Kurt Wimmer &
3. The Prodigal Cleric
Kurt: Often we only had 1 take on a certain setup because if
there are a large number of squibs involved, the reset time would have
killed us. So it was the fact that Christian was able to remember
choreography that he basically learned that day or even just within the
hour before and nail it the first time when everything was on the line.
It was an incalculable benefit in making this film.
Lucas: this set, um, you know Dupont's office, when Kurt and
I first saw it, we thought it was a little over the top. I mean, we
loved Wolf Kroeger on some level for his desire to build things and
whatever. But it was a little bit over the top it was a little too
decorative. It was tipping the hand too much that Dupont was not what
he appeared to be. And we toned it down just a little bit, the
decoration in here.
K: I liked it.
K: I think that, yeah, we basically we added some paint and
we covered up a little bit of gold. But um...
L: That black floor was a total pain to keep clean.
K: It was a real nightmare. We had gotten to the point where
every single person who entered the set had to put these silly footies
on. And it, you know, we laugh about it now, but at the time it was a
L: It slowed us down
K: Oh, tremendously. I mean, we probably lost half a day or
more because we had to mop the floor, even with the footies they still
transmitted dust. And we had to mop the floor between every take.
L: And the black looks good on film, you know, the
production designer and the art director really wanted to have a black
floor. And we understand that it looks great on film, but boy it was a
total pain for the shooting.
K: It's funny - you can hear the tone in the producer's
voice "Uh, we understand that it looks great on film , but, but I have
a different perspective. " It looks great on film, yes.
K: Absolutely. Black floors. Reflective black floors. Let's
L: But I got to get through the day, so...
K: Let's do it. Well, it was brutal. This shoot was brutal,
but we did get through the days. We never got behind, you know, we
ended up completing the days. I didn't always get every shot I wanted,
but we ended up getting at least the minimum we needed to go from one
scene to the next. So, but it was hard. It was hard because we didn't
have much budget. Of course, that budget translates to time. And it was
hard because I was a first time Director. It was hard on every level.
The atmospheric and environmental conditions were hard. It was bitterly
cold. Some of the locations were difficult to get in an out of. It was
very tough. It was physically demanding. But, man, in retrospect it was
L: This...I'm sure you've talked about this already...but
this uh, the hall of enforcement that we were just in, we'll see
obviously more of it later in the film, was underground.
It was near the Reichstag, and essentially under the
parliament, the German parliament building. It is a portion of a subway
that is being built. I assume is probably close to finished now.
K: Yeah, I think so. They have been shooting so many films
on it. Resident Evil shot there. You can see it pretty clearly in
there. They may be making enough money that they don't have to actually