"WOMAN:" "Everyone has an angel." "A guardian who watches over us." "We can't know what form they'll take." "One day, old man." "Next day, little girl." "But don't let appearances fool you." "They can be as fierce as any dragon." "Yet they're not here to Fight our battles but to whisper from our heart reminding that it's us." "It's every one of us who holds the power over the worlds we create." "GIRL:" "No!" "No." "[GASPS]" "[SOBBING]" "WOMAN:" "We can deny our angels exist convince ourselves they can't be real." "But they show up anyway." "At strange places." "And at strange times." "They can speak through any character we can imagine." "They'll shout through demons if they have to daring us challenging us to Fight." "[SCREAMS]" "[GRUNTING]" "[BUZZER rings]" "COMMENTARY:" "Baby is a character that I've sort of kicked around in my head for a long time." "And I think, for me, she's, um ...." "She sort of represents innocence, you know and sort of that transition between-- Right on the line between thinking like a child and thinking like an adult." "I think the cool thing about Baby is that she" " I mean just the way that she looks, obviously, and, like, the idea of a baby doll." "You think of something fragile and breakable." "I think the cool thing about her is that she's ...." "From the beginning, when she first is sort of trapped she's looking for a way out, you know." "I think she has this sort of stoicism that's kind of unexpected, you know." "She's really" " She's pretty tough." "You know, like a white warrior in some ways." "I know there's a sort of-- That Joseph Campbellian concept of the white warrior being this sort of pure warrior." "BLUE:" "Come with me." "We're gonna take her into the theater." "Dr. Gorski's gonna want to take a look at her." "She likes to see all the new girls." "Don't worry, Dad." "Everything's gonna be fine." "I've got everything under control around here." "Okay?" "Come on." "Follow me." "[BANGING ON DOOR AND WOMAN LAUGHING]" "So this is what we call the theater." "COMMENTARY:" "The Lennox House is a place that is described in the script a certain way." "And when you get to this one big space, it's described as a gymnasium." "Well, the funny thing is that I think I missed a gymnasium by a mile in that set." "What happened was that that space wanted to become a space that even if I can't tell you exactly what its role would be in a mental institution within that place, it needed to be a theater." "And that theater needed to be right on the edge, just emotionally of being a church." "So there's a religious component that out of this acting as Miss Gorski says you learn something, you can express something that's deep." "SNYDER:" "We're gonna continue forward through it." "FONG:" "The reality of the asylum, the Lennox House I wouldn't say I was saying, "Let's make it look like the '60s."" "But I wanted it to have this other timelessness of slightly the past." "But for me, my goal is actually not so much of a time." "It's almost to make it look like a, you know, European film or something that has, like, a slight twist on it." "BLUE:" "big risk here so it's gonna have to be 2 grand even." "What the hell are you talking about?" "We had a deal." "Listen, Father, I'm not gonna tell you what to do." "Clearly you're a man that can take care of himself." "I don't know what you did to this girl." "And, frankly, I don't wanna know." "What are you gonna tell the detectives when they come around?" "They're gonna love her side of the story." "COMMENTARY:" "Now ...." "Okay." "You are safe." "It's all safe." "Remember, it's like we talk about." "GUGINO:" "But Dr. Gorski for sure is about" "I think, you know, she has a lot of Freudian elements in terms of her principles, so it's very much about:" ""Let's explore what might be repressed." "Let's go back to revisit these memories."" "You know, he was so into dream analysis." "And I think that since this movie, and cinema as a whole, is a dream you know, that's also" "She's sort of trying to get these girls to revisit these instances from their childhood." "When you first meet her, she's one of the pillars of this organization." "And then as you real" " As you watch it you realize that she's as innocent and in some ways as broken, as everybody else." "What happens, you know, in this sort of sequence..." "...is you're kind of into their conversation." "BROWNING:" "Mm-hm." "As you're listening though, slowly you start to get" "This woman, this girl on-stage starts to-- Something is strange up there." "And that takes your attention, finally at the last second." "And then that taking your attention actually takes us into that." "Which actually is your story anyway." "So I guess by now" " Yeah." "SWEET PEA:" "Stop." "Get that thing away from me." "Get it away from me." "Where is my mind?" "And shut off that damn music." "[TAPE PLAYER CLICKS]" "Undo these straps." "Don't forget my ankles." "Hurry." "GORSKI:" "Is there a problem, Sweet Pea?" "This is a joke, right?" "Don't you get the point of this?" "It's to turn people on." "I get the sexy little schoolgirl." "I even get the helpless mental patient, right?" "That can be hot." "But what is this?" "Lobotomized vegetable?" "How about something a little more commercial, for God's sakes?" "Sweet Pea, could you come here, please?" "You gotta help me." "I'm the star of the show, remember?" "I'll figure something out." "All right, ladies." "Wrap it up." "Sweet Pea, I want you to meet somebody." "This" "The priest brought you here from the orphanage to lose your virginity, right?" "Oh, let me rephrase that." "To sell it." "BLUE:" "Heh, heh, heh." "Yeah, that's right." "How original." "BLUE:" "The High Roller is coming for her in five days." "He's gonna, you know, just do a little flower picking." "And he's gonna pay a lot of money for that." "SWEET PEA:" "Mm." "Luck you." "BLUE:" "Can you do me a favor, honey?" "Can you show this little baby doll around?" "COMMENTARY:" "Sweet Pea is one of the more sane girls, I guess you could say." "But in that time, in the '6Os you didn't have to be crazy or, you know" "Or really mentally insane to be in these places too." "So not every girl in there has a serious mental problem." "MALONE:" "I think Rocket fits into the equation of being a part of Babydoll which is very free, you know." "Free and without need to feel sorry for her actions or her consequences, you know." "Some people, you know, handle a situation in the film through showing their strength." "And Rocket can kind of ease through it without having to project anything." "You know, she's got a really open heart, you know." "These are the rooms that we take the clients." "Each set of fantasies has a tone of its own." "You know, when we're into the brothel we get into the reds and more color far more opulent colors like we have in here." "CARTER:" "It is as though the Lennox House is Monte Carlo with gangsters coming with big cars." "And they're all coming to partake of gambling and women and a fine time." "ROCKET:" "The club's a front for his business." "Guns, gambling, medications, special favors." "He brings in his clients, and we gotta make them feel, you know special." "New girl." "[GATE BUZZES]" "This is our backstage." "It's just for us, so don't bring any clients back here, okay?" "Or Blue's gonna get pissed." "Uh, cleaning closet." "You'll find all the mops, brooms, disinfectants." "New girls get cleaning duties." "COMMENTARY:" "Okay, one more time." "Hold on." "SNYDER:" "A lot of giggling going on out there in the hall." "MAN 1:" "it's giggly Thursday." "But don't you separate between the bones?" "MAN 2:" "You separate between the bones." "Okay." "MALONE:" "This is the kitchen." "This is the kitchen." "We all work in here." "SNYDER:" "Ring, ring, ring!" "MALONE:" "Rehearsal." "SNYDER:" "Cut!" "CHUNG:" "Personally, I don't think she's a problem." "You know what?" "She looks nice." "HUDGENS:" "She looks stuck-up to me." "No." "She's scared." "I feel sorry for her." "Amber, you feel sorry for everyone." "Do you remember when you first got here?" "Nobody felt sorry for you." "Well, don't get too attached to her, okay?" "Blue's saving her for the High Roller." "[HUDGENS LAUGHS]" "That girl's no virgin." "Babydoll, that's Amber at the end, Blondie in the middle Sweet Pea with the:" "Hey, watch yourself." "Yeah." "Come on, you guys, give her a break." "CHUNG:" "She hasn't done anything to you guys." "Are you all her new best friends now?" "MALONE:" "I'm sorry, can I finish my tour?" "SNYDER:" "Cut!" "Blabbering your big fat trout?" "BROWNING:" "Trout?" "Don't yabber your trout, okay?" "What does that mean?" "It's like, "Watch your tongue."" "Don't yabber your trout." "That sounds really Aussie." "For real?" "I want to ...." "Guys, run the whole thing." "[MUSIC PLAYING]" "BLUE:" "Good evening, gentlemen." "We've got a great night in store for you." "I see a lot of new faces out there." "As well as some familiar ones." "So I'm not gonna yammer on too long." "I want you all to sit back, enjoy the service the scenery." "But most of all, enjoy the show." "Hit it." "Ooh." "Au right." "[SINGING] it ain't no big thing" "To wait for the bell to ring" "[CHUCKLES]" "It ain't no big thing" "The toll of the bell" "Aggravated, spare for days" "I troll downtown The red light place" "Jump up, bubble up What's in store" "Love is the drug And I need to score" "Showing out, showing out, Hit and run" "Boy meets girl Well, the beat goes on" "Stitched up tight I can't shake free" "Because love is the drug for me" "Oh" "Love is the drug" "Late that night I park my car" "Stake my place in the singles bar" "Face to face, Toe to toe" "Heart to heart as we hit the floor" "Lumber up, limbo down" "The locked embrace, the stumble round" "I say go" "And I say yes" "Dim the lights, you can guess the rest" "Oh" "Love is the drug" "Oh" "Love is the drug" "Oh" "Love is Love is the drug" "[SPEAKS IN FRENCH]" "COMMENTARY:" "Dance is the art of movement." "And it's liberating and it ties into this movie so well." "In our journey of teaching this choreography each of them really grew and had their own individual journey of freeing themselves." "I've always loved dance." "And so I was so excited about the idea of working with Paul and figuring out Sweet Pea's dance." "And I just love it." ""Love Is the Drug" just seems to enjoy the process of being turned into a bad cabaret song." "We've taken these songs and we've kind of, you know, reinvented what these songs that we knew were and then morphed them into all these other things." "It's always told through the extended and, in some cases, mutated structure of a song which begins, goes on a long journey and comes back to the place where it started." "It's the through line that your brain cannot decipher in a logical manner that emotionally, the music is gonna help you know how to get through." "Drug, drug." "The drug is love." "Yeah." "[BABYDOLL SOBBING]" "[CLASSICAL MUSIC PLAYING]" "[GASPS]" "Give me that." "[SCREAMS]" "[GRUNTING]" "[SIGHS]" "[THUDS]" "[ROCKET SHOUTING INDISTINCTLY]" "Somebody!" "Help me!" "[ROCKET SCREAMING AND COOK GRUNTING]" "Shh." "Let her go, pig." "I didn't mean nothing." "COMMENTARY:" "Ready, and action!" "[MALONE SOBS]" "Are you okay?" "Yeah." "Let's just go." "We don't wanna be late." "SNYDER:" "Nice." "GORSKI:" "One, two, three, four, five, six, seven, eight." "Two, two, three, four, arms, six, seven, eight." "Stop." "Stop." "Where are you right now?" "Are you with us or not?" "Sweet Pea, take break." "Yeah." "Babydoll." "Come over here." "Come, come." "COMMENTARY:" "Come, come." "Let me look at you." "You could go there, stop her, and then:" "GUGINO:" "Yeah." "So let me look at you." "So I'm not really seeing the-- Unless I turn her around." "SNYDER:" "You'd have to put the knot right in her" " The poker right in her" "You seem fit enough." "You know, I could do that." "Gr do you want her to stay?" "Uh, show me the walk." "Like if you poke here there" "GUGINO:" "So I say, let me look at you." "MALONE:" "I don't think it's a new idea that she's telling Babydoll to use this dance as her fight in the world." "As her way of expressing herself, you know." "I think that's what she's told all of us, you know." "And I think, in different ways that is what our dances represent, you know." "But we've never gotten to that point of completely freeing ourselves from our environment through our dance." "What I think she" "Madame Gorski, at that moment, is doing is saying:" ""Hey, you think this is your weakness?" "Make it your strength."" "it's that sort of whole shadow theory which is, you know, very Jungian but, like, the more you deny your shadow, the larger it will loom." "And basically, if you accept it, it can be very empowering." "GUGINO:" "You have all the weapons you need." "Now fight." "GORSKI:" "the weapons you need." "Now fight." "Again." "[BJÖRK'S "ARMY OF ME" PLAYING OVER SPEAKERS]" "You've got to manage" "BABYDOLL:" "Hello?" "Excuse me, could you help me?" "I'm-- WISE MAN:" "Shoes." "I'm sorry?" "Your shoes." "You're tracking snow everywhere." "Oh, I'm sorry." "Should I take them off?" "That time has passed." "What can I do for you?" "Nothing." "I just" "Let me ask it another way:" "What are you looking for?" "A way out, I guess." "You guess?" "No, I" "I know." "I need to get out of here." "Freedom." "That wasn't so hard, was it?" "I'm going to help you to be free." "What do I have to do?" "WISE MAN:" "These are your weapons." "When you take them, you begin your journey." "Your journey to freedom." "You will need five items for this journey." "The first is a map." "Then fire, a knife and a key." "You said five things." "The fifth thing is a mystery." "It is the reason." "It is the goal." "It will be a deep sacrifice and a perfect victory." "Only you can find it." "And if you do it will set you free." "Oh, and one more thing:" "Defend yourself." "[BOLT SLIDES]" "[GROWLS]" "[CAWING]" "[ROARS]" "[GRUNTING]" "[GROANS]" "[GRUNTING]" "COMMENTARY:" "Then come up with the sword." "MAN 1:" "Three, two, one, go!" "SNYDER:" "Down, land." "That's not a big" " Yeah, it's just a little tilt and then a little push, right?" "Is that our transition?" "SNYDER:" "That's our transition." "MAN 2:" "And action!" "MAN 3:" "Is this the one where she comes up in frame on the other side or not?" "SNYDER:" "She just stands out of it, right?" "MAN 3:" "Right." "[WOMEN CLAPPING]" "ROCKET:" "What was that?" "AMBER:" "Seriously, you're gonna have to teach me how to dance like that." "That was crazy." "ROCKET:" "That was so amazing." "I'm, like, shaking." "ROCKET:" "I've never seen Madame Gorski clap like that before." "SWEET PEA:" "Well, get over it." "It's nearly lights out." "She's not easily impressed." "SWEET PEA:" "She wasn't impressed." "All that gyrating and moaning." "The dance should be more than just titillation." "Mine's personal." "It says who I am." "What the heck does yours say?" "It says I'm gonna escape from here." "That I'm gonna be free." "Well, send me a postcard from paradise." "Are you really gonna try to escape?" "Yeah." "Before the High Roller comes." "Can I come?" "Me too." "Yeah, of course." "You're not going anywhere, Rocket." "I'm gonna do what I wanna do." "No one's ever escaped from here." "You know that." "Yeah." "You know, the last three girls that tried died." "And the same thing'll happen to the next fool." "Look, why don't you just listen to my plan?" "Don't wanna hear your plan, okay?" "None of us do." "Now, let's get ready, girls." "Rehearsal in 15 minutes." "COMMENTARY:" "So Abbie's gonna come around say, the backside of that chair over there." "Whatever she does, these girls are gonna double her action." "We used a lot of reflections and mirrors in the film which echoes the theme of alternate reality, dual reality." "This is where you put in the clip of us going through mirrors and stuff." "SNYDER:" "Here, we'll do it at the same time." "Come on, here." "The trick will be just getting enough rehearsal so you're doing it but you're not thinking about it." "And then the guillotine happens." "We have mirrors, real mirroring, slide down." "It's a brilliant shot because it's really trippy." "Because you start" "Camera starts behind what you think is the actress." "You see the actress, but you see the back of her head." "And we pan across." "And all of the dressing that's around the mirror is stacked, duplicated on the other side of the mirror." "But there's no mirror there." "And what happens is you go past the doubles and then you go around the corner camera passes through the wall." "As that happens we're dropping down Counterweighted mirrors into slots." "So when the camera comes back around now you've got the real reflection of the actress in the mirror." "But the camera was suddenly in this other world." "In the reflection world." "So you're going back and forth." "It's a bit of a mind trip." "[PEOPLE CHATTERING]" "[ROCKET SIGHS]" "ROCKET:" "And there she was, just like that." "She had a knife to his throat." "She saved me." "The High Roller comes for me in three days." "But I'm getting out of here before he does." "So if you guys wanna come with me, this is how I plan to do it." "Well?" "Okay." "If we can collect all four of these items, we can be free." "Okay." "How do we use them?" "Wait up." "First things first." "How do you plan on getting these things?" "Well, whoever has the item we need, we get them to watch me dance." "While we run around and pick their pockets?" "Yeah, that's right." "But we'd be taking all the risk." "We'd be doing the work while you prance around with an alibi." "No." "As long as I'm dancing, they won't even know you're there." "[SIGHS]" "Okay, so the first thing we need is a map to figure out where all the exits are, where the guards are located." "Blue has that in his office." "it's behind his desk." "Right." "Good." "Second thing we need is something to start a fire with as a distraction for when we escape." "Plus, the fire should disable all the checkpoints." "And the third thing is a knife in case we run into trouble." "The Cook." "We can do it." "Okay." "And the last thing's a key." "BLONDIE:" "Blue wears a key around his neck." "What door does it open?" "It's for all of them, I think." "it's a master key." "This plan is crazy." "There's armed guards everywhere, okay?" "And if Blue finds out, we're dead." "It's not gonna be, "Oh, sorry, Blue, we won't do it again." We'll be dead." "We're already dead." "[SIGHS]" "I'm in." "So am I." "Me too." "[SIGHS]" "All right." "But I'm only doing this because you guys'd get caught without me, okay?" "And if it gets too hairy if I say it's over we stop." "Okay." "Okay." "COMMENTARY:" "Whenever I did scenes with Blue, there was this feeling of having to be so switched on and so engaged." "You know, if I took my eyes off him for a second who knows what he's concocting?" "This feeling of being manipulated, and in turn having to feel like you have to manipulate the situation again so that you're not the victim all the time." "[EMILIANA TORRINI'S "WHITE RABBIT" PLAYING]" "One pill makes you larger" "One pill makes you larger" "And one pill makes you small" "[MACHINE GUN FIRING]" "BLONDIE:" "Baby." "Baby." "He's coming." "He's gonna start the briefing." "All right, here's the drill:" "The Germans are preparing a report for the kaiser. it's a map that shows troop locations and trench layouts." "Their field commander's sending the map via courier back to Germany on a zeppelin today." "How do we intercept it?" "You're gonna cross no man's land, enter the enemy trenches and take the map from the field commander's bunker before the courier can reach the zeppelin." "Sounds like fun." "Oh, and I've arranged something special for Amber." "Give you some cover." "Get you out of there when you're done." "Let's go." "What do you think?" "I like it." "WISE MAN:" "German doctors and engineers have worked out how to return their fallen to the front lines." "They're using steam power and clockworks to keep them moving." "So don't feel bad about killing them." "They're already dead." "If you don't stand for something you'll fall for anything." "Oh, and one last thing:" "Try and work together." "[WHISTLE BLOWING]" "COMMENTARY:" "The shot we're setting up is a portion of the World War I fantasy called "no man's land" which is basically between the two trenches where the girls are pressing forward and there's waves and waves of Germans that are coming to attack, right?" "So everybody is taking a hit." "We have one gentleman who gets launched towards us." "Another guy is taking a hit back." "While he's in mid-flight, the second explosion goes off." "And he gets launched in the opposite direction as well as three other gentlemen." "It's timing, but some of them are" "They're linked together with the Winches and the ratchets." "And they have two guys on two buttons." "And they're double-fisted with those." "AMBER:" "Son of a" "COMMENTARY:" "And she'll just lay on it and then as she's shooting, you'll come around over here a little bit." "HUDGENS:" "Shooting the big guns is the most exhilarating feeling." "My heart basically stops beating and I just get the biggest rush." "it's incredible." "One of the greet things was the training that went into it ahead of time." "Physical training." "These girls worked out for eight hours a day for like 12 weeks." "HOOD:" "We test them and put them on the rowing machine or have them lift weights." "Whatever they're doing." "It's what they're learning about themselves, and what they can accomplish is gonna translate over to when Damon works with them and when they start swinging their swords or moving with their firearms." "CARO:" "That's the way Zack works, you know." "His thing is use doubles as minimally as we have to." "So that's why we get the heavy training up front." "Cross." "Damon, our head stunt coordinator, walks out and he hands me a tomahawk and he goes, "This is your weapon."" "I nearly fell over." "Because it's such a cool weapon to use." "The empowering side of this is-- That's the whole point of it." "Our goal is to get you there." "So if you wanna be in that shot work hard, work hard, work hard." "And they do." "No different to training in the martial arts, they with Logan and Dave, did all of the" "Did mag changes and did all kinds of drills." "It's not just one weapon that we're wielding." "I mean, you know, my character has a broadsword, an M4, a shotgun." "And on top of that, mixed martial arts skills." "I mean, it's a-- You know, she's a killing machine." "The bond that we all formed, we instantly fell into our places." "MAN:" "Ready, and action!" "MALONE:" "You know, who we are in the gym, who we are with these guns who we were together as a group, was who we were in the film." "MALONE:" "Come on!" "Sweet Pea!" "MAN:" "Well, one thing I noticed is these girls because they were training together in all aspects physically and with the weapons, is that they're almost like a unit together." "They feel real comfortable with each other." "And they feed off each other, and it really shows up." "[SOLDIERS  ROCKET GRUNTING]" "COMMENTARY:" "Damon, it's amazing because working with him on three films now the process that's evolved with him and Zack is that they, way ahead of production you know, Damon works on the stunt choreography but he also makes a mini film with his video camera." "CARO:" "Any time I've had the luxury of doing this on a project where we come in early and we shoot previs with the fight team and sometimes the actors at the same time you honestly shoot it in half the time." "And also, the level in which it's performed at." "You've now had your actors rehearsing it for months and months and performing it and know where camera is." "It's, you know, 90 percent of the time similar when you actually get there compared to the previses, so ...." "You can't say enough about it and that's why I think you can" "You see the quality in the action in Zack's films." "MAN 1:" "Ready" " Kevin, you good?" "MAN 2:" "Yes. sir." "MAN 1:" "Ready, and action." "[STUNTMEN GRUNTING]" "These aren't just stuntmen and women." "Most of them are, like, world-class martial artists." "Yeah." "Well, Heidi has kind of been like my mentor the whole time, you know." "She's" " There's this sort of strange relationship we have where I'm sort of trying to learn to be like her." "Because she knows about the stunts and everything." "But she's trying to learn to sort of be like me because she has to double me." "And it's like this crazy thing where we have to become one in a weird way." "MAN:" "You all right, Em?" "Wow, I hit everyone then." "Basically, I'm here to help Emily learn her fights and do the stunts that she can do." "It's almost like we're their coaches or their cheerleaders, you know." "We're there, and watching them it just makes us feel really happy and proud." "And then, again, when we're doing a big stunt or something they'll make a point to come to the set, cheer us on and be there for us and be really happy and excited for the stuff we're doing, so it's been really great." "SNYDER:" "Two, one, go!" "[CRASH]" "[GROWLS]" "[GRUNTING]" "COMMENTARY: it's interesting, she had to learn her firearm training and all of her weapons training with projectiles with the left hand, because we had the blade in the right." "And even the blade was a modified version of a katana." "So we modified that for her character and for movement to be able to work, or in tandem with the 1911 .45 at the same time." "COMMENTARY:" "Go!" "Go!" "CARO:" "Sometimes he jumped and he had too many rungs of the ladder left." "Sometimes he jumped and missed and we saved him." "But that one was just perfect." "It was just-- Yeah, it couldn't have been any later." "SNYDER:" "Because I think she should be like, "Bup-bup-bup." "Boom, boom, boom."" "It explodes." "And she looks at it and then watches him go over." "MAN:" "And action." "BROWNING:" "Learning to fight with Damon and the boys... ."was, like, the most fun I've ever had on a film, I think." "It's, like, the fact that I can use a gun now and it's, like, kind of sec" "I mean, it's a little scary." "Before I did this film like, I never liked guns at all." "And now it's just kind of second nature." "But it's pretty empowering. it's a pretty amazing feeling to be able to do that." "W0MAN:" "Whoo!" "[CREW CHATTERING AND LAUGHING]" "[SCREAMING]" "OFFICER:" "COMMENTARY:" "We used to have the rig for the girls." "They could stand on it." "And that's how we'll put the Mecha in front of them." "Because right now, we're leaving the rest of the Mecha there connected to the foot so that Drew can hide the lighting gag for the engines to come on." "That's the main thing, is to get the lighting in place." "Then we'll blow the whole thing out after that with smoke and fire and things like that." "BLUE:" "Wow." "Very good." "Hm." "Nice work." "COMMENTARY:" "When I walked into my character's office" "Both incarnations, Dr. Gorski/Madame Gorski." "they were reflective of everything that I have thought are the differences and similarities of these two sides of her." "So I said, "Well, when she gets into her second fantasy the second level of the picture, we'll make her office like Freud's."" "So there's lots of photographs on Freud's office." "The way he had his couch kind of laid out with these wonderful rugs." "And he had a lot of Egypt" "Pharaonic little carvings and things like that." "GUGINO:" "I am such a perfectionist." "So for me, to have people who are equal perfectionists in their, you know, world, just makes me so excited." "Because I walk in and all of a sudden, a scene will be ...." "I thought we were gonna do something completely different with the scene." "But I'll find something on my desk that gives me a whole different way to go with the scene." "BLUE:" "and you are mine." "Right?" "You're mine." "And if you need a stronger reminder of that, you let me know, okay?" "That won't be necessary." "So with or without your blessing, she's gonna be on that stage tomorrow?" "LAUGHS]" "I'll see what I can do." "Attagirl." "Mm-hm." "All right." "You look fantastic, by the way." "[BLUE HUMMING]" "Big show, girls." "Thank you." "For what?" "The Cook." "It was nothing." "Shut up." "No one takes a risk for anyone in here." "So thank you." "You're welcome." "You got family?" "No." "Oh, that's rig ht." "I forgot, you're an orphan." "I ran away from mine." "I thought I was pretty smart at the time, but ...." "Sweet Pea followed." "Which is crazy, because she never even had a real problem with Mom and Dad." "She just cares about you a lot." "Have you just ever wanted to just take something back?" "You know, something you said." "Something you did." "All the time." "[HUMMING]" "COMMENTARY:" "I put in a second hole there, right?" "Yeah." "it's in that corner over there." "Oscar and his office, he came in a couple of days before while we were putting it together and was really curious about what we were doing, and I think he was very happy with it." "ISAAC:" "He told me things about my character that I had never thought of." "And suddenly, it opened up this whole world for me." "He showed me all the individual files where I keep all the information." "He came over to this gate that had tons of, like, little planes, all these little knickknacks that" "He's like, "And I imagine Blue probably took them from people that came in, and he stores them." "He doesn't know if he's gonna sell it." "He holds on to everything."" "And suddenly, this slightly OCD aspect came out." "And it just completely opened up the character to me." "SWEET PEA:" "The Mayor comes tonight." "I've never seen him without a big stogie in his mouth." "Ugh." "I hate those cigars." "I can never get that stink out of my hair." "What?" "it's you." "You have to get his lighter." "I'm not doing that." "I can't." "Yes, you can." "Come on, be reasonable." "There's got to be another way, or someone else who can do it." "SWEET PEA:" "He's your client." "Yeah, but what if I screw it up?" "You can do this." "Well, he keeps it here, you know." "In his breast pocket." "So then you do the good old kiss-the-neck rub-his-chest reach in and bam you're gold." "Yeah." "Kiss the neck." "He'll like that." "Heh, heh." "COMMENTARY:" "Sixty-two, take five." "MAN 1:" "Let's get it very quiet, please." "MAN 2:" "Marker." "WOMAN:" "Quiet, please." "DEBORAH:" "These women are being kept there by force and out of fear." "And a lot of them have nowhere else to go." "But I think, in the end, what happens is that they ...." "They form a group and they bond together." "And through the strength that they have as a group and individually they kind of fight back." "CHUNG:" "To play with the idea of freedom and to actually escape kind of, I think, ignite something new into Amber." "Like, wow, it's really possible." "Like, what would happen if she escaped?" "Like, what life would she live, you know?" "It just gets her really excited and riled up and I think she kind of finally bites the bullet and finds the courage in herself to steal the lighter from the big boss." "DEBORAH:" "So they devise a plan that when Babydoll is dancing and the big boss is distracted Amber is going to sit on his lap and use her sexuality to distract him further and then she goes in and she steals the lighter." "CHUNG: it's just learn to deal with the situation that you're in." "And use all the tools that you can use to protect yourself." "DEBORAH:" "They know exactly what they're doing." "They know that they're beautiful." "They know that they can use that to get themselves you know, out of where they are, which is a miserable place." "MALONE:" "For me, I mean, this film is groundbreaking because it is so-- it's a surrealistic feminism movie." "Do you know what I mean?" "it's so crazy because it's about all of these, you know, archetypes of women." "You know, there's nurses and mothers and whores and teachers and virgins." "And they're all coming together and embracing their strengths and their weaknesses and learning how to deal with pain." "Learning how to deal with hard life." "Well, Zack actually built the wraparounds, the transitions into and out of the songs." "So visually, we may see a reel-to-reel tape recorder." "And that is the introduction of the song." "So Scott Glenn's character is then introduced in the fantasy element as the expository aspect of each of those missions." "So there is this headspace introductory-type quality to the music, or the song, as we get into it." "And then once we get past that expository element it's really just rocking out." "And then what we're doing is we're getting deeper and deeper into Babydoll's dance as the song progresses." "And at some point, we become more epic in scale to address really what's going on on-screen." "WISE MAN:" "and kill the creatures in your way." "Now, when you reach the nest, you'll find the baby." "You'll have to slit its throat." "Down inside its neck are two crystals that, when struck together, produce the most magnificent fire you'll ever see." "Amber put us on approach." "Roger that." "Starting my run." "COMMENTARY:" "Yeah, in the second world, the girls go to find some fire." "And, of course, they get it from a dragon in this sort of fantasy Orc-knight sort of world." "Middle-earthy-type world." "It's also a great environment for the girls to battle and you get to see this vast landscape." "DESJARDIN:" "I've been sort of blown away every day in dailies by the honesty and intensity of all the girls in every scene." "You know, non-visual-effects scenes." "You know, every scene in the movie." "And it's been amazing to me to watch how we go about this." "Because there's no fear." "it's like, "Oh, you need me here?" "Right here?" "Every time, I'll be right there." You know, "I'll be this intense."" "SNYDER:" "So it's look, and then you would just, like, look like you're gonna go..." "WOMAN:" "Okay, just stand?" "...for your gun." "MAN:" "And put your hands back." "CARO:" "And there was never any, "Oh, I don't know if I wanna do this."" "They were like, "Oh, okay." They were looking and:" ""This is great." "Let's do it." "I wanna get on the wires."" "And sure enough, we had them in there, and they were nailing it, you know." "And every day, after that:" ""Are we gonna do the wires again today?" "Are we gonna do the drop?"" "It takes us back to being a kid too." "There's just something fun about being able to fly." "That, you know, you can't help but wanna be a part of it." "DEBORAH:" "And I think what was interesting is the way Zack has shot the action sequences the way he's had the girls train he's treated them just as an action hero." "SNYDER:" "Damon and I have been working together since Dawn of the Dead." "Yeah, we always talk about, like, what is the philosophical approach to the fighting." "It's just like anything." "Just like any story." "We try and do the same thing with the action." "DEFARIA:" "By creating these sort of mythological villains you can end up with these great, terrific action scenes." "And in the end, not feel, "God, did these girls actually kill somebody?"" "But I think what happened then is it elevated all the scenes to exist on a more mythological level." "And they are, in fact, fighting their inner demons." "They're fighting the demons that prevented, I think, them from growing up." "[GRUNTING]" "[CREATURE GROANS]" "[CREATURE GROANING]" "AMBER:" "Whoa!" "[GRUNTING]" "[GRUNTS]" "[ROARS]" "[ROARS]" "[WHIMPERS]" "[GRUNTING]" "COMMENTARY:" "Looking at the design of the dragon one of the things we did early on was" "From the basic designs we looked at and said:" ""Okay, we need to double the Wingspan."" "The wings were too short." "It didn't feel like something with wings that size could get off the ground." ""We'll double the Wingspan."" "So now the Wingspan is just enormous." "But that's fun." "It feels more believable." "There's lots of challenges within that of getting all the musculature and skin and everything to look right, and breathing fire and the dynamics of the wing membranes flapping around and stuff like that." "Dragons, big challenge for us." "Everybody knows what a dragon looks like." "So we gotta get that one right." "It's only got one propeller." "It's like a Steadicam, look." "CHERNIAWSKY:" "The B-25, we've got both a, you know, turboprop in its traditional form but we've also got a jet engine on it as well." "Which, you know, of course, is highly unrealistic but part of the girls' kind of vernacular within their fantasies." "MCDONALD:" "Now, the airplane is doing a couple of things that are pretty crazy." "So maybe you really couldn't do some of the things that Amber does when she's flying but we're still trying to give it an authentic feel and kind of stick with the physics of how an airplane would really do that stunt if somebody was a good enough pilot to pull it off." "BLONDIE:" "Take that, you ugly mother." "Amber, where is she?" "AMBER:" "Check our 6." "I don't see her." "Blondie, keep your eyes peeled." "[SCREAMS]" "[SCREAMS]" "COMMENTARY:" "Go!" "[STUNTMEN GRUNTING]" "MAN:" "Cut, cut, cut." "WOMAN:" "Cut!" "SNYDER:" "I think the amount-- The jump being, like, corkscrewy" "Like, she's in front-- Gr even with the eyes, right?" "That's where the brain is." "DESJARDIN:" "Yeah, well ...." "We're gonna change that design, but the brain's a little behind the eyes." "Just a touch though, right?" "Yeah, yeah." "So there's" "Then there's, like, a horn back there." "MAN 1:" "Action!" "DESJARDIN: it's like a rhino." "MAN 1:" "Cut." "MAN 2:" "We're cut." "WOMAN:" "We're cut." "DESJARDIN:" "The dragon's the dragon, and that has two ways of fighting." "It's either gonna come and bite you or it's gonna breathe fire on you." "And so, by the end of it when you think we've totally given up on that idea... ."where, you know, hey, the dragon's crashed on the ground and it's sliding its way over to Babydoll, that's a strategy?" "No, it actually breathes fire on her again." "You know, it tries to get her one more time." "So all the inherent dangers are there." "And it's just up to us to kind of amp them up a little bit so that you feel like they're immersed in that environment." "COMMENTARY:" "I can't believe I did it." "I'm telling you, that girl is amazing." "CORNISH:" "Wow." "See what you can do?" "Check it out." "MALONE:" "Halfway home." "So this is" " We have some very key props or clues in here." "And this is the big boss's lighter." "So this was quite interesting in the sense that it was designed a certain way to match certain things." "BROWNING:" "How'd we do?" "Two for two." "Of course, you had to sculpt it and mold it and the jeweler had to set it." "So when I bring it to set and everyone says, "Where'd you get that lighter?"" "And I said, "Just down in Chinatown, down at the lighter store."" "They go, "Yeah?"" "BABYDOLL:" "Good work, Amber." "Thanks, Baby." "SWEET PEA:" "Cheers." "BLONDIE:" "Cheers." "BLUE:" "Cheers?" "What are we celebrating?" "Huh?" "Who should I be congratulating?" "It was just Babydoll's first time on stage." "You know how scary that can be." "Yeah." "The bond of the theater." "Hm?" "I mean, what else could it be?" "I mean, it's not like any of you have anything to hide, is it?" "No." "It's not like anyone was in my office messing with my shit." "No. it's not like people are missing things." "You know, small little objects here and there." "No." "No, that would be outrageous." "That would be crazy." "Right?" "Because we have such an obvious explanation for this exuberance." "It's the fraternity of performers." "It's the adrenaline from the curtain rising." "Maybe this is my fault." "COMMENTARY:" "We had been casting and I really wasn't sure what to do with Blue, to be honest." "He in some ways was the enigma of the movie." "And I saw Oscar's audition and it really struck me as being fresh and original and wild and kind of thoughtful." "All at the same time." "He's being sleazy, and he doesn't do that." "No, he does." "No." "Like, "Whoa, whoa, I don't like sleazy."" "Let's go." "You." "How about you?" "You ...." "You think you're special, don't you?" "And the other thing that he can do is he can sing, you know." "I know it's funny because you think, "Well, we'll figure the singing out."" "But I really wanted someone who could sing, because I felt like I wanted that sort of performance aspect of the person to be there naturally." "You know, the sort of theatrical part of them." "BLUE:" "Let's get things back to how they were." "[DOOR CLOSES]" "Well ...." "So much for that little experiment." "What are you saying?" "I'm saying it's over." "Right, Baby?" "I don't know." "What do you mean, you don't know?" "Blue's onto us." "We had a deal." "If I say it's over, it's over." "We're this close, though." "We can't just stop." "Did you not hear Blue?" "He knows we're up to something." "He knows what we're doing." "If he catches us for real, it won't be a lecture." "You saw him." "Sweet Pea." "Rocket is right." "The High Roller comes tomorrow." "If we can just stick with the plan till then" "No!" "You're screwed." "We're out." "Rocket we're out." "I'm finishing this." "We are all finishing this." "You know it's the only way we can get out of here." "You're gonna choose her someone you barely know over me?" "After all I've sacrificed for you." "I'm sorry." "[SOBBING]" "COMMENTARY:" "Blondie buckles, you know." "She couldn't take the" "She couldn't take knowing what was going to happen to her if they got caught, and breaks down and unfortunately gets caught in a really vulnerable moment." "Blondie?" "What are you doing down there?" "I'm sorry, it's nothing." "Are you all right?" "What's wrong?" "FONG:" "I was really surprised to find myself identifying with these girls in the roles because of the universal themes of anything from, you know, betrayal or abandonment sacrifice." "And, um we've all experienced that." "HUDGENS:" "No, she's definitely the Snitch." "She kind of screws everything up for everyone in just pure fear." "She didn't want to hurt the girls." "She didn't want anything to happen to them." "She just couldn't take what they were trying to do, you know." "It's frightening." "GUGINO:" "Yes." "ISAAC:" "Yes." "[WOMAN SINGING OPERA ON RADIO]" "Where the hell is she?" "I don't know." "We need your music." "You know what, forget it." "No, it's too late." "Sweet Pea was right." "What are you talking about?" "The three of us, we can" "I don't think we can do this." "I don't wanna do something stupid that's gonna put you guys in danger." "I'm sorry." "Hey, we got this far, right?" "I mean, that's something not a lot of people could have done." "How bad can the High Roller be, anyway?" "Don't you girls have some work you should be doing?" "You came to help us." "No." "COMMENTARY:" "Quiet, please." "Rehearsing." "Ready, and action." "CORNISH:" "We don't have a lot of time." "If you're done with the pleasantries, you got a dance to do." "Amber, radio." "GUGINO:" "What I love is you almost think you're gonna see these hot, young girls fighting and dancing and, you know, being sexy." "And you are but then you're also gonna see something much more interesting or equally as interesting in a much deeper way." "It's not about, like, "I'm not gonna give you that."" "it's like, "I'll give you that." "But you have no idea what else you're gonna get," you know?" "SCOTT:" "What the hell are you doing?" "You know, women should be treated not as objects." "Okay." "And you got Zack just blows right through that." "You know, it's like, "Oh, yeah, okay."" "It's not like he's like some sex pervert going, "Yeah, yeah, yeah."" "Instead, it's like he's going, "What'?" "That?"" "it's like my generation of the '60s listening to somebody from World War II talk." "MALONE:" "You're gonna wanna watch this." "DEBORAH:" "You know, they're not victims." "They're not victims at all." "And they use both their fighting skills, their instincts and their sexuality to take the advantage away from the men." "And I think that's really powerful." "DESJARDIN:" "For the first transition from the kitchen dance that Babydoll does into the helicopter bullet-train scene." "So, what we're doing is we move into Emily's face and then we rotate around her body one and a half times so that we end up on her back, looking at the helicopter and Scott Glenn and the rest." "This is our way of stitching the kitchen environment together..." "And we have to move around her a couple of times." "We're gonna put her on a lazy Susan on a green screen and then I can take that, stitch it together and simulate not only the rotation but the boom up over her shoulder for the end." "Which we'll get all the information for later when we shoot the lazy Susan." "That's why we're doing this." "GLENN:" "Deactivate the bomb and steal it." "The code numbers ...." "ROWE:" "That was probably one of the bigger moments in my career where I was in awe of what we were able to achieve." "Remember, we started with--?" "On Monday, we started with the helicopter on the platform?" "Tuesday, the platform is gone and the helicopter was 25 feet in the air, surrounded by Technocranes." "Then the next day, we came back at the same set and there was a bus station in there, with buses and period-picture cars." "All in three days, three different huge sets." "And it was actually disorienting because Zack and I walked in one day and it was like, "What did we just--?" "Wasn't there just a helicopter in here?" "How did they--?"" "But that was" " That week was definitely the biggest week of the movie for just sheer amount of resources and teamwork." "It just" " It was staggering." "FONG:" "Like, where's your frame of reference when you shoot something like that?" "Bullet train, alien planet, warm light off planets greenish look inside the train, but the roof is gone at some point so it's cool inside but the warm coming in which is brighter, you know." "So you take each sequence as it comes." "AMBER:" "Weapons hot, ladies." "Hot." "Hot." "Hot." "AMBER:" "I've got a lock." "Good luck." "We're down." "AMBER [OVER RADIO]:" "Copy that." "[GRUNTING]" "[GRUNTING]" "WOMAN'S VOICE [OVER PA]:" "Warning:" "Weapon will activate in four minutes, 15 seconds." "Warning:" "ROCKET:" "Codes!" "Weapon will activate in four minutes, 10 seconds." "Warning:" "Weapon will activate in four minutes, five seconds." "A deactivation procedure has been initiated." "Deactivation procedure complete." "Whoa!" "BABYDOLL:" "Hurry, Amber." "We gotta get this thing out of here." "AMBER [OVER RADIO]:" "On my way." "COMMENTARY:" "Sweet Pea's willing to sacrifice everything for Rocket." "You could argue that sort of the more capable and the better half of the two is dragged down and broken by the younger sort of more impetuous, you know, child." "And I mean, I just like that kind of relationship where love is a thing that can, you know, twist and break as well as, you know, uplift and make better, you know." "If we go like this, right?" "We back-yank her in." "MAN:" "Yeah." "Kaboom." "She'll go bam." "She'll fly." "Then we'll go right back to him, and see him, like:" "We'll come over our pass in one shot." "[MALONE GRUNTS]" "SNYDER:" "Cut!" "WOMAN'S VOICE:" "Override procedures complete." "[VOICE SLOWS DOWN] Weapon active." "Proximity warning." "Proximity warning." "COMMENTARY:" "The fourth trip is going into another world, a distant planet and what happens is the water is spilled back in the kitchen short-circuiting the sound which was triggering the fantasy for the cook." "When he looks, then he should wind up, beat, beat, beat and then that'll give you the kind of cleanest look." "MAN:" "Ready, and action." "[BOTH GRUNT]" "No." "[MALONE YELLS]" "SNYDER:" "Cut." "[MALONE SCREAMS]" "When we out back here you go:" "CARTER:" "So it was a funny way that these two worlds or three worlds or however many worlds there are, still have a common denominator and not in a Freudian way or even a Jungian way where you kind of say, "Oh, I get it," and just put it in this box." "It's post all of that." "It's just-- it's working with things that I think I can read but I can't read with my conscious mind." "It's like the sucker punch itself." "You can only feel it and know it and then be in it." "SWEET PEA:" "Rocket, let's go." "The first thing is..." "Weapon will activate in 15 seconds." "...don't get mad about this." "About what?" "This." "[SCREAMS]" "Rocket!" "Weapon will activate in 10, nine eight, seven, six five-, four...." "COMMENTARY:" "Mist, we'll put the wind on her." "And she'll be looking ...." "I'm trying to find the eyeline to the city." "Pretty tight, right?" "it's kind of-- MAN:" "Behind her, right?" "Here." "When we out back to her, and she's like, "Never"..." "...we'll be like this." "Right." "Then we'll go" "Rotate out of it." "But see her" "Now she's in the kitchen outfit looking down at Rocket after she's been stabbed." "And open." "ROCKET:" "The second thing is when you get home when you get free you tell Mom I love her." "I'll tell her." "Mom." "I promise." "[SOBBING]" "Oh, my." "You, what did you do?" "You simple, inbred idiot." "COOK:" "Sir, don't know what happened." "I just" "I'm sorry." "I'm sorry." "Get her up." "Get her up, CJ!" "[SCREAMING]" "Yes." "Yeah, look." "I want you to look at what you did." "Look at what you did, you bitch!" "Amber, sweetheart." "You've got Sweet Pea's slot in tonight's show." "Go get ready." "[AMBER soBBING]" "Go get ready." "Go!" "Take her to the closet." "As for you it's Showtime." "[CHATTERING]" "COMMENTARY:" "You write something and it's really kind of a big wash and you don't see the chips of paint literally and you don't see the bolts and the detail and so when you come to set, it's a little overwhelming." "And then you see where the actors have taken these characters and made them very human and real and with feelings and emotions and something that you can, you know, connect with." "SNYDER:" "She's like the last line of defense, you know, for these girls." "And so" " And that's kind of what I wanted from Mrs. G." "When you first meet her, she's one of the pillars of this organization and then as you real-- As you watch it you realize that she's as innocent and in some ways as broken, as everybody else." "Like sort of under Oscar's thumb, you know." "And that was kind of a slow kind of deterioration of her position, you know." "MALONE:" "Oscar's sense of Blue's physicality is awe-inspiring and totally, you know, helped all of us girls find that thing of, you know, what it is to be controlled by a man but in not a very obvious way." "And I think that's a very hard thing to do that's not on the page is how do you control these very strong women?" "I find him to be very sensitive." "Heh." "Um, hypersensitive." "So that any-- Things affect him very easily." "I think because there is this insecurity that you really see more as the orderly but in this other world, it's kind of masked over with this persona." "that you haven't already done." "You listen to me, you whore." "BLUE:" "You listen to me, you old whore." "It's too late to play the good guy." "it's far too late." "You're suddenly not aware of what it is we do here?" "I teach them to survive you." "All right." "I'm sorry!" "I didn't mean to say anything." "I'm sorry." "No, Blondie." "I didn't mean to." "He said everything would be okay." "GORSKI:" "Blue, this is a mistake." "Please don't do this, okay?" "That's right." "Our dear Blondie came to us desperately trying to help her sisters off this most dangerous path." "At first, we didn't even believe her." "But after hearing who was involved, frankly, it started to make sense." "Right here?" "GORSKI:" "Blue." "Uh-huh. "Map." "Fire."" "Looks like that chicken was counted a little before it hatched." "Ain't that right, Amber?" "You have anything to say?" "Anything?" "Blue, we didn't" " We were still" "You know what, sweetheart?" "It's okay." "It's okay." "[GUNSHOT]" "NO!" "Oh, my God!" "BLUE:" "Okay, calm down." "This will all be over soon and we can get back to business as usual." "Blondie, I wanna thank you for everything you've done." "I am so sorry." "The thing is, we hate snitches, so ...." "[GUNSHOTS]" "GORSKI:" "No!" "[SOBBING] [sofas]" "Okay." "Here." "I hate guns." "I hope everyone's learned a valuable lesson here." "Especially you, Madame Gorski." "Get her out of here." "Let's get these bodies out of here, please." "And the rest of you, you got a show to do." "So go on, go get them, girls." "Make it count." "I've been thinking a lot about all that money you're gonna make me." "I've been thinking a lot about the High Roller and his hands all over you." "I've been thinking about all those people out there just watching you and lusting after you." "And you'd think that would give me pleasure." "I mean, I'm in the business of pleasure." "But you know what it makes me feel like?" "I'm gonna be honest with you." "it makes me feel like I'm this little boy sitting in the corner of the sandbox while everybody gets to play with my toys but me." "So you know what I'm gonna do?" "I'm gonna take my toys and I'm gonna go home." "I'm going home now-- Oh, that's good!" "That's it." "Oh, is that it'?" "!" "That's my little bitch." "This what you like?" "Come here!" "What?" "No, no, no." "Come on." "Come on!" "Did you lose your fight?" "Huh?" "No." "I just found it." "[GRUNTING]" "You'll never have me." "Sweet Pea." "Where's Amber and Blondie?" "It's just us now." "We have to go, Sweet Pea." "Come on." "COMMENTARY:" "At one point, we were gonna go on location for some of this stuff." "And as we started to unfold it, it just became so hyperreal that you" "As soon as you went outside, you'd go:" ""Okay, there's where they shot the exteriors."" "So once we made that commitment, then we had to really start to:" ""Okay, do you see left?" "Okay, no." "Okay, Zack, if you just move" "Okay, we can build it in the stage."" "Rick really embraced that because I" "Financially, I thought, "Well, how are we gonna do it?" "I don't know." "We can't build all this stuff." We have to shoot some of it on location." "But we went back into the budget and started stripping out, you know, the location costs and put them back into construction." "And we just crafted it and" "Working with Zack, and we just got it." "And he was the one that really, really drove it for us." "To really keep it inside." "[ANNOUNCER SPEAKING INDISTINCTLY OVER HEADPHONES]" "Now what?" "Wait for it." "[ALARM RINGING]" "[MOUTHING] Come on." "[LATCH CLICKS]" "[GUARDS SPEAKING INDISTINCTLY]" "Damn it." "This can't be." "We did everything right." "A map, fire, a knife, a key, and one thing more." "One thing more." "It's me." "What?" "Oh, it's me." "Of course it's me." "It's the only way this ever could have ended." "What do you mean?" "I'm saying you go home." "Go home to your family." "You tell your mom what Rocket said." "Make her happy." "Go out and live a normal life love be free." "You have to live for all of us now." "Baby, no." "You can't do that." "Yes, Sweet Pea." "You're the strongest." "You're the only one of us that ever had a chance out there." "You going home and living, that's how we win." "It's okay. it's okay. it's better this way." "Now listen." "I'm gonna walk out there and when they come after me, you go, okay?" "There's gotta be another way." "No." "This is right." "This was never my story." "It's yours." "Now, don't screw it up, okay?" "You stay off the roads and you find a bus station, all right?" "You're gonna be fine." "Where you going, sweetheart?" "I said, where you going?" "[GRUNTING]" "COMMENTARY:" "If she just delayed there and we had her as she looked back at the house then when she starts to move toward the dress, we can crush into it." "Not until she is able to sacrifice herself and see Sweet Pea go free does she set herself free." "HOY:" "I think her ultimate sacrifice saying to Sweet Pea, "You go" is the redemption that she seeks because of her sister because of the parallel she sees between Sweet Pea and Rocket." "And I think ...." "Yes, it is." "I mean, it's" "And I think it's going to be a real powerful moment too." "HIGH ROLLER:" "There you are." "You gave us quite a scare, you know?" "Where am I?" "You're safe for now." "I don't know how to put this delicately so I will spare you the insult of being vague that you and I are supposed to screw." "I hope you'll forgive my language but I think you'll find it is in keeping with the spirit of the arrangement." "COMMENTARY:" "The High Roller, I wanted him to be seductive and interesting and mysterious." "And then I wanted it to be clinical and kind of everyday once that decision is made, you know." "And I think the bitter taste of reality it gets tempered with, you know, the twist." "But I think that that ...." "You know, for me, Jon was always this ...." "Just this sort of mysterious figure that becomes too good to be true and then too true to be good." "HIGH ROLLER:" "It just so happens that that moment that fragile, delicate thing like a glass egg or a sand castle, well, that moment can only be given by a non-faker." "A non-actor." "That's you." "Well, I have spent a small fortune getting you in this room." "This golden cage." "You're supposed to give yourself to me." "It's completely physical." "I might have your body but the real you, that..." "."intangible, and indefinable spark that is you." "Well, that you I will never know." "And, yet, that is precisely what I want." "I'm sorry." "You seem really nice." "You want me to lie to you?" "No, I don't." "All I require from you is a sliver of a moment." "To have you not by force but simply as a man and a woman." "To see in your eyes that simple truth that you give yourself to me freely." "Not because you have to but because you want to." "Now, of course, you're such a gem I will give as well." "I'm willing to give you freedom." "Pure and total freedom." "Freedom from the drudgery of everyday life freedom as abstract ideal." "Freedom from pain freedom from responsibility freedom from guilt from regret freedom from sadness freedom from loss the freedom to be happy." "Don't close your eyes." "I need you to look at me." "The freedom to love." "Jesus." "Did--'?" "Did you see the way she looked at me?" "Just in that last moment." "It was like ...." "Doctor?" "Is it done?" "Dr. Gorski, what do you know about this one?" "There was something very peculiar." "COMMENTARY:" "Sex is a-- ls kind of an underlying issue for all of this." "And my character, very much, you know in the scene that I have with Babydoll is sort of .... isn't looking for sex." "He's looking for truth, is what he says." "The truth is he wants to be held, right?" "So, I mean, I guess that, in a way, is a stereo" "Is the reversal of the stereotype." "I think sex is always seen kind of as a pretty horrible thing to her from the start." "I think from her stepfather." "She comes into the brothel and it's a really bad thing." "I think that when the High Roller comes, it's kind of the first time she sees that it's something that isn't all horrible and that she can enjoy." "And I think what's really cool about that scene is that it's not the High Roller forcing Baby into anything." "It's Babydoll taking the initiative at the end." "And it's sort of like a massive turning point for her." "DOCTOR:" "But this one ...." "Something in her eyes." "I've never seen anyone that .... it's the way she looked at me." "It's like she wanted me to do it." "I hope it helps her." "COMMENTARY:" "it's definitely cool that ...." "That Blue, at the end, is not able to harm her in the way that he wants to." "I think she's gone to this place that's just so far beyond anyone else and what anyone understands that she's kind of untouchable, you know." "She can't be hurt anymore because she's just got this constant smile on her face, you know." "Even at the very end... ."when, you know, he basically, you know, has her lobotomized and she becomes this other person, you know, there's a sadness." "And I think at the end of the movie you come to realize that he has this love for her and then ...." "He's not just this evil person." "He has a lot of problems and a lot of issues." "And I'm not saying he's good but it's just not as simple as, "Oh, he's just a bad guy."" "MAINTENANCE MAN:" "I'm not ...." "I'm not hurting these girls anymore." "I'm not doing this." "Guys, don't do this to me now, please." "I need her in that chair." "Put her in the goddamn chair!" "Thank you." "Close the door, please." "What?" "What is it, you're not here?" "Huh?" "You're not here, you're in paradise?" "No, no, no." "No, no, no." "No, no, no." "You're still here." "You're here with me." "In all this shit." "And you don't go away unless I say so." "Okay?" "That's not right." "That's not right." "Come back." "No!" "No!" "I said you don't go!" "You come back to me." "[DOOR OPENS]" "Stop right there." "Move away from the girl." "GORSKI:" "What are you doing?" "Aah!" "Wait." "Wait." "Wait, wait, wait." "Wait." "Aah!" "What in God's name have you been doing up here?" "I wasn't doing anything." "Look at her." "She's gone." "Look at her face!" "She's not here." "What do you think I wanna do?" "I take care of these girls." "I look out for them." "These are my girls." "Tell them." "Tell them!" "Get him out of here." "Now." "Aah!" "Wait." "Wait, wait, wait!" "Wait." "It's not me you want, it's her stepfather." "I'll tell you everything." "I'll tell you-- I'll tell you about the money." "COP:" "Just keep going down the hall." "You all right, miss?" "Miss?" "SWEET PEA:" "And finally, this question:" "The mystery of whose story it will be of who draws the curtain." "Who is it that chooses our steps in the dance?" "Who drives us mad lashes us with whips and crowns us with victory when we survive the impossible?" "Who is it that does all these things?" "WOMAN [OVER PA]:" "Bus 22 southbound to Fort Wayne will now begin loading." "Please have your tickets ready to show the driver." "TROOPER:" "Excuse me, miss?" "Miss, can we have a word?" "WISE MAN:" "Is there a problem, gentlemen?" "This doesn't concern you." "I have questions for the lady." "Well, could you make it snappy?" "I need to stay on schedule." "We understand." "Do you?" "That young woman's been on this bus since Hartford." "I don't see what she could possibly know about anything happening around here." "Is that true, miss?" "I just let her off to use the restroom." "Mine's not working." "All right." "WISE MAN:" "Oh, and one more thing." "She's been a joy the entire journey." "Yes, I said, all right." "Sorry about the inconvenience, miss." "You have yourself a nice trip now." "It's no problem." "I don't have a ticket." "I know. it's okay." "Go find a seat in the back." "Try and get some sleep." "We got a long way to go." "Thank you." "SWEET PEA:" "Who honors those we love with the very life we live?" "Who sends monsters to kill us and at the same time sings that we'll never die?" "Who teaches us what's real and how to laugh at lies?" "Who decides why we live and what we'll die to defend?" "Who chains us?" "And who holds the key that can set us free?" "It's you." "You have all the weapons you need." "[English" " US" " SDH]"