"(BIRDS SCREECHING)" "(MEN SHOUTING IN FOREIGN LANGUAGE)" "(SCREECHING)" "(HOOTING IN PANIC)" "(SCREAMING)" "Okay, okay." "Here you go." "And let's go again." "Which one is this?" "Number nine?" "Yeah, this is number nine." "Bright Eyes, we call her." "Are you watching this?" "This is unbelievable." "Oh, my God." "Oh, my God." " How many moves was that?" " 20." "Yeah, a perfect score is 15." "Doc, what are you giving her?" "Hey, give me that video!" "Chimp number nine, just one dose." "Aren't I seeing you later?" "We are good to go." "I'm going to call you back." "Yeah, all right." "Thanks." "Bye." "WILL:" "The 112." "It works." "On just the one primate." "One is all we need." "Full cognitive recovery." "We're ready." "Look, are you sure you're not rushing this?" "I've been working on this for five and a half years." "The data is clear." "We're ready, Steven." "All I need is your approval for human trials." "For this, you're going to need the board's approval." "There's a lot of money riding on this, Will." "You only get one shot." "One shot is all I need." "(SIGHING)" "All right." "But I'll need to see" " all the research." " You got it." " And, Will..." " Yeah?" "Keep your personal emotions out of it." "These people invest in results, not dreams." "Okay." "Meet chimp nine." "Here she is tasking at what is called the Lucas Tower, the object of which is to move the tower from peg to peg, without placing a larger block on top of a smaller block." "As expected, she was unable to complete the puzzle at all." "Then, we gave her what we call ALZ-112, a gene therapy that allows the brain to create its own cells in order to repair itself." "In biology, this is called neurogenesis." "Here at Gen-Sys, we call it the cure to Alzheimer's." "(ALL MURMURING)" "FRANKLIN:" "Donnie, you get her ready?" "She's got stage fright." "Is that what it is?" "(HISSING)" "Hey!" "Hey!" "She is going to break my hand!" "Let go." "Bright Eyes, let go!" "Are you all right?" "We're ready to move on to the next phase." "Human trials." "FRANKLIN:" "Here you go, Bright Eyes." "It's your favorite fizzy soda, come on." "Let's go, Donnie." "We should have her downstairs already." "Okay?" "Good girl." "Come on out, girl." "That's right." "That's for you." "Around the neck, Donnie!" "Around the neck." "Around the neck!" "Jesus!" "(SCREECHING)" "Donnie, do it now!" "Open up!" "Donnie!" "I'm going to sedate her." " No, no, no, no!" " DONNIE:" "Door!" "Get the door!" "Bright Eyes!" "(SCIENTISTS CLAMORING)" "(ALARM SOUNDING)" "No, no, no, no." "MAN:" "Close it down." "Close it down now!" "Go get help." "Donnie!" "Donnie!" "Come on." "There have been absolutely no side effects associated with 112." "With one exception." "For some reason, the chimps' irises exhibit flecks of green." "Actually, we first noticed it in chimp nine." "Hence her nickname, Bright Eyes." "You will see when we bring her in." "(WOMAN SCREAMS)" "MAN:" "Watch out!" "In theory, this therapy can be used to treat a wide range of brain disorders." "It is virtually limitless." "As are the potential profits, which is why we are confident that you will vote to approve human trials." "(SHRIEKING)" "No!" "No!" "Mr. Jacobs?" "Mr. Jacobs, I am begging you." "I am begging you not to do this." "Look, it would cost a small fortune to run lab work-ups on all of those chimps only to tell me what I already know." "That they are contaminated." "There are lives at stake here." "These are animals with personalities, with attachments." " Attachments?" " Yeah." "I run a business, not a petting zoo." "Find the most cost-effective way to put those apes down." " I can't do that." " You're the chimp handler." "Handle it." "WILL:" "Steven?" " Well, that was fun." " They've taken the 112." "The board have rejected your proposal." "They've chosen to advance other programs." "Well, there must be something that you can do." "Yes, there is." "I could fire you." "Believe me, we talked about it." "We have five years of conclusive data." "Parade all the data you want, you will never convince anyone to invest another dime." "(CAR LOCK CHIRPS)" "This drug has the potential to save lives." "To bankrupt this company, more like." "I swear, you know everything about the human brain except the way it works." "(SIGHING)" "Go back to the drawing board on the 112." "Start again in molecular development." "Find a way to get there before someone else does." "And clean up this mess." "(ENGINE STARTS)" "Franklin?" "(SOFT COOING)" "FRANKLIN:" "They carry small." "She must have been pregnant when they brought her in." "So that's why..." "She wasn't being aggressive, she was just being protective?" "She thought we were going to hurt her baby." "Come here." "I'd take him myself, but my brother-in-law works for security." "He'd rat me out in a second." "What, you want me to take it home?" "I can't take care of a monkey." " He's not a monkey, he's an ape." " Franklin, I..." "It's just for a couple days, until I find a sanctuary." "That's all I need." "Franklin, no." "Look, this isn't my responsibility." "This is company property." "Okay." "I'm going to tell you what, Doc." "Jacobs made me put down the other 12." "I'm done." "Be my guest." "(CLAIRE DE LUNE PLAYING ON PIANO)" "(CHIMP SQUEAKING)" " Hey." " Hi." " Oh, you look beat." " Yeah." "How is he doing?" "Well, he has good days and bad days." "Today, not so good." "Although, he has been quoting Shakespeare." "(CHIMP SQUEAKING)" "Oh, you got a pet." "Just a temporary house guest." "Oh." "Well, it might be good for him." " Yeah." " Good night." "Hey, Dad." " Dad?" " Will!" "(CHUCKLING) Hi." "I didn't hear you come in." "Today is the day, right?" "You thought I'd forget." "You have a big test today, right?" "Chemistry?" "Hey, Dad, do you want to see something?" "What?" "(GASPING)" "What is that?" "Is he injured?" "No, I think that is a birthmark." ""But as for Caesar," ""kneel down, kneel down, and wonder."" "Yeah, don't get too attached." "He is a cute little guy, isn't he?" "(FAINT SCREECHING)" "(CHIMP COUGHING)" "(COOING)" "Where are my car keys?" " My car keys!" "Where did you put them?" " Dad." "You don't drive anymore." "I know that." "Here, why don't you feed him?" " Can you do that?" " Of course I can." "(SQUEAKING EXCITEDLY)" "Will, look at this." "How old is he?" "A day old?" "Two days old?" "Yeah." "Well, he is a smart one, isn't he?" "What are you going to name him?" "I don't know." "(CHARLES LAUGHING)" "WILL:" "Right away, Caesar displayed signs of heightened intelligence." "So I kept him and brought my work home." "By 18 months," "Caesar was signing up to 24 words." "By age two," "Caesar was completing puzzles and models designed for children eight years and up." "(PEOPLE CHATTERING)" "At age three," "Caesar continues to show cognitive skills that far exceed that of a human counterpart." "Home." "Home." "He completed the Lucas Tower in fifteen moves, a perfect score." "I maintain my hypothesis that, A, the green in his eyes indicates that the ALZ-112 was passed genetically from mother to son and, B, that in the absence of damaged cells that need replacing, the drug in his system has radically boosted healthy brain functioning." "And, he plays chess pretty well." " CHARLES:" "It's my lamp!" "And my room!" " (IRENA ARGUING)" "Dad?" " CHARLES:" "I don't need you here." " Irena, I'm sorry." "I can't do this anymore." "He belongs in a home." "This is no way for him to live." "CHARLES:" "Yeah, and no way to live." "No way to live." "Now, it's my lamp." "I'm always..." "(SOFTLY) It'll make you better, Dad." "(CAESAR HOOTING SOFTLY)" "Shh!" "(COOING)" "(LIVELY PIANO MUSIC PLAYING)" "Dad?" "Dad?" "NEIGHBOR:" "Todd!" "Come inside for breakfast!" "(GRUNTING EXCITEDLY)" "I'll need to keep track of what I take from the lab." "Although, I don't foresee you needing more than one treatment a month." " Something amazing has happened." " Yeah." "I'll need a blood test, and a scan and the dosage." " You'll have to be carefully monitored." " Will..." "Now if I can sneak some..." " Will!" " Yeah?" "I'm not sick anymore." "It was nothing, Dad." "Caesar." "Where's Caesar?" "I want to see him." "Caesar?" "Caesar!" "All right, he can't have gone far." "Caesar!" "Daddy?" "Daddy!" "Caesar!" " (CAESAR SCREECHING)" " NEIGHBOR:" "Get out of here!" "Get out!" "Get out!" "Get out of here!" "Hey, hey, hey!" "Enough!" "Enough!" "The hell is the matter with you?" "If I see that animal anywhere near my house or my kids again..." "He's not dangerous." " It won't happen again." " Damn right, it won't." "WILL:" "Come on, Dad." "He just wanted to play." "NEIGHBOR:" "Stay in the house." "Daddy's got it." "I told you not to go out without us." "Oh, God." "It's okay." "How bad is it?" "I don't know." "(PEOPLE CHATTERING)" "(CHIMPS SCREECHING)" "(COOING)" "He likes you." "Mmm-hmm." "Don't worry." "It'll be over soon and we can go get a treat." "I'm thinking ice cream." "(GRUNTING EXCITEDLY)" "Good idea." "You taught him to sign?" "Just a handful of things." "Basic stuff." "What's he saying?" "Nothing." "So, when do you think we should come back?" "Well, you won't need to come back because the stitches are dissolvable." "I would just say watch out for signs of infection." "Fever, redness." "Okay." "What's he saying now?" "Well, he thinks that you and I should have dinner together." "(CHUCKLES) I know." "WILL:" "Hey, Caesar." "Come on." "Good to see you again, Caroline." "You coming, Caesar?" "So, what's your secret?" "I can't take any credit." "It's in his genes." "I think you're being very modest." "He's pretty amazing." "I think you've built a pretty good home for Caesar here." " But?" " (CAESAR GRUNTING)" "He won't stay this way for long." "He's gonna soon grow into a large, powerful animal." "Come here." "(CAESAR CHATTERING)" "How has he been doing?" "Okay." "I think." "I love chimpanzees." "I'm also afraid of them." "And it's appropriate to be afraid of them." "Caesar would never hurt anyone." "Hey!" "Hey!" "He's happy here." "Come on." "Yeah, I can see that." "Can we at least give him some open space?" "Yeah." "That probably would be a good idea." "I know a place right across the bridge." "The redwoods." "It's paradise." "(CHATTERING)" "Come on." "Come on." "Come here." "He doesn't need a leash." "He'll be fine." "Come on." "WILL:" "Just to be safe." "Come on." "CHARLES:" "Come on, Caesar." "This is the redwoods." "Caesar?" "All right." "If I take this off, you cannot leave my sight." "I would never find you again." "Okay." " What is this?" " What's he doing?" "CAROLINE:" "I don't believe that." " What?" " He's asking your permission." "It's a supplicating gesture." "It's okay." "CHARLES:" "Come on, Caesar." "Off you go!" "(CHATTERING EXCITEDLY)" "(CHARLES CHUCKLING)" "Look at him go." "WILL:" "Caesar!" "CHARLES:" "Caesar!" " Caesar!" " CHARLES:" "Caesar!" "WILL:" "Caesar!" "(SIGHS)" "There you are." "CHARLES:" "Caesar?" "Go on, Caesar." "Climb!" "WILL:" "Go higher." "CHARLES:" "Climb!" "WILL:" "Just be careful." "Caesar, be careful!" "(BOTH CHUCKLING)" "Hi." "What's going on, buddy?" "You get some love, too." "Come on, honey." "Is that a chimpanzee?" "Hi." "(GROWLING)" "(DOG BARKING)" "WOMAN:" "Come on!" "Come on." "(ROARS)" "(WHIMPERING)" "WILL:" "Caesar?" "Caesar." "Come on." "It's all right." "Come on." "All right, come on." "Let's go." "You getting in?" "Caesar?" "You okay, pal?" "Are you a pet?" "No." "You're not a pet." "I'm your father." "What is Caesar?" "Okay." "Caesar, this is where I work." "This is where you were born." "Your mother was here with other chimpanzees." "But she's not here anymore." "So, that's why I took you home to live with me." "Yeah." "Your mother is dead." "The thing is, she was given medicine." "Like the medicine I give to Charles." "She passed it on to you." "That's why you're so smart." "Let's take him home." "Okay." "Come on, explain it to me." "All right." "I snuck him out of the lab to save his life." "I had no idea that the effects had been transferred vertically from his mother." "But since then, he's been displaying incredible signs of intelligence." "I designed the 112 for repair, but Caesar has gone way beyond that." "Here is his IQ from last year." "Since then, it's doubled." "This is wrong, Will." "My father was gone." "This drug brought him back." "You never saw how bad he was." " He has his life again." " And what about Caesar?" " What about him?" " Where does he fit in?" "With me." "With us." "Listen," "I know it's been hard for you, but you're trying to control things that are not meant to be controlled." "WILL:" "The 112 works." "CAROLINE:" "Do you realize how you sound?" "WILL:" "All I'm saying is, this is a good thing." "Caesar is proof of that." "So is my father." "Caesar, eat your food." "Dad, are you okay?" "Yeah, I'm fine." "WILL:" "Antibodies." "His system has found a way to fight the 112 virus so that it can't deliver its therapy." "My father's disease is going to return with a vengeance." "NEIGHBOR:" "Honey, have you seen the car wax?" "CHARLES:" "It's a Mustang." "(GRUNTS)" "It's looking great." "What did I do..." "Stop!" "NEIGHBOR:" "You stop right now!" "Hey!" "Hey!" "Get out of there!" "Get out of that car!" "What the hell are you doing?" "Get out of my car!" "I said get out of my car!" "I'm a pilot!" "I got to get to the airport!" "How am I going to get there now, huh?" "Answer the goddamned question!" "What were you doing?" "(STAMMERING) I have a car just..." "Well, it's not obviously..." "That's it, I'm done." "The police can handle this." "You stay right there!" "You are going nowhere, mister!" "You or your son are going to pay for this!" "But I sure as hell am not going to!" "This is your problem!" "You made the mess!" "(HOOTING ANGRILY)" " I'm sick of the two of you!" " I'm not going..." "You stay right there!" "No!" "(CAESAR SHRIEKING)" "(HONKING)" "(SCREECHING)" "No!" "No!" "No!" "CHARLES:" "Caesar!" "Stop!" "(NEIGHBOR SCREAMING)" "Daddy!" "(NEIGHBOR WHIMPERING)" "No, no." "CHARLES:" "Caesar!" "It's okay." "It's okay." "You didn't mean it." "It's okay." "(SIRENS WAILING)" "Hey." "Take that thing off of him." "Will you take that thing off of him?" "Come on." "Look." "I'll take him in." "Okay?" "No, he's under court orders." "You can't do that." "LANDON:" "It's fine, let him." "Bring him in when you're ready." " Take it off." " Thank you." "Caesar, Caesar, Caesar, Caesar?" "Caesar." "(GRUNTING)" "Not right now." "It's gonna be okay." "Let's just see what it's like inside." "Okay?" "(GATE OPENING)" "Come on, Caesar." "Let's go." "Come on." "Trust me." "It's okay." "Go on." "(GRUNTING)" "(HOOTING)" "He hasn't spent any time with other chimps." "We're used to that." "He'll be a little skittish at first, but we'll integrate him." "You'd be surprised how quick they adapt." "We provide a stimulating environment." "He's going to thrive here." "Come on, let's do some paperwork." "Oh, and make sure you lock that door when you come in." "(GRUNTING NERVOUSLY)" "(DOOR LOCKS)" "(CAESAR SHRIEKS)" "Caesar." "It's gonna be okay." "Everything is gonna be okay." "Don't be scared." "You're gonna stay here now." "No." "We're not going home right now." "(SOFTLY) It's okay." "In our experience, the longer you drag out the goodbyes, the harder it is." "Can I just sign that later?" "You'll probably miss him more than he'll miss you." "Best give him a couple of weeks to get used to the place." "CAROLINE:" "Will, we have to go." "We have to go home." "I'm coming back soon." "Okay?" "Just call ahead before you do." "DODGE:" "Hey, over here!" "Hey, I can get you out!" "Come on." "Over here." "Come on." "Hey." "Down here." "(CHATTERING)" "(MIMICS CHATTERING)" "(LAUGHS)" "Stupid monkey." "(ALL SHRIEKING)" "(SCREAMING)" "Is that all you got?" "Come on!" "It's a madhouse!" "It's a madhouse!" "Court order hasn't been filed, so it's not in the system." "Once it comes through, it'll take about 90 days before you receive an appeal date." " 90 days?" " Yes, sir, 90 days." " You'll be notified by mail." " Hang on." "Right." "Here's what's gonna happen." "You're going to go back on your computer, you're gonna shift things around, and you're going to get me a date for my appeal this week." "You got it?" "I can't help you." "All right, then we have a problem." "Because I'm not moving until you do." "90 days, sir." "Be thankful you're talking about court dates." "You're lucky they didn't put that animal down." "WILL:" "I promise to get him back soon, Dad." "Dad?" "WILL:" "My father's immune system continues to reject the 112 virus, rendering the gene therapy obsolete." "His health is deteriorating, and the disease is progressing rapidly." "I need a more aggressive virus strain." "A faster delivery method." "Because at this rate... (SIGHS)" "I can't lose them both." "I won't lose them both." "Hi." "Can we talk?" "Make it fast." "I've got a meeting." "In the 10 years you've been running Gen-Sys, how many drugs have come down the pipeline that could save millions of lives, that could change everything?" "What are you talking about?" "The ALZ-112." "(SIGHS)" "What happened to you, Will?" "You used to be the star of this lab." "Now you hardly ever show, and when you do, you waste your time and that of your team's fixating on a drug that, after what happened, is never, ever going to get approved." "The 112 is dangerous, Will, and it doesn't work." "I treated my father with it." "It does work." "You did what?" "You did what?" "WILL:" "He beat the disease." "Like we predicted." " Bring him in." " There's been a complication." "Well, does it work, or doesn't it?" "My father's disease eventually outran the cure." "For goodness sake." "His immune system produced antibodies that beat the viral component, but it will work." "I've already developed a virus strain that I think will be more aggressive." "You think?" "Just let me test it." "You're wasting my time." "There's more." "The applications go beyond the disease." "There are indications that show that therapy can improve cognitive functioning, memory quality... (STAMMERS) What are you saying?" "My father didn't just recover." "He improved." "You mean increased intelligence?" "It's not conclusive, but yes." "I want you to start testing the revised 112 on chimps ASAP." " Okay." " I'll give you whatever you need." "Absolutely." "DODGE:" "Dinner time!" "(APES CLAMORING)" "Mmm." "Grade A primate chow." "Go on." "Don't you know food when you see it?" "(SNICKERS)" "(RODNEY CLEARS THROAT)" "You think that's funny, huh?" "(SNIGGERING)" "I'll show you something funny." "He'll learn who's boss soon enough." " RODNEY:" "What about his clothes?" " What about them?" "I don't know." "It might cause problems with the other apes." "(SCOFFS) Good." "(CHILDREN LAUGHING)" "FRANKLIN:" "I've counted 10 apes." "Correct?" "Yep." "FRANKLIN:" "Good." "All the way to the back." "Okay." "You guys are moving really quick on this." "What's the big rush?" "First day back, and you're still complaining." "(CHIMP GRUNTING WEAKLY)" "Koba." "Hi, I'm Will." "(GRUNTS)" "Okay." "This one." "He's very calm." "Yeah, this guy has seen the inside of a whole lot of labs." "He knows the drill." "(KNOCKING ON WINDOW)" "Thought I'd join you." "Watch our progress." "Get him prepped." "(FRANKLIN CLEARS THROAT)" "LAB ASSISTANT:" "Tighten your masks." "WILL:" "Pass me the 113." "FRANKLIN:" "Pulse-ox is good, blood pressure steady." "LAB ASSISTANT:" "Aerosol delivery in place." "Releasing the 113." "(BREATHING HEAVILY)" "(ALL SHOUTING)" "Franklin, get your mask on!" "(PANTING)" " Got it?" " Yeah." "STEVEN:" "Tighten the straps." "WILL:" "You okay?" "Yeah, okay." "Move it!" "Let's go!" "Get up and exercise, you lazy baboons!" "(SNIFFS)" "(ROARING)" "(CHATTERING)" "(GRUNTS)" "(HOOTING)" "(ALL CLAMORING)" "(PANTING)" "(KOBA BREATHING DEEPLY)" "(CHUCKLES)" "WILL:" "Intelligence results are remarkable." "No adverse effects." "FRANKLIN:" "Apes have amazingly strong immune systems." "Yeah." "All right, keep an eye on it." "Okay. (SNEEZES)" "Sorry about that." "These guys are more resilient than I am." "Excuse me a sec." "(CLEARS THROAT)" "Hurt bad?" "You know sign?" "Circus Orangutan." " (GUN CLICKS) - (THUD)" "He's good." "Careful." "Human no like smart Ape." "I want you working late tonight." "Gen-Sys needs three more of them." "(CLATTERING)" "Hey." "Hey." "Hey!" "(LAUGHS)" " Hey." " Hey, Caesar." "Hi." "Are you hurt?" "Are you hurt?" "Show me." "CAROLINE:" "Caesar." "Give me your hand." "Give me your hand." "It's okay." "Sometimes the new kid on the block gets picked on." "CAROLINE:" "Don't worry." "God, what have they done to you?" "That's bullshit." "What the hell did you do?" " Let go, man." " Hey!" "What's the problem here?" "I'm taking him out of here." "Right now." "Not without a court order, you're not." "He's not yours anymore." "I promise, if I find out he's been mistreated in any way," "I'll have this place shut down." "Go on." "Hey." "Hi." "Hey." "No." "No, we're not going home right now." "But I'm going to get you out of here." "I promise." "You have to trust me." "Caesar, you have to trust me." "Okay?" "I think this visit is over." "Trust me." "It'll be okay." "(CHATTERING ANGRILY)" "(PANTING)" "(CAGE DOORS BUZZ)" "DODGE:" "Come on!" "Move it!" "Let's go!" "(BUCK ROARING)" "(CAGE DOORS BUZZ)" "WOMAN 1:" "Wow!" "There's hundreds of them." "WOMAN 2:" "This is like your own private zoo." "MAN:" "More like a prison for hairy dudes." "(ALL LAUGHING)" "WOMAN 1:" "They watch TV?" "We call it enrichment." "This one's so cute!" "What's his name?" "The name is Cornelia." "It's a she." "(WOMAN 1 SHRIEKS)" " Oh, my God!" " DODGE:" "Don't get too close." "WOMAN 1:" "This one scared me half to death." "DODGE:" "Yeah." "That big guy's called Maurice." "No fun." "Here, I'll show you something fun." "Check this out." "(BOTH SCREAMING)" "MAN:" "Are you insane?" "(STAMMERING) You shouldn't be in here." "Hey, you're next!" "(DODGE AND MAN LAUGHING)" "Come on, let's go." "I spend too much time in here as it is." "Come on." "Check out this guy." "DODGE:" "Hey, that one is a pain in the ass." "Thinks he's special or something." "Freaky." "Hey, come here." "It's like he's thinking or something..." "WOMAN 1:" "Oh, my God!" "He's got his throat!" " Let him go!" " DODGE:" "Let go!" "WOMAN 1:" "Are you okay?" "MAN:" "I'm okay." "I told you not to get too close, man." "Come on, guys." "Let's get out of here." "(THUNDER CRASHING)" "(CLICKS)" "(GROWLING)" "(EXCLAIMS)" "(ROARING)" "(ROARING)" "(GRUNTS QUESTIONINGLY)" "(PANTING)" "(GRUNTING)" "(MOANS SOFTLY)" "(GRUNTS)" "(NEWSCASTERS CHATTERING ON TV)" "(SIGHS)" "Hey." "Some things aren't meant to be changed." "You need to accept that." "Hey!" "Hey!" "What's going on here?" "More 113 trials." "We're just prepping..." "No, we have to analyze Koba's blood work first." "Franklin knows this." "Where is he?" "He's been out sick for two days." "Well, I didn't authorize this." "STEVEN:" "No." "I did." "We agreed to test sparingly on one subject." "And that one subject is stunning." "It's a virus, we don't know the human-related effects." "The drug works, Will." "Tell him, Linda." "For starters, Koba scored a perfect 15 on the Lucas Tower." "Every test result verifies its effectiveness." " No more tests." " What are you..." "Not until we have a better understanding of what we're dealing with." "Look, I'll tell you exactly what we're..." "Look." "Just give us a minute." "Excuse me, put the ape back in the cage, and be gentle." "Will, I'll tell you exactly what we're dealing with here." "We're dealing with a drug that is worth more than everything else we are developing combined." "You make history, I make money." "Wasn't that our arrangement?" "WILL:" "No, there are risks." "Don't talk to me about risks." "You gave your own father an experimental drug." "I could finish your career with one phone call." "I'll save you the trouble." "I quit." "We will proceed without you." "Look, you don't know what you're doing." "These tests need to be contained." "You have no idea if the 113 is stable, what kind of damage it can do to people." "Yes." "Well, that is why we test it on chimps." "Isn't it?" "(KNOCKING)" "Dr. Rodman, it's me, Franklin!" "I need to talk to you!" "Can you come to the door?" "(COUGHING)" "(PANTING)" "Doc?" " Who the hell are you?" " (SNEEZES)" "(COUGHS)" "Get out of here!" "I'm sorry." "I'm sorry." "You wouldn't be trying to entrap me, would you?" "Well, I can't say I approve." "They're not people, you know." "You gonna let him go or not?" "Caesar?" "Hey, come on." "Come on, we're going home." "Home." "Come on, we're really going." "Come on." "Let's get out of here." "Yeah." "Come on." "Caesar?" "I guess he likes it better here with his own kind." "(HOOTING)" "(APES CHATTERING)" "(GRUNTS)" "(APES CHATTERING)" "(GROANS)" "Why cookie Rocket?" "Apes alone... weak." "Apes together strong." "(CAGE DOORS BUZZ)" "Apes stupid." "DODGE:" "Damn it, Rodney!" "You leave the hose out in the atrium again?" "RODNEY:" "What?" "No!" "(PEOPLE CHATTERING ON TV)" "(INSECT BUZZING)" "(ALARM BLARING)" "(CAGE DOORS BUZZ)" "Come on!" "Let's go!" "Come on, get up!" "REPORTER:" "Eight months after its launch, Earth's first manned space flight to Mars..." "RODNEY:" "I swear, Dodge, I'm telling the truth." "Yeah, well, if you didn't take my cookies then who the hell did?" " I don't know." " Hey!" "Will you two morons knock it off?" "I'm going home." "I get more peace in the goddamn ape house." "DODGE:" "Dad, I'm sorry." " Well done, Rodney." " RODNEY:" "I swear... (APES GRUNTING)" "(GRUNTING)" "(APES GRUNTING IN REPLY)" "Mr. Franklin?" "It's Dottie." "(INDISTINCT CHATTER ON TV)" "Mr. Franklin?" "Hello?" "(GASPS)" "(CAGE DOORS BUZZ)" "What the hell?" "MAN ON TV:" "God said, "Let the waters bring forth moving creatures..."" "DODGE ON RADIO:" "Rodney, get to the platform now." "Rodney!" "What the hell do you think you're doing, huh?" "Get!" "Go on." "Get back in your cage." "I'm warning you." "Go on, get!" "That's it." "See?" "That's what you get!" "Now get back!" "What's wrong with you?" "Dumb monkey!" "(APES CLAMORING)" "Take your stinking paw off me, you damn dirty ape!" "No!" "No!" "No!" "No!" "No!" "No!" "No!" "No!" "(ROARING)" "(SCREAMS)" "No!" "(GROANING)" "I swear I'm gonna skin each and every one of you!" "(PANTING)" "(APES SHRIEKING)" "(GRUNTING)" "Caroline, have you been up to Caesar's room?" "(PHONE RINGING)" "(SIGHING)" "No one is answering." "WILL:" "Landon?" "Will?" "Will!" "What happened?" "(STAMMERING) He spoke." "What do you..." "What?" "RODNEY:" "Your ape." "He spoke." "(PANTING)" "(CHATTER ON POLICE RADIO)" "COP:" "What in the hell?" "I don't believe this." "DODGE ON TV: ..." "I'm gonna skin each and every one of you!" "I need someone to coordinate with the SFPD." "Tell them we got a fatality." " What is it?" " I know where he's headed." "(PEOPLE EXCLAIMING)" "Len?" "SECURITY GUARD:" "Let's go." "(APES SHRIEKING)" "(CAR LOCK CHIRPS)" "(CELL PHONE RINGING)" " Jacobs." " Mr. Jacobs, it's Linda from Will's team." "Something horrible has happened." "Franklin is dead, from a viral infection." "The hell are you talking about?" "He was exposed to the 113." "It does something to people that it doesn't do to apes." "WILL:" "He'll have to go through the city and across the bridge." "LINDA:" "Mr. Jacobs?" "Mr. Jacobs, are you..." "What the hell?" "(STEVEN YELLING)" "Steven Jacobs!" "This is my facility." "We've had a breach." "We need to get up in the air and track them down and destroy them!" "Okay?" "Wait a sec!" "Wait a second." "Look." "You've got to trust me on this!" "Okay?" "(PEOPLE CHATTERING INDISTINCTLY)" "(APES CHATTERING)" "FEMALE GUIDE:" "You guys might want to get your cameras ready." "Normally these guys are quite shy." "(ALL SCREAMING)" "They just tore through a park on the north side." " They're being led!" " Got to hold the button!" " What?" " The button!" "They're being led!" "These apes are smarter than you think!" "We've got to kill the leader!" "(SHRIEKING)" "(PEOPLE SHOUTING)" "(PEOPLE CLAMORING)" "(ROARING)" "(HORNS HONKING)" "No, you do not tell them I am stuck in traffic." "You make up something smarter!" "Hold on." "(PEOPLE SCREAMING)" "What the..." "They're on the bridge." "They're trying to get to the redwoods." "SFPD Police One, this is Air Ops." "Seal off the south end." "What's the status of the mounted units?" "OFFICER ON RADIO:" "Good to go, sir." "All right." "As soon as they reach you, push north!" "(PEOPLE CLAMORING)" "OFFICER 1 ON RADIO:" "North side, we're going to push them right to you." "OFFICER 2:" "No problem, we're ready for them." "North side is locked." "They'll never get through here." "As soon as they hit the gap, we'll take them out!" " You're going to shoot them?" " Like shooting fish in a barrel." "Good." "Turn that thing around." "Keep moving." "Get off this bridge, sir." " No, you don't understand." " You don't understand!" "Get off this bridge now!" "This is an evacuation." "Get out!" " All civilians clear." " MAN ON RADIO:" "Please confirm." "Get these people off the bridge!" "Wait!" "(ALL CLAMORING)" "(GRUNTING)" "Go up." "Get under." "Stand by to send in mounted units." "They're gonna slaughter them." " I'm going to get Caesar." " Hey." "Hey, hey." "Listen." "You be careful." "Hey!" "Get down from there." "You're not allowed up there." "But I have to get to my car!" "Let go of me!" "I've got to get to my car." "It's important!" "Hey!" "OFFICER:" "Push them north!" "Get out of the way!" "(SNARLS)" "(ROARS)" "(GRUNTING)" "No!" "STEVEN:" "Quick or you'll lose them in the fog!" "Do it!" "(SCREAMING)" "Where are they?" "I can't see them." "CHP North, do you have a visual?" "No, sir." "Negative." "(APES GRUNTING)" "Safeties off!" "(RIFLES COCKING)" "Hold your fire!" "Hold your fire!" "(HORSE WHINNYING)" "(ROARING)" "(EXCLAIMING)" "(SHRIEKING)" "OFFICER 1:" "Get back!" "Get back!" "Everybody, pull back!" "(SCREAMING)" "(ROARS)" "Caesar!" "(PANTING)" "(HELICOPTER APPROACHING)" "That's him." "That's the leader." "DISPATCHER: 255, come in!" "Are you there?" "(BOTH GRUNT)" "(ROARING)" "(GROANING)" "STEVEN:" "Help me." "Help me." "(GROWLING)" "Take my hand." "Come on." "Come on." "(SCREAMING)" "Come on." "Come on." "No." "Come on." "Not you." "No!" "No!" "Stupid monkey!" "No!" "No!" "Caesar!" "Caesar?" "(SNARLING)" "(GRUNTS)" "Caesar." "I'm sorry." "This is my fault." "This has to stop." "This isn't the way." "You know what they're capable of." "Please come home." "If you come home, I'll protect you." "Caesar is home." "Okay." "Caesar is home." "Go." "(EXHALES)" "RADIO ANNOUNCER:" "An unknown group have caused a major disturbance here in the Bay Area, including the City Zoo and the Golden Gate Bridge, causing widespread damage and some reported injuries." "Eyewitnesses have also reported seeing apes running through the city." "English" " US" " SDH" "Hurt bad?" "You know sign?" "Circus Orangutan." "Careful." "Human no like smart Ape." "Why cookie Rocket?" "Apes alone... weak." "Apes together strong." "Apes stupid." "English" " US" "RUPERT WYATT:" "I was quite thrilled to see that play in front of a film that I had made." "So, here we go." "So, Chuck Michael, our sound designer, we wanted to sort of set up the mood of where we were headed with the film, but at the very beginning of this movie, because there are so many changes" "in terms of the tone of this piece and it's very much a fairy tale at the beginning." "But we wanted just to give a sense of where this film and where this story was going with the sound here." "(SOMBER MUSIC PLAYING)" "And, of course, that title is so iconic that we needed to give it some sort of fanfare on the in." "It's often the way that I think, when you are making films, you have to always find a suitable representative of a location you truly want to shoot in." "It would have been wonderful to have shot this in Africa, but time and money didn't allow for that." "And then coming in, pretty quickly in the film..." "It was always our intention to show these apes, on introduction, in such a way that we'd really believe in them from a subjective point of view, much like a documentary, a wildlife documentary." "So, these are 100% CGI apes." "It's quite extraordinary." "(MEN SHOUTING IN FOREIGN LANGUAGE)" "(SCREECHING)" "And, of course, the idea was to try and not only bookend the film, but sort of echo the beginnings of the original movie in terms of when we first saw the humans, and the idea of the nets and the corn fields," "and this is the oppressor hunting the oppressed." "And that's the capture of Bright Eyes and her being sort of plucked from her natural habitat." "And obviously that's the natural habitat that in our story is a place that represents paradise." "It's a place that represents nature and where these apes truly belong." "And a place where Caesar wants to get back to." "And there we see the transition from the natural eyeball and the colorization of Bright Eyes' eyes to the bright eyes of the green of the drug that she has been given." "Okay, okay." "Here you go." "And let's go again." "Which one is this?" "Number nine?" "Yeah, this is number nine." "Bright Eyes, we call her." "Are you watching this?" "WYATT:" "It's always our hope and my intention, working with Andrew Lesnie, the DP, just to keep everything moving at the beginning of the movie." "There's so much discovery and this eureka moment, and this is actually something that we shot during post-production, in fact." "We went back and we shot this scene because we felt like we really needed the moment of discovery, the moment for Will Rodman, played by James, to discover after all of this work and these years of development," "he sees the fact that the drug that he is developing does, in fact, work." "Chimp number nine, just one dose." "Aren't I seeing you later?" "We are good to go." "I'm going to call you back." "Yeah, all right." "Thanks." "Bye." "WILL:" "The 112." "It works." "On just the one primate." "One is all we need." "Full cognitive recovery." "We're ready." "Look, are you sure you're not rushing this?" "I've been working on this for five and a half years." "The data is clear." "We're ready, Steven." "All I need is your approval for human trials." "For this, you're going to need the board's approval." "WYATT:" "It's interesting, watching this with James, it's funny..." "It's like I set out to make as reality-based a story as I possibly could." "And everyone thinks, I guess, of Planet of the Apes and their preconceptions of what that is as being perhaps slightly camp and the heightened reality of it, and so with someone like James Franco, you have the opportunity to keep everything plausible," "based in reality, because he is very truthful as an actor." "He doesn't do anything that he doesn't believe in." "And you sort of see that already here." "He doesn't look like one, but he is very much an everyman." "...without placing a larger block on top of a smaller block." "As expected, she was unable to complete the puzzle at all." "Then, we gave her what we call..." "WYATT:" "This is the presentation room." "Our idea from the get-go was creating this screen that was a screen that was translucent and you could see through into the rest of the laboratory, and obviously that plays a part in what is about to happen here." "...we call it the cure to Alzheimer's." "(ALL MURMURING)" "FRANKLIN:" "Donnie, you get her ready?" "She's got stage fright." "Is that what it is?" "WYATT:" "We wanted to keep everything at the beginning of this movie, not just because it's a summer blockbuster, but just for the purposes of the narrative, just keep everything moving all the time, just keep everything building and sort of pace it in such a way" "that builds and builds and builds, and then in the first act, in the first 25 minutes, we have the opportunity to breathe a little bit more and see the development of the offspring that we're about to reveal in terms of Bright Eyes' baby." "...move on to the next phase." "Human trials." "FRANKLIN:" "Here you go, Bright Eyes." "WYATT:" "Chimpanzees love sugar." "They love fizzy drinks, captive ones, and the research we did, Gatorade was their favorite." "Come on out, girl." "That's right." "That's for you." "Around the neck, Donnie!" "Around the neck." "WYATT:" "This is all a wonderful set built by Claude Paré, our production designer." "Donnie, do it now!" "Open up!" "Donnie!" "And a really good example, in a way, of what we were doing that is a first, which is using performance capture." "This is all performed by Terry Notary, who plays Bright Eyes." "And it's all performed by an actor live on our stage interacting with these human characters and..." "That is something that has been done before, certainly, in previous films, but never to the extent of what we were attempting to do, which is essentially, scene by scene, every scene in this movie" "that involves apes, they are performed by actors." "...Bright Eyes." "You will see when we bring her in." "(WOMAN SCREAMS)" "MAN:" "Watch out!" "In theory, this therapy can be used to treat a wide range of brain disorders." "It is virtually limitless." "As are the potential profits, which is why..." "WYATT:" "We were mixing it up here." "We were mixing between set and location just to create this..." "Oh!" "There, in she comes." "But just to sort of create the origin of Gen-Sys, this laboratory that sort of sets in motion the whole chain of events." "(SOMBER MUSIC PLAYING)" "And that sound there in the score, we just wanted to show, almost immediately, we are on the side of the apes, how noble they are and what we are capable of doing to them." "And that's the real challenge with this movie." "It's to sort of make it clear to the viewer whose side are we on, without painting humanity in such a negative or pantomime light." "So there are real humans in the human parts of this story," "I guess Dr. Jacobs is not one of them." " Attachments?" " Yeah." "I run a business, not a petting zoo." "Find the most cost-effective way to put those apes down." " I can't do that." " You're the chimp handler." "Handle it." "WYATT:" "One of my favorite lines." " Well, that was fun." " They've taken the 112." "The board have rejected your proposal." "They've chosen to advance other programs." "Well, there must be something that you can do." "Yes, there is." "I could fire you." "Believe me, we talked about it." "We have five years of conclusive data." "Parade all the data you want, you will never convince anyone to invest another dime." "(CAR LOCK CHIRPS)" "This drug has the potential to save lives." "To bankrupt this company, more like." "I swear, you know everything about the human brain except the way it works." "WYATT:" "David Oyelowo, he is a terrific actor." "He is somebody who I knew from British TV." "He is now working his way up the ladder of Hollywood." "He is a great performer." "He really understands timing and comedy, as well, as much as drama." "It was a real pleasure working with him, really inspirational." "So this is the sad inevitability of the shutdown of the program, the death of the other chimps, the euthanasia, I guess you can call it, of the other chimpanzees." "And Franklin, played by Tyler Labine, he is our guide," "I guess, in our introduction to the young Caesar." "He is the one who discovers him." "So that's why..." "She wasn't being aggressive, she was just being protective?" "She thought we were going to hurt her baby." "Come here." "WYATT:" "I wanted to just costumize..." "I wanted to sort of differentiate the primatologist in the lab with the scientist." "So, as you see, Tyler wears green and all the other scientists are in blue." "What, you want me to take it home?" "I can't take care of a monkey." " He's not a monkey, he's an ape." " Franklin, I..." "It's just for a couple days, until I find a sanctuary." "That's all I need." "Franklin, no." "Look, this isn't my responsibility." "This is company property." "Okay." "I'm going to tell you what, Doc." "Jacobs made me put down the other 12." "I'm done." "WYATT:" "In terms of performance, I thought these two did a terrific job here because it's a lot of eye contact." "It's a lot of sense of guilt, responsibility, all of that sort of stuff, and it's a real sense of betrayal from Franklin there as to what he is being forced to do." "The choice lies with Will now, and this is the choice he makes." "(CLAIRE DE LUNE PLAYING ON PIANO)" "(CHIMP SQUEAKING)" " Hey." " Hi." " Oh, you look beat." " Yeah." "WYATT:" "This is the set that we built in Vancouver." "The front of the house, the pulling up is all on location, but this is another terrific set built by Claude and his team, which is very true to the townhouses of Russian Hill and those sort of areas in San Francisco." "Oh." "Well, it might be good for him." " Yeah." " Good night." "WYATT: "Beloved music teacher" that's..." "Don't know..." "Blink and you miss it, but that's..." "The idea was just to show the contrast between what he once was and what he is now." " Dad?" " Will!" "(CHUCKLING) Hi." "I didn't hear you come in." "Today is the day, right?" "You thought I'd forget." "You have a big test today, right?" "Chemistry?" "WYATT:" "John is one of those actors, again, I think he is..." "He is able to just act with the eyes." "He is incredibly expressive, and there is a great deal going on in his face at all times." "Some actors, I think, are reactors." "He is a performer." "He is someone who drives a scene." "What is that?" "Is he injured?" "No, I think that is a birthmark." "WYATT:" "That's one of the few places where Andy didn't perform Caesar." "We couldn't fit him in the box." "But what Weta did, actually, is we used newborn baby footage to reference, to just get that kind of jittery, slightly sort of uncontrolled limb movement that you see often in babies." "And they also had to manipulate that towel around him." "A great deal of work involved in that shot." "(FAINT SCREECHING)" "The real challenge here was we had a pretty short period of time to show the transformation of Will." "He is a scientist who calls these chimps by number at the beginning of the film, and he is a little distant, aloof." "He is driven by his work and not much else." "The irony being is that this little chimpanzee is what begins to humanize him, so this scene was pretty important." "(COOING)" "Where are my car keys?" "WYATT:" "And I love this part of the story." "I love the fact that you have got a man who is sort of going backwards in terms of who he once was, and he is regressing into this world of lost memory and physical breakdown," "and that's a nice contrast to this baby chimpanzee that's going the other way." "He is progressing." "He is evolving." "He is soon to be seen with proof of real intelligence." "Will, look at this." "How old is he?" "A day old?" "WYATT:" "A great little glance that I noticed in some screenings has always elicited a real response, a real warmth from the audience, and those little touches, those moments where..." "Especially in here, where this is not performed by Andy." "The next shot will be Andy's performance from here on in." "As this door opens, this is now Andy, and it is interesting, you are relying purely on the actor for the soul of a character." "It's up to Weta to make that character then look as realistic as possible." "The movements..." "That sort of little imbalance there, that imperfection, that comes from human performance, it doesn't come from..." "You know, very often, animators are looking for perfection, and that's what makes it actually imperfect or unbelievable." "WILL: ...designed for children eight years and up." "(PEOPLE CHATTERING)" "WYATT:" "And this is his rear window, this was his window onto the world, the world that he wanted to be a part of." "WILL: ...that far exceed that of a human counterpart." "Home." "Home." "WYATT:" "And that's so important, that moment there." "That carries us all the way through the story, this sort of motif of home." "What is home?" "...That, A, the green in his eyes indicates that the ALZ-112 was passed genetically from mother to son and, B, that in the absence of damaged cells..." "WYATT:" "We shot this, I think, in between set-ups just on a video camera, with Andy at the table, just improvising various things." "He is a comic genius as well as every other aspect of genius he possesses, but he's got that ability just to improvise brilliantly." " CHARLES:" "It's my lamp!" "And my room!" " (IRENA ARGUING)" "Dad?" " CHARLES:" "I don't need you here." " Irena, I'm sorry." "I can't do this anymore." "He belongs in a home." "This is no way..." "WYATT:" "The fateful words of the helper," ""This is no way for him to live." This is what sets Will on his path, which is really to do something that no scientist would do normally or should do, I guess, and that is try their own research on somebody that is close to them" "or that is not yet authorized." "He is jumping the shark here." "It's the early Dr. Frankenstein moment." "Kind of always wanted to transition between these scenes as seamlessly as possible to, again, just the sense of flow of this part of the story, keep it as fluid as possible." "These events take place in potentially what could be sequences and I wanted to keep everything bound together visually." "There is very little dialogue in this film, in large part due to the fact that this is the story of real apes, but even in the human moments." "So it was, for me, all about telling the story as visually as possible, which is a lot of fun." "Quite a great challenge, in many ways, to be able to do that, and you need a great cinematographer to work with you in order to achieve that." "And I have that in Andrew Lesnie." "He is a really good example." "For example here, this is a man who is suffering from Alzheimer's." "We are dealing with themes that are quite challenging, and they are themes, also, that are potentially quite dark, and it was always Andrew's intention to light it very much about the world outside, the brilliance of the world," "and as such, it's a nice contrast." "It's not bleak." "It's in fact very uplifting, I think." "(LIVELY PIANO MUSIC PLAYING)" "Dad?" "Dad?" "NEIGHBOR:" "Todd!" "Come inside for breakfast!" "WYATT:" "His attic, which was yet another set we had to..." "There are three levels to this house, but we had to build each level of the house independently so that we could get our equipment in easily." "So these connections, that shot for example, where he swings down from the attic into this floor, they are two different sets." "Always a challenge when you are trying to combine shots." "...don't foresee you needing more than one treatment a month." " Something amazing has happened." " Yeah." "WYATT:" "This is the Awakenings moment." " You'll have to be carefully monitored." " Will..." "Now if I can sneak some..." " Will!" " Yeah?" "I'm not sick anymore." "WYATT:" "If you think of a film or a story like Awakenings, there are drugs out there that can have instantaneous reactions, and we needed that moment." "We needed that overnight recovery to work within our story, but also just to give a sense of the miracle of what Will has achieved." "And that is the cure not only for his father, but to potentially all Alzheimer's sufferers." "Caesar!" "Daddy?" "Daddy!" "WYATT:" "Meanwhile, Caesar is on his own quest and that's to get out, that's to evolve, and I was always interested in the bicycle." "I wanted to explore that a little more actually, but such are the vagaries of timings and edits, that we had to cut it a little bit." "If I see that animal anywhere near my house or my kids again..." "He's not dangerous." " It won't happen again." " Damn right, it won't." "WYATT:" "I wanted him to discover things that we, in our evolution, have discovered, such as the use of the wheel, how does it work." "Maybe even fire, those kind of things." "I told you not to go out without us." "Oh, God." "It's okay." "How bad is it?" "WYATT:" "And I like the cause and effect aspect of this part of the story." "It's always pushing us forward." "Caesar's injured." "He has broken out of the house." "He has been kept in prison, basically, in this place, and now he is forced to go into the outside world, and Will has to smuggle him into the zoo and find a veterinarian to help him." "Enter the wonderful Freida Pinto." "(COOING)" "He likes you." "Mmm-hmm." "Don't worry." "It'll be over soon and we can go get a treat." "WYATT:" "I think this scene actually is very indicative of the charms of Freida Pinto in terms of what she can achieve." "She is very natural." "She is very..." "That face is so open." "And she is sort of, for me, a little bit like a young Julie Christie." "She is one of those..." "She is an actor that is very unformed, actually." "She is not trained." "She brings a great deal of her own personality to roles." "She happens to be incredibly beautiful, as well." "She has got a real freshness to her, and it's exactly what we needed for this movie, because I guess you could say we wanted a Dr. Dolittle, somebody that was gonna come in to be the voice of these animals," "to represent a love for them." "And that's in nice contrast to the slightly dry scientist that Will is at the beginning of this movie." "And it's Caesar that brings them together in this scene." "(CHUCKLES) I know." "WILL:" "Hey, Caesar." "Come on." "Good to see you again, Caroline." "You coming, Caesar?" "So, what's your secret?" "I can't take any credit." "It's in his genes." "I think you're being very modest." "He's pretty amazing." "I think you've built a pretty good home for Caesar here." " But?" " (CAESAR GRUNTING)" "WYATT:" "The words she speaks here are the words that carry through our film and lay the foundations for Planet of the Apes." "Come here." "(CAESAR CHATTERING)" "How has he been doing?" "Okay." "I think." "I love chimpanzees." "I'm also afraid of them." "And it's appropriate to be afraid of them." "Caesar would never hurt anyone." "WYATT:" "It's that classic moment in all monster movies where the guy who has seen the beast comes running to those that haven't saying," ""You have no idea what is out there."" "It's that, but in human form." "WILL:" "I know a place right across the bridge." "The redwoods." "It's paradise." "WYATT:" "Caesar is now gonna be given his freedom and shown a place not dissimilar to where his mother came from." "And that's obviously key to our story because this film is an escape film." "It's about a group of apes looking to get back to a place where they feel like they belong, and this is the place." "CHARLES:" "Come on, Caesar." "This is the redwoods." "WYATT:" "The redwoods, north of San Francisco." "It's a great city to have set this film in, and I realized as I went along, the screenwriters have been very clever in setting it here because it's one of those few urban metropolises that is directly adjacent to one of the most beautiful parts of the world," "and they are joined by the Golden Gate Bridge." "CHARLES:" "Come on, Caesar." "Off you go!" "(CHATTERING EXCITEDLY)" "(CHARLES CHUCKLING)" "Look at him go." "WILL:" "Caesar!" "CHARLES:" "Caesar!" " Caesar!" " CHARLES:" "Caesar!" "WILL:" "Caesar!" "(SIGHS)" "WYATT:" "I have a reference photograph that I used for this of just the size of these trees," "a couple of tree surgeons, I think they were or maybe just tree climbers, hanging from harnesses from one of these massive redwood trees," "and I wanted to sort of echo that with this image of this little chimpanzee climbing this immense structure." "And it's his throne or what will become his throne, I suppose." "This scene, to me, represents exactly what Weta are all about." "We wanted to show the evolution of Caesar in one unbroken sequence." "And I think all aspects of our production combined magnificently to do that." "The music here, by Patrick Doyle, is quite wonderful." "(BOTH CHUCKLING)" "This is obviously the closest incarnation of Caesar to Andy." "No offense, Andy, but you know what I mean." "What's going on, buddy?" "You get some love, too." "Come on, honey." "Is that a chimpanzee?" "Hi." "(GROWLING)" "(DOG BARKING)" "WYATT:" "That CGI created character right there expressing all of that emotion is not in fact there." "It's Andy in a gray leotard." "Come on." "(ROARS)" "(WHIMPERING)" "WYATT:" "And already, I guess that you could call this just the beginning of Act Two." "This is the adolescence of Caesar, or more so, actually, the early adulthood, the late teenage years of Caesar, where he is beginning to question things, the noose around his neck, the leash, all of that." "Let's go." "You getting in?" "Caesar?" "WYATT:" "It's a wonderful bit of improvisation there from Andy Serkis." "Just choosing to get in the back of the car instead of the boot." "You okay, pal?" "WYATT:" "That pull of the collar, something that we wanted to..." "It's all about, "Am I a pet?"" ""What am I?"" ""Who is my father?"" "I'm your father." "What is Caesar?" "Okay." "Caesar, this is where I work." "This is where you were born." "Your mother was here with other chimpanzees." "WYATT:" "Just holding on..." "Some of these shots," "I made the choice just to hold unbroken shots because it allowed Andy that opportunity to express everything that was going on inside of Caesar's head" "without having to verbalize or without needing to verbalize, because he couldn't." "He is a chimpanzee." "He is a humanzee in many ways, but ultimately, he is one that needed to convey his emotion through expression." "And so I needed the camera to, I suppose, remain faithful to that and follow that for as much as one possibly could." "Let's take him home." "Okay." "Come on, explain it to me." "All right." "I snuck him out of the lab to save his life." "I had no idea that the effects had been transferred vertically from his mother." "But since then, he's been displaying incredible signs of intelligence." "I designed the 112 for repair, but Caesar has gone way beyond that." "Here is his IQ from last year." "WYATT:" "My little question here is, how the hell has Freida not asked this question..." "Caroline not asked this question after five-and-a-half years." "It's one of those things where, hopefully, the narrative will allow that pothole in the road to be filled quite nicely, but it is an issue, and it's one that we struggled with to make sense of, but the priority for me was always about" "what was going on between Caesar and his own self-reflection, his own questioning that's going on up in the attic, and also how he fits into this human world." "He is neither one thing or the other at this point." "He thinks of himself as a human, but he happens to look like a chimpanzee." "Caesar, eat your food." "WYATT:" "Silent scene." "That just says everything about the sudden change in fortunes of Charles' health." "This drug has now stopped working." "Dad, are you okay?" "Yeah, I'm fine." "WILL:" "Antibodies." "His system has found a way to fight the 112 virus so that it can't deliver its therapy." "My father's disease is going to return with a vengeance." "WYATT:" "Again the brilliance of the world outside can also be searing hot." "It can also be blinding, I suppose." "And that's what we wanted to show through the lighting." "Darkened interior, stepping out into the bright light, and that bright light can also be dangerous." "That's a little nod towards what everybody knows." "Actually, it's not just that in some ways." "It also represents liberty, obviously, and Caesar is not free." "He is trapped in an attic." "Also it displays his intelligence building a model so..." "Here we go." "This is the real turning point." "NEIGHBOR:" "You stop right now!" "Hey!" "Hey!" "Get out of there!" "Get out of that car!" "What the hell are you doing?" "Get out of my car!" "I said get out of my car!" "I'm a pilot!" "I got to get to the airport!" "How am I going to get there now, huh?" "Love the fog on the glass." "Again, all created by Weta." "When you have a CG-rendered character, everything they touch, everything that they breathe onto," "actually therefore also needs to be computer generated." "It's that sort of marriage between the real world and their world, and so much detail involved." "You stay right there!" "No!" "WYATT:" "Just to reiterate, this is Andy again." "This is Andy straddling David, smacking him with his fists." "I think actually Andy's first day on set." "(SCREECHING)" "It's a tough scene in some ways because we wanted to obviously show the strength of Caesar, that animalistic nature that he falls back on when he wants to protect his own." "But also, you can't turn him into a monster." "He is our protagonist." "And that's the finger that was jabbing at Charles so..." "Long debates over whether that finger should come off or not." "I'm actually quite pleased we didn't in some ways because I think it would have perhaps turned it to a point where we would have turned off from Caesar." "It's that human realization right there that he has done wrong and needs to get back to the security of his family." "But it's too late." "It's okay." "It's okay." "You didn't mean it." "It's okay." "(SIRENS WAILING)" "WYATT:" "And it's sort of seeing that John Merrick moment in The Elephant Man that I was trying to echo in many ways here." "Just seeing those that he felt he belonged to now see him as a freak, as an outsider, as something threatening." "But he's still an innocent." "He still doesn't really understand what's happening to him." "And his trust is completely in his surrogate father, Will, as you can see in this moment here." "Bring him in when you're ready." "WYATT:" "Enter the great Brian Cox." "I think it's the coffee cup that does it for me in that moment." "Sets up exactly the kind of character we're gonna be dealing with." "It's gonna be okay." "Let's just see what it's like inside." "Okay?" "(GATE OPENING)" "Come on, Caesar." "Let's go." "WYATT:" "This hand gesture here." "Something that comes back in the film, that nature of trust." "It's okay." "WYATT:" "The cages that we're about to see in some ways, I suppose, represent the real prison." "What was quite interesting about designing this set was that we thought about the idea of creating what is seemingly a bucolic world or a world that is good for these apes, that represents who they are and where they should be," "but actually it's plastic, it's fake." "It isn't real." "The sunset he's about to run towards, he hits a wall." "It's that sort of Truman Show moment, I suppose." "So it's not all it's cracked up to be." "(GRUNTING NERVOUSLY)" "(DOOR LOCKS)" "And we debated as well about the clothing." "We thought we didn't want to make a movie" "Every Which Way But Loose in terms of turning Caesar into a comedy character." "We thought, he's gonna wear the old clothes that Will would have worn." "You're gonna stay here now." "No." "We're not going home right now." "(SOFTLY) It's okay." "WYATT:" "Those clothes represent humanity." "And as they're gradually stripped away both by the other apes and himself, they show his return to his own species." "You'll probably miss him more than he'll miss you." "WYATT:" "Brilliant scene, from a performance point of view, I think, with Andy and James here and Freida." "I'm coming back soon." "Okay?" "Just call ahead before you do." "DODGE:" "Hey, over here!" "Hey, I can get you out!" "Come on." "Over here." "Come on." "Hey." "Down here." "And it's always about the sense of betrayal." "Here he's being betrayed yet again, yet he's so trusting." "Yet he still doesn't get it." "(MIMICS CHATTERING)" "(LAUGHS)" "And I think that's what makes us really root for him." "It's what I wanted." "(ALL SHRIEKING)" "We want him to be okay because he's so..." "He's so believing." "He believes in all of our best instincts." "Yet now he's with his own kind, and it's important to represent them to him, as far as he's concerned, as savages." "And that'll soon change." "DODGE:" "It's a madhouse!" "WYATT:" "Again just the visual transitions, just keeping everything going." "I mean, we're now into Act Two and that sort of free-flowing nature visually that I was just always trying to find." "Right." "Here's what's gonna happen." "You're going to go back on your computer, you're gonna shift things around, and you're going to get me a date for my appeal this week." "You got it?" "I can't help you." "All right, then we have a problem." "Because I'm not moving until you do." "90 days, sir." "Be thankful you're talking about court dates." "You're lucky they didn't put that animal down." "WYATT:" "Now that lady there, Karin Konoval, is also the actress that plays Maurice." "I asked her to come back and play a human, really, because she's just a great actress." "So, for her to play a small role like that was a great opportunity for us." "But, yeah, she is Maurice." "WILL:" "My father's immune system continues to reject the 112 virus, rendering the gene therapy obsolete." "His health is deteriorating, and the disease is progressing rapidly." "I need a more aggressive virus strain." "A faster delivery method." "Because at this rate..." "(SIGHS)" "I can't lose them both." "WYATT:" "Probably would have shot this scene very differently in hindsight." "I was battling a lot of things, actually, on this day." "But I think they're too..." "The one thing I feel like I could have done more of is really bond Caroline and Will in terms of their relationship." "They're too distant from each other." "And that scene is sort of representative of that." "She should really have her arms around him and be trying to encourage him to come to bed and..." "But I think it also works to a certain extent, because this story is Caesar's story and it's Will's story and their relationship," "and I think we needed the clarity, actually, in some ways." "I mean, what's wonderful about so many of these actors playing these human roles is, they're all supporting one thing and that's the story." "And not all actors are happy to do that." "A lot of ego-free performances here." "You did what?" "You did what?" "WILL:" "He beat the disease." "Like we predicted." " Bring him in." " There's been a complication." "Well, does it work, or doesn't it?" "My father's disease eventually outran the cure." "For goodness sake." "His immune system produced antibodies that beat the viral component..." "WYATT:" "It's interesting, because I suppose you got..." "Right here, from a script point of view, you've got a divergence in the storylines." "And what we're asking of the audience here is to follow now two different trajectories." "Will's personal mission, which is to keep his father alive, but at the same time he needs to free Caesar, he needs to rescue Caesar." "Now, it's quite challenging to find a way to achieve that." "But also we've got to be following Caesar's story and that's really where we're headed." "Caesar's story, Caesar's journey." "You mean increased intelligence?" "WYATT:" "This is something that, it's gone off on a different tangent, the storyline here, but it's ultimately gonna find a way back into Caesar's story, and that was actually very interesting as to how to make that work," "and I feel like we've done pretty well." "Absolutely." "WYATT:" "So back to Caesar's story, and it's sort of like two different storylines running parallel to each other." "And I suppose visually as well as narratively, it was always a way of trying to find a way to complement each other both through the lighting and the tone and the action within each moment." "Go on." "Don't you know food when you see it?" "(SNICKERS)" "WYATT:" "It's Jamie Harris in the background, the great Jamie Harris playing Rodney." "Richard Harris' son." "(SNIGGERING)" "I'll show you something funny." "He'll learn who's boss soon enough." "WYATT:" "He does a wonderful job with a part that doesn't have a lot of dialogue." "He shows the innocent qualities of human nature, the things that Caesar relates to." "He feels empathy for these apes unlike his counterpart, Dodge." "Dodge is just an angry young guy." "He's an angry man." "Now this moment here, this is something that" "I think we developed this idea in pre-production." "And it was always, "How do we show without telling?"" "Caesar can't relate his experiences to the other convicts, to the other ape prisoners, and they're not going to be listening to him anyway." "So how do we show him yearning for what he's lost?" "And the idea of the window motif, the attic window through which he looked, was something that I thought was a great representative of that." "So for him to draw it on his cell window and just think back to those days and that place where he wants to get back to was pretty emotional, and I think it's quite successful." "FRANKLIN:" "I've counted 10 apes." "Correct?" "Yep." "FRANKLIN:" "Good." "All the way to the back." "Okay." "You guys are moving really quick on this." "What's the big rush?" "First day back, and you're still complaining." "WYATT:" "These apes don't want to get experimented upon, we wanted to make that clear." "They don't want to sign up whereas this guy does." "He's definitely a winning recruit, and you can see it in his face." "He's a character that's gonna go far in the mythology, I think." "Really interesting counterpart to Caesar." "He's the bad apple." "Yeah, this guy has seen the inside of a whole lot of labs." "He knows the drill." "(KNOCKING ON WINDOW)" "Thought I'd join you." "Watch our progress." "Get him prepped." "(FRANKLIN CLEARS THROAT)" "LAB ASSISTANT:" "Tighten your masks." "WYATT:" "This scene is so representative of what Weta can now achieve." "When you look at these close-ups, that one right there, look at that, quite amazing." "LAB ASSISTANT:" "Aerosol delivery in place." "WYATT:" "Chris who plays Koba, he's lying on that table giving exactly the same expression." "He just doesn't look like that." "Releasing the 113." "(BREATHING HEAVILY)" "(ALL SHOUTING)" "Franklin, get your mask on!" "(PANTING)" " Got it?" " Yeah." "STEVEN:" "Tighten the straps." "WILL:" "You okay?" "Yeah, okay." "Move it!" "Let's go!" "Get up and exercise, you lazy baboons!" "WYATT:" "This shot here actually is something I took from Gladiator." "That shot where he's coming up the tunnel into the Colosseum, sound of all of the crowd and the deafening roar." "(SNIFFS)" "(ROARING)" "(CHATTERING)" "Here's Rocket, Terry Notary." "There's Cornelia, Devyn Dalton." "(GRUNTS)" "Rocket here, he's the alpha of this bunch." "Doesn't know what this is." "Wants to wear it, can't figure out how, but doesn't like it." "All of that, that you hear right there, that's Terry." "There's no..." "What was great was, when we were sound designing with Chuck, we quickly realized we wanted to use the actors' voices for these chimps." "We wanted real emotion to come through." "We didn't want this sort of random bunch of real ape sounds." "I don't think the audience would have tuned in to that." "It would have become like white noise, I guess." "So, yeah, we had the actors actually perform not only the physical performance but also the audio one." "And then we pitch modulated just to give it more of a reality, I guess." "All of that breathing, that's all Andy." "(PANTING)" "Yeah, again, little bit of improv on the day." "We actually had some company that was going to send us a remote bionic arm" "that Koba was going to operate remotely." "They didn't come through in the end." "They didn't send it to us." "It was supposed to come from Switzerland." "So we had to come up very quickly with an idea of how's he gonna display his intelligence to Jacobs?" "And we just thought, "Okay, well let's..."" "The power of writing can be pretty powerful, and just that knowledge of who he is, that sort of says it all." "(CHUCKLES)" "WILL:" "Intelligence results are remarkable." "No adverse effects." "FRANKLIN:" "Apes have amazingly strong immune systems." "Yeah." "All right, keep an eye on it." "Okay. (SNEEZES)" "Sorry about that." "These guys are more resilient than I am." "Excuse me a sec." "(CLEARS THROAT)" "WYATT:" "I love this scene and what we did with this scene just by using these optician eye testing glasses just to sort of line up against an ape's eyes, there's something fundamentally sci-fi about it, which I thought was pretty cool." "Hurt bad?" "Here the big question was, do we want sign language?" "And we used it sparingly." "Circus Orangutan." "We didn't want to overdo it because..." "Yes, Maurice is an orangutan." "Yes, he's been trained in the circus." "So, he will have a certain level of intelligence and understanding, but we didn't want to make it too far-fetched." "Careful." "Human no like smart Ape." "There is that possibility that great apes can be taught to sign." "Koko the gorilla is a good example." "It's a controversial idea, but one that we ran with." "Right here, no need for sign." "Just everything about his body language says exactly what's happening to these apes." "These apes, they go somewhere and they don't come back." "Great little touch of Claude's there, just to put that wonderful, again fake, fake woodland mural on the wall." "Everything about this place represents the sort of simulacrum, I guess, of what these apes should be a part of." "And everything alludes to freedom and nature, but is in fact cold, hard-edged, steel bars and imprisonment." " Let go, man." " Hey!" "What's the problem here?" "I'm taking him out of here." "Right now." "WYATT:" "Great example of Brian's ability to take a role that's not very big and just make it into something that has wonderful little mannerisms and quirks, this little glance here." "Terrific." "He's a really subtle actor." "Hey." "No." "WYATT:" "And I think this scene here is really representative of what performance capture allows us now to do as filmmakers." "And that's for James and Freida just to play this scene out with Andy in front of them." "It's not Roger Rabbit." "You know, this is Andy right there in the cage." "And that eye contact, everything that you would never get if it was just tennis balls on sticks." "(CHATTERING ANGRILY)" "We sort of ran with the idea of the window, and we thought, "Okay, this window is gonna be a great motif" ""for where Caesar's headed."" "The second moment of betrayal, the moment he realizes Will is incapable of helping him." "He may want to, but he can't rely on humans anymore." "It's up to him." "And that transition in the eyes right there, that's important." "But, yeah, the wiping off of the window." "It's visual shorthand, I guess, for what's going on inside this chimpanzee's head." "Something that we missed because of some final cuts in the movie, but the bike chain, when he was going to investigate as a young little toddler chimp, he understood how to work that bike chain and fix it," "make the wheel turn." "And these chains in the ranch that release the windows, it connects everything to exemplify and identify" "this guy's cleverness and brilliance, I guess." "WOMAN 2:" "This is like your own private zoo." "MAN:" "More like a prison for hairy dudes." "(ALL LAUGHING)" "WOMAN 1:" "They watch TV?" "We call it enrichment." "This one's so cute!" "WYATT:" "This was a scene that we came up with." "I thought it would be great to pay homage to that great scene in One Flew Over the Cuckoo's Nest when the girls come over for the night." "DODGE:" "Yeah." "That big guy's called Maurice." "No fun." "Here, I'll show you something fun." "WYATT:" "We wanted it to obviously tie into our story and work on many levels, so it was a good opportunity to help Caesar set about making his transition and transformation and the rise through the ranks in this place, in this prison." "Hey, you're next!" "(DODGE AND MAN LAUGHING)" "Come on, let's go." "I spend too much time in here as it is." "Come on." "Check out this guy." "DODGE:" "Hey, that one is a pain in the ass." "Thinks he's special or something." "WYATT:" "This bit here." "He's not just an animal." "An animal would tear this guy's face off." "It's like he's thinking or something..." "WYATT:" "It's that stillness." "Using his strength, but nothing more." "He's not the one who attacked Hunsiker anymore." "He's much more restrained and controlled." "And there's a reason, which we're soon going to see." "All of these cages that you see, they all had to be removed for every shot we did." "Incredibly time-consuming." "A testament to our crew, how quick they worked." "But there was a technical reason for doing it, which is quite laborious to explain." "But suffice to say, one of the challenges with performance capture when you're putting a CG character behind bars literally, it's easier for the animators to do that when they don't have to work them into all the wire-mesh foreground shots." "Right here, this is his journey now." "This is the rise, the beginnings of the revolution." "And he doesn't look to escape at this point." "He's not going solo." "He's staying with his own kind because he wants to..." "He wants to harness his own kind." "First stop, Buck." "(EXCLAIMS)" "I loved this idea that we had here." "Buck's not a brute." "He's sensitive." "He's been stuck in this cage for years." "The idea of stepping onto a substance, a surface he's not familiar with scares him." "But then, this giving him his freedom, allowing him the run of the atrium," "(ROARING)" "it's creating his loyal and most trusted ally, one that's gonna stay with him all the way through the battle that's to come." "And then, it's the taking down of the alpha, Rocket." "Love this echo here." "That's the jerrican that Rocket used to attack Caesar with when he was beating him up and now he's turning the tables in every way." "All these scenes were really terrific to shoot and such good fun to kind of work with the actors because there's no dialogue." "It's telling the story visually." "It's like making a silent movie in many ways." "So everything had to come through the expression, through body language, through blocking, reveals." "Revealing Buck at that certain moment." "And then here, Rocket's realization that he doesn't have a choice." "It's the supplicating gesture." "This is the 113 Aerosol." "And I think what one needs to sort of understand, it came, I guess, secondary to our story in some ways, so perhaps it wasn't as fully realized as we could have done." "But the 112 virus was used initially to deliver the gene therapy, to deliver the drug to make Charles better, but it stopped working." "The virus stopped working, not the drug." "So, Will was therefore forced to develop a stronger virus." "One that was potentially more unstable." "And he thought it would be faster acting if he used aerosol." "And that's the 113th." "That's the fateful and the fatal virus." "And it's Charles' decision, obviously unaware of all of that, just not to go further anymore, not to push it." "He doesn't want the drug because he's ready." "And it's making Will aware of that, that it's about the two of them." "It's not about cure or perpetuating his life or anything." "It's about the moment of making the decision to go yourself." "I wanted to keep this scene very quiet." "(NEWSCASTERS CHATTERING ON TV)" "(SIGHS)" "Hey." "Some things aren't meant to be changed." "You need to accept that." "Hey!" "Hey!" "What's going on here?" "More 113 trials." "We're just prepping..." "WYATT:" "This transition here, I've always liked this." "Because things are beginning to really move towards our climax." "Fateful decisions, such as the one that Jacobs is making here, which is to up the production of the 113, multiple tests on these chimpanzees." "It's a virus." "We don't know the human-related effects." "The drug works, Will." "Tell him, Linda." "For starters, Koba scored a perfect 15 on the Lucas Tower." "Every test result verifies its effectiveness." " No more tests." " What are you..." "WYATT:" "Tried to sort of shoot this scene and some other scenes a little bit like All the President's Men, keep the camera moving, traveling through this space." "When Claude built this for us, it was a perfect opportunity just to open the film up." "A lot of this film takes place under roofs, behind closed doors." "It's not out in the world that we know." "So, I wanted to give it a sense of scale." "It's hard to do that when you're dealing with stage-bound scenes." "So, again, the camera work, I think, helped us here." "I could finish your career with one phone call." "I'll save you the trouble." "I quit." "We will proceed without you." "Look, you don't know what you're doing." "These tests need to be contained." "You have no idea if the 113 is stable, what kind of damage it can do to people." "Yes." "Well, that is why we test it on chimps." "Isn't it?" "(KNOCKING)" "Dr. Rodman, it's me, Franklin!" "I need to talk to you!" "WYATT:" "Love Tyler Labine." "He's got great range, this guy." "I mean, he's a natural-born comedian." "(COUGHING)" "(PANTING)" "Doc?" " Who the hell are you?" " (SNEEZES)" "(COUGHS)" "Get out of here!" "WYATT:" "It's a hard moment to pull off and not make it ridiculous, and I think we were on the edge." "But I think it works." "And a really nice transition then to a far more understated performance right here from Brian." "Well, I can't say I approve." "They're not people, you know." "You gonna let him go or not?" "Caesar?" "Hey, come on." "Come on, we're going home." "Home." "Come on, we're really going." "WYATT:" "This scene right here, all of the other apes watching trying to keep it so that we weren't aware of what Caesar's decision was going to be." "And then right there, that's an idea, a great idea that our president of production, Emma Watts, had, actually." "During post we shot that close-up additionally and it was..." "Well, he's got to see the leash." "If he sees the leash, he knows what's coming." "He's just gonna be another pet again." "I guess he likes it better here with his own kind." "WYATT:" "And the grabbing back of the leash with real glee." "There we go, yeah." "This scene that, I suppose, everyone's working against each other, dramatically." "And by that I mean emotionally, I suppose." "Caesar's emotions are being hidden from Will's." "Will's sense of betrayal is behind Caesar's back." "Maurice is watching from the distance." "And then all building into this moment of solidarity, the sound of these apes supporting him and unlike when he was first chucked into the ranch, the savages, now they're empathetic." "(GRUNTS)" "Caesar now needs to harness that and unite them." "And the first thing he needs to do is, he's broken Rocket, now it's all about rebuilding him." "And what better way to do that than cookies." "A lot of back and forth on this scene, whether it should remain in the movie." "I'm thrilled that it has." "It's a scene that will stand the test of time, I hope." "It's a silent scene." "It says everything about Caesar marshaling his army." "Something otherwise I don't think we'd really would have seen in the film." "So it's vital for that reason." "(APES CHATTERING)" "Gradual growing excitement of Rocket realizing that it's better to give than to take." "And he enjoys the popularity." "And then the hard cut to the alpha, the new alpha on the rock." "(GROANS)" "If you think about it, this is now probably..." "We're not over yet, but I would say we are a good five minutes into a sequence that has not had any dialogue." "It's just so unusual for a blockbuster and so unusual for this scale of movie." "It's why the storytelling, the story, the spine of this film, which is the arc of this rise of a leader, is so strong and so vital, I guess, and needs to be strong in order to hold the movie together," "because if you don't believe in this guy, we're scuppered." "DODGE:" "Damn it, Rodney!" "You leave the hose out in the atrium again?" "RODNEY:" "What?" "No!" "I always thought Dodge would be the sort of guy that would watch Dancing with the Stars." "Thought that was a nice little touch." "(INSECT BUZZING)" "Yeah, right here, what we were trying to do was just hear what we thought was Will's shallow breathing" "to then reveal the breathing of Caesar and not only in the moment hopefully just give it" "that element of unease, but also just to connect these two very different species together" "and how similar we can also be." "But, more importantly, I guess this is back to the fridge, the discovery of this new kind of delivery system which he hasn't seen before, but he quickly figures out it's aerosol." "(ALARM BLARING)" "(CAGE DOORS BUZZ)" "Come on!" "Let's go!" "WYATT:" "Here we go." "This is the morning after." "This is the Awakenings moment of the apes." "Them coming around and just feeling like there's something a little bit different." "That shot there, although I think the earlier one, was one of the first shots that we received from Weta five months into our post-production." "Up until that point we hadn't seen any of the apes fully rendered, and it made a lot of people very happy." "And the green eyes obviously being the indication that the drug is now a part of them." "REPORTER:" "Eight months after its launch, Earth's first manned space flight to Mars..." "RODNEY:" "I swear, Dodge, I'm telling the truth." "Yeah, well, if you didn't take my cookies then who the hell did?" " I don't know." " Hey!" "Will you two morons knock it off?" "I'm going home." "I get more peace in the goddamn ape house." "DODGE:" "Dad, I'm sorry." " Well done, Rodney." " RODNEY:" "I swear... (APES GRUNTING)" "WYATT:" "This scene was either gonna succeed wonderfully or fail dismally." "I was hoping and praying that the audience wouldn't find this laughable, but actually find this wonderfully unsettling," "and I think it's right here, that's Andy." "Andy's performance carried us through, as did Brian's." "Shot this on one of the hottest days in Vancouver." "Vancouver, summer last year, 2010." "One of our few location shoots actually." "Mr. Franklin?" "Hello?" "(GASPS)" "(CAGE DOORS BUZZ)" "WYATT:" "I don't know if you can notice here, but we were just trying to get them all to jump up onto their platforms all in a very uniform way, all looking at Dodge, which was pretty unsettling, I think." "And then seeing this one chimp remaining, Caesar." "Had to have Charlton Heston in this movie in some way, and I wanted to do that which wasn't too gimmicky, but just a subtle reference that didn't interfere with our story." "And I kind of thought Rodney is the sort of guy that would love a great old Charlton Heston movie." "What the hell do you think you're doing, huh?" "Get!" "Go on." "Get back in your cage." "I'm warning you." "Go on, get!" "That's it." "See?" "That's what you get!" "Now get back!" "What's wrong with you?" "Dumb monkey!" "(APES CLAMORING)" "Take your stinking paw off me, you damn dirty ape!" "No!" "No!" "WYATT:" "It's the truly iconic moment, I think, in this movie." "Hopefully, it puts the hairs on the back of your neck up." "But this is the Spartacus moment." "This is the beginning of the revolution." "(ROARING)" "And that sense of, "Are you with me or against me, Rocket?"" "And, obviously, to taste freedom for the first time and to be aware of it, as he now is, this is truly a great moment for him." "(SCREAMS)" "This is all part of our intention to humanize Caesar." "He is humane." "He is somebody who represents our best instincts." "And he's learnt that from us, a sense of compassion, the fact that Rodney is a harmless human, one that's actually made their lives better in the circumstances." "This guy, however..." "I swear I'm gonna skin each and every one of you!" "(PANTING)" "WYATT:" "Right here, talking with Andy when we shot this, we didn't want him to celebrate." "We didn't want him to relish the idea of killing a human." "We wanted him to just pause for a moment and realize what he's done, because the moment he kills another being, a human being, is the point of no return." "And now there's no going back." "It's game on." "The revolution is up and running." "(GRUNTING)" "Right now, you see some chimp feet." "Very late addition." "We were just trying to think," ""How are we going to convey the idea that he's been in this house?"" "(SIGHING)" "No one is answering." "WYATT:" "This is a helicopter shot in San Francisco." "Actually, bizarrely, 'cause I think a few people have questioned us as to how on earth are this many apes happen to be hanging out in the Bay Area of San Francisco." "And as far as I know, there's close to 3,000-plus chimpanzees, not to mention the other great apes in the United States, in laboratories." "I think there's many more in fact in some sanctuaries." "And I think there's up to, I think, 300,000 chimps in the world." "But there is a primate facility in San Bruno that houses close to 70 to 80 apes." "So, we were sticking as close to the truth as we possibly could." "And this is an uprising in microcosm." "It's not a global revolution." "It's Spartacus leading his few band of slaves hopefully to freedom." "And that's their intention." "It's not to take the battle to the humans at this point." "It's to make it to a place where they feel like they truly belong, and that's obviously intrinsic to Caesar's story." "What happened?" "(STAMMERING) He spoke." "What do you..." "What?" "RODNEY:" "Your ape." "He spoke." "(PANTING)" "WYATT:" "We needed to show these apes traveling down a suburban street with numbers, with strength, with speed." "And then we came up with this idea of using the falling leaves." "(CHATTER ON POLICE RADIO)" "COP:" "What in the hell?" "I don't believe this." "DODGE ON TV: ..." "I'm gonna skin each and every one of you!" "I need someone to coordinate with the SFPD." "Tell them we got a fatality." " What is it?" " I know where he's headed." "WYATT:" "This is John, our grip, on an ATV speeding towards the entrance to the Gen-Sys Laboratories with a whole army of apes in front of him." "That was not an easy shot to pull off." "SECURITY GUARD:" "Let's go." "(APES SHRIEKING)" "WYATT:" "And now these apes are united." "They're marshaled." "They're an army." "And it's the freeing of the slaves moment, freeing their brothers from bondage and imprisonment." "And, inevitably, the freeing of Koba." "(CAR LOCK CHIRPS)" "(CELL PHONE RINGING)" " Jacobs." " Mr. Jacobs, it's Linda from Will's team." "Something horrible has happened." "Franklin is dead, from a viral infection." "The hell are you talking about?" "He was exposed to the 113." "It does something to people that it doesn't do to apes." "WYATT:" "I had this thought." "I thought," ""Well, okay, what is going to be the insignia of the revolution?" ""What will be on their flag in future battles?"" "And I thought, "It's gotta be the attic window."" "It's that emblem." "So we graffitti-ed it onto that road sign." "(STEVEN YELLING)" "Here's a good example, I suppose, of the fact that these apes are not looking to kill, they're looking to escape." "And we wanted to get them out of the lab as quickly as possible." "Steven Jacobs!" "This is my facility." "We've had a breach." "We need to get up in the air and track them down and destroy them!" "Okay?" "Wait a sec!" "Wait a second." "Look." "You've got to trust me on this!" "Okay?" "(PEOPLE CHATTERING INDISTINCTLY)" "(APES CHATTERING)" "FEMALE GUIDE:" "You guys might want to get your cameras ready." "Normally these guys are quite shy." "(ALL SCREAMING)" "They just tore through a park on the north side." " They're being led!" " Got to hold the button!" " What?" " The button!" "They're being led!" "These apes are smarter than you think!" "We've got to kill the leader!" "WYATT:" "Really good scale shots." "Really fun to get out on the streets and shoot on location." "And I certainly wanna do that, if we do this again, more and more." "(SHRIEKING)" "(PEOPLE SHOUTING)" "The apes are looking to get through places, to get out of this city." "They're not looking to take the humans on." "Many of these humans aren't looking to take them on either, but these guys are." "And I think it's really satisfying to see after all of this time of them being incarcerated and exploited" "and mistreated, this is payback." "I had two really terrific second units working with me, led by Mark Vargo and Brian Smrz, who were intrinsic to a lot of these action sequences." "They did a terrific job." "Our iconic San Francisco moment." "And that's where they are headed." "It's the bridge to freedom." "(HORNS HONKING)" "Probably the biggest motion capture volume, or sets, we can now safely call it, 'cause we'd taken it out of the volume onto the road." "This is the biggest." "I think it's a world record in terms of what was going on here." "This is a 400-foot set of the Golden Gate Bridge full of cars, full of stunts, 100-plus apes rampaging through." "Quite a challenge." "They're on the bridge." "They're trying to get to the redwoods." "SFPD Police One, this is Air Ops." "Seal off the south end." "What's the status of the mounted units?" "OFFICER ON RADIO:" "Good to go, sir." "All right." "As soon as they reach you..." "WYATT:" "If you're gonna tell the story of a species that's become evolved, become more intelligent, you wanna see them use their brains, and there's a real strategy to what they do here, because he quickly realized they're being entrapped." "North side, road blocks set up." "South side, the horses are coming at them." "So what are they gonna do next?" "And it's Caesar who gives the orders, obviously, and he's sort of using the various strength of the three groups." "The orangutans and their ability to travel through what would be normally trees, but in this case metal trees, the girders of the bridge, the under carriage of the bridge." "Chimpanzees can climb high and the gorillas can use their strength." "Turn that thing around." "Keep moving." "Get off this bridge, sir." " No, you don't understand." " You don't understand!" "Get off this bridge now!" "This is an evacuation." "Get out!" " All civilians clear." " MAN ON RADIO:" "Please confirm." "Get these people off the bridge!" "Wait!" "WYATT:" "And I always wanted to bring in beast harnessing beast in terms of humans on horseback at this point, who were looking to hunt down the animals but something we couldn't have done realistically in the opening scene," "even though that would've echoed perhaps better the original film." "But African poachers don't operate on horseback." "I think this was a far better place for it." "Stand by to send in mounted units." "They're gonna slaughter them." " I'm going to get Caesar." " Hey." "Hey, hey." "Listen." "You be careful." "Hey!" "Get down from there." "You're not allowed up there." "But I have to get to my car!" "Let go of me!" "I've got to get to my car." "It's important!" "Hey!" "OFFICER:" "Push them north!" "Get out of the way!" "WYATT:" "There was a lot of debate about how many apes we hit." "Interestingly, people are more prepared to see humans attacked than animals." "And we wanted to show just enough in order to understand that this is potentially a massacre, as Will says, but Caesar's able to turn the tables." "That's a shot that took a long time to get right and set up." "That's a real horse, obviously, and to have a horse be able to stop very quickly and rise up and obviously, we couldn't have Richard, playing Buck, impact upon the horse for safety reasons and for the sake of the horse," "so we had to do that without anybody there." "It's one of the few moments where there is no ape in the shot." "And then we had to put him in afterwards." "STEVEN:" "Quick or you'll lose them in the fog!" "Do it!" "(SCREAMING)" "WYATT:" "That's Wolfy, sadly." "Wolfy was one of the ones that if you look back to when they wake up the morning after being given the drug, he's one of the guys in the cage next to Rocket." "So poor old Wolfy didn't make it." "But we were trying to track a lot of the supporting apes along the way, so that if you ever looked back and watch the film, you'll see some apes that you recognize." "He was also the guy who took out the CCTV camera when they attacked the lab." "(APES GRUNTING)" "I'm afraid to say this is paying homage to Zulu, the moment where you hear the sound of the enemy through the fog or out of sight, and it's much more unsettling than perhaps seeing them." "Safeties off!" "(RIFLES COCKING)" "WYATT:" "And here's the gorillas, led by Buck, using their strength, and it's that Trojan horse idea." "We wanted to give the sense that these apes are really using their brains to throw the humans off." "And the side of a 10-ton truck coming towards you," "I don't think any of these guys would consider apes as their enemy." "(HORSE WHINNYING)" "I wanted to make this movie, I guess, because when I saw the first film and I saw that ape on horseback, it gave me nightmares for weeks." "So I wanted to find a way to work into this story to see exactly that in this film." "And I think Caesar riding that police horse giving the order for the pincer moment to start and the attack to begin, was the perfect place to do that." "(SHRIEKING)" "OFFICER 1:" "Get back!" "Get back!" "Everybody, pull back!" "(SCREAMING)" "(ROARS)" "WYATT:" "It's quite a scene in which, again, very little dialogue trying to tell everything visually." "I've learnt so much making this film all for the good, I think, in terms of cinema as a visual medium." "So why not use it?" "We made a choice here, right here, just to take the score out, and I think it works much better without the score at this point." "Just gives us that moment of reality, that moment of threat that this helicopter poses." "Just using the chains with which they've been manacled for years and years against their enemy." "And this is the key moment." "It's the reason why I think they're gonna build a statue to Buck in years to come, 'cause he's their savior." "He's the ape that changes history." "And we thought long and hard about whether we wanted there to be some sort of communication here." "I decided against it." "I felt like it would've been too much." "And it's just the very sense of Buck being cradled by Caesar and the understanding that he did this for Caesar because of being given his freedom." "That, I think, is the real emotions at the moment." "STEVEN:" "Help me." "Help me." "(GROWLING)" "WYATT:" "Coming up here there were many discussions." "Is it Caesar that ends Jacobs?" "And I'm so glad that we decided to go this way 'cause I feel like Caesar's not the monster." "It's this image here, the curling of his hand, the pulling away of his hand, no longer is he gonna take the hand of a human." "Will aside, obviously." "But just that nod to the one that will relish the moment." "And, obviously, Jacobs and Koba have history." "Caesar and Jacobs don't." "And I'm thrilled that we shot it this way." "It's quite a way for your villain to go out." "No!" "No!" "Stupid monkey!" "No!" "No!" "WYATT:" "And I'm really excited about what's to come in terms of the relationship between Koba and Caesar." "'Cause they're two such different individuals, and they're gonna perhaps need each other." "There's gonna be some sort of uneasy truce in the future that is necessary, I guess, for the conflict that's to come." "Caesar!" "Caesar?" "(SNARLING)" "(GRUNTS)" "WYATT:" "Yeah, this scene is all about one moment, and it's this one right here." "It's the giving of the hand, the offering of the hand, the same gesture that Will did many times to the younger Caesar, the more innocent Caesar." "So this time the roles are reversed." "Caesar." "I'm sorry." "WYATT:" "It's sort of wonderful in many ways, 'cause the father-son relationship, it's still there." "But they're also looking at each other from two very different points of view." "One represents humanity and one represents the rise of the apes and that future." "And home is so much a part of this." ""Come home." "I'll protect you."" "And he knows that's not the case." "He knows home is not where Will is." "Caesar is home." "WYATT:" "And we felt like we'd earned that." "We felt, "Let's not gild the lily," ""and have these apes talk to an unreasonable extent."" "We felt like just giving Will the opportunity to see that his son as well as his creation had that ability." "And the look of recognition on Will's face when he hears those words, both from the point of view of what Caesar says, but also the fact that he said it." "That I felt was really key to this ending in this story." "And there's the rise of the apes." "And this is the same piece of music, the same score as when he climbed the tree before." "It's an uplifting one." "It's where we wanted to go out." "We didn't want to try and echo the original film." "We didn't want to set up any sense of doom or dread." "We wanted this to be about the apes and who they were." "And so the fact that he's able to ascend to the top of the tree that represented freedom to him is kind of what it's all about." "So it was a great way to end the movie especially with his army behind him." "But, of course, there is more to come." "And we definitely needed to just lay the groundwork for how are we gonna level the playing field for the next part of the story, which is the real conflict between humans and apes on a far bigger scale." "Where we start that story remains to be seen, but my guess is it'll be a generation after." "In human years, that's eight years for a chimpanzee or any ape." "Actually, I think most apes reach adulthood by the age of eight." "So, we're setting up, perhaps why humanity is gonna be vulnerable enough for this ever-growing army of intelligent apes and their offspring to be able to take us on." "And our friend Mr. Hunsiker is the reason." "It was a really terrific idea to incorporate the spread of the virus through the credit sequence." "That's in large part down to Picture House, who did our credits." "So, yeah, huge, huge amount of fun making this movie, huge challenges, and hopefully we'll be doing it again." "But, yeah, thanks so much for watching and thank you for giving us this opportunity." "Hope to talk to you again." "English" " US" " SDH" " Commentary" "I'm Amanda Silver." "I'm the writer/producer of Rise of the Planet of the Apes." "And I'm Rick Jaffa, writer/producer of Rise of the Planet of the Apes." "SILVER:" "We are really happy to be here." "So, I have to start by saying that Rick came up with this idea in 2006, and he was looking for our next feature idea and he had this kind of file he was keeping of articles that might interest him." "He'd cut out a couple of articles about chimps raised in homes, as if they were human children." "And very often things would go wrong because these chimps would grow into powerful animals, and they were not meant to be raised in human habitats." "And so they'd end up in these horrible facilities, heartbroken," " or their owners heartbroken or hurt." " JAFFA:" "Oh, yeah." "Tragic endings." "SILVER:" "Tragic endings." "So a lightbulb went off, and he realized he was looking at Planet of the Apes." "He came home and he said to me," ""I think I figured out a way to reboot the franchise of Planet of the Apes."" "And I kind of forced a smile, like, "How the hell are you gonna do that?"" "And then he started talking about this baby chimpanzee raised in a home, and the second he started talking about it," "I saw where he was going and we started thinking about this chimpanzee, and Caesar was born in those moments fairly quickly." "I have to say, we both fell in love with him, and he became this fully fleshed-out character in our minds, even though he was a chimpanzee." "We always saw him as this character, a sentient being rather than a chimpanzee." "And I think the fact that this project came from that is one of the reasons that we sold the idea to Fox, which we did." "We went over to Peter Kang, who we had worked with before and liked very much, and we pitched the idea to him, just a very quick, 15-minute pitch, and that was the beginning." "But Caesar has always been the heart of this movie, his adventures and the obstacles in his path, his heartbreak, and how he grows up." "JAFFA:" "Well, and the science that..." "We married it to the science quickly." "We knew a lot about genetic engineering and so forth from other projects, and doing a lot of reading and so forth, that those two aspects came together quickly." "(SCREAMING)" "That first scene, you know, we originally had designed it so there were two chimps you got to know," "Bright Eyes, who you're looking at now..." "SILVER:" "Caesar's mother." "JAFFA: ..." "Caesar's mother, and named for..." "Bright Eyes, the nickname, was given to Charlton Heston by Zira in the original Planet of the Apes." "But also his father, Alpha, who had a birthmark on his shoulder, which Caesar, you will find, has one as well, and the idea there was..." "And he fights back against the poacher." "SILVER:" "Right, he leads a little rebellion." "JAFFA:" "He tries to lead a rebellion, and it doesn't work and he is killed." "But you see this birthmark on his shoulder, and then later on when Caesar's born, you realize he is the son of a great warrior." "SILVER:" "And our intent was not only to foreshadow the final battle, which obviously has a different outcome in this movie, but also to create this tension for the audience, this expectation that Caesar would grow into a great leader also." "He bears the mark, and he's..." "JAFFA:" "Planting a bomb under the table." "SILVER:" "But, as it turned out, there just wasn't room for that complicated an opening, and it slowed us down at the beginning, and Rupert found a better way..." "JAFFA:" "Shorthand way to do it, and it worked out." "It worked out fine." "We're ready, Steven." "All I need is your approval for human trials." "For this, you're going to need the board's approval." "There's a lot of money riding on this, Will." "You only get one shot." "One shot is all I need." "(SIGHING)" "All right." "But I'll need to see" " all the research." " You got it." " And, Will..." " Yeah?" "Keep your personal emotions..." "SILVER:" "The other thing that I want to bring up is Rupert goes in on Bright Eyes' eye, and then pulls out on her eye when she's in the lab." "That motif of eyes he sets up right from the start, and we had always had that in the script, too, and loved the idea of playing with point of view, and that would be represented or manifested in the eye." "And then, of course, the color green, which becomes the..." "JAFFA:" "Physicalization of the idea later for James, knowing that the science is actually working and the intelligence has been passed on to Caesar." "SILVER:" "And also, of course, at the beginning of the third act, when Caesar builds his army, those chimps have those green eyes." "JAFFA:" "So we plant that, and then pay that off." "But the point of view shifts." "I mean, it's very much Will's movie." "At one point, it really does shift points of view to share it with Caesar." "(HISSING)" "Hey!" "Hey!" "She is going to break my hand!" "Let go." "Bright Eyes, let go!" "SILVER:" "This sequence was tough to pull off." "They did a great job of it because you're really balancing it with some scientific exposition." "The challenge was to keep it building and moving correctly." "We initially wrote too much science." "We had done a lot of research..." "JAFFA:" "A lot of research, and we wanted to have it all in there." "SILVER:" "Fell into that screenwriter's trap of showing off." "Maybe not showing off, but feeling like more was necessary than was necessary." "And we finally, through a lot of trial and error, got to the bare bones." "JAFFA:" "Yeah." "And the audience doesn't ultimately really care as long as it makes sense, I think." "With Caesar planted in that little blanket underneath Bright Eyes." "SILVER:" "Yeah, the other thing that Rupert did here, which we really struggled with, is how to get Bright Eyes out of her cage and running away from her baby." "Which we needed her to do." "And he staged it in such a way, with the tranq gun..." "JAFFA:" "She tries to get back in when she sees the tranq gun." "SILVER:" "And he used the fizzy water, which research had shown that chimps love." "There have been absolutely no side effects associated with 112." "With one exception." "For some reason, the chimps' irises exhibit flecks of green." "Actually, we first noticed it in chimp nine." "Hence her nickname, Bright Eyes." "You will see when we bring her in." "(WOMAN SCREAMS)" "MAN:" "Watch out!" "In theory, this therapy can be used to treat a wide range of brain disorders." "SILVER:" "And the other thing that..." "Rupert may have spoken about this, but the buy-in that the CGI chimps are real chimps begins really with Bright Eyes here." "The transition from the wild to chimps in our cold, scientific world." "And, of course, this is always a heartbreaking moment when they kill Bright Eyes." "And the challenge here is also how to keep the story moving." "Of course, we're right at the beginning of the story, so you quickly have to get to the baby." "Although I think there's just a couple of scenes, but as fast as possible we get to the baby." "Mr. Jacobs?" "Mr. Jacobs, I am begging you." "I am begging you not to do this." "Look, it would cost a small fortune to run lab work-ups on all of those chimps only to tell me what I already know." "JAFFA:" "Franklin, we always liked his character a lot." "Very ironic character in that he's very passionate, or compassionate, when it comes to the chimps, and yet he still does work at a lab." "But I think he rationalizes working at the lab because he's the one person that cares about them." "Of course, then he not only has to put them down, but then later on, you see that he's the first person who gets the virus." "SILVER:" "Franklin has always been a very important character, and he used to appear later on in the movie as well, as a figure to confront Caesar." "JAFFA:" "And warn Will." "Parade all the data you want, you will never convince anyone to invest another dime." "(CAR LOCK CHIRPS)" "This drug has the potential to save lives." "To bankrupt this company, more like." "I swear, you know everything about the human brain except the way it works." "(SIGHING)" "Go back to the drawing board on the 112." "Start again in molecular development." "Find a way to get there before someone else does." "And clean up this mess." "SILVER:" "There's always been a version of this scene, but it's changed over the years depending on how Will and his scientific experiments are laid low." "JAFFA:" "We got a lot of moments where people are pushing buttons and codes to get into things, and it's paid off in the facility, and that came from our research on chimpanzees with..." "How great they are with memorizing codes and sequences of numbers." "But Caesar will be great at it because of his heightened intelligence." "That pays off at the ranch later." "So that's why..." "She wasn't being aggressive, she was just being protective?" "She thought we were going to hurt her baby." "SILVER:" "And, of course, this is a classic mythological storytelling device, the baby." "It's found, it has no place to go, and the person chosen to raise the baby..." "JAFFA:" "Rejects..." "SILVER:" "We didn't begin here, but this is obviously a classic Moses story." "JAFFA:" "Yeah, it's a Moses story." "SILVER:" "And, of course, the baby's gonna change not only Will, but he's gonna change the world." "This isn't my responsibility." "This is company property." "Okay." "I'm going to tell you what, Doc." "Jacobs made me put down the other 12." "I'm done." "Be my guest." "JAFFA:" "We also hit it over the head, but this idea that" "Will says, "I can't take care of a monkey."" "And, of course, Franklin says, "Well, he's not a monkey, he's an ape,"" "which reflects really a lot of the ignorance that people have about the difference between monkeys and chimps and apes." "SILVER:" "We were kind of ignorant." "JAFFA:" "We were, too, yeah." "We learned a lot in the course of the research of this, once the idea settled in." "We did learn a lot through that." "We use the word "monkey" in the script as much as we can as a real derogatory term." "SILVER:" "We used to have a fun, funny scene of Will at Walmart" " buying diapers." " JAFFA:" "Shopping for those diapers." "Right." "SILVER:" "And he's got the baby in the blanket, and someone says, "Congratulations."" "JAFFA:" "They can't see it's a chimp, and they congratulate him on his baby and everything." "SILVER:" "There's a lot that there was just no room for." "JAFFA:" "Yeah, exactly." "Hey, Dad." "SILVER:" "The challenge through all this part of the script was always to give these characters and these relationships" "time to develop, time for the audience to get to know these people and to care about them, while rushing towards..." "JAFFA:" "Well, just moving the story along." "SILVER:" "Yeah." "Exactly." "It felt rushed in our mind, but we tried not to let it appear rushed." "But to move the story down so that Caesar could grow up in this house and we could fall in love with him as a family." "JAFFA:" "There is the birthmark plant." "The thing about the birthmark, too, is that we really..." "The original concept was, like Amanda said before, to have that..." "It's like a mark of a king." "I mean, that's what Alpha, his father, who is the one who actually fights back against the poachers." "But what worked out really well is that it ended up becoming a way to tell Caesar from the other apes, which is something we really hadn't thought about so much in the script." "We described the chimps and the apes differently, to the degree that we could, and it was crazy, then, for us to actually see that come to life with Weta." "But it was interesting to find that, that birthmark was a way to just tell who he was from the other guys." "SILVER:" "I always loved this scene." "This scene was in every draft, way back from the beginning." "JAFFA:" "Yeah." "He always got a cough or he had the croup." "SILVER:" "The bonding, the father-son bonding." "JAFFA:" "And, of course, this has happened with our kids, where they'd get the croup in the middle of the night, and you go wandering in there, and you turn on the steam and sit there with them." "It's a very bonding thing." "You've got this little helpless thing that you're holding, and they're sick, and you're really trying to protect them and nurse them." "And so, that was the original thought behind having him start to cough in the middle of the night." "And Will, who's been kind of shut down and shut off from it, in denial about it, really falls in love with him." "Or it's that first step." "Will, look at this." "SILVER:" "This scene is a hard one because you're walking the line between Will having fallen in love with the baby, or keeping him because of the science." "And, in the end, we found that both together worked well." "At first, we thought we had to choose one or the other." "JAFFA:" "Yeah." "And here we go." "He sees the eyes." "WILL:" "Right away, Caesar displayed signs of heightened intelligence." "JAFFA:" "We had to really figure out ways to move the story along and tell things in a shorthand." "By the way, we're planting the cookies right there." "Um..." "But this was a good way to show that he was potty trained, (CHUCKLES) he wears pants, the house is his kingdom, as it were, and totally comfortable." "He's just a part of the family." "This is just everyday life." "SILVER:" "But how to show that without telling it." "JAFFA:" "Without telling it." "Yeah, exactly." "SILVER:" "Had to do it shorthand." "And, of course, we have..." "Because chimpanzees take seven to eight years before they hit puberty, we had to find a graceful way to pass that time." "JAFFA:" "We should talk about the window, too." "When we first went in to Fox to pitch this thing, we started off really with just the imagery" " of a swing set and a backyard." " SILVER:" "I love that swing." "JAFFA:" "And it was from the point of view of whoever was sitting in the swing." "And so, as the swing would go up, whoever was sitting in it can see into the yard next door, and kids were playing." "It would go back down, it would block the view of the kids, and then it would swing back up and you could see the kids." "And what we were trying to do is get the idea of..." "I'm sorry." "And then you reveal that it's a chimpanzee." "And so, we were trying to get across the idea that there's a bit of a Pinocchio thing happening, where you've got a chimp who wants just to be a real boy." "And over time that just was developed out of the script, but was replaced with the window, which worked really, really well." "And then Rupert came with this great idea later of doing the window in a cell at the ranch, or at the facility." "SILVER:" "But the Pinocchio thing is still in there, don't you think?" " To some extent." " JAFFA:" "Yeah, absolutely." "Completely." "He's watching the kids outside." "He wants to be with them." "Anyway, this is the big scene to motivate Will to go and steal the lab..." "Go to the lab and steal the 112 and give it to his dad." "And again, pushing the story, pushing the story." "It's like we're really getting as much in as we can, dramatic turns." "We've got Caesar looking out the window, establishing the kids next door." "He wants to be just like them." "And then, in the very next instant," "Charles goes off the rails, and the disease has progressed, and Will makes the decision to try to save his father." "SILVER:" "We had drafts that we loved where Caesar doesn't end up being taken away from the family and put at the primate facility until page 50 or 60, so that we've got a lot more at home." "And, um, it just wasn't meant to be." "JAFFA:" "I mean, for writers, we were in love with those scenes, but the studio, and rightfully so, kept pushing us to condense, condense and move the story along, and in the end, they were right." "SILVER:" "This scene used to be much more of a thriller scene because he didn't see Caesar watching." "JAFFA:" "Yeah, it's just kind of an interesting thing." "It plays really, really well, and I think it works into the dynamic that everyone wanted and that Rupert really shot well here." "SILVER:" "Of the bonding, you mean." "JAFFA:" "Of the bonding." "Exactly." "But it could be..." "If he's sitting there watching what he's doing, then..." "SILVER:" "It was much more construed as a thriller beat." "Dad?" "JAFFA:" "Of course, this, again, is a way to show and not tell." "You know, instead of having a scene where it's more or less dramatized and talked about that his drug worked on his dad..." "We'd shown him not being able to play the piano." "He's a piano teacher and lover of music, and now he takes the drug and suddenly he can play the piano again, so the drug worked." "Again at the window, and moving the story." "Moving the story along." "(GRUNTING EXCITEDLY)" "I'll need to keep track of what I take from the lab." "Although, I don't foresee you needing more than one treatment a month." " Something amazing has happened." " Yeah." "I'll need a blood test, and a scan and the dosage." " You'll have to be carefully monitored." " Will..." "Now if I can sneak some..." " Will!" " Yeah?" "I'm not sick anymore." "It was nothing, Dad." "Caesar." "Where's Caesar?" "I want to see him." "Caesar?" "JAFFA:" "I love that attic, by the way." "SILVER:" "I have to stop here and say that Claude Paré, well, I mean, with Rupert, designed such beautiful sets." "JAFFA:" "Incredible." "SILVER:" "That house is just exquisite." "JAFFA:" "When we were up on the set, we wanted to just move into it." ""Do we have to go back to the hotel?" "Can't we just stay here?"" "Get out of here!" "JAFFA:" "The Hunsiker introduction." "Enough!" "The hell is the matter with you?" "If I see that animal anywhere near my house or my kids again..." "He's not dangerous." " It won't happen again." " Damn right, it won't." "WILL:" "Come on, Dad." "He just wanted to play." "JAFFA:" "Every one of these names, by the way, are based on characters from previous Planet of the Apes movies." "Most of which were in the original." "But if they're not exactly the same, they're close enough, and so forth." "Everyone but the neighbor, Hunsiker, who ends up, of course, spreading the virus to everyone in the world." "(CHIMPS SCREECHING)" "SILVER:" "Now this character, Caroline, used to be a character we introduced at the lab." "She used to work with Will at the lab with the primates, and when they put the primates down, she ends up here." "She was a great way to show how much Will has changed." "A barometer to show how much this character Will has changed since he's brought Caesar home." "Her amazement at what a changed man he is." "JAFFA:" "Just developed out of the script and worked fine." "The other thing, too, in this scene is that we actually had subtitles here for when Caesar is actually saying things right there." "Instead of, you know, he wanted rocky road..." "Right there, he's saying gummy worms." "I mean, he's got very specific things he wants with his ice cream." "SILVER:" "And the question was always, "Is he telling Will to ask her out?" ""Or is he asking for his ice cream, and Will is using him to ask her out?"" "We debated that back and forth, but I think the way that" " they ended up going works great." " JAFFA:" "It works out." "People laugh anyway." "So, it's fine." "Good to see you again, Caroline." "You coming, Caesar?" "SILVER:" "This is the scene where Caroline, of course, delivers the warning and creates a tension for the audience who's," "I think, up until this point, they're just in love with Caesar, and the idea that he would grow into a powerful animal or dangerous animal is being introduced here, and putting a bomb under the table, that tension." "JAFFA:" "It's so much smarter to have it come from Caroline because, like we say, we had it with Franklin for many, many, many drafts, here's the warning, but this just incorporates her into the screenplay," "into the movie so much better." "And then we really didn't know what to do with Franklin." "It was like, "Wouldn't he have gotten fired?" ""Wouldn't he have moved on, and so forth, from his job?"" "So, this was actually much, much better." "SILVER:" "I love James in this scene." "He's so sweet with Caesar." "WILL:" "The redwoods." "It's paradise." "JAFFA:" "The geography was always a bit of a mess for many, many drafts because we always thought that the ranch facility would be north of San Francisco." "SILVER:" "Oh, yeah." "That was a problem." "JAFFA:" "So, at one point, we just threw out all the geography and started over again." "This is right as Rupert was coming on." "And we moved the..." "After all those drafts that we'd done, we moved the ape facility where he goes into San Francisco, and it opened it up to be able to cross the bridge and go into the woods." "Okay." " What is this?" " What's he doing?" "CAROLINE:" "I don't believe that." "SILVER:" "So this supplicating gesture, our son came up with, our son Joe." "JAFFA:" "It was crazy." "Joe and I were in Boston..." "Our son Joe." "We were in Boston on a trip, and we just happened to see that Jane Goodall had an exhibit at one of the museums down the street from the hotel." "So we rushed over there, and we were just in the early parts of the script." "So he and I spent the afternoon going through this Jane Goodall exhibit, and that's when we first learned about the supplicating gesture." "And so Joe said, "Wouldn't it be a great way to spread the virus between people?"" "And so we played around with that for a long time, and, of course, the supplicating gesture has evolved into different meanings and different symbols for the script." "But he was the one that came up with the idea of using it." "And, of course, it pays off huge in the facility in a little bit." "SILVER:" "We always had the trees." "Trees were always part of the imagery of the movie." "A symbol of freedom." "JAFFA:" "Somewhere where he belongs." "SILVER:" "So, there was always a version of this scene in the movie." "And then we realized it was a great way to help us tell time in terms of Caesar growing." "But I have to say that the way Rupert shot it," " and then Weta came on..." " JAFFA:" "This is beautiful." "SILVER:" "I get chills for the way that they made this work." "JAFFA:" "It's really moving, yeah." "They worked really, really hard on making it clearer and clearer, these little jumps in his progression." "And I think it works really well." "SILVER:" "And his clothes." "JAFFA:" "Well, we'd spent so much time talking about his clothes." "He always had clothes." "But then the issue, when it came into production, was like, "What are the clothes gonna be exactly?"" "And originally I thought he should have khaki pants, because when they get tattered and torn..." "SILVER:" "I see that look." " I'm sorry, I interrupted you." " JAFFA:" "No, go ahead." "That's cool." "SILVER:" "You see that look there?" "That's the teenage Caesar." "That's the angst." "When we were writing this stuff, we kept listening to The Who and teenage..." "JAFFA:" "Well, that's a really good point." "SILVER:" "What were you gonna say?" "JAFFA:" "Well, no." "We really wanted every teenager to see the movie to relate to him, because teenagers wonder who they are anyway." "I mean, they get to a place where they..." "I'm talking about human teenagers, become more aggressive." "Hormones are bouncing all over the place." "They're wondering who they are and where do they fit in, and so forth." "And that's what this whole sequence is really all about." "It's a great scary moment." "But, at any rate, this whole part of the script was constructed to get the point across that" " he's alienated." " SILVER:" "He's alienated." "JAFFA:" "He's really wondering who he is, where does he fit in, and it all comes together in this scene." "SILVER:" "James is also great in this scene." "You can tell he loves that they love each other, but Caesar's tortured." "JAFFA:" "And by the way, this little bit here Andy came up with on the set." "SILVER:" "When we saw that..." "JAFFA:" "Oh, my God." "We were so thrilled." "SILVER:" "Where he won't get in the back." "JAFFA:" "Andy Serkis, who plays Caesar, who is just a brilliant actor and a wonderful, wonderful guy." "But he came up with this moment where he wouldn't..." "The whole way that movement was, from the back to the seat." "I think the way we had scripted, he just automatically gets in the back seat." "SILVER:" "Right." "And then they came up with..." "JAFFA:" "And I think it was Andy who said, "No, no, no." "Let's do it this way."" "I'm sure Rupert had a lot to do with that, too." "But the moment it happened on the set, it was magical." "Like, we were all watching the monitor and got really, really excited." "Caesar, this is where I work." "SILVER:" "Now, this scene was always really tough to write because there's a lot of exposition and there are lots of different versions of this scene." "There was always a version of it in the script." "But it used to be Will's wife, who in early drafts was there instead of the grandfather, would take Caesar here behind Will's back." "And once we got Will and Caroline in the car with Caesar, we have two characters with revelations, discoveries, and I think that Rupert handled it beautifully." "JAFFA:" "It's really so much more efficient." "But, yeah, I guess we should say that for three or four, maybe even six drafts, Will was married," "and his wife played the role, if you will, of Charles, the father." "SILVER:" "But she couldn't have a baby and she was closer to Caesar, which pushed Will to be less close to Caesar, in a way." "He was the removed father." "This version allowed more intimacy, and the theme of fathers and sons really..." "JAFFA:" "So much better, and the other big problem we had, which was..." "She was great for us for the first half of the movie, and in the second half..." "SILVER:" "The mother, you mean." "JAFFA:" "The mother, yeah." "Will's wife was great." "And as a character to have as a part of the screenplay and a tool, and then once we get to page 60, it's like suddenly we didn't know what to do with her. (LAUGHS)" "So anyway, the creation of Charles really, really helped us." "Here is his IQ from last year." "Since then, it's doubled." "This is wrong, Will." "My father was gone." "This drug brought him back." "SILVER:" "This is another really tough scene." "This is 72A." "JAFFA:" "God, 72A!" "SILVER:" "I'll never forget it because we worked on it so long." "Of course, this is one of those scenes where we're telling instead of showing." "They did a great job with it." "The editors and Freida and James." "JAFFA:" "A lot of information you had to get across." "SILVER:" "But, of course, the other problem is that he's telling her things that the audience already knows, which she's learning for the first time, and so how do we keep that interesting?" "JAFFA:" "Anyway, Caesar really wondering who he is, the birthmark." "SILVER:" "And Andy just gave an amazing performance there." "Caesar, eat your food." "SILVER:" "Now, this scene we came up with as a way to show two things at once." "One, that Charles is regressing." "Well, many things, and also the bond between Charles and Caesar..." "JAFFA:" "Well, the three of them." "SILVER: ...and then the look..." "JAFFA:" "This last look that's coming up." "SILVER: ...that last look between Caesar and Will." "It was one of those lightbulb moments for us when we were working on a rewrite." "This was only a couple of drafts." "JAFFA:" "This look here, when Caesar looks at Will." "SILVER:" "Yeah." "A couple of drafts before they started shooting that we came up with it." "We needed a graceful way to show that he was regressing yet again, and, of course, it's hard to keep that stuff interesting." "One of the challenges with this script is that Charles gets sick, and better, and sick again." "JAFFA:" "Well, yeah." "He starts off sick, he gets sicker, then he gets cured, if you will, and then sick again." "SILVER:" "How do you pull that off, keep it interesting, keep it economical?" "JAFFA:" "Got the Statue of Liberty there in his hand." "I don't think a lot of people noticed that." "CHARLES:" "It's looking great." "What did I do..." "JAFFA:" "John is so good in this." "He's so vulnerable." "But, yeah, for us to see this scene realized..." "This is the first day of shooting, too, and it was unbelievable because, going back to 2006, this scene was always in the script, and then to start with this the first day of shooting was really, really exciting." "SILVER:" "The great thing about this scene is that, script-wise, you have Caesar doing something that you want him to do, in a way." "You don't like that neighbor." "I mean, not that you want him to bite the finger off..." "JAFFA:" "I did." "SILVER:" "But you've got antipathy for the neighbor, and you're very empathic to Charles, and you understand why Caesar's doing what he's doing." "You've already seen that Caesar..." "JAFFA:" "Like the pressure cooker there." "That's great." "SILVER:" "Yeah." "That Caesar has a..." "JAFFA:" "Setting up the finger." "SILVER:" "That Caesar has a temper, and that he's..." "JAFFA:" "Yeah." "This is the payoff." "I mean, we've warned everybody this was gonna happen." "And sure enough, here it is." "But like Amanda was saying, what we're playing with is, you kind of want it to happen because the guy is such a jerk, and he's berating this poor guy who's got Alzheimer's and really struggling." "SILVER:" "I have to admit something." "When we were writing this and he's hunting him, this shot here where Hunsiker's running and Caesar's hunting him from the trees, as a writer I felt the excitement of that, being in Caesar's point of view." "No!" "No!" "No!" "CHARLES:" "Caesar!" "Stop!" "(NEIGHBOR SCREAMING)" "Daddy!" "(NEIGHBOR WHIMPERING)" "SILVER:" "This was the moment where I knew that Rupert, plus Andy Serkis, plus Weta, was gonna pull it off, because just the change in Caesar, the remorse, the fear..." "JAFFA: "What have I done?"" "SILVER:" "I knew if we could pull this off, then the audience would be with him and the audience would be with us." "This moment, right here." "JAFFA:" "And he just did what he's meant to do." "His DNA is telling him to defend his family." "Just like we'd set up in the jungle with Alpha." "And yet, he thinks he's a human, he wonders if he's a human, and the look on those people's faces..." "It's just really powerful." "There's a couple of long shots that have been edited out, again for pacing and so forth, where James and Freida are walking Andy, walking Caesar into the facility." "Just the three of them holding hands." "And, of course, everyone on the set knows where this is going, and people were crying." "I mean, people got really emotional, such a beautiful image that Rupert had set up." "And the look on Andy's face as he was walking in and trusting, he's saying, "I wanna go home." "I wanna go home."" "SILVER:" "And the motif, too, that we'll see in a minute, that Rupert set up with the hands, when he reaches for his hand." "JAFFA:" "Yeah." "Right here." "Exactly." "SILVER:" "This shot here." "WILL:" "Come on." "Trust me." "SILVER:" "Now this facility, this ape facility was really" "Rupert's genius, with of course Claude Paré." "We had gone to..." "Rick's family lives in..." "JAFFA:" "Supplicating gesture." "SILVER:" "Yes, supplicating gesture." "JAFFA:" "And, of course, he holds back, so it's a betrayal of that." "SILVER:" "Rick's family lives in Texas, and we had gone to this place called Black Beauty Ranch, where they'd rescued all these animals, and we'd seen..." "This is a place where Nim actually ended up." "JAFFA:" "Yep." "If you guys know Project Nim, it's a great movie, documentary, that's out right now." "And we did a lot of research about Nim and stuff." "We went to this place near Athens, Texas, where my mother and my brother live, to do research, and it's where Nim lived the last of his life." "Anyway, this was based, in our minds and in the script, on that place." "But it's a very bucolic, beautiful sanctuary." "And what Rupert and Claude were able to do was then take that idea and turn it into this nightmare." "Which, by the way, is also..." "Part of the concern is that we're going to spend a big chunk of the movie in this place, and we want it to be visually interesting." "Caesar." "It's gonna be okay." "SILVER:" "Boy, Andy..." "JAFFA:" "I'll tell you, Andy on the day..." "SILVER:" "Andy and James, too." "This was another moment that had to work in order for..." "There's some moments you can get away with it not quite working, or up to the full potential, but this moment had to play." "JAFFA:" "Again, this was always in the script, the scene where they drop him off." "He feels betrayed, he feels crushed." ""What were you..." "We were trying to achieve..."" ""How would you feel if..." Look at that look on his face." "SILVER:" "It's the relatability of it." "JAFFA:" "Uh..." "Yeah, the relatability of it." "Like, you're a kid, you're a teenager." "All you did was try to protect your grandfather, and you're being dropped off at some place? "You're leaving me?"" "SILVER:" "Also, from James' point of view..." "JAFFA:" "Total abandonment." "Now, Brian Cox is so terrific." "DODGE:" "Hey, over here!" "Hey, I can get you out!" "Come on." "Over here." "JAFFA:" "Tom Felton, who plays Dodge, is one of the nicest, nicest guys you'll ever meet in your life." "Tremendous kid and tremendous actor." "One of the great, fun gifts when you go off to shoot a movie like this is you get to know people, and he was just fantastic." "SILVER:" "Of course, this is another nightmare moment." "JAFFA:" "Right." "Right." "SILVER:" "And by the way, this stuff doesn't work if you don't care about Caesar." "JAFFA:" "Again, "Stupid monkey." We tried..." " I'm sorry, honey." " SILVER:" "It's okay." "JAFFA:" "But we tried to use the monkey thing as much as we could, almost as if it's a racist thing." "(ALL SHRIEKING)" "SILVER:" "I was gonna say that structurally, though, you get to this point in the screenplay, so we're on page 45, maybe." "And this moment doesn't work unless you're securely in Caesar's shoes." "You really relate to him." "JAFFA:" "I love this." "SILVER:" "Which we didn't know was gonna work." "Yeah, I love this shot, too." "Court order hasn't been filed, so it's not in the system." "Once it comes through, it'll take about..." "JAFFA:" "This scene's really crafted in order to keep Will active while Caesar is at the facility." "We refer to it as "the ranch."" "It's only because we, in our minds, it's always the Black Beauty Ranch, which, of course, again, is the opposite of this place." "And for trivia fans, that actress there, Karin Konoval, plays Maurice, the orangutan." "SILVER:" "She did an amazing job as Maurice." " She doesn't look like Maurice..." " JAFFA:" "Very well-known, well-respected actress, Canadian actress." "SILVER:" "So this is, structurally in the screenplay, the beginning of the challenge, where Will's and Caesar's stories diverge." "And the challenge is to keep them as characters, developed on their own trajectory, keep the audience involved in each of them, and also keep an emotional connection even in the scenes where they're not physically together." " That was one of the huge challenges..." " JAFFA:" "Big, big." "SILVER: ..." "in all of the rewrites that we did." "Strangely enough, Caesar's story at the facility" " stayed pretty much the same from..." " JAFFA:" "The same from the very first draft." "SILVER:" "From the very first draft, six years ago." "It was Will's story and how to keep him connected to Caesar and how to endow him with action and..." "'Cause, of course, he's not successful." "He's not going to get Caesar out of there." "So, how do we keep him active while he's failing?" "JAFFA:" "And part of the problem, too, as we're developing everyone on our team, everyone at the studio and the production staff and Rupert and everything, we know where it's going." "So you feel like, since he's failing, it's all wasted energy." "But, of course, the audience doesn't know he's failing." "They see him as really trying to get his son out of the facility." "SILVER:" "The other thing that we had to do with him is we have to move the story forward, plot-wise, that he is going to cross a line" "and create the 113 with a faster virus." "We have to set in motion, at this point in the script, the virus that's going to eventually bring down the human race." "And so, we have great motivation for this character, for Will, because he wants to cure his father." "But it was challenging to get him back in the lab and back in the science, and to keep the audience abreast." "JAFFA:" "Keep him connected to Caesar, too, at the same time." "There are indications that show that therapy can improve cognitive functioning..." "JAFFA:" "This is a fascinating point here because they go into the aspect of increased intelligence which we really felt spoke to the theme of our film." "When we first developed the story, we landed on a theme and locked into that theme, which we really believe was the theme of the original Planet of the Apes." "That being that man's hubris will lead to his downfall, or can lead to his downfall, and that man should not play God." "And so, we're not saying you shouldn't try to cure Alzheimer's." "Certainly, we're not saying that." "However, trying to make drugs to make us all smarter is crossing a line, especially when you're going to use a dangerous virus." "SILVER:" "And the ends don't justify the means." "Don't you know food when you see it?" "(SNICKERS)" "SILVER:" "I keep seeing Andy's performance." "JAFFA:" "I do, too." "It's so weird." "We've seen so many cuts of this with Andy, before the Weta guys came in and did such unbelievable work." "That's Andy, folks. (CHUCKLES) I mean, you're looking right at him." "It's just incredible." "Well, obviously, guys, this is a throwback to the original Planet of the Apes," "Julius hosing down Bright Eyes." "That's Jamie Harris playing Rodney, there in the background." "Again, a tremendous guy and a great actor." "(SCOFFS) Good." "SILVER:" "Rupert came up with this, drawing the window on his cell." "We did it for a draft." "We were doing a draft for him." " We put it in the script..." " JAFFA:" "Well, he called..." "Yeah, he called." "He was really excited about it." "He said, "We want to draw that image of the window on the cell wall."" "And he wanted us to put that into the pages." "And so, our response was, "That's really cool." ""But let's have him erase it at some point," ""signifying his break from Will and his break from his home."" "So, that worked out really well." "SILVER:" "The challenge in all those scenes is you're trying to tell a story, you're trying to express things..." "JAFFA:" "Visually." "SILVER:" "Visually." "Without talking about it." "FRANKLIN:" "Good." "All the way to the back." "Okay." "You guys are moving really quick on this." "What's the big rush?" "First day back, and you're still complaining." "SILVER:" "So again, here, we have Will crossing a line in terms of testing on chimps, after he's already brought up Caesar." "JAFFA:" "How does he rationalize this?" "Yeah." "SILVER:" "And I think James pulls that off really well." "You had to have an actor who was likeable." "Koba." "Hi, I'm Will." "SILVER:" "Now, Koba..." "Koba was created..." "JAFFA:" "Let's say in the third draft, the fourth draft, maybe." "This scene was always in it, once we had him." "SILVER:" "Koba was Stalin's party name." "The Communist Party." " We had to come up with a nefarious name." " JAFFA:" "We were looking for something evil." "So, we came up with Koba." "Get him prepped." "(FRANKLIN CLEARS THROAT)" "JAFFA:" "He was really created..." "Again, this was about Will's character." "It's about crossing a line." "We've definitely got a chimp that's off, and Will's agreeing to test on chimps, and so forth." "SILVER:" "It's one thing to make Caesar smart, but what happens if you make a..." "JAFFA:" "And what could go wrong, too, by the way." "So, they're subjecting this chimp to more testing and..." "SILVER:" "But you could tell that he's a bad egg." "JAFFA:" "Yeah, you can tell." "SILVER:" "First time we saw Weta's Koba we..." "JAFFA:" "Oh, my gosh." "We had described him." "Again, we had written him in the script and described him in some detail." "We saw him and, oh, my gosh, we flipped out." "Franklin, get your mask on!" "(PANTING)" "JAFFA:" "Okay, so here goes the 113." "The virus is in the air." "And, again, it's Franklin." "SILVER:" "Now, in early drafts," "Caesar has a much more of a Michael Corleone trajectory." "He turns dark, much darker than he does in the film, in the later drafts." "And I'm glad we brought him back." "But it used to be that Caesar is the one who gives the virus to the world, and that he does it on purpose." "JAFFA:" "Caesar figures out that it's harmful to humans and..." "SILVER:" "And he spreads it on purpose." "JAFFA:" "I love this bit here." "SILVER:" "There's Buck." "JAFFA:" "There's Buck." "This was conceived as, you know, it's your first day at a new school." "You're a kid, and you're coming into school." "You're on the playground, you don't know anybody." "And right off the bat, the bully is going to set things straight." "SILVER:" "Again, relatable." "Something that everybody's been through." "JAFFA:" "He tries to play ball." "And there goes Rocket." "Rocket's based on one of the chimps we met at the Black Beauty Ranch." "Very aggressive." "Looked a lot like this guy." "(HOOTING)" "Just as Caesar was played by Andy Serkis," "Terry Notary plays Rocket there." " By the way, this is Terry." " SILVER:" "I can see his performance." " Can you see him?" " JAFFA:" "That's his voice, too, by the way." " I don't think they did anything." " SILVER:" "No." "JAFFA:" "I mean, Rupert can tell you better, but they didn't even change it." "And Terry was unbelievably..." "He taught everybody how to move like a chimp." "SILVER:" "They had ape camp." "JAFFA:" "He created these extenders on their arms." "They kind of look like walkers, almost like crutches, aluminum crutches." "And it extended one's arm naturally all the way to the ground, so their arms were the same length as the chimps." "SILVER:" "And he's an athlete and a dancer." " I think he was a Cirque du Soleil guy." " JAFFA:" "A Cirque du Soleil." "Yeah." "He's, again, a tremendous guy." "We were so lucky that so many great, nice people worked on this movie." "SILVER:" "That's definitely Terry's performance." "And having seen these performances for so long, before they were rendered..." "JAFFA:" "We were up there in pre-production during this ape camp, and he had gotten all the stuntmen and dancers, and actors, and all the people they had cast to be in the suits and be the chimps." "And he worked with them for a week moving and developing, I would think, almost an ape energy, if you will, with these guys." "And so, we were up there, Dylan Clark, our wonderful other producer who works with Peter Chernin." "Dylan was sitting there with us." "Peter Kang, again, the Fox executive on the movie, and then a handful of other people." "I think Tom Hammel, executive producer." "We're all sitting there and watching..." "They put on a performance for us." "It was basically a play, and they were all in shorts and T-shirts and stuff." "They started acting out this play about chimps." "And by the end of it, we started being able to pick out who was who, which one was Maurice, which one was Buck." "And the energy in the room was spectacular." "And we just all jumped to our feet at the end of it." "Of course, we just missed the moment of realization that Franklin's got the virus." "There was a lot of discussion about what exactly Maurice should say." "SILVER:" "And there was a lot of trepidation about, would it play that they were signing?" "JAFFA:" "Would people think, "Wait a minute?" "Why is he so smart?"" "And, again, our research showed us that not only are chimps able to communicate this way, they can even teach each other how to sign." "Which we thought was really spectacular." "And so, we decided to use it and bring it in structurally." "It's really important." "We felt like the movie was really heavy at this point." "A lot of bad things were happening." "Caesar needs a connection." "He needs to make some allies." "And it's meant to get a laugh in some way, and it does." "It gets a big laugh in the theaters." "SILVER:" "We always loved Maurice." "From the moment that the character..." "This is what's so amazing about seeing him rendered like that." "JAFFA:" "Karin, actually." "SILVER:" "Seeing Karin's performance and everything, but we always knew about his personality, his dry sense of humor and..." "And, of course, you should talk about the apes, the mythology, and the orangutans, and..." "JAFFA:" "Well, we were very..." "Let me put it this way, we tried very, very hard to create a story which could stand on its own and yet pay great honor to the Apes mythology," "Planet of the Apes mythology, and what came before us." "And so, one of the things we really set out to do was delineate the three branches, if you will, of apes." "The chimpanzees, the sensitive ones, the smart and sensitive ones, the orangutans, kind of the wise ones, and, of course, the gorillas, the muscle and the army." "And so, that's why we developed Maurice, and then Buck you'll get to know better in a minute." "Hey." "Hi." "JAFFA:" "We also had a scene that, again, for pacing, didn't make it into the final cut, when right after Caesar gets darted with the tranquilizer and when Rocket attacks him, he wakes up and they..." "Well, actually, in this room right here, he wakes up." "And he's on a stretcher, tied down, strapped down, and Rocket's still knocked out." "He's on a stretcher nearby." "And then Rodney, played by Jamie Harris, comes in and Caesar tries to communicate with him and say, "Please, will you take these straps off of me?"" "And you also get a hint that Caesar's even trying to talk." "SILVER:" "That he's trying to speak." "JAFFA:" "He trying to actually speak, and he can't." "And so, Rodney's very sweet and very sensitive to it, and says, "Look, I can't let you out of those straps."" "But he offers him a cookie." "And we set up the chocolate chip, the Chips Ahoy!" "cookies there." "That's where Caesar gets them later." "Here's the scene we talked about a little while ago, where he knows now he can't really count on Will." "He's just said, "No, I can't get you out of there."" "He's been shut down by Landon." "So they put him back in his cage, and he says goodbye to his former life and wipes away the window." "And, of course, Maurice sees it." "SILVER:" "The witness of Maurice, Maurice witnessing with the audience" "Caesar's..." "JAFFA:" "I love that shot." "SILVER:" "Yeah, me, too. (LAUGHS)" "Caesar's growing personality change." "His growing resolve." "It's very powerful, somehow, to be witnessing with Maurice." "JAFFA:" "And here, he's putting stuff together." "He's trying to figure out..." "He knows he's got to do something." "He's just not sure what he's going to do." "So, he looks down at Buck and..." "SILVER:" "He's coming up with a plan." "So, this is a whole new Caesar." " This is a huge..." " JAFFA:" "Buck, who never gets to go out." "SILVER: ...character moment for him." "I'm sorry to interrupt you." "JAFFA:" "That's all right." "Golden Gate Bridge there in the background." "SILVER:" "This was a moment that Rupert came up with." "It was fantastic." "JAFFA:" "Foreshadows where he's going." "WOMAN 2: ...your own private zoo." "MAN:" "More like a prison for hairy dudes." "(ALL LAUGHING)" "WOMAN 1:" "They watch TV?" "JAFFA:" "This scene morphed over..." "I mean, the point of this scene, or one of the points of this scene, is just he needs a way to get out of the cage, and so we constructed something where he could lift a device," "either a knife or a pair of scissors or something to help construct a tool to get out of that cage." "And there were various..." "The different versions of what that could be." "We ended up with this." "Which again, I think Rupert suggested this." "SILVER:" "Yeah, I think he did." "JAFFA:" "I think he did." "SILVER:" "It used to be that Caroline would come visit him" " to take care of him..." " JAFFA:" "That's right." "SILVER:" "And he lifts the scissors out of her bag." "JAFFA:" "Exactly." "Yeah." "This is so much better." "Again, there's Rodney, the sensitive guy." "I love that look Tom gives right there." "Come on, let's go." "I spend too much time in here as it is." "JAFFA:" "We also set up the cattle prod, the electricity, there." "DODGE:" "Hey, that one is a pain in the ass." "JAFFA:" "And this scene was a lot longer, which is fascinating." "It didn't need to be." "We had more dialogue." "There was a thing with Maurice and the beer, and so forth." "It just really wasn't necessary." "SILVER:" "In our research, we discovered that lots of these abusive primate facilities..." "That look, that Andy look, translated to Caesar." " That look, right there." " JAFFA:" "That's Andy, folks, right there." "And Tom does this great job." "He's a jerk," " but yet he's scared and he's vulnerable." " SILVER:" "He's scared." "JAFFA:" "Were you going to say something about the beer and..." "SILVER:" "Oh, yeah, in the primate facilities, they..." "JAFFA:" "Even well-intended people." "SILVER:" "Yeah." "They think it's really funny to give the chimps booze..." "JAFFA:" "Beer." "Yeah." "SILVER:" "And cigarettes." " JAFFA:" "Yeah, so." "And they watch TV..." " And their stories..." "They watch TV." "JAFFA:" "It's terrible." "SILVER:" "But there's stories about drunken chimps going on." "JAFFA:" "Well, Nim got drunk." "SILVER:" "Nim got drunk, and yeah." "JAFFA:" "The famous Nim got drunk and got out of his cage and scared everybody, and had to be tranquilized to be put back in." "It's a great visual that Rupert came up with, the dust on top of the..." "(GROWLING)" "SILVER:" "This moment with Buck was in the first draft, and, I have to say, was the moment that I knew that these apes together were going to have these deep relationships." "And how satisfying it was to have this moment when he helps Buck and the beginning of this friendship." "And, of course, then back to Rupert and Weta..." "We didn't know that it would play physically onscreen until very, very late in this crazy process." "But when we were writing it on paper," "this was always compelling." "JAFFA:" "I think we were really naïve, too, in the beginning." "Whatever we write will be able to be realized visually." "And, of course, it was a huge gamble by Tom Rothman and Fox and Peter Chernin and..." "SILVER:" "A huge leap of faith that you could make it play." "JAFFA:" "Yeah, make it all look real." "And, of course, all the faith in the world in Weta because they're unbelievably great." "But it's still a huge gamble." "SILVER:" "You got a lot of screen time with just these apes." "JAFFA:" "Yeah." "No dialogue." "SILVER:" "No dialogue." "Pages and pages." "JAFFA:" "This took place over several days," " and then it was edited down for pacing." " SILVER:" "It got compressed, yeah." "JAFFA:" "He let out Buck a number of times, really gained his confidence before he went to Rocket and said, "There's a new captain in town."" "SILVER:" "That gets a big..." "JAFFA:" "That gets a huge reaction." "SILVER:" "A big reaction of satisfaction, that Buck moment." "JAFFA:" "Again, here we go with the supplicating gesture." "SILVER:" "And the way that Rupert designed this, that all the apes could see like that." " That they're all gathered around." " JAFFA:" "They're all witness to it, so everyone sees it." "(GRUNTS)" "SILVER:" "This moment is a..." "I thought Rupert shot it beautifully and it's beautifully acted." "If James is playing this Frankenstein figure who crosses the line, this is a huge moment for him." "He has the answer in his hand, and he doesn't use it." "JAFFA:" "Because it's not the right thing to do." "SILVER:" "And, again, every time that we followed the storyline, we were striking a balance, and not only us, but, of course, the editors and Rupert." "Conrad and Mark, the fantastic editors." "It's a balance of keeping Will connected also to Caesar." "So, he's got two huge things, two big losses going on in his life." "And we were very mindful of keeping him involved in both." "JAFFA:" "James and John are so terrific in this scene here." "Before, and now this." "(NEWSCASTERS CHATTERING ON TV)" "It's tough here because you want to get the emotion across, and yet, Caroline being the voice of our theme." "Freida does such a great job here." "Hey." "Some things aren't meant to be changed." "You need to accept that." "Hey!" "JAFFA:" "Again, this set here, Claude" " just knocked it out of the ballpark." " SILVER:" "Spectacular." "JAFFA:" "Yeah." "It's just really, really beautiful and effective, but not over-the-top." "SILVER:" "Okay, so structurally here, we're about on page 80, maybe 85." "And this is where our protagonist finds out, or one of our protagonists finds out, that he started something that he can't control." "It's gotten away from him." "It's bigger than he is." "...15 on the Lucas Tower." "JAFFA:" "And he knows it a virus, and he's still worried about the potential danger of it." "SILVER:" "So, this is the part of the script, too." "We're heading towards the end of the second act, and we have a rising concern." "We've already seen Franklin's sneeze, and we know he's in trouble." "And then we have this scene, and we see that James is concerned and that it's out of his control." "And so, we have new rising tension about this plot, this part of the plot, the human part." "That if there's a virus..." "JAFFA:" "Well, in the back of our mind, we're really wondering what the heck Caesar's gonna do." "SILVER:" "Yeah, and that's the other part of the plot." "These tests need to be contained." "You have no idea if the 113 is stable, what kind of damage it can do to people." "Yes." "Well, that is why we test it on chimps." "Isn't it?" "(KNOCKING)" "Dr. Rodman, it's me, Franklin!" "I need to talk to you!" "Can you come to the door?" "(COUGHING)" "SILVER:" "The great thing about this scene is that you're kind of alarmed by it, and then you forget about Franklin for a while because you're so involved in Caesar and what he's gonna do." " JAFFA:" "Poor Hunsiker." " (SILVER LAUGHS)" "As we've watched this with audiences, everyone really seems to enjoy" "Hunsiker getting sneezed on and getting his finger bit." "Again, James, Will taking action." "His son's in this facility." "He's lost his father." "He's trying to hold on to what's left and get Caesar back." "SILVER:" "This scene accomplishes a bunch of different things for Will." "He's active." "He's going for broke here." "He's bringing the money." "He's..." "And he gets his hopes up that he's going to get to bring Caesar back." "Um..." "Rick came up with the shot of the leash here, when Caesar looks down in a moment." "So he represents relief, but also captivity." "And so, that is all said without being said." "It's kind of the subtext here." "And the way it's staged and acted..." "Look at that great shot." " What's he going to do?" "The hand again." " JAFFA:" "Caesar sees the leash." "SILVER:" "The hand..." "JAFFA:" "You think he's going to grab his hand." "SILVER:" "I just thought this was really powerful and accomplished a lot." "JAFFA:" "He knows he'll never fit in and..." "SILVER:" "He's not going to go back to wearing a leash." "So much of the power of this scene relies on the bond that's established in the first act between these two characters." "And I think is also relatable." "Fathers and sons, and sons growing up, and new allegiances." "And it's powerful stuff." "(HOOTING)" "JAFFA:" "There the apes are..." "SILVER:" "I loved it when Rupert did this." " This moment of..." " JAFFA:" "Starting to bond." "The first act of a leader." "Actually, not the first, it's the second or third." "SILVER:" "His new family." "(GRUNTS)" "We originally set this scene up because we had a scene that there wasn't room for, where Rocket is..." "He won't eat, he hasn't been out." "JAFFA:" "This is after he supplicated to..." "SILVER:" "He's depressed." "JAFFA:" "After he supplicated to Caesar." "SILVER:" "And Caesar notices that Rocket hasn't come out of his cage." "And so, this was a rehabilitation scene." "This is him rehabilitating Rocket." "But even without that scene, it works." "Without the scene set up..." "JAFFA:" "So, yeah, Caesar as leader wanted to rehabilitate who he knew would be one of his most powerful, if not the most powerful lieutenant, if you will," "and unite the apes in one swoop." "SILVER:" "He's building his army." "And to do it through chocolate chip cookies is kind of crazy. (CHUCKLES)" "But we were really proud of it, really excited about it." "And I think it really works." "SILVER:" "Rupert shot it amazingly." " Effectively, and the music is amazing." " JAFFA:" "The music and the cutting." "SILVER:" "And, of course, Andy's performance." "JAFFA:" "So, when we were putting all this big chunk of the script together, this big middle chunk, again, it never really changed from the first draft." "It's really kind of crazy, but we knew we had to hit certain marks." "We weren't sure what they were gonna be." "And then we'd sit down to write them, and they'd just magically come to us." "SILVER:" "Maybe in hindsight it feels that way." "So, we always had a version of him breaking the sticks, and the implication was that together apes are stronger." "There used to be a subplot in old drafts where the chimpanzees and the orangutans stayed apart from each other." "JAFFA:" "Which I think is probably more correct in terms of primatology, but..." "SILVER:" "Right." "So part of what this scene was about, was about uniting them." "JAFFA:" "Uniting them." "SILVER:" "But that just became a subplot that we couldn't sustain." "There just wasn't enough time to do it properly." "JAFFA:" "But the "apes stupid" line that we just missed there was the..." "It always gets a really big laugh." "And again, we were looking for ways to find humor because the audience really needs a bit of a break, and so we tried to find ways to have things that are funny." "That line, though, accomplishes that, but also gives Caesar the idea to make the other apes smart." "SILVER:" "Now this recon little sequence here, we always fell in love with it because it was very..." "And from the start we fell in love with it because it was very Steve McQueen." "The fact that he would escape, and then come back." "JAFFA:" "Right." "SILVER:" "It just said so much about where he was emotionally." "JAFFA:" "I would even guess that's where we got it." "I can't really recall exactly, but we needed a moment of recon, and then we recalled from The Great Escape, when Steve McQueen escapes on..." "Escapes, scopes out around the camp, gets the information, and then gets caught on purpose and brings it back." "SILVER:" "It used to be, in other drafts, that on this night that he does recon." "That he goes to the lab, and he has some revelations there." "JAFFA:" "As well as coming to the house here." "SILVER:" "Yeah, both." "And he also would have a scene with Franklin." "JAFFA:" "Oh." "Right." "SILVER:" "And he met Koba." "JAFFA:" "And he learned stuff." "SILVER:" "We didn't have room for it." "JAFFA:" "It was just too cumbersome." "SILVER:" "So, this was always a great thriller moment." "JAFFA:" "You're wondering, "What is he going to do?"" "And then, of course, he's all after..." "It's all about the 113." "SILVER:" "And we had a lot of stress about this beat, right?" "JAFFA:" "This beat here." "This little beat." "Yeah, because I kept saying, "How's he gonna know what it is?" ""And how's he gonna know that it's aerosol," ""and that it's the same thing as the liquid that Will put into Charles?"" "And it was Dylan and Rupert," "I remember them saying, "No, no, no." "It will be fine." ""The audience will go with it."" "And, of course, they were right." "SILVER:" "The excitement here about him creating a smart army, and our challenge was to make this beat credible." "That he would." "We planted along the way that he would have the knowledge to do this, and then the means to make it work." "Now, I think this is one of my favorite moments in the movie." "JAFFA:" "This scene coming up, and we're building up to this." "I'm gonna get quiet when it happens because I just like to sit back and watch it." "We built really the whole screenplay around this moment here, that's coming up." "It comes from Planet of the Apes mythology." "It is never shown, but it's only referred to in Escape, I think, Escape from the Planet of the Apes, when it's being explained how the apes got..." "How the apes really began their ascent, which led them to taking over the planet." "It was never shot, it's never even really dramatically realized in any way, it's just a small reference." "But we took that reference, built the moment, and then really crafted the script around it." "The Icarus, of course, is the name of the spaceship that Colonel Taylor, Dodge, Landon, and Stewart take off in, which lands on the Planet of the Apes in 1968." "I'm going home." "I get more peace in the goddamn ape house." "DODGE:" "Dad, I'm sorry." " Well done, Rodney." " RODNEY:" "I swear... (APES GRUNTING)" "(GRUNTING)" "(APES GRUNTING IN REPLY)" "SILVER:" "This is also, of course, a great moment that worked great with Andy, and we didn't know how it was gonna play until it was rendered." "The power of it, the power of his expression." "JAFFA:" "I think there are a lot of different versions." "SILVER:" "We're trying to keep both plotlines going." "We got a lot of balls in the air right here." "We're juggling two parallel stories." "(INDISTINCT CHATTER ON TV)" "Mr. Franklin?" "Hello?" "(GASPS)" "(CAGE DOORS BUZZ)" "What the hell?" "MAN ON TV:" "God said, "Let the waters bring forth moving creatures..."" "DODGE ON RADIO:" "Rodney, get to the platform now." "SILVER:" "So, the way they shot this, it's like a spaghetti western." "The way he's standing out there with his arms like that." "JAFFA:" "Anyway, we threw in a little Charlton Heston nod there." "We haven't really talked about Andrew Lesnie, too, the DP who..." "Academy Award winner, a tremendous guy, a leader on the set, and just shot this so beautifully." "SILVER:" "Look at that hand." "DODGE:" "Go on." "Get back in your cage." "I'm warning you." "Go on, get!" "That's it." "See?" "That's what you get!" "Now get back!" "What's wrong with you?" "SILVER:" "So, again, the way Rupert has built the tension here, the way the scene builds, everybody watching and what's gonna happen, is really masterful." "Of course, as Rick said a moment ago, the whole movie is leading up to this moment." "No!" "JAFFA:" "So that was the beat I was referring to, that came from Escape from the Planet of the Apes, where the first ape..." "And by the way, his name was not Caesar in the storytelling, it was Aldo." "Later, in Conquest of the Planet of the Apes," "Caesar is the one that leads the apes in revolution." "But Aldo was the first chimp to have spoken." "SILVER:" "I love this Rocket moment." "JAFFA:" "Right here?" "SILVER:" "Yeah." "JAFFA:" "Again, that's Terry Notary." "SILVER:" "Right there, Terry's performance." "JAFFA:" "Not only was he the leader of the ape village, if you will, but he did a tremendous acting job." "SILVER:" "So the other great thing about Rodney, this character, the human character they're beating on right here, is that it allows us to see that Caesar is emotional." "Yes, he's leading this army, but he's still a leader of compassion." "He's not completely carried away by his rage." "JAFFA:" "He's certainly not a murderer." "SILVER:" "He's not a murderer." "Which also softens the moment that's coming here, with Dodge." "JAFFA:" "And in retrospect, of course, you know that he's got a plan, which will present itself, which is really more about peace than violence." "SILVER:" "That moment, right there, we played with it a lot, both on the page," " and I know Rupert did it on the set..." " JAFFA:" "On the set." "Yeah." "Quite a bit." "SILVER:" "Because the idea was that it would not feel like cold-blooded murder at all, but rather self-defense." "This is just cut so beautifully, the music... (GRUNTING)" "JAFFA:" "Yeah, it just really came together." "SILVER:" "Used to have a moment here..." "JAFFA:" "Yeah, he sees that someone's been in the attic and he goes upstairs." "SILVER:" "And Caesar has left his pants on the bed, and that just never made it into the movie..." "JAFFA:" "Never quite worked, yeah." "But the symbol is that he's really said goodbye to all facets of being part of the..." "SILVER:" "He's embraced being ape, right?" "JAFFA:" "Completely embraced being an ape, yeah." "So, you'll notice from now on in the movie, obviously he doesn't..." "He's like all the other apes, he doesn't wear human pants." "SILVER:" "Which was why Rick was saying before his birthmark comes in handy." "JAFFA:" "Yeah, exactly." "WILL:" "Landon?" "Will?" "Will!" "JAFFA:" "Tom looked so gruesome on the set that day that when he got up and walked out to his trailer, his girlfriend was out there, and she burst into tears when she saw him." "What do you..." "What?" "RODNEY:" "Your ape." "He spoke." "SILVER:" "We always had this scene in the script because it was like a bridge..." "JAFFA: "Lost in space?" there is a reference to the Icarus." "Go ahead, sorry." "SILVER:" "This scene was like a bridge into..." "The apes leave their environment, and this is an early morning, suburban moment where they're heading into the human world for the first time." "And so, we always conceived of this paper route and the leaves coming down..." "JAFFA:" "The leaves coming down on the paper boy, and so forth." "Leaving the ape world, entering the human world." "I need someone to coordinate with the SFPD." "Tell them we got a fatality." " What is it?" " I know where he's headed." "SILVER:" "Now it used to be that Landon..." "We followed a plot..." "We wrote and then discarded a huge thread of the plot" " where Landon follows..." " JAFFA:" "Follows the chimps..." "SILVER: ...follows the chimps with a shotgun and he becomes part of the subsequent plot." "Brian Cox, of course, is fantastic, but that became too complex." "JAFFA:" "Again, this whole sequence here is really an issue of balance because there is a lot of footage of destruction in the lab." "Koba goes his own way." "Caesar really tears the lab up, and almost renders it useless in many ways." "And again, in terms of pacing and so forth, it just wasn't necessary." "WILL:" "He'll have to go through the city and across the bridge." "LINDA:" "Mr. Jacobs?" "Mr. Jacobs, are you..." "What the hell?" "SILVER:" "Now, again, this is a great shot." "JAFFA:" "Just love David here." "David's another great actor we were so lucky to get and does such a great job in this." "Again, a tremendous guy." "The look on his face here, I just always loved it." "(STEVEN YELLING)" "Steven Jacobs!" "JAFFA:" "And here with the apes leaving and..." "We walk this fine line between it being a mystery what Caesar's up to, and yet, at some point, you've really got to let the audience know where he's going, so they'll actually start to root for a specific thing." "It's a matter of balance, really." "(PEOPLE CHATTERING INDISTINCTLY)" "SILVER:" "Rupert put back in the music, the zoo music." " We've been here before." " JAFFA:" "Right, right." " The payoff." " SILVER:" "Yeah." "(ALL SCREAMING)" "JAFFA:" "Those chimps are just so realistic, it's great." "SILVER:" "I know." "JAFFA:" "So, Caesar's building the army, making it even bigger." "He's released the chimps at the lab, and sent his other group off here to get them at the zoo." " And they're gonna..." " SILVER:" "Now the idea, too, is that he has the really smart chimps from the lab and the smart chimps from the facility, and he's mixing them with the zoo apes, who aren't smart." "And they'd follow." "STEVEN:" "We've got to kill the leader!" "(SHRIEKING)" "JAFFA:" "There was a crazy period in pre-production when we were constructing and redoing this whole..." "From here, all the way to the end." "Actually, from back at the lab, all the way to the end." "Trying stuff, sending it to Rupert, getting notes, sending it back, and just working really closely with him." "And Kurt Williams, the visual effects supervisor, co-producer, who's also a tremendous guy, worked really hard constructing these sequences so that they would, A, actually be doable, be exciting at the same time and move the story along." "SILVER:" "And plausible." "Plausibility, and the other idea that everybody tried really hard to convey was that it was personal." "That you know the characters, you recognize the different apes, and that they have personalities, that the action wouldn't be generalized." "You know that that's Buck and Maurice." "And that they're teaming up together." "There's something pleasing about that." "(ROARING)" "JAFFA:" "With this cable car, again, we were looking for iconic images from San Francisco, and trying also for them not to just feel generic." "We were able to combine this, going up the hill here, and then revealing," ""Oh, okay, this is where he's going." "This is what we're doing."" "So from now on, as an audience member, you're really pulling for them to get across that bridge, and hopefully remember that they're headed toward the redwoods." "What the..." "SILVER:" "From the start Tom Rothman said," ""You guys, I want an iconic..."" "JAFFA:" "Yeah, we knew we couldn't do the Statue of Liberty, obviously." "But he pushed us really hard to find an iconic image for this final battle." "There was always..." "I think we've said before, always an action sequence where Caesar was leading the apes to some place of sanctuary." "And it changed from draft to draft, and then eventually..." "Yeah, at one point we even had a water tower." "We thought maybe we could do something interesting with that, and then eventually we hit on this notion of the Golden Gate Bridge." "And again, it goes back to the geography, and throwing that up in the air and landing on it again in a different way, so that we could get them trying to get across the bridge to the woods and sanctuary." "So then, once we hit on the Golden Gate Bridge, everybody got excited about that." "Just an enormous amount of work from the script to storyboarding, to everyone in the visual effects, to the editors, the mix, the music, and Rupert really just tirelessly leading the way to really make this whole sequence come together." "SILVER:" "It's much harder than it looks to keep straight the..." "JAFFA:" "The geography..." "SILVER:" "The geography and the order of things..." "JAFFA:" "What Caesar's doing." "SILVER: ...and the pacing." "JAFFA:" "But when it sings..." "SILVER:" "Conrad Buff worked..." "JAFFA:" "Conrad and Mark." "SILVER:" "Conrad and Mark, both." "JAFFA:" "Enormous amount of work." "With Caesar, we wanted to make sure," ""Okay, look, Caesar really understands where they are," ""what he needs to do." "He knows they're getting set up," ""and he comes up with a plan." ""'You guys go up, and the other guys go below."'" "He's already outsmarting and thinking one step, two steps ahead of the humans." "Get under." "Stand by to send in mounted units." "They're gonna slaughter them." "JAFFA:" "Conrad Buff and Mark Goldblatt were the editors on the movie." "And again, people worked so hard." "Can't say enough how hard everybody worked on this movie." "SILVER:" "And they did a superb job." "JAFFA:" "They just were tireless." "The nights, days, weekends." "Holiday weekends." "They worked so hard on getting the movie into the great shape it's in, and then this sequence here..." "SILVER:" "It became confusing and disorienting at times, and it was very difficult to pull it together so that it built correctly and so the audience knew where the different facets..." "Because you had Caroline and Will, you have the horseback police, you have the "no-man's-land" we called it, right?" "JAFFA:" "Yeah, we can say that in a second." "SILVER:" "We'll get there." "JAFFA:" "But then this moment coming up, where Caesar realizes," ""You know what?" "I gotta do something."" "So he goes back and gets that guy, and then that in turn motivates Buck to turn around, and he goes after this horse, which was always a favorite beat here, with the studios, I really enjoy it." "(GRUNTING)" "SILVER:" "And, of course, to pull back for a second in our perspective here not get too close up in the action..." "The question was all along," ""Who is the audience gonna be rooting for, here?" ""Are we rooting against ourselves?" "Are we rooting for the apes?"" "JAFFA:" "We're rooting for the apes." "(CHUCKLES) We kept telling everybody," ""Guys, everybody's gonna be rooting for the apes," ""no matter what happens."" "Do it!" "(SCREAMING)" "JAFFA:" "That was a character, I think his name was Lucky, that had some face time." "SILVER:" "Rupert has some other name for him, doesn't he?" "JAFFA:" "Oh, was it?" "Anyway, Rupert had really developed him" " as a character on the set." " SILVER:" "Rupert was attached to him." "JAFFA:" "You really got to know him, so that when he gets shot, you actually have a specific connection to him." "CHP North, do you have a visual?" "No, sir." "Negative." "(APES GRUNTING)" "JAFFA:" "So, that's no-man's-land that Amanda had referred to earlier." "And this was always what Kurt called "The Zulu Dawn moment,"" "where the fog would be thick, and the cops are waiting and they can't quite see, but you can still hear the voices, and so forth." "I think there's another beat coming up with that, too." "We refer to other movies quite a bit when we're talking shorthand to one another," "Zulu Dawn and The Dirty Dozen." "We talked a lot about Great Escape, and we tried to look at those great films and see if, "Was there anything there that can help us?"" "Or just have fun with paying homage to them." "Hold your fire!" "Hold your fire!" "(HORSE WHINNYING)" "JAFFA:" "Okay, well, this image here, we were looking for help in pulling this whole thing together and trying to come up with different ideas for action, and I called a friend of ours, another writer named Charlie Fletcher," "who lives in Scotland, a very close friend, and I walked him through this sequence." "He said, "You know what?" "You're missing one thing."" "And I said, "Well, what is it?" And he said," ""You need to get Caesar on a horse."" "And that's how we came up with that moment of him riding horseback." "Which also, hopefully, explains a little bit, in the future, how apes learn to ride horses, or came to ride horses." "OFFICER 1:" "Get back!" "Get back!" "Everybody, pull back!" "(SCREAMING)" "(ROARS)" "Caesar!" "(PANTING)" "(HELICOPTER APPROACHING)" "That's him." "SILVER:" "We really struggled with what Caesar could do, and I forget who came up with the idea of the chain." "I think it was Kurt, too." "What could you do from a bridge..." "JAFFA:" "To try to bring that..." "SILVER: ...to bring that thing down?" "JAFFA:" "We had written the idea of them going after Caesar, and then Buck comes in to save Caesar and pushes him out of the way." "Takes the bullet and says," ""Not on my watch" kind of thing." "SILVER:" "At first it was Rocket who sacrifices himself and throws himself into the helicopter, and everybody just..." "JAFFA:" "Everyone really wanted it to be Buck." "SILVER:" "Everybody really..." "JAFFA:" "So, we just said, "Okay, okay."" "So, we changed it." "Amanda and I were very keen on trying to keep Buck alive to set up, if we're lucky enough to have sequels to..." "Have the three branches of the apes set up already." "But this is so effective, and again, it's one of those cases where I was wrong and they were right." "SILVER:" "It's very emotional." "Everybody loves Buck." "(GROANING)" "JAFFA:" "The actor who played Buck, Richard," "I think a friend of Andy's, or maybe Andy and Rupert's, but he had been in a lot of Terry Gillian movies." "Terry Gilliam, sorry, movies." "And again, an iconic actor with a bit of a cult following, and a very, very nice guy." "SILVER:" "This moment, we really sweated over this." "The whole team did, because the question was," ""Would Caesar push the helicopter over?"" "Caesar's movie, he's the leader." "JAFFA:" "Yeah, he's the hero." "Isn't it his moment?" "I think it could have gone either way." "I still feel like he's motivated enough to do it." "We would have forgiven him for doing it." "But also Koba and this character Jacobs have history, and there was some closure there to give the action to Koba." "Come on." "Not you." "No!" "No!" "Stupid monkey!" "No!" "No!" "JAFFA:" "There was a real division about which one of those guys should push him over the edge." "Some of us thought that it should be Caesar 'cause it's his movie and he's the leader, but Amanda and I argued, as well as a number of other people on the team, that it's still his moment." "He rises above it, and he's not gonna kill the guy in cold-blooded murder." "Plus, it's really just not his character." "So, we really fought to hand it to Koba." "In our minds, it worked better with Koba only because he has that specific connection to Jacobs in the lab, and the mistreatment and so forth." "Though it could have been Caesar and it probably would have worked, too." "SILVER:" "So, of course, these shots are just spectacularly beautiful." "JAFFA:" "It's all natural light." "We were out there, and a lot of that's just natural light." "I don't know how Andrew did it." "Also, too, with Koba pushing him off the helicopter, it makes this moment coming up that much more frightening." " This one here." " SILVER:" "This one." "JAFFA:" "He's unhinged, there's something off with this guy, and yet, he's really, really smart." "SILVER:" "What's scarier than a really, really smart, unhinged character?" "(GRUNTS)" "JAFFA:" "Again, this is a beat we worked on so many, many hours and hours." "SILVER:" "Oh, my gosh." "All of us sweated this one." "Because, of course, this moment has to resolve so much between these two characters." "It's always the case with fathers and sons, the son can't really move on unless it's resolved." "JAFFA:" "Exactly." "SILVER:" "And the movie can't succeed." "JAFFA:" "And we knew that Will had to take responsibility." "Here, he's apologizing and it's his fault." "He's letting Caesar know, but he's also his father." "He wants him back home." "He wants him to be safe." "SILVER:" "And, of course, the editors do those great cutaways of where Caesar belongs." "They did that also in the bribery scene." "Caesar is home." "SILVER:" "So powerful, and James' reaction is spectacular." "JAFFA:" "I love James' reaction." "He's great in this." "I could just watch him all the time." "But that specific line had a lot of different changes." "SILVER:" "Yeah, different iterations." "It was, "Caesar free."" "JAFFA: "Caesar free." "Caesar home." "Apes free," we tried." "And it was at the very end that we all hit upon," ""Caesar is home."" "Coming off of James saying," ""Please come home with me."" "SILVER:" "That's Andy's voice, isn't it?" "Is it Andy's voice?" "JAFFA:" "I'm sure it must be." "Anyway, and we have to give credit to Emma Watts," "Tom Rothman, and Peter Kang." "The guys at the studio really had a lot of input." "Everybody did." "It was just a real group effort here at the end." "SILVER:" "It's such a powerful moment when the apes stand up to bipeds." "JAFFA:" "Thematically, the apes have risen." "SILVER:" "And Caesar's king, and then the tree." "The music, all this stuff came together very late." "This was the very last shot they rendered that I saw." "Even in those late, late screenings in late June..." "JAFFA:" "Yeah, the picture had to be locked." "Maybe Rupert talked about all this, but the picture had to be locked, and guys were up in the editing room all night trying to get it finished, and when it came together, it really was exciting." "It's also uplifting." "Rupert always said he wanted the end to be uplifting, and a lot of our early drafts..." "SILVER:" "It was dark at the end." "JAFFA:" "It was really more insidious." "SILVER:" "Like the end of a thriller." "JAFFA:" "Yes, the end of a thriller." "And he really pushed..." "SILVER:" "He pulled off the fact that it's uplifting, and then you get this coda." "JAFFA:" "And then you get this coda." "SILVER:" "And it plays..." "It's not dark, for some reason." "It's spelling out something dark, but, for some reason, it's thrilling rather than a downer." "RADIO ANNOUNCER:" "An unknown group have caused a major disturbance here in the Bay Area, including the City Zoo and the Golden Gate Bridge, causing widespread damage and some reported injuries." "JAFFA:" "It's fun in the theaters, here, when the credits have run, and suddenly a whole bunch of people are leaving, and they're like, "Oh, wait a minute."" "People start calling their friends to come sit back down and stuff." "Well, in every draft, we had ways of showing that the virus started with one person, and then started spreading." "And we eventually landed on this one with Rupert, of this image of panning up to the board and all those different cities." "You walk into any airport with a contagious virus like that, and it's just gonna spread like wildfire." "SILVER:" "And then this credit sequence, I don't know..." "This is all Rupert." "It's spectacular." "I love the yellow and the black." "I've never really sat through the entire credit sequence because we were always at these screenings, and..." "Those are the Weta guys." "They're geniuses." "JAFFA:" "Yeah, we were lucky." "We were so lucky." "At so many different steps along the way, we were so fortunate." "Just different drafts and different executives that came on, and when Peter Chernin and Dylan Clark came on as producers, and then we got Rupert." "And then the cast started coming together." "We got James first, and the cast started coming into place, and then a week before shooting..." "Well, and then, of course, Weta, and Weta really started actually promoting the idea of Andy, and Andy had been discussed already, and for various reasons it hadn't happened, and then it just happened a week before we started shooting." "If one of those little..." "SILVER:" "The Apes gods were looking down on us." "JAFFA: ...pieces of puzzle..." "Yeah, no kidding." "The Lawgiver was blessing us." "If one of those little pieces hadn't come together, then it would have been a whole different product at the end." "Brian Smrz did a lot of the second unit." "He did a tremendous job." "Richard Ridings played Buck." "SILVER:" "Yeah, he was spectacular." "He had so much heart." "JAFFA:" "David Hewlett, that's Hunsiker." "He's got a huge sci-fi following." "But so many of the guys who played the apes and the stuntmen and stuff were just so dedicated and they worked really, really hard." "SILVER:" "And they really believed in their "apeness."" "They were very proud apes." "JAFFA:" "Mike Mitchell, the stunt coordinator, also did a great job, and he was very, very supportive of the script and really locked into the whole emotional through line of fathers and sons." "SILVER:" "It was so exciting because on the set, there were groups of people who were working really hard, and then there were people in post who were down in New Zealand, hundreds of them, who were delivering those..." "JAFFA:" "Like Santa's workshop." "SILVER: ...spectacular renderings." "JAFFA:" "These little presents would show up, and it's like, "Oh, my God, there's Koba." Or Buck, or Maurice, these incredible things." "Like Christmas." "Just show up in the post-production office up here." "It's cool to be sitting here, looking at all these names go by, and to recognize so many of them." "Just a great group of people." "It's like you go to war with people, and you really get to know them well, and you go through something together, and it's really rewarding." "It's been, I'm thinking, almost really five years to the day, maybe a little more than that, when the idea popped in my head, and then I went to Amanda and we started talking about it, to now." "SILVER:" "It's really a miracle that..." "JAFFA:" "It is a miracle, really." "SILVER:" "That it has come to this, to actually seeing it." "I don't think I've quite gotten my mind around it, actually, that it's out there." "JAFFA:" "We almost didn't even go into Fox 'cause we just believed that they were probably developing a remake or something, some kind of Planet of the Apes attempt." "It was one of those weird things that the idea was so clear..." "I mean, we didn't really spend that much time on it, in the beginning, 'cause it just laid itself out so quickly and it was so simple, we thought, "Maybe they've even had the same idea,"" "and so we almost didn't even call Peter, and then we did." "The conversations were very short." "He fell in love with it immediately, and we've referred to him as "the third musketeer" on this thing." "He took us down to Hutch Parker, who at the time was head of production, and he got behind it, and, of course, we wrote all through pre, and then we wrote all through production." "SILVER:" "A really steep learning curve..." "JAFFA:" "A very steep learning curve in terms of being producers, especially with the visual effects." "SILVER:" "An incredibly gratifying experience." "We learned so much from the people we were working with, most especially Rupert." "JAFFA:" "Well, everybody." "SILVER:" "Everybody." "JAFFA:" "Peter Chernin, everyone at the studio," "Kurt, Mark and Conrad, the editors." "Tom Hammel." "The general." "SILVER:" "We're really grateful to be here." "JAFFA:" "We're really grateful." "Happy, really pleased with the way it came out." "English" " US" " SDH" " Commentary"