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Equilibrium Commentary
Kurt Wimmer &
Lucas Foster

6. Existence And Purpose

Transcription by Libby

Kurt: That's…er…Templehof.

Lucas: That...did you talk about these vehicles and where we got them from and stuff?

Kurt: Er...yeah, I did. I'd..I'd mentioned that...um...I did..I talked about it at some length. One thing I didn't mention about them, is that as they are fire engines, they're German fire engines, they're Mancats, 1AIs...er...the big ones...is that they were red when we got them and we had to actually...they actually drove that thing up to Berlin on the road....
Lucas: We couldn't put it on a trailer, it was too heavy.

Kurt: No, way too big…from Munich. And that is a monstrous vehicle. But they were red when we got them and I needed them to be white and we couldn't afford to paint them white and them unpaint them. It would have been just too costly. So, we discovered there was this process that's called 'peel painting', where they basically take strips of latex in whatever colour you want and they cover the vehicle in them. And when you're done they just peel it right off, like a skin. It was pretty cool and I have to say, it saved our ass.

Lucas: This is the only time in the film you'll see the white Sweeper coats...we sort of shot them and then we realised we didn't like them that much and so, they were black.

Kurt: You see them one more time, later on. Actually there's ...yeah…and they also show up earlier in the video burning stuff. Um...I actually liked them, they just had to be used judiciously, because they become...we discovered they could become silly, rather...rather quickly. The other was that...something I didn't talk about... was, my production...my costume designer Joe Porro, Joseph Porro, who's very talented, designed them and Joe just loves colour and he had made them of an iridescent fabric and that was probably the mother-of pearl aspect that was just something that put them over the top.

Lucas: Yeah.

Kurt: But one thing that Joe did was design these Cleric outfits which I'd asked him to base around the sort of frock coats of a 19th century Deacon and he came up with this design, which the cynics have described as Prada, but I think it's great, you know. It looks like armour and I was very specific about what Christian, or Preston would be wearing in what scenes. You know, his gloves and his long jacket were his armour and then, you know, the suit underneath was...was less but I think it's...it does a great job in adding to, you know, their nobility on one hand and their knightliness, but also their...um...sort of scary aspects of their character. 

I was worried when I was making this, that people would think that was Prozium he was giving her, but nobody seems to have complained.

Lucas: This...and we...there's a lot of concrete in this movie and this concrete room was actually a fairly large room, sort of down the hall and up a set of fairly rickety stairs. And you took your life in your hands to actually get to this set, actually, because we were in an unfinished subway. And, you know, we were using these essentially, you know, what construction workers are walking around in with hard hats and we have a crew of a hundred people walking around in here. It was somewhat of a nightmare for me, as a producer, as I was just worried about the danger to everybody. It was also freezing cold. You may remember behind one of these walls, was a massive amount of water, that the...they told us that the subway...in the making of the subway, what they did was they pumped.... 50 feet under the ground...under the surface of the ground in Berlin was sort of the water table, if you will and what they had to do was sort of pump the water out in order to make the subways. And so, I kept thinking while we were on the set, "Oh, my God!"  Like if that wall…it wasn't made to German precision standards, you know, that wall of water would come in here and kill us all.

Kurt: Yeah, for sure.

 Also, there was...remember there was a big hole in the centre of the room...

Lucas: ...yeah..

Kurt: ...that would cause people to plummet to their death, you know, far below in this cavern in the subway. And it wasn't even just a hole, it cut across the entire room...it was...

Lucas: ...it was literally a cut in the middle of the floor....

Kurt: …I can't imagine what the practical purpose of it is. But Christian and Emily are sitting on top of it now -we put a grating over the top of it, which was kind of a squirrelly proposition - and...and had them sit on it.

You know, I was bemoaning, on the other track that I…I had two good wide shots of this room and I think I got so myopic in the cutting of this scene that I took them out and forgot about them. I wish that I had one in there because it really was a nice set and through this production value has been lost because of that.