Kurt Wimmer &
LF: And there are the titles.
KW: That's right.
LF: Wow that went
KW: It did, Sue
did a great job thank you Sue.
KW: ...and there's
Andrew Rona who walked point on this film for us and Bob [Wienstein]
who was kind enough to pay for it, and Nenon [Tantet] was also my
post-production supervisor and did a great job supporting me and Dion
[Beebe] who I've already flattered enough.
LF: and Wolf
[Kroeger] who was a little cranky but unbelieveably talented.
You know the thing I should say about Wolf is he's uh.. and there's
William [Yeh]...he's about 65 years old and he works harder than
anybody else. It's like he's got the hounds of hell persuing him to
leave his legacy on this earth. It's quite something.
LF: Wolf is always
in the office on Saturday and sometimes on Sunday. He's just...
KW: He was hard at
work. He must have walked off the film...
LF: ...at least 3
KW: ...at least 3
times and I would go run after him and beg him beg him to stay.
He was a master at sort of manipulating the system, and what his end
goal is is to get as much money out of the production as possible to
LF: ...the biggest
sets he posibbly can...
KW: ...in the
world. He will give you his soul to make them good but...
LF: The casting
directors, we have to mention them. They really served us pretty
well especially Lucinda Syson.
KW: Yeah, that's
right, especially London casting.
Digital Firepower who did a lot for very cheap. The explosions at
the end, you know they're not the best explosions by any sense that
you've seen on film I could have spent another 350 or 400 thousand
dollars to make them good explosions but at the end of the day it
didn't propell the story foward and I thought the money was much better
spent elsewhere on the characters.
Purcell who's now on a big television series.
right. I spoke about him on the other track. The irony of,
they wouldn't hire him at the time.
LF: Man they
killed us on that.
KW: But now they
would hire him in a flat second I'll bet ya. Hey the rebel victim
(Played by Kurt Wimmer), Florian Fitz, all these uh familiar names all
of our uh...
Kurtulus, there he is, that's uh, a inside joke for Kurt and I.
KW: Right and
that's uh, Annette Booreman did our German casting ...
LF:.. and she was
KW: She was
great. She did a great job.
LF: She helped us
a lot.. Andrew, the second assistant director who really kicked butt.
KW: That's right
LF: ....and Jim
Glander who helped us a lot at Miramax. Who was their production
executive, physical production executive. Pam Alch...
KW:...who was my...
supervisor. Eric Olsen who um, did a lot of work too in finishing
some of these sets.
Hayes...that guy saved us.
KW: Yeah he was...
LF: That guy was
the secret weapon.
KW: That's true.
LF: He built all
right. He was in charge of building it at a price and he did a
great job. It was amazing. He was using a journeyman
LF: We brought him
in as a foreman and we promoted him to a coordinator and boy he took
care of us.
KW: He certainly
did... Jack and Victor...
KW & LF:
KW: Something very
important on a movie.
LF: I like people
who pay me, always.
KW: Friederike Von
Rauch who was our location scout. Man was she tireless. She
was a real queen too you know. She was very regal. She has
a regal name and she was very regal too.
LF: Her location
photos were literally like works of art. She presented them in
these books that were like.. the care with which they were prepared.
thorough, Michael Lindsley on-set props saved my ass many times.
LF: Steve FLick
KW: I didn't
reconize his name, Stephen Hunter Flick, but yeah Steve is a guy who's
got an oscar or 2 on his shelves. Very, very talented guy, very
enthusiastic about the movie and doing his best. We had a lot of
people like that and he was just one of them.
LF: He was the
post-production sound mixer.
KW: Right, thats
right...sound editor. The effects on the film were done by a
number of studios like Post Logic and Riot and Digital Firepower. It's
tricky business with these visual effects because you kind of lose some
of the control. There's my brother Jann Wimmer and Sandy Hasting
who was in.. and Mark Martin, we cannot overlook Mark Martin. He
was just a production assistant but you'd be amazed at the proportions.
LF: ...We used him
right... that these characters...
LF: ...He spoke
KW: ...and he
became much more than that for us.
Harrison and Ian...
right...and his crack team.
LF: ...ran the
KW: They came in
and they were basically an English killing squad. They came in
and, you know, got killed and did their job.
The Italian crew
Anso, and Luca and Vita, thank you.
LF: Amazing how
many people we had on this movie. God...
KW: Yes, it's
LF:...did I pay
for all of these people?
KW: I think
LF: Really? Why?
KW: ... when you
sit down in your office and you have a blank page or screen and you
start to type, not really stopping to think that a year or two years
down the line you're going to be employing a lot of people and paying
their rent for a certain amount of time. I mean a lot of people
and it's kind of a good feeling interestingly enough.. Andrea Verthine.
LF: She helped us
KW: Yeah a lot of
support.. and these are all the places we shot, Deutchlandhalle,
Walther Bau. They were renovating the Olympic Stadium, a very
expensive renovation, extensive negotiations which Lucas handled
obviously in terms of...
LF:...to get us in
that place. A very tight window. I'm glad we got it. So there we
go. That's our film. It'll be up to posteriety to see
whether it was worth it.
LF: Yeah, thanks
KW: Right on...