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1 | 00:00:15,349 | 00:00:20,062 | - So my name's Paul Greengrass. - And my name is Matt Damon. | - So my name's Paul Greengrass. - And my name is Matt Damon. |
2 | 00:00:22,105 | 00:00:27,152 | Well, Green Zone started for me when we were doing, | Well, Green Zone started for me when we were doing, |
3 | 00:00:27,236 | 00:00:31,782 | or towards the end of when we were making Bourne Supremacy. | or towards the end of when we were making Bourne Supremacy. |
4 | 00:00:31,865 | 00:00:34,451 | - Ultimatum? - No, Supremacy. | - Ultimatum? - No, Supremacy. |
5 | 00:00:36,870 | 00:00:41,458 | After it came out, I sat down with Universal, | After it came out, I sat down with Universal, |
6 | 00:00:41,542 | 00:00:42,796 | and they said, "Well, what do you wanna do next?" | and they said, "Well, what do you wanna do next?" |
7 | 00:00:42,876 | 00:00:48,131 | And I said I wanted to do 9/11 and the war in Iraq, | And I said I wanted to do 9/11 and the war in Iraq, |
8 | 00:00:48,215 | 00:00:52,386 | because they were the two great events that seemed to me | because they were the two great events that seemed to me |
9 | 00:00:52,469 | 00:00:55,931 | to be driving the world we were living in. | to be driving the world we were living in. |
10 | 00:00:56,014 | 00:01:01,395 | And I thought, at that time, it was gonna be one film, but in fact it turned out to be two. | And I thought, at that time, it was gonna be one film, but in fact it turned out to be two. |
11 | 00:01:01,478 | 00:01:05,232 | The first one, obviously, United 93, then we did Ultimatum, | The first one, obviously, United 93, then we did Ultimatum, |
12 | 00:01:05,315 | 00:01:09,987 | and then we started what became Green Zone. | and then we started what became Green Zone. |
13 | 00:01:13,699 | 00:01:16,034 | And I think, for me, what was interesting | And I think, for me, what was interesting |
14 | 00:01:16,118 | 00:01:18,996 | when we were doing the Bourne films, and particularly Ultimatum, | when we were doing the Bourne films, and particularly Ultimatum, |
15 | 00:01:19,079 | 00:01:23,500 | was that sense that there was a huge audience that loved those films | was that sense that there was a huge audience that loved those films |
16 | 00:01:23,584 | 00:01:29,965 | that came to the Bourne films and loved the attitude of the films, | that came to the Bourne films and loved the attitude of the films, |
17 | 00:01:30,048 | 00:01:33,468 | and the fact that it was Bourne world, | and the fact that it was Bourne world, |
18 | 00:01:33,552 | 00:01:38,056 | but it seemed to draw on the real world and what was going on, | but it seemed to draw on the real world and what was going on, |
19 | 00:01:38,140 | 00:01:40,350 | and the kind of paranoia and the mistrust. | and the kind of paranoia and the mistrust. |
20 | 00:01:40,434 | 00:01:45,772 | And so when I look back now at Green Zone, it feels to me | And so when I look back now at Green Zone, it feels to me |
21 | 00:01:45,856 | 00:01:51,862 | like we were really asking that audience to take one more step, | like we were really asking that audience to take one more step, |
22 | 00:01:51,945 | 00:01:55,324 | and that would be the step back to the real world, | and that would be the step back to the real world, |
23 | 00:01:55,407 | 00:02:00,912 | to really go back to the moment when all this paranoia and mistrust began. | to really go back to the moment when all this paranoia and mistrust began. |
24 | 00:02:01,121 | 00:02:06,877 | And that, I think, was the circumstances that surrounded the decision | And that, I think, was the circumstances that surrounded the decision |
25 | 00:02:06,960 | 00:02:10,380 | to go to war and the start of the war in Baghdad. | to go to war and the start of the war in Baghdad. |
26 | 00:02:10,464 | 00:02:14,384 | And, I think, all of us, whatever you think of that conflict, | And, I think, all of us, whatever you think of that conflict, |
27 | 00:02:14,468 | 00:02:18,347 | whatever point of view you have about what happened, | whatever point of view you have about what happened, |
28 | 00:02:18,430 | 00:02:23,310 | know that those events in 2003 | know that those events in 2003 |
29 | 00:02:24,353 | 00:02:27,189 | were very profound in shaping our world. | were very profound in shaping our world. |
30 | 00:02:29,566 | 00:02:34,571 | As we look at a beautiful effects shot by Peter Chiang. One of many. | As we look at a beautiful effects shot by Peter Chiang. One of many. |
31 | 00:02:35,364 | 00:02:36,490 | Yeah. | Yeah. |
32 | 00:02:48,126 | 00:02:51,505 | Approaching target site three-five-niner. | Approaching target site three-five-niner. |
33 | 00:02:54,383 | 00:02:59,054 | Really, the first idea that we discussed | Really, the first idea that we discussed |
34 | 00:02:59,137 | 00:03:05,811 | was to make us a film about a US soldier | was to make us a film about a US soldier |
35 | 00:03:06,645 | 00:03:08,980 | involved in the hunt for WMD. | involved in the hunt for WMD. |
36 | 00:03:09,940 | 00:03:13,568 | And I think what drew us both, really, | And I think what drew us both, really, |
37 | 00:03:13,652 | 00:03:18,281 | was the idea that you could have an ordinary guy, | was the idea that you could have an ordinary guy, |
38 | 00:03:20,117 | 00:03:22,411 | a hero at the heart of the story, | a hero at the heart of the story, |
39 | 00:03:22,494 | 00:03:27,582 | who comes to Iraq to do a straightforward job. | who comes to Iraq to do a straightforward job. |
40 | 00:03:27,666 | 00:03:31,712 | He comes because he's told that there are WMD there, and he's gonna find them. | He comes because he's told that there are WMD there, and he's gonna find them. |
41 | 00:03:40,679 | 00:03:44,599 | Very much, actually, like the story of Monty Gonzales, | Very much, actually, like the story of Monty Gonzales, |
42 | 00:03:44,683 | 00:03:48,437 | who was our technical advisor, | who was our technical advisor, |
43 | 00:03:48,520 | 00:03:51,606 | and who this character is loosely based on. | and who this character is loosely based on. |
44 | 00:03:53,024 | 00:03:54,864 | What the fuck are all these looters doing here? | What the fuck are all these looters doing here? |
45 | 00:03:55,527 | 00:03:57,404 | Monty believed very much | Monty believed very much |
46 | 00:03:57,487 | 00:04:00,866 | that they would find weapons when he went looking for them. | that they would find weapons when he went looking for them. |
47 | 00:04:01,116 | 00:04:02,784 | We got a sniper in this tower right here. | We got a sniper in this tower right here. |
48 | 00:04:02,868 | 00:04:04,790 | - In the big tower on the back? - In the big tower on the back. | - In the big tower on the back? - In the big tower on the back. |
49 | 00:04:04,870 | 00:04:08,832 | I think I say in the movie that this is the third site or the fourth site that we've hit, | I think I say in the movie that this is the third site or the fourth site that we've hit, |
50 | 00:04:08,915 | 00:04:11,376 | but Monty, in fact, told me he knew after the very first site | but Monty, in fact, told me he knew after the very first site |
51 | 00:04:11,460 | 00:04:13,628 | that there was nothing there. | that there was nothing there. |
52 | 00:04:14,087 | 00:04:15,926 | I don't know what these people are carrying out right now. | I don't know what these people are carrying out right now. |
53 | 00:04:16,006 | 00:04:20,177 | And so, for people like Monty, who were absolute believers | And so, for people like Monty, who were absolute believers |
54 | 00:04:20,260 | 00:04:22,596 | and career military people, it was a really | and career military people, it was a really |
55 | 00:04:27,768 | 00:04:30,729 | particularly tough experience. | particularly tough experience. |
56 | 00:04:30,812 | 00:04:32,814 | Here's Where we are right now. | Here's Where we are right now. |
57 | 00:04:32,898 | 00:04:39,738 | I mean, this first section here, when Miller takes the guys into the Diwaniya site, | I mean, this first section here, when Miller takes the guys into the Diwaniya site, |
58 | 00:04:39,821 | 00:04:46,578 | I mean, in a way, he's on the same journey that we all were on. | I mean, in a way, he's on the same journey that we all were on. |
59 | 00:04:46,661 | 00:04:51,541 | I mean, certainly, I remember it. We all, in a sense, went to Iraq | I mean, certainly, I remember it. We all, in a sense, went to Iraq |
60 | 00:04:51,625 | 00:04:54,669 | expecting that they would find the weapons of mass destruction. | expecting that they would find the weapons of mass destruction. |
61 | 00:04:54,753 | 00:04:57,756 | Certainly I did. I assumed that within a matter of days | Certainly I did. I assumed that within a matter of days |
62 | 00:04:57,839 | 00:05:03,011 | they'd be holding a massive press conference | they'd be holding a massive press conference |
63 | 00:05:03,094 | 00:05:07,432 | having found some horrendous weapons stash. | having found some horrendous weapons stash. |
64 | 00:05:10,977 | 00:05:13,522 | And really, this first section is to | And really, this first section is to |
65 | 00:05:14,648 | 00:05:17,067 | take the central character on that same journey. | take the central character on that same journey. |
66 | 00:05:17,442 | 00:05:19,114 | - They will take you in. - Roger that, Chief. | - They will take you in. - Roger that, Chief. |
67 | 00:05:19,194 | 00:05:20,407 | - All right. We ready? - Yes, sir! | - All right. We ready? - Yes, sir! |
68 | 00:05:20,487 | 00:05:21,530 | Let's go. Go! | Let's go. Go! |
69 | 00:05:21,613 | 00:05:27,494 | As well, obviously, as to start the film, pitching you into the conflict straightaway. | As well, obviously, as to start the film, pitching you into the conflict straightaway. |
70 | 00:05:27,577 | 00:05:28,620 | Where is he? | Where is he? |
71 | 00:05:28,703 | 00:05:30,625 | He's right up there, but we can't get down the alley. | He's right up there, but we can't get down the alley. |
72 | 00:05:30,705 | 00:05:36,795 | I mean, the interesting thing, from my point of view, when we first started, | I mean, the interesting thing, from my point of view, when we first started, |
73 | 00:05:38,713 | 00:05:43,552 | was that for the longest time, I was | was that for the longest time, I was |
74 | 00:05:45,637 | 00:05:50,684 | trying to develop a story that would be about a character | trying to develop a story that would be about a character |
75 | 00:05:50,767 | 00:05:56,398 | who became, obviously, Miller, who was involved in the hunt for WMD. | who became, obviously, Miller, who was involved in the hunt for WMD. |
76 | 00:05:56,481 | 00:05:59,693 | But it always seemed, to me, to get so far. | But it always seemed, to me, to get so far. |
77 | 00:05:59,776 | 00:06:04,030 | He'd be a character who'd find that the weapons weren't there, | He'd be a character who'd find that the weapons weren't there, |
78 | 00:06:04,114 | 00:06:05,907 | and then he would start to ask questions, | and then he would start to ask questions, |
79 | 00:06:05,991 | 00:06:10,912 | and that would start to sort of pitch you into, basically, a conspiracy thriller. | and that would start to sort of pitch you into, basically, a conspiracy thriller. |
80 | 00:06:10,996 | 00:06:15,292 | But it always felt to me about halfway through, | But it always felt to me about halfway through, |
81 | 00:06:15,375 | 00:06:17,836 | this is in the early stages of developing the piece, | this is in the early stages of developing the piece, |
82 | 00:06:17,919 | 00:06:20,755 | that it ran out of steam. | that it ran out of steam. |
83 | 00:06:22,215 | 00:06:28,221 | And that was when I read a book that had a very big impact on me, | And that was when I read a book that had a very big impact on me, |
84 | 00:06:28,305 | 00:06:32,976 | Imperial Life in the Emerald City by Rajiv. | Imperial Life in the Emerald City by Rajiv. |
85 | 00:06:34,644 | 00:06:40,817 | And that book really described the world of the Green Zone | And that book really described the world of the Green Zone |
86 | 00:06:42,068 | 00:06:46,281 | and the kind of absolute mismatch | and the kind of absolute mismatch |
87 | 00:06:46,364 | 00:06:50,702 | between what was being planned in Washington and London | between what was being planned in Washington and London |
88 | 00:06:50,785 | 00:06:54,873 | and what was actually happening on the ground in the heart of Baghdad. | and what was actually happening on the ground in the heart of Baghdad. |
89 | 00:06:54,956 | 00:06:59,711 | And that's really where, for me, the film started to take root, | And that's really where, for me, the film started to take root, |
90 | 00:06:59,794 | 00:07:03,548 | because you could see that Miller would have to travel to the Green Zone, | because you could see that Miller would have to travel to the Green Zone, |
91 | 00:07:03,632 | 00:07:06,051 | and there he'd find his answers, | and there he'd find his answers, |
92 | 00:07:06,134 | 00:07:12,682 | and that gave, in my imagination, something to aim at. | and that gave, in my imagination, something to aim at. |
93 | 00:07:12,766 | 00:07:15,727 | And obviously, Brian Helgeland, who wrote the screenplay... | And obviously, Brian Helgeland, who wrote the screenplay... |
94 | 00:07:15,810 | 00:07:21,816 | It's not an adaptation of the book. Far from it. It's Brian's story. | It's not an adaptation of the book. Far from it. It's Brian's story. |
95 | 00:07:23,360 | 00:07:26,196 | But it was those two elements coming together, | But it was those two elements coming together, |
96 | 00:07:26,279 | 00:07:29,866 | the hunt for WMD, a man on a noble mission believing that they're there, | the hunt for WMD, a man on a noble mission believing that they're there, |
97 | 00:07:29,950 | 00:07:32,118 | finding they're not there, asking questions, | finding they're not there, asking questions, |
98 | 00:07:32,202 | 00:07:35,372 | and then being propelled into the Green Zone, | and then being propelled into the Green Zone, |
99 | 00:07:35,455 | 00:07:37,791 | that's really the story. | that's really the story. |
100 | 00:07:37,874 | 00:07:40,034 | Now you heard Chief. Get ready. Roll those seals tight. | Now you heard Chief. Get ready. Roll those seals tight. |
101 | 00:07:42,087 | 00:07:44,172 | Yeah, I just love the energy of this opening, too, | Yeah, I just love the energy of this opening, too, |
102 | 00:07:44,255 | 00:07:46,967 | and it kind of drives home that point. | and it kind of drives home that point. |
103 | 00:07:47,467 | 00:07:52,764 | The military will go where you tell them to go and take these incredible risks | The military will go where you tell them to go and take these incredible risks |
104 | 00:07:52,847 | 00:07:57,060 | and do it together in a very courageous way, | and do it together in a very courageous way, |
105 | 00:07:57,143 | 00:08:03,984 | and so you gotta make sure you're sending them to the right place for the right reason. | and so you gotta make sure you're sending them to the right place for the right reason. |
106 | 00:08:05,694 | 00:08:10,907 | I mean, I think we were all, weren't we, very lucky in this film | I mean, I think we were all, weren't we, very lucky in this film |
107 | 00:08:10,991 | 00:08:14,202 | - to have all these soldiers that you can see. - Yeah. | - to have all these soldiers that you can see. - Yeah. |
108 | 00:08:14,285 | 00:08:19,416 | They were all Iraqi vets, and in some cases, continuing to serve. | They were all Iraqi vets, and in some cases, continuing to serve. |
109 | 00:08:19,499 | 00:08:22,627 | As an actor, that was the big thing. | As an actor, that was the big thing. |
110 | 00:08:22,711 | 00:08:25,005 | I mean, normally, we get one technical adviser. | I mean, normally, we get one technical adviser. |
111 | 00:08:25,088 | 00:08:28,174 | We had 30 of them there, because these guys had all just come back. | We had 30 of them there, because these guys had all just come back. |
112 | 00:08:28,258 | 00:08:30,719 | Some of them had seen some pretty heavy combat. | Some of them had seen some pretty heavy combat. |
113 | 00:08:30,802 | 00:08:34,681 | And to talk to them about all of the procedural stuff, | And to talk to them about all of the procedural stuff, |
114 | 00:08:34,764 | 00:08:38,935 | to play a chief warrant officer and he, basically, directing these guys | to play a chief warrant officer and he, basically, directing these guys |
115 | 00:08:39,019 | 00:08:42,022 | was, at first, very intimidating, because they were the real thing, | was, at first, very intimidating, because they were the real thing, |
116 | 00:08:42,105 | 00:08:47,235 | and I felt like a dippy actor trying to... I didn't feel comfortable giving them orders. | and I felt like a dippy actor trying to... I didn't feel comfortable giving them orders. |
117 | 00:08:47,318 | 00:08:52,949 | It was really them who pushed me to get comfortable doing that. | It was really them who pushed me to get comfortable doing that. |
118 | 00:08:53,033 | 00:08:58,204 | The piece was gonna fall apart if we all didn't believe who we were, | The piece was gonna fall apart if we all didn't believe who we were, |
119 | 00:08:58,288 | 00:08:59,873 | and they were just incredibly helpful | and they were just incredibly helpful |
120 | 00:08:59,956 | 00:09:05,462 | in making me create something that felt, I hope, authentic. | in making me create something that felt, I hope, authentic. |
121 | 00:09:06,421 | 00:09:07,464 | Yeah. | Yeah. |
122 | 00:09:07,547 | 00:09:13,595 | I mean, all those guys had themselves been part of MET units. | I mean, all those guys had themselves been part of MET units. |
123 | 00:09:13,678 | 00:09:16,139 | These MET units were the units | These MET units were the units |
124 | 00:09:16,222 | 00:09:20,643 | that were tasked to go across the border in the first days after the war | that were tasked to go across the border in the first days after the war |
125 | 00:09:20,727 | 00:09:24,981 | and secure sites where they believed WMD were held, | and secure sites where they believed WMD were held, |
126 | 00:09:25,065 | 00:09:29,319 | and they'd all taken part in exactly these kinds of missions. | and they'd all taken part in exactly these kinds of missions. |
127 | 00:09:30,070 | 00:09:33,865 | And when you make any film... | And when you make any film... |
128 | 00:09:35,116 | 00:09:39,329 | I think people watching this DVD kind of assume | I think people watching this DVD kind of assume |
129 | 00:09:39,412 | 00:09:43,500 | that the process is actually a lot more linear than it actually is. | that the process is actually a lot more linear than it actually is. |
130 | 00:09:43,583 | 00:09:48,046 | You know, that you have an idea, you write a screenplay, you shoot the screenplay, | You know, that you have an idea, you write a screenplay, you shoot the screenplay, |
131 | 00:09:48,129 | 00:09:50,924 | you cut the film, it comes out. | you cut the film, it comes out. |
132 | 00:09:51,007 | 00:09:54,511 | But the truth is, it's actually a series | But the truth is, it's actually a series |
133 | 00:09:55,970 | 00:10:02,894 | of growing a project by degrees with people who share the vision of it. | of growing a project by degrees with people who share the vision of it. |
134 | 00:10:02,977 | 00:10:05,814 | And those people, those soldiers, | And those people, those soldiers, |
135 | 00:10:05,897 | 00:10:10,443 | were absolutely crucial in anchoring the project | were absolutely crucial in anchoring the project |
136 | 00:10:10,527 | 00:10:13,863 | in, firstly, a kind of a reality, | in, firstly, a kind of a reality, |
137 | 00:10:13,947 | 00:10:19,619 | but secondly, that its moral thrust, that what it really was about | but secondly, that its moral thrust, that what it really was about |
138 | 00:10:20,203 | 00:10:25,708 | was allowing the soldiers' point of view of that conflict | was allowing the soldiers' point of view of that conflict |
139 | 00:10:26,584 | 00:10:28,837 | to come out, you know? | to come out, you know? |
140 | 00:10:30,588 | 00:10:34,926 | - I think, don't you? - Yeah, definitely. Definitely. | - I think, don't you? - Yeah, definitely. Definitely. |
141 | 00:10:36,719 | 00:10:42,142 | And now we're at Baghdad Airport, which was actually shot in Morocco. | And now we're at Baghdad Airport, which was actually shot in Morocco. |
142 | 00:10:45,562 | 00:10:50,483 | Any time you see a spare bit of sky, Peter Chiang has put a helicopter in there. | Any time you see a spare bit of sky, Peter Chiang has put a helicopter in there. |
143 | 00:10:51,276 | 00:10:57,490 | 0-130. It's really incredible how big the movie feels, given where we were, | 0-130. It's really incredible how big the movie feels, given where we were, |
144 | 00:10:58,575 | 00:11:01,703 | where we actually shot a lot of this stuff. | where we actually shot a lot of this stuff. |
145 | 00:11:02,745 | 00:11:07,834 | It really is a testament to Peter, | It really is a testament to Peter, |
146 | 00:11:07,917 | 00:11:10,879 | and also to where the movie business is going, | and also to where the movie business is going, |
147 | 00:11:10,962 | 00:11:15,008 | where you're able to do a lot of things | where you're able to do a lot of things |
148 | 00:11:16,009 | 00:11:19,262 | with effects now that are completely seamless | with effects now that are completely seamless |
149 | 00:11:20,471 | 00:11:25,268 | and really do augment your movie in a great way. | and really do augment your movie in a great way. |
150 | 00:11:25,476 | 00:11:30,982 | Yeah. And it was always absolutely fundamental to this film | Yeah. And it was always absolutely fundamental to this film |
151 | 00:11:31,065 | 00:11:35,612 | that we would inhabit Baghdad. | that we would inhabit Baghdad. |
152 | 00:11:35,695 | 00:11:39,199 | It's an environment that you see a lot on the news. | It's an environment that you see a lot on the news. |
153 | 00:11:40,825 | 00:11:46,706 | But until you actually see it and experience it on a big screen, | But until you actually see it and experience it on a big screen, |
154 | 00:11:46,789 | 00:11:50,126 | it's hard to really grasp what it's like. | it's hard to really grasp what it's like. |
155 | 00:11:50,210 | 00:11:52,629 | But one of the things I'm most proud of in this film | But one of the things I'm most proud of in this film |
156 | 00:11:52,712 | 00:11:57,217 | is that I think it authentically brings you to Baghdad. | is that I think it authentically brings you to Baghdad. |
157 | 00:11:57,300 | 00:12:01,721 | And the amount of detail in mapping the exact contours | And the amount of detail in mapping the exact contours |
158 | 00:12:01,804 | 00:12:03,973 | of Baghdad and these exact locations, | of Baghdad and these exact locations, |
159 | 00:12:04,057 | 00:12:09,270 | I mean, the care that Peter and his team took was absolutely incredible, I think. | I mean, the care that Peter and his team took was absolutely incredible, I think. |
160 | 00:12:09,354 | 00:12:10,396 | Yeah. | Yeah. |
161 | 00:12:10,480 | 00:12:16,027 | And to convey the sense of a blasted kind of landscape, | And to convey the sense of a blasted kind of landscape, |
162 | 00:12:16,152 | 00:12:18,488 | days after the invasion. | days after the invasion. |
163 | 00:12:27,580 | 00:12:29,165 | I want a squad list, now! | I want a squad list, now! |
164 | 00:12:30,208 | 00:12:32,794 | So our story's starting to unfold now. | So our story's starting to unfold now. |
165 | 00:12:32,877 | 00:12:37,006 | We've met Poundstone, Greg Kinnear's character, | We've met Poundstone, Greg Kinnear's character, |
166 | 00:12:38,007 | 00:12:41,177 | and Lawrie Dayne, Amy Ryan's character. | and Lawrie Dayne, Amy Ryan's character. |
167 | 00:12:41,261 | 00:12:46,683 | And that's got the whole story going of a source, | And that's got the whole story going of a source, |
168 | 00:12:46,766 | 00:12:49,644 | there's a source out there that's not been disclosed. | there's a source out there that's not been disclosed. |
169 | 00:12:49,727 | 00:12:52,605 | And now we come back to Miller's side of the story, | And now we come back to Miller's side of the story, |
170 | 00:12:52,689 | 00:12:57,568 | and he's still pursuing the "Where are the WMD?" issue. | and he's still pursuing the "Where are the WMD?" issue. |
171 | 00:12:57,694 | 00:13:03,366 | I always very much liked this scene, 'cause I think it takes an audience | I always very much liked this scene, 'cause I think it takes an audience |
172 | 00:13:03,449 | 00:13:06,995 | back to those days immediately after the invasion | back to those days immediately after the invasion |
173 | 00:13:07,078 | 00:13:10,123 | where there was great confidence that this was all gonna be sorted out. | where there was great confidence that this was all gonna be sorted out. |
174 | 00:13:10,206 | 00:13:15,211 | Nobody knew at that time what was gonna happen. | Nobody knew at that time what was gonna happen. |
175 | 00:13:15,295 | 00:13:18,798 | And also, in terms of a straight thriller here, | And also, in terms of a straight thriller here, |
176 | 00:13:18,881 | 00:13:24,929 | you want that moment when your hero is knocked back. | you want that moment when your hero is knocked back. |
177 | 00:13:25,054 | 00:13:29,225 | He asks a straightforward question, and he's knocked back. | He asks a straightforward question, and he's knocked back. |
178 | 00:13:29,309 | 00:13:31,894 | And that, in a way, is kind of... | And that, in a way, is kind of... |
179 | 00:13:33,396 | 00:13:36,399 | It starts to drive the character from then on, | It starts to drive the character from then on, |
180 | 00:13:36,482 | 00:13:38,901 | 'cause you know that he's not gonna take "no" for an answer. | 'cause you know that he's not gonna take "no" for an answer. |
181 | 00:13:38,985 | 00:13:42,363 | Today we're going to be briefing you on WMD operations due to take place | Today we're going to be briefing you on WMD operations due to take place |
182 | 00:13:42,447 | 00:13:44,407 | in and around the Baghdad area. | in and around the Baghdad area. |
183 | 00:13:44,741 | 00:13:48,411 | A lot of these scenes we shot longer. For instance, we ran this press conference... | A lot of these scenes we shot longer. For instance, we ran this press conference... |
184 | 00:13:48,494 | 00:13:52,415 | This is our introduction of our CIA guy, Brendan. | This is our introduction of our CIA guy, Brendan. |
185 | 00:13:53,624 | 00:13:59,005 | But this, we ran as a real press conference. | But this, we ran as a real press conference. |
186 | 00:14:03,593 | 00:14:05,345 | A real meeting. These guys are all... | A real meeting. These guys are all... |
187 | 00:14:05,428 | 00:14:08,598 | There's Paul Rieckhoff over in the corner. | There's Paul Rieckhoff over in the corner. |
188 | 00:14:09,599 | 00:14:12,810 | This is kind of how these things really do run. | This is kind of how these things really do run. |
189 | 00:14:15,605 | 00:14:18,483 | It was probably a 15-minute improvisation | It was probably a 15-minute improvisation |
190 | 00:14:18,608 | 00:14:22,111 | for a lot of the questions and answers and back and forth | for a lot of the questions and answers and back and forth |
191 | 00:14:23,279 | 00:14:26,949 | that Paul and Chris cut back | that Paul and Chris cut back |
192 | 00:14:27,450 | 00:14:31,162 | to exactly what you need to jump-start your plot. | to exactly what you need to jump-start your plot. |
193 | 00:14:33,456 | 00:14:36,125 | Chief, how about we do this? Let's talk offline. | Chief, how about we do this? Let's talk offline. |
194 | 00:14:36,292 | 00:14:40,296 | Yeah, it has a sort of sense of reality, | Yeah, it has a sort of sense of reality, |
195 | 00:14:40,838 | 00:14:46,886 | and it's that thing where, if you can introduce actors... | and it's that thing where, if you can introduce actors... |
196 | 00:14:46,969 | 00:14:48,725 | - I mean, there's Mike. - Yeah, Michael's great. | - I mean, there's Mike. - Yeah, Michael's great. |
197 | 00:14:48,805 | 00:14:52,141 | And Patrick there, and you... | And Patrick there, and you... |
198 | 00:14:52,225 | 00:14:56,646 | There are professional actors in there, interacting | There are professional actors in there, interacting |
199 | 00:14:57,647 | 00:15:02,652 | with professional military people. | with professional military people. |
200 | 00:15:02,735 | 00:15:08,491 | It's something a lot of directors do. I like to do it. | It's something a lot of directors do. I like to do it. |
201 | 00:15:08,574 | 00:15:13,663 | Because when you get it right, and you don't always get it right, as you know, | Because when you get it right, and you don't always get it right, as you know, |
202 | 00:15:13,746 | 00:15:18,459 | but what you want is, essentially, | but what you want is, essentially, |
203 | 00:15:18,543 | 00:15:24,382 | it can encourage and assist the process whereby the professional actor doesn't act, | it can encourage and assist the process whereby the professional actor doesn't act, |
204 | 00:15:24,507 | 00:15:28,970 | and it assists, profoundly, the professional person to start to act. | and it assists, profoundly, the professional person to start to act. |
205 | 00:15:29,053 | 00:15:30,096 | Right. Right. | Right. Right. |
206 | 00:15:30,179 | 00:15:33,307 | And where the two kind of meet, | And where the two kind of meet, |
207 | 00:15:33,391 | 00:15:39,772 | you get a sweet spot where it feels powerfully performed but utterly real. | you get a sweet spot where it feels powerfully performed but utterly real. |
208 | 00:15:39,856 | 00:15:43,109 | Yeah, and that really is going back to, I mean, using all these real guys. | Yeah, and that really is going back to, I mean, using all these real guys. |
209 | 00:15:43,192 | 00:15:49,574 | It really just, from my perspective, just puts me right in there. | It really just, from my perspective, just puts me right in there. |
210 | 00:15:49,699 | 00:15:54,162 | So we've come out of the JMOC, and now I've caught the eye of Brendan, | So we've come out of the JMOC, and now I've caught the eye of Brendan, |
211 | 00:15:54,245 | 00:15:58,499 | who realizes that I'm not somebody who's gonna kind of toe the company line. | who realizes that I'm not somebody who's gonna kind of toe the company line. |
212 | 00:15:58,583 | 00:16:02,920 | I'm realizing that these things are empty, and there's a problem with the intel. | I'm realizing that these things are empty, and there's a problem with the intel. |
213 | 00:16:03,045 | 00:16:09,969 | And so he tries to establish a connection with me. | And so he tries to establish a connection with me. |
214 | 00:16:11,387 | 00:16:14,515 | Give me the card, and the plot moves forward. | Give me the card, and the plot moves forward. |
215 | 00:16:14,599 | 00:16:20,396 | Yeah, and it goes back to that opening thing. | Yeah, and it goes back to that opening thing. |
216 | 00:16:23,232 | 00:16:27,236 | Yeah, you have a choice when you're dealing with this material. | Yeah, you have a choice when you're dealing with this material. |
217 | 00:16:28,237 | 00:16:32,116 | I always wanted... Well, I think we both did, didn't we? | I always wanted... Well, I think we both did, didn't we? |
218 | 00:16:32,241 | 00:16:39,040 | You want to make a film about this material that, hopefully, people will see. | You want to make a film about this material that, hopefully, people will see. |
219 | 00:16:39,123 | 00:16:40,208 | Yeah. | Yeah. |
220 | 00:16:40,291 | 00:16:44,212 | So, obviously, if you're gonna do that, | So, obviously, if you're gonna do that, |
221 | 00:16:44,295 | 00:16:47,882 | you have to inhabit, at some level, genre. | you have to inhabit, at some level, genre. |
222 | 00:16:47,965 | 00:16:50,718 | You've got to tell your story in a way | You've got to tell your story in a way |
223 | 00:16:50,801 | 00:16:54,222 | that people are gonna instantly identify the type of story it is, | that people are gonna instantly identify the type of story it is, |
224 | 00:16:54,305 | 00:16:59,977 | and it's gonna carry the promise of being rewarding for them as an audience. | and it's gonna carry the promise of being rewarding for them as an audience. |
225 | 00:17:00,102 | 00:17:04,148 | A rewarding experience, which means it's gonna be a thriller, | A rewarding experience, which means it's gonna be a thriller, |
226 | 00:17:04,273 | 00:17:07,652 | it's gonna have a driving narrative. | it's gonna have a driving narrative. |
227 | 00:17:07,777 | 00:17:12,073 | It's gonna have the things that they would associate us with | It's gonna have the things that they would associate us with |
228 | 00:17:12,156 | 00:17:15,243 | in terms of, yeah, economical storytelling, | in terms of, yeah, economical storytelling, |
229 | 00:17:15,326 | 00:17:19,247 | clarity, pace, a lot of dynamism, a lot of physicality. | clarity, pace, a lot of dynamism, a lot of physicality. |
230 | 00:17:19,330 | 00:17:23,125 | And I think that | And I think that |
231 | 00:17:25,711 | 00:17:30,925 | underlying all of that is this question that I think is so interesting in this film, | underlying all of that is this question that I think is so interesting in this film, |
232 | 00:17:31,008 | 00:17:36,013 | which is, you've enjoyed this sort of experience in Bourne world, | which is, you've enjoyed this sort of experience in Bourne world, |
233 | 00:17:37,473 | 00:17:39,725 | but take one more step back to the real world | but take one more step back to the real world |
234 | 00:17:39,809 | 00:17:44,689 | and see that, actually, this landscape | and see that, actually, this landscape |
235 | 00:17:44,814 | 00:17:50,236 | gives you that same sense of intrigue, conspiracy, paranoia, | gives you that same sense of intrigue, conspiracy, paranoia, |
236 | 00:17:51,487 | 00:17:55,908 | and also, will lend itself to a character searching for the truth. | and also, will lend itself to a character searching for the truth. |
237 | 00:17:55,992 | 00:17:57,493 | - You know? - Yeah. | - You know? - Yeah. |
238 | 00:17:58,494 | 00:18:03,165 | This is all based on some real footage that CBS News had of a riot. | This is all based on some real footage that CBS News had of a riot. |
239 | 00:18:03,249 | 00:18:05,418 | People were... | People were... |
240 | 00:18:06,335 | 00:18:07,962 | In our film, they want water. | In our film, they want water. |
241 | 00:18:08,045 | 00:18:11,674 | But I think, in actuality, they were out of gasoline. | But I think, in actuality, they were out of gasoline. |
242 | 00:18:12,341 | 00:18:16,804 | And I remember looking at the source material, | And I remember looking at the source material, |
243 | 00:18:16,887 | 00:18:20,641 | and there was this soldier who was just being overwhelmed by a group of people, | and there was this soldier who was just being overwhelmed by a group of people, |
244 | 00:18:20,725 | 00:18:23,102 | and he just screamed at them to get back. | and he just screamed at them to get back. |
245 | 00:18:23,185 | 00:18:26,188 | He said, "I'm trying to give you your freedom." | He said, "I'm trying to give you your freedom." |
246 | 00:18:26,272 | 00:18:31,152 | These guys just are put in these really, really tricky situations | These guys just are put in these really, really tricky situations |
247 | 00:18:31,235 | 00:18:34,530 | as this infrastructure, as this country, is crumbling, | as this infrastructure, as this country, is crumbling, |
248 | 00:18:34,614 | 00:18:38,534 | and they're trying to manage these unmanageable situations. | and they're trying to manage these unmanageable situations. |
249 | 00:18:40,328 | 00:18:42,580 | This is the Green Zone. | This is the Green Zone. |
250 | 00:18:44,206 | 00:18:46,334 | Which is actually more like a brown zone in a way, | Which is actually more like a brown zone in a way, |
251 | 00:18:46,417 | 00:18:50,963 | 'cause it's so hot, but it's down by the river, | 'cause it's so hot, but it's down by the river, |
252 | 00:18:51,047 | 00:18:54,133 | and then you get the Republican Palace, Saddam's former palace, | and then you get the Republican Palace, Saddam's former palace, |
253 | 00:18:54,216 | 00:18:57,595 | which was the headquarters for the Coalition. | which was the headquarters for the Coalition. |
254 | 00:18:57,720 | 00:19:03,392 | This is a scene I always loved, because you get your different arguments | This is a scene I always loved, because you get your different arguments |
255 | 00:19:03,517 | 00:19:08,606 | from the DOD and from the CIA. | from the DOD and from the CIA. |
256 | 00:19:08,731 | 00:19:15,029 | And this lifer, who's a Middle East specialist | And this lifer, who's a Middle East specialist |
257 | 00:19:15,112 | 00:19:18,115 | who nobody's listening to, who has a pretty good read | who nobody's listening to, who has a pretty good read |
258 | 00:19:18,240 | 00:19:20,326 | on what's gonna happen and what's gonna go wrong | on what's gonna happen and what's gonna go wrong |
259 | 00:19:20,409 | 00:19:22,995 | and understands the culture and speaks the language, | and understands the culture and speaks the language, |
260 | 00:19:23,079 | 00:19:28,125 | versus the people who didn't really rate those guys, | versus the people who didn't really rate those guys, |
261 | 00:19:28,250 | 00:19:30,711 | and felt like they... | and felt like they... |
262 | 00:19:32,254 | 00:19:37,927 | They were so glacial about their vetting that nothing ever got done. | They were so glacial about their vetting that nothing ever got done. |
263 | 00:19:40,096 | 00:19:45,059 | And that's who Kinnear represents, obviously, the neocon argument. | And that's who Kinnear represents, obviously, the neocon argument. |
264 | 00:19:45,935 | 00:19:48,396 | And this is a sort of scene that... | And this is a sort of scene that... |
265 | 00:19:49,939 | 00:19:54,777 | The book's chock-full of these sorts of encounters, isn't it, Rajiv's book? | The book's chock-full of these sorts of encounters, isn't it, Rajiv's book? |
266 | 00:19:56,112 | 00:20:01,617 | There's an intense amount of idealism in the Poundstone character, which was present. | There's an intense amount of idealism in the Poundstone character, which was present. |
267 | 00:20:01,742 | 00:20:05,246 | I don't think you can dismiss the quality of idealism | I don't think you can dismiss the quality of idealism |
268 | 00:20:05,329 | 00:20:09,542 | that led people like Poundstone to really, truly believe | that led people like Poundstone to really, truly believe |
269 | 00:20:09,625 | 00:20:12,628 | that you could come to Iraq and transform the place. | that you could come to Iraq and transform the place. |
270 | 00:20:12,753 | 00:20:17,633 | The goals, the ambitions were not themselves unworthy. | The goals, the ambitions were not themselves unworthy. |
271 | 00:20:17,758 | 00:20:21,095 | The problem is they had fatally misunderstood | The problem is they had fatally misunderstood |
272 | 00:20:21,178 | 00:20:27,101 | or fatally underestimated the extent to which the country was absolutely destroyed. | or fatally underestimated the extent to which the country was absolutely destroyed. |
273 | 00:20:27,184 | 00:20:30,354 | And also, as Brendan's character explains, | And also, as Brendan's character explains, |
274 | 00:20:30,479 | 00:20:34,442 | the extent to which the simmering ethnic tensions | the extent to which the simmering ethnic tensions |
275 | 00:20:34,525 | 00:20:38,654 | under the surface of the country would, once Saddam was removed, | under the surface of the country would, once Saddam was removed, |
276 | 00:20:38,779 | 00:20:42,742 | come roaring to the surface and absolutely destroy it. | come roaring to the surface and absolutely destroy it. |
277 | 00:20:42,825 | 00:20:49,290 | And so around that absolute, central | And so around that absolute, central |
278 | 00:20:52,168 | 00:20:58,299 | policy choice, whether to take a pragmatic decision, | policy choice, whether to take a pragmatic decision, |
279 | 00:20:58,382 | 00:21:03,095 | which is essentially what Brendan's character's suggesting, or not, | which is essentially what Brendan's character's suggesting, or not, |
280 | 00:21:03,179 | 00:21:05,848 | - our story rests, doesn't it? - Yeah. | - our story rests, doesn't it? - Yeah. |
281 | 00:21:07,349 | 00:21:09,939 | And it looks like we're giving him a perfect argument, in hindsight, | And it looks like we're giving him a perfect argument, in hindsight, |
282 | 00:21:10,019 | 00:21:13,522 | but the reality is that was those guys' argument. | but the reality is that was those guys' argument. |
283 | 00:21:14,523 | 00:21:15,858 | For sure. | For sure. |
284 | 00:21:38,714 | 00:21:44,178 | So this is Khalid Abdalla, just an absolutely fantastic young actor | So this is Khalid Abdalla, just an absolutely fantastic young actor |
285 | 00:21:45,763 | 00:21:47,014 | who's great in this movie. | who's great in this movie. |
286 | 00:21:47,097 | 00:21:50,893 | And his introduction here kind of kicks off... | And his introduction here kind of kicks off... |
287 | 00:21:52,770 | 00:21:54,688 | Really, really kicks it off. | Really, really kicks it off. |
288 | 00:21:54,772 | 00:21:58,067 | Here's Yigal coming in, who's, again, just a wonderful actor | Here's Yigal coming in, who's, again, just a wonderful actor |
289 | 00:21:58,192 | 00:22:01,195 | who plays General Al Rawi, | who plays General Al Rawi, |
290 | 00:22:02,696 | 00:22:05,491 | who's a very complicated character, | who's a very complicated character, |
291 | 00:22:05,574 | 00:22:09,829 | who we'll get to know better as the movie goes on. | who we'll get to know better as the movie goes on. |
292 | 00:22:09,912 | 00:22:12,248 | Yigal, Arabic is not his first language, | Yigal, Arabic is not his first language, |
293 | 00:22:12,373 | 00:22:17,169 | and he actually, I think, very wisely chose to say less. | and he actually, I think, very wisely chose to say less. |
294 | 00:22:17,253 | 00:22:20,214 | - But he's got such a presence. - Fantastic, yeah. | - But he's got such a presence. - Fantastic, yeah. |
295 | 00:22:20,297 | 00:22:24,552 | - -Power is a very hard thing to play, isn't it? - Yeah, yeah. | - -Power is a very hard thing to play, isn't it? - Yeah, yeah. |
296 | 00:22:24,635 | 00:22:26,555 | - Unless you have it, and he just has it. - Yeah. | - Unless you have it, and he just has it. - Yeah. |
297 | 00:22:26,637 | 00:22:29,265 | Which you'll see. | Which you'll see. |
298 | 00:22:29,390 | 00:22:33,143 | I remember, he said to me in this scene, actually, | I remember, he said to me in this scene, actually, |
299 | 00:22:33,269 | 00:22:39,900 | he said, "The key to playing power is that everybody else has gotta play the power." | he said, "The key to playing power is that everybody else has gotta play the power." |
300 | 00:22:39,984 | 00:22:41,489 | - Right. Right. - Do you know what I mean? | - Right. Right. - Do you know what I mean? |
301 | 00:22:41,569 | 00:22:44,613 | Which I thought was a very, very wise thing to say. | Which I thought was a very, very wise thing to say. |
302 | 00:22:44,738 | 00:22:45,739 | Right. | Right. |
303 | 00:22:45,823 | 00:22:49,243 | And then you can just be. You're not playing it, you know? | And then you can just be. You're not playing it, you know? |
304 | 00:22:49,326 | 00:22:50,703 | It's a kind of classic thing | It's a kind of classic thing |
305 | 00:22:50,786 | 00:22:55,457 | that you'd think it would be the reverse as an actor, wouldn't you? | that you'd think it would be the reverse as an actor, wouldn't you? |
306 | 00:22:55,583 | 00:23:00,546 | Now here's our hero, who we've established isn't too happy. | Now here's our hero, who we've established isn't too happy. |
307 | 00:23:00,629 | 00:23:02,256 | He's been pushed back once. | He's been pushed back once. |
308 | 00:23:02,339 | 00:23:05,718 | He's now digging at a soccer field in a public square. | He's now digging at a soccer field in a public square. |
309 | 00:23:05,801 | 00:23:09,305 | This is clearly not going anywhere. | This is clearly not going anywhere. |
310 | 00:23:11,974 | 00:23:14,685 | And there's a little scuffle going on. | And there's a little scuffle going on. |
311 | 00:23:15,936 | 00:23:18,230 | This is a very important moment in the film, I think, | This is a very important moment in the film, I think, |
312 | 00:23:18,314 | 00:23:21,400 | because we've by now established | because we've by now established |
313 | 00:23:21,483 | 00:23:26,196 | that Miller's got a noble mission, find the WMD. | that Miller's got a noble mission, find the WMD. |
314 | 00:23:26,322 | 00:23:30,993 | They're not there. He's not finding them. He's become frustrated. | They're not there. He's not finding them. He's become frustrated. |
315 | 00:23:31,118 | 00:23:34,330 | He's asked questions upstairs and got no answers. | He's asked questions upstairs and got no answers. |
316 | 00:23:34,997 | 00:23:37,416 | And now, of course, because this is a thriller, | And now, of course, because this is a thriller, |
317 | 00:23:37,499 | 00:23:40,628 | he's gonna start to make his own moves. | he's gonna start to make his own moves. |
318 | 00:23:40,711 | 00:23:46,842 | This whole sequence, the arrival of Al Rawi at the generals' meeting, | This whole sequence, the arrival of Al Rawi at the generals' meeting, |
319 | 00:23:46,967 | 00:23:52,431 | which I felt had a lovely sort of gangsters'-meeting-type flavor. | which I felt had a lovely sort of gangsters'-meeting-type flavor. |
320 | 00:23:52,514 | 00:23:55,434 | And the arrival of Freddy with the information to Miller, | And the arrival of Freddy with the information to Miller, |
321 | 00:23:55,517 | 00:23:58,854 | that he's seen something happening a mile away, | that he's seen something happening a mile away, |
322 | 00:24:00,147 | 00:24:04,151 | you just know he's gonna provoke a confrontation | you just know he's gonna provoke a confrontation |
323 | 00:24:04,234 | 00:24:09,114 | and the film's gonna step up to the next level of intensity | and the film's gonna step up to the next level of intensity |
324 | 00:24:09,198 | 00:24:14,244 | and the next section of the story. | and the next section of the story. |
325 | 00:24:14,370 | 00:24:20,834 | We should probably talk at this stage about Chris Rouse, | We should probably talk at this stage about Chris Rouse, |
326 | 00:24:22,378 | 00:24:28,467 | who's cut my last four, our three, films, | who's cut my last four, our three, films, |
327 | 00:24:28,550 | 00:24:31,303 | and played a central role in all of them. | and played a central role in all of them. |
328 | 00:24:31,387 | 00:24:37,977 | The way that he choreographed these two stories, | The way that he choreographed these two stories, |
329 | 00:24:38,060 | 00:24:42,940 | the story of the meeting, which is very important, thematically, | the story of the meeting, which is very important, thematically, |
330 | 00:24:43,065 | 00:24:48,153 | and conveys that sort of atmosphere of a bunch of generals, | and conveys that sort of atmosphere of a bunch of generals, |
331 | 00:24:48,237 | 00:24:53,283 | still very powerful, still very dangerous, but, essentially, wanted men on the run, | still very powerful, still very dangerous, but, essentially, wanted men on the run, |
332 | 00:24:53,409 | 00:24:56,829 | and the information reaching Miller, | and the information reaching Miller, |
333 | 00:24:56,912 | 00:25:01,667 | and Miller deciding to kind of drive his men into life, | and Miller deciding to kind of drive his men into life, |
334 | 00:25:01,750 | 00:25:05,629 | then this unfolding confrontation, gives you, | then this unfolding confrontation, gives you, |
335 | 00:25:05,754 | 00:25:09,008 | I think, the thing that I love in movies, | I think, the thing that I love in movies, |
336 | 00:25:09,091 | 00:25:13,762 | which is not one piece of action, | which is not one piece of action, |
337 | 00:25:13,887 | 00:25:19,893 | but the sustained feeling for, hopefully, 10 or 15 minutes | but the sustained feeling for, hopefully, 10 or 15 minutes |
338 | 00:25:19,977 | 00:25:22,187 | that the film's unfolding in real time | that the film's unfolding in real time |
339 | 00:25:22,271 | 00:25:28,360 | and driving you onwards toward some kind of impending drama. | and driving you onwards toward some kind of impending drama. |
340 | 00:25:28,444 | 00:25:34,241 | That, I think, is very, very, very watchable, ultimately. | That, I think, is very, very, very watchable, ultimately. |
341 | 00:25:34,324 | 00:25:37,036 | This, on a personal note, was a huge day for me, | This, on a personal note, was a huge day for me, |
342 | 00:25:37,119 | 00:25:40,372 | because this was the first time | because this was the first time |
343 | 00:25:40,456 | 00:25:44,501 | I really stepped up with the guys. | I really stepped up with the guys. |
344 | 00:25:44,626 | 00:25:49,423 | And this guy who just jumped off right there, Mike Dwyer, he's a Marine, | And this guy who just jumped off right there, Mike Dwyer, he's a Marine, |
345 | 00:25:49,506 | 00:25:53,635 | saw, probably, the most stuff of any of the guys who were there. | saw, probably, the most stuff of any of the guys who were there. |
346 | 00:25:53,761 | 00:25:59,224 | Two very, very active tours in Iraq. | Two very, very active tours in Iraq. |
347 | 00:25:59,308 | 00:26:02,561 | And in this sequence, | And in this sequence, |
348 | 00:26:02,644 | 00:26:03,729 | Paul suggested that Adam, | Paul suggested that Adam, |
349 | 00:26:03,812 | 00:26:06,315 | who was a sniper in the National Guard, question me. | who was a sniper in the National Guard, question me. |
350 | 00:26:06,440 | 00:26:07,858 | Adam's there in the foreground. | Adam's there in the foreground. |
351 | 00:26:07,983 | 00:26:10,235 | "How do we know you're not leading us into an ambush?" | "How do we know you're not leading us into an ambush?" |
352 | 00:26:10,319 | 00:26:13,447 | "We don't. Get your fucking game face on," is what I say. | "We don't. Get your fucking game face on," is what I say. |
353 | 00:26:13,530 | 00:26:17,409 | And that was what Mike, in the background there, said to me. | And that was what Mike, in the background there, said to me. |
354 | 00:26:17,493 | 00:26:22,331 | I saw him when Adam questioned me, I saw him get very uncomfortable. | I saw him when Adam questioned me, I saw him get very uncomfortable. |
355 | 00:26:22,456 | 00:26:24,792 | And I took him aside, and I said, "What is it?" | And I took him aside, and I said, "What is it?" |
356 | 00:26:24,875 | 00:26:29,588 | And he said, in no uncertain terms, that, "That kind of insubordination | And he said, in no uncertain terms, that, "That kind of insubordination |
357 | 00:26:29,671 | 00:26:33,425 | "when we were out here is absolutely unacceptable." | "when we were out here is absolutely unacceptable." |
358 | 00:26:33,509 | 00:26:35,597 | And he said, "If I have a problem with your leadership," | And he said, "If I have a problem with your leadership," |
359 | 00:26:35,677 | 00:26:37,717 | "you're gonna hear about it before we get out here." | "you're gonna hear about it before we get out here." |
360 | 00:26:37,805 | 00:26:43,560 | "But once we're out here, I am 100% doing what you tell me to do." | "But once we're out here, I am 100% doing what you tell me to do." |
361 | 00:26:43,685 | 00:26:47,064 | "And if anybody says differently, then they need to get their fucking game face on." | "And if anybody says differently, then they need to get their fucking game face on." |
362 | 00:26:47,189 | 00:26:49,441 | And so that was a big moment for me, | And so that was a big moment for me, |
363 | 00:26:49,525 | 00:26:53,737 | because I didn't tell Adam I was gonna say that to him. | because I didn't tell Adam I was gonna say that to him. |
364 | 00:26:53,862 | 00:26:57,825 | And I just said it, kind of sucked up my courage as an actor | And I just said it, kind of sucked up my courage as an actor |
365 | 00:26:57,908 | 00:27:02,246 | and said to this veteran to get his game face on, | and said to this veteran to get his game face on, |
366 | 00:27:02,371 | 00:27:05,374 | and his reaction was very honest, | and his reaction was very honest, |
367 | 00:27:05,499 | 00:27:09,628 | and he suddenly just looked like a soldier who was kind of being put back in line. | and he suddenly just looked like a soldier who was kind of being put back in line. |
368 | 00:27:09,711 | 00:27:12,673 | So it was a big, very helpful... | So it was a big, very helpful... |
369 | 00:27:12,756 | 00:27:17,845 | Again, when you have 30 technical advisers, you get some really great stuff. | Again, when you have 30 technical advisers, you get some really great stuff. |
370 | 00:27:18,053 | 00:27:19,179 | Yeah. | Yeah. |
371 | 00:27:24,685 | 00:27:27,437 | I love the atmosphere in this meeting, and these. .. | I love the atmosphere in this meeting, and these. .. |
372 | 00:27:29,064 | 00:27:32,234 | Quite a lot of these guys in this meeting | Quite a lot of these guys in this meeting |
373 | 00:27:32,359 | 00:27:36,238 | were Iraqis in exile. | were Iraqis in exile. |
374 | 00:27:36,405 | 00:27:38,699 | This man here... | This man here... |
375 | 00:27:40,534 | 00:27:42,202 | What if they don't contact us? | What if they don't contact us? |
376 | 00:27:42,286 | 00:27:46,540 | ...very fine Moroccan actor. | ...very fine Moroccan actor. |
377 | 00:27:46,915 | 00:27:48,750 | ...We Will fight. | ...We Will fight. |
378 | 00:27:50,460 | 00:27:53,213 | And Said, of course, right there. He's terrific. | And Said, of course, right there. He's terrific. |
379 | 00:28:08,478 | 00:28:10,814 | So now we got some momentum. We got our guys. | So now we got some momentum. We got our guys. |
380 | 00:28:11,565 | 00:28:14,151 | Chris Rouse is starting to just... | Chris Rouse is starting to just... |
381 | 00:28:14,902 | 00:28:17,446 | Yeah, we talked about this a lot when we were cutting this film, | Yeah, we talked about this a lot when we were cutting this film, |
382 | 00:28:17,571 | 00:28:23,076 | that you didn't wanna let this unfold too fast. | that you didn't wanna let this unfold too fast. |
383 | 00:28:23,493 | 00:28:28,790 | You know what I mean? It was a question of just steadily turning the screw. | You know what I mean? It was a question of just steadily turning the screw. |
384 | 00:28:28,957 | 00:28:32,711 | And I've always felt that from the soccer field, from Freddy coming up, it just... Yeah. | And I've always felt that from the soccer field, from Freddy coming up, it just... Yeah. |
385 | 00:28:32,794 | 00:28:35,172 | It's exactly right. You're steadily turning the screw, | It's exactly right. You're steadily turning the screw, |
386 | 00:28:35,297 | 00:28:38,091 | all the way through the foot chase in the alley. | all the way through the foot chase in the alley. |
387 | 00:28:38,175 | 00:28:43,972 | It just really... You're short of breath through this whole thing. | It just really... You're short of breath through this whole thing. |
388 | 00:28:44,264 | 00:28:46,308 | Now, these guys all... I remember working this day. | Now, these guys all... I remember working this day. |
389 | 00:28:46,433 | 00:28:49,353 | Monty said to me, "You're gonna see what these guys really do." | Monty said to me, "You're gonna see what these guys really do." |
390 | 00:28:49,478 | 00:28:51,146 | He said, "They've been trying to act. | He said, "They've been trying to act. |
391 | 00:28:52,022 | 00:28:55,859 | "If you wanna see 'em do what they do, watch 'em hit a house." | "If you wanna see 'em do what they do, watch 'em hit a house." |
392 | 00:28:55,984 | 00:28:59,988 | And we worked very, very carefully on... | And we worked very, very carefully on... |
393 | 00:29:00,113 | 00:29:04,034 | Well, they worked with me on exactly what I would do, because I love that stuff. | Well, they worked with me on exactly what I would do, because I love that stuff. |
394 | 00:29:05,118 | 00:29:09,623 | And every unit does it slightly differently. | And every unit does it slightly differently. |
395 | 00:29:10,666 | 00:29:14,169 | First guy goes left, second guy goes right, third guy goes long, that kind of thing. | First guy goes left, second guy goes right, third guy goes long, that kind of thing. |
396 | 00:29:15,963 | 00:29:22,177 | I just went to school, basically, and these guys showed me all this stuff, | I just went to school, basically, and these guys showed me all this stuff, |
397 | 00:29:23,303 | 00:29:26,139 | and it looks really, really good, I think. | and it looks really, really good, I think. |
398 | 00:29:26,306 | 00:29:30,936 | I think it looks good because they're all moving exactly as they would. | I think it looks good because they're all moving exactly as they would. |
399 | 00:29:31,019 | 00:29:33,689 | And now we're going to get on the door. | And now we're going to get on the door. |
400 | 00:29:38,151 | 00:29:43,365 | - It's beautifully cut, this section. - Yes. | - It's beautifully cut, this section. - Yes. |
401 | 00:29:43,490 | 00:29:45,450 | Just introducing the... | Just introducing the... |
402 | 00:29:45,534 | 00:29:49,538 | - Now you've get children in there. - Yeah, raises the stakes of the encounter | - Now you've get children in there. - Yeah, raises the stakes of the encounter |
403 | 00:29:50,497 | 00:29:52,666 | without feeling sentimental. | without feeling sentimental. |
404 | 00:29:54,001 | 00:29:55,043 | There goes Dwyer. | There goes Dwyer. |
405 | 00:29:57,754 | 00:29:59,006 | On the fucking ground, now! | On the fucking ground, now! |
406 | 00:29:59,089 | 00:30:00,674 | I'm third. I go long. | I'm third. I go long. |
407 | 00:30:03,385 | 00:30:06,722 | I remember Dwyer would have butt-stroked that guy, remember that? | I remember Dwyer would have butt-stroked that guy, remember that? |
408 | 00:30:09,683 | 00:30:11,184 | Keating, on the stairs up! | Keating, on the stairs up! |
409 | 00:30:14,730 | 00:30:16,815 | That's just great, his hand up there, did you see? | That's just great, his hand up there, did you see? |
410 | 00:30:16,898 | 00:30:19,067 | His sign that the getaway car's coming. | His sign that the getaway car's coming. |
411 | 00:30:22,070 | 00:30:27,034 | Because those guys are military people, you know, they're game guys. | Because those guys are military people, you know, they're game guys. |
412 | 00:30:27,117 | 00:30:28,535 | They know what they're doing. | They know what they're doing. |
413 | 00:30:29,703 | 00:30:33,874 | You just want that little moment, obviously, of eye lock between you and Al Rawi. | You just want that little moment, obviously, of eye lock between you and Al Rawi. |
414 | 00:30:39,880 | 00:30:41,214 | Look out! | Look out! |
415 | 00:30:47,387 | 00:30:49,264 | - Get ready to hook right. - Hook right! | - Get ready to hook right. - Hook right! |
416 | 00:30:49,389 | 00:30:53,685 | It was interesting, this whole section, and it's a long, long section, | It was interesting, this whole section, and it's a long, long section, |
417 | 00:30:53,769 | 00:30:56,438 | it must be nearly 15 minutes of the movie, | it must be nearly 15 minutes of the movie, |
418 | 00:30:56,563 | 00:31:01,777 | the section that begins with you at the soccer field, | the section that begins with you at the soccer field, |
419 | 00:31:02,778 | 00:31:04,613 | introduction of Freddy, | introduction of Freddy, |
420 | 00:31:05,947 | 00:31:11,495 | the meeting at Al Rawi's, the confrontation in this section here | the meeting at Al Rawi's, the confrontation in this section here |
421 | 00:31:11,912 | 00:31:16,416 | and then afterwards at the soccer field. | and then afterwards at the soccer field. |
422 | 00:31:17,918 | 00:31:21,004 | I remember when Brian wrote the first draft, | I remember when Brian wrote the first draft, |
423 | 00:31:21,129 | 00:31:26,510 | that section, although we changed it in many ways | that section, although we changed it in many ways |
424 | 00:31:26,635 | 00:31:29,388 | in terms of the way we performed it... | in terms of the way we performed it... |
425 | 00:31:29,471 | 00:31:34,476 | But essentially, that was... I remember reading that. | But essentially, that was... I remember reading that. |
426 | 00:31:35,143 | 00:31:37,354 | I was actually out in Los Angeles finishing Ultimatum, | I was actually out in Los Angeles finishing Ultimatum, |
427 | 00:31:37,479 | 00:31:42,818 | "and I remember reading that 20 pages and going, "That's bang on. | "and I remember reading that 20 pages and going, "That's bang on. |
428 | 00:31:42,943 | 00:31:49,574 | "That is tonally, and in terms of the moral ebb and flow..." | "That is tonally, and in terms of the moral ebb and flow..." |
429 | 00:31:49,658 | 00:31:52,911 | Cause you're not... You know, this isn't a movie where you're saying, | Cause you're not... You know, this isn't a movie where you're saying, |
430 | 00:31:52,994 | 00:31:56,415 | "Oh, look at those terrible American soldiers. Look what they're doing." | "Oh, look at those terrible American soldiers. Look what they're doing." |
431 | 00:31:56,498 | 00:31:57,624 | You're not feeling that. | You're not feeling that. |
432 | 00:31:57,707 | 00:32:00,919 | You're feeling that they're engaged in a righteous cause, | You're feeling that they're engaged in a righteous cause, |
433 | 00:32:01,002 | 00:32:02,591 | and they absolutely believe that they are, | and they absolutely believe that they are, |
434 | 00:32:02,671 | 00:32:04,965 | and they're behaving according to procedure, | and they're behaving according to procedure, |
435 | 00:32:05,048 | 00:32:08,760 | but the splintering in terms of what's happening on the other side, | but the splintering in terms of what's happening on the other side, |
436 | 00:32:08,844 | 00:32:12,431 | and Freddy's uncomfortable with what's happening, | and Freddy's uncomfortable with what's happening, |
437 | 00:32:12,514 | 00:32:16,143 | and Said there being questioned, and Al Rawi getting out the back door... | and Said there being questioned, and Al Rawi getting out the back door... |
438 | 00:32:16,226 | 00:32:19,604 | So it's got elements of straight thriller. | So it's got elements of straight thriller. |
439 | 00:32:19,688 | 00:32:21,940 | It's got elements of reportage. | It's got elements of reportage. |
440 | 00:32:22,023 | 00:32:24,234 | And I thought it was... | And I thought it was... |
441 | 00:32:24,359 | 00:32:26,236 | But look at how he says his name there, too. | But look at how he says his name there, too. |
442 | 00:32:26,361 | 00:32:30,157 | I mean, it's got those elements of these cultures clashing, too. | I mean, it's got those elements of these cultures clashing, too. |
443 | 00:32:30,240 | 00:32:31,366 | Yeah. | Yeah. |
444 | 00:32:31,825 | 00:32:36,621 | You know, you've got the relationship between Freddy and Said there, | You know, you've got the relationship between Freddy and Said there, |
445 | 00:32:36,705 | 00:32:39,207 | clearly from two different classes. | clearly from two different classes. |
446 | 00:32:39,332 | 00:32:41,501 | - One formerly in the master class... - Yeah. | - One formerly in the master class... - Yeah. |
447 | 00:32:41,585 | 00:32:44,921 | ...in the powerful class, | ...in the powerful class, |
448 | 00:32:45,046 | 00:32:47,799 | who still has all that pride, | who still has all that pride, |
449 | 00:32:47,883 | 00:32:52,304 | and you see just the way he looks at Khalid, you know, it just... | and you see just the way he looks at Khalid, you know, it just... |
450 | 00:32:52,387 | 00:32:54,347 | Hey, Michaels, do you have that deck of cards? | Hey, Michaels, do you have that deck of cards? |
451 | 00:32:54,431 | 00:32:56,892 | - Yes. - Give me the Jack of Clubs. | - Yes. - Give me the Jack of Clubs. |
452 | 00:32:57,350 | 00:32:59,769 | Is that the guy? Was that the guy that went out the back? | Is that the guy? Was that the guy that went out the back? |
453 | 00:33:00,353 | 00:33:04,107 | It's tricky, normally, 'cause I do these... I've never done one with you, | It's tricky, normally, 'cause I do these... I've never done one with you, |
454 | 00:33:04,232 | 00:33:06,776 | of this kind. | of this kind. |
455 | 00:33:06,902 | 00:33:11,823 | But I must say, I thought you were fantastic in these scenes, | But I must say, I thought you were fantastic in these scenes, |
456 | 00:33:12,115 | 00:33:18,997 | because what it is, is, you're starting from a position in this film with Miller, | because what it is, is, you're starting from a position in this film with Miller, |
457 | 00:33:19,331 | 00:33:22,250 | where he's, in a sense, doing what he's told. | where he's, in a sense, doing what he's told. |
458 | 00:33:23,752 | 00:33:30,467 | And you've got to, in terms of building the character of Miller, | And you've got to, in terms of building the character of Miller, |
459 | 00:33:31,009 | 00:33:33,762 | make his steps feel believable | make his steps feel believable |
460 | 00:33:33,845 | 00:33:38,350 | as he moves off on what's essentially a conspiracy-thriller journey. | as he moves off on what's essentially a conspiracy-thriller journey. |
461 | 00:33:39,142 | 00:33:44,105 | And I thought that hinge, that encounter, all this stuff here, | And I thought that hinge, that encounter, all this stuff here, |
462 | 00:33:45,190 | 00:33:48,193 | it was outstanding, 'cause you're utterly with Miller now. | it was outstanding, 'cause you're utterly with Miller now. |
463 | 00:33:48,276 | 00:33:50,445 | I think you feel him... | I think you feel him... |
464 | 00:33:50,946 | 00:33:52,614 | Roger that, Chief. | Roger that, Chief. |
465 | 00:33:53,114 | 00:33:54,950 | ...out of this landscape, starting to go, | ...out of this landscape, starting to go, |
466 | 00:33:55,033 | 00:34:00,163 | "Well, hang on a second, I've got my chance here of an answer, and I'm gonna take it." | "Well, hang on a second, I've got my chance here of an answer, and I'm gonna take it." |
467 | 00:34:01,164 | 00:34:03,667 | And in a way, it's a tricky thing for you all the time, | And in a way, it's a tricky thing for you all the time, |
468 | 00:34:03,792 | 00:34:08,129 | 'cause you were having to be in charge, but, in a sense, out of your depth, | 'cause you were having to be in charge, but, in a sense, out of your depth, |
469 | 00:34:08,213 | 00:34:09,297 | all at the same time. | all at the same time. |
470 | 00:34:09,381 | 00:34:12,425 | Do you know what I mean? Which is a very, very tricky thing to do | Do you know what I mean? Which is a very, very tricky thing to do |
471 | 00:34:12,509 | 00:34:16,972 | when you're the central character in a movie, where you've got to be strong, obviously. | when you're the central character in a movie, where you've got to be strong, obviously. |
472 | 00:34:17,472 | 00:34:22,143 | I mean, it's true in any conspiracy thriller. How do you thread that needle? | I mean, it's true in any conspiracy thriller. How do you thread that needle? |
473 | 00:34:22,477 | 00:34:24,774 | He say only General Mohammed Al Rawi, he know about these things. | He say only General Mohammed Al Rawi, he know about these things. |
474 | 00:34:24,854 | 00:34:28,733 | Well, for all the actors, the way that these scenes were constructed, | Well, for all the actors, the way that these scenes were constructed, |
475 | 00:34:28,817 | 00:34:31,194 | we'd improvise | we'd improvise |
476 | 00:34:31,319 | 00:34:36,032 | or we would augment what was on the page, basically, | or we would augment what was on the page, basically, |
477 | 00:34:36,157 | 00:34:37,659 | and then you could cut it back. | and then you could cut it back. |
478 | 00:34:37,742 | 00:34:40,537 | But what it did was, it gave us all the freedom | But what it did was, it gave us all the freedom |
479 | 00:34:40,662 | 00:34:43,456 | having one camera down and when you roll out, picking it up, | having one camera down and when you roll out, picking it up, |
480 | 00:34:43,540 | 00:34:47,085 | and so the scene never stops, so we could go for half an hour | and so the scene never stops, so we could go for half an hour |
481 | 00:34:47,544 | 00:34:50,922 | and do four or five takes in half an hour, and it'd be half a day's work, | and do four or five takes in half an hour, and it'd be half a day's work, |
482 | 00:34:51,006 | 00:34:56,595 | but we've got stuff where we can get in our own ways as actors | but we've got stuff where we can get in our own ways as actors |
483 | 00:34:56,678 | 00:34:59,598 | by planning moments, | by planning moments, |
484 | 00:34:59,681 | 00:35:04,185 | and trying to indicate what... Try to help tell the story. | and trying to indicate what... Try to help tell the story. |
485 | 00:35:04,519 | 00:35:08,607 | But these were just playing these situations as authentically as possible | But these were just playing these situations as authentically as possible |
486 | 00:35:09,524 | 00:35:12,027 | with these incredibly high stakes. | with these incredibly high stakes. |
487 | 00:35:12,944 | 00:35:15,113 | It's always the thing, people always sort of somehow | It's always the thing, people always sort of somehow |
488 | 00:35:15,196 | 00:35:16,865 | view the writing process... | view the writing process... |
489 | 00:35:16,948 | 00:35:20,952 | I think, again, for people watching this DVD, somewhere there's a distinction | I think, again, for people watching this DVD, somewhere there's a distinction |
490 | 00:35:21,036 | 00:35:24,581 | between the writing process and, say, the improvisatory process, | between the writing process and, say, the improvisatory process, |
491 | 00:35:24,706 | 00:35:27,167 | as somewhere that they're contradictory. | as somewhere that they're contradictory. |
492 | 00:35:27,250 | 00:35:30,920 | And in fact, we've all worked on this. | And in fact, we've all worked on this. |
493 | 00:35:31,046 | 00:35:34,424 | They're not... What you ideally want on a film, | They're not... What you ideally want on a film, |
494 | 00:35:34,549 | 00:35:39,179 | certainly on my films, anyway, is a team | certainly on my films, anyway, is a team |
495 | 00:35:39,262 | 00:35:43,725 | where the goal is to get to the finished film, | where the goal is to get to the finished film, |
496 | 00:35:43,808 | 00:35:49,314 | and along the way, you're deploying various techniques | and along the way, you're deploying various techniques |
497 | 00:35:49,397 | 00:35:51,608 | to try and arrive at the truth of it. | to try and arrive at the truth of it. |
498 | 00:35:51,733 | 00:35:56,404 | One of the techniques is the writing, the process of writing on the page. | One of the techniques is the writing, the process of writing on the page. |
499 | 00:35:56,821 | 00:35:58,948 | And that will give you certain elements. | And that will give you certain elements. |
500 | 00:35:59,074 | 00:36:02,243 | It may give you quite fully-formed scenes. | It may give you quite fully-formed scenes. |
501 | 00:36:02,577 | 00:36:05,997 | It might give you fully-formed scenarios | It might give you fully-formed scenarios |
502 | 00:36:06,081 | 00:36:08,625 | that you can then use to spin off and improvise, | that you can then use to spin off and improvise, |
503 | 00:36:08,750 | 00:36:11,419 | or it might give you something that doesn't quite work | or it might give you something that doesn't quite work |
504 | 00:36:11,503 | 00:36:14,881 | that on the day you can challenge and arrive at something else. | that on the day you can challenge and arrive at something else. |
505 | 00:36:14,964 | 00:36:17,842 | But what you're looking for when you make a film | But what you're looking for when you make a film |
506 | 00:36:17,926 | 00:36:23,723 | is the engagement of all your creative stakeholders | is the engagement of all your creative stakeholders |
507 | 00:36:23,807 | 00:36:27,435 | to try and find "it," whatever "it" is. | to try and find "it," whatever "it" is. |
508 | 00:36:27,519 | 00:36:29,729 | And it's not one or the other, | And it's not one or the other, |
509 | 00:36:29,813 | 00:36:33,858 | it's that the writer, as ever, has, | it's that the writer, as ever, has, |
510 | 00:36:35,110 | 00:36:38,446 | in a sense, the heroic job of going first and alone, do you know what I mean? | in a sense, the heroic job of going first and alone, do you know what I mean? |
511 | 00:36:38,530 | 00:36:39,739 | Down the tunnel. | Down the tunnel. |
512 | 00:36:39,823 | 00:36:45,453 | We all get to go later and can either build on that, use it, | We all get to go later and can either build on that, use it, |
513 | 00:36:45,995 | 00:36:50,291 | challenge it and often reinterpret it. | challenge it and often reinterpret it. |
514 | 00:36:50,625 | 00:36:52,168 | It's not either/or. | It's not either/or. |
515 | 00:36:53,962 | 00:36:58,425 | And, particularly in a situation where you have all these guys, | And, particularly in a situation where you have all these guys, |
516 | 00:36:58,508 | 00:37:02,595 | - you can get to authenticity really quickly... - Yeah. | - you can get to authenticity really quickly... - Yeah. |
517 | 00:37:02,679 | 00:37:06,850 | ...with guys in a way that if you put me in a room for a year, | ...with guys in a way that if you put me in a room for a year, |
518 | 00:37:07,475 | 00:37:11,521 | I'd never be able to write some of the stuff that these guys do, | I'd never be able to write some of the stuff that these guys do, |
519 | 00:37:11,646 | 00:37:13,777 | just because of who they are and the experiences they've had, | just because of who they are and the experiences they've had, |
520 | 00:37:13,857 | 00:37:16,651 | and they know how some of these things go. | and they know how some of these things go. |
521 | 00:37:19,487 | 00:37:21,948 | Here's Jason Isaacs, just, again, terrific. | Here's Jason Isaacs, just, again, terrific. |
522 | 00:37:22,031 | 00:37:26,119 | I really felt lucky to be in this movie with these actors. | I really felt lucky to be in this movie with these actors. |
523 | 00:37:26,202 | 00:37:30,165 | Every scene I had was with somebody terrific. | Every scene I had was with somebody terrific. |
524 | 00:37:36,588 | 00:37:43,052 | Jason's an old friend of mine, and actually had a huge impact... | Jason's an old friend of mine, and actually had a huge impact... |
525 | 00:37:43,178 | 00:37:44,307 | I was talking about it the other day, actually. | I was talking about it the other day, actually. |
526 | 00:37:44,387 | 00:37:48,600 | He actually had a huge impact on me as a director, Jason did. You know that? | He actually had a huge impact on me as a director, Jason did. You know that? |
527 | 00:37:48,683 | 00:37:51,770 | Because I worked with him in Britain many years ago on a television film, | Because I worked with him in Britain many years ago on a television film, |
528 | 00:37:51,853 | 00:37:57,859 | and he was really the first actor that I ever really felt comfortable enough | and he was really the first actor that I ever really felt comfortable enough |
529 | 00:37:58,735 | 00:38:05,033 | to explain what the insecurities you feel as a director, | to explain what the insecurities you feel as a director, |
530 | 00:38:05,533 | 00:38:08,787 | particularly when you're a young director working with actors, and vice versa... | particularly when you're a young director working with actors, and vice versa... |
531 | 00:38:08,870 | 00:38:12,999 | And, in a way, it helped me to be... | And, in a way, it helped me to be... |
532 | 00:38:13,082 | 00:38:16,753 | My relationship with him when we made that film made me much more confident | My relationship with him when we made that film made me much more confident |
533 | 00:38:16,878 | 00:38:19,547 | in terms of understanding | in terms of understanding |
534 | 00:38:21,549 | 00:38:26,137 | what actors wanted from a director. Do you know what I mean? | what actors wanted from a director. Do you know what I mean? |
535 | 00:38:26,221 | 00:38:27,263 | Right. Right. | Right. Right. |
536 | 00:38:27,430 | 00:38:28,556 | Stop! | Stop! |
537 | 00:38:29,724 | 00:38:30,892 | Stop! | Stop! |
538 | 00:38:31,059 | 00:38:33,520 | Well, now we're rocking out. It's pushing on. | Well, now we're rocking out. It's pushing on. |
539 | 00:38:33,603 | 00:38:39,108 | And this is still this kind of breathless... Starting at the soccer field up until now. | And this is still this kind of breathless... Starting at the soccer field up until now. |
540 | 00:38:39,567 | 00:38:41,945 | It doesn't kind of rest until, bang, now. | It doesn't kind of rest until, bang, now. |
541 | 00:38:42,070 | 00:38:44,447 | Freddy's got only one leg. | Freddy's got only one leg. |
542 | 00:38:44,572 | 00:38:45,573 | The scene stops. | The scene stops. |
543 | 00:38:45,657 | 00:38:47,325 | What the fuck! Why are you running? | What the fuck! Why are you running? |
544 | 00:38:47,408 | 00:38:50,119 | - Why you are chasing me? - Give me the book. | - Why you are chasing me? - Give me the book. |
545 | 00:38:50,245 | 00:38:51,246 | Give me the fucking book! | Give me the fucking book! |
546 | 00:38:51,329 | 00:38:55,792 | Now I thought this was a brilliant scene, | Now I thought this was a brilliant scene, |
547 | 00:38:55,917 | 00:38:59,546 | a brilliant scene that I think everybody involved, | a brilliant scene that I think everybody involved, |
548 | 00:38:59,629 | 00:39:02,674 | I mean, obviously, the two of you, the guys around, | I mean, obviously, the two of you, the guys around, |
549 | 00:39:02,757 | 00:39:08,263 | but you take something very, very hard here, which is the prosthetic leg. | but you take something very, very hard here, which is the prosthetic leg. |
550 | 00:39:08,596 | 00:39:12,725 | You've suddenly abruptly stopped after a huge amount of chasing, | You've suddenly abruptly stopped after a huge amount of chasing, |
551 | 00:39:12,809 | 00:39:16,729 | and you've essentially got to turn a very tight corner here, | and you've essentially got to turn a very tight corner here, |
552 | 00:39:16,813 | 00:39:19,399 | because you're wanting to get away. | because you're wanting to get away. |
553 | 00:39:19,482 | 00:39:22,235 | You're in a hostile place. You're in an alleyway. | You're in a hostile place. You're in an alleyway. |
554 | 00:39:22,318 | 00:39:24,404 | You're a professional soldier. What do you do? | You're a professional soldier. What do you do? |
555 | 00:39:24,487 | 00:39:28,324 | But somehow, we've got to get this scene going and he's talking about the car, | But somehow, we've got to get this scene going and he's talking about the car, |
556 | 00:39:28,449 | 00:39:33,121 | and I thought it was absolutely, if I may say so, very, very... | and I thought it was absolutely, if I may say so, very, very... |
557 | 00:39:35,999 | 00:39:39,002 | - A corner very well turned. - Well, it's Khalid's performance. | - A corner very well turned. - Well, it's Khalid's performance. |
558 | 00:39:40,628 | 00:39:44,173 | - Because you believe that those guys stop. - Yeah. | - Because you believe that those guys stop. - Yeah. |
559 | 00:39:44,340 | 00:39:46,551 | - And that he arrests you. - Yeah. Exactly. | - And that he arrests you. - Yeah. Exactly. |
560 | 00:39:46,968 | 00:39:49,929 | Cause there's got to be something quite strong... | Cause there's got to be something quite strong... |
561 | 00:39:50,013 | 00:39:51,973 | It's not just our hero stopping. | It's not just our hero stopping. |
562 | 00:39:52,056 | 00:39:53,645 | As you see, all those other soldiers stop. | As you see, all those other soldiers stop. |
563 | 00:39:53,725 | 00:39:56,060 | And, I mean, no one knew what he was gonna say there, | And, I mean, no one knew what he was gonna say there, |
564 | 00:39:56,144 | 00:39:58,980 | and everyone stopped and listened to him. | and everyone stopped and listened to him. |
565 | 00:40:01,858 | 00:40:07,572 | It's that thing, when you direct, you come to understand that... | It's that thing, when you direct, you come to understand that... |
566 | 00:40:07,989 | 00:40:10,617 | First of all, when you direct, | First of all, when you direct, |
567 | 00:40:10,700 | 00:40:14,662 | you're surrounded by people who do extraordinary things for you, | you're surrounded by people who do extraordinary things for you, |
568 | 00:40:14,746 | 00:40:19,500 | whether it's the BOP or the sound man or the first AD. | whether it's the BOP or the sound man or the first AD. |
569 | 00:40:21,002 | 00:40:26,716 | And they all solve a series of very particular problems for you, | And they all solve a series of very particular problems for you, |
570 | 00:40:26,841 | 00:40:31,137 | but when you direct, you come to realize that it's the actor | but when you direct, you come to realize that it's the actor |
571 | 00:40:31,220 | 00:40:33,556 | who can solve them all instantly. | who can solve them all instantly. |
572 | 00:40:33,681 | 00:40:37,477 | The actor can move to the certain place to make the shot work, | The actor can move to the certain place to make the shot work, |
573 | 00:40:37,560 | 00:40:39,979 | can say it in a certain way to make the line work, | can say it in a certain way to make the line work, |
574 | 00:40:40,063 | 00:40:43,900 | can physically make it work so it can cut properly. | can physically make it work so it can cut properly. |
575 | 00:40:49,030 | 00:40:51,532 | It's a thing, if you're a young director, | It's a thing, if you're a young director, |
576 | 00:40:53,868 | 00:40:59,290 | you have to see the capacity for technical problem solving | you have to see the capacity for technical problem solving |
577 | 00:40:59,374 | 00:41:00,917 | that acting can give you, | that acting can give you, |
578 | 00:41:01,042 | 00:41:02,797 | rather than just performance, do you know what I mean? | rather than just performance, do you know what I mean? |
579 | 00:41:02,877 | 00:41:06,881 | Cause, of course, that's what crews understand. | Cause, of course, that's what crews understand. |
580 | 00:41:06,965 | 00:41:09,717 | They all realize that, which is why they are... | They all realize that, which is why they are... |
581 | 00:41:09,926 | 00:41:11,094 | Let Bethel handle it, please. | Let Bethel handle it, please. |
582 | 00:41:11,219 | 00:41:12,348 | No. Bethel can't see past the files... | No. Bethel can't see past the files... |
583 | 00:41:12,428 | 00:41:15,556 | Like when your director asks you to do just a loop like that... | Like when your director asks you to do just a loop like that... |
584 | 00:41:15,640 | 00:41:16,849 | Exactly. | Exactly. |
585 | 00:41:16,933 | 00:41:19,188 | "Then you go, " You know what? I'm just gonna get a little more intense | "Then you go, " You know what? I'm just gonna get a little more intense |
586 | 00:41:19,268 | 00:41:20,348 | "and act right through it." | "and act right through it." |
587 | 00:41:21,229 | 00:41:22,271 | There you go. | There you go. |
588 | 00:41:22,397 | 00:41:25,525 | But now I'm angry that I had to do the loop, so that's all real anger. | But now I'm angry that I had to do the loop, so that's all real anger. |
589 | 00:41:25,608 | 00:41:30,279 | I know. I know. And you were a very, very, very good soldier for me there. | I know. I know. And you were a very, very, very good soldier for me there. |
590 | 00:41:30,780 | 00:41:33,825 | What we're talking about is that if you look at that shot, | What we're talking about is that if you look at that shot, |
591 | 00:41:33,908 | 00:41:37,620 | we had some necessary dialogue here, is the truth of it... | we had some necessary dialogue here, is the truth of it... |
592 | 00:41:37,745 | 00:41:42,417 | - Right. - ...because we had to genuinely | - Right. - ...because we had to genuinely |
593 | 00:41:42,500 | 00:41:44,377 | step the intensity of the character up. | step the intensity of the character up. |
594 | 00:41:44,460 | 00:41:46,587 | He had to make a statement | He had to make a statement |
595 | 00:41:47,755 | 00:41:51,342 | about what he was gonna do and why, | about what he was gonna do and why, |
596 | 00:41:51,426 | 00:41:54,429 | and why he felt it necessary to continue off reservation, | and why he felt it necessary to continue off reservation, |
597 | 00:41:54,512 | 00:41:58,725 | and it was very important, I think, for two reasons. | and it was very important, I think, for two reasons. |
598 | 00:41:58,808 | 00:42:05,356 | It was important because we'd felt that this was not a film | It was important because we'd felt that this was not a film |
599 | 00:42:05,815 | 00:42:08,443 | where you could have a personal scene | where you could have a personal scene |
600 | 00:42:10,111 | 00:42:12,405 | about Miller's individual character. | about Miller's individual character. |
601 | 00:42:12,488 | 00:42:15,199 | "In other words, " I'm going off reservation | "In other words, " I'm going off reservation |
602 | 00:42:15,283 | 00:42:19,579 | "because my father brought me up in way 'X'" | "because my father brought me up in way 'X'" |
603 | 00:42:19,662 | 00:42:22,210 | "or something happened to me five years ago that made me wanna do it." | "or something happened to me five years ago that made me wanna do it." |
604 | 00:42:22,290 | 00:42:24,087 | It was important, I think for both of us, wasn't it, | It was important, I think for both of us, wasn't it, |
605 | 00:42:24,167 | 00:42:28,004 | that Miller was just almost an everyman. | that Miller was just almost an everyman. |
606 | 00:42:28,212 | 00:42:32,675 | He was doing what we all did, which is, by degrees | He was doing what we all did, which is, by degrees |
607 | 00:42:32,800 | 00:42:35,386 | start to question what was being said to us. | start to question what was being said to us. |
608 | 00:42:35,470 | 00:42:38,267 | Exactly. And we had had the conversation about that more personal angle, | Exactly. And we had had the conversation about that more personal angle, |
609 | 00:42:38,347 | 00:42:40,683 | and we'd thought about that and kind of gone down that road | and we'd thought about that and kind of gone down that road |
610 | 00:42:40,808 | 00:42:45,605 | just as an exercise, to think about what that could be, but you're right. | just as an exercise, to think about what that could be, but you're right. |
611 | 00:42:45,688 | 00:42:49,984 | Ultimately, we came to the conclusion that that was absolutely wrong. | Ultimately, we came to the conclusion that that was absolutely wrong. |
612 | 00:42:50,526 | 00:42:53,279 | He had to be asking the fundamental question. | He had to be asking the fundamental question. |
613 | 00:42:53,362 | 00:42:57,784 | Yeah. And he had to state it clearly, but we were there, | Yeah. And he had to state it clearly, but we were there, |
614 | 00:42:57,867 | 00:43:03,498 | and you had to make that wide turn, which really wasn't a motivated move, in truth, | and you had to make that wide turn, which really wasn't a motivated move, in truth, |
615 | 00:43:03,873 | 00:43:06,834 | but in the context of the film, do you notice it? Never. | but in the context of the film, do you notice it? Never. |
616 | 00:43:06,918 | 00:43:08,002 | No, no, no, no. No, no. | No, no, no, no. No, no. |
617 | 00:43:08,086 | 00:43:09,587 | But you feel it and I felt it. | But you feel it and I felt it. |
618 | 00:43:09,670 | 00:43:11,589 | You felt it worst of all. | You felt it worst of all. |
619 | 00:43:11,672 | 00:43:14,967 | - It's one of those things that... - You have to suck it up. | - It's one of those things that... - You have to suck it up. |
620 | 00:43:15,051 | 00:43:16,719 | - Let's be honest. - You gotta suck it up. | - Let's be honest. - You gotta suck it up. |
621 | 00:43:16,844 | 00:43:21,557 | And it's a trust... Look, things look differently through the camera. | And it's a trust... Look, things look differently through the camera. |
622 | 00:43:22,058 | 00:43:26,854 | And so, you know, I don't know what Klemens was on there, maybe a 40. | And so, you know, I don't know what Klemens was on there, maybe a 40. |
623 | 00:43:28,189 | 00:43:32,985 | But he was moving, so you don't notice it. | But he was moving, so you don't notice it. |
624 | 00:43:33,069 | 00:43:34,570 | I mean, too many of those? | I mean, too many of those? |
625 | 00:43:34,862 | 00:43:38,222 | Too many of those and they'll add up. Yeah. That's right. That's right. You'll see... | Too many of those and they'll add up. Yeah. That's right. That's right. You'll see... |
626 | 00:43:38,366 | 00:43:41,077 | You've gotta always be working to minimize those things. | You've gotta always be working to minimize those things. |
627 | 00:43:41,202 | 00:43:43,041 | - Well, this is... - This is our guys coming in | - Well, this is... - This is our guys coming in |
628 | 00:43:43,121 | 00:43:45,665 | - out of the shit... - To the Green Zone. | - out of the shit... - To the Green Zone. |
629 | 00:43:45,748 | 00:43:51,879 | ...into the Green Zone, which is really, really well-described in Rajiv's book. | ...into the Green Zone, which is really, really well-described in Rajiv's book. |
630 | 00:43:52,880 | 00:43:59,011 | And this is absolutely, literally a facsimile. | And this is absolutely, literally a facsimile. |
631 | 00:43:59,095 | 00:44:05,059 | It is an absolutely perfect version of what the Republican, | It is an absolutely perfect version of what the Republican, |
632 | 00:44:05,143 | 00:44:07,019 | the back of the Republican Palace looked like. | the back of the Republican Palace looked like. |
633 | 00:44:07,103 | 00:44:13,484 | This is exactly what it looked like in every detail, really. | This is exactly what it looked like in every detail, really. |
634 | 00:44:15,570 | 00:44:17,321 | And surreal, in a way. | And surreal, in a way. |
635 | 00:44:18,906 | 00:44:21,784 | You know, if you've been out in the dust of the desert, | You know, if you've been out in the dust of the desert, |
636 | 00:44:23,786 | 00:44:24,832 | trying to look for these things, | trying to look for these things, |
637 | 00:44:24,912 | 00:44:27,790 | and suddenly, all the guys are in this sort of strange, | and suddenly, all the guys are in this sort of strange, |
638 | 00:44:32,253 | 00:44:38,092 | semi-permissive environment, but also one filled with intrigue. | semi-permissive environment, but also one filled with intrigue. |
639 | 00:44:39,135 | 00:44:43,181 | And you get that sort of thriller route still going. | And you get that sort of thriller route still going. |
640 | 00:44:43,264 | 00:44:45,266 | The notebook, the names. | The notebook, the names. |
641 | 00:44:47,351 | 00:44:50,104 | So you're still driving him along. | So you're still driving him along. |
642 | 00:44:50,605 | 00:44:51,939 | God damn! | God damn! |
643 | 00:44:52,273 | 00:44:53,482 | I like this scene very much. | I like this scene very much. |
644 | 00:44:53,608 | 00:44:58,112 | Brendan is kind of... You're not quite sure what his game is. | Brendan is kind of... You're not quite sure what his game is. |
645 | 00:44:58,196 | 00:45:03,451 | You're not quite sure, is he gonna turn out to be a good guy or not? | You're not quite sure, is he gonna turn out to be a good guy or not? |
646 | 00:45:03,826 | 00:45:05,540 | And he's sort of abrupt and gruff, isn't he? | And he's sort of abrupt and gruff, isn't he? |
647 | 00:45:05,620 | 00:45:06,954 | Yeah. He's just terrific. | Yeah. He's just terrific. |
648 | 00:45:07,038 | 00:45:11,709 | I wondered if he was channeling Gene Hackman for this role, | I wondered if he was channeling Gene Hackman for this role, |
649 | 00:45:11,792 | 00:45:15,504 | because Brendan's this wonderful Irish guy. | because Brendan's this wonderful Irish guy. |
650 | 00:45:15,630 | 00:45:20,134 | He's got this incredible voice and laugh, | He's got this incredible voice and laugh, |
651 | 00:45:21,010 | 00:45:24,263 | - but he just clicked right into this guy... - Yeah. | - but he just clicked right into this guy... - Yeah. |
652 | 00:45:24,347 | 00:45:28,476 | ...and had such weight to him. | ...and had such weight to him. |
653 | 00:45:28,976 | 00:45:33,314 | You really believed that he'd spent his career over there | You really believed that he'd spent his career over there |
654 | 00:45:33,397 | 00:45:37,026 | and understood the way things really worked, | and understood the way things really worked, |
655 | 00:45:37,109 | 00:45:40,321 | and I just thought he did a terrific job. | and I just thought he did a terrific job. |
656 | 00:45:41,489 | 00:45:43,574 | And this is Amy, who's... | And this is Amy, who's... |
657 | 00:45:43,658 | 00:45:46,202 | - How did you know that? - It's right there on your rifle. | - How did you know that? - It's right there on your rifle. |
658 | 00:45:46,327 | 00:45:47,370 | Lawrie Dayne... | Lawrie Dayne... |
659 | 00:45:47,453 | 00:45:49,247 | I mean, it was a very hard challenge, | I mean, it was a very hard challenge, |
660 | 00:45:49,330 | 00:45:53,501 | 'cause I always think the reporter in a conspiracy thriller | 'cause I always think the reporter in a conspiracy thriller |
661 | 00:45:53,584 | 00:45:57,922 | is a very tough assignment, | is a very tough assignment, |
662 | 00:45:58,005 | 00:46:00,841 | for an actor to find the sort of grounded reality. | for an actor to find the sort of grounded reality. |
663 | 00:46:00,925 | 00:46:06,597 | And she really had to work hard, | And she really had to work hard, |
664 | 00:46:06,681 | 00:46:11,769 | and she did, to find a very simple line through that, | and she did, to find a very simple line through that, |
665 | 00:46:11,852 | 00:46:17,358 | because the truth is, in the real world, | because the truth is, in the real world, |
666 | 00:46:19,235 | 00:46:23,948 | the relationship between the press and the events that took place | the relationship between the press and the events that took place |
667 | 00:46:24,031 | 00:46:27,785 | in advance of the invasion was complex | in advance of the invasion was complex |
668 | 00:46:27,868 | 00:46:33,124 | and filled with ethical questions | and filled with ethical questions |
669 | 00:46:33,207 | 00:46:35,543 | and uncertainties, and I thought | and uncertainties, and I thought |
670 | 00:46:37,378 | 00:46:42,258 | she managed to find a character who was at once... You condemned her, | she managed to find a character who was at once... You condemned her, |
671 | 00:46:42,341 | 00:46:46,387 | but in another way, you saw that she was trying to find a way out of it. | but in another way, you saw that she was trying to find a way out of it. |
672 | 00:46:50,057 | 00:46:53,894 | Well, we shot a few of these scenes, anyway, along the way. | Well, we shot a few of these scenes, anyway, along the way. |
673 | 00:46:56,230 | 00:46:57,940 | But that's okay. | But that's okay. |
674 | 00:47:00,026 | 00:47:02,820 | I always wanted, in the end... | I always wanted, in the end... |
675 | 00:47:02,903 | 00:47:09,618 | This film is... It's got to be in genre. It's got to be in genre, | This film is... It's got to be in genre. It's got to be in genre, |
676 | 00:47:12,038 | 00:47:16,542 | but for me, the big radical play on the genre is, | but for me, the big radical play on the genre is, |
677 | 00:47:16,625 | 00:47:19,086 | it's not in Bourne world. It's in the real world. | it's not in Bourne world. It's in the real world. |
678 | 00:47:19,170 | 00:47:21,088 | - Right. - But yet, it's a fictional story. | - Right. - But yet, it's a fictional story. |
679 | 00:47:21,172 | 00:47:24,216 | But yet, it's playing with a lot of elements | But yet, it's playing with a lot of elements |
680 | 00:47:24,300 | 00:47:26,013 | that we know and remember from the real world. | that we know and remember from the real world. |
681 | 00:47:26,093 | 00:47:30,348 | And so, I mean, obviously, people watching will make their own decisions, | And so, I mean, obviously, people watching will make their own decisions, |
682 | 00:47:30,431 | 00:47:36,645 | but to me, that curious sort of recognizable | but to me, that curious sort of recognizable |
683 | 00:47:36,729 | 00:47:42,109 | but unpredictable mix, it's taking some of the elements | but unpredictable mix, it's taking some of the elements |
684 | 00:47:42,193 | 00:47:48,074 | of the Bourne thrillers and putting them in the real world, | of the Bourne thrillers and putting them in the real world, |
685 | 00:47:48,157 | 00:47:52,078 | and it's asking that audience, | and it's asking that audience, |
686 | 00:47:53,454 | 00:47:58,125 | I always think, to take that step, really, that completes the circle, | I always think, to take that step, really, that completes the circle, |
687 | 00:47:58,209 | 00:47:59,251 | do you know what I mean? | do you know what I mean? |
688 | 00:47:59,335 | 00:48:01,545 | I mean, obviously, you made the first Bourne, I didn't, | I mean, obviously, you made the first Bourne, I didn't, |
689 | 00:48:01,629 | 00:48:05,091 | but it always struck me that Bourne, as a franchise, | but it always struck me that Bourne, as a franchise, |
690 | 00:48:05,466 | 00:48:09,095 | perfectly expressed all the mistrust and paranoia | perfectly expressed all the mistrust and paranoia |
691 | 00:48:09,178 | 00:48:13,474 | that grew up between 2001 and 2003. | that grew up between 2001 and 2003. |
692 | 00:48:13,641 | 00:48:20,356 | And we really, really distilled that, I think, in Supremacy and Ultimatum. | And we really, really distilled that, I think, in Supremacy and Ultimatum. |
693 | 00:48:22,066 | 00:48:26,112 | So it's almost like it sprang from the real world, | So it's almost like it sprang from the real world, |
694 | 00:48:26,195 | 00:48:29,073 | got distilled, and then Green Zone sort of says, | got distilled, and then Green Zone sort of says, |
695 | 00:48:29,156 | 00:48:35,037 | "Well, let's go back into the real world and see what that feels like." | "Well, let's go back into the real world and see what that feels like." |
696 | 00:48:35,162 | 00:48:36,414 | - You know? - Yeah. | - You know? - Yeah. |
697 | 00:48:36,789 | 00:48:38,457 | - Where's Al Rawi? - Where's Al Rawi? | - Where's Al Rawi? - Where's Al Rawi? |
698 | 00:48:39,125 | 00:48:41,585 | Greg, I think, is very, very good in this scene. | Greg, I think, is very, very good in this scene. |
699 | 00:48:42,378 | 00:48:43,838 | Greg's good in everything. | Greg's good in everything. |
700 | 00:48:44,630 | 00:48:49,093 | But he captures a sort of discomfort... | But he captures a sort of discomfort... |
701 | 00:48:49,176 | 00:48:51,679 | Yeah, I know. It's really nice that you can see... | Yeah, I know. It's really nice that you can see... |
702 | 00:48:51,762 | 00:48:54,181 | -He doesn't revel in this. Exactly. Exactly. | -He doesn't revel in this. Exactly. Exactly. |
703 | 00:48:54,265 | 00:48:59,520 | Which would have been the easy way to do it, and it would've been wrong. | Which would have been the easy way to do it, and it would've been wrong. |
704 | 00:49:01,522 | 00:49:05,443 | People who are advocating this type of stuff | People who are advocating this type of stuff |
705 | 00:49:08,195 | 00:49:10,322 | - are not sadists. - No. | - are not sadists. - No. |
706 | 00:49:11,991 | 00:49:17,079 | It's about the inevitable results of great forces that are set in chain | It's about the inevitable results of great forces that are set in chain |
707 | 00:49:17,163 | 00:49:20,374 | and pitted against each other, is the truth of it. | and pitted against each other, is the truth of it. |
708 | 00:49:25,212 | 00:49:27,301 | And this was a scene we talked about a lot, wasn't it? | And this was a scene we talked about a lot, wasn't it? |
709 | 00:49:27,381 | 00:49:29,925 | - You and he, the first meeting... - Yeah. | - You and he, the first meeting... - Yeah. |
710 | 00:49:30,009 | 00:49:32,845 | ...which in a way is a kind of... | ...which in a way is a kind of... |
711 | 00:49:32,928 | 00:49:37,099 | It's a necessary scene in a thriller genre. | It's a necessary scene in a thriller genre. |
712 | 00:49:37,183 | 00:49:40,644 | The hero meets the bad guy midway through, and... | The hero meets the bad guy midway through, and... |
713 | 00:49:40,728 | 00:49:43,522 | - The brush past, midway through. - Yeah. | - The brush past, midway through. - Yeah. |
714 | 00:49:44,732 | 00:49:46,734 | And I think it got | And I think it got |
715 | 00:49:49,320 | 00:49:55,409 | a very simple procedural base to the scene. | a very simple procedural base to the scene. |
716 | 00:49:56,076 | 00:49:59,288 | - I mean, you don't really engage with him. - Yeah. | - I mean, you don't really engage with him. - Yeah. |
717 | 00:49:59,371 | 00:50:01,248 | He's not really disturbed by that. | He's not really disturbed by that. |
718 | 00:50:01,332 | 00:50:03,584 | He's just gonna convey his information. | He's just gonna convey his information. |
719 | 00:50:04,001 | 00:50:05,794 | He's confirmed a few facts for us. | He's confirmed a few facts for us. |
720 | 00:50:05,920 | 00:50:12,426 | I think it's great that it's in that sort of blasted, strange | I think it's great that it's in that sort of blasted, strange |
721 | 00:50:14,637 | 00:50:18,891 | luxury-that's-been-trashed world of the Green Zone, | luxury-that's-been-trashed world of the Green Zone, |
722 | 00:50:20,684 | 00:50:22,394 | which was quite deserted, in fact. | which was quite deserted, in fact. |
723 | 00:50:23,771 | 00:50:25,314 | But all the same, he does the... | But all the same, he does the... |
724 | 00:50:25,397 | 00:50:31,070 | You get the lookout between the two of you. | You get the lookout between the two of you. |
725 | 00:50:31,153 | 00:50:32,196 | Right. | Right. |
726 | 00:50:32,279 | 00:50:34,039 | There's an opportunity for you here, Miller. | There's an opportunity for you here, Miller. |
727 | 00:50:34,156 | 00:50:35,950 | He sure is offering me a lot. | He sure is offering me a lot. |
728 | 00:50:37,117 | 00:50:39,912 | Come party. Come party with the DOD guys. | Come party. Come party with the DOD guys. |
729 | 00:50:40,663 | 00:50:44,083 | He doesn't overplay it, | He doesn't overplay it, |
730 | 00:50:44,166 | 00:50:49,713 | - but you feel the earnestness of the pitch. - No, no, no. | - but you feel the earnestness of the pitch. - No, no, no. |
731 | 00:50:49,797 | 00:50:51,010 | He did a couple of different things here. | He did a couple of different things here. |
732 | 00:50:51,090 | 00:50:56,470 | And I don't remember if we ended with the, "We're doing a good thing here," and... | And I don't remember if we ended with the, "We're doing a good thing here," and... |
733 | 00:50:57,972 | 00:51:01,016 | They didn't over-egg it. It was just, that's what he believes. | They didn't over-egg it. It was just, that's what he believes. |
734 | 00:51:01,225 | 00:51:05,729 | And I like that he threw away the "notebook" over his shoulder. | And I like that he threw away the "notebook" over his shoulder. |
735 | 00:51:06,647 | 00:51:10,067 | Poundstone's unit pushed all that WMD intel you've been chasing your tail on. | Poundstone's unit pushed all that WMD intel you've been chasing your tail on. |
736 | 00:51:10,150 | 00:51:11,277 | What? You mean Magellan? | What? You mean Magellan? |
737 | 00:51:11,360 | 00:51:16,699 | This is to create that world, again, of through-the-barricades | This is to create that world, again, of through-the-barricades |
738 | 00:51:16,782 | 00:51:18,450 | - and everything, just the... - Yeah. | - and everything, just the... - Yeah. |
739 | 00:51:19,952 | 00:51:21,912 | Here's the deal. We checked the notebook. | Here's the deal. We checked the notebook. |
740 | 00:51:21,996 | 00:51:26,792 | In any thriller, you've always got areas of exposition. | In any thriller, you've always got areas of exposition. |
741 | 00:51:27,835 | 00:51:29,635 | - There are little... - And we've entered one. | - There are little... - And we've entered one. |
742 | 00:51:30,838 | 00:51:33,716 | But you have to have them, because you've gotta... | But you have to have them, because you've gotta... |
743 | 00:51:33,799 | 00:51:37,011 | Particularly in thrillers, of course, because you always have characters | Particularly in thrillers, of course, because you always have characters |
744 | 00:51:37,094 | 00:51:40,389 | moving along different timelines of knowledge. | moving along different timelines of knowledge. |
745 | 00:51:40,472 | 00:51:43,183 | They know different things at different times. | They know different things at different times. |
746 | 00:51:43,267 | 00:51:44,480 | They have different states of knowledge, | They have different states of knowledge, |
747 | 00:51:44,560 | 00:51:48,647 | and you somehow, generally round about the middle of a thriller, | and you somehow, generally round about the middle of a thriller, |
748 | 00:51:48,731 | 00:51:53,110 | you've gotta start to get their states of knowledge in alignment, | you've gotta start to get their states of knowledge in alignment, |
749 | 00:51:53,193 | 00:51:56,447 | so that they're gonna collide in the right kinds of ways | so that they're gonna collide in the right kinds of ways |
750 | 00:51:56,530 | 00:51:59,783 | in the final third, and that always gives rise | in the final third, and that always gives rise |
751 | 00:51:59,867 | 00:52:03,078 | to the necessary nature of the exposition, | to the necessary nature of the exposition, |
752 | 00:52:03,162 | 00:52:06,957 | and also to get the central character | and also to get the central character |
753 | 00:52:08,208 | 00:52:11,295 | framed up with whatever the moral obstacle's gonna be. | framed up with whatever the moral obstacle's gonna be. |
754 | 00:52:12,463 | 00:52:14,173 | We gotta find Al Rawi and bring him in. | We gotta find Al Rawi and bring him in. |
755 | 00:52:14,256 | 00:52:17,801 | In this case, it's this very seasoned CIA guy telling him | In this case, it's this very seasoned CIA guy telling him |
756 | 00:52:17,885 | 00:52:23,557 | that he might have to reframe his moral dynamic. | that he might have to reframe his moral dynamic. |
757 | 00:52:24,224 | 00:52:25,392 | Yeah. | Yeah. |
758 | 00:52:26,060 | 00:52:28,062 | - Yeah, I want it. - Good. | - Yeah, I want it. - Good. |
759 | 00:52:29,063 | 00:52:30,105 | Hamza's being held... | Hamza's being held... |
760 | 00:52:30,189 | 00:52:33,692 | And it's good, I think. I think one of the great things about this story is | And it's good, I think. I think one of the great things about this story is |
761 | 00:52:33,776 | 00:52:36,403 | that it feels... | that it feels... |
762 | 00:52:36,654 | 00:52:38,781 | I'm not. You are. | I'm not. You are. |
763 | 00:52:39,573 | 00:52:42,910 | - ...very, very simple, this story. - Right. | - ...very, very simple, this story. - Right. |
764 | 00:52:44,161 | 00:52:48,582 | And in a way, narratively, it is very simple. | And in a way, narratively, it is very simple. |
765 | 00:52:49,917 | 00:52:56,507 | But the shifts of where you feel the moral center | But the shifts of where you feel the moral center |
766 | 00:52:56,590 | 00:53:02,346 | of any action... Is Al Rawi a guy that should be caught, | of any action... Is Al Rawi a guy that should be caught, |
767 | 00:53:02,429 | 00:53:06,058 | or is he a bad guy, or are there some gray areas there? | or is he a bad guy, or are there some gray areas there? |
768 | 00:53:06,141 | 00:53:09,770 | That shifts and changes as you get closer to him. | That shifts and changes as you get closer to him. |
769 | 00:53:10,145 | 00:53:14,566 | Is the choice to catch him | Is the choice to catch him |
770 | 00:53:15,401 | 00:53:19,780 | a good thing to do, from your point of view, in terms of what's in your interest | a good thing to do, from your point of view, in terms of what's in your interest |
771 | 00:53:19,863 | 00:53:22,783 | and American interests, or is it actually more complex? | and American interests, or is it actually more complex? |
772 | 00:53:22,866 | 00:53:25,994 | That's your journey, isn't it? | That's your journey, isn't it? |
773 | 00:53:26,078 | 00:53:30,541 | And it's starting to get hedged and complicated at this point. | And it's starting to get hedged and complicated at this point. |
774 | 00:53:37,548 | 00:53:40,175 | So now we're gonna kick up a gear. | So now we're gonna kick up a gear. |
775 | 00:53:42,678 | 00:53:45,556 | Start to sharpen it up. | Start to sharpen it up. |
776 | 00:53:46,390 | 00:53:48,517 | - I love when he says... - You made this dusk, huh? | - I love when he says... - You made this dusk, huh? |
777 | 00:53:49,977 | 00:53:51,815 | It was always meant to be. No, it was always meant to be. | It was always meant to be. No, it was always meant to be. |
778 | 00:53:51,895 | 00:53:53,313 | That's why the lights were on. | That's why the lights were on. |
779 | 00:53:53,397 | 00:53:56,195 | - Yeah, but that's why we had the lights on. - I see. Now I've got you. | - Yeah, but that's why we had the lights on. - I see. Now I've got you. |
780 | 00:53:56,275 | 00:53:58,318 | Maybe I missed that memo. | Maybe I missed that memo. |
781 | 00:54:00,487 | 00:54:03,240 | Wouldn't have played it differently, but, you know... | Wouldn't have played it differently, but, you know... |
782 | 00:54:03,407 | 00:54:05,451 | But did you do that in the DI? You did that later? | But did you do that in the DI? You did that later? |
783 | 00:54:05,534 | 00:54:08,746 | Yeah. We just graded it down a little bit, but it... | Yeah. We just graded it down a little bit, but it... |
784 | 00:54:08,829 | 00:54:12,791 | We stopped that down in the day, | We stopped that down in the day, |
785 | 00:54:12,875 | 00:54:17,129 | 'cause I wanted you to feel that this was all gonna go into one night. | 'cause I wanted you to feel that this was all gonna go into one night. |
786 | 00:54:17,212 | 00:54:18,255 | Right. | Right. |
787 | 00:54:19,757 | 00:54:23,135 | So that, in effect, this whole film, from the moment... | So that, in effect, this whole film, from the moment... |
788 | 00:54:23,927 | 00:54:26,138 | The moment you hit the soccer field, | The moment you hit the soccer field, |
789 | 00:54:26,221 | 00:54:29,892 | when you're sitting there and Al Rawi turns up | when you're sitting there and Al Rawi turns up |
790 | 00:54:32,269 | 00:54:34,813 | at the generals' meeting... | at the generals' meeting... |
791 | 00:54:34,897 | 00:54:37,524 | - That's one day. - It's one day till the end of the movie. | - That's one day. - It's one day till the end of the movie. |
792 | 00:54:37,733 | 00:54:39,151 | I've got it! | I've got it! |
793 | 00:54:43,822 | 00:54:46,283 | - Let's go. - Stay out of this, Marty. | - Let's go. - Stay out of this, Marty. |
794 | 00:54:48,368 | 00:54:49,995 | - You all right here? - Yeah. | - You all right here? - Yeah. |
795 | 00:54:54,625 | 00:54:58,253 | I think what you wanna feel out of this story is that... | I think what you wanna feel out of this story is that... |
796 | 00:54:58,587 | 00:55:03,383 | The fact that Al Rawi has surfaced, the fact that you have found the notebook, | The fact that Al Rawi has surfaced, the fact that you have found the notebook, |
797 | 00:55:05,427 | 00:55:10,265 | is now starting to make things happen. People are having to commit now. | is now starting to make things happen. People are having to commit now. |
798 | 00:55:10,349 | 00:55:17,231 | Poundstone can't afford to let Al Rawi, obviously, be found. | Poundstone can't afford to let Al Rawi, obviously, be found. |
799 | 00:55:17,439 | 00:55:19,566 | He's gotta catch him first. | He's gotta catch him first. |
800 | 00:55:20,526 | 00:55:26,365 | And you'll start to feel the same thing. Certainly, Brown, Brendan's character, is. | And you'll start to feel the same thing. Certainly, Brown, Brendan's character, is. |
801 | 00:55:32,496 | 00:55:34,957 | Now, the tone of this scene | Now, the tone of this scene |
802 | 00:55:38,293 | 00:55:40,003 | was a very difficult one to get right. | was a very difficult one to get right. |
803 | 00:55:40,087 | 00:55:44,466 | You've gotta just serve it up straight, | You've gotta just serve it up straight, |
804 | 00:55:48,053 | 00:55:53,809 | not overplay it, in terms of what I was doing. | not overplay it, in terms of what I was doing. |
805 | 00:55:55,978 | 00:55:58,939 | Well, it's based on research and... | Well, it's based on research and... |
806 | 00:56:01,733 | 00:56:06,655 | But, you know, you've got to keep this film | But, you know, you've got to keep this film |
807 | 00:56:07,364 | 00:56:10,158 | true to what it is, which is, | true to what it is, which is, |
808 | 00:56:11,869 | 00:56:16,540 | it's a thriller. You know what I mean? It's a thriller set in the real world. | it's a thriller. You know what I mean? It's a thriller set in the real world. |
809 | 00:56:17,165 | 00:56:22,504 | You don't want to deviate from that. But along the way, you can harness | You don't want to deviate from that. But along the way, you can harness |
810 | 00:56:22,588 | 00:56:28,093 | the moral complexities of the real-world environment. | the moral complexities of the real-world environment. |
811 | 00:56:30,137 | 00:56:32,681 | In this little detail, for instance. | In this little detail, for instance. |
812 | 00:56:37,394 | 00:56:39,479 | Just the minor humiliation. | Just the minor humiliation. |
813 | 00:56:40,522 | 00:56:41,690 | Check it out. | Check it out. |
814 | 00:56:42,816 | 00:56:47,446 | Khalid is just so, you know... It looks like he's done it many times, | Khalid is just so, you know... It looks like he's done it many times, |
815 | 00:56:48,822 | 00:56:50,449 | now he's doing it again. | now he's doing it again. |
816 | 00:56:52,618 | 00:56:57,289 | Those little shots of him taking this in are really effective. | Those little shots of him taking this in are really effective. |
817 | 00:56:57,873 | 00:57:01,001 | Well, the translators were in a hideously difficult place, weren't they? | Well, the translators were in a hideously difficult place, weren't they? |
818 | 00:57:01,168 | 00:57:04,087 | I mean, translators, whether for the US or the UK. | I mean, translators, whether for the US or the UK. |
819 | 00:57:04,171 | 00:57:07,299 | In other words, they were the guys who were gonna help, | In other words, they were the guys who were gonna help, |
820 | 00:57:07,382 | 00:57:10,928 | but, of course, if it went wrong, and when we go home, | but, of course, if it went wrong, and when we go home, |
821 | 00:57:11,011 | 00:57:15,974 | they are the ones that are left behind. And I thought he captured that | they are the ones that are left behind. And I thought he captured that |
822 | 00:57:18,769 | 00:57:20,520 | feeling very well. | feeling very well. |
823 | 00:57:22,022 | 00:57:24,149 | Now, here's the decoy guy I'm supposed to meet. | Now, here's the decoy guy I'm supposed to meet. |
824 | 00:57:24,232 | 00:57:28,445 | He's just a guy in the Republican Guard. Low-level Republican Guard. | He's just a guy in the Republican Guard. Low-level Republican Guard. |
825 | 00:57:30,364 | 00:57:32,703 | - That's not necessary, Sergeant. - Standard procedure, sir. | - That's not necessary, Sergeant. - Standard procedure, sir. |
826 | 00:57:32,783 | 00:57:37,204 | And we see him knocked around a little bit. | And we see him knocked around a little bit. |
827 | 00:57:41,500 | 00:57:43,627 | But I like this touch. You don't take that bait. | But I like this touch. You don't take that bait. |
828 | 00:57:43,710 | 00:57:48,131 | Miller doesn't take that bait, he makes no comment on it. | Miller doesn't take that bait, he makes no comment on it. |
829 | 00:57:48,215 | 00:57:51,468 | - -Well, it's a war and... - Yeah, exactly, guys get knocked about... | - -Well, it's a war and... - Yeah, exactly, guys get knocked about... |
830 | 00:57:51,551 | 00:57:53,348 | - ...and he's a bad guy. - And he's a bad guy. | - ...and he's a bad guy. - And he's a bad guy. |
831 | 00:57:53,428 | 00:57:56,473 | He's in the Republican Guard, and he probably tried to shoot my friends | He's in the Republican Guard, and he probably tried to shoot my friends |
832 | 00:57:56,556 | 00:57:58,225 | - two weeks ago. - Correct. Exactly. | - two weeks ago. - Correct. Exactly. |
833 | 00:57:58,308 | 00:58:04,398 | So we're in the middle of a war, and it's not time to... | So we're in the middle of a war, and it's not time to... |
834 | 00:58:04,856 | 00:58:07,359 | Monty was very good with that, you know. | Monty was very good with that, you know. |
835 | 00:58:07,859 | 00:58:10,779 | Look, a bleeding-heart actor like myself, | Look, a bleeding-heart actor like myself, |
836 | 00:58:10,862 | 00:58:16,034 | first thing I do if I see someone with a lump on their head is try to get them some ice. | first thing I do if I see someone with a lump on their head is try to get them some ice. |
837 | 00:58:16,743 | 00:58:19,913 | - But who knows the circumstances? - Exactly. Exactly. | - But who knows the circumstances? - Exactly. Exactly. |
838 | 00:58:20,372 | 00:58:22,582 | - We don't. - As you say, he could have been... | - We don't. - As you say, he could have been... |
839 | 00:58:22,708 | 00:58:24,546 | Hey, listen, this guy just gave us a piece of intel. | Hey, listen, this guy just gave us a piece of intel. |
840 | 00:58:24,626 | 00:58:27,174 | ...caught while trying to get away, or, you know, whatever, whatever. | ...caught while trying to get away, or, you know, whatever, whatever. |
841 | 00:58:27,254 | 00:58:28,422 | ...named Sewed Hamza. | ...named Sewed Hamza. |
842 | 00:58:28,505 | 00:58:29,548 | He can ID him for me. | He can ID him for me. |
843 | 00:58:29,631 | 00:58:30,928 | I gotta get him down here and ID him. | I gotta get him down here and ID him. |
844 | 00:58:31,008 | 00:58:37,347 | So, here, I'm trying to talk my way into the HVT wing to get to Seyyed, | So, here, I'm trying to talk my way into the HVT wing to get to Seyyed, |
845 | 00:58:38,015 | 00:58:42,853 | make my offer on behalf of Martin Brown. | make my offer on behalf of Martin Brown. |
846 | 00:58:42,936 | 00:58:44,438 | Good, let's go. Hey, Freddy. | Good, let's go. Hey, Freddy. |
847 | 00:58:45,772 | 00:58:48,483 | And the gambit has worked, so here we go. | And the gambit has worked, so here we go. |
848 | 00:58:49,651 | 00:58:51,319 | More little details. | More little details. |
849 | 00:58:53,780 | 00:58:56,116 | And Freddy, again, seeing it all. | And Freddy, again, seeing it all. |
850 | 00:58:57,826 | 00:59:00,704 | And I think you have country music playing here, right? Yeah, it's nice. | And I think you have country music playing here, right? Yeah, it's nice. |
851 | 00:59:00,787 | 00:59:02,956 | OGA coming in for an ID check. | OGA coming in for an ID check. |
852 | 00:59:03,790 | 00:59:07,461 | Those little details of the basketball game and the music... | Those little details of the basketball game and the music... |
853 | 00:59:19,014 | 00:59:20,390 | Hey, Hamza. | Hey, Hamza. |
854 | 00:59:20,599 | 00:59:21,808 | Get up. | Get up. |
855 | 00:59:24,478 | 00:59:27,898 | On the level of narrative, now, you've got... | On the level of narrative, now, you've got... |
856 | 00:59:28,273 | 00:59:32,235 | - You gotta have the guy give a clue and die. - Yeah, you have to. | - You gotta have the guy give a clue and die. - Yeah, you have to. |
857 | 00:59:33,236 | 00:59:34,905 | I said, get a medic! | I said, get a medic! |
858 | 00:59:34,988 | 00:59:39,951 | But it's not just that. There's that going on, of course, on the surface, | But it's not just that. There's that going on, of course, on the surface, |
859 | 00:59:40,035 | 00:59:46,541 | but also, really, it's about Miller getting deeper into this thing. | but also, really, it's about Miller getting deeper into this thing. |
860 | 00:59:46,625 | 00:59:48,835 | It's like, it really is not... | It's like, it really is not... |
861 | 00:59:50,921 | 00:59:55,092 | You're looking for clarity, and what you're getting is more mystery. | You're looking for clarity, and what you're getting is more mystery. |
862 | 00:59:55,675 | 00:59:58,720 | Yeah, which is always a good... | Yeah, which is always a good... |
863 | 00:59:58,804 | 01:00:03,141 | It's a necessary way that you unfold a conspiracy thriller. | It's a necessary way that you unfold a conspiracy thriller. |
864 | 01:00:03,225 | 01:00:05,185 | That's exactly what you want. | That's exactly what you want. |
865 | 01:00:05,685 | 01:00:10,398 | The more mystery there is, the more urgently the central character needs clarity, | The more mystery there is, the more urgently the central character needs clarity, |
866 | 01:00:10,482 | 01:00:15,862 | and the more urgently he searches for clarity, the more he uncovers more mystery. | and the more urgently he searches for clarity, the more he uncovers more mystery. |
867 | 01:00:17,906 | 01:00:20,867 | For an audience, it's very satisfying, | For an audience, it's very satisfying, |
868 | 01:00:20,951 | 01:00:24,454 | 'cause obviously you know, deep down, the piece is gonna be resolved, | 'cause obviously you know, deep down, the piece is gonna be resolved, |
869 | 01:00:24,538 | 01:00:26,373 | or hopefully will be. | or hopefully will be. |
870 | 01:00:30,252 | 01:00:34,381 | And also, along with that development, | And also, along with that development, |
871 | 01:00:38,093 | 01:00:40,387 | you're unpicking more violence. | you're unpicking more violence. |
872 | 01:00:40,720 | 01:00:44,975 | Certainly, that's what you get here. | Certainly, that's what you get here. |
873 | 01:00:46,017 | 01:00:48,395 | Yeah. It's one of the things that... | Yeah. It's one of the things that... |
874 | 01:00:48,895 | 01:00:52,732 | If you step back from Baghdad for a moment, | If you step back from Baghdad for a moment, |
875 | 01:00:52,816 | 01:00:58,321 | in terms of what it means to everybody watching this thing, | in terms of what it means to everybody watching this thing, |
876 | 01:01:00,574 | 01:01:03,368 | as an environment, it's very, very... | as an environment, it's very, very... |
877 | 01:01:03,451 | 01:01:06,997 | Well, it is now, but certainly even more so then, | Well, it is now, but certainly even more so then, |
878 | 01:01:07,497 | 01:01:09,833 | was a very extreme environment, | was a very extreme environment, |
879 | 01:01:09,916 | 01:01:15,005 | full of danger, physical danger, moral extremity, moral danger, | full of danger, physical danger, moral extremity, moral danger, |
880 | 01:01:15,422 | 01:01:19,050 | and that drives the story, doesn't it? | and that drives the story, doesn't it? |
881 | 01:01:21,386 | 01:01:25,891 | There are things you can do that are harder to do in downtown New York or London. | There are things you can do that are harder to do in downtown New York or London. |
882 | 01:01:28,310 | 01:01:29,811 | Where is Mohammed Al Rawi? | Where is Mohammed Al Rawi? |
883 | 01:01:30,103 | 01:01:32,189 | I don't know. | I don't know. |
884 | 01:01:51,124 | 01:01:53,335 | The Al Rasheed Hotel. | The Al Rasheed Hotel. |
885 | 01:01:54,127 | 01:01:56,421 | Gonna go see Lawrie Dayne. | Gonna go see Lawrie Dayne. |
886 | 01:02:00,842 | 01:02:02,844 | And confront her about... | And confront her about... |
887 | 01:02:04,137 | 01:02:06,598 | The sites she's writing about are sites that I've been to, | The sites she's writing about are sites that I've been to, |
888 | 01:02:06,681 | 01:02:09,142 | and there's nothing there. | and there's nothing there. |
889 | 01:02:11,394 | 01:02:13,897 | She was one of the cheerleaders of the | She was one of the cheerleaders of the |
890 | 01:02:15,982 | 01:02:17,442 | invasion, | invasion, |
891 | 01:02:23,698 | 01:02:28,703 | with this source she had, Magellan, who we've established she hasn't even met. | with this source she had, Magellan, who we've established she hasn't even met. |
892 | 01:02:29,412 | 01:02:30,455 | So... | So... |
893 | 01:02:35,502 | 01:02:36,962 | Good scene, this one. | Good scene, this one. |
894 | 01:02:38,129 | 01:02:40,006 | Yeah, Amy is terrific. | Yeah, Amy is terrific. |
895 | 01:02:40,090 | 01:02:42,425 | I'm going to call you right back. | I'm going to call you right back. |
896 | 01:02:43,093 | 01:02:44,135 | What you got? | What you got? |
897 | 01:02:44,219 | 01:02:46,263 | Amy kind of exploded onto the scene a few years ago | Amy kind of exploded onto the scene a few years ago |
898 | 01:02:46,346 | 01:02:51,351 | in Ben's movie, in Gone Baby Gone. She was just wonderful, | in Ben's movie, in Gone Baby Gone. She was just wonderful, |
899 | 01:02:51,434 | 01:02:55,897 | and everyone said, "Who the hell is this girl?" | and everyone said, "Who the hell is this girl?" |
900 | 01:02:56,273 | 01:02:59,526 | Oh, no. Come on, Miller. I can't discuss my sources with you. | Oh, no. Come on, Miller. I can't discuss my sources with you. |
901 | 01:02:59,609 | 01:03:01,861 | Well, did you ever meet the guy? | Well, did you ever meet the guy? |
902 | 01:03:02,028 | 01:03:05,115 | Well, it would've been so easy to paint the journalist as... | Well, it would've been so easy to paint the journalist as... |
903 | 01:03:05,198 | 01:03:06,992 | He's an Iraqi internal, for Christ's sake. | He's an Iraqi internal, for Christ's sake. |
904 | 01:03:07,117 | 01:03:09,160 | Then how do you know what he's saying is true? | Then how do you know what he's saying is true? |
905 | 01:03:09,244 | 01:03:11,621 | - ...you know, a strident figure. - Right. | - ...you know, a strident figure. - Right. |
906 | 01:03:11,705 | 01:03:16,501 | I think what's interesting is you take that failing, that all... | I think what's interesting is you take that failing, that all... |
907 | 01:03:16,626 | 01:03:20,297 | Let's face it, a lot of press, | Let's face it, a lot of press, |
908 | 01:03:20,380 | 01:03:22,382 | both in the US and the UK, | both in the US and the UK, |
909 | 01:03:23,591 | 01:03:26,845 | weren't critical enough about asking questions in the run-up to this thing. | weren't critical enough about asking questions in the run-up to this thing. |
910 | 01:03:26,928 | 01:03:29,848 | There's no question... Even they would agree with that. | There's no question... Even they would agree with that. |
911 | 01:03:31,933 | 01:03:35,020 | But she portrays it ultimately. | But she portrays it ultimately. |
912 | 01:03:35,186 | 01:03:37,689 | It has already occurred to her | It has already occurred to her |
913 | 01:03:37,772 | 01:03:40,859 | and is already dawning on her before this scene | and is already dawning on her before this scene |
914 | 01:03:41,192 | 01:03:42,527 | that she's been had. | that she's been had. |
915 | 01:03:42,610 | 01:03:44,491 | And she's not comfortable about it. That's what I mean. | And she's not comfortable about it. That's what I mean. |
916 | 01:03:44,571 | 01:03:48,658 | She's not taking the View, with her character, that, | She's not taking the View, with her character, that, |
917 | 01:03:48,742 | 01:03:52,203 | "I'm just gonna cover this up." She's very, very conflicted about it. | "I'm just gonna cover this up." She's very, very conflicted about it. |
918 | 01:03:52,287 | 01:03:56,291 | And that's what gets revealed in this scene. And I think it's a... | And that's what gets revealed in this scene. And I think it's a... |
919 | 01:03:56,416 | 01:03:59,252 | And it's such a tough thing to play, because she is... | And it's such a tough thing to play, because she is... |
920 | 01:03:59,919 | 01:04:02,422 | You know, you can tell she's been thinking about this. | You know, you can tell she's been thinking about this. |
921 | 01:04:02,505 | 01:04:04,507 | You can tell this has been eating away at her. | You can tell this has been eating away at her. |
922 | 01:04:04,591 | 01:04:06,388 | But at the same time, she's trying to defend herself | But at the same time, she's trying to defend herself |
923 | 01:04:06,468 | 01:04:08,014 | -from this guy who comes into her room... Exactly. | -from this guy who comes into her room... Exactly. |
924 | 01:04:08,094 | 01:04:10,764 | ...and starts levying all these accusations at her. | ...and starts levying all these accusations at her. |
925 | 01:04:10,847 | 01:04:14,601 | And so it's a really tricky scene, | And so it's a really tricky scene, |
926 | 01:04:14,684 | 01:04:17,979 | and she just does it really well. | and she just does it really well. |
927 | 01:04:18,104 | 01:04:21,983 | "The truth about Saddam's WMD programs." So I go to meet him. | "The truth about Saddam's WMD programs." So I go to meet him. |
928 | 01:04:22,108 | 01:04:23,943 | I remember her giving you degrees, too. | I remember her giving you degrees, too. |
929 | 01:04:24,027 | 01:04:26,488 | It was take after take, and they were all great. | It was take after take, and they were all great. |
930 | 01:04:26,613 | 01:04:27,614 | Yeah. | Yeah. |
931 | 01:04:27,697 | 01:04:29,783 | Magellan's product, the raw intel. | Magellan's product, the raw intel. |
932 | 01:04:30,533 | 01:04:31,868 | But when do you check the story? | But when do you check the story? |
933 | 01:04:31,951 | 01:04:34,913 | And I believed her when she told her story, | And I believed her when she told her story, |
934 | 01:04:34,996 | 01:04:38,249 | that she'd met this guy and he'd given her the documents. | that she'd met this guy and he'd given her the documents. |
935 | 01:04:38,333 | 01:04:44,047 | Actually, the story that she had to work with was quite generalized, in a way, | Actually, the story that she had to work with was quite generalized, in a way, |
936 | 01:04:44,130 | 01:04:46,216 | but she made it feel particular. | but she made it feel particular. |
937 | 01:04:46,299 | 01:04:48,009 | And it was in that room | And it was in that room |
938 | 01:04:48,134 | 01:04:52,222 | I believed that you believed that she was telling you a real story. | I believed that you believed that she was telling you a real story. |
939 | 01:04:54,140 | 01:04:57,227 | That was very hard for you, that scene, because | That was very hard for you, that scene, because |
940 | 01:04:58,478 | 01:05:02,982 | in a way, you're just firing questions at her, she's got the work to do. | in a way, you're just firing questions at her, she's got the work to do. |
941 | 01:05:08,988 | 01:05:12,867 | And you've somehow got to take out of that... | And you've somehow got to take out of that... |
942 | 01:05:12,992 | 01:05:15,703 | It's got to spring you into life and give you more fuel, | It's got to spring you into life and give you more fuel, |
943 | 01:05:15,829 | 01:05:18,289 | but without you feeling sort of sententious | but without you feeling sort of sententious |
944 | 01:05:18,373 | 01:05:21,042 | and kind of, "Oh, my God, I'm gonna give you a moral here." | and kind of, "Oh, my God, I'm gonna give you a moral here." |
945 | 01:05:21,167 | 01:05:22,168 | Right. | Right. |
946 | 01:05:22,252 | 01:05:27,173 | I think we were pretty good in this film about not, | I think we were pretty good in this film about not, |
947 | 01:05:28,842 | 01:05:34,013 | yeah, not letting this film at all deviate away from a thriller route | yeah, not letting this film at all deviate away from a thriller route |
948 | 01:05:34,097 | 01:05:36,724 | into preaching stuff. | into preaching stuff. |
949 | 01:05:38,059 | 01:05:43,022 | It's a story set in that world at that time, and you can accept it as that. | It's a story set in that world at that time, and you can accept it as that. |
950 | 01:05:43,106 | 01:05:44,858 | It doesn't make any sense. | It doesn't make any sense. |
951 | 01:05:44,941 | 01:05:47,735 | This is some fantastic exposition through here. | This is some fantastic exposition through here. |
952 | 01:05:48,194 | 01:05:52,365 | - I love it. - Keep it moving, keep it moving, faster. | - I love it. - Keep it moving, keep it moving, faster. |
953 | 01:05:52,740 | 01:05:56,703 | But, I think, very dramatic, 'cause I think all of us, | But, I think, very dramatic, 'cause I think all of us, |
954 | 01:05:58,371 | 01:06:00,498 | at some point, remember a moment | at some point, remember a moment |
955 | 01:06:00,582 | 01:06:03,960 | where you kind of go, "Hang on a second, maybe they don't have them." | where you kind of go, "Hang on a second, maybe they don't have them." |
956 | 01:06:04,043 | 01:06:05,587 | - Right, right. - You know? | - Right, right. - You know? |
957 | 01:06:05,712 | 01:06:09,674 | I remember you directing Brendan in this scene, | I remember you directing Brendan in this scene, |
958 | 01:06:09,757 | 01:06:11,638 | and telling him it's fun to... He didn't have to... | and telling him it's fun to... He didn't have to... |
959 | 01:06:11,718 | 01:06:14,596 | 'Cause we wanted him to be working it out here. | 'Cause we wanted him to be working it out here. |
960 | 01:06:15,930 | 01:06:18,558 | You said how fun it is to watch smart people thinking. | You said how fun it is to watch smart people thinking. |
961 | 01:06:18,641 | 01:06:19,893 | Yeah. | Yeah. |
962 | 01:06:21,561 | 01:06:25,732 | SW, Mohammad N Ram was 'm Amman, Jordan on February 5th, 2003. | SW, Mohammad N Ram was 'm Amman, Jordan on February 5th, 2003. |
963 | 01:06:27,609 | 01:06:33,406 | John Powell does some very clever work, musically, here. | John Powell does some very clever work, musically, here. |
964 | 01:06:34,949 | 01:06:37,076 | He's modulating the pulse. | He's modulating the pulse. |
965 | 01:06:38,411 | 01:06:43,583 | Giving it, holding it back, giving it, holding it back. | Giving it, holding it back, giving it, holding it back. |
966 | 01:06:45,335 | 01:06:49,506 | Just so that as we step up, now, from here to the end of the movie, | Just so that as we step up, now, from here to the end of the movie, |
967 | 01:06:50,840 | 01:06:54,761 | musically, he's got an absolutely... As in any... | musically, he's got an absolutely... As in any... |
968 | 01:06:55,345 | 01:07:00,141 | Yeah, whether it's the Bourne movies or this or whatever, you know, there's a... | Yeah, whether it's the Bourne movies or this or whatever, you know, there's a... |
969 | 01:07:01,100 | 01:07:05,104 | When you actually examine what the composer has to do, | When you actually examine what the composer has to do, |
970 | 01:07:05,188 | 01:07:11,152 | he's got to get you from the beginning of the film to the end, | he's got to get you from the beginning of the film to the end, |
971 | 01:07:12,779 | 01:07:16,282 | across bridges, up inclines, | across bridges, up inclines, |
972 | 01:07:18,117 | 01:07:20,370 | places to push, places to hold back, | places to push, places to hold back, |
973 | 01:07:20,453 | 01:07:26,042 | and he's gotta give you a graduated journey all the way until your peak, | and he's gotta give you a graduated journey all the way until your peak, |
974 | 01:07:26,709 | 01:07:30,797 | and that's an incredibly meticulous journey | and that's an incredibly meticulous journey |
975 | 01:07:30,880 | 01:07:33,633 | to do with musical pace, | to do with musical pace, |
976 | 01:07:35,802 | 01:07:38,304 | accuracy and clarity of the themes. | accuracy and clarity of the themes. |
977 | 01:07:39,722 | 01:07:41,391 | I mean, he's a master of it, isn't he? | I mean, he's a master of it, isn't he? |
978 | 01:07:41,474 | 01:07:44,143 | - He's an absolute master, I think. - Yeah. | - He's an absolute master, I think. - Yeah. |
979 | 01:07:45,019 | 01:07:46,062 | Stop. | Stop. |
980 | 01:07:55,697 | 01:07:57,198 | Where is Mohammed Al Rawi? | Where is Mohammed Al Rawi? |
981 | 01:07:57,991 | 01:07:59,826 | Where is he? | Where is he? |
982 | 01:08:00,493 | 01:08:01,995 | Tell me. | Tell me. |
983 | 01:08:02,328 | 01:08:05,748 | Even if I knew, I would not tell you. | Even if I knew, I would not tell you. |
984 | 01:08:16,009 | 01:08:17,719 | All clear, Chief. | All clear, Chief. |
985 | 01:08:19,679 | 01:08:21,806 | - Send Freddy! - Yes, sir! | - Send Freddy! - Yes, sir! |
986 | 01:08:21,889 | 01:08:23,766 | Freddy, on the move. | Freddy, on the move. |
987 | 01:08:28,563 | 01:08:30,940 | Freddy, I need you to translate. | Freddy, I need you to translate. |
988 | 01:08:31,024 | 01:08:33,526 | Tell him I need to get a message to General Al Rawi. | Tell him I need to get a message to General Al Rawi. |
989 | 01:08:36,571 | 01:08:40,950 | Just starting to feel, now, it's... The pieces are locking in, now, | Just starting to feel, now, it's... The pieces are locking in, now, |
990 | 01:08:42,910 | 01:08:46,539 | to create a climax. | to create a climax. |
991 | 01:08:46,623 | 01:08:50,460 | It's almost like you've got to bring your pieces to the field. | It's almost like you've got to bring your pieces to the field. |
992 | 01:08:52,045 | 01:08:54,300 | There's a lot of heavy lifts you have to do, isn't there, in a movie, | There's a lot of heavy lifts you have to do, isn't there, in a movie, |
993 | 01:08:54,380 | 01:08:57,508 | to get to a place where you can let it unfold. | to get to a place where you can let it unfold. |
994 | 01:08:57,592 | 01:09:00,887 | I told him I'd meet him at the Adhamiya bus station tonight. | I told him I'd meet him at the Adhamiya bus station tonight. |
995 | 01:09:01,220 | 01:09:03,640 | If I can bring him in alive, then we'll have our proof. | If I can bring him in alive, then we'll have our proof. |
996 | 01:09:03,723 | 01:09:06,559 | If he talks, then we'll get the truth about WMD. | If he talks, then we'll get the truth about WMD. |
997 | 01:09:06,684 | 01:09:08,728 | And again, this was something I was saying earlier, | And again, this was something I was saying earlier, |
998 | 01:09:08,853 | 01:09:11,606 | although this story here is quite simple, | although this story here is quite simple, |
999 | 01:09:12,357 | 01:09:15,151 | the positioning of, say, your character in this scene now, | the positioning of, say, your character in this scene now, |
1000 | 01:09:15,234 | 01:09:21,199 | where you've fully got behind the idea that Al Rawi must be brought in, | where you've fully got behind the idea that Al Rawi must be brought in, |
1001 | 01:09:22,408 | 01:09:26,537 | where before, you were absolutely, firmly of a different view, | where before, you were absolutely, firmly of a different view, |
1002 | 01:09:27,288 | 01:09:28,960 | you've understood something quite different, | you've understood something quite different, |
1003 | 01:09:29,040 | 01:09:31,668 | that he can help... | that he can help... |
1004 | 01:09:31,751 | 01:09:33,920 | All right, listen up, we're going to Adhamiya. | All right, listen up, we're going to Adhamiya. |
1005 | 01:09:34,045 | 01:09:36,631 | ...in terms of stopping the insurgency. | ...in terms of stopping the insurgency. |
1006 | 01:09:36,756 | 01:09:41,719 | In effect, you're starting to see him not so much as an enemy, but a possible ally. | In effect, you're starting to see him not so much as an enemy, but a possible ally. |
1007 | 01:09:41,803 | 01:09:44,514 | That's quite a big journey for a character to take. | That's quite a big journey for a character to take. |
1008 | 01:09:44,597 | 01:09:49,977 | And, of course, Freddy is very uncomfortable with that as an idea. | And, of course, Freddy is very uncomfortable with that as an idea. |
1009 | 01:09:50,937 | 01:09:54,774 | But you have to commit yourself, and Miller's made his choice. | But you have to commit yourself, and Miller's made his choice. |
1010 | 01:09:58,444 | 01:10:00,279 | And in a way... | And in a way... |
1011 | 01:10:00,405 | 01:10:01,572 | Let's roll! | Let's roll! |
1012 | 01:10:03,282 | 01:10:07,620 | ...it's only possibly an heroic choice from Miller's point of View. | ...it's only possibly an heroic choice from Miller's point of View. |
1013 | 01:10:08,079 | 01:10:10,707 | If you're an audience, are you fully behind him? | If you're an audience, are you fully behind him? |
1014 | 01:10:10,790 | 01:10:12,792 | - Sort of. - Right. | - Sort of. - Right. |
1015 | 01:10:13,251 | 01:10:15,294 | But there's something that, | But there's something that, |
1016 | 01:10:16,963 | 01:10:19,716 | in this world, in this story, | in this world, in this story, |
1017 | 01:10:19,799 | 01:10:24,846 | it's very hard to be comfortable about a black-and-White choice for the hero, I think. | it's very hard to be comfortable about a black-and-White choice for the hero, I think. |
1018 | 01:10:25,012 | 01:10:26,097 | Right, right, it's not... | Right, right, it's not... |
1019 | 01:10:26,180 | 01:10:30,143 | You start black and white and, I think, you end black and white. | You start black and white and, I think, you end black and white. |
1020 | 01:10:30,768 | 01:10:37,608 | But it's always degrees of moral lack of clarity. | But it's always degrees of moral lack of clarity. |
1021 | 01:10:40,611 | 01:10:41,654 | Tell me. | Tell me. |
1022 | 01:10:43,698 | 01:10:47,535 | You're starting to view him slightly differently, aren't you, at this point? | You're starting to view him slightly differently, aren't you, at this point? |
1023 | 01:10:47,952 | 01:10:50,204 | Cause you know he's a bad guy... | Cause you know he's a bad guy... |
1024 | 01:10:51,456 | 01:10:54,500 | He wants to meet you, sir. | He wants to meet you, sir. |
1025 | 01:10:55,376 | 01:10:56,794 | ...but what's his game? | ...but what's his game? |
1026 | 01:11:14,312 | 01:11:15,813 | Republican Palace. | Republican Palace. |
1027 | 01:11:18,357 | 01:11:21,652 | Got to get a little "Mission accomplished" in there. | Got to get a little "Mission accomplished" in there. |
1028 | 01:11:22,862 | 01:11:24,530 | Well, in terms of our story... | Well, in terms of our story... |
1029 | 01:11:24,655 | 01:11:26,324 | Captain Card, | Captain Card, |
1030 | 01:11:26,991 | 01:11:29,452 | officers and sailors of the USS Abraham Lincoln... | officers and sailors of the USS Abraham Lincoln... |
1031 | 01:11:29,535 | 01:11:35,666 | ...this is the moment, in any thriller, where the bad guy thinks he's won. | ...this is the moment, in any thriller, where the bad guy thinks he's won. |
1032 | 01:11:37,210 | 01:11:39,796 | In the battle of Iraq, the United States... | In the battle of Iraq, the United States... |
1033 | 01:11:39,879 | 01:11:43,299 | Which, in a perfect world, you'll always want to precede the moment | Which, in a perfect world, you'll always want to precede the moment |
1034 | 01:11:43,382 | 01:11:45,843 | when it all collapses for him. | when it all collapses for him. |
1035 | 01:11:48,596 | 01:11:50,348 | And that's, kind of, | And that's, kind of, |
1036 | 01:11:54,227 | 01:11:56,020 | the card we're playing here. | the card we're playing here. |
1037 | 01:11:56,729 | 01:11:58,064 | - Yeah? - This is Briggs. | - Yeah? - This is Briggs. |
1038 | 01:11:58,189 | 01:12:00,525 | There you go. "We got a problem." | There you go. "We got a problem." |
1039 | 01:12:00,608 | 01:12:02,276 | My local assets are down. | My local assets are down. |
1040 | 01:12:02,401 | 01:12:06,113 | I got a report saying it was US Army took them out and nobody called it in. | I got a report saying it was US Army took them out and nobody called it in. |
1041 | 01:12:06,239 | 01:12:07,698 | Where's Miller? | Where's Miller? |
1042 | 01:12:08,199 | 01:12:09,283 | Stand by. | Stand by. |
1043 | 01:12:10,076 | 01:12:13,371 | All right, listen up. I need everybody on a Blue Force Tracker. | All right, listen up. I need everybody on a Blue Force Tracker. |
1044 | 01:12:13,454 | 01:12:15,414 | Met-Delta 85th, XTF. | Met-Delta 85th, XTF. |
1045 | 01:12:19,085 | 01:12:23,548 | Poor Greg wasn't dealt the best card on the mobile phone, was he there? | Poor Greg wasn't dealt the best card on the mobile phone, was he there? |
1046 | 01:12:24,924 | 01:12:28,761 | 2003, special issue, big sat phone. | 2003, special issue, big sat phone. |
1047 | 01:12:35,726 | 01:12:39,188 | Well, now, we're getting a chase. | Well, now, we're getting a chase. |
1048 | 01:12:39,272 | 01:12:41,399 | - Now it's ramping up. - Yeah. | - Now it's ramping up. - Yeah. |
1049 | 01:12:42,608 | 01:12:45,611 | He's meeting with Al Rawi. Son of a bitch. | He's meeting with Al Rawi. Son of a bitch. |
1050 | 01:12:45,736 | 01:12:48,990 | Which is what you want. You want move and countermove in a... | Which is what you want. You want move and countermove in a... |
1051 | 01:12:49,115 | 01:12:52,368 | Follow Miller. He'll lead you right to him. And when you find Al Rawi... | Follow Miller. He'll lead you right to him. And when you find Al Rawi... |
1052 | 01:12:52,451 | 01:12:54,704 | In these sorts of stories, you want... | In these sorts of stories, you want... |
1053 | 01:12:54,787 | 01:12:57,498 | - What about Miller? - He's off reservation. | - What about Miller? - He's off reservation. |
1054 | 01:12:57,623 | 01:13:02,545 | ...the main protagonist to be following a strong agenda, | ...the main protagonist to be following a strong agenda, |
1055 | 01:13:02,628 | 01:13:07,133 | and that causing collision. | and that causing collision. |
1056 | 01:13:07,258 | 01:13:11,345 | Other characters have then got to do things in response. | Other characters have then got to do things in response. |
1057 | 01:13:11,470 | 01:13:17,560 | And that causes your central character to have to modify or change his or her plans. | And that causes your central character to have to modify or change his or her plans. |
1058 | 01:13:17,643 | 01:13:21,147 | You're getting a ballet, basically. | You're getting a ballet, basically. |
1059 | 01:13:21,272 | 01:13:25,943 | A physical dance, basically. | A physical dance, basically. |
1060 | 01:13:27,486 | 01:13:32,658 | 'Cause once you've got it into that state, you can start to develop pace and attack, | 'Cause once you've got it into that state, you can start to develop pace and attack, |
1061 | 01:13:34,368 | 01:13:35,786 | and now we're getting it. | and now we're getting it. |
1062 | 01:13:35,870 | 01:13:38,122 | I need a 0-2 bird with eyes over Adhamiya. | I need a 0-2 bird with eyes over Adhamiya. |
1063 | 01:13:38,205 | 01:13:41,709 | I want an ISO on all military radio and cell phone transmissions. | I want an ISO on all military radio and cell phone transmissions. |
1064 | 01:13:41,834 | 01:13:46,672 | We're at the very beginnings now of what is, in effect, | We're at the very beginnings now of what is, in effect, |
1065 | 01:13:47,840 | 01:13:54,055 | I don't know, must be a good 20 minutes of sustained action. | I don't know, must be a good 20 minutes of sustained action. |
1066 | 01:13:56,557 | 01:13:58,726 | When you're in a cutting room, | When you're in a cutting room, |
1067 | 01:14:01,270 | 01:14:05,232 | the big job is just interleaving these elements | the big job is just interleaving these elements |
1068 | 01:14:05,358 | 01:14:08,486 | so you've got clarity | so you've got clarity |
1069 | 01:14:10,237 | 01:14:14,200 | and you're able to moderate pace. | and you're able to moderate pace. |
1070 | 01:14:16,744 | 01:14:20,998 | - That's where Mr. Rouse is a master. - Yeah, man, he sure is. | - That's where Mr. Rouse is a master. - Yeah, man, he sure is. |
1071 | 01:14:21,499 | 01:14:23,542 | It's something big, Marty. | It's something big, Marty. |
1072 | 01:14:26,629 | 01:14:29,799 | Now we go down for CPA orders one and two. | Now we go down for CPA orders one and two. |
1073 | 01:14:37,223 | 01:14:40,810 | This whole section was a massive challenge | This whole section was a massive challenge |
1074 | 01:14:40,893 | 01:14:44,814 | for our lords of the camera. | for our lords of the camera. |
1075 | 01:14:45,564 | 01:14:48,234 | Barry Ackroyd, our DOP. | Barry Ackroyd, our DOP. |
1076 | 01:14:52,655 | 01:14:54,323 | He and I go way back. | He and I go way back. |
1077 | 01:14:54,991 | 01:15:01,330 | We did United 93 together and then, obviously, he shot Hurl Looker, brilliantly. | We did United 93 together and then, obviously, he shot Hurl Looker, brilliantly. |
1078 | 01:15:04,583 | 01:15:09,755 | And he had the problem of... Which we talked about several times. | And he had the problem of... Which we talked about several times. |
1079 | 01:15:09,880 | 01:15:12,008 | I wanted night to be night. | I wanted night to be night. |
1080 | 01:15:13,509 | 01:15:17,596 | And I wanted to see if we could shoot, | And I wanted to see if we could shoot, |
1081 | 01:15:18,764 | 01:15:21,058 | effectively, an action thriller | effectively, an action thriller |
1082 | 01:15:22,268 | 01:15:24,020 | finale, a large piece, | finale, a large piece, |
1083 | 01:15:24,854 | 01:15:30,693 | but with the true demands of it being night. | but with the true demands of it being night. |
1084 | 01:15:30,776 | 01:15:32,695 | In other words, I didn't want it to be overlit. | In other words, I didn't want it to be overlit. |
1085 | 01:15:32,778 | 01:15:35,906 | I didn't want to give him or Klemens | I didn't want to give him or Klemens |
1086 | 01:15:37,283 | 01:15:40,453 | and all the other operators, but principally Klemens, | and all the other operators, but principally Klemens, |
1087 | 01:15:43,581 | 01:15:46,709 | the amount of light that they would have most needed | the amount of light that they would have most needed |
1088 | 01:15:46,792 | 01:15:50,212 | to be able to follow this kind of physicality | to be able to follow this kind of physicality |
1089 | 01:15:50,296 | 01:15:56,218 | with any, sort of, hope of success, in terms of focus. | with any, sort of, hope of success, in terms of focus. |
1090 | 01:15:57,636 | 01:16:01,974 | It made their life incredibly hard. | It made their life incredibly hard. |
1091 | 01:16:03,309 | 01:16:05,311 | But they never complained and they went for it. | But they never complained and they went for it. |
1092 | 01:16:05,394 | 01:16:07,146 | I mean, incredible... | I mean, incredible... |
1093 | 01:16:08,439 | 01:16:11,067 | As a director, you know, it's that thing of, | As a director, you know, it's that thing of, |
1094 | 01:16:11,150 | 01:16:15,404 | you look sometimes, or not sometimes, every single day, | you look sometimes, or not sometimes, every single day, |
1095 | 01:16:15,988 | 01:16:21,494 | at the quality of courage | at the quality of courage |
1096 | 01:16:21,577 | 01:16:24,830 | that the people that make the film with you are willing to... | that the people that make the film with you are willing to... |
1097 | 01:16:24,955 | 01:16:28,292 | Whether it's you or Barry or Sammy, | Whether it's you or Barry or Sammy, |
1098 | 01:16:28,584 | 01:16:32,505 | the things you ask, as a director, of people to do | the things you ask, as a director, of people to do |
1099 | 01:16:32,630 | 01:16:34,423 | that can expose them. | that can expose them. |
1100 | 01:16:34,757 | 01:16:38,135 | My rushes might not look good, and yet they go for it. | My rushes might not look good, and yet they go for it. |
1101 | 01:16:38,969 | 01:16:44,100 | I mean, he's probably on a 40 here, but this is Steadicam and it's dark in there. | I mean, he's probably on a 40 here, but this is Steadicam and it's dark in there. |
1102 | 01:16:44,183 | 01:16:46,018 | - -Yeah. - I mean, look at that. | - -Yeah. - I mean, look at that. |
1103 | 01:16:46,143 | 01:16:47,937 | - And there's a ton of... - Pitch. | - And there's a ton of... - Pitch. |
1104 | 01:16:48,020 | 01:16:53,275 | Yeah. A ton of longer-lens stuff of me walking, alternately, | Yeah. A ton of longer-lens stuff of me walking, alternately, |
1105 | 01:16:53,359 | 01:16:56,529 | and running and stopping, and the camera moving, it's really... | and running and stopping, and the camera moving, it's really... |
1106 | 01:16:56,612 | 01:17:01,367 | The focal plane was very shallow and maybe never... | The focal plane was very shallow and maybe never... |
1107 | 01:17:03,536 | 01:17:05,955 | They're just a terrific crew. | They're just a terrific crew. |
1108 | 01:17:06,622 | 01:17:07,957 | Terrific crew. | Terrific crew. |
1109 | 01:17:08,040 | 01:17:14,964 | I think that a lot of DOPs would never have let me do what Barry... | I think that a lot of DOPs would never have let me do what Barry... |
1110 | 01:17:15,297 | 01:17:19,552 | But you needed that. I mean, just walking into this dark... | But you needed that. I mean, just walking into this dark... |
1111 | 01:17:19,635 | 01:17:23,806 | It looks real. It was. It was dark. I mean, you know... | It looks real. It was. It was dark. I mean, you know... |
1112 | 01:17:24,682 | 01:17:25,975 | And I think it... Yeah. | And I think it... Yeah. |
1113 | 01:17:26,058 | 01:17:30,312 | You can look at some of the images from here on to the end and say, | You can look at some of the images from here on to the end and say, |
1114 | 01:17:31,230 | 01:17:36,652 | "Well, technically, they're edgy," and all of that. | "Well, technically, they're edgy," and all of that. |
1115 | 01:17:38,028 | 01:17:44,410 | But that's what makes the sequence feel like it's got the bite of reality. | But that's what makes the sequence feel like it's got the bite of reality. |
1116 | 01:17:45,369 | 01:17:48,080 | It doesn't have the gloss | It doesn't have the gloss |
1117 | 01:17:49,707 | 01:17:50,833 | of fiction. | of fiction. |
1118 | 01:17:50,916 | 01:17:55,546 | Somewhere it, sort of, sits between the two, which is good, I think. | Somewhere it, sort of, sits between the two, which is good, I think. |
1119 | 01:17:56,755 | 01:17:58,177 | I always love this little sequence, too, | I always love this little sequence, too, |
1120 | 01:17:58,257 | 01:18:00,843 | because it's like he's at home, he's watching. | because it's like he's at home, he's watching. |
1121 | 01:18:00,926 | 01:18:04,847 | He's watching the fact that they've de-Ba'athified | He's watching the fact that they've de-Ba'athified |
1122 | 01:18:04,930 | 01:18:06,182 | and they've disbanded the army, | and they've disbanded the army, |
1123 | 01:18:06,265 | 01:18:10,269 | and it's just, instantaneously, these guys pick up their arms. | and it's just, instantaneously, these guys pick up their arms. |
1124 | 01:18:10,394 | 01:18:13,606 | - It's just that they've been waiting. - It's gonna be no deal. | - It's just that they've been waiting. - It's gonna be no deal. |
1125 | 01:18:13,731 | 01:18:17,109 | That's it. So it's an insurgency, | That's it. So it's an insurgency, |
1126 | 01:18:17,193 | 01:18:20,446 | and the connection between those two things, | and the connection between those two things, |
1127 | 01:18:21,947 | 01:18:27,703 | sending hundreds of thousands of people away, armed, and saying, | sending hundreds of thousands of people away, armed, and saying, |
1128 | 01:18:27,786 | 01:18:30,289 | "There's not a place for you in this country." | "There's not a place for you in this country." |
1129 | 01:18:31,457 | 01:18:34,460 | But what's interesting is, is that thing... | But what's interesting is, is that thing... |
1130 | 01:18:35,878 | 01:18:39,632 | Now, morally, the equation's turned again. | Now, morally, the equation's turned again. |
1131 | 01:18:39,757 | 01:18:41,884 | Yeah, you were seeking him as an ally, | Yeah, you were seeking him as an ally, |
1132 | 01:18:41,967 | 01:18:45,262 | Miller was seeking him as an ally five minutes ago. | Miller was seeking him as an ally five minutes ago. |
1133 | 01:18:45,596 | 01:18:47,973 | And as an audience, you're probably uncomfortable with that, | And as an audience, you're probably uncomfortable with that, |
1134 | 01:18:48,098 | 01:18:50,643 | but you're probably, in terms of the story of this film, going, | but you're probably, in terms of the story of this film, going, |
1135 | 01:18:50,768 | 01:18:54,146 | "Okay, well, our hero wants that and it's going to help present..." | "Okay, well, our hero wants that and it's going to help present..." |
1136 | 01:18:54,230 | 01:18:58,400 | Now, Al Rawi is throwing down. | Now, Al Rawi is throwing down. |
1137 | 01:18:58,484 | 01:19:04,990 | So the idea of using him as an ally, at this point, is impossible. | So the idea of using him as an ally, at this point, is impossible. |
1138 | 01:19:05,115 | 01:19:08,577 | So the entire moral equation for Miller, | So the entire moral equation for Miller, |
1139 | 01:19:08,661 | 01:19:11,000 | - although he doesn't yet know it... - He doesn't know it yet. | - although he doesn't yet know it... - He doesn't know it yet. |
1140 | 01:19:11,080 | 01:19:12,790 | ...has been removed. | ...has been removed. |
1141 | 01:19:15,125 | 01:19:17,670 | - Unless he can talk him out of it. - Yeah. | - Unless he can talk him out of it. - Yeah. |
1142 | 01:19:18,170 | 01:19:21,674 | But yes, no, barring that, then they're at war. | But yes, no, barring that, then they're at war. |
1143 | 01:19:23,509 | 01:19:25,010 | I lost contact. | I lost contact. |
1144 | 01:19:31,934 | 01:19:35,479 | This is Rouse getting me out of dutch there. | This is Rouse getting me out of dutch there. |
1145 | 01:19:36,313 | 01:19:40,150 | Collapsing the time a little bit, so we can buy that. | Collapsing the time a little bit, so we can buy that. |
1146 | 01:19:40,985 | 01:19:42,573 | They're always hideous moments, aren't they? | They're always hideous moments, aren't they? |
1147 | 01:19:42,653 | 01:19:44,321 | Trying to get people in and out of cars. | Trying to get people in and out of cars. |
1148 | 01:19:44,405 | 01:19:46,573 | - 'Cause the truth is... - So slow... | - 'Cause the truth is... - So slow... |
1149 | 01:19:47,283 | 01:19:52,329 | But you always want them to feel dynamic onscreen, so get the scissors in. | But you always want them to feel dynamic onscreen, so get the scissors in. |
1150 | 01:19:53,872 | 01:19:56,583 | All units, we need help in the Adhamiya district. | All units, we need help in the Adhamiya district. |
1151 | 01:19:56,667 | 01:19:59,169 | Copy that, MET Team. This is Vanguard 6 and TF221. | Copy that, MET Team. This is Vanguard 6 and TF221. |
1152 | 01:19:59,253 | 01:20:04,550 | And we, to a lesser extent on this film than the past two Bourne films, | And we, to a lesser extent on this film than the past two Bourne films, |
1153 | 01:20:04,633 | 01:20:09,680 | but still, he was there for a little while, Dan Bradley came. | but still, he was there for a little while, Dan Bradley came. |
1154 | 01:20:09,930 | 01:20:11,056 | - -Yeah. - And... | - -Yeah. - And... |
1155 | 01:20:12,266 | 01:20:14,351 | - Just when we needed him most, actually. - Yeah. | - Just when we needed him most, actually. - Yeah. |
1156 | 01:20:14,435 | 01:20:18,105 | You know what I mean? He came in towards the end | You know what I mean? He came in towards the end |
1157 | 01:20:18,188 | 01:20:22,067 | when we still had a mountain of action to climb | when we still had a mountain of action to climb |
1158 | 01:20:22,776 | 01:20:24,611 | and not a lot of time to do it. | and not a lot of time to do it. |
1159 | 01:20:24,695 | 01:20:29,616 | And just that huge, massive | And just that huge, massive |
1160 | 01:20:30,659 | 01:20:32,286 | - energy... - Yes, yes. | - energy... - Yes, yes. |
1161 | 01:20:33,787 | 01:20:38,083 | He helped us get over the line, actually, is the truth of it, isn't it? | He helped us get over the line, actually, is the truth of it, isn't it? |
1162 | 01:20:39,960 | 01:20:42,755 | Now he's a first unit director, so hopefully we'll... | Now he's a first unit director, so hopefully we'll... |
1163 | 01:20:42,838 | 01:20:44,631 | Yeah. Yeah. | Yeah. Yeah. |
1164 | 01:20:51,263 | 01:20:53,515 | Yeah, he has | Yeah, he has |
1165 | 01:20:55,851 | 01:20:58,604 | - done a lot for me. - Me, too. | - done a lot for me. - Me, too. |
1166 | 01:21:02,274 | 01:21:05,736 | It's that old thing. As a director, you get given a lot of credit | It's that old thing. As a director, you get given a lot of credit |
1167 | 01:21:05,819 | 01:21:10,783 | for a lot of things that belong to the people who work alongside you, in truth. | for a lot of things that belong to the people who work alongside you, in truth. |
1168 | 01:21:11,408 | 01:21:14,453 | - Well, you get the blame, too. 80... - Yeah, that's true. | - Well, you get the blame, too. 80... - Yeah, that's true. |
1169 | 01:21:14,536 | 01:21:15,624 | - -Yeah. In fact, what am I saying? - Yeah, | - -Yeah. In fact, what am I saying? - Yeah, |
1170 | 01:21:15,704 | 01:21:17,001 | - I don't know what you're talking about. - Yeah. | - I don't know what you're talking about. - Yeah. |
1171 | 01:21:17,081 | 01:21:20,000 | - Take the credit. - It was all my work, wasn't it? | - Take the credit. - It was all my work, wasn't it? |
1172 | 01:21:23,796 | 01:21:25,339 | Well, now, we're into... | Well, now, we're into... |
1173 | 01:21:26,465 | 01:21:29,176 | We're getting this chase into a good place, now. | We're getting this chase into a good place, now. |
1174 | 01:21:30,052 | 01:21:32,221 | You know, you're setting up a fort, | You know, you're setting up a fort, |
1175 | 01:21:32,304 | 01:21:35,933 | so there's gonna be a physical place where it's gonna take place. | so there's gonna be a physical place where it's gonna take place. |
1176 | 01:21:37,017 | 01:21:39,645 | You've got your hero in great difficulty. | You've got your hero in great difficulty. |
1177 | 01:21:40,687 | 01:21:41,730 | And... | And... |
1178 | 01:21:49,029 | 01:21:52,908 | Briggs is onto you. And here come the cavalry. | Briggs is onto you. And here come the cavalry. |
1179 | 01:21:52,991 | 01:21:54,076 | All the high-tech... | All the high-tech... |
1180 | 01:21:54,159 | 01:21:55,372 | We're three klicks from target area. | We're three klicks from target area. |
1181 | 01:21:55,452 | 01:21:57,871 | All right, put us down. Find an LZ a klick from here. | All right, put us down. Find an LZ a klick from here. |
1182 | 01:21:57,955 | 01:22:00,040 | But again, it's playing with, | But again, it's playing with, |
1183 | 01:22:01,834 | 01:22:05,671 | "Are we on their side? Are we on your side? Are you working together? Are you not?" | "Are we on their side? Are we on your side? Are you working together? Are you not?" |
1184 | 01:22:05,754 | 01:22:08,549 | You know, it's the... | You know, it's the... |
1185 | 01:22:11,718 | 01:22:14,054 | Hopefully, the feeling in this film | Hopefully, the feeling in this film |
1186 | 01:22:14,138 | 01:22:18,725 | that you've got a driving, straight thriller premise, | that you've got a driving, straight thriller premise, |
1187 | 01:22:18,809 | 01:22:23,313 | your hero's in jeopardy, people are coming, there's a bad guy he's gonna confront, | your hero's in jeopardy, people are coming, there's a bad guy he's gonna confront, |
1188 | 01:22:24,356 | 01:22:29,736 | is pitted against... But the bad guys are the ones coming to get you out. | is pitted against... But the bad guys are the ones coming to get you out. |
1189 | 01:22:31,947 | 01:22:34,241 | It's all a little bit unclear. | It's all a little bit unclear. |
1190 | 01:22:35,868 | 01:22:38,287 | I like that in this film. | I like that in this film. |
1191 | 01:22:50,883 | 01:22:54,803 | Jason wanted to do the going-down-the-rope thing for 50 feet, | Jason wanted to do the going-down-the-rope thing for 50 feet, |
1192 | 01:22:56,180 | 01:22:59,725 | - but unfortunately... - We ran out of time. | - but unfortunately... - We ran out of time. |
1193 | 01:23:01,018 | 01:23:03,437 | This is good. It's always... Yeah. | This is good. It's always... Yeah. |
1194 | 01:23:03,979 | 01:23:07,191 | Whenever a teenager has a gun to your head, it's not a good thing. | Whenever a teenager has a gun to your head, it's not a good thing. |
1195 | 01:23:07,274 | 01:23:08,946 | No, you don't know quite what's gonna happen. | No, you don't know quite what's gonna happen. |
1196 | 01:23:09,026 | 01:23:10,319 | You don't know. | You don't know. |
1197 | 01:23:10,402 | 01:23:14,031 | - I love this look from Yigal here. - Yeah, I know. | - I love this look from Yigal here. - Yeah, I know. |
1198 | 01:23:14,448 | 01:23:18,202 | - He just looks at him, look. Yeah. - He just looks at him. | - He just looks at him, look. Yeah. - He just looks at him. |
1199 | 01:23:18,285 | 01:23:19,620 | "Fuck off." | "Fuck off." |
1200 | 01:23:21,246 | 01:23:23,916 | And he doesn't like it. It's like, | And he doesn't like it. It's like, |
1201 | 01:23:23,999 | 01:23:28,128 | - "Have you got balls, or what?" Yeah. - There's nothing you can do. | - "Have you got balls, or what?" Yeah. - There's nothing you can do. |
1202 | 01:23:29,755 | 01:23:32,424 | Yeah, Yigal was just... And look at how spare he is, | Yeah, Yigal was just... And look at how spare he is, |
1203 | 01:23:32,508 | 01:23:36,261 | he just doesn't... There's no superfluous movement. | he just doesn't... There's no superfluous movement. |
1204 | 01:23:36,345 | 01:23:37,596 | - -Yeah. - It's just... | - -Yeah. - It's just... |
1205 | 01:23:37,679 | 01:23:39,681 | I'm a chief warrant officer with the US Army. | I'm a chief warrant officer with the US Army. |
1206 | 01:23:39,765 | 01:23:42,601 | - Well, this is the sort of... - I found it really easy | - Well, this is the sort of... - I found it really easy |
1207 | 01:23:43,393 | 01:23:48,482 | to play these scenes with him because he's just a very honest actor. | to play these scenes with him because he's just a very honest actor. |
1208 | 01:23:48,565 | 01:23:52,110 | And if you look into his eyes, he's right there. | And if you look into his eyes, he's right there. |
1209 | 01:23:53,237 | 01:23:56,490 | I really liked watching him. | I really liked watching him. |
1210 | 01:23:58,534 | 01:24:01,119 | - He's Iraqi by birth. - Yeah. | - He's Iraqi by birth. - Yeah. |
1211 | 01:24:01,245 | 01:24:07,417 | And he had a great love and understanding of the country. | And he had a great love and understanding of the country. |
1212 | 01:24:10,420 | 01:24:12,005 | What programs? | What programs? |
1213 | 01:24:12,965 | 01:24:14,216 | There are no programs. | There are no programs. |
1214 | 01:24:14,299 | 01:24:18,887 | And I think somewhere in that conflicted, | And I think somewhere in that conflicted, |
1215 | 01:24:21,598 | 01:24:25,102 | Iraqi-by-birth, but, obviously, having not grown up there, | Iraqi-by-birth, but, obviously, having not grown up there, |
1216 | 01:24:25,936 | 01:24:31,858 | somewhere, that confusion, in a sense, he brought to that character. | somewhere, that confusion, in a sense, he brought to that character. |
1217 | 01:24:33,569 | 01:24:37,489 | Because that character is a man | Because that character is a man |
1218 | 01:24:38,448 | 01:24:42,661 | who grew up in the Ba'athist system. He's not a good man at all. | who grew up in the Ba'athist system. He's not a good man at all. |
1219 | 01:24:42,744 | 01:24:43,999 | - Right. - He'd have had to have been | - Right. - He'd have had to have been |
1220 | 01:24:44,079 | 01:24:46,748 | - a ruthless, ambitious careerist. - Absolutely, yeah. | - a ruthless, ambitious careerist. - Absolutely, yeah. |
1221 | 01:24:46,832 | 01:24:50,961 | But he's not a psychopathic Saddamite. | But he's not a psychopathic Saddamite. |
1222 | 01:24:51,044 | 01:24:52,504 | Right, right. | Right, right. |
1223 | 01:24:53,297 | 01:24:55,465 | He would have had to have dealt with those people, | He would have had to have dealt with those people, |
1224 | 01:24:55,549 | 01:24:59,261 | and he certainly prospered on them, but he didn't approve of them. | and he certainly prospered on them, but he didn't approve of them. |
1225 | 01:24:59,344 | 01:25:02,639 | He's a nationalist. He's a strong... | He's a nationalist. He's a strong... |
1226 | 01:25:02,723 | 01:25:05,892 | And he thought his moment had come, Al Rawi, didn't he? | And he thought his moment had come, Al Rawi, didn't he? |
1227 | 01:25:06,018 | 01:25:09,271 | He thought he was gonna emerge as a leading player | He thought he was gonna emerge as a leading player |
1228 | 01:25:10,022 | 01:25:12,149 | in post-invasion Iraq, | in post-invasion Iraq, |
1229 | 01:25:12,232 | 01:25:18,196 | because he dealt with the US in advance. | because he dealt with the US in advance. |
1230 | 01:25:18,780 | 01:25:23,785 | He tried to, in a sense, see which way the wind was blowing | He tried to, in a sense, see which way the wind was blowing |
1231 | 01:25:24,036 | 01:25:27,956 | and play his cards accordingly. And, of course, he gets betrayed, | and play his cards accordingly. And, of course, he gets betrayed, |
1232 | 01:25:28,040 | 01:25:31,043 | and you feel the real... | and you feel the real... |
1233 | 01:25:31,126 | 01:25:35,297 | And what I liked was when we talked about when we did that scene, | And what I liked was when we talked about when we did that scene, |
1234 | 01:25:36,048 | 01:25:39,259 | I think I'm giving him a piece of information that's... | I think I'm giving him a piece of information that's... |
1235 | 01:25:39,968 | 01:25:42,721 | "No, but you see it's all been this horrible misunderstanding." | "No, but you see it's all been this horrible misunderstanding." |
1236 | 01:25:42,804 | 01:25:44,973 | - Yeah, yeah. - But what he can speak to | - Yeah, yeah. - But what he can speak to |
1237 | 01:25:45,057 | 01:25:48,644 | with absolute authority is the way that power works. | with absolute authority is the way that power works. |
1238 | 01:25:48,727 | 01:25:49,811 | Yeah. | Yeah. |
1239 | 01:25:51,897 | 01:25:54,858 | And it just dawns on me when he says, | And it just dawns on me when he says, |
1240 | 01:25:54,941 | 01:25:57,235 | "They heard exactly what they wanted to hear." | "They heard exactly what they wanted to hear." |
1241 | 01:25:57,402 | 01:25:59,696 | General, if you come in with me... | General, if you come in with me... |
1242 | 01:25:59,780 | 01:26:02,949 | No, no, the film | No, no, the film |
1243 | 01:26:03,075 | 01:26:07,746 | - is, in many ways, the education of Miller... - Yeah. | - is, in many ways, the education of Miller... - Yeah. |
1244 | 01:26:09,414 | 01:26:12,542 | - ...to the realities of power. - Yeah. | - ...to the realities of power. - Yeah. |
1245 | 01:26:12,626 | 01:26:14,753 | This is how it really works. | This is how it really works. |
1246 | 01:26:15,337 | 01:26:17,923 | Look at Yigal here. I mean, he just... | Look at Yigal here. I mean, he just... |
1247 | 01:26:18,090 | 01:26:21,385 | Why take Iraq apart piece by piece? | Why take Iraq apart piece by piece? |
1248 | 01:26:21,468 | 01:26:23,178 | Just utterly believable. | Just utterly believable. |
1249 | 01:26:23,261 | 01:26:26,348 | It's a great moment, though. I love the way your head goes down, | It's a great moment, though. I love the way your head goes down, |
1250 | 01:26:26,431 | 01:26:29,309 | 'cause it's sort of crushed you, too. You know what I mean? | 'cause it's sort of crushed you, too. You know what I mean? |
1251 | 01:26:29,434 | 01:26:31,061 | - -Yeah. - You've gone in there, | - -Yeah. - You've gone in there, |
1252 | 01:26:31,144 | 01:26:32,729 | "No, but wait! Hang on a second!" | "No, but wait! Hang on a second!" |
1253 | 01:26:32,813 | 01:26:34,526 | -You know what I mean? It's like... Exactly. | -You know what I mean? It's like... Exactly. |
1254 | 01:26:34,606 | 01:26:38,860 | "I've got this piece of information." And the other shoe drops. | "I've got this piece of information." And the other shoe drops. |
1255 | 01:26:38,944 | 01:26:41,571 | And you're in a world of problems now. | And you're in a world of problems now. |
1256 | 01:26:41,655 | 01:26:44,616 | So Where is my place, Mr. Miller? | So Where is my place, Mr. Miller? |
1257 | 01:26:45,283 | 01:26:47,119 | "On a deck of cards?" I love the way... | "On a deck of cards?" I love the way... |
1258 | 01:26:47,953 | 01:26:51,164 | And what I love about that, as well, is, he goes personal, doesn't he? | And what I love about that, as well, is, he goes personal, doesn't he? |
1259 | 01:26:51,289 | 01:26:53,253 | - Yeah, yeah, yeah. - You feel there's a real personal | - Yeah, yeah, yeah. - You feel there's a real personal |
1260 | 01:26:53,333 | 01:26:54,835 | sense of betrayal. It's like... | sense of betrayal. It's like... |
1261 | 01:26:54,960 | 01:26:56,837 | And his whole life had been leading up to this. | And his whole life had been leading up to this. |
1262 | 01:26:56,962 | 01:26:57,963 | Yeah. | Yeah. |
1263 | 01:26:58,046 | 01:27:01,803 | Finally, there's a place where this guy is positioned to... | Finally, there's a place where this guy is positioned to... |
1264 | 01:27:01,883 | 01:27:03,176 | Take over. | Take over. |
1265 | 01:27:06,972 | 01:27:08,807 | And now, he's gonna take it out on you. | And now, he's gonna take it out on you. |
1266 | 01:27:13,979 | 01:27:17,023 | Quickly! The Americans are coming! | Quickly! The Americans are coming! |
1267 | 01:27:18,692 | 01:27:21,027 | You know, these guys were all Special Forces, | You know, these guys were all Special Forces, |
1268 | 01:27:21,153 | 01:27:23,405 | and Jason is utterly convincing. | and Jason is utterly convincing. |
1269 | 01:27:25,157 | 01:27:26,199 | Utterly convincing. | Utterly convincing. |
1270 | 01:27:26,324 | 01:27:28,535 | I mean, one of the best guys We ever heard do accents, | I mean, one of the best guys We ever heard do accents, |
1271 | 01:27:28,660 | 01:27:30,662 | American accents, that is. | American accents, that is. |
1272 | 01:27:31,204 | 01:27:36,084 | The accent that he's got in this movie, I would never know that he was English. | The accent that he's got in this movie, I would never know that he was English. |
1273 | 01:27:37,669 | 01:27:39,337 | He just really has | He just really has |
1274 | 01:27:39,921 | 01:27:44,885 | - got a real, real facility for that. - Yeah. | - got a real, real facility for that. - Yeah. |
1275 | 01:27:45,010 | 01:27:47,804 | But the whole characterization is because he'd spent a lot of time | But the whole characterization is because he'd spent a lot of time |
1276 | 01:27:47,888 | 01:27:50,515 | when he did Black Hawk Down, just the way he moves, | when he did Black Hawk Down, just the way he moves, |
1277 | 01:27:50,599 | 01:27:53,518 | he's very, very physical, very convincing. | he's very, very physical, very convincing. |
1278 | 01:27:54,227 | 01:27:55,440 | And wears a hell of a mustache. | And wears a hell of a mustache. |
1279 | 01:27:55,520 | 01:27:57,731 | And wears a hell of a mustache, that's right. | And wears a hell of a mustache, that's right. |
1280 | 01:27:57,856 | 01:28:00,525 | Pored over every detail with these guys | Pored over every detail with these guys |
1281 | 01:28:00,609 | 01:28:02,819 | to make sure that there was not one little thing... | to make sure that there was not one little thing... |
1282 | 01:28:02,903 | 01:28:05,655 | I always say that performances are about details, | I always say that performances are about details, |
1283 | 01:28:05,739 | 01:28:09,326 | and he's just really wonderful in that way. | and he's just really wonderful in that way. |
1284 | 01:28:09,409 | 01:28:11,745 | And, incidentally, the Special Forces guy on the set, | And, incidentally, the Special Forces guy on the set, |
1285 | 01:28:11,870 | 01:28:15,332 | who was looking after us for security, had the same mustache. | who was looking after us for security, had the same mustache. |
1286 | 01:28:15,415 | 01:28:16,750 | - So... - Yeah. | - So... - Yeah. |
1287 | 01:28:16,875 | 01:28:18,877 | ...if you fight us. | ...if you fight us. |
1288 | 01:28:20,587 | 01:28:23,548 | You have to come in now before it's too late. | You have to come in now before it's too late. |
1289 | 01:28:23,632 | 01:28:26,676 | You think the war is over. | You think the war is over. |
1290 | 01:28:26,760 | 01:28:28,553 | Now we're sort of, | Now we're sort of, |
1291 | 01:28:29,805 | 01:28:33,058 | in terms of choreographing action, | in terms of choreographing action, |
1292 | 01:28:33,600 | 01:28:35,477 | you're at the perfect moment | you're at the perfect moment |
1293 | 01:28:35,894 | 01:28:39,564 | where you're gonna let it go. | where you're gonna let it go. |
1294 | 01:28:39,773 | 01:28:43,151 | It's all been, really, for this build. And there you go. | It's all been, really, for this build. And there you go. |
1295 | 01:28:44,319 | 01:28:49,491 | One by one, you see all of our guys throw themselves into the fight. | One by one, you see all of our guys throw themselves into the fight. |
1296 | 01:28:49,574 | 01:28:51,284 | - -Yeah. - Join the fight. | - -Yeah. - Join the fight. |
1297 | 01:28:54,162 | 01:28:55,413 | Grenade! | Grenade! |
1298 | 01:28:55,497 | 01:28:56,832 | Go! Go! | Go! Go! |
1299 | 01:29:03,588 | 01:29:06,174 | This is, again, one of those Rouse things where it's an eggy bit. | This is, again, one of those Rouse things where it's an eggy bit. |
1300 | 01:29:06,258 | 01:29:08,343 | How do you get four guys with guns out of the room? | How do you get four guys with guns out of the room? |
1301 | 01:29:08,426 | 01:29:11,429 | - -Yeah. - He may still be alive, and... | - -Yeah. - He may still be alive, and... |
1302 | 01:29:12,430 | 01:29:14,683 | But that's just one of those... | But that's just one of those... |
1303 | 01:29:16,518 | 01:29:20,772 | Well, often, I think, in these sorts of films, | Well, often, I think, in these sorts of films, |
1304 | 01:29:21,940 | 01:29:25,360 | you reach moments like that where certain things have to happen, | you reach moments like that where certain things have to happen, |
1305 | 01:29:25,443 | 01:29:27,362 | in terms of physicality. | in terms of physicality. |
1306 | 01:29:27,863 | 01:29:32,909 | And it's very often the conviction with which you do them that carries them. | And it's very often the conviction with which you do them that carries them. |
1307 | 01:29:32,993 | 01:29:36,288 | Rouse did a really good job of cutting back to all these other stories, | Rouse did a really good job of cutting back to all these other stories, |
1308 | 01:29:36,371 | 01:29:41,209 | so there's a disorientation that you get because the chaos of battle has started. | so there's a disorientation that you get because the chaos of battle has started. |
1309 | 01:29:41,293 | 01:29:43,879 | - -Yeah. - And that allows for a lot, too. | - -Yeah. - And that allows for a lot, too. |
1310 | 01:29:45,547 | 01:29:50,468 | You can see a messy fight where these guys are digging at each other's eyes and... | You can see a messy fight where these guys are digging at each other's eyes and... |
1311 | 01:29:55,557 | 01:29:57,559 | Come on! Move! | Come on! Move! |
1312 | 01:29:58,643 | 01:30:01,730 | I mean, I always wanted this film to kind of... | I mean, I always wanted this film to kind of... |
1313 | 01:30:03,064 | 01:30:07,277 | You've got to believe, "Okay, it's a story. It's not exactly how it happened." | You've got to believe, "Okay, it's a story. It's not exactly how it happened." |
1314 | 01:30:07,360 | 01:30:10,113 | Although these sorts of things absolutely did happen. | Although these sorts of things absolutely did happen. |
1315 | 01:30:10,196 | 01:30:13,742 | But I wanted it to feel like the insurgency had started, | But I wanted it to feel like the insurgency had started, |
1316 | 01:30:13,825 | 01:30:16,745 | that somewhere, the stakes of the film | that somewhere, the stakes of the film |
1317 | 01:30:16,828 | 01:30:20,040 | that you stated from the beginning, "Is this world..." | that you stated from the beginning, "Is this world..." |
1318 | 01:30:20,206 | 01:30:22,918 | Okay, it happens to be Iraq, that's the world we're talking about. | Okay, it happens to be Iraq, that's the world we're talking about. |
1319 | 01:30:23,043 | 01:30:25,962 | "Is this world gonna be okay or not?" | "Is this world gonna be okay or not?" |
1320 | 01:30:26,046 | 01:30:29,466 | And you want to feel that the story that we're telling | And you want to feel that the story that we're telling |
1321 | 01:30:30,133 | 01:30:33,386 | is intimately bound up with what's happening in the wider world, | is intimately bound up with what's happening in the wider world, |
1322 | 01:30:33,511 | 01:30:35,305 | and this is it. | and this is it. |
1323 | 01:30:35,722 | 01:30:39,976 | Al Rawi's thrown down. The Sunni insurgency's beginning, | Al Rawi's thrown down. The Sunni insurgency's beginning, |
1324 | 01:30:44,689 | 01:30:45,857 | and now, | and now, |
1325 | 01:30:47,025 | 01:30:51,196 | it feels to me like, morally, we're entering a different phase again. | it feels to me like, morally, we're entering a different phase again. |
1326 | 01:30:51,321 | 01:30:56,493 | Because you're still determined to bring him in, | Because you're still determined to bring him in, |
1327 | 01:31:00,830 | 01:31:03,083 | but to what end? Do you know what I mean? | but to what end? Do you know what I mean? |
1328 | 01:31:04,876 | 01:31:06,586 | It's almost because | It's almost because |
1329 | 01:31:08,546 | 01:31:12,008 | you've got to complete your mission, really, isn't it? | you've got to complete your mission, really, isn't it? |
1330 | 01:31:12,217 | 01:31:15,303 | Yeah, I mean, as long as there is any chance | Yeah, I mean, as long as there is any chance |
1331 | 01:31:15,387 | 01:31:18,890 | that he can be convinced to stand his men down... | that he can be convinced to stand his men down... |
1332 | 01:31:22,018 | 01:31:24,437 | - Although, given CPA... - Or that bringing him in | - Although, given CPA... - Or that bringing him in |
1333 | 01:31:24,562 | 01:31:26,982 | - -and telling the truth, I think is... - Yeah, yeah. | - -and telling the truth, I think is... - Yeah, yeah. |
1334 | 01:31:27,065 | 01:31:29,567 | ...sort of where you're getting, aren't you? | ...sort of where you're getting, aren't you? |
1335 | 01:31:31,194 | 01:31:35,198 | You know, I might not be able to solve the problems of the world, | You know, I might not be able to solve the problems of the world, |
1336 | 01:31:36,032 | 01:31:37,325 | but that is my piece. | but that is my piece. |
1337 | 01:31:37,409 | 01:31:40,745 | That's the piece I came for and that's the piece I'm gonna get. | That's the piece I came for and that's the piece I'm gonna get. |
1338 | 01:31:40,870 | 01:31:44,374 | Right. It's like what we were talking about the other day. | Right. It's like what we were talking about the other day. |
1339 | 01:31:44,457 | 01:31:47,377 | - I can't do anything about the big... - Yeah. | - I can't do anything about the big... - Yeah. |
1340 | 01:31:49,129 | 01:31:51,423 | The larger forces at work here. | The larger forces at work here. |
1341 | 01:31:56,594 | 01:31:58,555 | It's amazing. When you... | It's amazing. When you... |
1342 | 01:32:00,390 | 01:32:04,978 | People who don't watch this DVD wonder what, say, | People who don't watch this DVD wonder what, say, |
1343 | 01:32:05,103 | 01:32:08,523 | you and I spend a lot of our time talking about during the making of a film. | you and I spend a lot of our time talking about during the making of a film. |
1344 | 01:32:08,606 | 01:32:10,942 | Yeah, some of it will be technical issues. | Yeah, some of it will be technical issues. |
1345 | 01:32:11,067 | 01:32:14,112 | But, yeah, and there's always that sort of | But, yeah, and there's always that sort of |
1346 | 01:32:16,072 | 01:32:18,158 | joke shtick about, "What's my motivation?" | joke shtick about, "What's my motivation?" |
1347 | 01:32:18,283 | 01:32:22,078 | But the truth is, trying to piece together, | But the truth is, trying to piece together, |
1348 | 01:32:23,329 | 01:32:29,419 | together, a director and an actor, in any given situation, | together, a director and an actor, in any given situation, |
1349 | 01:32:29,502 | 01:32:32,714 | trying to find out why you're doing what you're doing | trying to find out why you're doing what you're doing |
1350 | 01:32:32,797 | 01:32:35,341 | and what you're aiming for, and what you're gonna get out of it, | and what you're aiming for, and what you're gonna get out of it, |
1351 | 01:32:35,467 | 01:32:38,553 | and what that will give you to go to the next scene | and what that will give you to go to the next scene |
1352 | 01:32:38,636 | 01:32:40,263 | is a huge part of it. | is a huge part of it. |
1353 | 01:32:40,346 | 01:32:43,892 | Because if you can piece those pieces together, | Because if you can piece those pieces together, |
1354 | 01:32:43,975 | 01:32:46,272 | and they're often very conflicting... It's never clear, is it? | and they're often very conflicting... It's never clear, is it? |
1355 | 01:32:46,352 | 01:32:50,940 | Sometimes. But a lot of the time, in the really big stuff, it isn't clear, | Sometimes. But a lot of the time, in the really big stuff, it isn't clear, |
1356 | 01:32:51,024 | 01:32:53,651 | or it's contradictory or it's duplicator y. | or it's contradictory or it's duplicator y. |
1357 | 01:32:53,777 | 01:32:57,822 | But if you can get some clarity, that's the foundation stone, isn't it, | But if you can get some clarity, that's the foundation stone, isn't it, |
1358 | 01:32:58,323 | 01:33:02,118 | for a film that feels right. | for a film that feels right. |
1359 | 01:33:03,036 | 01:33:04,954 | - You know? - Yeah, yeah. | - You know? - Yeah, yeah. |
1360 | 01:33:06,331 | 01:33:10,335 | It goes back to that point about the writer will have had a go | It goes back to that point about the writer will have had a go |
1361 | 01:33:10,460 | 01:33:13,755 | at solving those problems, and will have solved some of them, | at solving those problems, and will have solved some of them, |
1362 | 01:33:13,838 | 01:33:17,175 | and others of them will have offered a fix to those problems. | and others of them will have offered a fix to those problems. |
1363 | 01:33:17,300 | 01:33:21,846 | And then you take that, and during the process of making it, | And then you take that, and during the process of making it, |
1364 | 01:33:21,971 | 01:33:25,141 | you explore those solutions. | you explore those solutions. |
1365 | 01:33:25,225 | 01:33:29,229 | And some of them hold good, and some of them you shift and amend. | And some of them hold good, and some of them you shift and amend. |
1366 | 01:33:29,854 | 01:33:32,107 | And that's basically the way a film's made, isn't it? | And that's basically the way a film's made, isn't it? |
1367 | 01:33:32,190 | 01:33:35,485 | It's a constant process of going down a tunnel | It's a constant process of going down a tunnel |
1368 | 01:33:36,653 | 01:33:38,404 | further and further, | further and further, |
1369 | 01:33:39,989 | 01:33:41,491 | collectively, | collectively, |
1370 | 01:33:42,325 | 01:33:46,329 | to find a truth. That's what you're aiming at. | to find a truth. That's what you're aiming at. |
1371 | 01:33:46,412 | 01:33:51,042 | And when films work, somewhere, collectively, | And when films work, somewhere, collectively, |
1372 | 01:33:52,585 | 01:33:54,796 | it all feels purposeful. | it all feels purposeful. |
1373 | 01:33:54,879 | 01:33:58,007 | And you get to the end and go, "Oh, yeah, I get it." | And you get to the end and go, "Oh, yeah, I get it." |
1374 | 01:34:00,718 | 01:34:03,721 | But it rarely feels like that when you're in the middle of it, does it? | But it rarely feels like that when you're in the middle of it, does it? |
1375 | 01:34:03,847 | 01:34:06,766 | Well, certainly, this one was very tricky. | Well, certainly, this one was very tricky. |
1376 | 01:34:06,891 | 01:34:08,893 | No, I mean, we really... | No, I mean, we really... |
1377 | 01:34:10,228 | 01:34:12,147 | There were some things we knew the whole time | There were some things we knew the whole time |
1378 | 01:34:12,230 | 01:34:14,315 | and we definitely knew going in, | and we definitely knew going in, |
1379 | 01:34:14,399 | 01:34:17,735 | and then there were just some things that we didn't. | and then there were just some things that we didn't. |
1380 | 01:34:17,944 | 01:34:22,782 | And you're very inhibited, inevitably, by the real-world aspects | And you're very inhibited, inevitably, by the real-world aspects |
1381 | 01:34:22,907 | 01:34:25,451 | and the sensitivities of the war. | and the sensitivities of the war. |
1382 | 01:34:25,577 | 01:34:30,707 | So we were talking about real soldiers. That's why they were there. To constantly... | So we were talking about real soldiers. That's why they were there. To constantly... |
1383 | 01:34:31,040 | 01:34:34,294 | The fact that this was occurring in Iraq, | The fact that this was occurring in Iraq, |
1384 | 01:34:34,419 | 01:34:37,088 | so there were sensitivities there... | so there were sensitivities there... |
1385 | 01:34:40,633 | 01:34:46,306 | It's not easy making a piece of fiction this close to the real world, | It's not easy making a piece of fiction this close to the real world, |
1386 | 01:34:46,431 | 01:34:50,727 | using this many elements that are, in truth, drawn from the real world, | using this many elements that are, in truth, drawn from the real world, |
1387 | 01:34:51,603 | 01:34:55,648 | spun around in a way that will support | spun around in a way that will support |
1388 | 01:34:57,483 | 01:35:00,320 | a thriller, and yet be true to that world, | a thriller, and yet be true to that world, |
1389 | 01:35:01,779 | 01:35:06,659 | sensitive to that world, but also give an audience, that are gonna watch it, | sensitive to that world, but also give an audience, that are gonna watch it, |
1390 | 01:35:06,784 | 01:35:12,373 | the feeling that they're gonna be rewarded by watching it in every way. | the feeling that they're gonna be rewarded by watching it in every way. |
1391 | 01:35:12,457 | 01:35:17,629 | It's gonna be a cinematic experience. It's gonna have a ride element like this. | It's gonna be a cinematic experience. It's gonna have a ride element like this. |
1392 | 01:35:18,963 | 01:35:21,007 | You're gonna feel that you're... | You're gonna feel that you're... |
1393 | 01:35:22,634 | 01:35:25,261 | It's been worth you watching this thing. | It's been worth you watching this thing. |
1394 | 01:35:25,345 | 01:35:30,558 | And it felt, didn't it, like there were a lot of factors | And it felt, didn't it, like there were a lot of factors |
1395 | 01:35:30,642 | 01:35:34,437 | - that we had to steer through. - Yeah, definitely, definitely. | - that we had to steer through. - Yeah, definitely, definitely. |
1396 | 01:35:35,438 | 01:35:38,358 | And a couple paths we had to half-head down. | And a couple paths we had to half-head down. |
1397 | 01:35:38,483 | 01:35:39,525 | Yeah. | Yeah. |
1398 | 01:35:42,195 | 01:35:43,655 | Double back. | Double back. |
1399 | 01:35:46,157 | 01:35:48,618 | So it's now we should thank the studio. | So it's now we should thank the studio. |
1400 | 01:35:48,701 | 01:35:50,912 | - Listen, it... - Yeah. | - Listen, it... - Yeah. |
1401 | 01:35:50,995 | 01:35:55,166 | Again, people watching this, | Again, people watching this, |
1402 | 01:35:57,168 | 01:36:02,257 | you've gotta have nerves of steel, I think, to run those studios, | you've gotta have nerves of steel, I think, to run those studios, |
1403 | 01:36:03,174 | 01:36:06,135 | and some pretty big balls. I mean, to make... | and some pretty big balls. I mean, to make... |
1404 | 01:36:07,929 | 01:36:11,432 | To take the proposition that you and I, out of Bourne Ultimatum, | To take the proposition that you and I, out of Bourne Ultimatum, |
1405 | 01:36:11,516 | 01:36:16,354 | are gonna go and make a film, a substantial film, set in Iraq | are gonna go and make a film, a substantial film, set in Iraq |
1406 | 01:36:16,437 | 01:36:20,525 | at the outset of the war on quite a controversial topic, | at the outset of the war on quite a controversial topic, |
1407 | 01:36:20,608 | 01:36:24,779 | and that we're gonna try and hone, somewhere out of that, | and that we're gonna try and hone, somewhere out of that, |
1408 | 01:36:24,862 | 01:36:29,450 | really, pretty unappealing territory from a studio, | really, pretty unappealing territory from a studio, |
1409 | 01:36:31,286 | 01:36:35,290 | a thriller that a broad audience is gonna watch... | a thriller that a broad audience is gonna watch... |
1410 | 01:36:35,373 | 01:36:39,043 | We're going to try and say to the Bourne audience, effectively, | We're going to try and say to the Bourne audience, effectively, |
1411 | 01:36:39,127 | 01:36:43,214 | "You enjoyed those films, come with us and take a step into the real world" | "You enjoyed those films, come with us and take a step into the real world" |
1412 | 01:36:43,339 | 01:36:46,634 | and see if that can be made to work, | and see if that can be made to work, |
1413 | 01:36:46,718 | 01:36:49,554 | - that's a big bet. - Right. | - that's a big bet. - Right. |
1414 | 01:36:49,679 | 01:36:51,639 | And then you add to that | And then you add to that |
1415 | 01:36:53,308 | 01:36:59,147 | the many difficulties that you find on a film like that or like this. | the many difficulties that you find on a film like that or like this. |
1416 | 01:36:59,230 | 01:37:01,819 | As you say, you go down roads, it doesn't quite work, | As you say, you go down roads, it doesn't quite work, |
1417 | 01:37:01,899 | 01:37:03,735 | you have to come back. | you have to come back. |
1418 | 01:37:06,070 | 01:37:09,240 | It says a lot for them that we did it | It says a lot for them that we did it |
1419 | 01:37:11,868 | 01:37:13,790 | - and there were no cross words, really. - No, no, no. | - and there were no cross words, really. - No, no, no. |
1420 | 01:37:13,870 | 01:37:16,247 | I mean, I'm sure there were days when they were anxious. | I mean, I'm sure there were days when they were anxious. |
1421 | 01:37:16,331 | 01:37:19,083 | Certainly were days when you and I were. | Certainly were days when you and I were. |
1422 | 01:37:21,252 | 01:37:25,173 | But when you get to this moment in the film, | But when you get to this moment in the film, |
1423 | 01:37:26,257 | 01:37:29,844 | I always go, "Well, we did it." | I always go, "Well, we did it." |
1424 | 01:37:30,219 | 01:37:34,682 | We got to a great ending, a confrontation, | We got to a great ending, a confrontation, |
1425 | 01:37:40,271 | 01:37:43,566 | with a great question from Yigal | with a great question from Yigal |
1426 | 01:37:45,026 | 01:37:47,195 | - which can't be answered. - Right. | - which can't be answered. - Right. |
1427 | 01:37:48,780 | 01:37:52,867 | And a great statement of Freddy's belief. | And a great statement of Freddy's belief. |
1428 | 01:37:53,117 | 01:37:55,286 | What the fuck did you do? | What the fuck did you do? |
1429 | 01:37:55,370 | 01:37:59,874 | Which, in a way, completes the education of Miller, | Which, in a way, completes the education of Miller, |
1430 | 01:38:00,375 | 01:38:01,667 | - -I always think. - Yeah, yeah. | - -I always think. - Yeah, yeah. |
1431 | 01:38:01,793 | 01:38:03,961 | It is not for you to decide what happens here. | It is not for you to decide what happens here. |
1432 | 01:38:15,723 | 01:38:17,892 | I love that look. It's like, | I love that look. It's like, |
1433 | 01:38:22,814 | 01:38:24,732 | "It's done." | "It's done." |
1434 | 01:38:27,819 | 01:38:30,405 | Get out of here, Freddy. Go home. | Get out of here, Freddy. Go home. |
1435 | 01:38:31,489 | 01:38:35,827 | And you slightly amended your performance in that line, | And you slightly amended your performance in that line, |
1436 | 01:38:35,952 | 01:38:40,581 | and I think it gave it a little more humanity. I thought it was a good call of yours, that. | and I think it gave it a little more humanity. I thought it was a good call of yours, that. |
1437 | 01:38:48,256 | 01:38:50,800 | It was a great moment. | It was a great moment. |
1438 | 01:38:57,849 | 01:39:00,935 | The quest for the truth. The quest for the man. | The quest for the truth. The quest for the man. |
1439 | 01:39:01,978 | 01:39:05,189 | You fail him, don't you? But you do get the truth. | You fail him, don't you? But you do get the truth. |
1440 | 01:39:10,695 | 01:39:12,447 | And that's the... | And that's the... |
1441 | 01:39:13,364 | 01:39:19,036 | In a way, I wanted that to prefigure what happened. | In a way, I wanted that to prefigure what happened. |
1442 | 01:39:20,955 | 01:39:22,957 | The long war of attrition | The long war of attrition |
1443 | 01:39:25,376 | 01:39:30,047 | that was fought to try and stabilize Iraq. | that was fought to try and stabilize Iraq. |
1444 | 01:39:34,552 | 01:39:38,806 | But along the way, for all of that, | But along the way, for all of that, |
1445 | 01:39:41,225 | 01:39:43,144 | the truth has been told. | the truth has been told. |
1446 | 01:39:58,075 | 01:40:01,662 | Tricky issue here, in terms of finishing this film. | Tricky issue here, in terms of finishing this film. |
1447 | 01:40:01,746 | 01:40:05,917 | I mean, there always are in these sorts of thrillers, aren't there? | I mean, there always are in these sorts of thrillers, aren't there? |
1448 | 01:40:06,000 | 01:40:08,085 | How you pay characters off. | How you pay characters off. |
1449 | 01:40:08,211 | 01:40:10,671 | Who's gonna kill who in exactly what sequence, | Who's gonna kill who in exactly what sequence, |
1450 | 01:40:10,755 | 01:40:15,676 | and what does that mean? And small changes can mean everything. | and what does that mean? And small changes can mean everything. |
1451 | 01:40:15,760 | 01:40:17,428 | We never wanted | We never wanted |
1452 | 01:40:19,889 | 01:40:22,433 | Briggs, and we've actually not mentioned that. | Briggs, and we've actually not mentioned that. |
1453 | 01:40:23,434 | 01:40:27,522 | At the maximum moment, when you've tackled Briggs, | At the maximum moment, when you've tackled Briggs, |
1454 | 01:40:27,605 | 01:40:29,440 | - Briggs could kill you. - Right. | - Briggs could kill you. - Right. |
1455 | 01:40:29,524 | 01:40:32,193 | -But he does not, because... Exactly. | -But he does not, because... Exactly. |
1456 | 01:40:32,276 | 01:40:34,490 | ...an American soldier would not kill an American soldier. | ...an American soldier would not kill an American soldier. |
1457 | 01:40:34,570 | 01:40:35,613 | That's right. | That's right. |
1458 | 01:40:35,696 | 01:40:39,450 | This is not one of those sorts of movies. That's a code that he couldn't break. | This is not one of those sorts of movies. That's a code that he couldn't break. |
1459 | 01:40:39,575 | 01:40:43,079 | He's come to get Al Rawi. You're not the point. | He's come to get Al Rawi. You're not the point. |
1460 | 01:40:45,957 | 01:40:49,627 | In a way, that choice of his is actually what causes him to die. | In a way, that choice of his is actually what causes him to die. |
1461 | 01:40:49,710 | 01:40:50,962 | Right. | Right. |
1462 | 01:40:51,087 | 01:40:53,798 | You don't kill him, he doesn't kill you. | You don't kill him, he doesn't kill you. |
1463 | 01:40:55,049 | 01:40:57,218 | And we debated that endlessly. | And we debated that endlessly. |
1464 | 01:40:57,301 | 01:41:00,304 | There was a version of this film where you could've gone man-to-man with him | There was a version of this film where you could've gone man-to-man with him |
1465 | 01:41:00,429 | 01:41:02,974 | or he could've gone man-to-man with you. | or he could've gone man-to-man with you. |
1466 | 01:41:03,057 | 01:41:06,811 | You're having to work those sorts of resolution issues out. | You're having to work those sorts of resolution issues out. |
1467 | 01:41:06,894 | 01:41:08,232 | And there's another big problem here, | And there's another big problem here, |
1468 | 01:41:08,312 | 01:41:11,983 | which is, a film like this demands you confront the bad guy. | which is, a film like this demands you confront the bad guy. |
1469 | 01:41:12,108 | 01:41:13,150 | Right. | Right. |
1470 | 01:41:14,777 | 01:41:17,200 | But you don't actually have any cards in your locker at this point, | But you don't actually have any cards in your locker at this point, |
1471 | 01:41:17,280 | 01:41:19,657 | 'cause Al Rawi's dead, so you can't bring him down. | 'cause Al Rawi's dead, so you can't bring him down. |
1472 | 01:41:19,782 | 01:41:21,867 | Which is what he tells me. | Which is what he tells me. |
1473 | 01:41:21,951 | 01:41:24,161 | - But it's a great scene. - Yeah. | - But it's a great scene. - Yeah. |
1474 | 01:41:24,245 | 01:41:26,205 | It's my favorite scene. | It's my favorite scene. |
1475 | 01:41:26,289 | 01:41:28,749 | Yeah, I like it, too. I just remember just... | Yeah, I like it, too. I just remember just... |
1476 | 01:41:28,833 | 01:41:30,671 | This was kind of towards the end of the schedule, | This was kind of towards the end of the schedule, |
1477 | 01:41:30,751 | 01:41:34,380 | and I remember thinking about all those guys and the tours they served | and I remember thinking about all those guys and the tours they served |
1478 | 01:41:38,050 | 01:41:40,928 | and the weapons weren't there, you know? | and the weapons weren't there, you know? |
1479 | 01:41:43,347 | 01:41:46,809 | And some of them... It's just... | And some of them... It's just... |
1480 | 01:41:48,227 | 01:41:54,775 | To wear that uniform and play that moment was... I felt very... | To wear that uniform and play that moment was... I felt very... |
1481 | 01:41:56,569 | 01:41:58,362 | Full of responsibility, I think, there. | Full of responsibility, I think, there. |
1482 | 01:41:58,446 | 01:42:00,239 | - In a good way or... - In a good way, yeah. | - In a good way or... - In a good way, yeah. |
1483 | 01:42:00,323 | 01:42:01,907 | I mean, I wanted to do that. | I mean, I wanted to do that. |
1484 | 01:42:03,951 | 01:42:08,164 | Like most people, I was, I think, a little pissed off about the whole thing. | Like most people, I was, I think, a little pissed off about the whole thing. |
1485 | 01:42:08,247 | 01:42:10,374 | - More than a little bit. - Yeah. | - More than a little bit. - Yeah. |
1486 | 01:42:10,458 | 01:42:14,378 | And what they're saying in the scene, by the end of the scene... | And what they're saying in the scene, by the end of the scene... |
1487 | 01:42:16,422 | 01:42:19,383 | Yeah, he's pissed off. He's furious. People have died, | Yeah, he's pissed off. He's furious. People have died, |
1488 | 01:42:20,926 | 01:42:22,803 | and the reasons matter. | and the reasons matter. |
1489 | 01:42:23,346 | 01:42:25,139 | - The reasons matter. - Yeah, no, 1... | - The reasons matter. - Yeah, no, 1... |
1490 | 01:42:25,222 | 01:42:31,103 | I agree, and I think what's interesting is it's the moment when the two processes, | I agree, and I think what's interesting is it's the moment when the two processes, |
1491 | 01:42:31,187 | 01:42:36,233 | the process of creating a fictional genre-thriller | the process of creating a fictional genre-thriller |
1492 | 01:42:37,151 | 01:42:41,072 | perfectly align up with the real world. | perfectly align up with the real world. |
1493 | 01:42:42,073 | 01:42:47,036 | And he perfectly expresses there, Poundstone, | And he perfectly expresses there, Poundstone, |
1494 | 01:42:47,662 | 01:42:50,915 | the basic view, which is that the ends justified the means. | the basic view, which is that the ends justified the means. |
1495 | 01:42:50,998 | 01:42:55,628 | It doesn't matter how we got there, it was a necessary thing to do, | It doesn't matter how we got there, it was a necessary thing to do, |
1496 | 01:42:56,629 | 01:42:58,381 | and we won. | and we won. |
1497 | 01:42:59,632 | 01:43:01,676 | But the point is, if you're... | But the point is, if you're... |
1498 | 01:43:01,759 | 01:43:04,470 | As we found in dealing with a lot of those soldiers, | As we found in dealing with a lot of those soldiers, |
1499 | 01:43:06,347 | 01:43:09,892 | that it doesn't quite feel that way if you're the guy asked to go and shoot | that it doesn't quite feel that way if you're the guy asked to go and shoot |
1500 | 01:43:09,975 | 01:43:11,686 | - or be shot. - Right. | - or be shot. - Right. |
1501 | 01:43:12,311 | 01:43:16,691 | "It's one thing to be told, " We've gotta do this because of X ' 'Y' and 'Z. | "It's one thing to be told, " We've gotta do this because of X ' 'Y' and 'Z. |
1502 | 01:43:16,774 | 01:43:21,487 | It's another thing to be told, "It's all about WMD," and they're not there. | It's another thing to be told, "It's all about WMD," and they're not there. |
1503 | 01:43:23,531 | 01:43:27,868 | And in any case, as this film shows, then it all went wrong. | And in any case, as this film shows, then it all went wrong. |
1504 | 01:43:34,834 | 01:43:37,211 | But I was always very... | But I was always very... |
1505 | 01:43:37,294 | 01:43:40,131 | Well, we've had this discussion many times, haven't we? | Well, we've had this discussion many times, haven't we? |
1506 | 01:43:40,214 | 01:43:43,592 | You can't let a film | You can't let a film |
1507 | 01:43:44,885 | 01:43:47,763 | end on a downer. 1 never felt like this film should, | end on a downer. 1 never felt like this film should, |
1508 | 01:43:47,847 | 01:43:50,933 | or any film, actually, that I've ever made, end on a downer. | or any film, actually, that I've ever made, end on a downer. |
1509 | 01:43:52,059 | 01:43:56,063 | The truth is, in those five or six years since these events, | The truth is, in those five or six years since these events, |
1510 | 01:44:02,194 | 01:44:07,158 | the truth has come out. And it's come out, as this scene really embodies, | the truth has come out. And it's come out, as this scene really embodies, |
1511 | 01:44:07,700 | 01:44:13,205 | because insiders like Miller, and there are many, many of them, | because insiders like Miller, and there are many, many of them, |
1512 | 01:44:13,289 | 01:44:20,045 | have, over the past five or six years, interacted with a press that has, in a sense, | have, over the past five or six years, interacted with a press that has, in a sense, |
1513 | 01:44:20,129 | 01:44:25,217 | redeemed its problems prior to 2003. | redeemed its problems prior to 2003. |
1514 | 01:44:26,218 | 01:44:29,346 | That's why all those publications are there, | That's why all those publications are there, |
1515 | 01:44:29,430 | 01:44:33,726 | because they've all played a very pronounced role | because they've all played a very pronounced role |
1516 | 01:44:35,478 | 01:44:39,648 | in exploring what really happened and the mistakes that were made. | in exploring what really happened and the mistakes that were made. |
1517 | 01:44:39,732 | 01:44:43,027 | And in that process, you heal and move on, you know? | And in that process, you heal and move on, you know? |
1518 | 01:44:44,028 | 01:44:46,155 | - And that's redeeming, I think. - Yeah. | - And that's redeeming, I think. - Yeah. |
1519 | 01:44:51,160 | 01:44:54,747 | That's kind of the note I think you want to strike at the end. | That's kind of the note I think you want to strike at the end. |
1520 | 01:44:58,959 | 01:45:01,173 | - It was a lot of work, though, wasn't it? - Oh, God, yes. | - It was a lot of work, though, wasn't it? - Oh, God, yes. |
1521 | 01:45:01,253 | 01:45:03,088 | - -Hard movie. - That was a tough one. | - -Hard movie. - That was a tough one. |
1522 | 01:45:03,881 | 01:45:06,008 | - But I'm very proud of it. - Me, too. | - But I'm very proud of it. - Me, too. |
1523 | 01:45:06,091 | 01:45:08,594 | And of everybody who worked on it. | And of everybody who worked on it. |
1524 | 01:45:09,470 | 01:45:10,888 | Particularly you, my man. | Particularly you, my man. |
1525 | 01:45:10,971 | 01:45:14,141 | That was a hell of a burden you had to take there. | That was a hell of a burden you had to take there. |
1526 | 01:45:15,518 | 01:45:17,144 | No, man, that was a... | No, man, that was a... |
1527 | 01:45:19,271 | 01:45:20,940 | - That was a tough one. - Yeah. | - That was a tough one. - Yeah. |
1528 | 01:45:22,191 | 01:45:24,777 | Well directed, man. Very, very well directed. | Well directed, man. Very, very well directed. |
1529 | 01:45:24,860 | 01:45:26,111 | - Again. - There was a lot of... | - Again. - There was a lot of... |
1530 | 01:45:26,195 | 01:45:29,240 | The things you're never supposed to say in these things, huh? | The things you're never supposed to say in these things, huh? |
1531 | 01:45:29,323 | 01:45:31,579 | The little things where you go, "Well, that didn't quite work." | The little things where you go, "Well, that didn't quite work." |
1532 | 01:45:31,659 | 01:45:33,289 | - -You know what I mean? Like... - Yeah, yeah, yeah. | - -You know what I mean? Like... - Yeah, yeah, yeah. |
1533 | 01:45:33,369 | 01:45:34,623 | Like when you were put in that car. | Like when you were put in that car. |
1534 | 01:45:34,703 | 01:45:36,747 | I always look at that and I think, "Oh, my God. | I always look at that and I think, "Oh, my God. |
1535 | 01:45:36,831 | 01:45:39,333 | "I under-covered that." And we were short of time. | "I under-covered that." And we were short of time. |
1536 | 01:45:39,416 | 01:45:42,002 | It was a lot of ragged pieces. | It was a lot of ragged pieces. |
1537 | 01:45:42,086 | 01:45:44,129 | But in the end, | But in the end, |
1538 | 01:45:48,425 | 01:45:52,721 | we, I, you and I, we wanted to make a film | we, I, you and I, we wanted to make a film |
1539 | 01:45:54,098 | 01:45:57,601 | set in that world that people would actually go and see. | set in that world that people would actually go and see. |
1540 | 01:45:57,685 | 01:45:58,936 | That was it, really, wasn't it? | That was it, really, wasn't it? |
1541 | 01:45:59,019 | 01:46:01,856 | - Definitely. - You know what I mean? | - Definitely. - You know what I mean? |
1542 | 01:46:01,939 | 01:46:05,025 | There have been lots and lots of wonderful, wonderful films | There have been lots and lots of wonderful, wonderful films |
1543 | 01:46:06,151 | 01:46:07,528 | about Iraq... | about Iraq... |
1544 | 01:46:08,779 | 01:46:11,740 | Tell you one thing I do think. It's very easy... | Tell you one thing I do think. It's very easy... |
1545 | 01:46:11,824 | 01:46:14,702 | It's often said, "Iraq films, they don't work at the box office," | It's often said, "Iraq films, they don't work at the box office," |
1546 | 01:46:14,785 | 01:46:16,745 | as if that suddenly dismisses them all. | as if that suddenly dismisses them all. |
1547 | 01:46:16,829 | 01:46:21,625 | I mean, the truth is, as an industry, I think... I mean, it's across the board. | I mean, the truth is, as an industry, I think... I mean, it's across the board. |
1548 | 01:46:21,709 | 01:46:25,212 | Our industry, Hollywood, whatever you want to call it, | Our industry, Hollywood, whatever you want to call it, |
1549 | 01:46:25,296 | 01:46:26,801 | I think stepped up to the plate pretty well. | I think stepped up to the plate pretty well. |
1550 | 01:46:26,881 | 01:46:29,049 | There've been a lot of movies made about Iraq, | There've been a lot of movies made about Iraq, |
1551 | 01:46:29,133 | 01:46:34,138 | and some of them have not worked so well at the box office, | and some of them have not worked so well at the box office, |
1552 | 01:46:34,221 | 01:46:36,473 | but as an experience, | but as an experience, |
1553 | 01:46:38,434 | 01:46:40,394 | the movie industry has tried to engage with it. | the movie industry has tried to engage with it. |
1554 | 01:46:40,477 | 01:46:43,355 | It's a huge issue that's driven our world, | It's a huge issue that's driven our world, |
1555 | 01:46:43,439 | 01:46:47,484 | and there've been lots and lots of different sorts of movies made. | and there've been lots and lots of different sorts of movies made. |
1556 | 01:46:49,320 | 01:46:53,991 | And our bit of it was to try and make one that could, | And our bit of it was to try and make one that could, |
1557 | 01:46:54,074 | 01:46:59,163 | in our type of story and in our choice of how we told the story, | in our type of story and in our choice of how we told the story, |
1558 | 01:46:59,246 | 01:47:01,957 | that we could actually try and get a bigger audience | that we could actually try and get a bigger audience |
1559 | 01:47:02,041 | 01:47:05,920 | to come and feel rewarded by it. And I think... | to come and feel rewarded by it. And I think... |
1560 | 01:47:07,755 | 01:47:11,342 | I think when I'm hanging up my boots at this game, | I think when I'm hanging up my boots at this game, |
1561 | 01:47:12,009 | 01:47:14,011 | I should be pretty proud of that. | I should be pretty proud of that. |
1562 | 01:47:15,012 | 01:47:16,680 | Absolutely. Yeah. | Absolutely. Yeah. |
1563 | 01:47:16,764 | 01:47:20,225 | Proud of the fact of it and hopefully proud of the reality of it. | Proud of the fact of it and hopefully proud of the reality of it. |
1564 | 01:47:20,309 | 01:47:22,353 | I hope people do go see it. | I hope people do go see it. |
1565 | 01:47:22,686 | 01:47:25,189 | So, Bourne IV in Afghanistan? | So, Bourne IV in Afghanistan? |
1566 | 01:47:28,525 | 01:47:31,236 | I'll tell you what. If people aren't going to see it, | I'll tell you what. If people aren't going to see it, |
1567 | 01:47:31,320 | 01:47:34,281 | we'll just take it back and then we'll re-title it. | we'll just take it back and then we'll re-title it. |
1568 | 01:47:36,075 | 01:47:38,827 | Bourne in Baghdad. Put it out. | Bourne in Baghdad. Put it out. |
1569 | 01:47:39,244 | 01:47:43,791 | - I think they've already got that title covered. - Then we can keep working. | - I think they've already got that title covered. - Then we can keep working. |
1570 | 01:47:45,334 | 01:47:48,003 | Well, well done, man. Just a terrific job. | Well, well done, man. Just a terrific job. |
1571 | 01:47:48,087 | 01:47:50,756 | - Terrific job, I'm really proud of it. - Well done, yeah. | - Terrific job, I'm really proud of it. - Well done, yeah. |
1572 | 01:47:50,839 | 01:47:55,260 | We made the movie we wanted to make, and I hope it lasts. | We made the movie we wanted to make, and I hope it lasts. |
1573 | 01:47:55,594 | 01:47:58,430 | - And well done to the studio. - Definitely. Definitely. | - And well done to the studio. - Definitely. Definitely. |
1574 | 01:47:58,555 | 01:48:02,393 | - And Working Title. Both of them. - Tough pill to swallow. | - And Working Title. Both of them. - Tough pill to swallow. |
1575 | 01:48:03,602 | 01:48:05,980 | We'll get your money back, guys. | We'll get your money back, guys. |
1576 | 01:48:06,063 | 01:48:07,648 | - We hope. - We really will. | - We hope. - We really will. |