"Hi, my name is Frank Oz and I'm the director of Indian in the Cupboard." "And I'll be talking to you in this DVD here about the making of the movie Indian in the Cupboard." "When I read the script, I really..." "Actually before I read the script, I didn't really want to do a family film." "I was looking for something more dramatic." "And..." "And I read the script because my agent suggested it, asked me to many times." "And I read it, and it was so beautiful I couldn't get it out of my head." "The script by Melissa Mathison." "And Melissa, thank God, was with us for the entire production helping at all times." "She's terrific." "So what struck me about the script was not the special effects." "Because special effects don't interest me that much." "The only interest me in how they can be used as tools to tell a story." "What really interested me was the emotion of this movie." "The emotions this boy went through." "That was to me very deep, those emotions." "Because they're more intense I think, when you're at that age." "So what you're seeing now are the opening titles which were shot I think they were shot towards the end of the movie." "Not by me." "Because I was continuing on the main unit." "The main unit is called the unit the director is on." "So this was a small crew, per my direction shooting very small Indian figurines." "The idea of this opening, as you will see, was we see all these little figurines." "And then the camera will pull back and up and shoot down at these little figures." "Which in turn, you will see in a moment will dissolve to a shot from about a hundred feet up looking down on a schoolyard." "And the size of the kids are about the size of these little figures." "In a very subtle way I was just saying that we are all small people here on this Earth." "Little Bear is not alone." "That is probably too subtle." "It's probably a director's vanity doing that." "But I liked it." "So you see the pullback here." "And we show how small they are here." "Then we'll slowly dissolve now to the little small people in the schoolyard." "And now you will see Omri, our main character, rush out." "There he goes." "And Omri is Hal Scardino, who is terrific." "A great guy, a wonderful actor." "As is the woman playing his mother there, which is Lindsay Crouse." "Funny about Hal, my casting director Margery Simkin and I looked for a long time in many cities for the star of this movie, Omri." "And we had a few pretty good kids in mind but there was one kid that Margie remembered from another movie and tried calling him and couldn't find him." "And this was Hal." "I'm sorry." "And just as we were about to make our decision after a couple months of looking because we couldn't find Hal his father called from Paris saying:" ""We got your message." "What's this all about?"" "So we flew Hal in." "And when I saw him, I knew right away he was Omri." "So at the very last second we got him." "That's Rishi Bhat, who plays Patrick, Omri's best friend." "And they're having a birthday party for Omri right now." "And this is where the cupboard is first seen." " What's that?" " What a pretty cupboard." "We had that cupboard designed by our production department." "Leslie McDonald, who did a wonderful job." "She was the production designer." "Her people, I'm not sure who actually designed it." "And it's wonderful how they can make it look so aged." "They did a beautiful job." "This is Richard Jenkins, who is a wonderful actor." "He plays Omri's father." "Watch out!" "Now, this little set, it looks like a family home." "It's just great how production designers and staff can make it look like a family home, when it's actually in a studio." "It's actually in Sony Studios in Los Angeles." "Now, for this part, we shot for about a week in New York." "This was the first week of shooting." "This was close to the 59th St. Bridge I believe." "I can do that." "These two kids are kind of outsiders in a way." "They are not big jocks." "They're not extremely brilliant, they are slightly outsiders." "And so they're sitting away from everybody." "They are not disliked." "But they are individuals here." "We wanted to show that." "And here he's looking for the key because he was just given this little Indian called Little Bear." "In the original edit, he tried three different keys." "But it got boring." "So now we have the first key work." "Originally two other keys we tried." "She was dying and had nothing to leave me so I picked up that key and I said I wanted it more than anything." " What will I put in the cupboard?" " Here, put this in." "This is the first time the Indian goes in the cupboard." "Omri, let's read." "The music, by the way is by Randy Edelman who I think did a beautiful job." "Did I know her?" "Your grandma?" "One of the reasons I love the script is the sparseness of it." "Melissa does not overwrite." "It's what struck me too." "It's very minimal as far as dialogue goes." "There is no reason to overwrite when you are dealing with something simple and pure with big emotions." "His father and his mother..." "Again, this bedroom is on the main set of the movie." "We actually spent six weeks shooting in this bedroom." "When you build a bedroom and a set like this one this is on a Sony Studios stage all the walls break apart and fly, as they call it." "They fly them away." "So we had to shoot many different directions in this one room for six weeks." "We had to plan it in such a way that when we shot in one direction we would take that wall out for all those shots." "Then we would take another wall out for another direction." "So that bedroom became a very used set." "I have children of my own, three young boys and one girl." "And this scene is very reminiscent of me as a dad kissing my son good night." "One thing about this movie is I had to in my mind with Marc Baird, a terrific storyboard artist who I love we had to actually draw storyboards for many weeks prior to the shooting." "So I had to actually commit to certain shots about a month ahead of time because those shots had to do with special effects." "And they had to prepare the special effects aspect of them." "So it wasn't you just get to the studio and look at the set and decide what to shoot." "You think about that weeks and weeks ahead of time." "Lock it all down and give it to the staff." "Now, as I was talking, what you're missing here is a little scraping sound." "So Omri is wondering what that sound is." "And again, the music here is reminiscent of Native American music." "Randy tried to include that in the movie always and I think did a lovely job." "And Russell Carpenter was the photographer." "That was a very tough job also because of all the special effects involved." "It's amazing." "Hal was such a good actor, and such a sensitive actor." "I just had to take him aside and give him some notes." "And then he would say to me, "I don't agree with that."" "And he would try it his way." "And he would usually be right a lot of the time." "He is a very bright, sensitive guy." "Now, what you will see here for the very first time is Little Bear, played by Litefoot, who is a wonderful guy." "He became a friend of mine as did Hal." "And that is our first real special effect in the movie." "And this now is an actual cupboard that was built on the set I would say about 30 feet high." "So that's Litefoot, about 6 feet tall, in a real cupboard about 30 feet high." "Now, this is such a complex effect here." "And I would need Eric Brevig who was really in charge of all the effects from ILM to explain this." "But trust me, it was difficult." "What we did was we had two units shooting all the time the main unit for about five months, which is the actors the director doing the story." "And then another unit called the blue screen unit which I would drive a little golf cart to on the Sony lot." "I would go from our soundstage, from the main unit to the blue screen soundstage." "It was probably about a 30-second ride with the golf cart." "I would get out and there they would be shooting all the blue screen elements." "So we had to coordinate constantly the blue screen elements and the main unit elements." "It's called blue screen because you shoot the subject in front of blue screen." "Then you have the subject and you take out the blue screen later and you marry it with a new background." "So it's called the blue screen unit." "And Eric Brevig was in charge of that." "I couldn't have done this movie without him." "And Don Lee was a wonderful help as a first AD on that unit." "In any case, the special effects are hard to talk about because they're so complicated." "Just know that it is really a marrying up of the main unit and that blue screen unit." "This is our first week of shooting in New York." "We started shooting in New York first and then we went back to Los Angeles and shot." "Okay, we've skimmed this chapter." "I've always liked this scene." "This is Omri trying to learn in school." "But he has got this live Indian in his room." "And he cannot wait to get home." "Hurry, Mom!" "Hurry!" "Open the door!" "Of course what happens is the magic of the key is he turned the key and locked it." "And once you do that, then it becomes just a figure again." "There you see right there with Hal and his face." "It was such a beautiful face to shoot because it was so sensitive." "Now what will happen is, with the magic of the key, he'll close it there." "And by doing that he is now prepared for bringing Little Bear back to life." "Omri, I think your mealyworms are dead." "They're in the pupa stage." "I remember when we first shot this or when we were preparing to shoot it they all had nice linens and nice wine glasses on the table." "And I said, you know, I don't eat like that." "Ha." "I don't know families who eat like that." "Can we just get some plates of spaghetti?" "And eat kind of normal?" "Actually, that's probably even fancier than we eat." "Heh." "This thing here was a lot of fun." "This is just a pet of one of the brothers." "And it does come into the story later on." "Okay." "Actually the next scene..." "The next shot rather reminded me of me carrying my son to bed." "Because he would always have this sock hanging loose on his foot." "So I got that from..." "A little touch but I got that from carrying my son to bed." "Now, what's coming up here in a minute and I'll prep you for it, is a very large special effect, which is really terrific." "But all these effects are meant to look very simple when in truth they were exceedingly hard to do." "The effect coming up is when he..." "Now he hears Little Bear again." "The effect coming up is when he puts all these different figures from Darth Vader and everybody else into the cupboard and brings them alive." "You'll see that in a minute." "I won't hurt you." "Again, there Litefoot is in a real cupboard about 30 feet big." "Or I'm guessing 30 feet, 35 feet." "Are you a real Indian?" "I am Onöñda'gega'." "Now, this effect coming up we worked on a great deal." "I say "we." It was actually Eric Brevig and his people." "When he allows Litefoot or Little Bear to come walk on his hand." "And what was done was, there was a construction on the blue screen stage." "Like a crane that Litefoot would stand on." "It's hard to explain." "Heh." "In the blue screen stage, Litefoot would stand on a platform." "And the crane was raised." "Then, later on, that platform was taken away." "The bedroom was put in the background and Omri's hand was placed there instead of the platform." "So you kind of marry two images up." "One, a platform with a crane with a blue screen background and a very large stage." "And Omri's bedroom." "So that will be coming up soon." "They sent for us to fight the French for them." "When?" "What year?" "Year 1761." "1761?" "So Omri is putting his hand out." "Will you come out, Little Bear?" "This is not an effect." "This is actually a really large cupboard." "Now we start the effect." "You'll see." "Now he's not in a real large cupboard." "Now he's going to come out onto a platform instead of the hand." "He is stepping out onto the platform now." "And now it is a combination of being raised and the camera being moved." "And they had to really put all that together." "It took months to do this one shot." "You are so real." "I am." "Yes." "Again, that was all Eric Brevig and the ILM people." "They did a great job." "I should say something about Litefoot who turned out to be a friend." "Although he hasn't called me." "So if you hear this, Litefoot, would you please call me, for crying out loud?" "We first auditioned Litefoot months before we started shooting." "Or maybe not that long, a couple of months." "And he was the very first person we auditioned." "And we thought he was wonderful." "But we thought, Margery Simkin and I we can't just say yes to the first person." "So we went on and on." "And we found a couple of really good guys." "But we came right back to Litefoot." "We couldn't get him out of our heads." "He was terrific." "Sometimes you just have to follow your first instinct." ""Plastic."" "Again, this is too complicated a shot for me to explain it to you." "Ha-ha." " Terrible." " I want to try..." "Wait." "Oh, this is kind of cool here." "See this?" "This is not a special effect." "See that?" "We were proud of that." "We rehearsed that a lot." "There were prop men behind that cupboard." "As soon as he closed it, they slid open the cupboard door took out that teepee and put a new teepee in." "And slammed the door closed." "We rehearsed it about a dozen times." "And it looks cool because it looks like an effect." "But it is in real time." "Ha-ha." "You and I..." "When you look at these close up shots of Little Bear you'll notice what Eric Brevig taught us and what was hard to do." "You can see it here now, that focus is so important." "If Little Bear were in focus now, it wouldn't look believable." "We had to put him out of focus if he was in the foreground." "When he's in the foreground now you see stuff behind the teepee out of focus." "And now the teepee is out of focus and Hal is in focus." "All of that was extremely planned." "See how in the back something is out of focus?" "If that were in focus, you would not believe that he was actually 3 inches tall." "It is extremely complex what Eric and his guys did." "It is magic." "I think this is one of the, if not the first acting job that Litefoot did." "I think he had done something else." "But he turned out to be really responsive and terrific." "Now, I prepped you earlier on about the special effect with Darth Vader and everybody." "Well, this is it." "We had a huge cupboard in order to make this work." "Again, we used that same cupboard, 35 feet high or so." "And we dressed characters in the characters of the figures that you'll see in a moment." "There you go." "George Lucas gave me permission to use Darth Vader." "And we had the animated dinosaur." "So this was really a combination of real which at 35 foot tall with people firing at each other and an animated dinosaur." "And it took a long time to do." "We were way, way up at the top of the studio on a crane to make this look tiny." "Now, this is a very important scene because as any kid or probably adult would say:" ""Hey, this is cool." "I can do anything with this cupboard."" "So he tries to put the new figures in and really have a lot of friends." "And then he realizes, wait a second." "This is something that can get out of hand." "I've got to cool it." "I've got to be careful here." "This is too powerful." "This is a little bit of an addition that this boy now is seeing what responsibility is." "That is what this movie is in part about, how this boy changes and becomes a bit more responsible to himself." "Very subtle but that is what that scene was about." "A new day." "The day came without you." "The makeup or the designs on his arms are Onondaga designs." "Oh, no way." "What else?" "That I think Felicity was her name, in makeup spent about two hours doing." "Poor Litefoot, every morning for two hours he had to put on the tattoos on his arms and his legs, which you don't see yet." "We can't have a fire." "One thing that should be said is we had tremendous help from Jeanne Shenandoah who helped us so much regarding all the Native American information we had to have." "Because we tried very, very hard..." "It was very important to Litefoot too." "...to not have the traditional cliché Native American." "To really see a human being here." "And also, to be very specific in what the tribe really was about." "And the actual clothing they wore." "It was all very detailed as far as research goes." "And Jeanne Shenandoah helped a great deal." "And Tracy Shenandoah, who sang some of the chants you hear it later on, did a beautiful job." "He had a beautiful voice." "So he sang some of the Native American music there." "The mothers' house, the clan home." "You see this little thing here where he is on the lamp and he slides down here." "And then Omri looks at him." "That's one of the storyboard things I told you about." "That had to be designed weeks and weeks ahead of the shooting." "So that little section was all storyboarded." "It had been given to the crew." "The appropriate crew at ILM and the blue screen unit, the main screen unit." "Because they had so much preparation to do in order to get that shot." "It was so difficult." "So that was not spontaneous." "But the idea is to work really hard to make everything look really spontaneous and really easy." "That's the idea." "Now he takes Little Bear outside for the first time." "Of course Little Bear is both curious at this new world and he also wants to go home." "I think it's both." "In part this movie is about changes here." "Little Bear and his people will change unfortunately for the worse because of the white man." "Omri will be changing." "There is a cowboy named Boone who changes here." "This is about individuals changing in this movie too." "That's one of the reasons I loved it." "For me, it is a very layered movie." "People don't really get that." "But for me, I get that." "This is about internal change." "Now, that little focus shift was important." "See the focus in the background?" "This is the same as where I live." "We'd better go." "Get in." "Get in!" "Now, this is the scene where he is attacked by the bird." "Now, I did this off-camera." "It was my decision." "Because I did not want a big battle sequence with the bird which would cost hundreds of thousands of dollars." "That's why you have it off-camera, not just because of the money but just because I think we've seen all that stuff in other movies big action sequences with animated birds." "So we sensed that something happened." "We will find out inside the bedroom what happened." "Omri is getting these things to try to make a home of some sort for Little Bear." "This was such a difficult film to shoot not physically, but just mentally in your head because you had so much to work out." "Again, it's not just me." "It's all the people involved between the blue screen unit and the main screen unit." "Because whatever you did in the main screen you had to measure where the lights were, you had to measure everything." "Where the props were, everything so the blue screen unit could re-create those measurements when they had to do their effect." "I need husks." "Tie it tight." "It stops the bleeding." "Now again, this is about this boy getting responsibility a little bit." "And realizing that he is responsible for a living, breathing human being." "As small as that human being might be." "And he's very clever now, he has an idea." "This is his brother's bedroom." "Again, I think it looks beautiful." "The sunlight looks beautiful." "It's actually not outdoors at all." "It's inside the Sony lot, Sony, rather soundstage." "That room looks pretty clean for boy's room, doesn't it?" "Now, the reason he is clever it is he remembers there is a Red Cross or a small figure he could maybe get help from a medic from World War I." "Now, this fellow is Steve Coogan, who is a British comedian." "I thought he was wonderful here." "And Margie Simkin thought about him." "And I thought it was a really great idea." "Again, we have this very complex, putting something in a hand which I told you about earlier." "And again, instead of a hand you have to imagine a platform that he slid off of." "No, let me have a look." "I can do this in my sleep, mate." "Is he hurt bad?" "Dream, is it?" "I should have guessed." "Now this actually, it's hard." "When you see a close-up of Omri now, that's a close-up of Omri, that's fine." "When you see this we actually built a seed tray about 20 feet long and 10 feet wide." "So they're actually sitting." "In the background we built the whole, trim of the wall." "It's supposed to look like the bedroom." "But really all these effects are mixed from live to special effects to optical." "It's all complex to talk about." "But right now, they're actually in a large, life-size seed tray and Omri is pretending to see them." "And then later on we put them in." "I know a bit, you know, read up as a boy." " You Sitting Bull?" " No." "So here we are just trying to make fun of Native American stereotypes." "That he thinks you're supposed to say "how" to an Indian." " Thank you." " Only doing my duty." "Again, Omri is in the main unit." "And they're in another unit." "The camera is way at the top of the studio looking down on them." "And that seed tray is about 20 feet." "Maybe you can dream us again sometime." "A pleasure." "Tommy Atkins, at your service." "Any night, except when there's an attack." "None of us gets any sleep then." "Got to win the damn war." "Also, what's wonderful to me about this movie is all these deep emotions and conflicts, and responsibilities and problems and challenges, all occur in this little boy's bedroom." "It's a small world here within a larger world." "And that always interested me that nobody knows what this boy is going through, his parents, no one." "They almost catch him though, like now." "You up already?" "Feeling better?" "I feel pretty damn good." "That was important." "We left the "damn" in there because he's growing." "He's growing in responsibility, he's growing in other ways." "And he just saved somebody." "I think he's deserving of saying "damn." I think he feels that way." "So he grows in little spurts through this movie." "That's what this movie is about." "I look at this now and I think, how did we ever do this movie?" "It was so complex." "And obviously the answer is I had a lot of talented people helping me." "One thing I should say Kathy Kennedy, the producer she and her husband Frank Marshall were producing." "Frank was not on the set that much because Frank was across the way on another lot shooting Congo." "Heh." "So I would pass him and wave." "But Frank Marshall and Kathy Kennedy were the producers of this and they asked me to do this." "And Kathy was a tremendous support." "She is just great." "Have I died and gone to heaven?" "And she and Melissa and I got close." "They helped me so much on this movie." "Another couple of people, Bernie Williams, the line producer and Michele Venetis, the first AD, a lot of these people..." "I mention these people's names because directors like me sit here and talk on DVDs so I get all the credit or the blame." "But I get all the credit." "And people like Bernie and Michele, among other people are the ones who work so hard and never get the recognition." "But without those people, I couldn't have done this." "Now this, what he does here is kind of cool." "He's trying to set up a little area so that Litefoot can have some access to other places of the room." "So he's built a ladder in case Little Bear wants to go up." "Again, this is..." "Oh, this is kind of cool." "I enjoyed doing this." "Again, now he's got this resource, which is this cupboard." "So if he needs anything, he just puts it in the cupboard and takes it." "Here he needs an ax, so he does it, he takes it." "And this poor guy from the 11th century has no idea what's going on." "Ha-ha-ha." "But he's okay." "And then he's used, so he's thrown away." "Now, all these props, all these twigs, all these pieces of paper are life-size." "So he is in an actual seed box." "And all that paper you see is about 6 feet big." "So it was a tremendous job of prop-making." "Again, this now was the first week of shooting." "Okay." "All right." "This also looks like a wonderful schoolroom." "This was a schoolroom that was built inside Sony Studios on the set." "That teacher is Nestor Serrano, who did a wonderful, subtle job in this movie." ""Also, I got the first hologram card." "I'm looking for the original card of Wolverine."" "Very good, Emily." " Sam." " "JFK."" "There was once a man named JFK..." "This choice here was important because the real world is coming in on Omri." "He's not going to live in his bedroom forever." "And unfortunately things like the death of JFK do happen." "In the subtlest ways, we try to encroach the real world and the responsibilities on Omri so he is prepared later on." "In truth what happens in this movie is Little Bear this small, tiny man teaches Omri to be a man." "Good imagination." "Now there's Patrick or Rishi Bhat who is wondering about this Indian." "Now, if you remember the credits sequence the credits sequence was tied to this." "That's why we used the credits sequence as we did because we wanted to show..." "He made a barter." "He didn't steal, he just bartered." "Ha-ha." "We just wanted to show the connection between the credits sequence and the little display in the school hallway." "This music was taught to Litefoot by Tracy Shenandoah." "And it's just beautiful." "This is an insanely difficult shot here." "If you consider going extremely high, he is not in the real seed tray." "I mean, he's on a steel rod that bent that way." "And all the other stuff is put in later." "And see the out of focus in the foreground?" "That camera started way on high and now it's moving around." "And it's an insanely difficult shot." "Insanely difficult and a wonderful shot." "This shot was important because he was singing happily and all of a sudden he realized he was alone." "He heard this odd sound." "Then he carried on the best he could." "Of course what he heard instead of the large sound was just a hammer." "Okay, okay, Omri." "This scene here is where again taking away the Native American clichés." "Your house is fantastic." "He doesn't live in a teepee, he lives in a house." "It is agreeable." "Again, we researched a great deal with the help of Jeanne Shenandoah and how this house should be." "And we will tell stories." "You tell all about me." "Little Bear." " Do you keep the men, Omri?" " Just the bow and arrow." "See, Little Bear is very wise." "It wasn't jealousy to keep him." "But are you going to intrude on another person's life, Omri?" "Now, this scene is very significant because all he wants is the bow." "He wants to do the same thing he did with the knight." "He got the ax, so he can get the bow." "Very simple." "But there are consequences." "It's all right." "It's okay." "No..." "Little Bear?" "So the world is encroaching again on Omri, the real world." "Experiencing death here." "Again, this was shot in the very large cupboard of 35 feet." "I killed him?" "He is old." "His days are done." "This scene is where Little Bear realizes that the boy is really not a god." "That may be Little Bear knows a little more than that boy." "This is what I meant about emotions." "There is great compassion here." "This movie is about emotions to me, deep emotions." "Bury him?" "Us?" "Here?" "Yes." "You never had a dead man here?" "Uh-uh." "Omri!" "Do people die here?" "People die." "We just don't see them." "How do you not see them?" "Come down here, please." "It's such a simple question." "And that's what I liked about this scene." "That Little Bear was closer to life and death than we are because he has experienced it in a very personal way in his life." "You are a child." "He said, "You are a child."" "That's very key now to their relationship." " What if he was alone?" " Then he is alone!" " Where were you?" " Guiding my nephew through the woods to live alone for a season, learn to be a man." "He's stern and angry like a parent who is angry at his son." "So I love the complex relationship how it twists and turns in different ways here." "So it's no longer Little Bear being taught by this large god." "But rather now he realizes this god is a boy." "If it is a god, it's a boy who needs to learn." "Are you mad at me?" "Again, that's the very large cupboard right there the real thing." "What did you do with them?" " I buried them." " My saw blades?" "Why?" "This scene coming up I like also because it's, again, it's subtle." "But as Native American children of certain age have to go in this particular tribe and have to go live out in the woods by themselves and test themselves to become a man." "And in a way by Omri saying, "I can do it." "I can walk to that store myself."" "And his father trusting him, realizing he has grown a little bit." "Something has happened." ""Okay," he says." "You can go out in the New York City streets alone." "These streets in a way are like the woods for Omri." "That's what we were thinking." "Again, very subtle." "Probably nobody knew about it and that's okay." "But I think at the end of the movie I think you feel it." "That now Omri is, in a sense, going on to his woods." "And his father is a bit worried about him there in that section of New York." "Because it's a little rough." "And we made it rough on purpose." "And again, that's why we put Tracy Shenandoah's singing." "It's quite beautiful over this shot." "Everything in this movie in very, very subtle ways with Omri is just showing him experiencing the real world and becoming a man." "Or not a man but experiencing the real world on the way to being a man." "What'd you get?" "This is one of those..." "What is this junk?" "...bullies." "He was very good, this boy." "I forgot his name but he was very good." "We shaved his hair, he was very good about that." "We had Omri live in this particular part of town in New York." "Not a chichi part, but a part that was not gentrified yet, on purpose." "So it was more and more the real world encroaching on him." "If it was all Starbucks places and everything there would be no obstacles for him." "Omri, are you sure you're okay?" "Patrick?" "Patrick." "Again, this is something he learned." "The boy took his money." "Again, the real world coming in." "And now this is interesting here." "You'll see the rat in the ball comes into play here." "People were telling me, you can't do that, Frank." "People think it's a real rat in there, and that you hurt the rat." "I thought that was great." "Heh." "You'll see in a minute." "Because it gets kicked downstairs." "We had a good time doing that." " What are you guys looking at?" " Omri, this is incredible." "How did you make this?" "That's a real rat in there." "I found him in here, and my figures and my magnifying glass." "What else do you have that's mine?" "That thing was in here?" "Omri is wondering, where is Little Bear?" "I want you both to leave my room right now!" "Jeez Louise, temperamental." "So the only answer to get them out is to get that rat out." "Now that's a phony rat." "So from now on it's a phony rat." "But everybody was concerned, oh my God, we can't do that." "And I thought it was great." "We had a lot of takes of those things." "So I imagine the studio was looking at those dailies and thinking:" ""What are they doing spending our money with this rat in a ball?"" "But it worked out good." "Little Bear, where are you?" "Little Bear." "Now, this is the first time that Patrick sees this 3-inch character come to life." "Little Bear?" " Little Bear?" " Here." "One thing I was very heartened with and I was concerned when this movie went into previews, as all movies do." "And the previews of course had to be with children to a great degree." "And what with everything going on with all the really fast-paced programs on the air for children, all of which my children watch I was wondering if the kids were going to get restless or walk out of the movie." "Because it's more of a sensitive story and it's quietly told." "And it was so heartening, in every single preview there was not one walk out by any child." "That was so great." "I think it tells a lot about kids." "They can take a lot more than adults think." " Little Bear, will you come out?" " No, you come in." "Shh." "This is the plastic Indian?" "Not plastic anymore." "Now, it's interesting, see the two boys looking?" "One of the hardest things to do in this movie strangely enough, one of the hardest things was their eye line when they're real, real close." "It wasn't that shot but the other shots were extremely close." "They're looking at Litefoot and Litefoot is a tiny little character that's moving." "And we had to pretend that they were looking at that character." "And that was one of the hardest things to do in the entire movie." "We built little lights, as a matter of fact, off camera." "One red one was Litefoot or one red one was Boone or something and the blue one was Litefoot, whatever it was." "And we switched them on and off so it would change the eye line." "Because it was such a subtle difference." "Okay, now here we introduce a new character called Boone." "Played by David Keith, who was terrific." "And Omri says, don't play with that thing." "Omri now knows the power of it." "Rishi, or rather the character Patrick, still thinks it's a game." "And in a moment Patrick will see the consequences of playing with the cupboard." " No!" "No!" " Yes." "No, it's not a game!" "See, "It's not a game" is important." "Now, these shots were so hard to do." "I can't even begin to tell you." "It's all blue screen." "Whoa, whoa, whoa." "Dang it." "It was weeks and weeks and weeks of work." "And that was a stuntman falling from the very top of the studio." "So it looks very simple now." "But it really was a huge stunt fall." "No more." "I promise, no more." "Again, the eye line was so hard." "He's not really looking at Boone." "Those are shot at two different times." "Sometimes the effect will be shot a month after the first unit." "So in other words, when Patrick was looking at Boone he was looking at probably nothing or a little wire." "And a month later is when we shot the cowboy." "And we married it up later on." "Come out, you son of a buck's horse's ass!" "I can't believe it." "He really shot me." "He doesn't belong here." "We've got to put him back." "What the hell you doing over there?" "I can't believe it." " This is great." " This is not so great." "This has got to be a delirium." "See that focus shift, if it were not for focus as Eric taught me, the whole concept of a little person would not work." "The little 3-inch-tall person would not work." "Now, that's not an effect." "He's actually walking on the floor of a bed that we made." "A large bed." "Now, that's an effect." "What's your name?" "Boone." "What's yours, Mr. Delirium?" "He is so cool." "Step back, cow pie." "He's a great character, Boone." "David Keith did a great job too." "You know, this book..." "I never read the book before I read the script." "And when I read the script I just loved the script from Melissa so much." "Then afterwards I read the book by Lynne Reid Banks." "And then I realized it was a famous book and a famous series." "Lynne actually visited the set a couple months into shooting." "She visited the set right when we were doing that very large piece with the Darth Vader figure and the dinosaur." "She seemed pleased." "You always hope that's the case." "I always cry." "You want to try to stay pure to the original story." "Hopefully we've done that." "But still make it entertaining and compelling." " Bring him to school, promise?" " I promise." "Don't put them together." "Cowboys and Indians." "Now, here starts the conflict between Boone who is reared to hate Indians and Little Bear who of course was reared to distrust white people." "So there is something else going on here too in the story." "Now, here is another effect that was very difficult." "Just picking Boone up." "Hey!" "Wait!" "Heh." "It looks so simple on the screen and that's exactly what we wanted to do is make it look simple." "Now, see, you put them in there." "A huge baseball was built." "Now, that was actually the drawer." "But you will see later on when he's in the drawer, it's not the drawer." "It's actually a huge drawer with a huge baseball." "That was an effect." "You better watch out..." "Even just taking the hat, little things like that are so cool." "And they sell the whole idea so well." "Now, here there is real conflict." "Here is some really deep emotion." "Because here you have Omri, who cares so much for Little Bear." "And Little Bear thinks Omri has betrayed him with this white man." "The white man can't stand the Indian." "So this extraordinary confluence of emotions and events are happening in this little bedroom which is always this crucible." "It's really, I think, so striking." "It makes it so much more compelling." "This boy is living in his own little world in the larger world." "And one thing that was very important to me is I could have really made magical effects with little twinkling stars around the cupboard." "And I could've made everything magical." "And I didn't want to do that." "It was really a decision by me early on to make his world as real as possible." "Because if it's anything magical to make it more fantastical then it would not be as believable." "He's got to believe in that world." "That it's really happening." "We've got to believe in it." "So that's why you don't see any kind of little aura or magical things around the cupboard when things come to life." "I wanted to make it as real as possible." "Because it is real to him." "And one thing we always talk about is, this whole thing could not be real." "This whole thing could be imagination in his mind." "That's one way to look at it." "That's why I like the script so much because there are so many different ways to look at it." "Again, this looks like a beautiful place outside." "That's inside a Sony soundstage as you start away." "Now, this is important again." "We get our meat in the supermarkets frozen or in containers." "This is Omri seeing how things are killed." "This is his association with death." "When you kill something, you eat it." "When somebody dies, you respect them." "This is all growing up, part of the world." "And Little Bear is teaching him." "Hopefully not in a heavy-handed way." "Now, this baseball is about 6 feet tall." "Now comes one of my favorite moments in the movie." "It was just so cool to shoot." "It was so hard to do." "And it goes by so fast." "That was sweet there, that little campfire picture." "But in the morning you will see that..." "Don't you want this open?" "I'm not scared anymore." "You can close it." "Again, another little thing." "That door is always open." "But now he's feeling stronger, becoming more himself." "It's okay to close the door." "Again, in the smallest details, we put him on the road to manhood." " Is she in the dark?" " What do you mean?" " Does she know of me?" " No." "I am alone." "I need a wife." "So Little Bear is going through some deep emotions too." "He is here all alone." "He can't get back without this boy-god doing something for him." "As I was saying, what I like is this scene coming up here." "It was so hard to do." "But I'll just keep quiet here so you can enjoy it." "As he snuck out of the drawer here." "Whoa!" "Darling, you stay." "Come on, let's fight!" "Built a huge tennis shoe a massive tennis shoe." "I love that when the arrow hits, it lights up." "Again, all this was on the studio floor." "Blue screen." "And now Litefoot had to actually jump on this very large tennis shoe." "We're supposed to be a team!" "Look at that focus change." "That would never have looked good without the focus change." "What's the matter with that Injun?" "No, no!" "Stop!" "Behave!" "Behave!" "He says I steal his horse." "He shoots at me!" "If that's true, I'll squish him like a bug." "Omri was so great because he was only talking to two pieces of wire." "When he's looking and talking to people, he's talking to wire." "So he did a wonderful job." "Knew you'd take the side of that stinking savage!" "He smells, Omri, and he calls me a dirty savage." "I didn't call you dirty." "I called you stinking!" "Stop it, Boone." "Shh." "Listen to me." "Boone is leaving." " You don't have to live together." " Where is my coffee?" "I like to start my day with coffee." "This shot is kind of fun." "I've always liked this shot." "It's a wide shot and Omri is in the middle." "And the two fellows are on either end." "And I just hung on that shot for a long time." "Unlike some!" "Where did you come from?" "I come from Texas, Mr. Half-a-brain!" "This one here." "It's great." "Omri is caught right in the middle between these two guys." " I'm taking you to school." " White man goes to school?" " That's right." " Yes." " I go to school." " No, you wouldn't like it." " If he can go, I can go." " It's too risky." " Whiskey?" " "Risky"!" "Hal did such a great job." "He's just talking to two pieces of wire." "You'll need help to get this scalp." "Omri, send him back." "Do it." "And in order to get those guys that small we shot them at a tremendous distance." "And placed them in those positions." "And we're back in New York again." "We shot in New York for a week." "So this is part of our New York shoot." "Come on!" "Now he has Little Bear, trying to be very careful not to hurt him." "Bye-bye." "Now, I'll tell you about this." "I remember this day very well." "Because this was not in the studio." "This was an actual school we used in Los Angeles." "And we shot for about a half a day." "I forgot what scenes here but some scenes in this school here on set we shot for about half a day." "And then lunch time." "I thought we had shot some really good stuff." "At lunchtime somebody from wardrobe came up to me and said:" ""Oh, we've made a terrible mistake." "We put him in the wrong clothes."" "And it was not just a question of taste." "It was the fact that these clothes didn't match the clothes he would wear on the subsequent evening." "So we had to reshoot the entire half-day again because we had the wrong shirt on." "But it turned out okay." "Emily and Loretta." "Loretta and I..." "This is the first time that Little Bear is really out of Omri's hands here." "And he's very worried about him." "We're using beans for the mountains yarn for the rivers..." "We had a problem trying to make these two at least halfway friends." "So this scene happened very, very fast." "Because they hated each other in the beginning." "And we just wanted to get some humanity, a shared humanity." "And it happened a bit too fast." "I wish we'd had more time to do this." "But I think it did the job." "Sounds like they've been hitting the old tornado juice." "I think it worked because Boone is such a character." "And a compassionate person." "You ever been west of the Mississippi?" "Here we find out a little bit about Little Bear's background." "Big river?" "This was filmed..." "Again we had to..." "Leslie McDonald and her crew had to find fabric that looked like the fabric that was carried by Patrick." "That little yellow pouch you saw." "And so all these details had to be worked on because you can see the detail of the fabric there." "They had to re-create that or create that fabric to match what the other fabric would look like very close." "I'm the best talker." "You know that." "I hope that made sense." "Ha-ha-ha." "Patrick and I are making a volcano." "It's made out of mixed-up Play-Doh and it's big and..." "Smallpox." "Yes." "Will you marry again, Little Bear?" "If there is a woman for me." "Maybe have another little child." "By cutting away it helped us to come back to this emotional point." "Because then we could believe they'd had a longer talk in between." "It's still a little bit short to become friends, but I think it worked." "...are the sun and the moon and the stars." "Good morning, boys and girls." "Again, those markings are all Onondaga." "The hair is Onondaga." "So it was all researched, the earrings and everything were all very well researched." "It was very important to all of us, including Litefoot." "Everybody, stay in double line, please." "Now, here's another scene where again we layer in more responsibility for Omri." "Now he is concerned because his friend Patrick still thinks it's a game." "And Omri is getting more mature and feeling the responsibility of being the one caring for this 3-foot live being." " Yeah." " So what else?" "And so again the scene is about laying more and more on Omri here." "No!" "Hey!" "What are you doing?" "Are you crazy?" " I'm having fun." " This is real!" " They're two real men." "It's not fun!" " Shove it!" "Hello." "Excuse me." "What's going on here?" "Huh?" "What happened?" "What happened?" "All right." "Somebody start talking." "We can't resolve this now." " I think we need to try." " I can resolve it." "Want to see how?" " No!" " I could do it!" " Do what?" " No, no, no!" "You..." "Omri has to think very, very fast." "And earlier on, Omri was talking about a plastic teepee." "And Little Bear was saying "plastic, plas-tech, plastek?"" "And so Omri is telling Little Bear through little clues to become plastic to fool the teacher." "Please." "This coming effect was again blue screen." "And again, imagine instead of a hand..." "Later on I'll clue you in when it's coming, to prep you." "You'll see a hand coming out in about two minutes." "And the hand will be a platform." "And that was shot on blue screen again." "And that platform was melded together with the actual hand." "And that's how it was done." "So I'll show you in a second." "So now the teacher wants to see what's in there." "And Boone and Little Bear are in there." "I remember shooting this in blue screen where both Litefoot and David Keith..." "I told them to lie down and we had to shoot them from way up high." "The camera had to be way up high to shoot them." "Whenever they are little figures, we have to shoot them high to make them smaller." "And here the hand comes out." "And again, that's a platform." "And behind is a blue screen." "And those were married into that hand." "All right, you two work this out." "But no more fighting, okay?" "All right." "Go catch up with your class." "Again, it was so heartening in the previews that during this very quiet time here the kids were with it all the time." "It was really great." "Every time I'm away from him, I worry that he is okay." "Now Omri is keeping a little journal." "And in these sections in the classroom, he's reading from his journal about how he takes care of him." "Again, JFK is brought in here." ""JFK was the youngest man ever president." "There were little kids in the White House."" "Again, bringing the real world in." " Yeah, I think so." " Spend the night?" "It's a wife." "Excuse me." "It's all right." "Come on." "Look at them." "I've got to go." "So there he had another barter job." "He stole something and put another one of his things in there." "You'll see in a second what he, not stole, but what he took and bartered with." "What he took from the table rather." "That relationship between Omri and Patrick, we did it on purpose." "We thought, well, should we have two Caucasian kids together?" "No." "How about a Caucasian and an African-American?" "No, that's been seen." "So we read Rishi and that seemed to work." "It seemed to be a new relationship with Patrick and Omri there." "And I think Rishi now, as I understand it..." "I read an article in the paper about Rishi, who is older now." "And I think he has made a fortune in software." "In designing certain software, as I recall." "Good for him." "Who would take it?" " Where is it?" " Where's what?" " What the hell?" " The cupboard, butthead!" "Who gave you that cupboard?" "Please, where's the cupboard?" "Gilly, please." "Again, what I liked about this script was that so much was going on emotionally with this boy." "Everybody is just kind of living their lives." "The brothers are doing homework talking about girls, going to football games." "And the mother and father are just doing their daily lives." "And this boy is going through such a roller coaster of emotions." "And nobody knows about it and he's dealing with it all himself." "And just that quiet world around him and the crucible in which he lives was really interesting to me." "And all the conflicts inside that crucible." "So now he will find the cupboard but he won't find the key." "Which causes, again, more problems for him to deal with." "I got very close to Hal and his parents." "His parents are great." "That's one thing about making movies you spend five, six months with somebody." "You get very, very close, like brothers and sisters." "And then you don't see them ever again." "So I tried to keep in touch with Hal." "And I have." "I e-mail him, fax him once in a while." "And they talk to me." "So that's nice." "He's a great guy." "But most people you never see again after you make your movie." "You mean we've got to live here forever?" "Little like this?" "No new wife for Little Bear, no baby?" "Again, that effect, in order to see him that small the camera was way, way up high in the soundstage." "As far as it could possibly be to make him that small." "We just got the railroad coming through town and we've got a new doctor, a good doctor." "See, for Boone there are changes too." "Dawn of a new century." "Everybody is changing." "Boone is changing." "His world is going to be going." "Little Bear's world is going to be going." "It's close to 1900." "Omri is changing." "The movie is about change in many ways." "This set, again, was a set inside the Sony soundstage." "And that was the last day of shooting on that set because if we had shot there earlier, the whole set would have been flooded." "So that was the very last time we used that set, when we rained on it." "So after that the set was broken apart." "Here you see Boone on Patrick's knee." "The truth is, that's not Patrick's knee." "Patrick's leg, I think there is a hole in the bed." "And his real leg is there." "Because the knee had to be rock solid." "It couldn't move in order for the effect to work for Boone to sit there." "Because Boone was shot separately from the scene." "He was shot on blue screen." "So therefore that's not really his knee." "That's something rock solid that won't move for the effect." "We had to make these bed sheets also." "When you see Boone, he's right there on bed sheets that we made." "So you see Boone there in the front." "And Patrick in the back." "Those are two different times of shooting." "We might've shot Patrick one time and a month later shot Boone." "And put them together." "Aah!" "I think this is a real compelling scene because as far as Little Bear is concerned, this is real." "These people are actually dying." "And of course for Boone, he thinks all the Indians are bad." "And they see television as real." "And it's very sad." "Again, the focus in the back and the focus in the front." "It's very important to be blurred in order to believe that Little Bear..." "That Litefoot is 3 inches small." "Now, poor Little Bear is confused to a degree that he hears a gunshot." "He shoots wherever he can find a gunshot and he does it by reaction." "And he doesn't realize he shot Boone." "Little Bear?" "Amigo?" "Now, this fall is only about 2 feet from the knee to the sheet." "But the truth is, this is about 100 foot fall." "Or maybe 75 feet." "In the studio, by a stuntman." "These boys are going through the most intense emotions throughout this entire film, especially Omri." "And now Patrick is starting to mature." "Not as much as Omri though." "That's not an effect." "That's in the 20-foot seed tray." "That was actually built on the stage." "I wish we had Tommy." "We do not have the key." "Can you take the arrow out?" "Blood will flow." "Get me husks." "We have no husks." "All this was important to show Omri." "Leave me." "Again, all of these bedroom scenes were all shot at once." "I mean, not at once." "We shot them so we didn't have to go from one set to another." "So they were all shot out of order, out of continuity." " Can you turn out the light, please?" " Sure." "And we were shooting in his bedroom, as I said, for six weeks." "I feel like I haven't seen you in days." "Cartoon day tomorrow." "I don't think we'll watch, thanks." "That's another little piece of change in him." "His mother was wise enough not to say anything." "But this is the first time he's not looking at cartoons in the morning." " What?" " He escaped." "Dad pulled up that loose floorboard under your table, but couldn't get him." " That rat's under my floor?" " Maybe." "He might have moved on." "If we're lucky, he moved out." " Oh, no." " I know." "Good night, guys." "And now they have something really dangerous here." "This rat." "And they've got to protect a dying Boone and Little Bear." "Now we really can't go to sleep at all." "We'll take turns." "It strikes me too because I always believe that children have secret lives they don't tell adults." "And so many things happened as a child with me I don't tell adults." "So many things happen to children I think, although I'm no expert but I believe children will be living things they will never tell you." "And the things they live are very intense." "So this is why this movie struck me this script struck me because I think that's what happens." "These secret lives that we never know about." "Now, this sequence here, we had storyboarded earlier on, months earlier with the possibility of Little Bear fighting this rat." "And the more I thought about it, I didn't want that." "I thought it would be scarier not to see the rat but just hear the sounds." "And the boys couldn't do anything else but wonder what happened." "And I think it turned out better that way." "Letting the imagination of the audience run wild as opposed to actually showing Little Bear running." "You'll see in a moment what I mean." "I hear the rat." "Patrick, get up!" "That won't happen for a little bit." "I jumped the gun." "But you'll see in a moment about the chase I talked about." "It's the key!" "It's the key!" "Get it!" "Hold this." "You know, with..." "With Hal, he was terrific but like any adult or any child, you get tired on the film set." "So, what happened was we brought a ping-pong table out a table tennis table out on the set." "And he had to go to school, as with Rishi." "But between takes, while they were setting up between shots, we would have table tennis tournaments." "And it was a really bad idea because Hal always beat me." "Ha-ha." "But it was great." "I did that on Little Shop of Horrors too." "I had a table tennis table there because filming gets a little intense a little tiresome, and it's great." "It was fun for everybody and it kept Hal alert too." "Move fast." "Okay, so that is..." "That's not real." "That's..." "It's hard to explain." "But that wood is all..." "That's not real life-size wood." "There's the focus shift again." "Everything." "So now he's trying to find the key." "And they know the rat is down there somewhere." "This is the sequence I was talking to you about." "I thought it would be scarier not to see anything and wonder what's happening." "And just hear it." "Little Bear!" "Where is he?" "Little Bear!" "I hear him!" "Over there!" "Little Bear." "Little Bear!" " Where is he?" " Come back!" "So instead of going underneath the floorboards and creating a phony rat and having the rat run after him and all that stuff I think this is more effective." "I like it better." "I don't know." "Please, Little Bear, come back." "Why won't he come?" "Omri." "This is kind of fun." "I had fun scaring the audience here." "I was looking at previews and every time I saw a preview I would see this point coming up here the audience thinking everything was fine." "This key was found and everything was fine." "They put him down." "And then I saw the entire audience rear back as one when this rat comes up." "It was great." "You'll see." "Ha-ha-ha." "They just didn't expect that." "The whole audience just went, "Whoa!"" "Because the rat noise was very loud." "It just paid off the whole chase." "Otherwise it just would have ended." "Oh, it's you again!" "Again, it's Steve Coogan." "And he is in the real 35-foot cupboard there." "Thundering great Minnie whining overhead." "Thought I was a goner." "Perhaps I am a goner." "Did I die?" "No, you're dreaming again." "Oh." "Whew." "Steve was delightful." "There's two of you now'?" "Good show." "Well, take me to him." "The elegant Injun, is it?" "No, it's another." "Now, Tommy could have stepped on Omri's hand again." "And Omri could have put Tommy right next to Boone." "But that would have been very expensive." "So throughout the movie we were judging what shots were necessary special effects shots and what weren't." "There was a situation where I thought, well, you've seen him being put down already in the past, Tommy that is." "So I felt that the audience didn't really need to see it again." "And we saved money." "So we had to review that every day almost." "What effects shots we needed and what effects shots we didn't need." "Now, this moment here is important." "It wasn't in the original script." "But I felt that Omri had to see himself now for the very first time." "He had to see kind of a new Omri here." "Sees a little sea change in him, and for that brief flash he realizes..." "I think he realizes there is some strength in him." "And he now can go it alone." "He doesn't need Little Bear." "And he has to take care of Boone somehow." "He knows that if he sends Boone back that there will be a doctor back there for Boone." "So this is a significant change." "No." " When he wakes up." " Not yet." "It's time for them to go home, Patrick." "Good." "That will do." "That again is not an effect." "That's really on a very large seed tray there." "I suggest a drop of brandy." "Little Bear is happy to get home." "And again we could've put Tommy in there." "But there's no reason to." "Now the audience understands that Tommy gets in and out by the hand." "So there is no reason to show it." "Omri!" "So, what he's lying on is actually a six-foot replication of the little doily whatever-you-call-it that Omri was holding him in when he came into the bedroom." "All those things seem so inconsequential but it took so much thought and so much work..." "By other people, not me, ha-ha." "...to get it right." "That's an effects shot, we had to take the camera way up high." "Whenever you see them that small, the camera is way, way up high." "People think the script is written, and we just shoot the script." "But I think in every movie there is, most movies anyway maybe not every one, it changes all the time, every day." "As a matter of fact, there was a point where we were gonna have this woman come to life." "There are many things like that that we changed as we were shooting." "So it's a constant reevaluation of the script, and the characters and the money." "Once you start shooting a movie it isn't all of a sudden just shooting the script." "It's reevaluating every single day what works for the movie and how we can save money in order to get that for the audience in the cheapest way, but the best way." "I like the fact that they push the bureau up against the door so if the parents come, they have some warning." "Again, what's interesting to me, and I know it's an old saw but this whole movie with these two kids this whole experience has gone on, and the adults have no concept of it." "I think that happens every day with parents and children." "Hey, son." "When we go back, are we going to the last thing we remember, or ahead?" "I don't know." "I hope it's forwards." "How about you, Little Bear?" "Little Bear!" "Where are you headed?" "I was on the journey with my brother's son." "I think I will wake up in the woods." "It is quiet." "The nights are getting cold." "I can almost smell the trees." "Lord, I can almost smell them too." "It's like I'm part Indian now." "If you were my nephew it would almost be time to walk you through the forest." "I would go." "Again, this is on the seed tray." "All those twigs were manufactured." "That paper was manufactured." "Those pieces are about five feet large there." "It is difficult." "You would live by yourself, care for yourself." "So this goodbye scene, we didn't want to make it schmaltzy." "But there was a real bond between these two characters now." "So we didn't want to run away from that." "And here, that little effect was cool." "He drops something in the fire." "Little effects like that, just having Omri drop something and you see it in the fire, it's so difficult." "Ha-ha." "But again, that's our job to make something as difficult as that look so easy." "So you don't even notice it, so it becomes natural and part of the story." "Now, what happened here when Omri was imagining being Little Bear's nephew in the woods Eric shot, I think in Muir Woods, up north in San Francisco." "He shot that background." "And then we shot this shot here..." "Which is very emotional, I think." "...with Little Bear and Omri." "Those are two separate shots." "So we put Omri and Little Bear in front of that Muir Woods shot." "So they're really in front of blue screen right now." "And the reason you do that is you have more control of the shot." "And the other reason is we didn't actually know what to do here." "So by shooting them first against blue screen then we could decide what the background was gonna be later." "And that's what happened." "Because we weren't sure what the background was." "Eric helped us, and we decided, Melissa did I think we decided it was good to be out in the woods." "Time to go, gentlemen." "Where nephews become men." "Easy, Darling." "Easy now." "Don't y'all forget me." "I won't." "You look after yourself, Little Bear." "As is the case in most movies we didn't exactly know what the end of this movie was gonna be." "We didn't know the best way to do it." "So Kathy Kennedy and Melissa Mathison and I talked for so long about it." "So as you're shooting..." "I've done this in other movies." "As you're shooting, you don't know how it's gonna end." "And I think we were pretty successful in this one." "But it's not always so good." "Things change for us." "They will." "We go." "Again, when Litefoot is looking up, he's not looking at Omri." "He's looking at a mark way up on the ceiling up top." "Now!" "Hal did a great job there." "It was wonderful." "Now he's back in school." ""...but now I don't worry about him anymore."" "I think Little Bear will have lots of children and he will teach them everything." ""He will always take care of his people."" "And you sense a difference in him here, than before." "Sam?" "And this last one about JFK here..." "He was shot on a street the fact that he was shot on the street in Texas." "It's hard because we left that in." "It was important to put that in because Omri needs his strength now because the world is changing." "Ever since that moment that JFK was shot many of us feel the world has changed." "So now Omri needs that strength to go forward because the world is not as innocent as it used to be." "And it was Little Bear who helped him change." "So I hope you liked it." "Thanks a lot." "Bye-bye."