1 00:00:51,134 --> 00:00:56,638 Hi, this is Burr steers, and welcome to the director's commentary for CharIie St. CIoud. 2 00:00:58,266 --> 00:01:02,019 This is our opening scene, this sailing race, 3 00:01:02,103 --> 00:01:06,815 and the main inspiration for the sailing race, or what l used as a model, 4 00:01:08,318 --> 00:01:14,156 was Carroll Ballard's movie Wind, which is the ultimate sailing movie. 5 00:01:15,492 --> 00:01:19,828 The problem we encountered with our sailing scene 6 00:01:19,954 --> 00:01:25,667 was that we had no wind, which is problematic for a sailing race. 7 00:01:25,794 --> 00:01:30,672 So, we had to manufacture all the dynamics of a competitive sailing race 8 00:01:32,050 --> 00:01:36,845 through editing, and tricks like towing the boats 9 00:01:36,971 --> 00:01:40,516 and other stuff and justjumping around 10 00:01:41,851 --> 00:01:45,562 and keeping the audience as disoriented as possible. 11 00:01:48,066 --> 00:01:53,070 It was about a week sitting out here on this incredibly flat water, 12 00:01:54,531 --> 00:01:55,906 hoping for a breeze. 13 00:01:56,032 --> 00:01:57,324 He's doing it again! 14 00:01:59,160 --> 00:02:00,285 Come on, Sam! 15 00:02:00,912 --> 00:02:03,205 Everybody learned how to sail. 16 00:02:03,331 --> 00:02:08,252 The actors were all paired, except for Zac and Charlie Tahan. 17 00:02:10,213 --> 00:02:14,133 Tess, Amanda Crew, here, is paired with a real sailor. 18 00:02:14,217 --> 00:02:17,803 The girl in the boat with her is a competitive sailor. 19 00:02:17,887 --> 00:02:21,473 And Amanda learned how to sail for this, as well, as did all the other actors. 20 00:02:21,558 --> 00:02:25,936 Got out there, and were fairly accomplished by the time we shot this. 21 00:02:26,187 --> 00:02:27,688 Come on, Sam! 22 00:02:30,608 --> 00:02:33,277 Red is a key color in the movie. 23 00:02:33,403 --> 00:02:36,905 lt's the Red Sox, it's the color for the boy when he comes back, 24 00:02:37,031 --> 00:02:40,409 or, actually, just our dead color. 25 00:02:41,911 --> 00:02:46,123 And the boat that we establish here that they're sailing is the SpIendid SpIinter, 26 00:02:46,249 --> 00:02:49,084 which was a nickname for Ted Williams. 27 00:02:51,087 --> 00:02:54,256 And the younger brother in the movie is a Red sox fanatic, 28 00:02:54,382 --> 00:02:57,301 so we thought that would be fitting. 29 00:02:57,427 --> 00:03:00,262 And there we have Charlie, or Zac, doing his back flip, 30 00:03:00,346 --> 00:03:05,017 which he improvised on the day of the sailing race and got in one take. 31 00:03:05,101 --> 00:03:10,898 That's real spit that he's putting in Charlie's hair, which Charlie didn't appreciate. 32 00:03:11,191 --> 00:03:12,774 Sexy pose. 33 00:03:15,778 --> 00:03:16,945 CongratuIations, boys. 34 00:03:17,030 --> 00:03:18,780 -Thank you. -Thanks. 35 00:03:19,032 --> 00:03:23,619 One of the weird things for me here was the movie was initially set on the East Coast, 36 00:03:23,745 --> 00:03:28,457 and you have these tony yacht clubs there, old money yacht clubs. 37 00:03:28,541 --> 00:03:33,128 but on the West Coast, in Washington state, where this is based, or in Vancouver, 38 00:03:33,213 --> 00:03:35,214 you don't really have that. 39 00:03:35,298 --> 00:03:41,970 So, l was trying to create that feeling, that this was a town 40 00:03:43,306 --> 00:03:45,307 with train tracks through the middle of it. 41 00:03:45,433 --> 00:03:49,811 There's a good side and a bad side, and Charlie was from the working-class side, 42 00:03:49,938 --> 00:03:54,983 and these kids were the entitled, privileged, private school kids, 43 00:03:57,779 --> 00:04:01,365 which explains the pink Izod Lacoste shirt. 44 00:04:06,454 --> 00:04:08,997 Cannons going off, sunset cannons, 45 00:04:09,082 --> 00:04:13,669 which signal it's time to get back in if you're out there sailing. 46 00:04:15,922 --> 00:04:19,508 And the boys watching all the boats taking off 47 00:04:19,592 --> 00:04:21,927 and going off on adventures across the world. 48 00:04:22,011 --> 00:04:23,679 Don't worry, that's going to be us one day. 49 00:04:25,848 --> 00:04:30,102 That shot from behind, of the two boys, that's not actually Charlie Tahan. 50 00:04:30,186 --> 00:04:33,855 He got a horrible stomach flu, and so that's his stand-in 51 00:04:33,982 --> 00:04:36,525 getting his head mauled by Zac. 52 00:04:36,609 --> 00:04:38,026 I'm just saying, 53 00:04:38,152 --> 00:04:41,697 I couId work for a year, fiII the coffers, and then go to Stanford. 54 00:04:41,823 --> 00:04:43,865 You said yourseIf it was too expensive, even with the aid, Mom. 55 00:04:43,950 --> 00:04:46,618 I didn't say it was too expensive. I said it was expensive. 56 00:04:46,703 --> 00:04:48,954 Mom, I don't want you having to work doubIe shifts at the hospitaI. 57 00:04:49,038 --> 00:04:56,044 Here, in this scene with Kim, unfortunately we had a malfunction with the film, 58 00:04:56,212 --> 00:05:01,133 and we had to re-shoot all of Kim's coverage in this scene, 59 00:05:02,385 --> 00:05:05,012 which we did the very next day. 60 00:05:07,307 --> 00:05:12,227 She was incredibly great about matching what she'd done the day before. 61 00:05:17,567 --> 00:05:21,903 One of the things l took out of this was, here l had... 62 00:05:21,988 --> 00:05:26,908 lnitially, l was establishing that Charlie had a bad habit of turning his wheels left 63 00:05:27,744 --> 00:05:32,414 before he would make a left-handed turn. 64 00:05:32,540 --> 00:05:37,919 And l realized that Kim had been in the movie Widow for a Year, 65 00:05:38,421 --> 00:05:41,673 or Door Under the FIoor, the John Irving book 66 00:05:41,758 --> 00:05:46,011 in which it's actually how the kids die as well. 67 00:05:46,095 --> 00:05:48,930 They turn their wheel left before they're supposed to, 68 00:05:49,057 --> 00:05:51,099 and they get rear-ended. 69 00:05:51,225 --> 00:05:56,271 so, I had to edit it a bit. 70 00:05:56,481 --> 00:05:57,814 Sammy! 71 00:06:00,735 --> 00:06:02,986 -Put me down, SuIIivan! -Sammy's on a rampage. 72 00:06:03,071 --> 00:06:06,114 -Don't make me hurt you, Green! -Come on, what do you got? 73 00:06:08,409 --> 00:06:10,994 You see Amanda in the background. 74 00:06:13,206 --> 00:06:16,416 David Franco with Zac. 75 00:06:17,835 --> 00:06:21,922 l didn't realize before that they had the exact same coloring, 76 00:06:22,465 --> 00:06:26,802 so I tried in color timing to darken Mr. Franco a bit. 77 00:06:27,929 --> 00:06:31,598 but the idea was, Franco is going off to war. 78 00:06:31,682 --> 00:06:34,017 He's going off to serve in the military, 79 00:06:34,102 --> 00:06:39,648 which is what Charlie St. Cloud would have had to do were he not a good sailor 80 00:06:40,274 --> 00:06:42,275 and had gotten a scholarship. 81 00:06:42,360 --> 00:06:45,862 He would have ended up in the same position that Franco was in, 82 00:06:45,947 --> 00:06:49,574 going off to make his living in the military. 83 00:06:56,666 --> 00:06:58,041 You're Iate. 84 00:06:58,751 --> 00:07:00,961 Yeah, I couIdn't find my gIove. 85 00:07:01,045 --> 00:07:03,964 You're Iate, Sam. Do you want to make Majors next season? 86 00:07:04,048 --> 00:07:06,299 -Yeah, I'm gonna try. -Yeah? You're gonna try? 87 00:07:06,384 --> 00:07:07,551 Yes, definiteIy, yes! 88 00:07:07,635 --> 00:07:09,261 'Cause I don't want to waste my time here with you. 89 00:07:09,345 --> 00:07:11,012 -Yes! Yes! Yeah! -Yeah? 90 00:07:11,097 --> 00:07:13,723 Okay. Then I'II make a deaI with you. 91 00:07:14,559 --> 00:07:17,352 I'II practice with you for one hour every day, 92 00:07:17,437 --> 00:07:19,855 right after I get off work, up untiI I Ieave for Stanford. 93 00:07:22,733 --> 00:07:26,069 I'II meet you at sunset cannons every day. 94 00:07:26,529 --> 00:07:32,993 This is a tough scene just because you're setting up the deal for the movie. 95 00:07:34,495 --> 00:07:36,079 And these kinds of scenes, 96 00:07:36,164 --> 00:07:39,499 you can really hear the typewriter clicking away in the background. 97 00:07:39,584 --> 00:07:44,546 So, to get the actors to make it as conversational as possible 98 00:07:44,630 --> 00:07:47,674 is always a difficult thing to do, 99 00:07:49,177 --> 00:07:51,052 and still emphasize the information, 100 00:07:51,137 --> 00:07:55,432 so that everybody knows exactly what the deal is. 101 00:07:58,603 --> 00:08:00,812 Put your hand out, paIms up. 102 00:08:00,897 --> 00:08:02,814 You see these wide seams? 103 00:08:04,108 --> 00:08:05,901 That's the correct way to hoId a basebaII. 104 00:08:05,985 --> 00:08:08,653 I didn't know I was gonna get to go to basebaII camp this summer. 105 00:08:08,738 --> 00:08:11,156 That's because rich kids go to camp, Sammy. 106 00:08:11,282 --> 00:08:13,408 Do you have a trust fund you're not teIIing me about? 107 00:08:14,076 --> 00:08:18,622 Here again, I was trying to hit the idea of the class system in the town, 108 00:08:19,832 --> 00:08:22,334 and that Charlie's ability has given him 109 00:08:22,418 --> 00:08:27,047 the opportunity to get a scholarship and break out of it. 110 00:08:28,049 --> 00:08:29,341 You are on Sam duty. 111 00:08:29,425 --> 00:08:32,385 -Mom, I have pIans. -Make sure he gets in bed at a decent hour. 112 00:08:32,470 --> 00:08:34,387 -Mom... -I'II bring you donuts for breakfast. 113 00:08:35,181 --> 00:08:39,893 This is one of the four towns we were using in the Vancouver area. 114 00:08:39,977 --> 00:08:43,855 The movie was initially set in Massachusetts, in Marblehead, 115 00:08:43,940 --> 00:08:46,191 but we ended up shooting in Vancouver, 116 00:08:46,275 --> 00:08:51,196 and l reset it for the San Juan lslands in Washington state, 117 00:08:51,280 --> 00:08:53,698 because Vancouver looks very similar. 118 00:08:53,783 --> 00:08:55,659 But we couldn't find one town that worked, 119 00:08:55,743 --> 00:09:00,455 so we put together four towns and ended up with something really unique. 120 00:09:19,475 --> 00:09:22,185 -Stop! -Jeez! What the... 121 00:09:26,732 --> 00:09:30,068 -What are you doing? -What are you doing? You're on Sam duty! 122 00:09:30,152 --> 00:09:31,778 No one babysat me when I was 1 1 , Sam. 123 00:09:31,862 --> 00:09:33,238 Look, it's the 7th-inning stretch. 124 00:09:33,322 --> 00:09:35,407 Can you pIease just get me to Tommy's by the bottom of the 8th? 125 00:09:35,491 --> 00:09:37,534 No. It's not exactIy on the way, Sam. 126 00:09:40,538 --> 00:09:42,080 Sweet ride. 127 00:09:47,878 --> 00:09:52,257 This is a tough scene. There's a lot of misdirection in this scene, 128 00:09:54,135 --> 00:09:58,388 'cause people who have read the book, they know what's coming. 129 00:09:59,181 --> 00:10:02,183 You just don't want them to know when it's coming. 130 00:10:02,268 --> 00:10:04,102 One of the things also I was trying to cultivate here 131 00:10:04,186 --> 00:10:09,107 was the relationship between the brothers, that prickly sibling relationship. 132 00:10:09,191 --> 00:10:12,152 And that flash of the lights, which not everybody catches, 133 00:10:12,236 --> 00:10:16,114 is the universal sign for "cops up ahead". 134 00:10:16,574 --> 00:10:18,742 Sammy! Cheer up. 135 00:10:20,119 --> 00:10:23,038 Come on, Sammy. Sammy, baby. 136 00:10:23,122 --> 00:10:26,916 And here we have Zac's very bad Christopher Walken imitation, 137 00:10:27,001 --> 00:10:29,252 which he would use to crack Charlie Tahan up 138 00:10:29,337 --> 00:10:33,715 when Charlie was feeling glum. so, he did it in this scene. 139 00:10:33,799 --> 00:10:35,425 I'm gonna see you aII the time. 140 00:10:37,094 --> 00:10:39,929 -That's what Dad said. -Yeah, but I'm not Dad. 141 00:10:40,681 --> 00:10:44,017 I'm not gonna ditch you, Sam. I'm not gonna ditch you. 142 00:10:47,438 --> 00:10:48,813 Cheer up, man. 143 00:10:49,565 --> 00:10:52,525 Not an option. You got one second to cheer up. 144 00:10:52,610 --> 00:10:59,574 Here, Zac was really using his relationship with his younger brother in this scene, 145 00:10:59,825 --> 00:11:04,954 who, I guess, he pummels, or did pummel on a regular basis before he outgrew him. 146 00:11:06,749 --> 00:11:12,879 but they really would go at it. I'm talking about the actors. 147 00:11:12,963 --> 00:11:17,592 We were driving around all night long shooting this scene, 148 00:11:17,677 --> 00:11:19,886 getting the coverage for it. 149 00:11:19,970 --> 00:11:23,640 by the end, both of them were black and blue. 150 00:11:29,855 --> 00:11:30,980 Come on. 151 00:11:31,065 --> 00:11:34,192 Now here we have the tires turning. 152 00:11:35,361 --> 00:11:37,946 So, when's it going to happen? Pop! 153 00:11:38,698 --> 00:11:42,242 And then there's a moment of right-before. 154 00:11:45,538 --> 00:11:49,040 And then everything is smashed to bits. 155 00:11:49,875 --> 00:11:55,004 Here, the idea was to make you think you're looking at a starry sky, 156 00:11:56,048 --> 00:12:00,510 then you come up and realize you're looking at the shattered glass. 157 00:12:03,222 --> 00:12:04,723 Mom's gonna kiII us! 158 00:12:05,141 --> 00:12:06,975 Don't worry, I'II take the bIame. 159 00:12:07,059 --> 00:12:10,103 And here the brothers are in the in-between. 160 00:12:10,187 --> 00:12:11,938 I was trying to make it ambiguous, 161 00:12:12,022 --> 00:12:18,528 where you would think that they were close to the accident. 162 00:12:19,989 --> 00:12:23,074 And also my thinking was that if you were, 163 00:12:24,368 --> 00:12:28,788 if they were ghosts, if their spirits had just left their bodies, 164 00:12:28,873 --> 00:12:32,709 they'd be disoriented and near the site. 165 00:12:34,837 --> 00:12:40,258 And then Ray Liotta brings Zac back. 166 00:12:44,096 --> 00:12:45,388 My word. 167 00:12:48,100 --> 00:12:50,602 We establish the St. Jude medal. 168 00:12:51,270 --> 00:12:52,937 -WeIcome back. -Where was I? 169 00:12:53,022 --> 00:12:54,272 -It's okay. -Where was I? 170 00:12:54,356 --> 00:12:56,191 -You've just got to reIax. -Where's Sam? 171 00:12:56,275 --> 00:12:58,318 -Everything's okay, but you gotta stay stiII. -Where's Sam? 172 00:12:58,402 --> 00:13:00,737 You got to stay stiII. Okay? 173 00:13:01,614 --> 00:13:03,281 -Everything's okay. -Sam? 174 00:13:03,365 --> 00:13:04,616 Hey, Sam? 175 00:13:05,951 --> 00:13:08,620 -Sam! Sam? -You've got to rest. 176 00:13:09,622 --> 00:13:11,456 Come on, come on. 177 00:13:11,540 --> 00:13:14,209 Sam! Sam! 178 00:13:14,585 --> 00:13:18,296 This is a tough scene, approaching this, 179 00:13:18,380 --> 00:13:22,425 'cause showing a dead child 180 00:13:24,470 --> 00:13:30,642 is an incredibly difficult thing to watch, 181 00:13:30,726 --> 00:13:33,853 a difficult thing to overcome throughout the course of a movie. 182 00:13:33,938 --> 00:13:39,984 So, how to do it as gently as possible, but still have the impact? 183 00:13:40,736 --> 00:13:44,280 so, there was no bIood, we turned the boy's face away 184 00:13:45,074 --> 00:13:48,243 and showed his lifeless body, 185 00:13:48,911 --> 00:13:52,580 and then of course the Red Sox cap next to the car. 186 00:13:54,166 --> 00:13:58,253 ...accept our prayers on behaIf of the souI of thy servant departed 187 00:13:58,337 --> 00:14:02,131 and grant him an entrance into the Iand of Iight and joy, 188 00:14:02,216 --> 00:14:06,678 and the feIIowship of thy saints, through Jesus Christ, our Lord. 189 00:14:06,762 --> 00:14:08,513 Most mercifuI Father, 190 00:14:08,597 --> 00:14:13,685 who has been pIeased to take unto thyseIf the souI of this thy servant, 191 00:14:14,270 --> 00:14:16,813 grant to us, who are stiII in our piIgrimage 192 00:14:16,939 --> 00:14:18,690 -and who waIk as yet by faith... -Charlie. 193 00:14:18,774 --> 00:14:21,693 ...in gIory everIasting... 194 00:14:21,777 --> 00:14:23,653 Here, I was pulling from Don"t Look Now, 195 00:14:23,779 --> 00:14:26,489 and the red, too, was a lot of Don't Look Now, 196 00:14:26,615 --> 00:14:30,034 but sort of glimpsing things from the side. 197 00:14:30,119 --> 00:14:33,413 There's a red mac in Don't Look Now, the Nicolas Roeg movie, 198 00:14:33,497 --> 00:14:39,252 that every time they see it, they know or sense the presence of their dead child, 199 00:14:39,336 --> 00:14:42,755 and that's what I was weaving throughout the movie. 200 00:14:42,840 --> 00:14:46,259 And so, I was very specific about the use of red. 201 00:15:05,487 --> 00:15:10,491 As soon as we pass through this bit of woods... 202 00:15:11,368 --> 00:15:15,538 These are all real woods in Vancouver. 203 00:15:19,001 --> 00:15:22,003 Here, l use the flashback of the accident. 204 00:15:22,129 --> 00:15:26,382 I wanted to get the sense of someone... 205 00:15:26,508 --> 00:15:31,679 And here, also just establish someone experiencing post-traumatic stress, 206 00:15:31,805 --> 00:15:36,017 and the idea that it's all escalating in his head and that he's cracking up. 207 00:15:38,979 --> 00:15:42,565 He's having some kind of a breakdown. 208 00:15:46,904 --> 00:15:49,822 so that when we see sam here, 209 00:15:51,533 --> 00:15:58,539 we don't know if he's hallucinating or if he's actually seeing a ghost of his brother. 210 00:15:58,707 --> 00:16:02,293 I wanted to keep both of those possibilities alive. 211 00:16:05,589 --> 00:16:07,006 You're Iate. 212 00:16:08,842 --> 00:16:10,843 I thought we had a deaI. 213 00:16:14,765 --> 00:16:15,848 We do. 214 00:16:15,933 --> 00:16:21,354 This is a set that was built by an incredible production designer, Ida Random. 215 00:16:24,400 --> 00:16:30,279 And the difficulty here was, the actual glade that it was based on 216 00:16:30,406 --> 00:16:33,700 looked less realistic than the set, 217 00:16:33,784 --> 00:16:37,829 but it still didn't feel natural. 218 00:16:37,913 --> 00:16:42,375 No breeze, no anything going on. 219 00:16:42,459 --> 00:16:46,045 So, in certain ways, we had to overcompensate 220 00:16:51,427 --> 00:16:53,302 and add sounds. 221 00:16:59,727 --> 00:17:03,187 Here, we're pulling up to get a look at the geography of the story, 222 00:17:03,272 --> 00:17:05,440 get a sense of the town 223 00:17:07,276 --> 00:17:11,446 and the scope of their lives. 224 00:17:26,587 --> 00:17:30,965 Here, we pull back into Sam's gravestone five years later. 225 00:17:38,474 --> 00:17:42,894 This section of the movie, l wanted to give a very different tone, this act. 226 00:17:42,978 --> 00:17:49,150 And so, l started it off with a song that my editor actually found, 227 00:17:50,277 --> 00:17:55,948 Pad McKinley, just to make sure it didn't get 228 00:17:57,910 --> 00:17:59,827 glum and bogged down. 229 00:17:59,912 --> 00:18:04,999 I mean, it is a sad story, the guy's lost his brother 230 00:18:07,169 --> 00:18:12,173 and he's removed himself to this hermit's existence, working at the graveyard. 231 00:18:14,676 --> 00:18:19,597 so, these music choices were to combat that. 232 00:18:26,814 --> 00:18:31,359 He's going after the geese, which were initially Canadian geese, 233 00:18:31,443 --> 00:18:33,861 which we would have had if we had shot in Massachusetts, 234 00:18:33,946 --> 00:18:38,032 but because we were shooting in Canada, the Canadian geese were protected. 235 00:18:39,368 --> 00:18:41,786 And so, we ended up having to use domestic geese, 236 00:18:41,870 --> 00:18:44,372 the idea being that they were domestic geese 237 00:18:44,498 --> 00:18:47,375 that had gotten out and gone feral. 238 00:18:53,841 --> 00:18:56,300 Canadian geese are a menace, 239 00:18:56,385 --> 00:19:00,930 on the East Coast, as far as bringing all sorts of diseases 240 00:19:01,056 --> 00:19:04,642 and just ripping grass apart and stuff. 241 00:19:06,687 --> 00:19:08,229 You aII right, boss man? 242 00:19:08,313 --> 00:19:09,480 Right. So them geese are back, 243 00:19:09,565 --> 00:19:11,732 and they've done nasty things to my grass again. 244 00:19:12,192 --> 00:19:16,070 And they've crapped over every headstone in the whoIe pIace. 245 00:19:16,864 --> 00:19:18,030 That one's the Ieader. Him. 246 00:19:21,034 --> 00:19:22,326 Do the best you can with the grass. 247 00:19:22,911 --> 00:19:28,082 This is Augustus Prew. This was actually, initially, a much older character. 248 00:19:28,208 --> 00:19:31,252 But when Zac was cast as the lead, 249 00:19:31,336 --> 00:19:35,089 all the other actors I wanted to be his contemporaries. 250 00:19:36,884 --> 00:19:39,594 I couldn't imagine him being the head guy at the graveyard 251 00:19:39,678 --> 00:19:41,679 and having these older guys work for him. 252 00:19:41,763 --> 00:19:47,435 So, l came up with the idea that it should be an immigrant, initially a Russian immigrant. 253 00:19:47,561 --> 00:19:50,855 but then I saw Augustus' audition reel 254 00:19:50,939 --> 00:19:56,861 and ended up, with Augustus' help, rewriting it for an English character. 255 00:19:56,945 --> 00:19:58,112 You just ended up staying here. 256 00:19:58,197 --> 00:20:02,116 And this time, Cindy has arranged a IittIe friend to meet you. 257 00:20:02,284 --> 00:20:05,620 And here we see Amanda Crew again, 258 00:20:05,746 --> 00:20:08,206 the character is Tess, visiting her father's grave 259 00:20:08,290 --> 00:20:12,877 and discovering that it hasn't been cared for. 260 00:20:12,961 --> 00:20:15,630 I caIIed the sprinkIer guy, and he said he couIdn't come tiII next week. 261 00:20:15,714 --> 00:20:17,215 So I was Iike, "AII right, cooI. Come next week." 262 00:20:17,299 --> 00:20:19,550 But more important, aII right, Iisten to me about this. 263 00:20:19,635 --> 00:20:23,888 Cindy's got this mate over staying, and she is a waitress at the Red Dog Inn. 264 00:20:23,972 --> 00:20:25,306 CharIie? The Red Dog Inn. 265 00:20:25,390 --> 00:20:26,474 You know about the Red Dog Inn, don't you? 266 00:20:26,600 --> 00:20:30,561 The Red Dog, when we were on the East Coast, was initially the black Dog lnn, 267 00:20:30,646 --> 00:20:36,275 which is what I grew up knowing about, and the lore about the black Dog. 268 00:20:37,778 --> 00:20:42,406 but I think there's probably some issues with using that name, 269 00:20:42,491 --> 00:20:46,077 and so very cleverly changed it to the Red Dog. 270 00:20:50,624 --> 00:20:55,670 -Good. I'II get right on that. -Yeah, that'II be great, 271 00:20:56,380 --> 00:20:58,381 getting fIowers. 272 00:21:00,717 --> 00:21:06,597 So, this scene was about her coming back to the town that she grew up in, 273 00:21:06,682 --> 00:21:08,766 after being away at college for four years, 274 00:21:08,850 --> 00:21:12,520 and running into the former golden boy of the town, 275 00:21:12,604 --> 00:21:15,106 the boy that she had a crush on, 276 00:21:17,401 --> 00:21:22,363 and her reverting back to the gawky teenager that she was. 277 00:21:25,867 --> 00:21:29,203 Hey! Hey! 278 00:21:33,875 --> 00:21:35,209 Hey, buddy. 279 00:21:36,962 --> 00:21:39,046 Hey, can you read signs? No rubbing! 280 00:21:43,051 --> 00:21:46,387 If I was going to rub one out, I wouIdn't do it in a graveyard, St. CIoud. 281 00:21:51,226 --> 00:21:53,394 PeopIe are aIways tracing these headstones. 282 00:21:53,603 --> 00:21:58,107 Here he's running into the ghost of his best friend from high school, 283 00:22:01,903 --> 00:22:05,906 who's gone off to war and hasn't survived, 284 00:22:05,991 --> 00:22:11,162 and the idea was, there but for the grace of his sailing ability go Charlie. 285 00:22:13,582 --> 00:22:16,375 And this was a scene that a lot got cut out of 286 00:22:16,460 --> 00:22:20,755 because there was a lot about the mother in this scene 287 00:22:20,839 --> 00:22:24,300 and about the mother basically having given up on him 288 00:22:24,384 --> 00:22:26,510 because he hadn't gotten back into the swing of things. 289 00:22:26,595 --> 00:22:31,182 but we found that nobody wanted to believe 290 00:22:31,266 --> 00:22:35,936 that Kim basinger could be a mean mother, 291 00:22:36,021 --> 00:22:38,022 so we had to remove all of it. 292 00:22:38,106 --> 00:22:40,900 The intention was just to show how isolated he was, 293 00:22:40,984 --> 00:22:45,988 that finally even his mother had written him off and gotten on with her life. 294 00:22:50,911 --> 00:22:53,120 I'm gIad you weren't, CharIie. 295 00:22:54,206 --> 00:22:56,290 Yeah. I'm gIad you weren't. 296 00:23:15,477 --> 00:23:21,565 You see the red flowers, which is our signal that death is about, 297 00:23:23,318 --> 00:23:27,029 and the omnipresent geese hovering around behind him. 298 00:23:27,322 --> 00:23:28,656 Got to face it sometime. 299 00:23:31,368 --> 00:23:34,453 AII right. I'II say hi to Sammy for you. 300 00:23:40,210 --> 00:23:41,752 He's not there. 301 00:23:52,514 --> 00:23:53,764 I don't get it. 302 00:23:53,849 --> 00:23:58,144 This is a scene that we went back and forth on, whether to keep it or not. 303 00:23:58,228 --> 00:24:00,354 -He's weird. -He's misunderstood. 304 00:24:00,939 --> 00:24:03,190 ln the end, it was decided that 305 00:24:04,568 --> 00:24:07,194 these girls really represented a large part of the audience, 306 00:24:07,279 --> 00:24:12,408 and so it was how they'd be seeing the Charlie character. 307 00:24:12,492 --> 00:24:14,493 -You're funny. -$97.50. 308 00:24:14,703 --> 00:24:16,787 And also to get across the point 309 00:24:16,872 --> 00:24:21,917 that he has really removed himself from life for the last five years. 310 00:24:23,670 --> 00:24:25,546 Yeah. Yeah, sure. 311 00:24:27,299 --> 00:24:29,091 I Iove saiIing. 312 00:24:29,843 --> 00:24:30,926 CooI. 313 00:24:33,638 --> 00:24:35,890 WeII, maybe I can take you out sometime, too. 314 00:24:35,974 --> 00:24:37,016 Yeah! 315 00:24:37,100 --> 00:24:39,894 -Enjoy your toy pIane, CharIie. -It's not for me. 316 00:24:41,480 --> 00:24:43,230 It's for the geese. 317 00:24:46,943 --> 00:24:48,569 So, what do you wear on a saiIing date? 318 00:24:48,653 --> 00:24:50,070 I wouIdn't put too much thought into it, 319 00:24:50,155 --> 00:24:53,240 seeing as he hasn't been saiIing in five years. 320 00:24:56,495 --> 00:24:59,455 He's closing himself back into his prison. 321 00:25:15,263 --> 00:25:18,432 He checks his sunset chart, which runs his life, 322 00:25:22,646 --> 00:25:26,774 and heads off to rendezvous with his brother. 323 00:25:52,384 --> 00:25:53,717 The red glove. 324 00:25:55,470 --> 00:25:56,929 Man, you got it! 325 00:25:57,013 --> 00:25:59,014 -Great, Iet's go hit the Iake. -No. Not tiII after practice. 326 00:25:59,140 --> 00:26:00,683 Back up, back up. Get out of here. 327 00:26:00,767 --> 00:26:03,143 -PIease? Can we just go now? -What's our deaI, Sam? 328 00:26:05,897 --> 00:26:08,482 We practice every day at sunset cannons... 329 00:26:08,567 --> 00:26:11,443 And here we pound the deal back into the script, 330 00:26:11,528 --> 00:26:15,489 just to make sure everybody is absolutely getting it. 331 00:26:20,161 --> 00:26:22,913 These two worked on baseball every day 332 00:26:23,331 --> 00:26:25,457 and really got good at it. 333 00:26:25,542 --> 00:26:27,209 Charlie Tahan 334 00:26:32,215 --> 00:26:35,301 wasn't an athlete beforehand, but really learned how to play. 335 00:26:35,385 --> 00:26:37,553 He worked with a coach every day. 336 00:26:37,679 --> 00:26:41,682 Zac is actually a really talented baseball player, 337 00:26:41,766 --> 00:26:45,769 but a perfectionist, and was just working to get his form down. 338 00:26:47,022 --> 00:26:50,691 We had to teach Charlie all sorts of different pitches. 339 00:26:52,027 --> 00:26:56,238 Here, also, there was an issue, since I'd reset it for Washington state, 340 00:26:56,573 --> 00:26:59,742 do l change the Red Sox to the Mariners? 341 00:27:00,535 --> 00:27:05,247 But, one, l wanted red, and, two, the Mariners aren't as iconic. 342 00:27:06,041 --> 00:27:09,418 You know SuIIy. I think he was good with it. 343 00:27:10,712 --> 00:27:13,047 I think he reaIIy missed Green. 344 00:27:14,466 --> 00:27:16,050 I think I'd miss you. 345 00:27:17,052 --> 00:27:18,260 A IittIe bit. 346 00:27:18,386 --> 00:27:22,681 Here, we start up with the brother wondering about how long he's allowed to stay 347 00:27:22,766 --> 00:27:28,395 in this limbo, in the in-between, between life and death. 348 00:27:32,692 --> 00:27:34,026 AII right, you ready? 349 00:27:34,110 --> 00:27:36,570 And here come the dreaded geese. 350 00:27:36,905 --> 00:27:38,906 It's about to get bIoody. 351 00:27:41,743 --> 00:27:43,911 It's a real plane. 352 00:27:44,871 --> 00:27:49,249 These are not, however, real geese. They're all put in there. 353 00:27:51,961 --> 00:27:57,091 And this is a filthy lake that l made them dive into several times 354 00:27:57,759 --> 00:28:00,177 because l am sadistic. 355 00:28:01,846 --> 00:28:07,976 Zac re-emerges, and magic hour is over, it is later, 356 00:28:08,103 --> 00:28:10,229 and there is nobody there. 357 00:28:11,231 --> 00:28:12,648 You get a sense of how alone he is, 358 00:28:12,774 --> 00:28:16,944 but also the sense that maybe it was all happening in his brain. 359 00:28:17,112 --> 00:28:19,405 lt was all a hallucination. 360 00:28:25,453 --> 00:28:28,997 The SpIendid SpIinter again, not having moved. 361 00:28:42,095 --> 00:28:43,470 Excuse me. 362 00:28:43,930 --> 00:28:45,139 You aII right? I'm sorry. 363 00:28:47,976 --> 00:28:52,312 In similar versions of the script that I read, and also in the book, 364 00:28:52,981 --> 00:28:56,984 Florio is a ghost at this point, and I played with that idea. 365 00:28:57,819 --> 00:29:00,195 -You're the paramedic. -I'm the paramedic. 366 00:29:00,280 --> 00:29:03,490 FIorio Ferrente. It's so good to see you. 367 00:29:05,618 --> 00:29:11,457 but in the end, I thought, he's a guy who knows he's on borrowed time 368 00:29:12,333 --> 00:29:15,669 and he's basically just broken out of the hospital 369 00:29:15,795 --> 00:29:18,172 for a last walk around his town. 370 00:29:18,506 --> 00:29:20,174 So, what... 371 00:29:20,884 --> 00:29:24,136 What have you been up to the past five years? 372 00:29:24,220 --> 00:29:26,847 Are you in Iove? You married? 373 00:29:27,182 --> 00:29:29,850 No. It hasn't happened yet. 374 00:29:29,976 --> 00:29:31,143 No? 375 00:29:38,067 --> 00:29:39,526 You're sick. 376 00:29:41,362 --> 00:29:44,031 Yeah. I got the big C. 377 00:29:45,700 --> 00:29:48,202 -I'm sorry. -Nah, don't be. 378 00:29:48,328 --> 00:29:51,163 I have no regrets. I... 379 00:29:51,247 --> 00:29:53,999 The other thing that we were playing with in this scene was the idea 380 00:29:54,083 --> 00:29:56,376 that Florio is really a father figure, 381 00:29:57,879 --> 00:29:59,671 and it really is his last opportunity 382 00:29:59,756 --> 00:30:05,552 to make sure that his son is gonna maximize his life. 383 00:30:05,678 --> 00:30:10,057 How many peopIe can say that to Saint Peter when they reach the pearIy gates? 384 00:30:11,059 --> 00:30:13,227 You were a compIete fIatIine. 385 00:30:14,562 --> 00:30:15,771 Nothing. 386 00:30:16,940 --> 00:30:18,398 And then... 387 00:30:26,241 --> 00:30:27,950 One of the things also, l think, that works, 388 00:30:28,076 --> 00:30:31,662 as far as the idea that there is a father-son relationship here, 389 00:30:31,746 --> 00:30:37,459 is that these two actors have the exact same eyes, the exact same blue, 390 00:30:40,129 --> 00:30:43,131 which in anamorphic was really striking. 391 00:30:43,258 --> 00:30:46,301 WeII, if there is one, I haven't figured it out yet. 392 00:30:46,427 --> 00:30:47,928 Yeah, weII... 393 00:30:48,596 --> 00:30:51,431 I don't think it's gonna come to you working in a graveyard. 394 00:30:53,101 --> 00:30:54,768 You're a young man. 395 00:30:55,436 --> 00:30:58,564 You shouId be out in the worId Iiving your Iife. 396 00:30:59,065 --> 00:31:02,401 Don't squander this gift you've been given. 397 00:31:13,997 --> 00:31:15,664 And here we go, 398 00:31:16,291 --> 00:31:18,125 Zac's first glimpse 399 00:31:20,962 --> 00:31:22,921 of Tess' boat. 400 00:31:25,258 --> 00:31:28,719 which has the initiaIs "Cs" on it, for "CarroII saiIs", 401 00:31:28,803 --> 00:31:32,389 but l think in his mind, he's thinking "Charlie St. Cloud", 402 00:31:32,473 --> 00:31:34,933 and is he actually seeing this? 403 00:31:44,152 --> 00:31:45,444 One of Quincy's own, 404 00:31:45,528 --> 00:31:47,029 she wiII seek to become the youngest... 405 00:31:47,155 --> 00:31:51,617 This woman is an actual reporter, who you catch a fleeting glimpse of. 406 00:31:52,160 --> 00:31:55,078 Everybody's excited. This is a first for the town. 407 00:32:05,131 --> 00:32:06,423 Amanda Crew, the actress here, 408 00:32:06,507 --> 00:32:09,843 actually learned how to sail that 50-foot boat. 409 00:32:12,472 --> 00:32:15,515 If you look closely, you can see the bruises on her legs, 410 00:32:15,642 --> 00:32:18,518 which were the price she paid for learning how. 411 00:32:18,603 --> 00:32:22,773 No, whether I win this race or not, Iet's hope that I do, right, Tink? 412 00:32:22,857 --> 00:32:24,691 I mean, Coach? 413 00:32:24,776 --> 00:32:26,109 No, but whether I win it or not, 414 00:32:26,194 --> 00:32:28,779 it wiII not be because I didn't have a great boat. 415 00:32:28,863 --> 00:32:31,114 Thank you so much, guys. 416 00:32:31,199 --> 00:32:34,034 -That girI is gonna saiI around the worId? -Yeah. 417 00:32:39,791 --> 00:32:43,043 -Is that the girI? She's hot! -She's aII right. 418 00:32:43,711 --> 00:32:46,380 "AII right"? Is there a swimsuit shot anywhere in there? 419 00:32:46,464 --> 00:32:47,631 What are you gonna do with a swimsuit shot? 420 00:32:47,715 --> 00:32:49,132 Everything. 421 00:32:51,052 --> 00:32:52,219 -Come on. -You want it? 422 00:32:52,303 --> 00:32:54,137 Give me the magazine. Sam, you're gonna wreck it. 423 00:32:54,305 --> 00:32:56,390 This was a fun scene to shoot 424 00:32:56,516 --> 00:33:02,896 because Charlie Tahan enjoyed torturing Zac and teasing him. 425 00:33:03,731 --> 00:33:06,733 WeII done, CharIie. Mature. 426 00:33:07,568 --> 00:33:10,237 You onIy Ieft me with the cover page. 427 00:33:41,060 --> 00:33:44,354 These are always tough scenes to get to work exactly, 428 00:33:44,439 --> 00:33:48,442 to get the camera move off of the expression on his face 429 00:33:51,195 --> 00:33:54,614 and convey exactly what he's thinking. 430 00:34:09,464 --> 00:34:10,630 CharIie! 431 00:34:12,425 --> 00:34:15,719 I cannot beIieve that you're here! HeIIo! 432 00:34:15,803 --> 00:34:19,097 Here's Augustus falling into his Monty Python. 433 00:34:19,557 --> 00:34:22,309 No, not our anniversary, because we're not going out, 434 00:34:22,393 --> 00:34:24,561 but me and Cindy's. 435 00:34:24,645 --> 00:34:27,564 -I wouIdn't miss your anniversary, man. -I know you wouIdn't 436 00:34:27,648 --> 00:34:28,982 -and it means a Iot. What's that? -Nothing. 437 00:34:29,108 --> 00:34:30,233 -You aII right? -Yeah. 438 00:34:30,318 --> 00:34:33,653 What are you doing? Doing a bit of drawing? 439 00:34:33,738 --> 00:34:37,324 Very nice. Come on inside. It's gonna be weII fun, mate. 440 00:34:41,746 --> 00:34:45,332 This song is a vestigial choice from 441 00:34:45,416 --> 00:34:48,335 when the character was going to be Russian. 442 00:34:49,170 --> 00:34:56,134 And l was having him do Ra Ra Rasputin, the boney M classic, 443 00:34:56,302 --> 00:34:59,596 which apparently no one else had ever heard of, 444 00:35:00,431 --> 00:35:02,849 but then went with an English actor. 445 00:35:02,934 --> 00:35:06,436 It didn't really make any sense, but it didn't need to. 446 00:35:06,521 --> 00:35:07,771 The one I toId you about. 447 00:35:07,855 --> 00:35:11,108 -Hi. Hey. -Cindy said you wouIdn't show. 448 00:35:11,192 --> 00:35:13,276 OnIy because we never see you out at night, CharIie. 449 00:35:15,196 --> 00:35:20,117 Ever since the werewoIf bite, I tend to onIy come out during fuII moons. 450 00:35:20,535 --> 00:35:24,663 -The moon isn't fuII. -Then I guess it's your Iucky night. 451 00:35:32,839 --> 00:35:34,881 Let's hear it for Cindy! 452 00:35:51,399 --> 00:35:53,900 -Hey. -How's the weather Iooking, Coach? 453 00:35:54,986 --> 00:35:58,905 Look. Low-pressure system coming down from AIaska. 454 00:35:58,990 --> 00:36:01,783 See how tight those isobars are on the back of the depression? 455 00:36:02,285 --> 00:36:04,995 -Not good. -That means more wind. 456 00:36:05,204 --> 00:36:07,747 Too much wind. This test run can wait. 457 00:36:07,832 --> 00:36:12,252 Donal Logue, who's playing Tink here, actually was the one who figured out 458 00:36:12,336 --> 00:36:17,674 exactly how to communicate that a big storm was coming. 459 00:36:18,426 --> 00:36:23,430 Donal is very smart, and he was able to master all the weather reports 460 00:36:23,556 --> 00:36:27,017 and convey it in a way that even l could understand. 461 00:36:31,022 --> 00:36:35,525 -Hey, why are you so interested in that Ioon? -I'm not. 462 00:36:37,111 --> 00:36:39,029 One of the things that got lost in the movie 463 00:36:39,113 --> 00:36:43,742 was the idea that Tink actually has feelings for Tess 464 00:36:45,411 --> 00:36:52,375 and there's jealousy as he sees her pining for Charlie. 465 00:36:53,294 --> 00:36:56,129 CharIie was unbeatabIe on the water, 466 00:36:56,214 --> 00:36:59,799 even got himseIf a saiIing schoIarship and everything. 467 00:36:59,926 --> 00:37:05,388 One of the hardest things to cast was to cast Connors. 468 00:37:06,557 --> 00:37:09,309 The actor, Matthew ward, is from Edmonton. 469 00:37:09,435 --> 00:37:12,896 It was very hard to get what you would find in America, 470 00:37:12,980 --> 00:37:19,236 where you could get that snotty, preppy, rich kid. 471 00:37:22,448 --> 00:37:26,660 Matthew is a private school kid 472 00:37:26,786 --> 00:37:31,498 and really did affect that sense of being entitled. 473 00:37:31,582 --> 00:37:35,168 And he looks good in pink, which not many people can pull off. 474 00:37:35,253 --> 00:37:39,297 -Your boy just saved you from a beating. -No, you're probabIy right. 475 00:37:41,342 --> 00:37:44,344 I'm sorry, man. How is everything? How's GoIdman Sachs? 476 00:37:45,096 --> 00:37:47,430 The great thing about doing a fight with these guys is, 477 00:37:47,515 --> 00:37:50,809 Matthew and Zac are both dancers, 478 00:37:51,269 --> 00:37:53,186 so you could choreograph anything you wanted to. 479 00:37:53,312 --> 00:37:56,982 The stuntmen came in, and they could make it look real, 480 00:37:57,650 --> 00:38:00,443 and do it again, and again, and again. 481 00:38:17,420 --> 00:38:21,131 but, of course, that's the last thing the character wanted to do at this point. 482 00:38:21,215 --> 00:38:23,258 We see him in the first act 483 00:38:23,384 --> 00:38:25,677 and we see him being baited by the Connors character, 484 00:38:25,761 --> 00:38:26,928 but he doesn't rise to the bait 485 00:38:27,054 --> 00:38:30,724 because he knows, he's confident in how good he is. 486 00:38:31,600 --> 00:38:35,562 And here, at this point in his life, he's susceptible to it. 487 00:38:36,105 --> 00:38:42,235 And he's not happy with himself for having punched him, 488 00:38:44,322 --> 00:38:46,489 having been goaded into it. 489 00:39:04,175 --> 00:39:05,592 Hey! 490 00:39:06,427 --> 00:39:10,805 The glory days flashback is something that I'd used in 17 again, as well, 491 00:39:10,931 --> 00:39:16,061 with Matthew Perry, who was playing a part with Zac in 17 again. 492 00:39:16,145 --> 00:39:18,104 I used it again here, 493 00:39:18,189 --> 00:39:23,360 of him just reliving, in his mind, his golden moment. 494 00:39:23,778 --> 00:39:25,236 You didn't seem so harmIess up at Maddie's. 495 00:39:25,321 --> 00:39:28,365 Yeah, that. I can expIain that. 496 00:39:28,449 --> 00:39:29,824 -Yeah? -Yeah. 497 00:39:31,619 --> 00:39:33,286 Connors is a dick. 498 00:39:34,330 --> 00:39:36,623 Yeah. AIways has been. 499 00:39:43,130 --> 00:39:47,175 -You don't remember me, do you? -Yeah. Yeah, I do. 500 00:39:47,301 --> 00:39:48,802 -You do? -I do. 501 00:39:49,470 --> 00:39:50,845 I aIready repIanted aII the fIowers 502 00:39:50,971 --> 00:39:53,473 -by your father's grave. -No! 503 00:39:53,557 --> 00:39:54,974 High schooI. 504 00:39:56,644 --> 00:40:01,231 This is one of those scenes where neither one wants to be the one 505 00:40:01,315 --> 00:40:05,735 that says, "I remember you from high school, and I've thought about you." 506 00:40:05,820 --> 00:40:10,156 They don't want to be the loser who's been obsessed, 507 00:40:11,826 --> 00:40:13,535 or give that away. 508 00:40:13,661 --> 00:40:15,620 -And you won the Commodores' Cup. -Yeah. 509 00:40:15,704 --> 00:40:19,165 You got a big saiIing schoIarship to Stanford, right? 510 00:40:19,667 --> 00:40:21,000 I deferred. 511 00:40:22,169 --> 00:40:23,586 For a whiIe. 512 00:40:23,921 --> 00:40:26,464 The other thing here is, too, even though she's been away to college, 513 00:40:26,549 --> 00:40:32,178 it is a small town and she knows what happened, 514 00:40:32,763 --> 00:40:36,057 the accident, and what happened with him. 515 00:40:37,268 --> 00:40:39,519 -It's good catching up. -Yeah. 516 00:40:53,701 --> 00:40:55,034 FIukes! 517 00:40:56,871 --> 00:41:00,248 -FIukes? -FIukes. Like a whaIe taiI. 518 00:41:00,332 --> 00:41:02,709 -Can I show you something? -Yeah. 519 00:41:09,800 --> 00:41:12,969 The reason Zac seems like he knows what he's talking about when he does this, 520 00:41:13,053 --> 00:41:17,849 is he actually did master all of these concepts. 521 00:41:17,933 --> 00:41:19,851 This wouId compIeteIy change your boat. 522 00:41:19,935 --> 00:41:21,394 There's no drag. 523 00:41:21,479 --> 00:41:24,397 so, his cockiness about it here is actually real, 524 00:41:25,816 --> 00:41:28,109 as he is explaining it to her. 525 00:41:28,235 --> 00:41:31,237 But everyone toId me structuraI stabiIity was more important. 526 00:41:31,322 --> 00:41:33,573 -That doesn't appIy here. -Why? 527 00:41:34,492 --> 00:41:37,702 Because this eIiminates direct stress on the keeI. 528 00:41:37,786 --> 00:41:40,079 That's basic! Are you serious? 529 00:41:41,248 --> 00:41:42,415 Sorry. 530 00:41:49,256 --> 00:41:51,341 -Anyways... -Is that my boat? 531 00:41:52,259 --> 00:41:53,301 Yeah. 532 00:41:55,804 --> 00:41:58,264 -You drew my boat. -Yeah. 533 00:41:59,099 --> 00:42:01,392 Good Iuck with the race, 534 00:42:02,811 --> 00:42:05,688 -and be carefuI out there. -Thank you. 535 00:42:17,701 --> 00:42:20,078 This lighthouse doesn't actually exist 536 00:42:20,162 --> 00:42:25,792 because unlike, especially, the East Coast of America, 537 00:42:25,876 --> 00:42:28,670 they don't really have lighthouses in Canada. 538 00:42:28,796 --> 00:42:34,551 l think there are three in Vancouver, but they don't use them 539 00:42:36,136 --> 00:42:40,306 because you have to hire people to look after lighthouses. 540 00:42:40,683 --> 00:42:44,269 so we had to invent that, we had to build that. 541 00:42:44,353 --> 00:42:46,354 That's what I like to hear. Where are you? 542 00:42:46,480 --> 00:42:49,315 I was just passing Whidbey IsIand, heading into Puget Sound. 543 00:42:49,984 --> 00:42:51,818 Okay, good girI. Keep going southeast. 544 00:42:51,902 --> 00:42:54,195 That storm's roIIing in, Iooking reaIIy hairy. 545 00:42:54,321 --> 00:42:56,864 so here's Amanda, who had never sailed before, 546 00:42:56,991 --> 00:43:00,535 actually handling this 50-foot racing yacht. 547 00:43:00,619 --> 00:43:05,081 This is, l think, Tommy Hilfiger's racing yacht, 548 00:43:05,165 --> 00:43:08,501 which had been in the America's Cup competitions. 549 00:43:09,003 --> 00:43:13,339 And here she's tacking. She actually almost capsizes. 550 00:43:14,300 --> 00:43:15,550 Come on. 551 00:43:15,676 --> 00:43:16,718 This is what you were made for. 552 00:43:16,844 --> 00:43:18,803 And you see how far up she goes, 553 00:43:18,887 --> 00:43:22,348 and right at the last second 554 00:43:22,474 --> 00:43:28,021 about 10 burly guys came running out from the cabin below to right the ship. 555 00:43:35,821 --> 00:43:41,409 The first Ieg is an aII-out 8,000-miIe sprint to Cape Town. 556 00:43:43,704 --> 00:43:46,664 I wouId kiII that. You wouId never catch me. 557 00:43:48,417 --> 00:43:51,127 -SIider? -No, I don't feeI Iike retrieving baIIs today. 558 00:43:51,211 --> 00:43:52,337 One of the things that was trimmed 559 00:43:52,421 --> 00:43:54,964 were all these scenes between the brothers, 560 00:43:55,049 --> 00:43:56,674 because they are character scenes, 561 00:43:56,759 --> 00:44:03,097 and while they were all good on their own, 562 00:44:03,223 --> 00:44:07,602 within the context of the movie, they didn't move the plot along. 563 00:44:07,728 --> 00:44:12,440 So, it was one of the things that we realized as we were watching the movie, 564 00:44:12,941 --> 00:44:15,443 we had to pare them down. 565 00:44:19,073 --> 00:44:24,410 Initially, in each scene, Zac was teaching his younger brother a new pitch, 566 00:44:24,912 --> 00:44:28,039 leading up to a slider, 567 00:44:28,123 --> 00:44:34,212 which is the most difficult pitch for a kid to... For anyone to master. 568 00:44:37,216 --> 00:44:40,385 And so in this, Zac goads him. 569 00:44:41,762 --> 00:44:43,763 So scared. 570 00:44:44,264 --> 00:44:45,932 Come on, Sam. FaIIing asIeep here. 571 00:44:52,398 --> 00:44:56,401 And, lo and behold, Charlie throws a ball that slides. 572 00:44:57,152 --> 00:45:00,530 And this is our highbrow comedic moment, 573 00:45:05,828 --> 00:45:09,455 which makes everyone cross their legs as they watch it. 574 00:45:14,128 --> 00:45:16,963 -Let the Mud Games begin! -Let the Mud Games begin! 575 00:45:18,006 --> 00:45:19,716 The idea behind this scene, 576 00:45:19,800 --> 00:45:25,221 besides just an opportunity to have them skimboard, 577 00:45:25,305 --> 00:45:29,267 was to distract the audience from the fact that 578 00:45:29,351 --> 00:45:32,437 Tess is out there on her boat in the storm. 579 00:45:37,651 --> 00:45:41,779 So you've stored that information, but you're not thinking about it. 580 00:45:46,869 --> 00:45:51,414 Zac did all of his own stunts here, 581 00:45:51,498 --> 00:45:55,126 except for standing on his head, 582 00:45:55,210 --> 00:46:00,840 which l'm sure he could've done, but we didn't have him do, for insurance. 583 00:46:04,678 --> 00:46:06,971 Right there. 584 00:46:26,867 --> 00:46:29,368 And here we come up the next day. 585 00:46:31,705 --> 00:46:33,039 Hey, guys. 586 00:46:33,582 --> 00:46:37,043 And Zac's battling the hated geese. 587 00:46:38,545 --> 00:46:40,213 This isn't a game. 588 00:46:43,050 --> 00:46:45,176 Get out of here! Get out of here! 589 00:46:45,260 --> 00:46:47,762 God, what the heII are you doing? 590 00:46:48,263 --> 00:46:49,889 -Hi. -Hi. 591 00:46:53,560 --> 00:46:55,853 I'm sorry about the noise. I apoIogize. 592 00:46:55,938 --> 00:46:59,023 And here, again, it was a lot of misdirection, 593 00:46:59,107 --> 00:47:03,110 so that you're not thinking he's running into her at her father's grave. 594 00:47:03,237 --> 00:47:05,571 She's a ghost. 595 00:47:05,739 --> 00:47:08,407 No, I'm fine. I just hit some rough weather Iast night. 596 00:47:08,534 --> 00:47:11,118 And you see the red flowers behind her. 597 00:47:11,245 --> 00:47:13,162 What? 598 00:47:13,247 --> 00:47:16,833 No, it's fine. I just need some sIeep. I'm fine. 599 00:47:16,917 --> 00:47:19,085 I couId cIean it up for you and see if it needs a stitch. 600 00:47:19,545 --> 00:47:22,421 It's pretty... It's kind of gross. 601 00:47:24,800 --> 00:47:26,759 I'm right down the hiII. 602 00:47:28,136 --> 00:47:30,972 -A IittIe sting now. -Is it fataI? 603 00:47:33,058 --> 00:47:34,433 DefiniteIy. 604 00:47:36,562 --> 00:47:37,770 AII done. 605 00:47:39,648 --> 00:47:41,440 You don't need stitches. 606 00:47:41,567 --> 00:47:43,276 -Not a stitch? -No. 607 00:47:47,072 --> 00:47:49,824 One of the complicated things in this, too, is if it's a ghost, 608 00:47:49,950 --> 00:47:52,785 the rules of ghosts, which since The Sixth Sense 609 00:47:52,911 --> 00:47:56,080 everybody is very conscious of. 610 00:47:57,457 --> 00:47:59,250 lt didn't used to be the case. 611 00:47:59,334 --> 00:48:06,090 I mean, it's an odd thing to think that if there are ghosts that there would be rules, 612 00:48:06,800 --> 00:48:10,678 because that would seem to break every rule. 613 00:48:12,806 --> 00:48:19,312 but if he is imagining it, if he's just cracked, then anything really goes, 614 00:48:21,440 --> 00:48:25,151 which is one of the reasons I wanted that to be something 615 00:48:25,277 --> 00:48:28,279 that we kept alive throughout the movie. 616 00:48:28,363 --> 00:48:32,700 Because if it was one or the other, it really diminishes the possibilities. 617 00:48:48,508 --> 00:48:50,176 Come on, I can do this. 618 00:48:50,719 --> 00:48:53,179 Gorgeous Vancouver scenery. 619 00:48:53,305 --> 00:48:56,057 but this shimmery lake, 620 00:48:58,185 --> 00:49:02,897 which has this unreal quality to it, it's just almost glowing, 621 00:49:05,067 --> 00:49:09,904 was because there was an old copper mine in that area. 622 00:49:11,031 --> 00:49:14,700 The water was still incredibly polluted from the mining, 623 00:49:14,826 --> 00:49:18,663 and so it had this almost metallic shine to it. 624 00:49:20,749 --> 00:49:24,377 And you see all the logs washed up on the beaches behind 625 00:49:24,503 --> 00:49:29,048 because of the constant lumber, 626 00:49:31,343 --> 00:49:33,886 timber business going on. 627 00:49:36,682 --> 00:49:38,099 Beer or wine? 628 00:49:41,853 --> 00:49:44,397 -Surprise me. -Okay. 629 00:49:45,774 --> 00:49:47,525 AII right, I wiII. 630 00:49:47,609 --> 00:49:49,735 WeII, you have to make her pizza. 631 00:49:51,279 --> 00:49:53,239 -Okay. -What? Pizza's deIicious. 632 00:49:53,532 --> 00:49:56,617 -I'm not arguing. I think pizza is deIicious. -Good. 633 00:50:05,544 --> 00:50:08,254 Remember me teIIing you that I kissed Jenny York? 634 00:50:10,090 --> 00:50:11,215 Yeah. 635 00:50:14,261 --> 00:50:16,887 WeII, I Iied. 636 00:50:22,436 --> 00:50:23,602 Hey. 637 00:50:24,563 --> 00:50:27,064 BeIieve me, you're not missing much. 638 00:50:28,817 --> 00:50:32,611 This is one of those scenes where you realize 639 00:50:34,740 --> 00:50:37,908 that Sam, the younger brother, is stuck. 640 00:50:37,993 --> 00:50:39,326 AbsoIute fanatic. 641 00:50:40,078 --> 00:50:43,247 That whiIe Charlie, Zac's character, is getting older, 642 00:50:43,331 --> 00:50:47,251 the younger brother will never have any more life experience. 643 00:50:47,335 --> 00:50:52,548 That his only experience is what he had before the crash, 644 00:50:52,632 --> 00:50:56,218 and then their games of catch. 645 00:50:56,303 --> 00:50:58,137 FootbaII. That's my sport. 646 00:50:58,263 --> 00:51:00,014 -Come on. -Oh, pIease! 647 00:51:00,182 --> 00:51:01,474 -No way. -Yes! 648 00:51:01,600 --> 00:51:03,059 You didn't strike me as one of those chicks 649 00:51:03,143 --> 00:51:05,478 -who Iikes neckIess 'roid-heads. -WeII, I do. 650 00:51:05,854 --> 00:51:07,146 Come on, hairier, the better. 651 00:51:07,272 --> 00:51:09,273 Yeah. More wine? 652 00:51:09,941 --> 00:51:11,317 Yes, pIease. 653 00:51:11,443 --> 00:51:14,862 And here you'll notice she has a subtle limp. 654 00:51:27,292 --> 00:51:28,793 Are you moving? 655 00:51:29,002 --> 00:51:33,923 And what she noticed on his table, but we don't show you a shot of, was 656 00:51:34,007 --> 00:51:38,511 she sees the magazine with her in it and realizes that he's gotten it. 657 00:51:39,554 --> 00:51:44,308 but one of the things I did was, with the people who aren't actually there, 658 00:51:46,019 --> 00:51:49,355 one, I never went to their point of view, and two, 659 00:51:50,816 --> 00:51:55,319 l never did over-the-shoulders for them when I was doing coverage. 660 00:51:55,403 --> 00:51:56,737 -Did he? -No. 661 00:51:58,198 --> 00:52:01,367 He tried out for the TripIe-A team in Pawtucket. 662 00:52:02,577 --> 00:52:04,745 That was the Iast we saw of him. 663 00:52:12,587 --> 00:52:14,046 Can I have that sketch someday? 664 00:52:29,855 --> 00:52:31,397 It's yours now. 665 00:52:33,859 --> 00:52:35,025 Thanks. 666 00:52:37,737 --> 00:52:40,197 So, I haven't shown you my route. 667 00:52:40,866 --> 00:52:42,032 You're Iimping. 668 00:52:43,410 --> 00:52:44,910 Yeah, I toId you, 669 00:52:45,036 --> 00:52:48,080 I got tossed around pretty good on my Iast saiI. 670 00:52:48,415 --> 00:52:50,749 So I'm starting in Boston, 671 00:52:51,418 --> 00:52:54,253 and then I'm going to make my way south 672 00:52:54,588 --> 00:52:56,255 towards BraziI. 673 00:52:58,884 --> 00:53:00,926 And then I'm going to go... 674 00:53:02,721 --> 00:53:05,347 The race l referenced for her, 675 00:53:05,432 --> 00:53:09,852 or modeled her race on, was the Velux race. 676 00:53:09,936 --> 00:53:14,940 And there are women in their early 20s who do do that race. 677 00:53:15,025 --> 00:53:17,860 lt's a round-the-world solo race. lntense. 678 00:53:18,737 --> 00:53:20,196 I don't know. 679 00:53:20,280 --> 00:53:22,448 No, I... CharIie... 680 00:53:24,117 --> 00:53:26,118 I Ieave in a week. 681 00:53:27,454 --> 00:53:28,579 I know. 682 00:53:29,623 --> 00:53:31,040 I think I shouId go. 683 00:53:33,210 --> 00:53:35,711 -Can I waIk you? -No. 684 00:53:36,546 --> 00:53:38,589 -Come on, Iet me waIk you. -No, CharIie. 685 00:53:40,967 --> 00:53:42,468 Timing, 686 00:53:45,055 --> 00:53:46,972 it reaIIy is everything. 687 00:53:48,475 --> 00:53:49,808 I'm sorry. 688 00:54:01,571 --> 00:54:06,659 l had a whole bit in here about fireflies, as well, that there are fireflies outside, 689 00:54:06,743 --> 00:54:08,577 and then discovered that there are no fireflies 690 00:54:08,662 --> 00:54:11,664 on the other side of the Mississippi River. 691 00:54:12,958 --> 00:54:14,917 so, I had to nix that idea. 692 00:54:15,001 --> 00:54:21,257 but I did get this great shot of him running into the dark, holding this lantern, 693 00:54:23,843 --> 00:54:27,179 which I actually think I prefer. It's so simple. 694 00:54:28,473 --> 00:54:30,516 Just into the darkness. 695 00:54:43,321 --> 00:54:46,865 The other idea I played with was the idea that he's asleep in his cabin, 696 00:54:46,950 --> 00:54:49,827 and he's just gone for this 697 00:54:52,038 --> 00:54:55,791 walk on the astral plane, then runs into her spirit. 698 00:55:04,217 --> 00:55:05,634 I found you. 699 00:55:47,218 --> 00:55:52,348 I think people had a problem with the idea that they were making out in a graveyard. 700 00:55:52,432 --> 00:55:56,310 but they're not actually there, I mean, in hindsight. 701 00:56:02,734 --> 00:56:06,445 Maybe spirits commingling, but that's about it. 702 00:56:10,742 --> 00:56:14,495 And to do it in a way where it is ambiguous. 703 00:56:40,188 --> 00:56:41,271 What are these? 704 00:56:42,732 --> 00:56:44,108 Burn marks. 705 00:56:45,235 --> 00:56:47,778 It's where the paramedic shocked me. 706 00:56:51,950 --> 00:56:54,034 -They're beautifuI. -HardIy. 707 00:56:55,286 --> 00:56:56,328 Hey. 708 00:56:57,914 --> 00:56:59,706 They saved your Iife. 709 00:57:01,334 --> 00:57:02,918 They're beautifuI. 710 00:57:30,530 --> 00:57:32,739 This doesn't change anything. 711 00:57:36,828 --> 00:57:40,831 Goose is a very brilliant fowl actor. 712 00:57:42,584 --> 00:57:46,462 My ongoing geese runner. 713 00:57:47,922 --> 00:57:50,424 Here he finds the note. 714 00:57:50,508 --> 00:57:53,385 And we saw him sketching 715 00:57:56,014 --> 00:57:58,974 in his draughtsman shack before. 716 00:58:00,685 --> 00:58:05,105 And so, did she do it, or did he? 717 00:58:05,190 --> 00:58:06,607 I knew you'd find me! 718 00:58:19,704 --> 00:58:22,623 It was freezing cold as we shot this. 719 00:58:23,708 --> 00:58:27,544 They're all trying not to shiver as they sail on the boat. 720 00:58:27,629 --> 00:58:32,758 but they're actually sailing it. And again, they both really learned how to sail. 721 00:58:37,555 --> 00:58:38,931 It's choppy. 722 00:58:40,517 --> 00:58:41,767 Whoa, hey! 723 00:58:44,312 --> 00:58:45,479 Thank you. 724 00:58:46,064 --> 00:58:48,774 This is the first time he's been sailing since his brother died, 725 00:58:48,858 --> 00:58:55,822 and this is about him coming back alive, her bringing him back alive. 726 00:58:59,494 --> 00:59:01,578 Sorry. It's been a whiIe. 727 00:59:03,039 --> 00:59:04,915 It won't happen again. 728 00:59:06,167 --> 00:59:09,753 This is our mock lighthouse again. 729 00:59:09,963 --> 00:59:12,714 "trust your heart if the seas catch fire 730 00:59:13,925 --> 00:59:15,050 "and Iive by Iove..." 731 00:59:15,134 --> 00:59:20,305 It's always tough with these. I mean, this is all green screen behind them. 732 00:59:21,641 --> 00:59:24,810 One of the things we had in our advantage is shooting in anamorphic, 733 00:59:24,894 --> 00:59:27,980 where the backgrounds would be kind of blurred anyway. 734 00:59:28,565 --> 00:59:30,857 And it gives it kind of 735 00:59:34,237 --> 00:59:36,321 a surreal effect. 736 00:59:37,240 --> 00:59:38,949 It's E.E. Cummings. 737 00:59:39,742 --> 00:59:41,743 It was my dad's favorite. 738 00:59:44,163 --> 00:59:45,789 I Iike it a Iot. 739 00:59:46,666 --> 00:59:48,875 I don't understand it at aII. 740 00:59:51,629 --> 00:59:53,630 It's about taking chances. 741 00:59:55,091 --> 00:59:56,967 SaiIing around the worId. 742 00:59:59,846 --> 01:00:01,805 I wish you couId come with me. 743 01:00:03,600 --> 01:00:04,933 It's a soIo race. 744 01:00:05,435 --> 01:00:08,145 So you couId be part of my support team. 745 01:00:08,229 --> 01:00:11,148 -I couId see you for a coupIe days. -I can't. 746 01:00:12,317 --> 01:00:15,110 Why? Come on, you don't have any hoIidays? 747 01:00:15,612 --> 01:00:17,070 I just can't. 748 01:00:18,990 --> 01:00:20,532 You just can't. 749 01:00:24,537 --> 01:00:25,996 I just can't. 750 01:00:30,835 --> 01:00:32,336 -Oh, shit. -What? 751 01:00:32,920 --> 01:00:34,463 Nothing. I Ieft something at work. 752 01:00:34,714 --> 01:00:37,424 -What? WeII, hoId on, I'II come with you. -No. I won't be Iong. 753 01:00:37,592 --> 01:00:39,384 I'II meet you at the cottage. 754 01:00:48,061 --> 01:00:49,603 Sam. Sam! 755 01:00:51,564 --> 01:00:52,731 Stop! 756 01:00:53,483 --> 01:00:55,067 Sam, stop! 757 01:00:57,737 --> 01:00:59,237 You're Iate. 758 01:00:59,322 --> 01:01:03,116 I tried to do everything, as much as l could, in camera 759 01:01:03,242 --> 01:01:08,246 as far as effects, not having any ghost effects. 760 01:01:10,583 --> 01:01:11,750 but here, as he's forgetting him, 761 01:01:11,834 --> 01:01:17,422 having him small in the frame, in the distance. 762 01:01:18,091 --> 01:01:21,510 I feeI myseIf start to disappear. 763 01:01:25,098 --> 01:01:26,473 Be nothing. 764 01:01:28,685 --> 01:01:30,894 There's nothing to be scared of, Sam. 765 01:01:30,978 --> 01:01:33,271 -Do you want me to go? -No. 766 01:01:33,481 --> 01:01:35,273 Then why did you bring her? 767 01:01:35,692 --> 01:01:38,944 And the trick here was, did she see sam? 768 01:01:42,949 --> 01:01:44,157 CharIie... 769 01:01:44,283 --> 01:01:47,285 Did Sam disappear before she got there? 770 01:01:48,621 --> 01:01:50,831 Or could she not see him? 771 01:01:50,957 --> 01:01:52,457 Sam and I made a deaI. 772 01:01:52,792 --> 01:01:54,584 CharIie, you don't have to expIain anything to me. 773 01:01:54,669 --> 01:01:56,169 -No, we made a... We made a pact... -You don't. 774 01:01:56,295 --> 01:01:58,004 ...that every day at sunset I wouId meet him here. 775 01:01:58,131 --> 01:01:59,131 CharIie. 776 01:02:01,843 --> 01:02:03,635 I can't Iose Sam, Tess. 777 01:02:06,389 --> 01:02:08,014 I can't Iose Sam. 778 01:02:10,560 --> 01:02:11,768 Let's go. 779 01:02:11,853 --> 01:02:13,353 -No. -Let's go. 780 01:02:15,148 --> 01:02:18,233 The more I'm in your worId, the Iess I can be in his. 781 01:02:20,486 --> 01:02:23,488 CharIie, at some point we aII have to Iet go. 782 01:02:28,035 --> 01:02:29,995 I can't Iose Sam, Tess. 783 01:02:40,506 --> 01:02:42,007 Goodbye, Tess. 784 01:02:45,011 --> 01:02:46,219 Good Iuck with the race. 785 01:02:46,345 --> 01:02:50,307 Again, trying to tell as much of the story through the camera, 786 01:02:50,391 --> 01:02:52,851 and what's in focus, what's not. 787 01:02:58,357 --> 01:02:59,900 ActuaIIy, I did. 788 01:03:13,206 --> 01:03:16,249 I can't come to Cape Town because 789 01:03:17,001 --> 01:03:20,587 every evening I pIay catch with my dead brother 790 01:03:22,006 --> 01:03:23,590 in the graveyard. 791 01:03:26,177 --> 01:03:28,929 But I'II be here when you get back, Tess. 792 01:03:31,182 --> 01:03:34,392 This is Charlie really wondering whether he's... 793 01:03:36,562 --> 01:03:41,399 I don't think he knows at this point whether he sees ghosts or if he's insane. 794 01:03:46,572 --> 01:03:49,407 Here's the brilliant bobbo. 795 01:03:51,077 --> 01:03:52,118 You. 796 01:03:54,121 --> 01:03:59,084 And here the trick is, the dog isn't reacting to her. 797 01:03:59,210 --> 01:04:01,419 It could seem like it's reacting to her, 798 01:04:01,504 --> 01:04:06,716 but in hindsight, you realize that the dog just takes off because the dog can't see her. 799 01:04:09,428 --> 01:04:10,595 Hello? 800 01:04:12,265 --> 01:04:13,431 Charlie? 801 01:04:13,766 --> 01:04:16,893 l never can tell if your machine has picked up. 802 01:04:17,270 --> 01:04:18,770 It's your mom. 803 01:04:21,566 --> 01:04:23,441 I just really miss you. 804 01:04:24,735 --> 01:04:26,945 Give me a call sometime, okay? 805 01:04:27,280 --> 01:04:28,613 I love you. 806 01:04:28,781 --> 01:04:31,783 Charlie looking for his hangover coffee 807 01:04:34,745 --> 01:04:37,080 and coming up empty. 808 01:04:50,803 --> 01:04:52,804 You aII right, boss man? 809 01:04:54,932 --> 01:04:56,766 You Iook dirty, mate. What happened to you? 810 01:04:58,144 --> 01:05:00,562 PIease say you got Iaid at Ieast. 811 01:05:02,648 --> 01:05:04,816 Is that a no, is it? Oh, weII. 812 01:05:05,484 --> 01:05:06,985 Thanks, babes. 813 01:05:09,822 --> 01:05:11,114 Can I have your attention? 814 01:05:12,158 --> 01:05:13,325 Bobbo! 815 01:05:13,993 --> 01:05:15,994 JuIie, can you get Bobbo? 816 01:05:17,330 --> 01:05:18,496 JuIie! 817 01:05:20,166 --> 01:05:21,333 JuIie? 818 01:05:29,050 --> 01:05:31,301 We've got a boat missing out of Quincy Harbor. 819 01:05:32,178 --> 01:05:33,345 Whose boat? 820 01:05:34,972 --> 01:05:38,183 It's the Querencia. Tess CarroII's boat. 821 01:05:40,561 --> 01:05:45,732 Here's Charlie and Tess putting together the fact that she didn't come back 822 01:05:48,486 --> 01:05:52,822 from her sailing trip three days earlier, that she's not actually there. 823 01:05:55,868 --> 01:06:02,457 And the idea that ghosts or spirits are ripped out of life 824 01:06:02,541 --> 01:06:07,545 and they don't even know that they're no longer alive. 825 01:06:13,719 --> 01:06:18,348 And then Charlie coming back and seeing that the boat hasn't been touched, 826 01:06:20,226 --> 01:06:22,227 and so he didn't go sailing, 827 01:06:22,311 --> 01:06:26,982 and didn't, obviously, do anything else, because she wasn't there. 828 01:06:30,486 --> 01:06:36,658 This graveyard that we used in Vancouver I think is used for every other movie. 829 01:06:36,742 --> 01:06:40,078 And, in fact, as we are walking around, we'd find tombstones from movies 830 01:06:40,204 --> 01:06:41,496 that had been there before. 831 01:06:41,580 --> 01:06:43,915 l think Jennifer's Body had shot there before, 832 01:06:44,000 --> 01:06:48,920 so you'd find these tombstones with very bizarre inscriptions on them. 833 01:06:49,088 --> 01:06:50,213 Tess? 834 01:06:53,926 --> 01:06:58,596 but it's, I think, about 200 years old, 835 01:07:00,141 --> 01:07:02,475 and they weren't always sure where people were buried there 836 01:07:02,601 --> 01:07:07,772 because when the lumber companies were running Vancouver, 837 01:07:07,898 --> 01:07:12,694 there'd be indentured servants, scots and Irish, who wouId come over, 838 01:07:12,778 --> 01:07:15,196 and couldn't afford burials, 839 01:07:17,116 --> 01:07:20,535 and would just bury people there without markers. 840 01:07:20,619 --> 01:07:25,790 And so, they wouldn't let you dig around and do a lot of fake headstones, 841 01:07:25,875 --> 01:07:29,461 'cause they didn't know exactly what you'd be hitting. 842 01:07:30,421 --> 01:07:32,130 I Iied to him. I... 843 01:07:32,590 --> 01:07:34,382 I saiIed straight into the storm. 844 01:07:35,259 --> 01:07:37,886 I remember... I remember I saw the oId Cape FIattery Iight. 845 01:07:37,970 --> 01:07:39,971 Everyone sees the Iight. 846 01:07:40,973 --> 01:07:42,474 No, you didn't... 847 01:07:42,767 --> 01:07:44,809 I've seen that Iight, Tess. 848 01:07:45,478 --> 01:07:48,146 CharIie, I'm getting coId. I'm scared. 849 01:07:52,401 --> 01:07:54,235 I wanted you to find me. 850 01:07:54,945 --> 01:07:59,157 That's why... That's why I came here, 'cause I wanted you to find me. 851 01:07:59,241 --> 01:08:02,035 You were supposed to find me, because you're supposed to heIp me. 852 01:08:02,161 --> 01:08:03,495 You were supposed to find me. 853 01:08:03,954 --> 01:08:06,331 I cannot be dead. PIease, Charlie, find me. 854 01:08:06,415 --> 01:08:07,749 Tess! 855 01:08:19,845 --> 01:08:22,680 And there you see the red flowers again. 856 01:08:32,900 --> 01:08:38,071 Every time we shot this scene, Zac would invariably have a tack or a splinter 857 01:08:38,155 --> 01:08:42,492 stuck in his hand at the end of it that he'd be unaware of, 858 01:08:42,576 --> 01:08:46,412 and someone would have to come and pull out with tweezers. 859 01:08:48,332 --> 01:08:54,921 One of the odd things in Vancouver is that the medic is also the snacks person, 860 01:08:55,005 --> 01:08:58,174 the crafts/snacks person. 861 01:08:58,259 --> 01:09:00,927 For some reason, in Canada, that's the way it works. 862 01:09:01,053 --> 01:09:03,513 The person who is making our snacks 863 01:09:03,597 --> 01:09:07,976 is also the person who would have to deal with any on-set injuries, 864 01:09:09,562 --> 01:09:13,148 and wear the same plastic gloves for either. 865 01:09:38,632 --> 01:09:40,592 She's dead, that girI. 866 01:09:44,138 --> 01:09:45,471 Tess. 867 01:09:49,560 --> 01:09:51,978 She took a boat out in that storm. 868 01:09:53,314 --> 01:09:54,480 She... 869 01:09:56,734 --> 01:09:58,484 She never came back. 870 01:10:12,583 --> 01:10:13,708 You stiII got me. 871 01:10:13,792 --> 01:10:17,253 This is one of my favorite moments in the movie. 872 01:10:17,338 --> 01:10:20,506 His younger brother tries to comfort him. 873 01:10:20,591 --> 01:10:23,384 That's actually the saddest thing he could hear. 874 01:10:24,178 --> 01:10:25,386 I know. 875 01:10:59,296 --> 01:11:01,673 -Mr. St. CIoud? -I'm not on duty. 876 01:11:02,299 --> 01:11:03,841 This is a personaI matter. 877 01:11:04,218 --> 01:11:07,387 I'm CarIa Ferrente. FIorio was my husband. 878 01:11:08,347 --> 01:11:10,890 I tried caIIing earIier. He... 879 01:11:12,226 --> 01:11:13,977 He died Iast night. 880 01:11:15,145 --> 01:11:17,855 FIorio wanted you to have his medaIIion. 881 01:11:23,028 --> 01:11:24,279 Are you sure? 882 01:11:25,572 --> 01:11:28,533 I'm sure. He said it was the answer for you. 883 01:11:32,288 --> 01:11:33,538 To what? 884 01:11:34,415 --> 01:11:35,748 "Why you?" 885 01:11:37,751 --> 01:11:39,085 That's it? 886 01:11:39,837 --> 01:11:41,170 That's it. 887 01:11:43,716 --> 01:11:45,967 I've never seen one of these without a cross. 888 01:11:46,510 --> 01:11:48,428 It's not Christ. It's Saint Jude. 889 01:11:48,971 --> 01:11:51,389 Jude is the saint of aII Iost causes. 890 01:11:52,016 --> 01:11:53,808 There's no such thing as a Iost cause. 891 01:11:55,185 --> 01:12:01,566 Jude is also the saint for firemen and ambulance drivers. 892 01:12:39,104 --> 01:12:40,688 God just doesn't show off. 893 01:12:40,773 --> 01:12:44,859 There's got to be a reason God gave you a second chance. 894 01:12:46,779 --> 01:12:48,404 You're not dead. 895 01:12:49,448 --> 01:12:52,784 I just reaIIy hate geese, mate. I just hate them. 896 01:12:52,868 --> 01:12:55,787 -They're dirty, they crap everywhere. -Where's Tink? 897 01:12:57,456 --> 01:12:59,374 You fueIed up? Let's go. 898 01:12:59,792 --> 01:13:01,376 What are you doing, man? Hey, hey! 899 01:13:01,460 --> 01:13:04,253 Get your hands off my boat! In case you haven't heard, 900 01:13:04,338 --> 01:13:05,630 the Coast Guard caIIed off the search. 901 01:13:05,714 --> 01:13:07,632 WeII, then give me your keys. I'm taking your boat. 902 01:13:07,716 --> 01:13:08,800 The heII you are. 903 01:13:09,426 --> 01:13:10,718 -I know where she is, Tink. -Do you? 904 01:13:10,803 --> 01:13:12,553 -I know where she is! -That's it, whack job! 905 01:13:12,638 --> 01:13:14,847 Go back to your coffin before I... 906 01:13:14,932 --> 01:13:16,307 I know where Tess is, Tink! 907 01:13:16,392 --> 01:13:17,725 -And she's running out of time! -CharIie! Shut up! 908 01:13:17,810 --> 01:13:19,060 CharIie! Go. Go back inside. 909 01:13:19,144 --> 01:13:20,311 -He's not worth it. -She's running out of time! 910 01:13:20,396 --> 01:13:21,562 Tink, we're going, aII right? 911 01:13:24,566 --> 01:13:26,317 What are you doing? 912 01:13:28,821 --> 01:13:30,488 Sorry about that. 913 01:13:31,281 --> 01:13:34,117 The key's in the ignition, aII right? Go. 914 01:13:34,868 --> 01:13:36,202 Go, go, go, go, go. Quick! 915 01:13:42,793 --> 01:13:45,086 Go, go, go, go! Go! 916 01:13:46,004 --> 01:13:47,088 Stop right now! 917 01:13:47,840 --> 01:13:51,342 -I don't think he's gonna make it. -You son of a bitch! 918 01:13:53,262 --> 01:13:54,595 He made it. 919 01:13:54,680 --> 01:13:55,888 Stay down, stay down, stay down. 920 01:13:55,973 --> 01:13:57,306 You frigging nutjob! 921 01:13:57,391 --> 01:13:58,641 ReIax, reIax. CaIm down, aII right? 922 01:13:58,725 --> 01:14:00,351 -CaIm down! -Where are you two taking my boat? 923 01:14:00,477 --> 01:14:01,519 Cape FIattery. 924 01:14:01,854 --> 01:14:04,355 That's 20 miIes from Tess' Iast known position. 925 01:14:04,440 --> 01:14:07,900 But it's exactIy where she wouId have been if she saiIed straight into the storm, Tink! 926 01:14:07,985 --> 01:14:09,610 She's about to saiI around the worId. 927 01:14:09,820 --> 01:14:12,363 She wouId have wanted to test her boat in heavy weather. 928 01:14:12,448 --> 01:14:14,949 You didn't even know her, St. CIoud. How couId you possibIy know... 929 01:14:15,033 --> 01:14:18,786 This is a scene with a lot of hand-held, to give it energy 930 01:14:21,331 --> 01:14:23,499 and the right feel for it. 931 01:14:23,584 --> 01:14:26,669 but you don't want to become aware of it. 932 01:14:27,713 --> 01:14:33,801 The DP, Enrique Chediak, is great at shooting hand-held. 933 01:14:35,137 --> 01:14:37,597 Just Iisten to me, Tink. 934 01:14:38,348 --> 01:14:39,474 She's aIive. 935 01:14:39,558 --> 01:14:43,519 So that you don't feel like you just got off a roller coaster, 936 01:14:44,521 --> 01:14:46,189 but still has the effect. 937 01:14:46,273 --> 01:14:47,732 She's aIive, Tink. 938 01:14:54,198 --> 01:14:58,493 Here we see the Washington coastline, which is pretty magnificent. 939 01:15:05,918 --> 01:15:07,251 FIattery Light! 940 01:15:08,337 --> 01:15:11,964 These rocks are amazing as you come out of Puget Sound, 941 01:15:22,059 --> 01:15:25,520 and I'm getting seasick just looking at these waves. 942 01:15:29,358 --> 01:15:31,442 And those are real seals. 943 01:15:34,863 --> 01:15:39,325 The ocean was just teeming with bald eagles and seals 944 01:15:39,409 --> 01:15:43,538 and all sorts of dolphins and things. 945 01:15:44,623 --> 01:15:47,792 Let me grab the wheeI. Come on, I got it. 946 01:15:48,126 --> 01:15:49,961 It's my boat. I know what to do. Come on. 947 01:15:50,170 --> 01:15:51,420 Come on. 948 01:15:52,631 --> 01:15:54,382 Keep your eyes open. 949 01:15:54,466 --> 01:15:55,967 Get some rest. 950 01:16:11,316 --> 01:16:14,026 This scene uses shots from the initial shoot, 951 01:16:14,111 --> 01:16:17,738 when we were out on the water, and then stuff that we caught later in the studio. 952 01:16:17,823 --> 01:16:19,949 And they're about six months apart, 953 01:16:20,033 --> 01:16:23,869 which is always an interesting task, trying to mesh that. 954 01:16:24,288 --> 01:16:26,414 We couId make it back to Quincy by sunset. 955 01:16:33,297 --> 01:16:36,382 What is it you do in the woods every night, man? 956 01:16:39,678 --> 01:16:41,929 If I toId you, you wouIdn't... 957 01:16:43,515 --> 01:16:46,601 -You wouIdn't beIieve me. -I wouId beIieve you. 958 01:16:47,102 --> 01:16:48,644 You're my mate. 959 01:17:02,659 --> 01:17:05,494 You know, she might not even be out there. 960 01:17:08,832 --> 01:17:10,833 What's up, CharIie? 961 01:17:10,917 --> 01:17:13,836 We going back? Or are we moving on? 962 01:17:20,802 --> 01:17:22,720 I'm going to find Tess. 963 01:17:41,907 --> 01:17:46,827 And so, he's made the decision to break his deal with his brother. 964 01:17:49,498 --> 01:17:51,666 And we see the sun setting, 965 01:17:53,460 --> 01:17:55,961 and little Sammy waiting for him. 966 01:18:05,764 --> 01:18:14,355 CharIie? 967 01:18:39,339 --> 01:18:40,965 Forgive me, Sam. 968 01:18:57,733 --> 01:18:59,483 I Iove you, CharIie. 969 01:19:10,537 --> 01:19:13,122 Again, trying to shoot as much in camera as possible 970 01:19:13,206 --> 01:19:16,625 and use the available sunlight, the sunset, 971 01:19:16,710 --> 01:19:20,838 as he's wandering, or crossing over 972 01:19:23,008 --> 01:19:24,592 into the light. 973 01:19:27,387 --> 01:19:29,346 And using the flares. 974 01:19:50,368 --> 01:19:51,702 Sam? 975 01:19:56,708 --> 01:19:58,876 Over there! Outer rocks! That way! 976 01:20:07,219 --> 01:20:11,806 Again, we're actually out in the water on this and also in a tank. 977 01:20:11,890 --> 01:20:15,601 And all of the stuff that looks like ocean is in the tank, 978 01:20:15,727 --> 01:20:17,686 and all the stuff that looks too flat 979 01:20:17,771 --> 01:20:20,731 was when we were actually out on the ocean. 980 01:20:21,066 --> 01:20:24,401 because it's called the Pacific for a reason. 981 01:20:26,571 --> 01:20:27,905 Very flat. 982 01:20:27,989 --> 01:20:29,740 -I can see it. I can see the base! -I'm bringing her back. 983 01:20:29,825 --> 01:20:31,867 -Bear right, mate! Bear right! -I got it, I got it, I got it. 984 01:20:31,952 --> 01:20:34,411 -Get as cIose as you can! -Hey! 985 01:20:34,746 --> 01:20:36,914 -Hey! -CharIie, what are you doing? 986 01:20:38,291 --> 01:20:41,585 CharIie! CharIie, the water's Iike ice! Don't be an idiot, mate! 987 01:20:41,670 --> 01:20:44,463 -PIease wait for the Coast Guard! -If we wait, it'II be too Iate. 988 01:20:44,631 --> 01:20:46,966 You won't Iast Iong enough to save her, mate. PIease! 989 01:20:47,092 --> 01:20:49,093 This is why I was given a second chance. 990 01:20:49,302 --> 01:20:50,344 No! Wait! CharIie! 991 01:20:54,975 --> 01:21:00,020 Zac trained for, l think, a month in the tank, 992 01:21:00,188 --> 01:21:04,525 learning how to hold his breath and rely on divers with oxygen tanks 993 01:21:04,609 --> 01:21:07,528 so that he wouldn't have to come back up. 994 01:21:10,782 --> 01:21:13,909 He was cool as a cucumber as we shot all these things, 995 01:21:13,994 --> 01:21:17,162 and really couldn't see more than a few inches in front of his face 996 01:21:17,289 --> 01:21:19,373 when he was underwater. 997 01:21:26,339 --> 01:21:34,054 Tess? 998 01:21:34,347 --> 01:21:35,472 Tess. 999 01:21:36,224 --> 01:21:40,352 Initially, when he first looks over there, l actually had Amanda Crew 1000 01:21:41,646 --> 01:21:44,106 in the yellow slicker. 1001 01:21:44,190 --> 01:21:48,527 So, you just get that subliminal suggestion that she's there. 1002 01:21:49,321 --> 01:21:52,031 And then he comes over, and it's empty. 1003 01:22:32,405 --> 01:22:37,409 Here, the thing was figuring out exactly the sound of his head hitting the rock, 1004 01:22:37,535 --> 01:22:41,288 wherein you would believe that his skull wasn't cracked, 1005 01:22:41,373 --> 01:22:43,666 but enough to disorient him. 1006 01:22:44,417 --> 01:22:46,710 And then l cut into the... 1007 01:22:47,504 --> 01:22:53,217 I had the idea of him going back into the in-between, the dark space, 1008 01:22:57,597 --> 01:22:58,931 to get Tess. 1009 01:22:59,057 --> 01:23:01,767 This is where he left his younger brother, 1010 01:23:01,851 --> 01:23:05,229 or last saw his younger brother after the accident. 1011 01:23:08,233 --> 01:23:10,067 And he let go of his younger brother there. 1012 01:23:10,193 --> 01:23:14,947 And the idea is that he finds Tess now, and he's not gonna let go, no matter what. 1013 01:23:23,081 --> 01:23:28,919 And she's, of course, wearing her red suit. 1014 01:23:43,560 --> 01:23:50,524 Makeup gave her that slightly bluish tint, gave her a hypothermic look. 1015 01:24:13,339 --> 01:24:17,342 Here we have the light, and we don't know what it is initially. 1016 01:24:20,305 --> 01:24:23,140 And then the helicopter sound comes in. 1017 01:24:40,366 --> 01:24:41,450 Sit tight. 1018 01:24:41,618 --> 01:24:42,659 Sit tight! 1019 01:25:32,585 --> 01:25:34,878 Never steaI another man's gin. 1020 01:25:35,839 --> 01:25:36,880 Water. 1021 01:25:37,715 --> 01:25:39,675 -Water. -Yeah, aII right. 1022 01:25:42,887 --> 01:25:45,013 WeIcome back. How you doing? 1023 01:25:46,391 --> 01:25:47,599 How is she? 1024 01:25:47,725 --> 01:25:50,394 Yeah, she's good, mate. Yeah, she's good. She's recovering. 1025 01:25:50,520 --> 01:25:52,563 Doctor said she had hypothermia. 1026 01:25:52,689 --> 01:25:56,733 And when you hugged her, your body warmth kept her aIive. 1027 01:25:58,403 --> 01:26:00,195 Look, weII done, mate. Proper hero. 1028 01:26:09,289 --> 01:26:14,168 So this old yacht that we used, we couldn't muck up at all. 1029 01:26:14,252 --> 01:26:19,256 so, the idea is that it's rundown, that it's been up on blocks for a while. 1030 01:26:20,592 --> 01:26:22,259 All of the stuff you see on the side of the boat 1031 01:26:22,385 --> 01:26:26,013 is visual effects that we had to add later, 1032 01:26:26,097 --> 01:26:29,266 because the owner of the yacht would not let us 1033 01:26:31,102 --> 01:26:36,857 attach anything or paint anything on that might muck up the side of his boat. 1034 01:26:59,964 --> 01:27:01,840 I heard you were back home. 1035 01:27:09,974 --> 01:27:12,059 Isn't this BemeIman's oId boat? 1036 01:27:12,143 --> 01:27:13,644 It's mine now. 1037 01:27:14,145 --> 01:27:17,481 They were gonna strip it for scrap, so I took it off their hands. 1038 01:27:17,565 --> 01:27:19,566 I aIways Ioved this boat. 1039 01:27:21,277 --> 01:27:26,949 I got the name "bemelmans" from bemelmans bar in New York. 1040 01:27:27,825 --> 01:27:30,327 Bemelmans, who did 1041 01:27:32,288 --> 01:27:35,332 the children's books, the cartoons. 1042 01:27:36,793 --> 01:27:37,960 ReaIIy? 1043 01:27:38,086 --> 01:27:41,755 And initially, it was going to be BemeImans Geese, 1044 01:27:43,424 --> 01:27:47,469 but that got nixed somewhere along the way, so l worked it in here. 1045 01:27:49,597 --> 01:27:52,683 It's that you saved my Iife, CharIie St. CIoud. 1046 01:27:56,312 --> 01:27:59,439 She's a bIue-water cruiser. Where you headed? 1047 01:28:00,858 --> 01:28:02,192 Everywhere. 1048 01:28:03,361 --> 01:28:05,654 As soon as she's sound, I'm gonna saiI around the worId. 1049 01:28:09,492 --> 01:28:10,534 WeII, good Iuck. 1050 01:28:13,538 --> 01:28:14,705 After we'd finished shooting this 1051 01:28:14,831 --> 01:28:20,002 was when all those kids were attempting to sail around the world and getting lost, 1052 01:28:20,628 --> 01:28:22,796 which initially we thought 1053 01:28:24,215 --> 01:28:29,052 would be a tie-in to the movie, but then realized would not be a positive tie-in, 1054 01:28:29,887 --> 01:28:33,682 as we didn't want to encourage kids to go sailing off. 1055 01:28:35,893 --> 01:28:37,185 It's you. 1056 01:28:40,690 --> 01:28:41,732 Me? 1057 01:28:42,483 --> 01:28:44,026 The way you make me feeI... 1058 01:28:45,862 --> 01:28:49,740 I don't know. I've been having these visions, or maybe dreams, 1059 01:28:49,824 --> 01:28:53,535 but they're more vivid than any dreams that I've ever had. And... 1060 01:28:54,746 --> 01:28:56,246 And you're in them. 1061 01:28:57,081 --> 01:28:59,082 And we're in them. And... 1062 01:29:00,835 --> 01:29:03,879 And this is when Charlie knows she remembers. 1063 01:29:04,589 --> 01:29:06,590 They're not dreams, Tess. 1064 01:29:07,342 --> 01:29:08,925 They're memories. 1065 01:29:11,888 --> 01:29:14,097 "trust your heart if the seas catch fire 1066 01:29:14,349 --> 01:29:16,516 "and Iive by Iove though the stars waIk backward" 1067 01:29:24,108 --> 01:29:26,026 How did you know that? 1068 01:29:29,447 --> 01:29:32,574 It's E.E. Cummings. It was your dad's favorite. 1069 01:29:33,451 --> 01:29:35,494 It's about taking chances. 1070 01:29:46,631 --> 01:29:48,632 Just take a chance, Tess. 1071 01:29:59,268 --> 01:30:02,062 -My Iegs are stiII a IittIe wobbIy. -No worries. 1072 01:30:02,146 --> 01:30:04,898 So, again, all of that stuff, 1073 01:30:04,982 --> 01:30:09,945 that taped "X" on the side of the boat, was put on there through visual effects. 1074 01:30:44,814 --> 01:30:46,189 I miss you. 1075 01:30:48,985 --> 01:30:50,652 I'm okay, CharIie. 1076 01:30:52,113 --> 01:30:54,406 I'd give anything for you to see me, 1077 01:30:54,490 --> 01:30:56,074 what I'd have become. 1078 01:30:58,244 --> 01:31:01,705 But no one ever gets to see what couId have been. 1079 01:31:05,168 --> 01:31:07,419 Sorry I had to break our deaI. 1080 01:31:09,338 --> 01:31:10,755 It was time. 1081 01:31:12,508 --> 01:31:15,594 I mean, it's beyond anything we ever imagined, CharIie. 1082 01:31:18,014 --> 01:31:20,474 I hurt as bad as the day you died. 1083 01:31:21,434 --> 01:31:23,685 You hurt because you're aIive. 1084 01:31:40,703 --> 01:31:42,704 We'II aIways be brothers. 1085 01:31:44,373 --> 01:31:45,624 Promise? 1086 01:31:47,001 --> 01:31:48,335 Every day? 1087 01:31:48,711 --> 01:31:51,630 Come rain or shine? Come heII or high water? 1088 01:32:05,728 --> 01:32:07,062 I promise. 1089 01:32:29,252 --> 01:32:32,254 And here we have the end scene of the movie, 1090 01:32:33,256 --> 01:32:35,840 he and Tess walking off together, 1091 01:32:40,388 --> 01:32:42,764 and into their future together. 1092 01:32:44,725 --> 01:32:46,893 That angel was a set piece. 1093 01:32:48,020 --> 01:32:51,523 All those monuments by the side of the woods 1094 01:32:51,607 --> 01:32:53,817 were built by our production designer. 1095 01:33:00,658 --> 01:33:04,452 Thanks very much for listening to the director's commentary, 1096 01:33:05,413 --> 01:33:09,666 and I hope you enjoyed the movie. Thanks very much. bye. 1097 01:33:19,510 --> 01:33:21,136 I'm gonna pretend I Iike that.