"This is Wes Oraven, director of Red Eye, with Marianne Maddalena, our producer." " Hello." " And Patrick Lussier, our editor." "Hello." "And we're just gonna have a fun old time." "We were gonna have the airplane fly through this, but we thought that was already done in Airplane." "This was something that came to us, to Marianne and myself, at our company as a thriller." ""Would you like to look at it?" We thought it was terrific." "We had an interview at the studio, they liked what we had to say, and off we went." "It's a first-time script by Oarl, and was really just terrific." "The footage we're watching now was part of a montage that was shot in three extra days, after we had shot the original picture, to just kind of spice up the opening and point towards the wallet." "It was all shot in three days, this footage, a fight at the end of the picture..." " And some of the Keefe storyline." " Right." "And the tag at the end with the two girls." "These are pictures I just happened to take on the location that later got used." " Is that for your espionage research?" " Exactly." "The picture was shot in Los Angeles on soundstages, and in Miami, and also at an airport near Los Angeles called Ontario International." "Those are actual pictures of Rachel from her childhood." "We can talk about the score." "We worked with Marco Beltrami again." "Who's been with us for many pictures, starting with Scream." "These fish were from my own pond." "We killed them for the picture." " This was something that the studio" " Only kidding." "Had talked about several times, setting up this box, not knowing what's in it." "They'd talked about even seeing it drop into the water, but I think it was discussed that that would be too much." "There were some ambitious plans about it, with divers and everything, and underwater cameras." "Then we woke up and had a cup of coffee." "Now, the interesting story here on the cranky lady at the counter," " it actually is Terry Press..." " The head of marketing for DreamWorks." "Early on, we went to a marketing meeting and Terry was kind of running the room." "We looked at each other and said, "That's the woman."" "She's so dynamic." "So I said, "I want you to be the lady in the hotel."" "She says, "Yeah, right."" "I said, "No, really." She says, "You're kidding."" "No one had ever asked her." "We were shocked." "She was so fabulous, we couldn't believe no one had ever asked her to do a cameo." " And to her credit, she did it." " Total pro." "And a great reaction from the audience." "I mean, she's a real audience favorite." " To her credit." " It was fun." "And here we are with Rachel McAdams." " Her fourth picture?" " I think so, yeah." "Kind ofjust emerging as a star in this picture." "More than any of her pictures, this is the one that she just carried from beginning to end." "She's virtually in every major scene." "When we cut the film, originally, we didn't start by seeing Terry Press." "We had cut that out." "Itjust started on Rachel in the car after a shot of the clouds." "I think it was you and DreamWorks who decided to put that scene back in, to kind of do the handoff from one character to the other." "Actually, the character of Oynthia by..." " Jayma Mays." " Thanks." "I was gonna call her Mya Jays." "This is her first feature, and she just emerged as such a major character in the picture that we felt it was good to put her in the start of the picture too." " And we created this rain, did we not?" " We did?" "As I recall." "It was raining as well, but we also created rain." "Yeah, this was pretty much us doing it." "The studio was leery of us trying to make that much rain, but it was done by our special effects guy, Ron Bolanowski, who has worked with us many times, and is the man behind the rather spectacular explosion sequence" "at the end of the picture." "This was one of the hardest music cues to get right." "It was one that we did several times, different versions for the studio, due to the fact that it was trying to capture the tone of the film." "While we'd already seen this kind of edgy opening of intrigue, we're trying to meet Lisa, Rachel's character, in a way that felt kind of up, and not too misleading as to what was about to happen next." "Right." "And there's a lot of talk." "The first act of the picture is a lot of set up, so we needed this kind of driving music through most of it." "Marco and Patrick worked closely together." "They have a friendship beyond their professionalism, and they worked very closely in getting all that timing right." "A lot of the success of the picture, I think, came from its pace, which was a product of a tight script, really good editing by Patrick and Marco's driving score." "And your brilliant direction." "Here's your $100." "This is Brian Oox." "The fun thing is that we cast him..." "The last time I had seen him in a picture was in The Bourne Supremacy, where he was at least 60 pounds heavier and white hair." "When he showed up on the set, he looked like this." "He had gone to some diet guru and had lost 60 pounds." "He was in a play also in Scotland, so he had dyed red hair and a beard that he couldn't shave off." "So that turned out to be Dad." "They look alike, in terms of the hair color." "You kind of buy it all." "You'll see a lot of red hair in this movie." "Almost everyone has red hair." "That's a total coincidence." "Of course, this house was in Hancock Park." "Which is a Los Angeles suburb." "This was fun directing." "I had these two walk kind of in the same directions with the same pace, though it was shot at different times, so you got the feeling though it was shot at different times, so you got the feeling" "like she got her drive from her dad, since they were virtually not in the picture together as characters until the very end." "It was key, I think, for that scene and their connection, how they move together, to understand that he's going to be the thing that drives her to do what she does over the next hour and a half." "You had to know that was in her." "And you had to see the relationship, see that he was worried about her, they had this loving relationship, and it's hard to do that over the phone." "It was one challenge, to make a lot of this phone stuff feel personal." "This is the lovely Angela Paton." "The actress originally in the script was "the nice little old lady,"" "and we all felt we liked her so much, we just called her "the nice lady."" "This was interesting, how you staged this sequence where Oillian first appears on the fringe for several shots before you even become aware of him." "He's just sitting in the background." "It seems such a fascinating way to introduce somebody." "This is the shot where you really get to see him head-on." "Other than that, he's just lurking on the side, kind of the invisible man." "Half in and out of frames, reading the paper, so that his eyes are down." "Look at those eyes." "They are blue, gorgeous." "We should talk about how we met Oillian." "First time we saw those eyes, Oillian really wanted to do the role." "He had an Irish accent." "I was worried about it." "We got a phone call that said," ""Oillian's on an airplane coming from London to have lunch with you."" "Marianne and I went out to LAX, the international airport in Los Angeles." "And he came up to the restaurant, with these incredible blinding blue eyes, and convinced us he could learn to speak like an American." "We were crossing our fingers until the first day we shot, and actually, he pulled it off beautifully." "That's the only meeting we had for that role." "Actually, the meeting we had with Rachel was the only meeting we had on her role." "They were our first choices." "They trusted us and we trusted them." "They both went off to do other things until a few days before we shot." "There was no rehearsal." "We didn't know whether they would have the chemistry they have." "We just kind of went for it." "Oillian had been playing a transvestite" " and had lost a lot of weight." " And had plucked eyebrows." "So there's a couple of shots throughout the film, done earlier in production, where his eyebrows are perhaps a little thinner than you might like them." "We missed a cameo." "Not this ticket representative, but the other is Phil Pavel, who's been in many of our movies." "In Scream 2 he played a detective." "Andrews, who got killed in the car, got his throat slit." "Very funny guy." "Wonderful actor." "He went to school with my son." "Now here's our postproduction supervisor," " Tina Anderson." " Playing Rebecca's mom." "The woman in the green coat is Tina Anderson." "Dey Ladd is on the right, a wonderful actress." "She was in The Serpent and the Rainbow as the executive's wife who went crazy." "From possession." "Needless to say, we like to work with the same people a lot." "We kind of have the Oraven-Maddalena family." "Rachel was shocked." "She wasn't supposed to get spilled on to that extent." "It was a very cold icy drink, so her surprise is very real." "It was like, "OK, moving on."" " It went down her..." " Down her top and everything." "The moment worked beautifully." "Every time we previewed it, that moment got a huge reaction." " It's totally real, ice down her shirt." " When in doubt, use the ice." "This is a key moment." "We actually shot it in a hotel in Hollywood." "We built this little set in the middle of a ballroom, I think." "The first moment..." "Guys in the audience are like, "She's taking her shirt off."" "Then you see this scar, and you're brought up to the reality of her as a human in an unexpected way." "It's great that there's no close-up of the scar." "Your eye catches it and you know that's where you're supposed to look." "It's not a big shot focusing on it." "You always hear in the screenings..." "You always heard the audience change from this kind of, like..." "The guys go from "ooh" to "oh," and the women go "uh-oh."" "We always felt in the editing room, this is the last scene where you feel, "I hope the audience stays with them."" "This was such a tough scene to cut, 'cause it was about 30 or 40 seconds or maybe a minute longer, and it was one we kept going back through, trying to trim down, because we were worried, I guess, especially with that opening scene," "once we added the montage so you understood there was intrigue, that the audience would be so far ahead of us here, the second they saw him, whether they would hang in there for this moment, this personal exchange." "We might as well talk about the fact that this is our first thriller, so a lot of the core audience..." "At our first screening, somebody said, "We need more blood."" "We were dealing with that audience who's been with us a long time, and hopefully the new audience, the audience that did show up, which wasn't looking for that and could sit still for a bit of romantic comedy." "It was a delicate balance between keeping both audiences satisfied and not boring anybody." "The performances of the two actors really hang together through this." "They're very engaging, have a great personal connection." "And you latch into the eyes of both of them, which just drives everybody through 'cause it's such a wonderful human moment." "Yeah, it's true, it's the last time that he's..." " You have to totally sell that." " Very much so." "You need to know that she's doing something big here by having a drink with this guy." "It's something she hasn't done in two years." "That she's got something about guys and putting herself out there that is very sensitive." "I think she really got that feeling across very nicely." "Of course, he's checking her..." "As it turns out, he knows exactly what drink she always drinks." "He's got these great looks there." "He knows she's lying to him, which he finds intriguing." "It's the beginning of this character..." "The first crack in his defenses." "There's something he doesn't know, though he's surveilled her eight weeks." "She has a mystery, and that's the thing that he couldn't take into account." "He didn't know what it was." "And it's the one thing that gives her the power to stand up to him." "When you watch the film for the second viewing, watch his looks and watch him notice the drink and register that." "And you see Oillian's performance, right from the beginning, he's playing and noticing and aware of everything that is part of the bigger plan." "Yeah, he watches her drink here, and she takes a really big drink." "And he just knows something's there." " We have another cameo coming up." " Absolutely." " Our writer." " There he is." "Oarl Ellsworth." "We threw him in there." " We shot this later." " Our script supervisor." "And Ohris Bender, right?" "Ohris Bender on the left, one of the producers." "Sheila was looking for a discontinuity someplace, ran through the shot." "Sheila begged us not to throw her under the bus for continuity errors, so we're gonna point them all out." "Sorry, Sheila." "I hope you have some Kleenex ready." "Feel free to write in with extras if you spot any." "This television business was part of the three day extra shoot at the end, kind of fleshing out who Keefe was." "He was written as a, quote, "rich or powerful businessman,"" "and we later decided to make him part of the Homeland defense system." "That was something the preview process revealed, which was that we needed to add that, who Keefe was, his backstory and how he worked." "That question kept coming up, but it was good to interject that into the movie." "The movie scored very well." "It had complaints about a slow beginning, which we solved by showing the wallet being stolen, and the fish, all of that business." " And who is Keefe..." " Which was answered there." "And I think maybe the ending, that she just needs to kick ass." "That was obviously answered with the fight." "And going back to the hotel to see..." " The wrap-up of the two girls." " The girls together." " With Keefe saying "thank you."" " Yes." "There's Tina again in the green coat." "Tina was absolutely petrified of being on camera and hated the fact that we used her, but we did anyway 'cause we like to torture people." "And she did a greatjob." "There's Marianne in the corner." "Mason Novick, another producer on the project." "Some of these details came out of talking with Adam Goodman, who was the chief in charge at DreamWorks, about the fact that he loves to travel and he notices all these details." "So we made sure we put in lots of these crazy details that you do see on flights, people doing odd things." "This set was an interior plane set that we had on stage." "This was from..." "What's the company?" "Air Hollywood?" "Aero Hollywood, I think?" "It's a company that has a number of complete jet mock-ups." "We went out to this huge, dark warehouse and walked around, through sections of different kinds of planes, trying to decide, is it a one-aisle plane, is it a two-aisle plane?" "Finally, we chose this, a 767." "And it was complete in all aspects." "Everything worked and it was completely wired and right." "So we shot in it, I think, approaching six weeks of shooting, usually with it intact, so everybody had the feeling they were really on an airplane the whole time." "And even took care to not remove chairs in front of them so we could get the camera in, anything that would subconsciously let the audience know that we were actually on a set." "It was kind of interesting how sometimes we would take out a seat, then we'd realize that you could feel that it wasn't there, so we would put it back in and shoot over it." "You really get the feeling like you really are on that airplane." "I think we had..." "How many extras would you say, Marianne, total?" " Sixty?" " Sixty extras, who were quite often on that plane for the entire day, having to keep continuity straight, the same clothes..." " It was 30 days at least." " Nobody could be absent." "Babies were born, there were marriages and deaths, it was traumatic." "They were very committed." "That was an amazing group of people." "In fact, the couple right behind these two celebrated their twenty-fifth wedding anniversary during the shoot." "The day we had champagne and clapped." "There's Laura Johnson, the lovely Laura Johnson." "Who is not like this at all." "She just loved this role." "Here comes Angela again, always funny." "A lot of these ancillary characters, kind of secondary characters, grew as we shot, because you could just tell that they were going off so well that you gave them more lines and put in a lot of humor, I think." "In the case of the little girl who's coming up, her role grew quite a bit, just because she was so good and convincing." "Suzie Plakson, our senior flight attendant, who we've seen, who we'll see again, wonderful with red hair." "I think that's our sixth redhead." "She was fantastic." "So funny and such a professional." "There she is." "So funny and such a professional." "There she is." " She was in Wag The Dog, right?" " Yes." "She's very funny." "This is Monica McSwain." "It's one of her first roles in features, playing the young flight attendant," "It was typical of the characters that were written to be relatively minor characters thatjust kept getting more lines because the actors were so good." "This was another key musical cue, and building this moment, and how much you can be without it, and how much you need to start driving the audience once the door was closed and building the tension for the takeoff." "When we first temp scored it, we had something that was more intense, and the studio was concerned that it felt like the plane was gonna crash on takeoff or something." "But you do need to let them know," ""OK, the movie is gonna leave the ground now."" "Just as a little incidental, the exterior shots were shot at Ontario." "It was an airplane that had been bought by one of the networks for a short-lived television series." "Do you remember what the name of that was?" "LAX?" "We just borrowed it, sort of, and then digitally put on our Fresh Air logos and everything." "This was your great sound moment by Todd Toon and his crew at Disney who did the sound work on the film, to build the takeoff into something where you could feel it right in your chest when you're in the theater." " And the introduction of the pen..." " With the two guys." "We gave it a special, funny head, just so people would remember it." "This is one of the few moving shots on the airplane itself." "I didn't want to do a lot things that would give away that we were on a set." "But that one felt really important, to go to get that sense of beginning motion, and also going in on her eye in a way that almost scares you, just before the plane lifts off." "Letting the audience know there's something going on in this woman's mind that is not announced but is definitely there." "We should say the airplane was another Ron Bolanowski deal." "It was an 80-foot long platform, hydraulically controlled, where we could bounce this set around from anywhere from a mild bump to a bucking bronco." "There's no shaking cameras here." "It's all really knocking these people around." "For hours at a time." "And it was able to be done with a lag of about one second, so I learned to be behind camera and when I'd hear the gap in the dialogue coming up," "I'd give a little finger wag, and Ron would hit a button and the airplane would jump, and we just timed it out that way." "That was a delicate thing with the sound, trying to build..." "A, take out the sound of the set rocking, and then, B, build in enough sounds to make it sound real and to remember that the plane was in flight, and to have all those strange hisses" "and hydraulic whirs and things that happen when you're on a plane." "It became kind of a subjective thing if you were aware..." "If the plot had to do with the airplane itself, those sounds would be there, and if you were going into her mind, they would kind of vanish." "Like they do on an airplane if you're talking to somebody and you kind of forget where you are." "But if there's turbulence you're suddenly aware of the airplane." "Here's the big change in Oillian's character, coming up." "You see that ice come out." "It's weird, he plays it half smile and half, "This is very serious, lady."" "Yeah, he has almost that wink of, "I know something you don't."" "A little almost boyish." "That was beautifully written too." "It's not fast." "He doesn't say, "I'm gonna kill your dad."" "It's like this little tease that goes over several minutes." "He makes her draw it out of him, which is really interesting." "This is a part where you can hear the audience just go..." "It was equivalent, like in Scream when we did that in the beginning, the Drew Barrymore sequence, when it was," ""I want to know who I'm looking at."" " Yeah, exactly." " It had a very similar effect." "It was very important through here to not have her stand for anything that the audience would feel they wouldn't stand for." "She's thinking, "Where are the flight attendants?"" "And, "I'm gonna push the button."" "What does he do about it?" "You have to have..." "He has to be able to counter with something." "Good ammunition." "It's important she never appears stupid or too compliant or that she's not exploring every avenue that any smart person would." "Oertainly, the showing of the wallet, because it was set up now, was such a great payoff for this moment, boom, here it is, very significant." "Whereas before, without this setup, it didn't have the same resonance as it did once you saw it from the beginning." "This is where his eyes go dead." "It's amazing what he can do with his eyes." "These things with the flight attendant are just added by myself as, you know..." "'Oause you're sitting there as a director thinking," ""Why wouldn't the flight attendant look at her?"" "They're worried about turbulence." "People should sit down." "Flight attendants get ticked off at people for trying to get to their suitcase when the seatbelt light is on." "The line about pensions came out of a conversation with my brother when he was talking about how all of his friends were losing their pensions when he was talking about how all of his friends were losing their pensions by companies that declare bankruptcy just so they can dump" "their employees' pensions and health and welfare benefits." "I think it's part of that post-9/11 reality of flying where everything's different." "Flight attendants are not happy with theirjobs, don't feel secure in them, and they're not that happy about serving people anymore." "And the customers are always watching the people around them, wondering if they're somebody dangerous." "It's interesting that, for the longest time," "Oillian's close-ups are held in reserve for a variety of reasons." "But until you start getting into this sequence and seeing him closer and he starts becoming more intense..." "It was such an interesting way to draw the audience into the fact that he was now controlling the situation." "He was and he wasn't." "Even the first thing, he offers the water and she just looks at him, and he's kind of left holding it until he has to just drink it himself." "It's the beginning of her will, actually starts very quickly, almost before she realizes it or the audience does." "They just kind of talk like a couple having a fight." " A weird intimacy." " "We're having a fight in public, and we're trying not to let on to everybody else that we're having this fight."" "Part of the genius of the script and their performance is that there is this weird underlying thing between them of almost two reasonable people having a conversation." "That's true." "And an attraction." "And this bizarre negotiation that goes on." "How she counters with, "I need to talk to my father."" "She stands up for herself." "Even in this situation." "In any way she can." "Now here he is the friend, but he's also the utter chauvinist." "Where, to him, women are just not capable of lucid thinking, essentially is what he's saying." "And, of course, she's incredibly lucid at this moment." "Now watch her eyes here." "It's the beginning of her steely-eyedness herself, that later comes when she says, "No, I'm not gonna do anything until you let me talk to my father."" "Something we worked on a lot, of how she starts to go from this victim to somebody who's gonna fight back." "There it is, right there." "That's great that it's done in that one shot." "You see her go from..." "It's become proactive." "Watch that, right there." "That was a lot of takes." "I just said, "No." "More intense."" "It's funny, with the script, what he wants her to do would take five seconds." "Then there's the interruptions of phones not working" "Then there's the interruptions of phones not working and storms and, "I want to check with my dad,"" "that he's continually being put more and more off guard." "To her credit, she understands the implication of what he's asking." "It's just like, "I can't do what you want."" "So she's trying to grasp at any way to suspend him from doing it." "You have to tell the audience something horrible is gonna happen." "He's dead already in the house." "I'd say Brian Oox's total shooting days were, what, three days?" "Three days." "Yeah." "He flew in from Scotland, worked and went back home." "It was pretty amazing 'cause in that three days he created this whole character that feels like he was there for the whole shoot." "It's interesting, you can break it down into different periods of escalation." "Now that he's about to call, the next interruption." "And this is the "trying to get the message out" scene." "It starts with the guy across the aisle who might be help leaving." "And then, suddenly, there's a vacant space there." "How is that gonna unfold?" "He's taken her purse, he's smarter than she is." "I think, both in directing and cutting, it was like, this has gotta be exquisitely timed." "All these little interruptions and increasing, mounting crisis." "And figuring out when Rippner's looking at her, when he looks away, what she does the moment he looks away, how she pauses the second he looks back." "And why he stays with this lady." "We made up the whole thing of her nails." "Didn't want to break her nails." "And the fact that it is so critical for him to appear normal." " And be polite." " If he doesn't, he's in such trouble." "The second he looks back, she opens the book, starts writing." "Just when you think..." "Bang." "He's right there." "This line of the little old lady, again, is just something you throw in because it's how we feel these days." "You know, they're just much pushier these days." "It's a great disarmament, for the audience." "You disarm them, then you're about to do what we're about to do." "Which is so astonishing." "Almost knocked her head through the side of the airplane." "This, for me, was the scariest moment in the picture." "They were trained by our stuntmen, but you just know if they miss you're gonna have two actors with concussions." "Bad headaches." "I was also leery of doing another head butt." "I felt like they were just proliferating from movies," "Danny Boyle movies down into television, so I threw in the business of his head bleeding, which, again, shows a bit of his..." "It's real." "It really does hurt, he's human, and it almost gets him caught." "When he leaves her, he caresses her arm." "And you see that he has this affection for her" " beyond his professional role." " It's an attraction." "We always talk about, on the set, the more he's attracted to her and the more she finds what he's doing so repulsive and repugnant, the more he realizes he'll never have a beautiful woman like this" "who has real character in his life, loving him, because he's sold his soul, basically." "We built a lot of his character on that, and also the point in her character when she realized she had to sell her soul." "The loss of that and the strength that comes when you have nothing to lose." "And how she buys it back." "That was the second big move shot." "It was shot off a crane that we had built into the far side of the airplane, that ran the length of the airplane, that we could mount a camera on." "It's the only other time that we really used that kind of a shot in the airplane." "It's great, also, the sound." "I think that's one of the things you talked about with Todd." "It was building the moment of feeling the human cargo." "Just hearing the breathing in the plane and how all these people are sleeping, and it's a transporting of bodies." "It comes out of her unconsciousness because at the beginning we go into this kind of echoed sound where words are repeated, the flight attendant's words," ""Would you like a blanket?" And so forth." "So that you realized you were in her head and notjust on the airplane." "And you begin to see here the escalation of his desperation, that he really needs this to happen." "At some point, Oillian and I talked about, if he doesn't pull this off, he's gonna be dead." "It's never said explicitly, but you can see that relief at a certain point." "You know if he doesn't get this done, he's gonna be in deep shit." "He made his deal with the devil and he needs her to help pay it off." "This is the only time we didn't go to Oynthia visually." "We didn't even shoot it, 'cause we just wanted to be totally with Rachel's character." "This is a great moment where she realizes she's got a chance, and at the same time, he's sharp enough to catch what's going on." "She's certainly doing a good fake." "And it's only the guy next to him that gives it away." "That's always a tricky moment, cutting and sound-wise, you have to build up the sound of turbulence until the phone disconnects, and you have to drop everything out so you understand the phone has disconnected." "And I think we shot that super tight shot of it so..." "So that we really got it, and plus, that absence of sound suddenly hits you so much harder, that you go..." "It makes you stop breathing." "We're really hitting the hydraulics here." "I think that's where the audience realizes that this guy is in it up to his ears." "And that the more desperate he gets, the more dangerous he's gonna become." "We can see how he takes the..." "He's almost losing it." "That was a line we just added at the moment." "That was a line we just added at the moment." "We wanted to get across exactly what the stakes were." "It's such a great partner for the scene." "Itjust tells how you how things are just getting further out of hand." "Now this was Patrick and I, later in the mix, building this suspense." "How many hits of the newspaper do you hear, or you just hear a dog bark?" " How many hits do you hear now?" " I think it might only be two now?" " Maybe two." " Originally there was lots, but the sound of the..." "I think Wes has done that so often in the movies, of using the sound of dogs barking and the sounds of nature as a signifier of something not quite right." "I think that was a cameo in the truck." "Who was that?" "Was that Sarge?" "I don't remember." "Back up." " I don't think you could see him." " Dane Farwell." "The stuntman who was the ghost face, stunt guy for Scream 1." "Incredibly good stuntman." "We hadn't worked with him in years, and needed a guy to play the killer." "We found that he was available." "He came on and had quite a big role." "Yeah, he was gonna get hit by a car." "That was the big part, we'll let you get hit by a car." "And be a killer." "He's great." "This is a creepy moment here, where he reveals that he's been watching her for so long much longer than he would have needed to watch her, as a professional." "And he sort of accidentally stumbles very close to what her secret is by talking about, first, divorce, and then about, did somebody break her heart." "Now just watch what she does with her face here." "It's amazing." ""No, somebody raped me." That's what she's doing, and it's just amazing." "And then from that she bluffs her way into getting out of the seat." "She can't even sit next to him anymore, she has to get away from him." "This is about to lead to her moment of greatest despair, that she just is sinking so low, and cannot figure her way out of this trap." "Needs to get away to think about it." " Needs to just try and escape." " Get some space." "It's interesting." "He trusts her, in a way." "Yeah, he lets her go." "I think he kind of feels like they have this understanding, though he's done many untrustworthy things in the course of the movie that he has no reason to ask for any sort of mutual trust." "And part of that is probably due to his genuine affection for her, you know, him caressing her arm when he knocks her out..." " It's kind of like ownership." " False affection of somebody who thinks, "I'm affectionate," " so long as I control you."" " Exactly." "This is interesting." "This part's scripted." "Then this moment with the girl was just my observing that she was really good, and that she was watching him, for a moment, just between takes, kind of wondering who he was." "Patrick, you just got that one great moment there of his look." "It was important, and one of the things when we were first looking at it is that he turned away first." "He can't turn away first, she has to turn away." "He's the one with the strength." "If the little girl makes him turn away first..." "That's just in a cutting pattern thing." "This was tricky, between wanting to have her totally collapse but not have her pathetic." "And she very quickly, at this moment right here, gets herself under control." "This is a key center point of the film." "It was actually re-cut by my assistant, Nate Easterling, who's gone on to edit other things since this." "Now he took probably a minute and a half out of here." "He took a minute and a half out and gave it the escalation it needs, 'cause it's such the center point of the film." "Here's the one place I cheated." "We pulled the chair in front of him here." "And the camera eased into that spot." "I didn't say I was perfect." "This bathroom is a little tiny set, separate place in the soundstage," "where we had a panel that pulled off the top, and at the sides so we could get the angles." "That moment of him turning around, we manufactured in the cutting room." "Yeah." "That was just created out of the pieces that were there to make it look like more was going on." "Orjust that he almost got caught." "I think BMW should have given us all free cars." "It's not too late." "If anybody from BMW is listening, know how much we appreciate your product." "This was a tricky moment 'cause what I wanted is for him to kind of plead, that you get the feeling like he is starting to realize he's doing..." "He's just in a despicable occupation, and her giving him a chance to not do it." "And instead, he stumbles upon the secret, and he's canny enough to know exactly what happened." "And it's funny, it's almost like he's jealous." "Needless to say, she had a lot of bruises after this scene." "What's coming up is something Rachel and I talked about, is this..." "I said, "I want you to go from an adult to a child, a terrified child, and come back to an adult that's gonna kick his ass eventually."" "It starts when he says, "Are you gonna do what I tell you to do?"" "Right here." "Breaks her will." "Then, with that insult, I think he brought her back, unintentionally." "And it's there, I think, she realized she had to do something." "That's where she gets the pen, now, while he's getting busted for being in the Mile High Olub." "His reaction got such a great reaction from the audience," " his kind of pompous "Sure."" " Oocky." "That's just Oillian, he just came up with that." "From this point, she's got the weapon, and she's got to be asking herself," ""Oould I possibly do what I would need to do with this, and if so, when?"" "Yeah, she's gotta be trying to figure out how..." "I mean, the "when" of, "When do you do it?"" ""And where do I...?"" "Where do you go once you do it?" ""Do I try to kill him, do I incapacitate him, what do I do?"" "Here's where the audience realizes that the pen ain't there no more." "This is another airplane set." "We had more notes from the picky people on, "The outside of the airplane is one, but the windows on the interior are from another airplane."" "I don't remember those notes." " Yeah, we did." " Wow." "I got them during the press tour." "One guy knew exactly the two kinds of airplanes." "One guy knew exactly the two kinds of airplanes." "I also got one on this airplane, because apparently the main door is a 747 door, which I didn't realize." "And he nailed me on everything." " People know their planes." " The reviewer from Boeing?" "Yeah, exactly." "I want to say something about the first assistant camera on this picture." "We're shooting in anamorphic, which is a notoriously difficult medium as far as focus goes." "It's got a very shallow focal plane." "And I designed all of these incredible close-up shots of eyes, and he never missed." "It was quite amazing." "I've never had somebody quite that good." "He was like a Swiss watchmaker." "And then the wonderful Bob Yeoman, our DP." "And the great operator also, Oasey." "Just incredible moves." "In the camera department, we were so solid." "It was like, you always felt like that area was just so covered." "In almost all the departments, everything on this picture just was clicking big time." "Our production designer, Bruce Miller, who we've worked with did a wonderful job." "This picture was also done very quickly, and we were, actually, admittedly racing to beat Flightplan out." "We did the picture, from the time we said we want to do it to the end of delivering a director's cut," " in about five and a half months." " We were very quick." "And, notoriously, my director's cut was four days." " Exactly." " With a fifth day for polishing." " It was a tribute to Patrick." " We shot 45 days" " with three days of re-shooting?" " Yeah." "Additional shooting?" "It was shot in 47 days." "We could see on the studio faces, they couldn't believe half the things, like when we call and say," ""We have a director's cut." They thought we were kidding." "They were shocked to see the movie that quickly, and see a movie that was that finished that quickly." "They even said they'd never seen a movie that polished that fast ever." "The minimum time that you're allowed as a director is 12 weeks for your director's cut." "Four days is pretty good." "It's interesting here, going back to the story, where he says "Olose,"" "and you realize that he was worried about his own butt." "The sun's about to come up and time has gone very short, but he's not letting her off the hook, and she's thinking, "I've sold my soul, at least give me what I want."" "And it's interesting, the way it's done is again like a couple." "When she says "You promised" here it's like they've known each other for ten years." "'Oause you wouldn't ask an assassin something that he promised, you know?" "Their relationship is intimate." "She's working him any way she can." "That's the information she needs as far as how to strike." "This is where she realizes that selling your soul is more expensive than you thought it was." "You can also see that he realizes how horrible it is, what he's doing." "For the first time, I think you get that." "He just tries to close himself off to it." "They're conspirators." "They're in the same club now, people who have sold their souls." "We talked about it a lot on the set, and it was a very important moment for both of them, actually." "The head bodyguard here is Oolby Donaldson," " and he's from...?" " From Survivor, he was in two seasons." "We cast a wide net when we cast." "He was a great guy." "And, of course, here's Jack Scalia and Beth Toussaint Ooleman coming in." "We've worked with Beth before, on Nightmare Oafe, where we met Patrick Lussier." " Way back in 1991." " When the glaciers were receding." "Beth is playing Jack Scalia's wife here." "And her actual husband's name is Jack." "Jack Ooleman, who's the star of Nightmare Oafe." "Beth was a guest on the last episode, they met there." "Dying Well is the Best Revenge." " That was the name of the episode." " Very good, Patrick." " Armand, right?" " Yeah." "Armand Assante directing." "There's Laura." "It was exciting in lighting, 'cause we were getting to do different lighting in the airplane." "We had the lights on dollies and they were moving around as if the airplane was kind of making a turn." "This was great." "The extras here felt so real doing their hair, their makeup, putting the tie back on, everything you do at the end of those night flights." "Mark Ootone, who did all the extras, whatever that action was..." "Our first assistant director." "They were all so wonderfully real." "That was a really great group." "Our usual first AD, Nick Mastandrea, who's been with us forever," " was directing his first film." " The Breed." " Which is great." " In South Africa." "First time we show the audience, indeed, she does have that pen." "You can feel everything's beginning to escalate, the pace of each sequence is beginning to heighten." "This building, by the way, was a condominium in Miami." "Fabulous penthouse." "Was so high up, you felt like you were on an airplane." "And they had three little kids." "We all said, "How can you have your kids in this place?"" "It scares me when the kids run toward the balcony." "It scares me when I watch that." "It was on the 40th floor, 400 feet up in the air, like, do you really want your kids out on that balcony?" "These are..." "Among the few opticals in the picture are these glimpses out the window towards the end when the plane comes in for a landing." "Just blue screen and some footage shot by our special effects team." " John Sullivan and his crew." " Thank you." "He's all comfortable now." "He thinks he's made it." " And he thinks she's in on it with him." " He's like, "You're as guilty as I am."" "Now that look was something we did very carefully." "'Oause it's the announcement of who she is now, and she's found the strength of having sold her soul." "That is, she's a combatant." "You know, she's not a civilian anymore." "And you can feel everything is driving towards the moment" " that she's gonna have to act." " Right." "Watch her face, she's a person who's figuring," ""What am I gonna do, when am I gonna do it, when will be the only moment?"" "Lt'll be when the plane stops and the seatbelt light goes off, and then get up and get out before everybody's in the aisles." "OK, Marianne." "We were freezing this morning." "This was shot..." " Miami, but so cold." " It was probably 40 degrees." "We were looking for gloves, mittens, they don't exist there, we were so cold." " This is half our crew here." " Oameo city here." "Skip, our prop assistant." "Sheila Waldron, our script supervisor." "And JP, in props, just got on the boat." "And Mark Ootone, first AD." "Jim Lemley, the other producer." "Executive producer." " And a few actual actors." " Yes, exactly." "Very cold morning." "I liked this building because it had this huge space age arc up on the top" "I liked this building because it had this huge space age arc up on the top that made it very easy to spot in all sorts of different shots." "And, of course, this is the important moment of revelation." "And something was added to the script." "Itjust felt like we needed something to her backstory that would propel her, and this was it." "That's right, we added that." "The thing about that shot is that you just found it." "It was between takes." "It was a shot where, the close-up of her eyes, she's actually asking Wes if she should run through the dialogue from the top." "But the way her eyes worked with the line that was added, there was just such depth to it and itjust worked beautifully." "Ouch." "I always find it fascinating to go back to him saying, "It was beyond your control."" "It's something a friend would say to a friend." "So there's that weird complexity to the relationship." "He did three very different takes of that performance." "In one of them he's snide, in one of them he was just very kind of cool, and then that one, he has this kind of friendly..." "And it was definitely the one to use." "It was interesting, the choices that he provided." "OK, and now we're into the chase." "I think from the moment she stabs him, it's nonstop." "And this was to be a PG-13 picture, by the way, from the beginning, and this was always my biggest worry, I think our biggest worry, how much can we get away with with the censors." "But they didn't give us any problem." "We thought we would never have a picture of it in his throat." "We did a lot of self-censorship on that scene." "We went back and re-cut it and tried to trim it down." "There are some shots where you see that totally sticking out of his throat." "And as he's breathing and gasping, it's gyrating." " Oontinuity alert." " Get ready." "Watch the table there at the corner of the restaurant." "We need to go back to the airplane." "You do see it when he comes out." "Sorry, Sheila, I'm really sorry." " No, you're not." " No, I'm not." "This little scene was improvised on the spot too." "I wanted her to be shown to somebody that understands the service industry and can assume those roles effortlessly." "This scene was added and we said," "Of course we'll use him as a doctor."" "And we just made that up on the spot." "Again, her tripping him wasn't in the script." "It's just extending the roles of these secondary characters through the second act." "It's such great payoffs for them, and you now understand they've all been set up for a reason." " This is LAX, isn't it, Marianne?" " Yeah, this is LAX here." "These were all just civilians." "But it's interesting filming in three separate airports, because we shot in Miami Airport also." "After 9/11, it was very delicate, and I would put my thanks out to all three of those airports for allowing us to shoot there." "They were very cooperative." "Obviously, we were very responsible, but..." " Here's Sheila's moment." " Oh, yes." "The guys at the table behind, at the restaurant, there's two guys sitting at the table." "The next time you look back..." " They're still there." " Two guys at the table." " Two there." " Two guys." " Gone." " No table!" "We needed to be able to run straight, so we took the table out." "It's not Sheila's fault." "It's the director that sometimes does naughty things with continuity." " Now we're in Miami." " This is Miami." "And this was..." "Sheila and I put her in one of those carts for baggage, ran her through the set at like 80 miles an hour, and said, "This is what I want you to do with the camera."" "So they did it, actually, with the camera dolly without tracks." " Great music by Marco." "Great cue." " This was a great piece." "This is the beginning of the stunt doubles for these two, although they did 95 percent of all their running and jumping themselves." "But the poor stuntwoman had giant silver dollar sized rug burns all over just from that one stunt." "One thing about putting the doctor in the restroom in the airplane saying it's not life-threatening..." "That was an important point, so the audience would know," ""Why isn't this guy just dying?" But also why he's not able to call the "good dog" executioner at Dad's house." "It's because his voice has been taken out." "The reveal of the box, the payoff of what we saw in the beginning." "Hopefully you remember." "And the fact that these gentlemen are now Russian." "They weren't shot that way." " They added that." " It was a note." "Oertain people were uncomfortable with Americans killing Americans, so now we've offended all the Russians." " Here we are back in Miami." " For two seconds." "This was an interesting day." "It was incredibly stormy, and we were shooting in little cracks in the weather, trying to keep the rain off her windshield, and I think when we got back to home base, the entire lunch tent had been blown to smithereens by a near hurricane." "Bad weather day." "When we cut this all together, myself and my assistants, Nate Easterling and Tom Elkins, we divided the sequences." "I cut all..." "We cut the sequences together, but we cut the boat sequences, the hotel sequences and Lisa in the car, and each sequence is much longer into itself." "Then we shuffled them together, how much and how little we could show, in order to really make everything have this great momentum driving towards this accelerated climax." "Which just works so well." "It's just pure editing bravura." "I think in the script, originally she calls..." "The order of the dad call is different, but this just seemed to be the way it made sense." "She calls the hotel before Dad." "I think originally she may have called Dad first." "It seemed to flow better, urgency-wise, for when the phone died." "So just to speak about it before we get to it, this set here, this is on a soundstage, this is one corridor." "The whole place was wired to blow by Ron and his crew, and it was one take." "The family in the elevator and all of the shots attendant to that were done separately so we didn't endanger people's lives." "Itjust came down to, for the actual blow, two stunt guys and special effects people." "Everybody else was out." "We were out, I think, for two hours until they finally set it off, and then it was one take, and, "Please don't kill the guys."" "That was it." "We heard a giant bang and we all went in when the stage was cleared, everybody was alive and we celebrated." "...when the stage was cleared, everybody was alive and we celebrated." "And here we are, back in Los Angeles, in Hancock Park." "Where our wonderful lawyer, Sam Fischer, lives with his family and kids." "He was friendly about us shooting in the neighborhood." "Oame by and said good luck." "This was interesting when we screened the film out." "Normally after you have an explosion there's a lull, and afterwards, but here the lull doesn't happen until after she drives the car through the house." "And then everything, the tension and pace, is still way up until she actually nails the car, and that's the release for the audience." "Now that car crashing into the house shot was capable of destroying the actual house, so we built that facade" " down in Ontario, right, Marianne?" " Yes." "And was shot by our special effects and stunt people." "Which integrated great." "It looks beautiful, doesn't it?" "I think the actual voice of the assassin going through" " is David Fluhr, our mixer." " The sound guy." "Our sound mixer, who recorded it because we didn't have a voice for him, because the sound was picking up the car wreck." "He's dead." "We were actually surprised that we could show that much blood." "There's another take which had no blood." "It's a kind of reversal here of the daughter saying to the dad, "You OK?"" "She's all business now." "Well, in a lot of our films, we have the child sort of becoming the parent." "And that transition." "This always gets a big laugh." "She's got such good timing, Jayma." "And that was a choice to set it in that setting." "It was not even a blue screen behind her, it was white, and we just put in sky and birds." "John matte-ed in sky and birds, which I think was a difficult matte, but it worked out great." "Originally there was no dialogue between them, and we decided it would be intolerable, not to have them say a few things." "It's great that he does this." "In different versions he spoke more, but this seemed to be the right balance of what he needed to say." "It's an interesting shot, her hand goes up on the counter exactly like it does in the restroom of the plane." "Yeah." "It's the whole timing of it and the rhythm of it." "You can see how the tables were reversed from when she had been caught before." "When Marianne and I went in to pitch our doing the movie, the thing that I pitched heaviest was that I wanted the ending to be the fact that she, through his negligence and unprofessionalism of following her, he was fighting her on her home territory for the first time." "And I thought any American, and probably anybody, would love to see that reversal, where suddenly he's on the other person's turf." "Originally, it was written that the father had moved in after a divorce, that she had not grown up in, and we made it the house where she had grown up as a child." "And so she knew every inch of it." "The head butts and the shoe in the leg was something I asked for on the day." " You did, that morning." " I said, "Oan we do this?" "I'd like to do this."" "It works so well, and has such a great visceral release for the audience." "We shot two extra days on our own money here because I just felt we needed it." "Subsequently, the studio was gracious enough to step up to it," "Subsequently, the studio was gracious enough to step up to it, but I just felt like we had to have a more elaborate ending than was originally written." "Then we went back for a final day." "In the final fight here," "I'll talk about it now, so we don't spoil it." " We built the interior on a stage." " We went back and built it." "Everything else here is all practical house." "The moment she picks up the hockey stick to the moment he gets away was part of that three-day shoot at the end." "And it was all done in one day." "Yeah, that fight in the bedroom and the ending, where he throws her over the stairway." "Down the stairs." "We shot the stair fall before, but the stuntwoman was wearing kind of long shorts, so we had to do it again." "Poor woman." "Different underwear." "Oarl and I went to the house one day after we had gotten this location, and said, "If were being chased and we knew the house, what would we do?"" "This whole cat and mouse thing and using the back staircase was all just kind of sprung from the actual physicality of the house." "It's a great house." "You can't go there 'cause people live there, but it had all these wonderful sort of back ways, places where there were servants." "But it made for the house, you could just imagine as a kid, it would be a great place to play hide and seek." "It has two great Jack and Jill bathrooms, where the bedrooms are connected by a common bathroom in between," " which he obviously doesn't realize." " Right." "But allows her to kind of secret her way through the house." "Just showing that she knows exactly where everything would be without even looking." "This insert was shot during that three-day thing at the end." "We didn't have time to shoot it in the actual house." "And this sort of thing you just hope works." "Because there's no dialogue, there's no nothing, and you're making it up." "This is the new material." "Starting here." "Bruce gave us this set, two rooms and a connecting bathroom for under $20,000." "He did an amazing job." "And we shot everything in one day." "And the ruse that he does with his breathing, making such a deal of it." "And that's so often the thing in these films, how sound stops, notjust it but the absence of it." "Having the sound stop there and realizing that she's holding her breath, and realizing that he sounds like he's gone, but is he?" "And then all these little sounds are just either editing room or a mix." " Just trying to..." " What is this sound, how loud is it?" "This sequence, she was gonna run back into the other room." "I realized everybody's gonna think he's inside the shower, so I shot this shot to set it up so everybody says, "Of course he's there."" "And then we just put this little sound effect of water." "And one of the really fun moments was just kind of made up on the spot." "It plays great for an audience who are positive he's there and he's gonna jump out." "There are misdirects in this scene." "You keep thinking, "He's behind the door, the shower curtain."" "So by the time he comes out, you're so on edge you don't know where he's gonna come from." "I was worried because the point of view of the door," "I couldn't get around enough to see outside the door 'cause there was no set out there." "I was worried that I would be showing the door too strongly." "But, fortunately, it didn't tip people off." "It was just to..." "He's hiding in plain sight." "It also explains why the police took so long to get there." "Yes, this hotel blew up." "I love how aggressively he just comes right at her." "But she's so athletic, she can fight him off so well." "Yeah, it turned out Rachel was an athlete as a..." " Had been a professional ice skater." " Figure skater." "So she had great coordination and balance." "That was the scariest stunt of the movie." "That's the triumphant moment when she realizes..." "He realizes that he can physically beat her but he'll never beat her spirit." "And now he's just impotent." "He's just a beaten man, really." "Note Bruce's choice of color in the ceiling." "Now Patrick, there was a lot of lines in here that we took out." "Dad used to say, "Hey, that's my daughter,"" " and there was a much bigger..." " "I'm OK!" She waved him away." "And itjust felt like the less they spoke..." "And we even had Rippner saying a line that I thought was very important." "We said, "Get the damn thing out of there."" "And it all played with looks." "'Oause the looks are more powerful." "A line always tells you exactly what somebody's thinking, whereas the look, you interpret it yourself and it so much puts you in the journey, and allows you to be part of it." "I love this last look of hers." "Itjust says it all." "I love this last look of hers." "Itjust says it all." "And then we go back to the little scene that was added." "Given that Oynthia had grown to an important character to the audience, we knew these two had to be together at least once in the movie." "Plus the payoff of Keefe actually thanking her for what she's done and realizing what she's done, it hasn't gone unnoticed." "And a little payoff with the obnoxious couple." "Fortunately, we were able to tie all these loose strings together at the very end of this scene." "Terry was great to work with." "She helped me a lot in the planning of the premiere, for instance, because of some scheduling problems with my stepdaughter." "She says, "I have a stepdaughter, we'll take care of it."" " She was really great." " A greatjob with the release." " There are different versions of this." " Three versions." "We shot a total of eight different lines for some of these things." "Yeah, we cut four." "It took all day." "It was an 18 hour day, I believe." "We had two very long days." "One was the airport in Ontario." " That was almost 20 hours." " Wow." "And then also, here, this day." "And trying to get those looks right, to make this joke work." "There were so many lines written for that moment." "That seemed to be the one that said it all." "It was funny, there were much more clever versions and things like that, in terms of how smart she sounded, but that version was definitely what paid off the best." "You know, got the lift-off from the audience." "The picture timed out, when we had our first director's cut, at, what?" "Seventy-something?" "I think when we first timed out, we timed out around 76 minutes and then we cut it down to 72, and then, with the additional shooting, we went back to about 76." "The first time, when we had it cut down about where we wanted, was 72 minutes." "That was the first time it occurred to us, holy cow, this is pretty short." " Is this legal?" " It's a very lean movie, but what was amazing is when we previewed it for an audience, they never said it was short." "I've worked on short films and the audience hangs you for it." "The story was very complete, and to Oarl's credit and your credit and the writing and directing, it was a complete story with a clear beginning, middle and end." "Same with the reviews." "A lot of reviews, and we've done a lot of press for it now, people thanking you for doing a picture that was clean and short and just didn't make them stay in the theater for three hours needlessly." "It didn't have those..." "So often you spend so much money in big films on those action sequences that go on for 20 minutes that you have an inevitable result." "You know how the scene is gonna end." "This film didn't need it and wouldn't go that way, which was so successful for it." "For the television version, we had to put back, what, like seven minutes?" "We put back four and a half minutes." "It was a hard thing to do, to try and find that material." "It'll be fun for people to watch that." "You'll see a little bit more, you'll see Rippner being pulled out of the house." "Pulled out at the end." "You'll see a closing scene with Dad, which I think was the one scene that was actually cut out of the movie." "There's nothing else that was cut." "So we just have a very long credit sequence at the end." " Bring us to the legal limit." " Eight and a half minutes, so that everybody gets..." "I was joking with my son Devin, who worked on the film as our postproduction PA, that his credit is actually on screen for nine seconds, which is longer than the rest of ours who are up front," "because it takes so long for a credit to go from the bottom of the screen to the top." "We should thank everybody at DreamWorks for Marianne and I..." "For trusting us with our first thriller." " Mark Sourian and Marc Haimes." " It was a great ride." "Just great guys, and oddly enough they were fans, they said, of mine and it was one of the reasons they got in the business, so it was one of those odd things of realizing that we were working with kids" "who had seen your movie when you were making your first movies." "It was a lot of fun and they gave us trust and the time to do it right." "They were very supportive." "It's great to have a quick green light." "We got into action, made it." "And the quick finish, they didn't want to belabor the point and go over it and keep trying different things." "They knew they had a movie that worked, they wanted to polish it to finish it up and allowed you the space in which to do that." "They didn't try and manhandle you into something else." "And it worked out." "It was a lot of fun." "I actually, personally, just watched this movie, opening night, with my family in Oleveland, and 50 of their closest friends." "And then to call Marianne, call Patrick or e-mailing and talking to everybody who had watched it with their family." "And just that great incredible joy that comes once every ten years or so, where you have a picture that is making the audience so happy and everybody's loving it, and itjust got wonderful reviews." "So it's been a great experience." "I don't think I can say anything much beyond that." "It was one of those pictures that was charmed." "It's been, more than anything else we've done, a picture where you get constant feedback from people." ""I saw that you worked on that film." "That film was wonderful." "I took my parents, my parents loved it."" " We've never had one like that." " No." "Music of the Heart, maybe." " Not as many people saw it." " That didn't please the core audience." " This has such broad appeal." " It was a win-win." "It was great." "So thanks for being with us through this little commentary." "See you next picture." "Thanks."