"I liked the color that was chosen." "Ian, when he was doing the digital intermediate decided to make this very sort of contrast-y and burnished sort of gold, or brassy logos which was a nice contrast to the first shot of the snow." " What kind is it?" " I don't know." "This is an odd cold open in that you need to sort of hopefully grab the audience and have them wonder what's going on between these two guys." "This was a little bit longer scene in the original script and they talked about a few more things about these pressed flowers and we ended up cutting it back to the bone knowing that we were gonna come with this opening-title sequence." "So the title sequence." "We had this cover of "Immigrant Song."" "I was riding in a van in Sweden and had my iPhone with me and I was listening to Led Zeppelin, and this song came on and I" "I mean, aside from the incredibly, inanely obvious:" ""I come from the land of the ice and snow" I just like the idea of an anthemnal, incredibly famous track that could be walled by a woman." "And I called Trent and I said:" ""What do you think of a cover of 'Immigrant Song'?"" "I think at first he thought I was joking." "And I said, "No, imagine, you know, a woman's voice singing this."" "And he did a version just to the music and I listened to it and I thought it's so evocative of what I think Lisbeth is" "Not thinking, but, you know, sort of her marrow." "What's happening down deep inside her bones." "And we got Karen O." "Ren Klyce gave us Karen's e-mail address and we asked her to do this." "And I think in about three or four days they had a version of this song that was" "To my mind, it was undeniable." "It just seemed like such a great sort of kindred spirit to what I thought Lisbeth was about." "And then we needed visuals to go with it." "And I went to Tim Miller at Blur, and I said:" ""What can you do along the lines of a nightmare?" "What would Lisbeth's nightmare be?"" "And he came back with about 50 different little scene cards and we whittled it down to about 20, 25." "And I turned to him and said:" ""That looks great." "You got eight weeks." "Go."" "Will you appeal?" "What is this?" "So we shot this in the actual courthouse where Blomkvist would have had judgment passed on him." "We came in on a weekend and we did one of the biggest rain-tower jobs that had ever been done in Stockholm." "We had to do about a block and a half worth of rain." "So there was a good day, or two days of just setting up the rain towers to do this one shot where we crane up and we see him walking off in the distance." "But we had a half a day to get the shot and it worked pretty much from the first take." "The girl who works as the barista in this scene" "We found this coffee shop that we loved in Södermalm." "I said to Bob Wagner, the assistant director:" ""Just find somebody who actually knows how to use this equipment." "You know, let's just use somebody who works here and have her be the barista that serves him his sandwich."" "And it turned out it was Michael Nyqvist's daughter." "The actor who had played Blomkvist in the Swedish movie." "And it was one of those ironic things that you can't plan for." "And he dropped by while we were shooting and introduced himself." "And was extremely nice and polite to us given that we were about to trample all over the memory of his great work." "Steve Zaillian added this nice little bit of Blomkvist buying his cigarettes." "We were trying to figure out a way to tell the story that he had quit smoking." "And I thought the only way to really be able to do that was to have him also need a lighter." "It's not just enough that he buys cigarettes, he has to buy a lighter." "And we get the idea that he's picking up an old habit." "Joel Kinnaman plays Christer Malm a character who's much more prevalent in the next two stories." "But he agreed to come in and basically be an extra for us for about three days." "And he's" " At the beginning he's at the bottom of the stairs, and he's the one who looks at Daniel when Daniel comes in and gives his look of disgust." "TV4 called." "I told them no statement until we've read the judgment in its entirety." "I love Daniel Craig's ability to be open about his disappointment." "And I think he does an amazing job of not only being disappointed with the outcome of the legal aspect of this case but he very wonderfully kind of shows you his disappointment in himself." "Which I think is a" "It's part of the thing that makes him such a generous actor is that he's not afraid to seize those moments where a character can kind of show you that he had hoped he was capable of more." " You called her and spoke to her?" " I'm afraid that doesn't mean much." "When you're talking about having to introduce a character like this she has to ride up on a motorcycle and whip off her helmet and you don't want it to look like a Clairol commercial." "I wanted her to take off this helmet and instead of it being these long flowing locks, she has hair like a porcupine." "And to follow her through this office so that you really establish what a sort of fringe-lying human that she is." "And I love this kind of sparse nature of Zaillian's dialogue here as they talk about her because he paints a really interesting picture with very, very few comments about her." "Lisbeth." "Mr. Dirch Frode." "How do you do?" "One of the things I was trying to do with Lisbeth is really show that she's specific to the information age." "She not only has a photographic memory but if she's going to take a record of something she's not gonna write anything down, she's going to take pictures of it." "And she's going to carry this camera with her and that camera" "Then she's able to take those photos and put them onto her laptop." "She deals with information in a photographic way as opposed to the written word." "And so when she meets with her boss, Armansky and she meets with Frode who's paid for her investigation, one of the things he's looking for because he's of a different time and a different place" "He's a lawyer who's used to hiring an investigator and then he wants the data which is what she's provided before she even walks in the room which is this file but he's looking for her take on the subject." "It's an old-fashioned sense of the private eye." "He's looking to her to say, "Give me your gut."" "And part of her inability to deal with the world has to do with she doesn't have opinions, she doesn't trust opinions she doesn't trust hearsay, she only trusts data." "And so the notion of their schism, the thing that makes it impossible for them to kind of even communicate is that she's not about to give him an opinion." "She's just going to dump this information in his lap." "And I liked that, and I liked how it plays out throughout the movie." "She sort of distrusts anybody who's in a suit." "She certainly distrusts any men who are bureaucrats and middle-aged." "But also, you see it in the way that she harvests and collates information." "So in the movie she lives in an apartment that her mother lived in before her mother died." "And I liked this idea of this person who has taken all of her mother's belongings and instead of putting them away in some kind of reverential way she's just sort of stacked it to the ceiling off in the corner like a hoarder, and she's moved on with her life." "And I like that about her." "I like the fact that you could sort of pictorially represent this person who has no reverence or nostalgia." "She's simply trying to sweep the past under whatever sort of emotional rug." "One of the things that we had to do very, very broad brushstrokes with was the investigation into Wennerström and what the Wennerström story meant." "And by bringing the two characters" "The two main characters, the characters I cared most about..." "The two main characters, the characters I cared most about you know, Blomkvist's story and Lisbeth's story into further relief it was apparent that they had both sort of retreated from modern society." "You know, he had sort of been cast out and she had, at a very early age you know, probably in her early teens" "She had sort of given up on the world and" "So the Wennerström story, it's kind of like first half of act one and the end of act five." "And it was a tough thing in wrestling with this material because there was really no way to take what Larsson had written and get it into three acts." "And so we sort of had to make our peace with the idea of a five-act structure which is" "It's not an unheard-of structure it's very similar to a lot of TV cop dramas." "And so, you know, after wrestling with it for many weeks we finally gave ourselves over to the idea that this was gonna be a five-act movie and that the Wennerström thing would be teased at the beginning." "We would know it meant a lot to him, and then at the end her helping him out of his shell that he could be pulled out of the wreckage of the first act." "Good evening." "I like the women in Blomkvist's life." "I like the fact that he has an ex-wife he has a lover who has a husband he has a daughter who he's finding his way with and that Lisbeth is kind of an amalgam of all of these people." "And I like the fact that she becomes this focal point for his kind of working out a lot of these relationship issues." "It was a very important thing to find an actor who not only brought a real masculinity to it but he also had to be able to be a friend to many women." "And a confidant to many women." "And that necessitated that he be a good listener and that he have a good sense of humor about himself." "And Daniel is not only a great presence but he's also an incredibly fine actor who can make a lot of minute adjustments." "He's a great listener." "As a director, he's a great partner to work with because little tiny notes, little things that you can be trying to mine he can not only understand how it fits into the tapestry but he can do the blind stitch." "He can do those things that are very, very subtle and minutely change the way that you feel about the situation because you can see on his face that he's wrestling with it." "When we dared to dream about who could play Erika Berger obviously, the first person on everyone's lips was Robin Wright." "There are very few actors who have this kind of package of being the person who stops traffic." "Everyone in the room is aware of where they are and they're on their best behavior when she's around because she's so lovely." "But she's also so ferociously intelligent." "And we were so lucky to be able to have Robin to play Erika because she's so formidable in so many ways." "There are a lot of effects in this movie." "You know, obviously the trains and outside windows." "And there was a lot of green screen just to be able to tie environments together." "And cars." "Most all of the interiors of the cars were shot green-screen." "But there are also probably a handful, a couple handfuls of shots that Digital Domain took plates" "This is a shot, driving over the bridge where it was snowing and it was cold but it was nowhere near this terrible-looking." "And so we turned these plates over to Eric Barba and said:" ""We need you to add more snow to this."" "Which entailed, probably, 10 weeks of rotoscope to be able to put the snow behind those trees in the foreground but they did it." "One of my favorite books growing up was Dracula." "And I always loved Harker's trip to meet Dracula for the first time." "And there was something about this environment especially when it was covered in this layer of powdered sugar that just seemed so unbelievably sinister." "We were scheduled to shoot something else this day and we had been told by all of the locals that we shouldn't expect snow that was anywhere near deep enough for another month." "And one day we got up at the bed-and-breakfast we were staying at and there was about 6 inches of snow on the ground." "It was unbelievably beautiful, and I immediately got on the phone and had all the DGA clan make sure that nobody walked across the front of the house because we were gonna shit-can the morning schedule and we were just gonna shoot the drive up to the house." "We had just acres and acres of snow, so everybody stayed back in town while we shot these gyrostabilized plates driving up to this frozen manor." "I remember sitting in the back of the truck watching it on a little tiny monitor as we drove up and we came through the trees and the snow was blowing at the lens, and I thought:" ""This would be a good teaser."" "One of the things that I loved about Henrik Vanger and it's such a nice send-up of most mystery stories is instead of him being in any way concerned about the legacy of his family or trying to sort of sugar-coat anything he just comes right out and tells you how much he hates everybody in his family." "It's such a nice diffusion of the expectation of this kind of meeting." "And Chris Plummer, who's so warm and interested and makes such wonderful contact with Daniel in this scene it's such a nice counterpoint." "Would you like to sit?" "Tony Way, who plays Plague, was a wonderful find." "I ended up having to call Trent to tell him that I didn't wanna do anything disparaging about Nine Inch Nails fans, I just liked the idea that Plague would have a Nine Inch Nails sweatshirt on." "No, thank you." "This is Harriet." "The granddaughter of my brother Richard." "So Henrik explains it all to you." "It's a horrific amount of data that you have to cover." "And there were scores of photographs that needed to be taken that looked period and looked like Sweden in the '40s and Sweden in the '60s." "And all this photography had to be done in preparation before, and sometimes as, we were shooting." "There were photographs taken of the day of the parade and photographs taken of the Vanger manor on the day that Harriet disappears." "And all these photographs had to be generated and art-directed and made to look soft and grainy and they had to be printed on the right photographic paper." "There was an army of people working just to make all of the photographs that you see in the movie." " Well, somebody's gotta do it." " That's right." "Anyway, he died in 1965." "Drowned, drunk, here on the island." "His wife, Isabella, who had been pretty much useless as a parent before became even more so after his death which is when I began looking after the children." "Martin, who runs Vanger Industries, now that I'm retired." "That's right, I Googled him." "And Harriet." "She was bright, curious...." "We were looking for a Harriet-- We were looking for somebody who could be the center of this storm." "We needed a face that you could" "Obviously, we needed a face that we could connect with an actor later on in the movie, but we needed her to be striking." "She needed to be somebody who could really be a focal point." "And Moa Garpendal who-- I don't know when she was found." "Pretty early on we got a tape of Moa and she was so striking." "This haunted sort of look that she had in her eyes." "And she's a wonderful actor who didn't have a lot of experience but she was Harriett." "She became this" " She was the lost" "This lost child." "It was funny how people reacted to her and acted when they were around her." "She was not just striking, but she was sort of ethereal." "It was during those few minutes that something else occurred." "The accident had nothing to do" "So the accident on the bridge was such an odd thing." "Because obviously there's no way that a truck traveling at any good speed could possibly be on its side." "We just needed something that looked like it was an amazingly huge accident, given the tiny little town and the tiny bridge that it takes place on." "This was something that Don Burt previsualized in a computer and we looked at eight or 10 different ways that this crash could take place." "And we finally ended up going with one that looked like a Brontosaurus had been felled by a rhino." "herself saw her." "The colors of the flashback were based on photographs that we had of the late '60s and early '70s, so it probably has more chroma in it than the reference that we had." "They were more faded." "But we wanted it to kind of look like Kodachrome of that period and that we would make it very saturated and that it had this incredible warmth to it that the" "His recollection of that summer, or that summer eve, was this warm, beautiful time and place, and that something horrible had happened that was completely out of character with the world at that time." "And then later on when you have an understanding from Harriet's point of view as to what really happened we show it then that it's raining and it was cold and it was sort of miserable, and I like the way that turned out." "It wasn't intended that it would be raining." "We went back to reshoot that scene because we wanted to have her secreted away in the trunk of the car." "But on the day, it rained, and I sort of felt like it ended up being better." "the year before." "Oh, no." "Someone killed her." "Someone on the island that day." "When we shot this sequence, we planned this big crane pullback from the doorway, and when we turned the light on the lens got flared so badly that the grips ended up painting a black dot onto the clear lightbulb so when it turned on it wouldn't flare too badly." "So we were able to, in post, not only take out that black dot and put in another clear glass lightbulb but then we were able to put the flare back on top of it that the black dot was there to erase." "Again, there's so much added snow, and this is a shot where we were panning on the house right after the sun had gone down and Digital Domain added all that blowing snow." "but what you're asking me to do, it's a waste of money." " But we haven't discussed your fee." " We don't need to." "I love the notion of the detective who's trying to turn down work and he's up against a guy who is not taking no for an answer." "Part of what makes Henrik interesting is that he's used to having his own way." "He's used to getting things the way he wants them." "And even though he's buried the lead here and he won't mention Wennerström until the last possible moment he knows that's his-- That's the ace up his sleeve." "Think of this as a well-deserved holiday." "A way of avoiding all those people" "There's some lovely acting going on with Daniel and how he's not being heard." "And he takes these wonderful little nuanced moments to really" "To show you his frustration with the fact that he's somehow unable to make any in-roads with this guy." "There's a nice little moment at the end where he pushes the duck forward, and we watch it as it moves closer to Daniel." "And then he does this thing where he just sits up in his chair just the tiniest bit." "The camera follows him, tilts up, and it's a moment of" "Sort of a cinematic synaptic firing of his ideas." "You just couldn't prove it." "I was very worried about this wardrobe with Rooney in this cowl because I thought she looked a little too much like a Jedi." "So the scene where Robin comes to the office in the morning and she sees Daniel packing" "She's angry with me, or she was upset with me when she saw the first cut of the movie and thought:" ""Why do I have to be so shrewish?" "Why am I harping on him?"" "And I thought it seemed to me like it's a very realistic portrayal of a relationship between people who are partners." "It's not a male-female thing to me." "It was the conversation you have to have with somebody you're running a publication with." "And in a weird way, he almost gets a "get out of jail free" card because he's honest and says, "I'm running away."" "And because it's a man saying that, in some way it makes it irrefutable." "We decided to place this scene in a Max Burger which is wonderful in that it's this incredibly slick and white and neon burger joint." "It's very Swedish." "Hey, hey." "In the master shot that we did of Daniel getting off the train we had a woman unload all of his luggage for him in the background." "I like the" " We got talking about the idea of Blomkvist as sort of a bimbo." "It was very funny because you would see him and he was so kind of lost in his own thought about trying to get a cab to take him to the cottage." "And there was this woman with like eight huge pieces of luggage wrestling them down the stairs." "All of the cabin interiors, all the cottage interiors are shot against green screen." "And Digital Domain did an amazing job of tracking." "They took actual photographs." "I think they actually took Google Maps and figured out where the vantage point of the camera was and photographs that we'd taken of the location and they tiled all that stuff together." "So Scotty the cat." "Scotty the cat." "He had many, many specific things that were written for him to do." "All these things that he was supposed to look at and jump up on and...." "Scotty was great, but I gave up on that about five or seven minutes into the first day, and we just" "We had rehearsals where we'd bring the cat and we'd say, "What would Scotty do here?" "He'd be over here on the chair watching what's going on."" "We'd put Scotty in his chair and whatever he ended up sort of doing first that's what we would rehearse the scene around, and he was great." "He was great every time." "If you don't expect cats to do something they'll usually give you a very catlike response." "This was bitter cold." "This was probably as cold as we ever were." "This was the shot that we would give to effects houses and say:" ""Match this snow."" "Because when I was there, this is as cold as it gets." "There was a little story point that he was bringing his favorite books because he was going away and wanted to bring books he cared about to re-read them while he had time alone." "And I love the idea that literally the first night he was gonna be there he would burn them in trying to keep warm." " You're Mr. Palmgren's daughter?" " His ward." "He doesn't have a daughter." "Please." "He's had severe cerebral hemorrhaging either from the fall itself or from a stroke that led to the fall." "We actually went onto a train and we rigged the lights to flicker and then we went around to three or four subway stops." "We found this one little moment where there was a train station that had work lights in it and her eyes just naturally caught a lot of the light." "It's such a striking image of her face." "It's very Joan of Arc." "This is Scotty the cat at his best." "I had told Daniel, "You don't know this cat." "This is a feral cat." "You let it into this house and you're letting it sleep there but when it sleeps on your head, you don't know if it has rabies."" "And so when Scotty did his clawing, he clawed the blanket as Daniel started to pull it away." "Daniel reacted exactly the way that I had hoped which is he sort of jumps away from it like it's dangerous." "You're an author." "Well, I'm doing a biography of Herr Vanger." " I saw you on television." " That's unfortunate." "Bit of trouble, I guess." " No jail time though." "That's good." " No." "Cost you a lot of money though, yeah?" "It's a running joke that everybody knows how to make a fire except for Blomkvist." "The entire island is owned by my family." "Your closest neighbor" "It was an unbelievably cold day." "Daniel said to me:" ""This is my first time on the island?" "So I'm not really prepared for this."" "And I said, "No."" "He said, "I'm just gonna wear a shirt and sweater and I'll have a scarf and this coat." And I said, "Great."" "And between takes he was shivering so badly that he would go over and stick his face in a propane heater just to thaw out his eyes." "And then we had shot-- All the POVs in the sequence we had to shoot at another time." "We had snow on the ground." "We had snow on the roofs of the houses." "But we didn't have the mist and we didn't have the snowflakes blowing sideways across the lens." "So Digital Domain had to come in and sort of tie all of these shots together with the same kind of blowing snow." "Soon you will know us all only too well." "With my apologies." "Now, out there, my grandnephew Martin's house, Harriet's brother." " Who speaks to him?" " I speak to him." "He runs the company now, as I think I told you." "Someone's shooting his dinner." "Gunnar, probably." "Oh, yes, I met him earlier." "He was 19 when" "Daniel's blowing on the ballpoint pen was a real stroke of genius." "And I don't know if he had to do that because I don't know if he's writing anything down." "It's lovely when you go to an actor and say:" ""You know that great thing you just did?" "Little more of that."" "The man who hires the detective should always be kept on the suspects list." "We shot this wall, the information wall the family-tree wall, three or four different times and there are many, many composites in the movie because we kept updating the information." "There were scenes that were cut with family members who initially were designed to make a bigger impression than they did and we didn't have time." "We were cutting things out of the back half of the movie and the wall kept changing, so there are so many and the wall in the background of boxes being unloaded." "And all of it had to be updated every time we would make a change to the cut and take a Vanger family member out." "Her mother." "Originally the sequence-- The way that it connected to Officer Morell, who we see David Dencik in flashback here and then to Officer Morell as he is in modern day and that's Donald Sumpter." "When we connect the two, we went with this idea of this gestural link between them, the lighting of the cigarette." "We see him step out of the trees and he lights a cigarette and then we cut to him present day finishing lighting the cigarette." "It wasn't intended that way." "It was just one of these things that we found as we were cutting the material that we needed to really be able to tie this guy in the past to this guy in the present." "Originally the train shot as he goes up to Hedeby was going to be used to connect David Dencik from the past, Morell's past to Donald Sumpter in Morell's present." "But we ended up doing it just with the cigarette." "Did she know something someone wished she didn't?" " Was it about business?" " Business?" "Well, she was 16." "And very bright." "Henrik told me and many others he could easily see her running the company one day." "She was with some friends that day at a parade." "She told them she was feeling unwell." "She left early." "But they also told me she kept secrets from them too." "The main thing I learned was that teenage girls are complicated." "This was a cover set." "Sometimes you have, you know, a house standing by in case it gets snowed in, and we got snowed in on one day and we went to this set to shoot this scene." "And it was this lovely little empty house and this beautiful period furniture was brought in, and...." "I loved how this came together." "This is one of those moments where" "Often when you rush to do something because you're filling your day with work because of the weather, you end up sacrificing the kind of sense of planning, or in some ways the fact that it's meant to be a flexible piece it doesn't get its due." "But this is one of those scenes where things came together really nicely, and it's nice when you imagine two people working well together and how they're going to seem across from one another, and then" "And when they're better, you sleep well." "Every policeman has at least one unsolved case to obsess over." "Back then we had an Officer Torstensson." "Year after year, he kept going back to this Rebecka case." "Taking out the files, studying them over and over." "We were young." "We laughed at him." "And that was also a missing-girl case?" "No, no, no, that's not why I mention it." "I'm talking about the soul of a policeman." "So originally the scene where he takes out the notebook and looks at the numbers, that was supposed to happen before he goes to Morell." "And we ended up putting it afterwards, and it seemed to work fine." "So Yorick van Wageningen plays Advocate Bjurman and Bjurman is one of our antagonists." "And there were many discussions about exactly how to characterize Bjurman, and I felt it was very important not only in the playing, but in the casting that Bjurman is not somebody who rapes every woman who comes through his door." "His docket is too full for that, and it didn't seem realistic to me." "Something about Lisbeth and the way that Rooney plays this and the thing that I love about it is it's almost that she comes on his radar because of the disrespect that she shows him." "He probably wouldn't think twice about her but the fact that she doesn't seem to have bathed or doesn't seem to be giving him eye contact or doesn't seem to be respecting his opinion about things makes her prominent." "It brings her into his peripheral vision." "Otherwise he'd just as easily forget her." "And I love the ease, and I love the" "It's not a smugness." "It's that he's fed up with these kinds of people." "He's not angry because she's a woman being disrespectful." "He's" " She's a young person being disrespectful." "I don't think he even sees her as a woman at this point in the drama." "But I think that at the point in time where he asks her:" ""Do you think that makes you attractive?"" "It's the first time you even realize that he's sort of looking at her." "There's a lovely line where he says:" ""Not to mention the way you're looking at me now."" "One of the things Yorick came up with that I thought was so lovely is he does it without even looking up at her." "He knows that she's giving him stink eye." "I assume the difference is going to drugs." "I've taken care of myself since I was 10." "The state has taken care of you." "When we shot this scene, Rooney had a cold and I was worried." "I was worried that it wouldn't track but I love the fact that she's under the weather." "It makes her" " Somehow it makes her feel more real and fragile." "Not fragile in a delicate way, but malnourished." "This was an idea that we just came up with on the day was she gets into the-- Into the elevator and screams." "And I like the fact that she has to find a release for some of these feelings." "And I like the fact that she has to find a release for some of these feelings." "One of the things that we kept talking about is Lisbeth is afraid of her inner Zala." "She's afraid of her father's genetic package." "And I like the idea that she almost has to find a secret place in order to deal with her frustration with the real world." "Stellan Skarsgård." "He may be the first person that I talked to about the movie." "I met him on my first trip to Sweden." "I'd spoken with Gore Verbinski about him, and I said:" ""Tell me about Stellan Skarsgård." And he said, "Get him." "Just get him."" "This glass house was a house that we found early on in scouting." "And I remember thinking, "Well, if we don't get that house there's no reason to shoot this movie in Sweden."" "No, I wanted this house." "I loved the idea of this sinister character living this wide-open life where he has nothing to hide." "There's no" " There's nowhere to hide, and then of course you find out that's not the case." "Don't look in the pool room." "Together they are the old Sweden and the new." "Yes, they are." "Poor Daniel." "The day we shot this, they were eating moose steak and I think we probably shot like 18 takes of the master." "We moved in on the over-the-shoulders and we started" "By the time we turned around to shoot his close-up he had probably eaten about 14 porterhouse steaks." "Liv knows everything about my crazy family." "I love the ease." "Stellan Skarsgård is the most relaxed human being ever and I think that's what makes him a fantastic villain." "It's that he's so comfortable in his own skin, and that's what makes you reassess everything that you could possibly think about evil in the world." "began after my sister's death." "There's a moment where he talks about his sister's death." "I love the way that Daniel registers:" ""Well, we don't know that she's dead."" "But it's interesting to him that everybody in the family refers to her as the dead Harriet." " I know it well." " A terrible day." "There's a great moment of softness here where Arly who plays his girlfriend, she reaches over just to comfort him, and it's such a nice human way of dealing with somebody who's been through that kind of personal tragedy." "There's no way she can know anything about Harriet except Harriet's legacy." "She may not have seen photographs of her but she knows how much Harriet meant to him." "I got a call from social welfare." "I've been assigned a new guardian." "There are a lot of people who see Salander as this kickass character." "This girl who takes no shit from anyone." "And this scene is definitely designed to kind of show that but I always wanted her to be a girl who lashes out." "And I like the fact that she's waiting for somebody to do something when this thug steals her backpack." "And when no one comes to her aid, she deals with the problem in a way that she knows how to." "And I liked her desperation, and I liked" "And I think the thing that Rooney understood inherently about the character is that the character doesn't want to have to be that person." "She's hoping that things can be dealt with in a civil manner and when they can't be, she's perfectly willing to deal with it in a way that she sees as being fair." "I love Daniel's response when he opens the door." "He really has no idea who's on his doorstep." "And it's almost the fact that he's embarrassed about it kind of makes him angry, and I thought that was a really human response." "I like the way that he gets blindsided by who Cecilia is." "It's not my intention to present a malicious portrait of anyone." "Unlike the one that landed you in court." "Unlike that one, yes." "Geraldine James is not only a wonderful, wonderful actor but she's like the lost Redgrave." "She's so much like a Redgrave that the notion of pairing her with Joely was too delicious." "I wonder sometimes who's crazier, my Nazi father or my obsessed uncle." "Since we're talking about her since you brought her up, what was she like?" "Again, trying to shore up these ideas about how a journalist who's, you know, sort of a post-Watergate written-word guy, and his color-coordinated Post-its." "I love the contrast between Blomkvist and Salander that she doesn't work that way at all." "And that when he's going to later on use the computer in front of her it's gonna be in such a dorky, primitive way." "You couldn't pay her to send a Christmas card, much less visit." "I'll track her down for you." "If you do, and try talking to her about us don't be surprised if she tells you to fuck off." "You're backed up, aren't you?" "Hard drive at home, yeah." "We never intended to put a halo over Salander in this scene." "It just-- One of those things that happens." "Have you ever had any sexually transmitted diseases?" "And when was the last time that you were tested for HIV?" "So the prelap to this scene where Salander shows up to ask Bjurman for money to replace her computer we had a guy with a floor polisher in the background and part of that was due to the fact that there was a cue that Trent Reznor and Atticus Ross had written." "A musical cue that sounded like this weird humming machine." "And I liked that drone, and I liked the tone of that for this scene, and I thought:" ""I'm gonna add a guy with a floor polisher in the background." "A, he'll tell me that the offices are closed for the evening." "B, we can sort of take the sound of his floor polisher and move it into the music of the scene."" "The idea of the floor polisher being this reminder of how alone she is in the building with Bjurman." "And then it becoming this horrible underscore to his sexual impropriety." "I want you to have that computer." "Steve Zaillian, when he crafted this scene included this idea which we talked about." "We were constantly playing with the notion of Bjurman" "His manipulation of her." "His putting her in a corner has everything to do with challenging her desire that he feels she must have to be normal." "And I love the notion of relationships as transaction." "And so when he says to her:" ""I want you to have this computer." "You do something for me." "I do something for you." "The way normal people do."" "It's such a wonderfully hideous manipulation of her." "And one question we needed to ask ourselves is:" ""She's been through the foster-care system." "Has she ever been molested?" "Has she ever suffered the kind of sexual abuse that he's going to visit on her?"" "And I love the ambiguity of not knowing how she feels about his expectation of her sexual favors." "There's a moment in the Swedish movie, in Niels' movie where Noomi does this incredibly great thing in the bathroom." "She finds a dispenser of soap and she puts soap on her hand and she washes her mouth out with soap." "And we knew we needed to acknowledge that that was a great thing and couldn't touch it." "We wouldn't go near it." "But I like the fact that we were able to sort of up the stakes in an odd way." "She looks at a soap dispenser and decides that's not enough and then she walks over to the toilet and gags herself and throws up his semen." "We wanted to shoot the scene where she's plotting her revenge of Bjurman, and I wanted the idea that her world literally gets turned upside down." "And I like the idea of taking a Technodolly and flying over the top of her head and flying over the top of her head and seeing her face as you see her eyes darting around as she's lost in vindictive fantasy." "Anita Vanger." " Through there." " Thank you." "So the scene where Daniel meets Joely for the first time when he goes to London and sits with Anita we had many questions about how timid he was going to be in revealing to her what it is that he was really after." "And he goes and he sits with her and he has a wonderful little joke where he talks about how he has no money and he's really there under false pretenses." "And her reaction when he says he's writing a book about her uncle...." "She gives you nothing." "You don't know whether she's going to allow the scene to continue and then you cut to this scene where they're in a coffee shop or they're in a restaurant." "And he's just plowing straight ahead." "He's a good detective, and I love that about this scene." "I like the way their faces-- It's all about their faces and it's all about how well she lies to him and how he tries to get her to tell him what he really, really wants to know even though he's not being completely honest." "I'm not really speaking about the event itself." "I just want to get a clearer sense of what Harriet was like." "She was very messed up." "Well, just like all us Vanger kids, really, but...." "We shot this at a restaurant that was a fairly famous restaurant in London." "We closed the restaurant down for three or four hours to shoot this scene." "We moved in, and I placed the actors where it would be best for the light and where it would be best to get the camera back far enough and shoot the pieces that I needed to." "And I was about halfway done with shooting it when I saw Daniel talking to Joely and he was laughing about something and I went up to him and I said, "What is it?"" "And he said, "Well, I don't want to tell you."" ""Why?" And he said, "Well, I shot a movie" "I shot a scene for a movie in this restaurant before."" "And I said, "Oh, okay, well, great."" "And he said, "And I didn't want to tell you that in the scene I sat in this chair, and the person I was talking to was sitting in the chair that Joely is sitting in now."" "And I thought, "Well, I'm glad-- I'm glad you waited till we were halfway done to tell me that."" "So the scene with Salander on the stairs, where she calls Bjurman that was the first scene we ever shot with Rooney in Stockholm." "We found this location that we liked much better than another location." "And so I asked Production, "Can you make this happen?" "Can I shoot this scene with Rooney on these steps?" "I wanna shoot tomorrow." "I want it to be the first thing we do with her."" "A lot of the Swedish crew was very skeptical about our motives for wanting to make the English language version of this movie." "And there was a kind of palpable tension, and Rooney showed up." "This was the first day they were gonna see Lisbeth and Swedes are very protective of Lisbeth." "She's part of their cultural landscape." "And I remember everybody was kind of on pins and needles." "Finally the van showed up, and Rooney hopped out of the van went around the corner and smoked a cigarette and she came on." "And everybody was watching, and we sent her up the stairs and we gave her a cell phone, and she walked down the stairs." "We shot" " I think we probably shot 30, 35 takes of her coming up and down the stairs." "And at the end of it, I said, "Great, I have what I need."" "And she rushed off and she got in the van." "And she drove away to the next location." "And I looked around, and the Swedish crew, they were all smiling." "And I went to the script supervisor and I said, "What is it?"" "And she said, "They like her." "They approve."" "I'm so glad you decided to come and visit." "I just want my money." "Well, let's see if we can help you out with that." "This was a very difficult scene to shoot." "Not only because of the kind of inhumanity that one character visits on the other but people were very nervous about how we were going to stage and photograph the rape." "Because Salander's rape is a very important part of who she is." "And why she responds to things that she responds to in the way that she does." "The progression of this you know, from the phone call on the steps to the showing up at the front door." "The vulnerability that she enters into and the way that she disrobes, and" "Of course, in retrospect, we know that she is videotaping all of this." "And her backpack hides her kind of endgame." "Which is to get him to proposition her." "She's prepared to engage in oral sex with him again and give him his satisfaction if she can get it on videotape so that she can use it to keep him away from her the rest of her life." "But she's not prepared for the kind of cruelty that she experiences." "And so when we staged this scene I had never talked to Rooney about" "We had talked about the specifics of how much nudity we would see." "But we hadn't talked about what her reaction was going to be or what her screams were gonna be like." "And I sort of gave that to her as you know, "This is gonna be your responsibility." "You're not gonna have a lot of room to move." "You're not gonna have a lot to work with, you know." "You're gonna be very vulnerable for an entire day of shooting." "And we're gonna shoot a lot of different angles of this." "But your response to it is gonna be your own." "That's what you're gonna do."" "And so when we got to shoot the wide shot of the" "We were shooting the master, the shot at the end of the bed." "That shot, over the backpack and also the sort of omniscient shot from directly behind him in the room." "And she started screaming." "You could see the hair on peoples' arms and on the backs of their necks." "They were extremely uncomfortable." "People were really bristling with" "You know, nobody wanted to see this." "And we talked a long time." "You know, one of the things that I think is important is that Salander is sophisticated about the kind of pervert that Bjurman is." "And when he mounts her and she realizes that she has no recourse there's nothing she's gonna be able to do about it I said to her, "I don't think she would give him the satisfaction." "I think that she would stop screaming at that point." "I think that she would just try to blot out what's happening and hope that it ends quickly and that she" "Her resistance to him would only excite him." "So she's not gonna give him that satisfaction."" "And I remember when we screened this for an audience the first time people were really unnerved about the fact that she actually" "Not submitted, but that she reserved her resistance." "And I thought that was a particularly telling thing." "You know, one of the things that they say in rape-avoidance classes is not to fight." "And when we dramatized that it only made the audience that much more uncomfortable." "There's the moment that you normally see in a movie." "And then there's the moment after the moment that you normally see in a movie." "There are these heightened moments that are used to dramatize conflict between characters and horrific ideas about what people do to one another." "I liken it to, in an odd way, it's" "To me the scariest thing in Psycho is not Norman's stabbing of Janet Leigh in the shower, but his cleanup." "And he goes through this ritualized almost" "It's like the anal-retentiveness of it." "The need for order, or to restore order is what makes it so kind of terrifying." "And I loved the fact that Bjurman he doesn't see himself as a rapist." "It has to do with his narcissism." "I think that if you held Bjurman at gunpoint and you said, "Why do you do these horrible things?"" "He would have an excuse." "He would have a rationalization." "There's a part of him that won't allow himself to see himself for what he is." "When Rooney fumbles with the pills and takes off her shirt and we see the tattoo on her chest that has her mother's name and the date her mother died and then she squats in the shower it's so incredibly vulnerable." "And it's so brave of somebody to do." "It totally wins me over." "It's one of those moments that strikes me as an audience member on a level that I can't even rationalize." "I can't even look at it and say what it is that is so moving about it." "But it's that notion of being so" "It's not the nakedness it's the trying to put the pieces back together." "Trying to make sense of it." "Trying to move on." "That sounds about right." "I used to be in the newspaper business." " We owned six dailies back in the '50s." " We still own one." " The Courier, here in town." " Which I let my nephew, Birger, run because he can't run anything else." "So, what would you say to taking on a partner?" "Well, we've never had to consider it before." "There's a lovely moment in the dinner scene where Daniel is asking him:" ""Why would you want to buy our magazine?" "What could possibly be the interest in that?"" "And Stellan gives him this wonderful smile and says:" "Not out of greed, that's for sure." "And I love that as a" "Again, the information age looking squarely down both barrels of the" "The point of view of the journalist." "That's one reason." "And...." "And...?" "The enemies of my friends are my enemies." "There's a moment at the end of the dinner where Christopher Plummer does this incredibly great and slightly diabolical thing where he says, "The enemies of my friends are my enemies."" "It's the possibility of Henrik's danger or the Vanger family's notions of vengeance." "And it's an interesting color to the proceedings because he's so dignified and so warm and yet he also gives you this side of himself that's steely and masculine." "You know, it has a real certain masculine vindictiveness to it." " Mikael?" " What?" "I'm leaving this godforsaken island in the morning." " So?" " So are you coming to bed or not?" "The tattoo artist was somebody that Rooney met." "I think he's the gentleman who did at least one of her piercings." "And she just loved the way he looked and loved his energy." "Just thought he was such a sweet man." "And we had already shot the scene with another tattoo artist and just felt that we didn't quite capture the closeness between them." "So she said, "Why don't you get this guy?"" "And so we brought him in and for a couple hours he played with us." "Are you referring to Mr. Wennerström?" "I'm referring to anyone who tries to sue his enemies into submission." "If Herr Wennerström would like to try it again he will find himself fighting a company that can afford to fight back." "I've always admired Henrik Vanger." "He's a titan and a gentleman." "But he's also quite old now  which may explain how he could be" "There's something about Rooney's face that's so haunted." "And when you put" " I mean, you could put the tiniest little wad of cotton under her lip and all of the sudden she had this gigantic bruise." "And gigantic swollen-- Her skin is so thin that we couldn't actually make the plumper any smaller than that." "So this is a moment that was written originally" "I'm not exactly sure what the order of the events were." "But I liked the idea that he finds by accident this photograph, or this series of enlargements that leads him to this picture of one of the Vanger girls." "He doesn't know who it is, if it's Anita or if it's Harriet." "But it was taken on the day at the bridge." "And it leads to the next idea, which is taking the photographs of the parade and blowing them up." "Originally it came in a different order." "But we ended up sort of reconstituting it in this new chronology." "I like Daniel's little tics, you know, where he...." "He carries that photograph and it's sort of his nervous energy." "He's flipping it around." "I love the way his glasses hang off his face." "That's something that-- A few writers that I know have that." "This is Uppsala which is the city in Sweden that Ingmar Bergman's from." "It's a beautiful, beautiful downtown area." "And they let us shut down like eight blocks." "We did the parade there, and then we did this scene." "We came back a couple weeks later and did this scene." "It was kind of amazing to have the run of an entire main street in Sweden." "What general period are you interested in?" "September, 1966." "Thank you." "I think this was the final shot that we did of Daniel in the movie." "It was this scene." "It was literally from here that" "I mean, the last-- I think we wrapped Sweden and the next time I saw him, we were doing ADR." " Lisbeth." " I need to pay my rent." "I need some money." "Oh, come on in." "When she walks into the apartment and she looks around and Rooney said, "What am I doing?" "I'm coming in here." "I'm supposed to look like I'm strung out." "I look down the hallway." "What am I looking at?"" "And I said, "You're looking to see how long the hallway is so that you can decide if you can drag him by his feet or by his arms." And she smiled and said, "Okay, I can do that."" "Now, we played with this idea that maybe she looks a little strung out so that he begins to sort of see her as maybe she does have a drug problem." "And maybe she's finally sort of come around and she will be what he wants her to be which is his concubine or his booty call." "It was an interesting thing because we screened the movie one time for an audience of about 80 people at Sony." "And when she shows up at Bjurman's apartment people were so upset with her." "There were people who didn't know the story and didn't know what was coming next who were really prepared to leave." "They had almost written off Salander." "If she was going to make this mistake again this would be an irreversible error as far as they were concerned." "And they weren't going to forgive her." "And when she whips out that Taser and she drops him in one...." "One blow, it was pretty amazing to watch the reaction of the audience." "Because the ones who didn't know what was coming were stunned and at the same time, there was this" "It was almost like a reaction to a comedy." "They laughed and sort of were released in this moment because they could now root for her again." "But I misjudged just how sick you are." "Okay." "We shot this scene and I canvassed a lot of people who are close to me who have been through hideous abuse." "And I asked them, would he be naked?" "And all of them said, "No, I don't want to see him." "I wouldn't want to see" "I mean, even if I was going to sodomize him with a dildo I wouldn't want to see his naked body."" "And so we shot the scene and everybody felt that we had copped out." "And that by showing Rooney naked and not showing Yorick naked, that we had somehow split a hair or chickened." "And so we reshot the scene." "And we shot it with Yorick wearing a little Speedo." "And then we digitally added his naked buttocks and genitals." "to have my declaration of incompetence lifted." "There's no doubt that this raccoon makeup or her war paint, was something that was semi-inspired by Blade Runner, but I wanted it to look like a mask that she could just take you know, some greasepaint on her black gloves and just smear it into her eyes and go:" ""Okay, I'm ready now." "I'm hidden enough." "I can respond now in the way that I've always wanted to respond."" "I'll be checking on you." "If I find a girl in here with you, whether she came of her own free will or not...." "No, not the video." "I'll kill you." "Do you doubt anything I've said?" "Do you doubt what's in the reports that have followed me around all my life?" "What do they say?" "If you had to sum it up." "They say I'm insane." "No, it's okay, you can nod because it's true." "I am insane." "Nod!" "I know it's going to be hard for you to abide by my rules." "The abstinence part most of all." "I wanted Props and Wardrobe to supply me with a couple of different options as it related to splatter guards." "I thought it was only prudent especially since he had worn a condom that she would wear some sort of orthodontics." "Some way to keep the blood, the atomized blood from going in her nostrils or being on her mouth." "And so we brought a bunch of different masks in and the one that seemed the most kind of structured and appropriate for the amount of time that she spends straddling him and tattooing him was this clear plastic sort of head-dress thing that she puts on." "And it looked cool in the light, with the stage lights on." "And it looked kind of normal." "And then when we actually went to shoot it it was catching all the lights in the room." "And it had this weird little sheen to it and the clear plastic headband part of it sort of caught the little point sources that were in the room." "It almost looked like a tiara, and I remember kind of going, "Oh, God, is this too Lady Gaga for--?" "Is this gonna end up being a mistake?"" "But it was kind of beautiful in an odd way." "We added a bunch of blood and cigarette butts and excrement in that last shot." "We tried to art-direct it as completely as possible but, you know, when you have somebody who's been chained to the floor for two days who's been chained to the floor for two days and you're going in to do the last shot, I sort of felt like it would be better to do it in post and we could decide exactly where all the bloodstains and handprints and bootprints would be." "What's in Skellefteå?" "Bible camp." "Oh, yeah." "So Pernilla's arrival at the cottage is" "Really exists to have somebody who's a non-atheist be able to plant the seed for Blomkvist that these crimes are somehow related to the Bible." "And that's the reason it exists." "But I felt that there was a wonderful opportunity and I think that Steve drew it very deftly." "Which is, again, that he has a relationship with his daughter that's hard for him to kind of manage." "And I love the fact that he says to her:" ""I would never want you not to tell me something just because you wouldn't want me to hear it." "You know, I want you to share things with me."" "And I love the fact that she's wiser than he is and that she's able to say, "Well, that's what I'm trying to do." "That's what I'm here to do."" "And I thought that was such a great little" "I mean, in amongst the mosaic of the thriller and this mystery that you also have these little moments of character where people who mean something to him help him reassess things." "You know, he's embarrassed in a way about how far apart they are." "And he's sort of trying to make up for that." "And yet she's saying to him, "No, no, no." "The fact that I'm here should speak volumes to the fact that I care about you."" "And I like that if you're gonna have a character who appears to do a narrative service that there's also another reason for them to exist." "And I like the dent that she makes in him." "The fact that he clocks that." "A woman who is a medium or a sorcerer shall be put to death by stoning." "If a dove is the sinner's offering the priest shall wring off its head, cleave its wings and burn it upon the altar." " Hello?" " Detective Morell, it's Mikael Blomkvist." "Yes, hello." "How are you?" "Not still freezing in Hedestad, I hope, for your sake." "You know that Rebecka case you mentioned." "Would you recall her last name?" "Of course I do." "But what has that to do with anything?" " Nothing, probably." " Jacobsson." "Rebecka Jacobsson." "This is a perfect example of, you know, obviously in Swedish it would be Rebecka Jacobsson." "And of course we would say it in English, Rebecka Jacobsson." "And it has to be written on a piece of paper with a J." "And we had to make decisions all over the place about whether or not we were going to pronounce the names as they would be pronounced in Sweden and, you know, full steam ahead not worry about how the J would be pronounced." "But in the end, I don't think it made it any more confusing." "I honestly don't know." " You go." "Talk to you later." " I'm sorry." "Again, Scotty the cat doing great cat work." "Evening." "So how is he?" "Well, the good news is he survived." "How he does now, we'll have to see." " He's in intensive care." " Right." " May I have one of those?" " You want a sandwich?" " Small Scotch." " Sure." "Thank you." "I hate to be indelicate" "This is another nice kind of facet to Blomkvist is when he's blunt and actually concerned about if Henrik dies, then the promise of this whatever it is that he has on Wennerström is lost." "Or could be." "And I like the fact that he's talked himself into the idea that he wants to be part of this investigation into Harriet's disappearance, but really it is for semi-self-serving interests that he's promised his life to this cause." "And it is this Wennerström information." "And I thought it was very deftly and beautifully done the way that he is ultimately very pragmatic in his conversation with Frode where he says:" ""Yeah, I agreed to certain circumstances and it sounds ugly but I wanna know what happens if he dies."" " I can find someone." " I know an excellent one." "She did the background check on you." "The what?" "Well, you don't think we can hire just anyone without doing a background check." "I want to read that." "Herr Frode was kind enough to share your report with me." "The investigator's name." "That is her name, yes?" "So Armansky was originally written as a" "Sort of looked like a gangster and was in his mid-50s." "And we looked at a bunch of actors who sort of were more probably at home in The Sopranos than they would be in Stockholm." "But what I loved about Goran was there was a sense of polish, and you look at him and you think it's so nice that he has this concern for Lisbeth." "And when he reveals that when he says:" ""She's had a hard life." "Can we not make it any harder?"" "I thought that was an interesting revelation." "She's had a rough life." "Can we please not make it any rougher?" "So this was an important scene to me." "It was definitely something we contemplated losing for length." "But I loved the idea of seeing Salander smile somewhere in the movie." "And, I mean, I felt like Lisbeth's bisexuality was an important thing to see." "And I also felt that it was important to show she does get her needs met." "She's emotionally 13 years old but she's 23 in her daily life." "And she needs a release." "And she needs closeness, even if she doesn't trust intimacy." "And she needs closeness, even if she doesn't trust intimacy." "She has to find comfort in people that will be safe for her." "And the safe ones are strangers." "Miriam is somebody that she brings home and it exacerbates the kind of tension in this scene because she's roped somebody into her private life." "Which is her job." "What she does for a living." "The secret thing that she can't tell anybody that is paid for in cash and off the books." " Actually, I'm not really up yet." " May I come in?" "Please?" "Hi." "You and I need to talk." "I've got us some breakf" "I'm sorry, I didn't realize you had some company." "Who do you think you are?" "I'm the guy you know better than my closest friends do." "Why don't you put some clothes on, get rid of your girlfriend." "We need to talk." "This was a scene that we auditioned many, many times." "We screen-tested a number of actors for Lisbeth's part, with Daniel." "And we shot this scene-- We probably shot it eight times." "And by the time we got down to shooting it, we had what I thought was a very specific idea of what we were doing." "And it was funny because when the studio saw it some people were concerned." "They were saying:" ""Well, she's not bristly enough." "She's not angry enough that he's there."" "And I thought that was an odd" "I never saw it that way." "I always saw it as this is her sanctuary." "She is off the grid." "Nobody knows where she lives." "It's the thing that makes her feel safe." "And she only brings strangers to this place." "And she has control about when she sends them home and if she wants them to stay." "There's a knock at the door, and all of the sudden this person that she knows more about than most people in her life is on the other side of the door." "And he says, "I wanna talk to you."" "That there would be this-- To my way of thinking you know, as somebody who finds people and finds out about people she would be fascinated by him." "She doesn't have a fire escape, so it's not like she's gonna run out the door." "But there's this moment where she thinks about:" ""What can I do?" "I don't want to involve this person that I brought home from a club last night in this." "And I know that what I've done is illegal." "And I know that he has the sort of moral high ground in this case."" "But it's also, "If this guy could find me, he's good." "And I need to know how he found me."" "And so those are the reasons we made the choices that we did about the behavior in it." "And what I love about Daniel is that he's able to understand how sort of feline she is." "And how she needs to see him behave and give her space." "And he needs to offer her food." "And set the table and pull up a chair for her." "And make it, "It's on your terms." "If you wanna come over and join me I'd like you to join me."" "It's not a seduction." "He shows faith in her ability to trust." "And that's a way that he gives her respect." "or how they're connected to the death of a 16-year-old girl, but they must be somehow." "What we've gotta do is find out who they are, what happened to them" "There's a wonderfully Rooney moment coming up where she tells him that she understands exactly what he's asked of her." "She's already committed it to memory." "And I love the way she just points at her head for a second, like:" ""I got that." And when he insists that she take these papers instead of resisting him anymore she just takes them and drops them on the nearest chair." "She did that to me like once or twice a day." "I like the fact that she decides to bring her own Coca-Cola." "It's the single worst idea of transporting something that's your private stash because it's really heavy, you can buy it anywhere and yet she feels somehow that she's gonna be so busy that she's gonna need to bring her own Coke." "Cat!" "So this is one of those moments." "You hear about them, and it's a moment in time when Daniel Craig knocks over this bottle of water which rolls to the edge, and then he deftly leans back in like Gene Kelly and catches that bottle of water and puts it up on the refrigerator." "Then we track over and the cat does exactly what the cat's supposed to do." "This is probably take 16 or something." "And we maybe shot two more after this, hoping" "I don't know what we could hope for that would be better than that." "But again, it's the incredibly metrosexual Mikael Blomkvist in a private moment catching his Evian water before it falls to the ground." "And it's one of those things I remember as we were shooting going, "That's in the movie."" "to know about an awful murder?" " It interests me." " Does it?" "Her husband was the first suspect." "The husband is always the first suspect and usually the last." "But not this time." "We moved on to a neighbor." "Then a vagrant." "I had worked with Rooney for four days maybe five on Social Network." "She was wonderful in the movie and I had an amazing time working with her." "You cannot exhaust her." "She just keeps coming." "It was particularly evident in the casting process on this movie because, and I count myself as one of the people who initially" "It was very difficult to imagine her in this role because the experience that I had of her was as Erica Albright in the opening scene of Social Network." "Where she's this incredibly feminine warm, mature verbal foil to Mark Zuckerberg." "And all of the things that she does in that scene almost makes you forgive him in his behavior and his treatment of her." "And yet at the end of it, she's able to exit the scene with this great sort of cutting remark and encapsulate this first five and a half minutes of the movie." "Now, Lisbeth Salander is not mature." "She barely makes eye contact." "She's preverbal." "Ice cold." "So it was a very difficult thing to imagine an actor being able to do this one thing incredibly well and to then transfer them to this other role which had none of those requirements." "And as we screen-tested with her, we did it probably four or five times..." "And as we screen-tested with her, we did it probably four or five times I'd set up a hurdle." "I'd say, "This is what I need to see."" "And she would jump that hurdle." "And I would call her back." "And we would test her with a group of other actors and I would say, "Now I need to see this."" "And one of the things that became apparent to me was we weren't going to be able to dissuade her." "We weren't going to be able to make her doubt herself." "She was indomitable." "And in the end that was kind of the thing that I wanted most from Lisbeth." "Forget the cheekbones." "Forget the white skin and the piercings and the tattoos." "Lisbeth needed to be somebody who was not going to quit." "She wasn't going away." "And that was the thing that ultimately impressed me the most was that this was an actor, this was a girl, who was going to" "No matter what you said, her faith in her ability and her faith in her interpretation of this character was unshakable." "In my conversations with the studio, I kept saying:" ""Look, she's the last puppy in the window." "The one that I want is the one that's not being encouraged." "The one that I want is the one that we can't discourage enough."" "Lisbeth." " I'll get that." " It's okay." " Martin Vanger." " How do you do?" "Fine." " It's a girlfriend, or...?" " Assistant." "Thank you so much." " Good night." " Good night." "Problems finding the place?" "Everyone in town knows who and where you are." "That's comforting." "Are you hungry?" "I can make you a sandwich." "No." "I used to have a motorbike, a Triumph." "I know." "The five cases from Harriet's list." "And five more she missed." "Three I'm sure of." "Rebecka was the first, just as you thought." "The second, M.H., is Mari Holmberg, a prostitute in Kalmar murdered in 1954, matching Leviticus 20:18." "Right. "If a man lies with a woman having her sickness he has made naked her fountain and she has uncovered--"" "So the crime-scene photographs were something that were created completely for the movie." "In most cases, you see them for about 11 frames or 15 frames they just kind of scroll past you." "But there's an enormous amount of detail work that goes into making them." "Even if you throw them away, they have to be" "They have to be right." "And all of these files were created and all of these files had to be edited and checked to make sure that they made enough of an impression and then we could move on." "So there's many, many times where we would go through the animation and say:" ""That one should hold a little longer." "Three more frames, four more frames." "This one you can blow past." "This one needs more airbrushing on the skin flap on the forehead."" "It was kind of a little repellent having to walk into the Art Department and see all of these ravaged women." "The killer uncaged the animals, smashed the aquariums." "There was a parakeet inside her." "Next, Eva Gustavsson, 1960." "A runaway." "Raped, strangled." "A burnt pigeon tied around her neck." "Lena Andersson, 1967." "A student." "Raped, stabbed, decapitated" " Okay." " I'm not finished." "We're looking for a serial murderer" "I never wanted to say "serial killer" in the movie." "I was...." "I was adamant that we never ever use that word." "So "serial murderer" was as close as we could get." " Am I missing anything?" " The names." "This was a scene that we shot a couple of times." "The first time we shot it, it wasn't staged properly and the light changed." "And, actually, it started snowing in one iteration of this." "The second time we shot it by the time we turned around to Rooney's close-up" "And one of the things you need to know about Sweden is it is silent." "When it's nighttime in Sweden, you can hear, like" "You can crack an egg three miles away and hear it." "Somebody was running a generator on the other side of the lake or the fjord where we were and you could hear the sound over Rooney's dialogue." "So I told her, I said, "We're gonna have to loop this scene."" "And she was like, "You can't." "It'll never be the same." "I'll never get that back." "The accent, and this and that."" "I said, "We'll try it." "If we can clean up the dialogue we'll use the production track."" "In that scene where they're out smoking we used the production track from Daniel's side, but we used the loop." "And her loop is perfect." "It sounds exactly like the production track." "When she saw the movie in New York City, she said:" ""I'm so glad you kept that production."" "And I said, "Absolutely." "I wouldn't think of not."" " What are you doing?" " Reading your notes." "They're encrypted." "Here are digital effects at their most oddly helpful." "We shot this sequence" " There's a moment at the end of this scene where she goes out onto the front porch and she sees the cat." "And her hair had this little part in it." "And when we shot the scene on the stage in Los Angeles her hair didn't have that part." "That little Louise Brooks part that you see at the top." "And so we went back in and" "This company called Lola in Los Angeles and I asked them and they were able to go in and create this little part in her hair that they were able to track in for all these shots." "And it's one of those little, tiny effects that you are totally unaware of which, of course, is the thing that makes it the best." "Every time I see it, it's like" "It just makes me smile, that little gap in her bangs." "So the discovery of the cat...." "I can assure anyone who's watching this video that nothing untoward happened to Scotty." "Scotty was miles away when this fake cat was dressed and spattered and left on the doorstep." "Salander's helmet, we wanted it to be customized for her." "We wanted her to have done something to it." "It's a little homage to Henry Selick's Nightmare Before Christmas." "We decided to put some, like, x-ray teeth on Salander's helmet." "The carpentry shop is gone." "I don't even know if he worked there or not but if he did, maybe he used to come in here for hardware." "I don't recognize him." "Sorry." "Well, I had to start somewhere." "I'm no detective, but 1966, I would have started at a retirement home." "This was a shot that we did in Los Angeles." "The interior of the tunnel." "We had shot a shot in Sweden but it was vibrating too much so we came back and went down to the" "It's pretty much by the airport." "It's, like, Century Boulevard as it turns onto the 405." "We closed down and shot for a couple hours." "We got the shot of the back of her head as she zooms through the tunnel." "And really our only requirement to make it look Swedish was we just put a bunch of Volvos in the tunnel." "That was probably the last shot that we did for this movie." "In 1966, you were in Hedestad with your husband." "Who took these?" "A local photographer." "You were taking pictures too that day and I'd love to look at them if by some miracle you have them." "It wouldn't be a miracle." "We were on our honeymoon." "But why?" "This girl here." "Here, you can see her better in the enlargement." "See, that's you there." "Just after this was taken" "The flare of the Instamatic that's an actual flare from that camera." "It was one of those things that you can't believe it happened but it happened in one frame, and we got it." "We would've faked it but it's one of those rare moments where you get to say:" ""Oh, look how it all came together."" "The re-creation of this Children's Day parade which is not something they do anymore." "It's an idea whose time has sort of passed." "But we had reference of all of these cities and their own little parades that they would throw for the kids and they were always filled with these incredibly scary clowns." "I was marveling at what a childhood must be like when you go to a parade and you see clowns that look like something out of Magic or Day of the Dead." "Next time, fill out the proper paperwork." "Which one are you?" "So when we were trying to devise the different looks for Lisbeth" "Different makeup look." "One of the things that I talked with Pat McGrath" "Pat McGrath, who's one of the three most talented makeup artists who've ever lived." "She came in to play with Rooney one weekend when we were in Stockholm and I talked to her about this David Bowie video called Jazzin' for Blue Jean that Julien Temple had done, I think in the late '80s." "And they painted these shadows onto Bowie's face and no matter where the lights moved he still had these shadows under his eyes and still had these shadows for his cheekbones." "We played with this idea." "This is the scene where we decided to use it." "Torsten Witte, who did Rooney's makeup every day of the actual shooting took these photos from Pat and the idea and we brought Rooney into the elevator and we looked at the way the light fell on her face and then he painted these shadows under her eyes and under her cheekbones and under her nose." "And it's a very odd thing because" "You almost don't see that it's there but it sculpts her features in a way that makes her really kind of wraithlike." "And it was an odd thing because" "It's one of those things, if you see her sitting in a chair eating an apple or something, she looks so strange but under that one light, that one soft top light that all just blends together." "You look at it and you go, "There's something odd." "I don't know what it is."" "I love this little moment." "I loved him finding a child's book that had been left 40 years and no one's been inside this house, and no one has cleaned up people are squatting in this house or kids are partying in it and yet there's still this handwriting from 1965." "We were able to shoot this shot in like four or five takes where Daniel walks to the top of this little hill and we shot behind his head with a little pellet gun that had little powder pellets in it, so that he could react to something." "But the actual chunks flying off the post were done in CG and the scratch on his eyebrow and the blood that issues forth from that were all done in CG." "And it just works perfect." "So there's a moment in this montage where we see Salander as she puts up the security cameras and we see her in infrared and she climbs to the top of this wall and she puts another security camera up and we see her eyes glowing like a vampire, and she steps off." "We shot the scene over about four different nights." "We had to keep going back and catching as the light was disappearing from the sky." "And this shot right here where she turns and looks back and then goes inside the house, was" "I remember going to Rooney and saying:" ""I've just seen Lisbeth Salander." "That's who she is."" "I played it back for her, I showed it to her, and said:" ""That's Salander." "That moment is exactly...."" "She was like, "Oh, great." "We're halfway done shooting, and now you're finally seeing...."" " Is that dental floss?" " Yes." "You're gonna sterilize that, right?" "So again, this is CG blood." "There's a little wound that he has tacked to his head." "And all of the rest of the blood that flows from the wound and down his cheek is done in post so that it could match." "And I love what a wuss he is." "I love the fact that she goes to find his designer vodka in the freezer and brings it back." "This is something that when my daughter was young I used to try to adjust her back, I could crack her back." "Playfully, she would say to me:" ""No, Daddy, you're not a doctor."" "So I thought this would be a nice little moment in here where she comes at him with dental floss and a needle and he says, "Hey, hey." "Remember, you're not a doctor."" "Yeah, I think it's stopped bleeding." "It still fucking hurts, though." "There was a lot of anxiety about how Mikael and Lisbeth consummate their sexual relationship." "It's very different in the book." "No matter where it came, it always felt" "I mean, again, they've just begun to cohabitate." "You know, they've lost their cat and he's been shot at, and he's acting like a little bit of a wuss." "And I always saw it as she's just trying to get him to calm down." "It's like, somebody once told me that the Air Force did a study and found that the best way for people to overcome jet lag was through orgasm." "So I saw this as being Salander's way of saying:" ""Look, you just need to get your mind off of this because all of your crybaby antics are driving me nuts."" "And I like the fact that she sort of takes him and...." "So this was obviously going to be an intimate scene to shoot and it was going to be awkward for the actors." "Any time you do this kind of stuff it's awkward because it's so technical." "They have to be here in order to get the sidelight he has to flip her." "We had to do that 15 times in order to make it look reasonably elegant, you know?" "Otherwise it starts to look like bad wrestling." "And so we knew that Rooney was gonna have to be naked and she asked to have a merkin made." "She wanted to have a pubic wig so that she didn't have to" "So she felt a little more comfortable in front of everyone." "And she also pointed out that in the book Lisbeth is naturally a redhead and she dyes her hair black." "So she came to me with this plan and she had this little strand of red hair and she said, "I'm gonna have a merkin made in this color." "Are you okay with that?" And I said, "Whatever," you know?" ""However you can feel most comfortable." "Of course."" "And so she had this merkin made." "I believe in Japan, we had to, like, put a mosaic over it because fake pubes are considered to be nasty." "I like working with you too." " It could have been a stray shot." " Not by Gunnar." "If he wanted to shoot him, he wouldn't be here." "And then we have poachers." "They shoot at anything that moves." "Or he's right, Dirch." "What if he is?" "We're back at Martin's house and I love this scene because we couldn't shoot it on location, we had to shoot it on set." "We weren't allowed to shoot inside the house on location." "And so we built a replica of the house on a sound stage at Paramount." "We shot it in front of green screen." "I kept wondering, "What's it gonna be?"" "Then I thought, "It could just be this whiteout." "It could just be this fog has rolled in, and his glass house is over it."" "You just barely sort of make out-- Like a Japanese airbrush painting you kind of make out these layers of the hills." "And I was very happy with that." "I thought it turned out beautifully." "probably a lot." "If this is what he needs to finish, he should have permission." "What am I looking for?" "Any connections between Vanger Industries and the towns where the women were killed." "And everything about Frode." "So again, you're seeing in 10-frame, 12-frame little snatches all of the photographs taken of the bridge crash that day." "And there are hundreds of them." "And there were literally two units." "A photographer who was just responsible for Harald's photographs and there was a photographer who was just responsible for the Courier side of the bridge." "So if you're looking at the family it was shot by Baldur and if you're looking at Harald's point of view from the family's side of the bridge, it was shot by Anders." "And it's" " I mean" "It was-- The still photos in this movie were its own schedule, its own crew." "It was a massive undertaking." "Sorry." "Please?" " Are you finished?" " I need to know where all factories offices and projects were from 1949 to 1966." " You already have everything." " No, I don't." "I love this woman." "I love the notion that the real thing that's actually subjugating Lisbeth is bureaucracy and not" "It's not just misogyny, it's bureaucracy." "We shot coverage of every angle of that." "Bringing the books down, putting them on the cart but in the end, it just played great in one." "Thank you for seeing me." "Come in." " Tea?" " Please." "Per Myrberg plays Harald and in the script he's supposed to be this very frightening figure." "And I love the idea of him as sort of Yoda." "He's like...." "I think the thing that makes him scary is not his physical presence or how sort of diabolical his lair is but he's making no excuses for his past." "He's completely comfortable with his anti-Semitism and he's not about to hide it." "I thought that Steve Zaillian's approach to that was very, very adult and interesting." ""Blom" or "Bloom"?" "Blomkvist." "I'm not a recluse." "I don't close my door to anybody." "Thank you." "They just don't visit." "Well perhaps if you redecorated." "Hide the past like they do?" "Under a thin, shiny veneer?" "Like an IKEA table?" "I am the most honest of all of them." " The family?" " Sweden." "I mean, I have nothing against IKEA, so" "I keep being asked, "Why do you have--?" "What's your personal attack on Ikea?" "Why do you keep doing this?"" "But it was the idea of the veneer of something and then when he finally gets to say:" ""No, no." "I'm more honest than the rest."" ""Meaning the family?" "No, meaning Sweden."" "This is one of those percentage-points issues." "How much blur can there be on Martin's photograph?" "We would go back and re-composite the photos." "We would take blur from one photograph and put it over another photograph, just to find that place where it tells a story clearly and yet it still obscures the person so that the actor can actually look at it and say:" ""I can't tell who that is." "Can you tell me who that is?"" "Call Frode." "Leave the keys with the guard." "One thing that was important to the character is that Lisbeth would have her own kind of customized operating system." "That her computer is not gonna look like Blomkvist's computer." "Blomkvist's computer has digital color-coded Post-it notes on it." "He's operating OS X Lion." "And she's got her own weird custom-skinned interface, and" "Little things like that were very important to me that we get those ideas across." "So again, this is one of those things where" "How much do you have to underline something?" "We see Henrik, we see the shield we connect the shield to Lena Andersson." "Come on." "Shit!" "Going back to Dracula, I've never done the castle-on-the-hill shot before." "But it's fun to reference every once in a while." "Most of this sequence was shot with a Technodolly which is a motion-controlled camera that you kind of rough into position and then you can move all these different axes." "The whole idea was that this would be a very quick way to do these elaborate moves." "And, of course, the quick part didn't really work out." "I love this elevator." "It really was in this storage facility where they had all the records for the city of Stockholm." "I love, you know, these doors from, like, Terminator 2 that would close every time you got in the elevator." "It was terrifying." "This was a sequence that I" "From the beginning, when Ren Klyce and I and Trent Reznor and Atticus Ross" "When we started talking about the scene where Mikael goes up to Martin's house and he walks in the back door, the glass house I said, "There's not gonna be music."" "Because music will tell us that we're in a movie." "It's all sound effects, and it's as much silence as we could possibly do." "And I really wanted to get the idea of:" "There's outside where you feel the wind and there's inside where it's sealed and you have the air-conditioning." "So that when he leaves the door open just a crack we would get this whistling later on when Martin returns." "And again, it's a testament to Daniel because the notion of walking into a house in the night and immediately going over to pick up a knife...." "You have to suspend a certain kind of disbelief and he makes it work." "Ren does this thing where when we cut to the house and Martin arrives we see the cottage, we hear this horn and then when we cut to Martin's house we hear the horn that much further away, a half mile further away." "And I love the vertical" " The kind of cutting from inside to outside and you're aware of...." "You know, one is out in nature and the other one is in this mausoleum." "There's a moment we had planned for this where he walks to the gun case and looks and the camera's gonna track left as he walked out and see that there was one gun that was missing from the gun rack." "But as I was watching it on the monitor, I thought:" ""Who gives a shit?"" "When we shot this scene, Rooney had a real Kex bar which is a very abundant Craft Service candy." "So we had a bunch of Kex bars, and she had all of these little cups of espresso." "We probably shot 16 takes, and by the end of it" "She weighs like 83 pounds so she'd eaten like nine Kex bars and drunk 18 shots of espresso, so she...." "She was literally shaking." "Again, once he opens the back door, the pressure is released and the whistling stops, which is what makes Martin go to the door." "He sees that the door's been left open." "It doesn't amount to anything because we know who the bad guy is." "It's just about how you stretch the moment." "Mikael." "I love this moment where Daniel" "He stands up and he's wiping off his hands as he's just fallen in the mud." "He doesn't know what to say." "He's so obviously caught." "And when Stellan walks forward, he knows the gig is up." "They both know what they both know." "And now it's a question of whether or not politeness will rule the day." "And I love the drama of that, which is he can't let him know what he thinks is going on." "So he has to follow him back into the house." "Because he has to pretend like there's nothing to it." "It's sadism that's perpetrated on the audience that can actually be fun." "Again, you get an idea of how many photographs it took to make up the archives of photographs to tell the story of Harriet's disappearance." "Shut the door." "It's quite windy." " What happened to you?" " When?" "Just now." "I fell in the dark." "You don't have a flashlight?" "I'll get you one." "I just wasn't being careful, that's all." "I love in the blocking the way that they sort of stay opposite one another." "He keeps his distance from Martin, and Martin tries to close the gap." "And when they're finally next to each other it's almost as if Daniel has sort of talked himself out of the idea that Martin's a problem." "There's another little moment where Stellan takes a look at the knife rack and sees that one of the knives is gone." "And only in a house like this could you ever even remotely believe somebody would know that their knife was missing." " So, what did he say?" " What?" "You said Henrik asked you to ask me something." " Well, I just did." " What?" " How's the investigation?" " Oh, yeah." "That was his question." "And I love the fact that Daniel's been walking past this rifle out in the middle of the family room, near the kitchen." "He's walked past it three times and he hasn't seen it." "And it's been there the entire time." " I can see you're anxious." " No." "No, I mean to get home after the walk." "Yeah, well, I suppose I am." "To have dinner with your girlfriend." "Assistant." "Daniel makes the notion of an assistant different from one scene to the next." "In the first scene where Stellan asks him if that's his girlfriend and he says it's his assistant, it's more of a" "He downgrades her." "Here he downgrades her for a different reason." "He doesn't want her to be involved." "And he does it in such a nice-- There's such a nice clarity to it." "To the right." "And here's the first time that sort of music enters into the equation." "It starts to foreshadow what you're about to see." "It becomes sinister." "Mikael, it did work." "You're here." "This shot was one of the last shots that we did in Sweden." "We were shooting the drive up to the Vanger archives during the day, and then when the sun went down we just needed two setups." "We needed Lisbeth walking to her motorcycle and then we needed the motorcycle taking off and driving away." "And we finished shooting the daylight shot and the sun set." "We figured we would have four or five hours." "This was in June." "The sun went down at 1 1:58 p.m." "And it rose again at 1:58 a.m." "So we were really running." "So the gassing...." "This was not meant to be a particularly Nazi solution to getting control of Blomkvist." "But we went to the Special Effects Department and we asked them what can he possibly do?" "He can't hit him on the back of the head." "That's just too lame." "Daniel Craig offered the idea of, like, maybe a" "A dart gun, like a blowgun that he would have learned from indigenous peoples of a faraway land, how to use." "And we nixed that idea." "And then somebody brought up the idea of" "Not gas but carbon monoxide that we could" "It could be released quickly and cause unconsciousness." "And so we looked at what that would look like." "It's how animals are dealt with in extreme cases." "And we looked at what that technology would look like in a room like this, and it was decided that this was probably the most immediate way of getting control of Blomkvist." " Of?" " You." "In an Uppsala prep school blazer." "What does that prove?" "You lied about where you were that day." " Did I?" " Or rather, when." "So what?" "People lie all the time." "It also says that you and Lena Andersson were schoolmates." "Lena...." "That was a long time ago." "I like the fact that Stellan is still curious about:" ""Tell me what it is, tell me what it-- What's the mistake that I made?"" "And he actually seems genuinely interested in the answers." "How much does the girl know?" "I hope it's as much as you do." "That'll make it fun." "Where is she?" "Stockholm." "We used to have a scene-- When we first assembled we had shot a scene where Stellan gets a call from the archives manager." "It was interesting, when we had it, it seemed overly pedantic." "It seemed like we were just explaining too much." "And when we took it out, it was nice how he got to reveal to Blomkvist something that even we didn't know but obviously made sense because it's something that Salander forced." "Hey, hey." "So "hey, hey" was something that we picked up in Sweden as something that everybody on the crew said and we had to work it into the text." "We were gonna get shirts printed up that said "hey, hey."" "So, what do you wanna know?" "You're a journalist, ask me questions." "What do I do with the girls?" "I liked the idea of Martin as sort of a half-assed Dick Cavett." "I thought it was kind of a funny notion that he's so narcissistic that" "I mean, he has all these tapes from all these years of all this horrendous shit that he's done." "And I like the idea that he finally has somebody in his basement who's an interviewer." "And he wants to try his hand at it." "Stellan came up with this thing when he starts talking about his father, he starts itching." "His father gives him eczema." "This takes discipline." "It's a science of a thousand details." "The planning, the execution." "It's the cleanup." "I guess I don't have to tell you but you're going to create quite a mess here." "Let me ask you something." "Why don't people trust their instincts?" "One of the things that I liked was the idea of Martin as sort of an audiophile." "And so I wanted him to have a reel-to-reel tape recorder player." "And when we started sort of riffing on that idea of the audiophile these tapes that he makes are very private." "And he probably doesn't make more than three or four of them a year at the most." "So he's bought in bulk and he has a camera that he's comfortable with and a system he's comfortable with." "And it doesn't matter that it's from 1985." "He has his way of working and he's comfortable with it." "It's never occurred to him that it's time to switch over to rewriteable DVD." "getting hard." "But, you know, we're not that different, you and I. We both have urges." "Satisfying mine requires more towels." "Enya." "We were actually rewriting this scene." "We did a rehearsal read-through with Steve Zaillian and Stellan and Daniel in London before we came to L.A. to shoot." "And we were talking about the things" ""Here are the things Martin should talk about." "Here are the things that he shouldn't talk about."" "And we were playing around with these ideas." "There was a moment where we cut to Salander, and when we came back I liked the idea of Martin having music that calmed him." "Because he was about to do some really terrible stuff." "And he has his music." "He has the music that he likes to drive to." "He has the music that he likes to slaughter to." "We started to talk about what should that be when he hits the play button and the reel-to-reel recorder spins." "What comes out?" "And Daniel Craig, to give credit where credit's due immediately sat up in his chair and said, "Orinoco Flow."" "We didn't know if he'd had a stroke." "No one knew what it meant." "No one knew what-- What is "Orinoco Flow"?" "And he started laughing." "And he ran, he got his iPod out, and he played what I always thought was called "Sail Away" by Enya." "And we could not stop laughing." "We just thought it was the greatest thing for a serial murderer to have this music as his music to kill by." "Now, it's originally written that he had this gigantic roll of Saran Wrap." "We spent a good two hours one morning trying to figure out how to physically engineer this." "And finally we just decided, "Go get some plastic bags."" "And the Props Department ran down to" "It was Ralphs or something." "We were in Los Angeles on the Paramount lot and they ran and got all of these plastic bags that were for produce." "We had dozens of them and we almost ran out of plastic bags." "Stellan came up with this idea of sort of finding the edge of his rib cage." "You know, he has all these knives, different kinds of knives and bolt cutters and saws and things in his" "And yet he needs to select exactly the implement and then" "And I do think that there's something about what you've seen before in the movie that might lead you to believe that we're gonna see Daniel Craig get gutted." " May I kill him?" " Yeah." "Now, there's much debate about whether or not it was a wise idea to have Lisbeth ask, "May I kill him?"" "And I wrote this line." "I like this idea." "And the idea for me was not that she's looking for permission as much as" "I always felt that the drama between the two characters, the friction feels that he understands exactly the evils that men do." "And he can speak about it from a safe proximity." "He's able to say, "No, no, I get it." "I get what you've been through."" "And Lisbeth, who has suffered at the hands of a sadist is able to, in this moment, sort of say, "Now how do you feel?"" "And so when she comes to ask him, "May I kill him?" it's not looking for permission." "She's kind of saying, "Are you with me now on this?"" "But I didn't want her to be Dirty Harriet." "That seemed too obvious." "I saw it as being more of a:" ""Will you hate me if I deal with this in a way that I feel is correct?"" "There are many interpretations of this line and a lot of people were taken aback." "I felt it was a strong notion that" "She's not looking for permission as much as it is that she's looking for understanding, and she turns to him in that moment to say, "Are you gonna hate me if I do what I feel is just here?"" "And he says, "Absolutely not."" "There used to be a scene where Frode comes over and we acknowledge how many tapes have been found in Martin's basement how many books of photographs of women that he's slaughtered in his little basement abattoir." "And we took that out to go right from the burnt, charred Range Rover to this one little moment where we have some kind of understanding of what has complicated her life." "I love the idea of a person revealing something and in the moment of revealing something about themselves makes themselves more enigmatic." "And, to me, this is the moment where they truly come together." "It's not where they fornicate." "It's where he wakes up and she's watching him sleep." "He says, "Tell me something about you, because you're fascinating me."" "And she tells him something and it only ends up making him realize how little he knows about her." "Martin's basement among his souvenirs." "No, Martin didn't deny killing anyone." "But when I mentioned Harriet, he was confused." "He got angry at me because I couldn't tell him what had happened to her." "He didn't kill her." "His father didn't do it." "He was dead the year before." "What if she did somehow manage to get away?" "I mean, if she is still alive then there's only one person in this family who'd know where she is." "I love dissolving through and seeing Tony asleep." "I don't know if everybody who's seen the movie realizes that that's Plague." "But I like the idea that Tony is snoring away on the plane." "Fuck me." "Fuck me." "Fuck me." "I like a scene where people think that they're doing the smartest possible thing and the end of it is that much more frustrating." "I think both Daniel and Joely in this scene are fantastic." "I love how she is finally fed up with his nonsense." "Hi." "Look, I'm sorry to bother you." "What do you want?" " Has no one called you?" " About?" "Your cousin Martin." " What about him?" " He died in a car accident last Thursday." "There's going to be a memorial in Hedestad." "I'm not interested in any memorial." " Well, I understand." " What do you understand?" "We shot this at 2:00 in the morning, maybe 3:00 in the morning and Joely was well and truly fed up with me but the last take is the take that's in the movie, and she's so good in it." "How'd it go?" "Okay, I think." "She's on." "And she's shopping." "There was a scene that we cut that took place in a bar where we meet Trinity for the first time." "We ended up cutting it just for length." "But it was a very funny scene." "But it didn't really move the narrative forward except to be amusing." "I was so sure she was gonna lead us to her." "Put your hand back in my shirt." "The "Put your hand back in my shirt" was something that I wanted from Steve Zaillian." "I really liked this idea that they're getting comfortable with one another and that she really just likes his touch and that's what makes her feel good and so she asks for it." "And there's a change." "You get a sense of the change." "And the sex scene that follows that I always thought was funny." "I know that it's not a new gag to have somebody ask somebody else to be quiet until they've been brought to orgasm, but again it goes to the notion they've been brought to orgasm, but again it goes to the notion of Blomkvist has been...." "Well, we could, absolutely." "What is it now?" "Before he died, your brother hung me from a hook Harriet." "So you sent the flowers." "Yes, I did." "We found in the Swedish Family Registry that Anita was married." " But the family never knew, did they?" " No." "The flashbacks that we set up at the beginning of the movie that kind of were from Henrik's point of view or from Henrik's remembrance of that day it was a warm place, it was this idyllic setting and these blond-haired, blue-eyed beautiful children and this family gathering." "And yet in this flashback we're gonna see her escape from the island and we're gonna see it in this drab, cold, drizzly" "The reality of it." "What it was really like to be 16 and leaving everything behind to climb into the trunk of a car and hopefully never see these people again." "I was 14 the first time he raped me." "Martin." "No, my father." "Martin only started after he had died." " Well, why didn't you tell somebody?" " I did." "Joely did an audition on tape and I think it was in New York." "Maybe it was in London." "I think it was in New York." "And she sent it and it was this scene and it was so beautiful." "There's a real dignity of the survivor." "There are people who were very upset with the idea that we didn't go all the way to Australia to find Harriet." "But I like the idea of Harriet hiding in plain sight." "I liked its parallels with Lisbeth." "Lisbeth has learned to hide in plain sight in her way by being sort of invisible detritus." "And Harriet had to become Anita." "I like the parallels of those two stories." "I got out of the house." "I went down to the dock." "He came staggering after me." "I could never fight him off in a small space but out in the open I was strong enough to deal with an old drunk." "When it was over I looked up and Martin was standing there, staring at me." "And all I'd accomplished was substitute one for another." "A couple of months later, Henrik sent Martin to school in Uppsala." "And I thought that maybe, just maybe, the nightmare was finally over." "And then I saw him the day of the parade across the street." "And I knew that it would never be over." "So how did you escape?" "Anita." "She...." "She insisted that I leave everything behind." "The change with Harriet taking on Anita's identity was made before I saw the script." "But I thought it was smart and there was no reason for the shoe leather." "And it was the only way to create enough room to be able to finish off the Wennerström story." "And I appreciated that." "I'd grown up with that bridge as my link to home but all I could think is if I could just get away from them just get past the police then I might be safe." "And I was." "There were a lot of birds in this park." "And they were especially loud and one of the reasons that we had to loop the entire scene." "There's no way to shoot a scene in metropolitan London and not have to loop it these days." " How are you feeling?" " I'm fine." "Thank you, Anna." "I made you a promise whether you found anything or not." "So, what do you have to tell me?" "I have this wonderful Christopher Plummer as Henrik and he was gonna be wheeled into this foyer and he was gonna see this woman that he hasn't seen in 40 years." "And both actors, you know, were very ready to wring out whatever emotion was going to be in this being reunited." "And I said to Joely before we started shooting, I said, "Now build up to it, you know, I mean, as much as you can." "I mean, A, we're gonna have to do your makeup between every take and I also don't want you to get bored with it." "I'll shoot a wide shot at the end of the hallway." "I'm gonna shoot a medium shot over Lisbeth and Mikael." "I'm gonna shoot a POV from Frode." "There's a lot of coverage on this, so I don't want you to burn it all up."" "So the first take, she just melted." "And I knew I wasn't gonna get that many takes." "So I went to her and I said:" ""Okay, here's what I want you to keep in mind which is, when you see him, he looks terrible." "Part of the reason he looks terrible and part of the reason he's sick is because of you." "And because of the pressed flowers that you send him." "And all of the angst that he's suffered because you didn't tell him where you went." "And so I want you to take that in."" "And that take is in the movie." "She turns to see him and she looks at him like:" ""It can't be you." "Can it possibly be you?"" "And it was a lovely, like, one momentary gear shift before she gets into the waterworks." "It was fake." "Which he easily proved in court." "You were emphatic that the way I looked into your life was illegal and immoral." "Would you feel the same about Wennerström?" " Go on." " I did some work on my own on him before you hired me." "I haven't looked at it all because you and Harriet-fucking-Vanger have kept me busy." "But I may have something." "You may have something?" "Maybe." "They launder money from arms and drug sales and crime syndicates in Russia." "So there's no real reason to care about Wennerström this many hours later." "But, again, I think it completes for Lisbeth, to make a difference in Blomkvist's life, especially as it relates to his fall from grace that we saw in the first eight minutes of the movie." "To me, it was an important part of coaxing him back out into the world." "He's run away to hide." "And I love the fact that she does this for him." "Even if it is act five." "Financial journalist Mikael Blomkvist" "One of the great things about Rooney's characterization of Lisbeth I love the fact that she's" "You could start a scene, turn to Rooney and say:" ""She should be picking her nose," and she would go, "Okay."" ""You'd be playing with that." "You'd be playing with that thing." "Maybe it's rusty or, I don't know, maybe it's crusty."" "What happens now?" "Well, he'll say it's a personal vendetta, which won't wash." "The police will investigate, FI will investigate." "It'll go to court." "Maybe he'll go to prison." "You think?" "Probably not." "These guys never do." "This scene originally did the job that the scene in the bedroom where he brings the magazine in and says, "Now the shit hits the fan."" "Originally, there was only this scene and we shot that little bridge and put it before this." "But there's this wonderful moment where she tells him:" ""I've been through your books, I know how much money you have." "I need to borrow some money." He thinks for a second." "And then he says, "Okay."" "Daniel really looks like the first person who's ever said to her:" ""I totally trust you 1000 percent, whatever it is you need."" "I felt that that was extremely important to the notion of coaxing her out of her shell." "from this so-called journalist are as ridiculous as they are untrue." "I'll be seeing Mr. Blomkvist in court again, and I'm looking forward to it." "What about his documentation?" "Fabricated." "All of it." "The Securities Fraud Office isn't quite as certain as Mr. Wennerström of that." "If a fraction of what Mr. Blomkvist alleges proves to be true not only will there be a securities investigation but an organized-crime inquiry as well." "Mr. Blomkvist names no sources." "And we can't force him to." "And now we get into something that's ostensibly a montage, you know, a music video but I love Rooney's performance as Irene." "I love the idea that she's made herself up to sort of look like Robin Wright in a slightly more drag-queeny way." " Okay." "Thank you." " Thank you." "It is not that easy to go from country to country with a fake passport just so everyone knows." "Extremely complicated procedure." "May I have your passport, please?" "By the time we got to shooting this, we had finished our first kind of bout of location photography in Sweden." "We hadn't shot Stockholm, but we had shot all the sort of outlying areas, all the Vanger manor stuff." "And we went off to Zurich to shoot, and by the time we got to doing this Rooney who, you know, is completely comfortable in, like, print dresses and really feminine clothing she had forsaken it all." "And by the time we got her dressed as Irene and put her in these situations, she was so" "She was crawling out of her skin, she was so uncomfortable with the idea of playing this blond bimbo." "Thank you." "I have accounts at Bank of Kroenenfeld, Cayman Islands." "I'd like to transfer them and convert to bonds." " Naturally, you have the clearing codes." " Naturally." "I love this guy, he's like the Germanic version of Mike Ovitz." " This will take some time." " You will receive 4 percent commission." " I will." " Then it won't be a waste of it." "A Swedish tourist vacationing here in Barbados says he knows where fugitive financier Hans-Erik Wennerström is:" "Here, in this Caribbean island's capital, Bridgetown." "Police released this photo and believe it is the disgraced billionaire." "This is the natural beauty of Zurich." "It's a tremendously photogenic city." "It's very expensive and it's hard to work in, but it is stunning." "How many of these would you like to convert for deposit?" "All 50, into five accounts." "This is a little moment that I think is in the script, but it was a" "It started with a conversation, and we wanted to give Salander as many of those little kind of Perry Mason moments as possible." "You know, she's going to be leaving that coffee cup behind so she's definitely not leaving a lip print." "The wig continuity in this sequence leaves a little bit to be desired." "The bangs tend to recede depending on what country she's in." "And again, here's her only other sort of look of complacency or even the tiniest bit of a smile." "Originally, where she returns home and she burns her passport there was a shot of Bjurman across the street." "Yorick was watching and it was meant to sort of remind us that she still had adversaries out there." "But it made the audience feel like he had witnessed everything that she had just done." "article appeared on newsstands, began emptying accounts at Bank of Kroenenfeld in the Cayman Islands." "We had a point of view in there of Salander waiting on the sidewalk." "And when Blomkvist goes over we cut to it." "But it just seemed so ham-fisted." "I like that he sees something that draws him outside." "And then we find out what it is." "And then we see them together and we're made aware of Erika Berger's noticing that he's gone." "No, I quit." "It was a good investment?" "It was okay." "I think this scene is very beautiful." "I love the fact that she has kind of come into her own." "We had a long discussion, you know." "Daniel asked me, "Am I lying to her?" "Am I lying when I tell her I'm gonna be spending time with my daughter?"" "And I don't think so." "I think he and Erika are gonna go do something with Pernilla and so he's answering honestly." "And to me, that was something that was kind of beautiful about the fact that he makes no bones about who he is." "He's not covering anything up." "And it's not that he's omitting anything." "He's answering the question as simply as he can." "It's not that he's returned to Erika it's that he's always gonna return to Erika." "Never showing up with good news, only problems." "I have good news now." "I made a friend." "I mean, one that you'd approve of." "I'm happy." "I love the idea that we don't have to see her on camera saying, "I'm happy."" "That that can be one little step for a little pawn." "in what police are calling a classic gangland execution." "The investigation into Wennerström's ties to crime organizations worldwide will now turn into speculation." "Which of them caught up with him before Swedish authorities could?" "Wennerström spent the last days of his flamboyant life...." "One of the things we discussed when shooting the cafe scene is how much culpability does Blomkvist feel?" "And what does it mean for him to be responsible in some way, for the death of another human being?" "And I think that he's torn in that moment." "He turns away, and he's sort of thinking:" ""Wow, does this mean there's mobsters looking for me?" "Or the fact that I got him back and yet I don't know that I feel that great about it."" "This was a neighborhood in Stockholm right above Slussen that was so photogenic." "This building is actually across the street about 25 feet from the building that Larsson wrote about in the novel." "The actual address that he gives is right across the street." "And the building was a really beautiful building." "It's kind of a famous apartment building." "And we went, we saw it and we were like, "That's amazing." "We should shoot here."" "And the next week scaffolding went up, and they painted it bright orange." "And I said:" ""I really like the castle across the street that looks like the Dakota building." "Let's shoot there."" "Single most dangerous stunt in the entire movie." "There's nothing like wetting down cobblestones then turning to a stunt coordinator and say:" ""This motorcycle has to take off as quickly as possible and go straight downhill."" "What I liked about the story was regardless of what happens with the Vangers and what happens in the locked-door mystery it was really a tale about how a 20-something girl and a 40-something man help each other out of hiding." "And that, to me, was the thing that we needed to support." "And I felt that that was something that I hadn't seen." "I hadn't seen people of this age group or these kinds of socioeconomic, intellectual and emotional differences impact each other and find a way to sort of fit together." "And that, to me, was always the thing that was strongest about Larsson." "I feel like all the books are sort of talking about how men and women work together." "How they partner." "And they partner in very different ways." "They partner sexually, they partner professionally they partner as friends, they partner as helpmates and people to go through difficult times together." "And that, I think, is the thing that if there's a legacy that this book has is it talks about that in a very modern and interesting way."