:37,276
and by a lot of prisoners,
of course, war prisoners.
1203
01:12:37,440 --> 01:12:39,591
They built this bridge,
and we shot on this bridge.
1204
01:12:39,720 --> 01:12:42,280
It's now a very famous tourist attraction.
1205
01:12:42,360 --> 01:12:48,038
And also, the next scene
where they're gonna be at a military place
1206
01:12:48,120 --> 01:12:52,114
is also at one of the bridges
of the River Kwai.
1207
01:12:52,240 --> 01:12:56,234
It's the same railroad
and the same history on the bridge.
1208
01:12:56,320 --> 01:12:57,320
Found Sofia.
1209
01:13:02,280 --> 01:13:03,475
Fuck.
1210
01:13:04,280 --> 01:13:06,954
At least we know where they're going.
1211
01:13:07,640 --> 01:13:12,920
I kind of like this shot where we pull out,
and we see all four of them standing there.
1212
01:13:13,040 --> 01:13:15,032
I think it's really cool.
1213
01:13:19,320 --> 01:13:22,597
So, for those kind of shots,
I used sliders a lot
1214
01:13:22,680 --> 01:13:24,433
because not on all locations
1215
01:13:24,520 --> 01:13:28,355
you can get quickly, of course,
a GoPro camera.
1216
01:13:28,800 --> 01:13:32,840
But on all locations,
you cannot put in track...
1217
01:13:33,560 --> 01:13:35,040
And you saw that.
1218
01:13:35,160 --> 01:13:39,074
By the way, that was a visual effect,
putting that shot in there.
1219
01:13:39,240 --> 01:13:42,517
I really like
what the visual effects guys have done
1220
01:13:42,600 --> 01:13:44,990
because you see the
reflection in the water.
1221
01:13:45,120 --> 01:13:47,476
But we put it there in post.
1222
01:13:48,360 --> 01:13:51,000
When I save your ass, you rob me blind?
1223
01:13:53,520 --> 01:13:56,752
So, for this talk, there
was a big, long dialog,
1224
01:13:56,880 --> 01:13:59,839
that was kind of not very interesting.
1225
01:14:00,000 --> 01:14:04,153
So, I thought, "Okay, what about
doing this dialog on the river,
1226
01:14:04,240 --> 01:14:06,994
"floating on this little tree-thing?"
1227
01:14:07,160 --> 01:14:09,436
So, that was kind of the plan,
1228
01:14:09,520 --> 01:14:13,355
and that was, I think,
the stupidest plan I had on this movie.
1229
01:14:13,480 --> 01:14:16,314
Because I was planning
to have them float in the river,
1230
01:14:16,400 --> 01:14:18,995
and they were talking
and then with the boat
1231
01:14:19,080 --> 01:14:21,879
we would follow it
and have the dialog like that.
1232
01:14:22,040 --> 01:14:25,556
But after a half hour of fooling around
with this floating thing,
1233
01:14:25,640 --> 01:14:27,199
like, floating like this...
1234
01:14:27,320 --> 01:14:29,630
This of course, again, is my drone.
1235
01:14:29,760 --> 01:14:31,991
Floating like that did not work at all.
1236
01:14:32,080 --> 01:14:34,720
Because when you're on water,
1237
01:14:34,840 --> 01:14:37,958
and especially, a river
that is really floating,
1238
01:14:38,160 --> 01:14:40,800
there's no more control in the angle
1239
01:14:40,880 --> 01:14:43,554
or the distance you can
have with the camera
1240
01:14:43,720 --> 01:14:46,155
with your subject, with the actors.
1241
01:14:46,280 --> 01:14:51,833
So, we ended up putting this tree
very close to the shore.
1242
01:14:51,920 --> 01:14:54,833
Basically, here at this beach,
where we shot this scene,
1243
01:14:55,080 --> 01:14:59,074
we basically put the tree trunk
just a meter out of the shore
1244
01:14:59,160 --> 01:15:03,552
so I could stand
with the cameras on tripods, in the water.
1245
01:15:03,680 --> 01:15:07,833
And they were floating... Basically,
with their knees, they were on the sand,
1246
01:15:07,920 --> 01:15:10,071
the actors, and they were hanging there.
1247
01:15:10,320 --> 01:15:13,472
And because the river water
is moving in the background,
1248
01:15:13,920 --> 01:15:17,755
you feel,
you believe that they are floating around.
1249
01:15:17,920 --> 01:15:20,879
But they basically
were standing still, hanging still,
1250
01:15:21,040 --> 01:15:24,158
and then with really tight shots,
we could make it work.
1251
01:15:26,360 --> 01:15:30,877
This sandbank is at the same resort,
that had so many locations,
1252
01:15:31,000 --> 01:15:33,231
The Deer Hunter resort.
1253
01:15:33,320 --> 01:15:37,837
It was a little beach area
where we could shoot this scene.
1254
01:15:38,000 --> 01:15:42,313
And when we're gonna pull out
after we kill his character,
1255
01:15:42,440 --> 01:15:44,113
I'm doing this drone shot again.
1256
01:15:44,200 --> 01:15:48,353
And then basically, in this drone shot,
you see the resort in the background,
1257
01:15:48,520 --> 01:15:49,715
and the river.
1258
01:15:49,800 --> 01:15:54,352
But of course, we could not put the resort
in the movie there.
1259
01:15:55,400 --> 01:15:57,869
It's binding.
1260
01:15:59,480 --> 01:16:00,800
And actionable.
1261
01:16:02,840 --> 01:16:06,754
This is, by the way, CG blood.
I didn't want to spend time.
1262
01:16:06,840 --> 01:16:10,356
Even the blood
coming from the blade on the shirt,
1263
01:16:10,480 --> 01:16:12,472
all CG blood.
1264
01:16:12,640 --> 01:16:15,200
I could not spend time
on doing a prosthetic here.
1265
01:16:15,320 --> 01:16:18,552
It was just too time-consuming
and too expensive.
1266
01:16:18,640 --> 01:16:21,519
So, we solved this with CG.
1267
01:16:22,240 --> 01:16:26,439
By the way, I wanted to have
this prop, this GPS tracker.
1268
01:16:26,560 --> 01:16:28,597
I asked the prop master.
1269
01:16:28,680 --> 01:16:31,195
He's a really cool Thai guy,
who came with all these props.
1270
01:16:31,680 --> 01:16:36,516
I asked him to build me a GPS device
that was different.
1271
01:16:36,680 --> 01:16:39,514
And also, in the future...
1272
01:16:39,640 --> 01:16:44,112
I read this article about screens,
LED TV screens
1273
01:16:44,240 --> 01:16:47,790
that are bendable,
that you can bend like paper.
1274
01:16:49,000 --> 01:16:50,832
So, I told him about it.
1275
01:16:50,960 --> 01:16:53,316
I said, "Okay, let's make a GPS tracker
1276
01:16:53,400 --> 01:16:57,030
"that the screen is bendable,
so it flips open...
1277
01:16:57,120 --> 01:16:58,998
"And the screen is bent,
1278
01:16:59,080 --> 01:17:03,040
"and we'll put it in with CG,
so we have a unique prop."
1279
01:17:03,280 --> 01:17:04,839
So, he was like, "Cool!"
1280
01:17:04,920 --> 01:17:08,550
And so, he built this little plastic device
that could click open.
1281
01:17:08,640 --> 01:17:11,360
So, that is the GPS tracker that you see.
1282
01:17:11,480 --> 01:17:15,269
So, it's a non-existing, futuristic thing.
1283
01:17:16,680 --> 01:17:18,399
Call in the cleanup crew.
1284
01:17:18,640 --> 01:17:21,075
- You think we need them?
- Call them!
1285
01:17:31,360 --> 01:17:33,875
So, in this pull out
that we're gonna see now,
1286
01:17:34,000 --> 01:17:35,400
the resort is in the back.
1287
01:17:35,480 --> 01:17:38,279
But, of course,
we cannot see a resort at this stage.
1288
01:17:39,560 --> 01:17:43,190
So, the CG guys take out
the resort buildings and the resort,
1289
01:17:43,280 --> 01:17:45,476
and also
crew members who were in this shot.
1290
01:17:45,560 --> 01:17:48,280
Me, for example, operating the shot.
1291
01:17:48,840 --> 01:17:53,198
But this is what the river looks like
and how the land looks around that resort.
1292
01:17:53,320 --> 01:17:55,312
It's really pretty.
1293
01:17:56,760 --> 01:17:59,832
So, then we come again to the bridge.
1294
01:18:00,320 --> 01:18:04,394
And this is also the
bridge of the River Kwai.
1295
01:18:04,520 --> 01:18:08,196
It's a little bit further up
on the same railroad track.
1296
01:18:08,280 --> 01:18:11,956
The big problem with this location was,
there's so many tourists.
1297
01:18:12,120 --> 01:18:14,874
So, I am now looking
away from the tourists.
1298
01:18:15,000 --> 01:18:16,514
But if you look back,
1299
01:18:16,600 --> 01:18:20,196
there will be thousands of tourists
watching us filming,
1300
01:18:20,280 --> 01:18:22,511
and there are restaurants and terraces
1301
01:18:22,600 --> 01:18:25,832
where people are sitting down,
watching us work.
1302
01:18:25,920 --> 01:18:28,515
And they all come to this bridge,
to walk on to the bridge,
1303
01:18:28,680 --> 01:18:31,275
because it's a really big tourist place.
1304
01:18:33,080 --> 01:18:37,279
So, we had to keep them
off the property and off the bridge.
1305
01:18:37,400 --> 01:18:41,155
It was a very tough location to shoot.
But it's really beautiful.
1306
01:18:42,680 --> 01:18:46,799
You see there, that's the bendable GPS.
1307
01:18:47,120 --> 01:18:51,990
And then CG designs
the digital things that were on the screen
1308
01:18:52,160 --> 01:18:55,039
because the screen was just black
with some tracking marks on it.
1309
01:18:55,160 --> 01:18:56,799
But I like that you close it.
1310
01:18:56,880 --> 01:19:00,430
He closed now on one side,
and then he closed the other side.
1311
01:19:00,600 --> 01:19:03,240
Anyway, so, on one side of this bridge,
1312
01:19:03,920 --> 01:19:07,800
there's big tourist boats,
and restaurant boats,
1313
01:19:07,880 --> 01:19:09,951
and there was a market square.
1314
01:19:10,080 --> 01:19:13,073
And on the other side,
there's a temple on one side,
1315
01:19:13,160 --> 01:19:15,117
and then the other side was empty.
1316
01:19:15,200 --> 01:19:19,877
So, we asked the art department to put
there, a little bit of a military camp.
1317
01:19:20,520 --> 01:19:24,400
So, they brought in all the props
and dressed it in,
1318
01:19:24,480 --> 01:19:26,551
and the result was, I think, amazing.
1319
01:19:31,120 --> 01:19:33,191
GPS says he's around here somewhere.
1320
01:19:34,800 --> 01:19:40,159
And then we would do this explosion
when he was sailing away.
1321
01:19:41,080 --> 01:19:43,072
You two get to the border.
1322
01:19:46,760 --> 01:19:48,240
You make him pay.
1323
01:19:48,320 --> 01:19:49,879
Why would you do this for us?
1324
01:19:53,520 --> 01:19:57,196
The funny thing is, is that when I
lived in Holland, in Amsterdam,
1325
01:19:57,320 --> 01:20:01,633
I had a speedboat
in the canals in Amsterdam.
1326
01:20:02,520 --> 01:20:07,515
And sailing a speedboat
in the canals in Amsterdam is really tough,
1327
01:20:07,600 --> 01:20:11,389
because it's very busy in the canals,
it's very narrow.
1328
01:20:11,560 --> 01:20:15,634
So, you really learn how
to sail a speedboat.
1329
01:20:15,720 --> 01:20:20,192
My first speedboat in
Holland, looked a lot...
1330
01:20:20,280 --> 01:20:23,910
It was almost
the same speedboat as we are using
1331
01:20:24,000 --> 01:20:25,354
that Scott is now stealing.
1332
01:20:26,720 --> 01:20:28,313
So, when we were shooting,
1333
01:20:28,400 --> 01:20:30,756
I'm so good at sailing these things
1334
01:20:30,880 --> 01:20:34,430
that I suggested,
"Okay, let me do the sailing."
1335
01:20:34,640 --> 01:20:39,112
And then I'll have Rolf
operating the camera.
1336
01:20:40,600 --> 01:20:44,435
So, this is that speedboat. It looks
exactly like the one I had in Holland.
1337
01:20:44,520 --> 01:20:48,355
And then we had a camera boat,
what is kind of similar.
1338
01:20:48,480 --> 01:20:50,631
And then, I was steering the boat,
1339
01:20:50,720 --> 01:20:54,236
and then Rolf was on the front,
operating the shots,
1340
01:20:54,320 --> 01:20:59,031
because basically, when you shoot on boats
or you shoot from helicopters,
1341
01:20:59,120 --> 01:21:02,750
the one piloting the boat
or piloting the helicopter
1342
01:21:02,840 --> 01:21:05,071
is basically operating the shot.
1343
01:21:05,160 --> 01:21:09,154
Because as a camera person,
you are fixed on this boat,
1344
01:21:09,440 --> 01:21:13,275
and you can only pan left or right,
or tilt up, or zoom in.
1345
01:21:13,440 --> 01:21:15,671
But you cannot really move, you know.
1346
01:21:15,760 --> 01:21:18,116
The moving has to be done
by the object itself.
1347
01:21:19,760 --> 01:21:21,194
So, for all these shots,
1348
01:21:21,280 --> 01:21:24,671
I operated the boat,
and Rolf was operating the camera,
1349
01:21:24,760 --> 01:21:26,911
and then we could do this perfect timing.
1350
01:21:27,000 --> 01:21:30,038
So, example,
this shot what's coming up right now,
1351
01:21:30,160 --> 01:21:33,312
it's me, operating this
boat, with the camera,
1352
01:21:33,400 --> 01:21:34,600
and Scott operating that boat,
1353
01:21:34,920 --> 01:21:38,880
and having a nice, almost close,
touching each other, here as well.
1354
01:21:39,640 --> 01:21:43,793
And so, Scott was sailing himself,
and I was sailing...
1355
01:21:44,000 --> 01:21:46,071
And that was such a blast to do.
1356
01:21:46,600 --> 01:21:48,910
Because you can
really nicely time these shots.
1357
01:21:49,440 --> 01:21:52,797
And being with Scott on the water,
of course, was a lot of fun.
1358
01:21:56,080 --> 01:22:00,677
So, then, because of the schedule,
it was very difficult to schedule in...
1359
01:22:01,840 --> 01:22:06,995
Also, these shots are all operated
from this camera boat kind of thing.
1360
01:22:09,360 --> 01:22:14,276
So then, we are back to the
drone, of course, with the chase.
1361
01:22:14,360 --> 01:22:15,919
This is all the drone.
1362
01:22:16,000 --> 01:22:18,595
And these drones are really fast,
as you can see.
1363
01:22:18,680 --> 01:22:22,037
These things fly, I think,
at 30 kilometers an hour or something.
1364
01:22:23,120 --> 01:22:25,680
I see you, yes. I'm coming for you.
1365
01:22:26,160 --> 01:22:28,755
This fight, what we did,
1366
01:22:28,880 --> 01:22:32,760
this angle, on this side,
we shot at the resort
1367
01:22:33,280 --> 01:22:36,318
because of the schedule issues we had.
1368
01:22:36,400 --> 01:22:37,856
But we could see the resort on this side.
1369
01:22:37,880 --> 01:22:42,591
So, the reverse,
we shot on the real bridge location.
1370
01:22:43,120 --> 01:22:46,192
So, we had to split up this scene,
which made it very complicated,
1371
01:22:46,320 --> 01:22:51,600
between this angle that's somewhere else
and this angle that's also somewhere else.
1372
01:22:51,720 --> 01:22:55,555
And then the fight, of course,
was so much fun to do.
1373
01:22:59,160 --> 01:23:00,196
Win!
1374
01:23:01,920 --> 01:23:04,992
When I was designing
the ending of the movie,
1375
01:23:05,080 --> 01:23:09,074
I always wanted to end the movie in a city
1376
01:23:10,080 --> 01:23:13,152
so you felt, like, a city building...
1377
01:23:13,240 --> 01:23:17,917
This, by the way, when you see this
little dialog bit here in the helicopter,
1378
01:23:18,000 --> 01:23:22,756
the helicopterjust stands still on the ground,
and I'm shaking the camera a little bit.
1379
01:23:22,840 --> 01:23:26,311
So, these shots are just
the Poor Man's Process, right.
1380
01:23:26,400 --> 01:23:28,869
So, we had a little wind machine.
1381
01:23:28,960 --> 01:23:30,394
But this shot...
1382
01:23:31,960 --> 01:23:36,079
That is Robert, really, himself,
hanging out of the chopper.
1383
01:23:36,160 --> 01:23:40,677
That is Robert himself, hanging
out of the chopper to do those shots.
1384
01:23:41,360 --> 01:23:43,272
Anyway, so, when we were...
1385
01:23:43,400 --> 01:23:47,280
I wanted to end the movie in a city,
in a Burmese city.
1386
01:23:47,640 --> 01:23:52,317
And then end on this beautiful building
that is in Chinatown in Bangkok,
1387
01:23:52,440 --> 01:23:55,911
as it would be in a
building in a border town.
1388
01:23:56,760 --> 01:24:01,835
But it was very difficult to organize that,
to produce that.
1389
01:24:01,960 --> 01:24:05,954
We had to buy out
so many stores in Chinatown.
1390
01:24:06,080 --> 01:24:09,710
And logistically, it was just a nightmare.
1391
01:24:09,880 --> 01:24:12,918
But I wanted to do a big fight
on the roof of this building.
1392
01:24:14,760 --> 01:24:17,878
Because you want an epic ending,
that's what you want.
1393
01:24:17,960 --> 01:24:22,671
So, this bridge...
That was an idea of Chris, the producer.
1394
01:24:22,800 --> 01:24:27,238
He lives in Thailand. And, he tells me,
he said, "There's a really nice bridge.
1395
01:24:27,320 --> 01:24:30,313
"Now that we have
so many bridges in the movie,
1396
01:24:30,440 --> 01:24:33,751
"there's this really nice walking bridge
in this town in the north."
1397
01:24:33,880 --> 01:24:38,796
It was a long drive,
like a three, four-hour drive to this town.
1398
01:24:38,880 --> 01:24:41,839
So, this is the hut we
built that we blew up.
1399
01:24:41,920 --> 01:24:44,196
But, this bridge
was an existing wooden bridge
1400
01:24:44,320 --> 01:24:47,358
that was part of a temple complex.
1401
01:24:47,480 --> 01:24:49,995
People, tourists, but
also a lot of locals...
1402
01:24:50,080 --> 01:24:54,871
This is me, by the way, flying my drone
over the helicopter, shooting that shot.
1403
01:24:54,960 --> 01:24:56,155
I'm so proud of that shot.
1404
01:24:58,840 --> 01:25:01,514
I suggested this to the helicopter pilot.
1405
01:25:01,640 --> 01:25:03,677
And he was like, "Yeah, yeah, sure."
1406
01:25:03,760 --> 01:25:06,036
As long as I would stay
on one side of the bridge,
1407
01:25:06,160 --> 01:25:08,921
and he would be on the other side of
the bridge, I could fly over him.
1408
01:25:09,080 --> 01:25:11,754
So, I was in a drone, operating,
1409
01:25:12,640 --> 01:25:14,597
flying over the helicopter,
1410
01:25:15,120 --> 01:25:17,954
while the helicopter was chasing Scott
on the boat.
1411
01:25:18,120 --> 01:25:20,874
Those moments were really,
really fun to do.
1412
01:25:21,080 --> 01:25:23,151
I remember when I was operating that shot,
1413
01:25:23,240 --> 01:25:25,391
and I was looking
at my little monitor on my remote,
1414
01:25:25,520 --> 01:25:28,274
and I was like,
"Holy shit, am I doing this right now?"
1415
01:25:28,360 --> 01:25:29,919
It was really, really great.
1416
01:25:35,920 --> 01:25:37,559
I wanted to have an epic ending.
1417
01:25:37,720 --> 01:25:41,680
And Chris came with the idea...
He knew this bridge.
1418
01:25:41,840 --> 01:25:44,036
So, I went there, I saw it,
1419
01:25:44,200 --> 01:25:49,400
and I was sold on it right away,
because, it was epic, it was beautiful.
1420
01:25:49,520 --> 01:25:52,752
It was also a nice bridge
between two borders.
1421
01:25:52,880 --> 01:25:55,349
And it made all the sense in the world.
1422
01:25:55,440 --> 01:25:59,070
So, then, I did a rewrite
on the screenplay,
1423
01:25:59,200 --> 01:26:01,999
and wrote in the bridge
1424
01:26:02,080 --> 01:26:04,311
and wrote in this whole action scene
1425
01:26:04,400 --> 01:26:09,395
with him chasing with the helicopter
and shooting at him and the whole thing.
1426
01:26:09,560 --> 01:26:13,349
This is also the Poor Man's Process again.
He's just standing still, of course.
1427
01:26:14,600 --> 01:26:16,432
And his helicopter goes lower.
1428
01:26:16,520 --> 01:26:20,753
And then, this shot... This is
Scott, right? This is not a double.
1429
01:26:20,840 --> 01:26:23,435
This is just Scottjumping
from this moving boat.
1430
01:26:23,680 --> 01:26:25,911
And absolutely spectacular.
1431
01:26:26,080 --> 01:26:29,756
And then, I wanted to do this one shot,
this John Woo kind of thing.
1432
01:26:29,920 --> 01:26:32,276
So, that became this shot
with the Steadicam.
1433
01:26:34,080 --> 01:26:36,959
To do another homage shot to John Woo.
1434
01:26:37,120 --> 01:26:42,434
Of course, the famous one-shot
with the elevator in the hospital.
1435
01:26:42,640 --> 01:26:47,192
What I really, really love
from one of his movies,
1436
01:26:47,280 --> 01:26:49,351
one of his Hong Kong movies.
1437
01:26:53,320 --> 01:26:57,951
So, we could use the bridge. And then,
of course, I will try to push the limit.
1438
01:26:58,160 --> 01:27:01,631
So, I asked, "Can we land on the bridge
with the helicopter?"
1439
01:27:01,920 --> 01:27:04,037
And, of course, we cannot.
1440
01:27:04,120 --> 01:27:06,874
So, then Seng said,
1441
01:27:06,960 --> 01:27:10,317
"Okay, what about them
jumping out of the helicopter?"
1442
01:27:10,520 --> 01:27:12,796
And that was, of course, a brilliant idea.
1443
01:27:12,920 --> 01:27:15,355
Now, the stunt-doubles are jumping out.
1444
01:27:15,440 --> 01:27:20,720
And Seng, my stunt coordinator,
he's doubling here for Temuera.
1445
01:27:20,800 --> 01:27:23,599
So, he's the one on the right side,
jumping off.
1446
01:27:23,680 --> 01:27:26,639
And then, of course,
I asked the helicopter pilot
1447
01:27:26,760 --> 01:27:29,195
to come over the bridge one more time.
1448
01:27:29,280 --> 01:27:33,957
And then, I operated this shot in slo-mo,
120 frames a second,
1449
01:27:34,160 --> 01:27:36,675
where we see the drone in their backs,
1450
01:27:36,760 --> 01:27:39,958
and it gives you this nice,
epic John Woo shot,
1451
01:27:40,040 --> 01:27:43,477
where you see
this slo-mo helicopter in the background.
1452
01:27:43,640 --> 01:27:48,669
But basically, it was the helicopter
doing one more pass in the back of them.
1453
01:27:48,760 --> 01:27:52,640
And there's a big distance between them,
but with a very long lens...
1454
01:27:52,760 --> 01:27:54,056
Let's talk about this gun, by the way.
1455
01:27:54,080 --> 01:27:57,710
But with a very long lens, it feels
like the helicopter's really close.
1456
01:27:59,440 --> 01:28:04,071
So, of course, in Hard Target 1,
Lance Henriksen, who played the villain,
1457
01:28:04,160 --> 01:28:06,595
he has this very iconic kind of gun,
1458
01:28:06,680 --> 01:28:10,196
this revolver with only one bullet in it.
1459
01:28:10,400 --> 01:28:15,270
And I really wanted to do a glimpse of it,
you know?
1460
01:28:16,680 --> 01:28:18,399
I always, in my mind...
1461
01:28:18,520 --> 01:28:21,718
This character, Robert's
character, is family
1462
01:28:21,800 --> 01:28:26,158
with Lance Henriksen's character
of the first Hard Target.
1463
01:28:26,320 --> 01:28:30,997
So, I was like,
probably he's continuing the business that
1464
01:28:31,080 --> 01:28:34,039
Lance is setting up in
the first Hard Target.
1465
01:28:34,600 --> 01:28:38,879
And then, he's continuing the business,
so, he got Lance's gun.
1466
01:28:39,280 --> 01:28:43,911
But this revolver,
we could get nowhere in Thailand.
1467
01:28:45,040 --> 01:28:47,714
So, based on photos from the movie...
1468
01:28:47,880 --> 01:28:50,236
Of course, the John Woo shot.
1469
01:28:50,360 --> 01:28:53,353
Based on the photos from the first movie,
1470
01:28:53,440 --> 01:28:58,560
I had the prop master in Thailand
build me this revolver.
1471
01:28:59,000 --> 01:29:03,074
Because I wanted to have
this iconic one-bullet revolver,
1472
01:29:03,240 --> 01:29:06,278
which was exactly
the same revolver as Hard Target 1.
1473
01:29:06,480 --> 01:29:09,552
And, he did. So, I'm really happy.
1474
01:29:09,880 --> 01:29:12,349
This, of course, you see the beauty...
how this bridge looks.
1475
01:29:12,440 --> 01:29:13,999
It's such a beautiful bridge.
1476
01:29:17,440 --> 01:29:18,760
So, we put it in the movie.
1477
01:29:18,840 --> 01:29:22,197
And I'm really happy
that we have the revolver there.
1478
01:29:24,560 --> 01:29:30,272
I also wanted to do a nice end fight
which cuts on this bridge.
1479
01:29:30,600 --> 01:29:35,470
So, the idea was to bring
five fighters or six fighters to the bridge
1480
01:29:35,560 --> 01:29:37,631
and have them fight with Scott.
1481
01:29:38,080 --> 01:29:41,869
What was really a cool and epic moment.
1482
01:29:43,240 --> 01:29:44,833
It's up my ass.
1483
01:29:45,160 --> 01:29:47,231
Well, let me help you extract it.
1484
01:29:53,880 --> 01:29:56,554
You know, I know
you're not that bright, Madden,
1485
01:29:56,640 --> 01:29:59,075
but you do realize that wasn't my ass.
1486
01:30:02,520 --> 01:30:04,273
I'm not the man you insult.
1487
01:30:04,360 --> 01:30:08,593
So, when we were talking with Robert,
he was talking about the heat, right?
1488
01:30:08,680 --> 01:30:11,320
It was so insanely hot on this bridge.
1489
01:30:12,320 --> 01:30:16,155
And the sun was blasting on top of us,
and there was no wind.
1490
01:30:16,240 --> 01:30:17,674
It was just...
1491
01:30:18,240 --> 01:30:21,074
And we were, like,
two days or three days on this bridge.
1492
01:30:21,160 --> 01:30:24,358
We had to work really hard
and we had to carry everything in.
1493
01:30:24,480 --> 01:30:27,917
But, I think, the results...
It's really, really good.
1494
01:30:28,000 --> 01:30:30,959
It's an epic ending for this movie.
1495
01:30:31,480 --> 01:30:33,836
Hell, I would just die. I
wouldn't be able to...
1496
01:30:35,440 --> 01:30:38,512
Stop it. That's what he wants.
That's exactly what he wants.
1497
01:30:38,720 --> 01:30:40,598
Death's just not enough for you, is it?
1498
01:30:40,680 --> 01:30:42,616
You want to go out like your friend,
like a warrior.
1499
01:30:42,640 --> 01:30:45,360
Just give me what I want,
and I'll be happy to oblige.
1500
01:30:47,000 --> 01:30:48,878
No more shame, no more guilt.
1501
01:30:49,520 --> 01:30:53,912
So, then you start shooting.
You get 20 days of shooting.
1502
01:30:54,080 --> 01:30:57,994
I go in with a good plan
so I can do maximum results.
1503
01:30:58,800 --> 01:31:02,191
And then, after the four weeks,
you go home, basically.
1504
01:31:02,320 --> 01:31:05,119
Then the editor will do
an editor's assembly.
1505
01:31:05,280 --> 01:31:10,036
He is cutting all the footage.
In the first pass of editing,
1506
01:31:10,120 --> 01:31:12,396
I'm not seeing any of what he's doing.
1507
01:31:12,480 --> 01:31:16,520
I don't like to look at editing
during the shooting.
1508
01:31:16,680 --> 01:31:19,479
I do it sometimes on movies.
1509
01:31:19,600 --> 01:31:24,231
But normally, on these movies, I do not,
because, I want to keep my head focused.
1510
01:31:25,760 --> 01:31:30,312
This girl, by the way,
is a very famous Thai actress fighter.
1511
01:31:30,400 --> 01:31:34,314
She's a big star in Thailand
and she's a great fighter.
1512
01:31:51,760 --> 01:31:53,080
Fun to look at.
1513
01:31:58,120 --> 01:31:59,120
Yes.
1514
01:31:59,640 --> 01:32:03,236
And also, not this guy,
but this guy on the right,
1515
01:32:03,320 --> 01:32:06,677
that's Kazu,
he's also one of the fight choreographers.
1516
01:32:06,760 --> 01:32:10,674
This guy that is going down here,
he works for Seng.
1517
01:32:10,760 --> 01:32:13,912
And he choreographed
a lot of these fights as well.
1518
01:32:17,640 --> 01:32:22,476
Yeah, this girl can fight.
But Scott, of course, he's badass.
1519
01:32:24,760 --> 01:32:29,312
So, after five or six weeks
of editor's assembly,
1520
01:32:29,760 --> 01:32:33,390
I come in and then have
four weeks to do a director's cut.
1521
01:32:33,520 --> 01:32:37,799
And then, three weeks to
do the producer's or the studio cut.
1522
01:32:37,880 --> 01:32:40,873
But in the producer's cut, studio cut,
1523
01:32:41,040 --> 01:32:43,953
I'm also involved with notes
and trying things out.
1524
01:32:45,080 --> 01:32:48,869
So, it was really a collaboration,
which was fun.
1525
01:32:51,280 --> 01:32:53,112
But the creative process,
1526
01:32:53,240 --> 01:32:58,360
you get a lot of freedom,
or I get a lot of freedom on these movies
1527
01:32:58,440 --> 01:33:02,673
to decide how to shoot it,
what to shoot, the angles.
1528
01:33:02,880 --> 01:33:06,874
And in the editing even,
how we're gonna put it together.
1529
01:33:06,960 --> 01:33:11,398
Radu lon,
he's the editor of almost all my movies.
1530
01:33:11,520 --> 01:33:13,432
He then puts a temp score in.
1531
01:33:13,520 --> 01:33:17,560
Basically, he uses a score from
other movies that he cuts in.
1532
01:33:17,680 --> 01:33:19,433
And then, we lock picture.
1533
01:33:19,520 --> 01:33:24,436
So, at the moment we lock picture,
the movie goes to the sound designers.
1534
01:33:24,560 --> 01:33:28,156
Chris Bonis with his team did this movie.
1535
01:33:28,240 --> 01:33:30,391
They've done
a lot of my other movies as well.
1536
01:33:30,760 --> 01:33:35,880
And then, Trevor Morris comes in,
starts composing the movie.
1537
01:33:36,400 --> 01:33:39,313
And then, of course,
all the visual effects are put in,
1538
01:33:39,440 --> 01:33:42,114
and we start cutting the visual effects in.
1539
01:33:42,200 --> 01:33:45,955
And then, at the end,
you do ADR with the actors,
1540
01:33:46,080 --> 01:33:51,599
you're recording bad sounding dialog,
or you try some extra lines here and there.
1541
01:33:52,880 --> 01:33:56,271
And then, everything is mixed in,
the music and all the sound effects.
1542
01:33:56,400 --> 01:33:58,312
And the movie is finished.
1543
01:33:58,400 --> 01:34:01,472
And then, of course,
the color timing is also a long process.
1544
01:34:01,560 --> 01:34:03,711
It's kind of six days of color timing.
1545
01:34:03,840 --> 01:34:07,038
And I wanted to do
this very stylish kind of look.
1546
01:34:07,520 --> 01:34:12,515
I wanted to make the world of Aldrich
very cold and desaturated,
1547
01:34:12,880 --> 01:34:16,237
and big contrast and a lot of blacks,
1548
01:34:16,360 --> 01:34:19,194
because you want to make it kind of a...
1549
01:34:19,400 --> 01:34:21,551
You know, the thing is
1550
01:34:21,920 --> 01:34:26,153
that I love a lot of subtext
and subconscious moviemaking.
1551
01:34:26,280 --> 01:34:29,990
There's not a lot of time you have
on these movies to do that.
1552
01:34:30,080 --> 01:34:33,596
But on my bigger movies,
like the Admiral movie,
1553
01:34:34,040 --> 01:34:35,872
I had a lot of time to do that.
1554
01:34:36,000 --> 01:34:37,798
But with the color timing,
1555
01:34:37,880 --> 01:34:41,476
you get a feeling with the audience
about this world
1556
01:34:41,600 --> 01:34:44,752
which is very cold and distant,
1557
01:34:44,840 --> 01:34:49,596
and makes it suspenseful
and dangerous for our hero.
1558
01:34:50,000 --> 01:34:54,677
So, what you'll notice
is that everything that is Aldrich's world
1559
01:34:54,760 --> 01:34:57,434
is in this color palette.
1560
01:34:57,600 --> 01:35:00,274
And then, in the opening of the movie,
1561
01:35:00,440 --> 01:35:05,595
Scott Adkins' world is very warm-colored
and warm in tones.
1562
01:35:05,800 --> 01:35:09,953
And that makes the difference
between these two worlds that collide.
1563
01:35:10,120 --> 01:35:14,433
And then, of course, at the end
of this movie, it turns around,
1564
01:35:14,560 --> 01:35:17,519
and then the world becomes warm again.
1565
01:35:17,600 --> 01:35:21,640
You're gonna see that
after we have killed Aldrich.
1566
01:35:23,680 --> 01:35:25,319
Sixty seconds!
1567
01:35:36,040 --> 01:35:38,635
You're gonna have to kill me, Baylor.
1568
01:35:39,520 --> 01:35:43,196
'Cause I have friends.
Rich, powerful friends.
1569
01:35:51,840 --> 01:35:52,920
So, you have to understand,
1570
01:35:53,000 --> 01:35:57,916
these extras, right, they're locals,
and they're not trained military.
1571
01:35:58,040 --> 01:36:02,956
So, what also Seng, with the stunt guys,
do really well,
1572
01:36:03,040 --> 01:36:08,354
I always ask them to
train the extras in what they're doing.
1573
01:36:08,680 --> 01:36:13,755
So, now they have to march in
and stand there military-style.
1574
01:36:14,000 --> 01:36:18,199
And that is something
that Seng will do with his team.
1575
01:36:18,360 --> 01:36:19,680
And normally, Jimmy does this.
1576
01:36:19,840 --> 01:36:24,198
Jimmy is Seng's assistant,
and also a Thai stunt coordinator.
1577
01:36:25,200 --> 01:36:29,877
And they will train the extras
to do this military thing.
1578
01:36:34,760 --> 01:36:37,639
So, on this bridge,
it was very tough to shoot,
1579
01:36:37,760 --> 01:36:40,036
especially when you want
to shoot with long lenses.
1580
01:36:40,160 --> 01:36:43,073
I always use this big Angénieux zoom lens,
1581
01:36:43,160 --> 01:36:48,189
which is a 28-250mm, bit heavy zoom lens.
1582
01:36:49,000 --> 01:36:53,597
I then put it on a slider so I can
always have a little nice movement.
1583
01:36:57,080 --> 01:37:01,632
And this is all CG.
CG shooting, CG bullet hits.
1584
01:37:04,800 --> 01:37:08,077
We had a practical effect
1585
01:37:08,240 --> 01:37:11,756
where we did a lot of bullet hits,
1586
01:37:11,840 --> 01:37:15,311
and I asked Alex to do bullet hits,
1587
01:37:15,400 --> 01:37:17,312
like, 50 bullet hits on his chest.
1588
01:37:17,480 --> 01:37:21,190
But when we did the gag,
a lot of them didn't go off
1589
01:37:21,280 --> 01:37:25,718
because he didn't have
the right black powder to make it work.
1590
01:37:26,400 --> 01:37:30,235
So, we ended up using in the cuts,
1591
01:37:30,720 --> 01:37:33,599
a rehearsal that I did with him.
1592
01:37:33,680 --> 01:37:37,993
And then with CG,
we put in the blood and the hits.
1593
01:37:38,240 --> 01:37:40,391
And Aldrich is dead.
1594
01:37:41,800 --> 01:37:45,191
So you see here, that slowly,
the movie becomes a little warmer.
1595
01:37:45,360 --> 01:37:49,320
And then, the next scene,
it's gonna be completely warmed up.
1596
01:37:49,440 --> 01:37:53,753
And basically, Scott takes control back
1597
01:37:55,120 --> 01:37:57,430
of his world and of the story.
1598
01:37:57,640 --> 01:38:01,111
And therefore,
the color timing changes with him.
1599
01:38:02,760 --> 01:38:05,036
So, I didn't talk about Tha yet.
1600
01:38:05,120 --> 01:38:10,036
Ann Truong, who plays Tha here,
she is from Australia.
1601
01:38:10,160 --> 01:38:13,710
She was very good, a very good actress,
1602
01:38:13,800 --> 01:38:15,996
a very nice actress to work with.
1603
01:38:16,280 --> 01:38:19,671
She was also very serious
about her character,
1604
01:38:19,880 --> 01:38:22,793
and came with a lot of good ideas.
1605
01:38:23,000 --> 01:38:25,469
And it was absolutely a blast
to work with her.
1606
01:38:25,640 --> 01:38:27,518
For also, it was a very tough shoot
1607
01:38:28,760 --> 01:38:32,390
because we shot so fast,
so many scenes on a day.
1608
01:38:34,160 --> 01:38:35,719
But she was great to work with.
1609
01:38:38,160 --> 01:38:41,597
And then, of course,
everything becomes warmer.
1610
01:38:41,680 --> 01:38:44,991
Warmer, and then a nice pull out
with my drone again.
1611
01:38:45,160 --> 01:38:47,834
And there you see all the people
walking on the other bridge,
1612
01:38:48,000 --> 01:38:50,834
that was just the locals
who normally use the big bridge,
1613
01:38:50,920 --> 01:38:54,630
and they were using, now,
this help bridge on the side.
1614
01:38:54,760 --> 01:38:57,912
And we end the story there.
1615
01:39:00,240 --> 01:39:03,995
Then we wanted to end the movie
with a nice upbeat...
1616
01:39:05,120 --> 01:39:08,955
This voiceover that you hear now
is the character of Jonny's wife.
1617
01:39:09,880 --> 01:39:15,239
In the opening of the movie, she is the
one crying when Jonny gets killed.
1618
01:39:15,880 --> 01:39:21,160
I did a version of the ending of the movie
where I brought her there.
1619
01:39:21,320 --> 01:39:26,031
I liked that version much better.
I never really had time to finalize it.
1620
01:39:26,160 --> 01:39:29,153
But that was something
that the studio didn't want to do.
1621
01:39:29,280 --> 01:39:32,956
So, we ended up with just the voiceover,
which was also scripted.
1622
01:39:33,080 --> 01:39:36,232
But I shot a different version.
1623
01:39:36,400 --> 01:39:39,234
You can see a version
of my different version
1624
01:39:39,400 --> 01:39:43,394
in the deleted scenes on
the Blu-ray, as well.
1625
01:39:43,800 --> 01:39:47,874
And then I shot, also, this alternative
ending. I shot, basically, three endings.
1626
01:39:48,000 --> 01:39:50,390
Why I brought her back to the scene,
1627
01:39:50,560 --> 01:39:55,396
what was kind of an upbeat, nice moment
that we decided in the end to put in,
1628
01:39:56,200 --> 01:39:58,556
that they are back together again.
1629
01:39:58,760 --> 01:40:03,391
And he is kind of training these kids
on this little boat.
1630
01:40:08,640 --> 01:40:10,074
So, this boat...
1631
01:40:10,200 --> 01:40:15,320
There was a disco boat coming by
the hotel every night, with a lot of noise.
1632
01:40:15,480 --> 01:40:18,837
And it was pulled by this little ship.
1633
01:40:19,120 --> 01:40:22,670
And then, when we were looking
for a final location for the movie,
1634
01:40:22,760 --> 01:40:23,960
where he would train the kids,
1635
01:40:24,120 --> 01:40:28,637
I thought, like, "Let's use the disco
boat." And that's what we ended up using.
1636
01:40:33,480 --> 01:40:36,598
So, as I told you before,
1637
01:40:36,680 --> 01:40:42,119
for the end credits, I'm using the
footage that I did of Chinatown.
1638
01:40:42,200 --> 01:40:46,638
We wanted to end the movie in Chinatown,
but we ended up on the bridge.
1639
01:40:46,720 --> 01:40:50,031
But these, I wanted to
do some B-roll shots.
1640
01:40:50,160 --> 01:40:54,791
So, we asked Scott to come with me,
and with Rolf, for a few hours.
1641
01:40:54,920 --> 01:40:56,877
So, these kids, for example,
1642
01:40:56,960 --> 01:41:00,431
are really making homework
on the streets in Chinatown.
1643
01:41:00,520 --> 01:41:01,640
That was really interesting.
1644
01:41:01,720 --> 01:41:05,316
So, for a few hours,
we walked with him through Chinatown,
1645
01:41:05,400 --> 01:41:09,872
and we shot it just on two GH4s
using a Ronin-M
1646
01:41:10,000 --> 01:41:12,151
to have these nice, smooth movements,
1647
01:41:12,240 --> 01:41:18,589
and just to have some nice footage
of Bangkok and his life there.
1648
01:41:18,840 --> 01:41:23,278
So, another secret I have to tell you
is that I also make music.
1649
01:41:23,600 --> 01:41:28,675
I compose music, myself.
And I do this under the name Dida.
1650
01:41:28,840 --> 01:41:34,279
So, I composed this music
that is over the end credits of this movie.
1651
01:41:34,520 --> 01:41:38,480
I do this a lot, and a lot of my movies
have my music underneath.
1652
01:41:38,680 --> 01:41:42,833
And you can find it on the Internet
if you're more interested in it.
1653
01:41:52,080 --> 01:41:54,959
So, we shot this guerilla style.
1654
01:41:55,040 --> 01:41:57,680
We were only
with two or three crew members,
1655
01:41:57,840 --> 01:42:01,356
with me and Rolf, two GH4s,
and Scott Adkins,
1656
01:42:01,480 --> 01:42:04,439
and jotted and just stole these shots,
you know?
1657
01:42:04,520 --> 01:42:06,512
Went on to the streets and shot it.
1658
01:42:06,720 --> 01:42:11,715
I know that Chris got permission
to shoot at the metro station
1659
01:42:11,800 --> 01:42:14,235
because that's a big security thing.
1660
01:42:14,360 --> 01:42:17,831
But also, the drone shots,
because I had the permits,
1661
01:42:17,920 --> 01:42:20,640
I could fly the drone in Bangkok,
1662
01:42:20,720 --> 01:42:23,474
and have these beautiful drone shots,
like this one.
1663
01:42:25,200 --> 01:42:29,433
And for me,
the plan was to use this B-roll footage,
1664
01:42:29,560 --> 01:42:33,474
maybe in the opening of the movie
where we're seeing his life.
1665
01:42:33,600 --> 01:42:35,557
But it didn't really work out.
1666
01:42:36,080 --> 01:42:39,278
So, we ended up using it now
for the credit sequence,
1667
01:42:39,400 --> 01:42:41,198
which was a nice go-out.
1668
01:42:41,360 --> 01:42:44,239
And this location was found
by my location scout.
1669
01:42:44,360 --> 01:42:47,080
It's a really, kind of, part of Bangkok
1670
01:42:47,160 --> 01:42:51,677
where these people live in these houses,
really close to the rail track.
1671
01:42:51,760 --> 01:42:55,071
And when you see railroad tracks...
You see, here, this train,
1672
01:42:55,160 --> 01:42:58,517
it just goes past the houses
with just a few centimeters...
1673
01:42:59,000 --> 01:43:02,437
And I wanted to do a whole scene here.
1674
01:43:02,600 --> 01:43:06,753
But because we didn't end in Bangkok,
we used this.
1675
01:43:06,840 --> 01:43:11,357
And this is, by the way,
that rooftop of the building in Chinatown
1676
01:43:11,440 --> 01:43:13,591
that I wanted to use
for the ending of the movie.
1677
01:43:13,680 --> 01:43:17,594
But I hopefully,
am gonna use it in a movie in the future.
1678
01:43:18,720 --> 01:43:21,360
Now, I hope you liked this commentary.
1679
01:43:21,440 --> 01:43:24,990
Hit me up on Facebook.
Roel Reiné on Facebook.
1680
01:43:25,080 --> 01:43:26,753
And I hope to catch you all later. Bye.