"This bit was really difficult." "I always remember the idea here, talking with Hans and Julian, was to get this huge overblown intro that almost had a Star Wars/Wizard of Oz feel, you know, so people thought we'd gone really Hollywood." "But then when the characters appear, you're really back down in Wallace and Gromit's British territory." "Yeah, yeah." "It's really nice the way this captures people immediately, and gives a bit of a backstory as well to the whole film and introduces it to people who aren't necessarily familiar with Wallace and Gromit." "I think it was probably the last shot we did in the shooting." "Yeah." "With much discussion." "I know, we were both quite reluctant to put this sequence in." "Yeah." "I mean, it is a danger..." "It could have seemed added on, but... it seems a nice kind of way just to get into a new, a whole new film years after people might have seen Wallace and Gromit." "We're so keen on, I think, capturing the genre and it's so important for us that, you know, to have that, especially with this, that horror feeling that it kind of..." "It did..." "It could have had a danger of being tagged on." "Yeah." "The original idea we had was that the camera would just be kind of roving across the moors through the fog and up to the moon like that, and then coming to the policeman's footprint like that in the puddle." "And we far preferred that idea, but I think it was suggested that we're just taking too long to get into the movie and into the comedy." "There was a lot of talk of allowing the audience to know they can laugh, which was a good move." "PO Mac there just walked straight past Harvey's vegetable shop and for a long, long time there was extra footage there of Peter Kay cracking these jokes about a big moth that had frightened the policeman." "Unfortunately it got cut out in the end to keep the film moving." "Yeah." "There was going to be a shadow creeping up behind him as he looked at the poster, and it turned out to be just a moth in lamplight with kind of feelers that looked like big ears." "There was probably about a minute's worth of footage cut out there." "It's probably one of the big losses." "There's already an introduction of, you know, knowing there are gonna be a lot more characters in the movie there." "In the other Wallace and Gromit films, you know, Wallace and Gromit are always there, plus maybe one or two other characters." "And we felt that the whole world had to open up for this movie, but somehow still retain its colloquial, local, small feel." "Yeah." "The music on this bit was a big issue for quite a long time, keeping it, really ramping it up and making the movie an exciting beginning, yet at the same time, keeping that kind of smallness," "as you say, of Wallace and Gromit as well." "I think, you know, Julian Nott, who wrote the music along with Hans Zimmer, who was fantastic to work with, just created a fantastic score." "I adore the music for the film." " It's lovely." " Yeah." "I remember a joke here, Nick, that we wanted to reprise Wallace and Gromit's kind of launch, like you did in Olose Shave, but we wanted an extra twist on it." "We had a joke for a long time that they came out of the front of the house, and after all that palaver of getting ready, that Mrs. Mulch's was actually next door." "They just drove out to the road and back." "It was incredibly difficult just to get that across, that it was to show the geography, that it was just next door." "Yeah." "We had so many versions of this little sequence, of how to make this funny." "Gosh, the amount of times we boarded and re-boarded, even earlier than this, when the rabbit comes into Wallace and Gromit's garden, of how to get it right." "I always wonder though whether we..." "You know, we were so keen on trying to pull off this idea that there was some kind of beast in the town already, that maybe the Were-Rabbit already existed and what they were trying to capture was something large," "and I don't know truly whether it fully comes off that it actually turns out to be a little rabbit." "That false teeth joke there was very last-minute addition to get an extra laugh." "I think there was a general feeling that there wasn't..." "People weren't starting to laugh enough early enough in the film, from test screenings we had." "That always gets a big laugh." "This is one of those sequences that went backwards and forwards between us for quite a while." "Yeah, you storyboarded it, didn't you?" "At one point, yeah." "I started and you took over and then you edited it all and then gave it back to me." "There are a few sequences like that in the film that went between us for a long while." "Yeah." "This was in it from very early on, but the sequence that kind of follows this was a very late edition, probably in the last four weeks of shoot actually." "Again, because we felt we needed to have some more fun with the bunnies before the story gets going." "I think it really..." "Actually, this sequence coming up here that you're talking about, Nick, actually had an extra, you know..." "It helped in some ways, I think, to show that their house was overrun with rabbits." "So maybe it was fortuitous in the end, even though at the time again we were reluctant to cram more in at the beginning." "I think for good reasons too as well, you know, because I think it works beautiful in itself, and I'm glad we put it in, but there was a real risk of it seeming, you know, an after-thought tacked on and not quite in keeping with the movie." "It had a slight kind of Warner Bros. Feel to it." "Yeah." "Neither of us probably would have naturally done this, but it kind of works." "But I think it's right to have that instinct to be dubious, actually." "It's notjust about getting laughs early on." "It's about making a good movie." "This is one of the good jokes in the film coming up." " Which was there from so early on." " Yeah." "You boarded it." "I remember you drawing sketches of all this being hammered through the trap door when we started writing." "When we started, we spent about a yearjust brainstorming it, and we thought up most of the visual jokes then, I think, didn't we, in that first year?" "We were constantly writing towards the jokes." "We were just trying to find a way to include all the gags." "Yeah." "The music here I think is absolutely fantastic, spine-tingling." "It was a very short piece of music that was originally with Lady Tottington, coming up later in the movie, as a kind of romantic theme." "And I think Hans suggested that it could be used to represent Gromit's love for his marrow as well," "and it's just the most beautiful piece of music." "It was a difficult kind of score..." "Oue, this bit, because it's at home with Wallace and Gromit and not getting too big and orchestral." "I mean, Julian's way is usually right for that smallness of it all and coziness." "And yet this is a movie, and so it has to be sometimes big." "We didn't want to underline every emotion, you know, every sentiment, everything that was being said with a music cue." "Yeah, not do the work for the audience too much." "It's a very hard position to be in as composer, I think, how to play things and how to complement what's going on visually without trying to double it or compete or overstate things." "Looking at the Mind-O-Matic here and remembering that..." "I remember when we decided to include that in this breakfast scene to introduce it for later on, because for a long, long time itjust came out of the blue, you know, later in the movie when Wallace didn't know what to do with the rabbits" "and he suddenly received a package from Russia." "A brainwashing machine, ex-KGB, and itjust came out of nowhere." " Wipe the snow off the top of it." " Yeah." "We used to have a whole sequence here where he demonstrates it and we cut out about 30 seconds worth of stuff, but it was felt that it was doubling up too much when later, when it actually is..." "when it's actually used later." "So we lost quite a funny little sequence of it kind of acting like a toilet as he flushes his cheesy thoughts back down into his head." "I feel the film here..." "You suddenly get an inkling that it's gonna be much bigger than the the other mov..." "the shorter films." "And you meet these kind of crazy, upper-class characters, fantastically voiced by Helena and Ralph." "The whole kind of thing suddenly branches out and you have these new exteriors and 'cause the characters have lips, it's gonna get more sophisticated." " Just to make them posh, wasn't it?" " Yeah." "She's amazing." "I love Lady Tottington." "Helena so complemented her." "We watched so many movies that had kind of posh ladies of the manor," "The Go-Between and different films." "Barry Lyndon, I remember..." "Kubrick." "I had such trouble with this sequence here, the arrival of Wallace and Gromit." "This got passed around a lot, didn't it?" "It did." "You worked on this sequence for months, probably years, I think, and at some point..." "I remember having Victor singing to Lady Tottington with a lute, playing romantic..." "Kneeling and playing romantic songs while having a picnic." "That's right, a whole picnic sequence where he was offering her a ring to get engaged and it was the ring that got sucked into the burrow by the BunVac instead of his wig at one point." "Which I know I was keen on, which would have been a huge mistake." "The wig was so much more fun." "The first appearance of quite a bit of OGI in the BunVac there." "With the bunnies." "Yeah, it was very impractical to do that with clay bunnies, wasn't it?" "Although you wanted..." "You made sure that the clay look was retained there." "I remember one of the animators, Seamus Malone actually, trying to animate about 30 Plasticine bunnies on cocktail sticks to see if it could be done." "I think he tore his hair out." "It was never gonna work." "You even worked with the OGI guys to keep a stop-frame kind of movement quality there with the bunnies." "Yeah, there was a bit of twitching around on the bunnies, but it kind of ties it in." "MPO did a fantastic job." "It was a real clay bunny scanned into the computer, wasn't it, Steve?" "Yeah." "With fingerprints and everything to keep the same look." "I love this little bit." " She's beautiful, Lady Tottington." " Yes, she is." "I remember we showed an early model of Lady Tottington to the whole team and everybody, and I think people had real problems that she was so odd, you know, her hair was so giant." "And I remember we stood up in front of all of them and we said, "Well, we love her." "We think she's wonderful and funny."" "And they kind of weren't going for it for a while." "I think then when we married her to Helena's voice, she became so likeable." " Yes." " She's such a positive character." "I remember it being suggested that we take half an inch off her hair." "I remember not wanting to take a single millimeter off." "Yeah." "You always had that idea for her hair from really early on, which is a "T," isn't it?" " Yeah, she was there." " "T" for Tottington." "She reflected..." "We talked about how, I remember at the beginning, how she should reflect, as a nature lover, reflect the environment around her, the trees and the clouds." "There's good verbal gags, a toupee." "That was a hard one to pull off with the dialogue with Ralph, to say "toupee," but to kind of make it sound like he's asking "to pay," but so you know what it means." "Yeah." "Backwards and forwards a bit." "A lot of the jokes took a lot of working on, didn't they?" "This is classic, one of the classic moments in the film, I think." "I love how he spins round and the rabbit stays in the same place" " on his shiny bald head." " Yes, it's nicely done." "We had that idea very early on, didn't we?" "And you pulled that off really well." "Later on in the movie Wallace gets a rabbit on his head as well." "Some kind of re-occurring theme there." "Yeah." "Fantastic animation with Lady Tottington here and that speech is just superb I think, Jay Grace." "I love the way she kind of laughs in that upper-class toff kind of way because that really made her funny as well as sympathetic." "Because that really made her funny as well as sympathetic." "Gosh, and this sequence was how to, I remember, how to get Wallace infected, you know, to get him to be the Were-Rabbit was probably one of the biggest hurdles to overcome in the whole writing process" "because, you know, traditionally..." "You know, we watched all these werewolf films, didn't we, Nick, you know, with..." " You know..." " Lon Ohaney, Jr." " Yeah." " Oliver Reed." " And of course they all get bitten" " Hammer horror." "By a werewolf that already exists, and their only release from that is to be shot, you know, by a silver bullet and killed." "But it had to be Wallace that was gonna be the Were-Rabbit." "We always knew that." "But how to get him infected and then, you know, make it so that he could recover was the most difficult thing." "And we didn't want it to be kind of chemicals or bites." "Infections and things." "It didn't seem to go with clay animation, to be bitten and have any blood or anything." "We had to sort of steer this one very carefully." "And really it's absolutely preposterous and ridiculous what happens to him." "It doesn't really make a lot of sense, but we thought it was funny that Wallace tried to rehabilitate the rabbits, and just by having their minds merge together it caused this kind of short circuit of DNA or something technical." "Yeah." "These bunnies are OGI, aren't they?" "Yeah, yeah." "That's one of the only jokes that doesn't play outside the UK is AY-UP!" "Magazine." "For obvious reasons." "Outside the northwest." "I remember the whole Mind-O-Matic early on." "It was a completely different machine as well, like some huge centrifuge that spun around and that was all boarded." "Even the maquette was built when we realized it had to be this thing that went on his head." "That's right, it had many forms, didn't it?" "I remember, you know, racking my brains because even though it has no logic really, this crazy logic, it had to kind of have some kind of logic." "The rabbits were so popular, weren't they, the little simple rabbits." "We worked so hard to keep them very basic." "Yeah, yeah." "This is the beginning of a lovely sequence, I think, in the movie." "I always..." "I say love, and at the same time find them so difficult, those parts of movies where everything is just absolutely wonderful and tranquil and life's great and you know it's all gonna go wrong." "It's a great part in the movie I think." "See this in the cinema, everyone just goes..." "Yeah, for Gromit." "I know, it's like gold, isn't it?" "It's like really wins people over and it's just a vegetable." "Well, it's a dog." " A vegetable." " It's a very loving dog." "I always feel like this is where the movie starts when I'm watching it because this is where the story starts to happen." "It always had a kind of fairly slow build, didn't it, from really early on in the script." "I mean, so far it's been set up, I guess." "And now this is where the inciting incident happens." "Starting to meet all the other characters." "Yeah." "I used to..." "I remember looking out the back door as a kid at the moon and having to go to bed." "Itjust has that very homely feel." "We put a rubber bone in for Gromit there." "This, for me, is pure Wallace and Gromit because it's..." "You're seeing it from the point of Gromit and yet Gromit also lacks knowledge, at this point, of what's going on." "And, plus, we're playing a big red herring here." "Yes." "Yeah, and that was..." "Yes." "Yeah, and that was..." "That took a while to evolve in the film, didn't it?" "It did, yeah." "It was taken out completely at one point." " I love the vicar." "He's great." " Yeah, I love him." " Nicholas Smith, perfect vicar." " Yeah." "Again this is, you know, we so watched so many other..." "We're such fans of all movies and, you know, watching horror films, there's always this bit where you meet this character who's not a main character and you know he's gonna get attacked, you just know he's had it." "And I think..." "There's a werewolf film..." "I always like thatjoke." " That's a very early joke." " It gets a good laugh." "That was one of our early jokes, wasn't it?" "Many visual jokes." "And the fog in the graveyard was a challenge here that we used throughout the film, didn't we?" "Yeah." "So the animation was shot and the characters were removed and the same camera move was done but we'd actually blasted smoke onto the set, so it really is hanging over the sets and the two were composited together" "and we had extra OG smoke put on." "I always like thatjoke." "Was that Mark Burton's joke?" "Very funny." "Mark was such a great addition." "He was a gag writer on Ohicken Run and came in more as a, you know, to help us out on the script structure and dialogue on this one." "He's great at those one-off gags as well." "I remember that sketch you did of that, really early on with the cucumbers." " This scene was in from the beginning." " It was the first scene shot, I think." "I mean, whether it was completely shot..." "Oh, and some of the launch." "This was one of the more elaborate scenes shot early on because it was always constant." "We had faith that it wouldn't get cut out." "Yeah." "I think it's because you really know where you are in the movie, you know it's sending up the whole horror genre." "It's a great idea, the shape of the beast in the fog there." "I often find that gets a good laugh as well, all the flashing eyes." "Yeah, yeah." "I never thought that would actually." "This bit, there was a lot of talk of cutting this out." "Actually we did and we put it back in, whether Gromit should see anything around the house." "And I think, in the end, it gave a slight breathing space after the town had been attacked." "And, actually, what you can realize later on is that it's actually Hutch that's been out looking for cheese." "Yeah." "I just like the way with Gromit..." "It's the start of a Gromit movie, because he's suspicious of something." "Fantastic." "Peter Kay doing the voice of PO Mackintosh." "Fantastic." "Peter Kay doing the voice of PO Mackintosh." "This must have been a nightmare to shoot." "This was..." "Yeah." "This was my difficult part." "The scene was always there, wasn't it?" "It was, you know, like the scene in Jaws when everyone gets together and they have to decide how to deal with this problem, you know, from all sorts of..." "Yeah, we watched Jaws, didn't we?" "Titfield Thunderbolt." "Yeah, a big meeting where everyone's at odds." "They make a decision and then that moves on the rest of the movie then." "A lot of these horror movies, like Ealing comedies and what have you..." "The Invisible Man has a skeptical policeman like Peter Kay." " Where there's a town hall meeting." " They're always wrong." "Yeah." "And the vicar, who's on a single-minded mission to rid the world of evil and seems to have all the knowledge." "I became so fond of all the characters, all the other townspeople." "What was difficult in this scene, we talked about it so much, was keeping Wallace and Gromit involved and I really do..." "You know, I did realize as it went on, that they were a little absent, but it kind ofjust gets away with it I think." "You allow them to be out of it because of the gags and everything." "Yeah." "Great gag, that." " One of the oldest, but one of..." " It's an old joke." "But they're the best, aren't they?" "I think there were something like 50 or 60 characters in this sequence and, you know, throughout..." "We were filming the sequence on two or three sets simultaneously." "I think it took about a year to do the sequence, you know, with a couple of animators every day." "So we were shooting it out of sequence and all these characters were constantly moving around and so they had to have charts of where they were and where they were gonna be." "It was quite a thing to keep tabs on them all." "Oh, yeah, continuity nightmare." "Never thought thatjoke with Phillip and the angel worked very well." " It's OK though." "I don't mind it." " It's punctuation." "I don't think people quite understand where the angel's come from." "It's supposed to be loosened by Victor's gunshot." "This always gets a good reaction, the angel versus the devil." "I must admit I did doubt on that when I saw it on storyboards, that it was, you know, it was OK to go along with, but it really works a treat." "I think what this scene just manages to pull off, that all these people are completely crazy actually." "Wallace and Gromit's world is inhabited by people that are equally as mad as them." "Yeah." "It is actually the first time we've met other people in their world, actually, which was always an issue." "How that's gonna go down." "I love Gromit's reaction here, just there when he nods to Wallace." " The old Wallace wave." " Yeah." "Oomes in very handy at the end of the film." "I think the sequence is fantastic here with the lady Were-Rabbit." "This was a difficult part of the film to write, wasn't it?" "It was." "We went through different versions of this actually, I remember." "The sequence where they sat in their car drinking soup." "Yeah, and Victor sometimes was gonna appear in this sequence, wasn't he?" "To threaten them." "Oh, that's right, yeah." "It took a long time to land on this." "Once we'd got this it seemed to come together." "The handy female Were-Rabbit costume that we could then use later in the movie." " Very much from The Pink Panther." " Peter Sellers." "We had many different ambitions with that costume, didn't we, and which all went out of the window." "Yeah, Wallace and Gromit had this wicked neighbor, Mr. Wormald, who was a vegetable steroid enhancing cheat." "Oheat at vegetable growing." "And he ended up in the costume at one point." "Gromit in the roof, that was originally gonna happen in the garage door." "Of the house." "There was gonna be some struggle." " I think when Victor comes..." " Later on." "...to shoot Wallace, Gromit was gonna be struggling with him and was kicked into the aluminum garage door." " By the Were-Rabbit." " It made its way into the van." "Yeah." "Gosh, we had so many versions of this sequence." "It was often trying to serve too many purposes in the story, and then I remember when Mark came in and we worked on it a lot together," "we sort of very slowly simplified it." "We had to pull off here that, you know, Wallace had gone to get the costume, but not kind of..." "I hope the audience didn't get suspicious, too suspicious, you know, to begin to think that the Were-Rabbit was Wallace." "I think it pulls it off well actually." "Yeah, I'm always wondering whether this worked as well as I wanted it to, you know, the ears remaining here." "I'm not sure people see that or not, or whether the music cued it, but..." "I always thought people mightjump more at this bit." "They did at one point." "I'm not sure what happened." "Yeah." "Like in the test screenings we had, people jumped more than in the final version and I'm really not sure." "I think it's subtle changes in editing and the music." "I think it was right in the end." " This took a lot of editing." " Really exciting sequence." "The music is fantastic as well." "We had all sorts of bits in here as well of him seeing the vicar..." "Oh, boy." "We tried for ages to put more gags in this bit." "I do sometimes wish there was a better gag here or there, but..." "Gosh, we shot quite a bit more footage here on the end of each shot, you know, trimmed every shot by about 75 percent... probably." "It was hard for you, I know, to keep the Were-Rabbit out of shot" " without giving him away." " That was quite a policy that came in." "I always wish that this gag was a bit funnier, just there." "We once had him sliding into somebody's marrow and it said "squash" next to it, and I thought that was quite funny." "There's great tension here." "I love Gromit's eye-roll just before he plummets into the abyss." "Oh, yeah, it was mad, this." "It was always too long, this sequence." "It took quite a bit of editing down." "All that mud is OGI is it, Nick?" "Flying towards the camera?" "The mud on the window is real, but any mud in the air flying with kind of blur-effect is put on afterwards by MPO OGI guys." "This makes me laugh." "I like the change in tone on the music there in the greenhouse." "Tranquility about to be disturbed." "It's funny, they're so worried for their vegetables." "Yeah." "Sort of a OGI there with the mud being kicked up, just here." "Fantastic." "I remember the van used to get..." "In an earlier version it got destroyed, didn't it?" "It was just a chassis with a seat on it." "And the airbags still came out." "That's right, we always had that gag, didn't we?" "It's a great gag." "I remember here there was a shot cut out." "It was Gromit checking..." "I wonder whether we should have lost that really?" "I kind of slightly miss it a little bit." " Director's cut?" " Yeah, maybe." "Or the other director's cut." "One of the directors' cuts." "He looked back and checked his marrow and it helped let you know where he was." "You know, it isn't here or there really, I don't know." "It's interesting, I..." "I suppose other people feel the same, but I really don't suspect that the Were-Rabbit's Wallace here even though I know it full well." "You know it quite well." "I believe he's just gone home in a temper and it's quite a successful red herring." "This is Gromit the sleuth really, isn't it?" "Gromit..." "Gromit wondering..." "I mean, the whole movie revolves around Gromit." "It's Gromit's film here." "I remember, you know, particularly myself doing sequences, if I ever got into trouble you know, keeping it on track," "I think the key was to see what Gromit was doing, and to make sure you were experiencing the movie through his eyes." "Yeah, that was always the kind of savior, wasn't it, to think like that." "The best notes were always:" "Tell it from Gromit's point of view." "Sometimes it would only take an extra couple of cutaways." "Yeah." "Good old bodily function." "I think that would have been a very base bodily function joke if it wasn't for Gromit wafting the air, because that kind of helped it I think." "Gromit's so cute here." "This explanation of how the Were-Rabbit occurs every night is a bit..." "Exposition." "Shouldn't be listened to too intensely." "It comes across as a bit expositional, but I think it's all right because of the way it's done." "Also you're gonna find out very soon that it's obviously a load of rubbish." "It's a complete red herring." "This reminds me of Grand Day Out in some ways." "Yeah, 'cause that's obviously not the Were-Rabbit, is it?" "Something's wrong here." "I always wonder whether people catch the word "botch" there on the rivet gun." "I've heard them saying it in the cinema." " Yeah?" " Yeah." "It's amazing what people spot." "People always spot the footprints there as well, you know, over Gromit's shoulder." "Do they?" "I love the music round here." "For me, this is pure Wrong Trousers." "Film noir." "Yeah, it reminds me of Hitchcock." "I guess the stairs and, you know..." ""Is it in the house as well?" Is a slight thing in people's minds." "Yeah." "This is a great idea of yours, Nick, of rabbit feet turning to human feet." " Fantastic." " Do you think people see that?" "I don't know." "I don't know." "But I do." "That was the idea." "It was quite hard to edit it to make it..." "And this little bit here took a lot..." "We both played around with the edit of this bit and with Greg and Dave, the editors." "Lady Tottington's like toff on helium here." "Lady Tottington's like toff on helium here." "She's completely bonkers." "I love her." "I remember thinking of things like Silence of the Lambs here, you know, when the murderer's gone round to the victim's house." "Not quite as sinister." "And the sets of the interior of Lady Tottington's house were amazing." "Fantastic." "I love the paintings of her ancestors." "Yeah, lots of background detail." " I always think that's hilarious." " But it doesn't get much of a reaction." "I don't know why." "I'm not sure why." "What I like about Lady Tottington is that you realize she's quite naughty." "She has a side to her, she's..." "Which just gives her that extra edge." "She's notjust nice." "I mean, she is nice, but..." "It's an important side of her that, isn't it?" "I think it's to do with nature loving, and, you know, growing vegetables." "There's this fantastic, heavenly conservatory." "The way you pull this off, Steve, we had this vision for this for a long time, didn't we?" "This scene of rising into the conservatory." "And Dave Riddett and I..." "Dave, our DOP..." "We looked at lots of postcards and prints of Pre-Raphaelite paintings, you know, with these women in these fantastic silk dresses kind of playing flutes surrounded by plants and the sunset behind them." "And I think Dave so made it look like that, the color scheme and, you know, the puppets and the set designs." "It also has a..." "It reminds me of The Empire Strikes Back as well and Oloud Oity." "I mean, a lot of the cinematography and the lighting is, you know, treated by, you know, our chief cinematographers Dave Alex Riddett and Tristan Oliver, as a serious movie." "It's real serious filmmaking." "It's not lit for kids or anything, you know." "A very funny scene." "I remember I had a lot..." "Storyboarding this, I had to cut so much out as well." "I wanted, you know, some of the slightly naughtierjokes, and I think there were more of them originally." "I think it was my slight affectionate nod towards Benny Hill and Oarry On." "You know, I realize now how un-PO they are, but at the time, as a kid, I loved those films." "I think it's got about the right balance, hasn't it?" "And it's kind of naughty, but it's all suggested." "Yeah." "They do it so innocently as well, I think, that..." "Yeah." "I'm never sure that you quite understand what's happening here, but..." "Yeah." "It's clear." "A lot of editing." "Yeah." "That water there was done with OGI," "That water there was done with OGI, although Dan did a greatjob here with the animation, and tried to do it with using bits of resin and gel on his hands." "We try as much as we can, don't we, to keep everything in camera." "Yeah." "Yeah." "Yeah." "The way this is all shot, you'll..." "Tristan..." "Tristan's lighting is great in this scene." "It was a good moment to take the music out, I remember." "That was a really good choice, 'cause that was scored and we thought it was greatjust to let them chat." "It really gave a..." "It's good." "It gave it a breathing space." "It also made you aware that something bad was going to happen." " The gaps can be..." " Yeah." "Yeah." "...as poignant as the music itself sometimes can't." "I think, for me, Nick, this is one of my favorite sequences in the movie that, you know, you work so hard on, and..." "Because it's almost like the essence of the film, I think." "This is kind of..." "I sometimes feel this is why we did the whole film, for this sequence, just for that transformation." "And I love it that the bully, Victor, really gets..." "You know, he's gonna beat him up, but he's the one who really gets the beating." "It's so rewarding." "It was great fun to do and a lot of work." "And from the very earliest horror movies, werewolf movies..." "In The Hound of the Baskervilles, with the, you know," " upper-class villain." " Yes." "Yes." "That's one of my favorite jokes, that one." "Gromit locking the door cause he's all full of anticipation and knowledge of..." "You know what Gromit knows, but you don't quite know how it's gonna happen." "I always wish we hadn't seen Wallace in that shot, because I think it slightly takes away from the mystery." "I think you're OK." "You just know you're in for fun here." "And that was the challenge, was..." "'Oause we often had it as too horrific." "And it was like, how to keep it at the same time real genre on the horror movies, but a real reference to horror movie genre and yet at the same time real comedy?" "I think the music again is good with that kind of barrel organ." "That almost burlesque fairground." " The temp music was often too dark." " Yeah." "Too heavy on the strings." "It felt like genuine horror." "Yeah." "Yeah." " He's quite scary in some ways." " Yeah." "But that's great, you know." "Kids love it as well." "Yeah." "I love thatjoke." "David Bowers..." "A very early joke that David Bowers, storyboard artist, did." "And I'm so proud of lan's animation on the Were-Rabbit here." "We really wanted him to have that feeling of a sort of Ray Harryhausen," " Willis O'Brien, furry monster." " Yeah." "That's right." "A monster with a character." "We could have done it OGI, but we couldn't have found the money to do it 'cause it's so expensive." "We wanted it to have that vintage King Kong quality." "I love this joke with the rabbits." "There's no reason for them to have..." "Oompletely arbitrary joke." "I remember we talked also about the Were-Rabbit, that he's furry, but somehow you can see in his eyes that Wallace is inside, trapped inside, and I think that comes across." " Yeah." "The bow tie helps too." " Yes." "I love this fantastic, sort of melodramatic, over-the-top reactions with the lightning." "It's a big change in the movie here 'cause Victor knows now." "These were kind of two big scenes in a way, apart from the conservatory?" "Then you came..." "After I finished on that scene," " then you came into your own here," " Yeah." "With Victor really coming out in terms of his evil." " Yeah." " He comes into his own here." "The lighting is great as well here." "Yeah." "This sequence just had to be filled with..." "Well, you know, you had to get into that mood of revelation." "Everything had to be a joke." "The lightning and the rain." "The performances are so serious from Ralph and the vicar, but it's just crazy." "It was so gothic." "Kind of camp gothic." "This is where it really does the horror movie genre again." "You know where you are and it's pure spoof." "I love Nicholas Smith's performance." "He's so crazy." "Though you can't tell what he's saying sometimes." "He's very good with Ralph as well 'cause it's so..." "Ralph's so straight and in a mood, but he goes off on these crazy tangents." "It's great to hear Ralph doing comedy actually." "Superb." "Yeah." "I think this idea..." "I know Dave Bowers boarded this early on, but I think that idea of the bullet thing came from Jeffrey." "Am I right in remembering?" ""A bullet, a bullet, a bullet..."" " Oh, yeah." " We were pitching it to Jeffrey" " That's right." " And he kept..." " That was yours?" " Oheesiestjoke in the movie." " That was yours?" " Oheesiestjoke in the movie." "Steve's joke, that." "But it works incredibly well." "It's like it had to have that at the end when we hit on it." " And that's yours there, Nick." " That's right." "But there's always that danger of it not coming off 'cause it's a sort of knowing kind ofjoke to the audience." "But it really does work." "It's at times like that that I feel there is a hint of Naked Gun or Police Squad!" "In the movie." "Some of the jokes are so corny and, of course, we know it, but it's great 'cause everyone is in the film." "They're all taking things so seriously." "It's real drama playing out and yet it's completely crazy." "They're having fun as well." "I really kind of enjoyed this scene, actually." "The tension and the way you're with Gromit." "It's nice for this kind of quiet bit after all that activity." "It feels like you're getting towards the end of the film." "You're on the home run towards the end." "And now it's about the characters." "It's about our main characters now." "Yeah." "It's got to go somewhere here, hasn't it, the story." "That's great." "No apology for thatjoke." "It was one of the firstjokes that we thought of." "I love the dialogue here, which I think was, again, was quite early on, actually." "I think it was in another place originally in the script." "But the sense of what he's saying was very similar for a long time." "I think we all wrote it, you know, at one point, didn't we?" "Yeah." "I love how stupid Wallace is." "And the music." "The use of the Wallace and Gromit theme is really good." "Yeah." "It's a scene between the two of them." "This is what makes it worthwhile, you know." "There's that quirkiness of the scene itself." "There's that quirkiness of the scene itself." "You know, one character has ears and completely in denial of him being the Were-Rabbit." "And Gromit can't..." "He's a silent dog." "He can't find a way of explaining it." "It's a great dilemma." "A dramatic dilemma." "I really don't think people expect this, you know, what's about to happen here as well." "That's such a good reaction, you know." "OK, so he's the Were-Rabbit." "But what happened to Hutch?" "I don't think people are quite ahead..." "You know, they haven't got that far in yet." "When he speaks, it's such a great reaction." "At every point along the way in every scene we tried really hard to kind of not do what people expect and be a bit out... away from formula, and be a constant quirky..." "Oonstantly quirky at every different story point." "Peter Sallis still." " Speeded up." " Just speeded up." "Yeah." "He did all of Hutch, didn't he?" "From here on until, you know, you're getting towards the fairground at the end, I find it so difficult." "This run of sequences was so long to work out and to get that bridge to the final confrontation." "Yeah." "It's nice to get back into daylight and into a more lighter scene like this that then takes this turn." "A very contentious line there, the brassicas line." "Yes." "I'm glad it stayed in, though." "Yeah." "I am." "I really am." "It's official, on record." "It was so, you know..." "People so wanted us to take it out and if you think about it then it is a little bit risky maybe." "But it happens so quickly." "It's just part of the color of the film." "Yeah." "Yeah." "I think it's OK." "I think you do need it, actually, in the scene." "We did cut it out and it seemed to go too quickly." "Yeah." "And you need to know what the villagers are thinking for her to reach this conclusion that she has to turn to Victor." "They have to pressure her into this decision." "And it's a funny joke anyway." "Yeah." "Sometimes something's gotta stay in 'cause it's funny." "This short sequence was difficult as well." "I think it was almost a hangover from earlier scripts, but shooting this was so late on in the process that you know, it was hard to find a better way through." "And I somehow feel we should have used Hutch more here." " More use of him being like Wallace." " Right." "And yet the touching moment is quite nice." "Yeah." "No, it works well." "It's always difficult when you're working with a scene that's an overhang, that's got a lot of history to it, and was once much bigger." "I think what was happening around the time when we were filming this, we were still working out the ending, and at that time we always felt that Wallace was gonna have to go back into the Mind-O-Matic with Hutch" "to reverse the experiment." "So we felt that we needed to get this machine repaired." "Now what's happening is that Wallace can't do it, but because Hutch is like Wallace, he can." "And so this was being shot when that was making its way out of the film." "Yeah, and it's a less important story point now, isn't it?" "It's just important that it starts to get positive again before it starts to get bad again." "There's a whole thing, I know, here, that a film we don't often talk about that we watched a lot was The Fly." "You know, that the..." "The original version, where the fly itself is actually quite crucial to putting things back to normal." "And there's a sequence where the fly goes out the window and it has the, you know, that essence of the man in it that..." "Lost his kind of alter ego or whatever." "And Hutch was gonna take on that role, actually, very much in earlier scripts." "Hutch was gonna join this George Formby Society band and leave." "They had to go and get him back." "Oan't even go there." " That was another story." " Yeah." "But it didn't kind of go that way." "No, no." "I love..." "I love the comedy, you know, the basic comedy set-up of this scene of her her coming to tell him this terrible news while him trying to cope with turning into a Were-Rabbit" " and trying to keep it a secret." " It's so difficult when that happens." "I can imagine." "And she's so..." "She's come round to say, "Look, I really care for you, you know."" "She really likes him and he has to slam the door in her face." "Yeah." " People really feel for her here." " Yeah." "Notice as she walks away, everyone goes "aww" when she cries." "And we thought it would just be funny." "Yeah, yeah." "This is, I think, Mark's joke again." "The final rout." "The final insult." "And the tears there were..." "They took so long to get them to look right, and I'm still aware that they look kind of slightly awkward." "But it was a real homage to one of my favorite animated films." "I think one of yours as well, Nick, The Big Snit, Richard Oondie." "And the sound of the tears hitting the floor." "Oh, this was such hard work, this sequence." "This area of the film was hard." "We went backwards and forwards." "We had much bigger sequences, like the Space Hopper scene itself was..." "When he jumps on the Space Hopper, was enormous at one point." " It was a huge sequence." " Like the end of the film," " which is why we cut it." " Yeah." "I somehow feel like I wish it had more energy here, but..." "I don't know." "I like this bit." "Nice line." "I like the lighting." "Very bright colors here." "Striking yellow." "I think we were trying to keep it colorful and rich like a sort of Disney film." "The colors are lovely in the movie." "So, yeah, this would have been the beginning of a huge chase." "This idea was always in, wasn't it?" "From the beginning this kind of... him, Wallace..." "We thought it was funny, Wallace starting to get romantic with the decoy that he made in the first place." "Yeah." "It doesn't bear thinking about too much." "Poor Lady Tottington." "I think you realize just how selfish the townspeople are really." "Just happy to be rid of it." "And also I remember you did that scene, Steven, and you were asked to change Mr. Growbag's flask of brandy" " for a carrotjuice carton." " Yeah." "Which is ridiculous 'cause you would never have spotted it." "It was just a hip flask." "That's a bit of subtle acting from Victor here." "This took a lot of working on this edit, didn't it?" "This whole sequence, 'cause it's like how does act two go into act three?" "And it took a lot of work to unfold it quite a bit, didn't we?" "Yeah." "I remember, at one point, Gromit believed Wallace was dead as well and went home, sadly went home, and went home, sadly went home, to the tune of Bright Eyes." "And Hutch was there, and discovered in a newspaper that the beast was still at large." "This is the bestjoke in the movie." "And it was a contentious one." "I'm amazed how many people spot the writing on the stall there." "Yeah." " "Oats 'n burgers."" " That's right." "There." "I love this joke." "Growbag's great." "We loved those, you know..." "We loved ending the film in the fairground and thinking..." "Watching stuff like Strangers On a Train at nighttime in the fairground." "The models and the props are just stunning." " I think it's a good joke." " You pulled that one off well, Steve." " It's a good laugh." " You boarded this, didn't you?" "This whole sequence went back and forth between us a lot." "Yeah." "How to end the movie is always the difficult bit." "I think this bridge was particularly hard." "I never felt..." "Sorry, I shouldn't ruin it." "I think it was OK." "I never felt this quite felt as satisfying as it could be, Gromit's escape." "And we'd actually shot some of Hutch in the launch sequence really early on, didn't we, just to be economical..." " That's true." "...while we were shooting." "Gromit was next to him, wasn't he?" "He was and we OG'd him out, rubbed him out." "I think, like, so many things in the film, really, they don't stand up to a lot of scrutinizing 'cause, you know, he just happens to go backwards." " It works though." " It gets him out the cage." "I think the way you've edited it is really good." "It's like all of..." "Particularly this whole area to the end," "I have so many mixed feelings about, but no one..." "You know what?" "I haven't heard anyone complain." "I think only we see it a lot of the time." "I always feel I can breathe a sigh of relief, though, because that little run of sequences that I've done is over and now it was up to you to get it back on line again." "It's funny when you watch a film, you know, your heart beats a lot quicker in the cinema when it's stuff you've worked on." "It was in your hands now to get it all going again." "Yeah." "And it was always..." "I mean, we sort of struggled for ages on how to do this next whole bit, 'cause it's now how to end the film in the most satisfying way, and as usual we have too many ideas" "and how to make them all work together as a unified piece." "The music really helped do that, I think, didn't it?" "Julian and Hans' work there and all the composing team." "Do you remember this sequence, Nick, of Mrs. Mulch running away, being chased by the barrow was actually in part of the sequence where Gromit was chasing the beast earlier on in the film?" "For a long time Mr. Mulch, I think, was pushing the pram." "Oh, that's right." "As Gromit was being pulled underground, they were being chased." "Yes." "Like a lot of things, they move around, don't they?" "We have an idea and it maybe hasn't found the right place." "But here it helped to bring the beast towards the vegetable stand." "Yeah." "Yeah." "I know a lot of the editing of this is kind of naughty animation directing." "But the animators, you know, would do more footage than you actually use and you edit quite a bit out, and use it almost like it's live-action and just edit it around." "I mean, shots would change order quite late on as we were mixing the sound even." "Yeah, and this..." "The whole golden carrot thing was..." "I think it was because of that 24-caratjoke earlier on that the carrot became a golden one." " Right." " And that suddenly clicked for us that, you know, that would be his final piece of ammunition." "It seemed so neat and tidy, as if we'd thought it from day one." "But we hadn't at all, had we?" "No." "I'm always amazed how much the audience reacts here." "He's squashed his marrow." "I didn't know we'd built up that amount of emotional attachment." "Because it's been for nothing as well." "It's sad, isn't it?" "Yeah." "Merlin's bit of Were-Rabbit animation here..." "That rabbit broke three times on that shot and he would have to replace the rabbit three times." "Three different rabbits." "I do feel proud of thatjoke, but it had to be cut down quite a lot." "This was put together so quick, this bit." "We were scrambling like crazy at the end of the movie in the last five weeks or something." "We shoot so much of the film towards the end of the production, don't we?" "Yeah, yeah." "Everybody pulls out the stops, and shooting on 30 different sets at the same time." "You know, with as many animators and as many cameras rolling." "Now we're getting into that beast climbing to the rooftops thing that, you know, are in so many monster movies as well." "King Kong and..." "The Oliver Reed werewolf film, he ends up on the rooftops." "That's right." "They all do, don't they?" "Most werewolf movies are pretty not very interesting endings, actually." "So we had the challenge of how to make this funny as well, and positive." "I love this bit." "Steve's bit in the greenhouse." "Back to the sanctuary of the greenhouse." "They had to go there, didn't they?" "Yeah." "These are all your bits inside the greenhouse, aren't they?" "I don't know if people read that until she says it." " I think they do." "Yeah." "I think so." " Do they?" "Yeah, I think you can read it's Wallace." "And the dogfight was was all on dodgems once throughout the interior." " It was, wasn't it?" " Yeah." "This was quite a challenge of how to..." "This is like the beginning of the end." "And I have, you know, I have heard one or two comments that it feels too much of a set piece." "But I'm not sure really, you know." "I think it's..." "I think we did the right thing." "I think, you know, with..." "That's great." "Oandy floss." "Your gag." "I think, like with The Wrong Trousers, it was, you know, once he'd got to this stage..." "Once you knew what all the characters wanted, they jumped on the train and that was even heading towards the end at breakneck speed." "But we had so many stories to tie up here before we could let it go." "You know, it was quite a complex story in a way." "Their marriage, you know, her finding out that he knew, and it was quite a lot of dialogue and quite a lot of wrapping up of story lines before the chase could get going." "If anything I feel it holds back a bit, but there wasn't much of a way of..." "It was a nightmare." "You were shooting the stuff inside the conservatory." "I was shooting all the stuff outside, all the chase-y bits, and working the two together into cutting." "We were cutting..." "We were editing it at the same time as we were shooting." "It was great." "Ralph's fantastic at comedy." " He is." " Fantastic." "A very Olose Shave-y kind of moment with Gromit in the plane." "Yeah." "Yeah." "I guess." "That was a good edit, though, 'cause we always had Victor baring himself to the world before the vicar's line." "At the last minute we changed it around." "The edit here was quite a challenge 'cause it was how to make the gags be "by the way" kind of things rather than the point of it." "And when you've seen Tottington Hall before now, there's no way that it's anywhere near this big." "But we just don't care at all, do we?" "We just make it as big as we want." "It's real Tom and Jerry." "I love that explosion." "The music does a really good job here of keeping it going, even though you're having to stop." "We lost an umbrella shot there." "I still wonder whether that would've helped that or not." "It might have slowed it down." "Where all the characters put up umbrellas after PO Mac's line." "Oh, and this gag." "This gag idea we had from the beginning." "Of course, they were coin-operated planes." "We had to use that somehow, and then we..." "It was so hard to get the sequence working that we took it out." "And then I think you said we've got to try to get that back in again." "We were having a meeting, one of these giant meetings with 40 people in, Jeffrey and everybody, and there was a question that itjust wasn't getting as many laughs as it could." "And I think it was almost like repeating the joke with the organist in the church." "You know, what about just completely stopping it?" "But I remember saying it and at the same time thinking that's pretty risky to do." "But itjust seemed to be exactly the thing." "We just had to do it." "And then we thought we got to have the plane slowing and, you know, the search for coins between them." "And then Mark said, "What if Phillip had a girl's purse?"" "Then we all cracked up and decided to do it." "Then it was a matter of finding the right place for it." "I love this section here, Nick." "It's just beautiful, I think." "People say it's a bit Matrix, but I wasn't sure I was really thinking that, or either of us were." "Itjust seems so over-the-top again." "And it's moving, but comical." "The music is good." "I was trying to find a way to make the moment as big as possible with this." "I know someone had a go at speeding that up, that edit, in this stage, but it didn't work at all." "It didn't work, no." "And then we're back into your scene here." "I thought that was a greatjoke, that he landed on a table of crackers." "It was Dave Riddett's joke." "It seemed funny." "This sequence was..." "And you boarded it originally, lots of times, didn't you, Nick?" "And then it was sort of a necessity." "I took it on, and it was always very long." "It took so many things to get over, and it..." "And we'd shot it and then had such a radical go at the edit which really knocked it into shape, I think." "The chase-down sequence." "Yeah." "I know, it's like how to end the movie as well." "When does the movie end?" "But I think it works." "But I think it works." "Without too many endings." "The rabbits, a good addition." "Again, the music is fantastic." "That alone brass band." " Playing the Wallace and Gromit theme." " It's really good." "This was actually an idea from DreamWorks to bring back the mind waves, which I thought was a good, nice touch." "It makes no sense." "Why does he fall off the roof and change back?" "We don't care." "I find it very moving, this scene." " You pulled it off well." " The dialogue was changed to..." "That was shot with different dialogue and then we re-voiced it to get the idea that the rabbit had gone, but Wallace was there, but there was no helping him" "until we hear Hutch, you know, and cheese is going to be the kind of reviving answer." "And that shot was originally much earlier in the sequence." "So the whole thing was completely made in the edit room." " It was quite last minute." " It was very last minute." "I think it's good." "It really works well, that structure." "Wallace here, I think, as you may see on the DVD extras, originally was shot with the rabbit ears, the fluffy ears, from here to the end of this sequence, because as I said earlier on," "there was always a plan that they would go home." "I think Wallace had this line where he said," ""Oome on, Gromit." "Better get home and changed."" "They would go back to the Mind-O-Matic and put things right." "But then, quite rightly so, people felt that he should be..." "This is a greatjoke..." "That he should be cured here so everything's OK." "And the good thing about that, actually, was that Hutch can stay Hutch and it would have been quite sad to have not had Hutch existing at the end of the film." "And it's good to feel that sense of resolve here as well." "I know I was quite stubborn about not wanting to change that, but the things you go through." "I think we all are, aren't we, about some different bits?" " The rabbits..." " I love the bunnies." "They're great." "Who animated Lady T there?" " Suzy Fagan." "She's good." " Nice bit." "And this." "What to do here in the last sequence was, you know..." " We just had so many endings." " We did." "She was even at one point gonna marry PO Mackintosh." "I think it..." "I remember again I was keen on that." "But I think sometimes these different ideas are just like a catalyst to..." "You know, 'cause the wedding thing is still in the air." " It's all part of getting there." " Yeah." "You have to believe in the wrong ideas for a certain amount of time and this seemed like the perfect thing." "And I know it was Dave Sproxton, I think, that brought this back into the mix, and was probably the way we ended the very first script we ever wrote." "That it ended up back at Tottington Hall as a bunny sanctuary." "It resolves the actual story we were telling, doesn't it, rather than create a new..." "a new thing." "It makes me fond of what I've seen being back at Tottington Hall." "I remember the fun of the earlier part of the movie and I actually feel sad that I won't see Lady Tottington again at this point." "Yeah." "This is the perfect ending for Wallace and Gromit 'cause there was..." "The other ending had too much sadness for Wallace, 'cause you thought "Oh, no, he hasn't married Lady Tottington."" "And the perfect word to end the film." ""Oheese."" "Yeah." "I thought you meant "The End."" "That's good as well." "Two words." "And then we decided to use the..." "As a..." "MPO, the guys who did the OGI bunnies, they had them in their computers." "So we decided to use them again in the credit sequence." "I think we wish we'd had more time and, you know, put more of them doing more particular things." "But we..." "It was just, like, in the last week of making the film." "They worked so hard and this is the ultimate they could get together for this sequence in the time they had." "It's quite a piece of work." "Yeah." "Very good." "We can talk about all the people in the credits." "Yeah." "Yeah, it's..." "It was fun working on it." "Yeah." "I think it's kind of..." "From the beginning of writing it, it was five years of work and I know throughout that amount of time" "I just thought of nothing else, it seemed, you know." "You know, we'd have..." "The huge challenge was writing the script and I had no idea it was going to be as complex..." "I think it is a fairly complex story, and I remember waking up in the middle of the night and writing things down." "It was kind of like living it for five years." " I know." "Like coming out of prison." " Yeah." "It does." "It changes your life actually." " It does." " 'Oause coming out this end of it and going through eight weeks of non-stop talking about it around the world, you come back, like, out of the whole thing like a changed person, you know." "Like a..." "I don't know." "You know, it's like an ambition that's been fulfilled." "Yeah." "It must be amazing for you, Nick, 'cause you must have always thought of Wallace and Gromit as a feature film." "And not that the others in their way weren't, but it's done now." "You can look back at a Wallace and Gromit feature." " Yeah, yeah." " It must be quite a thing." "In a way, I'm so pleased that it's had such critical acclaim in a way." "Not that that matters in itself, but itjust shows..." "'Oause you're working in the dark for so long with this just kind of blind belief that it's going to work." "And then..." "And you go through such a lot of doubt in such a lot of it that it's more relief that you've done something right, you know." "And I think, you know, I remember so early on talking about it and saying that itjust had to retain that quality of the other films and that was always in jeopardy, I think." "You know, just putting it on the big screen and being, you know..." "Having more money, having more people involved." "But we so wanted to make sure that Wallace and Gromit fans weren't disappointed as well." "You know, that it could be a great, you know, fantastic, huge, like, movie." "But we so didn't want to alienate the original, core fans." "And to keep it..." "To keep it kind of quirky in its concept, basically." "It was in its initial concept, but keep it absurd and quirky at every different story point, at every turning point, so it never fell into, like, off-the-shelf kind of Hollywood scenes and..." "So it always had this odd Britishness about it." "Yeah." "And yet, at the same time, we're always trying to do..." "I found somehow you're always looking for the obvious way to do your idea, that you start off in the most abstract ways but you're constantly looking for that route that everyone's gonna get it even if the idea is quirky." "Yeah." "It's like a real mixture of conforming, but not conforming." "Yeah." "Yeah." "Yeah, I know." "It's the hardest thing, really, 'cause we were very strong about what we felt about the whole film and what..." "the kind of story we wanted to tell." "And so many people come in, and often their comments, you know..." "Quite often people's comments are very irritating a lot of the way 'cause they're constantly criticizing every little thing that you're doing." "You're so grateful because you're glad someone's had the courage to tell you something isn't working when it's not working." "I mean, I..." "Gosh." "It's my first feature film and I find it so challenging and, you know, often difficult to be so heavily criticized." "But I can truthfully say that itjust would not be as good as it is if it weren't for people doing that." "Whether you agree with them..." "I think often..." "Often solutions are not right." "But they are hitting on something that's probably a good reason to worry about." "And at the end of the day, I think we've made," "I think, what is truly our own movie." "Definitely." " What an ending." " Perfect."