Kurt Wimmer &
KW: There's the phone of the future.
LF: I gave Kurt a
big ration of you know what over this thing. I tortured him about this
green phone, the 40's...
This is actually
at a different airport, this set.
KW: This is
LF: Did you talk a
great deal about the white suit and the origins of the white suit?
KW:Uh.. no I don't recall, what
were the origins of the white suit?
LF:Uh, Bruce Lee
in the Chinese Connection.
KW: Oh yeah of
course, I completely forgot about that, yeah uh, that's absolutely
right. I pretty much stole this suit directly from there, but shhhh,
don't tell people. Another movie I ripped off...
LF: I won't tell
KW: It's the first
thing I did when, I, met my costume designer Joe Porro. I sat him down
and I threw in Chinese Connection where at the beginning Bruce goes to
a funeral in this really zow-o morning suit, white morning suit and it
looked rocking on him I figured it would look rocking on Christian. The
studio was not too sure about it.
LF: Yeah, they
were a little worried.
editorial comment, just about the practical exigencies of production.
Christian, through this last scene and this scene was holding the sword
tightly, gripping it tightly and, people might infer that that's
because it was some acting thing, and he's being intense or
whatever. Actually it was we couldn't get this sword to hang properly and we
told him, "Listen... sorry but you gotta walk through this scene
holding on to it and keeping it in-line because otherwise it's going to
KW: And it
was. It was unsupported. The strap wasn't doing anything,
except lying on his shoulder.
LF: It turns out
it's not that easy to make a sword, a scabbard, and a sash. Uh, there's
some design that goes into them apparently.
difficult. We did have problems with props in this film, and one of the
many problems was that when the sword showed up on the day, I'd said I
wanted it completely white including the handle and of course the
handle wasn't white so they had to paint it at that time, spray paint
LF: Yeah, right
before we shot it.
KW: And so the
paint kept coming off on Christian's gloves but uh, you know that's one
of the fun things about making films is that things go wrong and to me
it's like playing Craps in Vegas, even though I'm not really a gambler,
is that every setup you're rolling the dice, and when they call roll
film and action, you're holding your breath, to see if it's going to
come up sevens or something horrible is going to go wrong and you are
going to get screwed. It's a great feeling at the end of the day when
you go home and maybe everything didn't go perfectly but you say I got
it, I know I have what I need and I can move on and it looks nice.
LF: Actually you
know part of the filmmaking process is like just learning how to vamp,
learning how to take what you're given, and sometimes you are not dealt
the best hand and things break and people don't perform the way they
are supposed to or whatever and you just vamp, just find a way to make
it work and you know you do it in that moment and that's kind of the
hight of creativity actually, for us, or anybody.
KW: Sometimes it
turns out better than you expected. I have to say I don't much
like vamping, because I like to have the answers ahead of time. I
don't relish going into situations like that. Sometimes. And especially
in a genre film because in a genre film like this, you know the frame
is very important, because in a way they're comic books and so
everything is relegated in a way around the frame and the performance
within it. But if you are doing a drama, you know then you may want it
to...just have them extemporize on every scene and you just have to
follow them with the camera. It's a scary no net process.
LF: Yeah, the no
net is a big deal. You just don't know. Sometimes you just try
things and they don't work and you just try them again till you get it
KW: But the actors
on this film were very good about understanding that it was a genre
film and that the frame is going to be here and we're going to go here
and do this on this line etc...
LF: Those weeble
wobbles, we were thinking about way before we uh...
KW: Yeah, that was
another one of those things that you know, I had this idea and like..
you know you never know, is this going to work or not? Because you know
when you're telling people in a room it sounds kind of silly...
LF: Nobody thought
it would work,nobody. Nobody thought those weeble wobbles would work.
KW: Well one
actually it works really well.
You know it's sort of about keeping
in the sort of fiction of the film. You know it
wouldn't work at all if this were a Lethal
Weapon film, but, it works in this one... hehe he's kicking some ass
here. I mean I don't like it.
LF: (laughs) Yeah,
I know. We're against that...
The rifle thing is
KW: Oh yeah,
cool... Isn't that a beautiful gun.
LF: It's over the
KW: I mean
beautiful just in terms of design, and not what it's capable of doing.