"We're lucky." "In the fourth season of a TV show, you rarely get to build a whole new set." "So we had to come to this new building." "We never had a great exterior of CTU." "So, close by there's this building that has these beautiful feet." "And so I thought, "Well, if we used that as the exterior of CTU, and then I took that architecture inside into the set... would be a good starting-off point. "" "And although we then built that whole set on stage and brought some more hi-tech elements into it," "I was stuck with the orange and, you know, after three years we were all pretty sick of the orange." "Spatially, the old CTU worked great." "So it's basically the same layout." "The ceiling is only at 20 feet." "So it's just trying to fit two storeys in that space." "And again, because it's not a regular studio stage, we don't have any greenbed, so I wanted to build a platform all the way round so the DP could get around, to help him light." "We had metal steps last year and all the wires, and there was always... with our platforms there was a problem with sound." "So this year I've designed these concrete steps." "Hopefully they won't make too much noise." "So, yeah, when I design something, I try to take care of everybody." "There are limits because otherwise I end up pleasing everybody, and we don't end up with a set that looks cool." "The stripes on the windows, the frosting, we've put that in again." "One, because it helps us with sort of hiding behind things and shooting through the gaps." "I've changed them this time." "They're not just..." "We've actually done a bar code." "It's all in code, and I'll never tell anybody what it says, but..." "So what's the bar code?" " It just says lots of things." " Come on." " Well, no, this is my secret." " Give it up." "One of them's just my name." "It's just "Joseph Hodges" on one of them." "Yeah, no, it's all in code." "I love racecars." "I love Formula One." "Lots of the sets are based on color schemes of cars." "Last year the NHS was the Renault - the yellow and blue." "It's just me being a kid and messing around." "We build this track out on stage." "Once the set's finished, the construction crew and I, every lunchtime, we have lunch and we race these little cars." "So here's Andrew, my art director." "I hate saying "my"." "Can we do that again?" "This is Andrew, the show's art director." "And Jeff, the set designer on the show." "And so a lot of my job is actually working with the set designer to do these scale drawings that I can communicate to the construction crew, so that we can then build the actual designs." "So, for instance, here's the large schematic of the whole set." "Dimension to scale." "So in, really, layman's terms, we're like the architects of film." "So, this is stage A." "But this is the main stage and CTU." "So here it is." "The half-finished or three-quarters-finished CTU." "And on this particular job, we had prop makers, who are like carpenters, steelworkers, plasterers, painters, who all came together in different sequences to actually put this design together - what you saw out on stage." "So by the time we started building, we were a good five, six weeks behind." "And I think we've been building just for six... six weeks now." "And it's amazing what they've..." "I've got a great construction crew." "What they've pulled off in this time is unbelievable." "And it's been very exciting." "Most of the construction's done." "We're still doing a little bit of plaster." "All the shop-window fronts have gone in." "We're just gonna put the glass in." "And then all the striping on the window." "And then a week of set dressing." "We started to put the tables in." "This is gonna be our new interrogation room." "It's wood construction with plaster over the top, then we chop out corners and throw some stonework in so - you know, get a good close-up of that - feels like the whole set is cast concrete." "There's no concrete." "It's just plaster." "These are cast plaster." "We sculpted one mould." "I think that's probably a sheet from there... to somewhere around there." "This is the interrogation room." "We'll put some grating in the ceilings, have these beautiful stripes on the actors." "We can light through that." "The sound man can get up there and not have to be down here." "These are the new stairs." "We had metal stairs last year and they made a lot of noise." "So this year I went with these concrete stairs." "We had these specially made, specially cast for us." "And the same guys that did all the steelwork have built these beautiful steps." "So, originally in the computer when I built the model, it was just a regular concrete color, and I put a light behind those windows and it just..." "I put a little bit of a blue tint to it, and it just gave this concrete a really nice blue color." "So when we came to paint the set," "I thought I'd add the blue into the concrete, and it's turned out well." "Some of it's got dirty and we'll have to clean it, but, you know, it's like I was saying earlier, it was that lovely oldness and used look to the building." "It's been beaten up, it's been here a few years." "This furniture we've had specially made." "Again, the construction have built these tables." "Our furniture has this nice sheen to it." "It's new, it's modern." "And again, the curve, so we can..." "Jon wanted to be able to shoot around people more." "And again, we've made it in four units so we can quickly take this stuff out and redress this area as another place in CTU." "Damon did a beautiful paintjob." "They'll paint it once, sand it, paint it again, sand it and paint it again." "It might last a couple of weeks." "This is Damon, my head painter." " Our head painter." " Right on." "This is the man that pulls all this work off, all that beautiful..." "I'm trying to get inside of that brain and figure out what he's aiming at here." "To do a design... and then actually build it full size is like being a kid." "Instead of doing a drawing and building a model of something, now I've got a whole team of guys who will build it full size." "Again, because I'm allowed to play, this is fantasy." "This is all fantasy work." "Hopefully, it still feels real, but it's playful." "You can see how low the ceiling is." "I mean, we're 20 feet to this grid." "This is one of my favorite angles, looking down that way through this foot, the stairs." "So that'll be the conference area down there." "This'll be the front office where Jack used to have an office, up the front, in the second season." "You can see we've got about 20 guys, and these have perhaps been the main guys." "There's only..." "It's been..." "I've been surprised how small the crew's been, but they're so good." "And I think we've only been building for six weeks." "Six to seven weeks." "You know, hopefully in two weeks... when we're in here and ready to shoot," "I mean, I'm excited already." "It should be fun." "I'm excited." "I can't wait to see the dailies to see what it looks like." "And then once Rodney's put his lights in, it's gonna feel..." "Hopefully, it's just gonna be great." " Joseph, that's such a great cameo for you." " What?" "The first shot in CTU." "Take off the hat and sit up there." "You're dressed right." "Put him in." "Put him in." "Just where you were with that chair." "Right there would be great." "We should try to get Joseph in one shot in every episode." "Wouldn't that be cool?" "Marker out!" "And action!" "Action!" "Action!" "Our show really is about our people, and our show is tight and a little claustrophobic." "So, I think the hardest thing, and for me, right away, but even then, for me to make sure other directors understand, as beautiful as this is, we don't do a show about a set, we do a show about the people in the set." "And so it's about making use of the set, but keeping the people in play, and still, it's about telling the story." "First of all, I was really amazed, cos I knew it wasn't as big a building but I was amazed at how much bigger the set feels." "I mean, if you look around, I get a real sense of distance here, more so than we had in the old CTU." "This is what we do at lunchtime." "This is my construction crew and myself." "We come here and just play at lunchtime." "Little boys with little toys." "It's mainly because it enables me and the construction crew just to hang out at lunchtime and just have fun." "I'm not the boss or anything." "It's just boys having fun." "You know, what goes on in the race room stays in the race room." "Quiet, please!" "All background players, listen up." "So there's a train crash that happened about ten or 15 minutes ago, that you guys are finding out may have in fact been some sort of a terrorist act." "So, keep that in mind." "Think about:" ""OK, I've got to get this information over to Jack or Jimmy in Tech One. "" "Sort of give yourself a sense of purpose and a sense of place so you don't look like that man just walking through now, OK?" "Let's make it less just lateral movement and more sort of stop-starts, as though they're transferring business..." "Got it." "So instead of playing that stuff there, do it here." "OK, guys?" " O'Brian." " Chloe, it's Edgar Stiles." "You don't need to use your last name." "You've been here over a month." "What is it?" "Cut!" "You know, Richard, you know what I'm gonna say." "No one's stopping." "No one's stopping and talking." "Everybody, it's Grand Central Station." "Let's get some luggage." "Marc's gonna bring us the "Behind the Scenes"." " Which one's this?" " For this year's DVD." "Oh." "Yeah?" " He's got me swearing again." " Oh, they have?" "It's become a weekly thing." "It's becoming a yearly thing now." "Oy, oy, oy, oy, oy." "We'd have finished these two scenes in about three hours on a normal CTU day." " But we're here for the first time..." " We had three hours for the first scene." "When you have a new space, you have to deal with the new space." "It isn't just the physicality of desks and chairs and walls and, you know, tables." "We need to then put people to populate it." "So, after, you know, three years in one place, back at the old studio, back at CTU, you sort of fell into a pattern and knew where you needed people and how everyone moved." "This is a whole new space." "So this first day is difficult." "What's happening is, because it's wider than the old space, is that there's a tendency to move people through it all the time." "It might look good by eye, but when you see it on camera, especially with the long lenses, it really becomes like Grand Central Station." "So we gotta really be careful of the movement and where we start to put people, to make it feel like these people are at work, they're not all just going for coffee breaks." "So, the first day is always the hardest to start to get that gelling." "It's interesting, because a new set becomes part of the storytelling." "Seeing it for the first time becomes part of telling a new story for the people watching." "So I've decided to shoot all the early CTU scenes very tight." "So again, people will think:" ""Is that the old CTU?" "Is that the same place?" "We're not 100 per cent sure. "" "And then when Jack comes in, he's been here before, but he's seeing it for the first time." "And so I want to be there with Jack and see it for the first time with him." "He'll look around, and as he looks around, our camera looks around." "And he'll move, and we'll do big wide shots to really get a sense of the space." "That way, we discover CTU at the same time our lead character discovers CTU." "It becomes..." "The audience feels like they're with Jack, instead of being ahead of Jack." "That's how we'll do it on the first episode." "Cut!" "So do you ask for a raise now, or did you ask for a raise?" "Probably at the beginning of next season I'll ask for a raise." "No." "It's..." "I dunno what to say, really." "It's just working really, really well." "Hopefully it'll last the season." "Here you go, sir. $65,000." "Everything in your account." "Thanks." "Got a beautiful-looking saloon right here." "The 350Z, you gotta love those." "I could show you a couple of hatchbacks." "I'll take the convertible." "What?" "I'll take the 350." "Well, that's great." "It's a good-looking car." "Coffee, sir?" "More coffee?" "Nobody move!" "This is a robbery!" "Give me the money!" "Put the money in the bag!" "Come on!" "All of it!" "Hurry!" "Come on, put it in!" "Hurry!" " Put in all of it, all right?" " Give me the bag!" " Put it in the bag." " The bag!" "Put it in there!" "No." " Come on, put it in." " Take it." "That's it." "That's it." "Let's go." "Come on!" "You are crazy." "You could have been shot back there." "You should have just handed over the bag." "You are either really brave or really stupid." "What have you got in there, anyway?" "It's none of your business." "You want a ride?" " Thanks for the ride." " See you later, buddy." "Take it easy." "You've reached John and Tara." "We're not here." "Leave a message and we'll get back to you as soon as we can." "Thanks a lot." "Hi." "Are you going east?" " Yeah." " Can I get a ride?" " Sure." " Thank you so much." "I was getting a little nervous." "Didn't think that anybody was gonna pick me up." "And the last guy that I was in the car with, he was a little creepy, so I had to tell him:" ""I'm gonna karate chop you if you do anything. "" "That's really intimidating, huh?" "Can I have another one?" "I'm really hungry." "Maybe we can stop somewhere and get something to eat." "Do you think these things work?" "It'd be kinda cool if they made one that smelled like curry or something." "I love curry." "Do you like curry?" "I love anything curry." "Spicy, everything spicy is good for me." "I love that song." "You're not a big chatter, huh?" "I hope I'm not, like, totally aggravating you." "I'm sorry." "I'll be quiet, OK?" "It's nice out, though." "Where are you going, anyway?" "It's kind of out in the middle of nowhere." "I mean, I guess you could be going anywhere." "I'm just glad you're going my way." "What is that?" "What is that?" " I'm going to take a look." " No." "Don't." "He's alive!" " What are you doing?" " Don't you want to know who he is?" " I don't think you should go through that." " Gold card." "Maybe he's rich." "Doesn't have a lot of cash." "Strip club." "I bet you the wife did it." "Hey!" "Hey!" "Hey!" "You think that guy made it?" "I don't know." "What's that guy doing?" "We need to change cars." "Check." "Check, please." "I got it." "You have, like, one blue eye and one hazel-blue with a quarter hazel, and one blue over here." "It's kinda good for the chicks." " Is it?" " Yeah." " What do you think you are?" " I never..." "I think..." "I think that I would be really cool with, like, a Great Dane." "Don't you think?" "You're weird." "Do you like summer or winter?" " Summer." " Why?" " Cos it's warm." "I don't know." " That's it?" " My birthday is in summer." " Really?" "What's your sign?" "What are you?" "Cancer." "July." " Oh, God." "I'm gonna have a psychic moment." " You're gonna guess." "OK." " 19th." " Wow." "Pretty close." "No." "You failed." "I have a joke." " A blonde goes into the library." " OK." "Yeah." "She goes up to the desk and she says:" ""I want a burger, I want some fries and a diet coke. "" "And the lady's like, "Uh, hello?" "This is a library. "" "And she's like, "Oh, oh. "" ""I'll have a burger, fries and a soda. "" "I'm just after these mailboxes here." "This is me." "You want me to drive you in?" "No." "I can walk." " Take care." " Thank you." "Hey!" "Hey!" "Have you ever wanted to know more about the world of 24?" "Did you ever wonder how President Palmer recovered from the attempt on his life?" "Who was really behind the assassination attempt and why did it fail?" "Who ran the country while Palmer fought for his life?" "Have you ever been curious why Kim started working at CTU and how she and Chase Edmunds first got together?" "Ever wondered how Chloe O'Brian first came into contact with the Los Angeles CTU?" "How did Jack and Chase Edmunds first start working together?" "Ever wonder what it would be like to live 24 hours in the life of Jack Bauer?" "You can discover the answer to these and more questions as you experience them in 24:" "The Game." "Set in the critical months following the close of 24's second season, you step into the role of Jack Bauer and his fellow CTU agents, playing out the story, learning the answers to intriguing questions, deadly secrets and hidden conspiracies." "Players, like the characters in the show, will need to rely on their brains, brawn and instincts in order to succeed and survive." "The creators of Fox's 24 television show worked with Sony Computer Entertainment's Cambridge Studio to produce 24:" "The Game." "The two teams collaborated to mould the look and feel of the game to remain true to the series, with the same gritty raw intensity that 24 is known for." "Myself and the rest of 24's principal cast have lent our voices and likenesses to the game." "Not only will you recognize your favorite characters from the show, but every detail will be familiar, even down to the music, written and performed by series composer Sean Callery." "Imagine a true interactive 24 experience." "Split-second decisions with lives hanging in the balance, deadly missions, all set against a 24-hour clock." "Kim, settle down." " They killed him!" "Why did they kill him?" " They want the hard drive." " Are they gonna kill more?" " Maybe." "How steady is your aim when the president's life is on the line?" "How fast and how accurately can you think on your feet?" "Are you willing to do what it takes to get the answers that you need?" "I own you!" "You're not going anywhere until I say otherwise, so tell me what I need!" "Can you survive 24 hours in the life of Jack Bauer?" "24:" "The Game." "Coming in 2005, exclusively to PlayStation."