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Equilibrium Commentary
Kurt Wimmer



15. Nothing To Hide

Transcription by Walldude
 



Now, certainly Taye is feeling here but.. uh.. in my sense, this kind of totalitarian system, fascistic system, encourages any behavior that is advantageous to it's continuance.  Whether it actually fits in 100% with the doctrine or not, and they discourage anything whether it's inline with the doctrine or not.

Notice he says "relationship with a female". Some people question how in the world, without feeling, anybody could propagate. I didn't bother addressing this in the film, maybe I should have, but I didn't bother addressing it because even in our contemporary reality there's plenty of procreation that goes on in-vitro, without actual physical contact, and I just assumed the audience would make that assumption.

To me the whole concept of the family in this film is strictly residual. There was some dialogue at one time earlier in the film that made it clear that they were really sort of on the cusp of this society, that it had only been around since about the time Christian had been born, or Preston had been born.  And you know much like we wear ties, like he's wearing there in that shot there, is the residual from the customary bibs we use to wear in medieval times.  Yet we don't know why we wear this silly flap of fabric around our um.. neck, yet we do, do it.  And there's plenty of things we say, and gestures we make that we've long since forgotten the reason why we do them. At any case to me in this movie the family, which they would ultimately get rid of eventually in this film, in this other society, but you can't do everything at once. You can't spring everything at once on human beings, it was strictly residual arrangement, that they were in the process of getting rid of. I think that in an earlier draft of the script actually, I even had someone remarking on the, you know the program of communization that was being launched....

(Brandt gets dragged off)

The other thing I think to keep in mind about this film is that it is, it was never meant on any level for me, to be taken, or for the audience, to take it literally. It was never meant as a chilling vision of the future that could possibly happen. This film was always a parable and a fairy tale, and it really just remains whether you want to be told that parable or that fairy tale...

(Dialogue between Preston & Dupont)

All actors are different.  They all have the take that they hit.

This car? Clearly a slightly modified Cadillac. This falls in line with the titles in the front of the film.  I mean, I could have made the decision to make a flying car or something like that but it really wouldn't have furthered the story so I made the decision to do the cheapest thing I possibly could, and that was the Cadillac. The irony is though that in Europe you cannot find large size sedans except for Mercedes and BMW and those were, I thought too obvious. So it was only after looking very hard that we found 2 used that we could buy very cheaply in Germany, and uh.. disguise.

(Preston heads for the bathroom to recover his hidden doses)

Very hard shot to get there, without seeing the steady-cam operator in the mirror, behind him. It was hard shooting on this set because 3 of the walls flew and because we had a very limited amount of time obviously to shoot.

It was a very complex mathematical algorithm to figure out what order to roll these, fly these walls out in order to shoot the scenes properly and also in continuity with what the character was going through.