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Video tags
Subtitles
Russian
00:00:07
sos sos can00:00:10
anyone hear me reception00:00:13
this is American station 31 can you hear00:00:17
we found something in the ice we need help00:00:21
[music]00:00:36
[music]00:00:42
[music]00:00:49
John Carpenter's something horror takes00:00:52
shape00:00:54
their memories shared by00:00:57
actor00:00:59
Kurt Russell McCready Richard00:01:03
Mazur Clark00:01:07
Charles Hallach she Rhys00:01:11
Joel Polis veux00:01:15
special effects creators00:01:19
Rob Bottin special makeup creator00:01:23
Stan Winston special creature effects00:01:26
Peter Kuran optical special effects00:01:31
Albert Whitlock graphic designer00:01:35
Susan Corner model maker crew00:01:41
David Foster producer00:01:45
Bill Lancaster scriptwriter00:01:49
Dean Cundey cinematographer00:01:53
the drums oh editor00:01:57
John Lloyd production designer00:02:01
John Carpenter director00:02:07
[music]00:02:13
the beginning maybe we first felt what it was00:02:16
when I watched the original00:02:18
film it didn’t happen during a00:02:20
rerun and I was about00:02:22
four or five years old it was knocked out at the root of00:02:25
this film, the zip ties are so scary that it00:02:28
flies out of your hands00:02:30
you have to be different words when they00:02:33
approached the door oh with a00:02:34
geiger counter they opened the doors and he was right00:02:37
there00:02:38
I was blown away00:02:40
at school what a light story I noticed that it was00:02:45
very different from the movie this00:02:48
movie the monster james r was not more like00:02:50
talking Frankenstein00:02:54
he was something like plants capable of00:02:57
copying various forms of life he00:03:00
was not an imitator00:03:02
how to exist capable of imitating00:03:04
any life form00:03:06
do good fairy tale they00:03:09
were something like 10 black woman Agatha00:03:12
Christie00:03:13
from a creature is among us imitating00:03:17
any or all of us00:03:19
who is human and who is not quite00:03:22
fascinated me a similar image of00:03:25
ours in the script, Bill and I, he casters00:03:27
returned to etc.00:03:30
david hoster producer our first00:03:33
choice was always john cornyn from the build00:03:35
had a relationship with him from the film00:03:37
department at the university of southern california00:03:41
and i was familiar with john's work but00:03:43
wasn't familiar with him so we met00:03:46
and he immediately said yes yes yes we00:03:50
finished escaping from new York00:03:52
and I immediately started working on nothing we00:03:55
started from scratch00:03:57
initially belova caster wrote the00:03:59
original script00:04:00
but we started all over again there were several00:04:04
drafts00:04:05
top cooper and my partner did a draft and there00:04:08
were also a few short sketches00:04:10
done by different people at the beginning00:04:13
first00:04:15
study liked what we were doing they00:04:17
approved and we got to work00:04:19
recently I remembered it was the longest00:04:22
preparatory period in all the time of00:04:23
my work since then I haven’t00:04:26
had anything like this when I entered the office and00:04:29
before the film was released00:04:31
more than a year passed now00:04:33
this business is so strong has changed that00:04:36
now they give you only they try to00:04:38
push your time to the limit and make00:04:40
you work faster when working on the bottom00:04:43
that we had a luxurious amount of time not00:04:46
Lancaster Inter Sanorin well00:04:48
this story itself is not so good although00:04:51
it stands out noticeably in science00:04:52
fiction00:04:55
in the late thirties I thought there was something about a00:04:58
hero story with elements of form00:05:00
changing the00:05:01
capture of bodies strange but this is not what00:05:05
captivated me in the story00:05:08
much more the atmosphere of the characters their00:05:11
mood00:05:13
limited space and elements of00:05:15
paranoia of00:05:17
thousands the story is the starting point for00:05:19
using all these elements00:05:23
m in the story of the film, I liked the idea of00:05:26
being trapped in Antarctica,00:05:29
these people working there, no matter00:05:32
what the reason, the00:05:33
terrible winter is not for frost cold and00:05:37
creeping monster00:05:45
people places and so on00:05:48
which way to approach the filming of a film,00:05:52
each film is individual John Carpenter00:05:56
directors so basically you start with00:05:59
ideas for the cameraman do you want to start00:06:01
meeting with the production designer00:06:03
and he promised you want to share how to00:06:06
make this film and the00:06:07
cities run one of the key moments00:06:09
for me when filming nothing was the00:06:12
discovery of john lloyd ign.com fab labs I00:06:15
came from low-budget cinema, never00:06:18
worked in conditions of the studio, and John came00:06:20
with great enthusiasm for knowledge and a00:06:23
magnificent eye, the00:06:26
production designer00:06:28
at the time I was working at Universal, the00:06:32
script didn’t come to the table and I read it00:06:35
and said, oh my God, this is one of the best00:06:37
science fiction scripts that I’ve00:06:39
read in my life. Already heard00:06:42
johnny card amber his reputation00:06:45
to rule drawing him I contacted one00:06:48
of the project managers and then00:06:51
made an appointment00:06:53
grabbed my drawings talked to john00:06:56
finally got to work00:06:59
dean candy cameraman I met john and I00:07:04
don’t remember what year it was it was00:07:06
just before halloween00:07:09
we were introduced by de brasil00:07:12
jan jan00:07:15
decided that maybe we would make a00:07:18
good team so we worked on00:07:20
halloween and00:07:26
which i guess was a good experience for both of us00:07:31
so the collaboration began00:07:35
i worked on the fog00:07:38
and escape from new york and00:07:42
[ music]00:07:44
subsequently over nothing00:07:49
so I think we went through00:07:52
professional growth together00:07:57
working with John and the picture that we00:08:00
shot together I00:08:01
think forward at times it was quite00:08:05
difficult for me also it brought a lot of joy00:08:08
life it may have been an opportunity for us to00:08:11
experiment and work on the00:08:13
visual style00:08:15
essentially it is a process selecting people for00:08:17
the filming of the film,00:08:19
one of the important issues that needed to be00:08:22
resolved concerned special effects,00:08:25
who should you hire for this, which00:08:28
special effects creator to work with and what00:08:30
concept to adopt I chose both the road of00:08:34
Batina and Rubakin the creator specially00:08:37
renovation I saw Halloween you instantly00:08:40
became a fan of John Carpenter00:08:42
it’s easy amazing movie I was00:08:45
amazed fortune smiled on me when I was00:08:48
working on00:08:51
Roger Corman's film Rock and Roll High00:08:53
I met Dean Kanye he did00:08:56
amazing things in Halloween I was a00:08:59
fan as a cinematographer cameraman00:09:03
I asked him to introduce me to John00:09:05
Carpenter enemy told me I have to00:09:08
work with one whole name so I00:09:11
met with John he was filming the fog00:09:14
I said I have00:09:17
some creepy characters in the film I would00:09:19
like to make it Murat something like a00:09:21
guy in a mask from Halloween he said00:09:24
actually there is but00:09:26
actually I just I was rushing to this00:09:29
meeting,00:09:30
who else am I a big fan,00:09:34
I asked this question.00:09:37
get up I came say and get out of00:09:40
this prank of mine00:09:43
looked at me and said I Burroughs00:09:46
come tomorrow you will do green00:09:50
so I started working with him we had a00:09:52
good working relationship00:09:55
not many similar interests I said00:09:59
you know I'm going to make a film no what00:10:03
I answered you're kidding you want to do a00:10:06
remake nothing said yes there is such an idea00:10:10
you don't need you to do something I oh my god it's00:10:13
fantastic00:10:18
in fact after the fog00:10:20
I worked on the painting howl00:10:26
it was a great success at that time I00:10:29
was 20 years old00:10:31
I think when I finished this project I wasn't00:10:34
turned 21 he watched the film00:10:37
one day he called me and said you need to come00:10:41
here we are shooting a film didn’t say the case did00:10:43
n’t read Yegor Gera00:10:45
he came up with an extravagant concept that00:10:49
something can look like00:10:51
anything it doesn’t look like one monster00:10:53
it looks like anything00:10:56
based on this forming this00:10:59
imitation becomes any of the surrounding00:11:01
creatures and uses these00:11:03
various forms to make your way this was a00:11:07
very bold statement and I must say00:11:09
I even sometimes doubted whether00:11:11
he would succeed and00:11:13
he says if the idea00:11:17
we got an amazing00:11:19
storyboard artist named Michael in00:11:24
our department of the universal studio to meet with00:11:27
one guy I said Mike Flug you00:11:31
meant to say Mike00:11:33
[music]00:11:36
what's the difference saying00:11:38
John is a very funny guy00:11:41
I said he did a bunch of cool ones00:11:46
because since childhood he has been a fanatical00:11:49
collector of comic books ambling Mike00:11:51
said my God Kukleva so he says00:11:55
why don't you go and tell00:11:56
him that what did you just tell me that00:11:59
I need you and Mike to sit down and00:12:01
work out all the scenes00:12:04
I want you to tell me what you00:12:06
were talking about frame by frame this can00:12:09
only be done this way00:12:12
worked on this thing took a couple of weeks00:12:17
after we finished the storyboard00:12:20
I got it all this good stuff and00:12:22
went to Carpenter's office, what00:12:26
happened,00:12:28
they hung them on the wall, they took up the entire00:12:31
wall of his office, he looked at me00:12:34
and said, do you even know how to do all this,00:12:36
I told me00:12:38
so that movie was a very difficult00:12:41
task,00:12:43
shoes two guys were great the fact that00:12:46
john gave me a great chance00:12:50
and the guy let down his imagination00:12:56
the support was felt in everything yes00:12:59
it was just amazing for a00:13:01
22 year old00:13:03
omega we started casting for nothing00:13:06
and very quickly realized that we need to be00:13:08
realistic00:13:10
although women work in Antarctica we00:13:13
could have them put it there00:13:17
I thought it would be more interesting to make a00:13:20
purely masculine film00:13:22
simply because you haven’t seen anything like this before.00:13:26
There were a couple of women in the hyuka version,00:13:29
but I thought that a purely masculine film00:13:32
would be more elegant than I haven’t seen in a long time. I00:13:37
started casting Kurt.00:13:39
Kurt Russell wanted to play the main role and00:13:42
was simply irreplaceable, we looked at all the00:13:45
worthy actors we could find, we00:13:47
assembled an excellent cast, John00:13:50
tried to find an actor for the role of McCready,00:13:53
and we spent some time00:13:57
discussing thoughts about other actors00:13:59
Kurt Russell and McCready, I had nothing to do with the film, I00:14:02
could select actors, I00:14:05
found some who for other roles00:14:08
but I couldn’t find who I wanted to see in the00:14:11
role of McCready,00:14:13
I somehow hinted in a friendly way when we were00:14:17
talking about this, after that 3 weeks passed,00:14:20
maybe a month or less, he came to00:14:23
me and said how about you00:14:25
play him when he read it the script00:14:28
decided that yes it would be a lot of fun at the00:14:31
time we tried to strictly comply with00:14:33
the story I Mac Ready was just one of the00:14:36
group and gradually stood out from it00:14:39
to meet not that at the very end00:14:41
everything00:14:43
changed slightly as soon as we00:14:46
discovered problems with the makeup and clothes00:14:48
when everyone looked the same keychain00:14:51
I was invited to another role00:14:54
Richard Mazur Clark don't remember which one00:14:57
[music]00:15:00
after I got there John and I00:15:03
talked00:15:04
we knew each other a little00:15:08
I said don't listen to what you think about00:15:11
Clark dog water00:15:13
he replied I haven't at all yet paid00:15:16
attention to this role was the family of fire on the00:15:20
most interesting he really why I00:15:24
said because he is attached to animals00:15:26
more than people00:15:29
he seems to me like such a loner or a00:15:33
stranger of a foreign body in a team and I00:15:39
think he liked it00:15:41
I liked the fact that he was a00:15:45
decoy the one everyone thought was00:15:48
infected00:15:50
Callahan all the actors 2 generalists sat00:15:54
around the table discussing the script what was00:15:57
required and expected from the characters00:16:03
working on the psychological aspects00:16:06
this was the most interesting thing in the script not00:16:09
Sean the specifics of when to bring them in read00:16:12
the script I didn’t read the monster here00:16:14
turn around I was just I saw the situation, it was00:16:18
great to start with this, but because as00:16:21
soon as we started filming, the00:16:23
technical aspects began to dominate and00:16:25
Dendera pinged me, it was great because00:16:28
I was the only one who worked00:16:30
mainly with Jed the00:16:34
Wolfhound,00:16:37
Clint Rowe, who raised Jed00:16:40
became my good friend,00:16:42
we became good friends with Jed00:16:46
at first he scared me quite a lot00:16:48
because he was half wolf and00:16:50
half dog and the wolf essence was dominant00:16:55
he acted like an oval wolf he never00:16:58
barked he never growled00:17:01
with him you could instantly feel uneasy00:17:04
when he did this and00:17:07
you thought00:17:10
sometimes he did such a nice thing Glen00:17:13
warned me if you notice00:17:15
him looking at you like that just relax00:17:17
try to relax00:17:19
if we get scared, no one knows what could have00:17:23
scared him he didn't have much00:17:25
experience with people and so we00:17:27
had to lock the set00:17:29
whenever he was there Jed00:17:33
in one scene, he had to walk across the00:17:35
entire room,00:17:38
go under the gaming table,00:17:41
which almost every couple from this00:17:46
company, the00:17:48
rehearsal took 2 weeks, it was interesting,00:17:52
John was initially great, amazing,00:17:56
he had never done this, bring00:17:59
these 12 people together, then test and00:18:02
understand what will happen between them,00:18:05
you understand who doesn’t like who, how00:18:12
the neighbor will act under these circumstances, a lot of interesting things happened, like00:18:15
wolves howling, sometimes we took00:18:18
the initiative00:18:19
because we were so connected,00:18:23
this resulted00:18:27
as a result of this, an interesting intricacy arose,00:18:31
I remember one moment during the preparation00:18:34
for filming came John Lloyd and said the next thing00:18:39
we need to go to Canada,00:18:41
British Columbia, to film it on the00:18:43
glacier,00:18:44
let's burst the whole cartoon build,00:18:47
in search of a place to build scenery00:18:49
for an ordinary camp in Antarctica, they00:18:52
chose Stuart, British Columbia.00:18:56
because it was the most easily accessible00:19:00
and snow-covered area of the saw at00:19:03
charles watch this place we arrived it00:19:05
seems in the summer when it was still warm00:19:09
relative to the heifers00:19:11
instead of what we chose was on a hill against the00:19:14
backdrop of a glacier00:19:16
there was quiet little snow so they00:19:19
could build a camp in this way the00:19:22
location was chosen six months before the00:19:24
start of filming,00:19:27
using this location was at the00:19:30
top of the mountain00:19:35
where there was a narrow road that was also00:19:38
used by miners,00:19:41
that wing was closed for a short time and then00:19:43
closed so something unique was found,00:19:47
just don’t need to ride on the glacier,00:19:51
this is the place everything happened00:19:54
here on00:19:55
one side there were trees growing so I00:19:58
built the set so that you wouldn’t00:20:01
see them and00:20:03
I was really happy to do it all I00:20:06
think everything looked right00:20:18
approach the00:20:21
Spaniards Boris00:20:24
five wounds special effects my task00:20:27
was to create the opening credits including00:20:29
constructing a model of the00:20:31
spaceship which I subsequently made00:20:34
susan turner00:20:36
susan turner that spaceship00:20:39
from the opening credits was not filmed00:20:41
twice made of polystyrene I'll make it like this so00:20:46
that it can withstand the heat radiation00:20:48
144 light bulbs arranged in a circle00:20:55
it consists of many parts made00:20:58
of brass including the outer grille holes00:21:00
dome nozzles00:21:03
I'll do it this way because what I needed was00:21:06
maximum detailing, which is00:21:08
impossible, as I believe, to achieve with00:21:10
polystyrene, I like the brass parts,00:21:13
spray painted through a00:21:14
stencil and in various shades of gray,00:21:16
this is the porthole on the dome, the embossing of the00:21:19
chamber was not00:21:21
originally when you etched it was00:21:23
flat, but then it was given volume with a00:21:26
hammer in a wooden form,00:21:28
I wanted the lights to be visible00:21:31
continuously shining through the mesh00:21:35
instead of small flashes or what is00:21:37
called a point light, they have00:21:40
different intensities and speeds too,00:21:43
so that when we saw what speed00:21:46
we needed to achieve the desired effect,00:21:49
we could speed up or slow down one00:21:53
to make them brighter or dimmer00:22:05
[music]00:22:13
they filmed the approaching scene in four stages, the00:22:16
passage of the spaceship, the passage of00:22:20
rotating lights depicting the operation of the00:22:22
engines, the00:22:25
passage of the luminous dome00:22:29
from which the creature apparently00:22:31
controls the ship and then they completed the00:22:34
background and the splash screen00:22:38
when I did the effect for it00:22:41
when the spaceship flies by and00:22:45
then appears the title of the movie00:22:47
is burning through we did it this way00:22:51
we took an aquarium it was, I don’t know, a00:22:56
meter wide by 0 6 I filled it with smoke and00:23:00
attached the title to the back I drew it on a00:23:03
transparent film00:23:05
after that I took a plastic00:23:07
garbage bag. and00:23:09
pulled it onto the frame by aidara and then00:23:14
put the light on and directed it through the letters00:23:19
while filming I was burning a garbage bag with a00:23:24
small flame like from a match00:23:28
I moved the flame across the plastic and it00:23:31
melted00:23:32
such a light through it00:23:37
turned out as if we were burning through and with rays00:23:42
it was actually very easy00:23:44
to make it00:23:46
looks great even though I had to00:23:49
do a lot of takes Angie's letters00:23:51
were formed within one take00:23:54
I brought a spaceship from universal00:23:57
studios whitlock and00:24:00
what did he draw it from I00:24:03
worked with albert uid varnish for the first and00:24:06
only time I was a big00:24:08
fan of his work it's unique00:24:11
talent he00:24:13
does amazing things with00:24:15
brushes and paints00:24:17
for us he created a giant flying00:24:20
saucer in the snow of such a size that we00:24:23
could not build and00:24:25
he solved some problems with00:24:27
lighting00:24:29
because painting a snowy landscape with the00:24:31
right lighting is not as easy00:24:33
as it seems00:24:35
very much worked on this I'm very00:24:38
proud of what we did we did a great00:24:40
job00:24:42
birds director alfred hitchcock00:24:45
background picture albert whitlock and voice00:24:48
albert lacquer and my career you didn't versal00:24:51
really started with the birds00:24:55
hitchcock called no i introduced myself as someone00:24:58
he worked with in england00:25:01
in general he just didn’t believe me, but00:25:04
after we talked, he understood, but00:25:07
not that I was telling the truth,00:25:09
then he became interested after that,00:25:13
the curtain was torn off, the profit wasn’t00:25:17
I worked on all the films he00:25:20
shot after that,00:25:23
but he liked hand-drawn backgrounds, he00:25:26
liked doing something- something like00:25:30
[music]00:25:31
earthquake was a very difficult film to come00:25:34
here as a generalist did not deny himself the00:25:37
pleasure of selling the film to00:25:38
the cinema even before the start of their filming00:25:42
so it was a 12 week schedule00:25:46
during which 4000:25:48
parts of the film had to be made, the shooting of the gigantic body00:25:51
lasted almost a year00:25:53
for all this film had 70 backgrounds00:26:00
george year said at the end of the work00:26:03
this is his picture they are mine00:26:06
[music]00:26:07
wilder say editor i was something00:26:11
of an intermediary whitlock and legs dan00:26:13
burger00:26:15
i got to know albert very well we got along00:26:19
well00:26:21
it was one of the great periods in00:26:24
my career where I could see Albert00:26:26
at work and see him create his00:26:29
magic,00:26:30
all the hand-drawn backgrounds00:26:32
correspond to the storyboards so00:26:34
you usually know what you are supposed to see;00:26:36
very often there are00:26:39
elements with natural movement in the frame that were00:26:41
shot to become part of the00:26:43
drawn background it was necessary00:26:46
add and you just waited for Albert to00:26:48
finish his work and00:26:50
then just left his little00:26:53
masterpiece00:26:54
step by step throughout the filming00:26:57
of the film and in foil f Ginko not the00:27:00
couple's cameraman shot the bottom half of the frame in the00:27:03
snow00:27:04
or the top ring was more important and00:27:09
then brought the film to Hollywood to brought it00:27:14
does not show Warren he kept it in the00:27:16
refrigerator Ainov George small hall00:27:18
a piece enough for the project00:27:22
to check the alignment and then00:27:25
drew a picture until everything matched completely00:27:27
so it was really interesting to00:27:31
do this00:27:33
later I worked with him a couple more times00:27:37
locked with one of the real masters of00:27:40
Hollywood00:27:42
saw his unique work00:27:46
john loyd the production designer will come out00:27:50
essentially we just built part of a00:27:52
spaceship then00:27:55
albert whitlock used it to create this big00:27:57
ship00:27:59
well getting the ship there was a big00:28:02
problem we had to attach the aug of the00:28:04
helicopter and drop the00:28:06
mount then we went to shoot the00:28:08
backgrounds from00:28:10
by albert wanted to wait for the00:28:13
evening00:28:15
magic hour to arrive, we waited for a very long time, the00:28:20
helicopter arrived and we waited and waited and00:28:24
waited and finally he told everyone I00:28:29
was leaving, I00:28:33
could not close the door,00:28:38
despite this we took off the day was running00:28:41
out,00:28:42
we flew part of the way to the camp and the pilot00:28:45
said we are running out of fuel,00:28:49
I asked what would happen when the fuel00:28:52
goats we landed and overnight and I00:28:56
imagined spending the night in a helicopter with 600:28:59
or 8 passengers00:29:01
but we finally got there and everyone00:29:04
was happy except the pilot and he00:29:06
said that we can’t even imagine00:29:09
what we had problems00:29:11
so it wasn’t vision that was good in00:29:14
most cases albert whitlock00:29:17
the artist00:29:18
needed to find a high area on00:29:21
location because I don’t like working00:29:22
confinement at that time the nature was very00:29:25
flat hilly so we found a place00:29:29
laid out with sheets and00:29:31
arranged people entering the angle00:29:36
component work on creating a background is the00:29:39
arrangement of objects in space of a kind00:29:42
when they look as if they are00:29:44
really located in space00:29:46
and are smaller in perspective as they00:29:49
move away from you, which does not necessarily00:29:51
mean that they have arranged the course of colors and tones, fathers,00:29:54
everything is just00:29:56
to get the feeling that she00:29:58
is here if you you won’t00:30:01
succeed, you won’t succeed, it00:30:05
will look like 100 the drawing00:30:07
will remain two-dimensional,00:30:09
that’s your main goal to achieve it, conditionally, the00:30:12
clouds will help you,00:30:23
different blocking out,00:30:27
we were looking for a way to show the sensations of00:30:29
cold, agreed to the ancestors, don’t show the00:30:32
actor’s breathing,00:30:34
we heard about all the methods that were00:30:37
tried before this about the lost00:30:40
horizon and so on,00:30:42
we decided that the best thing would be00:30:44
to cool the set00:30:48
should not be very cold but00:30:50
enough for gunfire to appear so00:30:53
it was a very delicate balance between the00:30:54
humidity of the air that she managed to00:30:57
spray the chest and the decrease in00:30:59
temperature00:31:03
goes about needing it from the los -Angeles then00:31:07
had the hottest summer in many years, it was00:31:10
very unusual to work in a very cold00:31:13
environment and then go out in a fur00:31:16
jacket outside the forty-degree heat so that00:31:19
they could see tourists arriving in trailers00:31:22
without wondering why these people were dressed in00:31:25
such clothes sex faster producer it00:31:28
was stuffy people continued to00:31:31
go out frozen in fur jackets00:31:34
and for the soul they took off their jackets they00:31:37
got hot then they came00:31:40
back and everything was so difficult00:31:43
I remember how tired we were all of00:31:45
changing clothes during the lunch00:31:47
break00:31:50
ours was spat on went to lunch in all00:31:52
these woolen clothes in such00:31:55
terrible heat I think it will be very difficult to get there it’s00:31:58
hot, where can you think of it, there00:32:00
will be air conditioning and everything won’t be so00:32:02
bad, I00:32:03
remember this,00:32:06
I also remember how for about three days I went to00:32:10
lunch with a big ugly bullet00:32:12
hole in my forehead,00:32:16
I went in, sat down, put me in a corner00:32:20
where no one was looking at me will stare00:32:22
because it was so disgusting00:32:24
came there to have lunch and other people with00:32:28
pieces falling off the body we were a00:32:30
real attraction on the00:32:32
set station wagon00:32:37
I want to note the geological preparation00:32:40
is not that it was so perfect it00:32:44
made my job very easy I could00:32:47
concentrate on the actor’s performance the00:32:51
narration and monster to00:32:55
convince the audience that something really00:32:57
exists a lot of work was done,00:33:01
perhaps we went a little overboard00:33:09
favorite00:33:12
work no Arabs 1st was excellent00:33:16
unusual imagination and accordingly the00:33:18
same characters exist so on00:33:21
volt level I was very angry00:33:23
cool task by the fact that we are00:33:26
doing something that the beast had not yet done at that time,00:33:29
creating such illusions,00:33:31
we tried all the techniques, fast and00:33:34
slow camera movement, slow motion,00:33:36
shooting upside down, so that00:33:39
moving backwards looks somehow00:33:41
unusual,00:33:44
Darwin used the size of the publication of00:33:47
various ways of shooting a horde, one of the00:33:49
techniques is combat working with rubber,00:33:53
once a mask or part of the makeup was00:33:57
made completely out of it, there are00:34:01
slides and neatly and lighting so that it00:34:05
looks real00:34:06
so that you don’t notice the deception of the seams and00:34:10
paint of the wires and everything else00:34:12
necessary for working with it00:34:18
to be meticulous about your00:34:21
creations00:34:23
wasn't their lighting too strong00:34:25
I always teased RoboCop and killed if00:34:31
he made a fantastically interesting00:34:33
creature00:34:34
he wouldn't let the light get00:34:36
online now because he would be afraid to see it00:34:38
he00:34:40
wanted less00:34:42
we developed the technology of interrogated00:34:45
light and shadow sources and so you00:34:48
never didn’t notice its obviously rubber00:34:50
origin beings you’re close peter00:34:53
kuran special effects00:34:56
i came to the set to help rob in a00:34:58
test shoot that dog when i00:35:01
got there there were a lot of 2000:35:05
liter buckets of lubricant everywhere00:35:08
so my strongest impression of the00:35:11
film was and00:35:13
you don’t know lubricant can buy 2000:35:16
liter buckets00:35:18
to collect so much at once in one00:35:20
place and00:35:23
a lot went to all their beings00:35:28
about what I thought when I was working on00:35:30
this film and God YouTuber Maru and entered00:35:35
their modeling room and saw00:35:37
what they wanted to do because00:35:39
before start working with you they00:35:41
made a model of the creature out of clay00:35:43
it was amazing00:35:46
Moscow I must admit I spent about00:35:49
ten days there00:35:51
they sculpted many different expressions on00:35:53
my face they sculpted my arms into legs00:35:57
my torso they even took photographs of00:36:00
my breasts without clothes and00:36:02
assigned a person to select the00:36:04
appropriate ones hair and00:36:06
it was great when we filmed the episode in00:36:09
which my thunderstorm explodes,00:36:11
I was inside from the table on which00:36:14
more of the body was lying, my head was00:36:17
outside my real head already neck00:36:20
hair and hands took everything else was00:36:22
a fake00:36:25
subtract your old friend Richard Dayco he00:36:28
played a doctor00:36:30
I was the one who came that morning, he was already00:36:33
packed and just said00:36:39
he came up to me before he realized that00:36:42
it was fake,00:36:45
I’m looking at the screen, they both know what00:36:48
my chest hair looks like, he00:36:50
looked around in the mirror for 50 years, I’m shocked,00:36:52
everything is so accurate it was actually done00:36:55
very fun, it was like everything had to be00:36:57
filmed in one take, it was necessary to00:37:00
put make-up on this whole body, inside it there00:37:03
was a mechanism that, when opening, tore apart the00:37:05
bodies and of course it happened that everything went00:37:07
awry00:37:08
after you know, and in Minsk, hours of work00:37:11
on the make-up,00:37:12
Charlie sits in in this box, we are all00:37:15
working on it, the00:37:16
cameras are ready to stop, the lighting is placed00:37:20
on it, small drops of00:37:23
sweat are placed, they check that the rubber does not shine too much,00:37:25
John says00:37:29
how it opens, I wanted00:37:32
a lot of saliva to fly everywhere,00:37:34
unfortunately, what happened was reminiscent of a00:37:36
fountain in Las Vegas, it looked like it should come out of his00:37:39
stomach dancing00:37:41
choristers and00:37:43
jazz top appeared, thank you very much Mr. on the topic00:37:48
and further what it was it was terrible and amulets00:37:52
from carbohydrates it was like fanta00:37:54
las vegas00:37:56
initial minute in south africa and we00:37:59
have to do here what first I looked at00:38:01
him and said dish charms there I'm so00:38:04
sorry what do you mean I'm00:38:08
torn stomach we need a new one00:38:11
we have to take it off today I'm gosh about00:38:16
filming something take 2 meant substance00:38:19
I because we had to clean00:38:22
charlie put new skin on this thing00:38:24
do it all over again the second time we have00:38:27
I managed to film Rome's bursting stomach,00:38:30
but you weren't done yet.00:38:32
Around seven o'clock we filmed this episode00:38:35
all day, I spent the whole day in this package and00:38:38
then for a week or two I came to myself with00:38:42
spurs. I forgot that every two seconds00:38:44
someone asked are you okay than I said00:38:47
just don't talk to me00:38:53
[music]00:38:54
when we got to filming the episode00:38:58
where she rice or charlie00:39:01
opens up lives and took a bite out of the00:39:03
doctor's hand00:39:08
they filmed this episode in it when you can00:39:11
see this mechanism open the00:39:16
doctor had to really put00:39:19
his hands in there and then the mechanism began00:39:22
to close and then stopped00:39:25
or so00:39:27
we changed the angle we00:39:31
placed in it the exact stake of the00:39:33
doctor's pie has an unrealistically perfect made00:39:36
of gelatin00:39:38
these hands had wax bones00:39:43
made of rubber and gelatin00:39:46
so it looked like living tissue00:39:50
here we did this we took the00:39:54
actor's face mask who played the doctor and00:39:58
we found a rootless guy, he00:40:02
really had his hands cut off before here in an00:40:07
industrial accident, a00:40:09
very very good guy and00:40:13
we just made a mask00:40:17
that looked like it. . to the doctor's face and00:40:21
glued it and to his face00:40:25
[music]00:40:26
they glued gelatin hands to his hands00:40:31
they placed it there hydraulically,00:40:34
here's yours00:40:35
it was made in the same way as a similar00:40:38
device on a tractor for lifting00:40:40
weights00:40:43
once something slammed shut she00:40:46
cut the gelatin00:40:48
pierced plastic veins from which00:40:50
blood was flying and without a hand the actor00:40:53
pulled out his hands, his00:40:57
prosthetic was damaged,00:41:02
blood was splashing everywhere, a00:41:05
really good shot, it was00:41:08
very difficult to do, I had to tinker,00:41:11
but I would be afraid to do it again, the00:41:14
seconds running and the00:41:20
action episode was cutting into the memory of the people who watched00:41:23
this figure and wherever I was someone00:41:25
was sure to tell me about this00:41:27
kind of would not be and I traveled a lot00:41:30
amount of someone came up to me and00:41:33
talked about this film and especially about00:41:35
this episode and00:41:37
then we started filming the episode in how00:41:40
look after his00:41:44
filming of Charlie Halls they were involved00:41:47
in so we made an exact replica of00:41:49
the head and00:41:54
fully animated it using mechanics00:41:58
and such00:42:01
in the sky there is no hydraulic piston00:42:04
that stretched the neck perwoll elastic band in the00:42:07
right place and again it had to be00:42:10
shot in one take.00:42:14
skin, I wanted you to see something00:42:18
like in the comics, something sticky, stretchy,00:42:21
so fibrous,00:42:23
they knew how to do it, there was nothing so00:42:26
stretchy, everything would00:42:29
come out, what did they take changing plastic00:42:32
chewing rubber fish by God, he we00:42:35
made a melancholy mixture, I think it looked00:42:38
enough poisonous run away in short nothing00:42:40
good00:42:41
cut on before shooting we worked on a00:42:44
fake body in the halls she00:42:47
had to start very quickly the water of00:42:50
stickiness00:42:52
constantly stank like00:42:55
paint thinner or varnish00:42:59
or the guy who ran this00:43:02
farm and all those guys who00:43:04
rehearsed so that the neck would stretch00:43:06
without breaking00:43:11
what this is not00:43:14
this thing inside the neck00:43:17
we did something stretchy chewing gum00:43:20
all sorts of things melted plastic and00:43:23
they are not there again fowler when it is better to shoot00:43:26
quickly so the camera is ready everything is ready00:43:29
Carpenter says just a minute00:43:32
could I not go you should put00:43:35
the fire00:43:37
why is00:43:42
this shot where the head is stretched out no one00:43:46
I didn’t see this and just for communication we00:43:48
need a fire in the foreground,00:43:51
meanwhile no one thought, including me, that the00:43:54
room was filled with explosives with00:43:56
accents,00:43:57
all00:43:59
the files on in the end they took a grate,00:44:03
this is a pipe with holes,00:44:06
something like gas burners,00:44:10
they placed it under the camera so as not to00:44:13
fall into the frame they say how to how i were00:44:16
ready guys ready inferno world of00:44:20
any frame you were talking about ready and00:44:25
vegetable garden personal ice phil jones00:44:28
animation team and wolves00:44:31
light the fire like master wing twinkies00:44:34
gas went guy for the guy will arrive strike00:44:38
light00:44:43
finally it lights up00:44:47
there was such a00:44:49
fake geohot00:44:52
hidden by the00:44:55
film crew to turn into a00:44:57
huge fireball due to the fact that the00:44:59
scenery was small in size00:45:02
or they all resembled cartoons damn00:45:04
killers they looked so loves00:45:08
Amsterdam I made the body a parable hacker00:45:12
it because it was new in a single00:45:14
copy I looked at it and thought a00:45:29
month of preparatory work in a second00:45:32
flew into pieces00:45:34
extinguishing with fire extinguishers only one thought oh00:45:37
my god the00:45:40
next day we had to go back00:45:42
there to finish filming the fragment00:45:44
or the head stretched out and came off the00:45:47
neck00:45:48
each of us had to visit this00:45:51
workshop I had to attach this00:45:54
little thing to the head00:45:56
myself who like David Charlie had a00:45:59
very complicated thing00:46:03
I didn’t spend much time there but00:46:06
when we showed up at Rob’s workshop00:46:08
a lot had already been done00:46:10
he made burnt bodies that we found the00:46:13
Norwegian camps00:46:15
before the first time we entered they were lying on the floor I00:46:19
thought00:46:20
it was incredible00:46:23
he created amazingly grotesque to create the00:46:26
same thing happened with the big burnt thing00:46:29
I'm doing with a dog this was before00:46:32
they attached the hair and slime00:46:34
all this pink slime these things these00:46:38
pieces of crab claw00:46:39
or God knows what they used00:46:44
before they attached all this it00:46:47
was amazing sculpture00:46:49
just beautiful in the sense of grotesque terrible00:46:53
but at the same time very beautiful everyone the holy fool's00:46:56
name is sol I didn't really want00:46:59
it all to turn out great that I lived in00:47:02
universal for a year00:47:05
without days off I worked seven days a00:47:09
week without days off day and night day and00:47:12
night I slept on a00:47:15
map of the world00:47:20
or a laboratory comes to the set when he woke me up it's time to00:47:25
shoot and00:47:27
such a hard job working is00:47:30
over I'm done and in the hospitals at00:47:33
the end of filming John looked at me and00:47:35
said you don't look good someone00:47:38
take this guy to the hospital n and00:47:40
set I remembered00:47:44
I I don’t do that anymore there were computers Stan00:47:47
Winston special effects if you approach00:47:50
the film nothing from the point of view of special effects00:47:51
it was a film by Robo Boots00:47:54
the effects were at least incredible00:47:58
if we talk about this aspect of the work there00:48:00
was no end to it00:48:04
we came at the request of the robo pup quest00:48:09
because he was very overwhelmed00:48:11
working on he says and millions of00:48:14
effects for creatures00:48:17
he asked me to work on some of the00:48:20
actors transformation that happens00:48:23
at the beginning of the film with something and dogs00:48:28
we had a lot of difficulty getting00:48:31
these new00:48:34
animatronic cube controls to work together in my00:48:36
studio00:48:39
it's something I really like rob and that I used00:48:43
to work with John Carpenter and00:48:45
that everything before us was fun and just an00:48:48
epilogue to harness one of the00:48:52
first effects that you will see is00:48:54
dogs turning into something00:48:57
so I started thinking in that00:49:00
direction00:49:01
1 make it simple and fast us glue00:49:07
us practical but at the same time create00:49:10
differences,00:49:12
so we made it straight00:49:15
that when they introduced this effect in the film,00:49:20
I stood with the mirrors of doom from how easier it is00:49:25
to control this if it is a head,00:49:27
from that moment we started working with00:49:30
dolls in our studio,00:49:34
they photographed me when I00:49:36
held my hand like this00:49:38
man It is00:49:40
hardly possible to create a more complex and00:49:43
amazing mechanism with00:49:46
this shot in Mister where I stand held00:49:50
the circles and the design was developed by the design00:49:54
that the dogs00:49:55
so it followed from another you00:49:59
crap didn’t lead the00:50:01
car so that this thing worked00:50:06
interesting moment when you see this00:50:08
dog in the film and the length of the neck stretches out00:50:12
the head swings back and forth she growls and00:50:15
does all sorts of things the movement the00:50:18
movement is convincing organic and00:50:21
everything is simple because they are performed by a00:50:24
person disguised inside00:50:27
so we took out the structure, developed a00:50:30
design and made such a cool puppet00:50:34
with animatronic elements on the riuls,00:50:36
so to speak, we went to help slightly00:50:39
remove loads from them and make such an00:50:41
interesting character a creature with effects00:50:44
that they need to00:50:46
fight for not to give00:50:49
the steering wheel and not for the sake of the film was a silent film00:50:52
it was a film of Rob and he should be very00:50:55
proud of him I was worried about him and00:50:58
think about what he did incredible there00:51:00
this is at least one of the most elegant00:51:02
effects in the genome I'm glad Shah the film there is a00:51:04
cool effect00:51:06
schools honore sam big episode star00:51:10
nowhere 1 breaking the fast is not that when we00:51:13
set it on fire and then put it out00:51:15
was one of the most exciting00:51:18
episodes I had to00:51:19
work on there was 7 or 8 by 9 actors, it00:51:24
was important for the person to put out the fire,00:51:26
the scenery was raised four and a00:51:28
half meters on the floor00:51:30
underneath there were real firefighters, a00:51:33
bunch of equipment of the standards, I remember in the south00:51:36
usually we00:51:38
camera motor started00:51:41
cameras humming flames were pulled out of gas00:51:44
burners00:51:45
and we are waiting for him finally Murino's signal00:51:48
to the present extinguished the fire it was00:51:50
wonderful nanoseconds the guy's sex was00:51:53
divided into two sections n 1 upon the return of the00:51:56
dog in front of the other dogs or. with00:51:59
which people see it,00:52:01
besides, it was also very important00:52:04
to understand that what we see was of an amorphous00:52:07
shape00:52:08
so that you can call it something like a show man,00:52:13
so when you are a gram Henry dog or00:52:16
whatever it has turned into, it climbs up00:52:19
into the corner on on the ceiling, trying to escape, she00:52:22
just wants to be left alone,00:52:25
operations, the00:52:27
wrong guys look at her, shine on her, and00:52:30
then the gap is interrupted and from there00:52:34
appears such a strange formation00:52:35
resembling a flower,00:52:39
if you rewind and take a00:52:41
freeze frame, you will see that this is not a flower,00:52:44
this is the devil how many dog tongues is this a00:52:48
hook of dog tongues and dog teeth00:52:50
growing out of creatures00:52:53
I came up with something in this place00:52:58
you will learn from the fact that there used to be a dog00:53:00
logistician both00:53:02
now it has turned into something out of a00:53:05
terrible nightmare the00:53:07
burning scene when David Clennon began to turn into in00:53:10
general,00:53:15
when we heard, it was probably the day of the00:53:19
greatest effect for the entire time of00:53:20
work, the00:53:22
guy who performed this trick00:53:24
specialized in a similar effect,00:53:28
it was very exciting, creepy to be part of00:53:31
all this, the00:53:32
thing is that this guy couldn’t breathe for him at the00:53:35
moment of readiness because00:53:37
otherwise he would have burned his lungs he00:53:40
had to do all this holding his00:53:42
breath the whole question was in time00:53:46
richard masur clark the minute he00:53:49
came out it had to be put out immediately00:53:51
free him from everything so he could00:53:53
breathe00:53:55
when he started watching the effect and created by00:53:57
rob was one special one special00:54:01
episode when Charlie Halls head she00:54:04
slides off the table her tongue flies out and pulls00:54:07
her to the other side she00:54:08
turns over legs grow out of her00:54:11
she walks the plane when I saw this I00:54:13
felt a huge relief00:54:15
because what I didn’t want was for there to00:54:17
be a guy in a tongue suit in the film00:54:20
I grew up as a child watching science fiction00:54:22
and movies about monsters and there was always a00:54:24
guy in a suit00:54:26
or sometimes it was some00:54:28
bad doll I remember Roger00:54:31
Corman films that conquered the world there was such a00:54:34
sluggish monster with such wooden00:54:36
movements I was terrified they were laughing at00:54:39
us this must be a joke even in such a00:54:43
great and terrible film as the alien still00:54:45
at the very end rises above the00:54:48
guy in the suit00:54:49
but don’t you need a suit don’t you need something00:54:52
living so when I looked at the00:54:55
resulting material I did it like this well00:54:59
guys I00:55:00
had to tinker with some effects00:55:02
they didn’t work perfectly00:55:04
because as the slave of this told me to00:55:07
order pizza over the phone you have to00:55:10
come up with them to create them sometimes it doesn’t work out I00:55:12
think in our case it00:55:15
turned out00:55:19
garbi well what the hell jokes00:55:29
[music]00:55:33
Lopatin del special makeup hero00:55:35
Arbogast did special effects on the set00:55:38
explosions and things like that, but they worked00:55:40
together in the same area, which00:55:43
was undoubtedly useful in creating not that there00:55:46
were volumes that the rob could not handle,00:55:49
his small team could go very00:55:51
far00:55:53
then they crossed paths and began00:55:55
collaborating00:55:58
to draw out the last creature00:56:01
emerging from00:56:03
it was a huge monster of staggering00:56:06
size we had a lot of work, the00:56:10
first part of the goddess that moves under the00:56:13
boardwalk was made by a swarm of mmorpg00:56:18
they laid out on the platforms on the steve of00:56:20
the rail00:56:24
they put a huge00:56:26
metal ball on them and dragged it with a00:56:28
huge cable attached to00:56:30
a high-speed daddy the ball the boiler00:56:33
behind the ground broke threw the wooden00:56:35
flooring up it looked very00:56:37
impressive m and then we will be00:56:41
exploding the floor this creature from00:56:43
Wilfred Grimly rising from00:56:46
the hole is it really the stakes and in such a pack of00:56:50
huge wriggling tentacles the00:56:54
chest develops outward sticking out00:56:56
the dog and00:56:58
to show the scale of what is happening00:57:02
we decided to use animation planned00:57:06
at the00:57:11
level of non-frame animation I was working00:57:14
with randy before I knew him quite00:57:16
well00:57:18
asked him to make a general one00:57:20
in which this monster crawls out of the00:57:24
ground00:57:25
no stop-motion animation was used00:57:28
however he is a huge cat poutine00:57:34
average score the dog begins to00:57:37
protrude from the torn chest00:57:39
dozes and00:57:44
lands in front of Kurt and fly racing00:57:48
teams started making00:57:50
miniatures all the scenery it was just00:57:53
gorgeous very beautiful00:57:56
five early special effects miniatures for the00:57:59
episode it was a room with a00:58:01
lot of barrels and other miniature00:58:03
parts I can’t00:58:05
say for sure00:58:09
made by Jim was a dick and Susan00:58:12
Kerner who made the ship from the beginning of the00:58:14
film the00:58:15
animator Randy Cube asked me to make00:58:18
them scale 1 to 600:58:21
apparently this was the right size for his00:58:24
work this is what we did to make00:58:27
spatial animation you need a very00:58:30
strong base something very strong we00:58:33
made it so that part of it broke off00:58:35
when the floor exploded randy was able to get00:58:37
in there and work besides we00:58:40
made it without props in the center of the pool00:58:43
Susan Tournament was the creator of the model so that the00:58:46
creature could crawl out in any direction00:58:48
they hadn’t decided yet and of course we00:58:50
made icicles hanging from the ceiling, they00:58:53
also couldn’t be moved so we00:58:55
made them out of silicone00:58:58
when shooting time-lapse everything had to be00:59:00
absolutely the same I tried to00:59:03
copy exactly for a real set in the00:59:06
ice cave case it's difficult00:59:08
because it's jagged across the width00:59:11
we had to measure each piece and00:59:14
recreate it in the correct proportion00:59:15
to make it look like I like making them00:59:18
absolutely people like simplified00:59:20
models but I don't I like making them00:59:23
look absolutely accurate because I00:59:25
think that there is no more accurate00:59:27
simulation of mathematical visuals and for the00:59:31
final scenes Carpenter watched all the00:59:33
episodes of the Commissioners00:59:37
from the day behind the scenes animation was striking00:59:43
this time many years ago00:59:47
we did not have computers that could00:59:50
improve the smoothness of animations00:59:53
he decided that we would not use00:59:56
doctor shadow despite the fact that it was00:59:59
excellent yakunina01:00:14
process01:00:16
we all met at vancouver airport01:00:20
julbo forest fix we had to fly to01:00:23
prince ruper from there by plane to stewart01:00:26
british columbia sau elimov prince01:00:29
rublevka gathered appreciated as we saw01:00:31
that a snow storm was raging there so we01:00:34
we decided that it would be a little risky01:00:35
to fly to Stuart on a small bill flight,01:00:37
I fly for profit and Prince Rupert the world at01:00:40
17 o'clock at night the01:00:42
film crew was shoved into some kind of01:00:44
gron bus caught and the snow plan01:00:47
continued, large snowdrifts piled up,01:00:49
we went everyone remember that Peter Mallony01:00:52
what -he ate it was bad, it put everyone to01:00:55
sleep, you know how it lulls everyone on a moving01:00:58
bus01:00:59
and passed out suddenly heard the01:01:02
driver screaming at us, but we all01:01:06
woke up01:01:09
almost lost,01:01:12
I thought that a stone was given to01:01:15
ricochet off to the other side and there was no01:01:17
road barrier for him they would have01:01:19
just robbed from a height of 300 meters01:01:21
because it happened in the middle of01:01:23
snow-covered levels, okay, if it01:01:26
was a movie, the next frame is like this,01:01:29
all the passengers huddled together to die, not01:01:31
parts of the bus01:01:34
manager with wide eyes, he was01:01:37
driving at a speed of about 2001:01:38
kilometers per hour and just stuck01:01:40
stuck with eyes on the road and mallony01:01:43
stayed behind, he was sleeping and so at about three01:01:47
o'clock in the morning or who knows when01:01:49
halfway to hell there was something like a01:01:51
motel and we were going to crash there01:01:54
to drink coffee and it01:01:56
continued so that a lot of snow piled up on01:01:59
our bus to do the turn on01:02:02
the right01:02:04
is headed to the top of the hill from the motel01:02:06
parking lot, we01:02:09
slide off, we get stuck at the very01:02:13
foot of the01:02:14
wrong way and the wrong way,01:02:17
we’ll sit and I don’t know how it’s done on the miracle, but01:02:22
I took the initiative, I said why do01:02:24
n’t we get out, the bus will be easier, we01:02:26
can push it like this that this01:02:29
group of talented people gets off the01:02:31
bus in the middle of the night in Canada, I blip01:02:34
leotard shoes, we start pushing01:02:37
the bus, the driver is accelerating, and that’s how01:02:40
he can get to the places of01:02:43
the shaft and so we get to the place, but the01:02:45
model turns out to be closed, so we01:02:48
had to turn the bus around to01:02:49
return to the road and drive another two01:02:52
or three hours, we arrived in Stuart at 5 am,01:02:55
Carpenter comes out into the middle of the street, it’s01:02:57
as if he’s welcoming us, his eyes are01:02:59
shining with a pistol in one way and he was drinking01:03:02
coffee and we were all as we should be and as if01:03:05
after sleepless nights we were nothing he01:03:08
says welcome to stuart this01:03:10
was our arrival in stuart01:03:12
british columbia a move on black john01:03:15
carpenter the director the conditions for filming01:03:18
were unimaginable now it01:03:21
expresses how we managed to live there you lived01:03:23
we had so many problems it all came down to the01:03:26
cameras we had to leave them on01:03:29
in the cold because it was impossible to carry them01:03:31
from warm to cold back and forth because01:03:35
it fogged up the lenses, it01:03:38
seems to me that all this was reminiscent of an01:03:42
attempt to roll a huge stone the top of a01:03:45
mountain there were apple trees convenient and01:03:49
very dangerous, don’t get me wrong it01:03:52
was a very dangerous place for filming01:03:56
the schedule part that reality of the casino01:03:59
film, I know that a01:04:01
connection arose between the actors, they turned their01:04:03
characters, they also went out into the snow and01:04:06
solved the same problems, gives Foster the01:04:08
producer, there was an atmosphere on the set01:04:10
simply because these guys, I mean the01:04:12
actors, they immersed themselves in this image, they01:04:15
became scientists who together worked01:04:17
together survived01:04:19
it seems to me that in the real world a group of01:04:23
people in an isolated environment01:04:25
would have to unite and become friends01:04:28
we did something we learned a lot about people01:04:31
came there for a long time01:04:33
they brought careers records books01:04:37
albert I'm not evidence of them like video01:04:40
versions of games super cub football or baseball01:04:44
actors tried to repeat this tried to01:04:47
copy this there were a couple of great scenes01:04:49
where all twelve people look01:04:51
at each other Kurt Russell McCready trying to01:04:54
figure out that is, are you my friend01:04:57
or are you going to kill me by the way what do01:05:02
I like most in01:05:05
this picture what do I have there is an opportunity01:05:09
to be in a place like this to01:05:11
film here I can’t believe it’s01:05:14
fantastic one build the scenery was set up01:05:17
covered with snow as we01:05:20
hoped conclusions we went up then01:05:22
let them need to drink denel however the watering cans01:05:24
descended the miner well-fed trucks01:05:27
communicated on the radio Dean Candy cameraman everything01:05:30
so we are in the morning the ascent of01:05:32
returning in the afternoon or evening01:05:37
was something like Angeles, the length of a01:05:40
tiring and sometimes scary01:05:42
journey, and01:05:44
this was the price for the fact that we had01:05:46
the opportunity to put up decorations in nature,01:05:48
which we could not do in other01:05:51
circumstances,01:05:52
we01:05:54
lived in the city of Stuart, this is me,01:05:57
this is one of the last shorts01:06:01
so what floats there01:06:04
is it can be called a logging bedroom01:06:07
barge01:06:09
Portugal and the film crew lived there01:06:12
and even I it was a large01:06:15
flat-bottomed barge with tiny01:06:17
cabins with beds again and there for01:06:22
Raimondo there01:06:24
was a great variety of life situations in01:06:27
the dorm and the attacker will think it01:06:30
was copper this business of adventure is01:06:32
more interesting, you know, a certain cohesion arose in the team,01:06:37
but of course the conditions there were far from01:06:39
comfortable,01:06:42
the road was erased, the site to the site on the01:06:45
glacier01:06:46
took 40 telephones, forgotten minutes of01:06:49
releases and airborne births, we drove01:06:52
past 80 heads of Harlans, they sat in the01:06:56
snow, devoured caught salmon, snow01:06:59
painted blood this is amazing good01:07:02
morning gentlemen good morning ruble something01:07:05
like this should be a movie of choice01:07:07
let's go up there there were many01:07:10
days when you just sit around doing nothing and01:07:13
then only for the local beauty01:07:14
there is not an exceptional place near01:07:17
several days of acclimatization even -2001:07:21
we weren’t freezing in the clothes we were wearing and01:07:23
we could wander around in this01:07:25
fantastic ice01:07:27
we were at an altitude of 3 three quarters of this01:07:30
giant glacier and this strip of01:07:33
blue lehr rushed many, many01:07:35
kilometers down the slope into the valley, it’s01:07:38
important you are surrounded only by white snow and the01:07:41
tops of the mountains just darken01:07:46
these pictures I will never forget the strong01:07:49
impression I have01:07:50
never been so high in01:07:53
a city before in such cold weather it was01:07:56
simply superbly shot I believed that01:07:58
the atmosphere of this place would give us the necessary and01:08:00
feeling that the film is very important it is01:08:03
chocolate on a psychological level it about01:08:06
isolation01:08:08
to us even though there were several of us there,01:08:11
each of us had our01:08:13
own shell, a small prison in01:08:15
which we lived, cutting ourselves off from everything01:08:18
else except the guys before with him, and01:08:20
when this alien appears,01:08:23
which you can’t see but you can01:08:25
feel,01:08:26
these experiences intensify for each and01:08:29
every one and I think for me this was the most01:08:32
interesting part of the film cafe and mike in01:08:34
fact I am convinced that my character01:08:36
Dr. Norris unconsciously understood01:08:40
that he was infected01:08:43
in fact behind where they are trying01:08:46
to decide what to do when everyone is on01:08:48
edge and rushing through the corridors and who -it01:08:52
seems that the character Tommy's father has01:08:53
a gun, they had to deal with01:08:56
him and wanted to take away the power of you move on01:08:58
the earth we they asked me and my01:09:02
character said01:09:04
I don't know about the guy I think I01:09:07
can't handle it01:09:08
Mayma in my opinion he answered there with and01:09:11
obeying a signal from within, which did not01:09:13
understand logically,01:09:15
something was wrong, that the wrong guy was01:09:21
what we were doing for the feeling01:09:24
that you are really alone, nothing,01:09:27
wind, hunger, all this is amazing,01:09:32
we don’t need the whiteness over there,01:09:35
having thought it through well, everything will be okay, what01:09:38
can we do just01:09:40
pull it off from there a little, you know, that’s a good01:09:43
idea, then return here to here and then01:09:46
move on to the stage here like this, it’s better,01:09:47
or maybe put a palmer and01:09:50
drag it here on hydraulics, we’ll present it01:09:52
correctly good jiang mahjong or power01:09:54
created the Sochi atmosphere on the01:09:56
Anaru site I was very striking01:10:00
she was supportive for everything she01:10:04
was still sawing she was inspiring01:10:07
runa hard work01:10:16
and good01:10:18
already he is one of those few directors01:10:20
who can come to the set01:10:23
this and Ramsay the editor and faced with a01:10:26
scene with the participation of 5 or 6 people who01:10:28
in no way it turns out that without preparation he can01:10:30
work with the actors and overcome this01:10:32
logjam so that none of them can01:10:35
complain about his dictates 2 and then01:10:37
decides on the spot how to most effectively01:10:40
shoot this or that scene -01:10:41
this is a rare talent01:10:44
in episodes, in particular in the episode which01:10:48
I think demonstrates about his such01:10:51
ability is the episode of the balls in the01:10:53
refrigerator they01:10:54
discover the refrigerator and there is blood everywhere01:10:57
on the floor it has been broken into it is a difficult scene01:11:00
and because you have a group of people01:11:02
standing in a semi-circle in front of a flat01:11:04
object if you think about it and you01:11:06
realize how difficult it is to film this01:11:08
effectively i.e. someone can easily01:11:10
take the simplest route and shoot from inside the01:11:12
semicircle if you want to shoot everyone01:11:15
separately, but I think if you look01:11:18
at this scene it is much more complex in01:11:20
terms of its display, I was very01:11:23
impressed with this scene and the next one with01:11:25
windows running down the corridor with01:11:27
a gun, I think this is one of my01:11:29
favorite scenes if we talk about editing, the01:11:32
peculiarity of these two scenes is that01:11:34
John always finds the right01:11:37
angle very rarely, I can’t even01:11:39
remember when I could say the hero01:11:41
damn it should be like this or damn it should be like01:11:44
this and this is the proof it’s his01:11:46
abilities01:11:48
this is American station 31, can you hear01:11:52
we found something in the ice we need help can01:11:56
anyone hear me we found something01:12:03
[music]01:12:06
[applause]01:12:09
something John Carpenter01:12:13
you will display in the form reviews depended think the01:12:17
audience and give an alternative ending to the01:12:19
film was filmed I talked to John about this01:12:23
I told him that I feel you know this01:12:26
ending is terrible nihilistic01:12:28
very dark maybe we should01:12:31
play it safe while we have the main01:12:33
character Kurt the thing and just make an ending in01:12:37
which he survives and01:12:40
John went for it so he actually01:12:43
directed scene and cartoon in which Kurt01:12:45
was saved01:12:46
sitting in some small room and he01:12:50
just did a blood test so we01:12:52
know that he is not infected and01:12:55
he survived this01:12:58
ordeal instead of mutual death which01:13:01
now ends the film and01:13:03
10 about filmed it just in case case he did01:13:06
n't show it to anyone the01:13:08
final decision was made based on the01:13:11
results of two preview01:13:12
screenings01:13:13
to decide whether we should01:13:15
try this ending01:13:18
you will see how the film is received by the audience01:13:21
and or down and other changes the film and01:13:24
think john mainly then I01:13:27
felt that the film achieved what01:13:29
he wanted made a story based on who01:13:32
told which was simplified in the01:13:34
original film not that John01:13:36
followed the story more which I think was one01:13:38
of his intentions he was a big01:13:41
fan of the original not that together01:13:43
we watched it at least 2 or 3 times and01:13:45
John watched it for analysis 10 this there was a01:13:48
wonderful film on johnny tried01:13:49
to do something similar, in a certain01:13:51
sense he tried to return to01:13:53
the original source and I think he felt01:13:55
that he had succeeded in this01:13:57
way, the film plan did not come out01:13:59
that the audience was most01:14:01
worried not even about the monster, but about the search for01:14:04
the monster, you know, the search for the person01:14:07
who infected and participating in01:14:10
gutting a deer01:14:16
it's just life01:14:19
when you hunt get food and you01:14:22
get a deer01:14:23
I think the first 2-3 times it's01:14:26
disgusting to do it but after a while what01:14:29
you do you kill you on the flash and01:14:31
get to the meat kurt russell01:14:33
mackerel then sections enter when you01:14:37
do all this if someone01:14:39
hasn't done this they can tell it already but01:14:41
they have no problem going to the01:14:42
store and buying meat with a bulge they01:14:45
just don't see the other side and in01:14:47
this film you see one side and we01:14:50
understand that these sides, by and01:14:51
large, should probably be rejected01:14:53
again, I think it’s great that John01:14:56
didn’t stop and made the movie he had in mind,01:14:59
I’m01:15:02
happy that the film found its audience,01:15:05
that it found its audience after 20 or01:15:07
15 years was, by and large, expected01:15:10
people troops Richard Masur plan people01:15:15
always tell me you know what is my01:15:17
favorite film with your participation01:15:18
I want to say that many times it01:15:20
turned out that they called something their01:15:22
favorite things they01:15:27
probably already said this film found01:15:31
its audience not in cinemas viruses at01:15:33
that time it did not become a big echo and this is01:15:35
normal, but01:15:37
on cable television,01:15:39
then on video, he found a very devoted and01:15:43
very zealous fans,01:15:45
this invariably pleases me.01:15:48
I want to say that I worked on several01:15:51
films that did not break01:15:53
box office records, but somehow the01:15:56
subsequent fate turned out to be much01:15:58
more successful than the film that broke the01:16:00
box office form01:16:02
was it’s so interesting01:16:05
jolt field sphinx to work with the actors and the01:16:08
director and the whole crew01:16:11
like 60 boys with helicopters,01:16:14
flamethrowers, pistols and a monster,01:16:17
they’re white kartikei, damn I’m just01:16:21
cool, this is a layer on playing01:16:24
Cossack robbers as a child,01:16:26
it’s just a fantastic01:16:30
experience in a wild and unpredictable01:16:34
place01:16:37
once again I have to say just an01:16:40
amazing team it was very interesting01:16:43
it's a01:16:44
good film that's why it01:16:46
will live and01:16:48
you know it may not be an instant01:16:51
success on and I feel it has a chance of01:16:54
success in the sense that people will01:16:56
enjoy watching it01:16:58
for years to come even more you01:17:01
managed I think that when this came out01:17:04
on the screens,01:17:05
this was an original, very unusual01:17:08
journey for the audience01:17:12
and01:17:14
think that I encountered an interesting01:17:17
phenomenon and time01:17:19
that at that time we had a very01:17:22
friendly alien who visited the01:17:25
earth in the face and ki01:17:29
this was the case when the01:17:33
audience at that time probably01:17:35
they felt more comfortable with a more01:17:38
friendly alien and01:17:42
therefore the dark side was not something that I01:17:47
appreciated at the time, I01:17:51
think the viewer’s susceptibility is changing and01:17:55
now they are ready to accept01:17:58
aliens who are not so friendly but01:18:01
like something01:18:03
I think they would not have taken away in some way01:18:06
releases the film would have been a01:18:09
great success and since then it has01:18:12
turned into what is called a cult01:18:14
film, we watched it worse on01:18:17
video on TV or even as it became01:18:20
ours for special effects,01:18:23
I think that people who like such01:18:25
films, one way or another, you watched01:18:29
something interesting then that despite the fact01:18:32
that the film was made about something a long time ago,01:18:34
surprisingly, people think that the01:18:37
visualizations, special effects are impressive, and01:18:41
even amid the advent of computer01:18:44
graphics and the like,01:18:47
I think the reason is partly that you01:18:51
simply cannot defeat unbridled01:18:53
imagination, it’s important to me that the crew did it so far01:18:56
it's very well executed you just01:18:58
can't comprehend this magic01:19:03
it's actually very funny01:19:06
because when I watch the movie now I can01:19:08
completely criticize01:19:10
I look at it and think now I can01:19:12
do it differently01:19:13
I could do it better if she was01:19:16
interesting to that first one meeting me on01:19:19
the street with whom I worked in the film business, I do01:19:22
n’t always say everything,01:19:25
you understand that your monstrous creation into01:19:28
something was a miracle than life-changing, I01:19:32
what does this mean, the01:19:35
children are raised in this film, they say it was01:19:39
so wings that now we know what in the01:19:42
cinema can be anything01:19:45
so it was fun to take this place in01:19:48
history to know and did something so01:19:50
powerfully impressive that it really did01:19:52
serve as an impetus for someone to01:19:54
achieve their deepest01:19:56
dreams even the most there are several films01:19:59
that you ant that I have acted in more01:20:01
than enough I think that01:20:04
looking at this I understand something that01:20:07
I have a tendency that you like01:20:08
films that may not have been well01:20:11
received at the time will give them well01:20:14
done I think later they may be01:20:16
in demand I think that with the advent of01:20:18
video it's great I'm01:20:20
very I'm glad about this01:20:22
because at the end of the day movies01:20:25
are made to entertain as01:20:26
many people as possible and I like that01:20:29
there is a video and people can take a movie and01:20:31
make up their minds about it later and01:20:33
perhaps without taking into account the01:20:35
conventions of the time or what is01:20:37
in the air at the time to adjust01:20:39
only to the perception of the project and the01:20:42
story01:20:43
itself, the film itself is very gloomy there01:20:46
is such a gloomy inevitability01:20:49
when it starts you see a flying01:20:51
helicopter01:20:53
following the Urals for me the01:20:56
feeling of the end of the world is already coming that’s what it is this is an01:20:59
apocalyptic film the first of01:21:02
three films for the army in which I worked01:21:05
there was a theme of the apocalypse, the01:21:07
end does not come from bombing,01:21:12
it comes from within and it was a film and01:21:15
which begins to end01:21:18
with the feeling that you could01:21:22
not do anything because everything is01:21:24
already happening roots of course not that this is01:21:27
a metaphor for everything that you want to01:21:28
say this is a disease maybe it can01:21:32
be anything but it comes from within01:21:34
you and also it's essentially a lack of01:21:38
trust that exists in today's world01:21:40
we see it's strange people everywhere we01:21:44
don't trust each other anymore we don't01:21:45
know who to trust it's a gentleman with01:21:47
someone we think they are they love us they01:21:51
can attack us that's01:21:53
what it is not that there is a lot of truth in it01:21:56
dressed up in a movie monsterDescription:
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