"Years ago, I noticed that the Universal logo's light... starts from Taiwan and ends on America." "Anyway, I'm Ang Lee, the director of the Hulk." "This is the Marvel logo that we created green for the Hulk." "Originally, I thought I would do the Earth from Universal... but then we could not flip the order contractually." "So we did it with Marvel, and I thought of the drop of water... that stirred up the big bang of the universe." "From there, we transitioned... from magna look to micro look." "To me, Hulk being big..." "I wanted to do something in a micro kind of fashion... to compare big and small." "So that's one of the ideas I had... and I put that in the beginning of the movie." "Ijammed a lot of information in this." "I shot quite a bit for the prelude of the movie, the flashback." "Then it becomes too much information, too many scenes." "We always had to face an issue of when do we show the Hulk.:" "the first "Hulk out. "" "This is the sequence that gives you the basic impression... about what David Banner did years ago." "He started a line of genetic improvements... and later on we find out the son is continuing... almost by destiny, the same type of work with different methods." "Actually we're a little ahead of time." "It didn't happen until the '80s... or at the earliest the late '70s." "This is the '60s." "We stretched the fact a little bit." "I think all humankind is different in our histories." "It has that myth of... evolution somehow taking a wrong turn." "We live in an upside-down world." "Buddhists believe that life is a reflection." "Biblically, we lost the Paradise... and we live in a troublesome world." "But we try to imagine and work out in our head.:" "What did we do wrong?" "Why are we suffering?" "I think all races have their own stories." "I think, to David Banner...." "Maybe he tried to trace back to the originality... of when cells come to have feelings." "So those are the objects, I thought, were the beginning... of animals, of neurons." "There's simply no way to shield against every weaponised agent." "But I can make super-immune systems... by strengthening the human cellular response." "Banner, I know where you're going." "But manipulating the immune system is dangerous and stupid." "The President's science advisors made it absolutely clear." "No human subjects." "The credits are three-and-a-half minutes, I believe." "We get an impression of what this mad scientist is doing." "And then this prelude." "At least, that's how I talked to the composer." "I'd like to think that this whole almost 10 minutes... can be like an overture." "I would have liked to see the movie as operatic." "Like an opera." "In fact, the first time I put together most of the Hulk shots... it looked like a rhapsody, rather than an opera, to me." "Anyway, they delivered the larger-than-life... grand-volume cutting styles.:" "flashback scenes put together... in a chronological order, but larger than life." "A Frankenstein kind of horror film." "Images collaged together." "That was the intention." "The first section...." "The first credits and this section... are like an overture to the opera." "Before we see the grown-up Bruce Banner... it's nine or ten minutes." "I don't remember." "Lichen shots." "I think it's important to me... that the movie has a dream, if not nightmare, quality... that of a horror film, but also beautiful to look at." "You don't scare me." "That's a delicious eyeball." "You're big and green and scary." "I'll run away." "For the interior looks... such as that neuron-travelling shot... we tried to be as realistic as possible." "Then we found it's impossible." "Nobody's seen it." "So we decided to go more abstract, more symbolical... in terms of the looks... to derive from reality." "Give an impression." "It's better to leave it to the audience's imagination... than to literally show that, which always looks computerly." "I think we've seen a lot of movies do that... and we decided we're not going down that way." "So a lot of the internal look... is a purposefully designey look." "We took out some of the details." "That's Bruce." "He's like that." "He's just so bottled up." "The samples we found in your lab, they were human blood." "You've ignored protocol." "You had no right snooping around in my lab." "That's my business." "Wrong, Banner." "We asked the actors to go for real... on this very expensive set." "I don't know if this is clear to the audience." "We tried to make it as clear as possible." "It's a self-destructive cleansing of the whole base." "He set off the bomb, but he set off the alarm." "So the gamma bomb will cleanse the entire base." "Everybody has to evacuate." "I hope we made it clear." "People, by hearing it once from the announcer, will get the idea." "For this scene, ljust went on and on... shooting the kid under the desk looking at the door." "The crew thought I was crazy, because in the script it's one line." "To make this image that's implanted in him... as this unresolved nightmare that keeps occurring...." "I always thought it's important that..." "Bruce Banner's dream is Hulk's reality." "You have to go to dream and subconscious." "I think the Hulk is a representation... of our inner aggression, the survival instincts... that are animal-like." "Without the aggression, we wouldn't be surviving today." "But it's so ugly, monstrous, and illogical... that we have to cover it up with our consciousness... with logic, and ways and means of dealing with each other." "That's how we like to see ourselves, and for other people to see us." "We're civilised." "So, to get into the Hulk..." "I have to go through those illogical but familiar feelings... such as dreams." "It's kind of Freudian... but I don't want to do a cheap take on a Freudian detective story." "Therefore I have to create visually dreamlike elements... from Bruce Banner's dream or flashback... that eventually reflect on his working environment, tabletop, landscape." "Something from how he remembers... his association with his mum when he was a baby." "Eventually, those environments will come to life... in the southwest American landscapes that become Hulk's reality." "So I was very much into it and was insanely collecting images." "Soon to be a great scientist." "I guess." "I mean, who knows?" "I do." "There's something inside you so special." "Some kind of greatness, I'm sure." "Someday you're gonna... share it with the whole world." "I overshot a lot of the scenes and pictures." "Just those landscapes...." "Top-shot helicopters." "Hundreds of them." "The helicopter shots alone... are half the footage we shot for Pushing Hands, my first movie." "That's how much it took." "Berkeley Nuclear Biotechnology Institute" "Good old Lou and Stan." "Good morning, Dr. Krenzler." "Stan improvised his lines." "Very funny." "So timely." "Ijust told him to talk." "Come out of that door and keep talking." "He's a very funny man, a nice man." "...seeing you in that styling headwear...." "You implying something about my helmet?" "You look like a massive nerd, even around other scientists." "Can I just ask?" "Were you wearing the helmet while she dumped you?" "You see this a lot in movies." "Crack ajoke about something dorky, so people don't have to say it's dorky." "I hate them." "I just got here." "Who do we hate?" "The review board." "We have to make a presentation on Tuesday." "And you're gonna make it with me." "You think I should?" "Yeah, you're great with that stuff." "This is really a franchised movie from Marvel Comics." "That means I don't have to tailor to specific movie stars." "And to a studio, it's either the five top movie stars... or somebody fresh to bring in new energy, new excitement to the audience." "So, for this movie, I'd like to go with a fresh face." "I thought Eric Bana has a combination... of the Hulk and Bruce Banner." "I think in the comic book nobody cares about Bruce Banner." "He's a wimp, a loser." "But by simplified drawings... you can project your own melancholy to him." "I thought Eric has that appeal... and he has a sympathetic appeal." "Also, I saw him in Chopper." "I knew he could be the Hulk." "He could be terrifying." "Ijust love his presence in the first scene." "I think he's rather cute, too." "He's really proper for the role." "That, by the way, is a prop frog, of course... that we're about to blow up." "We found out the real frog is not as lively as the fake one." "We can artificially make a fake frog breathe and look more lively." "Are we passing inspection?" "Safeties all going green." "Countdown started." "Nanomeds released." "Four seconds." "This is the first sequence... where we experimented on choreographing multi-images." "We used split screen and different timing of cuttings... and multi-image layout, choreographing images... intercut along with the traditional montage... and mise en scène." "The scientists experiment on the frog, and we experiment on the cutting." "This is a very interesting... cinematic language to explore... because you're not only..." "Iining up the pictures in time, but you're also cutting your design spaces... and choreographing different images." "I thought this was a very interesting cinematic tool." "You should also check the deleted scenes... right after the frog has exploded and we have a presentation... of a kind ofstandard Frankenstein... or science-fiction philosophical talk... that explained how nanomeds work in detail, scientifically." "Although it's pseudoscience I made up along with John Underkoffler... our science supervisor." "Also, Banner gave a passionate pitch on why...." "Almost as passionate, but more lovingly... than his father did with his own work." "I think the prop master, Jerry Moss, is really a genius." "I love watching people who are really good at what they do... doing theirjobs." "That's one of the best experiences I've had in making movies.:" "to watch those people at work." "That gammasphere is a copy of the real one... in the Berkeley University lab." "I don't know how he made that prop." "Some parts came from Italy." "Hejust knows where to find things and how to put them together... and make up pseudoscience equipment that looks so real... that even the scientists working couldn't tell the difference." "Sometimes people are really good at what they're doing." "Nice work, Betty." "I love this transition." "And I love the high contrast." "I think I've been using shots like this since The lce Storm." "Sort ofphotorealism-painting kind ofshots." "Cinema imitates art, art imitates cinema." "It also gives me excitement by that cold look." "This I add on top... with two angles, that looks very objective to me... to introduce this villain, coming up." "I think Josh is a really delightful villain." "The movie can really use him." "...you're the genetics expert." "My wife is a molecular biologist." "I've known her for 25 years." "So I know microbiology labs." "That and the kitchen." "I've heard interesting things about what you guys are doing." "Your little molecular machines have some incredible implications." "How'd you like to come work for Atheon... get paid 10 times as much as you are now... and own a piece of the patents?" "You just have to say the word." "Two words: the door." "I thought that was funny." "I don't know what people think." "I thought that was a very funny moment." "General?" "Come in." "Talbot wanted you to see this, sir." "It's about a lab Atheon is targeting to acquire and move to Desert Base." "We used quite a bit of... you may call it cheesy sound effects... to give that B-movie, pulpy art kind of energy." "It's almost like a flipping-page sound effect." "I think the movie, for me... is a combination of comic-book translation and a horror film." "You really want to keep that B-movie energy... regardless of the content of the movie." "Stylistically, to prepare the story... you need that kind of energy to allow this story to unfold." "So some effects, whether it's visually, like this one... the water you can see the slimy old man mopping...." "A couple of times when we used... this kind of watery transition to the father... we use that watery cheesy sound." "The crew thought I was a little crazy... shooting up here at the Sequoia Park." "Logistically, it's quite difficult." "But I think it was worth the trip and effort." "We built that house in the back." "It was actually a park." "We covered the road signs and some of the road and built that house." "I had to take it down after the shooting before the season comes up." "It starts... with a memory." "I think it's my first memory." "It's this image I have... from when I was maybe two years old." "I love this dream sequence." "The colour is treated." "I always felt that dreams might be very light in colour." "Tim came up with this solution from the Avid." "I quite liked it and went along with it." "It reminds me a lot of Route 66 kind ofpleasure." "American style of fun to me." "Do you think it's just a dream?" "No, I think it's something that happened... when I was living at a desert base with my father." "Anyhow, the dream goes on...." "People ask me why I torture this little girl and have her cry... so heartbrokenly." "Actually, she is torturing the whole crew, the 200 of us at her mercy." "It turns out she was crying because she didn't like ice cream." "That's a pretty intense moment, I think." "It reminds me of how the Hulk's putting her up on the car top... almost by the same proportion." "You know I'd never hurt you." "I think the paranoia elements... creeping in Bruce Banner... and gradually driving him insane... isjust as important, if not more so... than somebody poking his shoulder, pushing him around, and making him angry." "I think that's a different kind ofpower." "Fear, anger and anxiety." "They are very close feelings." "All those elements gradually creeping in... drive him insane and make him Hulk out." "So it's going more than somebody pushing him around." "It takes a little longer." "The music, obviously... is an imitation of Bernard Herrmann." "San Francisco." "Horror film." "It's always good to anchor around Hitchcock." "Homage, I suppose." "What he is looking for is inside of him." "This, by the way, is my wife's work." "All those images." "The funniest thing is the prettiest ones didn't work." "She was about to delete." "I said, "Don't throw them away." "Give it to me. "" "The one that did work didn't look as interesting." "I loved taking those shots from Lake Powell." "The helicopter operator choreographed this shooting... sometimes with the other helicopters." "He's another one who is a really inspiring worker." "To choreograph shots efficiently in midair, without bumping into each other... within minutes and seconds, is quite amazing to me." "And catch lights, movements, shadows, shapes, colours...." "An amazing working experience for me." "Genetic coding, collective human unconscious in history...." "That's Greek to me." "There's something larger, like destiny, that makes a call to the man... that he has to take actions, whether he likes it or not." "It's all about letters." "C, T, G, A..." "G." "Bruce." "My Bruce." "Morning." "Glenn dropped by." "What's he doing here?" "You know, Dr. Krenzler... we've never had the chance to get to know each other properly." "It's because I don't want to get to know you, properly or improperly." "So leave." "Hey, no worries." "You know, let me give you a little heads up." "There is a hair's breadth between friendly offer and hostile takeover." "I've done my homework." "The work you're doing here is dynamite." "Think:" "Gl's embedded with technology... that makes them instantly repairable on the battlefield... in our sole possession." "That's a hell of a business." "It's not what we're doing here." "We're doing the basic science for everyone." "You know, someday I'm gonna write a book and I'm gonna call it:" ""When Stupid ideals Happen to Smart Penniless Scientists."" "In the meantime, Bruce, you will be hearing from me." "This is one of my favourite transitional moments that Tim did." "Pretty cool, I think." "When The Hulk was created... the early issues were about the Cold War and nuclear tests." "It's a conscious decision that we wanted to make this a contemporary piece." "So, nanotechnology, genetic engineering... and the war atmosphere we're living in has to be updated." "I always thought anxiety is a big part of Hulking out." "Anger is mainly a catalyst to me." "I guess now I have something to talk with him about." "I think this circuit's kind of fried." "I don't know." "Maybe you want to come take a look at it." "Okay, I'll be right there." "The gamma's too high!" "Usually, in a scene like this in the past, you have to cut so fast... endlessly stretching the real time." "What happened in eight seconds... you'll stretch out to double or triple the reality." "With a split screen, I thought it's an honest way to show it... ifyour eyes can handle it... where you allow the audience to catch up with your devices." "I think the advantage is that you can actually play with real time... and still capture all sides of actions." "How's Harper?" "He's all right." "You saved him." "I don't think he's coming back to the lab for a while, though." "I don't understand how this is possible." "You should be dead." "They worked." "The nanomeds." "I feel great." "I feel like..." "I don't know, they must have fixed me." "They've killed everything else that they've come in contact with." "Are you sure the doctor checked" "The doctor gave me the full workup." "He wants to know where he can get what I'm taking." "I'm 100%." "In shooting this movie..." "I often put cameras on both sides of actors." "I keep changing lenses." "It drives them a little nuts." "I keep repeatedly doing the scenes... sometimes while a camera is moving around, create energies." "I shot multi-camera because I imagined Tim could use the continuity." "I'm sorry." "Really." "I am not gonna explode, okay?" "You should get some rest." "I'm fine, really." "I've never felt better." "I love this dream sequence." "I had great fun designing those effects along with the ILM art department." "This is actually a set we built." "Your name is not Krenzler." "It's Banner." "What?" "Fred Elmes, the cinematographer." "I asked him to design some nervous look... a weird combination ofsickly kind of lighting." "And he came up with these sodium lights from outside... combined with cold fluorescent, shimmering light from indoors." "I found the lighting rather interesting." "No, please." "Let me." "You're not well." "You've had a terrible accident." "You're wondering why you're still alive." "Nick is such a brilliant performer." "He'll take any line and make it work and give the line such conviction." "I think that's what you need to bring a comic book to life... and bring depth to it." "...if you let me." "If you'll... forgive me." "Look, mister..." "I'm sure I have nothing to forgive you for... so perhaps you should leave now." "I'll be fine." "You must know." "You may not want to believe it...." "Sometimes I put two cameras next to each other... on one side of the character... and keep the outside one moving." "From the last cut to this cut is a continuous moment... but there's ajump on camera." "...but the child of my mind, too." "No." "You're lying." "My parents died when I was a small boy." "No, that's not true." "That's what they wanted you to believe." "The experiments, the accident, all top-secret." "They put me away for 30 years." "30 years." "Away from you." "Away from our work." "Hulk-sized close-up." "Sometimes I thought the father is the real Hulk." "Everybody has the Hulk in them, and when they're facing Bruce Banner... they're all interested in the Hulk side." "...has been seeking all these years... it's been inside you." "Now we will understand it." "We will harness it." "Don't answer." "It's Miss Ross again." "There's something you need to know about her, Bruce... something troublesome." "Let me protect you from her." "No." "Get out." "Get out!" "I love those dogs." "We're gonna have to watch that temper of yours." "No fancy stuff." "The old man is a very down-to-earth scientist." "I loved designing those makeshift sets." "That actually is a small dog in a rat suit." "Another genius idea from Jerry Moss." "Sure you're okay?" "Yeah, just glad to be out of bed." "I got a message from my father." "He's coming to see me." "Your father?" "When?" "He lands in about an hour." "The funny thing is, he called me." "Hi, Dad." "Hello, Betty." "This location is at Treasure Island in the Bay Area." "I think they have the best view of the city of San Francisco." "Look, I'm gonna get right to it." "It's about Glenn, isn't it?" "He's been snooping around my lab." "Sam Elliott was hesitant to put on that moustache... because most of the soldiers and generals don't have moustaches." "Since the comic-book character General Ross has it... in a whisker kind of way..." "I insisted on having it, but made a moderation... that in the Army they would cut it straight near the lips, sort of met him midway." "How much do you actually know about him?" "I think the question is... what is it that you know about him?" "I'm not at liberty to" "Not at liberty to disclose it to me." "Right." "You know, I think I was hoping... that maybe this time you just honestly wanted to see me again." "You've got this all wrong, Betty." "Do I?" "Yes." "I do want to see you." "I really wish that I could believe you." "Personally, I really like the images of this sequence." "As I said, the first Hulk out was that ofparanoia... dealing more with fear than anger." "I think they're very close feelings... except fear is a lot deeper to me." "Everything your extraordinary mind... has been seeking all these years... it's been inside you." "I thought Danny Elfman's music for this section is rather special." "I think it's rather smart... and gives the section a lot of momentum... playing contrary to what you're seeing... which would be heavy-duty images... and horrendous mood." "And he went light... and really got the image pushing along." "I think that creates a lot of energy." "It's quite a daring try... and I very much approved that." "I thought he did it very smartly." "...it's like he suspects you of something." "I was so impatient, like always..." "I didn't hear him out." "I don't know." "I just think they're planning something with the lab." "While shooting this, I thought Eric's head was gonna explode." "It took so much out of him." "Four takes, I remember... until he almost collapsed at the end of four takes." "I thought I would introduce the Hulk from darkness... to bright sunlight at different sizes." "One way is to do a tribute to how the comic book developed." "In the beginning, he is more of a Frankenstein-ish... nocturnal, moody creature, such as this." "Only at night he would turn into the Hulk, and he was grey." "Grey doesn't work well in printing colour, so they changed it to green." "So, right now, he looks slightly towards grey." "It is at night." "You hardly see him." "That was the device I thought I would take procedure on." "The first two scenes of him were at night." "Then we brought him into daylight." "He is about nine feet tall." "His shape is like a toddler." "And Hulk wasjust born." "I like to stretch the ratio." "This is actually made of two camera shots next to each other." "We cropped the top and the bottom of it... and stretched the framing ratio." "This shot, I believe, is the biggest computer rendering... in ILM history." "I asked them to open up the gammasphere." "They were absolutely in terror." "But they still went for it." "You've got to see so much more details from those tubes." "I think the water on Hulk's skin is quite amazing here." "This Hulk look is quite amazing to me." "The Hulk actually has more detail than human actors... and interaction is extremely hard to do." "But he's green." "What's going on?" "I gotta talk to you." "Bruce, stay here." "I think this shot is as Frankenstein as it goes." "And the music, too." "My Bruce." "Ijust thought I'd put a snorkel mask there... and see if anybody noticed." "Their relationship is a bottled-up one." "It's unrequited love." "Unfulfilled." "Repressed." "I thought that's... one of the sexy moments." "The first question my wife asked me about the Hulk... is that he must be very hungry and thirsty after he de-Hulks." "I'm okay." "What happened to you last night?" "I had the most vivid dream." "It was like being born." "Coming up for air." "Light hitting my face." "Screaming." "I'm very fond ofshooting big close-ups on Eric... especially that look." "The potential-Hulk look." "When you throw the light at the right angle... he can look really intense without doing much." "Were you at the lab?" "But something...." "And there was that man." "The one with the dogs." "Jennifer, of course, is always great to look at." "He said he was my father." "I'll get it." "My father." "My, my." "So this is the young Bruce Banner." "Pretty wacky wall colours." "I never use that in my movies." "Thanks to the excuse of doing American comic books..." "I could exercise those eccentric colours... and I've begun to fall in love with them." "I'd rather stay here." "Now, Betty." "It's okay." "I'll be fine." "Keep him under observation." "I'll be back." "What?" "Your friend in there... there's a good chance he's caught up in some bad business." "Unfinished business." "I promise you, I'm going to get to the bottom of it." "You have my word I'll make sure he's cared for." "But as of right now, he's incommunicado." "For the next few days at least... you're going to stay away from here, for your own good." "And that's for the new guy on the night shift?" "Great." "Thank you." "I appreciate it." "Funky neighbourhood." "I was very fond ofshooting here." "Now, Oakland." "Some industrial area off the highway." "I'm sorry to show up at your house like this." "I came to ask you something...." "I love this set." "Messy." "I thought Nick and his surroundings... had a lot of black humour." "I really think his performance at times... is really funny." "But it's not laugh-out-loud kind of funny." "Bruce was at the lab last night." "He said that you were there, too, but he can't remember much about it." "I need to find out what happened." "So you want to know what's wrong with him." "So you can fix him." "Cure him." "Change him." "It's a creepy scene, and I thought Danny did a wonderfuljob in this scene." "Believe it or not, it was one of the most difficult scenes for him to compose." "You brought your father down upon his head." "How little you understand, Miss Ross." "And how dangerous your ignorance has become." "I'm sorry?" "Don't be sorry." "My son is...unique." "That's why you can't relate to him." "And because he is unique... the world will not tolerate his existence, will they?" "But you... you try, don't you?" "Very scary, creepy, and funny to me, the performance he did." "...can they?" "No." "Not with eyes like yours... watching expectantly, lovingly." "But I'm afraid we're both too late to help him." "There's nothing I can do for him, or for you." "Besides... he's made it clear he wants nothing to do with me." "His choice." "Now if you'll excuse me, Miss Ross, I have some work to do." "And don't worry about the dogs." "You'll be fine." "Just don't look them in the eyes." "Goodbye." "He gets released, and a month later your lab is destroyed." "What a coincidence." "So, you're just not gonna tell me where he is, are you?" "How many times must I tell you...." "This scene drove the actors crazy." "I shot it excessively... with techno cranes and cameras constantly on both sides... and different angles of actors." "Swapping lenses again and again." "Ijust wore them out." "At the end of day, Sam's voice was all hoarsed up." "When I saw what?" "You were right there!" "Who could forget a thing like that?" "What?" "Some more repressed memories." "Just tell me." "I'm sorry, son." "You're an even more screwed-up mess than I thought you'd be." "Till we get to the bottom of this... your lab has been declared a top-secret military site... and you won't get security clearance to get back into it... or any other lab that's doing anything more interesting than... trying to figure out the next generation of herbal hair gel." "Usually, an actor wants to give...." "Sometimes, I suspect, they enjoy being stressed out." "Sometimes they'll forget to perform, or something... and you might get something interesting from time to time." "Wearing them out is one way to strip down their acting skill... and get something raw." "You don't do that all the time, but there are scenes like this..." "like tough interrogation scenes... where you can use that technique, and they basically know what you're doing." "They will complain, but they will go along with it." "No, these actors never complained." "They'd give and give... until they probably couldn't take any more and I would still be shooting." "They'd know I was after something." "They could be anxious that they didn't give me what I wanted... or that they'd messed up something." "But they had no problem keeping giving." "And sometimes, because the voice is too hoarse, it's no good anymore." "They have to stop." "Hello?" "Bruce?" "So, they think they can just throw you away, as they did me." "What's wrong with me?" "What did you do to me?" "I had a visit today." "A very unwelcome visit." "I'm afraid my hand is being forced." "What did you do to me?" "You so much want to know, don't you?" "But no explanation will serve you half as well as experience." "In any case, I still don't quite understand it myself." "If they'd only let me work in peace." "But, of course, my betters would have none of that." "So you experimented on yourself, didn't you?" "And passed on to me, what?" "An alteration." "Genetic." "A deformity, I guess you could call it that." "But an amazing strength, too." "And now, finally unleashed, I can harvest it." "And this is a pretty traditional split screen... very popular in the '50s, in the Doris Day, Rock Hudson movies." "But inevitably we found that continuity was an issue." "You cannot possibly design every shot... knowing what is going to go after." "And sometimes you get a very different background." "Behind Bruce Banner, it's a maroon kind of red." "On the father's side, it's a sickly green-yellow colour tone." "When you put it together, I would try to match them as much as I could." "I usually had continuity issues... in terms of colour timing from shot to shot." "But with something like this, it's hard to control." "We wouldjust pray that it would match." "If not, other than balance them as much as you can... there's not that much you can do at this point." "It's very hard to pre-design them." "I learned this move from Crouching Tiger, where he grabs him and nails him down." "That movie really helped me in learning how to stage actions... and what does it take the camera to go along with it... on a smaller scale but very smart way." "I think it affected me, not only in staging actions... but also even, in some ways, choreographing multi-images." "Just the idea of choreography for cinema...." "I've learned a lot from those guys, which benefited this movie." "This is one of the first shots ILM started... and the last shot they finished." "An on-screen Hulk out." "The detail is quite amazing." "But by big and green, you know he's cgi." "You have to go along with the whole movie to believe him." "The work they did is quite amazing." "The amount of detail, the 3-D." "The lighting effects." "The muscle, bone, and clothes." "Textures." "This shot actually knocked out a stuntman." "I was very worried." "It happened so fast." "They yanked it too fast." "Fortunately, that's a fake sofa, not a real one." "The rippling water." "A little homage to Jurassic Park." "I decided to crack ajoke to Larry Franco, our producer... who, before this movie, just came off Jurassic Park Ill." "Looking at the Hulk is not that easy, actually." "Especially at closer range." "Dennis Muren, the director of the CGI work at ILM... came to the set and reminded us, looking at the Hulk... that because he's got a much bigger head...." "See how her eyes are moving around a little bit?" "From eyes to eyes." "She has to make those small movements... to make believe that she's looking at the same thing... that we're looking at, which is the Hulk... a realistic moving object... instead ofjust blankly looking at cardboard." "Those shots are actually quite difficult to do for the actors." "That their look has content and feelings, without looking at anything... without looking at the CGI character." "My eldest son drew that poodle." "The Hulk poodle." "These are the only visceral scenes in the movie, since those are monstrous dogs." "They're monsters." "It's okay to go a little far." "The Hulk fighting three dogs is among the most difficult things ILM does." "It involves lively things." "Humanised creatures." "It's probably the hardest thing to do." "And the dogs are three models." "Hulk is one model." "So four living objects making contact... is probably among the hardest things they've ever done." "This is my little son Mason's idea, this shot." "Demonstrating this shot, I hurt my finger on my left hand." "It's still hurting now." "I did manage to lose Hulk's pants for one shot." "A lot ofpeople ask me that, about the pants question." "Actually, in storyboard, this sequence...." "After his second Hulk out with Talbot... throughout this whole sequence fighting with the dogs... he was naked on the storyboard." "But it was too inconvenient to deal with that... in a PG-13 intended movie." "After a while, I felt like I was shooting Austin Powers." "Finally, I cancelled the idea." "Put pants on him, except in the last shot." "I guess when he landed on the poodle, he finally lost the pants." "It's freezing cold up at the Sequoia Park at night... and Eric was very brave." "He sent his dogs, didn't he?" "But I killed them." "I love the performance in this scene, in the car." "Good performance from Eric." "Oh, my God." "It must be the nanomeds." "It must be the gamma exposure." "But we've never seen any effect like this before." "No." "Deeper." "The gamma just unleashed what was already there." "Unleashed what?" "Me." "It." "It's okay." "What were those animals?" "My father sent them." "He is my father." "He wanted me to change." "He wanted me to change into that mindless hulk." "And why would he want that?" "Can you remember anything?" "Is there anything from when you were changed?" "It was like a dream." "About what?" "Rage." "Power." "And freedom." "Yeah, I guess those three things put together can be a fearful thing." "Hello." "Sir." "Dad?" "Betty, are you all right?" "I'm scared." "I need your help." "Where are you?" "How are you?" "Okay, I guess." "I think that somehow your anger is triggering the nanomeds." "How could it?" "We designed them to respond to physical damage." "Emotional damage can manifest physically." "Like what?" "Serious trauma." "Repressed memories." "Your father grilled me about something... that happened to me from early childhood... that I'm supposed to remember." "He did?" "It sounded bad... but I honestly don't remember." "The thing that worries me... is a physical wound is finite." "But with emotions, what's to say that it won't just go on and on... and start a chain reaction?" "You know what scares me the most?" "Is that when it happens... when it comes over me and I totally lose control..." "I like it." "It's okay, I've got you." "I'm sorry." "You'll be okay." "It's just to make you sleep." "Target down." "Target secure." "I'm gonna take you someplace safe, okay?" "This chopper soundsjust enormous." "Very expensive to random pan over." "I love that transition." "Originally I wanted a C-5, the biggest American military airplane." "We didn't get that." "And then we got a Skycrane, the biggest helicopter." "Transporting Hulk needs something big." "There's a Hebrew saying.:" ""The desert is where memory is buried. "" "This little town is a set we built in California... between LA and Las Vegas." "The overlook is Utah." "This is a facility that tests rockets in China Lake, California." "I was very glad I took this shot." "It's one of the most comic-book-like images." "This, of course, is our biggest set in Universal Studios, stage 12." "We used to call that the beer can." "I guess Tim and I went nuts on some split-screen stuff over this section." "Danny Elfman's music." "Attention on deck." "Carry on." "It took them three months to create this graphic here." "Endless effort." "Numerous amounts ofpeople and hours working into the movie." "You said I could trust you." "I'm your father." "You know what they say about studio control making Hollywood movies?" "To me, it's quite the opposite." "It's kind of an indulgence, making this movie." "Everybody tried to give." "We're hoping we had something unusual." "So that was the general working atmosphere." "I shot excessively and was able to use...." "Building big sets, using different film languages... putting shots together, weird lenses... building dream sets and not to mention the ILM work." "Actually, it gives you more freedom... because in a smaller movie you can't afford to experience that kind of freedom... in creating images." "Of course, three months before we had to deliver... the reality sinks in." "TV commercials, the merchandise shows in the market." "We all got nervous." "I was going to say "damned."" "Of course you were." "But I'm a scientist, and as a scientist..." "I believe we can figure this out and he can be helped." "I know you do." "Look, whether you know or care..." "I've got a lot of pride in what you've done." "But this is too big for you." "Look, I know the government thinks they have a weapon on their hands... otherwise, he'd be dead by now." "They can probe and prod all they want." "Meanwhile, let me try to help him." "Nobody knows him better than I do." "What did David Banner do to him?" "Cover left!" "Cover right!" "It was a lot of fun to work with military guys... and the military supervisor." "He's like the science supervisor." "Anything I could think of, I'd ask him.:" ""Do you think that can be for real?"" "They would say, "You could.... "" "They had to work it...." "Ijust love his experimental scientific approach." "I think his performance has a lot of humour in it." "We didn't want to call him Absorbing Man... cause that's a specific character in The Hulk... that is bald-headed and beast-like... with the iron chain and iron ball swinging around." "We don't want him to be that character." "So wejust simply called him "the father" in the script." "And he developed into that phenomenon." "He has a line later, saying.:" ""I can partake all essence of things. "" "So I started calling him Partaking Man as ajoke." "You can really appreciate actors' efforts to make believe." "I would describe what will happen, which nobody's seen... until almost a year later." "Then he has to make believe and make those efforts, like this one." "He reminds me of things like Picasso... painting watermelon clowns in pink." "Anything he made believe in, you would believe." "You see, the strength of my son's DNA...." "The way he stands up is very funny to me." "You see, I can partake with the essences of all things." "I'm gonna have to ask you to put your hands up, pal, okay?" "Nice and easy." "Do you really believe that I am separate from you?" "Where am I?" "You're home." "I love those dilapidated sets." "The art department did a tremendousjob." "I must have seen you or known you." "We were shooting at the ice-cream parlour when they changed this... from the look of 1960-1973 to the present day." "And they only had two days to make this look." "That's quite an incredible effort." "This shot is back in Utah." "This is a combination of a set in the back lot... and Utah, here." "This is my old house, isn't it?" "This is considered one of the best things Fred does with natural light... which is different in style from the rest of the film." "I really like how this is photographed." "We had absolutely no lights... and they shot the whole thing with Steadicam." "Not one light or even a reflecting board." "Nothing." "This is a big picture, so I got very excited about the way Fred shot this." "What is it?" "Nothing." "Really?" "Damn it." "Okay, Betty." "What do you want to know?" "What was in that room?" "What are you afraid that I'll see?" "See?" "There's nothing." "It's empty." "What do you mean I don't have access to him?" "NSA has decided to turn over study of the threat... to Atheon." "But you're head of the base." "I thought you were in charge." "I don't set policy." "And I still take orders." "I can't believe Talbot would go around me like this!" "There's a lot of powerful people who want in on this... and money to be made, lots of it." "Know the worst part about all this?" "When I had David Banner locked up and sent that kid away..." "I didn't give the boy a second thought." "He was just collateral damage." "He isn't anymore, is he?" "What can I do?" "You can go home now." "I'd tell you to go and say goodbye, but I've already been informed... that for now all further contact is out of the question." "Right." "Finally we found a way to make the curve a perfect match." "When we built the set, I sometimes thought about that." "Not that accurate, of course." "For example, Bruce Banner and Betty's lab when they blow up the frog." "That gammasphere room, along with the control room, all those black frames." "We were thinking about potential split screens... using those cut frames as if in a comic book." "I'll never let you." "I'm not sure you've got much of a choice." "Come on, Bruce, aren't you feeling a little angry?" "After all, you've only got me to play with... now that Betty's dumped you and gone back to Berkeley." "You're lying." "You know, for me, this is a win-win situation." "This is my idea of a hand-held scene." "The two hand-held cameras are put on sandbags... simulating hand-held, but it's not really." "Another scene you can maybe use it in... is when he gives the rage-power-freedom speech in the cabin." "That was also my idea of hand-held." "It's not really noticeable, this went back to the cabin scene." "You know, consciously, you may control it... but subconsciously, I bet that's another story." "I love this set." "It really gives you an eerie feeling." "It was originally from the storyboard artist." "I asked him to put Bruce Banner... in some eerie equipment with watery elements." "And he came up with a drawing, although in black and white... of this womb-like feeling." "My dear Miss Ross, welcome back." "There are two guards right outside." "You don't have to worry." "I'm not angry with you, not anymore." "I used a lot of William Morris type of wallpaper... in homage to the early illustration art... that I believe really had an effect on the look ofAmerican comic books." "...if you could persuade your father... as a man, as a father himself...." "And the ceramic cups, too." "...and before he puts me away forever... that he would let me see my son... for one last time." "Could you do that for me?" "It's out of my father's hands now." "I understand." "He's a puppet now." "I don't blame him." "You shouldn't." "You should blame yourself for what you've done to your son." "And what have I done to my son, Miss Ross?" "Nothing." "I tried to improve on the limits in myself." "Myself, not him." "Can you understand?" "To improve on nature." "My nature." "Knowledge of oneself." "It's the only path to the truth... that gives men the power to go beyond God's boundaries." "You know what's beyond your boundaries?" "This is his last day ofshooting." "All you've given Bruce is fear." "I believe the previous night, he hardly slept." "He worked up to 4.:00 in the morning, preparing... his actor's preparation, typed out on computer papers, like a tome book." "Unbelievable." "I feel them both." "But I have lived... completely once." "For me, this is one of my personal favourite scenes." "...my baby." "The three-way storytelling... that was suggested from the script James wrote." "Ijust love it, myself." "Tim and I had a great time putting those images together." "A monster, maybe." "I should have put a stop to it right then... but I was curious... and that was my downfall." "And as I watched this tiny life unfold..." "I began to imagine the horror of it... and my curiosity was replaced... with compassion." "But they took away my chance to cure him." "Your father threw me out." "I remember that day so well... every moment, every sensation." "Walking into the house... the feeling of the handle of the knife in my hand." "I knew I was doing a father's work...." "This kid's face is tremendous." "David, please stop it!" "No!" "David, talk to me!" "But then she surprised me." "We modified this scene a little bit... by shrinking the shots and putting the goop over the shots." "...merged." "Go!" "You cannot imagine... the unbearable finality of it." "And in that one moment..." "I took everything that was dear to me... and transformed it... into nothing more than a memory." "That's the same mushroom Betty remembers in her dreams." "Bingo!" "That must be some jumbo nightmare he just had." "Do it now." "Start the enzyme extraction." "Sir, negative on drill penetration." "Damn it, drill him harder." "Give me full RPMs." "Come on." "This is one section... a big sequence starting from now till Hulk fights in the hallway... that we tried to put together linearly in the early stages." "It was very dull, and it was hard to find a balance... between a comic-book, B-genre energy... and the realistic situation when the General is giving commands." "I decided to go with a split screen when we start to propel these plots... different situations on the same panel... start to choreograph those images." "It gives the section tremendous energy." "It's not stopping him!" "Ready room, send in our containment team, non-lethals only." "I repeat, non-lethals only." "I must have a sample of him." "Sir!" "Jesus." "Hit him with the foam." "Deploy containment foam." "Talbot, talk to me." "This section particularly benefited from the moving multi-panels and images." "I'll let you know if we need you." "Unacceptable." "Unseat your asses down there immediately." "And the set itself provides a lot of images on monitors." "Didn't you hear the General?" "I said lock down!" "Clear!" "I need a sample of him!" "Another device Jerry Moss created." "Hulk under fluorescent lights is very hard to do... running the danger of looking like plastic." "Particularly difficult under fluorescent lights." "Clear your weapon!" "Give me the M2." "So long, big boy." "Clear!" "This is a timer bullet explosive that I created." "I originally wanted this section to do a turning page with curve." "It didn't work out as good as I was hoping for." "Then we went with flat images, but 3-D." "Evacuate the main hall." "Send in backup, heavy weapons." "Issue general quarters." "Hulk face there." "The stuntman told me I had to try that gun, that it was such a blast." "But I was so busy." "I regret that we didn't arrange that." "Contamination, sir." "System readings are redline." "Stand by for backup power supply." "Incoming!" "Shut down power to the main hall." "Sir?" "Show him the way out." "We'll fight him outside." "This is one of the big tasks, to figure out Hulk running." "I like the massy, tripling, kind of realistic move." "Imperfect running." "Him in the air is among the hardest things to do." "The air influences the way... his torso, arms and legs subtly move." "So it doesn't look like a CG cardboard kind of object in the air." "Just feeling real in the air for that long is one of the hardest things to do." "That bomb's called FAE." "F-A-E." "This is one of my favourite shots." "Driver, stop." "This sequence was quite hard to conceive while we were shooting it." "In the regular acting scene, you can put a cardboard figure on a stick... to show how big he is, moving slowly." "But here he is quite agile." "It was very hard to specifically help the actors and the crew... to see how he moves." "And we're only guessing." "Until I put on a motion-capture suit at ILM... we didn't know exactly what he did." "It's quite a wild guess when we're out there in the desert." "The scene play was already cut in my head." "Tim and I put the cut together... in our best educated, experienced guess." "But we've never done any animation before." "It turned out that the shots were usually a little tighter than we needed." "This is another one of my favourite shots." "Usually we lock into the specific length and camera movement." "Sometimes camera movement can be adjusted a little bit." "Timing can be stretched only by frames." "So when I was doing the motion capture... not only did I perform the way I think Hulk should be moving... in certain camera angles and size... but somebody also gave me a seconds countdown." "So I knew precisely how to fit it in and bring in the continuity... to fit it into the specific time slot." "Mr. President, I have some bad news, sir." "Let's have it, General." "I've briefed the President on Angry Man." "I assume that's what this is about." "It is, ma'am." "I'm requesting a National Command Authority override." "Angry Man is unsecure." "I need everything we have at my disposal to stop his movement." "You're expecting civilian casualties, General?" "Not if I can help it, ma'am." "Consider it done." "Keep us posted." "When you put Hulk in a realistic landscape, he looks like a flea." "It's kind of funny to me." "Things are big or small only by comparison." "Contact Goodman Control." "Patch data to the assets." "Contact HQ." "Have them initiate an immediate evacuation... in the vicinity of grid coordinates 6-5...." "Lots of landscape shots." "I really enjoy shooting them." "We spent days in the air." "There were times I spent more time in the air with the pilot and film crew... than on the ground." "This is in Arches National Park." "When I saw this, I couldn't help taking this shot." "The pilot told me that you can try a shot like this every morning... shortly after the sun comes up, for maybe a week every day." "Ifyou get lucky, you probably get one shot." "And when we got it on the first day, it was a very lucky shot." "You see shots like this about 200 times." "It always bothers me, because you would hear the helicopters." "This scene could never happen like that." "But I got a chance to do it, and it's reasonable." "Because those new-generation helicopters which are supposed to come out in 2008... called Comanche, they actually make very little sound." "It sounds like...." "That's how it sounds, all the noise got diffused." "It's made of fibreglass, and it flies like a hard-wing plane." "It's the first helicopter that is meant to be attacked... do the dogfight, and can fly like a hard wing." "It's an incredible machine." "And they're stealth." "They make no sounds and are stealth." "I've got no shot!" "You have a line of fire?" "Watch it, Tango." "Break left!" "Tango-3, pull back and set up for a Hellfire shot." "Hold your fire until we draw him off." "Tango-1 is hot." "Roger." "Going hot." "Guns ready." "Engage at will." "Every day we went up here." "I got tendonitis and walk along with him six times." "It takes over an hour to climb up to this bowl and go down every day." "We shot every possible angle and movement... because I had no idea at that time, when I shot the place... what the actions might be." "I wasjust guessing." "Trying to cover as much as I can." "Tango-1, Tango-3, I have contact." "Holy shit!" "He's got my missile!" "Mayday!" "Mayday!" "We're hit!" "We're going down!" "Give me a head count." "Tango-3" "Our kite's busted up, but we're okay." "Tango-flight, you have eyes on the target?" "Tango-1, I have him in the rocks." "Salvo all." "Turn it into a parking lot." "T-bolt, your parking lot is ready." "We're bingo for fuel and ammo." "RTB." "T-bolt, this is Goodman Control." "Be advised, target not destroyed." "He's on the move again." "Damn!" "I've got it." "It appears he's heading home." "Launch fast movers." "Have them intercept and engage." "Hello?" "Betty, Bruce got out." "He's headed your way, probably right for you." "How far from the base are you?" "I'm already here." "They're taking his father in now." "That's all good news." "Stay there, Betty." "Legend-1 rolling in hot." "Legend-2 breaking off left." "I really like those plane shots." "Fire at will." "Increase altitude." "Civilian aircraft in vicinity." "Pull up!" "You're headed for the bridge!" "I can't pull up!" "You got him." "Take him on a ride to the top of the world." "This is the upcoming F-22." "This guy is actually a real pilot, one of the few test pilots." "We asked him to consult us, he ended up playing it." "I felt bad about this sequence." "When I talked to him about heights, his face puffed up." "Just making him believe, mentioning how high it is... he freaked out." "His face all puffed up." "He's all over my aerodynamics." "He'll lose consciousness before you." "950." "I can't hold it." "I'm pulling back." "This is one of my favourite sequences." "I love this shot." "Puny human." "Contact." "He's in the water." "All units, weapons hot." "Let's not take any chances." "You are cleared to fire on target, Legend." "Lines like this are very hard for dramatic actors to say... without seeing the real thing." "They're kind of comic-bookey." "But if they see the real thing that's what people will say anyway." "It's hard for actors to devote real emotion... and intelligence and conviction to their lines... in situations like this." "It's a little bit of a stretch." "Then let me go to him." "Please." "Just give him a chance to calm down." "Six days in those five blocks... was quite stressful." "The first three days were kind of cloudy." "Sometimes the sun would break through, and sometimes the rain would come." "This area has been declared restricted airspace." "All aircraft are ordered to clear the airspace immediately." "This is one of my favourite shots of the Hulk... for the facial expression, the textures." "It's very real." "We had to evacuate the whole area... for the helicopter to come close to the buildings." "Waiting your orders to engage." "Command code yellow." "Hold for authorisation." "All units, hold your fire." "T-bolt to all assets." "You have direct orders to hold your fire." "I repeat." "Hold your fire." "Move now!" "Everybody down!" "Down!" "The beauty of using split screens is that you can squeeze in so many shots." "Usually you have five, six, or more cameras to shoot every possible angle... and capture a lot of the interesting facets of the actions." "The story must go on... but with a multi-screen you get to fit a lot of good shots in." "For this shot we actually had to stretch Hulk'sjaw... to not look goofy." "Because from a low angle, looking up, he looked goofy." "That's not the way to go about a romantic scene like this." "That's something we constantly have to go through.:" "change his face in order to keep a continuity." "When you have a real person as an actor, you never doubt the realism of the face." "But with Hulk, the CGI character is humanised." "Each time you shift the light or angle, or change the lens... knowing that he's cgi... he might look as a different creature." "So half of our work is on his reality." "And performing is another thing, of course." "You found me." "You weren't that hard to find." "Yes, I was." "In this kind ofscene Jennifer is at her best, I think." "I like the way Tim did that face over." "The night view landscape." "It's very comic-bookey." "This is one of the moments I liked most about Danny Elfman's music." "That's the deal, gentlemen." "He stays on this base until we get the final word from C-3... on how to dispose of him." "In the meantime, if he does anything but sit in that chair... we'll turn on the juice and he'll be incinerated immediately." "We've established a 200-yard perimeter, sir." "If we deploy the electromagnetic array... there should be no collateral damage." "I'm doing this for you, Betty." "But one way or another, we're gonna have to prepare for the worst." "This shot got to a lot ofpeople." "They said, "Did he give a wink?"" "Again, the music's really cool." "This is one of the great efforts by the art department." "This high-voltage-looking thing." "God knows what!" "The designers are very good at those things." "I should have killed you." "As I should have killed you." "I wish you had." "I got crazy over shooting this scene." "This big set-up, the whole production moved out to San Francisco...." "This is the hangar in Treasure Island." "A huge location." "The shots are as stagy as it goes." "I spent three days shooting, very much to the producers' dismay." "I can almost remember a smell." "It was like desert flowers." "Again, I shot every possible angle... from what I would call the seventh row balcony...." "Every possible way." "Nick would lose his voice shouting... giving the big, grandiose performance." "We'd have him have some rest and come back the next day... and shoot over and over from different angles, multi-camera." "I drove the sound man crazy... because I'd use extremely long shots and close shots in the same take... and he wouldn't know where to place the microphone." "He was very worried about the sound... because these are very speech-relied performances." "I drove everybody nuts." "Is that so?" "Well, I got news for you." "I didn't come here to see you." "Extremely close up." "Nick would move his head violently here and there... unpredictable movements." "The AC, the camera operator, went crazy." "I think they ought to be like that." "Because from here on they went from over the top... to through the roof and become lightning." "He takes that step up to the sky... and becomes the "Iightning, rocks and water" father... and from there goes to the subconsciousness battle." "I think it's necessary as a stepping stone... to the visualisation of the abstract." "The actors totally go along with it." "I gave you life." "Now you must give it back to me... only a million times more radiant... more powerful." "Stop!" "Stop what?" "Think of all those men out there in their uniforms... barking and swallowing orders!" "Inflicting their petty rule over the entire globe!" "Think of all the harm they've done!" "To you!" "To me!" "To humanity!" "And know this, that we can make them... and their flags, their anthems and their governments... disappear in a flash!" "You in me." "I'd rather die." "That's your answer?" "Then indeed you shall die...." "I shot a lot, in addition to this... how people react from outside..." "Ross, Betty and the troops...." "Go!" "They're not really doing anything." "So if I cut to outside, it wouldjust look silly anyway." "So I might as welljust stay inside with those two actors." "Stop your bawling...." "It's every boy's worst nightmare.:" "Your dad's a puny human." "I'll go." "You just watch me go!" "Hit it!" "Nick went nuts over biting the cable." "Hit it again." "We can't, sir." "There's no power." "Some kind of counter electromagnetic field." "Move in and assault the target." "Move in!" "This is a scene where sound-effects guys really have to fight music." "It's quite fun to mix those things." "We had to mix sounds for hours." "Youjust keep raising levels till you don't really hear much anymore." "Sir, I've located them on radar." "Pear Lake." "Call up the task force." "Yes." "I have a suspicion... people with different-coloured irises see things differently." "Because this scene is so dark." "From person to person, some say it's too dark, some say it's too bright." "My two cameramen from the past...." "When we make American prints of Chinese films... they both suggested to me that Americans are the most sensitive to light." "People with lighter eyes... perceive light two points more sensitive." "So we lowered the light by two points." "Both cameramen said that to me." "It's not a proven thing, but in scenes like this..." "I went to different people, and all gave me very different responses." "It's very hard to nail." "You have to be dark enough to be mysterious... but then some people don't really see what's happening." "They're very tricky scenes." "Strange." "We're reading a phenomenal drop in temperatures there... with simultaneous radiological activity." "They're absorbing all the ambient energy." "We hiked up to this place and camped out there at night... to take those shots." "Relax." "Sleep now, Bruce, and forget forever." "Struggle no more... and give me all of your power." "You think you can live with it?" "Take it!" "Take it all!" "I was very fond of those images, the underwater shots." "Especially when they freeze up." "Take it back." "It's not stopping!" "Take it back!" "Gentlemen, release." "Gamma charge away." "Sweet dreams." "Hello?" "Betty?" "ls that you?" "Hi, Dad." "I'm glad I caught you." "I'm glad you called." "Thanks." "I love the look of that area." "It's barren, with those bunkers, wires and posts." "It was also very hot." "What is it?" "You know, the usual loonies... seeing things, only now everything's green." "Right." "Look... if by some chance he did survive... and he should try to contact you, and try to get in touch... you'd tell me, wouldn't you?" "No." "I wouldn't." "But you know as well as I do I wouldn't have to." "I mean, my phones are bugged... my computer is tapped, I'm under surveillance." "I'll tell you, though... that if he were alive..." "I'm the last person I would want him to come to... because, as much as I miss him...." "I loved him." "I'm sorry, Betty." "I am so sorry." "I know you are." "Listen to your father and take your medicine, okay?" "This Cuban actor...." "I was told he's acted in more than 70 movies." "Shut up!" "He's really a veteran actor." "We need these medicines for the people who live here." "Who are you to decide what the people need?" "These people are helping our enemies." "And maybe you are too." "Take all this." "It is the property of the government." "You're making me angry." "You wouldn't like me when I'm angry." "That scene was written two years ago, as a step down from a tragic ending... or emotionally troublesome kind of climax." "Many aspects of the movie are like that."