B-Roll – Beowulf Premiere – Beowulf theater sign, premiere sign, theater.
B-Roll – Beowulf Premiere – Premiere sign, premiere sign with fog, premiere sign, movie posters
B-Roll – Beowulf Premier – Movie posters, premiere sign, theater
B-Roll – Beowulf Premier – Movie posters
Sound Bite: Michael V. Lewis (Real D – Chairman and CEO) – Talks to other reporter about Real D 3D.
Real D is a digital digital 3D technology. Digital 3D, that’s correct. (talks) Well, I don’t know if it’s stupid enough haha (talks) Real D is certainly in our view the best way that you can see this movie. It… what we’re trying to do is replicate the way you see, it’s less about 3D and gimmicks, it’s more about making you feel like you’re part of the movie and that’s the technology has gotten so good, in fact our technology…I think most of the screens are 3D, Real D digital, yeah. (Talks) Well, it’s, our technology is the most sophisticated way you can see 3D and again it’s years and years of science…
Sound Bite: Michael V. Lewis (Real D – Chairman and CEO) – Talks about Real D 3D Technology.
Yes, well, Real D 3D is a, we license it to exhibitors, and we have a many many many engineers that focus nothing on except 3D. Every morning they get up and “how do we make this better?” So, we license it, it’s much like software, and a software upgrade. So over the course of the next couple years we continually upgrade the technology, so it’s the latest and greatest. That’s the great thing about digital – you can very easily go in and make it better. So we’re constantly refining the tech. (Talks) Right, uh, Real D 3D takes about fifteen minutes. It’s a hardware and software upgrade, that’s why we’ve been able to scale from uh our first screen at the Mann Chinese less than two years ago to now eleven hundred screens where you can now see Beowulf 3D, so it’s been a very rapid expansion I think in part because it’s been so easy to do. You don’t need to really change walls or move things around, you just go in, you put a digital projector in, you upgrade it, and away you go. (Talks) Well, Real D, we call ourselves the global leader in 3D, that’s all we do. And we spend a lot of time with filmmakers, both from a technology standpoint – we provide them with visualization tools that allow them to see exactly what they’re creating, so um we have a very big business supplying the military and NASA and fortune five hundred companies for creating 3D, and so we’ve taken that technology and we now make it available to filmmakers and, you know, storytellers, so that they can see what they’re producing and then eventually it’ll show on the Real D platform. (Talks) Well right now we have commitments for seventeen hundred screens, we have eleven hundred installed. Uhm we expect by early oh-nine we should be in over four thousand screens, so it’s growing very very quickly. (Talks) We’ve spent a lot of time technically, uh we can now design the glasses any form factor the distributor or filmmaker wants. So, in the case of uh Chicken Little we had big green 3D glasses to go uh like the main character had the 3D glasses uh. In this case we’ve kinda designed these real cool uh Beowulf glasses. So U2 3D we expect we’re gonna have something that Bono would wear, so everyone can have the same type of shades he has at the movies.
B-Roll – Beowulf Premier – Lewis’s card, 3D glasses, cameramen
B-Roll – Beowulf Premier – Ray Winstone talking to reporters, Crispin Glover and Amber Heard, Anthony Hopkins being photographed and talking to reporters, Fresnel lights, John Malkovich being interviewed, Anthony Hopkins, Sebastian Roché
Sound Bite: Sebastian Roché – Talks about the acting process in the movie.
Well the acting process I likened it very much to doing stage work. It’s very much, I mean, as most of the actors had done stage and are all very trained. It was very much like rehearsing theater and doing theater because uh because as I was saying there could’ve been twenty-five actors there and we could do one take and everyone would be covered so it was very much like the process of theater. Of course you had to come with knowing your text, and of course Anthony Hopkins reads his script eighty times. So he comes in and he knows, his lines are razor sharp. It’s just amazing to watch him work, it’s just fabulous.
Sound Bite: Sebastian Roché – On what it was like to film with motion capture.
Yeah, basically you’re wearing a full-body leotard with dots on it (to someone off camera): Are you cold? It’s freezing. (back to interview): With dots on it, and the dots are the, capture the motion. And then of course you are scanned every time you do a scene, before you do a scene you’re scanned, and you’ll do what is called a T-pose, and you put your arms out like this, and you do these extraordinary grimaces before you actually do a scene. It was hilarious to see you know to see Anthony Hopkins and John Malkovich, these amazing actors going, like, doing the most ridiculous. But you do that actually for the computer to scan your face and be able to replicate you know whatever motion you have… (Talks) No. It was disconcerting at first, you know, but then, you know, you got used to it, then you, it’s amazing what the imagination can do, you know. You actually really thought that you are wearing a costume. You know, once you are in the text and in the actual act of filmmaking then your imagination takes over as an actor. We really saw ourselves as the characters, you know. So it was really, I mean, and to work with such people was a delight, it was extraordinary.
B-Roll – Beowulf Premiere – Sebastian Roché talks to other reporters, some cameramen, Brad Pitt and Angelina Jolie
Sound Bite: Rik Young & Charlotte Salt – On the characters they played.
Young – Um, I play Eofor, who is in fact of relation to Beowulf. But among that, I’d um, do anything that Zemeckis would want us to do, you know. He’d run on stage, wield the sword, I’d do it, and shout that, and we’d do it. So I think we played about eleven or twelve roles.
Salt – Many, many roles. A new role every day, definitely. It was great.
Sound Bite: Rik Young & Charlotte Salt – On the process of acting in this film.
Salt – Sure, like, dressed like aliens, yeah.
Young – It’s great. It was like doing a theater rehearsal every day. You just got lines on the floor to tell you where you’re going, and you’re just left with your imagination to tell you what’s what, and, you know, it’s a great way to work. It’s a lovely way to work.
Sound Bite: Rik Young & Charlotte Salt – On working with the director, Zemeckis.
Young – He’s great, I mean he’s the one in control. So he just sits there behind his little monitor and just shouts out, you just don’t disagree, just do what he says.
Salt – Do what you’re told. But, no, it was wonderful to just be with someone who’s just an icon in film and you’re suddenly in a room where you’re having a conversation with him. It was wonderful, it was a really wonderful experience.
Sound Bite: Rik Young & Charlotte Salt – On the amazing cast.
Salt – Oh, absolutely. I mean, you know, to sit there and have lunch with Anthony Hopkins, and have him talk to your mum who comes to visit was quite mind-blowing, yeah, mind-blowing.
B-Roll – Beowulf Premiere – Ray Winstone, back of Angelina Jolie in front of photographers
Sound Bite: Anthony Hopkins – On the script.
Was I? Is that what they say? (Talks) I haven’t seen the movie. (Talks) You’ve seen it already? (Talks) I don’t know, I never read it myself. (Talks) No. (Talks) When I got the script. (Talks) It was good. (Talks) Pretty contemporary. A very good script. Beautifully written. (Talks) I don’t know the original, I only know this one. (Talks) The Zemeckis script. (Talks) No I didn’t do any of that. I just wore this funny kind of wet suit, and they shoved all these beads and pearls all over me. (Talks) I didn’t do any scenes with Angelina. (Talks) No I just used the Welsh accent.
B-Roll – Beowulf Premiere – Anthony Hopkins talking to other reporters,
Sound Bite: Ray Winstone – Talks about reading the original story and 3D
Well I think most of the English are as well. I’ve never read it. (Talks) No I never read Beowulf until I got the script. (Talks) Not from where I was from, no. (Talks) No, I don’t think so. (Talks) No, it’s a story it’s a story that’s lasted a thousand years, so it ain’t gonna be a bad story, ya know. (Talks) No, but I’ve seen the film, and I read the script, so then that’s the story, and the story to me is a famous story. It’s a story that’s timeless. (Talks) It comes at you, have you seen it? (Talks) Well, you’d know, you’d know, it’s fantastic. Yeah. (Talks) Well I think film, you know, is like that anyway from the silent movies until, you know, right from cinerama, you know, and we we evolve, and that’s how film stays good I think, you know, it keeps you interested.
Sound Bite: Ray Winstone – About what his character would look like.
Well I got some ideas, I had to have some ideas about the size and the bulk of him, you know, because I had to move like him. It’s not good me movin about like a fifty year old fat boy. You know, really, I had to move about like a man that was six foot six with an eight pack who’s a warrior. So I had an idea, but I had no idea I was gonna look, you know, not the finished article. It just blew me away.
Sound Bite: Ray Winstone – About wearing the clothes on set.
Well yeah it was, because, you know, it shows all the bumps and all the bits you don’t want to show really. And then you know you got Robin and Angelina walking around who are perfect. And then you do, you feel a bit vulnerable, you know.
B-Roll – Beowulf Premiere – Anthony Hopkins talking to reporters, Crispin Glover and Amber Heard, Robert Zemeckis with wife and Hopkins, midget and tall guy.
Sound Bite: Glen Ballard – Talks about writing music for the film
Yeah, no, we didn’t, but we had that in mind. Alan Silvestri, who scored this movie, with whom I wrote the songs, um, we did a little research about what kind of instruments might be around somewhere between the fifth and the tenth century and it was always something plucked or very simple. So we knew it would be something simple, and then we settled on this kind of Celtic harp to kind of express it in a rolling motion so it, we were trying to authenticate it first from the period, and then wanted to make sure that it would be able to grow. And then Alan took it thematically in the movie and then we got an end title, you know, with Idena Menzel sings the full song. So it was fun, it was kind of integrated into the film in a way that I certainly think is makes it really satisfying and it’s part of the DNA of the movie because we wrote this song from the script a long time ago and it got worked ya know they were working from the song for a long time.
Sound Bite: Glen Ballard – Talks about writing music for the film
Well I hadn’t, although my partner Alan Silvestri having scored all of the movies of Bob Zemeckis had directed um had worked with him on, with her on uh Forrest Gump where she sings. So it was a very famous scene of her singings. So I knew she could sing and you know she had the option on this movie to say I don’t really wanna sing it but she absolutely wanted to sing it and so we had a wonderful time she has an absolutely beautiful, angelic voice, and it worked out perfectly for her to sing it herself in the movie. So it was, on that level, showed her range and her great professionalism.
B-Roll – Beowulf Premiere – Angelina Jolie talking to reporters, Crispin Glover and Amber Heard
Sound Bite: Neil Gaiman – The difference between the screenplay and original poem.
Or at least who slept through it when they were meant to be reading it. (Talks) I think the biggest difference between the poem and the story that you’re gonna see is we connected the thing um the famous thing with the poem is you have a fight with a monster, you have a fight with the monster’s mother, and then fifty years later, Beowulf fights the dragon and dies, and one of the things we had to come up with was a reason why this is all one story, and who’s story it is, and what it tells us both about Beowulf and about Grendel and about Grendel’s mother and who the dragon was. So we sort of built this story around, um, around the whole sort of Beowulf-y thing, but we give more information. You learn things, and it doesn’t say that the story of Beowulf you read in high school or slept through in high school isn’t true, but it says a lot more happened.
Sound Bite: Neil Gaiman – The research involved and creative liberties taken.
Well we we we got to do an enormous amount of research, and then keep what we liked and throw what liked away, which was part of the fun. We have um you know it’s set in Denmark except we’ve created a landscape for it that could only exist in… that doesn’t exist in Denmark. There are no great Danish mountains, um, but we’ve created some because they look absolutely wonderful and they’re magnificent things to have a dragon fight against.
Sound Bite: Neil Gaiman
I’m hoping for a better deal for writers and I’m hoping as a knock on effect for that to get a better deal for actors a better deal for directors and a better deal for everybody. I think that if the writers lose in the writer’s strike, if if uh you can download movies in the future with no royalty structure there, um then it will not be a good thing, and it will not be a good thing for anybody creative, as well as just writers.
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