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Equilibrium Commentary
Kurt Wimmer &
Lucas Foster

5. A New Morning

Transcription by Libby

Lucas: Er...Preston's wife, who he betrayed.

Kurt: Yeah, it's a... sort of interesting, in the way that Studios will sell films... and they say it goes on all the time, but they chose to sell this film not in terms of the Dystopic world, but in terms of a man who is betrayed, in this scene specifically when, the system comes and takes away his wife, without real justification. That's a revenge film. It's really surprisingly not what the film's about, but it's how they chose to sell it.

Lucas: We shot some of that stuff, by the way, we shot some of the video stuff like what you just saw on video, we never actually shot it on film. We shot it on video because it was gonna be, was, needed to look like video and there was no reason to post process it into video. We could just shoot it on video and essentially put it in the tele-cine process.

Kurt: Yeah, we had a ramp update where we shot something, a couple of things on digital video, like Preston's wife being taken away, not this shot but the later scenes and Mary O'Brien being taken away.

Lucas: And also when she's in interrogation and she's sitting in her interrogation cell.

Kurt: Yes, exactly, that's right. And yeah, it was going to be digital on screen, so that was the only reason to spend the extra money.

Lucas: There's another one of those little crane, mini-crane shots of Kurt's that...

Kurt: Yes. This was the first shot of the film, actually, first shot, first day and you know, Dion basically was front and centre and everybody's watching, you know. And this was sort of unfamiliar territory. Me, I was unaware that the entire crew stands by to make their assessment, you know, of all the unknown quantities, Director, DP, etc. and that first day, or even the first scene. And you know, this poor guy, he had to work the wheels and nail...um...

Lucas: ...the complex move.

Kurt: Yeah, relatively complex move at the first shot, first day. But you know I learned a lot from Dion in making this film. I think this was actually his first mainstream film. I'm proud that we hired him for it. We knew he was very talented from his reel, ah, but he's a very quiet guy and sometimes he's difficult to engage, especially when you don't know him, when you first meet him.

Lucas: A lot of people felt like he wasn't doing anything or he was not moving fast enough or whatever and, you know, it's just he has a different process, you know. It sure looks good on film. It was absolutely beautiful and we would look at the dailies and go "Wow! That's amazing!" Although people did think it was too dark. And the biggest objection that the Studio had, and some of the other people, like Jan [de Bont] had, was that it was too dark and that was a big issue that we debated in the first week or two of the film.

Kurt: I actually, I always loved it. You know, actually what I learned from, from Dion -  and you better put your hands over your ears, Lucas - is that when people say things to you, you just sort of, you know, nod, with that same look that your dog has when you put the phone to his ear and then you go ahead and do exactly what you were doing anyway.

Lucas: That's...that's not news to me. That's...that's the Producer's, you know, existence, but...er...

Kurt: But I didn't want you to know that I was exactly conscious of that...

Lucas: Yeah...

Kurt: I just wanted you to think I was stupid.

Lucas: This is actually the back of the Berlin...this...that's digital, but the lower part of this is the back of…

Kurt: Starting right there...

Lucas: ...the Berlin Stadium

Kurt: Yeah, the Glockenturm. Yeah it's all...most of that frame is practical.

Lucas: When we saw this on the location scout, we absolutely loved it. We were just like "Oh, my God!" We loved this...the outside. And we used the interior of this, where that guard is standing up there, for a scene later on, with Preston, when he's talking to DuPont....

Kurt: Right.

Lucas: ...and we just loved it. We saw it and we thought "My God! This is made of granite and stone and limestone and it seems permanent and we…we want to get this on film."

Kurt: We liked...we liked anything we could use from multiple locations. I mentioned on the other track, how Taye had just learned to drive and he almost killed some people…

Lucas: Yeah. He almost ran over a Grip and…um…

Kurt: ...it didn't seem to bother him much, though. Not the Grip, but Taye.

Lucas: Yeah.