"when things got quiet enough... about the science courses I was takin'." "Some kind of mail-order courses in psychology, Nurse Barney?" "No, sir." "I don't consider psychology a science... and neither did Dr. Lecter." "Now, Barney... while you were working at the asylum... you observed Clarice Starling and Hannibal Lecter interacting." "Interacting?" "Talking to one another." "Yes." "Yes, it seemed to me that they" "I can see you're eager to justify your consulting fee... but why don't we start with what you saw... not what you thought about what you saw?" "Cordell, don't be like that." "Barney can give us his opinion." "Barney, give us your opinion ofwhat you saw." "What was it between them?" "Most of the time, Dr. Lecter didn't respond at all to visitors." "He'd just, for instance, open his eyes long enough... to insult some academic who was there to look over him." "With Starling, he answered her questions." "She interested him." "She intrigued him." "He thought she was charming and amusing." "So Clarice Starling and Hannibal Lecter... became friendly." "Inside a kind offormal structure, yes." "And he was fond of her." "Yes." "Thank you, Barney." "Thank you very much for your candour." "And keep all those wonderful items... from your personal Lecter treasure trove coming." "I've enjoyed them immensely." "Mr. Verger." "Oh, I almost forgot." "I might be able to get a cookie down." "What do you say, Cordell?" "I think it would kill you." " How much?" " Two hundred and fifty." "Thousand." "Cut a cheque for $250,000." "How can she sleep at a time like this?" "She's on a jump-out squad all night." "She's saving her strength." "We got some guy named Bolton from the DC Police." "All right, everyone." "Pay attention." "Here's the layout." "Excuse me." "I'm Officer Bolton, DC Police." "I can see that from your badge." "How do you do?" "I'm in charge here." "Officer Bolton, I'm Special Agent Starling." "Just so we don't get off on the wrong foot..." "Let me explain why we're all here." "I'm here because I know Evelda Drumgo." "I arrested her twice on RICO warrants." "DEA and ATF, in addition to backing me up... are here for the drugs and the weapons." "You're here because our mayor wants to appear tough on drugs... especially after his own cocaine conviction... and hopes he can accomplish that by having you join us here today." "You got a smart mouth, lady." "If you wouldn't mind, I'd appreciate it if you'd let me continue." "All right, take a look." "Fish market." "Back's on the water." "Across the street, ground floor, is the meth lab." "Evelda Drumgo's HIV positive." "She will spit and bite if cornered, so you should watch it." "If you happen to be the one who puts her in a patrol car... in front of the news cameras, Bolton, you don't wanna push her head down." "She'll likely have a needle in her hair." "We want to take her inside the building, not out in the street." "We can get closest with the van." "If it looks good, on my signal we hit the front, DEA hits the back..." "DCPD backing'them up." "She'll have her watchers out at least three blocks around." "They've tipped her before in time, so let's not make spectacles of ourselves." " Pretty busy today." " I agree." "Can I please get a cup of coffee?" " Did you see that?" " That's a roger." "What's up, man?" "Goddam it." "It's her." "With three guys." "They're all packing'." "She's carryin' something." "She's got a baby." "Hey, Brigham, it's too crowded." "There are too many people." "I say we call it off." "What do you say?" "I agree." "All units, stand down." " Whisky team copies." " Burke copy." "This is Bolton." "Stay on target." "I said all units stand down, Bolton, right now." " It's too late." "We're movin'in." " Bolton, he said it's off." "Stand down now." "She's carrying a baby." "I repeat, she's carrying a baby." "All units stand down." " Keep that gun down, Bolton." " Damn, dude got a piece." " Light his ass up." " It's a go!" "FBI!" "Down on the ground!" "Hold it!" "Hold your fire!" "Don't!" "Evelda, get out of the car!" "Starling, is that you?" "Step away from the car!" "Show me your hands, Evelda." "Please." "Show me your hands." "How've you been?" "Don't do this." "Do what?" "It's all right." "It's okay." "I know, I know." "Baby, I know." "It's okay." "It's okay." "It's all right." "Friends, family and coworkers gathered here this morning... at Arlington National Cemetery to bury BA TF Agent John Brigham... shot and killed in the line of duty Friday." "He was 40 years old." "This ill-fated drug raid that claimed his life and five others... is the latest in a seemingly endless series of incidents... beginning with Waco, Texas... in which the Justice Department and the FBI have been questioned... about their use of firepower rather than judgment." "This time it was FBI Special Agent Clarice Starling... heading up the calamitous strike force." "Agent Starling attained some measure of celebrity ten years ago... when she was given information by Dr. Hannibal "The Cannibal" Lecter... which led to the rescue of Catherine Martin... daughter of the former US senator from Tennessee." "When she returns to work this week, she won't be so celebrated." "Attorney Telford Higgins, representing one of the families of those slain... says he will file a wrongful-death suit." "Cordell!" " Yes, sir." " Get me the Justice Department." "Agent Starling?" "This is John Eldridge from DEA." "Assistant Director Noonan, you know." "Larkin Wayne from our Offiice of Professional Responsibility." "Bob Sneed, ATF." "Benny Holcombe, assistant to the mayor." "And Paul Krendler." "You know Paul." "Paul's come over from Justice... unofficially, as a favour to us." "In other words, he's here, and he's not here." "So I take it you've seen the coverage in the papers and on television?" "I have nothing to do with the news, Mr Krendler." "The woman had a baby in her arms." "There are pictures." "You could see the problem, I would think." "Not in her arms." "In a carrier across her chest." "In her arms she had a MAC-10." "Look, we're here to help you, Starling." "It's gonna be a hell ofa lot harder to do with a combative attitude." "Can I speak freely, Mr Pearsall?" "Your agency called this offiice to get me assigned to help you on this raid." "I tried to do that." "I clearly expressed my judgment and was ignored." "And now a good agent and a friend is dead." "You shot and killed five people out there, Agent Starling." "Is that how you define good judgment?" "This raid was an ugly mess." "I ended up in a position where I had a choice of dying... or shooting a woman carrying a child." "I chose." "I shot her." "I killed a mother holding her child." "And I regret it." "I resent myself for it." "Gentlemen, I'm going to call a halt to this meeting... and get back to you individually by phone." "That was a waste of time." "You have a secret admirer, Starling." "He isn't much to look at, but he does have friends in high places." "Remember Mason Verger?" "Lecter's fourth victim." "The rich one." "The only one that survived." "He says he has some new information on Lecter he'll only share with you." "What do you mean, only share it with me?" "You want it, seize it." " I'd rather not." " I wasn't speaking to you." "When I speak to you, you'll know it because I'll look at you." "Why would we rather not?" "The last time he called was when we took Lecter off the Ten Most Wanted List." "He was upset about that." "We said, "Hey, that's life."" "He said, "This is a Senate Oversight Committee... to make your life miserable. "" "His family's political contributions may not be enough... to buy a senator... but they are enough to rent them from time to time." "There's no reason to go through that if he really does have something new." "It's a good deal for you, Starling." "You can't pretend it isn't." "Get to go back on a celebrated case." "I'll take care of the media for your Drumgo killing." "Everyone's gonna be happy." "I'm not happy." "Well, maybe you're incapable of being happy." "Mr. Krendler... out on the street, you know you might take a bullet in the line of duty." "You accept it, or you get out." "You live with it." "What you don't expect or accept... is taking one in the back in your boss's office... for doing your job exactly as they've taught you." "That makes you unhappy." "Of course you're right, Starling... but it doesn't change anything." "It changes everything." "It changes me." "Hi, I'm Cordell Doemling, Mr Verger's private physician." "How do you do?" "If you'd be so kind as to park down at the end." "One's eyes adjust to the darkness." "Mr Verger, Agent Starling is here." "Good morning, Mr Verger." "Was that a Mustang I heard out there?" "Yes, it was." "Five-litre?" "Yes." "Fast." "Cordell, I think you can leave us now." "I thought I might stay." "Perhaps I could be useful." "You could be useful seeing about my lunch." "I'll attach this microphone to your clothing or pillow, if that's okay." "By all means." "Here, this should make it easier." "You know, I thank God... for what happened." "It was my salvation." "Have you accepted Jesus, Agent Starling?" " Do you have faith?" " I was raised Lutheran." "That's not what I asked." "This is Special Agent Clarice Starling, 5143690... deposing Mason R. Verger on March 20, sworn and attested." "I want to tell you about summer camp." "It was a wonderful childhood experience." " We can get to that later." " We can get to it now." "You see, it all comes to bear." "It was a Christian camp my father founded... for poor, unfortunate, cast-off little boys and girls... who would do anything for a candy bar." "Mr Verger, I don't need to know about the sex offences." "It's all right." "I have immunity from the US Attorney." "And I have immunity... from the risen Jesus." "And nobody beats the Riz." "Had you ever seen Dr Lecter before the court assigned you to him for therapy?" "What do you mean?" "Socially?" "It is what I mean, yes, ifyou don't mind talking about it." "No, not at all." "I'm not ashamed." " I didn't say you should be." " No, we met conventionally... as doctor and patient." "How did he end up at your house?" "I invited him, of course... to my pied-à-terre." "I came to the door in my nicest come-hit her out fit." "I was concerned... that he'd be afraid of me." "But he didn't seem to be afraid of me." "That's almost funny now." "I showed him my toys... my noose set-up, among other things." "It's where you sort of hang yourself, but not really." "It feels good while you-- well, you know." "Anyway..." " he said, "Mason--"" " Mason, would you like a popper?" "And I said, "Would I?" "Oh, wow!"" "Once that kicked in, I was flying." "He said, "Mason, show me how you smile... togain the confidence of a child. "" "When I smiled... he said, "Oh, I see how you do it. "" "The good doctor approached me with a piece of broken mirror." ""Try this. "" "Try peeling off your face" "And feeding it to the dogs." "No, I can still see it." "Try again." "No, I'm afraid not." "That's entertainment" "Well, it seemed like a good idea at the time." "You indicated to me that you'd received some kind of new information." "Where did this come from?" "Buenos Aires." "I received it two weeks ago." "Where's the package it came in?" "Good question." "There was nothing written on it of interest." "Did we throw it out?" "Yes, I'm afraid we did." "Oh, dear." "You think it'll help?" "I hope so." "I hope it'll help you catch him... to help cleanse the stigma of your recent dishonour." "Thank you." "That's all I need." "Did you find some rapport with Dr Lecter... in your talks at the asylum?" "I know I did while I was peeling." "We exchanged information in a civil way." "But always through the glass." "Yes." " Isn't it funny?" " What's that?" "You can look at my face... but you shied when I said the name of God." " Finding what you want?" " Are you sure this is all of it?" "That's all there is now." "There was more, but it's been picked over little by little over the years." "You know, this stuff's worth a lot of money in certain circles." "It's kind of like the cocaine that disappears around here..." "Little by little." "Hey, Barney." "Remember me?" "Would you agree for the record, Agent Starling... that I've not been read my rights?" "I have not Mirandized Barney." "He is unaware of his rights." "So when you turned Dr Lecter over to the Tennessee police" "They weren't civil to him." "They're all dead now." "They only survived his company three days." "You survived him six years at the asylum." "How'd you do that?" "It wasn't just being civil." "Yes, it was." "Did you ever think, after he escaped, he might come after you?" "No." "He once told me that, whenever feasible... he preferred to eat the rude." ""Free-range rude," he called'em." "What about you?" "You ever think he might come after you?" "You ever think about him at all?" "At least 30 seconds of every day." "I can't help it." "He's always with me, like a bad habit." "Do you know what happened to his stuff-- his books, papers, drawings?" "Everything got thrown away when the place closed." "Cutbacks." "I just found out that Dr. Lecter's signed copy of The Joy of Cooking... sold to a private collector for $16,000." "It was probably a fake." "The seller's affiidavit of ownership was signed "Karen Phlox."" "Do you know Karen Phlox?" "You should." "She filled out your employment application, but signed it "Barney."" "Same thing on your tax returns." "You want the book?" "Maybe I can get it back." "I want the X-ray of Lecter's arm you broke in the attack on that nurse... and everything else you've got." "We used to talk about a lot of things at night... after the screamin' finally died down." "We talked about you sometimes." "You wanna know what he said?" "Go get the X-ray." "I'm not a bad guy." "I didn't say you were." "Dr Chilton was a bad guy." "After your first visit, he started taping your conversations with Lecter." "These are valuable." "Go on now." "You've grieved long enough." "And what'd he say?" "What'd he say about me late at night?" "He was talking about inherited, hardwired behaviour." "He was using genetics in the roller pigeons as an example." "They fly up in the air, roll backwards in a display, fallin' to the ground." "There are shallow rollers, and there are deep rollers." "You can't breed two deep rollers... or their young, their offspring, will roll all the way down... hit and die." "Agent Starling is a deep roller, Barney." "Let us hope one of her parents was not." "Surely the odd confluence of events hasn't escaped you, Clarice." "Jack Crawford dangles you in front of me... then I give you a bit of help." "Do you think it's because I like to look at you... and imagine how good you would taste..." "Clarice?" "I don't know." "Is it?" "I've been in this room for eight years now, Clarice." "I know they will never, ever let me out while I'm alive." "What I want is a view." "I want a window where I can see a tree or even water." "I want to be in a federal institution far away from Dr. Chilton." "The Capponi correspondence goes back to the 13th century." "Dr. Fell might hold in his hand-- his non-Italian hand-- a note from Dante Alighieri himself." "But would he recognize it?" "I think not." "Gentlemen, you have examined him in medieval Italian... and I will not deny that his language is admirable... for a straniero." "But is he acquainted with the personalities... of the pre-Renaissance Firenze?" "I think not." "What if he came upon a note in the Capponi library... say from Guido di Cavalcanti?" "Would he recognize that?" "I think not." "They're still arguing?" "Sogliato wants the job for his nephew." "But the scholars seem satisfied with the temporary guy they appointed." "If he's such an expert on Dante..." "Let him lecture on Dante to the Studiolo." " Let him face them if he can." " I look forward to it." "Very well." "On the 14th." "Dr. Fell?" "Chief Inspector Rinaldo Pazzi of the questura." "Commendatore, how can I be ofservice?" "Sorry." "I'm investigating the disappearance... of your predecessor, Signor di Bonaventura." " I was wondering if-- - "Predecessor" implies I have thejob." "Unfortunately, I don't." "Not yet, though I am hopeful." "They are letting me look after the library for a stipend." "The officers who first checked... didn't find any sort of farewell or suicide note." "I was wondering if you" "If I come across anything in the Capponi library stuffed in a drawer or book..." "I'll call you at once." "Thank you." "You've been reassigned." "Pardon?" "You were on the Il Mostro case, I'm sure I read." " Yes, that's right." " Now you're on this." "This is much less grand a case, I would think." "Well, if I thought of my work in those terms... yes, I guess I'd agree." " A missing person." " Sorry?" "Were you unfairly dismissed from the grander case, or did you deserve it?" "Regarding this one, Dr Fell... are the signore's personal effects still at the Palazzo?" "Packed neatly in four cases with an inventory." "Alas, no note." "I'll send someone over to pick them up." "Thank you for your help." "Hey, thanks." "How's it going?" "Any leads?" "Yeah, they're all leads." "They just don't lead to him." "I don't know how you live with this stuff." "Oh, God." "This is from the Guinness Book of World Records congratulating me... on being the female FBI agent who has shot and killed the most people." "Would you excuse me, please?" "Sure." "Dear Clarice..." "I've followed with enthusiasm the course of your disgrace and public shaming." "My own never bothered me except for the inconvenience... of being incarcerated." "But you may lack perspective." "In our discussions down in the dungeon... it was apparent to me that your father, the deadnight watchman... figures largely in your valuesystem." "I think your success in putting an end to Jame Gumb's career as a couturier... pleasedyou most because you could imagine your father being pleased." "But now, alas, you're in badodour with the FBI." "Do you imagine your daddy being shamed by your disgrace?" "Do you see him in his plain-pine box... crushed by your failure... the sorry, petty-end of a promising career?" "What is worst about this humiliation, Clarice?" "Is it how your failure will reflect on your mommy and daddy?" "Is your worst fear that people will now and forever believe... they were indeedjust good old trailer-camp... tornado-bait white trash... and that perhaps you are too?" "By the way, I couldn't help noticing on the FBI's rather dull web site... that I've been hoisted from the Bureau's archives of the common criminal... and elevated to the more prestigious Ten Most Wanted List." "Is this coincidence, or are you back on the case?" "If so, goody goody, because I need to come out of retirement... and return to public life." "I imagine you sitting in a dark basement room... bent over papers and computer screens." "Is that accurate?" "Please tell me truly, Special Agent Starling." "Regards, your old pal, Hannibal Lecter, MD." "PS.:" "Clearly this new assignment is not your choice." "Rather, I suppose, it is part of the bargain." "But you accepted it, Clarice." "Your job is to craft my doom... so I'm not sure how well I should wish you... but I'm sure we'll have a lot of fun." "Ta-ta." ""H."" "On the letter... there's one partial fingerprint here." " Not enough to hold up in court." " I know it's him." "Where he was when he wrote it is what I need." "Well, the paper isn't gonna help." "Yes, it's linen fibre, yes, it's on the expensive side... but it's not so rare that you won't find it in a thousand stationery stores... throughout the world." "It's the same with the ink, and the same with the wax." "And your Las Vegas postmark?" "You can check it out, but I'll bet you it came from a remailing service." "Las Vegas would be the last place he'd be." "It'd be an assault on his sense of taste." "Don't you feel eyes moving over your body, Clarice?" "I hardly see how you couldn't." "And don't your eyes move over the things you want?" "Allright, then." "Tell me how." "No." "It's your turn to tell me, Clarice." "You don't have anymore vacations to sell on Anthrax Island." "Quid pro quo, Clarice." "I tell you things, you tell me things." "Not about this case." "About yourself." "Quid pro quo." "Yes orno, Clarice?" "Hand cream." "Raw ambergris base." "Tennessee lavender." "Trace of something else." "Fleece." "Lovely." " What's ambergris?" " Ambergris is a whale product." "Alas, much as we'd like to, we can't import it." "Endangered Species Act." " Where isn't it illegal?" "Japan, of course." "Couple of places in Europe." "You'd almost certainly find it somewhere in Paris..." "Rome, Amsterdam." "Maybe London." "This bouquet was hand-engineered to someone's specifications." " Is there a way of knowing which shops?" " Of course." "We'll give you a list." "It'll be short." "I need opera tickets." "I don't think I got any on me." "It's sold out, whatever it's called." "It's the pretty, young wife with the ever-open beak who needs opera tickets." " Benetti." " What?" "Rewind it." "I can't rewind it." "I'm making a copy." "I'm recording." "What is this?" "Security camera from a perfume shop in Via Della Scala." "FBI, through Interpol, requested a copy." " Why?" " They didn't say." " They didn't say?" " No." "It was actually kind of weird." "They were making a point not to say." " Are we going to the opera?" " Yes." "Sorry." "Yes, we are going." "You got tickets?" "No, but I will." "In fact, I was just about to look here." "Please, not the back row." "I would like to see it this time." "Nowhere near the back row... no matter what the cost." "Tell me, Clarice, would you want to harm... those who forced you to consider it, though?" "It's perfectly okay to admit it." "It's perfectly au naturel... to want to taste the enemy." "It just feels so good." "Tell me, Clarice." "What is your worst memory of childhood?" "Jesus, Starling!" " Can I help you, Mr Krendler?" "What are you doing sitting there in the dark?" "Thinking about cannibalism." "People in Justice are thinking too." "You know that?" "They're thinking, "What exactly is she doing about Lecter?"" "Aren't you curious why he dines on his victims?" "What's the point of that?" "Are you writing a book or are you catching a crook?" "To show his contempt for those who exasperate him." "Or sometimes to perform a public service." "In the case of the flautist, Benjamin Raspail... he did it to improve the sound of the Baltimore Philharmonic Orchestra... serving the not-so-talented flute player's sweetbreads to the board... with a nice Montrachet at $700 a bottle." "Wow." "That meal began with green oysters from the Gironde... followed by the sweetbreads, a sorbet... and then you can read here in Gourmet Cuisine.:" ""A notable dark and glossy ragout, the constituents never determined."" "I always figured him for a queer." "Why would you say that, Paul?" "All this artsy-fartsy stuff." "Chamber music, tea-party food." "Not that I mean anything personal... if you've got a lot of sympathy for those people." "What I came to impress upon you, Starling... is I better see cooperation." "There are no little fiefdoms here." "I want to be copied on every 302, you understand?" "If you work with me... then your so-called career here might improve." "If you don't, then all I have to do... is draw a line through your name rather than under it... and it's over." "Paul, what is it with you?" "I told you to go home to your wife." "That was wrong?" "What?" "Don't flatter yourself, Starling." "That was a long time ago." "Why would I hold that against you?" "And besides... this town is full of cornpone, country pussy." "That said..." "I wouldn't mind having a go with you right now, if you want to reconsider." "In the gym, anytime." "No pads." "Is it possible it went out with the regular mail?" "No, lovernight edit to you." "I filled out the slip myself." "This was the day after your request." "I did it right away." "I don't understand what happened." "You should have it by now." "I don't." "Can you send me another one?" "Sure, I'll make another copy especially for you." "Agent Clarice?" "Is that right?" "Can I call you Clarice?" "Agent Starling." "I'd appreciate it." "What's your name?" "My name is Franco Benetti." "Agent Franco Benetti." " Thank you very much, Agent Benetti." " Okay." " So I'll send you tomorrow?" "Allright." "Bye-bye." "Nothin', huh?" "Nothin' yet." "Still waitin' on Florence and London." "The number you have dialled is not in service at this time." "Please check the number" "Yes?" "I have information about Hannibal Lecter." "Have you shared your information with the police, sir?" "I'm required to encourage you to do so." "Is the reward payable under special circumstances?" "May I suggest you contact an attorney... before taking any possibly illegal action?" "There's one in Geneva who's excellent in these matters." "May I give you his toll-free number?" "The number is 004123317." "Thank you for calling." "Yes." "I was just speaking with someone who suggested" "There'sa $100,000 advance." "To qualify for the advance... a fingerprint must be provided, in situ, on an object." "Once the print has been positively identified... the balance of the money will be placed in escrow... at Geneve Credit Suisse... and maybe viewed at anytime subject to 24-hour prior notification." "To repeat the message in French, press two." "In Spanish, press three." "In German" "Dr Fell, it's inspector Pazzi." "Yes, I can see you." "Come on up." "Dr Fell?" "Snap." "I should have encouraged you to bring someone along." "The cases are on the heavy side." "Maybe you could help me with them." "Just down the stairs, I mean." "Yeah." "This way." "Here we are." " Is that the inventory?" " Yes." " May I see it?" " Of course." "You are a Pazzi of the Pazzi family, I think." "Wasn't it at the Palazzo Vecchio your ancestor was hanged?" "Francesco de' Pazzi." "Yes, thrown naked with a noose around his neck from a window." "Writhing and kicking alongside the archbishop... against the cold stone wall." "In fact, I found a very nice rendering of it... here in the library the other day." "If you like, perhaps I could sneak it out for you." "I would think that might jeopardize your chances... for permanent appointment to the curatorship." "Only if you told." "Remind me-- what was his crime?" "He was accused of killing Giuliano de' Medici." "Unjustly?" "No, I don't think so." "Then he wasn't just accused." "He did it." "He was guilty." "I think that would make living in Florence with the name Pazzi... uncomfortable, even 500 years later." "Not really." "In fact, I can't remember the last time... before today... someone brought it up." "People don't always tell you what they're thinking." "They just see to it you don't... advance in life." "I'm sorry, Commendatore." "I too often say what I'm thinking." "I'll be right back to help you." "You know, the room you're standing in was built in the 15th century." "It's beautiful." "Yes, it is." "Unfortunately, I think... the heating system was installed about the same time." " That's a pity." " Yes." "Okey-dokey." "Let's drag these down." "Must be as heavy as bodies." " And the set?" " Eight thousand." "Okay." "Hey, how much is this?" " Fifty thousand." " I'll take it." "Well done." "When you go for his wallet, he'll catch you by the wrist." "I have done this a few times, lnspector." "Not like this." "If there isn't a clean print on the bracelet... you'll spend the summer in a cell at the Sollicciano." "Give me the bracelet." "Wash your fucking hands." "He's coming." "I got it." "He grabbed me just right." "Tried to hit me in the balls." "But he missed." "Let me help you." "No." "Don't." "Sixteen-point match, Mr Verger." "Bingo." " Carlo?" " Mason?" "Well, well, well." " Am I coming to see you?" " Yes, soon, lhope." "But first I need you to pack off the boys." " Now?" " Yes, I know." "The day you never thought would arrive has." "Now, Cordell will fax the veterinary forms... directly to Animal and Plant Health... but you need to get the vet affidavits... from Sardinia." "How are they?" "They are big, Mason, very big." " Say again?" " Yeah, they are big, Mason." "Really big." "Maybe 270 kilos." "Oh, wow." "Can you hear?" "They sound fantastic." "Super." "The full balance ofthe money is payable upon receipt of the doctor, alive." "Of course, you won't have to seize him yourself." "Rather, just point him out." "It's preferable to all concerned if that's the extent of your involvement... from this point." "I prefer to stay involved, make sure things go right." "Professionals will see to that." "I am a professional." "Did you enjoy the performance, Commendatore?" "Very much." "Allegra, this is Dr Fell, curator of the Capponi Library." "Signora Pazzi." "I'm honoured." "Are you from America, Doctor?" "Not originally." "I've travelled there." "I've always wanted to visit." "New England, especially." "I've enjoyed many excellent meals there." "I noticed you wrapped up in the libretto." "Thought this might amuse you." "Dante's first sonnet from La Vita Nuova." "It's beautiful." " Rinaldo, look at this." " I can see." ""Joyous Love seemed to me... the while he held my heart in his hands... and in his arms... my lady lay asleep... wrapped in a veil."" ""He woke her then... and trembling and obedient, she ate that burning heart out of his hand." "Weeping, I saw him then depart from me."" "Dr Fell, do you believe a man could become so obsessed with a woman... from a single encounter?" "Could he daily feel a stab of hunger for her... and find nourishment in the very sight of her?" "I think so." "But would she see through the bars of his plight and ache for him?" " Please keep that." " I couldn't." "I insist." "Goodbye." " Let's get something to eat." " Of course." "Why not?" "Is that you, Doctor?" "I'd like to speak with Chief inspector Rinaldo Pazzi, please." "This is Agent Clarice Starling from the American FBI." "One moment." " FBI." " I'm not here." "Inspector Pazzi." "It's Agent Starling from the FBI." "How do you do?" "Actually, I was just leaving for the day." " Can I call you back tomorrow?" " This won't take long." "First, thank you for sending us the security tape from the perfume store." "When I say "you", I mean your department --Agent Benetti." "Is he there?" "Can I speak with him?" " I'm sorry." "He's gone home." " That's allright." "I should tell you this rather than him anyway." "I'm late for an important appointment." "The person I'm looking for, Inspector... who is indeed shown on that tape, is Hannibal Lecter." "Who?" "Dr Hannibal Lecter." "You've never heard of him?" " I'm not familiar." " And the tape confirms... that he is or was recently in Florence." " Really?" " He's a very dangerousman, Inspector." "He's killed 14 people that we know of." " I really have to go, Miss" " Starling." "Just another minute." " You sure you've never heard of him?" " No, I haven't." "Because I'm confused." "Someone there has been accessing our private VICAP files on Dr Lecter... with some regularity on your computer." "Everybody uses everybody's computer here." "Maybe one ofthe detectives on lI Mostro... was looking at profiles of killers" "I'm speaking about the computer at your home, sir." "You're trying to catch him yourself, aren't you?" "For the reward." "I cannot warn you strongly enough against that." "He killed three policemen down in Memphis while in custody... tearing the face off one of them, and he will kill you too." " I want him out ofTuscany fast." " Believe me... he'll be gone from the face ofthe earth fast." "Feet-first." "Because of his avarice and his betrayal of the emperor's trust..." "Pierdella Vigna was disgraced, blinded and imprisoned." "Dante's pilgrim finds Pierdella Vigna on the seventh level of the Inferno... and, like Judas Iscariot, he died by hanging." "So Judas and Pier della Vigna are linked in Dante... by the avarice he saw in them." "In fact, avarice and hanging are linked in the medieval mind." "This is the earliest known depiction of the Crucifixion... carved on an ivory box in Gaul about A.D. 400." "It includes the death by hanging of Judas... his face upturned to the branch that suspends him." "Here he is again on the doors of the Benevento Cathedral... this time with his bowe is falling out." "It wasn 't easy, but I got this number without tellin' them why" " Sorry." " Not at all." "Welcome." " Please join us." " Thank you." "On this plate from the 15th-century edition of the Inferno..." "Pier della Vigna's body hangs from a bleeding tree." "I will not belabour the obvious parallel with Judas Iscariot... but Dante Alighieri needed no drawn illustration." "It was his genius to make Pier della Vigna, now in hell... speak in strained hisses and coughing sibilants... as though he is hanging still." "Avarice, hanging... self-destruction." ""I make my own home... be my gallows."" "Thank you, ladies and gentlemen, for your kind attention." "I'm not a scholar, but I think you've got the job." "Thank you." " May I buy you a drink?" " How kind of you." "I'd like that." "I'll be a minute gathering my things." "Take your time." "Allegra, I'll be home just a little later than I said." "I'm taking Dr Fell out for a drink." "I can see the people coming out now." "Yes." "Bye, honey." "My wife." "Of course." "I should have shown them this one." "I can't imagine how I missed it." "Remember?" "I told you about it." "It's a rendering I found in the Capponi Library." "Can you make it out?" "There's a name there... the one I told you about." "It's your ancestor, Commendatore... hanging beneath these very windows." "Francesco de' Pazzi." "On a related subject, I must confess to you..." "I'm giving very serious thought... to eating your wife." "If you tell me what I need to know, Commendatore... it might be convenient for me to leave Florence without my meal." "So I'll ask you the questions, and then we'll see." "All right?" "Okay?" "So." "Now, is it Mason Verger you sold me to?" "No, no." "Blink twice foryes, once for no." "Was it Mason Verger you sold me to?" "Yes, good." "Thank you." "And are his men waiting for me outside?" "Was that a single blink?" "You're confused." "Please don't be confused, because I may have to fiillet Signora Pazzi after all." "Have you told anyone in the questura about me?" "No, I thought not." "Have you told Allegra?" "No?" "Are you sure?" "I believe you." "Okey-dokey, here we go." "Okay." "Your heart is really palpitating." "Oh, it's not your heart." "Shall I answer it?" "I've gone above you." "I've spoken to your section chief." "Someday you'll thank me." "Or you won't." "I don't care." "You'll be alive." "Inspector Pazzi?" "Is this Clarice?" "Hello, Clarice." "I'm afraid I have bad news for you." " Is he dead?" " Did you get my note?" "I hope you like the skin cream." "I had it specially made for you." "Is he dead, Dr Lecter?" "I would love nothing more in this world than to be able to chat with you." "Unfortunately, you've caught me at an awkward moment." "Please forgive me." "See you around." "An old friend." "Okay, hold on." "Here we go." "I'll go around back!" "Kill him if you have to!" "What's it to be?" "Bowels in or bowels out..." "Like Judas?" "Are you confused?" "I'll decide for you, if you'll permit me." "Good evening." "Cordell... to you... does that look like a wave goodbye... or hello?" "So, what do you think?" "Does Lecter want to fuck her or kill her or eat her or what?" "Probably all three." "Though I wouldn't want to predict in what order." "Here's what I think." "No matter how Barney might want to romanticize it... and make it Beauty and the Beast..." "Lecter's object, as I know from personal experience... has always been... degradation... and suffering." "Get this damn thing off me." "I can't breathe in this thing." "He comes in the guise of a mentor... as he did with me and her." "But it's distress that excites him." "To draw him... she needs to be distressed." "To make her attractive to him, let him see her distressed." "Let the damage he sees... suggest the damage he could do." "When the fox hears the rabbit scream, he comes a-runnin'." "But not to help." "I don't understand." "There'snothing to understand, Paul." "All you have to understand is what it's worth to you." "No, no, I don't understand why she didn't turn this over." "I mean, she's such a straight arrow." "She didn't turn it over because she didn't receive it." "She didn't receive it because it was never sent." "It was never sent because Lecter didn't write it." "He didn't write it because I did." "So, what do you think?" "You'd have been better off if you'd never got her out of trouble." "Oh, woulda, shoulda, coulda." "I meant, what do you think about the money?" "Five." "Let's just toss it off, like "five."" "Let's say it with the respect it deserves." "Five hundred thousand dollars." "That'sbetter, but not much." " Now, will it work?" " It'll work." "It won't be pretty." "What everis?" "Cocksucker." "Never seen this before in my life." "Then how do you account for its being found in your office, your basement?" "How do you want me to answer that, Mr Krendler?" "What possible reason might I have to withhold it?" "Perhaps because ofthe nature of its content." "Reads to me like a love letter." " Has it been tested for prints?" " No prints on it." "None on the last one." "Handwriting analysis?" ""Did you ever think, Clarice, why the philistines don't understand you?" "It's because you're the answer to Samson's riddle." "You are the honey in the lion."" "Sounds like him to me." " Do you mean, like a homosexual?" " Like a nut with a crush." "Director Noonan, I need to say something" "Agent Starling, I am placing you on administrative leave... 'till document analysis tells me unequivocally a mistake's been made." "In the meantime, you remain eligible for insurance and medical benefits." "Surrender your weapons and your identification to Agent Pearsall." "I want to say something." "I think I'm entitled." "Go ahead." "I think Mr Mason Verger is trying to capture Dr Lecter... for the purposes of personal revenge." "I think Mr Krendler is in collusion with him... and wants the FBI's efforts against Dr Lecter to work for Mr Verger." "I think Mr Krendler is being paid to do this." " Lucky you're not sworn here today." " Swear me!" "You swear too!" "Clarice, if the evidence is lacking... you'll be entitled to full reinstatement without prejudice... if you don't do or say anything in the meantime... that would make that impossible." "Relieved of field dutyp ending an internal investigation..." "Special Agent Clarice Starling, a ten-year veteran on the Bureau... began her career with an assignment... to interview lethal madman Hannibal Lecter." "Earlier, we heard comments from Justice Department spokesman Paul Krendler." "Can you comment on the Justice Department's decision this morning?" "The FBI and the Justice Department are looking very carefully into the charges." "And, yes, they are extremely serious." "I'd like to add a personal note, though." " Starling's one of our best agents." " No, no, no, stay." "I would be very surprised if these accusations turn out to be true." "Is the Justice Department and FBI united in this decision?" "It's much too soon to condemn her" "Good boy." "I think she's nice." "She's always been nice to me." "Polite." "Don't you think?" "Do you know what a rollerpigeon is, Barney?" "Rollerpigeons climb high and fast... then roll over and fall just as fast towards the Earth." "There are shallow rollers and there are deep rollers... but you can't breed two deep rollers, or their young, their offspring... will roll all the way down, hit and die." "Agent Starling is a deep roller." "Let's hope one of her parents was not." "The power in that battery is low, Clarice." "I would've changed it, but I didn't want to wake you." "Use the one in the charger." "Hopefully, the light on it is green by now." "Because this is gonna be a long call and I can't let you off... because even though you've been stripped of your duties..." "I know you won't abandon them-- you'll try to put on a trace." "So we'll disconnect long enough for you to exchange the battery in the phone... for the one in the charger." "Shall we say, three seconds?" "Are you ready?" " Yes." "Go." " Very good." " Thank you." "Remember, Clarice, if you get caught with a concealed, unlicensed firearm... in the District of Columbia, the penalty is very stiff." "But bring the guns if you have to." "Now get in your car." "The reason we're doing it like this, Clarice... is because I like to watch you as we speak, with your eyes open." "No, it does not excite me." "It pleases me." "You have very shapely feet." "Where are we now?" "Call it out." "Massachusetts Avenue." "Take it." "I thought, to begin with, you might tell me how you're feeling." "About what?" "The masters you serve and how they've treated you." "Your career, such as it is." "Your life, Clarice." "I thought we might talk about yours." " What's the next crossstreet?" " Capitol Street." "In two blocks, make a left into Union Station." "Park." "My life?" "What is there to say about mine?" "I have been in a state of hibernation for some time... a little inactive." "But now I'm backhome and I'm very happy... and very healthy." " You." "It's you I'm worried about." " I'm fine." "No, you're certainly not fine, Clarice." "You felling love with the Bureau, the institution... only to discover, after giving it everything you've got... that it does not love you back... that, in fact, it resents you." "It resents you more than the husband and children you gave up to it." "Why is that, do you think?" "Why are you so resented?" " Tell me." " Tell you?" "God bless you." "Well, isn't it clear?" "You serve the idea of order, Clarice." "They don't." "You believe in the oath you took." "They don't." "You feel it is your duty to protect the sheep." "They don't." "They don't like you because you're not like them." "They hate you and envy you." "They are weak, unruly and believe in nothing." "Mason Verger wants to kill you, Dr Lecter." "Turn yourself in to me, and I promise no one will hurt you." "Will you stay with me in my prison cell and hold my hand, Clarice?" "We could have some fun." "No, Mason Verger does not want to kill me anymore than I want to kill him." "He just wants to see me suffer in some unimaginable way." "He is rather twisted, you know." "Have you had the pleasure of meeting him?" "Face-to-face, so to speak?" "Yes." "Attractive, isn't he?" " Dr Lecter?" "Okay, back to you." "I want to know what it is you think you will do... now that everything you've ever cared about has been taken away from you." "I don't know, Dr Lecter." "Clarice, do you think you'll work as a chambermaid... at a motel on Route 66... just like your mommy?" "What are you thinking now?" "Are you paying attention to me, ex-Special Agent Starling?" "Are you, by any chance, trying to trace my whereabouts?" " I'm being followed, Dr Lecter." " I know." "I've seen them." "And now you're in a real dilemma, aren't you?" "Do you continue to try to find me, knowing that you are leading them to me?" "Do you have so much faith in your abilities that you honestly believe... you can somehow simultaneously arrest me andt hem?" "It could get very messy, Clarice, like the fish market." " What if I did it for you?" " Did what?" "Harmed them, Clarice, the ones who have harmed you." "What if I made them scream apologies?" "No, I shouldn 't even say it... because you'll feel, with your perfect grasp of right and wrong... that you were somehow accompli." "Don't help me." "No, of course not." "Forget I said it." "Clarice, you were very, very warm." "You were so close." "And now you're getting colder again." "Yeah, warmer again." "Well, I think I've been generous enough with you and the clues." " You're on your own now, Clarice." " Dr Lecter." "Hope you like them, Clarice." "Ta-ta." "Go." "Get out of the way!" "I know the first thing a hysteric says is, "I am not a hysteric"... but I am not a hysteric." "I am calm." "I'll ask you one time." "Think before you answer." "Think about every good thing you ever did." "Think about what you swore." "Two men in a van, a third driving, another man down." "They put him in the back." "I think it was Lecter." "I gave you a licence, and I'm reporting it to you again in front of witnesses." "All right." "I'll go with it as a kidnapping." "I'll send someone with the local authorities... if they'll let us on the property without a warrant." " I should go." "You could deputize me." " No." "You're not going." "You're going home, where you'll wait for me to call... and tell you what, if anything, we've found." "Thank Mr Verger for letting us look around." "Sorry if we inconvenienced him." "He's always happy to see you." "Phone." "What number, please?" "Carlo." "Give me one." " How is he?" " Sleeping." "Bring him home." "You've reached Clarice Starling." "Please leave a message." "Pick up, Starling." "There was nothing out there." "I'm gonna say it again, in case you didn't hear me." "You are not a law officer while you're on suspension." "You're Joe Blow." "Hope for your sake you're in the bathroom." "Hylochoerus... meinertzhageni." "Ring any bells from high school biology, Doctor?" "No?" "Well, I could list its most conspicuous features... if that would help jog the memory." "Three pairs of incisors... one pair of elongated canines... three pairs of molars... four pairs of premolars... upper and lower... for a total of 44 teeth." "The meal will begin with an hors d'oeuvres tartare-- your feet." "The main course-- the rest of you -- won't be served until seven hours later." "But during that time... you'll be able to enjoy the effects of the consumed appetizer... with a full-bodied saline drip." "I guess you wish now... you'd fed the rest of me to the dogs." "No, Mason." "No, I much prefer you the way you are." "So... dinner at 8:00." "You will stay for the evening's entertainment... won't you, Cordell?" "If it's all right with you..." "I think I'd rather not." "Rather not... or will not?" "Your little brother must smell almost as badly as you do by now." "Hold it!" "Hands where I can see 'em!" "Quiet!" "What was that?" "Cordell, quickly!" "Get on your stomach." "Good evening, Clarice." "Just like old times." " Shut up." " Can you walk?" " I can try." "You look well." "I'm gonna cut you loose." "If you touch me, I'll shoot you." " Understood." " Do right and you'll live through this." "Spoken like a true Protestant." "Better hurry." "Things might go faster if you hand me the knife." "There was a third in the loft." "No, Clarice." "Behind me." "Cordell, shoot him!" "Get the gun and shoot him!" " Go into the pen?" " Yes!" "No." "I'm staying out of this." "You're involved, is what you are, in all of it." "Now do it!" " No." " Yes!" "Hey, Cordell, why don't you push him in?" "You can always say it was me." "Mary, it's me." "I decided to take off early." "I'll be at my lake house all weekend." "I don't want any calls forwarded either." "Do you understand?" "Whoever it is, they can all wait." "Okay?" "Listen, it's 4th of July, for Christ's sake." "Thank you." "What the fuck?" "Good." "You brought the wine." "One time I bet a friend I could hold a lit firecracker in my hand... longer than he could." "Can I guess?" "You lost the bet, and he lost a finger." "Am I right?" "This won't hurt a bit." "Are we expecting guests?" "We've traced your call and units will be there in about ten minutes." "If you can do it safely, just get out of the house." "Otherwise, stay on the phone with me." "Ma'am?" "Are you there?" "Ma'am?" "You need to make sure they feel welcome." " Are those shallots?" " And caper berries." "That butter smells wonderful." "You feeling hungry, Paul?" "Very." "What's the main course?" "You should never ask." "It spoils the surprise." "Clarice, what are you doing up?" "You should be resting." "Get back to bed." "I'm hungry." " Hello, Paul." " Paul, don't be rude." "Say, "Hello, Agent Starling."" "Hello, Agent Starling." "I always wanted to watch you eat." "What have you got in your hand?" "Something to bash me on the head with?" "Put it on the table." "Good girl." "Hey." "That's mine." "Now sit down." "Hey, Clarice, love the dress." "It's beautiful." " What do you think, Paul?" " Nice." "Nice." "Why don't you say grace, Paul." " Me?" " Yeah." " Grace?" " Sure." "Okay." "Bow your head." "Father, we thank Thee for Thy blessings... and dedicate them to Thy mercy" "We are about to receive" "Forgive us all... even white trash like Starling here... and bring her into my service, amen." "I have to tell you, Paul, even the Apostle Paul couldn't have done better." "He hated women too." " May I have some wine, please?" " I don't think that's a good idea." "Not with the morphine." "I think you should eat some broth." "Okay?" "By the way, that was a job offering I worked into the blessing." "I'm going to Congress, you know." "Are you?" "Come around campaign headquarters." "You could be an office girl." "Can you type and file?" "Can you take dictation?" "Take this down." ""Washington is full of cornpone, country pussy."" "I took it down." "You said it already." "Paul, now you're being rude, and I hate rude people." "Drink your broth like a good boy." "Come on." "Sip." "Good." "It's not very good, buddy." "I admit I added something to yours." "Perhaps it's clashing with the cumin." "But I assure you, the next course is to die for." "Come on, Clarice." "That's a good girl." "Good." "Dr Lecter." "You see, the brain itself feels no pain, Clarice, if that concerns you." "For example, Paul won't miss this little piece here... part of the prefrontal lobe... which they say is the seat of good manners." "Your profile at the border stations has five features." " I'll trade you." " Trade?" " Stop, and I'll tell you what they are." " How does that word taste to you?" "Cheap and metallic, like sucking on a greasy coin?" " Who's Clarice?" " Agent Starling, Paul." "If you can't keep up with the conversation, try not to join in at all." "Paul, I'm Starling." "See... here-- right here's the sac that contains the brain." "I would really like some wine." " That smells great." " Yes." "There." "Like to try a little piece?" "I would really like some wine" "It is good." "All right." "Just a little." "Okay?" "Given the chance, you would deny me my life, wouldn't you?" "Not your life." "My freedom, just that." "You'd take that from me." "And if you did, would they have you back, do you think?" "The FBI?" "Those people you despise almost as much as they despise you?" "Will they give you a medal, Clarice, do you think?" "Would you have it professionally framed and hang it on your wall to look at... and remind you of your courage and incorruptibility?" "All you would need for that, Clarice, is a mirror." "I have plans for that smart mouth." "I'm never gonna hire you now." "Remember what I said?" "If you can't be polite to our guests... you have to sit at the kiddies' table." "Don't get up, Clarice." "Paul will help me clear and make the coffee." "Just think about what I said, Clarice." "Coffee." "I came halfway around the world... to watch you run, Clarice." "Let me run, huh?" "Tell me, Clarice, would you ever say to me..." ""Stop." "If you loved me, you'd stop"?" "Not in a thousand years." "Not in a thousand years." "That's my girl." "Now, that's really interesting, Clarice... and I'm really pressed for time." "So where's the key?" "Where's the key?" "Okay." "Above... or below the wrist..." "Clarice?" "This is really gonna hurt." "Show me your hands!" "Identify yourself!" "I'm Clarice Starling!" "FBI!" " Hi." " Hi." "What's that?" "That's caviar." " What are those?" " These are figs." "And that?" "This?" "That I don't think you would like." " It looks good." " Oh, it is good." "Can I have some?" "You're a very unusual boy, aren't you?" " I couldn't eat what they gave me." " Nor should you." "It isn't even food... as I understand the definition, which is why I always bring my own." "So, which would you like to try?" "Well, I suppose it's all right." "After all, as your mother tells you, and my mother certainly told me..." ""It is important," she always used to say..." ""always to try new things."" "Open up." "Ta-ta. "H."" "from a book which is 600 pages long... it becomes a bit of a jigsawpuzzle-- rearranging a jigsawpuzzle-- to make it work as a movie... as opposed to as a book." "There were various-- not so much problems, but" "Well, yeah, writing problems and structural problems... as to what we would do... with various parts of the movie." "And funny enough, the very beginning... immediately presents... one of the decisions we made later... rather than in the screenplay." "And Pietro Scalia, my editor... was actually... you know, rethinking a certain order of things... when he was editing... and suggested that it actually might be... a perfect way to begin the movie... to show this scene that actually opens the movie... rather than using this scene where it was positioned later in the film... which was quite a long way in." "By doing this, you could introduce... a hideously defigured character like Mason Vergerin a rather cool way... where you're not playing him as a monster... but you're playing him as a little old guy in a wheelchair... with a rather nice pullover on and a nice tie... standing there with either a doctor or a companion or manservant." "You don't really know who these characters are yet." "Also, this scene tells us there is a kind of market-- a blackmarket in artifacts... that come out of crime." "It certainly became a very nice idea... to have the "Barney meeting Mason Verger" scene here... where Barney has something for Mason Verger... for his collection." "So Pietro... put this on the front." "And it was very interesting... 'cause it worked very well for Mason Verger... for the reasons I've just explained... not introducing him as a monster but as a character." "And then you have the pink box." "And then you have... something to remind us of the film-- of "The Silence of the Lambs" -- which is one of the major symbols of the film." "And, of course, we also understand the value of these things." "And all this stuff-- The valuation on artifacts... that have come out of crime in all its aspects... are quite astounding... and can be actually scrutinized... and bid for on the Internet." "None of this was invented." "The titlesequence was actually done by one of my guys in London, Nick Leversee." "I have a production company in London which has a lot of talented directors." "Nick Leversee's one of them... who was trained as a graphic designer at the World College of Art... and now has developed himself into a director." "And Nick had gone to Florence on his own accord... with his little camera-- his little tourist camera-- and concocted what was a two-and-a-half-minute commercial... and put his typographyon it and sent it to me saying..." ""Wouldn't this be great as these condannouncement-- commercial for the film?"" "It didn't work out that way, in terms of our plans... with MGM and everybody." "It wasn't quite right, but it kept sticking in my mind." "I thought it was so compulsive." "It was a very good single idea... which was fundamentally, "Where is he?" "He's been gone forteen years." "Where is Hannibal?"" "And, of course, this story tells it." "And there he is." "It tells it in pigeons on the cobblestones of somewhere... where you wonder where that is." "And so, we tried that inside the film as a titlesequence... and added a couple of things and took a couple things out." "But I think it worked very successfully." "And Julianne Moore... once Jodie had decided to pass... was always on top of my list." "But not just for this, but for the fact that I always wanted to work with her." "She's an actress with an extraordinarily... variable... number of characterizations and parts that's she's played." "She's a very inventive actress." "She's always different in the various films that she does." "A lot of actors, without being rude about it... tend to play a similar part or a similar person, similar role... which is part of their persona." "Julianne seems to have the talent... to completely disengage from who she is... andre-engage as the character." "I wanted a woman for this who was clearly very smart, very thoughtful... and a person who could easily be perceived... as being incorruptible." "One of the driving forces... for Hannibal's interest and fascination by Clarice Starling... is that she's essentially, in Tom Harris' words, "a straight arrow. "" "So I was looking for a character who if nothing else... could be quite stern... and pull that off... as a female officer... and at the same time have all the other feminine qualities... without waving them around." "It's just there." "That's, you know" "And she can do that." "She did that." "The fish market sequence... whilst it reads great in the book." "Finally, you know, it reads well in the screenplay... and I think comes off very well in the film." "It was kind of really part of the film... that I kept asking myself..." ""Is it necessary to have this?"" "Why do we have to have a shoot-out?" "It doesn 't matter how good it is." "It's albeit." "It's conventional... to have these big shoot-outs today, which are much overused... much overexposed... and essentially become less interesting." "But I try to work out, in the screenplay form..." ""How could we actually begin the film without having to do this?"" "And we couldn't." "We really needed" "First of all, it was a great opportunity to see where she is now." "She's on the street." "She's functioning on the street, instead of" "Now, after ten years doing an office job, Hannibal's question is... ?" "Why aren't you running Behavioural Sciences, which you've always loved?" "You live on the street." "You function on the street." "You live by the gun, you'll die by the gun." "Or you'll end up in a wheelchair." "So it was necessary to see her and where she isnow." "And by doing that, we're able to see how efficient she is as an officer." "But the most important thing of all about the out come of this sequence... is that Clarice becomes a scapegoat... in the sense of the embarrassment of an institution... who have been under the gun, under pressure recently... of public relations... and how they're dealing with the public." "The process of anti-violence." "What comes out, unfortunately... is five deaths, including a police officer... including an FBI officer." "And the demise begins for Clarice Starling." "It tends to get laid at her feet." "So whilst I enjoyed the sequence, it was necessary." "And whilst I questioned having the sequence, it was necessary... it must be." "This fish marketset is a set." "It's not a location." "I chose it underneath the freeway, which was kind of a nice place to be." "It was a big empty ground, which was normally a parking lot." "And my production designer Norris Spencer and his team moved in." "And, of course, we needed to create somewhere... which wasn't used everyday, because otherwise it'd be impossible." "'Cause we were in here to shoot this sequence" "I think we were in here for about four or five days." "And we need to be in total control." "So this was created by the art department... and my production designer, Norris Spencer." "I was using my special effects-- flooreffects." "Every kind of effect." "A person that I'd used on Gladiator called Neil Corbould... and his team, his formidable team." "And he's, uh... really, really inventive... with almost every kind of effect." "And above all things, he's also safe... which always kicks in when you're dealing with explosives... or anything dangerous." "And it's worth mentioning that baby was not a real baby." "There's no way I'd have actually involved a baby of that age or size... in any form of filming like that." "That baby was basically a prosthetic baby... a mechanical baby... which was made up by the team who also did my prosthetics... on Mason Verger and Krendler." "Because that always became a big problem." ""How the heck do I have this baby?" The baby's involved in a shootout." "It's very easy for that to slip by in people." "In fact, when we were editing and planning..." "I kept having to remind myself that there is a baby involved in this." "And that is really shocking." "It's very easy for those things... to just actually fall into place, and you just accept them." "This scene was always debatable." "Should I see her reacting or should I not see her reacting... to having done what she just did?" "It was in, it was out, and then finally it was absolutely in... because we needed that sense of her remorse and humanity." "She'snot a "Superwoman" after all." "She's normal." "Trying to tie Mason Verger into his connections... inside the infrastructure... the corridors of power, was tricky." "Again, by editing, we managed to link it simply with a telephone call... a voice-over from Mason Verger from his bedroom." "He calls Cordell and says, "Get me the Justice Department."" "It's oblique." "It must be oblique." "Because you can't be that much on-the-nose." "In fact, to me, that was almost too on-the-nose, but I needed it." "I needed to suggest something." "And if you heard it and got it, great." "If you didn 't really understand what it was later, you" "People tend to sit watching a film and ask questions later... saying, "How was there a connection between him and Krendler... and what was the connection?"" "So that kind of information has to be fed in little by little." "So once you have enough, then you can get on with the story... and the relationship with these characters." "So here we have her being basically put under pressure... and being scrutinized and judged... for her behaviour... under fire... which, of course, we've witnessed-- we've seen as being 100percent... even to the extent of her saying, "Don't do this." "Put this down. "" "She knows what Evelda Drumgo might do... and she did everything she could to persuade her not to do it." "And because we've seen it, we've made our judgement on her already... before this meeting, so we know this meeting... and the outcome of this meeting is too strong." "It's rather stringent." "It's an overreaction." "They're giving her an opportunity to do something else." "Now, as a police officer in her position... she's actually being given what they would call "maid" work." "Maid is inparenthesis." "So for her, it's not only embarrassing." "It makes her angry." "She's being put on hold... while whatever or various committees decide what to do-- what to do with her in terms of her career." "She's given the opportunity to go back into and study... in the Behavioural Science Department... because a new clue has come to bear... which suggests that Hannibal Lecter, after ten years... is actually-- certainly still alive and thriving somewhere." "And therefore, they wanna open up the case." "This house is the largest privately-owned dwelling... in the United States... at approximately 150,000square feet interior... which stood originally in a parkland I think of about 125,000 acres." "It's both farm and park." "It belongs to the Vanderbilts." "I believe it was originally built as a copy... of another house in Massachusetts or Connecticut." "It was one of Vanderbilt's favourite houses." "It's an extraordinary house that I decided" "There are all these decisions when you're planning." "I was reading the book." "And in preparing the screenplay... how wealthy was Mason Verger?" "And so I figured that I had to make him... really Vanderbilt-wealthy... and being the black sheep-- the son who strayed from a large family... who had prominence both politically and otherwise... in the state of Virginia." "He therefore was wealthy enough... at certain points, to actually build influence... with people at a fairly high level." "I cast Gary Oldman fort his part." "I've never worked with Gary before, but I think he's... one of the finest actors we have." "He loves to, I think, visit certain films... providing he's actually got, as he said..." ""I don't mind the shortness of the part." "It's about quality, not quantity. "" "And he was very amused by the character." "As we can see and as we witness... he obviously had a very amusing time doing him." "He creates a humour out of this character... that in the book is described as "monstrous."" "But I wanted to go further than that." "I wanted almost to have him be-- have a quality about him where you almost feel sorry for him." "And Gary also brought humour to bear into the character and the part." "So I think, actually, he's a fresh screen monster." "A different take on what can be constituted... as who is the bad guy, because he's multifaceted, multilayered." "And any person that's portrayed as being bad" "I think in any film, it's always nice to know they're not entirely bad... and that there's a reason why, maybe." "Gary gives us all of that." "It's interesting when you get in close-up here." "Damage on people is always tricky to do... and pull off without it being a monster." "A film monster." "I felt one eye had been so badly damaged... that he damaged the vitreous humour or the aqueous humour or the retina." "So in his left eye, we put a full scleroid lens in there... which allowed us to blur the whole iris across the eyeball." "So he looks very odd." "It'salmost like a dog's eye." "Now, interestingly enough, we shot the flash backsequences... on a small, handheld... kind of consumer DV camera... then transferr edit onto film-- digital, then film." "But it's" " I think it works quite successfully... and it gives a funny, strange quality to his memory." "Again, the memory" "Illustrating the memory was always discussed." "Should we have it?" "Should we not have it?" "So I basically-- The jury was out... untill shot it and we put it together and looked at it." "I think it was successful." "And to get out of a sequence like this... and really hideous behaviour" "A humorous line at the end of it, which is also humorous and touching... was really interesting... where people were able to smile or laugh at the end of this." "It's, like, extraordinary really." "It seemed like a good idea at the time." "That's the line." "I love the fact that..." "Clarice is above it all." "Does not want to get drawn into the conversation." "Doesn't wanna know about his past." "It's all about where she is and why she's there." "Now, the clue that's in the book about the X-ray... of Hannibal's broken arm... when he attacked the nurse" "That's written, never seen." "We never saw it in Silence of the Lambs." "We have it described." "It was tricky." "It was saying, "Should we show that?" "Shouldn't we?" "Where does the X-ray lead us?"" "And if you really, really, really think it through... the X-ray really doesn't lead us anywhere." "She's given the X-ray." "She looks at it... checks it out, says, "Well, this is an X-ray... before Hannibal's-- when he was inprison." "And therefore, it's kind'of redundant. "" "So the question raises itself as... why has Mason Vergerdone this?" "He must have an idea that it's pre-institution for Hannibal Lecter." "Therefore, it's valueless." "Is it because he simply wants to set his eyes... on Clarice Starling, who he's never met before?" "Because he's about to manipulate her." "But I think the encounter is enough for Clarice... to not suspect, but being a good cop" "I think good cops probably leave every door open." "Not that they suspect everyone... but there's always that possibility." "So her encounter with him, apart from being-- must have been fairly shocking for her if this was a real story." "She's already taken in the fact... that Mason Verger, in fact, maybe manipulative and corrupt." "In this scene, we have a suggestion there that" "We're told that the records have virtually disappeared." "The character basically says-- Jeffery says that" "It's all suggesting... various levels of corruption." "Everyone in the film, everyone in the book... at some level or other, is not to be trusted... or is corrupt... in every department in every walk." "And oddly enough, the two characters... who at least are relatively or metaphorically pure" "Well, certainly Clarice is pure." "But Hannibal, almost, in his own way is pure." "But the only characters who suffer during the movie" "It's really about retribution or punishment." "Otherwise, Hannibal is kind of a-- behaves like a gentleman." "I thought this was great for Barney, who had a relatively small part... in the first film, Silence." "And to use him in the book... as the person-- as the way in... was, I think, a great stroke by Tom." "Frankie Faison really turned out to be the right man for the job." "So it's one of those circumstances... where instead of recasting..." "I found Frankie was absolutely the best man for the job." "So Frankie got it, and he did a wonderful job." "One of the things about him is he's such a nice character, nice man." "His cadence is so friendly." "It's interesting that... when you expect something corrupt" "'Cause Frankie, in a way, is corrupt." "He's selling artifacts." "He stole artifacts from the prison-- the institution." "And of course, I figured, who has the most access... to any criminal, anybody incarcerated?" "And of course, that is guards, cleaners and nurses." "Because at some point, that prisoner will be walked out in the yard... and he'll do his walk in the sunshine or sit in the sunshine... while the cell is cleaned out." "And of course, for such a famous, celebrated... person as Hannibal Lecter... he would be taken outside, he would have a walk in the sunshine." "And that's where Barney will go down the corridor... walk around the room and remove things little by little." "Little things, like a pencil, a pen, a drawing, little by bit by bit." "And of course, when Hannibal left... or I should say escaped... nobody had put an inventory in that cell... of hisprivate artifacts and writing and drawings and books." "Of course, he'd gone in there and pretty well taken... as much as he dared and put it away... as his retirement scheme-fund." "I always thought that was an extraordinarily sick point of view... until I went onto the internet and found it's all based on fact." "In fact, we found that there had been four bids... for Jeffery Dahmer's refrigerator... which I was shocked by." "Now we're finding out that also Dr. Chilton... was not a nice man... and also had done, if you like, illicit or illegal tape recordings... of her while she was interviewing Lecter... in the cell." "I figured that when Chilton had disappeared too..." "Barney had found one day-- 'cause he knew he was doing this" "Barney wondered, "Where are those tapes?" "'Cause these tapes one day might be valuable. "" "And he probably wandered into Chilton's office... went through his drawers and found his tapes... and probably removed only the tapes related to... the private conversations between Hannibal Lecter and Clarice Starling... hoping one day this would be a nice little nest egg for him." "One of the things about the book-- when you read the book is" "Literature works on entirely different levels than movies." "You read a book, put it down, come back to it." "You can have long, descriptive passages... easing the reader into the next sequence." "Films don't work that way." "And one of the big problems-- because I felt this was kind of" "The subtext was one of affection." "Love is a strong word." "One of affection, certainly of respect." "And therefore, I had to have these two on screen... together as much as possible." "And that's why I started to put around her room, obviously... photographs of Hannibal Lecter, but big ones... so I can see her in a room with Hannibal at the first opportunity." "Better still, I've got tape recordings of his voice... that then would playback as subtext." "We've actually got his voice in the room with her." "So we're starting the overture even now... in the FBI in the Behavioural Science basement." "So while Julianne... is not giving much away at that point in terms of... a poker-faced countenance..." "I think this allows the audience to do the work for themselves." "And they start to imagine, "What is she thinking?" "Is she thinking in terms of... her old respect for Hannibal?" "Did she like him?" "Did she like talking to him?"" "So you allow these things to work." "Giancarlo Giannini-- who was absolutely the right age for this part... and had been one of my favourite Italian actors... particularly from a film called Swept Away-- was a man who is famous-- well-known for his... humorous aspects-- almost comedic way of working." "In this instance, I wanted him to play a serious character... who was actually going down a route." "He was gonna be-- again become corrupted... by the idea of a reward." "Cops do cutting-edge jobs, and they're not paid enough." "That, of course, leaves them open to corruption." "That is not a new subtext and that is not a new thesis... and no more than it's new in Italy." "And we've discovered that there are rewards given... on the Internet, on the FBI internet." "Rewards ranging from 5 million dollars down to 50,000 dollars." "We invented-- or, Tom invented... that there was an Internet reward given out... by one Mason Verger." "The first opportunity he's able to" "We hadn't really had serious Internet." "Only maybe in the last six years." "So the event that occurs... with Mason Verger is 16 years ago." "When he suddenly saw the opportunity of getting to the world... to offer three million dollars..." ""for information leading to, " he did that... hoping that someone would see it and pick up on it." "And he was right, and you're about to find that out." "One of the trickiest things in the book... was the fact that..." "Hannibal Lecter, or Dr. Fell, I should say... was characterized" "It's the chapter that starts off "Florence".." "where Tom in so many words says that... it had become apparent to Inspector Pazzi... that Dr. Fell maybe Hannibal Lecter." "It was tricky because I can't do that in a movie." "I've got to invent ways of how he senses... that this man could be this person... that the world has forgotten about for ten years." "And therefore, we had to do it..." "Little by little, bit by bit... where it becomes apparent to Pazzi... partly starting with curiosity... about a rather impressive character called Dr. Fell... who's there trying to get a job... from a disappeared curator." "But he doesn't suspect Fell of any dark deeds." "After all, why should he?" "Why would the person going for a job... which doesn't pay very much... murder a curator to go for the job... when the likelihood of an Italian taking his place is more likely?" "So that's too much a stretch of the imagination... to believe that" "that Pazzi would suspect him for that reason." "Did he kill the curator?" "That's a question... that the audience can ask and answer for themselves." "'Cause if you really think it through, it's kind of daft." "But given the circumstances... that Hannibal in fact does now-- has finally got to the place where he wants to spend the rest of his life... which is the place closest to him in his heart... and his soul, which is Florence... then maybe he did quietly plan the demise of the curator... wait for a couple of months, see a job advertised." "And because of his formidable knowledge of Italian ancient... you know, writing and languages... and history... he knew that he actually could go for the job and probably get it." "That's the possibility of what the backstory was... going through Hannibal's mind." "'Cause after all, when a criminal disappears for ten years... he pretty well goes off the hot list." "He goes off the hot list, I think, in about 18 months." "And I think Hannibal took his time." "Being a man of great caution, he went to Brazil, Rio... maybe China, Japan." "Australia, maybe." "Beachcombed for a bit." "And then after nine years decided, "Now it's safe to go to Florence... and walk the streets without too much trouble."" "That's why we didn't even disguise him." "I thought, should I disguise him?" "We suggest plastic surgery in the book." "Again, that's a hell of a lot easier to do in the book... than it is on film." "And I didn't want Anthony Hopkins walking around with a different nose... or, you know, some facial alteration... because it would be a nightmare everyday." "But most of all, when you really think it through... to disguise yourself, providing you've got a different passport... all you gotta do is shave your head and grow a beard... or shave the beard and grow your hair... wear spectacles, and you walk straight through most terminals." "It's much easier than we think." "Throughout the film, we had a lady from the FBI... who was always very helpful and very agreeable... and occasionally would remind me... or remind Julianne about some things." "Procedure." "You know, how you hold a gun." "And I think Julianne is a great researcher." "She spent a little bit of time up at Quantico... met some agents and, of course, had this female agent with her... throughout the film." "The idea of ambergris came from Tom... ambergris beingan extract from the whale... which actually is behind its ear." "It forms a hard substance-- which looks like amber-- in the whale's brain, orcranium." "It comes from eating." "The whale lives on plankton and shrimp." "And the extract, which is like a growth in the cranium... comes from that diet." "Now, to get that ambergris means killing the whale." "So now we're coming under the Protected Species Act... that eliminates it from countries such as the UK, United States... et cetera, et cetera." "So narrowing it down, there's now only a few countries where it's legal." "And ambergris is specifically used for cosmetics... and perfume." "Essentially, ambergris is like a fixative of fragrance." "You put ambergris into a substance... that ambergris will retain its fragrance... for many, many, many years..." "I think even a century." "I had a piece of ambergris handed to me in Florence for me to smell." "It was in waxpaper in a sealed bottle." "When I opened the bottle, opened the paper... the fragrance was like incredibly powerful." "And that piece ofambergris was like 50 years old." "It's used like a fixative of fragrance." "And this is what leads him down this route into this path." "It's a limited number of places that would have this kind of perfume... which has an ambergris base." "The Italians all did very well." "I didn't have to loop anyone." "And when I was doing the film, of course... you can ask the question, "Why aren't they speaking in Italian?"" "You get a swift answer for that one, which is unprintable." "But I think they all did a good job, and they're all Italians." "So they have a natural English voice with an Italian accent." "They're all basically from Rome." "Again, because we have no really... extreme behaviour... in the film for a long time, almost to the middle of the film... when you get in with Pazzi." "The difficulty from the filmmaker's point of view... is suspending the tension." "And therefore, what has to take its place is interest." "And dynamics really aren't about... running,jumping and chasing cars and exploding bridges." "But, in fact, it's about giving you new information... where as an audience you feel you're being... sucked in and dragged forward... into the story by different information... which builds on the previous information." "Or, it leaves you trying to work out where the story's headed." "It's about sustaining your interest." "And that's tricky." "Action sequences are relatively straight forward... and are a kind of... cheap solution to occupy the attention of an audience." "I think the character scenes... which are essentially at the end of the day, are the most important scenes." "They're the things that actually are the hardest to do... and they're the things that actually keep the audience finally involved." "'Cause the audience, fundamentally, will always invest in a character... or will invest against a character." "And the strangest thing about this form of entertainment... is they love to hate someone." "Or, they love to love someone." "And that's the fundamentals of drama... which are based on, I guess, emotional response." "This computerhacking is all totally accurate." "We jump one hurdle... in that it just took too long." "But for him to get into the VICAP, which is basically... right inside the FBI computer... you require a number and a code, which I think is changed once a week." "I'm not even sure it's that thorough." "But any FBI agent has it in the United States." "But for Pazzi to get it as an Italian cop is tricky." "You'd have to have a friend." "So I shot a sequence... where he calls a friend in Rome, who's American... who says, "Come on." "You owe me." "Give me the number."" "He says, "Remember, I'm not here." We suggest in a conversation... that this guy shouldn't be in Rome anyway functioning... therefore he gives him the number." "So he then types it in and goes into the FBI VICAP... and discovers this... which is not for public consumption." "But by going in... everytime he goes in to the FBI Internet... he leaves his presence there-- it's a cookie." "And that's what she spots and says, "I wonder if that's you, Dr. Lecter." "Who the hell's this going into the FBI VICAP?"" "So all of this was fairly carefully thought out." "Ray Liotta is, again" "He was perfect, 'cause I wanted someone... to be kind of very presentable." "A ladies' man." "Kind of charming... but manipulative." "A bad man." "Bad guy." "And above all things, Ray has a great sense of humour." "I always look for that." "I always look for all my characters... to have humour, if you can find it." "In fact, I cast Ray" "From time to time, as often as I can..." "I try and go to the gym." "And I was in the gym in Los Angeles." "I kept seeing Ray Liotta." "And occasionally, we'd be riding on a bicycle... or a treadmill or something." "I didn't know him, but I knew who he was." "Then one day, I was leaving in the parking lot... and Ray was coming into the gym." "And so he basically said..." ""Come on, mate." "Is there anything for me?"" "And actually, I thought he'd be perfect for Krendler." "By seeing him in the gym I thought, "This guy could play Krendler." "I wonder if he'd wanna play Krendler." And that's how it happened." "So I said, "Do you want this role?"" "And again, he went for not a big part... but he went for quality... which all these actors do." "They must have fun while they're doing it." "They must find a way of getting into this character... and occupying themselves with this character." "I think he was perfect." "Even his demise at the end was, you know... really brave for him to... trust me with that." "'Cause actually, if it comes off right... it's a kind of very amusing demise... and a good solution for him at the end." "And Ray is such a good sport... and is also so, I think, clever." "And he can play two things." "He can play both a frightening character... a straight character, but also he can play all of them with humour." "And he just loves being a bad guy in this." "Here we have the imagination of the Italian cop... kind of wondering, "Maybe I'll meet up with this gal... 'cause she sounds okay on the phone. "" "But then, of course, it doesn't go anywhere." "She just hangs up." "It's one of those funny little side details." "And she's drawing the Italian, wondering what he looks like." "And what's interesting is, it almost looks like Rinaldo Pazzi... with the moustache." "I like this part of the mix here, where we cut out all the extraneous sound... and all you've got is the "chinking" of change-- money, Judas-- in his hand." "And he's about to start the process." "He's about to go" "He's about to become corrupt." "So here we have the temptation of Pazzi." "He's got the number." "His heart's beating." "Even though at this moment it's harmless... he knows the route he's taking." "Now he's almost relieved it's an old number." ""It's cut off." "Thank God for that, " as he walks away." "And here we have it-- part of the mechanism." "Right here's the point... where he's now gonna step across the line." "So you have a three-part situation to get through... to the person you wanna talk to." "And all the stuff that this person says... in this call and the next call... would allow them off the hook legally." "If he was after them as a cop... and said "You did this and you did that".." "the person would say, "No, I didn't, because I advised you... to consult a proper lawyer or a police department."" "Et cetera, et cetera." "So they protect themselves." "Now he's fully on board." "What's interesting about him is I always figured... he was a good, honest cop... who was, I think, very much in love with his wife..." "Francesca Neri, who's very beautiful." "And I figured he always felt himself to be a lucky man... having such a beautiful woman as a wife... and was concerned that he never seemed to have enough money for her." "In the book, she's a little bit more-- a little less sympathetic... because she's always kind of whining about money... and doing this and doing that." "It drives him harder." "But I think this was enough." "I didn't wanna make her quite such a bitch." "I like this scene... where you have the two together... because he now is onto the trail of something as simple as a fingerprint." "Except the fingerprint's very difficult to get, actually." "This ought to be the scene where Pazzi dies." "I think people anticipate that it might be." "It's also worth mentioning this is actually the Capponi Library." "So this doorway has been here since 1560." "And the family, the Capponis-- Whilst the Library is rather tiny... the books in it are very, very valuable... dating back to the Crusades... with many documents written directly from Henry VIII... to one of the Capponis." "In fact, I stood in the Capponi Library and was handed documents... that predated the end of the Crusades by 30 years." "It was a manuscript-- a book... which was actually military inventory, which was about 1200." "There are letters from Henry VIII to Capponi... asking him if he could rent the use of 2,000 troops... who were familiar with the use of what they call a "busse".." "which is the first gun powdermusket that was the firearm of the day." "'Cause don't forget, Marco Polo brought back gunpowder." "Again, humour's always useful." "So we have Hannibal having fun at his expense." "Hannibal's already on to him by now." "I think Hannibal is also considering... the idea, and then rejecting, of course" "He could actually do Pazzi here easily... but it wouldn't be a good idea." "Besides, I think the subtext to Hannibal was... as he says to her, "I've been underground too long." "I'm getting bored." "I need some action."" "And I think he enjoys the process." "He enjoys the chase." "So he insults him there by saying, "You're a patsy of the Pazzis. "" "The Pazzis were... a very aristocratic family who lost their money 200 years ago." "But one of their claims to notoriety... if nothing else, fame... was the fact that one of his ancestors... had suffered death by hanging from the Palazzo Vecchio balcony... and at the same time being disemboweled... so his tripeshit the sidewalk." "The reason for that was he was punished by Medici... because he had organized the murder of one of the Medici family... ironically, on the steps of his own family chapel." "This library, because it's real... the atmosphere is wonderful." "And the walls are thick, so the place is chilly." "It was an after thought to have Hannibal wandering aroundin bare feet... which I thought was interesting." "It makes him somehow more physical as well." "There's something threatening about the bare feet." "I always imagined Hannibal wandering around these rooms... these chambers... in the hot weather in his bare feet... in his kind of pyjama-- almost Oriental pyjama suit... rather like some hippie." "I always imagined that Hannibal probably likes cannabis... probably likes marijuana." "He probably even does opium occasionally... rather like a 19th century author." "Again, with a view to exploring... the palaces in his mind." "Needless to say, I don't do either of those." "They're too much for me." "I'd rather just have a cigar." "Tony's references to-- which are not in the script, such as "okey-dokey".." "became a catchphrase... and very nicely placed." "But somehow, it made him more dangerous." "He's a very light-hearted character in some ways." "And he's very amused by Pazzi's attempts to... kind of pin him down or get the finger-prints." "And I think for the first time in years..." "Hannibal's probably feeling really alive now... because he's being pressured." "In a funny kind of way he's safe, because he notices a cop going" "This cop's going AWOL." "This cop's going bad." "And therefore, he can deal with him whichever way he pleases." "'Cause it's not like he has the whole Italian police department after him." "It's one on one here." "Interesting." "This character... who was the pick-pocket... was an actor that I'd spotted... when I watched a film which I liked a lot... called The Farinelli Brothers." "And he had played one of the Farinelli brothers." "I thought at the time he looked kind of either..." "I don't know, Sicilian, or could be a gypsy." "And therefore, he was perfect as the pick-pocket." "I was really pleased when he said, "Yeah, I'll do it."" "It was a small part for him, but he was great." "He did it perfectly." "So here we have the first... shot" "A really serious shot of getting his fingerprints." "I always feel that Hannibal, even on that very first shot... sensed the presence of threat." "I think he knew immediately." "He's like an animal with his great, great intuition." "There, he definitely knows." "He's gonna play a game with him here." "He's gonna just check him out." "Right here he checks him out." "He sees the guy go inside." "That's confirmation." "That's definitely it." "Now he's gonna have a look at him." "And... there he is." "He's dead." "This man is dead." "So now he's gonna allow him to catch up." "There's a funny little detail in here, because we used all these" "Actually, I think they're Somalian street traders... who are prevalent... in Florence and have a lot of trades... they bring in from North Africa." "I saw this Somalian here with this great face." "There he is." "I just asked him to look at Hannibal as he goes past... almost like he senses a bad spirit." "Nowhere, we" " It's an old technique to bump into someone... and take their wallet." "Of course, he wasn't gonna take the wallet." "He wants him to grab his wrist." "And that's exactly what happened." "But this man is so expert at picking pockets... he did it clumsily deliberately." "What he doesn't realize is Hannibal is entirely ready for him." "So now we have a cop who hasn't just gone corrupt." "To all intents, purposes... by preventing the handpressing on the wound, he wouldn't have saved him... but he certainly accelerated the man's death." "Because he basically eviscerated his entire abdomen." "He would've died anyway." "Most people missed it, but there's a Chingale-- there's a pig." "It just happens to be there." "I didn't put it there." "That's a... wild boar that's at the fountain." "The reason why its nose is so shiny... is that people touch the nose and then drop coins in that fountain... as a good-luck thing." "This was a nice transition... from pouring water down to the desk... and the information about the bracelet." "Now, this Sardinian farm... we shot actually in the Vanderbilt stable-yard." "So we didn't have to go to Sardinia." "I just" " Norris dressed it up like a Sardinian backyard... to agnarly farm." "I figured that..." "Tom's detail about" "He comes up with an uncanny imagination... of getting rid of somebody by using a pig, or pigs... to consume the body." "I don't think it's a new idea." "It's probably medieval." "One of the ways of getting rid of a human being." "They'll eat everything but the teeth... even crunch the bone." "I asked Tom." "He said, "Sure enough." "It's probably a fairly ancient method."" "These pigs-- we found in Canada." "So shipping them from Canada into the US was relatively straight forward... with Customs and Excise and quarantine." "But these were big fellows." "They were privately owned... which is why they were so large." "The biggest was about 350 kilos." "The animal trainers basically... trained them to... attack a figure... by putting feed-- fodder, obviously-- in the figure... and keeping the pigs on a relatively healthy, tight diet." "So they were always slightly hungry." "But rather than getting into tremendous detail... that's exactly what they would do." "A human body would disappear overnight with those many pigs." "Now he's fully in." "He's beyond the point of no return." "I really liked this actor who played the Swiss banker... who was very austere, very respectable... and yet he knows exactly what he's dealing with." "So it was kind of an amusing character." "Now we have, coming to the opera, the beauty" "The juxt a position of such beautiful music... where the metaphor really becomes corruption." "He's in." "Now he's in." "But I think he's very insecure about what he's done." "I don't think he's happy, even though he has the money." "Very thoughtful." "But he loves his wife." "This was" "Ironically, this chapel and courtyard exterior... was the chapel of the Pazzi family." "By coincidence... it's where the Pazzis... or one of the Pazzi family... organized the death, the demise, the assassination... of one of the Medicis... pretty well right in the entrance here... in the forecourt." "And because of that event, the Medicis took revenge... and killed the other Pazzi by hanging him from the balcony... of the Palazzo Vecchio... which is, you know, what's written in the book and is history." "But I didn't realize when I chose this location" "The man said, "Do you know what you've chosen?"" "I said, "No. "He said, "This is the Pazzi family chapel."" "And this is the reason why he met his demise... 'cause he organized the murder of Medici." "So right where she's standing is where the murder happened... in, I think, the 1530s." "The blood around her waist" "The red around her waist represents blood." "So when she's taking the silk from him... she was actually, symbolically taking his blood-- taking his heart." "Now we have an exchange here talking about the sonnet... which, of course... is reflected in what Anthony says, which is-- what Hannibal says is" "He's actually kind of talking about Clarice, if you listen to this speech." "Now, she's rather more cynical... with what she feels." "She expresses this with her next line." "Not this one, but when she asks him a question." " Here's the question." " Dr Fell, do you believe... a man could become so obsessed with a woman... from a single encounter?" "And I think this is always him talking about Clarice." "Most people missed that, but that's what it is." "So actually, Hannibal's flirting here... 'cause she's so beautiful." "And Rinaldo Pazzi's not just jealous." "He also knows who this Dr Fellis." "He knows he's Hannibal." "This is where she's going in and wondering and seeing... who's been visiting this site recently... the last 30 days." "Search." "And she goes through the usual suspects... which is her..." "Krendler." "But then, who is this P. Francesco?" "The story continues." "Now we have... a beautiful shot of the bridge, and Rinaldo Pazzi... going to meet the brothers." "The problems with shooting in Florence were no more than enthusiasm." "The Italians are great, you know... cinema aficionados... enthusiasts." "Real enthusiasts." "And therefore, their only" "My only problem with them was just so many of them." "They had to be, you know, held back sometimes and monitored." "But generally, it was great." "That's a very Italian gesture." "I love when he says "I'm not here".." "and then puts his fist up." "He knows who it is and has got a horrible feeling on what it's about." "He knows it's all gonna close in and he has very limited time now." "I like how he had that little slip of the tongue, where he says..." ""I'm late for an important lec--. " He nearly says lecture... which is like Lecter." "Then he says "meeting. "" "All the photos in her room... are maybe" "We had a character in Italy in the book... which is factual which is about Il Mostro, the monster... which would be about the same time as Hannibal was there." "But Il Mostro is fact." "And they at one stage arrested one person... who they had to turn loose because of lack of evidence... who I think subsequently died of older age." "I think he was in his 70s." "But Tom had actually tied Il Mostro in with Pazzi... and his demise as an important cop... who becomes less important." "Because over the years, that was the only celebrated thing he did." "So he lost a little bit of his celebrity... and that was increasing his anxiety... about the relationship with his wife." "Il Mostro was such a complicated story to tell... which really didn't go anywhere." "I eventually had to cut him out." "In fact, the guy that I cast as Il Mostro... who did a good job-- he's not an actor-- is this guy here, the guy with the lectern." "Would we bring them together, where we actually see Il Mostro... witness Hannibal dealing with..." "Rinaldo Pazzi?" "Hidden in the room behind a curtain, he watches him." "It just kind of got in the way." "This gentleman here was a local guy from Florence... who I cast as Il Mostro." "But too complicated to tella story at this juncture... so we had to simplify it and thin it out." "This room is a set... and which... had to look like it's inside the Palazzo Vecchio... because we couldn't shoot in the rooms of the Palazzo Vecchio." "It was too difficult." "He just works very hard at, like, his Italian." "He had a coach and worked very hard on what was... the music or rhythms of ancient Italian." "He did it very well." "He does it here, actually." "He may have read up on Dante just out of his own interest... but he didn't really have to." "The guys who had to do all the research were Tom Harris... and Steve Zaillian." "Here we have an Italian which I think is rather elegant." "I think the pronunciation is slightly more ancient." "Beautiful." "This is one of my favourite lines in the film." ""I make my own home be my gallows."" "There." "Now we know Pazzi will die." "I've got a funny feeling Pazzi thinks he might as well." "But by now he's gone beyond the pale." "He can only go for it." "That gentleman was one of the Capponis... the elder son of the ancestors of the Capponi Library." "He is also owner and curator of the Capponi Library... and their other things." "Lighting the sequences here" "Obviously, it's in a room... a scholastic environment." "All these rooms in the Palazzo Vecchio are magnificent." "The palace, I guess, was" "I'm not absolutely sure-- I think it was par Medici" "The rooms are stunning." "And if you're having a lecture in there... and the room was lit by a projector... then you would have this kind of... almost candle light, actually." "To add to the mood in the room, I had some candles." "They had candles in there, so I just lit them." "They really believe in living with that... you know, culture of their past." "They're very conscience of their past and very conscience of... what they have around them and how beautiful it all is." "This is the second film I did with John Mathieson... who did Gladiator." "John is very good at getting everything very near the edge of where" "All the best stuff is near the edge." "And I think this" "Well, the whole film, I think, is beautiful." "But this particular sequence is tricky... 'cause it shouldbe low-key... and at the same time... it's got to be amusing." "And, of course, it's dramatic by definition of the situation." "Poor old Pazzi." "Trussed like a chicken... with tape." "It's great... 'cause he's also almost a comical tragic figure." "We had to pre-think how would he literally... throw him off the balcony... that easily." "So that's why we created the lectern... being brought upstairs to go into the chamber for the lecture... on that three-wheeled trolly." "It actually existed in the Palazzo Vecchio... to move around marble statues... and plinths and any heavy objects." "So we didn't invent this." "This actually exists." "It became very apparent that this is what we should do... and how we should deal with getting Pazzi over the rail." "You have to start thinking about, "How on earth am I gonna do that?"" "Because it's not that easy." "You can't just have Hannibal Lecter... you know... physically have to struggle with him to get him over the rail." "It just doesn't work dramatically." "It's clumsy." "So here they are together for the first time... talking to each other." "Now, because this was a set... this background here is pretty seamless, actually." "Green screen." "That's real." "This is a shot across the balcony of the Palazzo Vecchio." "So this is real." "The shot behind was green screen." "It's just make-up." "You don't need to see that much." "It's painful just to watch it." "Oh, those guts, you mean." "Went to the butcher shop." "Sheep, I think." "Now, immediately people don't scream... and go, "Oh, my God!"" "I originally had the security guards downstairs." "One says, "Students. "" "He actually said, "Fucking students," thinking it was a stunt." "Until then, people go silent and look at it and think..." ""Wait a minute." "This looks awfully real. "" "So there's a brief hiatus before the panic." "And Hannibal works that kind of thing out." "He knows if he walks out briskly... he can leave before the hue and cry begins." "That's exactly what happens here." "He's in the room somewhere." "So even bad guys... criminals have family and brothers that they love." "So now we have something with a-- something really to settle-- a score to settle." "I always liked this shot where he comes out of the dark on the close shot." "It looks like-- The way it turns out... he's got little pointy ears." "It looks like Nosferatu." "Very spooky." "I love the cut to..." "Mason Verger saying "Is that hello or goodbye?"" "Then the scene that follows, which is a transition of" "You don't want to see him coming into the States." "You just want to leave him... wonder where he's gonna appear next." "So the running becomes more about paranoia than anything else." "I think it worked great." "I did this both ways and had him following her." "And then found it more frightening... that you get a sense of someone... that you don't see." "There." "Who's that?" "Then he's not there." "But she feels uncomfortable... so she puts on speed... and runs on." "It's always about things that go bump in the night... with all the scary things you see." "This is one of my favourite Mason Verger scenes." "One that is certainly his most humorous." "In one of Mason's speeches, he talks about the parallel of the fox." "When talking to Gary... we talked about a man who's educated, really WASP'y... if that's the word." "Under any normal circumstances by now, he would've been a senator." "Elegant... and humorous... and very, very educated, probably Harvardor Yale... or one of the great Ivy League universities." "Perfect, isn't it?" "Perfect accent." "Almost an element of English about it, as if he'd spent a time... probably as an exchange between Harvard and Oxford or something." "I love this view." "This giant battlement speaks of huge amounts of money." "There he is, sitting sadly in this little old bath chair... with his little sunshade on." "What I like about Mason Verger is that it doesn't matter what his condition... he's always ready to go, he's always on everything." "Oddly enough, he's a character who's quite evil... but is very much alive." "William Blake." "I think that painting is... entitled Ghost of a Flea." "I don't think it would go over people's heads... but if you ever get a chance to see the painting, it's beautiful." "A small painting... of a very powerful man-- a naked man." "But he's got... a spinal column... that is rather protruding... and makes him... almost look like what you'd imagine a human being... that was part flea and part human being would look like." "It's an extraordinary piece of anatomy." "It's the kind of card that Hannibal might have bought." "It was carefully chosen probably by Mason Verger." "Now we have the beginning of seeing how" "Krendler loves the publicity." "He loves to... be in the spotlight." "But in defence, here he says..." ""But she's the best agent we've ever had." "It's far too soon to judge her."" "And, of course, by saying that, he already has." "This came as an afterthought in the editing when we thought..." ""Instead of seeing him fly there on a plane... the sound just goes silent... and we think, "Oh, he's being watched."" "And sure enough, here he is." "The dog knows better than to mess around with Hannibal Lecter." "Even though his attempts at being a guard dog are kind of... sweet rather than aggressive... he's definitely intimidated." "He can't even bark properly." "The barking is kind of halfhearted." "The only reason for this was to try to finda way-- certainly a sequence puzzling enough-- where you'd question and think, "What was that about?"" "Of course, It's about, like all these people... the possibility that Krendler may have a second home." "I think Hannibal has just gone in there to wander around the house... to see maybe if he has to do it there." "Because he has somewhere else... probably the family house, probably his parents' house originally." "He decides that will be it because it's not to far out of town." "We still don't know what he's headed for, what he's up to." "He's planning." "He always plans." "Every step he takes is thought out very, very carefully." "I tried putting a siren on the door because most people missed the point... that he's locked the guy into the refrigerator." "Of course, those fridges, fort his event... will have a little siren which will get louder and louder." "'Cause otherwise, the guy's gonna freeze to death." "People missed that." "I tried to put the siren on... but it interrupted the flow... and interrupted the beauty of the music." "I loved the beauty of the music juxtaposed next to... this beginning of this rather... bad behaviour that's about to happen." "Or retribution, depending on which way you want to look at it." "I deliberately chose a rather... ordinary, insignificant... station wagon." "I always thought of a gardener... a guy who drives around with lawn mowers... and utensils... and implements of gardening." "I mean, no one would even look at him with any interest." "I always thought that Anthony wanders arounda bit like the guy... who maintains gardens and things like that." "It's an interesting cut, because he comes straight from his entrance... to her entrance." "It's a cheat, but somepeople think he's in her house." "He isn't, of course." "This is the end of her career in the FBI." "I doubt she'll ever go back in the FBI." "That's it." "Her life's summed up with a box in this juncture... as most people's lives are." "I had her cleaning the shelves, because... she's not someone who was gonna sit... with her head in her hands weeping." "She's gotta do something." "She's a very active individual." "I said, "Let's do something odd and peculiar. "" "She liked the idea of just cleaning out the shelves or her wardrobe." "Now he's in the house." "With these characters, you don't address... how he gets in... or how he effects an entry." "You know?" "I think he's an expert in allkinds of things." "So to see him do that is kind of a waste of shoe leather." "You don't need it." "You've seen he knows how." "I always thought this was a nice touch, where you think... some thing peculiar's gonna happen... but instead he just moves a lock of hair back from her ear." "Now she's safe." "You know she's safe." "The next thing, of course, relates to good shoes." "In Silence of the Lambs, he relates to... cheap shoes, was it not?" "Good bag, good perfume, cheap shoes." "Yeah." "It relates to her purse-- what she can and can't afford." "She's short changed herself on the shoes." "So this all heads towards him buying her a nice pair of shoes... which he'd like her to wear." "But he wants to talk to her." "People would say..." ""Why didn't he stay in the house, if he can effect an entry... and stay and talk to her there?"" "I think if he had... it would have either induced a heart attack on herbehalf... or it would have been an impossible discussion." "She would've been so afraid and so tense... he wouldn't have been able to talk to her." "So he had to let her feel free and safe... by being around other people." "The fact of his entry and exit was the scary thing for her-- that he just walked in like that and walked out." "What's nice about this is that we think that Hannibal... may be so bold as to follow her... in a darkblue van." "But we've partly forgotten about those Italians... so I think it's kind of nice when they suddenly appear." "It's always one of those nice moments when the audience can say..." ""Oh, yes." "Forgot about them. "" "I think Hans' score is beautiful." "This is the fourth film that I've done with Hans." "I think we hear a little suggestion of Goldberg Variations here." "Variations was always part of the book." "Because we alloved the idea of the Goldberg Variations... it became the seat of the relationship." "Hans was kind of influenced by that... and sometimes actually used it." "If he hadn't been captured..." "I don't know what his plan was... other than to be close to her so he can talk to her." "But he wants to see her." "This is as close as he may have planned to do." "Except he had planned the demise of Krendler." "And I think he planned her to be there." "So what was in his mind at this juncture no one knows." "But it's made up for him, because he gets taken." "That guy is an actual person who stands outside that station doing that." "So we had him there for the day." "They are actually people who stand outside the station... pouring out religious stuff." "This is the equivalent to Grand Central Station in Washington." "Now..." "I had related a lot of this stuff... to stuff in Florence... and also here to The Third Man." "That's one of my favourite films." "And..." "I would have liked for this to have been at night." "It would have been more dramatic." "I would have liked it to have been lit... so I could control the lighting... with such dramatic scale, like The Third Man." "But we couldn't do that either." "We couldn't control it." "We couldn't afford to do that." "The amount of lighting required... to light at night would have been enormous." "So that went out the window." "But I think it works out fine." "It was a very splendid station which in recent years... has been completely renovated." "It's quite a showpiece." "Like local travelling at its best... because you've got all kinds of shops in here... all good quality material, restaurants." "The way they used the building is beautiful." "More by intuition than anything, she says she's being followed." "When she sees somebody three times... she starts to figure there's something going on." "This roundabout was in there when I arrived." "I thought, "It's not something I would normally have had... 'cause it's a bit whimsical."" "It stood there in one corner playing, and I thought it was interesting... so I asked for it to stay." "It gets to a point where Hannibal gets very bold... and carelessly can't resist touching her." "By touching her, he gives himself up." "He's tempted." "There we have him touch her hair." "She doesn't even feel it." "But Carlo sees it." "All those things are organic and develop once you're filming." "I decided that it would be nice if he touched her hair... just because he's on the roundabout... and she has no idea he's there." "So he's now created his own demise." "That was the chance he took, and he was wrong." "But we're not all perfect." "They're gonna use what the police use, which is a Taser." "Like a stungun on twin wires... which will knock a bull or a cow down." "Five thousand volts." "You have an overexuberant driver that gets her attention." "There he is." "I don't let actors do their own stunts like that." "It's too dodgy if she slips." "She had an excellent double." "She did all her own shooting in the fish market and all that stuff." "She did all the running, the rough-and-tumble." "That's a bit tricky." "Like all stunts, the closer, the better." "I guess this guy would have been Crawford." "Yeah." "When it was Scott Glenn... we were gonna make it a slightly larger part... but Scott decided to pass." "Minimalized it." "Now we have Mason Verger beginning to fulfil... his 16-year-old dream." "They kept him in the van in the village until he called." ""Bring him home. "" "I found this on the edge of the estate." "I loved the way of showing how she gets in very simply." "A freeway that shows the way to drive over to this guy's estate." "There she is going underneath on a backroad... and simply splitting the gate with her car." "Visual short hand." "Doesn't have to get out." "She wouldn't bother." "It's interesting here that..." "Clarice is terrified of cattle." "So when we're doing this shot, the car stalled and she was surrounded by them." "We had to go over there and rescue her." "I love the beginning of this theme of the "Blue Danube".." "which is really introduced as a piece of music... that Mason Verger liked in his house." "Now it becomes a perversion of that." "If you listen to this carefully... that's already off." "One of my favourite scenes." "In a way it's tragic at the end... because Anthony only says one line and nails it." "Obviously Mason Verger is savouring this moment... hoping to see terror, hoping to get pleading for mercy... and of course gets nothing." "In a way it's kind of disappointing." "But what else could he expect other than elegant behaviour from Hannibal?" "There's something very moral about Lecter too, particularly in this film." "The ones who actually meet their demise deserve it." "So, he distributes justice." "He said, "I wouldn't really harm anyone but the rude."" "Then, as an after thought, he said, "Well, the free-range rude."" "He thought it was quite amusing." "Initially... it was Steve and I... talking for a month... which is a long time to talk." "I don't mean for 20 minutes every day." "I mean for hours." "Steve would circumvent... circle the problems... circle the areas that were possibilities for biting the dust... to get to the main plot and main characters." "Then he went away and got that down... which was really rather good." "It was a 135-page screenplay, which was too long." "But it was great." "It was very entertaining." "They had a couple of bridging problems which we didn't like." "They were fine, but they weren't enough." "That's when I asked Tom if he'd come in." "So Tom came in from Miami." "We sat in a hotel in L.A. with Tom and Steve..." "I and Dino." "We talked for three or four days." "Just talking through things and different ideas." "We got Tom to read the screenplay." "He had thoughts and ideas... about various things." "The thing at that juncture I was never happy about... was what happened after the dining room scene... which was, basically, the kitchen." "Him letting her go." "What's that?" "I felt the kitchen scene at the end had to be dramatized... in some way... because the dining room was so outrageous." "That then becomes the end of the movie, and that's dangerous." "You can't have that, 'cause you're still... two or three scenes from resolution." "You don't want the resolution to become secondary." "We discussed endlessly what could happen in the kitchen after the dining room." "Steve and I had already targeted the child on the jet... which I think is almost from the middle of the book." "So when he goes to the United States, that will be the last scene." "It's nice because it shows him going off somewhere else." "It's a very humorous scene... and after so much darkness... it's nice to end on a light note." "Which I thought was good about Silence of the Lambs." "It's really a nod to that." ""I'm just gonna have an old friend for lunch."" "Right?" "I think that was vaguely the line... which I thought was a perfect ending for the film." "So we went for something similar, something humorous... and actually rather sympathetic." "The pigs were difficult, because pigs, like tigers, don't do as they're told." "Pigs are trainable." "The animal trainer guy who does all my stuff... is saying that he believes that pigs are as smart... as a smart dog." "Very trainable, whereas tigers aren't." "Sort of like the tigers in Gladiator." "On a given signal pigs would do certain things." "Because they're smart." "They got their eye on you." "You look them in the eye and you start to like them." "They're kind of sweet." ""Beautiful woman." "Are you ready?" In Italian." "I thought of putting those subtitles in." "She doesn't really screw around." "That's what FBI do." "They would never" "I'd say, "How about shooting him in the leg?"" "They'd say, "Uh-uh, she might miss." "In this instance, she'd go for the largest part of the target... which is the body, the rib cage."" "They wouldn't even go for a headshot." "You can miss, and if you miss, you are in trouble." "She hasn't been shot at." "She was hidden... by the upright of the forklift." "People say, "Why don't the pigs go for Hannibal?"" "I'd say, "Because he's still." "And like that Somalian in the market place in Florence... as he walked past him, he felt him... and would leave him be."" "I think the pigs are sending-- "Just leave him be."" "It's an animal instinct." "People said, "How could Cordell be so ruthless?"" "I said, "Don't we need more bad blood... between Cordell and Mason Verger?"" "I said no. 'Cause that one line... when Cordell says to Mason Verger..." ""I want to stay, 'cause I thought I might be useful."" "And he says, "You can be useful by seeing about my lunch."" "I think that summarizes everything." "Clearly, Cordell's a doctor who has given his life up... probably for money, to Mason Verger." "Again, someone has given himself up to corruption, to money." "And therefore" "Cordell, of course, can walk away, drive away from here... and we'll never see him again." "In a way this has become not his retribution but absolution." "I wanted the transition of the drive to be romantic... but I felt " " I don't know why-- it should be, like, under water." "The sequencesare done very simply." "We just shot it in the car." "I rolled the windows up on Hannibal... so the windows are reflecting the lit trees." "There's no opticals involved." "And... we speeded up... the movement forward... through the windscreen." "It looks like algae." "It looks like you've gone underwater." "She's on a trip... because of her wound and the operation." "Here we have..." "Krendler." "I'm not sure people recognize this is the same location... that Hannibal is, do they?" "They don't recognize it, and yet it's exactly the same shot." "It always puzzled me that they don't respond to this... when they see the same pan and go, "Oh, my God!"" "They don't get it." "It's odd." "He thinks this is a surprise party or something." "Friends." "That's why he laughs." "Fourth of July." "That's indicated by the sparkler." "By now I was feeling very insecure... about the fact that I'm heading to the most difficult scene in the film... which, by definition of the way it plays, is static." "I had to trust the outrageous target at the end of it all... and also the good dialogue from..." "Thomas Harris and Steve Zaillian's adaptation... which above all things, had to be amusing." "I said, "This has got to be funny."" ""Funny" maybe a strong word." "Amusing and witty is the target." "Here Julianne is looking the best she's ever looked in the film... despite the wound on her shoulder." "I was trying to induce... the idea of this implicit sexuality throughout the movie... which, in some ways, is very easy with Julianne." "That's what she is." "She'sa very, very attractive... feminine person... but also strong." "To try and suggest the idea that there was this sexuality... although never, ever consummated in any way... but maybe by thought with Hannibal... was always interesting." "He'd obviously prepared the idea... for dinner... and planned that she would be witness to this." "Because I think he went and bought that dress." "Also, the fact that he... to do the operation, stripped her... is also something to bear in mind." "All those things are off camera, which I think is always the best way." "Now he's amused by this because he deliberately left all the clues for her." "He figured she'd do that." "So now, true to form... he know she's probably got about 18 minutes... within which time he has to do what he must do and get out of there." "He's already got his exit plan... which, I think, was a very simple one." "Not a car, but a bicycle... where he can walk across through the woods... pick up the bike he left there and cycle off down the road... by the time the police have discovered he'd gone." "They're looking for a car on the road, not a guy on a bicycle in a black suit." "By the time they pin him down" "Think about it." "Your ease of movement... on foot with a mountain bike... is far more efficient than being on a road... where they simply roadblock everything." "I think he's even planned where he would go next." "In my opinion, he may even have Barney partly in mind." "He may stay with Barney." "He know she'll never get out of this country on a jet... certainly in the next few weeks." "I had a brain surgeon present throughout the whole thing... who was amused to be there." "Also, it was nice to say, "That wouldn't happen," or "That would happen."" "What he's got now is pretty accurate." "In most forms of brain surgery... they like the patient to be awake so they can talk to him... during surgery, for obvious reasons." "They can hear something going off if it's going off." "Normally, when you lie on the table, you lie on the table... with the division between you and the surgeon and the cloth... protecting you from having to witness anything... by reflection of the operation that's going on inside your cranium." "They talk to them during the operation." ""Does that hurt?" "No." "Do you feel it?" "Yeah."" "He's got his whole lid off." "I think they give them 65 shots of-- I call it Novocain." "It's not Novocain." "It's something which is a blood thickener." "Around the cranium... they make a mark... like, with a Sharpie... of where they're gonna saw." "Then they put 65 shots, I think, every centimetre around... which numbs the skull and numbs the upper half... thickens the blood." "Because the head bleeds like a pig." "If you've ever bashed your head, notice how you bleed?" "You've got to watch that as well... so they slow down and thicken the blood." "Then he just saws and lifts it off like a hat." "They set the saw to a certain depth so you don't touch the brain." "The brain is actually protected inside a sac... which is called the meniscus." "I used two sheep's brains to put the cranium together." "Actually, the surgeon asked me where I got the human brain." "I said that I paid 20 bucks for it, and he couldn't believe me." "I said, "Just joking..." "It's two sheep's brains."" "He said, "Good Lord, there's the meniscus he's cut." "That's what I was doing this morning."" "He's going down in age group rapidly now." "He's probably around about five years old at this point." "This is always the moment which... people think, "You're not gonna do that, are you?"" "And we did." "There it is." "That's real." "I mean organic." "It's not aprosthetic." "That's sheep's." "The brain has no feelings in it." "There is no nervous" "There's no nerves." "Ironically, we used something as beautiful and cool... and icy as Goldberg Variations... which is probably playing in the room somewhere." "There's the meniscus." "Ironically, there'sa kind of perverse logic to all of this." "But rather than having her eat his brain... as a warrior might eat the liver of... which they did historically" "Traditionally, they used to do that." "Many tribes used to do that." "That's how cannibalism came about." "He makes Krendler eat his own brain." "He hasn't forgotten the time." "You can hear a chopper circling at probably a mile." "This is where you need to... keep everything... the interest between these two characters in the story really flying... 'cause people assume this is the end, I think." "They sense the ending." "Here he pays her a great compliment." "This a real declaration of what he feels about her." "So there you have the theme... which becomes emotional, actually." "It's about respect." "She knows he's dead." "Krendler will die." "Again, I didn't want to disturb the tone of the film... by making police cars rushing in and noisy engines and talking." "So even the police are viewed as being romantic... with the soundtrack." "I like the shot of the bridge and the score with it." "Here he is tidying up, 'cause he's a very neat man." "Of course, he's taking something else for the journey, right?" "Here the behaviour of Hannibal through this... is never insane." "I think that one of the errors that was in the book... which is kind of an interesting read and gave us an excuse for Hannibal... as to his behaviour, was the demise of the sister." "I didn't want to use that, 'cause I figured Hannibal is a force of nature." "He is what he is." "He is, in our normal terms, truly evil." "Does he think he's insane?" "No." "I think he's saner than you or I." "He just likes it." "And that's the right answer." "Because had she said, "Oh, yes, I'll do anything you want right now".." "he may have actually killed her." "The fact she still resists... still keeps her distance from him is what keeps her safe." "This was always a bone of contention." "I always wanted to do this and they didn't... because I think they imagined seeing a wrist coming off and blood and gore." "I said, "No, it's not like that." "It's about sacrifice... and demonstration and affection."" "Now he would take her wrist right off... because he now knows he's gotta leave." "She still gives the right answer-- absolutely nothing." "No "please." Nothing." "So right there he's" "Right now he's decided whose it will be." "I definitely think he's heading to Barney." "I think he's one of those people who can sublimate pain and switch it out." "You know what I mean?" "Turn a key and deal with it." "Again, he had always planned this-- the possibility of the boat." "Would he have used it?" "No." "He'd have turned the boat loose... and ridden off in the other direction with the bike." "He's staying to plan." "Right here is giving him minutes, seconds... to disappear, disappear, disappear." "By the time the police say, "He's not here".." "and "Go and look" to the chopper, he's already four or five minutes gone." "It's as if he planned this as a "Thank you, Clarice."" "It just happens to happen at that moment." "So all those things are secondary questions and thoughts." "I may not have done that, 'cause it may have looked too much." "But now it's ironic, and it kind of works... and plays into the romantic thematic." "Those are the things you hold back with until you see it all there." "Then you say, "Uh-oh, take it out." "All?"" ""By God, it works." "Keep it."" "This is the only thing that tells you, "Ah, he removed his own hand." "Good God."" "But you've seen her earlier, so you've had time to think about that." "Somebody asked me, "Why didn't you show the wrist coming off?"" "I said, "Because it would have been so shocking... you wouldn't have believed it."" "You actually needed to dwell on that." "See the empty pier... see her walk out... look and say, "He cut his hand off."" "Then you've had time to think about that emotion until you get to here." "So you've settled down a bit." "Here we're playing his theme underneath, coming through." "It was an experience I had always looked forward to-- working, at some point, with Anthony Hopkins... who's one of our master craftsmen in this business." "He's a real virtuoso." "I never really thought it would be this, actually." "So when it came up, I was kind of hoping... that the book would be interesting enough to really get me on board... and of course it was." "Another one of the driving forces to make me want to do it... was working with Hopkins." "It turned out to be just as much of a pleasure as I imagined it would be." "It was one of the more unusual experiences of my career... in that Anthony is so specific and so talented... that it's a very easy ride." "It was great fun, and I thank him."